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Project idea from "Last Minute Fabric Gifts" book by Cynthia Treen. Thrifted fabric remnants, coffee-dyed, with embroidery floss pompon centers.
My trades for ArtNest retreat (Utah June 2007).
IN HONOR OF THE
"PRIVATEERS"
WHO SAILED AND FOUGHT FOR AMERICAN INDEPENDENCE
"1776 - 1783"
"CAPTAINS" - "SHIPS"
SAMUEL ALLEN
JOHN BADCOCK - RAINBOW
JOHN BAUDOUINE - GOVERNOR CLINTON
SAMUEL BIGELOW - WHALEBOAT
ANDREW BROWN - ENDEAVOUR
NATHAN BROWN - JACK
SAMULE BROWN - CIVIL USAGE
JOSEPH EDWARDS - LUCK & FORTUNE
RUFUS GARDNER - ENTERPRIZE
BAKER HENDRICK - CHARMING BETSEY
ADAM HYLER - REVENGE
SAMUEL INGERSOLL - SANTIPE
NATHAN JACKSON - GREYHOUND
NICHOLAS KEEN - FRIENDSHIP
JAMES LEACH - HAPPY RETURN
WILLIAM MARUN - ENTERPRISE
MICAJAH SMITH - SLY
TIMOTHY SHALER - CHANCE
ROBERT SNELL - RATTLESNAKE
ANDREW STEELMAN - ALLIGATOR
DAVID STEVENS - CHANCE
JOSHUA STUDSON - GUNBOAT
ENOCH STILLWELL - HAWK
AARON SWAIN - REVENGE
YELVERTON TAYLOR - COMET
WILLIAM TREEN - UNITY
EBENEZER TUCKER - KITTY
TEUNIS VOORHEES - REVENGE
THOMAS QUIGLEY - LIVELY
JOHN WANTON - GENERAL WASHINGTON
LAMBERT WICKES - REPRISAL
AMOS WILLITS - ARMED BOAT
ENOCH WILLITS
HOPE WILLITS - LUCK & FORTUNE
DEDICATED BY
COL RICHARD SOMERS
CHAPTER SONS OF THE AMERICAN REVOLUTION
COMMITTEE:
DONALD MARPLE - CHAIRMAN
MONTY HOLT
THE REV. NORMAN THOMAS
DR. RALPH TURP
SAMUEL NORCROSS III
Joshua Treen luonnonpuistossa telttailttiin kolme yötä, ihmeteltiin geologiaa ja joosuanjukkia, katseltiin tähtiä ja kiipeiltiin.
Porthcurno. Pedn-Vounder, Treen.
High tide on the rocks. Taken on the 23/06/2010 at 1344Hrs GMT.
Camera Nikon P100
Small wooden boxes with internal trays - hinged at the back to open across the middle – the top of the front box is burr elm, the base and tray are mahogany.
For more information about Richard Windley, his boxes, and his other amazing artefacts, go to www.richardwindley.co.uk
These photos were taken by and appear courtesy of professional photographer Nathani Treen of Pixel Poison Photography.
Thank you! Thank You! THANK YOU! Our incredible volunteers cleaned from Merritt Boulevard to North Point Boulevard and included North Point Road today (4/6)! Over 170 volunteers arrived at Bread and Cheese Creek to clean the Willow Road Section of the stream, but they quickly met and exceeded this goal and cleaned up the section of North Point Road between North Point Plaza (Wal-Mart’s Shopping Center) and German Hill Road. As if this wasn’t incredible enough the continued cleaning in the stream until they reached North Point Boulevard! However, this still was not the end volunteers moved in the opposite direction cleaning up to Merritt Boulevard including the trash choked shore next to Merritt Manor shopping center! You can see through the photos the huge difference they have made! This totals over 3 miles of stream and a road that are now completely trash free!!! We have said it before and we will say it again No-one can match our incredible volunteers! Thank you so much for your incredible and monumental effort! Today we removed over 3.5 tons of trash (227 trash bags!), over 2 tons of metal that has been recycled, 23 shopping carts, 14 tires (one a huge tractor tire), 2 bicycles, 2 lawnmowers, a portable black and white TV, a section of wrought iron fence, an elliptical machine, and more! Our motto is “Together can make a Difference” and thanks to our volunteers, we are! Today was our must successful cleanup EVER thank you YOU!
