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Frame Design by David Lantrip, MCPF, GCF Framing Stained Glass
Frame Design by David Lantrip, MCPF, GCF Framing Stained Glass skilled framer needs to be prepared to han- dle just about any form of artwork a cus- Atomer presents. Artwork that is seen less often can test a framer’s nerves since the particular needs and framing methods of that type of art might not come readily to mind. This is precisely why framers need to be prepared beforehand. After all, the design counter is not the place to learn about framing new type of artwork if the customer is to have confidence that the job will be done right. One such type of art is stained glass. Despite the fact that stained glass as an art has existed for 1,000 years, it’s not every day that someone brings a piece in to be framed. Displaying stained glass Traditional stained glass work, such as may seem intimidating, that found in but it can be framed churches and important build- and handled routinely ings, is worked in Stained glass worked in the Tiffany method midway through the lead came the soldering process. Once the soldering is complete, a small by following a few metal frame is applied, the solder has a patina applied, and the method. Relatively entire piece is cleaned and polished. basic design principles large pieces of glass, cut to shape, are held within H-shaped channels of lead known as foil strip, usually about ¼” wide, to the edge of the “came.” The ends of the came are soldered to adja- individual pieces of glass, burnishing and folding it cent pieces, and the glass is held tight with mastic to either side of the glass. -
Polymer Clay Artist's Resource List
POLYMER CLAY ARTIST’S RESOURCE LIST ARTISTS: Accomplished & Emerging Artists & Teachers ............................................................................................................. 2 COMMUNITY: Guilds, Groups, Forums, & Member Communities ........................................................................................... 9 EVENTS: Workshops, retreats, classes & industry shows ............................................................................................................ 13 INFORMATION & LEARNING: Blogs, Tutorials, Publishers, & Schools ................................................................................. 14 ORGANIZATIONS: Organizations for Professional Craft Artists .............................................................................................. 17 SUPPLIES: Supplies for Polymer, Jewelry, & Sculpture ............................................................................................................... 18 SALES & MARKETS: Year-round Sales Avenues & Services ....................................................................................................... 23 TECHNIQUES & STANDARDS: Site Links and Document ....................................................................................................... 24 GENERAL TECHNIQUES/FREE TUTORIALS.......................................................................................................................... 24 PAID TUTORIAL SITES .............................................................................................................................................................. -
The Wood Turning Center Is a Non-Profit Arts Institution Dedicated
Chronological List of Exhibitions & Publications The Center for Art in Wood 141 N. 3rd Street | Philadelphia, PA 19106 | 215-923-8000 Exhibitions in italics were accompanied by publications. Title of exhibition catalogue is listed with its details. 2012 Hooked on Wood: The Allure of the Fish Decoy, The Center for Art in Wood, May 18 – July 21, 2012, Curated by Dick Walters, Adviser Gene Kangas. Hooked on Wood, showcases modern wood fish decoys and highlights historical works as early as 3000 years ago. Today fish decoys are appreciated for their beauty as polychrome sculptures and are evaluated on their ability to move in the water to attract real fish. Families and people of all ages will be astonished and delighted at the utter creativity and craftsmanship in this exhibit. Over 100 fish decoys are on display: Ice spearing decoys – a handmade utilitarian tool, trophy fish – decorative piscatorial portraits, and folk sculpture. 2012 Life Aquatic, The Center for Art in Wood, May 18 – July 21, 2012. In conjunction with Hooked on Wood, The Center invited six artists to exhibit work inspired by and in response to themes of sea life. Pulling inspiration from water, sea animals and plants the artists produced captivating sculptures, wall hangings, and even imaginative creatures that may lurk in the abyss. Exhibited Artists: Michael De Forest, Satoshi Fujinuma, Michael Hosulak, Janel Jacobson, Merryll Saylan, and David Sengel. 2011 Turning to Art in Wood: A Creative Journey, The Center for Art in Wood, November 4, 2011 – April 21, 2012. Curator: Gerard Brown. Celebrating the 25th anniversary of Philadelphia’s renowned Wood Turning Center as it takes a new name—The Center for Art in Wood—and moves to an exciting new location among the art galleries in Old City. -
