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Differences between Female and Male Ever since history was first well recorded (mostly by the male) men and women in civilized nations have based their behavior on an unprovable belief. Their relations to each other have been founded on the assumption that women and men are vastly different emotionally, intellectually, and spiritually. They have considered each other almost as different species of Homo sapiens.

The myth breaks down into many specific false assumptions (some of which are embraced by men only, some by women only). Here are some examples:

  1. Women are more emotional than men.
  2. Men are better at abstract thinking than are women.
  3. Women are more intuitive than men.
  4. Men are more skillful with their hands (and in using tools) than women.
  5. Women are more hypochondriacally than men, but men are little boys at heart, especially when they’re ill.
  6. It is almost always the man who indulges in infidelity and breaks up the marriage.
  7. Homosexuality is practiced more by men than by women.
  8. The female usually snares the male.
  9. Women are slier and more cunning than men.
  10. Men are bolder, more physically vigorous, and more courageous than women.
  11. Women are more loving than men.

Believers in these myths often try to support their view by asking questions like the following: Why have there been no famous women chess players? Why so few great female mathematicians, composers, violinists, artists? Why is the male such a beast of infidelity while the woman is usually loyal and chaste? Why do more men have ulcers than women? Why do more men remain emotionally immature all their lives? Why do men start all the wars? It is supposed to be self-evident that these observations are explained by the inherent differences between the sexes.

Rousseau, the great French philosopher, wrote, ‘Woman is especially constituted to please men. . . . to please them, to be useful to them, to make themselves loved and honored by them, to educate them when young, to care for them when grown, to counsel them, to console them and to make life agreeable and sweet to them-these are the duties of women at all times, and what should be taught them from infancy.”

A woman author in nineteenth-century England, who signed herself “Lady of Distinction,” wrote, “The most perfect and implicit faith in the superiority of a husband’s judgment, and the most absolute obedience to his desires, is not only the conduct that will ensure the greatest success, but will give the most entire satisfaction …. ”

Blackstone, the jurist, wrote in his famous Commentaries,

Aristotle wrote, “The male is by nature superior, and the female inferior; and the one rules and the other is ruled …. The male is by nature fitter for command than the female …We must look to the female as being a sort of natural deficiency.”

Even the Christian church downgraded and stereotyped the female. ‘What is woman but an enemy to friendship, and unavoidable punishment, a necessary evil, a natural temptation-a wicked work of nature covered with shining varnish,” wrote St. John Chrysostom. A canonical decree prohibited women from approaching the altar or ministering to the priest. “A woman is incapable of true spiritual jurisdiction,” said a Pope.

All of these statements were made during the last 2,400 years, well into the era in which the male has been dominant in most civilized countries. During this period he has had roles in society which make him appear stronger, wiser, and superior.

There are several explanations for the present acceptance of the natural superiority of men.

First is the fact that in the past the members of the two sexes have found themselves in different social roles. These roles have given the impression that the type of work done by the individual, and his social position, indicate his character and talents. For a long time, man was by necessity the hunter; therefore, he was believed to be more courageous and bold. Woman was immobilized by pregnancy, child rearing, and home duties. Because she was for biological reasons assigned to a domiciliary role, it was assumed that she had a passive nature, and she was treated accordingly. This kind of reasoning is called the self-fulfilling prophecy. The individual believes a certain thing-then unconsciously arranges life so that what he believes becomes a fact.

Because laws and customs usually gave power, property, and authority to the male, the female found that her only obvious avenue of survival was patience, cunning, sex allurement. So she began to exhibit these characteristics even though inherently she possessed them to no greater degree than did the male.

Woman had almost no opportunities to exhibit her abilities in physical activity, intellectual creativity, and invention-abilities usually regarded as being uniquely male. Therefore woman has been considered lacking in these areas.

There is evidence that in prehistoric days (which lasted much longer than the historically recorded period) society was matriarchal-managed by the female. Agriculture, spinning, weaving, pottery-all activities except war and hunting-were carried on by the female. In those days women were the inventive ones, the abstract thinkers who from necessity created tools for turning plant fiber into yam and yam into cloth, discovered such complicated processes as baking and fabricating clay into pottery, and developed the crude instruments for sewing, erecting movable shelters, and so forth. The basic inventions which allowed man to change from a half-animal caveman into a civilized being were made by females because technology was their area of concern. Both men and women long have scoffed at the idea of a female being a political leader. Yet when a woman takes on such a role she often does well. Witness Queen Elizabeth, Cleopatra, Queen Victoria, and Queen Liliuokalani.

It is mainly the pressure of society that determines what roles, attitudes, kinds of behavior, the members of each sex will embrace. These roles, attitudes, and kinds of behavior have almost nothing to do with the sex of the individual-but many males refuse to accept this fact.

The way a person’s role in society influences his status can easily be illustrated. In Hawaii, for example, an Army enlisted man generally is treated as a socially inferior person (except by the merchants who want his money). If a young lady goes out with an enlisted man, friends may raise eyebrows. It is assumed that the enlisted man usually drinks a lot and is not well educated, and that his only reason for dating a local girl is to sleep with her. The status of the Navy enlisted man in Norfolk, Virginia, is even worse.

But observe Private John Smith closely. See how attractive he is? Even though he is the lowest of the enlisted men, Private Smith-like many other servicemen-is a college graduate, from a fine, loving family. He is a person of integrity, gentleness, ambition; and he has a clear, brilliant mind. Yet regardless of his talents and fine character, when people see Private Smith, in his enlisted-man’s uniform, walking down Kalakaua Avenue, they assume that he has the undesirable behavioral tendencies traditionally associated with enlisted men. And they treat him accordingly.

However, if Private Smith is suddenly promoted and becomes Lieutenant John Smith, he ipso facto becomes socially acceptable even to the elite. His role in society has changed. People now assume he is more decent, has better manners, a better mind, than the John Smith who wore a different uniform (and hence played a different role) only a few days before. At neither time do the observers have any information about John Smith. They estimate his worth from the role he is in, according to traditional, anachronistic values. Also, John Smith’s opportunities to exhibit his talents when he was an enlisted man were limited (although not insurmountably) by the social role in which he found himself. Even the wife he chooses will be influenced by whether or not he wears a silver bar.

