Mosaics Offer Us the Chance to Inject Individ- Ual Character, Project Style and Commitment to Quality, and Bring Our Spaces to Life
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Lighting and Byzantine Glass Tesserae
EVA London Conference ~ 11–13 July 2007 Eva Zányi, Carla Schroer, Mark Mudge, and Alan Chalmers _____________________________________________________________________ LIGHTING AND BYZANTINE GLASS TESSERAE Eva Zányi†, Carla Schroer‡, Mark Mudge‡, Alan Chalmers† † Warwick Digital Laboratory University of Warwick Coventry CV4 7AL United Kingdom [email protected], [email protected] http://www.warwickdigital.org ‡ Cultural Heritage Imaging San Francisco USA [email protected], [email protected] http://www.c-h-i.org Abstract – A key component of many Byzantine churches was the mosaics on the curved walls and ceilings, which included gold and silver glass tesserae. As the viewer or the light moved within the church, these tesserae sparkled. In this paper we describe how we captured a Polynomial Texture Map of the apse mosaic at the Angeloktisti Church at Kiti, Cyprus and used it to investigate how the position of the lighting may have affected the appearance of the mosaic. Our study showed that the appearance of the mosaics is indeed significantly different when lit from various directions. INTRODUCTION From the outside Byzantine churches look unimposing; without much decoration, no paint or precious materials. This is very different to the interior, which provided those inside the space with dramatic visual affects aiming at alleviating and engaging the viewer to approach God [14]. The architecture used light and shadow to symbolically represent different sacral hierarchies and direct the attention of the viewer. Therefore the upper parts of the churches, which represented heaven, were better lit than the lower parts. In early Byzantium this was achieved with the help of daylight through small xxxx Figure 1. -
MOSAIC ART NOW2010 Edition
MOSAIC ART NOW2010 Edition Morning by Ann Gardner. Glass, composite material, concrete, steel. 18 h x 12 w x 12 d feet Photography: Lisa Jacoby 26 Mosaic Art Now No. 3 2010 Creative Capital: Laurel True aurel True is a mosaicist with a mission: to create economic opportunity through mosaic art. In a paper presented to the LInternational Conference on the Arts in Society in Venice in 2009, Dr. Randy Sanders of Southern Louisiana University wrote: “True has coordinated many public art projects that emphasize viable economic options for trades people as well as children in impoverished and blighted regions. Her projects place her in the role of a recruiter of artistic inspiration as she shares her talent while nurturing the participants’ creativity.” True has lead community projects in Oakland, CA; New Orleans, LA; and Ghana, West Africa. Says True, “Not all places and people have financial capital, but everyone has creative capital.” Last year, True arranged an artist’s residency at Kitengela Glass, a glass foundry and art studio outside of Nairobi, Kenya, founded by artist Nani Croze. The residency took place in part at the local Rudolph Steiner School that Croze had helped to found. Kitengela Glass hosted True and her assistant, Erin Rogers, and supplied recycled glass materials for a mosaic that True facilitated with the children of the Steiner School. Teachers at the school were taught mosaic methods, and tools were left behind so that the institution could continue to pursue mosaics. Here, True shares with us a scrapbook of the Nairobi project. Photos by Laurel True and Erin Rogers (www.lemontreemosaic.com) (Left) Me crossing a gorge on a cable bridge that was the first leg of our “commute” to the Steiner School every day. -
Caf Ar 419 Glassblowing
Calle Renier, Dorsoduro 3655 – 30125 Venezia tel. 041.296 0599 CAF AR 419 GLASSBLOWING INSTRUCTOR: Davide Penso [email protected] CLASS: every Tuesday from 3.00 pm to 7.00 pm (56 hours) SITE: Murano Isle COURSE DESCRIPTION The CFA AR 419 Glassblowing is a course that takes place on the Murano Isle, and it is an introduction to the real professional way to approach the torch and how to melt glass. During this course students learn about tools used for creating glass beads. Each student learns how to create his/her own bead and right out of his/her first jewelry, through the assistance and monitoring of the instructor. Each student is assigned a workstation equipped with its own workspace and torch. Each workspace has all the tools she/he needs, including: steel spindles or needles, safety glasses, pan pot of graphite, flat pliers to shape the glass, vermiculite to cool beads, etc. In addition, many glass rods of many different colors. The number of students per class is limited to 8. This allows the instructor a personalized evaluation, constant feedback and instructions. During the course, students will learn about tools for beads design and creation, most of glass fusion techniques, from the project to the professional production of the beads, designing jewelry, and strategy of sales. On the 3rd of December, students will visit the Glass Museum in Murano. In addition, the optional visit to the furnace where students can see Giancarlo Signoretto’s glass sculptures, on the 3rd or on the 10th of December. REQUIREMENTS For this course no requirements are asked. -