We would also like to thank Gold's Gym Dundalk, Gotügo Portable Restrooms, The Caddy Shack, The Boulevard Diner, The Lions Club, Bob Long, & Entenmann's Bakery Outlet for all their donation of food and supplies to help make today so successful!
We also wish to thank Moments By Thomas, Pixel Poison Photography, Towson University Alumni Association, Towson University Ultimate Frisbee, the CCBC Geocache Club, the CCBC History Department, Todd Gator-Scott Chesapeake Pile, Morgan State University, and J&K Auto Repair for all their incredible volunteers today!
A small beach on the Lands End penninsula.
Copied from a slide.
This beach has no sand in 1982:-
www.flickr.com/photos/143198303@N08/32760885311/in/datepo...
Leon, Rachel und Sangita wandern in dem kleinen Tal Saint Lov zwischen Boleigh und Treen in Cornwall, England.
Wood carving is a form of woodworking by means of a cutting tool (knife) in one hand or a chisel by two hands or with one hand on a chisel and one hand on a mallet, resulting in a wooden figure or figurine, or in the sculptural ornamentation of a wooden object. The phrase may also refer to the finished product, from individual sculptures to hand-worked mouldings composing part of a tracery.
The making of sculpture in wood has been extremely widely practised, but survives much less well than the other main materials such as stone and bronze, as it is vulnerable to decay, insect damage, and fire. It therefore forms an important hidden element in the art history of many cultures. Outdoor wood sculptures do not last long in most parts of the world, so it is still unknown how the totem pole tradition developed. Many of the most important sculptures of China and Japan, in particular, are in wood, and so are the great majority of African sculpture and that of Oceania and other regions. Wood is light and can take very fine detail so it is highly suitable for masks and other sculpture intended to be worn or carried. It is also much easier to work on than stone.
Some of the finest extant examples of early European wood carving are from the Middle Ages in Germany, Russia, Italy and France, where the typical themes of that era were Christian iconography. In England, many complete examples remain from the 16th and 17th century, where oak was the preferred medium.
METHODS AND STYLES
Chip carving
Relief carving
Scandinavian flat-plane
Caricature carving
Lovespoon
Treen
Whittling
Chainsaw carving
TECHNIQUES
Pattern, Blocking, Detailing, Surfacing, and Smoothening
BASIC TOOL SET
- the carving knife: a specialized knife used to pare, cut, and smooth wood.
- the gouge: a tool with a curved cutting edge used in a variety of forms and sizes for carving hollows, rounds and sweeping curves.
- the coping saw: a small saw that is used to cut off chunks of wood at once.
- the chisel: large and small, whose straight cutting edge is used for lines and cleaning up flat surfaces.
- the V-tool: used for parting, and in certain classes of flat work for emphasizing lines.
- the U-Gauge: a specialized deep gouge with a U-shaped cutting edge.
- sharpening equipment, such as various stones and a strop: necessary for maintaining edges.
A special screw for fixing work to the workbench, and a mallet, complete the carvers kit, though other tools, both specialized and adapted, are often used, such as a router for bringing grounds to a uniform level, bent gouges and bent chisels for cutting hollows too deep for the ordinary tool.