An Analysis of the Metal Finds from the Ninth-Century Metalworking
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-2017 An Analysis of the Metal Finds from the Ninth-Century Metalworking Site at Bamburgh Castle in the Context of Ferrous and Non-Ferrous Metalworking in Middle- and Late-Saxon England Julie Polcrack Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Medieval History Commons Recommended Citation Polcrack, Julie, "An Analysis of the Metal Finds from the Ninth-Century Metalworking Site at Bamburgh Castle in the Context of Ferrous and Non-Ferrous Metalworking in Middle- and Late-Saxon England" (2017). Master's Theses. 1510. https://scholarworks.wmich.edu/masters_theses/1510 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. AN ANALYSIS OF THE METAL FINDS FROM THE NINTH-CENTURY METALWORKING SITE AT BAMBURGH CASTLE IN THE CONTEXT OF FERROUS AND NON-FERROUS METALWORKING IN MIDDLE- AND LATE-SAXON ENGLAND by Julie Polcrack A thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree of Master of Arts The Medieval Institute Western Michigan University August 2017 Thesis Committee: Jana Schulman, Ph.D., Chair Robert Berkhofer, Ph.D. Graeme Young, B.Sc. AN ANALYSIS OF THE METAL FINDS FROM THE NINTH-CENTURY METALWORKING SITE AT BAMBURGH CASTLE IN THE CONTEXT OF FERROUS AND NON-FERROUS METALWORKING IN MIDDLE- AND LATE-SAXON ENGLAND Julie Polcrack, M.A. -
Austin NARI 15Th Annual Tour of Remodeled Homes
Austin NARI 15th Annual Tour of Remodeled Homes Saturday & Sunday April 7-8, 10-6p Scan on page 3 for full access to the NARI Tour of Remodeled Homes 2018. Letter From The President WELCOME TO THE 15TH ANNUAL AUSTIN NARI TOUR OF REMODELED HOMES 2018! Starting as far back as 2003 when ABC first introduced Extreme Makeover: Home Edition with the lovable Ty Pennington, consumers have been drawn to the dramatic transformations portrayed on television with radical before and after images. From Drew & Scott of the Property Brothers to Chip & Joanna of Fixer Upper, there’s no doubt America loves to see a beautiful home transformation unfold in a matter of days/weeks on an affordable budget. The problem with reality TV shows, however, is there is nothing realistic about what they portray; from unrealistic budgets including donated products and labor being traded for on-air advertisements, to deadlines achieved by multiple trades working on top of each other to finish a job sacrificing quality over appearance. Step inside one of the twelve newly remodeled homes on this year’s Austin NARI Tour of Remodeled Homes executed by nine of the area’s top remodelers to see what the remodeling WE’VE GOT GREAT GLASS! market is really about. From kitchens and baths to outdoor remodels and whole home transformations there is a little of everything to spark your interest and help you draw up ideas for your next remodeling project. Ask us the hard questions about timelines, budgets, and feasibility and you will understand why we are passionate about the remodeling industry and setting up realistic expectations for successful projects. -
Hand-Forging and Wrought-Iron Ornamental Work
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Cliff Lee: New Directions by Paul F
June/July/August 1999 1 2 CERAMICS MONTHLY JunelJulylAugust 1999 Volume 47 Number 6 “Stacked Bowls with Vase,” 21 inches in diameter, by Bobby Silverman; at materia/ The Hand and the Spirit Gallery, Scottsdale, Arizona. FEATURES 48 35 Visiting Ryoji Koie by Kelvin Bradford Trailblazing beyond Japanese tradition 39 Formulating Glazesby Richard A. Eppler “Plain View,” 32 inches in Limits for glaze calculation using mole percent height, painted ceramic, by John Woodward; at 43 Billy Ray Mangham by Gary C. Hatcher Riley Hawk Galleries in Humor and pathos in raku sculpture Columbus and Cleveland. 