Buy coke online in Feldberg

__________________________

📍 Verified store!

📍 Guarantees! Quality! Reviews!

__________________________

▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼ ▼▼

▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲ ▲▲

Buy coke online in Feldberg

Geffen was an unlikely contributor to the worldwide success of the beverage. Born in Kovno, Lithuania, in , he immigrated to Canton, Ohio, in and accepted his Atlanta pulpit seven years later. While seltzer water might have been the preference of many traditional Jewish immigrants, their rapidly assimilating children and grandchildren demonstrated their Americanization by drinking Coke. Because he lived in Atlanta where the Coca-Cola Company was headquartered, Geffen received letters from several Orthodox rabbinic colleagues around the nation asking whether it was halachically according to Jewish law permissible to consume Coca-Cola. At the time, Geffen did not know that the formula for Coca-Cola is a closely guarded trade secret — perhaps one of the best-kept trade secrets in American history. Only a handful of individuals know the formula. Geffen agreed to the terms. The company did not tell him the exact proportions of each ingredient, but just gave him a list of contents by name. Help us keep Jewish knowledge accessible to millions of people around the world. Your donation to My Jewish Learning fuels endless journeys of Jewish discovery. With your help, My Jewish Learning can continue to provide nonstop opportunities for learning, connection and growth. When Geffen was given the list of ingredients, he discovered that one of them was glycerin made from non-kosher beef tallow. Even though a laboratory chemist told Geffen that the glycerin was present in only one part per thousand one part in 60 is dilute enough to earn kosher certification , Geffen informed the Coca-Cola Company that, since this glycerin was a planned rather than accidentally added ingredient, observant Jews could not knowingly tolerate its inclusion. When they agreed to use to this new ingredient, Geffen gave his hechsher or seal of approval, for Coke to be marketed as kosher. Still, a second problem vexed Geffen: The formula for Coke included traces of alcohol that were a byproduct of grain kernels. Since anything derived from grains is chametz , or forbidden at Passover, Coca-Cola could not be certified kosher for use at Passover even after the formula was changed to include vegetable-based glycerin. They agreed to start manufacturing Coke with the new sugars several weeks before Passover each year. Geffen was pleased to have performed this service for the American Jewish people and the Coca-Cola Company. In his papers, which are housed in the archives of the American Jewish Historical Society, researchers can find a teshuvah rabbinic response that Geffen wrote which includes the following:. Because Coca-Cola has already been accepted by the general public in this country and Canada and because it has become an insurmountable problem to induce the great majority of Jews to refrain from partaking of this drink, I have tried earnestly to find a method of permitting its usage. With the help of G-d I have been able to uncover a pragmatic solution in which there would be no question nor any doubt concerning the ingredients of Coca-Cola. Chapters in American Jewish History are provided by the American Jewish Historical Society, collecting, preserving, fostering scholarship and providing access to the continuity of Jewish life in America for more than years and counting. Visit www. Pronounced: HEK-sher, Origin: Hebrew, kosher certification for foods, and some other items, identifies product as complying with Jewish law. By submitting I agree to the privacy policy. Modern Israel. American Jews. Relations between African Americans and Jews have evolved through periods of indifference, partnership and estrangement. Yom Kippur. Share facebook. Support My Jewish Learning. Sign Up. Discover More. American Jews Black-Jewish Relations in America Relations between African Americans and Jews have evolved through periods of indifference, partnership and estrangement.

