Monday, October 31, 2011

Resources for Basketry

Basket made from reeds and sweetgrass.
      Basket weaving (also basketry, basket making, or basketmaking) is the process of weaving unspun vegetable fibres into a basket or other similar form. People and artists who weave baskets are called basketmakers and basket weavers.
      Basketry is made from a variety of fibrous or pliable materials•anything that will bend and form a shape. Examples include pine straw, stems, animal hair, hide, grasses, thread, and wood.

Basketry Comes in Four Types:
  • "Coiled" basketry - using grasses and rushes
  • "Plaiting" basketry - using materials that are wide and ribbon-like, such as palms, yucca or New Zealand flax
  • "Twining" basketry - using materials from roots and tree bark. Twining actually refers to a weaving technique where two or more flexible weaving elements ("weavers") cross each other as they weave through the stiffer radial spokes.
  • "Wicker" and "Splint" basketry - using reed, cane, willow, oak, and ash
More About Basketry:
Video About Basketry:
Basketry Lesson Plans: 
  1. Basket making by Sue Stewart
  2. Weaving with plastic cups by Susan Holland
  3. Basket Weaving from Craft Revival
  4. Fiber Arts Curriculum from Basketweaving.com
  5. Reeds and Rainwater Make Baskets
  6. Lesson on basket coiling
  7. Choctaw Baskets: Weaving the Past and Present
  8. Telephone wire basket
  9. Fiber Coiled Baskets

Resources for Rug Hooking

"Four Sisters" designed by Christian
Corbet (2008), hooked by Joan Foster.
      Rug hooking is both an art and a craft where rugs are made by pulling loops of yarn or fabric through a stiff woven base such as burlap, linen, or rug warp. The loops are pulled through the backing material by using a crochet-type hook mounted in a handle (usually wood) for leverage. In contrast latch-hooking uses a hinged hook to form a knotted pile from short, pre-cut pieces of yarn.
      Wool strips ranging in size from 3/32 to 10/32 of an inch (2 to 8 mm) in width are often used to create hooked rugs or wall hangings. These precision strips are usually cut using a mechanical cloth slitter; however, the strips can also be hand-cut or torn. When using the hand-torn technique the rugs are usually done in a primitive motif.
      Designs for the rugs are often commercially produced and can be as complex as flowers or animals to as simple as geometrics. Rug-hooking has been popular in North America for at least the past 200 years.
      The author William Winthrop Kent believed that the earliest forebears of hooked rugs were the floor mats made in Yorkshire, England during the early part of the 19th century. Workers in weaving mills were allowed to collect thrums, pieces of yarn that ran 9 inches (23 cm) long. These by-products were useless to the mill, and the weavers took them home and pulled the thrums through a backing. The origins of the word thrum are ancient, as Mr. Kent pointed out a reference in Shakespeare's Merry Wives of Windsor. However in the publication "Rag Rug Making" by Jenni Stuart-Anderson, Stuart-Anderson states that the most recent research indicates "...the technique of hooking woolen loops through a base fabric was used by the Vikings, whose families probably brought it to Scotland." To add to this there are sound examples at the Folk Museum in Guernsey, Channel Islands that early rag rugs made in the same manner where produced here off the coast of France as well.
      Rug hooking as we know it today may have developed in North America, specifically along the Eastern Seaboard in New England in the United States, the Canadian Maritimes, and Newfoundland and Labrador. In its earliest years, rug hooking was a craft of poverty. The vogue for floor coverings in the United States came about after 1830 when factories produced machine-made carpets for the rich. Poor women began looking through their scrap bags for materials to employ in creating their own home-made floor coverings. Women employed whatever materials they had available. Girls from wealthy families were sent to school to learn embroidery and quilting; fashioning floor rugs and mats was never part of the curriculum. Another sign that hooking was the pastime of the poor is the fact that popular ladies magazines in the 19th century never wrote about rug hooking. It was considered a country craft in the days when the word country, used in this context, was derogatory. Today rug hooking or mat making as it is sometimes referred to has been labeled in Canada as a fine art.
      Since hooking was a craft of poverty, rug makers put to use whatever materials were available. Antique hooked rugs were created on burlap after 1850 because burlap was free as long as one used old grain and feed bags. Every and any scrap of fiber that was no longer usable as clothing was put into rugs. In the United States, yarn was not a fiber of choice if one did not have access to thrums. Yarn was too precious, and had to be saved for knitting and weaving. Instead the tradition of using scraps of fabric evolved. Yarns and other creatively used materials have always been used for hooked rugs in the Canadian Maritimes. The well-known Cheticamp hooked rugs used finely spun yarns and the highly collectible Grenfell mats were meticulously hooked with recycled jerseys. Everything from cotton t-shirts to nylon stockings were cut and used.
      The modern preference for using only cut wool strips in hooked rugs originated with Pearl McGown in the 1930s, and may have saved the craft from disappearing in the United States. Mrs. McGown popularized strict guidelines for rug hooking and formalized its study. However the Grenfell Mission had previously and as early as 1916 established the same strict guidelines as structured by Lady Anne Grenfell wife of Sir Wilfred Grenfell as indicated in Paula Laverty's book "Silk Stocking Mats."
      In more recent decades hookers have followed quilters in exploring new materials and new techniques. This experimentation, combined with knowledge and respect for the past, will allow rug hooking to evolve and grow in the 21st century. Rug hooking today has evolved into two genres, which primarily fall into groups based upon the width of the wool strip employed to create a rug: fine hooking and primitive hooking. Fine hooking, in general, uses strips of wool measuring 1/32 to 5/32 of an inch wide. Designs of the fine-cut hooking genre use more fine shading accomplished by overdyeing wool in gradated color swatches. Primitive (or wide-cut) hooking uses wool strips measuring 6/32 up to 1/2-inch wide. The wide-cut hooking accomplishes shading and highlights using textures in wool, such as plaids, checks, herringbones, etc. Wide-cut designs are generally less detailed and mimic the naivety of rug hookers of the past (pre-McGown designs.) There are many well-known designers of commercial rug patterns and each exhibit their own distinct style and techniques. Some designers specialize in animals or whimsical subjects, others use specific and identifiable dyeing techniques, while others adapt antique rugs for today's rug hookers or employ various tools to achieve their chosen subject matter within their designs. You can find examples of each: Animals and Whimsy Bev Conway; Overdyeing techniques to achieve a signature look Karen Kahle; Special tools and techniques to create fine landscapes in wool Anne-Marie Littenberg; Adaptations of antique hooked rugs Sally Van Nuys; Interpreting Fraktur designs Susan Feller; Specializing in people in her rugs Rachelle LeBlanc. You can learn basic rug hooking techniques at Cindi Gay Rug Hooking. Other well-known rug hookers of today are Davey DeGraff, and Christian Corbet. In addition to the many commercially available patterns, many rug hookers are creating their own design patterns. (Wikipedia)
 