WOOD CARVING PROCESS
SELECTION
The nature of the wood being carved limits the scope of the carver in that wood is not equally strong in all directions: it is an anisotropic material. The direction in which wood is strongest is called "grain" (grain may be straight, interlocked, wavy or fiddleback, etc.). It is smart to arrange the more delicate parts of a design along the grain instead of across it. Often, however, a "line of best fit" is instead employed, since a design may have multiple weak points in different directions, or orientation of these along the grain would necessitate carving detail on end grain, (which is considerably more difficult). Carving blanks are also sometimes assembled, as with carousel horses, out of many smaller boards, and in this way, one can orient different areas of a carving in the most logical way, both for the carving process and for durability. Less commonly, this same principle is used in solid pieces of wood, where the fork of two branches is utilized for its divergent grain, or a branch off of a larger log is carved into a beak (this was the technique employed for traditional Welsh shepherd's crooks, and some Native American adze handles). The failure to appreciate these primary rules may constantly be seen in damaged work, when it will be noticed that, whereas tendrils, tips of birds beaks, etc., arranged across the grain have been broken away, similar details designed more in harmony with the growth of the wood and not too deeply undercut remain intact.
Probably the two most common woods used for carving in North America are basswood (aka tilia or lime) and tupelo; both are hardwoods that are relatively easy to work with. Chestnut, butternut, oak, American walnut, mahogany and teak are also very good woods; while for fine work Italian walnut, sycamore maple, apple, pear, box or plum, are usually chosen. Decoration that is to be painted and of not too delicate a nature is often carved in pine, which is relatively soft and inexpensive.
SCULPTURE
A wood carver begins a new carving by selecting a chunk of wood the approximate size and shape of the figure he or she wishes to create or if the carving is to be large, several pieces of wood may be laminated together to create the required size. The type of wood is important. Hardwoods are more difficult to shape but have greater luster and longevity. Softer woods may be easier to carve but are more prone to damage. Any wood can be carved but they all have different qualities and characteristics. The choice will depend on the requirements of carving being done: for example, a detailed figure would need a wood with a fine grain and very little figure as a strong figure can interfere with 'reading' fine detail.
Once the sculptor has selected their wood, he or she begins a general shaping process using gouges of various sizes. The gouge is a curved blade that can remove large portions of wood smoothly. For harder woods, the sculptor may use gouges sharpened with stronger bevels, about 35 degrees, and a mallet similar to a stone carver's. The terms gouge and chisel are open to confusion. Correctly, a gouge is a tool with a curved cross-section and a chisel is a tool with a flat cross-section. However, professional carvers tend to refer to them all as 'chisels'. Smaller sculptures may require the woodcarver to use a knife, and larger pieces might require the use of a saw. No matter what wood is selected or tool used, the wood sculptor must always carve either across or with the grain of the wood, never against the grain.
Once the general shape is made, the carver may use a variety of tools for creating details. For example, a “veiner” or “fluter” can be used to make deep gouges into the surface, or a “v-tool” for making fine lines or decorative cuts. Once the finer details have been added, the woodcarver finishes the surface. The method chosen depends on the required quality of the surface finish. The texture left by shallow gouges gives 'life' to the carving's surface and many carvers prefer this 'tooled' finish. If a completely smooth surface is required general smoothing can be done with tools such as “rasps,” which are flat-bladed tools with a surface of pointed teeth. “Rifflers” are similar to rasps, but smaller, usually double-ended, and of various shapes for working in folds or crevasses. The finer polishing is done with abrasive paper. Large grained paper with a rougher surface is used first, with the sculptor then using finer grained paper that can make the surface of the sculpture slick to the touch.
After the carving and finishing is completed, the artist may seal & colour the wood with a variety of natural oils, such as walnut or linseed oil which protects the wood from dirt and moisture. Oil also imparts a sheen to the wood which, by reflecting light, helps the observer 'read' the form. Carvers seldom use gloss varnish as it creates too shiny a surface, which reflects so much light it can confuse the form; carvers refer to this as 'the toffee apple effect'. Objects made of wood are frequently finished with a layer of wax, which protects the wood and gives a soft lustrous sheen. A wax finish (e.g. shoe polish) is comparatively fragile though and only suitable for indoor carvings.
TRADITIONS
The making of decoys and fish carving are two of the artistic traditions that use wood carvings.
WIKIPEDIA
The pair of Love Birds sitting on a slice of yew are from Takayama and are an example of Ichii Ittobori work (one knife wood carving).
www.jnto.go.jp/eng/location/spot/handcrft/ichiiittocarvin...
