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Letter K - Battery Operated Lumieres Light by Smart Garden
- Brand: Smart Garden
- Product Code: GFG641
- Dimensions (LxWxH): 5cm x 18cm x 22cm
- Availability: In Stock
Standard UK Delivery - (2 - 5 Working Days): £4.99
We offer Same Day Dispatch on all orders placed prior to 12:00 noon * (Please see below for exceptions to this rule)
Express UK Delivery - (Next Working Day): £6.99
Your order must be placed before 12:00 noon to qualify for Express UK Delivery. If your order is placed after this time, it will be dispatched the next working day. If your order is placed after 12:00pm on a Friday or at any time on a Saturday or Sunday, it will be shipped on the following Monday. The exception to this is Bank Holidays, when the order will be dispatched on the next working day, usually a Tuesday.
Please note that Express UK Delivery is not available for the following areas and post codes:
The Isle of Wight, Isle of Scilly, Northern Ireland, AB31 - AB38, AB40 - AB56, IV1 - 28, IV30 - 32, IV36 - 40, IV52 - 54, IV63, KW1 - 14, PA21 - PA38, PH4 - PH41, PH49 - PH50, IV41 - IV49, IV51, 55, 56, KA27 & 28, KW15 - 17, PA20, PA41 - 49, PA60 - 78, PH42 - 44 and ZE.
Scottish Highlands & Islands, Isle of Man, Northern Ireland & Channel Islands
Standard UK Delivery - (2 - 5 Working Days): £20.00
Express UK Delivery - (2 Working Days) : £30.00
Collect in Person (Monday to Friday 09:00am - 4:30pm) : Free
By prior arrangement, orders can be collected by customers from our warehouse in Dorset, 9:00am to 4:30pm, Monday to Friday, with the exception of Bank Holidays. When placing your order, please include the date and approximate time you would like to collect your order, or call our Customer Service Team on 01258 837 970 so we may ensure that your purchase is ready for you.
Europe (Including Republic of Ireland) / Rest of the World
Unfortunately, at this time we do not deliver outside of the UK.
Important Information
- Please note that only Monday to Friday are classed as working days.
- Depending on the weight and delivery requirements or your order, the parcel will be dispatched via one of the following couriers; Royal Mail, DPD, UKMail, Yodel, Parcelforce, DX or TNT.
- Same Day Dispatch - there are some exceptions to this rule; for some larger, heavier items (please see product descriptions for details) and some peak periods such as Christmas and Easter when couriers are exceptionally busy.
- If you need your purchase to arrive on or before a specific date, please contact our Customer Service Team on 01258 837 970 to ensure that this is possible.
- Before you finalise and submit your order, please ensure the delivery address is correct, including the postcode.
- All orders will be dispatched to the address provided to complete your order. If you would like your goods to be sent to a different delivery address, please provide the details at time of ordering. We process and dispatch orders very quickly, so we may not be able to amend your delivery address at a later time and an additional charge may have to be added if your order needs to be re-directed.
- All orders that are sent via courier will be marked 'Leave in safe place and card if out'. If there is a specific place you would like the courier to leave a parcel if you are not in when they call, please provide clear instructions with your order.
- Once an item has been left in the designated safe location, we cannot be held responsible for the parcel after this. Please note that Garden Selections cannot be held responsible for failure in delivery caused by circumstances beyond our control including but not limited to vehicle breakdown, incorrect address details being provided, major roadworks or road closures and force majeure.
- Once an item has been signed for, it is accepted that the order has been received in a good condition, especially with items of furniture. Please therefore check all items carefully before signing for your parcel.
- If you contact us to say that you have not received your order, we will require you to sign a non receipt form before we can re-send your order. This may be sent via email or by the post and must be received back within 7 days.
These stylish Lumieres letter lights are perfect for allowing you to create your own lighting decorations - the whole alphabet is available, so you can spell any word you like out in all its illuminated glory.
Each letter houses warm white LEDs, has a timer function, and is finished with a stylish brushed antique effect. These beautiful and creative lights can be used indoors and out.
Requires 2 x AA batteries (not included)
* Timer setting
* Requires 2 x AA Batteries (not included)
* Suitable for Indoor or Outdoor use
* Battery can last for upto 30 days
* Warm white LEDs
* 22.5cm x 18.3cm


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Photoguard is a trading style of Thistle Insurance Services Limited. Thistle Insurance Services Limited is authorised and regulated by the Financial Conduct Authority. FRN 310419. Lloyd's Broker. Registered in England No. 00338645. Registered office: Rossington's Business Park, West Carr Road, Retford, Nottinghamshire, DN22 7SW.

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Begrisch Hall
New York City Landmark: 2002
Beginning in the 1940's, New York University embarked on a campaign to further develop their campus - then located in University Heights in the Bronx. Marcel Breuer, already a famed architect by that time, was commissioned to design several buildings. He was asked in 1956 to develop a comprehensive design for the replanning and new construction of the campus. Five buildings were constructed from Breuer's plan, with Begrisch Lecture Hall being the most radical.
Begrisch Hall, composed of reinforced exposed concrete, is a building that mirrors the form and function of its interior. Used as a lecture hall, Breuer has revealed the steep theater and the aisle steps of the interior in the design of the structure as a whole.
The building features two sidewall trusses that appear to sit just barely on the ground, even as they support two cantilevered upward slopes that form the theater section of the lecture hall. The sidewall trusses are the only element of the building that actually touch the ground, so the hall has the feeling of hovering over the land. The building is entered through a small exterior staircase or an enclosed walkway coming from an adjacent building.
The main facades of the building, east and west, are decorated with separated panels of concrete in trapezoidal shapes. Each panel is textured so that the grooves of the exposed concrete run in different directions. The north and south facades are simply faced in a simpler exposed concrete. Because of the unusual shape of the sloping cantilevered wall, there is an underside of the building that is quite exposed on the exterior. This facade has a highly textured pattern of grooves following the facade down to the ground. This area also exposes the form of the interior lecture hall stairs that it is supporting.
Begrisch Hall is a brutalist style of building - the term brutalist coming from the French "beton brut" refering to exposed, unfinished concrete.
Breuer began his master plan for the University Heights campus in 1959. While the planning was not officially finished until 1970, Begrisch Hall was completed in 1961.
Prior to implementing the university's new building campaign, the prominent buildings on the University Heights campus were designed by Standford White. The main focus of these buildings was the famed Gould Library. For over 50 years these buildings were uncontested, and the university made an effort for subsequent designs on the campus to blend in rather than attract any attention away from the Classical White structures. This philosophy changed radically when they commissioned Breuer - an architect known for refusing to conform to Classical standards of design or order - to plan five new structures on the campus. These radical new buildings were set completely apart from White's older designs, and made a clear statement that the campus was launching itself into a new modern era.