The same method of assuming that the nature of a role reflects the inherent characteristics of the one playing it has been employed in judgments about the qualities of the male and the female. People have assumed man and woman to be vastly different simply because historically they have carried out different duties in society. It is not usually realized that when the roles of male and female are reversed, each acquires many of the mannerisms and personality traits usually associated with the other. In certain areas in Greece during the Nazi invasion there were no able-bodied men left. The Greek women fought the Germans ferociously and vigorously with rifles, swords, hatchets. The old Greek men stayed home to care for the children and assumed the women’s role. In the same way, the effect of a reversal of roles is strikingly exemplified by young Israeli women who fought bravely in war, swore, cut their hair very short, and dug ditches alongside the men with whom they served. History supplies many instances of this kind.

Another factor which has promoted the belief in rigid male female differences is the influence of publications by scientists most of them men-who unwittingly biased their own experiments to conform to their preconceptions about female inferiority. Their bias created a distortion similar to that which results when Negro children are tested for intelligence by Southern examiners; the children evidence lower IQs than a similar group tested by Northern examiners. We have learned only recently that experiments are influenced by the natural bias of the experimenter and by the environment in which the experiment takes place. The experimenter, without knowing it, affects the behavior of the person he is examining. Often this influence is so great that the response of the subject is almost entirely created by the already held beliefs of the experimenter. It is well established now, for example, that the hallucinations of subjects taking the drug LSD vary with the personality and beliefs of the experimenter and with the environment in which the session is held.

Likewise, when a person has hallucinations as a result of sensory deprivation (in experiments where the subject, with eyes and ears covered, is placed in a quiet, dark room-devoid of any kind of external stimulus), the hallucinations vary according to what the subject has been told he may expect.

It is obvious, of course, that there are physical differences between men and women. There are also psychological differences; but it is difficult to estimate them, let alone measure them accurately. The slight hormonal differences between them relate mainly to sexual functioning. But what happens when the sex hormones are altered? Does this change cause the individuals to be radically incompetent in their present social roles, or make it impossible for them to maintain their status in society, or change their sex patterns? It does not. It has been well demonstrated that both male and female castrates (those having testicles or ovaries removed for medical reasons) can function adequately in their normal social roles if they have internalized the roles before being castrated. They can even achieve sexual satisfaction and orgasms. Perhaps most convincing of all is the work done by Hampton, Money, and Money, in the studies they originated at Johns Hopkins University, concerning hermaphroditic children. Hermaphrodites are physically closer to one sex than the other. But, it has been found, the hermaphrodite child makes a better adjustment to the sex with which its parents have identified it than to the sex to which it is biologically closer. For example, such a child may have functioning ovaries and only rudimentary testicles. In such a case, by hormonal and surgical treatment a physician can most easily bring about a biologically-that is physically-female child; but if the parents have been treating it like a boy and wishing it to be a boy, there will be trouble: the child may turn out to be a homosexual. The psychological trend established by the parents in such cases is more influential than the anatomical situation.

In an example like that of the hermaphroditic children, we are dealing with the extreme end of the continuum; such drastic changes in the bio-psychological nature of human beings can be made only after years of hormone treatments, surgery, and by psychological consultations.

The anthropologist Margaret Mead shows in her books Male and Female and Sex and Temperament in Three Primitive Societies that masculine and feminine behavior is conditioned by the attitude of society. In Sex and Temperament in Three Primitive Societies she discusses her observations of three tribes:

These three situations [in the three tribes] suggest, then, a very definite conclusion. If those temperamental attitudes which we have traditionally regarded as feminine–such as passivity, responsiveness, and a willingness to cherish children-can so easily be set up as the masculine pattern in one tribe, and in another [the second tribe] be outlawed for the majority of men, we no longer have any basis for regarding such aspects of behavior as sex-linked. And this conclusion becomes even stronger when we consider the actual reversal in Tchambuli [the third tribe] of the position of dominance of the two sexes, in spite of the existence of formal patrilineal institutions [in which children carry the name of the father].

Today, in our Western culture, we have our own tribal laws about sex roles. In early life both parents, wittingly and unwittingly, transmit the cultural values to the child by indicating that “boys don’t cry,” “girls don’t fight,” and so on. Mothers tell their daughters, “The trouble with men is…” Fathers implore sons, “For God’s sake, don’t let ‘em sucker you”…

Later on, when dating is culturally appropriate, mothers pass their attitudes toward the opposite sex on to their daughters, and fathers pass their attitudes on to their sons. Mothers seldom discuss dating with their sons, and fathers seldom discuss it with their daughters. In this manner, the parents help perpetuate the myth of the separation of the sexes.

In summary, it is debilitatingly erroneous to believe that there are vast differences between the male and the female and that these differences cause most of the troubles in marriage, There are no vast, innate differences. The behavior patterns, attitudes, and temperaments of the male and the female are not inherently rigid. Despite the habits and cumulative forces of society, the man and woman can determine for themselves what role each will have in marriage. When they are unable to do this, then the marriage either will fail, or will be merely a numb, routine affair. Trouble is caused not by vast differences (which don’t exist), but by the inability to choose and activate the desirable or necessary role.


Most Married People Love Each Other Both our own research and a review of publications by many social scientists have led us to the conclusion that spouses who have been married for more than three or four years rarely state spontaneously to an interviewer that they are in love with one another. They are more apt to speak in utilitarian terms or to make unilateral statements like “John is a good provider” or “Jane is a good mother to our children.” Yet in many marriages, especially discordant ones, each partner tenaciously and stubbornly believes that he is a loving individual-more loving than his spouse.

Each partner strongly feels that he is trying, with courage and self-sacrifice, to make the marriage work; and that if there is friction; the other partner is causing it. Each may cite specific episodes which demonstrate that he is loving, patient, and good (and that the other is selfish, unkind, and unreasonable).

In many cases, spouses who believe their behavior to be generous and loving, are unwittingly lying to themselves. A large percentage of what they believe to be loving acts are in truth profoundly destructive acts, the expression of an unconscious hypocrisy. The spouses usually are not aware they are murdering their marriages and mangling their partners under the guise of love.

