What a fun way to celebrate the season!
Chimney candles offer the glow of a warm
fire with the look of an old brick chimney
in the midst of a winter snow, dripping
with icicles and clumps of snow.
If you would like to make this type
of candle, you will first need a square
pillar mold about four inches tall ...
if you don't have one of these, you
can use a pint or quart milk or cream
carton with the top portion cut off.
Start the cut with a sharp knife
and then use scissors to snip off the
top of the carton. This should leave
you with a mold that is about four
or five inches tall ... make sure
it's clean and completely dry
before using it.
To achieve a deep, brick red,
a liquid concentrated dye works
best, but you can also mix the
color yourself ... whatever works
well for you. A deep color is
easier to attain if you use
concentrated liquid dye, but
you can also use dye blocks,
or a combination of the two,
which is what I have done with
these candles, which was a
mix of red, wine or cranberry,
and a hint of brown. My own
colors vary batch from batch,
to a reddish-wine color to
brownish-red ... but really,
any color is acceptable and
you don't even have to do
it in "brick red" if you
don't want to, but the snow
shows up nicely on the deep,
dark red. Your wax should
include sterine for an opaque
look, as well as vybar.
For the snow portion of
your candle, a nice white
can be obtained without the
use of any colorant, as often
white colorant may cause
wicks to clog. Also, be
careful when selecting
your scent ... you do not
want a fragrance oil that
is dark or yellow in color,
as this will tint your wax,
making your snow yellowish,
so clear or very light
in color is best.
Now for the pouring, snowing,
and weather distressing ...
First, the candle is poured at
about a height of three and a
half to four inches, or greater.
Once the candle has hardened,
a layer of snow may be added
prior to the candle being
removed from the mold, such
as shown in the photo above.
Remove from the mold and now
it's time to do the brickwork ...
you will need a metal rod for this.
If you have an old metal clothes
hanger, these work very well ...
simply use wire cutters to make
a metal rod about ten inches
in length. This rod can also
be used for creating wick
"tunnels" ... either by
placing the rod in the
candle when it's in the
mold before it's fully
hardened, or by heating
the end of metal rod on
the stovetop and using it
to "drill" through the candle
in order to thread your wick.
Once your candle is out of
the mold, the wick should
be set in place with a wick
tab ... secure it from the
top by pouring a bit of white
wax down the tunnel where
the wick has been threaded
through and lightly tug on
the wick in an upward
direction to make sure
there are no kinks in it.
(As a final step, which
will be explained later,
the bottom of the candle
gets a few finishing touches
to cover up the wick tab.)
You will want to have a paper
towel available to wipe off
any melted wax that adheres
to the metal rod while you
are melting the mortar rows
for the bricks ... the next
step in creating your chimney.
To make your rows of bricks,
heat the metal rod before
pressing it onto all sides
of the candle at the same
height all around. Start at
about 3/8ths of an inch to
1/2-inch up from the bottom,
and continue making the rows
until you reach the top of the
candle. These are the
horizontal rows of bricks.
To see the pattern, do a
little search for the term
"stretcher bond," which is
the style of brick work
I am trying to describe.
Of course, you may find
yourself doing all kinds
of fancy designs, but this
is a nice basic one that
is fairly easily applied
by heating the metal rod
and creating the rows.
If you find, upon reaching
the top of the candle,
that you do not have the
space for another row
of full-sized bricks,
simply use your creativity
to make a trim with a
shorter row of bricks.
After the rows are
completed, you are ready
for the vertical indentations
that turns your rows into
bricks. Again, please
refer a picture of the
pattern, as the vertical
lines are placed to
create brickwork. If needed,
you can use the tip of
your metal rod to deepen
the indentations.
Once your bricks are in place,
you are ready to distress your
chimney with some "age" and
"ice." For instance, the photo
below shows the candle when
some "ice" was poured over it ...
although some of it is allowed
to remain, parts of it are scraped
off and another round of ice is
poured, which gives a layered
effect.
A little preparation tip ...
place your candle on a tray
that will catch the shavings.
Everyone's chimney is going
to meet with the elements
differently ... mine, for instance,
have endured many a cold winter,
so they are pretty old and rustic.
To start with, you will want to
try to get some mortar (white wax)
between the bricks (into the
rows of indentations you have
melted into the wax) ... there
are a couple of ways to do this.