Begrisch Hall uses many of the modernist techniques seen radical and unique at the time. Breuer's use of the brutalist method of exposed concrete as the only facing of the building was a favored technique of his, but still wholly uncommon in most designs up to that time. The strange trapezoidal shape of the lecture hall, using side trusses and sloping cantilevers to form the odd, asymmetrical quality of the building, was exemplary of the modernist movement.
Given that Begrisch Hall was constructed on a campus previously populated with Classical designs by Stanford White, this modernist building certainly made a social statement. Breuer exhibited an unwillingness to cooperate with the current atmosphere of the campus or design buildings that would contribute to the general aesthetic already put in place by White's earlier buildings. His new design for the campus was almost like an assault on the current buildings on the campus and the brutalist style of Begrisch Hall could not help but make a bold statement. By commissioning Breuer to plan their new building campaign, New York University was knowingly thrusting themselves into the modern aesthetic.
Begrisch Hall holds its status as an important building of the modernist movement. It's unique design and brutalist qualities continue to give the lecture hall significance as an architecturally interesting and important structure. Already a famed architect at the time of the hall's design, Breuer's fame has not waned, and his designs are still lauded.
The continuing significance of Begrisch Hall stems from its daring and radical design, especially when considering the previous physical context in which it was built. Breuer's modern designs, injected into a campus defined by the ordered designs of Stanford White, turn the campus into a kind of modernist sculpture garden. Since Breuer was already well-known at the time, this design did not have a particularly dramatic effect on his career. It is, however, yet another large success in a canon of impressive and powerful designs.
Depicted Item: NYC Landmarks Commission Designation Report
Source: NYC Landmarks Commission
Date: 2002
Depicted Item: Bronx Community College Architecture
Source: Lehman College Art Gallery
Date: Accessed November 29, 2010


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Price Tower
Frankly Lloyd Wright's Price Tower was first conceived in an aerial perspective drafted c. 1929 - 1931, in which Wright titled the perspective "St. Mark's-in-the-Bouwerie Tower." The perspective envisioned three towers pulled together by St. Mark's Church residing at their center. However, Wright's vision failed to manifest due to the Great Depression and the financial crisis that made obtaining capital difficult. In 1952(a) Harold C. Price commissioned Wright in to design a company headquarters building that would be built in Oklahoma. Wright adapted his previous vision resulting in the Price Tower design that was submitted to Price, Sr. as a final draft on September 16, 1952. The design concept of the Tower is unique in that it emphasized a central core construction allowing for a cantilevered floor layout, hence the references to the Tower as a tree. Additionally, Price's requirements included not only storage and office space, but apartments in the upper levels of the Tower. The lower levels of the Tower were also slated to be used by other business entities other than H.C. Price Co. which was to generate additional income. Building construction began in 1953 (c) and ended 1956 (c). Furniture and appliances were all integrated into the design concept; material and aesthetic display mimic and or compliment the building's exterior in geometric form. On July 20th, 1953, with construction cost approaching $1.25 million, Wright changes the facade material to reduce cost. Additionally, on August 24 of the same year, Wright changed the basement and foot plans for the building; however, its difficult to say if this changed any aesthetic elements as originally conceived. Price, Sr also made several requests to Wright for changes in the furniture design; once on May 25th of 1955 and another June 22nd of the same year. What we have is a design concept that is altered by the realities of price-cost effects and the desires/demands of the client, however, this was one tension that never went beyond the main focus of the constructing the building itself. In 1981, H.C. Price Co. sold the Tower to Phillips Petroleum Company of Bartlesville, Oklahoma. The building is used as storage facility for the Phillips Co. and suffers some deteriorative affects of neglect. By 2000, Phillips refurbished the Tower under the suggestions of the Bartlesville Museum, who received a leasing space in the Tower in 1990. In 1991, the Museums was reorganized as the Price Tower Art Center. By 2001, Phillips Co. donated the building to Arts Center that was then run by former chair Phillips Co, C. J. Silas. In 2002-2003 (c) eight floors of the Tower were remodeled that converted the space into a hotel and restaurant/bar. The top three floor have been restored to their original "look." In 2003, Zaha Hadid was commissioned to design an adjoining structure for the tower. In March 2007 (a), the Price Tower was designated a National Historic Landmark by the U.S. Department of the Interior.
16 stories, concrete and steel construction. Faced is copper and glass.
The Tower's design utilized a core support process, in that the building is structured around centered shafts that are anchored by a deep seated foundation mimicking that of a tree's taproot. The rest of the designed is based on this process, for the walls of the building are cantilevered from this core support structure. The outer walls are supported and hung from the floors, but not before the walls were clad in copper sheathing or rather distressed copper panels at the time of construction. The walls are cast in concrete which uniquely marks the construction for its use of rather comparatively new materials during its period of contruction. Additionally, the use of copper to gain its green affect and the golden plate glass for shimmer further mark its technical innovation. More importantly is the geometric design that is based on an equilateral triangle which guides the entire form of all other building characteristics. In this sense, because of the building's geometric proportions it really creates its own aesthetic vernacular. Note the aluminum window trimming and colored floor layout which in technical terms present the visual continuity of designed. Additionally, the built in furniture and other furniture couture bridges the building's exterior visual representation to the interior design. The geometric shape of furniture further emphasizes the functional intentions of the architectural design.
The building was intended to be a center for shopping, housing, and office space; this multiuse function in design highlights the Modern Movement's emphasis on cultivating social or community cohesion. Furthermore, the current redesigns amplify this central aspect of the architectural original intention.
Price, Sr. wanted in central headquarter for company, but what was ultimately provided was a commentary on what public and private space should/coubl be. Wright's design was essentially a cultural proclamation that architectural design could have more than one funtional purpose: it could be visaully unique and stimulating, and could served both private and public domains. The private function entailed leasing space to companies and the public function would served by through the presence of the Bartlesville museum. In many ways then, the Tower was a democratic formulation.
The design is entirely Wright's, but his cantilevered process was utilized by other architects contemporaneously. The use of materials like concrete and steel were, however, also contemporary and common to the construction process of many other buildings. The geometric design, however, does not seem to hint on past aesthetic designs or vernaculars. Temporally, the Tower was conceived during a different historic era, pre-Depression, which can arguably lend to the notion that Wright's Tower was of an avant guard status in spite of being built in the late 1950s.
The Tower possess unique design element and a exterior facade that is forward thinking. Particularly, the Tower is forward thinking in its used of glass and copper to obtain a unique coloring and geometric plane that seeminly has not hints toward a prior aesthetic design. The Tower in many ways represent a paradigmatic shift in design and construction concept especially for what its intended use was to become...both a recreational and administrative space!
