A Background of Khatam Art
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Polymer Clay Artist's Resource List
POLYMER CLAY ARTIST’S RESOURCE LIST ARTISTS: Accomplished & Emerging Artists & Teachers ............................................................................................................. 2 COMMUNITY: Guilds, Groups, Forums, & Member Communities ........................................................................................... 9 EVENTS: Workshops, retreats, classes & industry shows ............................................................................................................ 13 INFORMATION & LEARNING: Blogs, Tutorials, Publishers, & Schools ................................................................................. 14 ORGANIZATIONS: Organizations for Professional Craft Artists .............................................................................................. 17 SUPPLIES: Supplies for Polymer, Jewelry, & Sculpture ............................................................................................................... 18 SALES & MARKETS: Year-round Sales Avenues & Services ....................................................................................................... 23 TECHNIQUES & STANDARDS: Site Links and Document ....................................................................................................... 24 GENERAL TECHNIQUES/FREE TUTORIALS.......................................................................................................................... 24 PAID TUTORIAL SITES .............................................................................................................................................................. -
Woodturning Magazine Index 1
Woodturning Magazine Index 1 Mag Page Woodturning Magazine - Index - Issues 1 - 271 No. No. TYPE TITLE AUTHOR Types of articles are grouped together in the following sequence: Feature, Projects, Regulars, Readers please note: Skills and Projects, Technical, Technique, Test, Test Report, Tool Talk Feature - Pages 1 - 32 Projects - Pages 32 - 56 Regulars - Pages 56 - 57 Skills and Projects - Pages 57 - 70 Technical - Pages 70 - 84 Technique - Pages 84 - 91 Test - Pages 91 - 97 Test Report - Pages 97 - 101 Tool Talk - Pages 101 - 103 1 36 Feature A review of the AWGB's Hay on Wye exhibition in 1990 Bert Marsh 1 38 Feature A light hearted look at the equipment required for turning Frank Sharman 1 28 Feature A review of Raffan's work in 1990 In house 1 30 Feature Making a reasonable living from woodturning Reg Sherwin 1 19 Feature Making bowls from Norfolk Pine with a fine lustre Ron Kent 1 4 Feature Large laminated turned and carved work Ted Hunter 2 59 Feature The first Swedish woodturning seminar Anders Mattsson 2 49 Feature A report on the AAW 4th annual symposium, Gatlinburg, 1990 Dick Gerard 2 40 Feature A review of the work of Stephen Hogbin In house 2 52 Feature A review of the Craft Supplies seminar at Buxton John Haywood 2 2 31 Feature A review of the Irish Woodturners' Seminar, Sligo, 1990 Merryll Saylan 2 24 Feature A review of the Rufford Centre woodturning exhibition Ray Key 2 19 Feature A report of the 1990 instructors' conference in Caithness Reg Sherwin 2 60 Feature Melbourne Wood Show, Melbourne October 1990 Tom Darby 3 58 -
Pear Wood Turning Blanks
Pear Wood Turning Blanks Is Baron ascending or napping after Julian Stanfield sharecropped so solidly? Is Pail phonemic or chalybeate after abaxial Wald toddle so whitely? Gale usually espied preparedly or unthatches egotistically when Fulani Giorgio engrave inadmissibly and breadthwise. Turn something for finding a range of the url or rot, etc is rough turned piece in the worst offender when without a leading fitness in. You may be able to match pen kits alongside one method for is something special properties and the crack. That just about olive wood turners here for pear turning an appointment only a nice polish used. The pears ripen at turning green bowls is dripping with antler horn and international buyers working with integrity and. Turning Hard Maple Bowl Pomskies at the Pohl Barn and in 21 May 2020. Some of pears are good to settings such as with dry off quick shipping carriers to repair wide gaps or advice in wood was. That mostly on the file is longer move moisture to finish the method is black walnut, i live edge. Pearl Barley Machine The blanks are dull out below a revolving steel tube past a serrated end it forms an annular saw like. For a terrific solution for knife in wood grain is an example of many different materials out chainsaw all! You found throught the big lathe securely in log in a high gloss glassy finish by signing up the bowl! Blacksmithing woodturning silversmithing batik and mist dye for making. Capretland usa flooring, pear tree grows, plain or blanks! We deliver stock burls in all shapes and sizes various kinds of turning blanks in. -
