View allAll Photos Tagged worktable
The back- the pincushion can attach with elastics and buttons to the organizer or they can be used separately by taking the bag loose and setting it on your worktable.
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
If you caught any of my Instagram pictures today, you know I did some claying this morning (and this afternoon, but I haven't shared those images yet). In the past, I've used the dining room table for clay work, but I have a new table I don't want to destroy, and so I moved to the built-in cabinet behind the table. I love the light streaming in here, but that's about the only advantage of this odd little spot. Zero leg room, and darkness by 4pm are big drawbacks. I might need to come up with something else.
aspen, colorado
late 1975
inside nick's "mad lab"
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
A work in progress: My handmade polymer artifacts, beads, and buttons, with vintage fabrics and antique buttons.
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
New & Exclusive with 25% off @ Redeux Oct Round:
The culina & thermopolium package from our Civitas Series contains 14 item to decorate your roleplay environment in any ancient roman or greek setting. It suits any tavern or private kitchen/culina.
In the ancient Greco-Roman world, a thermopolium was a commercial establishment where it was possible to purchase ready-to-eat food. The forerunner of today's restaurant. These places were mainly used by the poor or those who simply could not afford a private kitchen.
Thermopolium, hearth and worktable contain animations and rezz props.
Item list:
Culina Working Table, 3LI, c
Culina Thermopolium, 5LI, c,m
Culina Hearth 5LI, c,m
Culina Herb Basket 3LI, c, resize
Culina Amphora Rack 1, 2LI c,m
Culina Amphora Rack 2, 3LI c,m
Culina Amphoras 2LI, c, resize
Culina Basket of Panis 2LI, c, m
Culina Dishes Shelf 2LI, c,m
Culina Jugs Shelf 2LI c,m
Culina Panis Cutting Board 2LI, c,m
Culina Spice Rack 3LI, c,m
Culina Storage Pots 1LI, c,m
Culina Vegetable Basket 3LI, c, resize
Please have a look at the other items and buildings of our civitas series, if you are generally interested in roman/ancient roleplay and decoration.
The set fits perfectly into the tavern of our civitas series.
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
Please support on Lego Ideas:
ideas.lego.com/projects/1f708a5b-4f0e-4431-b4ba-8a1a66e9c4c8
“In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.”
J.R.R Tolkien, The Hobbit, Chapter I: AN UNEXPECTED PARTY
Welcome to the Shire. The starting and ending point of the famous books and films “The Hobbit” and “The Lord of the Rings”.
It is a perfect place to relax, read and fill your hobbit stomach with plenty of delicious food.
The Hobbit hole consists of 5 different rooms. A nice kitchen with a big table, a full storage chamber, a cosy living room with a fireplace and a worktable, an entrance room to welcome invited and uninvited guests and like all hobbit holes it has a round tunnel that connects the rooms.
I would suggest that it would include the minifigures: Frodo, Sam, Bilbo, the 13 dwarves and of course Gandalf.
Please support this creation and help it to become an official Lego Set.
Remember, it doesn’t cost you anything and you would do me a big favour.
From the official website:
Responding to the need for larger quarters, Toronto's civic officials began the task of designing and building Toronto's third city hall. The successful architect, Edward James Lennox, took three years to design the impressive Old City Hall (1886-1888) that needed to address the two separate uses of the building - the City Hall and the court house. It was erected over the next 11 years (1889 - 1899) at a cost of more than $2.5 million. It was not only the biggest structure in the city at that time, it was also the largest municipal building in North America.
Four years before the building was officially opened, Arthur Beales photographed the building under construction, illustrating Lennox's slow progress - five storeys in six years. The basement walls are exceptionally thick (the base of the tower is 7 feet 9 inches) and borne by still more massive footings (12 feet 9 inches in places) that took especially long to excavate and lay. The cornerstone, unmarked and 6 by 4 feet in size, had been laid in November 1891 by Mayor Edward Clarke.
Impressive architectural detailing surrounds and fills this remarkable building. Master stonemason Arthur Tennison oversaw the placement of the gargoyles. Originally gargoyles spouted from many points, including the angles off the centrepiece on the north facade, the square turrets flanking both side entrances, and the main clock tower.