Montagut, Monica R., "The Tower Rises: A Chronology." Prairie Skyscraper: Frank Lloyd Wright's Price Tower. Anthony Alofsin, ed., NY: Rizzoli International Publications, Inc. 2005.
Brown, Patricia L. "Built On Oil, Banking on Desing." The New York Times. Oct. 16, 2003.
Franham, Alan. "Stay At Frank's Place." Forbes.com. Feb. 4, 2003.
Flom, Lorrie. "Renewing Wright." Carnegie Online. Fall 2004.
Wright, Franklyn Lloyd, The Story of the Tower: The Tree that Escaped the Crowded Forest. Horizon Press, New York, 1956.


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"What for the gods is that?" Nokomis murmured in my ear.
I took Nokomis's hand as well as led her down the side street to a back entryway. Nokomis laughed as I knocked.
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A man who said he had escaped from the Maryland prison system more than 30 years ago turned himself in to police in Oklahoma last week after what appeared to be one of the longer periods on the run to come to light.
Police in Oklahoma City said a man first called them Monday using the name Jack Watson. Then, the police said, he called again, gave what he said was his true name, Anthony Rackley, and described himself as a fugitive from Maryland, who they said "escaped from a Maryland prison in July 1980."
According to the report, Rackley, 62, told the police department that he had become a victim of extortion from someone to whom he had once divulged his story. When demands upon him increased, Rackley said, he "decided enough was enough" and called police.
Mark Vernarelli, a spokesman for the Maryland Department of Public Safety and Correctional Services, said Rackley's case pre-dates electronic records and that authorities are trying to pull old paperwork including arrest and incarceration records.
The spokesman said Rackley had about five years left on his sentence for either an armed robbery or a robbery with a deadly weapon conviction and was being held at a pre-release center on Greenmount Avenue in downtown Baltimore.
The center has vocational programs designed to help inmates who are close to release dates ease back into society. Vernarelli said officials do not know how Rackley apparently escaped but said it's possible he scaled a wall or simply walked away.
Maryland District Court records show that Rackley was charged with escape on July 11, 1980, but prosecutors dropped the charge in 1998. Officials could not say why, but it could have been part of a purge of old cases that authorities doubted would ever be solved.
Rackley's three-decade odyssey unraveled when he picked up the phone and called police in Oklahoma, according to authorities there.
He complained of an alleged fraud and identified himself as Watson. But in a second call, he identified himself as Rackley, the police said.
After he "escaped from a Maryland prison," the police report said, Rackley assumed another identity and began fundraising for a Lions Club in Oklahoma. The money he raised, according to the report, was divided among him, a second person and the club.
About 10 years ago, the police report said, Rackley told the second person that he was an escapee.
About a year after that, the report said, the second person allegedly asked for a larger cut of the money Rackley was getting, telling Rackley that he had no choice but to comply.
Then, the police report said, on Monday, the second person asked for a still larger share of the money that was going to Rackley.
He "again threatened to turn him in" if he did not go along, the report said.
At that point, according to the police report, Rackley "decided enough was enough."
He "didn't care if he was shipped back to prison," the report said. "He didn't want anyone blackmailing him."
Oklahoma City police said Rackley was taken into custody without incident. He was then taken to the Oklahoma County jail and booked there.
Vernarelli said that authorities want Rackley back in Maryland but are still working out the logistics. "The extradition process is underway," Vernarelli said. "We're not sure who is responsible for physically getting him." He said that officials have been "trying to figure out the paper files on this guy."
Washington Post staff writer Peter Hermann contributed to this report.


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Windshield Wiper Blade Replacement Cost
Know what price you should pay to get your vehicle fixed.
What is a windshield wiper?
Windshield wipers are responsible for removing liquid from the windshield. Some may be rated for ice, but most often, ice will destroy windshield wipers.
How does the windshield wiper work?
When the windshield wipers are activated, the switch sends a signal through the fuse, and possibly a relay, and power reaches the windshield wiper motors from one of two paths. When it reaches the windshield wiper motor, the motor will being moving back and forth as quickly as the driver has selected. When the wiper motor turns, the wiper arms, which are connected to the motor, and contain the wiper blades, move across the windshield, causing the wiper blades to drag liquid off the glass.
What are the symptoms related to a bad windshield wiper?
The moment water touches the windshield, you know if you need new windshield wiper blades. If your wiper blades are torn, cracked, hard, or brittle, it is time for replacement. Wipers should also be replaced if the wiper blades only smear water around, seem to make a mess, streak the windshield, and miss large patches. If you are unhappy with the current wiper blades on your vehicle, this is a very economical change to make.
Can I drive with a windshield wiper problem?
Driving without windshield cleaning components is not typically considered unsafe, but there will be no system to properly clean your field of vision if the need arises. If the windshield cleaning system is heavily relied upon in your location, consider repairing the system sooner than later. Also, this system works together to clean and protect the windshield, when one component fails, the risk of damage to the windshield is elevated. Lack of lubrication, incorrect windshield wiper angle, and worn windshield wiper blades are all causes of streaking, grooving, and scratching the path of the windshield wipers into the windshield.
How often do windshield wipers need to be replaced?
Windshield wipers are maintenance items, and the replacement schedule is listed in the owner's manual. If the windshield wipers wear out before the specified mileage, and must be replaced early, This is normally due to using the windshield wipers dry, on ice, to move debris from the windshield, and catching a damaging foreign object under the wiper blade.
How are windshield wiper issues diagnosed?
Most often, windshield wiper blades will be noticed on an inspection, or noticed by a driver who is dissatisfied with the level of performance, or materials in their current windshield wipers. When a vehicle hits the mileage mark for a factory scheduled maintenance interval for windshield wiper replacement, they should be changed as soon as possible, but most times, they will not be, and a technician will take notice when the vehicle is in for the next oil change. Lastly, if the customer complains that the windshield wipers miss spots, move water around, or streak water, the windshield wiper blades will most likely be recommended for replacement sight unseen.
How is a windshield wiper replaced?
Windshield wiper blade replacement is straightforward, but directions must be followed, even by a master tech. There are many variations of windshield wiper clips, and learning each individual one is less important than understanding the process. The instructions are read for the particular clip style, the old wipers are removed by following the instructions, and the new wiper blades are installed by following the instructions.
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Your browser does not support iframes.
Note: All recipes are available in .pdf format at the end of the story.
Super Bowl Sunday is a week away, but it's not too early to put together a game plan for that all-important game-day menu.
It's one of the two days each year when food, fellowship and football collide, which gives credence to the notion that football is indeed America's favorite sport.
Only Thanksgiving surpasses Super Bowl Sunday in food consumption, according to the USDA.
The candle light poles are up and ready for another old-fashioned Christmas in Van Wyck.
The holiday festivities begin this weekend as the small community that sits between Indian Land and Lancaster holds two events – a parade Dec. 12 and a candle-lighting worship event Dec. 13 – to usher in the spirit of Christmas.