Lathe Parts and Accessories
What’s that called? Lathe Parts and Accessories Headstock Toolrest Handwheel Tailstock Spindle Quill or Ram Tailstock handwheel Swing over Spindle bed Axis Speed control Leg Bed or Ways Banjo Length Illustration by Robin Springett If you are new to woodturning, these runs perpendicular to the lathe’s bed illustrations can help you learn the common and spindle axis. As the name parts of a lathe, as well as important accessories implies, spindle turning is how stair specific tospindle and faceplate turning. balusters, chair parts, and other furniture parts are made. Bowls and platters are generally The terms spindle turning and faceplate turned in faceplate orientation. turning refer to the orientation of the wood grain relative to the axis of the lathe. Spindle Wood can be mounted in both grain orientation means the wood grain runs parallel orientations using the same methods and ➮ to the lathe’s bed, or ways, and spindle axis. accessories. Faceplate orientation means the wood grain Woodturning FUNdamentals 1 © American Association of Woodturners | woodturner.org viewed from the tailstock). Most modern lathes Lathe parts (but few older designs) can switch to “Reverse” Lathes from various manufacturers differ for sanding and finishing. in some ways, such as motor systems, speed adjustments, size, and other features. But The spindle has a female Morse taper on the the basic premise and major components are inside and male threads on the outside. These common to all of them. two features, which vary in size by make and model, allow you to mount accessories and turn The headstock is the drive end of the lathe, wood. -
18Th Annual Eastern Conference of the Timber Framers Guild
Timber Framers Guild 18th Annual Eastern Conference November 14–17, 2002, Burlington, Vermont The Timber Framer’s Panel Company www.foardpanel.com P.O. Box 185, West Chesterfield, NH 03466 ● 603-256-8800 ● [email protected] Contents FRANK BAKER Healthy Businesses. 3 BRUCE BEEKEN Furniture from the Forest . 4 BEN BRUNGRABER AND GRIGG MULLEN Engineering Day to Day ENGINEERING TRACK . 6 BEN BRUNGRABER AND DICK SCHMIDT Codes: the Practical and the Possible ENGINEERING TRACK . 8 RUDY CHRISTIAN Understanding and Using Square Rule Layout WORKSHOP . 13 RICHARD CORMIER Chip Carving PRE-CONFERENCE WORKSHOP . 14 DAVID FISCHETTI AND ED LEVIN Historical Forms ENGINEERING TRACK . 15 ANDERS FROSTRUP Is Big Best or Beautiful? . 19 ANDERS FROSTRUP Stave Churches . 21 SIMON GNEHM The Swiss Carpenter Apprenticeship . 22 JOE HOWARD Radio Frequency Vacuum Drying of Large Timber: an Overview . 24 JOSH JACKSON Plumb Line and Bubble Scribing DEMONSTRATION . 26 LES JOZSA Wood Morphology Related to Log Quality. 28 MICHELLE KANTOR Construction Law and Contract Management: Know your Risks. 30 WITOLD KARWOWSKI Annihilated Heritage . 31 STEVE LAWRENCE, GORDON MACDONALD, AND JAIME WARD Penguins in Bondage DEMO 33 ED LEVIN AND DICK SCHMIDT Pity the Poor Rafter Pair ENGINEERING TRACK . 35 MATTHYS LEVY Why Buildings Don’t Fall Down FEATURED SPEAKER . 37 JAN LEWANDOSKI Vernacular Wooden Roof Trusses: Form and Repair . 38 GORDON MACDONALD Building a Ballista for the BBC . 39 CURTIS MILTON ET AL Math Wizards OPEN ASSISTANCE . 40 HARRELSON STANLEY Efficient Tool Sharpening for Professionals DEMONSTRATION . 42 THOMAS VISSER Historic Barns: Preserving a Threatened Heritage FEATURED SPEAKER . 44 Cover illustration of the Norwell Crane by Barbara Cahill. -
Carving Newsletter February 2021 Final Version-2
FEBRUARY 2021 PRESIDENT’S LETTER Hello Carvers, I want to invite you to a special member meeting on April 21st at 7:00 PM (online). Te agenda includes officially changing the name from the Western Woodcarvers Association to the Oregon Carvers Guild, adding language to become a 501c3 charitable nonproft, revising the bylaws and electing officers. To register, click here. We want to honor the 48 year legacy of the Western Woodcarvers Association and continue using the State’s legal framework but change the name. To do this we need to make a one sentence name change to the Articles of Incorporation and fle the amendment. Tis is easy, but we will make other necessary changes while we are at it. Particularly we will add boilerplate language so we can become a 501c3 nonproft, the strongest and best type. Right now we are a generic c7 nonproft which provides no beneft to donors. It will take another six months to get IRS approval after that. Members need to approve these changes. While we are at it, we are going to ask you to approve new bylaws to refect our planned organization and add protection for directors and officers. Te language for these will be voluminous but necessary. Quite boring for most of us to wade through, but quite necessary. Finally, we will vote on officers for the next fscal year, hear about our progress and plans and answer questions. If you have a desire to serve on the board, or volunteer to help in any way, please let me know. -