One is to pour some white wax
over the walls of the chimney,
and when the wax is partially
hardened, with a sharp-edged
knife or dough scraper,
"wear away" some of the wax
from the brick face, allowing
the white wax to remain in
the "gutter" to create the
mortar. Or, allow some
white wax to cool, then
apply only to the
indentations and scraping
off the excess when the
wax has hardened.
Now for the distressing part ...
You will find that you may
enjoy some distress techniques
over others, so I'm only going
to give you some ideas of how
to do it and leave the rest
up to you. For instance,
I like to apply wax, allow
it to cool, then scrape some
of it off ... this gives a
shiny finish to the surface
of the "ice" that forms
on the chimney wall.
But, for snow chips of ice,
I like to allow wax to
cool a bit, pour some
into a tray, and "flake"
it a bit with a fork
before applying (smearing
it around with a butter
knife), then scraping
some of it off before
it hardens. As stated,
you will find what works
best for you!
At this point, the chimney
now has bricks, mortar,
some ice, and a bit of
snow on top ... it still
has a way to go, as the
ice needs to be applied
in layers, with some
chipping-off in between,
which is done with by
repeatedly dripping wax
down the walls, distressing
as you go along. For the
snow on top, whipped wax
is used, which is simply
wax that has been allowed
to partially cool before
whisking with a fork.
This gets a bit messy,
so the use of trays
under the candle is
once again beneficial.
And, when working with
whipped wax, remember
that you have to work
very quickly ... the use
of a spoon, the back
of a spoon, and a fork
will give you a snowy look.
In areas where you wish
a "glazed over with ice"
look ... you can drip
some wax over it for
the next step.
Note ... the shavings and
excess drippings can be
melted down to create a
pink candle, or dyed to
use for another chimney!
Now for the snow ... remember
that some of the snow is
hard and icy and some is
fluffy and wet. I think a
chimney candle should have
both, so I do this "step"
several times over, with
the snow (whipped wax)
and ice (slightly cooled wax) ...
the combination of which
provides a nice build up
on top of your candle,
with sheets and drips
of ice along the sides.
Clear glitter can be
used to create a
shimmering-wet look,
as shown in the photo
above, which is a first
layer of snow that has
been applied.
Now for some finishing touches ...
I have learned that in order
to keep a "square look" about
the chimney, that the snow
needs to first be level
with the sides of the
chimney walls, then piled
up upon the edges, falling
inward only slightly.
The top of the chimney
should have a dip in the
snow where the wick goes,
as you do not want your
snow to appear mounded.
If you want your chimney
to be built up with snow
and ice, once you have
some snow on top, pour
a bit of wax over it ...
very slowly, allowing
it to drip down onto
the sides of the candle,
which you may need to
tilt a bit, but be careful
when pouring hot wax in
such a way, making sure
your hands are not in
the way of the snowmelt.
If too much white wax
sticks to the walls,
allow it to harden a
little and scrape it
off either entirely or
partially.
When your last dripping is still
hot, sprinkle a bit of clear glitter.
The wick should be clipped
to about 1/4-inch, and the bottom
of the candle can be cleaned
up by pouring a bit of wax
into a metal tray and dipping
the bottom into the wax so
a bit builds up upon the bottom ...
another tray that has been
heated can be used to even
out the underside by quickly
placing the candle on the hot
tray, giving it a swirl and
quickly setting it onto a
smooth surface. Although
this step is not always
necessary, it really makes
for a smooth finish on the
bottom of the candle
and can help it sit
more squarely.
When all is complete, a
quick water rinse at room
temperature will help the
candle cool more quickly,
making it shinier, while
cleaning off all of the
wax fragments. Just make
sure that the water is not
cold, as this can cause
cracks in your candle.
These candles may take
some time to make, but they
are relaxing to work with
and a lot of fun when they
are completed. As time
goes on, I plan to work
with more designs in
this direction, as I'm
finding myself becoming
a lover of chimney candles.
Chim Chim Cheree !!
Kathy
This is a perfect way to use
up some of your left-over pieces
of candle gel!
Here we have a layered candle
that has been made entirely
with pieces of colored gel,
using a heat gun. This is
not a "poured" candle ...
it's a "melted candle" inside
a glass. If you wish to try
your hand at this, the two
most important things are
the quality of your glassware
and your knowledge of how to
safely use a heat gun.
