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The 28th Annual Holiday Train Show, on display in the New York Botanical Garden's Enid A. Haupt Conservatory from November 17, 2018 to January 21, 2019, presents a winter wonderland twinkling lights and sixteen model trains, including the Union Pacific, New York Central, and Great Northern Railway, zipping along over bridges and on 1,000 feet of winding tracks past scaled replicas of New York landmarks made by award-winning designer Paul Busse and his team of landscape designers and botanical architects at Applied Imagination in Alexandria, Kentucky. Orange slices, cinnamon sticks, poppy pods, pine cones, twigs and other plant parts make a festive brew as the materials used to create the more than 140 architectural reproductions.
The New York Botanical Garden, spanning some 250 acres of Bronx Park, was founded in 1891 on part of the grounds of the Belmont Estate, formerly owned by the tobacco magnate Pierre Lorillard, after a fund-raising campaign led by Columbia University botanist Nathaniel Lord Britton, who was inspired to emulate the Royal Botanic Gardens in London. It contains 48 different gardens and plant collections.
The 28th Annual Holiday Train Show, on display in the New York Botanical Garden's Enid A. Haupt Conservatory from November 17, 2018 to January 21, 2019, presents a winter wonderland twinkling lights and sixteen model trains, including the Union Pacific, New York Central, and Great Northern Railway, zipping along over bridges and on 1,000 feet of winding tracks past scaled replicas of New York landmarks made by award-winning designer Paul Busse and his team of landscape designers and botanical architects at Applied Imagination in Alexandria, Kentucky. Orange slices, cinnamon sticks, poppy pods, pine cones, twigs and other plant parts make a festive brew as the materials used to create the more than 140 architectural reproductions.
The New York Botanical Garden, spanning some 250 acres of Bronx Park, was founded in 1891 on part of the grounds of the Belmont Estate, formerly owned by the tobacco magnate Pierre Lorillard, after a fund-raising campaign led by Columbia University botanist Nathaniel Lord Britton, who was inspired to emulate the Royal Botanic Gardens in London. It contains 48 different gardens and plant collections.
Born in 1992 in Issy-Kul, Temirlan always loved to draw and create things with his hands. At college he studied the technology around garment production and later studied fashion. He then decided to open his own atelier in 2015. He only had three sewing machines which he bought using all his savings. At the beginning he worked alone. To find clients, he would hang up advertisements on streets and in cafes. He started by making clothes for friends and relatives. Then, though word of mouth, others learnt about him and his business began to grow.
In 2017, he decided to find a larger place for his business and hired two employees. In 2018, he learned about the USAID funded $5m AKF Youth Skills Programme ad applied. Through this he learned business planning, marketing, and finance and soon after decided to expand his business.
In 2019, he received seed grant from the project to purchase two sowing machines, one iron and two mannequins. He decided to hire some more employees and interns to support the businesses growth. Clients now include local celebrities and dancing groups as well as his regular repeat customers. Customers can now find him through his Instagram account.
© Applied Machinery
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NEW Yawei Nisshinbo Turret Punch Press, model HPI 3058.
Features include:
- 30 ton punching capacity
- 1500 x 5000mm with one reposition
- auto repositioning
- 36 stations / 2 auto index (B)
- thick turret system (Amada style) for more accurate tool guiding. With changable, hardened sleeves.
- 6.35mm max material thickness
- nibbling: 1000hpm
- punching 1.6mm step / 7mm stroke: 530hpm
- punching 25.4mm step / 7mm stroke: 295hpm
- brush table
- Siemens 802DSL control
- Axes of control: 5 (X, Y, Z, T, C)
- HKL hydraulic ram head (H & L - Germany) allows CNC controlled stroke speed/pressure
- automatic clamps sensors
- die disengagement sensor
- automatic centralised lubrication
- rapid lower die changing system
- tool changing light and tooling jig
- stable bridge frame design
- Size: 6100(l) x 5000(w) x 2200(h)
- Weight: 20,000kg
This machine comes with full function (English) Metalix CNC CAD software with nesting option included.
The turret and control on this machine have been specifically designed to run Wilson type wheel tooling. Functions include punching, forming, rib wheeling, slitting, etc.
Options:
- Fanuc 0i-PC control
- 40 station / 2 auto index (D) turret configuration
- 38 station / 2 auto index (D) turret configuration (including 1 fixed E station)
- downgrade to 26 station / 2 auto index (B) turret configuration
- ball table (instead of brush table)
- combination brush table with balls (instead of brush table)
- air blow & oil mist (to suit air-blow style tooling)
- loading & unloading automation system
www.stvincent.edu | Photos of the Applied Laryngeal Anatomy: Intubation, Cricothyrotomy, and Tracheostomy in the Human Anatomy Lab.
www.stvincent.edu | Photos of the Applied Laryngeal Anatomy: Intubation, Cricothyrotomy, and Tracheostomy in the Human Anatomy Lab.
