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Application of Jingchu Cultural Symbol in Design of Turquoise Jewelry
2020 3rd International Conference on Interdisciplinary Social Sciences & Humanities (SOSHU 2020) Application of Jingchu Cultural Symbol in Design of Turquoise Jewelry Wang Xiaoyue Department of Jewelry, College of Jewelry, China Univercity of Geosciences, Wuhan, Hubei, 430074, China email: [email protected] Keywords: Jingchu Cultural Symbol, Turquoise, Jewelry Design, Connotation Features, Chutian God Bird, Creative Expression Abstract: Turquoise is one of the four famous jades in China, which carries the Chinese jade culture for thousands of years. Jingchu culture is a strong local culture represented by the Hubei region of our country. It has a long history and is an important branch of the splendid local history and culture in our country. The combination of Jingchu cultural symbols and turquoise culture to create jewelry has a long history. This paper discusses the application of Hubei Jingchu cultural symbol in the design of turquoise jewelry under the guidance of these two cultural contents. 1. Jingchu Culture Symbol and Turquoise Culture Jingchu culture is the representative of the local culture of our country. It is a special cultural content formed in a specific historical period and a specific region. At that time, in order to inherit the cultural content of Chinese vinegar, carry forward the long history, integrate the Jingchu culture into many treasure jewelry, and form the characteristic jewelry type with the cultural symbol of Jingchu as the background, it is the turquoise jewelry which combines the Jingchu culture. Turquoise, as one of the four great jades in China, has a profound cultural background which can not be underestimated. 1.1. Jingchu Culture and Its Symbols The culture of jingchu is named after the state of chu and the people of chu. -
School District of Marshfield Course Syllabus
School District of Marshfield Course Syllabus Course Name: Jewelry & Metal Arts Length of Course: Semester Credits: ½ credit Course Description: Students will explore and create a variety of handmade wearable art jewelry from copper, brass, nickel and sterling silver. Through investigation of multiple techniques and the study of cultural uses of jewelry, students will learn soldering, torch work, metal sawing & piercing, cabochon stone-setting, patina applications, oxidation, and color treatments on metal. Students will use fabrication techniques to create wearable pieces of art, including necklaces, rings, and earrings. Learning Targets: Investigate traditions of jewelry making across time and cultures Research cultures that have used sophisticated jewelry techniques Learn about the jewelry design process and create 2-dimensional plans for 3-dimensional models Demonstrate the techniques of sawing and piercing metal Demonstrate the techniques of soldering metals together using a jeweler’s torch Demonstrate final finishing techniques, including buffing, oxidation and patina application Demonstrate alternative connection methods, such as cold-connections Create jewelry that includes a cabachon stone using a bezel setting Create fabricated jewelry designs, including rings, pendants, earrings and pins Topic/Content Outline-Units and Themes: 1. Understanding Metallurgy (1 week) A. History of Metals and Jewelry B. Metals: What are they? Understanding copper, brass and sterling silver C. Understanding Melting Points, Properties & Malleability D. Learning the Difference Between Ferrous & Non-Ferrous Metals 2. Basic Fabrication Techniques and Safety (2 weeks) A. Sawing and Piercing Metal: Safety, Process and Technique B. Pattern-Making C. Filing and Sanding Metal Page 1 of 3 D. Creating Texture: Hammering, Stamping, Embossing, Chasing E. -
Openbsd Gaming Resource
OPENBSD GAMING RESOURCE A continually updated resource for playing video games on OpenBSD. Mr. Satterly Updated August 7, 2021 P11U17A3B8 III Title: OpenBSD Gaming Resource Author: Mr. Satterly Publisher: Mr. Satterly Date: Updated August 7, 2021 Copyright: Creative Commons Zero 1.0 Universal Email: [email protected] Website: https://MrSatterly.com/ Contents 1 Introduction1 2 Ways to play the games2 2.1 Base system........................ 2 2.2 Ports/Editors........................ 3 2.3 Ports/Emulators...................... 3 Arcade emulation..................... 4 Computer emulation................... 4 Game console emulation................. 4 Operating system emulation .............. 7 2.4 Ports/Games........................ 8 Game engines....................... 8 Interactive fiction..................... 