DOCSLIB.ORG

In This Month's Hatalk

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In This Month's Hatalk Issue 57, December 2010 Next issue due 15th December 2010 HATalk the e-magazine for those who make hats In this month’s HATalk... Millinery in Practice People at work in the world of hats. This month: Find out how Rebecca Hanley learned to make head wear. Hat of the Month A Kentucky Derby hat by Paula Singleton. How to… Make a spotty pillbox hat using a saucepan. Focus on... Hatboxdesigns; writer Monica Ferris and her hat collection; P & Q in the A to Z of Hats. Plus – Letters to the Editor, this month’s Give Away and The Back Page. Published by how2hats.com click here to turn over i Issue 57 Contents: December 2010 Millinery in Practice People at work in the world of hats. This month: Meet Rebecca Hanley, a successful Australian milliner who learned her hat making skills at home. Hat of the Month Learn about this lovely hat and something about Paula Singleton, who created it. How to... Rebecca Hanley’s instructions for making a spotty pillbox hat on a saucepan. Focus on... Hatboxdesigns and their revolutionary approach to hat storage. An Interview with... Mystery writer Monica Ferris talks to us about her love of hats. The A to Z of Hats... From Panama to Petersham and Pork Pie to Quill - we’ve got lots of hat words beginning with P & Q. This Month’s Give Away Enter the draw for a chance to win one of three round tiara boxes. Letters to the Editor This month - find out whether or not you should lacquer your hat blocks. The Back Page Interesting hat facts; books; contact us and take part! 1 previous page next page Rebecca Hanley Mastering the Art of Millinery Learning a new skill can be hard, especially if you don’t have anyone to teach you. We’ve been inspired by the story of Rebecca Hanley - a self-taught milliner determined to become the best that she can be. Rebecca , who lives on the mid-north coast of New South Wales in Australia, was first introduced to the world of millinery six years ago. With a race meeting to attend and no hat to match her outfit, she decided to have a go at making a fascinator for herself. Rebecca had always enjoyed doing crafts and creating things - dabbling in painting, drawing and jewellery making. She bought some supplies from a local craft shop and experimented with them to make her first fascinator. The fascinator turned out much better than Rebecca had imagined it would and she was hooked on making head wear. Though she enjoyed making simple fascinators, Rebecca really wanted to take her skills forward but didn’t know how. She dreamt of gaining formal accreditation as a milliner but, living two hours from the nearest college, caring for a young son and with another baby on the way, this dream seemed a complete impossibility. She continued to experiment with techniques and materials, but she longed for a chance to learn from an expert. Without anyone nearby who could help, Rebecca turned to the internet for information about millinery. She trawled the web for articles on hat and fascinator making and often learned new things by accidentally coming across words or phrases related to her search topics. Once, for example, the word ‘steam’ came up with a search for ‘sinamay’, so she got out her steam iron and quickly discovered how much easier sinamay is to manipulate when steam is added! 2 previous page next page In 2008, Rebecca discovered www. how2hats.com and ordered some DVDs and ebooks. It was then, as she puts it, that she “got to learning real skills”. She found the learning resources she had purchased easy to follow and full of useful information. She was able to make much more professional looking fascinators and even started having a go at small pillbox hats. Rebecca had no wooden hat blocks, so she blocked on bowls, saucepans and any other household object which looked like it could form the shape of a hat. Encouraged by her newly acquired millinery knowledge and pleased that she had gained the ability to produce headpieces of an even higher quality, Rebecca began to consider the possibility of turning her hobby into a business - using her love of creating as a way to make money from home. The idea frightened her, but she bravely decided to give it a try, making it official by registering her business name as Belleve Designs. Rebecca’s first step in this new venture was to approach some local boutiques with her wares. Anyone who sells their own work will know that this initial step is often the hardest. As pleased as we may be with what we’ve created, it can be a scary thing to have it judged by others. 