Ashley Lowrimore
For The Lancaster News
The Indian Land Fall Festival is calling all cooks to the fifth annual S.C. State Championship Chili Cook-off on Saturday, Sept. 19, at Inspiration Ministries/CrossRidge, formerly known as the City of Light.
Cooks of all ages and skill levels are invited to share their chili at this Indian Land Rotary Club fundraiser.
Cathyleen Rice
Lots of red, white and blue booming and sparkling fun is in store throughout the Lancaster County area and beyond as Independence Day celebrations take place on Friday, July 3, Saturday, July 4 and Sunday, July 5.
What exactly am I eating?
That's the question I pondered as I took a big bite from a strangely adorned slice of pizza one morning on my way to work.
'Pizza for breakfast?,' you might ask. Well, stop your judging for just a minute and let me explain. It's not what you think.
Recently chicken was on sale at the grocery store so I stocked up. Each time I open my freezer, though, I realize I may have gone a bit overboard.
I need to clear some space, so we're having chicken this week in my house. But I'm not worried about everyone getting bored, because there are so many delicious chicken recipes.
I love chicken salad and Stacey Vadas' Fabulous Chicken Salad.
The Christmas spirit will be contagious at two Van Wyck events this weekend.
Grand marshal Clarence Witherspoon will lead the annual Christmas parade at noon Saturday, Dec. 13, and a candle-lighting worship event will take participants through four churches at 4:30 p.m. Sunday, Dec. 14.
The Van Wyck Community Development Club hosts the two events during the second weekend in December, appealing to those who enjoy holiday tradition and the charm of a small community.
My house seems to be the place to be this holiday season. I have people staying with me each weekend through the New Year. I'm sure your home feels like Grand Central Station, too.
When I have overnight guests, I love to prepare breakfast. What is better than starting the day with something special?
"Rich and moist" is how Nicole Hood describes her Red Velvet Waffles with Cream Cheese Glaze.
Katie West
USC School of Journalism
Perhaps nowhere in the country more than in South Carolina does the word evoke a sense of history as rich as the smell of meat in the smoker.
How can the holiday season be here already? Wasn't it just New Year's and we were making resolutions for the year? (Which reminds me, I still need to work on a few of mine).
I know each year I typically make the same dishes for my Thanksgiving dinner. And why not? They are family traditions and wonderful.
But this year, I'm thinking about trying some of the recipes you have shared that are part of your Thanksgiving traditions.
Copyright © 2019
The Lancaster News is your source for local news, sports, events, and information in Lancaster County and Lancaster, South Carolina, and the surrounding area..


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OXFORD | The night before Daniel Buckhannan exchanged gifts with his father, he could barely sleep.
OXFORD | The night before Daniel Buckhannan exchanged gifts with his father, he could barely sleep.
"I woke up in the middle of the night thinking about it," he said.
After he gave the gift — a ticket to the BCS National Championship Game between the University of Alabama and Notre Dame — he's had a little more trouble with restful nights.
"I had to get up in the middle of the night and turn my phone off because I was getting so many direct messages and whatnot," Buckhannan said Wednesday afternoon.
And that's been the Oxford resident's life since he uploaded the 90-second video of his father, Don, finding that ticket tucked inside a Bear Bryant-style fedora.
At first, he was excited about modest YouTube views and a Twitter mention by writer and radio show host Clay Travis. As of Thursday night, the video was at more than 5.2 million hits, and early morning phone calls started coming from New York television producers.
"We thought it was hilarious when it had 5,000 views on YouTube," Don said.
Added Daniel, "We never thought about something like this."
Travis, a writer at Southern sports website Outkick the Coverage, said he knew almost as soon as he heard Don exclaim the first "Hot diggity dog," just for getting the hat. Then 23 seconds in when Don's smile broke and he was engulfed by a tsunami of emotions, Travis was certain the viral sky was the limit.
"I think I've got a decent internal thought process," Travis said of a video's viral appeal after the countless numbers he receives from his followers. "It's that great essence of why people love sports.
"It's that rare unvarnished emotion."
At about 11 p.m., Travis tweeted, "Bama grandpa gets BCS title tickets. Merry Christmas," with the video to his more than 63,000 Twitter followers, and the rest is Internet history.
About 24 hours later as Christmas was winding down, the video stood at around 37,000 views and Daniel said his phone was "going ballistic." Then it hit sports network giant ESPN and its bellcow, SportsCenter.
It was at 1.8 million before they left home Wednesday for an early supper at the Oxford exchange. It'd gained more than a million views before they'd gotten up from the table.
"I'd already been a little teary eyed sitting there watching the kids because they were so excited," Don said. "They were just making me so happy.
"When that other happened, the volcano just kind of erupted."
That shaky smartphone video where Don chokes back tears and trades words for yips of joy continues to make its rounds and captivates countless people ranking as the most-read story on Yahoo! on Christmas day.
The whole thing though is just another chapter — albeit more widely read — in the story of the life of this 20-year Alabama season ticket holder and his family. The smiles are chiseled in the faces of Don and Daniel when they talk about the family outings to Tuscaloosa on those hallowed Saturdays in the fall. Even when his job with the railroad took him outside the confines of the state where he was raised, they still had their Saturdays.
Don, 59, didn't see his first Iron Bowl until he was 41. He took his oldest grandson, Mason, 4, this year.
When Alabama and Notre Dame exchange blows in Miami for that crystal football, this will be the family's first bowl trip. Just another reason it's so special.
"On Feb. 13, 1979, I held my newborn son right up here at RMC, held him in my arms and told him how much he and I were going to enjoy Alabama football," he said. "Almost 34 years later, I'm reaping those benefits."


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I'm running out of rock songs about Detroit for the title of posts here. My gigs in Detroit are done. So here's your update.
Friday May 1st
ZERO DEFEX with Amino Acids and U.D.I. at the Comet Club
The last time Zero Defex played was on May 4th 2008 in Kent, Ohio. Jeffro Smull, our guitarist, arranged this gig through his friend, Scott, drummer for the legendary and awesome Amino Acids. I met Scott a couple years ago at Still Point Zen Abbey in Detroit where he regularly attends zazen stuff.
It was a primo gig. But we knew going into it that there was no possible way we could rehearse with the full band before the show. The rest of the group practiced together in Akron and we hoped for the best. I wasn't even able to locate a guitar to run through the songs on except once in North Carolina and again in Montreal. But for all that it came together pretty well. We've played tighter shows before, for sure. But we still rocked the house. Singer Jimi Imij flailed like a madman, Mickey X-Nelson ripped up his drum kit, Jeffro strangled the strings of his SG guitar and I held my own amidst the chaos.