How Coca-Cola Became Kosher

Buy coke online in Feldberg

Last time I reported on making walnut colour extract on its way to becoming ink. The walnuts have been fermenting since late summer They started out in big jars fl oz , a couple of dozen green-hulled walnuts in each jar with water to cover, left to solar-soak outside until frost, then transported inside to dark studio cupboards. Most recipes I have looked at suggest removing the green hull and using that part. I thought that maybe some extra tannins might enter the dye if I left the nutmeats inside their shells and cooked them along with the green bits. After cooking and before being donated to the critters outside I find they look a quite lovely deep brown:. Walnut does quite well as a dye without cooking. I found it enough to simply soak a discoloured vintage white wool coat in a bucket of fermenting walnuts. After a couple of weeks soaking and a rinse in plain water, this was the colour:. You can see that different shades of white wool had been used to crochet this thrift-shop find. I could also have soaked the coat a second and third time for deeper shades. Wool dyes beautifully in walnut- here are some more examples from a few pre-ink years ago:. Little strips of blanket trimmings bundled with various eucalyptus and immersed in a walnut dye bath — also from past dye pots. Linen and cotton dye well also, as does paper. The walnut there photo below is the Juglans regia — ours in Ottawa is Juglans nigra. Notice the distinct pinky lavender colour that comes out with the yellow pigment in the eco print. The photo above shows one of my Artist Books with linen covers eco dyed in walnut; the pages are about other plants of the Subasio Regional Park where the art residence was located. And now here is a little surprise — walnuts combined with wild grapes to make a colour extract. I found a reference to this combination in a book about First Nations quill dyeing traditions. I stopped the cooking way before the liquid turned black and got this grey-blue-greenish colour you see on tag of the left hand bottle of ink. More on grapes next time. And to finish in a sweet walnut note from the kitchen: here is what we had for breakfast one day at the art residence: walnut-parmesan scones I do not have the recipe so must go back there and pick it up…. Welcome to new readers and thank you to those who have been following along this inky passage this fall. I do have lots of ink-fixings in my stash yet to be explored so we are not done yet. I learned from my research, however, that the best walnut colours in terms of fastness can be had from walnuts that have soaked for a year, water-covered, in wooden casks. Now my green walnuts had been soaking for three years in big glass jars, so neither extra tannins from the wood nor oxygen which is believed to optimize the dye characteristics entered the glass jar as happens with wood casks. One might expect bad smells and molds after all that time, too, but there were none of either. My three-year walnut liquid had simply become a thick dark brown potage smelling slightly of the fall forest. I wonder if fermentation prevents the mold that walnut ink is reputed to harbour? Time will tell. To make this batch of walnut colour, I put half a potful of the mushy brown ferment along with the still-hard nuts in their shells in the slow cooker, covered the sludge with water and heated this for an hour or so at 80 — 90 C. After straining and filtering the liquid, I cooked it down by half until it was sort of a bit syrupy. The dye looks like this on watercolour paper:. The dye liquid, cooked down, was then put into wee bottles with some gum arabic added to ink it up and finished with walnut-dyed tags and labels:. Off to the craft fair next weekend in Chelsea, Quebec! And taking some buckthorn ink along, too:. Next ink colour to try is wild grape, waiting its turn in the stash, Might even have some ready to go with the walnut and buckthorn for next weekend! Naturally, the ink so-obtained can work as paint, also; you can even add some other binder — an acrylic glazing liquid might be nice. A few posts back, I shared with readers my stack of current books. I find his book a truly charming intro to the world of foraging plants for pigments, well researched, beautifully written, and most of all, recipe-rich with luscious photographs of very arty ink marks. You know I love it! And he has great entries on his Instagram, too. This time, I am reporting on buckthorn berries, a traditional source of green dye and paint. The colours obtained depended on berry ripeness, plant variety and methods used for the colour extraction — all fascinating topics widely written up. If these interest you, check out some of the references this blog, works by Dominique Cardon and Jenny Dean being great resources. Each of these provides trustworthy info on the pigment properties of and colour extraction methods for various