Pressed Flower Collages and Other Ideas Pdf, Epub, Ebook
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Grab and Go Camera and Ipad
Concept: Background Information: Understand how to use the Nikon CoolPix L610 camera and IPad to Technology has been integrated into virtually every facet of education. Through capture experiences and create Digital Observation Technology Skills (DOTS) youth are able to experience and digital artifacts. identify various aspects of nature through technology. Two of the tools used to make these connections with nature are the Nikon CoolPix L610 Camera and the Age level: IPad. These tools are designed to record images on the go as well as assist you in 4th- 12th creating digital artifacts that can be shared. Education Standards: How to: Digital Camera HS-PS4-2 1. Turn on the Camera by pressing the on/off button. Success Indicator: 2. The camera should be set to “easy-auto” mode, this will allow for the Youth will be able to record their easiest use of the camera. experiences through images and 3. To record an image simply press down on the big silver button on the top videos, as well as create collages, until a green rectangle appears in the middle of the screen. This will auto movies and trailers to share their focus the image. Once the green rectangle appears press down hard to take experience with others. a picture. 4. To change mode, such as landscape or portrait, press the green camera Preparation icon to the right of the screen and the toggle through the different options. 5. To record a video press the black button with the red circle in the middle. Time: This will start taking a video. -
With Dada and Pop Art Influence
With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK. -
Tapestry Translations in the Twentieth Century: the Entwined Roles of Artists, Weavers, and Editeurs
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Tapestry Translations in the Twentieth Century: The Entwined Roles of Artists, Weavers, and Editeurs Ann Lane Hedlund University of Arizona, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Hedlund, Ann Lane, "Tapestry Translations in the Twentieth Century: The Entwined Roles of Artists, Weavers, and Editeurs" (2004). Textile Society of America Symposium Proceedings. 462. https://digitalcommons.unl.edu/tsaconf/462 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Tapestry Translations in the Twentieth Century: The Entwined Roles of Artists, Weavers, and Editeurs Ann Lane Hedlund The Gloria F. Ross Center for Tapestry Studies Arizona State Museum, University of Arizona, Tucson [email protected] Historically, European tapestry making involved collaboration among artists, designers, draftsmen, cartoon makers, spinners, dyers, weavers, patrons, dealers, and other professionals. This specialized system of labor continued in modified form into the twentieth century in certain European and American weaving workshops. In contrast and with a small number of exceptions, American tapestry in the last half of the twentieth century has centered on weaver-artists working individually in their studios from their own designs. This paper focuses, in a very preliminary way, on one exceptional example of continuity, or revival, of the European specialized labor system—the creation of a group of twentieth century tapestries orchestrated by editeur Gloria F. -
Art Matters Lesson Plan Art Play Lesson #3: Pattern & Colored
Art Matters Lesson Plan Art Play Lesson #3: Pattern & Colored Paper Collage Shelly Korte & Vashti B Moss 4/14/2020 Tools Materials scissors (optional) Colored paper (tissue paper, magazine Table cover (optional) pages, and/ or construction paper) Heavy cardboard glue stick plain white paper (cardstock, mixed media paper, or printer paper) Wet wipes Inspired by: Ramona Sakiestewa, contemporary New Mexican Hopi American tapestry and paper artist. Facets/4, dyed and woven wool. 50in x 90in, currently in the Common Ground collection in Albuquerque Museum. https://ramonasakiestewa.com/artwork/ Set Up 1. Cover work area with tarp or spare paper sheets 2. Each artist will have 2-3 sheets of white paper, a selection of colored paper, and a glue stick Instructions Part 1: Relax and Share a. As a group, take a deep breath through your nose and exhale or sigh out of your mouth. Do this two more times as a group. As you relax your shoulders, your face, and your mind, come into the present moment. b. Check in with how you’re feeling and give it a shape and color. If you’re in a group, go around and give everyone a chance to say this out loud. Part 2: Warm-up/Illustrating Words with Shape and Pattern a. Take a deep breath. Relax your shoulders, your arms, your hands. Remember to pause and do this periodically as you work. b. Students artists will tear (or cut) paper into shapes. Considering color, the grain/tearability of the paper. Notice how it feels to tear the paper. Notice how it feels to change tear direction and method. -