The pattern, in brief, is this: Spouse A believes (consciously) that he is behaving in a loving, benevolent manner to spouse B. In reality (unconsciously) A is behaving in a harmful manner. If B labels the behavior as harmful rather than benevolent, A is hurt and replies, “I was only trying to be helpful.”

The accusations, misunderstandings, and fights now begin.

Here are three examples.

  1. Michael Young (who was a bachelor until he was thirty-two) is a marvelous cook and an efficient housekeeper. His wife, Martha, knows almost nothing about domestic science. She has lived abroad most of her life. Her family had servants for all chores. Michael is unhappy over Martha’s low-grade performance in cooking and home maintenance.”I will show you how to do it,” says Michael. “I will teach you.” On weekends Michael puts on a brilliant performance, cleaning the house with efficiency and speed, and concocting gourmet meals effortlessly. He repeats the act whenever there are guests present (”because that’s when Martha needs help most”) and frequently reminds her that he is helping her.Actually he is showing her up, nagging her, making her feel even more helpless and incompetent. He is making her afraid to try to learn, and is convincing her that no matter what heroic efforts she makes, she will be a failure. He is unconsciously persuading her that she will never be able to equal his own performance and satisfy him. But he says-and believes-he is helping her and being loving.
  2. Joan Dalrymple is a great cook. She majored in domestic science at a women’s school and later studied cooking in Paris and Vienna. Preparing things to eat-the fancier the better-is the passion of her life. She bakes her own bread, makes her own mayonnaise, grows her own herbs, and livens up vegetables and meats with rich egg and cream sauces. Her desserts are famous. People are eager to be invited to the Dalrymple home.Joan is proud of her skill. She has elaborate dinner parties regularly, which she regards as her way of exhibiting her love for Howard and of helping him in his business. She forgets how much she enjoys receiving the praise of her guests, and their requests for recipes.
  3. Howard is getting fatter by the month. His blood cholesterol is up; his physician wants him to lose weight. But Howard’s health requirements do not take precedence over Joan’s determination to nourish her own ego by impressing others with her skill as a cook and as a thoughtful loving wife, nor over her wish to advertise how much she is helping Howard professionally.Howard tries to follow his doctor’s advice, but finds it hard to refuse eating in front of guests; or to appear difficult after listening to Joan enthusiastically describe how she drove twenty miles to a farm to obtain absolutely fresh cream.Howard may, with tired despair, eat the food and hope to reduce in other ways. Paradoxically, Howard believes he is being loving when he does so, because he doesn’t wish to hurt Joan’s feelings-especially in front of guests. In this way he is compounding Joan’s deceit and destructive behavior. He is not only permitting Joan’s “loving” actions and attitudes to destroy him; he is assisting her.
  4. Joe, who has been married about three years, works hard in his advertising office. He comes home at night extremely fatigued. At his moment of arrival his wife greets him effusively and insists on “relaxing him and taking care of him.” During the summer she always meets him at the garden gate, kisses him affectionately, puts her arm around him, and leads him to the chaise longue in the shade beneath the apple tree. There, waiting for him, are a glass of freshly made lemonade and two aspirins.”But, Marie, I don’t want to …”"Now, darling, you’re exhausted and nervous, and I know what’s good for you. That’s my sole function in life-to take care of you…

Observed objectively, this dialogue sounds like part of a comic opera, but variations of it occur daily in thousands of homes.

Joe may be flattered, but he is also irritated. What he would like to do is have a martini, a hot tub, and about a half hour of quiet. But Marie insists, and Joe usually gives in. Yet each evening, driving home from work and thinking about the reception he’ll receive from Marie, he feels extremely angry. Sometimes he even wishes his wife would die: “If she were dead, I could get into the house without being molested.” This thought recurs so often that Joe finally feels he is losing his mind, and goes to a psychiatrist.

The psychiatrist interviews both Joe and Marie.

Here is part of his private report: “Marie is a ’sweet’ person who has firm ideas about what a wife should do for her husband. When her determined benevolence violates her husband’s concepts, Joe resists and tells her to stop managing him. Marie responds by bursting into tears, clinging to Joe, and pathetically sobbing that he is rejecting her and does not love her.”

And indeed after several years of Marie’s “benevolence” Joe does reject her and dislike her. Marie has “loved” him into a nasty divorce.

Joe’s friends are shocked. How can he leave such a loving wife?

Joe shakes his head with the unmistakable air of a man misunderstood. “Yes,” he is able to reply, after several months of seeing the psychiatrist, “Marie worked hard to make a good marriage. She worked so hard she forgot about me as an individual.”

There are many other examples of behavior which appears to be loving but is really selfish. Consider, for instance, the spouse who “loves” the other so much that whenever they are separated he frets, phones, telegraphs, writes his partner to distraction. Or examine the behavior of the individual who believes he wishes to make the other proud of him-but really desires to exhibit his fine intelligence and talents. In a group with the spouse, he will dominate all conversation, answer all questions addressed to the spouse, and even steal all the punch lines, all with the air of being supportive and helpful, of trying to make “both of us” look intelligent.

The husband who picks out a new car and gives it to his wife as a surprise birthday present is proud of his generosity and his loving behavior. He looks ahead for the Hash of joy which will light her face when she finds the car with her initials on it waiting in the garage. But this desire for an enthusiastic response, a look of joyful surprise, is selfish-he is nourishing his own ego. Were his wife’s happiness and pride as significant to him as his own, he would have told her to pick out the automobile which she wanted, giving her the pleasure of choosing the make, model, color, accessories, and so forth. Or he would have suggested that they both go out and look at cars together. We do not mean to imply, however, that the occasional, spontaneous acts of giving which occur in marriage are harmful.

The generalized recommendation to “be loving” offered by counselors is too vague to be helpful and often simply makes the worried spouse feel guilty about being human and occasionally unloving. And when giving is spontaneous rather than forced, it brings joy to both the giver and the receiver. And when a so-called marriage counselor recommends a “loving” act which one spouse performs independently (without discussion and mutual agreement), he is leading the spouse into debilitating behavior. The “loving” spouse is here unilaterally deciding the nature of the marriage relationship. This kind of behavior unequivocally leads to trouble.