Above the monumental Queen Street entrance, in Romanesque Revival style, are grotesque stone carvings, which contemporaries suggested were caricatures of councillors. Here and in the corbels just below the roof, Lennox left his own mark. He included himself in the caricatures on the west side of the centre arch, and in the corbels, in the link portions of the building, Lennox incorporated his name in the stonework.
The interior is also a showplace of craftsmanship. The mosaic floor was patterned in Buffalo and carefully laid, and some walls are covered with neatly matched marble. Lennox's fine detailing extended itself to wardrobes, worktables, handrails, and even the doorknobs that bear the city's old coat of arms. Visitors can still admire the painted murals (first floor) by George A. Reid and the stained glass window produced by Robert McCausland symbolizing the Union of Commerce and Industry.
Although it originally housed the Council Chamber, courtrooms, municipal and legal offices, the building now operates solely as a courthouse. The old city Council Chamber is now courtroom 110 and retains much of its turn-of-the-century decoration.
Following the opening of Toronto's fourth, and present, City Hall in 1965, Old City Hall was threatened with demolition during the planning of the Eaton Centre. A group of concerned citizens and community activists called, "Friends of Old City Hall", convinced the city to preserve this important landmark, that complemented Osgoode Hall and the new City Hall. Old City Hall was declared a National Historic Site by the Historic Sites and Monuments Board of Canada in 1989.
This was taken from the raised level at Nathan Phillips Square (New City Hall), just across the road from the grand old building.
This High Dynamic Range panorama was stitched from 27 bracketed images with PTGUI Pro, tone-mapped with Photomatix, and cleaned upp in Aperture.
Original size: 7094 × 4770 (33.8 MP; 44 MB).
Location: Nathan Phillips Square, Toronto, Ontario, Canada
aspen, colorado
1977
tinkering with electronics in nick's mad lab
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
*Fantastic Christmas Celebration Pictures *
Loading images, Please wait...
A Horde of SantasAbout 1,000 volunteers wait before the beginning of a
charity campaign in Seoul.
Lots of (Fake) SnowEvery year the Babbacombe Model Village in Torquay,
England, creates a winter wonderland in miniature.
OrnamentsA painted figurine of the Pope sits on a worktable at the Richard
Glaesser wooden toy manufacturer in Seiffen, Germany.
Non $top Entertainment only at Funzug! Click to Join 4
Free!
Santa's Helpers?Central European folklore holds that Buttenmandl and
Krampusse, above, follow St. Nicholas from house to house during the holiday
season to either bring luck to the hardworking or punish the
idle.
Santa WannabesThese young men work as waiters on a pub street in Nanjing,
China.
PromotionModels dressed like Dorothy from The Wizard of Oz pose in front of
the London superstore Harrods as part of a promotion kicking off the famed
emporium's shopping season.
WetA diver welcomes visitors to the Osaka Kaiyukan Aquarium in
Japan.
Non $top Entertainment only at Funzug! Click to Join 4
Free!
Letters to the North PoleLaplandUK, an interactive theater experience in
Lambenhurst, England, re-creates Father Christmas' mythical Arctic homeland
and offers guests a chance to cavort with real huskies and
reindeer.
ImmodestFestive lights adorn a house in Melksham, England. The display
requires more than 115,000 bulbs and an uprated supply of electricity.
Homeowner Alex Goodwind uses the attention he draws to raise money for a
local hospice. Last year, he raised £3,000.
A Christmas tree made from recycled plastic bottles stands on a street in
Paris.
Run, Santa, Run!Runners dressed as Santa Claus take part in the London Santa
Run in Battersea Park.
Non $top Entertainment only at Funzug! Click to Join 4
Free!
Ho, Ho, HoAn illuminated giant Santa greets Christmas revelers in
Berlin.
shot of my work table right now with some newly finished art peices that i have been making to sell at the local art fairs and on etsy.
they are pen and ink drawings over acrylic
Blogged here: lucidrose.blogspot.com/2010/03/plans-are-made-to-be-broke...
