On the 2nd Day of Christmas...

... this blogger gave to thee...

... two iterations ...

... and a tale for tugging heart strings.

To lead on from Lost & Found and soft sculpture characters, during the run up to Christmas I offered to make my little sister something. Or remake her something.

The night before my sisters thirtieth birthday, I sat up all night sewing, mostly because I'm insane but primarily because she'd mentioned wanting something a few days earlier and in my head I'd pretty much worked out how I could do it. So, instead of sleeping, I panic made her a felt No-Face from Studio Ghibli's Spirited Away (2001), sitting knitting as he does in the film.

My sister loves Studio Ghibli and she'd seen soft sculpture figurines like this online and shown them to me. Sometimes you show someone something and it's just because you think they'll like it or find it interesting, sometimes it's a subtle hint. This I took as a not so subtle hint. 

Throughout the day of her birthday, I stole five minutes here or there to finish sewing his face, to stuff him with cotton wool balls (because I'd run out of wadding, or couldn't find it, I honestly can't recall) and do a tiny piece of knitting. Now, normally my sisters and I have a deal on birthdays that we have to decorate each others cakes and try and out do one another... that year, seeing it was an milestone birthday, I made her No-Face as a cake topper which I wouldn't dare place on the cake. Instead I hid it behind my back and handed it over with her cake.

Needless to say, she flipped out! So no sleep was worth it and I was proud of what I'd made.

More recently she used a photo of her bookshelves and No-Face sitting there as the avatar for her messenger and email, and her friend David saw it and, as a huge fan of Studio Ghibli, also flipped out! Mostly, I believe, because she hadn't shown him earlier.

And so I made my sister an offer, and a plan was hatched for her and I to make the second iteration of No-Face, new and improved, for David's Christmas present.

I redesigned the pattern into fewer pieces, which I taught my sister how to do a blanket and Henson (ladder) stitch (a stitch she found really satisfying to do) so she could help me sew him together, before using actual toy stuffing to fill him. I hand stitched his face instead of using pieces of felt, which had driven me bonkers the first time around and made him look a little stoned as every stitch compressed and slightly distorted the shape I'd cut out. Then to finish him off, not only did I make him proper knitting needle (I even sanded the bamboo skewers smooth so they didn't catch!) but I tiny knitted the beginnings of a jumper and Swiss darned Jiji, the cat from Kiki's Delivery Service (1989), onto the front of it. 

Admittedly with the Swiss darning, I was being extra, and little sister was both overjoyed and jealous because her No-Face knitting was seriously basic. But I couldn't resist! I got the idea in my head and couldn't not do it, even if I was working up until the last Christmas post.

After the final touches were made, No-Face was very quickly (and slightly blurrily) photographed, boxed up and shipped out to Lerwick, and on Christmas Day a message came in from David which simple said:

"After hyperventilating, I thought I'd just about be 

okay until I noticed what No-Face was knitting...

I'm dead. Totally fucking dead :D" 

- David

I think he liked it. (And doesn't mind that I included his message to my sister, it was just such a lovely reaction and I'm really happy he likes it.)

So there they are, two iterations of a knitting No-Face, and with some definite improvements made. David's version certainly had a glow up, but I like how my sisters version looks like a younger, softer No-Face, for now at least. The only thing I wish I'd done this time around, was buy some plastic pellets to add some weight to the base and allow him to stand up a little more easily, the original, being stuffed with cotton wool,  actually was heavier than the newer version. Luckily my sister has requested a glow up for her No-Face, including new knitting and needles, a new face and actual stuffing, not cotton wool, so maybe some pellets will be in its future too...

... along with an open mouthed No-Face, a Totoro and a Kuchi Kopi (from Bob's Burgers) if I have time.

Demanding little bugger, lucky I like her and making these sorts of things makes both of us happy.

Plus reaction like hers and David's definitely make it worth it.

Merry Christmas! Part three soon…

Link || Studio Ghibli || Website || Wikipedia

Link || Spirited Away (2001) || IMDb || Wikipedia || Rotten Tomatoes

Link || Kiki's Delivery Service (1989) || IMDb || Wikipedia || Rotten Tomatoes

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Listening: Underneath The Christmas Lights - Sia

On the 4th day of Christmas...

... this blogger gave to thee...

... four living hinges...

... three books for reading...