Links for Rug Hookers:

Resources for Needlework

My favorite needlework,
sewing basket is from Mexico.
      Needlework is a broad term for the handicrafts of decorative sewing and textile arts. Anything that uses a needle for construction can be called needlework. The definition may expand to include related textile crafts such as a crochet hook or tatting shuttles.
      Similar abilities often transfer well between different varieties of needlework, such as fine motor skill and a knowledge of textile fibers. Some of the same tools may be used in several different varieties of needlework. For instance, a needle threader is useful in nearly all needlecrafts.

1. Needle lace (also known as needlelace or needle-made lace) is a type of lace created using a needle and thread to stitch up hundreds of small stitches to form the lace itself.
      In its purest form the only equipment and materials used are a needle, thread and scissors. This form of lace making originated in Armenia where there is evidence of a lace making tradition dating back to the pre-Christian era. Turkish needlelace is also very popular around the world. This form however arose separately from what is usually termed needlelace and is generally referred to as knotted lace. Such lace is very durable and will not unravel if one or more loops are broken.
      Beginning in the 17th century in Italy, a variety of styles developed where the work is started by securing heavier guiding threads onto a stiff background (such as thick paper) with stitches that can later be removed. The work is then built up using a variety of stitches - the most basic being a variety of buttonhole or blanket stitch. When the entire area is covered with the stitching, the stay-stitches are released and the lace comes away from the paper. See reticella.
      Needle lace is also used to create the fillings or insertions in cutwork.

