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lune-hime · 4 years

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Garden of Tulips (Levi/Reader) Chapter 3

~Click me for more chapters~

“What did it look like?”

“Hmm?” Levi looked up from his place next to your sleeping form. “The titan that tried to snack on my darling granddaughter.” “Ugly as fuck.” “Aren’t they all?”

Levi recounts memories of the reader and their shared life together while she recovers from a serious injury.

!!WARNINGS!! - Violence, gore, smut, wholesome content ;)

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Tulipa kolpakowskiana ~ A tulip whose golden glow resembles the sunrise of a new day.

↞↠↞↠↞↠

Levi regained consciousness with a jolt, heart racing and tears bubbling behind his eyes.

Another nightmare.

I guess a good night’s sleep was too good to be true. He honestly didn’t remember how he dealt with his nightmares before you, and now you weren’t here to help. Levi had to resist his urge to leap up and crawl into bed next to you. Your well-being and your grandmother’s threat kept him in the guest room.

The sky was edging with light, signaling it was early in the morning. Levi knew from over 20 years of garbage sleeping habits that he would not fall back into slumber, nor did he want to. Instead, he opted for rising with the sparrows chitting just outside the peeling window. He lifted himself up from the sheets, and groaned as the tightness in his joints fought back. Releasing the tension from his body with several alarmingly loud cracks, he arose and turned down the hall towards your room. The light casted a muted glow over your bed, the sheets bathing in a cool yellow hue. Your form was still as motionless as it was yesterday; arms neatly folded at your sides, hair neatly brushed out of your face. You looked like you a model in a museum exhibit which sent Levi’s stomach churning. Your grandmother must have already attended to your wounds because as he sat down next to you he regarded the fresh bottle of alcohol and roll of bandaging. That would explain your clean look as well. A partially eaten jar of applesauce and used spoon were neatly placed on the nightstand. Levi let out a sigh of relief that you were able to keep some food down.

“Good morning.” He greeted in a hushed tone. Usually in the early hours of the morning, he would be conscious of how loud he was being as to not drag you out of sleep. But now all he wanted was for you to wake up, to respond to his voice. Your skin looked as fragile as glass, with too much pressure you would shatter into the satin. Warmth was rising to your cheeks, though, which was an improvement from yesterday.

He wasn’t sure if you could hear him but he continued to talk to you anyway, about the expedition, about his interactions with your grandmother, about the beautiful tulips. He could have remained by your bedside for an eternity until a rancid smell passed through his nostrils. Repulsed, he looked around the room for a clue to its origin until-

Oh shit, it's me.

The master bathroom was rather spacious with polished tiles and copper embellishments. The tub was enormous , so large that Levi felt like a child within it. Where had the old woman acquired all of this lavish furniture?

Treading over to the basin he twisted the golden knob and let the water run over his other hand, testing it until it was a soothing temperature. Leaving the tub to fill, he wandered around the bathroom. He turned in the mirror to regard the back of his shoulder. A sparse breath puffed from his lips. He had never actually bothered to look at his wound the night before. His skin was stained a deep purple that spanned most of his shoulder.

Disrobing fully, he carefully stepped into the tub, goosebumps prickling all over his body when the warmth kissed his skin. He sunk into the water, the steam visibly emanating from the pool. Levi let out a breathy sigh and his pupils lulled to the back of his eyes as he relished in the soothing hands of the water. He couldn’t hold back his moan as the water numbed his swollen skin and sent him into a temporary state of peace.

↞♞♘↠

“I feel so icky.” You whined, bouncing in an exaggerated manner. The way your limbs were flailing around made Levi snort. Expeditions were never fun and neither was coming home from one. The unwanted pinching along your ribs, the dull aching everywhere, and discolored plum pigmented spots that bloomed on your skin never failed to be your welcome home present.

It had become a tradition for you and Levi to sleep in his quarters after particularly taxing scouting excursions as he claimed his bath was more effective at getting the blood and soot out of every crevice of the body than yours. Honestly you didn’t doubt his reasoning with all the cleaning products he used on a daily basis.

“Me too.” Levi dittoed, exhaling with a groan as he removed his left boot. The leather leaving his foot made a satisfying pop. Lifting the shoe to his face, he examined the contents with a knit brow. He must have been unsatisfied with what he saw because his features contorted into a grimace and his tongue peeked out from behind his teeth in distaste.

You barely heard the softly spat fucking disgusting before he removed the other one and neatly set them in the corner by the door. Upon releasing his other foot from its confines, he then immediately retreated into the bathroom. As you began removing your own boots, the harsh sound of water running filled the otherwise quiet room. The moment you bent down to remove your shoe, the pinching in your side intensified.

“Fuck.” You hissed breathily, hand reaching awkwardly to massage the tender area.

“What is it?” Levi’s call was distorted by the flowing bathwater. He apparated into the doorway, nimble fingers halting at the fourth button on his shirt.

“Nothing, I just have a cramp.” You explained, attempting to wave his concern off with a small grin. Your foolery was cut short, however, when your body refused to bend further than your knees. You stretched half way down your legs before your body decided that was far enough, leaving you rocking back and forth like an inchworm as you grappled at the lacing on your boot.

Levi pursed his lips, inhaling his almost-chuckle, and left his post in the doorway to kneel before you. He gently rose each foot and slipped both your boots off, cringing when more foreign substances were discovered. Your eyes met in silent disgust, neither of you really wanting to investigate further. Once your socks were removed, Levi’s fingers danced over the sole of your foot mischievously. A crackled squeak left your lips and you lightly kicked him with what strength you had left. He didn’t attempt to cage his laughter this time and his hearty chuckle danced around the chamber.

“I can get my shirt.” You stated, a determined glint shining through the bags under your eyes.

“Oh?” Levi challenged with a hint of jest in his tone. With a raised brow he rose to his feet and disappeared back into the bathroom.

It was going well until you missed one button and that was all it took for you to become a tangled mess. It was like you were playing a game of twister by yourself. Levi barely heard the tiny help that was muffled by the haphazardly folded fabric wrapped around your limbs. You waited for a moment, staring at the inside of your shirt and your arm starting to get tingly from its awkward position at the back of your neck. Then a light tug cleared your vision and you were faced with Levi’s bare chest. He had successfully managed to remove the garment off your constricted torso without causing your side to act up.

“My hero.” You thanked in a sweet voice, more fatigued than you should have been from that ordeal. He responded with a kiss on your forehead before resigning towards the bathroom yet again.

“Do you want to go first?” You proposed, running your fingers through your mussed hair to check for any unidentifiable materials. Fortunately they came back empty handed.

“I thought we could go together.” He suggested, his belt coming undone with a metallic gingle. Once it was coiled and placed in his dirty hamper he turned towards you and waited expectantly.

“Lemme just put my clothes away and I’ll join you.” You said, undoing the buckles of the straps that snaked around your thighs.

“You need help with your pants?” Levi offered casually as he began to fiddle with the zipper of his own.

“Trying to get into them, Mr. Ackerman?” You retorted with the quip of an eyebrow.

“Only if it gets you into the bath faster.” Levi returned your accusation, his eyes shining with amusement. The lazy familiarity in his gaze beckoned you to remove the rest of your uniform with haste.

Now clad in only your underwear, you shuffled into the lavatory a few minutes later. Walking into the room felt like entering the inside of a soothing flame. The candles Levi had lit casted the room in a warm and silky blanket of light and their comforting atmosphere almost made you melt into a pool of candle wax the instant you entered the space.

The luxury of his bathroom was a stark reminder of your days as a cadet and you constantly thanked the heavens that you no longer needed to take community showers. The time you had accidentally walked into the boy’s shower room left a deep scar that had the situation playing forever on a loop.

Your companion had himself already submerged under the frothing water. The airy bubbles outlined his reclined form and clung to his pale skin as if they were afraid he would part from their lavish cradle. The smell emanating from the bath was of lavender, a scent you recognized as Levi’s birthday gift from Erwin. He was too crass to admit it, but the amount of times he used the bath salts and the way his body practically became one with the foam betrayed his indifferent fasad.

He had not yet registered your presence, the enticing embrace lulling Levi’s eyes shut and parting his rosy lips. Your heart could not contain itself and began fluttering against every surface of your body. He lolled his head back to look at you when your steps hit the tile with a little too much force. His lips upturned and eyes slowly opened into a blissful expression.

Reaching back to unclasp your bra, your gaze momentarily fell to the side of the tub. Just as you began to slide the straps down your shoulders, a slight sloshing of water from the tub halted your movements. Levi was regarding you boyishly, an enamored smile gracing his porcelain features. The pure domesticity of the situation caused a garden of warmth to cultivate in your heart, spreading through your bloodstream and pooling at your cheeks. Your faltering caused a velvety chuckle to rumble through his chest.

“What? I can’t watch you?” He purred, blinking slowly and smiling contently. To him, you were the most exquisite thing in such a grimy world. Even if you were grimy, too, at the moment.

“I- uh, no it's okay.” You flushed and continued to undress. The garment fell to the floor with a soft clatter. You eyed him once more as your fingers brushed the silky hem of your underwear.

His smile only deepened, and his eyes refracted the candle light and the way the flame danced within them mimicked a sunset along a silvery sky. He had stopped hiding his smiles from you long ago.

“You know I can’t count the amount of times I’ve seen you naked before.”

You breathed out a laugh, too exhausted, too flustered, and too eager to relax to come up with a snarky comeback. You planted yourself at the side of the tub and made a moving gesture with your hand.

“Scoot up.” You instructed. Levi blinked a couple times before obeying, the bubbles relentlessly sticking to his skin as he glided up the tub. You slipped in behind him, immediately feeling the bruises and scratches of the battle being subdued by the heated water. Guiding his shoulders back so his body was pressed against your chest, he practically melted into your embrace at the feeling of your plush skin.

Delicate hands glazed over his torso, spreading the bubbles up his chest with the tranquil pitter-patter of water. A shiver followed in their wake, chasing the feeling of your touch when your hands left him to lather themselves in shampoo.

“How are you feeling?” You asked sweetly, working your foamy palms through his obsidian locks.

“Nothing hurts more than usual.” He sighed, muscles involuntarily flexing under your minstraitions.

“That’s not what I meant.”

His response was not surprising to you. You had grown accustomed to the delay in response in regard to emotional questions. While Levi often confided in you, he still had his affliction with expressing is inner turmoils. Yet, the closer the two of you grew and the more time you spend together, the shorter that intermittent silence became. Your teeth worried at the inside of your cheek in anticipation as you massaged the clipped hair at the base of his head.

“Nothing hurts more than usual.” Levi repeated but this time with a gentler tone. It signaled not to press further but allowed you to sense meaning behind his words. You nodded in understanding. Seasoned soldiers became numb to the bloodshed of war to a certain degree but any weathered scar still holds the potential to bleed.

“How are you feeling?” Levi asked and gingerly traced patterns along your thigh.

“This expedition seems like child’s play compared to the one in a few weeks.” You said with a tinge of worry lased in your statement. Levi hummed in agreement and craned his neck to give you better access to the area of hair next to his ear. The two of you had avoided talking about it too in depth as you knew what dwelling on heavy tasks during the time of a current expedition would place you both in a bad mental state.

“It will be risky, but Erwin knows what he’s doing. He-” Levi was unable to complete his train of thought when you tugged just right on a section of his hair. He let out a husky moan that mingled with the steamy flush of the tub and what heat resided within your face was now pooled between your legs.

His body went rigid in embarrassment and you immediately halted your massaging. His sensuous reaction surprised both of you but it was endearing that even after all this time, the two of you could still be so bashful in front of each other. You could never get enough of his vulnerability, a side he reserved deeply for you.

