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Simple Origami for Cub Scouts and Leaders
SIMPLE ORIGAMI FOR CUB SCOUTS AND LEADERS Sakiko Wehrman (408) 296-6376 [email protected] ORIGAMI means paper folding. Although it is best known by this Japanese name, the art of paper folding is found all over Asia. It is generally believed to have originated in China, where paper- making methods were first developed two thousand years ago. All you need is paper (and scissors, sometimes). You can use any kind of paper. Traditional origami patterns use square paper but there are some patterns using rectangular paper, paper strips, or even circle shaped paper. Typing paper works well for all these projects. Also try newspaper, gift-wrap paper, or magazine pages. You may even want to draw a design on the paper before folding it. If you want to buy origami paper, it is available at craft stores and stationary stores (or pick it up at Japan Town or China Town when you go there on a field trip). Teach the boys how to make a square piece from a rectangular sheet. Then they will soon figure out they can keep going, making smaller and smaller squares. Then they will be making small folded trees or cups! Standard origami paper sold at a store is 15cm x 15 cm (6”x6”) but they come as small as 4cm (1.5”) and as large as 24cm (almost 9.5”). They come in different colors either single sided or double sided. They also come in different patterns, varying from traditional Japanese patterns to sparkles. When you make an origami, take your time. -
The Dialogue of Craft and Architecture
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 The Dialogue of Craft and Architecture Thomas J. Forker University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Architectural Technology Commons, and the Cultural Resource Management and Policy Analysis Commons Recommended Citation Forker, Thomas J., "The Dialogue of Craft and Architecture" (2015). Masters Theses. 197. https://doi.org/10.7275/7044176 https://scholarworks.umass.edu/masters_theses_2/197 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE MAY 2015 DEPARTMENT OF ARCHITECTURE THE DIALOGUE OF CRAFT AND ARCHITECTURE A Thesis Presented by THOMAS J. FORKER Approved as to style and content by: ___________________________ Kathleen Lugosch, Chair ___________________________ Ray Mann, Associate Professor ____________________ Professor Kathleen Lugosch Graduate Program Director Department of Architecture ____________________ Professor Stephen Schreiber Chair Department of Architecture DEDICATION This thesis is dedicated to my parents, for their love and support. ACKNOWLEDGMENTS I would like to thank my professors Kathleen Lugosch and Ray Mann. They have been forthright with their knowledge, understanding, and dedicated in their endeavor to work with the students in the department and in the pursuit of a masters of architecture degree with spirit and meaning. -
WASHI TRANSFORMED New Expressions in Japanese Paper 2 WASHI TRANSFORMED INTRODUCTION
WASHI TRANSFORMED New Expressions in Japanese Paper 2 WASHI TRANSFORMED INTRODUCTION nique for its strong natural fibers and its Despite the increased mechanization of papermaking U painstaking production techniques, which in Japan over the last century, contemporary Japanese have been passed down from one generation to artists have turned to this supple yet sturdy paper the next, washi stands out as a nexus of tradition to express their artistic visions. The thirty-seven and innovation. Its continuing, and ever-evolving, artworks and installations in Washi Transformed: importance as an artistic medium is due primarily to New Expressions in Japanese Paper epitomize the the ingenuity of Japanese contemporary artists, who potential of this traditional medium in the hands of have pushed washi beyond its historic uses to create these innovative artists, who have made washi their highly textured two-dimensional works, expressive own. Using a range of techniques—layering, weaving, sculptures, and dramatic