cool mold

Witcher Toffee


Dairy Free

The things you’ll need

Ingredients
  • 1 cup honey
  • ½ cup agave
  • 2 cups almond butter
  • ¼ teaspoon sea salt
  • ½ teaspoon vanilla extract
  • ½ teaspoon almond extract
Equipment

Let’s get started!

  1. Mix honey, agave, sea salt and extracts in a medium sauce pot and place in a candy thermometer.
  2. Cook the mixture on low heat for 12 minutes, stirring constantly with a rubber spatula. Do not allow the mixture to exceed 250°F.
  3. Add almond butter and cook for an additional 2 to 3 minutes or until it pulls away from the pot.
  4. Remove the mixture from the heat and using a spoon to place it into your mold.
  5. Allow the mixture to cool in the molds and remove them once they have hardened.
  6. TaDa! This Witcher Toffee will make an alliance with your taste buds!
Homemade Bath Bombs

So what are bath bombs? Every time I walked into stores like LUSH i would be amazed at the variety they had and the beautiful scents. I have only bought one bath bomb from there, simply because they cost about $5-7! Insane. I mean they are wonderful but 6 $ for one bath, its pretty steep. So I started doing some research to see how I could make my own. I love taking baths but 6$ a bomb was just not gonna happen, and sometimes you do need some of that fun fizzy stuff. 

I found a basic recipe and it seemed that I had everything I needed except for citric acid. I bought this bag on Amazon and have also found other uses for it around the house (like switching for that shining powder for the dishwasher, it works the same!). It was 17 bucks, but I mean I could probably make close to 120 bath bombs if I wanted to. So I definitely think it was worth it.

This recipe is super easy to do and I had my girlfriends over for a little bath bomb tutorial. I was so fun! We all brought our own flowers and made our own mixes. Some of them even got more creative than me and mixed colors. Beautiful!


This was my first time attempting these and I’m sure I will only get better at them. This time we only used the essential oils I had on hand which were Orange, Eucalyptus, and Lavender. So good! Maybe I’ll invest in some of those cool globe shaped molds, not too sure though. Anyway let’s get started!

Here is what you will need!

A large bowl

1 cup of Baking soda (Buy it in bulk at Costco if you can!)

½ cup of citric acid

½ cup of corn starch (not pictured, oops!)

½ cup of Epsom Salts (I used unscented but I’m sure scented would be fine as well)

1 tablespoon of almond oil (you can also use jojoba oil or coconut)

Any bath bomb mold (I used my cupcake molds, you can also use easter eggs, or use those nice globe molds if you have em!)

A spray bottle with water

Any essential oils you like!

A cookie sheet with a kitchen towel laid on top, and piece of parchment paper on top of that *OPTIONAL*

food coloring *OPTIONAL*

Flowers *OPTIONAL*

INSTRUCTIONS:

1. In the large bowl pour the baking soda, citric acid, corn starch and epsom salts and mix gently with your hands, a fork, or even a whisk. Do this carefully and slowly, if you’re trying to avoid a big powdery mess.

2. Add your essential oils. I added 12 drops of lavender essential oil and 8 drops of eucalyptus. For this amount of mix, you want to stick to about 20-25 drops of oil. I”ll talk about some good scent mixes in another post! So look out for that! 

3. OPTIONAL! If you are adding food coloring, make sure you do it a few drops at a time. I added about 10 drops of green and 5 drops of blue but it can be different for you. When you add the drops add them in separate spots so that too much of the citric acid won’t start reacting. At this point you will start to see some fizzing, but don’t worry, just start mixing it all up.

4. Once you have reached the desired color, you will start to add the water from the spray bottle. Add one spray at a time, mix all the way through, and then add more. You want to reach a wet sand consistency, and it should hold its shape when you squeeze it together.

5.Grab your mold and start packing in your mix, if you are using flowers you can put them at the very bottom of the cupcake tin and then pack in the mix as tight as you can. Here’s my friend Kayla packing it in!

6. Let the bath bomb set in the tins for 10 minutes.

7. Slowly turn the mold over and gently tap it against the table to release the bath bombs. After all of them are out you can let them set for 1-2 days (depends on how much water you added). If you’re impatient, like me, you can heat your oven to 200 degrees. Once it reaches temperature, turn it off and place your bath bombs on that cookie sheet with the towel and parchment paper. Leave them in the oven for about 4 hours! don’t open it or reheat it just let it be.