“Felt good?” You giggled, smoothing your palms over his shoulders. The plush press of your breasts against his back drew a shaky breath from deep within him. In one fluid moment, Levi sank under the water and reemerged facing you. The sight before you sent an electric stream volting through your nerves. The dark expanse of his wet tresses framed the ravishing galaxy that swirled vividly within his eyes. His canines toyed with his lower lip, determined to get even with you for laughing.

“Not as good as how you are about to feel.” His voice was so low it seemed to vibrate the whole tub and sent a shockwave of pleasurable currents across your skin. He licked his lips languidly, carefully grabbing your thighs and adjusting your legs so they rested atop of his. Now it was his hands that smoothed down the heated skin of your arms, stomach, thighs, the cusp of your breasts, and gliding along your shoulders. He placed tender open mouthed kisses against the shell of your neck, collarbone, and then again to the swell of your breasts. The touch left your skin burning with desire and with every exhale the steam thickly materialized above you. Your body curled into his, the need for friction becoming unbearable. It was Levi who now chuckled in delight when his fingers found your core. The moan he drew from you made him light-headed and left his consciousness as fuzzy as the humidity of the bathroom.

Just as Levi began intensifying his strokes, his movements began to grow lazy. You started feeling sluggish as well, the sultriness of the room lulling you into a sleepy daze. As the immense exhaustion from the expedition caught up with your bodies, the two of you let the water earnestly lap at your slumped forms. For how long, you did not know. Levi’s eyelids drooped and you became aware of the dark lilac bags residing under them. Your sore side too decided it wanted in on the fun and started singeing the right half of your body. You were about to tap Levi to get him to move when his head suddenly dipped, the sweet release of sleep getting the better of him. His head only touched your shoulder for a second before it snapped upward. The disoriented expression he wore caused you to bark with laughter.

“I’m trying to be sexy.” He pouted, the cosmic hue of his eyes fading to a dull gray. He squeezed your thighs playfully.

“If we don’t get out of this tub soon we are both going to fall asleep and drown.” You squeaked, hitting his shoulder lightly and moving off of him to step out of the tub. He gently held you in place.

“I need to wash your hair first. Turn around.” He said tiredly. You could barely distinguish his request through his lofty yawn.

“Okay, but don’t take too long or we’ll get all pruney.” You remarked after popping a stray bubble caught on his cheek.

“SIR! REPORTING FOR MORNING CLEANING DUTY.” The shrill voice cracked with the breath of a fresh morning. Whoever was yelling really had pipes.

“Shut the hell up, Jaeger. She’s still sleeping.” Levi’s annoyed chiding was much harder to hear from the otherside of the closed bedroom door. Shuffling and muffled fumbling for what you expected was the sanitation equipment followed the commotion.

“How are you so energetic at the ass crack of dawn?” Levi tsked and playfully hit the cadet atop the head with a folder just as the boy picked up his duster.

↞♞♘↠

Levi’s head had begun to ache with a dull blurriness after spending a sizeable amount of time in the bath. His temple cooed under the pressured glides of his pruney fingers before resigning to get up, lest becoming the embodiment of a raisin. He heaved himself out of the heavenly pool, dizziness immediately enveloping him when his feet touched the bathmat.

Upon returning to his room he found a freshly folded pile of clothes awaiting him on the leather lounge chair. The garments were a little too posh for his liking but anything was better than the tattered remnants of his uniform. The finished look made Levi huff in mild surprise. The scarlet dress shirt fit snugly on his shoulders and highlighted the curvature of his biceps. He got rid of the excess billowing of the torso by tucking it snuggly into his slacks. The pants were expertly tailored, an indication they originated from a higher class, and complemented every outline and muscle of Levi’s lower half.

Except for length.

Muttering to himself about the inconvenience in the height difference between the previous owner of these clothes and himself, he began thinking of ways to alter the outfit so he didn’t look like a child or walls forbid a hobbit.

After rolling each pant leg up neatly just past his ankles with slight irritation, he perched the suspenders utop of his shoulders and padded over to the mirror. Clearly whoever these clothes belonged to was much taller than he. But he didn’t hate it. In fact, he sort of liked how he looked. He twisted his body this way and that to garner as close as he could get to a 360 degree view. He gave himself an approving nod and grabbed a piece of stationary and a pen before exiting the room. He made his way downstairs but not without peeking into your room once more.

The house had a much different aura than the night before. The sunlight extended its pale tendrils through the polished glass and beckoned Levi to sit at the small table in the corner next to dutch door window. He placed the stationary on the carved wood and gasped when his back suddenly cracked. It was then he realized just how sore and exhausted he still was even after the bath.

He needed caffeine badly. Your coffee addiction was, unwantedly at first, rubbing off on him. Before the two of you were close he had no interest in dirt water as he called it. However, you slowly opened him up to a new world where long nights were made substantially easier and when his tea just didn’t cut it. Levi had been conditioned to like the strong way you made it, but it was indeed an acquired taste.

Thumbs absentmindedly played with the fabric of the suspenders as he scanned the spacious room for a french press. Now that yesterday’s adrenalin had been cleansed from his head, he could see the room clearly. The room was filled with life, literally. Plants were everywhere; potted and leaves overflowing from their confines. The wood was more polished and artistic than his glazed eyes had seen the night before. The decor emitted wealth and pretentiousness yet it gave him the opposite feeling. He felt like he was at home, and he didn’t know what to do with that feeling.

Locating the french press next to one said plant, Levi brewed his drink under the warm morning embrace and the lithe song of songbirds. Once he obtained his cup of coffee, he resigned back to the table and wrote his letter between sips and gazes out onto the yard.

Erwin,

As I’m sure you are aware, Y/N and myself were separated from the left flank during the expedition. We’re okay. We are staying on the outskirts of Krolva.

Y/N has sustained heavy but not lethal injuries.

I’m fine.

Don’t worry your eyebrows off.

Levi

“How long have you been awake?” A familiar gruff voice hollered from the hall. Levi had just finished sliding the letter into the envelope when your grandmother appeared in the doorway.

“A couple hours.” He said with characteristic plainness.

“You look a lot better than yesterday. Cleaner too.” She commented and returned to the hall to discard her lightweight coat.

“I took a bath.” His thumb eagerly pushed against a paint chip in the elegant coffee mug.

“Well good for you, I’d figured you would know how to properly bathe.” She chided with a jestfull tone. From his seat next to the window, Levi could see the woman shuffling around the shoe rack. He gave her appearance a once over; mud encrusted baby blue paddock boots, an apron with a floral design embroidered into the front pocket and gardening gloves just as dirty as her boots. When her outdoor clothing had been discarded by the front door she padded back into the sunlit kitchen. His eyes were still fixated on the dry dirt that littered her apron, work pants, and shirt. His nose wrinkled automatically.

“I was gathering tulips.” She responded to Levi’s silent inquiry. He simply nodded and when she turned towards him a satisfied smile chuffed her cheeks. Her hands were perched attentively on her hips.

“Well don’t those clothes look nice on you. I was afraid they would be a little loose fitting.” She clicked her tongue approvingly. Levi idly attempted to hide the extremely rolled up pants by crossing his legs at his ankles.

“Those were my son’s clothes. I know he had a couple inches shy of a good foot over you but they suit you. You both had a similar style.”

Levi stiffened when your grandmother revealed who’s garments he adorned. It didn’t bother him, per say, but it did feel a bit strange wearing something that belonged to your father. Curiously intimate. Like this whole experience, Levi reckoned.

“Yeah, they fit alright. Thank you.” His curt response made your grandmother purse her lips. She was determined to get him to open up to her.

“Oh! You made coffee how delightful.” She said giddily as she made a beeline for it. When she had poured the amber liquid into delicate china she took one sip, smacked her lips in a sophisticated manner, and gagged.

“You make it just like her, strong as shit.” Your grandmother muttered sounds of disgust that hid Levi’s breath of amusement. She hastily retrieved the sugar and milk from the pantry and remedied the deathly drink to her liking.

“While I was out there I fed the horses-” She added after a satisfying sip of her coffee.

“And your corps horse is a huge pain in my knickers. You know, in all my years serving in the military I’ve never met such a spoiled creature before.” She ranted as she sauntered over to the tiny corner table. She sat down opposite of Levi, taking her apron off and waving it out to get some dust off. Levi dodged it the dislodged particles.

“The bugger went to bite me whenever I tried to look at his wounds and even feed him. I don’t know how he passed his horsey exams because he’s so disobedient.” She scoffed and took a particularly violent swig of her drink.

“I’ll go check on him later.” He said, furrowing his brows when his cup no longer contained his energy source.

“Humor me. Why don’t you just get rid of the thing? It’s too ornery.” She proposed slyly, the aged wood of the chair creaked as she leaned back against it. Levi noted her posture, she may act prickly but she walks with the grace of someone raised inside the innermost wall.

Levi harbored the same sentiment about the horse. It still blew his mind how Zacharias even chose him in the annual foaling. If he had the choice, Levi would have been born with the ability to wiggle his fingers and magically make bratty horses disappear far away to a distant farm where they would never be heard from again. Scratch that. Anything or anybody that was a brat. What a heaven that would be, half the cadets turning into stardust. Levi’s eyes were glazing over as he became lost in his fantasy but your grandmother’s harsh cough reigned him back in.

“It’s Y/N’s horse.” Levi stated simply. Her mouth formed an O shape and she nodded in understanding. As much as he thought it was a pain in his ass, he loved the smile that creature brought to your face.

“Well, that will do it, huh.” She affirmed pushing off the table and abruptly taking his empty cup.

“How’s the shoulder?” She questioned as she poured a fresh batch of coffee into the reservoir.

“Still aching, but better.” He replied, rolling it around a little to show her. She nodded silently and drew closer, placing the drink gently in front of him. He returned her gesture with a small smile.

“Do you think you have enough energy to help me with my shipment?” She suddenly inquired, hand resting on the table.

Levi stopped mid sip and looked at her with a quizzical expression. Shipment?

“I have to ship out some tulips today, some dusty politician has a banquet tomorrow.” She said dismissively.

“What about Y/N?” Levi said this as more of a statement than a question. Surely one person had to be around in case something came up. What if she awoke an no one was there to assist her? Even worse scenarios swam through his mind.

“I have a so called housekeeper .” Your grandmother rolled her eyes. Damn your family really was more well off than you had led on.

“I insist that she stops coming but that lass is hellbent on helping me with this estate. If you can even call it that. ” Your grandmother mumbled the last bit. “She comes by everyday around 11 am whether I like it or not. So we will leave once she arrives.”

Levi’s brow knitted with worry. Would a housekeeper be able to care for you as your grandmother did if your body suddenly rejected the applesauce? If a stitch came undone and the river of blood became unclogged-

“Son, don’t worry. The girl has known Y/N all of her life. She’s an apprentice at the apothecary in our village, I couldn’t think of more capable hands besides our own to leave her in.” Your grandmother comforted his silent spiral into anxiety. It was curious how she was able to continue to hone in on what he was feeling.

Levi contemplated her statement for a moment, finger idly running along the rim of the china.

“Sure.” He agreed. Even though the idea of parting with you in this condition made his nerves flare up, you trusted your grandmother with all your heart so that meant Levi should too.

“Splendid, I will begin the preparations.” She cheered, clasping her hands together and pushing off the table.

A warm bowl of oatmeal and another cup of coffee later, Levi found his arms shaking slightly under the wooden crate. Who knew flowers could be so heavy. Of course his body wouldn’t have recovered within a day but he had never felt so exhausted in his life.

