Start with a large sheet of cardboard. Stores like home depot have large moving boxes that come flat like this, perfect for this project.
I use a projector to trace my butterfly, but you can also put tracing paper up to a screen and glue it to your cardboard, or ask your library to let you use their projector.
Make sure to trace not just the outside, but also all of the markings and patterns. Doing the antennae as well and keeping the scrap cardboard will allow you to measure out the right length.
2.
Cut around the outside of your lepidopteran and crease where the wings meet each other and the body. I use my hands, but a ruler can help. After bending your wings into a natural position, make the body and head with your clay of choice, mine is foam clay which is cheap and easy to use.
Blend the sides of the body into the wings just enough to stick, this will hold the pose you've chosen.
Prop up the wings with whatever is around and keep in a safe spot to dry. Mine dries overnight at this size. You can see I've used bottles for mine
3.
Once dry and solidified, the clay holds the wings in place in the way you left them.
Measure your antennae wire a little longer than needed and poke it into the clay. If it doesn't stay, add a little dot of super or hot glue at the base.
Glue a mounting bracket on the back. You can angle this however you like to have your lepidopteran upright, sideways, or even upside down
4.
Paint your sections individually so you don't lose your trace lines. I go in with white first to cover up the print on the cardboard, then put the correct colors over that.
If making a high contrast lep like this, go in with black at the end to clean up your edges.
If adding any fur to the body, get a piece larger than you need and hot glue it on, then trim the backing underneath the fibers with tiny snips, as not to cut the fur itself, and carefully glue the edges of the backing to the body as well
5.
Brush a matte finish like mod podge over your final product. Hold your lep up to where you want it to hang, then mount with a nail
Okay I have things I should be seeing to but I couldn't help myself. In case you, like me, have not read all of these stories and would like to be amongst the lucky 10,000 today:
I Have No Mouth and I Must Scream by Harlan Ellison
The King in Yellow by Robert W Chambers*
The Lottery by Shirley Jackson**
The Masque of the Red Death by Edgar Allan Poe
The Monkey's Paw by W.W. Jacobs
The Most Dangerous Game by Richard O'Connell
The Nameless City by HP Lovecraft
The Ones Who Walk Away From Omelas by Ursula K LeGuin
There Will Come Soft Rains by Ray Bradbury
The Yellow Wallpaper by Charlotte Perkins Gilman
The Veldt by Ray Bradbury
Honorable Mention from the comments/reblogs:
All Summer in a Day by Ray Bradbury
*note: this is actually a collection of short stories and clocks in at about 72k words
**Originally published in the New Yorker in 1948; interestingly, the New Yorker still has this story archived on their website BEHIND A PAYWALL. CAN YOU IMAGINE.
this is interesting actually, about how they seemingly 'edited' plates together to put more of an emphasis on motherhood:
the french images above ↑ (a woman facing away from her two children; two women), get 'edited' (or rather like. recomposed) into the american ones below ↓ (two images of women facing their children).
from the article (Americanizing French Fashion Plates: "Godey's" and "Peterson's" Cultural and Socio-Economic Translation of "Les Modes Parisiennes" by Karin J. Bohleke):
In contrast, French mothers in Les Modes Parisiennes are frequently completely disengaged from the children depicted with them: they look elsewhere and even turn their backs (see Figures 1-2). Again, this is a function of the contrived poses necessary to depict certain key stylistic features of garments. However, this is one aspect of French fashion plates that American editors found unacceptable: when the French mother is looking at her children, Peterson's frequently re-engraved the plate in its entirety (see Figures 3-6). But when the mother's pose has her ignoring the very objects that give her life its meaning. Peterson's was more likely to re-engrave the children without this unacceptable mother, or another French fashion plate woman whose gaze was basically in the right direction was substituted (see Figures 7-8). Concerned that French plates might send the wrong message regarding a woman's ultimate role, American editors eliminated the unacceptable depiction. There are consequences to this substitution: French plates depicted appropriate garments in a suitable setting, thereby instructing their readers in the social etiquette of dress through context; American substitutions resulted at times in socially absurd juxtapositions, such as a ball gown on a clifftop boardwalk (see Figures 9-10).
I think we need to start reminding everyone that religion is explicitly a personal choice and human sexuality is a biological reality! Not enough popping of people’s bubbles going around.
The slimy strings from okra and the gel from fenugreek seeds can trap microplastics better than the slightly-toxic synthetic polymer in use.
"The substances behind the slimy strings from okra and the gel from fenugreek seeds could trap microplastics better than a commonly used synthetic polymer.
Texas researchers proposed in 2022 using these sticky natural polymers to clean up water. Now, they’ve found that okra and/or fenugreek extracts attracted and removed up to 90% of microplastics from ocean water, freshwater, and groundwater.
With funding from the U.S. Department of Energy, Rajani Srinivasan and colleagues at Tarleton State University found that the plant-based polymers from okra, fenugreek, and tamarind stick to microplastics, clumping together and sinking for easy separation from water.
In this next stage of the research, they have optimized the process for okra and fenugreek extracts and tested results in a variety of types of water.
To extract the sticky plant polymers, the team soaked sliced okra pods and blended fenugreek seeds in separate containers of water overnight. Then, researchers removed the dissolved extracts from each solution and dried them into powders.
Analyses published in the American Chemical Society journal showed that the powdered extracts contained polysaccharides, which are natural polymers. Initial tests in pure water spiked with microplastics showed that:
One gram of either powder in a quart (one liter) of water trapped microplastics the most effectively.
Dried okra and fenugreek extracts removed 67% and 93%, respectively, of the plastic in an hour.
A mixture of equal parts okra and fenugreek powder reached maximum removal efficiency (70%) within 30 minutes.
The natural polymers performed significantly better than the synthetic, commercially available polyacrylamide polymer used in wastewater treatment.
Then the researchers tested the plant extracts on real microplastic-polluted water. They collected samples from waterbodies around Texas and brought them to the lab. The plant extract removal efficiency changed depending on the original water source.
Okra worked best in ocean water (80%), fenugreek in groundwater (80-90%), and the 1:1 combination of okra and fenugreek in freshwater (77%).
The researchers hypothesize that the natural polymers had different efficiencies because each water sample had different types, sizes and shapes of microplastics.
Polyacrylamide, which is currently used to remove contaminants during wastewater treatment, has low toxicity, but its precursor acrylamide is considered toxic. Okra and fenugreek extracts could serve as biodegradable and nontoxic alternatives.
“Utilizing these plant-based extracts in water treatment will remove microplastics and other pollutants without introducing additional toxic substances to the treated water,” said Srinivasan in a media release, “thus reducing long-term health risks to the population.”
She had previously studied the use of food-grade plant extracts as non-toxic flocculants to remove textile-based pollutants from wastewater and thought, ‘Why not try microplastics?’"
-via Good News Network, May 10, 2025
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