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Chapter 5 Formatting Pages: Basics Page Styles and Related Features Copyright
Writer 6.0 Guide Chapter 5 Formatting Pages: Basics Page styles and related features Copyright This document is Copyright © 2018 by the LibreOffice Documentation Team. Contributors are listed below. You may distribute it and/or modify it under the terms of either the GNU General Public License (http://www.gnu.org/licenses/gpl.html), version 3 or later, or the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), version 4.0 or later. All trademarks within this guide belong to their legitimate owners. Contributors Jean Hollis Weber Bruce Byfield Gillian Pollack Acknowledgments This chapter is updated from previous versions of the LibreOffice Writer Guide. Contributors to earlier versions are: Jean Hollis Weber John A Smith Ron Faile Jr. Jamie Eby This chapter is adapted from Chapter 4 of the OpenOffice.org 3.3 Writer Guide. The contributors to that chapter are: Agnes Belzunce Ken Byars Daniel Carrera Peter Hillier-Brook Lou Iorio Sigrid Kronenberger Peter Kupfer Ian Laurenson Iain Roberts Gary Schnabl Janet Swisher Jean Hollis Weber Claire Wood Michele Zarri Feedback Please direct any comments or suggestions about this document to the Documentation Team’s mailing list: [email protected] Note Everything you send to a mailing list, including your email address and any other personal information that is written in the message, is publicly archived and cannot be deleted. Publication date and software version Published July 2018. Based on LibreOffice 6.0. Note for macOS users Some keystrokes and menu items are different on macOS from those used in Windows and Linux. The table below gives some common substitutions for the instructions in this book. -
Photography and Photomontage in Landscape and Visual Impact Assessment
Photography and Photomontage in Landscape and Visual Impact Assessment Landscape Institute Technical Guidance Note Public ConsuDRAFTltation Draft 2018-06-01 To the recipient of this draft guidance The Landscape Institute is keen to hear the views of LI members and non-members alike. We are happy to receive your comments in any form (eg annotated PDF, email with paragraph references ) via email to [email protected] which will be forwarded to the Chair of the working group. Alternatively, members may make comments on Talking Landscape: Topic “Photography and Photomontage Update”. You may provide any comments you consider would be useful, but may wish to use the following as a guide. 1) Do you expect to be able to use this guidance? If not, why not? 2) Please identify anything you consider to be unclear, or needing further explanation or justification. 3) Please identify anything you disagree with and state why. 4) Could the information be better-organised? If so, how? 5) Are there any important points that should be added? 6) Is there anything in the guidance which is not required? 7) Is there any unnecessary duplication? 8) Any other suggeDRAFTstions? Responses to be returned by 29 June 2018. Incidentally, the ##’s are to aid a final check of cross-references before publication. Contents 1 Introduction Appendices 2 Background Methodology App 01 Site equipment 3 Photography App 02 Camera settings - equipment and approaches needed to capture App 03 Dealing with panoramas suitable images App 04 Technical methodology template -
Special Catalogue 21
Special Catalogue 21 Marbling OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Special Catalogue 21 includes 54 items covering the history, traditions, methods, and extraordinary variety of the art of marbling. From its early origins in China and Japan to its migration to Turkey in the 15th century and Europe in the late 16th and early 17th centuries, marbling is the most colorful and fanciful aspect of book design. It is usually created without regard to the content of the book it decorates, but sometimes, as in the glorious work of Nedim Sönmez (items 39-44), it IS the book. I invite you to luxuriate in the wonderful examples and fascinating writings about marbling contained in these pages. As always, please feel free to browse our inventory online at www.oakknoll.com. Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow, making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. Today, Oak Knoll Books is a thriving company that maintains an inventory of about 25,000 titles. Our main specialties continue to be books about bibliography, book collecting, book design, book illustration, book selling, bookbinding, bookplates, children’s books, Delaware books, fine press books, forgery, graphic arts, libraries, literary criticism, marbling, papermaking, printing history, publishing, typography & type specimens, and writing & calligraphy — plus books about the history of all of these fields. -
How to Create and Maintain a Table of Contents