9 2.5 Ports/Math......................... 10 2.6 Ports/Net.......................... 10 2.7 Ports/Shells ........................ 12 2.8 Ports/WWW ........................ 12 3 Notable games 14 3.1 Free games ........................ 14 A-I.............................. 14 J-R.............................. 22 S-Z.............................. 26 3.2 Non-free games...................... 31 4 Getting the games 33 4.1 Games............................ 33 5 Former ways to play games 37 6 What next? 38 Appendices 39 A Clones, models, and variants 39 Index 51 IV 1 Introduction I use this document to help organize my thoughts, files, and links on how to play games on OpenBSD. It helps me to remember what I have gone through while finding new games. The biggest reason to read or at least skim this document is because how can you search for something you do not know exists? I will show you ways to play games, what free and non-free games are available, and give links to help you get started on downloading them. -
Newsletter/Fall 2016 the DAS DAS the Decorative Arts Society, Inc
newsletter/fall 2016 Volume 24, Number 2 Decorative Arts Society The DAS DAS The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. Board of Directors Editor President Gerald W. R. Ward Gerald W. R. Ward Senior Consulting Curator & Susan P. Schoelwer Senior Consulting Curator Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator Katharine Lane Weems Senior Curator of of American Decorative Arts and George Washington’s Mount Vernon American Decorative Arts and Sculpture Emeritus Mount Vernon, VA Sculpture Emeritus Museum of Fine Arts, Boston Museum of Fine Arts, Boston Boston, MA Boston, MA Treasurer Stewart G. Rosenblum, Esq. Robert C. Smith Award Committee Coordinator Jeannine Falino, Chair Ruth E. Thaler-Carter Secretary Independent Curator Freelance Writer/Editor Moira Gallagher New York, NY Rochester, NY Research Assistant Metropolitan Museum of Art Lynne Bassett New York, NY Costume and Textile Historian Program Chairperson Dennis Carr Emily Orr Carolyn and Peter Lynch Curator of The DAS Newsletter is a publication Assistant Curator of Modern and American Decorative Arts and of the Decorative Arts Society, Inc. The Contemporary American Design Sculpture purpose of the DAS Newsletter is to serve as Cooper Hewitt, Smithsonian Design Museum of Fine Arts, Boston, MA a forum for communication about research, Museum Boston, MA exhibitions, publications, conferences and New York, NY other activities pertinent to the serious Emily Orr study of international and American deco- Margaret Caldwell Assistant Curator of Modern and rative arts. -
Important Jewelry
IMPORTANT JEWELRY Tuesday, October 16, 2018 NEW YORK IMPORTANT JEWELRY AUCTION Tuesday, October 16, 2018 at 10am EXHIBITION Friday, October 12, 10am – 5pm Saturday, October 13, 10am – 5pm Sunday, October 14, Noon – 5pm Monday, October 15, 10am – 2pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Lot 27 INCLUDING PROPERTY FROM THE ESTATES OF Henri Jo Barth The Noel and Harriette Levine Collection A Long Island Lady A Distinguished New Jersey Interior Decorator A New York Lady A New York Private Collector Barbara Wainscott INCLUDING PROPERTY FROM A Florida Lady A Miami Lady A New Jersey Private Collector A New York Collector A Private Collection A Private Collector CONTENTS Important Jewelry 1-535 Glossary I Conditions of Sale II Terms of Guarantee IV Information on Sales & Use Tax V Buying at Doyle VI Selling at Doyle VIII Auction Schedule IX Company Directory X Absentee Bid Form XII Lot 529 The Estate of Henri Jo ‘Bootsie’ Barth Doyle is honored to auction jewelry from the Estate of Henrie Jo “Bootsie” Barth. Descended from one of Shreveport, Louisiana’s founding families, Henrie Jo Barth, known all her life as Bootsie, was educated at The Hockaday School in Dallas and Bryn Mawr College. She settled on New York’s Upper East Side and maintained close ties with Shreveport, where she had a second residence for many years. Bootsie was passionate about travel and frequently left her Manhattan home for destinations around the world. One month of every year was spent traveling throughout Europe with Paris as her Lots 533 & 535 base and another month was spent in Japan, based in Kyoto. -
Important Jewelry