installations. Washi, which and dyeing to shredding, folding, and cutting—nine translates to “Japanese paper,” has been integral to artists embrace the seemingly infinite possibilities of Japanese culture for over a thousand years, and the washi. Bringing their own idiosyncratic techniques to strength, translucency, and malleability of this one- the material, their extraordinary creations—abstract of-a-kind paper have made it extraordinarily versatile paper sculptures, lyrical folding screens, highly as well as ubiquitous. Historically, washi has been textured wall pieces, and other dramatic installations— used as a base for Japanese calligraphy, painting, demonstrate the resilience and versatility of washi as and printmaking; but when oiled, lacquered, or a medium, as well as the unique stature this ancient otherwise altered, it has other fascinating applications art form has earned in the realm of international in architecture, religious ritual, fashion, and art. -
Origami-Inspired Approaches for Biomedical Applications
University of Massachusetts Medical School eScholarship@UMMS Open Access Publications by UMMS Authors 2020-12-27 Origami-Inspired Approaches for Biomedical Applications Abdor Rahman Ahmed Rutgers University Et al. Let us know how access to this document benefits ou.y Follow this and additional works at: https://escholarship.umassmed.edu/oapubs Part of the Analytical, Diagnostic and Therapeutic Techniques and Equipment Commons, Biomedical Devices and Instrumentation Commons, Biotechnology Commons, Chemistry Commons, Molecular, Cellular, and Tissue Engineering Commons, and the Surgery Commons Repository Citation Ahmed AR, Gauntlett OC, Camci-Unal G. (2020). Origami-Inspired Approaches for Biomedical Applications. Open Access Publications by UMMS Authors. https://doi.org/10.1021/acsomega.0c05275. Retrieved from https://escholarship.umassmed.edu/oapubs/4484 Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This material is brought to you by eScholarship@UMMS. It has been accepted for inclusion in Open Access Publications by UMMS Authors by an authorized administrator of eScholarship@UMMS. For more information, please contact [email protected]. This is an open access article published under a Creative Commons Non-Commercial No Derivative Works (CC-BY-NC-ND) Attribution License, which permits copying and redistribution of the article, and creation of adaptations, all for non-commercial purposes. http://pubs.acs.org/journal/acsodf Mini-Review Origami-Inspired Approaches for Biomedical Applications Abdor Rahman Ahmed, Olivia C. Gauntlett, and Gulden Camci-Unal* Cite This: ACS Omega 2021, 6, 46−54 Read Online ACCESS Metrics & More Article Recommendations ABSTRACT: Modern day biomedical applications require pro- gressions that combine advanced technology with the conform- ability of naturally occurring, complex biosystems. -
AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3
Instructor: Professor Way Term: Spring 2017 Office: Art Building 212 Class time: Monday 5:00-7:50pm Office Hours: please schedule in advance through email Meeting Place: Art 226 Monday, 4:00-5:00, Tuesday 4:00-5:00, Thursday 4:00-5:00 Email: [email protected] – best way to reach me AEAH 4840 TOPICS, CRAFT 4840. Topics in the History of Crafts. 3 hours. Selected topics in the history of crafts. Prerequisite(s): ART 1200 or 1301, 2350 and 2360, or consent of instructor. TOPIC – CRITICAL HISTORIES OF CRAFT AND ART HISTORY This course explores how history of art survey texts represent and tell us about craft—what do they have to say about craft, and how do they say it? We are equally interested in where and how these art history survey texts neglect craft. What is missing when histories of art do not include craft? Additionally, we want to think about history of craft texts. Should they include the same agents and situations we find in histories of art, such as famous makers and collectors, the rich and the royal, politics at the highest level, and economics, power, and desire? Also, is it possible to trace influence in craft as we expect to find it discussed in histories of art? What would influence explain about craft? Should a history of craft include features we don’t expect to find in histories of art? Overall, what scholarship and methods make a history of craft? These types of questions ask us to notice standards and expectations shaping knowledge in academic fields, such as art history and the history of craft. -