Ovidiu Solcan Collage Artist RO&US.Cdr
OVIDIU SOLCAN | COLLAGE ARTIST OVIDIU SOLCAN COLLAGE ARTIST Ovidiu Solcan is the creator of spectacular carefully designed pop-art collages, in which, at a closer look, one can discover interesting details that might escape an inattentive glance. Ovidiu was born in 1983 in the comunist Bucharest, Romania, where he lived and studied architecture. His passion for art started at an early age but the University of Architecture influenced him to start producing recycled magazine collages as a step forward from his previous mix media artworks (digital, graffiti and acrylic). The result was so exciting that, ever since, he has been more fascinated by the torn pieces of paper than paints. Artworks of great architects like Le Corbusier and Friedensreich Hundertwasser were the starting point of his inspiration for his collage art technique as a personal manner to express his visual concepts. He enjoys working with nothing but recycled magazines and all pieces are manually tear or cut apart and glued to the canvas. @ovidiu.solcan has a large audience on Instagram – one of his major ways of exposing his art. As in real life Ovidiu’s artworks have been shown in exhibitions like: - ARTWALK STREET FESTIVAL – Bucharest 2017 & 2018 - North Sea Jazz Festival Rotterdam 2019 - #Brancusi heARTbeat #5th Edition @ Qreator Bucharest 2019 & 2020 - MONEY GO ROUND – Rosso Gallery 2020 – Rome - Luxury The Concept Store 2020 – Hamburg - Pavot Gallery 2020 – Bucharest Ovidiu had a solo studio gallery where his creative process was exhibited live as an installation at The Grand Avenue – Marriott in March - August 2018. During 2019 Ovidiu had a project sharing the joy of collage creation in partnership with Mastercard and Daruieste Viata Association. -
Leafing Through History
Leafing Through History Leafing Through History Several divisions of the Missouri Botanical Garden shared their expertise and collections for this exhibition: the William L. Brown Center, the Herbarium, the EarthWays Center, Horticulture and the William T. Kemper Center for Home Gardening, Education and Tower Grove House, and the Peter H. Raven Library. Grateful thanks to Nancy and Kenneth Kranzberg for their support of the exhibition and this publication. Special acknowledgments to lenders and collaborators James Lucas, Michael Powell, Megan Singleton, Mimi Phelan of Midland Paper, Packaging + Supplies, Dr. Shirley Graham, Greg Johnson of Johnson Paper, and the Campbell House Museum for their contributions to the exhibition. Many thanks to the artists who have shared their work with the exhibition. Especial thanks to Virginia Harold for the photography and Studiopowell for the design of this publication. This publication was printed by Advertisers Printing, one of only 50 U.S. printing companies to have earned SGP (Sustainability Green Partner) Certification, the industry standard for sustainability performance. Copyright © 2019 Missouri Botanical Garden 2 James Lucas Michael Powell Megan Singleton with Beth Johnson Shuki Kato Robert Lang Cekouat Léon Catherine Liu Isabella Myers Shoko Nakamura Nguyen Quyet Tien Jon Tucker Rob Snyder Curated by Nezka Pfeifer Museum Curator Stephen and Peter Sachs Museum Missouri Botanical Garden Inside Cover: Acapulco Gold rolling papers Hemp paper 1972 Collection of the William L. Brown Center [WLBC00199] Previous Page: Bactrian Camel James Lucas 2017 Courtesy of the artist Evans Gallery Installation view 4 Plants comprise 90% of what we use or make on a daily basis, and yet, we overlook them or take them for granted regularly. -
How to Make a Collage 4 Free Mixed Media Collage Techniques Presented by Cloth Paper Scissors®
how to make a collage 4 free mixed media collage techniques presented by cloth paper scissors® 1 3 4 2 collage to order: objects of my desire: 1 create with words 3 making sewn paper SUSAN BLACK collage collections JENNY COCHRAN LEE the elements of collage: 2 putting it all together reverse collage painting: NICOLE PAISLEY MARTENSEN 4 a bright spot on a winter day HOLLY CHRISTINE MOODY In “Objects of My Desire: Making Sewn Paper Collage Collections,” Jenny Cochran Lee explores how to How to Make a Collage: turn paper scraps into collage art 4 Free Mixed Media treasures. Collage Techniques presented by Finally, Holly Christine Moody Cloth Paper Scissors® offers an easy collage project that ONLINE EDITOR Cate Prato will help you whittle down your decorative paper stash in a fun CREATIVE SERVICES way. In “Reverse Collage Painting,” DIVISION