Yet just such behavior-which we call loving self-deception, is recommended by many writers on marriage in newspapers, magazines, and books, and by many marriage counselors, some of whom have an M.D. or a Ph.D. after their name. The advice goes something like this: “If you want to make your wife happy, send her roses once a week.” But the wife may resent the spending of seven dollars a week on flowers. She may prefer to spend the money at a beauty parlor or on new clothes. Consider the following (paraphrased) remarks of a nationally syndicated marriage counselor to a woman who seeks advice on how to behave toward her husband, whom she has just caught making love to another woman:

Dear Madam:

It is obvious that you have not been providing your spouse with sufficient stimulation at home. How long has it been since you’ve had your hair restyled? Do you wear a dirty wrapper to the breakfast table.–:-your hair still in curlers?

I suggest you say nothing about the situation to your husband.

Simply make it a practice to arise a half hour before he does in the morning and start his day off right by being a charming, attractive wife.

It is not obvious why the expert chose appearance as the focal point for his cure, but he is treating the situation as if it were solely the wife’s fault. There are many reasons why his advice is unfortunate-if not actually harmful-including such obvious possibilities as the following:

  1. The husband’s fondness for his paramour may indicate not sexual dissatisfaction, but a desire for intellectual companionship; he may already feel his wife is too vain and resent her lack of interest in intellectual activities. The columnist’s advice, in this case, will only increase their problems.
  2. If the wife is suddenly “loving” and charming and the husband is feeling guilty for having behaved badly, what will he think of his wife’s inappropriate behavior? He may easily imagine that she is simply biding her time before letting the ax fall-by secretly making legal arrangements for separation or divorce. In the meantime, with no honest communication between them, his suspicions and guilt and her suspicions and anger will only drive them further apart.
  3. Most important, how does this advice aid the couple to examine their total relationship-which is, after all, the key to the reasons for any form of infidelity?

Thus behavior which appears to be loving may in reality be a form of one-upmanship, selfishness, and lack of consideration. Deception of oneself and others is destructive, and accelerates the disintegration of a marriage.

All human beings perform unilateral and selfish acts. To do so is not always bad; it sometimes can be wholesome if the individual knows what is happening. But under no circumstances can these acts be regarded as loving, and the first requirement for a workable marriage is to live and relate on a basis of reality, not of myths, obsolete and meaningless traditions, and self-deceit.


15.02.2008

Flower Girl Posy Balls Flower Girl Posy A delightful alternative for the flower girl, a posy ball is easy to carry.

Constructed from fresh, artificial, or dried flowers, posy balls have a charm all their own. The size can be adjusted to suit the age of the flower girl.

Make the fresh flower posy ball up to 48 hours ahead, using resilient flowers such as miniature carnations. Or substitute artificial flowers and greens, following the same directions.

Start the twig ball at least two weeks before the wedding, allowing enough time for the flowers to dry completely.

Select the lace ball with silk roses for a very young flower girl. It is lightest in weight and can be jostled about with little concern for its durability.

Making a Flower Covered Posy Ball

You Will Need

  • Styrofoam ball, 2in. to 4in. in diameter
  • 20 to 50 fresh miniature carnations, or artificial flowers
  • Fresh green leaves, or artificial greens
  • 1yd. ribbon, 5/8in. wide
  • 2/3yd. ribbon,1/4in. wide
  • Flat-headed straight pins
  • Hot glue gun
  1. Cut two pieces of 5/8in. ribbon equal in length to circumference of Styrofoam ball plus 1in. make loop with one ribbon, overlapping ends 1/2in.; hot-glue. Glue loop to top of ball, and secure with two straight pins.
  2. Wrap second ribbon around ball, crossing through top loop. Overlap ends at bottom of ball. Hot-glue ends together and to ball; secure with two straight pins.
  3. Hot-glue fresh or artificial leaves flat to ball, covering surface.
  4. Cut flower ends off stems, just below calyx. Starting next to ribbon, hot-glue flowers onto ball, overlapping slightly so ball doesn’t show. Cover half the ball. If using fresh carnations, hang ball by loop to finish other side, Glue flowers over area where top ribbon loop is attached. Omit step 5 if using artificial flowers.
  5. Mist inside of plastic bag. Insert several toothpicks all around ball, between flowers. Insert ball into bag, and seal. Prop ball up by toothpicks to avoid flattening flowers. Store in refrigerator.
  6. Before use, cut five lengths of 1/4in. ribbon, 3in. to 5in. long. Hot-glue ends to bottom of ball, and secure with straight pins.

Making a Twig Ball

You Will Need

  • 6in. twig ball
  • 8 to 12 fresh fragrant flowers potpourri oil
  • 5yd. ribbon, 5/8in. wide
  • 1yd. ribbon, 1/4in. wide, for streamers
  • Small cluster artificial flowers and greens
  • 24 gauge florist wire
  • Hot glue gun
  1. Start project two weeks before wedding. Cut off heads of fragrant flowers; insert through openings of ball. Gently shake and turn ball once a day to ensure proper drying of flowers.
  2. Wrap 6in. length of wire around crossed twigs on top of ball, twist to secure leaving tails.
  3. Cut four lengths of 5/8in. ribbon, equal in length to circumference of ball plus 1in. Wrap one ribbon around ball; twist wire tails around ends to secure. Repeat for two more ribbons, spacing them evenly. Trim ends of wire and ribbons. Secure intersections at top and bottom, using hot-glue.
  4. Make loop with remaining ribbon, overlapping ends 1/2in.; hot-glue. Secure loop to top of ball, using wire. Glue cluster of artificial flowers and greens over joined area.
  5. Cut three lengths of 1/4in. ribbon, 12in. long for streamers. Layer and fold in half. Slip fold loop under crossed ribbons at bottom of ball; insert loose ends at bottom of ball and pull snug. Trim streamer ends to various lengths. Add few drops of potpourri oil for fragrance, if desired.