varieties of buckthorn. The buckthorn familiar to me in the Ottawa area is Rhamnus cathartica, and it is not an MVP in the plant world hereabouts! In fact, an Ottawa buckthorn SWAT team of vigilantes meets regularly to search and destroy this invasive non-native. But in spite of my preference for working with native plants, I am pretty excited and not too politically correct to find some pleasant use for the berries of the otherwise-despised buckthorn. In fact, I found a whole hedge of the buckthorn bushes laden with juicy blue-black berries in late September the birds eat the berries only when nothing better is available, I have learned. First task was to extract the colour from the berries. His practice is to just squash the fresh berries and use the juice uncooked. I decided to go with traditional dye extraction practice for this first attempt; this involved crushing the berries, covering them with water, cooking them at a simmer in the slow cooker until the water took on a dark purple-blue colour and then straining them in a jellymaking bag:. Notice how the jelly bag begins to turn green, even when purple juice has not done draining into the pot! Probably because of the soap residue in the jelly bag. Now the fun begins. Indeed, to obtain green is the first colour goal, so a portion of the purple liquid is poured into a glass jar about a cupful and a scant teaspoon of alum acetate is added. A good stir and a shake — et voila! But not as a result of adding lye crystals, as Jason uses: first, because I had no lye on hand and anyway, older recipes often recommended alum though potassium aluminum sulphate. Thus, first pic shows the basic purple juice extraction, then the green with the alum added:. Then some trials on paper with these two colours FYI: the first pic shows how the purple stains changed colour in the empty cooking pot when I rinsed it with plain tap water — triggering a pH change and thus a colour move from blue to green. The papers were painted with the purple and the green pigments. With the addition of other modifiers besides alum, other colours besides greens developed. Ammonia gave brownish-yellow, soda ash gave yellows, lemon juice and white vinegar gave pink, without alum. Here are some of the samples:. But any mold that might develop can simply be removed and discarded. Depends how you feel about the mold. Meantime, I have buckthorn berries fermenting see Cardon for info on this and plan to use those berries fresh, not cooked, to see how the colours develop in comparison to the colours obtained from the cooked ones. BTW, after cooking, you can put the mashed berry residue back into the pot, cover with water and cook again for a second extraction. And you can freeze the berries, too. For folks who have been following my art kit project to benefit Art For Aid: the good news is that a shipment of mylar blankets has left for the north, eagerly awaited by First Nations families as winter sets in. Generous folks have even donated over and above what I was able to supply in kits to match donation, though I was able to send them a just one wee kit. And no-one at all has asked for a refund, even if they were they unable to get a kit in a size that matched their donation when the supply ran out. I am extremely gratified and touched to find myself in the company of people like all these donors. Some compassionate and generous people even offered to make an extra donation as compensation for those who might have asked for a refund. I have experienced in this project the hope created by people who light candles instead of cursing the darkness. Yes, dear Readers, I am still blogging, despite the long hiatus in posts. Welcome to all who have subscribed in the last year and to readers who just pop by for a look now and then. Thank you for your comments and your encouragement to keep on making art! I have much to be grateful for this year despite the obstacles. Today I want to tell you about that. But not too much text from me just now — let us begin with a picture! Ottawa was hit by some destructive weather two weeks ago; my area was fortunate in that we only lost power for a few days. Others lost their homes. Miraculously, only a few people were injured, thank God not more; alas, one poor sheep died, along with a chicken. Many trees were uprooted, though. The skinny candles are burning on candlesticks made by Shlomo. Thank you, Shlomo! Thanks to a charged-up iPad, I was able to read my iBooks until a kind neighbour-friend juiced it up again next day in a part of town unaffected by the power outage. This fine neighbour has a gas stove that remained operational and allowed her to bring me coffee in the morning. A place must surely now be reserved in Heaven for her. But it has come around finally, thanks to physio and cortisone shots…I am trying to get back in the studio more. Yet more to be grateful for. On the Family Front: a wonderful suprise. My son and