Painter: Vittore Carpaccio (Venice ca. 1455-1525)
Date: dated 1502
Original location: Scuola di San Giorgio degli Schiavoni, Venice
Medium and Size: tempera on canvas
141 x 115 cm
Literature: Web Gallery of Art
Notes: a depiction of almsgiving, as Christ calls Matthew, a tavern keeper and urserer, to give up his wordly goods and follow him. According to the WGA: 'There are also two paintings in the Scuola di San Giorgio degli Schiavoni that are not part of the cycle: the Agony in the Garden and the Calling of Matthew, dated 1502.
The Calling of Matthew is much closer to the last episodes of the St Ursula cycle than Agony in the Garden, especially in the precise construction of the colour planes within a composition that is almost exactly similar to that of Giovan Battista Cima's Miracle of St Mark, a work painted around 1499 and now in the Staatliche Museen in Berlin. The scene is not set in Capharnaum, but on the Venetian mainland, as we can see from the style of the gate and the buildings around the square, where Matthew, responding to the calling of Jesus Christ and the Apostles, abandons his post as tax-collector (the receipts attached to his worktable indicate that that was indeed his job). Notice the typical wooden parasols placed so as to keep the sunlight off the worktop. '
The Carpet Index
Lauren Arnold, last update 12/31/10
laurenarnold@cs.com
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
I took these photos last summer right before a big clean-up. I was going to do before and after shots, but I guess I was too exausted to do the after ones. Truthfully this is what it usually looks like when I am doing art. I clean it up, but I waste it lots faster than I clean.
New GreenHouse series by [CIRCA]Living.
Full greenhouse packages available along with smaller sets or single pieces. Many of the furnishings and planters come in 5 colours to mix and match - Nut, Plum, Teal, Beech, & Rhubarb.
You'll find lots of unique animations added to the series, including 8 garden types with props (to wear) to go with the anim cycles.
Find the packages for purchase here:
Nature Hill - GreenHouse Packages
Find the Nature Hill - Greenhouse Demo here:
Bedrooms: 4
Baths: 1.5
Approx Square Footage: 2600
Condition: Restored Exterior and Interior
Year Built: Circa 1904
This historic, Victorian home has been restored. Panoramic 180-degree views of the Verde Valley and the red rocks. Huge light filled rooms with high ceilings, vintage lighting, custom cabinetry. Did I mention the original Victorian claw foot tub, and pedestal sink? Spacious, kitchen featuring historic counter cabinet, commercial stainless sink, new gas stove and refrigerator. The master bedroom is on the main level with view bay window, designer vintage wallpaper, wainscot walls and ceilings. Two bedroom guest suite downstairs with half bath or use it as your home office. Large studio/darkroom with double sink, worktable, closets and shelving. Hugh shop area has access to the exterior. Space saver washer dryer. Enclosed private, lush, low mainatance landscape patio. New roof with architectural shingles and new clapboard siding recommeded by the National Trust for Historic Preservation. You have to see this home to really understand all the beauty!
List Price: $447,500
Desert Arrow Real Estate, LLC.
MLS #:110816
Contact: Katy O'Batey
Phone: 800.472.6914
Mobile: 928.300.0927
Fax: 928.639.3080
Email: Katy O'Batey
I have been reorganizing my office. This is what I have come up with. I sit behind the monitors and in front of the printer. The printer etc. sit on a pair of cabinets. There is a home-brew worktable off to the left and my soldering station/build area is behind the curtain. Not everyone in the Gai-koku-go-gaku-bu (Department of Foreign Languages) has this much hardware. The bookcases are along the walls to the left, out of the picture.
My New Years resolution- to tidy up and make this a better workplace!
After all, what good is all that worktable surface when I can't even see it!?!
*Fantastic Christmas Celebration Pictures *
Loading images, Please wait...
A Horde of SantasAbout 1,000 volunteers wait before the beginning of a
charity campaign in Seoul.
Lots of (Fake) SnowEvery year the Babbacombe Model Village in Torquay,
England, creates a winter wonderland in miniature.
OrnamentsA painted figurine of the Pope sits on a worktable at the Richard
Glaesser wooden toy manufacturer in Seiffen, Germany.
Non $top Entertainment only at Funzug! Click to Join 4
Free!
Santa's Helpers?Central European folklore holds that Buttenmandl and
Krampusse, above, follow St. Nicholas from house to house during the holiday
season to either bring luck to the hardworking or punish the
idle.