That’s it!!! If you do not use the oven, you can leave them out for a couple days and you can use them when they are dry! 

No more spending tons of money for bath bombs! Super easy to make and you’ll love them!

The Barbie Fashionistas Guide

Because I couldn’t find it ANYWHERE ELSE. This is the guide for the names of each Barbie Fashionistas character (post 2015 reboot).

This isn’t a perfect guide. It’s a work in progress. I’m posting both the official and theorized names for the characters and molds. I’ll try to keep the post updated as new dolls are released, so bookmark this if you need it, I guess. Message me if you know the name of a head mold for any of these dolls.

This is a very long post, and not all the images are great quality.

UPDATE!: On January 28, 2016, Mattel released 3 new body types for their fashionistas line.

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[ Inktober 2015 | Day 7 – LONGING ]

Do not EVEN get me started on how much Chat Noir loves Ladybug.

Confession: I started watching Issa Rae’s mini series “Awkward Black Girl” for the second time and it’s honestly hilarious that I’m just now noticing how relatable it is to my life. I am an awkward black girl and apparently so are a lot of black girls(I have met few sadly). Awkward not only from daily social interactions, but also in the sense that I’m not what society defines as a typical/usual black girl. I’m an introvert with extrovert tendencies, I can’t dance or twerk to save my damn life, I don’t know how to properly flirt with boys, I prefer writing and Netflix as opposed to partying, I don’t have a lot of friends nor am I good at making them, to some people I might come off as boring and I deal with a lot of self esteem, depression, and anxiety issues. 

I feel like in our society, being black is seen as “cool” despite the fact we still face inequalities; everyone loves black culture. Therefore, I feel like as a black girl everyone expects me to be loud and outgoing, in touch with cultural trends, and basically a walking entertainment show. Well I’m not and I think because of that I can be a disappointment to people , especially other black people. Some of the black friends I made first semester started to distance themselves from me I guess because I wasn’t “lit” enough, people tell me to step out of my comfort zone and all kinds of different things. 

I don’t have many white friends, but I’ve noticed that they do tend to be more accepting in this area, maybe because white people are accepted everywhere regardless of how they act. I’ve tried numerous times to conform to what people wanted me to be and it didn’t work out and quite frankly I’m sick of making myself uncomfortable to impress others. I am not living for the liking and acceptance of other people and I’m glad I’ve finally realized that. I just want to give a big middle finger to society and I want to urge people to realize that not all black girls and even black boys fit into the “cool kid, always lit” mold. 

Not every black person can dance and that is ok. Not every black person has a bunch of friends and that’s ok. Not every black person is always cracking jokes with everyone around them and that’s ok. We aren’t walking vine videos lol. I’m not sorry if I don’t meet someones expectations for being a black girl and I’m becoming comfortable with who I am and I’m going to start loving myself more. I wish people would stop having expectations when it comes to black people because so many of us who don’t meet those standards start feeling like we need to. So here’s to all the awkward black men/women out there; the nerds, the hipsters, the depressed, the introverted, the preppy, the gay, the trans and the rest who don’t fit the acceptable black male/female role. You’re all fine just the way you are and lit in your own sense of character (:

I’d love for you guys to share your hearing aids/cochlears with me! I love to see the cool color combinations! Share your story! Make sure to tag me! @dazzlingdeaf

-I started wearing a hearing aid when I was in pre-school 2001. Over the years I loved picking out different colors for my hearing aid molds. I made a timeline of my hearing aid molds, and my hearing aids past and present. I had to draw some of them in because I don’t have them anymore due to a rambunctious dog.
Below is basically a journey about my thoughts about my hearing loss. How I was insecure, yet gained that confidence back. Read below if you want.



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plasmodium of a slime mold

i think that’s what this is. i captured this from ep2 of hannibal which i just started watching and thoroughly enjoying. loved that they named the killer eldon stammets after the esteemed mycologist paul stammets. 

the slime mold is cool because during this stage of its lifecycle my understanding is that this is all a single cell. the nucleus membrane has dissolved and merged with the cytoplasm. they look really cool under a microscope, like mini cellular highways of nutrients. 

also, slime molds are fun to keep as pets. i want to have each of my students take care of their own little slime mold in a petri dish. 