his Beloved of 12 years decided to get married officially. Attended by our families including their own two kids , we had a wedding! I love the photo of the ladies with The Bride in their beautiful wedding clothes and delighted smiles. My Hannah and Sarah are R and L of the bride. And check out 2 year old Ezra with his little cousin negotiating the consumption of his chips…you would think he was proposing…but my fave is the one with the little cousins and the Bride and Groom making silly faces. O, it was a happy day! I made small artworks for the table: little paste-painted place cards in the form of a single-signature book, pamphlet sewn, for each guest; the cards were housed in keepsake slipcases covered in eco dyed silk printed with iris blooms a stash treasure. Guests were invited to write their good wishes and of course, the kids got to draw and colour. FRESCO is a series of eco dyed works indigo and rust invoking the experience of finding beauty in decay and decomposition. Here is an example of a collection of smaller works in the series:. Now a few pics of the garden, my refuge as well as my source of plants for pigments: it is fall now and time to collect and freeze the dye plants. My fall dye work is starting: it is black walnut time! This year, I plan to make ink again in the past, I have made ink from blue iris, walnut and coreopsis but will try some new plants. Four cups of water, cooked in the slow cooker on low overnight. Cooks down to one cup, which will be strained in cheesecloth then cooked down some more. Then add a wee spoon of gum arabic — et voila, ink! Or let the the strained and cooked-down dye evaporate, then store the powder. The squirrels and I thank the Creator for the bounty of walnuts! Finally for this LONG post, I leave you with some of the books have been reading this year — all at once, of course. They lie all over the house at the ready note the visual pun…. And a selfie — I have let my hair go as nature would have it much cheaper and less annoying than visiting the hairdresser. Happy Thanksgiving to all and thank you for following. Next time, maybe I will have remembered better how to navigate the wordpress editor! I have an renewal of my blog and website happening on the back burner so hope that will be done in the next few months — and at the same time, I am destashing My Stuff- and the studio Sacred Stash is not exempt this time around. Will report on how the Stash can fuel creativity. Meantime I have found excellent info and so far respectful sharing on a FB page Printing With Botanicals I think that is the title of the group. They are up on the latest Tricks and Tips for eco prints- check them out! The fall garden. It is the last day of November and the day of Saint Andrew, patron of Scotland Greece, too and all Scots, even those like me from Orkney! Time to report on the month's art activities, though I will not be done writing before midnight Ottawa time; still, somewhere to the west of me it will still be Saint Andrew's Day. But first, a goodbye to the colours of autumn in The Kaleyard, last seen in the early weeks of a milder-than-expected eleventh month:. The last one is the perennial geranium, a sturdy plant, green under the snow and trusty provider of colour in the eco print pot. As you might notice in the work of eco printers, yellow is a frequent colour. Some despair is possible. But take heart, Dear Dyer. A solution is available from colour theory. As well as from some post- print tinkering- though not discussed here today — like touching up the colour with other dyes, paints or modifiers like iron liquor or copper liquor or ammonia. And no, post-print touching-up is not a ticketable offence according to me. You are the artist, and you get to do what you like with your art, especially in the establishing of your own purposes and the safe and rationale means of achieving them. Thus: To get the most of my yellows from season to season when they change value and even hue I like to pair them with some strongly contrasting colours that can act as foils. In these prints, the contrasts come via rusty prints and cotinus; both leaves are tannin- rich that give deep charcoal or black in the environment of iron, and also some greens. Yellow and black are pretty powerful together. And next, some more rust prints on paper, this time with indigo and tannins from tea: also powerful contrasts. Winter wools are on my list of textiles for dyeing, and this year I am trying for that famous and popular but non-native hereabouts eye-popping eucalyptus red introduced to us by our DownUnder Diva of Dyes, India Flint. I have a lot of dried euca around the studio saved from supermarket bouquets and welcome those Green Immigrants to the dye plant stash. The prunus gave the teal greens and even purple, while the euca gave ranges of reds and orange with a tad of yellow. Of course, the walnuts give rich brown on wool though much paler on linen So