2. Quilting is a sewing method done to join two or more layers of material together to make a thicker padded material. A quilter is the name given to someone who works at quilting. Quilting can be done by hand, by sewing machine, or by a specialist longarm quilting system.
      The process of quilting uses a needle and thread to join two or more layers of material to make a quilt. Typical quilting is done with three layers: the top fabric or quilt top, batting or insulating material and backing material. The quilter's hand or sewing machine passes the needle and thread through all layers and then brings the needle back up. The process is repeated across the entire piece where quilting is wanted. A rocking, straight or running stitch is commonly used and these stitches can be purely functional or decorative and elaborate. Quilting is done to create bed spreads, art quilt wall hangings, clothing, and a variety of textile products. Quilting can make a project thick, or with dense quilting, can raise one area so that another stands out.
      Quilt stores often sell fabric, thread, patterns and other goods that are used for quilting. They often have group sewing and quilting classes, where one can learn how to sew or quilt and work with others to exchange skills. Quilt stores often have quilting machines that can be rented out for use, or customers can drop off their quilts and have them professionally quilted.

3. In its broadest sense, an appliqué is a smaller ornament or device applied to another surface. In the context of ceramics, for example, an appliqué is a separate piece of clay added to the primary work, generally for the purpose of decoration. The term is borrowed from French and, in this context, means "applied" or "thing that has been applied."
      Appliqué was first discovered when clothes ripped and needed fixing so they used to sew over the top of the rip patches of different material otherwise known as patch work.
      In the context of sewing, appliqué refers to a needlework technique in which pieces of fabric, embroidery, or other materials are sewn onto another piece of fabric to create designs, patterns or pictures. It is particularly suitable for work which is to be seen from a distance, such as in banner-making. A famous example of appliqué is the Hastings Embroidery.
      Appliquéd cloth is an important art form in Benin, West Africa, particularly in the area around Abomey, where it has been a tradition since the 18th century and the kingdom of Danhomè.
      Appliqué is used extensively in quilting. "Dresden Plate" and "Sunbonnet Sue" are two examples of traditional American quilt blocks that are constructed with both patchwork and appliqué. Baltimore album quilts, Broderie perse, Hawaiian quilts, Amish quilts and the ralli quilts of India and Pakistan also use appliqué.

4. Embroidery is the art or handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins.
      A characteristic of embroidery is that the basic techniques or stitches of the earliest work—chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch—remain the fundamental techniques of hand embroidery today.
      Machine embroidery, arising in the early stages of the Industrial Revolution, mimics hand embroidery, especially in the use of chain stitches, but the "satin stitch" and hemming stitches of machine work rely on the use of multiple threads and resemble hand work in their appearance, not their construction.

5. Crochet is a process of creating fabric from yarn, thread, or other material strands using a crochet hook. The word is derived from the French word "crochet", meaning hook. Hooks can be made of materials such as metals, woods or plastic and are commercially manufactured as well as produced by artisans. Crocheting, like knitting, consists of pulling loops through other loops, but additionally incorporates wrapping the working material around the hook one or more times. Crochet differs from knitting in that only one stitch is active at one time (exceptions being Tunisian crochet and Broomstick lace), stitches made with the same diameter of yarn are comparably taller, and a single crochet hook is used instead of two knitting needles. Additionally, crochet has its own system of symbols to represent stitch types.

6. Knitting is a method by which thread or yarn may be turned into cloth or other fine crafts. Knitted fabric consists of consecutive rows of loops, called stitches. As each row progresses, a new loop is pulled through an existing loop. The active stitches are held on a needle until another loop can be passed through them. This process eventually results in a final product, often a garment.
      Knitting may be done by hand or by machine. There exist numerous styles and methods of hand knitting.
      Different yarns and knitting needles may be used to achieve different end products by giving the final piece a different color, texture, weight, and/or integrity. Using needles of varying sharpness and thickness as well as different varieties of yarn can also change the effect.

7. Tatting is a technique for handcrafting a particularly durable lace constructed by a series of knots and loops. Tatting can be used to make lace edging as well as doilies, collars, and other decorative pieces. The lace is formed by a pattern of rings and chains formed from a series of cow hitch, or half-hitch knots, called double stitches (ds), over a core thread. Gaps can be left between the stitches to form picots, which are used for practical construction as well as decorative effect.
      Tatting dates to the early 19th century. The term for tatting in most European languages is derived from French frivolité, which refers to the purely decorative nature of the textiles produced by this technique. The technique was developed to imitate point lace.