Sixteenth Chapter. Here is told how the craftsmen who cast precious metals fashioned their wares

(pages 73-78, Book 9, Florentine Codex, Anderson and Dibble translation with images supplemented from original Codex)

The craftsmen fashioned [and] designed objects by the use of charcoal [and clay molds] and beeswax [models] to cast gold and silver. With this [step] they made a beginning in their craft. To start with, he who presided distributed charcoal among them. First they ground it, they pulverized it, they powdered it. And when they had ground it, then they added it to, they mixed it with, a little potter’s clay; this was the clay which served for ollas. Thus they made the charcoal [and clay mixture] into a paste, kneaded it, worked it with the hands into a cohesive mass, so that it would dry and harden.

And also they prepared it: in just the same manner [as tortillas] they made it into flat cakes, which they arranged in the sun; and others were likewise formed of clay which they set in the sun. In two days [these cakes] dried; they became firm, they hardened. When they had dried well, when they had hardened, then the charcoal [and clay core] was carved, sculptured, with a small metal blade.

[If] a good likeness, an animal, was started, [the core] was carved to correspond to the likeness, the form in nature [that] it imitated, so that from it would issue [in metal] whatsoever it was desired to make - perhaps a Huaxtec, perhaps a stranger, one with a pierced, perforated nose, an arrow across the face, painted [tattooed] upon the body with obsidian serpents. Just so was the charcoal [and clay core] dealt with as it was carved, as it was carefully worked. It was taken from whatsoever thing was intended to be reproduced; howsoever its essence or appearance, so would it become [in metal]. If it were, perchance, a turtle, just so was the charcoal [and clay core] modeled: its shell, in which it can move; its head, which is peering forth from it; its neck, which is moving; and its feet, which are as though extending. Or if a bird were to be fashioned of gold, just so was the charcoal [and clay core] carved, so was it shaped, to give it feathers, wings, tail, feet). Or [if] a fish were to be made, just so was carved the charcoal [and clay core] to give it its scales; and its side fins were formed and its tail stood divided. Or [if] a lizard were to be made, its feet were formed. So was the charcoal [and clay core] carved for whatsoever creature was imitated. Or else a radiating, golden necklace would be completed, with bells about its edge, each designed, decorated, with flowers.

When the charcoal [core of the mold] had been prepared, designed, carved, then the beeswax was melted. It was mixed with white copal, so that it would [become firm and] harden well. Then it was purified, it was strained, so that its foreign matter, its dirt, the impure beeswax, could fall. And when the beeswax had been prepared, it was then flattened, rolled out, upon a flat stone with a round piece of wood. It was a very smooth, flat stone on which [the wax] was flattened-[and] rolled.

When it was well flattened, just like a cobweb, nowhere of uneven thickness, then it was placed over the [carved] charcoal [and clay core]; the surface was covered with it. And carefully it was placed on [the core] ; cautiously little pieces [of wax] were cut off or pared away. By this means a little [wax] entered hollows, covered eminences, filled depressions in places where the charcoal [and clay core] had been carved away. By means of a stick [or sliver of wood] they went making it adhere [to the core].’ And when it was prepared, when everywhere the beeswax was placed, then a paste of powdered charcoal was spread on the surface of the beeswax. Well was the charcoal ground, pulverized; and a rather thick coating [of paste] was spread on the surface of the beeswax.

And when it was so prepared, again a covering was placed over it, to wrap, to envelop completely the [thus far] completed work, in order for the gold to be cast. This covering was also of charcoal, also mixed with clay-not pulverized but relatively coarse. When the mold was thus covered, thus completely enveloped, it dried for another two days, and then to it was affixed what was called the anillotl, likewise of beeswax. This would become the channel for the gold, for it to enter there [into the mold] when it was molten. And once more [the mold] was laid out; it was placed [in] what was called the crucible [a charcoal brazier], also made of charcoal [and clay] hollowed out. Then thus was the melting. The charcoal fire was laid. There the gold was placed in a crucible; it was melted, so that then it entered into the channel [in the mold], there to be led along, flow, spread out into the interior.

And when it was cast, whatsoever kind of necklace it was which had been made- the various things here mentioned - then it was burnished with a pebble. And when it had been burnished, it was in addition treated with alum; the alum with which the gold was washed [and] rubbed was ground. A second time [the piece] entered the fire; it was heated over it. And when it came forth, once more, for the second time, it was at once washed, rubbed, with what was called “gold medicine.” It was just like yellow earth mixed with a little salt; with this the gold was perfected; with this it became very yellow. And later it was polished; it was made like flint, to finish it off, so that at last it glistened, it shone, it sent forth rays.