How to Create and Maintain a Table of Contents How to Create and Maintain a Table of Contents Version 0.2 First edition: January 2004 First English edition: January 2004 Contents Contents Overview........................................................................................................................................ iii About this guide..........................................................................................................................iii Conventions used in this guide................................................................................................... iii Copyright and trademark information.........................................................................................iii Feedback.....................................................................................................................................iii Acknowledgments...................................................................................................................... iv Modifications and updates..........................................................................................................iv Creating a table of contents.......................................................................................................... 1 Opening Writer's table of contents feature.................................................................................. 1 Using the Index/Table tab ...........................................................................................................2 Setting -
The Bookbinding Workshop: Making As Collaborative Pedagogical Practice
International Journal of Art and Design Education Conference, 2014 Elizabeth Kealy-Morris Collaborative Practices in Arts Education University of Chester Liverpool Tate, 24 & 25 October, 2014 [email protected] The Bookbinding Workshop: making as collaborative pedagogical practice “The value of Engagement is no longer questioned” (Trowler & Trowler, 2010, p.9) “Art education is a dynamic expression of eagerness, total intellectual energy, and inquisitiveness…” (Buckley & Conomos, 2009) “The difficult and the incomplete should be positive events in our understanding; they should stimulate us as simulation and facile manipulation of complete objects cannot” (Sennett, 2008:44). “(C)raft’s inferiority might be the most productive thing about it” (Adamson, 2007, p.4). Introduction Trowler & Trowler, in their 2010 report for the HEA’s Student Engagement Project, note that studies have consistently shown associations between student engagement and improvements in identified desired outcomes, including cognitive development, critical thinking skills, practical competence, and skills transferability. They also note that there are specific features of engagement which improve outcomes, including student-staff contact, active learning, and cooperation amongst students such as group work and peer support. Trowler & Trowler found that interacting with staff has been shown to have a powerful impact on learning, especially when it takes place outside the classroom and responds to individual student needs. The NUS 2012 Student Experience Survey supports Trowler & Trowler’s findings. The purpose of the study was to understand student expectations of a university experience. Teaching quality was cited as the most important factor in what makes a good learning experience. Students want more engaging teaching styles that are interactive, use technology & props to make the subject more accessible and interesting. -
Viola Frey……………………………………………...6
Dear Educator, We are delighted that you have scheduled a visit to Bigger, Better, More: The Art of Vila Frey. When you and your students visit the Museum of Arts and Design, you will be given an informative tour of the exhibition with a museum educator, followed by an inspiring hands-on project, which students can then take home with them. To make your museum experience more enriching and meaningful, we strongly encourage you to use this packet as a resource, and work with your students in the classroom before and after your museum visit. This packet includes topics for discussion and activities intended to introduce the key themes and concepts of the exhibition. Writing, storytelling and art projects have been suggested so that you can explore ideas from the exhibition in ways that relate directly to students’ lives and experiences. Please feel free to adapt and build on these materials and to use this packet in any way that you wish. We look forward to welcoming you and your students to the Museum of Arts and Design. Sincerely, Cathleen Lewis Molly MacFadden Manager of School, Youth School Visit Coordinator And Family Programs Kate Fauvell, Dess Kelley, Petra Pankow, Catherine Rosamond Artist Educators 2 COLUMBUS CIRCLE NEW YORK, NEW YORK 10019 P 212.299.7777 F 212.299.7701 MADMUSEUM.ORG Table of Contents Introduction The Museum of Arts and Design………………………………………………..............3 Helpful Hints for your Museum Visit………………………………………….................4 Bigger, Better, More: The Art of Viola Frey……………………………………………...6 Featured Works • Group Series: Questioning Woman I……………………………………………………1 • Family Portrait……………………………………………………………………………..8 • Double Self ……………………………………………………………………...............11 • Western Civilization Fountain…………………………………………………………..13 • Studio View – Man In Doorway ………………………………………………………. -