ART DIRECTOR Larissa Davis PHOTOGRAPHER Larry Stein you make a paper collage on a substrate, apply gel medium, Projects and information are for inspiration and personal use only. Interweave Press is not responsible hat is collage art? A and then paint over it. The magic for any liability arising from errors, omissions, or whole lot of fun! At happens when you swipe away mistakes contained in this eBook, and readers should proceed cautiously, especially with respect to technical the most basic level, some of the paint to reveal the information. wyou can make a collage with paper, collage designs below. © F+W Media, Inc. All rights reserved. F+W Media glue, and a substrate like a canvas grants permission for any or all pages in this eBook to With How to Make a Collage: 4 Free or watercolor paper. -
Making Paper from Trees
Making Paper from Trees Forest Service U.S. Department of Agriculture FS-2 MAKING PAPER FROM TREES Paper has been a key factor in the progress of civilization, especially during the past 100 years. Paper is indispensable in our daily life for many purposes. It conveys a fantastic variety and volume of messages and information of all kinds via its use in printing and writing-personal and business letters, newspapers, pamphlets, posters, magazines, mail order catalogs, telephone directories, comic books, school books, novels, etc. It is difficult to imagine the modern world without paper. Paper is used to wrap packages. It is also used to make containers for shipping goods ranging from food and drugs to clothing and machinery. We use it as wrappers or containers for milk, ice cream, bread, butter, meat, fruits, cereals, vegetables, potato chips, and candy; to carry our food and department store purchases home in; for paper towels, cellophane, paper handkerchiefs and sanitary tissues; for our notebooks, coloring books, blotting paper, memo pads, holiday greeting and other “special occasion’’ cards, playing cards, library index cards; for the toy hats, crepe paper decorations, paper napkins, paper cups, plates, spoons, and forks for our parties. Paper is used in building our homes and schools-in the form of roofing paper, and as paperboard- heavy, compressed product made from wood pulp-which is used for walls and partitions, and in such products as furniture. Paper is also used in linerboard, “cardboard,” and similar containers. Wood pulp is the principal fibrous raw material from which paper is made, and over half of the wood cut in this country winds up in some form of paper products. -
The Method of Making Models from Sheets of Blotting Paper
THE METHOD OF MAKING MODELS FROM SI-IEETS OF BLOTTING PAPER. BY SUSANNA PHELPS GAGE. Ithaca, New York. The Born Method of reconstructing models from wax plates is in use in all the larger laboratories of Anatomy and Embryology. Various modifications of that method have been introduced, notably at Johns IIopkins University. For smaller laboratories and isolated investigators the wax plates are difficult to prepare or to obtain already made. More- over, in the larger laboratories ihe preparation of the plates is a much dreaded piece of drudgery to be done in the basement. The apparatus is cumbersome and if at all accurate, expensive. Like any other ap- paratus it requires some skill to use it with success. Any one who has either cast or rolled wax plates will not need a statement of the inconveniences. In 1905, it occurred to me that sheets of blotting paper might serve instead of wax plates. A small model was at once made which showed its feasibility. Models made of this material were demonstrated at thc Association of American Anatomists in December, 1905, ( Amer. Jour. Anat. V., 1905-06, p. XXIII) and the method was further demonstrated at the International Zoological Congress held in Boston, August, 1907'. It has also been used successfully in the embryologic and anatomic laboratories of Cornell University and the University of West Virginia. Blotting paper models were demonstrated by Dr. J. H. Hathaway and by Dr. J. B. Johnston at the Association of American Anatomists held in New York, 1906 (Proc. Assoc. Amer. Anatomists, Anat. Record, April 1, 1907,). -
Picture Collage with Genetic Algorithm and Stereo Vision