Making a Lace Ball

You Will Need

  • 3in. Styrofoam ball
  • 3 1/2yd. pre-gathered lace, 1 1/4in. wide
  • 2 1/4yd. satin ribbon, 1/8in. wide
  • 12 silk roses, 1in. in diameter
  • 6 sprays of lily of the valley with pearls
  • 26 gauge craft wire
  • Sharp, pointed metal nail file
  • Hot glue gun
  1. Roll end of lace into tight circle. Poke bound edge of lace circle 1/2in. deep into top of ball, using point of nail file.
  2. Spiraling down around the ball, continue poking bound edge of lace into ball every 1/2in., leave enough slack in lace between pokes to allow binding to be flat on surface. Cover entire ball allowing 1/4in. space between rows.
  3. Cut excess lace at bottom, leaving short tail. Roll tail into small circle, as in step 1; poke into ball.
  4. Cut a 10in. piece of ribbon, form a loop and hot-glue ends to center of top of ball. Hot-glue two roses to base of loop.
  5. Cut two pieces of ribbon, 11in., and 25in.long. Fold long piece into six loops, leaving 5in. tails. Center short ribbon over loops; secure at center with wire. Twist wire ends together and insert wire in center of circle at bottom of ball. Repeat for circle at top of ball, cutting short ribbon 9in. long.
  6. Hot-glue one end of lily of the valley sprays to center of circle at bottom of ball. Hot-glue remaining roses into lace, evenly spacing them around ball.

15.02.2008

Flower Girl Baskets Flower Girl Baskets A hand-trimmed flower basket will charm the flower girl and everyone watching her carrying it up the aisle.

Cover a basket in fabric to coordinate with the bridal party. Or, simply run ribbon through wide lace beading, and secure it to the basket edge. Baskets can be filled with fresh, dried, or artificial flower petals, potpourri, or confetti for the flower girl to strew down the aisle. As an alternative to a bouquet, the flower girl can carry a basket filled with a fresh flower arrangement. While adding an adorable touch to the ceremony, the basket is also a memorable keepsake for her.

Tip

If your flower girl will be sprinkling petals down the aisle, keep an extra bag of petals handy in case of accidental spills.

Covering a basket With Fabric

You Will Need

  • Basket with flared rim and handle
  • Fabric
  • 1 to 2yd. each of two coordinating ribbons
  • Polyester batting
  • Hot-glue gun
  1. Measure basket from inside base up over rim, down the side and across the bottom, up opposite side, and over rim to inside base. Cut fabric circle 2in. wider than this measurement.
  2. Place basket upside down over tall bottle. Secure center of fabric circle to base, using hot glue. Wrap fabric down sides and over the rim.
  3. Tie string tightly around basket. Pleat out fabric fullness evenly. Glue ribbon tightly around basket just below rim, turning under one end and overlapping the other.
  4. Cut slit from fabric edge to handle base on each side. Turn basket over; work fabric around handles and pleat out fullness down into pocket… apply bead of hot glue around base of basket pocket; secure fabric.
  5. Cut cardboard to fit loosely inside bottom of basket; cut matching piece of batting. Cut fabric 1in. larger than cardboard. Hot glue batting to cardboard.
  6. Center cardboard, batting side down, over wrong side of fabric. Wrap fabric to back; glue in place. Secure padded cardboard to inside basket base, using hot glue.
  7. Knot ribbon around one base of handle. Angle and wrap ribbon around handle to opposite base; knot and trim. Tie ribbon bow to each handle base, covering knots.

Gloves and Drawstring Bag Wedding Gloves Gloves add an elegant touch to your attire. They come in satin, crushed velvet, sheer organdy, and lace and can easily be embellished with trims.

Generally, wear short gloves with a long sleeved gown; wear long gloves with a short sleeved or sleeveless gown. Because gloves stretch and are handled a lot, attach trims by sewing rather than gluing.

Accent gloves with trims that reflect the style of the gown; perhaps repeat an embellishment used in the headpiece. For instance, hand-stitch a smaller version of the satin bow to back of wrist, echoing a bow used in a barrette or pillbox hat. Look for ribbon trims that match the gloves. Sew the trim loosely along the cuffs, allowing room for the gloves to stretch when worn. Continue down the outside seam to just below the finger .Customize plain gloves with a silk ribbon embroidery and bead design. Or stitch purchased ribbon roses along the cuffs of simple floral lace gloves, and stitch pearl beads to the center of the flower motif. Sew through each bead twice for added security.

Drawstring Bag

A drawstring fabric bag for the bride or bridesmaids is a perfect catchall for the occasion.

Make the bag from medium weight fabric, such as taffeta, brocade, velvet, velveteen, moiré taffeta, or satin embellish the bag with ribbon roses or whatever suits your fancy.

The bag top and casing edges can be serge finished for a decorative effect. Or the bag can be sewn completely with a conventional sewing machine.

Tip

After the wedding, use your drawstring bag to store small remembrances of the day, such as table favors, garter, invitation, and flower petals.

Making a Drawstring Bag

You Will Need

  • 3/8yd. outer fabric
  • 3/8yd. lining fabric
  • 1 1/2yd. narrow decorative cording, or filled satin cording for drawstring
  • Plastic canvas
  • Decorative rayon thread for serged edges
  1. Cut one 11in. x 12in. rectangle from outer fabric; mark a line on right side of fabric 2in. from upper long edge. Cut two 1in. x 11in. casing strips from lining or outer fabric, if the edges will be serged; cut the strips 2in. x 11in. if the edges will be folded under. Cut one 12 1/2in. x 21in. rectangle from lining. Cut 4 1/4in. circles from outer fabric and lining. Cut 3 1/4in. circle from plastic canvas.
  2. Serge long edges of casing strips, using overlock or rolled hem stitch, use decorative rayon thread in loopers and regular thread in the needle. Stitch 1/4in. double-fold hems at short ends. Or, if using conventional machine, stitch double-fold hem on short edges, and press long edges under 1/2 in.
  3. Pin casing strips to outer fabric, with top edge of strip along marked line and outer hemmed ends 1/2in. from sides; inner hemmed ends meet at center. Stitch close to long edges of casing strips, leaving ends open.
  4. Fold rectangle, right sides together, matching short ends, stitch 1/2in. seam, taking care not to catch casings in seam. Press open.
  5. Stitch two rows of gathering stitches 3/8in. and 1/2in. from lower edge; pin-mark lower edge and circle from outer fabric into fourths. Pin circle to lower edge, right sides together, matching pin marks; pull gathering threads to distribute fullness evenly. Stitch 1/2in. seam; stitch again close to previous stitches.
  6. Stitch 1/2in. from edge of lining circle; press seam allowance under along stitching line. Place plastic canvas circle on bottom of bag, inside seam allowance. Pin lining circle, wrong side down, over plastic canvas, slipstitch in place.
  7. Fold lining fabric in half crosswise, right sides together; stitch 1/2 in. seam on side and bottom. If top edge of fabric and lining will be encased instead of serge-stitched, leave a 6in. opening on bottom for turning.
  8. For a serged top, pin top edge of lining to top edge of purse, wrong sides together. Serge edge with overlock stitch. Or, for seam-encased edge, pin top edge of lining to top edge of purse, right sides together .Stitch 1/2in. seam. Turn purse right side out through opening of lining; stitch opening closed, and tuck lining into purse. Press upper edge of purse, and edge stitch.
  9. Cut cording into two 26in. lengths, for drawstrings. Using bodkin or safety pin, feed one cord through casings, all around bag, beginning and ending at one side. Repeat for remaining cord, beginning and ending at opposite side. Knot ends of each cord; knot cord ends together for carrying. Draw cords to close bag.
  10. Make three ribbon roses. Hand stitch to center front, under casing. Attach other embellishments as desired.