“Is there a post office where we are going?” Levi asked asked between heaving breaths as he loaded another crate into the back of the carriage. Your grandmother rounded the vehicle and dropped her gaze to the paper sticking out from his pants pocket.

“Mhmm, we’re going to drop them off in town. It's about a quarter short of an hour's drive from here. From there, a royal attendant will pick up my goods and we can be on our way.” She explained. Before turning, she pointed to the parchment.

“Is it a love letter to the Commander?” She smirked. Levi rolled his eyes and went to grab another crate. With every box he placed onto the polished surface, a waft of fresh scent would pass through his nose. He's never smelled anything quite so aromatic and pleasing before.

“That should be enough. This is one of my smaller orders.” The little woman stated with satisfaction. She turned with the poise of an ex-soldier and moved to sit on the porch steps. Levi mimicked her movements and settled himself onto the heated wood.

"And now we wait for that troublesome girl."

#levi #levi x reader #LEVI ACKERMAN #drabble #AoT #aot imagine #attack on titan #attack on titan fanfiction #snk x reader #snk #imagine #shingeki no kyojin #hange zoe #jean kirschstein #bisexual jean

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fromthedust · 3 years

Photo

In a recent post I wrote about ‘parts-n-pieces’ being tried-out as design elements. These are some of the ones that were considered for the Connemara Window piece but they just didn’t make it for a variety of reasons.

‘Parts-n-pieces’ elements awaiting placement in the right work:

Etruscan flat woman butt - cast bronze with verdigris patina - 2½" high - this was modeled and cast during one of my teaching trips to Italy after seeing several small ‘flattened’ votive figurines in a local archeological museum. From memory I modeled a pair in wax and then cast in bronze copies of two of the ones on display in the museum. They depicted female and male figures without limbs or heads but where the bodies are stylized into simple rectilinear forms with buttocks and genitalia on each respective side. This one originally had a mons pubis on the other side but it also had a flaw - a large bubble - so I ground it off flat so this could be more easily used as a one-sided element. This side has a bubble too, but as it is on the bottom of the butt it doesn’t spoil the view . . . <grin> I’ll post pictures of a double-sided male figurine in a later post.

dyed and eroded plaster fragment - about 2" wide - this was a fragment of a plaster casting that had been left outdoors open to the elements for several years. Plaster slowly dissolves in rainwater, eroding becoming more porous and delicate. The casting broke. This fragment was trimmed to a flat back and flat edge at right, then dyed with red and yellow pigments. Extremely fragile, this will have to be shown under glass - this was a contender for the shadowbox in Connemara Window.

crab shell cut into a rectangle - about 3" high - found on the beach in coastal Georgia, cut into a rectangle with a small diamond saw. Also very fragile, when I use crab shell parts they are usually filled with something to strengthen them (plaster, fiberglass, polyester resin filler, etc.).

cropped belly of African carving of a man - Gaboon ebony - about 6" wide - from a broken and discarded African carving of a man originally standing about 16″ high. The figure was cut up into about ten pieces — the longest arm was fashioned into a clay modeling tool — and several others have been added to sculptures already. This belly was the single largest piece, it was contoured and sanded to 220 grit, leaving the ‘outsie’ belly button untouched.

rectangle of cast bronze - with patina - about 6" wide - this part of one of my foundry student’s failed/discarded castings, thrown back into the scrap bronze pile so he didn’t have to pay for it. I cut it down into a rectangle and paid for it. The patina developed naturally from being left outdoors for a month or so in the scrap-pile.

cut fragment from a 19th century Chinese opium or wedding bed - lacquered wood - about 6" wide - when my parents were first married and living in an apartment with a new baby (me) in a house owned by my grandparents my mother took a delivery for my grandfather and she was surprised to have to sign for delivery of ‘opium beds’. Grandfather had purchased a couple of antique Chinese ‘Opium’ or ‘Wedding Beds’ that were in disassembled parts. They had intricately carved openwork depicting stories from Chinese legends or mythology. The figures in the carvings were all about four inches high and lacquered in red black and then highlighted in gold leaf. Many years later my father took these disassembled parts and made furniture elements with them — a pair of mirror frames for the hallway, a headboard for their bed, and several framed carvings as decorative wall hangings. My father gave me all the leftover fragmentary pieces which were too damaged to employ successfully. A number of these have been used as ‘found-object’ elements in sculpture over the years. This small fragment is one of perhaps ten pieces remaining. In another post I’ll show some of the carvings themselves, presented as my father displayed them.

cast bronze spill - with verdigris patina - about 3" wide - when casting bronze there are inevitable spills when pouring into the lost-wax molds buried upside-down in the sand. It is not unusual because the pouring team are students who have never cast bronze before. The Crucible holding the molten bronze weighs about 300 lbs, Added to that is the steel pouring frame which is another 50 lbs., so the two students are each carrying about 175 lbs. while they pour about ten molds — no rest or breaks until the crucible is empty. The average class enrollment for foundry in the studies abroad program is 7 female to 3 male students. But most of the students welcome the challenge to be on the all volunteer pouring team. It is exhausting work, so the occasional spill is expected. After the molds have cooled (about eight hours) and the students have taken the molds away to open them and see how their castings came out, I would rake the sand pile for retrieving the spills. Most of the spills would simply go into back into the scrap bronze pile and get re-melted in the next bronze pour, but sometimes I would save an unusual spill as a potential element in a future sculpture. Being as small and thin as this spill was it probably cost me less than fifty lira (about 25 cents). The cost is figured by the kilo. To see the process of bronze casting from modeling to finished bronze visit my web page: http://www.dondougan.com/cortonaPAGE.html

striated oval thigh disk - polished Gaboon ebony - about 1½" wide - when I cut apart the broken ebony carving of the man (see the cropped belly above) I used a band saw with fairly coarse teeth. This disk was at the top of one of his thighs, the texture left by the wobble of the band saw teeth. It was then polished with emery on a cotton buffing wheel.

positive casting from a dismantled sculpture - cast polyester resin with embedded piece of Carrara marble - about 5″ wide - Perhaps about twenty-five years ago I made an eight-foot wide outdoor sculpture in limestone in which were cut a series of rectangular recesses, each of which was then fitted with a different material. In one recess was fitted a slab of bardiglio marble with a natural wavelike texture. The bottom of the slab was irregular, and to get a nice fit for the adhesive a small pebble of marble was placed and then filled around it was polyester body filler into which the marble slab was pressed while still soft. Years later when the wooden elements of the sculpture had deteriorated so badly by the weather the sculpture was dismantled for parts. The bardiglio slab popped out of the recess whole, leaving this polyester casting of the space between the marble and the limestone. The surface you see was cast from the bottom of the limestone recess, you can see the tooth chisel marks as little rows of dash-like bumps in the positive casting.

rectangular slab of Cobb County foliated talc - about 6" high - over thirty years ago when the intersection of I-75 and I-285 was being reworked some light colored stone was being dug away for one of the arcs of the cloverleaf. A small bolder of the light colored stone was retrieved from the site and It turned out to be foliated talc — a type of soapstone known for its distinctive grain-like texture. It is very soft, and because of its grain it often disintegrates while being cut. That small 10″ boulder has been cut into many small slabs over the years to be fitted to perhaps a half dozen sculptures. This is the last piece left, and to reinforce its friable nature the bottom side of the slab has been laminated to a piece of metal with epoxy. The metal plate has been soldered to a couple of T-nuts to allow fastening to the sculptural matrix.

To sum up this post I freely admit to being a ‘packrat’ — scavenging things of interest wherever I happen to find them. Then I just have to trust my intuition to find out how and where to use them in sculpture.

#materials #parts-n-pieces #elements #found objects #cast objects #stone #texture #ebony wood #antique #lacquer #crab shell #plaster #spill

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rapturerecords · 4 years

Audio

Song: Slave to the Blues / Oh My Babe Blues

Artist: Ma Rainey and her Georgia Band

Record Label: Paramount 12332

Recorded: ca. December 1925

Location: Project V13 teaser

A rare song from a rare label. Here’s “Slave to the Blues” presented by the infamous Paramount Records label. Regrettably due to both its age and the somewhat non-standard practices of recording and pressing at the label, the audio quality leaves something to be desired, but I have tried to clear up some of the noise.

This year is rather auspicious as it is the 10 year anniversary of the 2010 teaser for Project V13 on the Fallout website and also the recent release of a new film Ma Rainey’s Black Bottom on Netflix. This record happens to have been made two years before the recording session depicted in the film.

When logging into the now-defunct Fallout Online website, players were greeted with a series of Polaroid photographs being tossed onto the table offering shots of buildings and concept art while this song emanates from the glowing record player and radio combination console on the right.

Recorded in late 1925 in the winter, this song is one of the few songs from the 1920s used in Fallout and would have been the oldest recording used in the series.

A period Chicago Defender print ad for Ma Rainey’s “Bessemer Bound Blues”, recorded during the same session. Also listed are other Paramount Record titles.

Born Gertrude Pridgett, though otherwise known as Ma Rainey, she lived a fairly colorful life rife with intrigue and rumor. Even her birthplace is uncertain with various sources giving credit to Alabama or Georgia.

As her named suggests, she is dubbed the “Mother of the Blues”, combining elements of vaudeville and early “jass” (later spelled as jazz). She and her husband William “Pa” Rainey toured extensively throughout the South in the 1900s and 1910s with live performances in minstrel shows and vaudeville. It’s around this time she coined the term “blues” to describe her music as well as developing a relationship with Bessie Smith, also up and coming.

Though demand for recordings by black musicians was high, the color barrier meant that Rainey was not able to be shellacked until 1923 by signing with Paramount.

While she recorded with many jazz stars of the day and made over one hundred recordings with Paramount, the film focuses on her last years with the label which would also go bankrupt by the 1930s.

Regrettably, there are comparatively few photos of Ma Rainey, but her voice still echoes from the grooves.

Left: A still of the 1984 Broadway cast, Center: A Playbill for “Ma Rainey’s Black Bottom”, Right: A reverse shot of the same scene from inside the recording room from the 2020 film

Strictly speaking, Ma Rainey’s Black Bottom is not an biographical film, but rather a restaging of the 1984 August Wilson play of the same name which dramatizes a 1927 recording session in Chicago. Many of the scenes take place outside of the recording room and focuses on conversations between the band members. With the exception of Ma Rainey herself, while the roles of the musicians, the recording engineer and so on undoubtedly existed, the characters are largely fictional.

The title refers to a song and dance of the same name, and of course Ma Rainey’s version of it as yet to be recorded until near the end of the story. The above record label represents the central MacGuffin which is never directly seen in the film, but drives the plot forward. While much has been said about the characters portrayed in the film including the last film role of Chadwick Boseman, here’s a closer look at one of the more muted mechanical stars of the 1920s recording process documented in the film.

Triptych of a heat wave: an electric fan, an ice-cold 5¢ bottle of Coca-Cola, and a box of discarded lacquer discs.

A slight change to the script of the play is the changing of the setting from winter to summer as foreheads glisten with perspiration. While dialing up the oppressive heat brings more prominence to the electric fan and Coca-Cola scenes (the character Levee also attempts to repeatedly open a door for ventilation), the original recording session for “Ma Rainey’s Black Bottom” was in the winter of 1927. Perhaps the winter release of the Netflix film was meant to be a reminder.

This also has an impact on the recording session itself. The film depicts the recording session using smooth black lacquer discs (sometimes called acetate discs though they do not contain that material). As the recording engineer tosses the bad takes into the bin, it shows they are thin metal discs covered with a thin layer of nitrocellulose lacquer.