... two felted tooties...

... and a day Binging with Babish.

Today’s post (which is a day late) is about something simple that looks complicated. In plastic, you see living hinges every day. They’re on your shampoo bottles, food containers and any piece of generally disposable packaging where a plastic hinged lid is made as a single injection moulded component. They’re common in plastic products because they’re resilient to repeated bending, easy to make and cheap to manufacture. In wood however, they’re a little different.

When used in woodwork, living hinges become an ornate patterning of pierced line work, which give flexibility to a ridged material. This is all done using a variation on a technique called kerf bending. Kerf bending involves cutting regular slots the width of the sawblade into the solid piece of wood you’re using, making sure not to cut all the way through the base, which thins out the material enough to make it flexible enough to curve. Living hinges are a variant on this process because rather than partially cutting through the wood, the wood is pierced right through in a repeated overlapping pattern, which again allows the solid form to become flexible.

Living Hinge Swatches through Obrary: The Open Library of Product Designs

Some living hinges are made of a simplistic linear repeat pattern, varying the length and spacing of the lines allowing the angle of movement go from barely there to three hundred and sixty degrees in a book like hinge formation. Others cuts patterns are more elaborate, triangles, curves and lattices being used to create a different range of flexibility.

It can be achieved in a few different ways. Some people use laser cutters or CNC machines, which are the higher end option, however, it can be done a little cheaper using low tech option, by using a scroll/fret saw or by hand using a jewellers’ saw. This way might be a little more time consuming, but if you’re wanting to experiment with using wooden living hinges, a hand saw will cost you next to nothing and would be a good place to start, before investing in hundreds of pounds of equipment.

You might go crazy breaking saw blade after saw blade, but that's why they come in packs of twelve right?

Might need a couple of packs if you're planning on attempting any of these...

Lumbra Light by Dukta Flexible Wood

Last year, on day three of the twelve days of Christmas, I posted about the Lumio Lamp designed by Max Gunawan, since then my lovely sisters gave me a similarly designed light, shaped like a book, with velum pages which unfold like a pop-up book and at a certain point illuminates. It is one of the nicest things I own. It gives a beautiful warm, defused light, can sit open like a book or opened three hundred and sixty degrees in a full light... and I seem to remember squealing with delight when I saw that it was a version with a living hinge spine.

The Lumbra Light by Dukta doesn't fold, it doesn't expand, but reminds me of the soft light that my book light gives and the beautiful way the light emits from the pierced spine, casting shadows on nearby surfaces. Made with birch wood ply, Dukta uses the lattice pattern created by the hinge, to wrap around the rounded corners of a frosted acrylic box light. The light can we used with or without legs, the legs certainly embracing the trend for tripod mounted light fixtures which we've seen over the past year or more.

It's modern, without appearing fussy, despite the patterning and that's going to be a theme with all of these designs.

PLAAT ‘Technical’ Bag from Qoowl Design

Now, I could have made this post up entirely with bags. South African company Indalo Decor have a line of satchels and rucksacks, Michiellie Chapman has a beautiful laptop case and if you search Etsy, there are purses and wallets there too, but all of these examples have one thing in common. They use the living hinge as a flap opening on a more solidly made bag. The PLAAT 'Technical' Bag from Qoowl Design, however, is a solid - or not so solid - length of laser cut living hinge, paired with a leather lining and simple magnetic clasp. This out of all the bags I have seen, embraces and celebrates the living hinge the most. It really couldn't be more simply designed and yet this is what makes it elegant. 

Tryst Stool by Tate Anson

The Tryst Stool by Tate Anson, is using living hinges in a similar linear formation as the two previous designs, with a twist. Instead of using the linear patter to simply curve the wood and bend it round a form, Anson is using the hinges ability, when cut completely through at one end, to fan out and increase the surface area, allowing the legs to taper without adding extra weight or bulk. This gives the simplistic form of the stool an intricate, modern aesthetic which doesn't compromise on the durability or functionality of the stool. 