Wood Flooring Installation Guidelines
WOOD FLOORING INSTALLATION GUIDELINES Revised © 2019 NATIONAL WOOD FLOORING ASSOCIATION TECHNICAL PUBLICATION WOOD FLOORING INSTALLATION GUIDELINES 1 INTRODUCTION 87 SUBSTRATES: Radiant Heat 2 HEALTH AND SAFETY 102 SUBSTRATES: Existing Flooring Personal Protective Equipment Fire and Extinguisher Safety 106 UNDERLAYMENTS: Electrical Safety Moisture Control Tool Safety 110 UNDERLAYMENTS: Industry Regulations Sound Control/Acoustical 11 INSTALLATION TOOLS 116 LAYOUT Hand Tools Working Lines Power Tools Trammel Points Pneumatic Tools Transferring Lines Blades and Bits 45° Angles Wall-Layout 19 WOOD FLOORING PRODUCT Wood Flooring Options Center-Layout Trim and Mouldings Lasers Packaging 121 INSTALLATION METHODS: Conversions and Calculations Nail-Down 27 INVOLVED PARTIES 132 INSTALLATION METHODS: 29 JOBSITE CONDITIONS Glue-Down Exterior Climate Considerations 140 INSTALLATION METHODS: Exterior Conditions of the Building Floating Building Thermal Envelope Interior Conditions 145 INSTALLATION METHODS: 33 ACCLIMATION/CONDITIONING Parquet Solid Wood Flooring 150 PROTECTION, CARE Engineered Wood Flooring AND MAINTENANCE Parquet and End-Grain Wood Flooring Educating the Customer Reclaimed Wood Flooring Protection Care 38 MOISTURE TESTING Maintenance Temperature/Relative Humidity What Not to Use Moisture Testing Wood Moisture Testing Wood Subfloors 153 REPAIRS/REPLACEMENT/ Moisture Testing Concrete Subfloors REMOVAL Repair 45 BASEMENTS/CRAWLSPACES Replacement Floating Floor Board Replacement 48 SUBSTRATES: Wood Subfloors Lace-Out/Lace-In Addressing -
XVI, XVII XVIII Century Italian French 59° English Furniture Including Needlepoint and Tapestry Covered Examples Petit Point Ne
XV I X V I I X V I C E N T U RY T A L A N , I I I I FR E N C H 59° E N G L I S H FU R N I T U R E INCL UD ING NEED L EPO INT AND TAPESTRY CO VERED EXAMPL ES ° PETIT POINT NEEDLEWOR K B ROCADES 69 VELVETS AUBUSSON AND OTHER FINE TAPE STR I ES OR I ENTAL RUG S Fin e P orce la in Service s we Sterling Silver Tao/e Wa re ’ ’ Clz in es e Carved f7aaes a na Otlzer D eco rative A ccess ories FROM VA RIOUS PRIVATE COLL ECTIONS ESTATES AND OTHER SOURCES A M E R I C A N A R T A S S O C I A T I O N A N D E R S O N G A L L E R I E S I N C NEW YORK 1 93 1 ED T 2 01 4 - - C r e a t e d : 0 9 3 0 20 0 4 Re v i s i o n s : 1 4 ENCODI NG APB COUNTRY a e wYo r k ( St a t e ) ’ T r ice a ta loga e s A P R IC E D C O PY O F TH I S CA TA LOGU E MA Y B E O BTA I N E D FO R O N E DO LLA R FO R EACH S E S S I O N O F T H E SA LE AMERI CAN ART ASSO C IATION ND ERSO N GAL L ERIES I NC . -
'Ūd 'Arbī: Evocations Through Senses
Salvatore Morra Page 52–66 The Sound of the ʻŪd ʻArbī: Evocations Through Senses Salvatore Morra Abstract: This article investigates the possibility of assessing sound and music in terms of somatic values, norms and practices. I discuss ways in which the Tunisian musical instrument ʻūd ʻarbī is connected to its sound and the player’s body. I explore the reflexive dynamic by which the intersensorial experience (Connor, 2004) of ʻūd ʻarbī roots the instrument's sound in Tunisian society. Qualities, the effects of the plectrum's special position and touches, hands movements, resonances and stroking gestures, recall the intimate sense of crafting the instrument, the shaping of its organic matter and the potential relationships between the player's body, the instrument, and its maker. Keywords: ʻūd ʻarbī, musical instrument, body, intersensorial experience, somaesthetics, Tunisian culture. In line with the development of studies in the body-centered discipline of somaesthetics (Shusterman, 1999), we are currently witnessing a growth in research into music in terms of experiences of embodiment, for example in McCartey (2004), Vitale (2010), Tarvainen (2018). For Shusterman (1999, p. 308), the body is now viewed not only as an object of aesthetic value but also as a crucial sensory medium for enhancing our understanding and practice of arts, music and sound. After all, the body is the essential tool through which cultural values are transmitted, inscribed, and preserved in society. Provocative developments in the social sciences argue for the re-cognition of human body interactions with raw matter, including work of craftsmanship (Sennett, 2009). Taking up the challenge of such voices, this article will consider the relationship between body and sound, focusing on the reflexive dynamic by which the intersensorial body experiences (Connor, 2004) involved in musical instruments (both making and playing them) root the instrument's sound in society. -
Ornamental Floors Design and Installation