Variations

Silk Ribbon Embroidery

Before constructing bag, embellish outer fabric with silk ribbon embroidery and beads .Wrap cord ends with thread to prevent fraying.

Lace Over Satin

Use colored lining to accent lace pattern. Add an heirloom button. Seal cord ends with liquid frat preventer, stitch together and hide inside casing.

Monogrammed Velvet

Secure purchased monogram to bag before sewing. Stitch beaded design around monogram for added detail. Adorn with a fabric bow.

Ceremony Accents

Like theatre props, items carried or used to decorate the ceremony play an important supporting role. While conveying the wedding theme, they add charm, style, and richness.


Stamping Designs

Handcrafted Weddings Stenciling The process of adding an impression of ornamental type and images (such as a logo or monogram) on surface materials. The stamping process involves using a die with raised or an intaglio surface to apply ink stamping or metallic-leaf stamping.

You Will Need

  • Ink pad
  • Stamp
  1. Cut paper to desired size, or use purchased card. Print message on paper or card, if message is desired on the stamped paper.
  2. Press stamp firmly on to stamp pad, lift and repeat as necessary until design on stamp is evenly coated with ink. Press stamp straight down onto card front or paper, using even pressure.
Pressure Embossing

Pressure embossing is relief printing or stamping in which metal dies or color shaping are used to raise (or lower) an image above (or below) the surface of paper or board.

You Will Need

  • card stock or heavyweight paper
  • Embossing plate
  • Ball-tip stylus
  • Removable tape
  • Light box or other illuminated glass surface
  1. Cut paper to desired size, or use purchased card. Print message on paper or card, if message is desired on the embossed paper.
  2. Tape embossing plate to light box, or place small lamp under glass top table; tape embossing plate to tracing paper and tape to glass.
  3. Place card or paper, wrong side up, over plate in desired position. Tape card edges down, using removable tape. Test tape on scrap paper first to be sure it won’t damage paper.
  4. Trace outline of design with stylus, apply firm pressure. If stylus squeaks during use, lubricate the end by rubbing it in palm of your hand. Remove tape.
Thermal Embossing

Thermal embossing is also relief printing or stamping in color shaping are used to raise (or lower) an image above (or below) the surface of paper or board. However, in this technique heat is applied to a powdery substance which replaces the need to physically raise (or lower) by cutting with metals dies.

You Will Need

  • Rubber stamp
  • Embossing ink pad
  • Embossing powder
  • Heat source, such as a light bulb or heat gun
    1. Follow steps 1 and 2 above using embossing ink. Sprinkle with embossing powder while ink is still wet. Shake off all excess powder.
    2. Hold paper near heat source, such as a light bulb or heat gun, until all powder melts, forming raised design.

    Full Article:

    Handcrafted Weddings - Stationary
    Handcrafted Weddings - Attaching Overlays
    Handcrafted Weddings - Stenciling
    Handcrafted Weddings - Stamp Designs


    Stenciling

    Handcrafted Weddings Stenciling Stenciling is the creation of a pattern by masking an area of a surface and applying color to the exposed parts by brushing or sponging paint through a cutout overlay placed on the surface.

    The general process can be completed with an image cut from paper or cardboard so that when inked, painted, or otherwise filled in, the image can be repeated throughout an edition.

    Stenciling is an excellent way to accent a border of your wedding correspondence.

    You Will Need

    • Ink pads in desired colors
    • Makeup sponges
    • Stencil
    • Removable tape
    1. Cut paper to desired size, or use purchased card. Print message on card or paper, if message is desired on the painted paper.
    2. Secure stencil over paper, using removable tape. Press makeup sponge onto ink pad.
    3. Apply ink to paper, using a pouncing motion, replenish ink as needed. Use new sponge for each additional color, overlapping and blending as desired.
    Watercolor Painting

    Watercolor painting is the painting technique of using paint made of colorants suspended or dissolved in water. Although the grounds used in watercolor painting vary, the most common is paper. Others include papyrus, bark papers, plastics, leather, fabric, wood, and canvas.

    You Will Need

    • Watercolor paper or purchased cards of watercolor paper
    • 1 to 3 tubes of light shades of watercolor paint
    • Paintbrushes
    • Kosher salt
    • Palette or small dishes
    1. Dampen paper with water. Squeeze paint onto palette. Mix desired color, if necessary. Wet brush and dilute paint with water.
    2. Apply diluted paint to paper in broad random strokes. If more than one color is desired, use a different brush for each color. Tilt and turn paper to distribute paint to desired areas.
    3. Lay paper flat. Sprinkle kosher salt sparingly over wet paint. Allow to dry.
    4. Brush salt from completely dry paper. Cut paper to desired size.
    Die Cutting

    Die cutting is a method of using sharp steel ruled stamps or rollers to cut various shapes i.e. labels, boxes, image shapes, either post press or in line. The process of cutting paper in a shape or design by the use of a wooden die or block in which are positioned steel rules in the shape of the desired pattern.

