However, making a database to catalog my beads, is overkill. At the end I would have something that could be utilized for (at least a section of) a small bead shop. Do I really want that? No. Not unless I want to be the Inventory Manager for a small bead shop…which I have thought of…
I have, however, thought of taking the label-maker and labeling different storage areas. It would be a step in the right direction. Then, when I separate out beads into these areas (as with the kits I occasionally create), I can note which drawer they’re in, or something. That way, when I’m looking for a specific tube of beads and I know it’s in a kit, and I don’t remember where I left it, I can look back at my records and the last action date, and it will give me a place to begin looking.
The major issue I can see right now is not having recorded (or even, sometimes, not even having the data to record) the descriptive information on each type of bead I have. This collection dates back to the 1990’s, so it’s likely that there is data that has been permanently lost (particularly price, initial quantity, and color name), because I didn’t think it mattered.
I guess I could remedy this by making a numerical Item ID field (with information correspondent to a record on each bag or vial…reminiscent of what I’ve seen in use, in bead stores, and in my library), but somehow that also seems to be overkill…
And I find myself going off-track with this stuff. I was on a roll until I tried to bring Information Science into it…whereas I think I was good before, because I was doing what I wanted to do (making jewelry), not what I thought I was supposed to be doing (organizing).
Anyhow, I still need to re-pot my Dwarf Umbrella Plant, and clean my bedroom and my office. It’s not like I really want to do either of the latter two things, but it will help. I’ll just have to take (yet another) shower, tonight…though if I bind up my hair right now, it will be much easier.
I should also remember to look at my records here, if I find myself without any idea of what I should be doing…
Today has been full of organizing things, though most particularly my art stuff. While I was doing that, I found the majority of the 2-D work I did that still speaks to me, was done in ink, or in paint. I also did a major rearrangement of my flat storage and of my bead and craft storage (though I just now realize that I didn’t touch the papercrafting section, or anything that had to do with metalwork).
I’m getting rid of a bunch of art from Community College and before, which isn’t portfolio-quality…and to be honest, I’m not going to miss most of it. Basically, a lot of it just records my growth (or was, at one time, a medium for it), and has been taking up space in my flat storage. Having so much stuff just taking up space, I think, has led me to the point of thinking that I’ve already done what there is to do…which is not a mindset to cultivate, in the Arts.
I realize now that I love color — more than that, I love solid color, and the character it gives things. That seems to peg me as more of a painter than someone into drawing, but as I think I’ve mentioned before, drawing organically led me into painting (as I realized the limitations and encumbrances of drawing, and dry media).
At this point, I’ve got to wonder if transparent watercolor will lead me into acrylic (I’ve done work in both, and acrylic enables more spontaneity, for me, as opacity is achievable). However: gouache is a step between the two (Acryla Gouache moreso), and the working methods between transparent watercolors and gouache aren’t even similar. That is if I could be said to have developed a working technique for gouache, which I’m doubting, at this point.
I’ve decided not to work in oils for now, though water-soluble oil paint would be a first step. (Yes, it exists.)
The thing is, dealing with shape and fields of color, as versus line and mark exclusively, is a newer thing to me than drawing, and so I can start with a drawing and then add color, and the effect is not really like the monochrome that it was before. I’m not entirely sure what to do about this, but I’m thinking it’s a point to grow on. The benefit of using transparent watercolor is that I can still let the underdrawing show through. Gouache doesn’t allow this, unless the painting is approached very delicately, from the start.
In regard to acrylics, though: I’ve also discovered that I have a good number of boards (hardboard, canvas board) to practice on — they just need to be gessoed over, and I can use my acrylic brushes from the Art program. I also have a couple of stretched canvases.
Do I know what to paint? No. I think it will have to develop organically: but I can start with still-lifes of flowers and produce. Or, I could do some throwaway graphite sketches in my cheap paper sketchbook, and see if anything comes up.
I’ve also got to hang a bunch of my work, though. That way, it can stop living on my bedroom table.
Today, I also resolved to make better use of the miniature sets of drawers that I’ve gotten. I’ve re-labeled what I could. I also refilled a couple of pens, which oddly enough haven’t clogged yet from non-use; and generally just put stuff away.