here, we get the power of analagous colours in teams beside colour complements in the red and green. My most recent project this month was with Dylan, my wee grandson, aged six. We have done lots of painting and stamping and so forth on big sheets of paper, using a very basic palette of cadmium yellow medium, cobalt blue and some kind of red we lost control of the inventory — most likely the red was cad. Those paintings mount up — kids are decisive and prolific painters and do not hang about obsessing over the next brushstroke as we adults might tend to do. Just try keep up with that kid! But what to do with all our paintings as they piled up? I hit on a plan to keep the works but to make them easier to store and fun, too. We will make books and boxes, said I! So we have been making books and boxes from each single sheet painting, working with origami-type folds and no glue. This is an ongoing project, so today I am sharing just a few. The first is a wee box made in the style of the compartments in the Chinese Thread And Needle Case that I completed earlier this year. For this one, Dylan and I stamped the paper with wooden Oshiwa blocks also reported on my blog in the past and carved Indian textile blocks:. Here are some pics of a box under construction, to refresh your memory for the folding sequences: as you can see, you need to fold the large square of paper into a nice grid. The centred square fold is the bottom of the box when all the folds are in place. Two boxes fit on top of each other to make one box with a lid. Next time, some more art from the studio with my young apprentice, who, bye the bye, was able to anticipate the next fold in his box as we went along…so you can do it, too! And it's a good time of the year to make gift boxes! But the mind keeps travelling, Dear Reader…and the hands can still move. At Arte Studio Ginestrelle, my studio set up for printing on paper was dependent on found materials, whatever could be repurposed for steaming papers and textiles. I used wire-mesh screen material scrunched up in a pot or a lasagna pan with a few inches of water below and a large terracotta tile for a lid. A Gypsy Campfire was not an option because we were located in the Regional Park of the Subasio and thus subject to strict forest fire controls. My heat source was propane, the same as we used in the house for cooking when not using the wood stove. It was a simple and effective set up in an outside barn studio. With a daily temperature of around 75 degrees, that was no hardship! Iron bits to make rust prints; abundantly available around this former three storey farm house built to house a family of ten :. This textile bundle had been simmered in some of the plentiful walnuts strewn under the trees on the property. I usually stacked my paper bundles six sheets of papers high, weighing the stack down with a rock on top of a tile. I bundled paper and textile in thick white linen thread and used it later to sew my Artist Books, after it had taken on pigments:. I used a lot of different locally available papers, some unavailable to me here in Ottawa. To my surprise, the quality Fabriano paper known worldwide was just not available in Assisi or Perugia nearby, nor in Florence — the latter because the art supply shop was closed when we visited it. Businesses often close from 1 — 3 pm in the afternoon as well as on Saturday and Sunday. I used thicker papers over gms to enclose my bundles; from these I obtained prints from pigments leaking through the stack. Fabriano is about two hours drive from Assisi towards the Adriatic at Ancona. Here are some samples of my papers that were printed in the first week or so of my residency when I intentionally printed only one kind of plant on each page or between two pages. This was to enable me to judge the colours I could obtain without the colour mixing that occurs when you bundle several plants together. Post ecoprinting, I often treat paper and textiles surfaces as paintings, taking the colours and forms in directions I choose as counterpoint to the spontanaity in colour and form that is the result of an eco print. After printing this first set of papers, I enriched their colours in various ways: by using iron as a modifier and painting on iron liquor: by resteaming the papers with other leaves or by using the same type of leaves again and steaming them longer or under more pressure; and by applying natural dye colour e. These papers are in their early stages of development in the layering. Later, along with the eco printed textiles, they will be layered with embroidery and taken along other colour roads. The grid prints are from the screen mesh and from a metal rack during the first printing. For layered colours, I made second and third printings. Rust and madder were painted on to give more colour post-printing; squishing blue coloured berries on top of the print introduced some complementary blue shades beside the