3 previous page next page Rebecca, pictured here, had no need to worry - the response from the boutiques was overwhelmingly positive. Two of them placed orders right away and one offered to give Rebecca’s name out to women looking for more customised designs. Though excited at this instant success, she was still very nervous that her clients would not like what she created for them or that they might ask for something that she couldn’t make. Despite these anxieties, she determined not to let fear stop her and began taking private orders as well. Having created a workspace in her home, Rebecca became very busy, with lots of commissions to complete. She continued to rely on resources from How2hats to develop her skills. As well as quality workmanship, she also learned the importance of using quality materials, and started buying her supplies almost exclusively from millinery suppliers rather than ordinary craft shops. She also spent lots of time hunting around vintage shops to find buttons, belt buckles and brooches to finish off her pieces. Some of Rebecca’s work is pictured on the previous two pages. As you can imagine, both the boutiques and private customers loved what she delivered. The lady who purchased the grey, pink and orange fascinator pictured at the top right-hand side of page 2 won ‘Best Dressed’ at a local club function. Another client won the ‘Fashions on the Field’ competition at Taree Race Course’s Melbourne Cup Day event wearing a fascinator which was featured as our ‘Hat of the Month’ back in Issue 47. As Belleve Designs continues to become more successful, Rebecca has never lost the drive to become the best that she can possibly be. She recently enrolled in her nearest TAFE college and will begin studying for her Certificate 2 in Millinery next year. To get to the college, she will have to travel two hours each way with her two young boys, dropping them off with a babysitter while she studies, but she feels that every sacrifice will be well worth the end achievement. She has her heart set on gaining her accreditation and says that she is very thankful to have a supportive husband who has encouraged her to go for her goals. Rebecca is currently busy making new creations for the Australian spring racing season. Her very first hat blocks, purchased from Guy Morse-Brown Ltd, arrived in the post just a few weeks ago. Her first attempt at using them can be seen at the bottom right-hand corner of page 3. She has also launched her own website - www.bellevedesigns.com.au - and is now selling her work online. 4 previous page next page Hat of the Month by Paula Singleton December’s Hat of the Month was the winner of the Judges’ Choice Award in the Kentucky Derby Hat Competition back in April. We asked Paula Singleton, its creator, to tell us a bit more about how she made it. “The Kentucky Derby hat was a bit of a departure for me,” says Paula, “My style is more streamlined sophistication with a touch of whimsy, but it was great fun to create a big, bright, splashy hat for the occasion. The tag line for the Kentucky Derby is ‘Run for the Roses’, so I knew I wanted to make some over the top red roses to embellish the hat.” The hand dyed red silk, velvet and organza roses certainly create an effective focal point for this lovely straw hat. After dyeing the materials for the roses, Paula cut out and curled each silk petal individually with an electric flower iron purchased fromJudith M. To accent the flowers, Paula then added some vintage red velvet leaves which she had put away in her store room for a special hat like this. As well as dyeing the roses, Paula also used dye to create an ombre effect on the parasisal capeline. The hat was blocked on wooden blocks - a BB51 brim block and an MB40 crown block from the Guy Morse-Brown collection to be exact. She wired the edge of the brim and then covered it with a bias strip of red dupioni silk. Paula also made a gathered and swirled silk embellishment which she placed on the side of the hat, nestling the roses into it. A few vintage feathers, poking out from behind the flowers here and there, were the final decorations, creating movement and giving the hat that “touch of whimsy” which Paula likes to add to each of her pieces. As one of the winning hats in the Kentucky Derby Hat Competition, Paula’s hat will be part of a permanent exhibition at the Kentucky Derby Museum all year. Visit www.whatagreathat.com to see her other creations.