The types of beads which are more useful than others have also been getting clearer to me. For example, I would use Long Magatamas for kumihimo braiding (which is why I originally got them, before I realized that beaded kumihimo is difficult when you don’t know what you’re doing) — or maybe bead crochet (though I haven’t tried bead crochet with Long Magatamas yet); but because their holes are so large, I find them less well-suited for beadweaving, as they remain loose and relatively mobile. Because I dislike the aesthetics there, I may want to move them out of my prime storage areas.
I’ve also realized the utility of cheap paper sketch journals. I have one from a while back which I began to fill with sketches of imaginary flowers, including — I now realize — a set of remembered Alstroemeria sketches (I love Alstroemeria!) with the round and narrow petals reversed. It isn’t that the drawing is aesthetically unpleasant; it’s that it’s anatomically incorrect, like if you drew someone with legs for arms and arms for legs because you were unfamiliar with human anatomy. The people could even seem beautiful to an observer who also didn’t pay attention to human anatomy… ;) …and I’m having flashbacks to the Mannerism topic in Art History…
Probably, though, I shouldn’t let that stop me from drawing. The feeling was there, even if the accuracy wasn’t.
I’m actually kind of surprised at the effect I can get with just a pencil and paper…
I still have a lot more cleaning and organization to do, particularly where it comes to the bedroom and office. I also found a bunch of journals. Apparently I have a trait of making a new journal every time a sufficiently new topic arises. Like, I have a journal for rough drafts of blog posts; I have a journal for note-taking when reading nonfiction; I have a journal on jewelry design ideas, and one on things I learn while making that jewelry, etc.
Yes, I spent at least 20 or 30 minutes tonight looking around for a vial of Crystal Celsian MiniDuos that were right in front of me, on the table. DIS-ORGANIZED. Or maybe just absent-minded. (Google “Crystal Celsian” to see photos of this surface treatment; it’s basically a light transparent gold.)
I’ve recently been dealing with the use of specialized bead shapes — SuperDuos, MiniDuos, 3mm Magatamas, 3x4mm Drops, O-beads, and Miyuki Spacer Beads (as versus Toho Demi Rounds, which is what I thought I had, last time I wrote).
I believe that I’m becoming interested, now, in more and different things, than the main design I worked out last. I suppose I did make two samples, one trial and two final versions…though I need to replace the clasp on one (the blue one), and I have identified at least one more colorway I could work through. Well, two: one in rose and green (like the second sample I made), and one in magenta and teal.
Yeah, that sounds kind of close, but in one, the pink dominates; in the second, the teal does. Right now, I’m interested more in the dusty rose one, as it looks less like a daisy chain than I believe the teal one may work out to appear. It has to do with color placement.
I should note the C-Lon colors I used in the previous three; the first two (Capri Blue 6/0s plus 4mm Green Iris fire-polished rounds) were “Eggplant”; the third was “Persian Indigo”. That’s in case I need to replace these spools, if the colors are still being made. The color was on a sticky band on the outside of the spool — designed for identification among many similar spools — not designed to be kept.
I’m trying to figure out a scalable method of reliably storing these things, and figuring out a way to keep notes on what I would otherwise keep together in a kit for future use. The disadvantage of kits is the fact that when something’s stashed in a kit (like a vial of SuperDuos I was looking for tonight), it’s not findable — unless there is a designated place for that kit. Like a special, labeled drawer.
Right now I have a toolbox with — well, tools — but it is not large enough or organized enough to reasonably take my beads.
I’m thinking of putting what I can, into my flat storage. There’s not much point to my keeping my flat archives in that space and losing the use of it, when I could be putting actively used materials in there. There is the fact that if I did get a job in an Academic Library, and did go into making art at the graduate level, I might want some of this stuff as portfolio material (if I tried to get into an MFA program). But — not everything is portfolio-quality material.
At this point, I know that it would be best to store beads of the same shape and size, together. When I was younger, I mostly collected size 11/0 beads; they’re about 2mm long (smaller sizes have higher numbers; thus, 15/0 is smaller than 11/0, and 8/0 is smaller than 6/0). This is…very small to me, now. As an 11-18 year old, 2mm is fine. As someone whose eyes are aging, it’s not the size I want to work at, unless there actually is a reason for it.
That makes me sound kind of old. Not that there’s anything wrong with old (I prefer myself at this age to myself with less experience and understanding), but still. I’m watching everyone around me aging, and I’m physically aging, as well. What I mean, partially, is that when you’re small and your vision is better (like when you don’t routinely get eye strain and unclear vision from not wearing your glasses), tiny beads don’t seem so tiny.