yellows and oranges. The distressed surfaces and broken colours recalled for me fresco surfaces that have faded or flaked off over the centuries. My intention was to research the bioregional plants of the Subasio near the Arte Studionestrelle at Santa Maria di Lignano and to discover natural pigments which I could use to dye and print locally-made paper and vintage linen. I was interested in a contemporary application of the traditional knowledge about natural dyes associated historically with this region of Italy where much of that older wisdom seems to have disappeared. My question was: Could some version of that knowledge be restored? The October native vegetation growing high up the mountain provided a rich palette from leaves, bark, berries and late blooms that worked together in successive layers of dye and print. My work on this beautiful mountain recalls to me the Fioretti Little Flowers of Saint Francis of Assisi whose love for the Umbrian landscape brought him and others closer to God. And although I was here too late in the season to use the traditional ginestrelle blooms in my prints, I was able to obtain much colour from their seed pods! The statement above about my work during my residency at Arte Studio Ginestrelle appears in the catalogue for the show of contemporary art at the public art gallery of Assisi. The show takes place the last week of November. As well as the inspiration I found so abundantly in and around Mount Subasio, I am pleased to share with you some of the Artist Books and textiles created during my October residency and featured in the annual exhibit by many of the Artists In Residence. I have also brought home with me many eco printed papers and textiles that will form much of my work later in the winter. First pic: Umbrian handwoven linen, highly textured and serviceable cloth; an Assisi-fleamarket find, vintage but never used. Even then, I used madder dye powder for the reds since Rubia tinctorum does not grow at almost metres above sea level where the Studio is located. The abundance of yellows in the earlyOctober leaves was a challenge. During my first week of printings, shades of yellow or brown was all I could manage to obtain using a basic alum acetate mordant. I knew I would print the papers and cloth several times again for more colour and form. As the October days passed, the fall colours began to change and pigments both increased and decreased in the leaves. I searched for sources of blue and found them in Dogwood berries Cornus sanguinea , Sloes Prunus espinosa — tiny plums and Cotinus coggygria more blue after the middle of October. Purple showed in the bark of walnut twigs Juglans regia as well as late blackberries Rubus fruticosus and sloes; greens from Dogwood leaves and berries, too ; moss greens from Rosa canina Dog Rose. The yellows were varied: Golden-apricot from Olive leaves; deep golden from Walnut; yellow-chartreuse from Sumac. With the Subasio Scroll Collection I am continuing to develop an earlier goal: to use the accordion book form as a botanical scroll. A fourth book is coptic-bound and contains my handwritten copies of sayings from Dante and Francis of Assisi. The range of available plants changes with the altitude here, between and m. So while madder might be found on the bottom layer of the vegetation belt, only a relative Galium lucidum, but not a red one! My aim was to use only what I could forage within that vegetation layer on the mountain and therefore not to import plants from other areas. I did succeed in that aim, except for my use of powdered madder…one cannot express the spirit of Giotto's frescos without red! All the other plant colours came from the vegetation right at hand. Aside: I was unable to find any really good locally-made paper for my books , despite the fact that the Fabriano art paper factory is within a few hours drive of Assisi and the other hill towns. The art supply shop in Florence was closed on Saturdays, the day we went there. One bookbinder we met in Florence says he sends for his supplies to Talas in Brooklyn!!! Or to Paris or Germany. Covers and Book Box were made by Shlomo Feldberg using my printed textiles and papers. These Artist Books remain in Assisi for exhibition. Others will be added to the collection in time as I continue to work with the many papers and textiles I made there and brought home. Completed scrolls atop the reference books I used to help me identify the native and local plants. I had hope they could tell me which might be for use as sources of pigment. None of these books discussed the traditional dye uses of the plants, even when they gave extensive info about medicinal use. This confirmed my supposition that natural dye knowledge about the area was limited or non-existent. I leave you today with a promise to post more pics and info when a I have sorted and retrieved some lost photos FB crashed iPhoto and ate my camera upload…lost a LOT of