How to Page a Document in Microsoft Word
1 HOW TO PAGE A DOCUMENT IN MICROSOFT WORD 1– PAGING A WHOLE DOCUMENT FROM 1 TO …Z (Including the first page) 1.1 – Arabic Numbers (a) Click the “Insert” tab. (b) Go to the “Header & Footer” Section and click on “Page Number” drop down menu (c) Choose the location on the page where you want the page to appear (i.e. top page, bottom page, etc.) (d) Once you have clicked on the “box” of your preference, the pages will be inserted automatically on each page, starting from page 1 on. 1.2 – Other Formats (Romans, letters, etc) (a) Repeat steps (a) to (c) from 1.1 above (b) At the “Header & Footer” Section, click on “Page Number” drop down menu. (C) Choose… “Format Page Numbers” (d) At the top of the box, “Number format”, click the drop down menu and choose your preference (i, ii, iii; OR a, b, c, OR A, B, C,…and etc.) an click OK. (e) You can also set it to start with any of the intermediate numbers if you want at the “Page Numbering”, “Start at” option within that box. 2 – TITLE PAGE WITHOUT A PAGE NUMBER…….. Option A – …And second page being page number 2 (a) Click the “Insert” tab. (b) Go to the “Header & Footer” Section and click on “Page Number” drop down menu (c) Choose the location on the page where you want the page to appear (i.e. top page, bottom page, etc.) (d) Once you have clicked on the “box” of your preference, the pages will be inserted automatically on each page, starting from page 1 on. -
Resurrecting the Art of China's Dragon Scale Bookbinding
AiA Art News-service Resurrecting the art of China's dragon scale bookbinding Updated 2nd April 2018 Resurrecting the art of China's dragon scale bookbinding Written by Stella Ko, CNN ContributorsNanlin Fang, CNN, Justin Robertson, CNN At his studio in Beijing, artist Zhang Xiaodong layers hundreds of sheets of thin paper on top of one another until they form a complete and impeccable image. When the chapters of his elaborate books are unfolded, the pages move like the bellows of an accordion. This ancient Chinese art, known as dragon scale bookbinding, stretches back more than 1,000 years to the Tang dynasty. Passed down between generations of royals and literate upper class families, the finished works were thought to resemble dragons, each page appearing like a "scale." Content by Rado Rado True Designers' Series - Sam Amoia With few of the books surviving to the present day, the bookbinding technique was at risk of becoming obsolete before Zhang decided to research and revive it. Using the Forbidden City Palace Museum's one existing dragon scale book for reference, he spent four years printing and binding his latest work, which was exhibited at the recent Art Central fair in Hong Kong. 1/7 – "Dream of The Red Chamber" (2017) Beijing-based artist Zhang Xiaodong practices the art of dragon scale bookbinding that stretches back more than 1,000 years to the Tang dynasty. Credit: Courtesy of Sin Sin Fine Art Zhang is the first artist to practice this forgotten art in the modern age, according to the exhibition's curator, Ying Kwok. -
A Demonstration Project in Art Education for Deaf and Hard of Hearing Children and Adults
R EPO'R T R ESUMES ED 013 009 EC 001 177 A DEMONSTRATION PROJECTIN ART EDUCATION FOR DEAFAND HARD OF HEARING CHILDREN AND ADULTS. BY SILVER, RAWLEY A. NEW YORK SOCIETY FORTHE DEAF, N.Y. REPORT NUMBER DR.-G-8590 PUB DATE JUL 67 GRANT 0E0...1-.7008596-.2038 (DRS PRICE MP=50.50 HC -$2.64 68P. a DESCRIPTORS-. *DEAF, *HARDOF HEARING, *HANDICRAFTS,*ART EDUCATION, *EMPLOYMENTOPPORTUNITIES, AURALLY HANDICAPPED, CHILDREN, ADOLESCENTS,ADULTS, APTITUDE, INTERESTS, DEMONSTRATION PROJECTS, TORRANCETEST OF CREATIVE THINKING THIS PROJECT WAS DESIGNEDTO ASSESS APTITUDES:INTEREST, AND VOCATIONAL OPPORTUNITIESFOR THE HEARING IMPAIREDIN THE VISUAL ARTS AND TO IDENTIFYEFFECTIVE METHODS OF TEACHING ART. A GROUP OF 54 DEAF ANDHARD OF HEARING CHILDREN AND ADULTS ATTENDED EXPERIMENTALART CLASSES. THREE RATINGSCALES AND THE TORRANCE TEST OFCREATIVE THINKING WERE THE INSTRUMENTS USED TO ASSESSAPTITUDE. STUDENT INTERESTWAS MEASURED BY QUESTIONNAIRES.CRAFTSMEN, EMPLOYERS, AND ART SCHOOL ADMINISTRATORS COMPLETEDQUESTIONNAIRES DESIGNED TO MEASURE VOCATIONAL OPPORTUNITIES. CONCLUSIONSWERE-.-.(1) APTITUDE AND INTEREST INTHE VISUAL ARTS IS AS HIGHFOR THE DEAF AS FOR THE HEARING,IV A TALENTED DEAF PERSONCAN SUCCEED AS A CRAFTSMAN, (3)SOME PEOPLE WORKING WITHTHE DEAF TEND TO UNDERESTIMATE THE APTITUDES, INTERESTS,AND VOCATIONAL OPPORTUNITIES FORTHE DEAF IN THE VISUALARTS, AND (4) ART TECHNIQUES ANDCONCEPTS CAN OE CONVEYEDTO DEAF STUDENTS WITHOUT THE USE OFLANGUAGE. QUESTIONNAIRERESPONSE TASULATIONS ARE PRESENTEDALONG WITH SAMPLE QUESTIONNAIRES AND RESPONSES. ELEVENREFERENCES ARE CITED. (MW) Cr% FINAL REPORT Project No. 6-8598 teN Grant No. OEG-1-7-008598-2038 r--f A DEMONSTRATION PROJECT IN ART EDUCATION FOR DEAF AND HARD OF HEARING CHILDREN AND ADULTS July 1967 U.S. DEPARTMENT OF HEALTH, EDUCATION, AND WELFARE Office of Education Bureauof Research A DEMONSTRATION PROJECT IN ARTEDUCATION FOR 0I1 DEAF AND HARD OF HEARING CHILDRENAND ADULTS I8 1 I q Project No. -
