Mục lục:
1. khung giường
2. cây sồi tí hon
3. bánh bông lan
4. giầy da
5. chụp đèn
6. đi dây điện
7. đôi cánh tiên
8. bàn tay
9. bàn chân
10. hàng rào hoa
11. gương cũ ba phần
12. bí đỏ
13. bút lông & bình mực
14. quả đào
15. mũ phụ nữ ở thập kỷ 20
16. rèm cửa
17. món điểm tâm (trứng ốp la, hot dog)
18. con vẹt
19. gắn lông vẹt
20. táo xanh
21. bánh mì
22. giá đựng đĩa
23. va-li
24. chổi phù thủy
25. thịt cừu
26. gốc cây
27. hoàn thiện sản phẩm
28. hoàn thiện đồ gỗ
29. tam cấp đá rêu
30. cây thu nhỏ
31. xây dựng nhà cửa
32. làm nhà có vẻ cũ, cổ
33. vách xếp lớp
34. làm đồ vật giống đá cẩm thạch
35. tường gạch
36. mái ngói
37. tường đá
38. kính màu
39. mái bằng ván mỏng
40. bánh mì cressent
bánh mì xoắn
bánh ngọt nhân mứt
bánh cookie uống trà
lắp đèn cho tiền sảnh
tô súp
khoai tây
táo kẹo
cà chua
bonsai
cam
giỏ đựng rau củ
hộp đựng bánh mì đẩy nắp lên
tủ lạnh
ghế nệm da
giường nệm
lò nướng
giá cắm nến
gối có diềm
chạn bếp cũ
khoan ngang
chụp đèn
ghế ống kim loại
bình tưới cây
bàn rượu mặt bàn cẩm thạch trắng
chao đèn xưa
kệ đựng đồ phòng tắm
bồn rửa chén
giỏ đựng bóng
bàn ăn cũ, nhỏ
giỏ lát bằng kẽm
da
tủ bếp hiện đại
giỏ lát bằng giấy
chồng sách
đồ gồ́m từ giấy
viền gối
rèm cửa
diềm màn xếp nếp
dù
chậu cỏ shamrock
bìa sách chủ đề valentine
cửa bằng kẽm
tổ chim
đèn cầy, đèn chùm
bàn tròn phủ khăn
thay ra giường
mái tranh
giếng ước
an-bum hình
sofa
hạt pha lê, cườm làm lọ nc hoa, đèn
đàn piano bằng cách gấp giấy
xếp hộp lưu niệm/hộp diêm
! lò sưởi bằng đèn led
! đèn bàn hình gấu
! đèn chùm
! đèn đọc sách
hải đăng
đèn treo tường
sách - từ gỗ
chuông
giỏ đựng đồ ăn đi picnic
cây cọ
hònnonbộ
hồ sen
hũ nòng nọc
giả gỗ gụ
giả đá graphite
tường đá
! lều
vườn
kệ trồng hoa
lò nướng
ghế băng đơn giản
mái ngói
cửa tủ bếp
bàn ghế cũ bằng cây khô
chồn hôi
tủ ngăn kéo
ghế văn phòng
ghế bành
vách ngăn di động
bàn làm đồ thủ công
dù cầm tay
ghế bành vua Louis bằng giấy, tiếng Pháp
kệ đựng hũ gia vị bằng que đè lưỡi
chậu cây trong nhà
nón chổi quả cầu ma thuật của phù thủy
! ghế bọc nệm
bánh Jubilee
mũ rộng vành phụ nữ
nấm
hoa chưng bàn ăn
túi đeo vai học sinh
đồ gỗ cũ kỹ
bọc da
váy ba-lê em bé
ghế nệm
lò sưởi
dây leo
vườn
móc quần áo
giường kiểu tủ
ví đầm và nơ
hoa cô dâu
chuồng gà
giỏ đựng quà
bàn trang trí
ly bạc; tô bằng đất sét; đĩa bằng đất sét; chảo bằng đất sét; ly gốm; bình trà
chủ đề Valentine: lọ hoa hồng, nến
khung hình
gương hình sao
đồng hồ treo tường
Trả lời kèm Trích dẫn
Making a Miniature 
1. Start with your floral tape and cut a length about eight inches long. You don't want it too long or it gets in the way as you work. You can always cut more if you need it. Now cut that piece in half vertically. 
2. Take two-wires and bind them together. This is how I start any size of tree -- just two wires. 
3. Repeat the process with the remaining wires. I used 5 x 2-wires and 3 x 3-wires. Always with 3-wires then 2-wires but, generally an odd number of wire; nature likes odd numbers. So I used a total of 19 wires. I don't cut any of my wires off until I am ready to plant the tree. How you want the ends will depend on your planting method. 