The two geometric patterned pieces are yosegi-zaiku woodwork, a speciality of the Hakone region. The vase is made from a solid piece of assembled wood and the tray is veneered.
I had a pair of puzzle boxes I had bought many years ago from the 'Bits and Pieces' catalogue, and was keen to buy more of this work. You can see two of the pieces in the photo below.
Yosegi-zaiku is a type of traditional Japanese parquetry which originated during Japan’s culturally rich Edo Period. The mosaic work is made by making use of natural fine grains and textures of wood. Timbers of different colors are cut into oblong rods of desired sections. The rods are then glued together to form the section of geometrical design pattern. The sectional surface is sliced into thin plates of wood, which are glued onto boxes and other handicraft works. To add to the glaze and sturdiness of the surface, finishing coatings of lacquer are applied.
Yosegi are commonly found on the outside of Japanese secret boxes (himitsu-bako) or puzzle boxes, but may also be used to create or decorate many other items such as trays, chests, jewellery boxes, vases, photo frames, drink coasters, etc. The Yosegi puzzle boxes differ in sizes and number of moves required to open them.
The woods are not dyed. Spindle tree (Euonymus spp.) and Ilex macropoda are used for white, aged Katsura tree (Cercidiphyllum japonicum) for black, Picrasma quassioides, mulberry (Morus alba) and Chinese lacquer tree (Toxicodendron vernicifluum) for yellow, camphor tree (Cinnamomum camphora) and Maackia for brown, black walnut (Juglans nigra) for purple, Japanese cucumber tree (Magnolia obovata) for blue and Chinese cedar (Toona sinensis) for red.
Martin Judd and his new home, 1 Treen Close, Broken Cross, Macclesfield. Monday 15 May 1978. Slide No.3832
Photograph copyright: Ian 10B.
Northern Class 156 No. 156479 approaches Cherry Treen near Blackburn with the 13:20 Blackpool South to Colne service on 20th June 2017.
Not so much a legend but a forgotten fact. The story of the Logan Rock of Treen is unusual to say the least. The Logan Rock is a massive granite rock weighing about 80 tons. It lies perched on the cliffs about a mile from the small hamlet of Treen near Porthcurno on the south coast of Penwith, Cornwall. Due to the action of erosion over the countless centuries since the formation of the cliffs the rock now lies finely balanced. In its original state the rock could be rocked by applying only a little pressure at the correct point. 'Logan' or 'rocking stones' are not uncommon, being found mainly in areas of granite moorland and limestone. However the claim to fame of this one is that it has been replaced after being pulled down by one infamous Lieutenant Goldsmith in April 1824. For many, many years the Logan Rock had been a tourist attraction. With the advent of trains and more particularly the Great Western Railway, tourist trade grew and so did the mystery of the Logan Rock. Lt. Goldsmith was a Royal Navy sailor in charge of the cutter HMS Nimble. He was sent to attach a warning buoy at the nearby Runnelstone Reef off Gwennap Head. After several other failed attempts Lt. Goldsmith and his crew were successful. Why they now turned their attention inland is unknown. Did they wish to 'make a name for themselves' who knows?
Lt. Goldsmith and some of his crew set off to view the cliffs around Treen ostensibly to look for smugglers hideouts and caves. Why they took with them a number of bars and levers is unknown but their intention soon became very clear. Arriving at the Logan Rock they set about rocking the huge boulder, making it sway until finally it fell from its pivot and crashed down the cliffs. The people of Cornwall horrified by such an act, asked the Admiralty to strip Lt. Goldsmith of his commision unless he promised to reinstate the rock to its former position 'at his own expense'. The Royal Naval base at Plymouth offered to help the lieutenant with his task so as to quell the considerable local unrest about this act of 'vandalism'. It took several months and scores of local riggers and labourers to build the structure to replace the rock. It is known that the rock was finally replaced at 4.20pm on Tuesday 2nd November 1824. The rock may have taken a few minutes to dislodge but the whole enterprise of replacing the rock took at least 60 men almost SEVEN months to do. The cost in 1824 was over £130 - what would it cost these days?