Mostly, when I’m working with micro-macramé, I’m not going down to 11/0 size beads, even though it is possible with standard C-Lon cord. A lot of that is just a convenience factor. When being threaded, 11/0 beads tend to flex the C-Lon and then launch onto the floor, where they bounce and roll and get underfoot: that’s a risk of broken glass, if they’re lost. Beadweaving with 11/0s is a different matter, mostly because it’s a very different process; needles don’t spring the beads away. (I draw the line at sizes smaller than 15/0. [I wonder what it would be like to be nearsighted–!])
I’ve done a lot towards the end of organizing vials and hanks of beads, moving through storage solution after storage solution. First it was plastic shoeboxes; then milky plastic stacking organizers; then tubs from IKEA; then free-standing vial holders (which are still useful); now clear drawers and sampling vials (also useful). The major issues are the fact that most of these storage solutions are temporary, in that they stop being available; and that the level of use of each of these sizes and colors and shapes of bead really should have a say in how I store them.
I’m just not sure how to implement that — especially as mixing the beads up encourages “happy accidents” which would not otherwise occur. There’s the possibility of building a database…which I’m probably more prepared to do than most people, but that’s — seriously! — a lot of thought and a lot of work.
I also don’t know if I can reasonably reformat a database that I create and then can’t properly delete (this has to do with table dependency…not to bore you with the details, but tables [think spreadsheets, but fragmented according to purpose, and more organized] must be created and deleted in proper order to make sure things will function or be deleted properly, or that a table can be created without error, in the first place. This is part of relational database design and implementation, one of the only classes to recently frighten me).
The possibility of using a purchased database system (right now, I’m thinking of Access, because it likely natively integrates Excel tables; but Access likely doesn’t look as good as, say, MariaDB, in a tech environment) has occurred to me, but the cost there is even more prohibitive. There are likely one or more free and/or open-source solutions that don’t involve cloud storage (I’m looking at some, now), but I’d have to be on top of my programming and querying skills to actually make that work.
I could do it. I just don’t want to (right now), because I’m not confident enough. It would be something that would make me a good candidate for certain jobs, though…
Then there is the question of what to do with the nine left-over beads from the 1990’s (fashion faux pas?) which I just used in a bracelet, or the eight rondelles that are taking up space in their own vial which is way too big for them, but the tiniest I have. I’m heavily considering moving back to tiny baggies; the environmental impulse in me just hates it because I know all plastic eventually disintegrates, and there’s no saving tiny baggies that shred from age. They have a lifespan — after which, they’re useless and basically just choke sea life.
Of course, there’s also the question of what to do with your vials, once the lids begin to crack and smell and decay. It’s not much better. At least the baggies don’t give off volatile compounds when they get old…
Right now I have six sets of clear plastic drawers (one here is empty; the third, I just began to use; the other two — I don’t recall what’s happening with them. Oh, right. One of those has hanks of Czech seed beads; the other has unique-to-the-collection beads, like multi-hole beads that wouldn’t fit with the other Czech glass). There are also at least four sets of small vials in transparent cases. I mostly use the latter as a way of visualizing color combinations, and have been using the beads from the vials. I have not had to refill one yet. I’ve also been reusing older, now-empty clear vials that came with purchases, which are still functional.
I guess in this age, mitigating waste is a better option than mindlessly throwing things away. It would just be nice if there were a convenient, inexpensive, transparent, and scalable design solution that involved something that wouldn’t outlive me.
But yeah, I just described plastic…and the main drawback to using it. I’m confident something will eventually be developed, but it’s not here, right now.
Well, tomorrow I have three main things to look for at the bead store, and one optional:
brass toggle clasp
clearly green drop beads (3x4mm)
green SuperDuos or MiniDuos.
(optional) brown fire-polished beads
I think I can get the rest of it through other sources. I’m seriously considering selling, again, if not looking forward to, or planning on it…
…and none of this is going to help the fact that making designs that are actually creative and unexpected, comes only from getting a bunch of stuff out so I can see it all at once. (“Yes, a bracelet came from this disaster zone. Why?”)
I have photos of my new storage system today, as I wanted to do something which wasn’t…academic, anymore. I have also been looking around at retailers, online.