4. Now take a double and a triplet set of wires and tape them together. This will form the top of our tree where we want a lot of foliate across the top to emulate nature. 
5. Now add a further branch lower down the trunk, take your pick from your remaining six branches. 
6. And repeat this process again. You can slightly arrange the branches after you've taped them on, but you really want to try to get them in the right position to start with. The right position, of course, depends on the type of tree you're doing. 
7. You now have four branches remaining. As separate items, tape two together twice so you have two larger branches. 
8. Now tape each of the separate branches in turn to the tree. 
9. Now put your tree aside for a moment and get out the artist paste and high pigment grey paint. You only need about a teaspoon of paste; this is why it's expensive if you don't already have it in stock. Because of the amount I use I put the paint straight in my pot, but you may want to put some out separately and colour it. A nice neutral grey should do. Don't over do it to start with; you can always add more paint if it doesn't look right. 
10. You can use the paint straight from the tube, but if you are not used to dry brushing then its best to put a little paint on the brush and use a kitchen/paper towel to wipe most of it off. Brush across the previous brush marks, highlighting the ridges. Be careful to not overload the brush or you will just end up with brown blobs all over the trunk. On a tree this size it will take you around 10-15 minutes to do the dry brushing. 
11. Next we take our polyfibre. You only need about a tablespoon worth for this tree. Tease it out, stretch it into a fine netting. 
12. Now for the messy part. Get your adhesive spray or hair spray. Spray the entire tree either in a contained area, like a box or outside. Spray the tree liberally so you can see the drops on the polyfibre. Hold the tree above newspaper. Sprinkle your foliage onto the polyfibre and it will adhere where there is adhesive or hair spray. 
13. Re-apply as needed. Recover the flock from the newspaper and then give the tree a quick spray over again with the hair spray and leave to dry for a couple of days. I find that this method, which I developed around twenty years ago, gives the transparency of real trees. 
14. Finished bonsai Turner's or English Oak Tree. 
Making a Miniature Cake by 
1. You will need a piece of your burnt umber or dark brown clay, pasta machine or rolling device, the ¾ inch (2 cm) rose cutter, a pin, a cutting blade, and a piece of sand paper (optional). I always work on my ceramic tile so I can transport my work directly into the oven. If you don't have a tile you can bake your cake on foil or a paper plate (it won't burn).
2. When your clay is ready, roll it through your pasta machine to get the air bubbles out. You will want your cake layers to measure about 1/8th of an inch thick ( 4 mm). To do this on my machine I roll the clay through the thickest setting. I cut the clay in half and lay half on the tile. I roll the second piece through the 4th smallest setting, then lay that on top of the first piece of clay on the tile. Since all machines are different you'll have to see what works best for you. 
3. Cut the clay. Your cake layer "should" stick to your tile and not come off inside the cutter. If it does, just try again after brushing some cornstarch over the clay, and dusting the inside of the rose cutter. Brush off any excess cornstarch.
4. Pull the excess clay away, leaving your layer. 
5. Use your blade to loosen the layer from the tile, and set it aside to cool a bit and harden.
6. To make the vanilla layer you'll need ¼ of a bar of translucent. Then break off ¼ of the bar of white, and use ¼ of that. Break off ¼ of a bar of yellow, and use about 1/8th. These proportions are shown in the picture. Mix the white and yellow together. 
7. Take about 1/3rd of the light yellow mix and set it aside. 
8. Condition the translucent, and add the 1/3rd chunk of yellow. The proportion should look approximately like that in the picture. If you have any questions - err on the side of less yellow. You can always add more later if necessary. Mix this well! It is important to remember that when you are going to start working with your white and translucent clay that you wash your hands to get off any of the brown, and any dust. I always dust my hands with cornstarch too, just to be sure all of the dust is off. You'd be surprised what can be on your hands! 
9. You will hopefully end up with a very translucent light yellow. Translucence is very important when making vanilla cakes - too much of the colored clay will make your cake look chalky after it is baked. You'll have enough to make lots of cakes, so store the excess in a plastic baggie to keep it clean. 
10. Proceed as before, you will want the layer to measure about 1/8th inch (4mm) thick. I find that this mix tends to be a bit stickier than the brown, so I dusted the clay with cornstarch. 
11. Cut out your circle. If it doesn't stick to the tile, remember to dust the inside of the cutter with cornstarch. 
12. Remove the excess clay 
13. Dust off the top. 
14. Remove the layer with your razor blade and set it aside for a minute to cool 
15. We're ready to cut slices!
16. Starting with the chocolate layer, cut a slice with your blade. To show off the inside best I try to get a slice about ¼ the size of the cake. 