Look for glassware that has some weight
to it and is not real light and thin, as it may
crack from the heat. Make sure to read all
of the instructions that came with your
heat gun prior to using it ... now you are ready!
In this example, chunks of
colored gel were specifically
made for this candle. However,
you may have some scraps of gel
that you would like to use, which
is perfect for this type of project.
If you want to make pieces of gel
intentionally, simply pour colored
and scented gel into a small tray
and when it's set, tear it up into
chunks or cut it into pieces.
The glass we are using here is
a little more narrow than what
is truly advised, as it's difficult
to clip the wick on a candle in a
glass such as this one when it's
burning down, but this glass has
a unique shape, so for personal
use, I thought it was fine.
I used a 51/32/18 zinc core,
unwaxed wick, which was cut
so the length was about a half
inch or so above the height of
the glass ... this allows enough
extra while working with the
candle as it is setting, which
comes in handy. For instance,
lightly tugging on it to keep
it straight while the candle is
being worked with and while it's
cooling. If a pre-cut wick is
used, it should extend over the
height of the glass a bit.
If the wicking is not pre-tabbed,
it will need to be secured to a
wick tab and well clamped.
I personally prefer to do this
myself rather than to purchase
pre-tabbed wicks. When crimping
the stem of the wick tab, just
make sure you haven't bent the
bottom platform of the tab, as
it needs to sit level in order
to stick well to the bottom of
the glass, which it can't do
if it's bent. If you crimp
with slow, even pressure at
the top of the stem, you are
less likely to bend any of the
metal besides the stem.
Now it's time to secure the tab
to the bottom of the glass,
which can be done a few ways,
although, with gel candles,
I simply use hot candle gel.
If you place your wick tab into
hot gel, then very quickly get
it into position in the bottom
of the glass and press down all
around the tab (I like to use a
metal poultry lacer), it will
stick. After a few minutes,
test it to see if it is secure.
If it doesn't stick, simply
clean it all off and do it again.
Once you get in the habit of it,
it's quite easy and looks very
clean from the outside of
the glass.
(Wick in bottom of glass.)
Once the wick is secure, it's
time to place the gel chunks
into the glass. Wherever you
place the color is where it's
going to stay, so you can build
the chunks up diagonally, in
straight layers, randomly, etc.
Also, for an optional note ...
you may add glass beads up
against the sides of the glass,
or glass marbles amidst the
gel chunks, as well as other
embedding of glass or metal
objects, for instance. Just
remember that these need to be
completely non-flammable designs.
You will want to work on a
non-flammable surface, such
as tile, ceramic, or laminate,
in an area where you are safely
away from any flammable materials,
such as paper towels, etc.
This is NOT a project that
should be done on newspaper.
After everything is in place,
it's time to use your heat gun
to melt it all together. When
using a heat gun, make sure to
read the safety guide that came
with your equipment. You can use
the low setting for this and just
make sure not to hold the heat
gun too close to the glass ... at
first it will seem like it's
never going to melt, but then
after about five minutes, you'll
find that it's all melting
pretty quickly. Start at the
bottom of the candle, heating
it all around by either rotating
the glass by using a pot holder
held safely away from the heat
gun (for instance, rotate glass
by holding it at the top with
your left hand while using the
heat gun at the bottom portion
of the glass with your right
hand.) Never attempt to
handle the glass without some
sort of protection, as it will
become very hot.
As the gel starts to melt at
the bottom of the candle,
begin to work your way
upward by pointing the heat
gun at the middle of the glass,
then, finally at the top until
the gel is all melted. As you
work your way around the glass,
always keep moving the glass
or the spot where your gun is
pointed in order to not over-heat
any one area. In other words,
never stay in the same place
for too long ... you only want
to melt the gel. Speaking of
heat, this project will put
out a bit of heat, which makes
it a good project for cool day.
Some important points ...
remember to use a pot holder
when handling the glass, always
keep at a distance of about four
inches from the glass, keep your
face and hair at a safe distance
from your work, do not point
your heat gun at the wick.
If you have quality glass and
you keep the heat evenly
distributed, chances of any
shattering are minimal, but
keep at a distance anyway;
and, you don't want your
wicking to catch on fire,
so it's important to keep
at a distance. Again, as
with any project, common
sense is your best friend!
You may find that some air
bubbles will work their way
upward right along with you ...
as long as you continue to
apply heat, the bubble will
surface. When it gets to
the top, you may need to
poke it, or further heating
will also pop it.
