View allAll Photos Tagged worktable
Title: Sewing Children's Clothing photograph
Date: 1953
Description: Three women students sewing clothing for children, in this 1953 classroom. Wooden silhouettes of a boy and a girl serve as forms for fitting the clothing. One student is working on a bottom seam of a shirt on the boy model. Another is sewing on a Necchi sewing machine, the third, handsewing. Their worktable has sewing supplies including a copy of a pattern, and a finished short-sleeved shirt.
Image ID: 12-10-Children's clothing 1953.
Copyright 2008, Iowa State University Library, University Archives
For Reproductions: www.lib.iastate.edu/spcl/services/photfees.html
Photograph of Mistri Moolchand and his son at their house at Varanasi (Benares) in Uttar Pradesh from the Archaeological Survey of India Collections: India Office Series (Volume 46), taken by Brajo Gopal Bromochary in c.1870. Mistri Moolchand and his son are seated at a low worktable in the foreground, with other craftsmen at work in the background. Photographs like this one were exhibited at European exhibitions to demonstrate teaching methods in India. This image is inscribed, "Taken by the photographer in the service of H. Highness the Maharaja of Benares. Private School of Art...After exhibition to be placed at the disposal of the Secy. of State for India." The Imperial Gazetteer of India, describing this type of instruction, states: "Under the native industrial system the child learns his hereditary craft from his father or is apprenticed to a mistri, or master-craftsman, who is often a relative of the pupil...The child begins his work at a very early age; at first he is expected to undertake the menial duties of the shop, and is put to cleaning the tools; later he begins to perform the simplest operations of the trade. There is little definite instruction, but the boy gradually acquires skill by handling the tools and watching the workmen at their task. As soon as he has made a little progress, the apprentice is granted a small wage which is gradually increased as he becomes more useful; and when his training is finished, he either goes out into the world or secures a place on the permanent roll of his master's shop."
A new, smaller worktable, for smaller spaces (or to fill the corner the "L" with two full sized worktables.)
I've upgraded this one and the Worktable 2! They now have 15 poses, not 9, and many of them rez props.
Read more about it on the SL Marketplace, or some and try it out at the R(S)W Main Store on Livingtree.
From the archives, the brushes in a variety of sizes, shapes and usages in the carousel on my worktable...
ODT: assorted
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...
I know nothing about the origin of these three photos. They show most likely a woodblock printing studio in post-war Japan. In this photo the carver is clearing wood with a large chisel, gently tapping the chisel with a hammer in his right hand. The block is anchored with a wooden peg to keep it from sliding across his worktable.
This is the third journal I've worked in for the round robin journal swap on swap-bot. This one went from Canada to Australia and then here to Massachusetts.
Made from bits on my worktable, a paper napkin butterfly, a rescued stamp, and a piece from one of the 50 1920's-1940's Nat Geos that I bought today at the thrift store.
I added a couple of lines of French poetry to this that I found floating around on my worktable. Thought them appropriate.
The Chalon worktable is one of those classic chalon pieces that is often emulated, but never matched. The sheer weight and scale of these pieces impose warm authority into the space the occupy. Instantly calming and resorative. Clients can be reassured that they will preserve their values for the years ahead.
A nice double D end worktable with oak top. Chalon prefer to produce all the tops from single planks to avoid a patchwork look.
Birds eye view of the felty chaos resulting from 2 days of hard crafting :)
(This is actually our kitchen table!)
The Chalon worktable is one of those classic Chalon pieces that is often emulated but never matched. The sheer weight and scale of these pieces impose warm authority into the space the occupy. Instantly calming and resorative. Clients can be reassured that they will preserve their values for the years ahead.
This is the most workable surface-area I've EVER had in this or any studio of mine, which is exciting for ME, but kinda sad when I look at photos of people with vast swaths of counter-top on which to play...
This if the right hand side of the workspace. The room was redesigned around the IKEA Expedit shelves and worktable.
boston, massachusetts
january 1971
metalsmith / jewelry maker
meeting house gallery, beacon hill
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
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.
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.