 Push Sculptable Metal Bowls by Fundamental | Push and Trio Variants

The fourth living hinge, probably can’t be called a hinge, but in my opinion uses a similar technique to change a ridged form into a more malleable material. In the case of Fundamental's 'Push Sculptable Bowls' that material is metal, which is one I'm a little more familiar with. Metal is a weird material if you think about it. It's strong but can be made malleable with heat, ridged but can bend easily under the right conditions and is difficult to break unless put under great stress, and traditionally to make bowls, you gradually and repeatedly heat and hammer the metal until it becomes concave but not with Push bowls. The Push bowl, made of copper, brass or steel, utilises similar laser cut patterning to that of living hinges - specifically a triangle kerf - to give the initially flat form enough flexibility to be pushed by hand into the desired bowl shape.

Going through various pattern formations and iterations of your design is just a natural part of the design process, and finding which particular living hinge pattern will give you enough, but not too much or too little flexibility is part and parcel of that process as well.

The nice thing about living hinges, is that people are starting to apply them to all kinds of designs, they're in furniture, accessories, lighting and now 3D printing is becoming more and more popular, there are even designs playing with printing plastic fabrics which are akin to living hinges. But I'll admit, I kind of geek out when I see laser cut living hinges, there is just something really beautifully elegant about them.

But yeah, maybe buy a few packets of saw blades if you're going to give this technique a go.

Merry Christmas! Part five tomorrow…

Link || Dukta Lumbra Light

Link || Dukta Lumbra Light via Architonic

Link || PLAAT ‘Technical’ Bag from Qoowl Design

Link || PLAAT ‘Technical’ Bag via Design Milk

Link || Tryst Stool by Tate Anson

Link || Push Sculptable Metal Bowls by Fundamental | Push | Solo | Mini | Trio

Link || Push Solo and Trio Sculptable Metal Bowls byFundamental via Homeli
Link || Michiellie Chapman Living Hinge Laptop Bag
Link || Indalo Decor

Link || Indalo Décor: Making Wood a Fashion Statement via Destiny Connect

Link || Living Hinge Patterns from Obrary: The Open Library of Product Designs

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Listening: Christmas Magic - The National

On the 4th Day of Christmas...

... this blogger gave to thee...

... four micro art forms...

... three tubby little cubbies...

... two fancy pens...

... and a lego man made of a tree.

It's the fourth day of Christmas and we're going small in a big way, with four beautiful micro artworks, proving that bigger isn't always better when it comes to art.

Micro Matters by Amsterdam based designer Rosa de Jong, is a project to create gravity defying vertical dwellings on a micro scale.

These architectural landscapes were created using natural materials as well as traditional modelling materials such as faux moss, but have been squeezed into the confines of glass test tubes. By doing this, Jong creates a tantalising cross section, both above and below ground of a micro world, as though they had just been plucked from the earth. There's something vaguely extra terrestrial about how these micro art works existence within their glass tubes.

Did anyone watch the Great British Pottery Throw Down? I've been obsessed with the idea of learning to make ceramics since uni, unfortunately DJCAD lost its ceramics department a year or two before I arrived there, so I never got my chance to try that particular craft. However, the Pottery Throw Down has just renewed my interest and I've learnt a term which will be handy when talking about the incredible micro ceramics by Jon Almeda.

Washington based Almeda's miniature hand thrown pots are created using a method known as throwing off the hump. This technique involves using a larger quantity of clay, formed into a cone on the potters wheel and then a multiple small ceramic items being thrown from the top of the clay cone, one after another. Due to the micro nature of these particular ceramics, while the technique for their formation is the same, Almeda uses as custom made miniature throwing wheel, with a two inch wheel head to create his one inch scale design. And despite their tiny size, each bowl, vase and teapot is fully capable of going through the traditional glazing and firing process, to change them from fragile clay into hardened ceramic, with beautiful coloured glazes, textured surfaces and unbelievably fine levels of detail.

It's such a shame so many art schools have lost their ceramics departments, I for one may have gone a different direction had it been offered.

Moving away from three dimensional art, here is an art form which unlike ceramics, art schools still offer - painting. But these paintings by Cape Town based artist Lorraine Loots all come in at under three centimetres a piece.

Entitled comically, "Paintings for Ants," Loots has been creating one miniature painting a day since January 1st 2013, each with a different theme and leading to the artist creating paintings of landscapes, objects, film characters, icons, animals and whatever she desires, all to the tiny three centimetre scale. Though, she has recently varied from the 365 day painting scheme, Loots changed to a Potluck 100 project in 2015, giving herself themed titles to work from, including: Microcosm Mondays, Tiny Tuesdays, Fursdays and Free Fridays, on which 100 paintings would be created over a twenty five week period. Though which weeks they would be created would be announced randomly throughout this year, therefore the Potluck aspect of the project would end up being the dates not the subjects, in a complete about turn to her previous project.

I love this project, how delicate and detailed her paintings are, neither of which are lacking due to her micro scale and the idea of initially having to force yourself to create a new piece every day before gradually it becomes less a chore and more a compulsion. Every year, I talk (to myself) about trying to do a 365 day project, whether it be drawings like Loots, or rings as a few jewellers have done before. Perhaps this year, shall be the year.

Finally there is this, which look like the perfect micro photograph of a grass field. However, it is so much more than that. Created by Patrick Jacobs, these are incredibly detailed, magnified micro dioramas.

Made out of materials such as styrene, acrylic, cast neoprene, paper, polyurethane foam, ash, talc, starch, vinyl film, copper, wood and steel, Jacobs dioramas of landscapes and cramped apartments, can take anywhere from several week to two years to complete. With such hyper realistic detail, where each clump of grass, each petal or architectural detail is handmade and loving placed within the dioramas internal casing, is that unsurprising?

Once they're completed, the dioramas are fitted into the wall of the gallery and sealed inside, with only a magnifying glass (as small as three inches in diameter) to allow the viewer a sneak a peek at the intricate scenes. It's voyeuristic, but in a calming, ideal life kind of a way.

And who wouldn't like that?


Merry Christmas! Part five tomorrow...

Link || By Rosa | Rosa De Jong Website | Behance
Link || Micro Matter: Vertical Dwellings Inside Glass Test Tubes by Rosa De Jong via This is Colossal
Link || Jon Almeda Website
Link || Miniature Hand Thrown Pottery by Jon Almeda via This is Colossal
Link || Lorraine Loots WebsiteLink || Postcards for Ants: A 365-Day Miniature Painting Project by Lorraine Loots via This is Colossal
Link || A New 100-Day Miniature Painting Project by Lorraine Loots [...] via This is ColossalLink || Partick Jacobs Website
Link || Patrick Jacobs' Magnified Portals Into Miniature Worlds via This is Colossal
Link || Patrick Jacobs' Incredible Hyper-realistic Dioramas via Beautiful Decay

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Listening: Don't Shoot Me Santa - The Killers

On the 3rd Day of Christmas ...

... this blogger gave to thee ...

... three things unfired...

... two little birds...

... and a corner shop made of felt.

"Three things unfired." You'd be surprised how hard it is to pair a subject with a Christmas carol, and that one reminds me more of The Labyrinth than sculpture.

"Through dangers untold and hardships unnumbered, I have fought my way here to the castle beyond the Goblin City to take back the child that you have stolen, for my will is as strong as yours and my kindgom as great - You have no power over me." (Labyrinth, 1986)

Though in my opinion the work of sculptor Phoebe Cummings, could fit almost perfectly into the wonderful world created for Jim Henson's movie.

Her baroque floral displays which emerge from cracked layers of air drying clay could have easily bloomed from the cracks in the stone walls, pushed their way out from the chinks between the slabs.

Cummings, who is a graduate of the Royal College of Art and was Artist in Residence at the Victoria and Albert Museum in London, creates temporary installations in situ. They are made primarily from unfired clay and each sculpture treated as a living entity which grows and evolves in its new environment and as time goes by gradually decays again.

There's something wonderfully Miss Havisham about it all.

Link | Phoebe Cummings: Artist in Residence at the V&A
Link | Phoebe Cummings via Bensozia
Link | Swept Away by MAD in New York via Home Build Life
Link | Phoebe Cummings via Pinterest

Merry Christmas! Part four tomorrow...

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Listening: Have Yourself a Merry Little Christmas - Sam Smith

On the 4th Day of Christmas...

...this blogger gave to thee...

...four fancy fish...

...three granulations...

...two bits of wood...

...and a calendar made of tea.

For the 4th day of Christmas, I am having a long lie, watching an ice skating movie with Michelle Trachtenberg*, having a cup of coffee and finishing another post from the long list of drafts I've furnished with images, videos and links, but no actual text.

In some respects though, this particular post doesn't need me to write about it, as I wouldn't do it justice, instead, I would like you to watch this video of artist Riusuke Fukahori working on his beautiful and intricate series, "Goldfish Salvation".

'A Cup Of Flower' (Rice Measure, Casting Resin & Acrylic Paint)

Painted on fine layers of resin using acrylic and confined within existing vessels, these hyper-realistic goldfish where inspired by the artists pet goldfish, who, while struggling with his artistic identity, became an integral part of his future.

 'Muses' (Sushi Basin, Casting Resin & Acrylic Paint)

 When you first look at Fukahori's work, it would be easy to believe that these were photographs of real fish.

'Goldfish Sake: Shinokaze'' (Japanese Cyprus Sake Cup, Casting Resin & Acrylic Paint)

They are intricately painted, each layer finely brushed onto a dried pool of resin, adding depth and tone to the emerging goldfish, mimicking the translucent, iridescent nature of fish fins and scales. If you have every owned fish, you can understand the delicacy which Fukahori has managed to capture.

'Karemoni' 2013 (Ceramic Bowl, Casting Resin & Acrylic Paint)

Fukahori's keeps goldfish in tanks and bowls around his studio, studying their form and movement closely, so his work never need rely on photographs to recreate the underwater creatures. They are committed to memory and preserved in resin.

His goldfish are his muse.

Every artist is looking for one of those. I certainly still am.

Link | Riuske Fukahori - Official Website
Link | Riusuke Fukahori Paints Three Dimensional Goldfish Embedded in Layers of Resin via This Is Colossal 
Link | Goldfish Salvation Project by Riusuke Fukahori via Abduzeedo Design Inspiration
Link | Riusuke Fukahori Intricately Paints Swimming Goldfish in Resin via Design Boom
Link | Riusuke Fukahori: Goldfish Salvation at ICN Gallery via Design Boom
Link | Breathtaking 3D Goldfish Paintings by R. Fukahori via Bored Panda
Link | Goldfish Salvation via Atsuko & Joe

Merry Christmas! Part five tomorrow...

*I loved roller blading when I was younger (and thinner), I would have loved to try ice skating, so I am unashamed that every time this Ice Princess comes on, I watch it and wish I had never gained weight and gotten too embarrassed to blade.

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Listening: Last Christmas - The xx

On the 3rd Day of Christmas...

...this blogger gave to thee...

...three granulations...

...two bits of wood...

...and a calendar made of tea.

What is granulation? Something I love.

Granulation is a 5,000 year old goldsmithing technique and something beautifully simple to make in jewellery. And when something goes wrong when using your blowtorch, inevitably you end up with an unintended granulation forming on your block. In order to make one, you take small pieces of fine silver/gold wire and place them on a tilted soldering block (charcoal or asbestos) and heat until they form a little ball of molten metal, which will then roll off the block into a container of water.

That's the best way, and the sensible way if you're making hundreds of these tiny balls. I've seen alternative ways, one involves dropping blobs of molten metal over a charcoal surface and allowing them to splash into varying sizes of granules, but I only ever make a few. So I have adulterated my charcoal block, taken a small burr and created a rounded hollow or two, I then sit my piece of wire in the dimples, heat until they become molten and then allow them to cool. If I'm very lucky most of them stay where I intended and don't create a hazard on the workshop floor.

Each tiny metal ball, is a granule, which you then solder onto your surface. Which is where the granulation process becomes more difficult.

Belgian Silversmith, David Huycke, has taken granulation to the extreme, creating for his 2010 exhibition 'Re-thinking Granulation', 40 pieces of work mastering the ancient art of granulation.

'Fractal Piece' (2007)

Consisting of over 10,000 silver granules, Huycke's objects rely on creating their own structural support, unlike traditional granulation work, where the granules are soldered to a preformed surface. 

'Kissing Sphere #3' (2006)

It is a labour intensive process, each granulated bowl or sphere must be fused together 100 granules at a time, but first the identical granules must be copper plated. Copper plating the granules negates the need for solder to be used as, the thin coating has a lower melting point that the core of the granule, so as it is heated, the external surface melts, fusing to the neighbouring elements and creating a solid surface. This leaves the objects blackened, which in silversmithing is often thought of as dirty and unfinished, however Huycke uses this to make his objects appear more sculptural and highlight the fact that they are not functional. When pickled (placed in a mild acid bath) the blackened copper oxide is stripped from the object and a clean white silver surface revealed, which the designer uses for other pieces of his work.

'Order & Chaos #1' (2008)

Huycke's exploration into this ancient technique takes a decorative surface texture and puts it at the forefront of these enlarged structures. They're tactile and somehow chaotic and uniform all at once. Spheres made of thousands of tiny spheres, bonded together, then bound to their larger hollowware counterparts. Like fractals constantly repeating and growing outwards.

Some jewellers find a source of inspiration. Flowers, architecture, literature, and others find a technique which leads them to creating their own individual style and infinite ideas to be realised. Huycke found granulation through a call for artists to contribute to an exhibition about the technique, a call given by the German Association for Goldsmiths Arts. He was intrigued enough by the technique and trying to find a non-ornamental way of using granules with little previous experience of them that he entered and it became a turning point in his career as a metalsmith.

 That's what I'm still looking for.

Link | Some Notes On Granulation via Ganoksin
Link | David Huycke at Galerie Sofie Lachaert via Design Boom
Link | David Huycke's Granulation Series via Sight Unseen

Merry Christmas! Part four tomorrow...
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Listening: 2,000 Miles - Coldplay

On the 1st Day of Christmas...

...this blog gave to thee...

...a Cathedral made of seeds.

Merry Christmas everyone,I hope you're all having a lovely Christmas day and from me and my blog, today is the first of my 12 days of Christmas posts. Now, from the outside, this could be mistaken as just another piece of modern architecture. A cube encrusted with translucent spines which sway in the breeze, which makes a tactile edition to the landscape, but the true beauty of this building comes when the rods pass through the structure to create the spectacular interior. 

By day, the rods allow light to be naturally transmitted through the building and literally high light the objects on display within, by night it is lit from within the rods, so not only are the seeds backlit but the transmits light out letting the exterior twinkle and sway in the breeze. 

Seed Cathedral, is the creation of Thomas Heatherwick, the winning design chosen to represent the UK Pavillion at the Shanghai 2010 Expo. The 'Cathedral' was designed to show the United Kingdoms take on the theme "Better City, Better Life" and, shunning the high-tech pavillions which one would anticipate at such events, Heatherwick chose to create a low-tech green space which linked the city and nature, but also to the incredible significance which seeds have on our environment.

Together with Kew Gardens and the Millennium Seed Bank Project, the Seed Cathedral contains 25,000 seeds, cast into the top of each of the 60,000 acrylic rods which penetrate the building to create the undulating interior walls. However, this is only a small quantity of the seeds the project is trying to collect. By 2020, the Millennium Seed Bank Projects is hoping to collect the seeds of 25% of the worlds plant species, which can then be germinated, studied and reintroduced as these species become threatened by extinction. The Seed Cathedral shows the frozen potential of something which on first sight looks incredibly small and vulnerable, but are of great importance to our future.

If you think that the name Thomas Heatherwick sounds familiar, especially to British readers of my blog, it may be because Mr. Heatherwick designed the spectacular cauldron which was raised up to create the Olympic flame at London 2012. He also designed the beautiful Rolling Bridge, which curls its way across the water at Canary Warf in London, as and when it is needed.

Now, I know this particular design is two (nearly three) years old, but it is spectacular and I rediscovered it a few weeks before the Olympics began - in fact this post was originally just on Heatherwick and I failed to finish writing it as the Olympics arrived and it felt like I would just be jumping on the band wagon. Though, that said, I didn't know Heatherwick had been involved in the Olympic designs until the opening ceremony and sat in awe as it gradually took shape.

When you're in art school, there are certain designers which are always being touted around as design heroes, two which are regularly trotted out being Phillip Stark and Vienne Westwood, so I never really talk about design heroes. However, of the designers I truly adore and admire for their work (Tord Boontje and Jacqueline Ryan being two I love) Thomas Heatherwick has definitely over the last few years become another. I think his designs are wonderful. Hope you do too.

Link | Thomas Heatherwick
Link | Kew - Millennium Seed Bank Project
Link | Kew’s Millennium Seed Bank at the Shanghai Expo 2010
Link | Treehugger: Awe Inspiring Seed Cathedral Wows at Shanghai World Expo 2010 (Photos)
Link | BBC News - Inside World Expo 'Seed Cathedral'

Merry Christmas! Part two tomorrow...
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Listening: Have Yourself A Merry Little Christmas- She & Him