We got a terrific response from the natives. Far better than our last gig in Detroit circa 1983. Though I remember the Detroit crowd being far kinder than the one in Toledo, which was pure hell. In fact maybe it was The Necros in Toledo who bumped us off way late on the bill and not NA in Detroit. I don't know anymore. Anyway, this was a major fun gig.
Jeffro and Jimi high tailed it back to Akron that very night. Mickey stayed at a hotel and went home the next morning. I got back to Still Point Zen Abbey around 2:30 AM. Then I had to get up at the butt crack of dawn to lead a half day retreat the following day. Actually they generously let me sleep until the luxuriously late hour of 8 AM.
Zen Retreat at Still Point and Book Signing
May 2, 2009
We sat three and a half periods of zazen after which I did a Dharma Talk. This was actually one of my better talks, I thought. As usual, when I give a good talk nobody records it. My best talks are kind of like the Loch Ness Monster -- a few dubious "eye-witnesses" and no hard evidence! Maybe it was the fact I was still a little punchy from the night before, but I felt like I said things a little straighter than usual.
At 6 PM the same night we did a less formal book signing and talk. That was taped. It was OK. The audience was far smaller, which surprised me.
Sunday Service at Still Point
May 3, 2009
The following day I presided over Still Point's regular Sunday service. Again it wasn't taped and again I did a better talk. Such is life, I suppose. I wish I could remember some of the questions. One was about goal seeking behavior in Zen practice. Maybe someone else who was there can recall the others...
Still Point is in the Korean Zen tradition. I know they use koans sometimes. But I try not to hold it against them. I'm kind of curious to see how they use them. I know it's optional and I get the impression they don't approach the matter the rather cartoonish way it's often portrayed. They chant melodies, not monotone like in Japanese Zen. That's also kind of interesting. If you don't know the tunes it's a little rough. But I faked my way thru it.
Tomorrow it's on to Saskatoon. I updated the tour dates a little regarding the Saskatoon stuff. See the link to your left. I just listed the major events. Their Facebook page (also linked on the tour dates page) has some other stuff. I hope to see some folks there. I have no clue what to expect in the Canadian frontier! But I got a red hoodie with a maple leaf on the breast in Montreal (did I say this already?). So I should be fine.


text: You are hereHome › Provost and Executive Vice President for Academic Affairs (x) › event program (x) › Leo Barlow (x) › University of Toledo U.S. Patents (x) › Search results List (default) Grid Table Bookmark (1 - 20 of 5,732) Pages1 2 3 4 5 … next › last » Title Public Library Date n. d. Title Fireless Cook stove (cover only) Date 1917 Title Manual Training School, using the Central High School Date 1869 Title American Library Association Bulletin: America and the War, America's Future Date 1942 Title Liquor bottle Date n. d. Title Soda and mineral water Date n. d. Title Madison Jefferson Corridor Date n. d. Title Driscoll Center for Continuing Education Date 1978 Title Zoo Guide Book Date n. d. Title 1940 Annual Report (League of Women Voters of Toledo) Date 1940 Title Esquire Theater Date 1968-07 Title Nameplate Date n. d. Title Engineering-Science Building Date 1958 Title The University Of Toledo And Civilian Defense Training During WWII Date 2009 Title World Trade Center (model) Date 1966 Title Corner of Dorr St. and the Old Monroe Turnpike Date 1875 Creator S.W. and P.A. Durant et al. Title Art Museum Date n. d. Title Engineering-Science Building Date 1958 Title Letter to Ann Galloway Date 1994-01-20 Title Toledo in 1876 Date 1949 Pages1 2 3 4 5 … next › last »


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New York State Pavilion
Governor Nelson Rockefeller commissioned Philip Johnson to design the New York State Pavilion for the 1964-1965 World's Fair after Johnson received critical acclaim for his design of the New York State Theater at Lincoln Center.
Philip Johnson was originally commissioned to design only two structures for the pavilion site: the "Tent of Tomorrow," which was to serve as a fashion theater, and the "Theaterama," a circular theater to display 360-degree movies. While in the midst of designing these two structures, Governor Nelson Rockefeller decided that he wanted New York State, the host state for the World's Fair, to have the tallest building at the fair. After a long debate between Governor Rockefeller and Robert Moses, the fair's corporate president, who had set a height rule for the fair and was initially against making the New York State Pavilion the event's tallest structure. Rockefeller convinced the State to fund the addition of three observation towers to the pavilion site to tower over the other structures. This added $2.5 million to the cost of the New York State Pavilion project.
During the latter half of 1963, a decision was made to change the use of the Tent of Tomorrow. The original plan was to use the space as a fashion theater. However, plans changed during the design process and the Tent of Tomorrow was to be designed as an art exhibition space instead. The switch of use led to a change in design elements, and Philip Johnson had to incorporate air conditioning and a mezzanine into the structure in order to control the climate for the art.
The New York State Pavilion was meant to stand out and illustrate the accomplishments of the State of New York as the host of the World's Fair and as a center for arts, culture, and recreation.
The pavilion site was divided into three sections, and occupied nearly all of its 129,392-square-foot site, the largest amount of square feet devoted to a state sponsored exhibit.
The Tent of Tomorrow, the assembly hall, was the main feature of the pavilion. It is elliptical in plan, stretching 250' x 350' and is supported by sixteen concrete pylons. The structure's roof originally supported multicolored panels of Plexiglas that were suspended on cables attached to a steel roof rim. The floor of the Tent of Tomorrow had a Texaco map of all of New York State, which was the world's largest terrazzo map at the time. The tent had exhibition space on the promenade and mezzanine levels, looking over the plastic map of the state.
The Theaterama, the lowest structure of the pavilion site, is a 100' diameter circular theater (sometimes referred to as the "Circarama") and was used to project 360-degree films. Surrounding the pavilion's theater's fa?ade, there were large art installations by famous pop artists on display. Featured artists included: Roy Lichtenstein, Alexander Liberman, Robert Indiana, James Rosenquist, John Chamberlain, Robert Mallary, Peter Agostini, Robert Rauschenberg, Ellsworth Kelly and Andy Warhol.
The northernmost portion of the site features a grouping of three circular observation towers that are 90, 185, and 250' tall. Slender concrete columns support the circular, 64'-in-diameter observation platforms, as well as exterior, glass-walled elevators that allowed access to the three structures. The shortest of the three towers housed restaurants, while the other two taller pavilions had open observation decks. The two shorter towers have single-story platforms while the tallest tower has a two-story platform.
Slip-formed concrete, cable suspension roof
The 1964-1965 World's Fair was dedicated to "Man's Achievement on a Shrinking Globe in an Expanding Universe" and its theme was "Peace Through Understanding." It was the largest fair ever held in the United States. Robert Moses, then New York City Parks Commissioner, was the corporate president of the fair and took on the project in hopes that its income would support the completion of Flushing Meadows Park. In order to cut costs for the 1964-1965 World's Fair, Moses reused the master plan, infrastructure, and roads from the 1939 World's Fair that was also held in Flushing Meadows Park.