17. Since the layers will be lined up, you'll want them to look even. Use the chocolate wedge as a template on the vanilla layer to get a similar slice. 
18. Cut the miniature cake layers as shown. 
19. Cut the slices in half to make 2 servings of cake. 
20. Texturing the layers is a little tricky if you have hot hands. You want to try to keep the layer's shape, so hold it very, very gently as shown. If you find the clay is getting mushy and not holding it's shape you can place it in the freezer for a minute. We're not going to worry about fingerprints on the top of the cake because it's going to be covered with icing. 
21. (a)The lazy way of making the cake texture is to press a piece of sand paper against the cut surface. It looks better if you do it the hard way. This method is just if you are in a hurry to complete your miniature cake! 
21 (b) The Preferred method of texturing the cake: is to use a pin to tease up the clay on the cut surface. Be gentle, you don't want it to look like you've obviously stirred up the clay. You might have to go over it a couple of times. 
22. Texture the entire cut cake surface. 
23. Now that the vanilla layer has cooled a bit you can proceed as above. If your cake gets warm and starts to lose its shape, remember you can always freeze it for a few minutes. Remember to hold the clay very gently, and work slowly. 
25. Texture the cut cake slices too. I generally only do one side since I have the slices laying on a plate. 
26.You'll want some crumbs for the cake plate, so use your pin to make some vanilla and chocolate crumbs 
27. Set your layers, slices, and crumbs on your tile and bake for about 15 minutes in your preheated oven. Don't worry about not baking them for the entire thirty minutes (in the case of Premo and Fimo) since they will be going into the oven two more times. We just want to harden them up so we can frost them. 
28. Lets make icing! You'll need a tile, liquid Kato Fimo or TLS, and a lump of white clay - about 1/8th of your 2oz. bar. You'll probably need several craft sticks because you'll most likely break them while mixing (I always do).
29. Start mixing the solid and liquid clay together. If you're using TLS or liquid Fimo it may take a bit more muscle, but it will come together I swear! Kato seems to mix better, which is why it's now my favorite liquid clay. Note the proportions in the picture.
30. Keep mixing! Your clay should look approximately like the picture. This may take a while so don't give up! 
31. If your clay mix looks too dry like mine did - just add more liquid Kato. 
32. I promise that these will mix! just keep mixing! It's worth the wait. 
33. Finally! eventually it looks like this: Betty Crocker's canned icing - best, fluffy, white, and inedible! 
34. Get your cake layers from the oven. be careful! they're hot! Please leave the oven on. Let your cakes cool off before adding the icing, because if you don't (like a real cake) it will melt off. Using a toothpick (cocktail stick) take a bit of the icing and spread it on top of one of the layers. We're doing the middle layer only right now. 
35. When your layer is completely covered (don't worry about making swirls now) 
36. Carefully put the top layer on, make sure they are even, and set them on your tile to bake. 
37.Be sure to ice the centers of your slices too. Set them on the tile. 
38.This is how your miniature cake slice should look like!
39. Optional: Making miniature chocolate roses
40. Remove the excess clay. 
41.We're going to start with tiny roses. Using your razor blade, cut some of the circles in half. Use your razor blade to remove the halves, and arrange three halves as shown in the picture on your tile.
42. Use your razor blade to remove the chain of three clay halves and carefully set them on the tip of one of your non-dominant fingers.
43. Follow the arrows in the picture. just loosely roll the clay over itself. Make sure it is loose - if you've rolled too tightly just throw that one away and get more. 
44. Follow the arrows in the picture again. 
45. Your little rose should look something like this. I've outlined the petals just so you can see them better. Crimp the bottom between your fingers to hold everything together. 
46. Use a toothpick (cocktail stick) or a finger to gently tease the petals. That's it! Make as many as you wish.
47. Bigger Roses: Take one of the whole circles. Remember, if it's not as thin as you want it, just squash it with your finger before you use your blade to remove it from the tile.
48.Place the second circle on the core, making sure that this petal is slightly higher than the center as in the picture. 
49. As you add petals, be sure to go in the same direction each time, slightly overlapping each one, and placing them each a little higher than the last. I outlined the petals for you to hopefully illustrate this. 
50. Continue to add petals, remembering the rules above. 
51. You can start to flare your petals a little at this point. Use your fingers, a toothpick, or a pin to gently flare them out. To get that little point in the petal I use two fingers - I hold the rose in my left hand and use my thumb and index finger to make the flare. 