47 Limitless Low Fire 50 Vessels and sculpture at the Brookfield Craft Center, Connecticut 48 Bobby Silverman Stacked bowls and vases evoking floral forms 50 Looking in the Mirror: Aspects of Figurative Ceramics Contemporary sculpture at Riley Hawk Galleries in Ohio 52 Cliff Lee: New Directions by Paul F. Dauer Meticulously carved organic porcelain forms 57 Different for Me by Ken Vavrek Change doesn’t always come easy 60 English Urban, American Rural by Claire Wilcox Contemplating the capacity of pottery to express humanity 65 A Wood-Firing Raku Kiln by Nesrin During A low-tech way to raku anywhere Bottle, 9 inches in height, by Rob Barnard, 68 Castles in Spain by Frangoise Melville Timberville, Virginia. Three approaches to production 60 105 Unusual Pottery Markets by Brad Sondahl Finding new sales outlets Nesrin During describes construction and firing of a 107 Flash Reduction by Heather Young wood-fueled raku kiln, Low-fire lusters Oosterend, The Netherlands. The cover: A pair of 108 A Limp Ice-Cream Box, Stiff Paper, “Yellow Prickly Melons,” 65 to 14½ inches in height, a Couple Pieces of Magic Tape and by Cliff Lee; see page 52. -
Japanning 101. Japanning in a Can, Easy Peasy
Japanning 101. Japanning in a Can, Easy Peasy For a full discussion on various japanning mixes, quality of finish, durability and tips and techniques for success, refer to my earlier article, Japanning, or The Art of Embracing the Arcane at www.aPlaneLife.us. I highly recommend reading this article before beginning your project to understand the various mixtures and results. Have proper expectations goes a long way toward success. At the request of some readers, this series of articles will serve as a condensed, “how-to” for japanning an antique cast iron hand plane using various japanning products and mixtures. This series will start with the easiest method, commercially available japanning mix. This article will only cover the use of commercially available Rio Grande Asphaltum Varnish, although the tips and techniques should apply equally well to another commercially available pre-mixed japanning, Old PontyPool. I have chosen to focus on the Rio Grande product as I have significant experience using it, and it is very favorably priced compared to Old PontyPool. Affordable, economically sized and delivered to your door, easy. This product delivers a very deep, rich finish. Absolutely beautiful. Rio Grande Jewelers Asphaltum Varnish is available in pint cans online for about $17.00 plus shipping. Old PontyPool is sold by the quart at around $84.00 plus shipping. A pint of asphaltum varnish should cover about 15 size 4 hand planes. Old PontyPool may have more favorable performance, I have not used it, but given a limited shelf life and the quantity sold, I believe more people will be satisfied with the Rio Grande product. -
The Complete Illustrated Guide to Shaping Wood / Lonnie Bird
The COMPLETE ILLUSTRATED Guide to ShapingWood LONNIE BIRD ➤ Squares, Circles, and Ellipses ➤ Edge Treatments and Moldings ➤ Coves, Reeds, and Flutes ➤ Bent and Laminated Curves ➤ Turned and Carved Shapes The COMPLETE ILLUSTRATED Guide to ShapingWood TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A(D) The COMPLETE ILLUSTRATED Guide to ShapingWood LONNIE B IRD t TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) Text © 2001 by Lonnie Bird Photographs © 2001 by Lonnie Bird Illustrations © 2001 by The Taunton Press, Inc. All rights reserved. Pp The Taunton Press, Inc., 63 South Main Street, PO Box 5506, Newtown, CT 06470-5506 e-mail: [email protected] DESIGN: Lori Wendin LAYOU T: Suzi Yannes ILLUSTRATOR: Mario Ferro PHOTOGRAPHER: Lonnie Bird LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA: Bird, Lonnie. The complete illustrated guide to shaping wood / Lonnie Bird. p. cm. Includes index. ISBN-13: 978-1-56158-400-0 ISBN-10: 1-56158-400-2 1. Woodwork. I. Title. TT180 .B57 2001 TJ51-1-2008 IMUS 7/UOA0069-Shaping Wood W:9.25”xH:10.875” Wood TJ51-1-2008 IMUS 7/UOA0069-Shaping 175L EX 128White A M/A Magenta(D) 684’.08--dc21 2001027430 Printed in Thailand 1098765 About Your Safety: Working with wood is inherently dangerous. Using hand or power tools improperly or ignoring safety practices can lead to permanent injury or even death. -
N.J.B.A. Newsletter