Be careful when applying heat
to the top (surface) of the
candle, as the force of air
can "blow" your gel, which
could get onto the sides of
the glass. So, keep at a
distance and make sure the
heat gun is on a low setting.
The surface should not
require much, but you may
have some bubbles appear
soon after you feel as
though your project is
almost complete, which may
need attention ... very
quick "spurts" of heat
applied to the surface
usually does the trick.
Once your candle is completely
melted, allow it to cool before
clipping your wick. You want
your wick to be about 1/4-inch
and a clean way to clip it is
with nail cutters.
Clean any excess gel from the
clipped wick and for your
finishing, it's always nice
to clean the glass.
Simply hold the glass at an
angle under a faucet in such
a way so water doesn't get
into the glass, just onto the
sides of the glass. A bit of
dishwashing liquid dabbed
around the glass can remove
any smudges, then simply rinse
and dry. Specialty glitter
can be sprinkled around the
edges of the candle and as
a finishing touch.
Remember to set your heat gun on
a non-flammable surface when you
are finished, as it remains very
hot for awhile. If you have not
read our Candle Making Safety Tips,
please do so.
Here are some additional tips
for heat gun safety ...
• Always turn it off before
setting it down on any surface
• Allow gun to cool before storing
• Keep nozzle away from skin and clothing
• Keep all pets away from your work area
• Never allow nozzle to sit next to
anything while it is hot
In doing some reading about heat
gun safety, I found the following
safety instruction rather interesting ...
• Do not look down the nozzle while
the gun is turned on!
A Grand Idea !!
Happy melting!
A fun and decorative twist on scented
air fresheners is waxed stuffed animals,
which can hold quite a bit of scented
wax and send scent through a room very
efficiently. There are only a few
tricks to making them, but once you
are aware of what those are, you'll
find this to be a quick and easy project,
providing amazing results.
(This little teddy smells link butter mints.)
Stuffed animals that are a bit shaggy
are the best type to work with, as the
plush type may not acquire the "raggedy"
look as much, which is part of the appeal.
"Beanie Babies" can also be dipped.
Birds, such as the puffin shown below
make decorative little air fresheners.
This type of stuffed critter also works
well with a higher melt point wax
(around 150+ degrees) or hurricane
candle wax, as these waxes tend to
be leave a shiny finish, so the pieces
come out almost "ceramic-looking"
when completed.
Here is one example of a "Beany Baby"
that was done with regular pillar candle
wax,which is the same wax used with
the other projects on this page.
Before Dipping ...
The silver ribbon tied to this
peppermint scented puffin in the
next photo allowed it to be hung.
After Dipping ...
Here is some information on how
these are made ... please note,
the initial guidelines for doing
this are not a "step by step"
instruction guide, but an overall
idea of how to do it, such as
initial preparation, safety, and
a general idea of what you can
expect along the way.
To start, you will need to prepare
your workplace in order to minimize
the mess wax can make, especially
when it's being "splattered around"
such as what can happen when dipping
stuffed animals. So, you may wish
to cover the area you'll be working
on with newspaper. Some safety
preparations for handling and working
with your stuffed object are also
necessary, since you'll be working
with hot wax, such as a pair of
tongs for lifting the wax-drenched
item out of the melting pot, and,
possibly, a pair of heavy gloves
for any additional handling that
may be required. Old pie tins,
or brownie pans, or plates and
an old fork, and, possibly, a
large spoon will also be needed.
I have read that some people like
to use a wire rack over the pan,
which may be useful to you.
Of course, you will require a melting
pot and a spoon for stirring the wax,
as well as the fragrance oil you will
be using for your project.
A note about amber-colored fragrance
oils ... if you are dipping a white
critter, you may wish to make sure
that your scented oil is clear, as
an amber oil will most likely add
color to your wax and your finished
project may turn out with a yellowish
tint in this case. Often, before
purchasing your oil, you may be able
to ask your supplier and some suppliers
have charts that include information
on the color of the oil. As for
flashpoints or polarity issues of
scented oils, for this project, you
needn't concern yourself with these
in the way that they are considered
with candles. However, for safety
reasons, you must ensure that you
only heat your wax to its
recommended temperature and only
add your scented oil after your
wax has been removed from the heat
and is at a temperature below the
flashpoint of your oil.