Industry films showing wax blanks used to make the initial recording before heading to the plating process. Note how the wax is polished to a shine, the disc is thicker, and of a lighter color than lacquer. The text intertitles indicate silent film footage. The first three rows date to the 1920s with the third for a Columbia Records pressing plant. The last row is a film from the 1940s showing RCA Victor still using wax recording blanks. All are for shellac 78 rpm records as the vinyl LP would be introduced in 1948.

Industry films showing lacquer covered blanks used to make the initial recording before heading to the plating process. Note how the blanks are glossy black and much thinner. The first row is from the late 1930s showing lacquer discs being used to eventually cut shellac 78s for Variety Records. 1948 would bring the invention of the vinyl LP and more common color footage. The second row shows updated footage from RCA Victor in the 1950s now using lacquer discs to press newly invented vinyl LPs. The last row also shows lacquer blanks for Capitol Records. If you don’t recognize Mel Blanc’s face, you may recognize his voice from innumerable Looney Tunes cartoons.

Contemporary film footage from record pressing plants during the 1920s more commonly show thicker one-inch discs made of wax being used in the record lathe. Lacquer discs were more commonly used in the decades following.

A wax disc would have melted in the sultry summer of Chicago which gets as hot as it does cold in the winter. While it was easy to keep a wax disc warm, cooling technology had not progressed so far during that period. Many of Ma Rainey’s recording sessions appear to have been made in the winter or at least the cooler months in Chicago and New York. A humorous anecdote about a 1930s Bob Wills recording session details packing the wax master recordings on couple hundred pounds of ice to beat the Texas heat.

Though phonograph cylinders were made of wax a few decades prior, these wax discs made during the recording process was the origin of the term “spinning wax” popularized by disc-jockeys.

Regardless of wax or lacquer, this recording is extremely fragile and unable to be played very much. Similar to today, the process still continues to metal plating where multiple more durable metal copies are mirrored before eventually stamping out the right side up grooves into a vinyl slab, or more appropriate for the era depicted in this film, a shellac record.

Production designer Mark Ricker called the record lathe the “fifth star of the movie”. There are scant details about where they obtained the record lathe except it was from a recreator in the Los Angeles area. It is possibly related to the work of Nicholas Bergh who had restored a working 1920s record lathe which was featured in the documentary film series American Epic. The series explores this period of early recorded music and the people in front of and behind the microphone including Ma Rainey. In addition, contemporary artists attempt to adapt their music to the rigors, quirks, and restrictions of a 1920s recording studio. Jack White also produced on the film as well as producing the extensive Rise and Fall of Paramount Records box sets. Admittedly, the two machines aren’t a perfect match, but there is a very similar brass weight driving the entire mechanism which spectacularly snaps and crashes to the floor in a recording session.

With lacquer discs being used to preserve radio broadcasts by the late 1930s, it is likely the record lathe was adapted to work with lacquer discs since they are still in use today and more common to come by than wax discs.

Also notable during the session is that all the instruments and the vocalist share one microphone. The request for a second microphone was likely for dramatic effect. Similar to the acoustic era, the early electric microphone era were still experimenting with proper placement. It is a testament to the power of Ma Rainey’s voice that it can be picked out amongst the surface noise as the instruments and vocals move in and out of focus.

These were the days before the invention of magnetic tape and a substantially reduced recording booth without hulking amplifiers, control boards, and tape machines reflects that. Multi-track recording, overdubbing, or even audio editing was very difficult to accomplish in the pre-tape era. One microphone, one take, and direct to disc, otherwise the recording had to be done over.

While wax could be remelted or perhaps shaved, a flubbed take on a lacquer disc could not. Despite what some of the characters say, 6, 7, 8, 9 takes for the first song of a set-list would be expensive. Paramount would go bankrupt in the following years.

Paramount Records had a storied history nearly rivaling Ma Rainey herself though the record itself largely serves as the MacGuffin in the story. While the name of the record label was never directly mentioned in the film, there are some loose references. The advertising placards around the door mention offerings from a chair factory which Paramount originated. The Wisconsin Chair Company added making phonograph cabinets to its list of operations before delving into making their own phonographs and a record label in 1918.

Like Ma Rainey’s manager, the roles of the recording engineer and the record producer were likely combined into one character, Sturdyvant of Hot Rhythm Recordings, as the sign outside says.

Due to the popularity of the “race records”, Paramount had actually rented or owned recording studios in New York, Chicago, and in Wisconsin. Jay Mayo Williams or “Ink” Williams served as an unofficial liaison between Paramount and the African-American community, even convincing Ma Rainey to record for the label.

However, the label was plagued by low-quality pressings and inconsistent recording practices. Some records even have other songs heard in neighboring rooms. Williams would leave to produce his own record label Black Patti and later was head of the race records department at Decca.

The coming of the 1930s and the Great Depression spelled the end for Paramount Records. Employees were let go or reportedly paid in the metal record masters. Though many were sold for scrap metal, local rumor has the disgruntled employees throwing the masters into the Milwaukee River.

As a result, much of the Paramount Records catalog has become exceedingly rare or outright lost to the ages.

As a coda, a final scene was added to the film which was not present in the original play. A white orchestra plays a restrained version of a composition heard earlier by the Levee character. The bandleader is not named, but strongly resembles Paul Whiteman, one of the most recorded of the dance bands of the day. His trademark mustache and oval head were frequently caricatured even on his own record labels. Though he never recorded for Paramount, he was at the Victor and Columbia labels at the time, in addition to the circumstances of the recording session in the film there is an added layer referring to the background of his controversial self-styled moniker “The King of Jazz”.

Listen to the flip side “Oh My Babe Blues” here.

#Slave to the Blues #Ma Rainey #Paramount Records #Project V13 #Fallout Online #Ma Rainey's Black Bottom #78rpm #_rpm78

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ventcovers · 4 years

Text

Upgrades to 10 Hideous Air Vent Covers: Advantages of New Pacific Register Company

Don't let unsightly air vent covers distract from your home's aesthetic. Take a look at these great-looking improvements that you can buy or build yourself.

Marble it to the gills If your old air vent covers are detracting from the charm of your new marble floors, Metro Marble Repair is here to help. Custom floor signups are available in tile, glass, granite, porcelain, and limestone. Simply give them your supplies, and they'll create the ideal vent shroud for you. Sheet Metal with Designs Purchase some patterned sheet metal to take a more innovative approach to repairing an unsightly air vent shroud. Measure the vent openings then cut them to fit over the vent with caution. Bear leather gloves when chopping, then file down any rough edges with tin snips. If required, paint the covers, fasten the metal to thin wood strips, and seal the cover with small screws.

Using a Fiberglass Plastic Air Vent Shroud.

This air vent shroud option is only for use on walls and ceilings, and it is a luxurious and sleek upgrade to standard covers. Installing the device is as quick as sticking it to the wall or ceiling with self-adhesive silicone. Attempt a Butterfly Although this is not a cost-effective choice, you might hire an artist to make air vent covers for you. Jerzy Sanecki of SaneckiArt, an Etsy customer, designs one-of-a-kind air vent covers, such as this butterfly style.

“I purchased five complete vent covers from Jerzy and am incredibly satisfied with the results. They are simply gorgeous and lovely, and we have already got compliments on them in our new home,” one reviewer says.

Check out these 100 stunning before and after home makeovers that will astound you.

Make an attempt at a minimalist style.

Through using the Aria Vent, you will achieve a minimalist look. When they go about making "seriously beautiful air vents," this maker has DIYers and industry pros in mind. With drop-in mounting technology, the original Aria Vent has a sleek, futuristic appearance. Minimalism is one of the 15 home patterns that Millennials are embracing.

Make Use of an Ancient Shutter

Consider converting an air vent that is prominently placed on a wall into a piece of art. Find an old interior window shutter and hack it down to size for the air vent. The shutter should be completed with trim before being primed and sprayed. Attach some D-rings to the shutter and hang it on the wall. Here's an example of how it'll look when it's done. You can find a lot of antique window shutters on Etsy. Check out these 12 easy-to-make room dividers, one of which is made from repurposed shutters.

It's a Tile Matching an air vent to the rest of the architecture will prevent it from being an eyesore on your floor. Custom tileable in-floor vents with a welded aluminum frame and reversible insert are accessible from Tile Lines. You have the option of cutting your tile to match! Here's how to tile a DIY backsplash, when we're on the subject of tiles.

Consider a mirrored finish.

Install mirrored finish air vent covers for a streamlined look that blends in with the surrounding fabrics. This option was designed to replace old louvered grilles and is a perfect match for walls and ceilings. Big mirrors are among the 52 objects that will make your home seem more expensive.

Air Vent Mask in Brushed Nickel, Art Deco

Install these chic air vent covers to bring more Art Deco flair to your house. These covers, which come in a range of sizes and finishes, are simple to install—just drop it into the opening with no tools needed! Taking a look at these 15 retro home patterns that are resurfacing. Use a period-style air vent shroud to add some style to your room. You'll enjoy this period-style scroll pattern air vent shroud if your home decor is more Victorian. It's made of cast aluminum and has a luxurious black finish due to a baked-on powder coating. It's also rustproof and needs no repair! Do you want to give your home a Victorian feel? The following directions will teach you how to build a Victorian screen home.

Ground Air Vent shroud (DIY)

Okay, I understand that this DIY floor air vent shroud isn't for everybody, and that's good. This idea would not have been my cup of tea if it hadn't been thrust upon me. We have kittens, you know. There are ten of them. Cats can also be jerks at times. And cats have a history of peeing on things when they're feeling extremely jerky. They pee down stuff, in this situation. And that's just what our cats did: they peed down the vents in our floor.

Now, I understand how revolting it is. I debated not posting it and our eventual patch on the site because it was so revolting. But, as you know, I tend to keep it real around here, and I think that if I'm having this dilemma, there must be other pet owners out there who are as well. So, if I can help any fellow feline lovers out there fix this heinous dilemma, I'll take the risk of missing a few readers in the process. Anyway, this concern began when we first moved into the house where we now live. We didn't have this problem in our old house because it didn't have floor air vents, so we were surprised to see our cats piddling down our cool, clean air vents in our new home. We did everything a cat owner could do in this situation—made sure there were enough clean litter boxes open, using feline pheromone diffusers, etc.—and it helped a bit, but we still had the problem on occasion. I ultimately decided to strategically position furniture to cover as many air vents as possible, but some air vents stayed exposed. We searched for floor air vent covers to buy to fix our dilemma, but the only ones that looked like they could fit were made of plastic and would crumble into a million pieces if stepped on. We had to come up with a plan because there was no way I was going to put up with this and keep our house smelling like we had so many cats, even if we did have too many cats. These are designed to go over regular 4 x 10 and 4 x 14-inch floor air vent signups. Since signups come in a range of sizes, if you don't have the same sizes as us, you'll need to do some weighing and estimating to ensure a decent match. We built them to fit snugly in the back and front so they wouldn't slip around, but we made the cover 3′′ wider than the floor openings to prevent pee from getting under the sides of the air vent, which are open to allow air movement.

“But people are going to fall right over these!” I can hear some of you shouting at the computer screens now. Let me ask you a question: how much do you walk on your house's floor air vent signups? Floor air vents are usually positioned in inconspicuous areas and/or parallel to a wall. When wandering around indoors, people naturally leave a foot or two between themselves and the walls. And as long as you don't make them the same color as the floor you're going to use them on, they'll be easy to find.