Japanese three colour Imari porcelain dish with fluted rim.
The under glaze blue decoration is of the gosu type and is mainly applied with under glaze blue blue stencils (konnyaku(). The under side rim is stencilled with two groups of three, depicting some of the various treasures, scrolls or books (makimono) and coin (shippo). The dish has six support scars which is a common feature on Edo period Japanese porcelain.
Date: Konnyaku revival - late Edo period circa 1850
Diameter:22cm
An extract from an article by Irene Finch: Konnyaku – How was it done, and when, and what are the implications?
Stencilling can be identified by the broken lines, as continuous lines would weaken the stencil paper too much. This was not really paper as we know it, but seems to have been the same material that was used for stencilling textiles, described in detail by Faulkner, in 1988. It consisted of fairly thick, slightly extensible, rather rubbery sheets, which were made from polymerised persimmon juice, which we would nowadays call a “plastics material”, but it was reinforced with criss-cross mulberry bark fibres. Stencilling with this “paper” was also used in this period for finer examples than the deer that is illustrated here, and some included brocading. These were made for the Japanese market and are rarely seen in the West. (I have photos and can give a Shibata ref, but my pieces are now in the V&A: can give ref). It was usual for some freehand additions to be made to the stencilling, especially when long lines were needed, but often the whole dish was stencilled, so because of the curvature of the dish the flat stencil paper gave problems. Sometimes therefore the dish was fluted at the edge to take a slight frill. On a bowl the design could consist, in effect, of a wide stencilled border, with a separate central freehand design that was sometimes varied. (I do have one of these, still, and can give ref to one I gave to V&A) After stencilling was stopped in the 1720’s, it was revived in a slightly coarse form in the 19th century, and used mainly for complex brocaded designs in Shonsui style. It was indeed so successful at this stage that transfer printing was delayed in Arita. (I do have some examples still)
The stamping is called konnyaku, a name nowadays known best as applied to a “health food”. It is made in the form of a stiff blancmange, from an unusual form of starch that cannot be digested by man. This starch is extracted from the corm at the base of a large, cultivated species of Arum lily, called the konnyaku or Devil’s Tongue in Japan because the central “tongue” is very large. In England, starch from the small English arum was used in Elizabethan times for starching ruffs: wheat flour could not be used because the gluten would go brown when ironed. The konnyaku stamps are usually quite small, with many repeats, often rather blurry on export examples like this one, and very blurry on the little central prunus found on many pieces exported to S. E. Asia. (I have one of these still)
Among the many Chinese sherds found in a Thailand river by Richard Kilburn were some Japanese examples of this type, which are now at the Percival David Foundation. However the konnyaku stamps that were made for the Japanese market were sharper on some more formal designs, with fewer freehand additions. Examples of these can be seen in the Shibata Collection, Book VI, published by the Kyushu Ceramic Museum. A notable feature is that the stamps are made entirely of continuous lines of even thickness, except for one rare example, now in the V&A Museum, where it is made up of numerous little oval leaves. (I can only offer photo, if wanted)
Some English authorities have suggested that konnyaku was done with leather stamps, but the Japanese do not believe this. It would be unwise and unlikely for leather to be cut into thin strips or tiny leaves to stick to a wooden holder. There is only one possible suggestion that accounts for both the name and these features of the style. I suggest that grooves were cut in a plaster or clay (subsequently baked) base, and a thick hot paste of konnyaku was pressed against it, which would stiffen on cooling. I have made a mock-up of the process with corn-starch, by heating the thick mixture for one second at a time in a microwave oven and stirring in between. I pressed the putty-like mixture against a grooved plastic bottle, and used the result successfully for stamping with ink on paper. Though such stamps would quickly wear out and become blurry, many more could be made quickly and easily from the same mould. After the use of konnyaku ceased in Arita, it was not revived again in Japan, but it was used extensively in China, probably in the 19th century, though dating is difficult.