The Tent of Tomorrow featured the largest suspension roof in the world at the time, measuring over 50,000 square feet. The roof, which had two outer ring girders and a central tension ring tied together with forty-eight double sets of cables, was lifted into position at the rate of six feet per day by thirty-two synchronized jacks.
While the suspension roof was not a new concept at the time, the Tent of Tomorrow's roof was an early example of this type of roof's ability to overcome instability in high winds, something that had just recently been developed by engineers.
The New York State Pavilion was also technically innovative with its use of slip-formed concrete. For Theaterama's construction, concrete was poured around steel reinforcement and the forms, which were dimensionally 3 feet high and 12 feet in diameter, were raised at the rate of one foot per hour. As concrete was poured at the top of the form, concrete at the bottom of the form was already three hours old and set. For the observation towers, contractors used 3-foot-high slip-forms to pour the concrete and moved at a rate of about 1 foot per hour.
The Fiberglas panels were installed while this process was happening. Approximately 1,500 multicolored translucent panels, attached to each other with a weathertight batten system, were used in the construction of the roof. The translucent Fiberglas panels were placed into an aluminum grid that was fabricated by Kalwall Corporation and fit over the strung cables.
By commissioning Philip Johnson, one of the architects of the Lincoln Center Complex, Governor Rockefeller wanted to showcase New York State as a center for arts and culture, as well as a home for great Modern architecture.
By using concrete and metal to create enormous pavilions with round and elliptical plans, Johnson was developing futuristic forms by subtly referencing flying saucers. Overall, the design of the structure was meant to be playful and welcoming, as is evidenced by its use of bright colors and open-air design.
The New York State Pavilion was considered by Franz Schulze, author of Philip Johnson: Life and Work, as one of Philip Johnson's "zanier" designs and considered it "unlike any other work he [Philip Johnson] did at the time." The pavilion's enormous concrete columns in the Tent of Tomorrow can be seen as a precursor to the type of monumentality used in Philip Johnson's later work.
The design of the pavilion was critically acclaimed. Ada Louise Huxtable, then architecture critic for the New York Times, described the pavilion as a, "runaway success...a sophisticated frivolity...seriously and beautifully constructed. This is 'carnival' with class."
Garn, Andrew. Exit to Tomorrow: World's Fair Architecture, Design, Fashion, 1933-2005. New York: Universe Publications, 2007.
Johnson, Philip. Philip Johnson: the Architect in His Own Words. New York: Rizzoli International Publications, 1994.
"Moses Builds a Fair," Architectural Forum, USA, v. 120, 1964, pp. 64-77
"New York World's Fair: the biggest building story ever told," American Builder, USA, v. 86, 1964, whole issue.
Remembering the Future: the New York World's Fair from 1939-1964. New York: Rizzoli, 1989.
Schulze, Franz. Philip Johnson: Life and Work. New York: A.A. Knopf, 1994.
Stern, Robert A.M. New York 1960: Architecture and Urbanism Between the Second World War and the Bicentennial. New York: Monacelli Press, 1995.
"Suspension Roof is Installed on State Pavilion at Fair," New York Times, October 29, 1963.
Wilson, Forest. Emerging Form in Architecture: Conversations With Lev Zetlin. Boston: Cahners Books, 1975.


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text: Genotype Your Own Varieties Sweet Relief OG Submitted by 7 Points Oregon Test Date July 25, 2017 Gal ID GAL17778 Analysis Version 184 Genotype ID G-NGTLH Report Short Link phylos.bio/g-ngtlh View Grower Profile ›› View Variety Profile ›› View on Galaxy ›› 1 Closest Genetic Relatives 2 Genetic Novelty Score Genetic Novelty Score is an indicator of how many other varieties in our database have genotypes similar to Sweet Relief OG. Rare genotypes have very few genetically similar neighbors in the Phylos Galaxy, whereas common genotypes have many genetically similar neighbors. 3 Population Profile The bar to the right shows population heritage for Sweet Relief OG. The Phylos Galaxy features 6 distinct genetic subgroups, and every sample in the database is represented as a vertical stacked bar in the plot above and on the left. Population structure will continue to evolve as more samples are added to the Phylos Galaxy. 4 Genetic Variation A low level of genetic variation indicates a stabilized or true breeding line that will produce seeds (offspring) with consistent physical characteristics (phenotypes); varieties with higher levels of genetic variation are not true-breeding, and will produce seeds with very different physical characteristics. 5 Genetically Distant Varieties Genetically distant varieties may have different cannabinoid profiles, flavor profiles, and growth characteristics. Crossing two distant varieties may generate offspring with interesting novel phenotypes. The Genotype Seal × Colors - the colors used on the seal are the same as those used to define different population profiles in the report—e.g, green for Landrace and red for Skunk. Data - the data represent a set of genetic variants that are most predictive of each population—varieties that are predominantly skunk will have mostly dark red because they match the profile of that population and they will have a mixture of light and dark colors for the other populations. Comparison - the more genetically similar two varieties are, the more similar their seals will look. URL - the URL takes you to the genetic report for the variety OK Closest Relatives × The focal sample is labeled at the center of the image. Any genetically identical samples, or clones, of the focal sample can be viewed by clicking on the center of the image. The next circle shows immediate family members and the outer circle indicates relatives that are on the order of cousins or grandparents. Family relationships are determined from a metric called identity by descent (IBD) (plink v1.9; Purcell et al. 2007). Specifically, the proportion IBD between two samples is the sum of probability of sharing both alleles at a locus (e.g., AA, AA) and 1/2 of the probability of sharing a single allele at a locus (e.g., AA, Aa). We use a second metric called genetic similarity, to identify putative family members as well as to identify clones. Genetic similarity is simply the number of shared alleles divided by the total number of alleles compared between two samples. Clones are designated as those samples that have extremely high genetic similarity. We set the threshold to be slightly higher than the average technical error rate of genotyping. Based on analysis of known pedigrees, we have set thresholds for likely immediate family relationships. Familial relationships are useful for several reasons. Many varieties within the Galaxy have the same name, yet are genetically distinct. Familial relationships may help determine whether a variety has been mislabeled. They may also help validate pedigrees of varieties. OK Genetic Novelty Score × Genetic Novelty Score indicates how many other varieties are nearby on the Phylos Galaxy. The density of surrounding varieties is a proxy for the commonality of a genetic background; rare genotypes have very few neighbors on the Phylos Galaxy. Neighborhood scores are based on a radial density metric which is the density of varieties on the Phylos Galaxy within cubes of increasing volume (much like layers of an onion). The proportion of Phylos Galaxy samples in each of the three radial density score