• Timber planks 10′′ x 3/4′ for the top of the air vent sheet. They usually come in 6-8′ lengths, but do the calculations to work out how many you'll need based on the number of air vents you want to protect. These are made of Pinewood, but any heavy wood would do (softer wood might split if it does ever get stepped on, but I still think the chances of that happening are pretty slim). • 1′′ x 3/4′′ wood planks for the air vent cover's foundation These may be difficult to come by, so you can have to break a wider plank down to size. If you do buy them, they usually come in 4-6′ lengths, so do the math and work out how many you'll need based on the number of air vents you want to protect. These are made of Pinewood, but any heavy wood would do. • Finish screws, 16 gauge, 1 1/2 inch • Weathered Gray Varathane wood polish (buy at Lowes) • Baby Gloves with Valspar Chalky Coating (buy at Lowes) • Uncolored Valspar Sealing Wax (buy at Lowes) Please note: I'm sharing the type and dimensions of the wood I purchased so you'll know what I used for this project, but you can use different types/sizes of wood if you can't find the same type/size wood at the hardware store or if you have scrap wood.

Instruments:

• Saw with no rope

• The Nail Gun

• Paint Brushes

• Cotton Rags

• Palm Sander

Directions: Cut the top and sides of the wood to match your floor air vent register's dimensions. For the 4′′ x 14′′ air vent register, we used dimensions of 17′′ x 9′′ for the top of the air vent shroud (two pieces of 10′′ x 3/4′ wood plank cut to fit) and 17′′ x 3/4′′ x 1′′ for the sides of the air vent shroud (two pieces of 3/4′′ x 1′′ wood plank cut to the 17′′ duration for the wide air vents). The top of the air vent shroud (two pieces of 10′′ x 3/4′ wood plank cut to fit) and 13′′ x 3/4′′ x 1′′ for the sides of the air vent shroud (two pieces of 3/4′′ x 1′′ wood plank cut to the 13′′ length for the large air vents) are the dimensions we used for the 4′′ x 10′′ air vent sing-up.

As seen above, nail the two top pieces to the two side pieces. Now comes the exciting part! Apply a wood polish and brush away the excess with a towel. Give at least a couple of hours for the paint to dry before going on to the next stage. Allow at least a few hours for the chalk paint to dry before going on to the next stage. Using the palm sander, distress the soil. It's completely up to you how much or how little you distress (or even whether you do it at all)! Using a wet towel, clear some pollen.

Apply a layer of sealing wax to the surface and brush away any residue with a towel. There's a lot of discussion on whether you can wax before or after distressing; I usually do it after because it covers the exposed wood as well as the chalk paint (and these will use all the protection they can get if my cats try to poop on them, which they haven't yet). Both of our air vent covers have been assembled and are ready to be mounted in the building! If you're having a similar issue with your cats as we were, I hope this DIY floor air vent shroud will come in handy! Our cats have been avoiding the freshly protected vents so far, and it's awesome to have them back in operation, particularly with the 100+ degree temperatures of our summers approaching! Thank you for coming, and please let me know what you think or whether you have any questions!

Pacific Registry Company sells decorative wall grilles and overhead registers.

And the tiniest information will make a huge difference. Decorate a mundane and uninteresting region of your home with something amazing. Most vent covers are dull and unknown, and they frequently neglect beauty and appearance in favor of functionality. Air vents, which are used to limit or re-direct airflow in your house, are frequently ignored by homeowners, resulting in missed opportunities to add elegance and decorative appeal to every room. Request decorative register and vent shroud made of aluminum, brass, wood, plaster, resin, and stone from our vast inventory of completely customizable decorative sign-up and vent covers. It's never been easier to fit vent grilles to your unique style; use our range of vents to accent all of them. If you've been unimpressed or otherwise uninterested in the vents in your house, it's time to think about how this frequently neglected detail will relate to the overall design and décor you're striving for.

CHECK OUT OUR INVENTORY OF DECORATIVE REGISTERS AND VENT COVERS, CEILING REGISTERS, AND FILTER GRILLS ONLINE.

COVERS FOR VENTS Our high-quality heat signups and grilles are simple to customize to suit your room, from unusual old homes to renovated houses. When a heat vent consumes a large amount of space on your floors or walls, it's important to balance it with a sophisticated, long-lasting heat sign-up or grille. Below, you'll find a range of refined types and sizes. Rejuvenation has vent covers and floor signups for your house.

When it comes to home decor, the slightest specifics will make all the difference, so consider replacing your old covers with one of our waterproof styles. The Classic Brass grille, which measures 4 x 12 inches and is made of sturdy cast brass, is one alternative. This grille brings refinement to the space with its sleek Revised Classic style and low profile. Combine it with other home accents like a BRASS PLANTER or a wall sconce. Wood floor signups are also available from Rejuvenation, and are suitable for having a Northwest Contemporary design look. The Wood Slat floor register is available in three sizes to fit your needs. To fit your furniture, pick from oak, maple, or cherry wood. Consider one of the Traditional Aluminum grilles in black enamel if you choose a Sleek Industrial look. Rejuvenation has all the home hardware you need in a range of classic designs in addition to these vent covers.

New vent covers and a floor register have a range of advantages.

Changing minor details inside the space will go a long way toward changing the overall appearance of the room, as previously described. Space is automatically updated when you swap your old vent covers and floor signups with one of this brass, aluminum, or wood alternatives. Change the switchplates to create a unified look; Rejuvenation has switchplates in a range of finishes to complement these floor signups and vent covers, as well as other fixtures and drawer, pulls to accommodate your house. Look through the collection for beautiful and long-lasting pieces for every room.

With registers and grilles, you can monitor the airflow in your house.

Airflow to and from the HVAC unit in your home is controlled and directed by signups and grilles, which keep your living room comfortable while concealing the ductwork. Lowe's has a large range of grilles, signups, and air deflectors to ensure that ventilation is directed where it is required most. Take a minute to calculate the size of the duct opening so you know what will work, and take note of the covering so you can find a fitting piece for the opening before you go shopping.

Inventories

The distinguishing feature of these usually slatted covers, which can be found in the floor, wall, or ceiling, is a lever that allows you to open or close the air vent to alter airflow into the room. Floor signups come in a variety of materials, designs, and finishes, allowing you to use them as a decorative feature that often blends in with the rest of the room's hardware and fixtures. From scroll styles and oil-rubbed bronze finishes to light oak choices that blend in with hardwood floors, you'll find one that suits your room perfectly. Is your vent in your baseboard rather than on the floor? Lowe's also has baseboard signups that can match these gaps.

A grille's task is to draw air out of a room and return it to the heating or cooling system. It varies from a sing-up in that it lacks a damper to regulate airflow. Many small grilles will be mounted in the building, or a single wide grille will be installed throughout the ceilings or walls. They are available in a range of fabrics and finishes to match your personal taste.

Controlling the passage of air

Will you need to steer incoming air in a certain direction? Air deflectors mount to your vents to divert air, whether you're shielding plants put under vents or need to force air away from seating in the living room. These options vary from magnetically connecting to the sign-up to designs with multiway deflection, allowing you to quickly construct a calming environment. Are you looking for a way to help spread air more uniformly in a room? Ceiling diffusers are an excellent alternative. Want to monitor the temperature of a room without using the thermostat? Air vent covers prohibit air from accessing signups, causing it to reroute to other regions. A vent shroud can also help save electricity, and some come with a magnetic feature for simple installation.

Lowe's has the goods you need for efficient ventilation in your home when it comes to the air conditioning vents. Reggio sing-up and other brands are available to equip your home in both feature and design. With our Purchase Online, Pick Up in Store option, you can easily complete your heating and cooling project.

Visit Our Official Website

Additional Resources:

https://en.wikipedia.org/wiki/Register_(air_and_heating)

Location: https://goo.gl/maps/45C2MV4Tbo9hwKuA8

#Vent Covers #Register

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hookaroo · 6 years

Text

Vocivore, Ltd. (29 of 40?)

Also on FFN and AO3 (ListerofTardis)

Tagging @ouatwinterwhump, @killian-whump, @sancocnutclub, @killianjonesownsmyheart1, and @courtorderedcake <3

***THE MOST WONDERFUL COVER ART BY @cocohook38 HERE!!!!!******

***Chapter 12 animation and art that will absolutely astound you!!!**********

***LETHAL Chapter 19 art in all of its BLOODSTAINED GLORY!!!!************

**POOR STABBED KILLIAN falling into the sheriff station! Ch. 7 & 23 art!!**

****KILLIAN AND HIS MASTER IN THE GORGEOUS CATHEDRAL!!!!!!!!!!!! CHAPTER 1 ART THAT KILLS ME EVERY TIME I SEE IT!!!!!!!!!!!!!!!*********

*****AMAZING AND ALSO HEARTBREAKING COVER ART!!!!! MY POOR BOY, HELPLESS AND SCREAMING WHILE HE SLOWLY LOSES HIS GRIP ON REALITY… D: COCOHOOK38 IS TRYING TO KILL US ALL!!!!*************

***AAAAHHHH!!! THANK YOU MY WONDERFUL COCONUT FRIEND!!!!!!***

AN: Sorry for the longer wait this time! I've had an increase in work hours, which might necessitate slower updates from now on.

I decided to skip the "Killian meets Z" chapter because it's mostly just a repeat of everything we know already. I may post it later as a deleted scene, but for now, we're moving forward with the story!

Present (Friday, continued)...

"Crap."

Emma shot to her feet, the chair screeching back from the table as if sharing in her distress. Startled, Jones rose as well, though much more stiffly.

"Emma? What's wrong?"

"It's now; he's… come on."

She raced up the stairs with Jones following as best he could. Past bedrooms, a guest bathroom, and to a padlocked door at the end of the hallway. Emma fumbled with a set of keys, explaining,

"I think Killian is heading for wherever the monster controls the security cameras from. He's going to enact the plan today."

She opened the padlock and yanked the door open. Inside was a table laden with multiple laptops and two desktop computers, all of which seemed to be connected together via masses of coiled cables. As Emma frenzied among the mess, Jones asked,

"What's all this?"

"Borrowed some equipment. From friends… and possibly from Evidence at the station." She seemed relieved when Jones didn't comment. "I hacked into all the security cameras around town, or those connected to the internet, at least. I figured that's what the Master does, and it would probably be more effective to change the feed than to, like, hold a screen in front of the camera or something."

"Hold… a screen…?" The detective's confusion was clear, but Emma was too focused to explain. Deciding to trust in her expertise, most likely gained online during one of her many sleepless night recently, Jones watched for a moment as she continued booting up each computer. Then, impressed and a tiny bit disbelieving, he asked,

"What can I do to help?"

3 weeks, 4 days ago…

His third day a slave, Killian thought he was getting off easy. That is, as far as 'no additional injuries on top of those earned during his first 48 hours' easy. Maybe the two beatings the day before--one for neglecting to attach the provided chain to his collar overnight and the second as part of a 'Session' with the Master--had bought him a day's respite. It was nearing evening, and no one had appeared in the stall entrance to disturb his attempts at rest. A blessing, to be sure; every single inch of him hurt in some way or another, and Killian was not certain he would survive further violence.

As soon as that grim thought crossed his mind, a slave escort appeared. The withered man had no buckets in hand, which could only mean one thing. Killian stifled anxious qualms and began his mantra. Hope kidnapped, Hope tortured, Hope dead. That Killian was desperate. That Killian could obey the summons, could face more torture for the sake of a chance at gleaning any information on his little girl.

That Killian struggled to his feet, joints creaking audibly, dozens of knotted threads pulling tight within his flesh. The slave was impassive as he unlocked Killian's chain and then exited the stall, obviously expecting the pirate to follow. Killian pictured Hope's blood as he forced aching limbs into a mechanical, unsteady gait. Each step awakened a new anguish, in a different place each time. Despite his best efforts, dread soon had his pulse racing beneath swollen, bruised, and torn skin, doubling the throb, intensifying the quaking. What would it be this time? How long before he would scream?