The implications of the Japanese dating are important for the dating of Nabeshima. Nabeshima used a form of stencilling to make the tiny markers that guided their otherwise freehand pictures, for example the floral ones with simple exact repeats, that were strongly outlined in blue. These outlines were rather thick, and moreover of even thickness on all the Classical designs, presumably because it would be very difficult to make the famous exact copies if the line varied in width. The even lines and simple small repeats looked, however, quite similar to good konnyaku, which was, of course, a cheaper product. Though a Nabeshima starting date in 1722 was once suggested by most experts, in recent years a 17th century date has been more popular, and is of course much more to the taste of collectors. There is no factual evidence for the 17th century date (see Finch, TOCS Newsletter 2006 and Ko Nabeshima A New View, Edition 3, 2006). The stencilling and konnyaku described above do however provide evidence for a 1720.s date. They were both very successful methods, and both suddenly stopped, for no obvious reason, around this time. The reason for this could however be explainable if the official Nabeshima kiln took over the trained Arita workpeople, and did not want cheaper rivals. Although if the 17th C date is accepted, students will find it difficult to account for the fact that these two techniques were allowed to continue for another fifty years, and then both stopped, for no known reason.
Austrian Museum of Applied Arts and Contemporary Art
Austrian Museum of Applied Arts/Contemporary Art (1, Stubenring 5, Weiskirchner street 1, annex 1, Weiskirchner street 3, originally Austrian Museum of Art and Industry). It was founded on the initiative of Rudolf Eitelberger and opened on May 12, 1864 in the premises of the former Ballhaus (ballroom building), where 2,000 artistic loans were presented. On November 4, 1871, the museum moved to the 1866-1871 built by Heinrich Ferstel in the style of the Florentine Renaissance in brick work building on Stubenring (with massive glass-covered arcaded courtyard [32 monolithic columns]), whose annex in Weiskirchner street (with glass-covered exhibition hall on the mezzanine floor) 1906-1908 Ludwig Baumann erected on a terrain won by the regulation of the small river Vienna. The graffiti of the friezes of the main building was created by Karl Schönbrunner based on drawings by Ferdinand Laufberger and (in the middle risalit) Karl Karger, majolica medallions with portraits of famous artists by Otto König and reliefs by Franz Melnitzky. A mirrored vault with a fresco by Laufberger stretches across the main staircase. The museum is connected to the building of the School of Applied Arts, which Ferstel built 1875-1877, by a connecting building (with the Minerva fountain). At Weiskirchner street commemorative plaque commemorating the on 12 August 1461 in the successful defense against the attack of Albrecht VI. to the city Viennese citizens fallen and the on this occasion by Friedrich III. to the city of Vienna on 26 September 1461 awarded "coat of arms improvement" (golden double eagle on a black background, municipal coat of arms).
Collections
The focus is on European craft objects from the Romanesque to the present (in particular glass and ceramics, metals, furniture and woodwork, textiles and carpets [collection of Oriental carpets]), an East Asian collection and products of the Wiener Werkstätte, in addition, the museum has a library with art collection, a department for restoration, a graphic arts studio and a photo lab. Field offices are located in the Geymüllerschlössel (watch collection Sobek) and in Lower Austria. The editorial office of the magazine "Old and Modern Art" is also located in the museum.
Directors
Rudolf Eitelberger (1864-1885)
Jakob von Falke (1885-1895)
Bruno Bucher (1895-1897)
Arthur of Scala (1897-1909)
Eduard Leishnig (1909-1925)
Hermann Trenkwald (1925-1927)
August Schestag (1927-1932)
Richard Ernst (1932-1950)
Ignaz Schlosser (1951-1958)
Viktor Griessmaier (1959-1968)
Wilhelm Mrazek (1968-1978)
Gerhard Egger (1978-1981)
Herbert Fux (1981-1984)
Ludwig Neustifter (1984-1986, interim director)
Peter Noever (1986-2011)
Christoph Thun-Hohenstein (since 2011)
Österreichisches Museum für angewandte Kunst und Gegenwartskunst
Österreichisches Museum für angewandte Kunst / Gegenwartskunst (1, Stubenring 5, Weiskirchnerstraße 1; Zubau 1, Weiskirchnerstraße 3; ursprünglich Österreichisches Museum für Kunst und Industrie). Es wurde auf Initiative von Rudolf Eitelberger begründet und am 12. Mai 1864 in den Räumen des früheren Ballhauses, in dem 2.000 kunstgewerbliche Leihgaben präsentiert wurden, eröffnet. Am 4. November 1871 übersiedelte das Museum in das 1866-1871 von Heinrich Ferstel im Stil der florentinischen Renaissance in Rohziegelbauweise errichtete Gebäude am Stubenring (mit gewaltigem glasgedeckten Arkadenhof [32 Monolithsäulen]), dessen Zubau in der Weiskirchnerstraße (mit glasgedecktem Ausstellungssaal im Hochparterre) 1906-1908 Ludwig Baumann auf einem durch die Wienflussregulierung gewonnenen Terrain errichtet. Die Sgraffiti der Friese des Hauptgebäudes schuf Karl Schönbrunner nach Zeichnungen von Ferdinand Laufberger beziehungsweise (im Mittelrisalit) Karl Karger, Majolikamedaillons mit Porträts berühmter Künstler Otto König und Reliefs Franz Melnitzky. Über die Haupttreppe spannt sich ein Spiegelgewölbe mit einem Fresko von Laufberger. Das Museum ist mit dem Gebäude der Kunstgewerbeschule (Universität für angewandte Kunst), das Ferstel 1875-1877 erbaute, durch einen Verbindungsbau (mit dem Minervabrunnen) verbunden. An der Weiskirchnerstraße Gedenktafel zur Erinnerung an die am 12. August 1461 bei der erfolgreichen Abwehr des Angriffs Albrechts VI. auf die Stadt gefallenen Wiener Bürger und an die der Stadt aus diesem Anlass von Friedrich III. am 26. September 1461 verliehenen "Wappenbesserung" (goldener Doppeladler auf schwarzem Grund; Stadtwappen).