Crossing the Divide Between Art and Craft
Journal of Undergraduate Research at Minnesota State University, Mankato Volume 10 Article 4 2010 Crossing the Divide between Art and Craft Kristin Harsma Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/jur Part of the Art and Design Commons Recommended Citation Harsma, Kristin (2010) "Crossing the Divide between Art and Craft," Journal of Undergraduate Research at Minnesota State University, Mankato: Vol. 10 , Article 4. Available at: https://cornerstone.lib.mnsu.edu/jur/vol10/iss1/4 This Article is brought to you for free and open access by the Undergraduate Research Center at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Journal of Undergraduate Research at Minnesota State University, Mankato by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Harsma: Crossing the Divide between Art and Craft Crossing the Divide Between Art and Craft Kristin Harsma Minnesota State University Faculty Mentor: Curt Germundson April 6, 2010 Published by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato, 2010 1 Journal of Undergraduate Research at Minnesota State University, Mankato, Vol. 10 [2010], Art. 4 Crossing the Divide Between Art and Craft Kristin J. Harsma (Arts and Humanities) Curt Germundson, Faculty Mentor (Arts and Humanities) Throughout history, various qualities of art have gone in and out of fashion, works declared high art being considered most important. However, there has always been a hierarchy of not only subjects of art but also of media used to create art. -
The Evolution of Craft in Contemporary Feminist Art
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2010 The volutE ion of Craft in onC temporary Feminist Art Carolyn E. Packer Scripps College Recommended Citation Packer, Carolyn E., "The vE olution of Craft in onC temporary Feminist Art" (2010). Scripps Senior Theses. Paper 23. http://scholarship.claremont.edu/scripps_theses/23 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. The Evolution of Craft in Contemporary Feminist Art By: Carolyn Elizabeth Packer SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS Professor Susan Rankaitis Professor Nancy Macko May 3, 2010 This Senior Project is dedicated to my Grandmother, Gloria Carolyn Reich. Thank you for giving me the invaluable skills that have inspired my art and being the model for woman I strive to become. Thank you also to Professor Susan Rankaitis for inspiring my dedication to this project, and to Professor Nancy Macko for being such a supportive and encouraging advisor, thesis reader, and role model. 2 Women’s art is rooted in a long history of traditional craft practices. It is said that during the times of male-dominated society, if a woman had any brains she would explore her creativity through quilting, clothing design and needlework; creating utilitarian objects for the household to serve her husband and family. Being a part of an extended family lineage of talented and inspired craftswomen has provoked me to analyze the evolution of craft from a domestic practice into a higher form of feminist art. -
Brands and Product Lines & Website Guide