52. Continue to add petals and flare them. You can add as many petals as you wish, just make sure your rose is relatively symmetrical. When your rose is done, just crimp the bottom into a point with your fingers to seal everything. You can make as many roses as you wish - if your first roses look squished, don't worry - just keep practicing. This is one skill that the more you do it, the better you'll get. 
53.The finished rose effect
54. Back to the Cake
55. Using a toothpick (cocktail stick) spread the icing on the top of your cake. 
56. Spread the icing over the entire top - making sure that the icing doesn't drip over the cut or textured surface. 
57. Put enough icing on so you can play around and make some swirls. Put your cake back on the baking tile. If you want to add some of your roses you can do that now 
58. Time to ice the cake slice
59. You'll want to ice the top and side of your slices now too!
60. This is optional!! If you have a bowl handy you can make yourself a messy icing bowl. Just add some with your toothpick - stir it around, and drip some over the sides. If you have a spoon you can add it now too. 
61. Optional
62. A simple way to start is to just squirt some straight lines of icing on the tile to see how the syringe feels. When you are comfortable, just wipe them off. To make a line of "connected dots" that you can put on the edge of a cake start by gently pressing on the syringe plunger then releasing. Press on the plunger gently to make a small dot, release the pressure, then move the syringe a tiny bit to where you want the next dot. Try to make a line of these as illustrated. 
63. If your hand shakes, stabilize the glue syringe with your other hand. This will make it much easier to control where the icing goes! Continue to practice making lines of connected dots - if you're having trouble -practice. I'm still not super good at it either, but I can fake it well enough When you're done, just wipe off your tile. 
64. When I'm decorating a cake I hold the syringe like this. You should do whatever is most comfortable for you. 
65.You can use this technique to decorate the bottom of your cake. 
66.Professionals use a turntable to pipe icing on big cakes. You might have a tiny one that you can use, but I don't so I had to come up with my own "spinner'. Take a chunk of scrap clay and attach it to the bottom of your cake as shown. Stick a toothpick into the bottom of the scrap clay to use as a handle. You can hold this in one hand to slowly spin your cake, while you pipe icing with the other. 
67. Practice making a line of dots on the top of your dummy cake (if you made one). Just remember that since this cake is baked, if you mess up just wipe it off and start again. 
68. If you're having problems piping the cake: 
69. Use a ball ended tool or a blunt toothpick to attach the snake to the bottom of your cake in sort of a zig zag fashion - poke the clay near the bottom edge of the snake, then near the top edge to make a "ruffle" 
70. Continue icing all the way around. 
71. closeup of cake icing texturing
72. Resume making the cake
73. Using the toothpick, ice the sides of your cake - make sure you fill in any uneven spots where the layers come together.
74. When your cake is finished you can pipe decorations on it, or just leave it plain like I did.
Making Miniature Leather Shoes 
1. Start with a "shooter marble" large size ball of clay. I have used a half and half mix of Premo's Burnt Amber & Premo Gold. Mix and condition your clay. 
2. Here is the clay ball, after being mixed and worked to condition it. Conditioning the clay evenly distributes the plasticizers in the clay and allows it to be more elastic, easily workable, 
3. Divide the clay ball in half. 
4. Now divide these balls into half again. You should now have 4 smaller balls of clay. Set two of the 
5. Using one of the remaining balls, form a basic foot shape. You can make a paper template to help you 
6. Here is a picture of the craft needles that I use to sculpt. You will need the sharp and largest blunt needle pictured for this project. 
7. Use the sharp tip needle to etch a line around the shoe shaped piece of clay. This will create the sole of the shoe. 
8. Use a blunt tip needle to indent the opening of the shoe. 
9. This is what your shoe should look like so far. 
10. Using another of the marble sized balls, pinch off two (2) large pea sized balls; then two (2) smaller pea sized balls. You will have a small remainder scrap piece left. 
11. Squash one of the smaller balls flat (about 1/8" thick) and flatten one edge to form a heel shape. 
12. Edge view of newly formed heel. 
13. Gently press your newly formed heel onto the sole of the shoe, being careful to not press too hard or you will squash your shoe top. Maintain the heel shape by gently reshaping the heel with your finger or the side of the one of your needles as you seal the clay pieces together. 
14. Bottom view of the heel attached to the shoe sole. 
15. Using your sharp tip needle, make multiple scores along the side of the heel, pressing gently/slightly toward the shoe. This will serve a dual purpose: 1) this will seal the heel to the shoe and 2) add texture to the heel. 
16. Soften the marks on the edge of the heel by gently smoothing it with your finger. 
17. Hold the shoe by the sides at the heel end with one hand. Make a small indent in the side of the shoe, in front of the heel. Redraw the sole line if you smudge it. 