I know certain things I need for at least one project, but right now I’m trying to figure out from whom to get them. Factoring into that is the selection the retailer carries, and what extra things they carry that I won’t be able to source elsewhere.
Also, a detractor is the fact that some bead retailers do not say which company manufactures a specific color or finish of bead. Fortunately or not, at least one of these companies has the widest selection of rocaille (round) seed beads I have ever seen. That’s great in terms of selection, not so great in terms of design.
I’ve also bought from this vendor, before, and there is the question of whether the manufacturer even matters, if I was okay prior without knowing the manufacturer (when buying from a local bead store), and if I’m okay with swapping out bead colors just because of those beads’ dimensions.
Above is a photo of what I’m most likely to use in size 6° (also alternately notated, 6/0, which you may start seeing me use if I get tired of the “°” special character. I should probably just memorize the ASCII code). Most of them should be sourced from the Czech Republic, but some of the newer ones are Miyuki brand — which, I’ve noticed, don’t quite appeal as well to me, aesthetically speaking. They’re just more rectangular and less oval, in profile.
I’m thinking that it’s not as great for RAW (Right-Angle Weave), where the beads need to nest together. I question how they would look in Herringbone stitch, as well…but the most practical way to find out, is to try.
I also have two vials which I know are Toho 6°s, which are the light pink silverlined (upper right corner of the above photo), and Silver Galvanized (that isn’t in these photos). They appear closer to Miyukis than to the Czech 6°s (a characteristic example of which are those apple-green rounds, bottom row, third from the left).
For scale, each of these little containers is about 1″ in diameter.
The photo right above, here, shows size 8° seed beads, slightly smaller than the size 6°. As the caption reads, the little containers are the same size. I’ve got to say that I’m happier with the color range I have in this size, even though you can see that I didn’t quite know how to organize them.
Both the size 8° and size 6° seed beads will easily fit onto the cord I use for micromacramé — I’ve heard that the brands of C-Lon and S-Lon are relatively interchangeable, though I just recently bought my first spool of S-Lon. (One of them — I won’t say which, just in case I’m wrong — is an off-brand of the other.)
Most size 11° seed beads will also fit onto the regular size C-Lon cord, but it requires more work than using the size 8° or 6°. What I’ve done is paint the end of the cord with clear nail polish, then after it is dry, cut the tip at an angle to produce a self-needle stiff enough to pass through the bead holes.
Without doing this, you’re vulnerable to the end of the cord fraying, which will prevent it from being able to pass through this diameter bead hole (noting that the diameter of a bead hole, likely varies between brands). Of course, it’s possible just to cut a new tip…and let it fray again (I’ve been known to do this), but it’s kind of a lot of trouble.
It should go without saying that Czech bead sizing is different than Japanese bead sizing…but maybe that’s just because I’ve been doing this so long.
I’ve found places selling size 10° Czech beads, which — if my memory is right, should match up better to size 11° Japanese beads, than size 11° Czech seed beads (which are slightly smaller, and thus can’t be substituted one-for-one in a pattern utilizing Japanese seed beads). But I can’t really guarantee that. Most of my hanks of Czech seed beads haven’t been labeled as to size — I’ve just had to work out how to fit the different bead sizes together, on the fly. But looking at my collection now, it’s apparent that the shapes are different.
I have some beads which I believe are Czech silverlined light topaz 10°s — basically, transparent pale gold with foil on the inside of the bead hole. At the time I got them, I was still a high school student, and knew nothing about bead sizing — let alone that I should ask the vendor what size they were! This was also at a bead convention, and I don’t know at all, the company I would have bought them from.
Czech seed beads are more donut-shaped and flatter in profile than Japanese seed beads (which are more cylindrical), and they’re generally sold in a different form — that is, stranded and often in hanks (12 strands) or half-hanks (6 strands). Japanese seed beads, in contrast, are most often sold loose in vials, bags, or other plastic containers.
The reasoning behind selling beads in hanks is that it’s much easier to see uniformity in bead size and shape when the beads are stranded and you can compare them to each other.
I’ve just realized that I didn’t even make an effort to photograph my Czech hanks…I’ll have to get around to that, another day. What I can say, though, is that they’re no less beautiful than the Japanese seed beads…and they’re also a reason for me to have gotten the storage I have, so that I can store them loose (and thus, eventually, use them).