    You Will Need

    • Mat knife, cutting mat
    • Template or stencil, optional
    • Straightedge, optional
    1. Cut paper to desired size or use purchased card.
    2. Choose design for die cut. The larger or simpler the design, the easier it is to cut out. When cutting out a rectangle or square, straight inside corners are easier to cut than rounded ones.
    3. Embellish card as desired. Trace area to be cut, using stencil or template, unless area will be cut freehand.
    4. Cut out design using a mat knife; use template or straightedge to cut straight lines.
    Making a Deckled Edge

    A “deckled edge” is the feathering, ripping, or tearing of material to produce a jagged uneven edge. The rough uneven material edges produce a natural handmade appearance generally associated with historical printing of the 19th century.

    You Will Need

    • Art deckle ruler
    1. Print message on paper, if message is desired on the deckled-edged paper. Place paper right side down on work surface.
    2. Dampen ¾ in. edge of watercolor or heavier weight paper, using clean paintbrush and water. For lightweight paper, such as bond, omit this step.
    3. Place art deckle ruler ½ in. from edge of paper, hold firmly in place, Slowly tear ½ in. edge off, pulling it against edge of ruler.
    4. Remove ruler. Smooth edge outward, allow drying.

    Full Article:

    Handcrafted Weddings - Stationary
    Handcrafted Weddings - Attaching Overlays
    Handcrafted Weddings - Stenciling
    Handcrafted Weddings - Stamp Designs


    Ribbon and Sealing Wax

    Handcrafted Weddings Attaching Overlays

    Fold two papers in half, place one inside the other, and wrap decorative string or ribbon around fold. Secure overlay to main card stock with sealing wax. Light wick of wax stick, hold stick at an angle and drip wax over area to be sealed. Push stamp into wax, imprinting design, if desired. Wax seals may break if mailed.

    Mounting corners

    Secure corners of overlay, using self adhesive paper mounting corners.

    Glue Stick

    Fold a full card overlay in half. Apply glue to wrong side of overlay back; slip main card stock inside, and press to secure. Leave front overlay loose, or attach to front corners with glue stick.

    Stickers

    Secure edges of single overlay with three dimensional self adhesive paper stickers.

    Woven Ribbon

    Punch two holes through both layers of paper. Run ribbon ends through holes from underside, as shown. Tie ribbon in a simple knot or bow if desired. Trim tails at an angle.

    Craft Glue

    Apply a drop of glue between overlay and main card stock at top edge of overlay. Ease excess glue above overlay, secure bow or charm.

    Aerosol Adhesive

    Attach sheer paper to solid color backing paper, using aerosol adhesive. Trim to size after layering.

    Decorative Effects

    Add elegant textural interest to cards with embossed designs .Select either subtle pressure embossing, using a brass embossing plate and a stylus, or thermal embossing, using a rubber stamp and special powders.

    Embellish with colorful stenciled designs, using an ink pad and makeup sponges. Or develop one- of -a kind watercolor effects with paint and kosher salt.

    Create unusual shapes, cutouts or edges with die-cutting techniques. For fine finishing detail, deckle the edges, using a specially designed ruler. Or, weave an elegant narrow ribbon through tiny slits in the paper.

    Your personal style may include more than one of these techniques, all the supplies you need are available in art supply or stationary stores, or through mail order sources.

    Weaving Ribbon

    You Will Need

    • ribbon
    • chenille or tapestry needle for weaving narrow ribbon
    • paper clip for weaving wider ribbon
    • mat knife
    • cutting mat
    1. Cut paper to desired size, or use purchased card. Print message on paper or card, if message is desired on paper with woven ribbon. Embellish as desired.
    2. Mark two horizontal lines on paper where ribbon is desired, using a light pencil mark. Distance between lines is slightly more than width of ribbon.
    3. Between marked lines, cut vertical pairs of slits, using mat knife and cutting mat. For a narrow ribbon, cut slits in each pair about 1/8 in. apart and space pairs 1 in. apart for wider ribbon, increase distances.
    4. Weave ribbon under each pair of slits and over spaces between pairs. Thread narrow ribbon into a chenille or tapestry needle, for weaving for wider ribbon, poke ribbon through slits using the end of an unfolded paper clip.

    Full Article:

    Handcrafted Weddings - Stationary
    Handcrafted Weddings - Attaching Overlays
    Handcrafted Weddings - Stenciling
    Handcrafted Weddings - Stamp Designs


    Handcrafted Weddings Wedding Stationary Weddings are very personal, with every detail carefully pondered and carried out to perfection. You would love to be extravagant with every aspect, but good sense tells you to save a little money for life after the wedding. With a little creativity, you can have the wedding of your dreams at an affordable price. Handcrafted items, like veils and headpieces, flower girl baskets and bridal bouquets, are unique and can be made at a fraction of the cost of purchased items.

    The projects in this take you designing and creating your own wedding stationary, accessorizing the wedding party, decorating the ceremony and reception sites and preserving your cherished memories, And because individuality is key, we offer lots of variations so that you can select a style that fits your style of a perfect wedding.

    While coordinating the necessary arrangements for your wedding when would you find time to make all of these beautiful things too? Delegate! Many friends and family members would be honored if you asked them to help. Plan a weekend get-together with your groom and both sets of parents to help you prepare and send invitations. Assemble your bridesmaids for an evening of girl talk and crafting reception centerpieces. Perhaps ask a favorite aunt to make a ring bearer pillow or sew you garter. Remember that many items can be crafted long in advance of the wedding .preserving your sanity in the last few weeks or giving you time for last minute flower preparation.

    Select the projects that mean the most to you. Weigh the money savings, uniqueness and personal satisfaction in making a project against the time commitment required. Even if the only item you make is your own headpiece and veil, you could save enough money to purchase gifts for your bridesmaids. Each item you create marks another joyful moment leading to your special day

    Stationary Basics

    There are many paper options and methods for embellishment to choose from. Start with purchased cards, or create your own from card or paper stock available from stationary, art or craft store. Print your message and embellish the cards as lavishly or as simply as you wish. Consider a variety of effects, including pressure embossing, stamping, thermal embossing, stenciling and watercolor painting. Create interest with deckled or die cut edges. Incorporate other elements such as ribbons, pressed flowers or feathers.
    Stock used for printing can become the base card, or the printed copies can be cut and mounted to other paper. The paper stock on which the message is to be printed must have a smooth texture and be of medium weight such as laser- printable, card stock or vellum and it must be of a standard printing size. Compose and lay out the message on a computer; then either print copies onto the chosen stock, using a laser printer, or print out a copy on white paper and have a professional printer reproduce it.