He somehow made it to the church. And there the reluctance became almost a physical barrier blocking his entrance, and he only overcame it with sheer courage, virtually throwing himself inside.

Killian had not anticipated seeing Z standing within, beside the Master, near the altar. His foreboding quadrupled, and it was almost enough to send him lurching back the way he'd come in search of two more minutes of safety. Her presence could in no way signify anything good.

The charade. Cling to the charade.

"Master, please…" He cleared his throat, staggered closer, swimming through pools of red-shifted stained glass patterns on the floor. "My daughter… we had a deal."

Wearing an indulgent smile, the Master curled a tentacle, waving Killian onward. "Good evening, Tripod."

COME TO YOUR MASTER.

Killian stumbled on an uneven paving stone. "At least tell me if she's okay."

"Let's see how well you please me tonight."

Killian stopped at the foot of the stairs, out of the Master's reach. He cast a glance at Z, who was standing still, eyes fixed on the tilted surface of the broken altar. Killian caught a glimpse of metal, a flash of candlelight off of something sharp. He shuddered in apprehension.

"H… how can I be of service, Master?"

"Come join us." The Master indicated a spot on the floor at the altar's edge, between itself and the taciturn Z. Killian drew a calming, painful breath and then hauled himself up, one step at a time, wincing as the exertion aggravated barely contained injuries. He couldn't help cringing away from the Master's welcoming tentacle, which found him anyway, wrapping itself around his left forearm. The creature's clawed hand patted Killian's shoulder.

"I feel your fear, Tripod, and savor it. I will be honest with you: it is justified. I anticipate an unprecedented opportunity for you to serve me tonight."

Jaw tense, Killian avoided looking at Z's collection of implements on the altar. The Master noticed, and it chuckled.

"I have invited Z to dinner. I hope you don't mind."

"Whatever pleases my Master," Killian managed, his voice barely above a whisper. The Master ruffled its claws through his hair.

"Good little Tripod."

Tenderly, it guided him closer to the altar, until he stood leaning against it. The slanted surface came up to his breastbone, radiating cold from metallic decorations. The top was polished wood, and he could make out the dents and dings of age, as well as crusted dribbles of candle wax. His thighs pressed against a protruding design of intricate copper, sending a shiver up his spine. The restraining tentacle lifted his arm; he tried not to resist despite the sudden stab of panic.

"Yes," hissed the Master in his ear. "That's it."

It stretched Killian's arm forward and then allowed it to rest on the tabletop, making a slight adjustment to the angle so that, if Killian had still possessed a hand, his pinkie would have been contacting the surface, with the thumb above. He felt the crab-like pincer take position behind his elbow, adding to the restraint already provided by the tentacle. The Master clattered forward and pressed its thorax against his back. Its wrinkle-free waistcoat itched as it pinned him in place.

Killian could not even make a fist in reaction to his tension; the fresh brand still boiled with any movement of his thumb. His fingers twitched anyway as the Master's second tentacle snaked around that arm as well.

"Z and I have devised a gift for you," purred the Master. "To accommodate your deformity. It will require some precision, though… so do try and hold still, for your own good."

Wheezing rapid breaths, feeling the heat of adrenaline in his limbs, Killian could only watch as Z shuffled closer and balanced her tools within reach. She stood off to his right, at the narrow end of the altar.

"Z, let him see the device."

The silent woman held up a metal shape, something like a half-circle made of slender rods about the thickness of a ballpoint pen, maybe slightly more. There were, in fact, two separate pieces: a straight one, which tapered down to a wicked point, and then a long curve, of which one end was joined to the thicker end of the straight piece. The attachment point was two interlocking rings, so that the curve could twist and rotate all the way around the central line. The other, tapered end had a small hole drilled through it, and Killian surmised that there was some way to attach the currently free-floating curve's edge as well to make a continuous frame of metal. What he could not--or, perhaps, dared not--fathom was its purpose.

No spray bottle of disinfectant here. This time, it was straight iodine, poured from a beaker directly onto his outstretched wrist. The brown liquid streamed down the tilted tabletop like bloodstains, hearkening back to the altar's original purpose. Z drenched a cloth in the iodine and began to scrub roughly at the apex of Killian's captive wrist, then its base. And some instinctive part of him grasped the intent, even if his reasoning was slow to catch on. He lurched backward into the solid presence behind, an incomprehensible, pleading whine sounding from his throat. The Master tightened its grip, though it was in no danger of losing it.

Z continued her abrasive disinfection even as Killian struggled. Both sides of his scarred wrist now sported a bright and ominous yellow.

"Relax now, Tripod. You're being given a tremendous opportunity to serve me with your screams. You should not fight it."

He couldn't do this. Whatever had possessed him to think this scheme was in any way achievable? He took it all back. He had to escape, to save his own skin like the cowardly pirate he'd always been… He… he had to…

"Please… no…"

It was already too late. There was no escape. He was trapped in place, his Master's bulk crushing him against the table, both arms in a vise grip while tears of dread stained his face. The best he could hope for now was a quick death, because he certainly would not survive further mutilation of his… oh, gods, was that a hammer?

Another terrible thought struck as Z lay his arm back into position. Something that had inexplicably escaped his awareness during these past two days of torture: Emma was listening. She would hear the whole thing.

"I'm sorry… Swan…" The last word was cut off by an involuntary sob. The spike's tip pressed against his flesh, sharp and cold. Killian could only breathe in short, frantic little gasps, still thrashing in his Master's grip, but tiring rapidly. The hammer hovered, went through the motions without actually touching its target. A practice swing. Killian was trembling so badly that the precariously balanced set of tools rattled on the altar's surface.

Then it crashed down for real. Driving metal through skin and muscle into bone. Killian's first startled yelp was more of shock than true pain, as it took a second for his brain to catch up. Into the erupting fireball, the hammer fell again.

It was the Dark One, taking his hand with his own blade.

It was the clumsy efforts of Smee and the crew, trying to stop the bleeding and save his wretched life.

It was the dying stump, ballooned and pulsing with infection.

It was the first time he'd donned the hook over the raw flesh, the first time he'd bumped it against some obstruction, the first time he'd fallen on it.

The first time he'd killed with it.

Already, he had screamed himself hoarse, the Master moaning in ecstasy behind him, but the blows continued like lightning bolts, illuminating phantoms so bright that surely he must have a hand there after all.

Off target, the hammer slipped and smashed into blueberry flesh, and the stake jolted sideways with a crunch, and Killian felt himself falling until he was caught by the collar and splashed with water while the hammer lay dormant, and he couldn't even make sense of words he knew he should recognize because his only focus could be the searing cold metal driven halfway through his wrist.

The hammer resumed its grisly task while Killian's cries grew feebler. He drifted in a haze of anguish, half-fainting, shocks of pain sizzling up his arm. His dead weight sagged against the exultant Master behind him as the whole church seemed to spin on an axis.

Killian didn't feel a difference when the spike broke through the skin on the pinkie side of his wrist. The only clue was a minor change in sound: the metal had entered the wood of the altar. One more blow, one more wooden thunk, and Z lay the hammer aside.

And then she yanked upward on his tormented arm, and Killian gave voice to one more noiseless cry as the impaling device shifted inside him before squeaking free of the altar.

His eyes were closed and nothing could make him open them to see the ghastly damage. Even when Z began manipulating the attached ring, pulling brutally and drawing more tears of pain, he kept them squeezed shut. His hand, too, remained balled into an unyielding fist despite negligible protests from his branded palm.

This was it. This was his life now. He would never again feel happiness. Contentment. A moment free of pain. Forevermore, his existence would consist of blazing agony.

There was an audible snap as the free corner of the ring found its bloodstained attachment point. The straight post shifted again, Killian whimpered once and dove headfirst into black oblivion.

This time, the Master let him fall.

#ouat fanfiction #killian jones #emma swan #wish realm killian #whump #impalement #restraint device #stake and ring #through the wrist #how tag this?#fainting #screams #Vocivore ltd

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jewelrystoresnearme · 3 years

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Brass Jewelry Pros And Cons

Jewelry is made of brass, and brass jewelry is cheap. It is often used to make jewelry. Firstly, technicians engaged in jewelry use brass to make relatively large-scale conceptual jewelry. Does brass jewelry tarnish?

What is BRASS JEWELRY?What is brass?

Brass is one of the most popularly used metals for jewelry, partly due to its resemblance to gold. It has been used since its creation in making beautiful jewelry designs. Due to its affordability, workability, and durability, brass is a very good choice for jewelry and is increasingly being used in the jewelry world.

Does brass rust?

Brass is a great material, especially around the house, because it does not rust. It may corrode, and it will tarnish if it is not protected with lacquer or other clear finish, but what the heck-when it tarnishes you can call it antique brass.

Does brass jewelry tarnish?

A strong and corrosion-resistant metal, brass is a relatively inexpensive alloy made from zinc and copper. On account of its bright, golden color, the material has long been a favorite material in home design. However, like any metal, brass jewelry can become dull and tarnished over time.

Is Brass A Good Metal For Jewelry?

Brass is a good metal for jewelry. It is very ductile, which is a desirable quality for metal jewelers. It can be manipulated with relative ease into just about any design, be it intricate twists and cuts, or chunky shapes for statement pieces.

When new, brass has a beautiful golden shine and makes stunning jewelry. While aging brass loses a lot of its luster, some people actually do admire that rustic vintage look. They’ll even paint metal jewelry to look like aged brass. But if you are not one of them, you can simply polish the brass to restore it to its original gleam. Also, brass is priced way below what you would pay for pure gold. It is, therefore, an ideal alternative metal for affordable jewelry. You get the brilliant gold dazzle look but for a less hefty price.

Most importantly, brass is corrosion and rust-resistant. Jewelry made out of brass can hold up well to regular wear without deteriorating.

CHURINGACXL 0007 Copper Baroque Necklaces

This copper baroque necklace incorporates two-tone elements with ion gold plated jewelry on one side. This gold-plated copper baroque necklace is minimalist and elegant and can be worn by both men and women.

Is Brass Jewelry Durable?

Brass is a fairly hard metal. It’s far from stiff yet it’s tough. It won’t break or crack under pressure but somewhat stretches. Maintained under ideal conditions, brass will last for centuries. As a result, brass jewelry is durable and could outlive you if you care for it well.

Some conditions that undermine the longevity of brass include ammonia, moisture, acidic, and salty environments. Chemicals from deodorants, perfumes, and skin moisturizers are bad for brass too. Storing brass jewelry in a dry, preferably airtight container, pouch, or box when not in use will preserve it.

It is worth noting that brass-plated jewelry can easily pass as solid brass. Brass-plated jewelry is not durable. It will fade over time, exposing the actual metal underneath, usually not as beautiful as brass. You’ll then have to either give it up or put up with the headache (read costs) of occasional replating.

To be absolutely sure you got solid brass jewelry, introduce the piece to a magnet. Solid brass is non-magnetic. Another way to do it is to scratch a hidden part of the jewelry and note the color underneath. Anything other than a beautiful yellow-gold tone is brass-plated.

Can I Shower With Brass Jewelry?

The fear of forgetting to put back on your jewelry and ending up misplacing it will often lead you to shower in it. But not your favorite brass pieces.

As with most metals, brass and moisture aren’t exactly allies. When exposed to water and soap, it tarnishes, but the speed depends on the chemistry of the water. Higher PH, chlorides, sulfides, basically any salinity, or acidity accelerates oxidation.

Brass jewelry pros and cons1. Brass jewelry pros

Brass jewelry has affordable price

It is cheaper and easy to process. Many people use brass to make large-scale conceptual jewelry, especially the casting process. A large amount of metal is convenient for casting large jewelry. And after some anti-oxidation treatment, the gloss remains pretty good. The most commonly used brass in making jewelry is to make mending. For example, when we add 925 silver, a certain amount of brass and pure silver melts.