18. Use the remaining small pea sized ball to form the shoe tongue. Squash the ball flat and elongate the piece into an oval shape. It should be approximately 5/8 inches long by 1/2 inch wide. Place it on the top of the shoe. 
19. Use the side of your sharp tipped needle to make two (2) indents across the toe end of the shoe tongue. 
20. Side view of the shoe so far. 
21. Use your finger to curve the shoe opening end of the tongue slightly upward. Smooth down both sides of the tongue, pressing gently to seal it to the shoe sides. 
22. Divide one of the remaining pea sized balls in half. Squash one of these smaller balls flat and form a triangle shape. 
23. Then gently flatten the top point of the triangle. The triangle should be approximately 1/16 inch thick (or less, get it as thin as possible). It should measure approximately 1/2 inch across the longest flat edge (bottom side) by 1/2 inch from the flattened tip top of the bottom edge. 
24. Place the clay on the shoe, with the longest side on the shoe/sole seam line. The front should end where the toe side of the shoe tongue ends. The back should end where the tongue starts to curl upward at the shoe opening. 
25. Front view illustrates where the piece should be in relation to the shoe tongue. 
26. Another view of placement. 
27. Fold the clay piece down over onto the top of the shoe. Press the edges gently onto the shoe. Use your sharp tip needle to trace a line 1/16 inch along the outer edge of the clay side piece. 
28. Repeat this step for the other side of the shoe using the remaining 
29. Use your sharp tip needle to poke holes in the shoe for the laces. 
30. Use your sharp tip needle again to etch a line in the clay from the tongue side of the shoe opening around the back tot he other side of the shoe. 
31. We are ready to add color depth to the shoe using art chalks. 
32. Use the side of your sharp tip needle to make small lines at wear points on the shoe. This will give the shoes a lived in look once the chalks have been applied. 
33. Lightly brush dark brown and black chalk into the creases and across the wear marked areas to give the shoes the patina of real leather. 
34. Use the black chalk to darken the sole and heel areas of the shoe. 
35. Now bake your shoe according to the clay manufacturer's recommendations for the type of clay you are using. My shoe needed to bake for approximately 40 minutes at 275 degrees. 
36. While the clay is baking, separate out a single strand of embroidery floss to use as a lace. 
37. You can use e6000, Aileen's Tacky glue or any super glue to attach the lace strands onto the shoe. Have several sharp toothpicks handy for this step. 
38. Cut several short lengths of the floss thread. Apply a little glue to one end; using a sharp toothpick poke the end of the thread down into the pre-drilled lace hole in the shoe. Measure the distance to the opposite heel and trim the thread to length. Apply glue to the remaining lace end and poke the tip into the corresponding lace hole. Tie a bow with a length of the floss thread and apply glue to the back of the bow. Attach the bow to the shoe. 
39. You have now finished a laced leather look clay doll shoe to display in your doll house. Repeat the same steps to make and finish the other shoe now. 
Making a Miniature Lampshade 
Close-up images of materials needed.
1. Click enlarge image, then print the following lampshade template on cardstock. 
2. Click enlarge image, then print the following harp template on cardstock. 
3. Score the lampshade template along all black lines. 
4. Using the Glue Stick, glue the back of the lampshade template to the back of your decorative paper. 
5. Gently fold along score lines toward the template side to form the shade. 
6. Apply glue to decorative side of Tab A, then glue to the inside of Tab B 
7. Cut harp from cardstock along red lines. 
8. Using the needle tool, poke a hole through the center of the harp. 
9. Score harp along black lines, then bend harp points down along score lines. 
10. Insert the toothpick into the hole in the center of the harp. Stick it through about 3/4" and glue in place. Put a small dab of glue (Aileen's tacky glue works best) on each point of the harp. 
11. With the points of the harp pointing down, insert the harp into the shade, gently pushing the glued points against the inside of the lampshade, making sure the harp sits evenly against the inside of the shade. 
12. Glue bead onto point of toothpick. 
Learn To TapeWire 
Close-up images of materials needed.
1. You will need to decide where to place the junction splice. The junction splice is the connection between your roombox and your real life wall socket. Where you decide to place the junction splice will determine where the cord to your power switch will be. 
2. Plan where you want to place your light wall plug, pencil an "X" to mark the spot on the outside. 
3. Once you've decided where you'd like to place your lights and your junction splice and have marked both places, you can begin to layout your plans for tapewiring the roombox. Using your pencil begin drawing a path from the junction splice area to the first side edge of the roombox or dollhouse. 
4. Continue around any corners; maintain the straight lines with as few turns as possible, for you will need to make a connection at each turn. 
5. Continue into the room, still in a straight line as indicated. 
6. Draw a circle where the lines turn. This will be important later on. 
7. Determine where you want to install the wall plug. Mark the location with an "X" that will identify your inside plug. 
8. Once you've drawn a path you can measure each straight line. 
9. Cut a length of tapewire at least 2 inches longer than your measurement. This will give some room for error. 
10. I usually cut mine 4-6 inches longer as it will help if there is a knot in the wood and I need to pound a nail into a different spot. Remember, the tape will go over corners, as long as it is laid in a straight path. 
11. Once all the lengths have been cut, remove the paper backing from the first tapewire and place the tape as smoothly as possible onto the first corresponding path drawn in pencil. 
12. Remove the backing from the second length. Remember where two pieces meet, cross them in a perpendicular manner one over top of the other. These will be your connections and will be addressed in later steps. 
13. Remove the backing from the third length. Again, remembering to cross the tape over the last length. 
14. Remove your transformer from the package and lay it plug side up on the table. Each transformer is a bit different, but they all work the same way. 
15. There are two screws on the transformer and we need to loosen them (but not remove them!) using the screwdriver. 
16. Remove your lead-in switch from the package. 
17. This switch has two ends, one with a pair of dull pins (that look like big needle ends) and one with a split wire with two arm-like pairs of prongs on it. We're going to be using the end with the prongs. 
18. Slide the left prong under the loose screw and then tighten the screw using your screwdriver (if there is a slant, make it so the wires slant upward). 
19. Slide the right prong under the other loose screw and tighten. 
20. Now it is time to use the junction splice. The dull prongs on the end of the lead-in switch wire are the prongs that connect into the little holes in the side of junction splice. The junction splice should come pre-packaged, attached to a piece of Styrofoam. Be careful when removing it from the foam, the prongs underneath are extremely sharp. 
21. There is a small screw in some junction splices; loosen if you do have a screw in the splice. Make sure that the splice is facing the direction you would like, as the two holes in the end will connect to your transformer. Now place each prong over one strip of the tapewire, one prong into the blue coloured strip and one into the peach coloured strip. 
22. Push firmly on the junction splice and the prongs will sink a bit into the wood. Only use finger pressure at this stage, do not hammer the splice into the wood yet. 
23. Remove your Test Probe from the packaging and take off the cap. Once again, two very sharp prongs are exposed so please be careful. 
24. Insert the prongs into your first strip of tapewire in the dollhouse or roombox. Place them just like you placed the junction splice, but a bit further along that same exact piece of tapewire. 
25. Plug your lead-in switch into your junction splice (I have removed my junction splice in the photo to make this process more visible). 
26. You will be able to plug it in without removing your junction splice, but if it falls out don't worry, you can always push it back into the wood). 
27. Plug your transformer into your real life wall socket or into your extension cord. 
28. Flick the switch on the lead-in switch wire to turn it from on to off and on again. 
29. If the test probe light is blinking, your junction splice has been placed well enough to make contact with the tapewire. 
30. Now that the test probe is lit, unplug the lead-in switch from the junction splice. Use your hammer and center it (lightly) onto the junction splice to hammer it in. If your junction splice has a screw in it, you might wish to remove it before hammering the splice into the wall. Put the screw back in later for added stability. 
31. Now is the time to use our all-important brad tool, and this is possibly the most frustrating part of miniature lighting. Don't get discouraged, it may take a little while to get it right, but the most important thing is we've got power in our dollhouse already. 
32. Unplug the lead-in switch again. Remove the Test Probe. Gather a brad nail and your brad tool. 
33. Take a brad nail and place it between the prongs on the brad tool. 
34. Push the brad nail into the area where the tapewire crosses paths. Blue crosses blue. 
35. Press down firmly, the brad nail should partially sink into the wood. 
36. Carefully slide the tool back away from the brad. 
37. Pulling back too quickly or too hard will pull the brad out. 
38. Hammer the brad in the rest of the way. 
39. Retrieve another brad. This time you will be pressing the brad into the copper/pinkish side of the tapewire, directly opposite diagonally. 
40. Hammer the second brad in the rest of the way. 
41. Now you have two brads inserted into the tapewire. Electrical current is broken at piece of tapewire; inserting the brads as shown, conducts electrical current. 
42. Retrieve the test probe. Insert the probe a little ahead of the inserted brads, directly into the tapewire. Plug in your lead-in switch and toggle it from off to on again. 
43. Unplug the lead-in switch again. Remove the Test Probe. Move up to the next tapewire crossing. Repeat steps 33-42 above. 