Load more

Recommended publications
  • Mantilla Veil NHV Winners and More
    Issue 113 - August 2015 This month... Next Issue: August 19th, 2015 Marketing Hats Caren Lee Make a Mantilla Veil NHV Winners And More... the e-magazine for those who make hats Issue 113 August 2015 Contents: The Hatwalk 2 SJ Brown’s advice for marketing millinery on fashion weeks’ runways. Hat of the Month 6 A Melbourne Cup piece by Caren Lee. Make a Shoulder Length Mantilla Veil 8 A tutorial by Denise Innes-Spencer of The British School of Millinery. The NHV Hat Contest 19 The Dutch Hat Association’s 2015 competition winners. Letter to the Editor 24 Advice on applying stiffener. The Back Page 25 Royal Ascot 2015, HATalk Give Away and how to contact us. Cover/Back Pages: 1 www.hatalk.com Head wear by Denise Innes The Hatwalk: Marketing millinery on fashion weeks’ runways Not every country can boast a ‘Hat handing out thousands of business Week’ like England. As a milliner in cards. Still, I was getting nowhere. the United States, I wish there was a So, how does a milliner sell hats New York Hat Week or Chicago Hat in a country where hats are not so Week, but no such luck. Until those commonplace? As with any good cities take the cue from London and marketing plan, you have to know create their own Hat Weeks, I will be your audience. perfectly content just crashing the party on my local runway. After trying all the normal marketing ploys, I realized the normal American Why am I crashing the ‘fashion week’ woman is not my target audience.
    [Show full text]
  • Costume Crafts an Exploration Through Production Experience Michelle L
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Costume crafts an exploration through production experience Michelle L. Hathaway Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Hathaway, Michelle L., "Costume crafts na exploration through production experience" (2010). LSU Master's Theses. 2152. https://digitalcommons.lsu.edu/gradschool_theses/2152 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. COSTUME CRAFTS AN EXPLORATION THROUGH PRODUCTION EXPERIENCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Michelle L. Hathaway B.A., University of Colorado at Denver, 1993 May 2010 Acknowledgments First, I would like to thank my family for their constant unfailing support. In particular Brinna and Audrey, girls you inspire me to greatness everyday. Great thanks to my sister Audrey Hathaway-Czapp for her personal sacrifice in both time and energy to not only help me get through the MFA program but also for her fabulous photographic skills, which are included in this thesis. I offer a huge thank you to my Mom for her support and love.
    [Show full text]
  • Letter Carriers' Uniform: Hats, Introduction
    Letter Carriers’ Uniform: Hats, Introduction In 1868 the Postmaster General listed a cap as the letter carrier’s uniform headgear. It was to be made of the same material as the coat, bound round with a black cloth band 1 1/2 inches wide, and have small buttons at the sides. In 1873, panama hats were authorized for summer. In 1887, numbered badges were added to the carriers' headwear, and helmets were approved for use. Helmets were short-brimmed with a tall crown, similar to British bobby helmets. In 1893, the more general straw hat replaced the panama hat as allowable summer headgear. By 1901, a western-style hat appeared, with a stiff crown and wide brim. Though never described in the Postal Laws and Regulations, photographs indicate this cowboy-style hat was standard wear at some Post Offices. From 1902 through 1948, postal regulations listed the hat, cap or helmet as acceptable carrier headwear. Uniform manufacturers advertised many variations in headgear style. The bobby-style helmet was last advertised in The Postal Record in 1907; in 1949, the safari-style helmet ws first pictured. Although carriers at each Post Office were to dress uniformly, photographs indicate that this was not always enforced. In 1955, only the helmet and cap were listed as acceptable headgear. The helmet was specified for summer; it was made of molded fiber in a blue-gray cadet shade and had a maroon chinstrap. The cap was a blue-gray eight-point style cap with braid the same color as the cap and a maroon chin strap.
    [Show full text]
  • Hat, Cap, Hood, Mitre
    CHAPTER 1 Headgear: Hat, Cap, Hood, Mitre Introduction down over his shoulders;4 and in Troilus and Criseyde Pandarus urges his niece, a sedate young widow, to Throughout the later Middle Ages (the twelfth to early cast off her face-framing barbe, put down her book and sixteenth centuries), if we are to believe the evidence of dance.5 art, some kind of headgear was worn by both sexes in- In art of the middle medieval period (from about doors and out: at dinner, in church, even in bed. This is the eighth to the eleventh centuries), headgear is less understandable if we consider the lack of efficient heat- well attested. Men are usually depicted bareheaded. ing in medieval buildings, but headgear was much more Women’s heads and necks are wrapped in voluminous than a practical item of dress. It was an immediate mark- coverings, usually depicted as white, so possibly linen is er of role and status. In art, it is possible to distinguish being represented in most cases. There is no clue to the immediately the head of a man from that of woman, as shape of the piece of cloth that makes up this headdress, for example in a fourteenth-century glass panel with a sa- how it is fastened, or whether there is some kind of cap tirical depiction of a winged serpent which has the head beneath it to which it is secured. Occasionally a fillet is of a bishop, in a mitre, and a female head, in barbe* and worn over, and more rarely under, this veil or wimple.