plus Brands and Product Lines & Website Guide starts on page 56 Last Updated April 5, 2021 CONTACT [email protected] with questions, corrections, additions, updates Page 2 of 67 Product Guide Acetate Sheets Rolls Pads Grafix Jacquard Products / Rupert, Gibbon & Spider, Inc. MacPherson's SLS Arts Texas Art Supply/Art Supply Network Adhesives Alvin & Company Atlas Tape - Channeled Resources Grafix Grex Airbrush H. Schmincke & Co. GmbH & Co. KG HK Holbein, Inc Imagination International Jacquard Products / Rupert, Gibbon & Spider, Inc. Lineco MacPherson's Newell Brands SLS Arts Speedball Art Products Tombow Yasutomo Ziller's, LLC Advertising Art Materials Retailer Magazine Airbrush Equipment and Supplies Armadillo Art & Craft Grafix Grex Airbrush H. Schmincke & Co. GmbH & Co. KG HK Holbein, Inc Iwata-Medea Inc. Jacquard Products / Rupert, Gibbon & Spider, Inc. Page 3 of 67 MacPherson's SLS Arts SINOART Shanghai Co., Ltd Texas Art Supply/Art Supply Network Ziller's, LLC Albums Art and Photo Hahnemuhle USA Lineco MacPherson's SLS Arts Texas Art Supply/Art Supply Network Uchida of America Architectural Supplies ACCO UK. - ACCO Brands, Derwent Alumicolor Alvin & Company Grafix Jack Richeson & CO Inc. MacPherson's SINOART Shanghai Co., Ltd SLS Arts STAEDTLER-Mars Limited Studio Designs Texas Art Supply/Art Supply Network Tombow Artboard MultiMedia Aitoh Co. (WCG Group LLC, dba Aitoh Co.) Alvin & Company Crescent Cardboard, LLC Fredrix Canvas Grafix Heinz Jordan and Company Limited Hilltop Paper LLC Jack Richeson & CO Inc. Lineco Ranger Industries SINOART Shanghai Co., Ltd SLS Arts Texas Art Supply/Art Supply Network Block Printing ABIG GERMANY Armadillo Art & Craft Cranfield Colours Page 4 of 67 Educational Art and Craft Supplies Edward C Lyons Co. -
Paper Technology Journal
Paper Technology Journal News from the Divisions: CompactPulper – the new generation of Voith broke pulpers. The success story of Shandong Huatai Paper and Voith Paper keeps on rolling. Adolf Jass, Germany – complete production line for packaging papers. PrintFlex P – development of a new press fabric concept. Paper Culture: 17 Japanese Paper Blossoms Anew. Contents EDITORIAL Title page: Foreword 1 Traditional production Mixed Tropical Hardwood – of Japanese Paper. a minor and declining source of fibre for paper 2 NEWS FROM THE DIVISIONS Fiber Systems: CompactPulper – the new generation of Voith broke pulpers 7 Fiber Systems: Rejects and residue disposal from recycled fiber plants – Europe as the pioneer in rejects handling systems 10 Paper Machines: The success story of Shandong Huatai Paper and Voith Paper keeps on rolling 15 Finishing: China’s first Twister – automated paper roll wrapping par excellence 20 Trade fair and more... Voith Paper demonstrates its technological competence and close relationship with customers 23 Paper Machines: Kimberly PM 96 – position for lang-term competitiveness 26 Paper Machines: NipcoFlex and TissueFlex – Shoe press technology for the dewatering of all paper grades 28 Paper Machines: Hengfeng PM 12 – new quality benchmark for cigarette paper 32 Paper Machines: Adolf Jass Paper Mill, Schwarza, Germany – another complete production line for packaging papers 36 Paper Machines: Zülpich PM 6 – still one of the most productive paper machines for Testliner and Corrugating Medium 39 Finishing: Excellent threading -
Get a Charge at the Library Electric Vehicle Ride and Drive Event Saturday, Jan
JANUARY 2019 Get a charge at the library Electric Vehicle Ride and Drive Event Saturday, Jan. 26, 10:30 a.m.-1 p.m., PW Celebrate the opening of a Level 2 and Level 3 electric vehicle charging station at Pueblo West Library. The chargers are brought to you by San Isabel Electric, Pueblo County Energy Of- fice,CANCELED Pueblo City-County Library District, Bank of the San Juans, the Renewable Energy Owners Coalition of America, and Pueblo West Metro District. For more information about the chargers visit, https://na.chargepoint.com/charge_point Special Screenings Who Killed the Revenge of the Pueblo City-County Library District Executive Director Jon Walker and Branch Electric Car? (NR) Electric Car (NR) Manager Heather Wilder show off the new electric vehicle charging station at Thursday, Jan. 3, 6-8:30 p.m., PW Thursday, Jan. 10, 6-8:30 p.m., PW Pueblo West Library. All Ages. In All Ages. Direc- 1997, Gen- tor Chris Paine eral Motors takes his film launches crew behind the EV-1. It the closed is an electric doors of Nis- automobile san, GM, and that requires Tesla Motors no gas, oil, to chronicle muffler the story of the or brake global resur- changes and is, seemingly, the gence of electric cars. Without us- world's first perfect car. Yet six ing a single drop of foreign oil, this years later, GM recalls and de- new generation of car is America's stroys fleet. Director Chris Paine future: fast, furious, and cleaner examines the birth and death of a than ever. -