pics!!! More pics next time! Leaf prints for book pages, inspiration photos…and photos of the Studio and environs. Time to catch up on reports about studio work! Where did July go? Well, this month took me and Husband on a new adventure. To start:, A coiled pre-felt: the coreopsis leaks red…the strings were iron-dyed and made their own marks:. Detail — greens, blues and teals from Prunus cistena: red from Coreopsis verticillata, yellow from sumac and Golden Rod:. My friend Carmella Rother, a felt artist, tried eco printing for the first time on her felted and embroidered merino. We had a fun session at my studio, with many lovely results. Carmella is captivated! She is now experimenting with eco prints on her felted vessels. Eco printed with maple and rust. New World Scroll: Acer Saccharum. Eco printed papers, bookcloth, embroidered. Slip case by Shlomo Book and box covered by eco printed papers and cloth. That's it for now. Next project is to install a small show of eco printed Artist Books and prints at the Ottawa School of Art on August The Iris Green books and prints will be part of the display as well as other books, including the ones in this post. Skip to content December 1, wendyfe. After cooking and before being donated to the critters outside I find they look a quite lovely deep brown: Walnut does quite well as a dye without cooking. After a couple of weeks soaking and a rinse in plain water, this was the colour: You can see that different shades of white wool had been used to crochet this thrift-shop find. Wool dyes beautifully in walnut- here are some more examples from a few pre-ink years ago: Eco printed wool pre-felt, native plants. Lambs-wool cardy dyed with walnuts, iron nails and eucalyptus I forget which kind Little strips of blanket trimmings bundled with various eucalyptus and immersed in a walnut dye bath — also from past dye pots. More on grapes next time And to finish in a sweet walnut note from the kitchen: here is what we had for breakfast one day at the art residence: walnut-parmesan scones I do not have the recipe so must go back there and pick it up… Until next time. Happy Chanuka for tomorrow, too! Even if we do not celebrate Chanuka, we can still be the light! Share this: Email Facebook Twitter. Like Loading November 25, wendyfe. The dye looks like this on watercolour paper: The dye liquid, cooked down, was then put into wee bottles with some gum arabic added to ink it up and finished with walnut-dyed tags and labels: Off to the craft fair next weekend in Chelsea, Quebec! And taking some buckthorn ink along, too: Next ink colour to try is wild grape, waiting its turn in the stash, Might even have some ready to go with the walnut and buckthorn for next weekend! November 10, November 17, wendyfe. Each of these provides trustworthy info on the pigment properties of and colour extraction methods for various varieties of buckthorn The buckthorn familiar to me in the Ottawa area is Rhamnus cathartica, and it is not an MVP in the plant world hereabouts! I decided to go with traditional dye extraction practice for this first attempt; this involved crushing the berries, covering them with water, cooking them at a simmer in the slow cooker until the water took on a dark purple-blue colour and then straining them in a jellymaking bag: Notice how the jelly bag begins to turn green, even when purple juice has not done draining into the pot! Probably because of the soap residue in the jelly bag Now the fun begins. Thus, first pic shows the basic purple juice extraction, then the green with the alum added: Then some trials on paper with these two colours FYI: the first pic shows how the purple stains changed colour in the empty cooking pot when I rinsed it with plain tap water — triggering a pH change and thus a colour move from blue to green. And no-one at all has asked for a refund, even if they were they unable to get a kit in a size that matched their donation when the supply ran out I am extremely gratified and touched to find myself in the company of people like all these donors. October 6, November 24, wendyfe. Here is what it looked like in my living room a few hours after the power went out: The skinny candles are burning on candlesticks made by Shlomo. December 1, December 1, wendyfe. But first, a goodbye to the colours of autumn in The Kaleyard, last seen in the early weeks of a milder-than-expected eleventh month: Sumac and amelanchier:. Posted with Blogsy. November 11, November 12, wendyfe. A pot with wire screen bent to fit and it makes interesting grid prints, too. October 14, November 10, wendyfe. Dogwood and walnut with the last sunflower:. August 8, August 9, wendyfe. Blog at WordPress. Subscribe Subscribed. Sign me up. Already have a WordPress. Log in now. Loading Comments Email Required Name Required Website. Design a site like this with WordPress.

Buy coke online in Feldberg

Buying Ecstasy Maggiore

Buy coke online in Feldberg