I should also note that sometimes size 6° and larger Czech seed beads are sold loose, like Japanese seed beads. I think this is more for convenience and consistency in packaging, than anything. It can discourage use to keep beads on hanks, as well…I know I’m tempted to avoid using them just because they’re so pretty on the hanks, but making something out of them, necessitates cutting them apart.
The below image is of Czech fire-polished round beads. These, in addition to “druks” (round solid glass beads), are essential if you’re going to be doing small-scale bead weaving. I’m pretty sure that the lower row is all 3mm beads; the rest are between 3mm and 6mm (the latter of which, I didn’t even realize I put in here).
Like I’ve mentioned somewhere (…?) else, 5mm fire-polished rounds are somewhat rare, but they do exist. More common are the 6mm fire-polished rounds, a couple of which are in the very top of this photo (the transparent green and transparent “amethyst”, fourth and fifth from the left). The deep blue between the two greens in the top row (third from the left) is a 5mm size.
Sizes commonly go up through 8, 10, and 12mm…but I’ve found the very large sizes much more useful for stringing and other stand-alone applications (e.g. earrings), than for beadweaving.
I mentioned “druks” earlier. It would be normal that most readers here won’t know what I mean by that, so I’ve taken another photo and cropped it to those druks…which are spherical glass beads.
The very small beads at the bottom of the above photo are 2mm glass “pearls” — I’m not sure if they are technically categorized as druks. They’re very useful for filling tiny spaces where the thread would otherwise be exposed and vulnerable to cuts and abrasions (which are generally the death of well-loved beadwork). The drawback is that all of them I’ve found are vulnerable to the coating on the outside, peeling.
An alternative is using the very small 2 or 3mm Swarovski crystals, which I’ve used before when playing with patterns from bead magazines. I’ve found that these beads only come in a limited number of colors. The edges of their holes are also sharper, so using these necessitates using a tough thread like FireLine, lest the thread be cut while you’re still weaving the thing!
I haven’t yet looked into Chinese crystal for alternatives, though it’s good to know that Swarovski isn’t the only option available.
To the left of the 2mm glass pearls, are “3mm” druks, actually closer to 2.5mm, on measurement. Above them are 3mm druks; the green and purple iris [iridescent] beads on the upper right, are also 3mm, when they were sold as 4mm. The sky blue matte beads in the center, along with the green glass “pearls”, are actually 4mm.
Anyhow, spherical glass beads which are drilled down the center are called “druks”, and they’re again essential if you’re doing tiny bead-weaving which requires technical precision. The fire-polished rounds (so-called because they’re cut and then allowed to melt again slightly, producing their glossy appearance, if memory serves) are also really nice for texture and contrast.
I’ve been able to use fire-polished rounds down to 3mm with C-Lon standard cord for micromacramé, as well.
I know this blog doesn’t have a lot of followers, so for now I’m just putting this here to remind myself that I don’t have to be on the computer writing and studying, all the time. It’s good to weave in some offline content. It’s also been good to do some image-editing…and step out of academic thought, for a while.
Haaa…I really need to get back to work on an academic project. It shouldn’t be too much of a problem to do — it just requires time. And motivation. The thing is that I’m coming off of a 10-unit semester and a Summer class. It’s just been nice to have time which hasn’t been assigned to anything. It’s been nice not to be graded on anything. (I have to get this project done by this Winter, to graduate.)
Not to mention that I’ve found a nice way to see the palette of colors that I’m working with. I’ve realized something, as well: black, white, and red are colors that are really hard to blend with others.
They’re all high-contrast, in different ways, and easily overpower a piece. Something has to be done to bridge the contrast gap, when they are used — like in one set I’ve separated, which uses off-white beads in addition to silverlined clear. These, in turn, are contrasted against muted denim blue, teal, and blue iris. It also helps that there are a lot of different finishes in that set, from matte to luster, silverlined, and iris.
Right now, I’ve got two sets of little samples of beads — mostly, any color I’d be likely to use — in little clear containers in little clear boxes. It makes it easy enough for me to be able to see what colors I have, which is something I’ve needed fairly badly. I’ve had to make some executive decisions as to which tubes to exclude from these sets — silverlined clear, matte black, transparent red. It’s not hard, due to experience.