The size of your melting pot will
depend on the size of the project
you wish to work on, as the object
should fit nicely into the pot so
the entire piece can be dipped
without wax spilling over, but if
you don't have one large enough
to handle the piece you wish to dip,
it can be dipped in sections,
without dipping the entire
object at once.
Another way to do this is to
dip as much of the object as you
can fit into the pot, then, set
the piece in a brownie pan or
an oblong pan with the side that
did not receive any dipping faced
upward. Carefully pour wax onto
this area, either directly by
pouring from the pot, or with
use of a large spoon. This
method was used on some of
the pieces shown here, including
the little dog (shown below),
which measured approx. nine
inches long, 5 inches wide,
and 4 inches tall ... by the
way, when complete, this piece
weighed one and a half pounds.
As for the pie tins, brownie
pans or old plates ... these are
wonderful to use for positioning
the dipped-wax critter ... a
couple may suffice, but sometimes
it's nice to have three available,
which gives you one to use when
removing the piece from your
melting pot, which is also used
for draining; one for positioning
and fluffing, which catches all
the excess wax; and one for the
final positioning and cool down.
On this piece, the underside
was dipped first and here it
is sitting for a few moments
to drain ...
When the object is first removed
from the melting pot, it will not
only be very hot, but it will also
drain a bit of wax that it has
absorbed. This is why it's
necessary to immediately place
the object onto a pan for "landing"
directly after being "lifted" with
tongs from the melting pot.
Wax may begin to pour out from
it right away, so it's best if
you position the pie tin close
to your melting pot when first
moving it from the pot to the pan.
As for using a wire rack over
pan and setting the saturated
critter on top of the rack to
allow the excess wax to drip off
onto the pie tin or plate ...
this is a personal preference.
It seems that perhaps the weight
of the wax-wet object on the
wire rack may create some marks
on the bottom of the piece,
making indentations after the
piece has been sitting on
the rack with the wax cooling.
Perhaps if it is not allowed
to sit for very long this
does not occur. To use
only pans and no rack, allow
the newly-waxed critter to
drain a bit within the first
pan, then, after a few minutes,
transfer it to another pie tin
or plate, turn it over and
fluff it up before setting
it down, all of the excess
wax will have drained out
onto the first plate, with
any additional wax falling
off onto the second plate.
As the wax cools, some
positioning is usually
required. For instance,
for this little puffin,
toothpicks held the wings
up during the cooling process,
so when it was completely
hardened, the wings were
not droopy.
When first learning, it is
highly recommended to start
with smaller pieces ... ones
that fit comfortably in your
melting pot. Larger pieces
are much trickier to work with,
and until you have a good idea
of where you are headed, it's
best to start small.
After removing any tags from
the stuffed animal, it's a good
idea to see if you can tape up
the eyes, and nose, if possible
(the tape does not always
"stay put," but it's worth a try!)
... this will make it easier
to keep the eyes from getting
wax on them. If wax does get
on them, you will need to
remove the wax after your
project is complete, using
dish soap and hot water,
making sure to not scratch
the finish on the eyes.
When dipping is completed,
the tape can be easily
removed and the eyes need
very little cleaning.
This bunny will be shown
below after it was completed.
Here it is prior to dipping,
with the eyes taped ...
(Before dipping ...)
(This protective tape remained
on the eyes throughout the
dipping process.)
After dipping ...
This is another piece with the eyes
taped prior to dipping ...
The tape remained on the eyes
throughout the dipping process -
this is how it looked after the dipping ...
And, after the tape was removed ...
After you have prepared both
your work space and critter,
you're ready to melt your wax.
The amount of wax you will
use can vary, but normally you
can start with the weight of
the wax being three times
that of the object to be
dipped. Usually, the finished
product will weigh about
three times more than before
it was dipped, so this is
how this guideline was
arrived at. Since larger
objects may be dipped in
sections, you will know if
you need more wax as you
move along with your project.
Smaller items are usually
dipped by submerging the entire
stuffed animal into the
melting pot and turning it
with tongs so wax soaks into
all parts of the project at once.
Note ... if you are dipping
in sections, you just want
to try to not get any wax
on any sections that you
are not working on ...
in other words, if you are
doing the under sides, try
to not get any wax on
the ears, for instance.