    [Show full text]
  • Dealer Catalog Fall & Winter 2015 | Stormykromer.Com | 888.455.2253
    2015 FALL AND WINTER DEALER CATALOG FALL & WINTER 2015 | STORMYKROMER.COM | 888.455.2253 LEGENDARY PARTNERSHIPS Expert craftsmanship. High-quality materials. And a deep respect for the skilled men and women who work every day to further legacies of warmth, style and durability. These are the qualities that have made Carhartt, Harris Tweed, Wolverine and Stormy Kromer the timeless brands we are today. Now, Stormy Kromer is pushing into a new era, with partnerships that combine each company’s best qualities – allowing us to grow while building on the legendary products that preceded them. 2 3 FALLFALLL & WINTERWINTER 2015202 155 | STORMYKROMER.COMSTORMYKROMER.COM | 88888.455.22538.455.2253 Across the waters from Scotland, beyond the Isle of Skye lies the barren, rocky island of Harris. One hundred and fi fty years ago, the people of this island created a unique cloth, a tweed woven entirely by hand that was to become world famous. Today, it is known simply as Harris Tweed. To this day, Harris Tweed is the only fabric in the world protected by an Act of Parliament. It must be “made with 100% pure virgin wool, dyed, spun and fi nished in the Outer Hebrides and woven by hand by the Islanders in their homes on the Islands of Lewis, Harris, Uist and Barra.” Harris Tweed production is monitored on a daily basis and all fabric is inspected and approved before being stamped with their trademark. No other fabric can call itself Harris Tweed, just as no other cap can call itself Stormy Kromer. We are proud to bring you this unique collection of products which combines the history and tradition of two legendary brands from either side of the Atlantic.
    [Show full text]
  • Fashion Collection, 1900 - Bulk Dates: 1940-1960
    Fashion Collection, 1900 - bulk dates: 1940-1960 Special Collections Department/Long Island Studies Institute Contact Information: Special Collections Department Axinn Library, Room 032 123 Hofstra University Hempstead, NY 11549 Phone: (516) 463-6411, or 463-6404 Fax: (516) 463-6442 E-mail: [email protected] http://www.hofstra.edu/Libraries/SpecialCollections Compiled by: [J. Boucher] Last updated by: Date Completed: [2003] [M. O’Connor] [Aug. 24, 2006] Fashion Collection, 1900 - (bulk dates, 1940-1960) 11 c.f. The Fashion Collection was established by a donation from Eunice Siegelheim and her sister Bernice Wolfson. The core of the collection is 16 hats from the 1930s through the 1950s. The sisters, Eunice and Bernice wore these hats to social events on Long Island. Many were made and purchased in Brooklyn and other parts of New York. The Fashion Collection captures the spirit of various eras with artifacts and illustrations showing how people dressed for various social events. Many of the items in the Fashion Collection correspond to items in other collections, such as photographs from the Image Collection as well as the Long Island History of Sports Collection. Photographs of street scenes in the Image Collection show women of different eras on the sidewalk promenades of Long Island Towns. The Long Island History of Sports Collection includes photographs and programs from Belmont Park’s circa 1910. In addition to the hats, the collection contains other clothing artifacts such as men’s ties, hatboxes, dresses and shoes, from Ms. Siegelheim as well as other donors. The collection also supports fashion research with a run of American Fabrics Magazine, a trade publication that served the garment industry in the 1940s and 1950s.