It is said that in times past only gold [was known to] exist. It was taken advantage of. The goldworkers cast it; they made it into necklaces, and the goldbeaters hammered it, flattened it, into the devices which they required. Silver was not yet in use, though it existed; it appeared here and there. It was highly valued. But today, on the other hand, all is silver; they want gold; it is much treasured.

The goldcasters and beaters who work now also require copper, though only a little, a measured amount. They add it to silver [solder] to give it binding power, to make it adhere. For if only silver were melted [to use as solder], the article joined would only shatter; it would only break [at the seams]. There where the article was soldered, [the seams] would not everywhere bind [and] come together.

And the goldbeaters, in times of old, hammered only gold. They smoothed it, they burnished it, with a stone, and they worked out a design along a black line with a stone. First the feather workers made them a design, and then they chased the design with a flint knife [as a tracer]. They followed the black line to form the design with a flint knife. They embossed it, they went making relief work, copying just as was the [black line] pattern. In the same way they manufacture objects today, wherever their work is needed. Perhaps feather mosaic [or other] feather work is required. [The goldworkers] join with [and] are instructed by the feather workers who cut all manner of feather work which may come their way.

Today the goldworkers work thus. They require sand - fine sand. Then they grind it, they pulverize it well; they also mix it with potter’s clay. Then they set it out [in the sun], in the very same manner as they form the clay so as to bring forth, to cast, whatsoever they would make. And in two days it is dry.

When it is well dried, then with a potsherd the surface is rubbed, smoothed, polished, burnished, shined, so that the surface is smoothed. Then it is carved - sculptured - with a metal knife, as is told elsewhere. In either two or three days [the work] is finished, made good, perfected.

When [the core] is prepared, then powdered charcoal paste is spread on its surface, and the surface is made smooth with a clay paste. Then the beeswax is melted; it is mixed with white copal, as was mentioned. When cooled, when purified, then it is flattened, rolled out on a flat stone with a piece of wood. Forthwith it is placed upon- joined to- the clay object to form the shape of the gold, whatsoever is to be made, perhaps a jar or an incense burner, which they call perfurmador. It is painted; it is designed with a beautiful design.

They especially esteem beeswax; they use it especially to form patterns, to produce works of art. But first, somewhere, a model of beeswax is made. When it has been well prepared, the mold is pressed upon it [to make the wax model]. For there is a model [in wax] of all they make, whether birds’ wings, or flowers, or leaves of plants, or whatsoever beautiful design.

By means of a small wooden stick, called a thorn stick, [the wax] is pressed on; it is made to adhere [to the core of the mold]. In perhaps two days it is perfected; it is made good.

When it has been prepared, when in all places the [modeled] beeswax has been made to adhere [to the core], then on its surface is spread [a thin paste of powdered charcoal]. When it is dried, then in addition a covering is placed upon it, of only coarse charcoal [and clay], in order to envelop the model [of wax with its coating of powdered charcoal paste]. In perhaps two days it dries. Then to it is placed the beeswax channel, called the round anillotl. First it is rounded. This becomes the channel for the gold, for it to enter there.

And when the channel has been set in, once more [the mold] is arranged [in) something like a crucible where the gold is [to be] cast. When they are this far, when all is prepared, then [the mold] is placed on the fire; it is thoroughly heated. Then flows out burning the beeswax [model] which has been placed within it. When the beeswax has come forth, when it has burned, then [the mold] is cooled, for which purpose it is once more set out over sand, quite coarse sand. Then immediately the casting takes place; there [the mold] enters the “fire pot” [a charcoal brazier]“ on a charcoal [fire] ; and the gold, which is to enter there [into the mold], is melted separately in a ladle [and poured].

Here this ends; thus the work is finished. And when the piece has been formed, when it has been cast, when it comes forth, then it is treated with alum; in a copper vessel it is boiled. And if somewhere the piece has cracked, has split, that is the time to mend it. That which is to be joined [soldered] is mended. And then it is rubbed so that like copper it shines. Once more it goes into [and] is treated with alum. So thereafter it is cleaned; it is made like flint, so that it glistens brightly.