Authentication
AUTHENTICATION 1. LOGO Authentication starts with a logo. No logo, no Montici. True, Blow issued a limited number of mosaic pieces with no logo between the start of his mosaic career circa 1947 and the creation of the first Montici logo in 1951. But the odds are against finding such early pieces on the market. Pyramids and Dots On May 25, 1951, Blow registered with the U.S. Patent and Trademark office his famous, classic black- and-white “two-triangle” logo, Blow had impeccable style and taste, right down to his choice of material for his tiny, signature logo. These original logos were made out of legendary Murano glass from Venice, called murino in Italian. Per Lastrucci, the glass came out of the fire in the form of aa tube; the tube was then sliced into individual logos. According to scholars, Venetians have been making glass for over 1,500 years, and on the Venetian island of Murano since the 13th century. In addition to the original 1951 Logo, Blow also created and used a second logo, a stylized letter “M” with a white dot on top. This dot logo was registered in Italy on Feb. 23, 1956. Why he created a second logo is an interesting story, shared with our sister Rosemary by maestro Bruno Lastrucci. At some point in the 1950s, the workshop ran out of logos, due to the exploding demand for Blow’s art pieces. While impatiently waiting for the reorder from Venice, Blow created the second logo to fill the gap. The simple dot ended up as a “cap” when translated into material. -
Installation of Glass Mosaic Tile POOL and SPA APPLCIATIONS
Installation of Glass Mosaic Tile POOL AND SPA APPLCIATIONS INSTALLATION OF PAPER-FACE MOUNTED, BACK-MOUNTED, CLEAR FILM- FACE MOUNTED GLASS MOSAICS GLASS MOSAICS (per ANSI A108.16): GENERAL INFORMATION Glass tiles are impervious to water and stains, highly resistant to chemical attack, resistant to fading and discoloration. Variations in color, shade and size are inherent in all fired glass products. The glass tiles should not be exposed to high abrasion, or extremely heavy impact. Bubbles, wrinkles and folds are consistent with cast glass. Please open and inspect each box of glass tile upon delivery. Buyer is responsible for inspection and acceptance of the materials prior to installation. The following recommendations comply with ANSI standards. Although ANSI standards allow for the installation of back-mounted mosaics with latex thin-set mortars, however we recommend LATAPOXY® 300 Adhesive be used to install mesh-mounted mosaic tile. SUBSTRATE REQUIREMENTS Pool tanks must be structurally sound to support a glass tile installation. Tanks must be constructed of reinforced concrete. There should be no defects in the tank wall or surface. Make sure the substrate is clean and free of any dirt, oil, grease, paint, sealers, form release agents, or curing compounds. Clean the surface by pressure washing before installation of the glass mosaic tile. Pool tank must be made watertight through the use of cementitious waterproofing. INSTALLATION MATERIALS Due to the translucent nature of glass tile, the color of the thin-set will affect the appearance of the tile; we recommend the use of white thin-set. Use LATAPOXY 300 Adhesive or LATAPOXY SP-100 (for applications where a colored epoxy adhesive is desired) as the setting mortar. -
Download New Glass Review 21
NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-147-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree. -
2019 CV.Qxp New CV 6/03
drGaryostle curriculum vitae : profile Drostle Public Arts Ltd Studio B – The Lakeside Centre Bazalgette Way London, SE2 9AN. United Kingdom WEB: www.drostle.com EMAIL: [email protected] artists statement MOB: +44 771 952 952 0 This simple hand print logo can be seen as lying at the core of my artistic vision, it’s origin is perhaps human kinds most ancient creative expression and can be seen in cave paintings over 50,000 years old, the signature of the first mural artists. Of course it’s not a print, rather the impression left after the hand has been removed and as such symbolises the marks left on the environment by people now departed. To me this is a profoundly democratic view of art for all, on the street, enhancing and changing