Sammlungen
Schwerpunkte sind europäische kunstgewerbliche Objekte von der Romanik bis zur Gegenwart (insbesondere Glas und Keramik, Metalle, Möbel und Holzarbeiten, Textilien und Teppiche [Sammlung von Orientteppichen]), eine ostasiatische Sammlung sowie Erzeugnisse der Wiener Werkstätte; außerdem besitzt das Museum eine Bibliothek samt Kunstblättersammlung, eine Abteilung für Restaurierung, ein Graphikatelier und ein Fotolabor. Außenstellen befinden sich im Geymüllerschlössel (Uhrensammlung Sobek) und in Niederösterreich. Im Museum hat auch die Redaktion der Zeitschrift "alte und moderne kunst" ihren Sitz.
Direktoren
Rudolf Eitelberger (1864-1885)
Jakob von Falke (1885-1895)
Bruno Bucher (1895-1897)
Arthur von Scala (1897-1909)
Eduard Leisehnig (1909-1925)
Hermann Trenkwald (1925-1927)
August Schestag (1927-1932)
Richard Ernst (1932-1950)
Ignaz Schlosser (1951-1958)
Viktor Griessmaier (1959-1968)
Wilhelm Mrazek (1968-1978)
Gerhard Egger (1978-1981)
Herbert Fux (1981-1984)
Ludwig Neustifter (1984-1986; interimistischer Leiter)
Peter Noever (1986-2011)
Christoph Thun-Hohenstein (seit 2011)
www.geschichtewiki.wien.gv.at/%C3%96sterreichisches_Museu...
Mud spatters applied and tools picked out. Track is still unpainted and in olive but already looking good
Got to see my designs in person today. Weird, but neat. Artist added some thistle color to tie some more scot into it.
Made in Jablonec 2023 Fashion Show
Jewelry design: Ludmila Těmínová – a 4th year student in the Costume Jewellery and Fashion Accessory Design course, the Applied Arts Secondary School in Jablonec nad Nisou
PRECIOSA glass, beads and seed beads at a fashion show with the latest trends in costume jewellery
In the first half of January 2023, Jablonec nad Nisou was once again the venue for the anticipated Made in Jablonec 2023 fashion show. The traditional show with the subtitle “A Touch of the Future” provided a unique experience through the merging of fashion and costume jewelry with a view to the future. Many fashion designers, costume jewelry and jewelry companies, fashion salons and specialist schools presented their creativity. The timeless designs and enchanting jewelry on the catwalk captivated many onlookers with their originality. Preciosa Ornela presented a total of nine designs as part of the merging of the worlds of fashion and costume jewelry.
The show began with children’s designs, in which bead and seed bead embroidery with a number of designs and techniques prepared by the designers Aleksandra Lysenko and Helena Chmelíková were predominant. This was followed by three designs by Preciosa Ornela’s producer and designer Petra Lejsková in cooperation with talented students from the Applied Art Secondary School in Jablonec nad Nisou. The first design presented icy silver epaulettes richly decorated with beads and seed beads. The second design boasted the distinctive combination of red and black in a flawlessly worked 3D applique of a hand sewn belt and earrings made of beads and seed beads. The unconventional and trendy third model cleverly combined several ladies’ fashion accessories in one: a fanny pack, designer braces and a belt decorated with beads and seed beads.