8. A lucet is a tool used in cordmaking or braiding which is believed to date back to the Viking and Medieval periods, when it was utilized to create cords that were used on clothing, or to hang useful items from the belt. Lucet cord is square, strong, and slightly springy. It closely resembles knitted I-cord or the cord produced on a knitting spool. Lucet cord is formed by a series of loops, and will therefore unravel if cut. Unlike other braiding techniques such as kumihimo, finger-loop braiding or plaiting, where the threads are of a finite length, lucetted braids can be created without pre-measuring threads and so it is a technique suited for very long cords.
      Archaeological finds and a literary description of lucets strongly suggest that its use declined after the 12th century, but was revived in the 17th century. Its use waned again in the early 19th century.
      A modern lucet fork, like that pictured, is normally made of wood, with two prongs at one end and a handle on the other. It may also have a hole through which the cord can be pulled. Medieval lucets, in contrast, appear to be double-pronged, straight-sided implements, often made of bone. Some were shaped from hollowed bones, left tubular, presumably so that the cord could be drawn through the centre hole.

9. A braid (also called plait) is a complex structure or pattern formed by intertwining three or more strands of flexible material such as textile fibres, wire, or human hair. Compared to the process of weaving a wide sheet of cloth from two separate, perpendicular groups of strands (warp and weft), a braid is usually long and narrow, with each component strand functionally equivalent in zigzagging forward through the overlapping mass of the others.
      The simplest possible braid is a flat, solid, three-strand structure in some countries/cases called a plait. More complex braids can be constructed from an arbitrary (but usually odd) number of strands to create a wider range of structures: wider ribbon-like bands, hollow or solid cylindrical cords, or broad mats which resemble a rudimentary perpendicular weave.
      Braids are commonly used to make rope, decorative objects, and hairstyles (also see pigtails, French braid). Complex braids have been used to create hanging fibre artworks.
      Braiding is also used to prepare horses' manes and tails for showing, polo and polocrosse.

10. A tassel is a finishing feature in fabric decoration. It is a universal ornament that is seen in varying versions in many cultures around the globe.

11. Tapestry is a form of textile art, traditionally woven on a vertical loom, however it can also be woven on a floor loom as well. It is composed of two sets of interlaced threads, those running parallel to the length (called the warp) and those parallel to the width (called the weft); the warp threads are set up under tension on a loom, and the weft thread is passed back and forth across part or all of the warps. Tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike cloth weaving where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous; the artisan interlaces each colored weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colors worked over portions of the warp to form the design.
      Most weavers use a naturally based warp thread such as linen or cotton. The weft threads are usually wool or cotton, but may include silk, gold, silver, or other alternatives. 

Needlework Articles, Exhibits, Tutorials, and Instructions:

teaching elements and principles with worksheets

For many years teachers taught the elements and principles of design with
worksheets. These were collected inside folders that students were
encouraged to decorate. Sometimes, I think worksheets can
be helpful, but I believe that these should be used only if they do
not replace "human contact." Students really do prefer to be given one-
on-one attention in the art classroom. Worksheets can be very helpful
for substitute teachers and I do like them if students use these for
organizational purposes, but, worksheets should never replace slide shows,
demonstrations, lectures and private conferences. Above is a student example
of a decorated folder. I found this former student work tucked into an old
file cabinet where I did some of my student teaching along with the
following worksheets. These worksheets were assigned to ninth graders.
I can tell this student was a bit bored with this exercise.
I will need to come up with something much more
entertaining than this. Teens are not at all like college
students when it comes to art projects. They must be
tempted in order to see more positive results. It is never
enough for them to simply want to improve their own
abilities. They must be motivated with a challenge that
at least appears to be fun on the surface.
The ever present color wheel exercise. Actually, I don't
mean to be picky but, of course, I am. The blue on this worksheet
is a cerulean blue; it should be a cobalt blue in order for the
colors to be mixed properly for a color wheel exercise.
I've never met an art teacher who didn't begin a two dimentional
art project by assigning a two point perspective worksheet like
this one.
This line worksheet is a bit young for ninth graders.
Students in this age group can easily be made to feel as though
they are being patronized. Don't dumb down agenda too much.
Students in this ninth grade design course were
encouraged to draw thumbnails of their own ideas
for a larger project. This is an excellent way to promote
mapping and planning of a design concept.
These were the preliminary thumbnail sketches for the
black and white ink drawing below.