our environment, interacting with people, landscape and architecture reflecting a sense of place through the expression of our history and humanity, it is this that inspires me. My practice concentrates on working in large scale painted murals, mosaics for floors and walls and mosaic sculptures. In developing this work I draw on the specific site, its history and stories, its architecture and landscape and its community and users to create works which are specific to each site, enduring and beautiful. My experience includes working with other artists, council officers, architects, landscapers, interior designers, planners, engineers and contractors and I have worked extensively with a wide variety of community groups at every level of the creative process. Drostle Public Arts Ltd – REG No:7775382 drGaryostle curriculum vitae page 2 background & training I was born in London in 1961 and began my practice as a professional public artist soon after leaving art college in Camberwell School of Art 1984. -
TILE HERITAGE FOUNDATION U.S. Catalog Collection Catalog Order Form
TILE HERITAGE FOUNDATION U.S. Catalog Collection Catalog Order Form To order one or more, first check the desired catalogs on the list below. Note the price of the catalog(s), then THF members may deduct 10% from the total (use code THF2014 online). Note that you may join Tile Heritage with a $45 tax-deductible donation. Add your local sales tax if or- dered from California and then add the appropriate shipping charge. Order online, fax your order with your credit card info, or make your check payable to Tile Heritage Foundation and mail with your list to Tile Heritage, P. O. Box 1850, Healdsburg, CA 95448. American Express, Discover, Visa and Mastercard are accepted. Simply supply us with the card number, expiration date and the name on the card. Do not email your credit card number. Order Form: U.S. Tile Catalog Reproductions Qty Catalog Price Total ____ Alhambra Tile Co: “Faience Arch Mantels.” $25 b&w ____ ____ Alhambra Tile Co: “Artistic Designs of Mantels.” $40 w/color ____ ____ American Encaustic: “Artistic Tiles” $40 w/color ____ ____ American Encaustic: “Ceramic Mosaic” (Cat. A) $75 color ____ ____ American Encaustic: “Lombardic Mosaic” $60 color ____ ____ American Encaustic: “Tile Design” $20 w/color ____ ____ American Encaustic: Aetcotype Accessories $75 color ____ ____ ATM: Arch. Monograph, No. 1. $15 w/color ____ ____ ATM: Arch. Monograph, No. 2. $15 w/color ____ ____ ATM: Arch. Monograph, No. 3. $15 w/color ____ ____ ATM: Arch. Monograph, No. 4. $15 w/color ____ ____ ATM: Arch. Monograph, No. -
Spectrum Glass Company ®
Spectrum Glass Company ® Art Glass For Any Application Product Categories Welcome to Spectrum Spectrum Sheet Glass – For Stained ® Glass, Mosaics, and Architectural Spectrum Glass Company is a leading manufacturer of specialty sheet glass applications. for art and architecture. Using a unique combination of traditional hand • Waterglass® crafted methods and modern glass making technology, Spectrum produces • Baroque™ a contemporary art glass that sets new standards for quality, consistency • Artique® and creativity. • Crystal Opals • OpalArt™ • Spirit™ Our product lines include many extraordinary glasses for artistic endeavors, • Pearl Opals including stained glass, mosaic arts, kiln forming and glass blowing. In • SilverCoats™ the Architectural arena, Spectrum Glass stands apart from conventional • Opalescent Colors glassmakers with truly aesthetic, always original, sheet glass products. Our • Transparent Colors glasses are also chosen the world over by makers of fine lighting, giftware, • Classic Mixes glass tile and decorative accessories. • Iridescent • Clear Textures Spectrum Glass products are sold internationally, through a network of System 96® – Compatible glass for Wholesale Distributors and Glass Retailers. To find a supplier, please visit the hot glass arts: blowing, casting, www.spectrumglass.com. fusing, and torch work. • Sheet Glass • Frit • Rods The Grand Scope of Things . • Confetti With every change of colorful season, our product line grows and evolves. • Noodle/Stringer Here, we offer you the grand scope of things: a survey of the types of • Casting Plates & Billets • Studio Nuggets products we make, a few examples of each and various peeks into how • Glass Cullet imaginative minds put them to use. The deeper story can be found on the • HotStart PRO Fusing Kiln Spectrum web site, including detailed imagery of all 450+ glass products, complete specifications and even a video tour of our one-of-a-kind Spectrum Home Collection glassmaking facility. -
Fietra Dura, Also' Called Florentine Mosaic, Consists In
