Get 21 sensacionales bolsos de patchwork PDF

By Susan Briscoe

ISBN-10: 8496777537

ISBN-13: 9788496777538

L. a. célebre autora Susan Briscoe presenta una colección de irresistibles diseños de bolsos patchwork que servirán de inspiración y motivación a las entusiastas de los bolsos. Desde delicados bolsitos de fiesta hasta prácticas carteras y resistentes mochilas. Cada proyecto se acompaña de ilustraciones e instrucciones paso a paso que permiten crear fñacilmente accesorios personalizados.
Se han incluido 21 sensacionales bolsos con los que se pueden ensayar nuevas técnicas, iniciarse en esta hard work o adquirir más conocimientos sobre el patchwork y acolchado.
Hay diseños para aprovechar retales, tiras sueltas y telas coordinadas, a los que una quitler es incapaz de resistirse. Se pueden incluso trabajar telas más fuertes, como el denim o el ante de imitación.
En varios bolsos se utilizan ténicas de confección que se conocen de los quilts, como el ribeteado de los bordes. El estilo se une a lo práctico en unos bolsos que sin duda resultarán llamativos y originales.

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Much of the detail and color that flesh out a work of art must take place in the reader's mind, and the process cannot begin until the reader is made to share the fictional experience with the novelist's characters. Remote control and transference Unlike a film, a novel is not a visual experience. Much must be left to the reader's imagination and often, interestingly enough, the total experience is quite different from that conceived by the author. Probably one of the most disconcerting experiences a novice writer can have is the cocktail party feedback 48 BUILDING READER IDENTIFICATION 49 from someone who has recently read his book and has visualized hero, heroine and setting in terms that are unrecognizable to the author.

How a storyteller helps a reader distinguish one time zone from another depends to a degree on how precisely he wants to locate the time. If his story requires that the reader understand the exact date—not simply the decade, the era, but actually the year, month, and day—then, of course, he must find a way to bring in the date. Whenever things get this narrow and complicated, I recommend absolute simplicity: say right out what the date is. But more often the storyteller wants to indicate not a particular date but a general time zone of some months, or some years.

Not by a long shot. Look what Heming- 56 TECHNIQUES OF NOVEL WRITING way did with Kilimanjaro. T i m b u k t u is equal to any mountain. The Sands of Timbuktu is every bit as good a title as The Snows of K—. I'll start with the setting: Timbuktu, once the jeweled oasis in the desert, the legendary capital of the vast Sahara ocean, now slumbers under the disdainful eyes of the camel, and of the tall Tuareg who cover their faces, womanlike. It's a good setting for a story. I am trying to convince myself, but.

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21 sensacionales bolsos de patchwork by Susan Briscoe

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