Very few books unite jewelry making and origami, thus Fashioning Origami will be unique among books addressing this subject. Author Julian Laboy-Rodriguez will introduce readers to dozens of different origami creations and many different folds and then demonstrate how to turn these paper motifs miniature, pairing them with jewelry findings for fun and gift-worthy accessories. But there is more to origami than just folding paper. It's the perfect hobby for a stressful world. Fashioning Origami will also address the misunderstanding that origami must be delicate because it's paper. Julian will [also] show the reader how to create a crisp and sturdy feeling with the right products and simple science.

Ages 6 to 12 yearsMake your very own necklace!About 42,000 years ago, THE NEANDERTHALS carved TINY SEED BEADS from ANIMAL TEETH, shells, and ivory. Today, most beads are mass produced from plastic, clay or glass.Seed beads come in every colour of the rainbow and a variety of sizes and shapes. Used for ALL KINDS OF JEWELLERY, the best beads are manufactured in the CZECH REPUBLIC and JAPAN. You will find everything you need to make your SEED BEAD NECKLACE in the small box.

The book represents a continuation of research begun by Cooper in Hong Kong in the early 1970s among expatriate artisan furniture makers and woodcarvers from Dongyang County, Zhejiang Province. He now sets out to investigate the fate of the same craft in the hands of the same folk under totally different socio-economic conditions in their native county in communist People's Republic of China.

The book represents a continuation of research begun by Cooper in Hong Kong in the early 1970s among expatriate artisan furniture makers and woodcarvers from Dongyang County, Zhejiang Province. He now sets out to investigate the fate of the same craft in the hands of the same folk under totally different socio-economic conditions in their native county in communist People's Republic of China.

An overgrown concrete bunker at Ypres; a rusting gun carriage in a field in Flanders; perfectly preserved trenchworks at Vimy, northern France; a rocky mountaintop observation post high in the Tyrolean mountains. More than 100 years after the end of World War I, the conflict's legacy can still be seen from Europe to the Pacific. Abandoned Places of World War I explores more than 120 bunkers, trench systems, tunnels, fortifications and gun emplacements from North America to East Africa. Included are defensive structures, such as Fort Douaumont at Verdun, the site of the Western Front's bloodiest battle; the elaborately constructed tunnels of the Wellington Quarry, near Arras, designed to provide a safe working hospital for wounded British soldiers; and crumbling concrete pill boxes in Anzac Cove, Turkey. From the preserved remains of the mighty Przemysl fortress to bunkers and observation points high in the Slovenian Dolomites, Abandoned Places of World War I features more than 180 striking photographs from around the world.

Presenting a study of a group of potters living in a small community in the south of Japan, this work includes a look at the problems they face in the production, marketing and aesthetic appraisal of a kind of stoneware pottery generally referred to as "mingei", or folk art. It shows how different people in an art world bring to bear different sets of values as they negotiate the meaning of "mingei" and try to decide whether a pot is "art", or mere "craft". At the same time, "Folk Art Potters of Japan" aims to reach beyond the mere study of an isolated community to trace the origins and history of "folk art" in general. By showing how a set of aesthetic ideals originating in Britain was taken to Japan, and thence back to Europe and the United States - as a result of the activities of people like William Morris, Yanagi Soetsu, Bernard Leach and Hamada Shoji - this book not only rewrites the history of contemporary western ceramics, but engages in two important discourses in contemporary anthropology: one concerned with art and aesthetics; the other with orientalism. Illustrated, and with a description of the operation of Japan's art pottery world in the afterword, "Folk Art Potters

Analysing the decorative programmes of the most opulent European palaces of the time, Margaretha Rossholm Lagerloef investigates how meaning was conveyed through display and visual effects. She explores the visual meaning inherent in the scheme of spatial relations; in effects of scale, perspective, lighting, figures' positions and postures; and in relations among image types. The analysis concerns the interrelations of various kinds of images in the ensembles; the relations between images and physical site; and the address to the beholder. Lagerloef considers the visual impact of the imagery in conjunction with 'readable' or symbolically 'coded' meanings; thus, the study does not merely subject these decorations to formalist aesthetic principles. She shows the visual meaning generally to sustain the verbal or readable messages, but often in subtle ways, extending or elaborating the meaning. Occasionally, the visual meaning comes forth as an undercurrent or complication, deviating from the proclaimed and symbolic meaning. Fate, Glory, and Love in Early Modern Gallery Decoration contributes to the body of scholarship on visual rhetoric and on how images 'act' out their messages.

Presenting a study of a group of potters living in a small community in the south of Japan, this work includes a look at the problems they face in the production, marketing and aesthetic appraisal of a kind of stoneware pottery generally referred to as "mingei", or folk art. It shows how different people in an art world bring to bear different sets of values as they negotiate the meaning of "mingei" and try to decide whether a pot is "art", or mere "craft". At the same time, "Folk Art Potters of Japan" aims to reach beyond the mere study of an isolated community to trace the origins and history of "folk art" in general. By showing how a set of aesthetic ideals originating in Britain was taken to Japan, and thence back to Europe and the United States - as a result of the activities of people like William Morris, Yanagi Soetsu, Bernard Leach and Hamada Shoji - this book not only rewrites the history of contemporary western ceramics, but engages in two important discourses in contemporary anthropology: one concerned with art and aesthetics; the other with orientalism. Illustrated, and with a description of the operation of Japan's art pottery world in the afterword, "Folk Art Potters

The prowess of Chinese creative abilities in the decorative arts in the 19th and early 20th centuries was well known globally, but, while much has been written about Chinese textiles and on the influence of the East on European styles of the time, the story of the influence of Western formats and tastes on the manufacture of Chinese jewellery in the period has, amazingly, never been told. In examining 50 objects of exatraordinary quality from an important private North American collection, this book seeks to redress the situation and reveal the splendour of silver and silver-gilt jewellery of the late Qing dynasty. An ancient and sophisticated culture, the Chinese - who have since records begun made up about a quarter of world's population - had almost everything they could need or want within their own borders ...except for silver. The metal had long cultural, commercial and governmental associations but had to be imported largely from South America, after both national and Japanese reserves were quickly exhausted by huge Chinese demand. Beginning in the mid 19th century - where the story told here begins - after two successive defeats in the Opium Wars, sixteen treaty ports were established on coastal and inland cities, enabling Western merchants freer movement and trade with the Chinese. The 50 pieces of jewellery and ornament presented here have been beautifully photographed and carefully documented. In superb unrestored condition, the objects incorporate exotic materials like tiger-shark teeth, teak wood, amber, precious and semi-precious stones from India and Sri Lanka, enamel, as well as finely carved and pierced nephrite, jadeite and lapis lazuli. Daoist imagery and motifs dominate but with the inclusion of some surprising Buddhist imagery as well. Though not from the imperial collection of the Qing, these exquisite pieces were seemingly commissioned and worn by prosperous members of the society from all over the vast country. The differences in manufacture, even in this varied sample of 50 items, is striking. Their appeal is more than just aesthetic, and their design and decoration speak of the social, religious, economic and political climate of their time. Questions regarding the sale and consumption of these object are discussed, and changing local and foreign tastes in the wake of the fall of the Qing dynasty and the establishment of the Republican period are also addressed.

There's never been a better time to be an amateur space explorer! From high school programs designed to send real student-led experiments to the International Space Station, to building a working VTVL (vertical take off, vertical landing) model rocket like the one from SpaceX, this issue is packed full of projects with actual space applications. And if a space aesthetic is more to your liking for your earthly abode, we've got a giant light-up full moon to hang on your wall and desktop orreries to simulate the movement of the planets around the sun. Plus 38 more great projects: Program a bot that points to the ISS when overheadLearn to laser-cut EVA foam to customize any cosplay creationBuild a light-up acrylic rainbow that changes colors to tell the weatherMake a cardboard camera that uses sun prints for filmAnd much more!

Bringing the existence and significance of the lost riches of Henry VIII back to life, this book sheds new light on Henrician and Tudor court culture. Henry VIII amassed the most spectacular collection of gold and silver of any British monarch. Plate and jewels were hugely prominent in medieval and Renaissance courts and played an essential role in dynastic marriages and diplomacy as well as in cementing the bonds between king and court. Ranging from plain domestic wares to extraordinary bejewelled works of art, Henry's collection embraced virtuoso continental objects as well as vast quantities of plate commissioned from London goldsmiths or inherited from his father. But nearly all of these holdings were destroyed over the following century, and of the thousands that he owned no more than a handful have survived to modern times. This book makes use of the wealth of surviving documentation - inventories, drawings, lists of payments, dispatches by foreign ambassadors and other records - to explore this lost collection and the light it sheds on the monarchy. Starting with an assessment of the young king's inheritance from his father, the book considers the role of plate at state banquets, in great church services and in the regular exchange of gifts between courtiers and ambassadors; the role of plate and jewels as a potent symbol of power; how the king used confiscation as an instrument of humiliation of those who fell from grace, including Cardinal Wolsey and Katherine of Aragon; and how Henry's avaricious seizure of church plate towards the end of his life throws light on his changing character. While the focus is on plate and goldsmiths' work, the context ranges from court ceremonial to rivalry between princes, the role of the church, the vulnerability of persons and institutions with covetable assets, and relations between the king and his own family. Bringing the existence and significance of these lost riches back to life, the book sheds new light on Henrician and Tudor court culture.

Published annually from 1906 until 1980, Decorative Art, The Studio Yearbook was dedicated to the latest currents in architecture, interiors, furniture, lighting, glassware, textiles, metalware, and ceramics. Since the publications went out of print, the now hard-to-find yearbooks have become highly prized by collectors and dealers. TASCHEN's Decorative Art 50s explores the spirit of optimism and the fervent consumerism of the decade. Technology and construction had been enervated by research during the war and these discoveries could now be applied in peacetime. The popularization of plastics, fiberglass, and latex literally shaped the decade. Rising incomes and postwar rebuilding on both sides of the Atlantic led to a massive housing boom in both the suburbs and inner cities, and these new homes reflected the new style. While European design was extraordinarily inventive, American design was looking to an idealized vision of the future-between them a modern idiom was developed that can be seen vividly on these pages. This overview of the decade includes the work of such famous innovators as Charles and Ray Eames, George Nelson, Hans Wegner, and Gio Ponti.

A bold reassessment of nineteenth-century British painter and decorative artist Edward Burne-Jones, elucidating his fundamentally radical defiance of the Victorian age Challenging the dominant characterization of Edward Burne-Jones as an escapist who withdrew from the modern world into imaginary realms of his own creation, this groundbreaking book argues that he was engaged in a fundamentally radical defiance of the age, protesting against imperial aggression, capitalist economic inequality, and environmental destruction in the wake of the industrial revolution. Harnessing the utopian power of embodied aesthetic encounters, Burne-Jones drew inspiration from the medieval concept of dreams as visionary states of transformation. Therefore, his art functioned not as a retreat, but as a vehicle for revolutionary awakening. Often characterized as a painter, this book re-centers Burne-Jones's practice in the decorative arts, demonstrating that he consistently interrogated the boundaries of artistic media, in keeping with wider debates over the role of the arts in the nineteenth century. The first scholarly monograph solely devoted to Burne-Jones since 1973, The Radical Vision of Edward Burne-Jones offers a thorough re-examination of his work, illuminating his radical defiance of the artistic, social, and political hierarchies of nineteenth-century Britain. Distributed for the Paul Mellon Centre for Studies in British Art

Hand Lettering for Relaxation presents 52 beautiful, whimsical and fun hand lettering techniques based on motivational themes. Readers will love the opportunity to practice the creative art of hand lettering in a way that inspires them and helps them relax. As an example of what's inside, Workshop 1 encourages readers to renew & recharge by writing, It's me time, with the easiest technique for a scripted, calligraphy look. Workshop 2 builds on the theme as readers use their skills from Workshop 1 to write, 'Practice makes progress,'and add a new skill of drawing laurels and wreaths that take their calligraphy to the next level. With each workshop, readers are inspired with a brief introduction reminding them to relax and cultivate joy, then learn step by step how to letter each word of an example lettered design and draw embellishments. With plenty of practice space and a page to draw their own final design, this interactive workbook meets readers' every need. High quality, thick art paper allows readers to utilise their favourite pens and markets, then cut out their finished hand lettered art if they wish. This book is the perfect gift for yourself or friends and family who love crafts, drawing and colouring.

This concise guide has all the information you need to successfully makeyour ownjewelry using knotting techniques. Clear, step-by-step, fully illustrated instructions show you exactly how to knot between beads and attach various types of clasps and finishes. The book also explains how to evaluate, select, and care for pearls and gemstones; how to select findings and tools; the pros and cons of silk versus nylon stringing material; and more."

The nineteenth century - the Era of the Interior - witnessed the steady displacement of art from the ceilings, walls, and floors of aristocratic and religious interiors to the everyday spaces of bourgeois households, subject to their own enhanced ornamentation. Following the 1863 Salon des refuses, the French State began to channel mediocre painters into the decorative arts. England, too, launched an extensive reform of the decorative arts, resulting in more and more artists engaged in the production and design of complete interiors. America soon followed. Present art historical scholarship - still indebted to a modernist discourse that sees cultural progress to be synonymous with the removal of ornament from both utilitarian objects and architectural spaces - has not yet acknowledged the importance of the decorative arts in the myriad interior spaces of the 1800s. Nor has mainstream art history reckoned with the importance of the interior in nineteenth-century life and thought. Aimed at an interdisciplinary audience, including art and design historians, historians of the modern interior, interior designers, visual culture theorists, and scholars of nineteenth-century material culture, this collection of essays studies the modern interior in new ways. The volume addresses the double nature of the modern interior as both space and image, blurring the boundaries between arts and crafts, decoration and high art, two-dimensional and three-dimensional design, trompe-l'oeil effects and spatial practices. In so doing, it redefines the modern interior and its objects as essential components of modern art.

Georgian Dublin is synonymous with a period of unprecedented expansion in the market for luxury goods. At a time when new commodities, novel technologies and fashionable imports seduced elite society, silver enjoyed an established association with gentility and prestige. Earlier studies have focused predominantly on the issue of style. This book considers the demand for silver goods in Georgian Ireland from the perspectives of makers, retailers and consumers. It discusses the practical and symbolic uses of silverware, interpreted through contemporary guild accounts, inventories, trade ephemera and culinary manuscripts. For the first time the activities of Dublin's goldsmiths and their customers are considered in the context of the British Isles, acknowledging Dublin's 'second city' status in relation to London. How did the availability of new products like English porcelain and Sheffield Plate affect the demand for silver in Dublin, and how did silver imports from London affect the Dublin trade? To what extent do the practices of Dublin goldsmiths mirror their North American counterparts seeking to infer associations with the fashionable metropolis of London? Drawing on an extensive range of documentary and object evidence this wide-ranging analysis considers the context in which silver goods were made, used, valued and displayed in Georgian Ireland.

This is a detailed study of the illustrations to Amir Khusrau's Khamsah, in which twenty discourses are followed by a brief parable, and four romances. Amir Khusrau (1253-1325) lived the greater part of adventurous life in Delhi; he composed in Persian, and also in Hindi. From the point of view of manuscript illustration, his most important work is his Khamsah (Quintet'). Khusrau's position as a link between cultures of Persia and India means that the early illustrated copies of the Khamsah have a particular interest. The first extant exemplar is from the Persian area in the late 14th century, but a case can be made that work was probably illustrated earlier in India.

Classic table designs from top craftsmen that will help you furnish every room in your home with elegance and style: from a Shaker sewing table to a display table for objects d'art, this book offers ten excellent reasons to spend quality time at the workbench. Whether you are a beginner or an experienced woodworker, the projects will provide plenty of challenges to increase your skills: a candlestand table; an end table; two coffee tables; a display table; a half-round console table; a hall table; a cherry kitchen table; a trestle table; Ten outstanding furniture projects accessible to woodworkers of any skill level, from a leading international craftsman and award-winning woodworking author. Taunton's new step-by-step Furniture Series is devoted to creating fine furniture for every room in the house - tasteful and refined designs, clear step-by-step instructions, detailed drawings and cut lists plus vivid colour photos.

Speaking with Pictures offers a path-breaking exploration of visual narratives in folk art. It foregrounds folk art's engagement with modernity by re-looking at its figurative modes and the ways in which they are embedded in mythic thought. The book discusses folk art as a contemporary phenomenon which is a part of a complex visual culture where the 'essence' of tradition is best captured in a 'new' form or medium. Each chapter picks up a theme that moves between the local and the global, thereby attempting to problematise the stereotypical view of folk artists as carriers of 'timeless tradition'. The volume provides an ethnographic account of innovations through a detailed analysis of the scroll painting tradition of the patuas of West Bengal and the Pardhan-Gond style of Madhya Pradesh, highlighting some recent attempts at inter-medium exchange in storytelling. The book will interest those in visual and popular culture in anthropology, sociology, literary criticism and folklore. It will also be of immense value to art historians, museologists, curators and NGOs working in media and communication, apart from those with a general interest in folk art.

This UK author's designs are stylish & quirky & move beyond the traditional shapes in shops today. In this unique and comprehensive book, Chris West covers all aspects of turning these useful condiment holders and demonstrates how practical kitchen utensils can be transformed into beautiful, stylish and tactile additions to your home. 30 projects are rated in order of difficulty, from beginner, through to intermediate and advanced, the latter not solely based on the skills of the turner, but also on access to the materials or machinery required for the project. A basic level of turning is assumed, together with the availability of a chuck with compression jaws. Chris finds inspiration in many diverse objects, whether glass, metal or ceramics and creates unique and quirky designs, which move beyond the traditional shapes in retail shops today.

In The Lettering Workshops, you'll learn all about the art and practice of drawing letters using hands-on techniques in 30 lessons across five workshops. Whether you're a beginner or a professional graphic designer, you'll quickly learn how to develop and advance your lettering skills. In this richly illustrated book of lessons and exercises, you'll find: Workshops to learn the art of drawing letters--from an introduction to brush lettering and lettering script to the decoration of letters; from the secrets of good composition to the process of digitization and vectorization of your type Exercises that gradually develop from beginner through intermediate and advanced levels Analyses of lettering samples to understand what makes good lettering Inspirational contributions in featured galleries from international letterers and brands Pages for all skill levels Letters to learn and explore TABLE OF CONTENTS What Is Lettering Why This Book? First Lesson Lettering, Calligraphy, or Typography? Basics and Technical Vocabulary WORKSHOP 1: DISCOVERING BRUSH LETTERING Exercise 1: Finding the Right Position Exercise 2: Setting Up a Grid Exercise 3: Carrying Out the First Motions Exercise 4: Drawing the Letters Exercise 5: Connecting the Letters Exercise 6: Reworking Your Drafts Analysis of Lettering Samples Gallery WORKSHOP 2: INTRODUCTION TO SCRIPT LETTERING Exercise 1: Discovering the Skeleton Technique Exercise 2: Drawing an Alphabet Exercise 3: Drawing a Complete Word Exercise 4: Lettering in a Classic Script Exercise 5: Leaving Your Comfort Zone! Analysis of Lettering Samples Gallery WORKSHOP 3: USING TYPOGRAPHIC CHARACTERS Exercise 1: Embellishing a Letter Exercise 2: Practicing on a Complete Word Exercise 3: Going Further with Vintage Style Exercise 4: Discovering Interlock Exercise 5: Practicing Interlock with Serifs Exercise 6: Producing a Complete Interlock Lettering Project Analysis of Lettering Samples Gallery WORKSHOP 4: THE SECRETS OF GOOD COMPOSITION Exercise 1: Thinking in Terms of the Block Exercise 2: Completing the First Sketches Exercise 3: Choosing the Styles for Each Word Exercise 4: Drawing the Skeleton Exercise 5: Developing and Finalizing Your Path Analysis of Lettering Samples Gallery WORKSHOP 5: DIGITIZATION AND VECTORIZATION Exercise 1: Digitizing and Preparing Your Lettering Exercise 2: First Steps in Vectorization Exercise 3: Testing the Vertex Theory Exercise 4: Vectorizing the Entire Lettering Project Exercise 5: Critiquing Your Vectorized Lettering Project Exercise 6: Preparing Your Lettering Project without Vectorization Exercise 7: Isolating the Lettering Exercise 8: Adding Texture to the Lettering Project Exercise 9: Finalizing the Composition Gallery Artists Represented in this Book Resources

This volume brings together a cross-disciplinary group of anthropologists, researchers of craft, and designer-makers to enumerate and explore the diversity and complexity of problem-solving tactics and strategies employed by craftspeople, together with the key social, cultural, and environmental factors that give rise to particular ways of problem solving. Presenting rich, textured ethnographic studies of craftspeople at work around the world, Craftwork as Problem Solving examines the intelligent practices involved in solving a variety of problems and the ways in which these are perceived and evaluated both by makers and creators themselves, and by the societies in which they work. With attention to local factors such as training regimes and formal education, access to tools, socialisation and cultural understanding, budgetary constraints and market demands, changing technologies and materials, and political and economic regimes, this book sheds fresh light on the multifarious forms of intelligence involved in design and making, inventing and manufacturing, and cultivating and producing. As such, it will appeal to scholars of anthropology, sociology, and cultural geography, as well as to craftspeople with interests in creativity, skilful practice, perception and ethnography.

Metalsmiths reveal new findings in jewelry trends! Following up their best-selling book Handcrafted Wire Findings, Denise Peck and Jane Dickerson give jewelers more techniques, more (and different) findings, and more inspiration. Handcrafted Metal Findings features 30 step-by-step tutorials for metal findings that require only basic jewelry-making skills. Working with precut metal blanks and thin-gauge sheet metal, Denise, Jane, and several contributing artists have created great-looking findings-head pins, bead caps, bails, charms, connectors, cones, and more-all without a lot of effort. All the metalwork can be done with basic tools-no saws, no flex shaft, no oxy/acetylene tanks. Metal pieces are hole-punched, dapped, hammered, textured with stamps and tools, colorized, oxidized, and patinated. Construction techniques include simple soldering with a micro torch and cold connections such as riveting. Finished gallery pieces that incorporate some of the findings provide additional inspiration in this inspiration- and information-packed book.

The saw is one of the most basic tools and tends to be taken very much for granted. Many hours and much effort can be saved, and more accurate work produced, if the user has the knowledge of how his saw works and how to keep it in good condition. In this book Ian Bradley provides detailed guidance on the use and maintenance of all types of saw, both hand and mechanical, from the humble junior hacksaw to circular and bandsaws, in the comprehensive and succinct manner that has made him such a respected writer on workshop matters.