HEALING BENEFITS OF WEARING COPPER / BRASS JEWELRY

Copper has been worn since ancient times and is known for providing many healing benefits to the wearer, both internally and externally. Not only is it one of the most electrically conductive metals, but it’s also known to bring peacefulness to the wearer by eliminating negative influences.

When copper is worn, the minerals are slowly absorbed by the skin. You might also be familiar with brass, which is commonly used to make jewelry, it is a blend of copper and zinc alloy jewelry. Here are some of the top healing and metaphysical benefits of wearing copper.

1 — Natural Antimicrobial and Antibacterial, it has an inherent ability to kill harmful microbes very quickly, studies have shown that it is often within 2 hours or less.

2 — It’s an essential mineral required for metabolic function. It’s known to help reduce inflammation, arthritis, headaches, and improve digestion. It helps bring the body back into alignment.

3 — Amplifies energy, it is an excellent conductor and helps stimulate the flow of energy. It can be used to strengthen the energy of your thoughts and stones as well as help with channeling and multidimensional communication. It keeps the body in a stable state which helps achieve better results in meditation and yoga practice.

4 — Creates balance in the body. Metaphysically, it is known to assist in balancing the chakras and meridians. It helps bring in higher energies that will allow the cells to remember their original state of perfection.

Brass jewelry is durable

Brass metal is known for its high tensile strength and durability. Its weight and general heft add to its durability feature, ensuring it will last long after your lifetime. As such, it does not break, bend, or fold easily. However, its workability is excellent due to its malleability. Brass tends to stretch when exposed to high temperatures; thus, it is ideal for casting. It can be cut, repaired, and soldered by a qualified jeweler to make various modern and vintage designs, depending on your preference.

Brass jewelry is resistant to corrosion

Brass jewelry does not rust with regular use, as it is corrosion-resistant. However, depending on the amount of copper used, it may turn green after some time. As such, many jewelers apply a clear lacquer to prevent this over time.

Brass jewelry is easy to clean and maintain

Cleaning brass jewelry is not a complicated task. By using some warm water with a little soap and a damp cloth, your brass pieces will remain in new condition, just like how you bought them.

Cleaning of brass jewelry. Copper is difficult to clean after oxidation. Generally rub with toner, washing with water. After cleaning, waxing is required. If the oxidation of brass jewelry is serious, the toner may not be able to clean. Anymore, you need to use potassium permanganate. Procedure and front same. After wiping, be sure to wax after cleaning.

Otherwise, it will oxidize again. Moreover, it is best to use paraffin wax when waxing. Apply a layer evenly on the surface of the article. Waxing is similar to polishing.

There are two requirements: one is uniform, and the other is to be thin to ensure that the surface of the article is no longer in contact with the outside air. What’s more at the same time, feel Less than a thick layer of grease is enough.

2. Brass jewelry cons

Drawbacks of bronze jewelry

It is not a hypoallergenic metal. Brass jewelry is also called bronze jewelry. One of the significant drawbacks of bronze jewelry is that it is not suitable for people with sensitive skin. Some bronze jewelry may contain nickel, a common skin allergen, or aluminum, which may also cause allergic reactions among wearers.

Many people are allergic to it. So, most studs or earrings are made of pure silver instead of brass.

It may change color

After constant use, brass jewelry may change its color due to regular cleaning. The change in color is mainly due to its copper content. As such, you may not like how your piece of brass jewelry looks ten or twenty years from now.

Brass jewelry pros and cons

Where can buy the brass jewelry?Churinga Brass Jewelry

Minimalist Brass Bracelet

This brass bracelet is shiny, gold, and minimalist in design.

Wedding Brass Rings

CHURINGACDDJZ 0012 Gold Stacking Rings

The copper stack ring has a multi-ring design, with each ring plated with a different layer of gold — gold, rose gold, platinum — and each ring is encrusted with sparkling zircon. The whole effect of this copper stack ring is gorgeous yet minimalist. Perfect for the wedding rings.

Brass Jewelry Brand Churinga

Churinga is affiliated with Champion Company Limited, and it is a professional fashion jewelry manufacturer in China, set design, production, wholesale, and export trade as one of the enterprises. Product substrate metals are stainless steel, copper alloy, and silver, a surface thin layer of gold plated, rhodium plated or palladium plating, auxiliary material with artificial gem (synthetic cubic zirconia, synthetic crystal, synthetic ruby, etc).

Product variety, style fashion, good quality, which covers rings, pendants, earrings, bracelets, necklaces, anklets, bangles, jewelry sets, etc. Our series products are sold all over the world, we provide good services to all of the customers at home and abroad.

We are one of the Chinese leading Jewelry manufacturers providing high-quality jewelry with fast delivery and the most competitive pricing. Customized service is our professional offer.

Brass Jewelry recommendation hot words

brass jewelry pros and cons, brass material disadvantages, disadvantages of brass, drawbacks of bronze jewelry, the advantages and disadvantages of brass jewelry

Brass Jewelry FAQ

Jewlery metal

That is to say, jewelry production materials are generally divided into three categories. They are metal materials, non-metal materials, and various synthetic materials.

Metal materials

non-metal materials

Various synthetic materials

1. METAL MATERIALS

In the production of jewelry, the most commonly used precious metal materials are gold, silver, platinum, and alloys. The main alloys are 18K gold, 14K gold, 12K gold, and 9K gold. 925 silver is a household name. Moreover, platinum 900(labeled Pt900) and Platinum 950(labeled Pt950) are best known. But, now the platinum 990(labeled Pt990) is also starting to appear on the market.

2. NON METALLIC MATERIALS

NON-METALLIC MATERIALSDetails(1) Pure copper jewellery (electrolytic copper, oxygen-free copper)Specific gravity 8.96, melting point 1083°C. Also hardness slightly higher than gold and silver. Easy to oxidize and sulfide. Good ductility and plasticity, suitable as a base material for jewelry.(2) Copper alloy jewelleryThe common copper material for jewelry is copper alloy. Commonly used ones are: copper (15% zinc), brass (15–45% zinc), bronze (5–20% tin).(3) Copper-based alloys jewelleryFor example, in recent years, some copper-based alloys have appeared in China’s Jiangsu and Zhejiang areas, as well as in Shanghai, China. Some of their color and corrosion resistance are close to K gold materials. And they are promising imitation gold jewelry materials. It is rare gold or sub-gold, and the color mark is KF.

3. VARIOUS ARTIFICIAL SYNTHETIC MATERIALS

For instance, synthetic glass, gum, plastic, etc.

What is silver used for?

It is used for jewellery and silver tableware, where appearance is important. Silver is used to making mirrors, as it is the best reflector of visible light known, although it does tarnish with time. It is also used in dental alloys, solder and brazing alloys, electrical contacts, and batteries

#Brass Jewelry Pros And Cons

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secretladyspizza · 3 years

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What is Blue Butterfly Necklace?

Blue butterfly necklace is a beautiful jewelry trend. It’s not only a beautiful accessory but also a symbol of change for your life, a circle of life that surrounds your neck. Leads to new birth.

The meaning of the butterfly necklace

Butterfly pendant meaning is of metamorphosis, spiritual rebirth, potential, happiness, change, ascension, and ability to experience the wonders of life. There is a legend that honors the butterfly as one of the most emblematic totem animals.

Due to the butterfly’s extraordinary process of metamorphosis, the Butterfly is a mighty animal to call to when you need support in times of transformation, whether it’s at work, a relationship, or for the self.

The butterfly entices us to keep our faith as we transform our lives. The odm silver pearl necklace is the ideal gift for anyone needing a reminder to keep the faith as they go through all-important life stages.

In many cultures, the butterfly is associated with the soul – initially trapped within the body but then freed into a new life. This connection with the soul is fitting to the symbolism of change We are all on a long journey where we encounter endless turns, shifts, and events that cause us to change. At our journey’s end, we are inevitably changed. A Butterfly charm necklace, therefore, makes the perfect gift for a friend’s new start in life . . their new beginning.

As you known butterfly necklace is also a circle form of items that surround your neck which is vulnerable by instinct.

Above all, you can understand why the butterfly necklace is indicated rebirth. The circle of life will be the most accurate interpretation of the butterfly necklace.

The symbolism of the different colors of the butterfly necklace

Blue Butterfly Necklace Meaning – The Meaning of a Blue Butterfly can be diverse. It is often seen as a sign of life. They symbolize change or rebirth, regardless of their color. Blue butterflies are often considered a symbol of love. Buying and wearing a blue butterfly necklace indicates that you will have a long and faithful relationship. Red Butterflies Necklace Symbolize – Red butterfly is a symbol of passion and desire. Encounter with red or pink butterflies is announcing that a long period of happiness is on your path. Buy and wear our red butterfly necklace, wish you have a vigorous and passionate love. Brown Black Butterfly Necklace Meaning – If a brown-black butterfly enters the house it means that an important letter or message will arrive soon. Seeing a brown-black butterfly also mean there is good news or important news soon to come your way. A brown or tan-colored butterfly necklace symbolizes a new life or a fresh start.

Yellow Gold Butterfly Necklace Meaning – Yellow gold butterfly, that symbolizes a sunny and bright summer. It also represents joy and creativity. When you wear a yellow gold butterfly necklace, it brings happiness and prosperity. It also means that something fun and exciting is on its way.

Pink Butterfly Necklace Meaning – If you just saw a pink butterfly flying, it has manifested to ease you and tell you that you must not take things so seriously in life. Since butterfly implies transformation and joy and the pink color replicates softness and femininity. Buying and wearing a pink butterfly necklace can enhance one’s personality.

White Butterfly Necklace Meaning – Depending on when and how a white butterfly shows up in your life can determine the spiritual meaning and message that is being sent to you. White butterfly necklaces represent purity, spiritual transformation, spiritual communication, good luck, abundance, and peace.

What do you wear with a butterfly necklace?

Churinga is one of the OEM silver pearl necklace factories, its necklace goes with everything. For example, for a lunch date with friends, butterfly jewelry will work perfectly with a sundress and pair of kitten heels, or even with jeans and a nice top.

Is it weird for men to wear butterfly necklaces? Where can I wholesale butterfly necklaces?Men’s Layered Chunky Choker Butterfly Necklaces, Men’s Layered Slim Gold Butterfly Chains

There’s a bit of a barrier for men to get over regarding any sort of jewelry, and butterfly necklaces are considered one of the hardest items to wear. But take your cue from the professionals — men can and do look great wearing butterfly necklaces. The men wear butterfly necklace, still can add some mysterious charm color for the men. That’s what Churinga is doing, incorporating butterflies into our churinga jewelry designs, and our butterfly jewelry is designed for most men and women. Churinga, Guard Your Glamour.

Is copper custom jewelry safe to wear?

Copper is safe to wear in that it does not harm the skin. That’s because it is an antimicrobial, which means it stops the growth of micro-organisms such as bacteria, protozoa, fungi, or viruses.

Is wearing copper custom jewelry good for your health?

Wearing copper custom jewelry accessories is believed to emanate the required healing energies within the body. Worn on the wrist as a bracelet or on the finger like a ring, wearers have reported a marked improvement in their condition. … The anti-inflammatory properties of copper reduce pain associated with arthritis.

What brand of jewelry does factory connection sale?