IJCSI International Journal of Computer Science Issues, Vol. 8, Issue 4, July 2011 ISSN (Online): 1694-0814 www.IJCSI.org 1 Picture Collage with Genetic Algorithm and Stereo vision Hesam Ekhtiyar1, Mahdi Sheida2 and Mahmood Amintoosi3 1 Faculty of Electrical and Computer Engineering, Sabzevar Tarbiat Moallem University, Sabzevar, Iran, [email protected] 2 Faculty of Electrical and Computer Engineering, Sabzevar Tarbiat Moallem University, Sabzevar, Iran, [email protected] 3 Faculty of Mathematics and Computer Science, Sabzevar Tarbiat Moallem University, Sabzevar, Iran, [email protected] Abstract In this paper, a salient region extraction method for creating picture collage based on stereo vision is proposed. Picture collage is a kind of visual image summary to arrange all input images on a given canvas, allowing overlay, to maximize visible visual information. The salient regions of each image are firstly extracted and represented as a depth map. The output picture collage shows as many visible salient regions (without being overlaid by others) from all images as possible. A very efficient Genetic algorithm is used here for the optimization. The experimental results showed the superior performance of the proposed method. Fig. 1 LEFT IMAGES OF SOME STEREO IMAGES USED IN THIS PAPER. Keywords: Picture Collage, Image Summarization, Depth Map visible or the images are occluded, the importance of 1. Introduction regions are discarded. An approach named saliency-based visual attention model Detection of interesting or ”salient” regions is a main sub- [2] is used in [1] for extracting interesting regions. This problem in the context of image tapestry and photo model combines multi scale image features (color, texture, collage. -
Recycling Potential of Textile Solid Waste
Waste Management and the Environment IX 125 RECYCLING POTENTIAL OF TEXTILE SOLID WASTE MOHAMMAD FAHIM HASAN, NOWRIN MOW, MOHAMMAD RAKIBUL ALAM, SARDAR MOHAMMAD ABIR HASAN & ROWSHAN MAMTAZ Bangladesh University of Engineering and Technology (BUET), Bangladesh ABSTRACT With increasing production of textile products, textile industries (TIs) are generating a considerable amount of liquid and solid wastes which bring in many adverse impacts on the environment such as landfill occupation, contamination of air, soil, surface water, and groundwater. In Bangladesh, while prioritizing the disposal and management of textile liquid wastes, the necessity of management of textile solid wastes (TSWs) are often neglected. TSW is generated in a considerable amount but no proper management or disposal system is followed by the industries. An attempt has been made in this study to find a sustainable disposal option for TSW. The experiments were conducted throughout 2016. This research is concerned with a particular type of solid waste, very dusty in composition, generated from slitting, brushing and sueding machine in the dyeing unit of the composite TI. Using this particular type of TSW, papermaking was attempted following manual procedures. TSW at ten different ratios were added to scrap abandoned paper mixture (paper : waste = 1 : 0.25, 1 : 0.5, 1 : 0.75, 1 : 1, 1 : 1.5, 1 : 2, 1 : 2.25, 1 : 2.5, 1 : 2.75, 1 : 3, etc.) to produce papers. A pulp consistency test and different tests on produced paper e.g. basis weight, bulk, and density, book bulk, thickness, hygroexpansivity, formation, moisture, and finish were conducted according to Technical Association of the Pulp and Paper Industry (TAPPI) methods and ISO standards were followed to determine the quality of pulp and type of papers. -
The Fine Art Trade Guild Standards for Mountboard (Mat Board) and Other Boards Used in Framing
The Fine Art Trade Guild Standards for Mountboard (Mat Board) and other boards used in framing. Amended 10th June 2004 Copyright C Sumner, Fine Art Trade Guild Introduction These standards are directed to the composition, combinations, and characteristics of papers and paper-boards used in the framing of artwork, keepsakes and memorabilia. They help to give material categorisation of these to fit into the five levels of framing specified by the Fine Art Trade Guild. The objective of each level of framing is stated, with examples of the kinds of things for which that level is suitable. At present, all board that does not meet either the Cotton Museum Board standard or the Conservation Board standard will be deemed to be Standard Board and suitable for Commended, Budget and Minimum levels of framing only. The specifications for Standard Board may be further refined in due course as the quality of boards in this category vary greatly. Conservation Board is deemed to be acceptable for all levels except Museum level framing. Museum Board is deemed to be acceptable for all levels of framing. It is a prerequisite that the type of surface and texture must be specified relating to any board purporting to meet Guild Standards. If the surface is designed to accept decoration and embellishments, as in the case of Mountboard unless otherwise stipulated, it should be fit for the purpose. (FACTS Institute, USA, Test No. 6-97). International – Note that in some markets no distinction is made between Museum and Conservation Framing. In others, the terminology is reversed, i.e.