This shading exercise is relatively standard and sometimes
a worksheet with three dimensional objects is assigned
as well. Below is an example of the 3-D object examples.

I needed a one point perspective worksheet like this one
for a fifth grade art project during my student teaching
at an elementary school once. Next
time I will try to remember that I have it on file!

elements of art: art journal pages


       The following pages are from a journal created by my child when she was in seventh grade. Her teacher was Alvina Becker. Mrs. Becker taught her art students from a manual that she wrote herself, “Elements of art: a practical  approach for teaching art in the upper grades:  step-by-step projects for one full year."
       The first example is the cover page of her "Elements of Art" art journal. I have included only a few of the sample pages but, I think most of these will give teachers some ideas about what is normally assigned to this particular type of art journal.

In this journal, she was required to take notes
about the elements of design and then complete
simple projects demonstrating these elements;
space, light, color, line, shape, and texture.
After the completion of the project, students
were then required to include a few design
pages to demonstrate the use of materials.



This page and the one just above demonstrate
the use of positive and negative space. I did
not include the notes among these pages for
obvious reasons. Should I ever need to give
a similar assignment, I want my students
to write their own answers, instead of copying
what they may find here.



I think this magazine collage demonstrating a "textured
landscape is my favorite page.



Texture is experimented with again in this
rubbing.


This is her texture duplicate page. Those of you
who are art teachers know, texture must be assigned
several times in order for the student to demonstrate
both literal texture and implied texture. This
was her implied texture page.



Here is her exploding shapes page. This is fun
for students to experiment with, I think.



Here is her light source page. This is her first
attempt at shading, I'm happy to report that
Natalie became much better at this process
over time!



This is perhaps the most difficult page her art teacher assigned, the
reflective light page.



This is the paper strip design demonstrating line.



Above is a crazy quilt design showing monochromatic
color relationships.



This design shows the use of oil pastel medium.
I believe students were required to demonstrate analogous
and complimentary colors in at least three of the
squares above. What I like most about these
art journal pages is that students were encouraged
to "show case" the aesthetic qualities of the
art elements. My daughter's journal included
notes but these were even written attractively.

Sunday, October 30, 2011

the benefits of assigning student art journals

"An art diary, art journal or visual journal is a daily journal kept by artists, often containing both words and sketches, and occasionally including Mixed media elements such as collages. Such books will frequently contain rough workings, in cartoon form, of ideas later to appear in finished works, as well as acting as a normal diary, by allowing the artist to record their day-to-day activities and emotions. These diaries not only give art historians a valuable opportunity to explore the creation process of these finished works, but they are a useful biographical tool." (Wikipedia) 

