By Linda Chandler, Christine Ritchey
Twine is a favourite layout fabric for jewellery artists, bearing in mind the production of easy loops and gildings to extra concerned, complicated items. In jewellery Studio: cord Wrapping, Linda Chandler and Christine Ritchey-the best-selling authors of Woven cord jewellery and Getting began Making twine jewellery and more-take the secret out of twine wrapping and percentage their insider secrets and techniques for making stunning jewellery from bundles of joined twine, no soldering required! this system permits the jewellery maker to create undying, dependent items which are superbly easy to ornately complex.
Starting with a dialogue of safeguard, instruments and materials-including the categories of metals applicable for cord wrapping-and priceless suggestions, tips, and methods precious earlier than starting a primary undertaking, the authors hide the entire fundamentals of this deceptively basic approach. utilizing precise technique images, jewellery Studio: cord Wrapping exhibits the entire fundamentals of twine wrapping step-by-step then takes the reader via revolutionary ability development initiatives to educate quite a number wrapping concepts. initiatives contain bracelets, rings, pins, and cord wrapped pendants and likewise comprise directions for the hugely sought-after wire-wrapped cabochon. ahead of you recognize it you'll be developing a sublime bow tie bracelet, a celtic hyperlink bracelet with matching rings, a twine wrapped ring, a stunning bracelet with coils, and extra!
Read Online or Download Jewelry Studio: Wire Wrapping PDF
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Additional resources for Jewelry Studio: Wire Wrapping
Archaeologists, looters, and centuries of neglect have taken their toll on the remnants of what was once the ancient Tz’utujil capital of Chiya’, located across a narrow bay to the west of Santiago Atitlán (see Fig. 6). As a result, little of pre-Columbian Tz’utujil art and architecture survives beyond a few unexcavated mounds, small ceramic fragments, and roughly carved bas-relief designs on boulders scattered about the surrounding mountains (Fig. 2). These remnants are decidedly crude by Mesoamerican standards.
He found that, for the most part, his collaborators were less interested in the technical aspect of translating individual words or phrases than in clarifying meaning through associated myths: “He was never content with merely settling on a Quiché reading of a particular passage and then offering a simple Spanish translation; instead, he was given to frequent interpretive asides, some of which took the form of entire stories” (1985, 15–16). In working with the Tz’utujil, Mendelson found that spontaneous information was “much more alive and consistent than elicited information” (1957, 5).
Indigenous patterns. The process of Atiteco mythmaking is therefore one of accumulation, adding newer elements to older traditions rather than replacing them by substitution. Andrés Xiloj Peruch, a K’iche’Maya daykeeper who collaborated with Dennis Tedlock in his translation of the Popol Vuh, suggested that “you cannot erase time” (D. Tedlock 1985, 13). Thus Francisco Sojuel, as the greatest of remembered culture heroes in Santiago Atitlán, is associated in tradition with otherwise anachronistic historic events.