IMPORTANT JEWELRY Wednesday, October 18, 2017 NEW YORK IMPORTANT JEWELRY AUCTION Wednesday, October 18, 2017 at 10am EXHIBITION Saturday, October 14, 10am – 5pm Sunday, October 15, Noon – 5pm Monday, October 16, 10am – 5pm Tuesday, October 17, 10am – 2pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $45 INCLUDING PROPERTY FROM CONTENTS THE ESTATES OF Important Jewelry 1-519 Conditions of Sale I Emmajane DeLong Terms of Guarantee III Geraldine Hickox Information on Sales & Use Tax IV Barbara Hartley Lord Buying at Doyle V Aileen Mehle Selling at Doyle VII A New York City Private Estate Auction Schedule VIII Company Directory IX Absentee Bid Form XI INCLUDING PROPERTY FROM A Beverly Hills Collector A Connecticut Collector A Distinguished Lady A Lady A Pennsylvania Collector A Family of Spanish Descent Lot 519 5 3 1 2 4 5 1 2 3 4 5 Pair of Gold, Cabochon Peridot and High Karat Gold and Emerald Pair of High Karat Gold Earclips, Zolotas Gold ‘Mycenaean’ Necklace, Ilias Lalaounis Gold ‘Mycenaean’ Bracelet, Ilias Lalaounis Aquamarine and Mother-of-Pearl Earclips, Bangle Bracelet 22 kt., composed of hammered gold 18 kt., composed of pairs of scrolled links on 18 kt., composed of pairs of scrolled Elizabeth Locke 22 kt., the tubular bangle of polished twisted overlapping elongated oval bombé panels, a double strand mesh gold chain, links, no. F69, with maker’s mark, model 18 kt., the oval hammered gold stepped gold spaced by slender rope-twist bands, signed Zolotas, with maker’s mark, with maker’s mark, approximately 63 dwts. -
Jennifer Shaifer Thesis
50 specialized in the lost-wax casting method to create his work and even wrote a textbook on the subject.113 Winston influenced the work of MAG members Robert Dhaemers, Florence Resnikoff, and Irena Brynner, among others. Robert Dhaemers utilized techniques and surface treatments such as patinas and engraving to give his jewelry a worn appearance. He didn’t believe in the “artificial maintenance” of keeping jewelry polished.114 Florence Resnikoff’s jewelry showcased her interest in color and metallurgy. She utilized several techniques to achieve her designs including casting, enameling, electroforming, and anodization of refractory metals.115 Franz Bergmann, an immigrant from Vienna, was one of the few jewelers in San Francisco who maintained an atelier. He forged wire and cut sheets to produce his works with a constructivist and/or surrealist designs.116 Irena Brynner, who apprenticed with Bergmann briefly, looked at jewelry as sculpture and applied techniques such as forging and piercing to realize her designs. Her later works simulated the appearance of the lost-wax casting techniques; however, she developed a new aesthetic using a tool called a water welder.117 Peter Macchiarini, another studio/shop owner, incorporated ideas of constructivism and anthropomorphism in his designs. His designs showcased internal structures with the use of patinas as well as found objects.118 Merry Renk replicated the geometric abstract structures found in nature. Her early works were nonobjective designs that emphasized the potential of metal by using interlocking forms, metal folding, and enamel. As she developed her design philosophy, she progressed into more realistic and less abstract forms. -
Edmonds Community College 2004-2006 Edmonds Community
capturing the future capturing capturing the future EDMONDS COMMUNITY COLLEGE 2004-2006 Edmonds Community College edmonds community college 20000 68th Ave W • Lynnwood, WA 98036 (425) 640-1459 • www.edcc.edu Getting Started Campus Map ENROLLMENT SERVICES Lynnwood Hall, First Floor http://getstarted.edcc.edu [email protected] • (425) 640-1459 What Program’s Right for You? Decisions, decisions...we provide information to help you choose the degree, certificate or classes that best meet your goals. We offer advising for new students, call (425) 640-1458. Use computers at the Advising Resource Center to research career and educational programs, as well as apply and register for classes online. Apply for Admission Complete an admission form online or pick one up at Enrollment Services. You’ll also need to pay the one-time admissions fee. After submitting the form, you should receive information from the college on assessment and registration within two business days. Math and English Placement Determine if, and when, you need to take the Accuplacer Assessment. If you are seeking a degree or a certificate – or if you are taking math or English classes – you must take the Accuplacer to assess your writing, reading and math skills. Test from 9 a.m.-6 p.m., Monday-Thursday, and 9 a.m.-3 p.m. Fridays in Enrollment Services. No appointment necessary. Advising and Campus Orientation Before you meet with an adviser, get a program requirement sheet online or from Enrollment Services. Advisers will help you plan your education and select the classes you need for a degree or certificate. -
A Conversation with Metalsmith Cynthia Eid