Types of art journals used within the context of a fine arts course include:
  • Art journals may be created to address specific subjects or themes about art in general. The  elements and principles of design is probably the most common art subject assigned to student journals. Click here to view a seventh grade journal about the elements of design. I've also posted worksheets that were used to teach the same material to ninth graders. There is a very distinctive difference between the two assignments. One of them is definitely more pleasing to look at. Don't forget, young people also want their work to look attractive!
  • Journal themes may also closely relate to the course of study for the specific class in which the assignment is made. Sketch books in a fashion design course, for instance, are frequently assigned to students. Fashion sketch books become art journals when additional notes and written entries are also included among the pages of these visual documents.
  • Journals may be a collective work addressing a wide variety of questions that the student is required to reflect upon throughout an entire year or semester. Bell questions may be assigned to students as soon as they enter a classroom in order to promote attendance, class participation and discipline. Art instructors may choose to include these bell questions within the pages of an art journal along with a selection of short stories, biographies and research papers designed to teach students about art appreciation. 
  • Art journals are also very helpful when integrating a specific subjects into student art activities such as: zoology, botany, literature, poetry, history etc... Students may be assigned additional reading or research that coincides with art projects that address specific topics that their art teacher is either very familiar with or trained in professionally. 
      Requiring art students to keep journals promotes excellence in the fine arts. This is because much of the student's free time must be spent thinking and researching how art becomes important to different communities, both professional and novice artists, and to themselves. This reflective practice stretches the brain and offers yet another venue type for students to achieve goals dedicated to comprehension, interpretation, and literacy. By these means, art teachers may also be able to assess whether or not their students are understanding the concepts necessary to the completion of art projects.
      Art journals are also excellent replacements for final or midterm exams in an art class because these diaries are the accumulative proof of the students participation in the classroom. If kept under lock and key within the room, art teachers will soon discover this to be the case. However, in order to teach through journaling, art instructors must be prepared in advance to assign pages to the class on a regular basis.
      I prefer to require a mix of pages that not only assign art methods but also the reading of short articles and reflecting upon the content found in them. (approx. 150 words) Once students become familiar with the process, many of them learn to look forward to it. Do not make the pages too difficult. Students should be encouraged to share their own opinions and not to fear censure for them. As long as they are responding with genuine care or enthusiasm, this can be a very successful assessment process.
      There are also many disciplinarian benefits that may be derived from this activity, benefits such as: the productive use of time, the use of technology for research, the active necessity of participation, and the creative interpretation of events or written materials.
      Free time in the classroom after the early completion of art projects may be used for journal entries and so may the few minutes at the beginning of each class period. This teaches students to use their time wisely and to also direct their attention to a task at hand until it is completed.
      Teachers may include research to be performed in the library or computer lab in order to complete assignments or they may also design a reflection dependent upon outside visits to museums or sculpture parks. It is important for students to actively respond to a project that requires physical research and discovery. This form of discipline builds self confidence and independence. Give students a task to perform in order to fulfill an assignment outside of the classroom. They will discover that art is a part of life on a much grander scale.
      Not every page should include written reflection of an event. Sometimes the pasting of brochures, tickets, or photographs of a visit to a play, park or museum may suffice. Encourage the discipline of creative interpretation. Not every page needs to represent "written words." There are multiple forms of communication in art, so require students to think differently about how they produce material for the journal. For example, if they should choose to produce video for a page assignment, play their alternative "page" for the class and develop a fun discussion around the topic. Help students copy their video for their journal on a CD. Cut and paste an envelope to hold the CD on a journal page. This encourages students to see their journal as a record of their school experiences as well. Your students may treasure their art journal above all other mementos by the time they graduate; don't be surprised by their concerns for it's safety.

Artists from the past sometimes kept journals: Many famous artists are known for their art diaries - the sketchbooks of Leonardo da Vinci are probably the best known example. More web pages:  Da Vinci's Secret's * Joseph Mallord William Turner * John Constable * Conrad Martens * Vincent Van Gogh * David Hockney *
More opinions from teachers about student journals:Why Should Students Journal? * Reflective Journals * Encouraging Students to Keep a Nature Journal * Instructional Strategies Online * Learning Journals * Academic Reading Journals *

Friday, October 28, 2011

Cut and paste Halloween sucker sleeves

Construction paper samples of
the design templates below.

       These Halloween sucker sleeves will surely please any small student in your classroom this year. The Bats, owls, and even a friendly ghost are simple design templates that any student or teacher can trace, cut out and glue together. Add a few wiggly eyes and some delicious suckers too!

Supply List: black, white, and brown construction paper, white glue, stapler, suckers, templates, wiggly eyes, and scissors

Directions:
   1. Download the templates below, print and cut out the designs.
   2. Trace around the Halloween critters and cut out two of each design.
   3. Glue together a front and a back side for each design and let the glue dry completely before inserting a sucker. Leave the bottom edge of each design unpasted.
   4. Add additional trims like wiggly eyes, bows, silly expressions etc...
   5. Carefully insert the sucker up through the bottom edge of the design and staple it firmly in place.

Additional Suggestions: These patterns may also be crafted with felt and sewn together.
Friendly ghost for Halloween sucker sleeve template.
All of these templates may be downloaded and sized in a
word document to fit the above measurements.
Read the Terms of Use before using it folks.

Owl template for Halloween sucker sleeve.
Bat and moon template for Halloween sucker sleeve.

Kids can decorate their suckers for Halloween.
From Sugar Bee Crafts.

More Halloween Crafts:
All patterns and photographs by Grimm copyrighted 2024.