categories is shown along the horizontal bar. Samples considered rare are in the 90th percentile of lowest radial density scores, uncommon samples are 70th-90th percentile. Locations of varieties on the Phylos Galaxy are based on a Principal Components Analysis (PCA) (plink v1.9; Purcell et al. 2007). PCA is a dimension reduction technique for analyzing multivariate data sets, like this genetic variant data set. PCA finds linear combinations of variables that maximize the variance explained by the data; each linear combination is one PC and is orthogonal to other PCs. OK Population Profile × Population Structure is estimated using the program Admixture (Alexander et al. 2009), which is a model-based method that uses genotype data to infer population structure and assign individuals to populations. Population structure will evolve as more samples are added to the Phylos Galaxy. OK Genetic Variation × The Genetic Variation plot shows the distribution of heterozygosity levels for varieties in the Phylos Galaxy. Most samples that are drug varieties have high levels of genetic variation, which is possibly as a result of hybridization between divergent parents. A breeder of cannabis may use multiple rounds of inbreeding to select for and stabilize the phenotype of a variety in order to sell seeds or grow from seeds instead of clones. Each generation could be genotyped to measure the progress of inbreeding, which helps estimate the expected phenotypic variation of progeny. Genetic Variation is estimated by the inbreeding coefficient (F) using VCFtools (Danecek P, et al. 2011). OK Genetically Distant Varieties × Genetically Distant varieties are genetically divergent from the node (sample) of interest. In order to select a diversity of distant neighbors, we implemented an algorithm that maximizes the sum of the distance between the node of interest as well as chosen distant neighbors; this is similar to the heuristic Furthest Point First algorithm (Gonzalez 1985). The distances used are from a Principal Components Analysis (PCA) (plink v1.9; Purcell et al. 2007). PCA is a dimension reduction technique for analyzing multivariate data sets, like this genetic variant data set. PCA finds linear combinations of variables that maximize the variance explained by the data; each linear combination is one PC and is orthogonal to other PCs. This widget plots genetically distant varieties along the top two principal components. OK Redirecting to Galaxy... We are redirecting you to the Phylos Galaxy view for 7 Points Oregon's Sweet Relief OG in 5 seconds. Click Cancel or hit ESC to stay on the Genotype Report. Cancel


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Published on : Thursday, February 14, 2013
On Saturday, 9 February, the Kadriorg Palace, with its newly renovated interior, opened its doors to the public with the exhibition Repin. A Russian Master's Life and Work in Finland. The palace's ventilation and air conditioning systems have been rebuilt, the utilization of the space on the first floor has been rearranged, and the interior design has been freshened up. Costumes have been designed by Estonian fashion designers for the "palace ladies", who conduct the museum's educational programs.
The roofs of the main building and wings of Kadriorg palace, which has been closed since July 2012, were replaced; the ventilation and air conditioning systems, which are vital for the preservation of old art, were supplemented and updated; and the windows were sealed. The cost of the renovations was approximately € 475,000, which was financed from CO2 quota funds, and the work was organized by State Real Estate Ltd. The interior architect Mari Kurismaa's solution has provided a facelift to the museum shop, coat check and the rooms where, starting in February, the educational programs of the popular Palace School will be conducted.
"The requirements and expectations facing the museum are constantly changing. When organizing international exhibitions, the museum's climate systems and security are important. As visitors, we need many things in addition to good expositions: a spacious entry, convenient coat check, presentable restrooms, educational programs that support the museum experience, a cozy café and a unique museum shop," said Kadi Polli, the Director of the Kadriorg Art Museum. "In preserving the historical interior of the Kadriorg Palace, yet also making it more functional in the contemporary sense, we have moved toward solutions that correspond to the expectations of today's visitors. We hope that the public will approve of the rearrangements."
During the renovation of the Kadriorg Art Museum, great emphasis was placed on the modernization of the educational centre, which has been accomplished largely thanks to good cooperation partners and supporters. "A high-quality education centre is an essential part of a modern museum since, in addition to the exhibition experience, it helps visitors to achieve a more direct and personal contact with art," said Kadi Polli.
For younger art lovers, modern costumes that also pay tribute to the uniqueness of the Kadriorg Palace have been designed by the fashion designers Marit Ilison, Britt Samoson, Hanna Korsar, Triinu Pungits and Liina Stein, for the "palace ladies", who conduct the educational programs. The result is five different outfits that highlight historical aesthetics, while maintaining a modern look," said Riti Kallas, the manager of the costume project.
The Kadriorg Art Museum wishes to thank all the companies that have supported the restoration of the museum's educational centre: AS Merko Ehitus, Kar-Grupp AS, Akzo Nobel Baltics AS, AS KH Energia-Konsult, Moodne Valgustus AS, AS Arens Mööbel and Monton.
Estonia's most important collection of foreign art – Western European and Russian paintings, sculpture and applied arts from the 16th to 20th centuries – is housed in the Baroque palace. Thus, it is one of Estonia's most outstanding and beloved museums, for both its content and activities. The museum offers an outstanding permanent exhibition, international exhibitions of old art and a full schedule of tours, as well as educational and public programs.
The museum's opening exhibition is Repin. A Russian Master's Life and Work in Finland, which was organized through the collaborative efforts of the Ateneum Museum in Helsinki and the Kadriorg Art Museum.
The Kadriorg Art Museum was closed for renovations between 1 July 2012 and 8 February 2013.
Source: visit Estonia.
Tags: exhibition repin, kadriorg palace, kadriorg palace estonia, latest museum news
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What started as a simple string and pedal sales catalog has grown exponentially over the past thirty years. The early days were a time where catalogs didn't have much of a presence in the industry, but what began as a college dorm room operation grew rapidly. In 1986 we moved to a full product offering and 64-page catalog, which over the years has grown to 162 pages. Join the AMS family and get your free catalog now!
Copyright © 1996-2019 American Musical Supply, Inc. All rights reserved. American Musical Supply reserves the right to correct pricing and/or product specifications in the event of typographical errors found in our print catalog or on our website. If a product is listed at an incorrect price due to such errors or because of inaccurate information received from a supplier, American Musical Supply shall have the right to refuse or cancel any orders placed, whether or not the order has been confirmed and your credit card charged. If your credit card has already been charged for the purchase and your order is canceled, American Musical Supply will issue a credit to your credit card account in the amount of the charge.