The process needs to be
done with one covering
(dipping) to look the best
and "over waxing" or
getting wax on areas more
than once (where wax
has already been applied)
can ruin the look and make
for lots of waxy patches.
Here is an area of the
underside of a larger
critter that has been
dipped and is in the
process of being "fluffed"
with a fork (it is still
rather matted at this point) ...
the bits of hardened wax
are removed by hand
when completely cooled ...
The above piece (which is
the little dog previously
shown with its eyes taped)
was done by first dipping
the underside, fluffing the
wax and allowing it to cool
somewhat, then dipping the
front legs, head, and backside,
making sure to not get any
additional wax on the underside
that already had fluffed wax on it.
Once completely covered with wax,
the ears were positioned as the
wax cooled in order to avoid
any drooping from the weight
of the wax. You will find that
with some objects, a little
bending may be necessary as
the wax is cooling to assist
in the "setting" of certain
features, such as legs,
ears, wings, etc.
As it cooled, the front legs
were positioned ... the hind
legs were already set into
place directly after dipping
the underside. Since this was
a larger piece and the bottom
was done first, positioning
of the hind quarters was done
directly after dipping the
under parts to get a good feel
of how the finished critter
would sit. This also ensured
that the part of the critter
that was dipped first was
attended to before it cooled
too much ... in other words,
"worked with" before dipping
any other areas.
Since these are made to scent
the air and are not candles,
you can add as much scent as
the wax will hold. Every wax
may have a different threshold
as to how much scented oil will
bind to the wax, but for the
most part, approx. an ounce
and a half to two ounces per
pound can be added without
over-saturation of the wax.
As for color ... normally,
no color is necessary, but
in some cases, a light addition
of color may be useful. For
instance, if you are dipping
a dark-colored object, a
wax that has a bit of the
same color blends much better
and gives a richer look.
If it is a brown teddy bear,
adding a hint of brown to
the wax may work better.
But, you need to be careful
in your decision, as if it
is a brown teddy bear with
ivory fur on the ears,
then you would not wish
to use the dark wax on that
particular area.
Another thing to think about
when preparing to dip ...
NO interruptions!!
Anything that you can foresee
as being an interruption to
your work should be attended
to beforehand. The wax will
start to harden very quickly
and before it does, you need
to get to it with your fork
to fluff it up ... otherwise it
will become a sloppy, matted
mess that you will not be
able to fix. If you do not
do this quickly, it will
begin to harden, making
clumps on your critter and
the fur will look matted,
so this is very important.
After your critter has been
saturated with wax, set your
pie tin next to the melting pot;
reach in with tongs and grasp
the object firmly ... you do
not want to drop this and
possibly splash hot wax,
so make sure you have a good
hold on it before transferring
it to the pan.
Since there will be hot wax
pouring from the object when
it is first removed from the
melting pot, and it will be
too hot to handle at first,
it's important to transfer
it to a pan that can hold
the excess wax, rather than
a flat plate, which could
spill over. After it has
been moved, there is no
need to try to position it
at first ... just let it sit
a few moments so it can
cool down a bit.
This is the time to start
fluffing up the upper parts,
back, and head areas with
your fork. Simply take your
fork and lightly "brush"
through the fur to separate
the fibers and "fluff" it
up by running your fork
"against the grain" of
the fur so it forces the
fibers to stand up rather
than lie flat. Handling
will become easier after a
few minutes, so you can work
on the underside. Then, you
may wish to move it to a
clean plate and position it
in preparation for the cool
down process.
This is when some toothpicks
may be helpful in tilting the
head, holding up a ear, a wing,
a tail, etc. ... simply prop
up the part you wish to position.
Continue to work over the entire
object with your fork, including
under chin, under ears, etc.,
repositioning until you achieve
the pose you are looking for
and allow it to cool.Once it has completely cooled,
your item may be wrapped.
Here is an example of the
text for a tag, which
is recommended ...
"Enjoy your scented critter!
This air freshener should never
be placed directly on furniture,
as the scented oils can damage
finishes ... use with a plate or
tray, which you may wish to
cover with a paper napkin or
other protective barrier.
Flammable ... never set
near burning candles or
fireplace. Keep out of reach
of pets and children."
Although you need to be careful
while working with these projects,
the process goes fairly quickly
once it gets underway, and it
results in a fun rejuvenation
of old stuffed animals in a
very interesting way!
Happy dipping !!
© scentedcrafts@blogspot.com 2011