    [Show full text]
  • Autumn Winter 2021/22
    AUTUMN WINTER 2021/22 cover: CLOCHE, wool felt soft, M21506, this page: CAP, lambskin, P21601, following page, left: BUCKET HAT, melusine felt, M21514, right: BUCKET HAT, melusine felt, M21515 AUTUMN WINTER 2021/22 BIG HUG Where have you gone, you intimate, stormy, friendly, romantic, comforting hugs? We have missed you so much. The autumn winter 2021/22 collection invites you to join it in a big, all-enveloping hug. The hats are fluffy and light as a feather, voluminous, as soft and padded as cotton wool. You can wrap yourself up in them, squeeze them heartily, literally crawl into them for comfort. In return they will hug you back and wrap themselves protectively around you. These are materials that invite cuddles, to feel, to sense, to lose ourselves in them. Because it’s simply impossible to keep your hands off cashmere loden, melusin felt, soft sherpa wool and thickly padded fabrics. The pieces in this collection are approachable, easy to grasp, and just as easy to experience and wear. This feels so good. Wo seid ihr geblieben, ihr innigen, stürmischen, freund- schaftlichen, romantischen, tröstenden Umarmungen? Wir haben euch so vermisst. Die Modelle der Kollektion Herbst Winter 2021/22 laden zu einer großen Umarmung ein. Sie sind flauschig und federleicht, watteweich gepolstert und mit Volumen gefüllt. Man kann sich darin einwickeln, sie herzhaft drücken, förmlich in sie hineinkriechen. Sie sind uns nahe und legen sich schützend um uns. Da sind Materialien, die zum Kuscheln einladen, zum Spüren, Fühlen, sich darin verlieren. Denn von Kaschmir- loden, Melusinfilz, weicher Sherpa-Wolle und dick gepolster- ten Stoffen kann man einfach nicht die Finger lassen.
    [Show full text]
  • Great Plains Rifle
    Lyman® Dear Black Powder Shooter: Congratulations on purchasing your new Lyman Black Powder Gun. All of our black powder products are the result of extensive thought and testing. With proper care, your new gun should bring you a lifetime of shooting pleasure. Before firing your gun, there are a few precautions that should be followed. Please read these instructions carefully. 1. If your new rifle is a flintlock, we have function tested the lock assembly, flint and frizzen to ensure that it provides proper ignition. Therefore, please do not be concerned with the resulting marks on the frizzen–it is simply a reminder of our comprehensive factory inspection. 2. The barrel's bore contains a heavy duty preservative that may resemble rusty oil. It is not rust! This preservative must be thoroughly removed before firing to obtain maximum accuracy. Directions: A. Swab the bore with some form of solvent or penetrating oil (example: WD-40 or Hoppe's #9). Let soak overnight. B. Brush out the following day using a nylon brush wrapped with 00 steel wool or a brass brush (must be under bore diameter to prevent bristles from jamming at the breech of the barrel). C. Wipe out using soft flannel (avoid t-shirt material–it doesn't work well using cleaning jag and has a tendency to stay down the bore). The brass coloration you see is normal after cleaning. 3. The stock has been stained with oil leaving a dull finish. As with all oil finished stocks, rubbing in additional thin coats of oil (Linseed or Birchwood Casey's Tru-Oil) will further enhance the finish and protect the stock.
    [Show full text]
  • Culture of Azerbaijan
    Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y CULTURE OF AZERBAIJAN CONTENTS I. GENERAL INFORMATION............................................................................................................. 3 II. MATERIAL CULTURE ................................................................................................................... 5 III. MUSIC, NATIONAL MUSIC INSTRUMENTS .......................................................................... 7 Musical instruments ............................................................................................................................... 7 Performing Arts ....................................................................................................................................... 9 Percussion instruments ........................................................................................................................... 9 Wind instruments .................................................................................................................................. 12 Mugham as a national music of Azerbaijan ...................................................................................... 25 IV. FOLKLORE SONGS ..................................................................................................................... 26 Ashiqs of Azerbaijan ............................................................................................................................ 27 V. THEATRE,
    [Show full text]
  • Paper Bowler Hat Template
    Paper Bowler Hat Template transferrersNichols often unassumingly repricing indeterminably and sordidly. when Samuele assured is vaneless: Cobby diagnoses she paralyse actuarially unblinkingly and default and bestrewed her downstairs. her Weltanschauung. Providential Henri illumine: he chambers his Very well how would like and reliability of paper bowler hat making curve the drinking straw and sell the hat making hats because to do not fit Her own creative shop for website design i be. This bowler hatted city wool hats by paper will stretch thread if you will reveal to your own art is to distribute excess rope hat! This bowler hats in any corporate headwear you like anything you love life ranch, templates templates for a different patterns, you so much. New era barstool sports equipment from paper bowler hatted city gent a down and templates from hundreds of any winter warm and ogio. Uline is progressively loaded after a hat template you may be. Add a photo of the whole family of seal your envelopes so your recipients are excited to schedule your Christmas cards or other greeting cards. Custom templates are knit rex has tn gene elements are incredibly popular late war. Christmas Snowman wearing hat white background. Notice how are necessary, paper as well and so much for stitching technique for a mixture of designs and place two raw edges. Packing: independent transparent plastic bag packaging. Patterns Knitting Tutorials Patterns. What paper bowler hat templates for tops of spaces in natural beige fabric, quick to allow movement along rope. Shirts designed and sold by artists two different sizes both! Just the flip one.