Preciosa Ornela’s further two designs by Petra Lejsková dazzled onlookers with their brilliant shine and sparkle. The single-coloured flowing bottle green and pastel pink on the shoulders of the pleated dresses from the fashion workshop of the designer Iva Brabcová from the Styl Iva fashion salon were dominated by stringings of gold and silver beads and seed beads realised by the designer Helena Chmelíková. These two designs represented the combination of simply cut, well made fashion dresses with flawlessly prepared accessories that give the designs flair, brilliance and majesty.
Many other wonderful designs including beads, seed breads and glass from the PRECIOSA brand were also presented on the catwalk. Judge for yourself!
Photo by Ondřej Čapka
Visit our website for more information about the Made in Jablonec 2023
Commissioned illustration project for Applied Arts 2011 Advertising & Interactive Awards Annual.
Issue: Vol. 26, No. 4 - October 2011
Client: Rethink
Designer: Jeff Harrison
Account Services: Ailsa Brown, Cameron Walker
Creative Directors: Jeff Harrison, Ian Grais, Rob Tarry
Copywriters: Rob Tarry, Bob Simpson
Illustrator: Chairman Ting
Print Producer: Kerry Bhangu
Production Artist: Jonathan Cesar
Before going to Trent University (from which I obtained my Honours Chemistry B.Sc.) I attended here (and got my Chemical Engineering Technology diploma). A good school, and I liked how down-to-earth, no-B.S. my fellow students were, driven by a desire to get a good job, rather than filled with silly pie-in-the-sky idealism about changing the world (unlike all too many university students, like those I met at the two universities I've attended).
Belleville, Ontario.
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
More information at fransimo.info/?p=1100
ID:338d8a144e3b0323ce33ca3408879cfd
Image credits: www.flickr.com/photos/xmedialabpie/4763710038/
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The AC+D Program begins with a 10 day collaborative Design Build Intensive intended to help students learn how to work together and to design and make something for someone that could benefit from our skills.
MAKING A DIFFERENCE THROUGH MAKING
Designers in education and industry routinely and assuredly assert that design thinking strategies can deliver the “game-changing” ideas needed to address the critical and complex problems of our times. Frequently, however, it seems we’re seduced by and fall in love with the promise(s) of these ideas – and possibly the god-like power their creation conveys – and are less committed to following through with their actual realization with the same degree of passion.
In an effort to provide a ‘proof of the pudding is in the eating’ model of design education and practice, first year MFA AC+D students begin the program with a pre-semester, 10-day collaborative design-build intensive. The experience is intended to help students get to know each other, and learn how to work together by designing and building a project for an actual client. Emphasizing a philosophy of civic engagement, projects are selected based on their potential to benefit an organization or population that generally does not have access to and/or cannot afford to pay for the services of designers and makers.
Project Grow provides a space for artists to explore personal expression through an array of artistic mediums, as well as gain skill and experience working on a chemical-free farm with an emphasis on sustainability.
The urban farm's focus is to teach individuals farm skills and encourage a connection to their food source as they earn income from farming the land. Port City farmers cultivate reclaimed urban land spread across two blocks. The list of produce grown on the farm is bountiful and includes many varieties of vegetables, Northwest proven tomatoes, and other fruits such as raspberries, mulberries, blueberries, pears, kiwis, apples, currants, figs and grapes. In order to make our farm more sustainable and encourage understanding of the full cycle of plant life, we save our seeds and sell and trade them with community members and other local farms.
Goats and chickens are raised to teach individuals animal husbandry skills. The goats' beautiful fiber is processed and used for weaving, felting and other fiber projects. We also cultivate many plants used to make natural dyes, and encourage seed to cloth creation of fiber goods.
North Portland Farm produce is sold throughout the community. All of the chemical-free produce raised by Port City farmers is sold to restaurants, neighborhood stores, or as Community Supported Agriculture (CSA) shares.
Photographs by Marissa Boone
This is the shape of a mesh subdivided with masking applied. Worth looking at the full size - the pattern is quite lovely.
Uploaded with the Flock Browser
UW Oshkosh students analyze the function of joints and muscles during an applied anatomy class within the Kinesiology department.
Carl Benz applied the first patent in Germany:
29. January 1886 full print under
joergvetter.oyla.de/cgi-bin/hpm_homepage.cgi.
Found that mostly unknown GERMAN CAR MAKER in an AUTOMOBILE MUSEUM in Chemnitz/Germany: WANDERER: one of the manufacturers which founded AUDI: 1 ring of the AUDI symbol.
Menlo School's Maker Faire allows Engineering and Applied Science students to show off their work. Photo by Pete Zivkov.