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Wallace T. Rouse, age 86 of Delavan, WI, passed away on Saturday, January 18, 2014 at home with his wife by his side. He was born on February 13, 1927 in Wichita, KS, the son of Wallace Thurman and Marian F. Rouse. Wally graduated from Wichita East High School in 1944 and entered Kansas University (KU) as a Summerfield Scholar, ultimately earning a degree in engineering. Wally played varsity basketball and football at KU and was defensive tackle on the Jayhawk's 1948 Orange Bowl team. He interrupted his education to enlist in the United States Army Air Corps serving active duty for two years before returning to KU. Following college Wally pursued careers in engineering and continued to serve in the US Army Reserves retiring after 34 years with the rank of Lieutenant Colonel. His engineering positions took him to Kansas, South Carolina, and Wisconsin. Wally spent many of his years working in Fort Atkinson, WI where he raised five children – Wallace Theodore, Scott Salome, William Christian, Theresa Anne, and Thomas Jonathon. In 1974 he met the love of his life, Rosalie. They married in 1976 and moved to Delavan, WI where he lovingly helped to raise her three children - Ellen Elizabeth, David Henry, and Paul Arnold.
Wally was a long time member of the Rotary Club and was proud of his nearly 50 years of perfect attendance. Among his many interests was the vegetable garden which earned him countless ribbons at the Walworth County Fair. Wally was also an avid reader, coin collector, and all around handyman. He was very involved in his community and an active member of Delavan United Church of Christ, Congregational.
Wally is survived by his wife, Rosalie, sister Mary Jo Jones of Altemonte Springs, FL, children Ted (Paula) of Oshkosh, Scott of Madison and Jon (Candy) of Baltimore, MD, Anne (Mike) of St Louis, MO, Ellen George of Racine, David (Heidi) Schultz of Minneapolis, MN and Paul (Lisa) Schultz of New Berlin. He is further survived by many grandchildren, great grandchildren and countless friends. Wally was predeceased by his parents, infant daughter Anna Katherine and his son William Christian.
A memorial service celebrating Wally's life will be held at the Delavan United Church of Christ Congregational on Saturday, January 25, 2014 at 11 a.m. with the Reverend Laura McLeod officiating. The family will greet friends one hour prior to the service at the church. In lieu of other expressions of sympathy, memorials may be made to the Delavan United Church of Christ or Congdon Gardens. Monroe Funeral Home in Delavan, WI is assisting the family and further details can be found at monroefh.com.


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0 Members and 1 Lonely Barbarian are spying on this topic.
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Yes but when you look at the grand scope, it's not like being a dwarf is THAT hard... trying being a necromancer. Now that is a challenge. Next up, undead dwarves... muhahahahah
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Created to carry the message of recovery to all addicts. Whether the addiction is alcohol, drugs, food or any other addiction the program of recovery is the same. I am a recovering alcoholic of over twenty years, a day at a time of course and I believe my primary purpose is to stay sober and help other alcoholics achieve recovery. Remember seven days without a meeting makes one weak. Sign up to get emails.This Blog is not affiliated to either A.A. or N.A. Help to stop drinking.
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Vacation is now no longer a requirement of tertiary or secondary, but has become a primary need for the community. Holidays do not just go traveling, now people want to travel longer, farther, and more often.
Many reasons why they are on vacation, like wanting to spend time with family, doing cultural tourism, adventure, pampering, and relax. When people view the holiday as a lifestyle, it becomes an inevitable need. Either way, they have to fulfill it. Conversely, if the vacation becomes just a spontaneity, then its existence will be seen as a complement only.
here wineviews provides a choice of places of tourist attractions in the world complete with picture images you need to visit. wineviews is a site that provides inspiration to you when you are confused to find a place for a vacation. for example as an example of the picture below Palacio Euskalduna Conference And Music Center :
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Hi! I'm back again with a new project for our Moda "bakers". While I was as the Spring 2010 quilt market. I met Darlene Zimmerman. She is an amazing quilter and has been designing for more than 20 years. Dalrene mainly focuses on 1930's reproductions. That's where I first came to know of her since I have collected 1930's repros for over 12 years!
As I said, I met Darlene at market and we had some serious quilting chat about what other designs she has and her rulers. United Notions carries all of Darlene's rulers, so it was fitting that I introduce a couple of them to you here on the Bake Shop.
Without further ado…….
Star Drops Table Topper
1/2 yard background sku # 32376-18 Marshmallow Dots
Bamboo batting at least 20″ X 20″
Begin by cutting strips of background 3.5″ X width of fabric.
In addition: cut a background strip 5″ X Width of Fabric for setting squares.
Sub cut the 3.5″ background strip into {40} triangles.
Line the 3.5″ line of the ruler on the cut edge of the fabric as shown.
Take several fat quarters and cut 4.5″ X 22″ strips.
I used 10 different prints.
Sub cut the 4.5″ strip into 20 triangles {2 each of 10 prints}.
Line up the 4.5″ line of the 30 degree triangle ruler and cut.
Each block requires 8 background triangles and 4 center triangles {2 of 2 colors} as shown.
To piece the component star points, begin by sewing on background triangle to a center triangle.
Then sew the other triangle to the opposite side of the center triangle.
This is one complete star point.
Using the Simpli-EZ square, line up the ruler and the background fabric as shown, to trim the piece.
Here is a close up and notice that the colored center point is 1/4″ from the ruler corner.
This is important for the final piecing of the blocks.
Rotate the star component and trim the other side.
The component should measure 3″ square as shown.
Here is the block just after trimming.
Select 4 components to make a block.
Sew these together similar to a 4-patch.
This is one block complete.
It should measure 5″ square.
Make 5 blocks.
Here are examples of blocks that I made.
Set the blocks in rows of 3.
A= 5″ background
B= 5″ pieced block
Sew them into rows of 3.
Then sew each row to the next.
The top should measure 15.5″ X 15.5″.
Lay the top with batting and backing fabric.
I used a fat quarter from the bundle for the backing.
Quilt as you like.
I chose to use 1/4 outline quiting for my topper.
Here is the back of the topper.
At this point, I have quilted the top before I trimmed the corners.
To trim the topper corners, I used a 4″ X 14″ ruler as shown.
Lined it up with 1/4″ mark on the ruler with the points of the star blocks.
Trim the top, batting and backing away.
Do this for all four corners.
A view from the back.
A closer view of the quilting.
You may bind with any method you choose.
I decided to bind by machine.
To do this, I made 2 1/4″ double fold binding with left over strips from a fat quarter.
I sewed the binding to the BACK first.
Fold binding to the FRONT and machine stitch 1/16″ from the edge.
I recommend using coordinating threads on the top and bottom for a more polished finish.
A 15″ x 15″ Star Drops Table Topper
Darlene has a created a book with her design option for a larger quilt with setting strips and corner stones.
For those of you that have read through the tutorial, I have a surprise for you!
Leave a comment here on Moda Bake Shop and on my blog http://www.spunsugarquilt.com/
to be entered in a giveaway for a bundle of 12 Moda fat quarters and more. 2 Chances to win!!
Check my blog for details.


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