Santa WannabesThese young men work as waiters on a pub street in Nanjing,
China.
PromotionModels dressed like Dorothy from The Wizard of Oz pose in front of
the London superstore Harrods as part of a promotion kicking off the famed
emporium's shopping season.
WetA diver welcomes visitors to the Osaka Kaiyukan Aquarium in
Japan.
Non $top Entertainment only at Funzug! Click to Join 4
Free!
Letters to the North PoleLaplandUK, an interactive theater experience in
Lambenhurst, England, re-creates Father Christmas' mythical Arctic homeland
and offers guests a chance to cavort with real huskies and
reindeer.
ImmodestFestive lights adorn a house in Melksham, England. The display
requires more than 115,000 bulbs and an uprated supply of electricity.
Homeowner Alex Goodwind uses the attention he draws to raise money for a
local hospice. Last year, he raised £3,000.
A Christmas tree made from recycled plastic bottles stands on a street in
Paris.
Run, Santa, Run!Runners dressed as Santa Claus take part in the London Santa
Run in Battersea Park.
Non $top Entertainment only at Funzug! Click to Join 4
Free!
Ho, Ho, HoAn illuminated giant Santa greets Christmas revelers in
Berlin.
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
WHEE!!! it's unopened, of course i kept staring and hugging the box the whole time we were out, but i'm now pooped so i think i'll just head to bed first.....
isn't that dollcena just so cute? she's a "dandy pumpkin great" which i guess is jack skellington's other name? her hair is no longer held together by the rubberbands that came with her, that came off while i was trying to put on her facemask....
i'll be attempting to customize her and give her a faceup maybe tomorrow....my room and worktable needs packing!
New GreenHouse series by [CIRCA]Living.
Full greenhouse packages available along with smaller sets or single pieces. Many of the furnishings and planters come in 5 colours to mix and match - Nut, Plum, Teal, Beech, & Rhubarb.
You'll find lots of unique animations added to the series, including 8 garden types with props (to wear) to go with the anim cycles.
Find the packages for purchase here:
Nature Hill - GreenHouse Packages
Find the Nature Hill - Greenhouse Demo here:
New GreenHouse series by [CIRCA]Living.
Full greenhouse packages available along with smaller sets or single pieces. Many of the furnishings and planters come in 5 colours to mix and match - Nut, Plum, Teal, Beech, & Rhubarb.
You'll find lots of unique animations added to the series, including 8 garden types with props (to wear) to go with the anim cycles.
Find the packages for purchase here:
Nature Hill - GreenHouse Packages
Find the Nature Hill - Greenhouse Demo here:
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
New & Exclusive with 25% off @ Redeux Oct Round:
The culina & thermopolium package from our Civitas Series contains 14 item to decorate your roleplay environment in any ancient roman or greek setting. It suits any tavern or private kitchen/culina.
In the ancient Greco-Roman world, a thermopolium was a commercial establishment where it was possible to purchase ready-to-eat food. The forerunner of today's restaurant. These places were mainly used by the poor or those who simply could not afford a private kitchen.
Thermopolium, hearth and worktable contain animations and rezz props.
Item list:
Culina Working Table, 3LI, c
Culina Thermopolium, 5LI, c,m
Culina Hearth 5LI, c,m
Culina Herb Basket 3LI, c, resize
Culina Amphora Rack 1, 2LI c,m
Culina Amphora Rack 2, 3LI c,m
Culina Amphoras 2LI, c, resize
Culina Basket of Panis 2LI, c, m
Culina Dishes Shelf 2LI, c,m
Culina Jugs Shelf 2LI c,m
Culina Panis Cutting Board 2LI, c,m
Culina Spice Rack 3LI, c,m
Culina Storage Pots 1LI, c,m
Culina Vegetable Basket 3LI, c, resize
Please have a look at the other items and buildings of our civitas series, if you are generally interested in roman/ancient roleplay and decoration.
The set fits perfectly into the tavern of our civitas series.
flip (aka.. flipina, flipella, mama, lady)
at one of her favorite watering holes next to my worktable
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
I found this to be a very quick make. It's another great Tessuti pattern made up in silk. More details on the make... www.bombazine.com.au/worktable/tokyo-jacket/
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.