artist profile A conversation with metalsmith Cynthia Eid Educator, author, and artist another piece, the better I like it. One of the most satisfying things Cynthia Eid is known for her about deep-drawing is turning the metal inside out. Metal is so stiff, but there are times when you can watch it flow like taffy. bold, adventurous forms that test the limits of metal’s structure. After getting your degree, you spent five years doing bench Twisted, but never tortured, her work. How necessary was that kind of training? On the one hand, I learned all sorts of things that I didn’t learn at pieces evoke the natural world the university. I learned to think faster, design faster, and work as seen through a dreamscape — faster. I learned a lot of technical stuff. But I also made a lot of ugly half-imagined versions of familiar stuff in the gold-jewelry factory where I worked for 3 years, and that was painful. So, I took pride in making the best hinges, organic forms. Eid is based in settings, molds, and box catches I could. Lexington, Massachusetts, teaches at workshops across the country, and has become known for her technical Any advice for jewelers just starting out? Make yourself rounded. There’s a lot to be said for knowing how expertise in new tools and materials, including Argentium Sterling Silver. [a] Sampler brooch. Sterling silver, 14k gold. 2¾ x 1¼ x ¼ in. (70 x 32 x 6.5mm). [b] Torsion pendant on handwoven chain. Sterling Your family was important in your becoming an artist, because silver, 14k and 18k gold, amethyst, pearls. -
Relationships with Jewellery?
How might a collaborative approach between maker and wearer yield sustainable `end-user' relationships with jewellery? Author Poppi, Clare Elizabeth Published 2018-12 Thesis Type Thesis (Masters) School Queensland College of Art DOI https://doi.org/10.25904/1912/489 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/385867 Griffith Research Online https://research-repository.griffith.edu.au How might a collaborative approach between maker and wearer yield sustainable ‘end-user’ relationships with jewellery? Clare Elizabeth Poppi (Bachelor of Fine Art) A thesis submitted in partial fulfilment of the degree of Master of Visual Arts Queensland College of Art Arts, Education and Law Griffith University December 2018 Abstract In recent years, there has been a growing movement within contemporary jewellery that engages notions of sustainability. Part of this movement has involved focusing on the ethical concerns surrounding jewellery manufacture and production, from precious metal mining and gemstone sourcing through to studio techniques, including recycling, chemical reduction, and energy use. While these issues are imperative because of their social and environmental impacts, many jewellers focus solely on the role of the designer in ethical jewellery making. By contrast, my research examines the role of the wearer in accepting responsibility for their consumption habits. This exegesis explores how maker and wearer can collaborate in various ways to create ongoing, sustainable relationships between the wearer and their jewellery. i Statement of Originality: This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. -
Edmonds Community College Edmonds
Edmonds Community College 2008-2010 Edmonds Community College Edmonds Community College www.edcc.edu 2008-2010 20000 68th Ave W Lynnwood, WA 98036 (425) 640-1459 Looking for a high-quality Edmonds Community College Campus college? Start here. We want you to be our student! • Begin your bachelor’s degree. • Develop job skills for a new career. • Learn from experienced, caring instructors in small classes. Find the Program Go to Enrollment Services That’s Right for You In person: Lynnwood Hall, First Floor • Online: http://getstarted.edcc.edu Each year 10,500 students take courses for credit toward a certificate Step 1: Apply for admission or degree at Edmonds Community Complete an admission form online or pick one up at Enrollment Services. You’ll College. More than 50 percent seek also need to pay the one-time admissions fee (non-refundable). After submitting transfer degrees for bachelor’s the form, you should receive information from the college on assessment and programs, 29 percent seek degrees registration within two business days. You’ll receive a student ID number, too. that lead directly to jobs, and others take continuing education classes for personal enrichment and workplace Step 2: Find out what English and math classes you’ll need skills. See Chapter 2 for information Determine if you need to take the Accuplacer assessment. If you have not had to help you choose the degree, previous college-level math or English and are seeking a degree or certificate – certificate or classes that best meet or if you are taking math or English classes – take the Accuplacer assessment to your goals. -
Website Listing Ajax
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