N.J.B.A. Newsletter NJBA Volume 12, Issue 2 08/01/07 Editors Soapbox Red Mill Museum Well it’s the middle of Summer again and I hope in Clinton, New Jersey you all try to make it out to the next few events. I ANNUAL HAMMER-IN / know it can be hard to find the time to go to the meets but, it is also nice to take a break for the day, TOOL SWAP / NJBA PICNIC see some familiar faces and learn something new. Sunday, August 19, 2007, 10 am till 4 pm Larry Brown, Editor Red Mill Museum Village 56 Main Street Upcoming events for 200 Clinton, NJ 08809 Contact: Bob Bozzay, Eric Cuper, The Museum at Get you calendars out and mark these events down. Please bookmark our web site and check for (908) 735-4101 updated meet information. Remember most of our See invite letter on page 3! meets have an “Iron in the Hat” drawing, so be sure Activities will include demonstrations, the tail- to bring something. Meet information starts on this gate tool sale, iron in the hat and the NJBA mem- page and continues on page 3. bers picnic! In addition to previous years activities, we are inviting all Smiths who wish to exhibit/sell August 19th—Red Mill Hammer in Hammer in and picnic Coordinators— Robert their work and wares to participate. NJBA mem- Bozzay, Eric Cuper, Adam Howard bers or anyone wishing to tailgate, demonstrate or exhibit, will be provided free admission with pre- September 1st - Peter’s Valley Pig roast, tick- registration, general admission of $8 for the public. -
Chapter 2.6-Porches and Balconies
HISTORIC RESOURCE DESIGN GUIDELINES CHAPTER 2.6: PORCHES AND BALCONIES CITY OF SANTA BARBARA CHApteR 2.6: PORches AND BALconies INTRODUCTION Historic porch and balcony design, scale, and detail vary with the architectural style of the building. Victorian porches were often ex- tensively detailed, extending the entire length of the building and supported by large columns. In contrast, other styles such as Span- ish Colonial and English Revival may not have a porch, but rather an overhang over the front door. Many Mediterranean or Monterey Revival historic resources also do not have porches, but have front façade balconies as one of the main featured elements. Historically, residential porches, stoops, porticos, terraces, entrance courtyards, porte cocheres, patios, and verandas provided sheltered outdoor liv- ing space in the days before reliable climate control. They defined a semi-public area to mediate between the public street areas and the private area within the home. They also provided an architectural focus to help define entry ways and allow for the development of architectural detail. Typically, areas covered by a porch, including windows, doors, and wall surfaces, tend to require less maintenance than other more exposed areas of the house. The shade provided by porches can reduce energy bills. However, steps, railings, and roofs are usually exposed to the weather and may require additional main- Porches are a common feature of many turn-of-the-century houses in Santa Barbara, including these in the West Downtown Neighborhood. tenance. Porch design, scale, and detail vary widely between architec- tural styles. To determine what elements are particularly important on your porch, consult the architectural styles appendix of these Guidelines or contact the Architectural Historian for a consultation. -
Joinery Seals & Glazing
Joinery Seals & Glazing For Timber Windows & Doors All Exitex sealing and glazing systems are manufactured to the highest standards, incorporating many unique patented features. Quality you can trust Aluminium Hardened High Tensile to BS 1474 Anodising 15-25 Micrometers BS 3987 Powder Coating 60-80 Micrometers BS 6496 EPDM Gaskets to BS 4255 EPDM Cellular Rubber Gaskets to SS 243705A1, SS81813 PVC Gaskets to BS 7412 2 Joinery Seals For Timber Windows & Doors & Glazing Contents Aquatex™ 4 Weatherseals for Sliding Sash Windows 10 Self Adhesive Seals 20 Joinery Seals Wiper 21 Joinery Seals Compression 22 Aluminium Glazing Beads & Accessories 28 Self Adhesive EPDM Dry Glaze Profiles 31 Glazing Wedge Gasket for Secret Nailing 32 Push Fit & Single Sided Glazing Gaskets 34 Double Sided Tapes 35 Tilt & Turn Weatherbar 38 Securbead 40 Lokbead 42 Timber Bead Glazing Clips 44 Glazing Accessories 46 Intumescent Seals 48 Automatic Door Bottom Seals 51 3 Aquatex™ High Performance Weatherseals for Windows & Doors Key Performances Materials Temperature Range: -40°C to +70°C. Outer skin. Polyethylene. Compression Set: <15% (Properties include: inert, low friction, UV stable, colour options) UV Stability: 5000 hrs QUV tester. UVB 313 bulb. Foam Core. Polyurethane. (Properties include: excellent memory (4hrs light / 4hrs dark cycle) over extended temp range) Inserts. Polypropylene (Properties include: longitudinal stability and secure fixing) Features • P.U. foam core provides excellent recovery after long-term deflection. • Working temperature range -40°C to +70°C • Thicker polyethylene outer sheathing improves resistance to wear & tear. • Deflection ranges to cope with tolerance & seasonal movement of seal gap. • Excellent UV stability. • Outer skin not affected by paints & stains.