    Selecting Paper

    Wedding stationary can be created from ready made cards or cut from paper or card stock. For ready made car5ds, select plain blank cards with matching envelopes or those imprinted with a simple design that could be further embellished. Add details such as a stenciled border design, an edging or an embossed design.
    Cut your own cards from a wide variety of papers; browse through art supply, stationary and craft stores. or visit a professional printer for papers. Parchment, card and cover stock and watercolor papers are a few options. Handmade papers, which have a lovely nubby surface, may have flower petals, leaves or metallic strings embedded in them. Since many textured papers do not take to printing, print messages on other stock and mount them to the textured paper.
    Whether you choose ready- made cards or cut them from stock, you can create interesting effects by layering papers of various textures.
    Translucent overlays such as tissue, vellum and Japanese lace paper are lovely options as well.

    Producing Wedding Stationary

    1. Decide on the desired components of the wedding stationary. Besides the invitation and mailing envelope, consider an inner envelope to hold the invitation and all the inserts, a response card with an envelope, a reception card and a thank you card with an envelope.
    2. Plan the size and format of the cards. Not all the pieces of the set have to be exactly the same, but they should have a common design element. Invitation and insert cards can be a single heavy card or a double folded sheet. If cards will be cut to size, consider sizes of available envelopes. Cards should be ¼ in. shorter and narrower than the accompanying envelope.
    3. Print message on standard size paper, trim to desired size.
    4. Cut several sheets of paper at once, using paper cutter or rotary cutter, straightedge and cutting mat. Cut decorative edges, if desired using specialty rotary cutter blades or scissors with decorate edged blades. Or tear deckled edges.
    5. Mark lightly for any folds. For heavy paper, lightly score fold line on outside, using back of mat knife blade. For medium and lightweight papers, burnish fold line on the inside using butter knife or stylus.

    Full Article:

    Handcrafted Weddings - Stationary
    Handcrafted Weddings - Attaching Overlays
    Handcrafted Weddings - Stenciling
    Handcrafted Weddings - Stamp Designs


    26.07.2007

    Wedding Headbands and Caps Wedding Headbands Headbands are a simple way to accessorize young bridesmaids or flower girls. Moiré, taffeta, shantung, satin and linen make nice coverings for a padded headband that will be embellished with silk ribbon embroidery. For other embellishments, such as ribbon roses, you can either cover the headband in fabric to match the dress or purchase a padded one. For the reception, kick back a little and exchange the more formal veil for a lighter, fun version, such as a decorated cap, which goes well with the dancing sneakers.

    Follow steps 2 to 4 for fabric flowers, using 5in. circles and gold beads. Hand stitch the flowers to the cap, and stitch a short veil if desired.

    Making a Headband with Silk Ribbon Embroidery

    You Will Need

    • Fabric
    • Plastic headband form
    • Polyurethane foam ¼ in. to 1/2in. thick
    • Embroidery hoop
    • 1/2 yd. ribbon or flat trim, slightly narrower than headband
    • Chenille needles, sizes 18 and 20
    • Beading needle
    • 4mm. and 7mm. silk embroidery ribbon
    • 38 bugle beads
    • 18 glass pearl seed beads
    • Craft glue
    1. Spread thin layer of glue on outside of headband, secure strip of polyurethane foam. If using 1/2in, foam, trim foam 1/2in. shorter than ends. Clamp ends of foam with clothespins until glue dries.
    2. Mark 3in. x 23in. rectangle on bias of fabric. Secure fabric in embroidery hoop.
    3. Embroider two 1in. spider web roses in center of strip, using 18in. chenille needle and 7mm. silk embroidery ribbon. With beading needle and double thread, stitch three groups of three bugle beads around each rose, stitching through each bead twice.
    4. Embroider remaining roses, using size 20 chenille needle and 4mm silk embroidery ribbon. To left and right of center roses, embroider 3/4in. spider web rose, stitch a group of three bugle beads and three groups of three seed beads around each rose. Embroider 1/2in. spider web rose next to each 3/4in. rose. Stitch seven bugle beads in a chevron pattern to finish off design.
    5. Remove fabric from hoop; cut out rectangle. Center rectangle on headband; hold in place with straight pins. Trim fabric so edges extend one half the widths of the headband; round ends about 1/8in. beyond headband. Clip fabric at ends, and glue to inside of headband.
    6. Glue one long edge of fabric to inside of headband; applying glue to headband; work in sections keeping fabric smooth. Repeat for opposite side, remove pins.
    7. Glue ribbon or flat trim over raw edges on inside of headband; turn under ends. If veil will be used, attach.

    Making a Headband with Concertina Roses

    You Will Need

    • Purchased padded headband
    • 72in. of satin ribbon, 3/8in. or 1/2in.wide for six roses
    • 15in. satin ribbon,3/8in. wide for leaves
    • Hot glue gun
    1. Cut ribbon into six 12in. lengths, for roses. Cut ribbon into six 2 1/2in. lengths, for leaves.
    2. Fold rose ribbon under diagonally at center, forming right angle. Turn the end that is underneath back over the center. Repeat with other end. Continue folding alternate ends back over previous folds, forming square stack. Stop when ends are 1in. long.
    3. Turn stack over. Hold only the two ends, and release the stack. Holding ends securely, but loosely enough so they can slide, pull one end gently. A rose sill form. Stop pulling when the excess ribbon is pulled out and the center of the rose sinks in,
    4. Hand stitch through the back of the rose to hold all layers firmly in place. Trim off the ribbon ends.
    5. Fold each leaf ribbon into two loops, hand stitch to back of roses.
    6. Make five more roses. Ho glue roses to headband, spaced evenly. Attach veil if using.

    Wedding Attendant: