This guide to printmaking plunges you into dozens of ways to leave your mark on the world-and on your walls, tablecloths, garments, and every other surface imaginable. Emphasizing the joy and energy of printmaking, the 41 projects use everyday materials, and don't require any previous experience. Learn 15 main printmaking methods and their submethods, including relief printing, stamping, screen printing, collagraphy, monoprinting, cyanotypes, botanical prints, and many more. Transform your fingerprint into a huge graphic print with the "We're All Thumbs" project. Using cut stamps, make the exciting combination of bandanna and coordinating game-pieces in "Mr. Potatohead Plays Chess." Enjoy solar printing with "Like Snowflakes in the Sun." Included throughout are plenty of options, variations, and encouragement to make your prints your own way.

This is a step-by-step workbook for learning to write standard style or regular script (kaishu). It is specially drawn by a well-known artist and calligrapher. It is a practical guide for enthusiasts and students.

Makeover your home using these straightforward, fun, simple and low-cost ideas to bring a POP of colour into your interior spaces using paint, wallpaper, flowers, plants, cushions or throws. It could transform your life too. Geraldine James' practical solutions offer those who are not confident enough to embark on expensive renovations ways to redecorate that can be easily reversed. Encouraging us to experiment, she looks at different ways you can bring colour into the home starting with adding single pops of colour in a neutral space, such as red cushions, plates, bowls and rugs in a living space then she looks at colour walls - painting a single wall with a bright colour which can really lift a room without much investment (and you can always repaint if you change your mind). Or bring living colour into a room using flowers and houseplants, terrariums and succulents. Or why not go for a multi-coloured look with checks, stripes or floral patterns whether that is by papering a wall, or painting a floor - the effects can be bold and uplifting. Textiles too can bring a softer textural layer of colour to a room whilst wall art can bring a focal point. Whatever your choice of colour palette, Geraldine will offer the perfect solution so get experimenting now.

Representing the third generation of Vuittons, Gaston-Louis's wide interests and voracious curiosity were intimately bound with the future of the family business. A collector since his childhood, Gaston-Louis Vuitton (1883-1970) accumulated hundreds of objects over his lifetime. In addition to forming a collection of trunks - his first motivation and the one he announced publicly - his roving eye lit upon rare antique travel articles, locks and escutcheons, hand tools, perfume bottles, African masks, walking canes, vintage children's toys, books, hotel labels (usually fixed on customers' trunks), printed monograms and other typographical rarities. Together they form a rich personal evocation of curiosites industrielles, or quirks of the trade, as Gaston-Louis liked to call them. He described himself as an `unrepentant collector', delighted by the `joy of the treasure hunter, the toil of the collector, [...] an inexhaustible source of inspiration'. This is a collection that will capture the imagination of anyone inspired by bizarre and eclectic curiosities, or those with an interest in the cultural taste and interests of someone who lived through the height of the Art Deco period - indeed, someone whose life was defined by the rigours and the rewards of world travel. It exhibits the highest design and production values for discerning international voyagers in search of the sources of luxury creativity.

The most prolific 20th century and contemporary Zuni jewelers established themselves by adhering to the same basic models and traditions set by their parents, grandparents, and great-grandparents. Using silver and mosaic inlay pins, bracelets, bolo ties and other ornaments, these artisans have created many successful motifs taken from the animal kingdom, including horses and cows, insects such as butterflies and dragonflies, wild animals like deer and antelope, birds of all shapes and sizes, and humans. All of these are featured in the author's fourth book in his series on Zuni jewelry. Read sixty-five biographies of Zuni jewelry-making individuals and families, with interesting facts about their extraordinary backgrounds and explanations of their design styles and methods. Nearly 300 color photos display subtle variations that indicate a particular master's work. Detailed notes on each image include design specifics and prices.

In 1934 Alcoa introduced a revolutionary new line of aluminum alloy giftware and domestic items designed by American pioneer industrial designer Lurelle Guild. Called Kensington Ware, these relatively expensive, slick, machine-age objects were in an unmistakenly Art Deco style with cast brass accents. They represent an important American contribution to modern design and decorative arts. The Kensington plant ceased production around 1970, and collectors have recently been scooping up these compelling objects in the antique and collectible markets. This is the first book to tell the Kensington story and identify, value, and illustrate the aluminum in 375 color, vintage, and black-and-white illustrations. It is a must for anyone interested in aluminum, Art Deco, and the machine-age in America.

Wallpaper's spread across trades, class and gender is charted in this first full-length study of the material's use in Britain during the long eighteenth century. It examines the types of wallpaper that were designed and produced and the interior spaces it occupied, from the country house to the homes of prosperous townsfolk and gentry, showing that wallpaper was hung by Earls and merchants as well as by aristocratic women. Drawing on a wide range of little known examples of interior schemes and surviving wallpapers, together with unpublished evidence from archives including letters and bills, it charts wallpaper's evolution across the century from cheap textile imitation to innovative new decorative material. Wallpaper's growth is considered not in terms of chronology, but rather alongside the categories used by eighteenth-century tradesmen and consumers, from plains to flocks, from China papers to papier mache and from stucco papers to materials for creating print rooms. It ends by assessing the ways in which eighteenth-century wallpaper was used to create historicist interiors in the twentieth century. Including a wide range of illustrations, many in colour, the book will be of interest to historians of material culture and design, scholars of art and architectural history as well as practicing designers and those interested in the historic interior.

Many basic questions confronting antique lamp buyers, from "Where do I look for a manufacturer's signature?" to "How do I distinguish reproductions from originals?" are answered here. Using color photographs and catalogue illustrations, a wealth of information is presented including buying or selling old lighting, restoration issues like rewiring, practical uses for fixtures originally made for gas or oil, and restoring and protecting metal finishes.

In China the tradition of a book society is longer than anywhere else in the world. Chinese paper making, calligraphy and woodblock printing date from very early ages, but have for a very long time remained almost unknown to the Western world. At the IFLA satellite meeting Chinese Written and Printed Cultural Heritage and Library Work in Hangzhou in 2006 the richness of present day book historical research and library activities in China has been presented by more than sixty papers. This fine selection reflects the width and depth of this extremely important and immense Chinese heritage.

This book brings together cutting-edge research from leading international scholars to explore the geographies of making and craft. It traces the geographies of making practices from the body, to the workshop and studio, to the wider socio-cultural, economic, political, institutional and historical contexts. In doing so it considers how these geographies of making are in and of themselves part of the making of geographies. As such, contributions examine how making bodies and their intersections with matter come to shape subjects, create communities, evolve knowledge and make worlds. This book offers a forum to consider future directions for the field of geographies of making, craft and creativity. It will be of great interest to creative and cultural geographers, as well as those studying the arts, culture and sociology.

The various worldwide uses of glass beads, from antiquity to the modern time, are presented in this new book, along with the fascinating evolution of the beadmaking industry. From roots in Asian and African glassmaking, the European beadmaking industry is shown to have developed in response to political and economic factors of international trade and keen businessmen who saw potential profits, 475 color photographs, illustrate the different styles uses, and patterns of glass beads that originated from or influenced the European industry. Phoenician, Celtic, Viking, Venetian, African, Bavarian, Bohemian, Dutch, French, and Russian styles that were made for symbolic, fashion, magic, and controversial uses are shown. Even today's foiled, flower, mosaic, pearl, bronze, and fancy beads are discussed and shown. As beads play an important role in ornamentation today, this book will be of interest to a wide circle of creative people. The price guide reveals the current collector's market for popular bead types.

Here is a magnificent presentation of the Mexican artisans and their creations displayed in 484 beautiful color photographs. The chapters present the master designers and silversmiths whose reputations have grown to international fame with an intimate look at one of the principal designers, H-ctor Aguilar, and the personnel at this workshop. Valentin Vidaurreta, Los Castillo, William Spratling, Antonio Pineda, Hubert Harmon, Enrique Ledesma, and many more craftsmen are represented by their exquisite designs.

These 11 unique projects have a high-end boutique look and can be made in 30 minutes. Simple enough, even if you've never made jewellery, and inexpensive to create. The projects covered are: leather earrings; zipper- cuff bracelet; tassel necklace; stamped pendant; wire-wrap ring and midi ring; geo-clay necklace; mismatched clay earrings; clay bangles; chain-loop earrings; clay-stack rings; and a rhinestone hair comb. The designs are created by Kollabora, a maker community that encourages makers, crafters and DIY enthusiasts of all skill levels to get inspired, share projects, buy and sell PDF patterns and connect with each other and their favourite brands.

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.

Popular carved wooden jewelry and novelties, from the 1920 to 1950 era, are attracting attention at antiques markets because they are delightful design images and happy reminders of a by-gone age. With over 425 color examples to delight the eye, this book gives readers a wonderful variety of items that often incorporate Plastics, Bakelite, and Lucite. The jewelry includes bracelets, necklaces, and charming figural pins in design themes encompassing of water creatures, military, cowboys, Indians, animals, fruit, nuts, and more. The related novelties include advertising and kitchen items, buttons, masks, clothespin figures, pictures, toys, and more. Value ranges are included with the captions.

The collectible appeal of Mexican metal art can be attributed to artistic quality, variety, and large production volume. In addition to jewelry, it includes wearable art, table art, and wall art, with something for everyone. See Mexican jewelry and metal art made with copper, brass, alpaca, and silver. From glass mosaics on brass to silver jewelry inlaid with crushed stone, to metal combinations such as metales casados, the variety in color, texture, and form is wonderful. While other books have made significant contributions to raising awareness of Mexico-designed silver jewelry, little has been written about other metal objects, often made by the very same designers, such as Salvador Teran, Los Castillos, Miguel Martinez, Miguel Pineda, Estele Popowski, and Bernice Goodspeed. Additional names found on illustrated brass and mixed-metal items include Maya, ToA+/-o, Cecilia, Caballo, and Victoria. Detailed captions with value ranges accompany 1000+ color photographs. Includes a bibliography, index, illustrated glossary, and illustrated hallmarks.

A handy guide to cheaply and quickly make beads from polymer clays. How to Make Polymer Clay Beads is your handy guide to making beads from polymer clays such as Fimo. With clear instructions and step-by-step photographic sequences, the book teaches you the various bead techniques and how to produce various faux effects. Each section features a gallery of beautiful beads by internationally renowned artists, providing inspiration and showing you the wide range of effects that can be achieved. Polymer clays are readily available, come in a multitude of colours and can be fired in your kitchen oven. Making spectacular-looking beads doesn't require much space or equipment, making it a cheap and easy way to create professional-looking jewellery that you will be proud to wear or give away.

Being on the migrational flyway for ducks and geese, the upper Chesapeake Bay has long been a center for waterfowl hunting. Where there is hunting, there are, of course, decoys. The area around Havre de Grace, Maryland has produced some of the most prolific decoy makers in America. Usually born of the necessity of the hunt, their decoys have become highly collectable. In Upper Chesapeake Bay Decoys and Their Makers, David and Joan Hagan share their talent for photography with the reader. They illustrate the art of the decoy makers in this area with beautiful images of the birds they have formed. Usually their decoys are accompanied by the portraits of the artists and recollections and reflections on their art and experiences. Over eighty decoy makers are represented in Upper Chesapeake Bay Decoys and Their Makers. Many of them are still alive and active in their work. The decoys illustrated range from early decoys, faded and worn smooth with use, to recent decoys which go directly from the artist to the collector without ever touching the water. All of them show the skill of the artist and evoke the appreciation that has made the decoy a central theme in American folk art.

Beads are one of the great New Orleans symbols, as much a signifier of the city as a pot of scarlet crawfish or a jazzman's trumpet. They are Louisiana's version of the Hawaiian lei, strung around tourists' and conventioneers' necks to demonstrate enthusiasm for the city. The first in a new LSU Press series exploring facets of Louisiana's iconic culture, Mardi Gras Beads delves into the history of this celebrated New Orleans artefact, explaining how Mardi Gras beads came to be in the first place and how they grew to have such an outsize presence in New Orleans celebrations. Beads are a big business based on valuelessness. Approximately 130 shipping containers, each filled with 40,000 pounds of Chinese-made beads and other baubles, arrive at New Orleans's biggest Mardi Gras throw importer each Carnival season. Beads are an unnatural part of the natural landscape, persistently dangling from the trees along parade routes like Spanish moss. They clutter the doorknobs of the city, sway behind its rearview mirrors, test the load-bearing strength of its attic rafters, and clog its all-important rainwater removal system. Mardi Gras Beads traces the history of these parade trinkets from their origins in Twelfth Night festivities through their ascent to the premier parade catchable by the Depression era. Veteran Mardi Gras reporter Doug MacCash explores the manufacture of Mardi Gras beads in places as far-flung as the Sudetenland, India, and Japan, and traces the shift away from glass beads to the modern, disposable plastic versions. Mardi Gras Beads concludes in the era of coronavirus, when parades (and therefore bead throwing) were temporarily suspended because of health concerns, and considers the future of biodegradable Mardi Gras beads in a city ever more threatened by the specter of climate change.

Learn how to create a pair of earrings, a pin, a barrette, and a necklace with agate and beads, and various ways to embellish these projects. The author uses the beauty of the earth's natural agates, along with wire and beads, to create simple beginners' projects as elaborate and challenging as your imagination permits. 170 color photographs and step-by-step instructions teach the process, and a photo gallery of other projects will inspire you. Get information on the formation of agates, including tips for using the shape of an agate to best fit the project. You can use agate from 1 to 6 inches long and use the same techniques to manipulate the wire around the agate. A tool and supply reference is included, as well as a current list of suppliers.