44. Now you have two brads inserted into the second tapewire crossing. You have tested the electrical current with your test probe on one side, now test on the other side. 
45. Remove a wall plug outlet from the package and choose a place where you'd like the outlet for the table lamp to be. For example, you may wish to pound this in close to the place where you'll be placing a miniature table. 
46. In order to test the wall outlet connection as we place it, please turn on your transformer and then plug in a miniature light into your wall plug outlet. 
47. The wall plug outlet works almost exactly like the junction splice does. Each prong goes into one color of the tape. One prong goes into the blue, one prong into the copper/pink side. Press the wall plug outlet pins up to your tapewire (do not push at this stage) and the light will light up. This insures that you have made good contact before moving forward. 
48. Remove the light plug from the wall outlet. 
49. Press the wall outlet in as far as you can with your fingers. 
50. Retrieve your hammer. 
51. Gently hammer the wall outlet into the wood. Hammering too hard can break the wall outlet. 
52. Once your wall plug outlet is inserted into the tapewire, plug the miniature light into the wall plug outlet. It should light up. 
53. Remove the plug from the light wire, either by cutting the plug off or you can pull out the plug-in pins. This will leave you with two-wires. Strip each wire on your light. 
54. Retrieve your eyelet brads. 
55. Wrap each set of wires around an eyelet. 
56. Identify where you want to place your light fixture. Then insert the eyelet the same way you would a brad nail. One on each side of the tapewire. In this picture, I am placing it closest to the camera for ease of viewing. 
Learn To Make 
Close-up images of materials needed.
1. Enlarge pattern image (its going to appear large, you'll need to scroll to close the image). Copy to your computer, right click, save image; then print out in any size you need. 
2. Begin by cutting the heavy wire, bend it to follow the pattern's main stem. This is the part of the wing that will go into the fairy's back. It gives good support and superior strength. 
3. Continue cutting the other or veining wires, bending them to follow the curved lines in the pattern. 
4. It's important to make sure the wires lay flat. I cut the wires for both wings at one time and lay them out in order. 
5. Cut two pieces of the Fantasy Film and tape them down on top of your pattern. (I used Spring Morning Fantasy Film, although you wouldn't know it by the colors my camera picked up). 
6. Holding the wires with a tweezers, apply glue to the underside of each wire. 
7. Carefully place the wire with the glue onto the film, following the pattern. This can be a bit touchy, you don't want to get excess glue on the film if you can help it. Try to butt the cut ends up against one another. This will give the wings a finished look. 
8. As the glue is setting up, press down on the wires to make sure they have adhered evenly. 
9. One side is done! Now repeat Steps 2-8, for the other wing. 
10. Add an extra bead of glue where all the wires come together with the main stem of the frame. This will help strengthen and reinforce this area. 
11. Allow the glue to dry thoroughly. This will take a couple hours at least. 
12. Once the glue is completely dry, cut around the pattern, leaving about 1/4" extra film around the edges. 
13. Now here comes the fun part! Now for the shrinking of the film and that all important votive candle!!!!! 
14. Hold your hand over the flame to see how high your hand has to be before you feel the heat. Judging by that distance, hold your wing over the flame, about 6 or more inches above it. Holding the wing flat, move the wing around quickly, and watch the film tighten against the wires! 
15. Raise and lower the wing to see the colors explode! You will also be able to see where a hole is going to form, first the color becomes very intense, then the hole forms. As I was holding this wing with one hand and trying to take a photo with the other, two large holes appeared, just that quick! Oh well, I'll have to try to match them on the other wing! We must be creative! 
16. To sear the edges along the wires, you can go very close to the flame, drawing the edge of the wing along the flame. Be careful not to scorch the wires, however. Go over it twice, rather than too much the first time. To shape the outer jagged edge of the wings, hold them upright and perpendicular to the flame. 
17. Raise the wings up and down to form the jagged edges. 
18. Again, go over it twice rather than melt too much the first time. 
19. Lay the wings out and check for symmetry. They don't have to be exact, but close is good! See the holes? I tried to match them as much as I dared! If you melt away too much it does affect the look of the wings. I try not to do that. You might have to start over, so go slowly and be careful. 
20. Another view to determine wings symmetry. 
21. I did a little more melting of the edges to make them more uniform. 
22. Now to seal the wings. This step serves two purposes. Most importantly, it bonds the wires to the film and it adds strength to the overall structure of the wings. In this step I used clear Gallery Glass, but you can also use 3D Lacquer. You want to be sure to use a product that will stick to the film. Some varnishes won't. Do a test if you are using something other than what is suggested here. 
23. Brush the product on the wired side of the wings. Be sure to have a good deal of the product along the wires. Let it pool there. This will hold the wires securely. Keep in mind that 3D Lacquer dries much more quickly than the Gallery Glass. 
24. To speed up the drying time of the Gallery Glass, I placed the wings on a ceramic tile and then suspended a reflector light and 100W bulb over them, (see note below). There is about 8" of space above the wings. They dried in about three hours. The ceramic tile helps to distribute and hold the heat. Drying without the light can take 12 hours or more. 
25. Apply a heavy bead of glue along the main wire. 
26. Place glue on both sides to cover completely. 
27. Quickly sprinkle glitter or microbeads on the glue. You can add glitter to some or all of the other wires if you wish. 
28. Tap off excess, and place upright to dry. I stick the wires into a piece of styrofoam and set aside. 
29. Finished wings, dry and ready for use. 
31. Completed wings on my fairy sculpt! 
Learn To Sculpt Hands 
Close-up images of materials needed.
1. Make two balls of clay, the same size. Use a ruler or calipers to match them up. 
2. Flatten the balls into ovals. The ovals should be about half the size of the figures face and be slightly wider on one end. 
3. The narrow end will be the wrist, the wider end will be the hands. 
4. Pinch and twist the corners on the wide end into gently tapered cones, these are the pinky and index fingers. Compare them to each other. 
5. Pinch some clay off of the wrist end and roll it into tapered cones that will become the middle and ring fingers. 
6. Place the fingers on the back of the hand. 
7. Blend the fingers into the back of the hand using gentle stroking motions. The convex side of any spoon shaped tool will work for smoothing. 
8. Turn the hands over and blend the fingers into the palm of the hand. 
9. The clay is probably getting warm and is easily dentable now, so be careful! Using a spatula tool blend the clay in between the fingers to hide the seams. 
10. Smoothing out the seams can deform the hands, so reshape the palms now if you need to. 
11. Check the fingers to ensure that they are in proportion to each other. If fingers are too long or too thick, take your hobby knife and trim a bit off the ends. Roll and twist the tip back into shape. 
12. Compare them against one another to ensure that the palm and fingers are the same length, width and thickness. 
13. Pinch some clay off of the wrist end and roll it into a blunt cone. Attach it near the base of the palm. Blend the thumb into the palm and the side of the hand in the same manner you blended the other fingers. Reshape the hands if you deform them during the blending process. 
14. Take your needle tool gently draw the fingernails into the tips of the fingers.
15. Primp the fingertips to make them tip up towards the fingernail. Correct the fingernails if you distorted the details. I usually use a needle tool to scribe the lines in the palm of the hand and along the underside of the fingers. It is easy to go overboard and make pruny hands instead of pretty smooth hands, so moderation is the key! Use you own hand as a reference. 
Learn To Sculpt feet 
Close-up images of materials needed.
1. Make two balls of clay, the same size. Use a ruler or calipers to match them up. 
2. Roll the balls into rods. 
3. Flatten the end of the rods into blunt fans. Be sure that the heels are thick and round and that the toe end of the foot is thinner. 
4. Compare the feet by holding them together and checking them from different angles. 
5. If they lack symmetry use your hobby knife to trim them until they match. 
6. Use your thumb, or a round ended tool if you are making a smaller scale to push in the arch of the foot. 
7. Another angle of the arch. 
8. Place the feet with the bottoms down and the toes toward you. Using your hobby knife, slice the toe end to create three even toes. Now divide the two toes toward the small toe in half again. This is a nice easy way to get proportional toes! 
9. Using a loop tool, carve a groove on the bottom of the foot from the big toe clear out to the pinky toe. 
10. Roll the toes between your fingers until the are round and blunt. Let the foot spin around as you roll the toe to prevent it from breaking off. 
11. Check the toes to ensure that they are in proportion to each other. If toes are too long or too thick, take your hobby knife and trim a bit off the ends. Roll and twist the tip back into shape. 
12. Using a needle tool or a ceramic cleaning tool create the creases and wrinkles on the bottom of the foot. 
13. Using a needle tool or a ceramic cleaning tool or a clay shaper or whatever create the little "Y" shaped wrinkles on the top of the foot between the toes. Also be sure to broaded the side of the foot near the pinky toe by gently pinching the clay there. (You can see me pointing to this with my clay shaper). 
14. Take your needle tool, clay shaper or stylus and gently draw the toenails onto the toes. 
15. Almost finished!! Using a stylus or knitting needle draw the tendon onto the top of the foot. 
16. Use your blending brush soften the details on the foot until they look natural. Don't over do it or you will blend away all of your work! Correct the toenails, if you distorted the details. 