Artists' Books Bookbinding Papercraft Calligraphy
Volume 6, Numb er 3 $8.50 ARTISTS’ BOOKSBOOKBINDINGPAPERCRAFTCALLIGRAPHY Volume 6, Number 3 2 Mary’s Star Book. Mary Conley FRONT COVER 4 We Love Your Books: ABC Exhibition 2007. Emma Powell with Melanie Bush Clockwise, from top left: Miniature Metal Book. Gennady Safronov. 8 Works on Paper. John Cutrone and Seth Thompson His miniature metal books are solely 10 Ruling Pen Basics. Matthew Coffin handcrafted; a skill that requires incredible patitence and attention to detail. 12 On Your Own Terms. Photo by Evgeny Abramenko. 14 Mobile Books. Florence Miller “Small Books, Large Talent: Miniature Metal Books,”page 30. 16 Hidden Bookbinding Cloths. Catherine Burkhard 17 Calligraphy and Handmade Paper: Equally Beautiful When Sea Laps Land. Ann Alaia Woods. Charcoal/graphite pencil on handmade 20 American Fine Bindings: Book of Origins paper. Suminagashi on Asian brush 24 Eugenie Torgerson: Thinking Outside the Box. Eugenie Torgerson calligraphy paper embedded in handmade abaca paper. 2007. 8" x 10". 26 Exchange of Ideas. Julie Gray “Calligraphy and Handmade Paper: 30 Small Books, Large Talent: Miniature Metal Books. Yana Safronova Equally Beautiful,”page 17. 32 Quilted Books? John Cutrone Tool Room Box and Journal. 33 Pocket Full of Surprises. Pat Pleacher Eugenie Torgerson. Lidded box holds artist’s journal. Binder’s board, cloth, paper, glass, 34 WWC Painted Books. Annie Cicale hardware, original digital illustrations. 38 First Class Mail. Debra Glanz 13" x 10" x 4". Photo by Bukva Imaging Group. 39 Teeny Tiny Cards. Jane LaFerla. BOOK REVIEW by Rona Chumbook “Eugenue Torgerson: 40 The Monument to Ephemeral Facts. Douglas Holleley Thinking Outside the Box,”page 24. -
Preface to the Modules: Introduction to Grades 3-8 ELA Curriculum
Preface to the Modules: Introduction to Grades 3-8 ELA Curriculum This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Exempt third-party content is indicated by the footer: © (name of copyright holder). Used by permission and not subject to Creative Commons license. Please note that we have discontinued the first edition of our Grades 3-5 ELA curriculum. However, this document is still relevant to support the implementation of the Grades 6-8 ELA curriculum published in 2012. To learn more about the EL Education K-5 Language Arts Curriculum, including the 3-5 Language Arts (Second Edition), please visit our website Curriculum.ELeducation.org/Tools. PREFACE TO THE MODULES Introduction to Grades 3-8 ELA Curriculum Introduction Bringing the Common Core Shifts to Life EL Education’s Grades 3–8 ELA Curriculum has been designed by teachers for teachers to meet the needs and demands of the Common Core State Standards: to address and bring to life the shifts in teaching and learning required by the CCSS1. To prepare students for college and the workplace, where they will be expected to read a high volume of complex informational text and write informational text, the shifts highlight the need for students to learn and practice these skills early on. This curriculum has been designed to make this learning process engaging with compelling topics, texts, and tasks. Some structures, approaches, and strategies may be new to teachers. The materials have been designed to guide teachers carefully through the process of building students’ skills and knowledge in alignment with the standards. -
Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience
Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience Jennifer L. Lindsay Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2010 ©2010 Jennifer Laurel Lindsay All Rights Reserved TABLE OF CONTENTS LIST OF ILLUSTRATIONS.............................................................................................iii PREFACE........................................................................................................................... x ACKNOWLDGEMENTS ............................................................................................... xiv INTRODUCTION .............................................................................................................. 1 CHAPTER 1. CRANBROOK: “[A] RESEARCH INSTITUTION OF CREATIVE ART”............................................................................................................ 11 Part 1. Founding the Cranbrook Academy of Art............................................................. 11 Section 1. Origins of the Academy....................................................................... 11 Section 2. A Curriculum for Modern Artists in Modern Times ........................... 16 Section 3. Cranbrook’s Landscape and Architecture: “A Total Work of Art”.... 20 Part 2. History of Weaving and Textiles at Cranbrook..................................................... 23