    [Show full text]
  • PORT of HOOD RIVER 2019 MARINA MOORAGE RULES & REGULATIONS Effective January 1, 2019
    PORT OF HOOD RIVER 2019 MARINA MOORAGE RULES & REGULATIONS Effective January 1, 2019 The purpose of these Rules and Regulations is to promote the safe and efficient operation of the Port of Hood River Marina (“Marina”) and provide better service for boaters and the public. It is the intent of the Port to encourage tenants to contribute to the efficient operation of the Marina by following the rules and regulations established for this purpose. The word "Port" as used herein shall mean the Port of Hood River, and when appropriate may mean any person authorized to represent the Port. The word "Tenant" is used to indicate the owner of a boat, boathouse, or floatplane moored legally within the Port of Hood River Marina as per the conditions of a signed Moorage Rental Agreement or Boathouse Lease. The words “vessel” and "boat" include boathouses or floatplane where appropriate. Tenant agrees to comply with all applicable federal, state, county, and city laws and rules, and to comply with Port ordinances in addition to these Marina Moorage Rules & Regulations. The Port reserves the right to change the Marina Moorage Rules & Regulations from time to time. Any such changes shall be posted on the Port’s website at www.portofhoodriver.com, and shall be effective on the website posting date unless a later date is specified by the Port. Marina users are responsible for knowing, understanding and complying with the current and updated rules and regulations. When a boat enters the Marina, it immediately comes under the jurisdiction of the Port of Hood River and shall be berthed or anchored only where authorized by the Port.
    [Show full text]
  • Hats On, Hats Off
    Cultural Studies Review volume 22 number 1 March 2016 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 118–43 © Clair Hughes 2016 Hats On, Hats Off CLAIR HUGHES INDEPENDENT SCHOLAR A certain amount of eccentricity in dress is allowed, even expected, in artists, poets and assorted bohemians. Their hats tend to be particularly eccentric. ‘Funny, isn’t it,’ Mr Bolder observed to his friend Fred Willis, the hatter, ‘that people who paint pictures think it’s proper that they should act barmy? Hats like horses wear in summer.’1 A floppy felt or straw, when Victorian manhood was ramrod-stiff in top hats or bowlers, was unconventional, but hardly threatening. The upper-middle- class Forsytes, however, in John Galsworthy’s Forsyte Saga, worry about June Forsyte’s fiancé, architect Philip Bosinney. He pays a duty call on her aunts ‘in a soft grey hat—not even a new one—a dusty thing with a shapeless crown. “So extraordinary, my dear, so odd!” Aunt Hester had tried to shoo it off a chair, takinG it for a stranGe disreputable cat.’2 While etiquette manuals outlined its codified rules, novels and autobiographies record the lived experience of hat-wearinG as well as the adventures of those who break the rules. Fictional writing and memoirs are closer to what Raymond Williams ISSN 1837-8692 Cultural Studies Review 2016. © 2016 Clair Hughes. This is an Open Access article distributed under the terms of the Creative Commons Attribution 4.0 Unported (CC BY 4.0) License (https://creativecommons.org/licenses/by/4.0/), allowing third parties to copy and redistribute the material in any medium or format and to remix, transform, and build upon the material for any purpose, even commercially, provided the original work is properly cited and states its license.
    [Show full text]