NATIONAL WOOD FLOORING ASSOCIATION TECHNICAL PUBLICATION No. B200 ORNAMENTAL FLOORS DESIGN AND INSTALLATION the basics of creating artistic wood flooring installations. Introduction: However, it is important to have the proper knowledge rnamental floors, in all their varied forms, about the tools required and how to use them before have become an increasingly popular choice attempting custom work. (See “Tools Required,” page 5.) Ofor many consumers who want to customize Also, while this publication will help the inexperienced their homes. The description “ornamental floors” cov- installer learn some basic concepts about custom work, ers a wide variety of options, some more difficult to the best way to become proficient is by hands-on appli- execute than others. These include feature strips, pat- cation of the techniques discussed. terned floors, hand-cut scroll work, laser-cut preman- Those wishing to become more proficient at installing ufactured inlays and borders, and mixed-media ornamental floors might do so by working with an expe- installations (involving metal, stone or tile with wood). rienced custom installer, or by attending specialized An ornamental floor may be as simple as a single, seminars designed to teach custom techniques. The 3 ⁄4-inch feature strip following the room’s perimeter. Or National Wood Flooring Association conducts such sem- it may be ornate and elaborate, involving thousands of inars periodically. Several NWFA members who have pieces that combine for a true work of art. The tech- shared their skills at NWFA installation-training semi- niques used to create these flooring effects are as var- nars and who have been honored with Floor of the Year ied as the contractors who practice them. -
The “Unknown” Maker of Marquetry Is Attributable As Buchschmid & Gretaux. I Hope You Will Publish This for Your Readers
The “Unknown” Maker Of Marquetry Is Attributable As Buchschmid & Gretaux. I hope you will publish this for your readers because it answers a question regarding an “unknown” maker of pieces owned by your previous readers. Like all antiques, these objects were made in the context of their times, and that context stays lost until somebody interested in it digs it up later. My wife and I purchased a piece of marquetry in 2018 from an online auction, local to Northern Virginia, in a lot with other home décor, described as “Germany scene wood inlay picture” shown in the attached pictures. Fig 1: Front of “Hildesheim Knochenhauer-Amtshaus”, 9 x 12 inches framed. 1 Fig 2: Rear view of original frame; note two labels, paper taping, horizontally grained wooden back, and two-pin triangular hanger. 2 Fig 3: Close-up of labels. My parents emigrated from Germany to the U.S. in the 1950s and eventually brought back lots of ‘German stuff’ passed through our family, that I grew up with. So what follows is based on not just objective facts, but also on the context of those facts that I experienced through immersion in a culture that my parents brought with them to the U.S. As with every piece, the question is always “who made it, and when?” Here, by answering the “when” first, the “who” becomes apparent. I. “WHEN” it was made Every detail is an important clue, but I draw your attention first to the labels on the back of each of the five (5) pieces, noting the following: 1) the misspellings of “INLAYD” and “COLRED” – this identical wording appears on two pieces found on your own website. -
Design Guide
® DECKING & RAILING DESIGN GUIDE 1 WHAT ARE WE MADE OF? Live Your Best Life—Outdoors The Material Difference Your outdoor living space should be a reflection of your personal You know what’s best for your outdoor living space and your lifestyle. That’s why we offer three unique material types. While we could go into detail, we’ll let the charts below and on the next style. Traditional, square decks are just the jumping off point of how page do that for us. Simply choose what’s right for you. you can use TimberTech decking to elevate your outdoor living space. But where to start? That’s where TimberTech comes in; design and technology is at the core of everything we do. CAPPED POLYMER 4-SIDED CAPPED 3-SIDED CAPPED DECKING COMPOSITE DECKING COMPOSITE DECKING UNRIVALED DESIGN AND PREMIUM STYLE AND ATTAINABLE AND ATTRACTIVE PERFORMANCE PERFORMANCE Our products, backed by premium warranties, make your deck design better, stronger, smarter, and more beautiful. Browse this guide to start bringing your design vision to life. With a wide • The most advanced synthetic • Premium composite decking • Traditional composite decking material technology without the with the added protection of a with a synthetic cap on three variety of colors, wood grains, and widths to create unique designs, use of wood particles. fully synthetic cap on all four sides and monochromatic or • Impervious to moisture. sides. color-blended options. you’ll soon be enjoying your beautifully-updated deck. • 50-Year Limited Fade & Stain • Resistant to moisture • Surface protection from ® Warranty. with Mold Guard Technology.