Fabergé Museum, St. Petersburg, Russia October, 8-10, 2015 International Museum - Event Program
Fabergé Museum, St. Petersburg, Russia October, 8-10, 2015 International Museum - Event Program Section I. Fabergé’s Lapidary Art • Tatiana Muntian. Fabergé and His Flower Studies • Alexander von Solokoff. Rock Crystal Mushrooms by Fabergé • Valentin Skurlov. The Range of Products and Precious Stones in Fabergé’s Stone-Cutting Production (1890-1917) • Galina Korneva and Tatiana Cheboksarova. Stone Carvings in the Collection of the Great Duchess Maria Pavlovna • Pavel Kotlyar. Alexander Palace and the Fabergé Firm • Dmitriy Krivoshei. Stone-cut Objects and Clients of the Fabergé Company in 1909-1916’s (Based on General Ledger) • Svetlana Chestnykh. History of Hardstone Figure of Kamer-Kazak N.N. Pustynnikov Section II. Russian Lapidary Art in the 19th-Early 20th Centuries • Evgeniy Lukianov. Precious and Semi-precious Stones in Works of the Sazikov Firm (1850- 1880’s) • Andreiy Gilodo. Lapidary Art of Soviet Russia in 1920-1930’s • Ludmila Budrina. By Order of Mr. Governor: Ekaterinburg Lapidary Factory Items from 1880- 1890’s Made from Non-Chancery Designs • Natalia Borovkova. Works of the Ekaterinburg Lapidary Factory in 1870-1880's Commissioned by His Imperial Majesty's Own Chancery • Mariya Osipova. Stone Carvings of the Bolin Firm • Aleksandra Pestova. History of West Ural’s Stone Craft (1830-1930’s). Influence of Ekaterinburg Stone Carvers and Fabergé’s Craftsmen Section III. Origin of Russian Jeweler’s Art • Annette Fuhr. The Story of Idar-Oberstein, One of the Most Important Towns in the Gemstone World • Max Rutherston. Netsuke • Olga Alieva. Prototypes of Modern Ural Hardstone Sculpture • Raisa Lobatckaya. Siberian Ethnic Motives in Works of Modern Jewelers • Ekaterina Tarakanova. -
Stoneware Craft of Patharkatti Village, Part-VII-A, Vol-IV, Bihar
CENSUS OF INDIA 1961 VOLUME IV BIHAR PART VII-A-NUMBER I Craft Survey Report on STONEWARE CRAFT of Patharkatti Village (District Gaya) j ,,!" 0 .... \.- .J" -:i~ _~', '''~,,-... ::,...:.:~:,:;:> Field Investigation and First Drtift by SAILESHWAR PRASAD SENIOR TECHNICAL ASSISTANT OFFICE OF THE REGISTRAR GENERAL, INDIA Editor S. D. PRASAD OF THE INDIAN ADMINISTRATIVE SERVICE SUPERINTENDENT OF CENSUS OPERATIONS, BIHAR 1961 CENSUS PUBLICATIONS, BIHAR (All the Census Publications of this State will bear Vol. no. IV) Central Government Publications PART I-A(i) General Report (Chapters I to IX)* PART I-A(ii) General RepOrt (Chapters X to XII)t PART I-B Report on Vital Statist,jes of Bihar, 1951-60 PART 1-0 Subsidiary Tables. PAR'{' II-A General Population Tables. PART II-B(i) Economic• Tables (B-1 to B-IV and B-VII). T'ART II-B(ii) Ecomonic Tables (B-V, B-VI, B-VIII and B-IX)* PART II-C Social and Cultural Tables. ]>A:RT II-D Migration Tables* PART III(i) Household Economic Tables (B-X to B-XIV)* PART III(ii) Household Economic Tables (B-XV to B-XVII)* PART IV-A Report on Housing and Establishment,s. PART IV-B Housing and Establishment Tables* PART V-A Special Tables for Scheduled Castes and Schedukd Tribfb* PART V-B Ethnographic Notes on Scheduled Castes and Scheduled Tribes PART VI Village Surveys:!: (Monographs on 32 selected villages) PAR.T VII-A Selected Crafts of Bihar•• PART VII-B Fairs and Festivals of Bihart PART VIII-A Administration Report on Enumerations* } (Not for ,ale) PART VIII-B Administration Report on Tabulationt PART IX Census Atlas of Bihar* PART X Special Migration Tablest Sttte Government Publications 17 Volumes of District Census Handbooks.