MOSAIC AND PIETRA DURA. 429 qui site shading of the colors, the brilliant though softened effeot of the group of views, the atmosphere a~d sky of each mingling into the same ethereal tint, which relieved the eye and allowed it to rest with pleasure on the separate views: it was certainly a masterpiece. The author never left the Crystal Palace without passing by the table, which always excited fresh admiration. There. were two other mosaics, much laTger than the former, and different in style, that were remarkably fine specimens of workmam;hip: one was a copy of a celebrated picture, . by Guercino,-a St. John the Baptist; and the other a portrait of Pope Boniface the Second. A circular table, a square slab, and a picture represent ing a view of P:;estum, were likewise 'among the Roman mosaics in the London Exhibition. Dr. Chilton, of New York, has a beautiful Roman mosaic of the Pantheon, about three inches long. In the New York Exhibition, in 1853, the large pic ture of Pope Pia IX., in medallion size, was much ad mired. In the Paris Exhibition, in 1855, many large wOTksof Roman mosaics were exhibited; one in particular, belong ing to the Duke of Tuscany, required the constant work of fourteen years, and cost 700,000 francs. A large table in the rotU11da of the panorama, of rich and elegant Roman mosaic, cost 400.,000 ii'anes. The famous picture of the' Campo-vacino, in Rome, by Galand, cost the artist ten years' labor. Fietra dura, also' called Florentine mosaic, consists in the manufacture of hard stone inlaid in a slab of marble; they are, for the most part, of the quartz species, such as agates, jasper, chalcedony, carnelian, &c.; also, lapis lazuli, malachite, and aHsuch hard and colored minerals which, by their depth of color and brilliancy of lustre largely con· . -
Mosaic in Paper
Rochester Institute of Technology RIT Scholar Works Theses 5-1-1987 Mosaic in paper Caroline M. Howell Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Howell, Caroline M., "Mosaic in paper" (1987). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Rochester Institute of Technology A Thesis Submitted to the Faculty of The College of Fine and Applied Arts in Candidacy for the Degree of MASTER OF FINE ARTS MOSAIC IN PAPER By Caroline M. Howell May 1987 Approvals Adviser: David Dickinson Date: C} c-t. 7... (' c/S'1- Associate Adviser: S~~la Wells Date: erc-r..?~ 17~ Asso~ia::::vise r: Jp~c;,~Sh ikowitz Date. fLflt 29j L'101 Special Assistant to the ~an tor Gradu~ Affairs: Philip Born/h Date: /2/t//f'1 I, carolin?HO:E:1I hereby grant permission to the Wallace memorial Library of R.I.T. to reproduce my thesis in whole or in part. Any repro- duction will not be for commercial use or profit. Caroline Howell Date: //;1/,(':/ I Permariemt Address: 104 Robert Quigley Dr. Scottsvilie IN.Y. 14546 Dean: College of Fine & Applied Arts Dr. Rober\: J,q~nston Date : ...c'?:t=~::...-\\--\"*.o~_-\U--'q.- _ \ Table of Contents List of Plates i" Introduction 1 Text: My point of view 2 History 6 Systems of Seeing 14 Construction 16 Conclusion 21 Plates 23 Bibliography 27 Footnotes 28 List of Plates 1 . -
CERAMIC ART and EXPRESSION: EXPERIMENTING with MOSAIC ART by Paul Owusu Attakorah BA (Integrated Rural Art and Industry) a Thesi
CERAMIC ART AND EXPRESSION: EXPERIMENTING WITH MOSAIC ART By Paul Owusu Attakorah BA (Integrated Rural Art and Industry) A Thesis submitted to the Department of Industrial Art, Kwame Nkrumah University of Science and Technology in partial fulfillment of the requirements for the degree of MASTER OF FINE ART (CERAMICS) College of Art and Built Environment © Department of Industrial Art June, 2015 i CERTIFICATION I hereby declare that this submission is my own work towards the MFA and that, to the best of my knowledge; it contains neither material previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. PAUL OWUSU ATTAKORAH ………………… …………… (PG 7278212) (STUDENT) SIGNATURE DATE Certified by: MR.ALBERT ASSUMAN ………………… …………. (SUPERVISOR) SIGNATURE DATE Certified by: DR. EBENEZER KOFI HOWARD ……………… ………… (HEAD OF DEPARTMENT) SIGNATURE DATE ii ABSTRACT Mosaic art has been practiced all over the world and generally in two dimensional forms. The main objective of this project is to depict Clay beads mosaic in a three dimensional form for better appreciation and artistic grandeur in clay medium. Inspired by the wisdom of the Egret bird, a design was developed to produce a thought- provoking piece titled “Wisdom Bead Mosaic”. This work was achieved through design thinking, systematic procedure and a tandem of artistic skills and studio practice. The materials used were clay, iron rods and binding wire. The nine (9) feet work provided stimuli among both artist and non-artist. It became evidently clear that mosaic art can be expressively executed in three dimensional and be a resource for beautifying the environment.