Red may be usable if I blend it with Hyacinth (red-orange) and orange hues, which can almost match the vibrancy of the red.
Given the color trends I’ve seen recently, though, I don’t think an intense blood or ruby red is going to be popular. These beads are from a long time ago.
I also have some clue of what to separate out, if I need any more containers (silverlined transparent red, blue/green Picasso). I’ve noted when a bead is from Toho and I’ve known it; I’ve also noted when a bead is the last of its vial and I wouldn’t remember which vial, unless I put a label on the new container. I was torn about whether to include a Miyuki label on the beads I have which I know for a fact, are Miyuki; but referencing the bead back to the original vial will give me that information.
Also, from looking at it, it seems that comparing all of the size 6º beads together, knowing which are Miyuki, will tell me which others are Miyuki (they’re kind of distinctive, next to Toho and Czech size 6º seed beads: they’re larger).
Some bead distributors won’t note the brand of a seed bead, which can pose a problem where it comes to, “recipes,” or patterns. I was also at a fabric store today, and found some Czech “Twin” beads which looked like Twins used to look (like beans), years ago. I’ve seen them to look more like SuperDuos (like diamonds) most recently, unless I’m mistaken; which leads me to believe that there is more than one Czech company manufacturing, “Twins,” with more than one model. I didn’t think to check the country of origin, though, which could have shed some light on the issue.
At this time, I don’t have to immediately get half-size vials, as the small Toho vials I’ve just emptied, may account for all the over-half-empty tubes of seed beads. (As a note: the last two times I bought Toho beads, the vials were much less full than how they used to be packed. On looking at the vial weight, I see that two [likely the older ones] are labeled 9g, while the others [likely new] read 7g. The vial dimensions are the same.) I also found my stash of other empty full-size and functional vials, along with my small plastic bags and stash of experimental samples.
I’ve just been looking for alternative storage, seeing that my older storage tubes are beginning to biodegrade (particularly, the caps).
As for actually doing anything with the beads — I want to rework the necklace I’m wearing, now; fairly badly. But I’ll need to either buy another scarab bead or cut this necklace apart, to make that. I’m not entirely certain where to get it, either…or what else to buy to make the exchange, worth it.
Anyhow…I do have better things to be doing. I’m struggling with feelings of guilt for avoiding them and a bit of concern over the fact that using my free time this way may need to be paid for, this Fall.
Hmm. Well. At least I feel like I’m reconnecting with who I actually am, outside of school…
Alright, so I didn’t get any beading done today. I hardly got any reading done, today.
It’s been a pattern with me recently that I’ll end up sleeping into the afternoon on days when I don’t have school or work — even if my alarm goes off. I just get up, groggy, turn it off, and go back to bed. And then I don’t remember having turned the thing off. So today wasn’t really productive.
I had time between late afternoon and early evening to read (around 2 hours) — until my mind stopped focusing, at least. Then, I had to eat dinner; then I fell asleep sometime around 6 PM and woke up around 10:30 or 11 PM, like it was morning. So…I don’t think I’m going to be falling asleep again, anytime soon. I honestly feel more awake now, than I generally do at 8 AM.
I did change the Theme of this page. If it’s too hard to read (like if the contrast between text and background is too low), feel free to leave me a comment. I was just thinking that I’ve had the same Theme (Fleur de Lys) since probably around 2010, and decided to experiment a bit. Maybe I can hand-draw a header and scan it in? Or I can go outside and take some spring flower photos, which will probably be more sophisticated. Like the flower mats growing out in the backyard, right now.
Just a thought.
Maybe I’ll try and work on my final project for Marketing. Or, better yet, read the material for Economics tomorrow, since that deadline is coming up sooner, and the material will be harder to understand if I don’t.
I feel like I should be doing things other than going to classes, but I suppose that’s what happens when I’ve spent well over 20 years in classes. Overkill, maybe? Or just a step closer to discovering where I want to be, in life?
Probably, it’s just part of my process. It’s just that college classes are such a freakin’ game…and there are other ways to learn. Especially if I want to be a crafter.
I should just note here that I know that the term “fiber arts” is misleading. I found this out upon searching the tag. I will be altering my tags so that they’re more accurate, though the point of using the term “fiber arts” was to encompass crochet, knitting, and sewing. I suppose it wouldn’t hurt to have a category that’s a duplicate of a tag…