Shop factory direct jewelry from Churinga Stainless Steel Jewelry Factory/Manufacturer in China. Over 5000 designs are available in stock! Browse Churinga 316L Stainless Steel Jewelry for the latest designs of Earrings/Rings/Bracelets/Necklaces/Pendants, All at attractive wholesale prices Manufacturer by Churinga Jewelry. We provide the largest selection of wholesale stainless steel costume jewelry, wholesale stainless steel gold plated Jewelry, wedding engagement rings, etc. Shop at unecklace.com if you want to go into the jewelry business.

Blue Butterfly Necklace Details📷📷Who is the best jewelry factory in China?

Churinga is the best jewelry factory in China. Churinga is one of the best jewelry factory brands in China.

Churinga is affiliated with Hotsell Company Limited, and it is a professional fashion jewelry manufacturer in China, set design, production, wholesale, and export trade as one of the enterprises. Product substrate metals are stainless steel, copper alloy, and silver, a surface thin layer of gold plated, rhodium plated or palladium plating, auxiliary material with artificial gem (synthetic cubic zirconia, synthetic crystal, synthetic ruby, etc).

We are one of the Chinese leading Jewelry manufacturers providing high-quality jewelry with fast delivery and the most competitive pricing. Customized service is our professional offer.

Churinga Jewelry Factory Team

📷

Churinga Jewelry Factory Certifications

📷

How does a jewelry factory?Churinga Jewelry Factory Production processSTEP 1: DESIGNING A 3D JEWELRY MODEL

After the initial idea and/or sketch is developed, it’s time to start work on the digital model. Using CAD (Computer-Aided Design) software, the 3d designer will make a digital render of your jewelry.

STEP 2: 3D WAX PRINTING YOUR JEWELRY

In most modern jewelry production, the manufacturer uses a 3d printing machine to print a wax model made out of resin, which usually doesn’t take more than 48 hours.

The Rubber Mold

The original model is encased in plaster-like investment, which is specially created for jewelry making. After the investment sets, the encased wax model is burned away in an oven, leaving a jewelry-shaped void in the hardened investment. That space is filled with silver, forming a slightly smaller duplicate of the original wax design, which is polished to perfection. The silver master model is then packed into a fat sandwich of special mold rubber and squeezed tight under high heat and pressure until it forms a solid block. The rubber forms itself around the master model, creating a perfect three-dimensional impression of the piece of jewelry. The rubber is cut in half to remove the silver master. Then the rubber is put back together and hot wax is injected through a hole in the rubber to fill the ring-shaped space inside, forming a wax reproduction of the master model (but a bit smaller).

The Wax Tree

To finally turn wax into gold, a number of wax models, usually 10 or 20 are placed on a large branching wax tree. Positioning each piece on the tree must be done carefully, thicker pieces will go on the bottom, thinner on the top and the joint where the piece is joined to each branch must be positioned in a thick place in the design, where there is no detail, like the back of a ring. When the tree is complete, the whole wax structure is placed in a flask.

STEP 3: CASTING THE WAX MODEL INTO METAL

The jewelry goes through the casting process. At this stage, your piece starts looking more like the jewelry you might see in a store. The wax is melted away and is replaced with your metal of choice in molten form, usually gold, silver, or platinum. The metal then dries into the shape of your jewelry. This technique is called “lost wax” casting.

STEP 4: THE PRE-POLISH

First, the jewelry has to be removed from the branch, or sprue, that held it to the tree in the mold. It is then is tumbled into smoothness, sometimes sanded, lapped to make edges crisp, and then buffed by hand on a polishing wheel.

STEP 5: BASIC JEWELRY ASSEMBLY

After your jewelry passes through the design and casting stage, the final fabrication can take anywhere from 3 days to 3 weeks. At this point, the jeweler refines the main structure of your ring, necklace, or another piece.

STEP 6: THE STONE SETTING PROCESS

For this step, the diamond setter finally adds the diamonds or other gemstones onto your piece. He carefully sets the central stone into the mount. If side stones are involved, the setter needs to hand drill for these before setting. Using a microscope, they then set each separate stone.

STEP 7: POLISHING, FINISHING, AND QUALITY ASSURANCE

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maximumphilosopheranchor · 6 years

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“To the most high, most illustrious and magnanimous Princess Katherine, queen of England, France, and Ireland, Elizabeth, her most humble daughter, gives greeting and due obedience.

Of old, from great antiquity – most noble, most excellent and sovereign princess – the custom has always prevailed that to preserve the memory of notable things that were done in times past, and likewise to increase their renown, a number of ingenious men, both to apply their understanding and skill and to have it seen that in every way with their ingenious art they excelled the rest of all other animals, have in many places and in divers ways amused themselves by composing or putting into memoirs the things done in their time that seemed to them worthiest of commemoration or remembrance. And in order to do this (because the apt and requisite usage of letters and the way of writing were not yet invented), they were accustomed to draw out and bring forth their most memorable deeds with certain characters, figures, images, or effigies of men, beasts, birds, fish, trees, or plants, carved out crudely and grossly because they did not care how it was that they labored, provided that the memory of their intention was magnified, diffused, and noted by everyone. Now afterwards, since the creation of the world, we see that just as the days and months increase and multiply, so similarly, little by little, by succession of time the mind of man is more ingenious and inventive, more adorned and polished, than it formerly was. And therefore some have invented sculpting in the round, casting or engraving in gold, silver, copper, or other metals, yet others in stone, marble, wood, wax, clay, or other materials, statues of our predecessors – their size, height, breadth, proportions, body weight and volume, their physiognomy, complexion, color, and look, their bearing, gait, countenance, their exploits – in the doing of which, excellent painters do not deserve less praise. But all of these together never could and cannot yet represent or reveal by their works the mind or wit, the speech or understanding of any person.

And yet, especially among aforesaid arts and sciences, the invention of letters seems to me the most clever, excellent and ingenious. For through their ordering not only can be aforesaid bodily features be declared, but also (which is more) the image of the mind, wiles, and understanding, together with the speech and intention of the man, can be perfectly known – indeed, traced and portrayed so close to artless and natural that it actually seems that his words that were spoken and pronounced long ago still have the same vigor they had before. Thus also we see that God by His Word and Scripture can be seen, heard, and known for who He is, insomuch as it is permitted and necessary for our salvation – He who otherwise cannot be known or seen because in Himself He is invisible and impalpable and, for our part, He is impossible to see or touch. And yet there is no painter, engraver, sculptor, or other, however ingenious and subtle he may be, who could truly show or produce any image or likeness of His essential divinity, no more no less than he could with the mind of any other creature. Thus the art of painting, engraving, or sculpting is the image and effigy of bodily, visible, and palpable things, and by contrast, the Scripture is the image and effigy of spiritual, invisible, and impalpable things.

And so, by a natural instinct, following our aforesaid predecessors, I have presumed and undertaken to translate into our mother tongue a little book whose argument or subject, as Saint Paul said, surpasses the capacity of every creature and yet is of such great vigor that there is no living creature of whatever sort that has not had within itself the feeling of it – which surely would require greater eloquence or adornment of words and sentences than I would know how to apply to it. But seeing the source from which this book came forth, the majesty of the matter surpasses all human eloquence, being privileged and having such force within it that a single sentence has power to ravish, inspire, and give knowledge to the most stupid and ignorant beings alive in what way God wishes to be known, seen, and heard: I yet think it is sufficient in itself and has no need for any human consent, support, or help.

Which when I considered (following principally the intention of my author), I was emboldened, and ventured to translate it word for word, and not that it might be a perfect work, but assuring myself that your highness will pay more regard to the zeal and the desire that I have of pleasing you than you will to the capacity of my simple ability and knowledge. And may you of your grace vouchsafe to judge it to proceed from a similar intention as theirs, the aforesaid, because they did not care how it was that they labored, provided that their intention was understood. By which I hope that in similar case your highness will excuse me, and with your gracious, accustomed welcome will receive it as testimony that not for anything in this world would I want to fall into any arrears in my duty towards your grace, but rather, in my ability as the least, hold the lamp and illumine so, and so that I may assist the fervent zeal and perfect love that you bear towards the selfsame God who created all things. Whom I most ardently entreat to vouchsafe that you may grow so very perfectly in the knowledge of Him that the organ of your royal voice may be the true instrument of His Word, in order to serve as a mirror and lamp to all true Christian men and women. From Hertford Castle this penultimate day of the year 1545.”

Elizabeth Tudor to Katherine Parr, prefacing her English translation of Chapter 1 of Jean Calvin’s Institution de la Religion Chrestienne (Geneva, 1541), December 30, 1545.

Source: Elizabeth I: Collected Works by Leah S. Marcus (ed.), Janel Mueller (ed.), Mary Beth Rose (ed.)

Elizabeth wrote this preface in French and here is the analysis of it by Roger Ellis in his article The Juvenile Translations of Elizabeth Tudor:

“But the prologue to the translation has more important claims on our attention. It adds up to a striking defence of literature relative to other forms of artistic representation. Before script was invented, the Princess writes, artists created effigies of famous men and their deeds so that ‘la memoire de leur intention fust eslargie espandu et obserue par tout le monde’. As time passed, these became more ‘aorné et poly’. Yet they could never represent ‘l’esprit, engin et entendement avec le parler et intention’ of these famous men. Script dramatically increased the possibilities of artistic representation. Writing is of all arts ‘la plus spirituelle, excellente et ingénieuse’; it grants immediate access to a speaker’s original words. This is also true of God, whom we can know through his word, recorded in Scripture, as we could not hope to do otherwise. No visual artist can represent adequately God’s divinity; the verbal arts (Scripture) engage directly with the spiritual realm. Consequently, the Princess has undertaken to translate ‘vn petit liure’ which cannot fail to strike a chord in the heart of everyone who reads it (‘il n’y a créature viuante… qui n’en ait le sentiment en soy’); a single sentence has the power ‘de rauir, inspirer et donner congnoissance aux plus idiotz… en quelle sorte Dieu veult estre congneu’.

This defence of the written word is an altogether more ambitious affair than any of the Princess’s other prologues. It is almost certainly inspired by a close reading of the first chapter of the Institution, to which it owes at least two phrases. The first, ‘aorné et poly’, speaks of the way the human mind – and, by implication, its artistic and literary manifestations – become more sophisticated with the passing of time; it originates in Calvin’s earlier-noted comment on the language of the classical rhetoricians. The second, ‘la maiésté de la matiére’ depends on Calvin’s understanding of the power of the divine matter to communicate itself completely through the words of Scripture. As used in the Princess’s sentence ‘la source dont est sorty ce liure, la maiésté de la matiére surpasse toute éloquence humaine’, it suggests the question, ‘whose majesty?’: God’s, the Bible’s, or that of Calvin in the Institution? The metaphor of a source suggests an unbroken line of descent of the translation from God, through Scripture to Calvin (and, by implication, as earlier noted, to the Princess herself) – in context, a bold claim to be making.

The overarching thesis of the prologue further shows a thoroughgoing engagement with Chapter 1 of the Institution. The prologue stresses, first, the central place of the arts in making the past immediately and permanently available , and second, the increasing sophistication which the evolution of writing made possible – points which find their literal apotheosis in the way God has allowed himself through the written word to be ‘veu, ouy, et congneu quel il est (entant qu’il est licite et nécessaire pour nostre saluation) lequel autrement ne peut estre congneu’. Both points are dependent on Chapter 1: the first on Calvin’s understanding that humans need the written version of God’s word as a permanent record to preserve them from their own fallible memories; the second on his understanding of the innate existence of a religious sense, and implicitly, its evolution from pagan to monotheistic to Christian. As earlier noted, that divine word, though first and principally preserved in the Bible, has its echo – like the Princess’s translation – in the writings of his followers, including Calvin.

There, is of course, a major difference in tone between Chapter 1 and its “translation” in the prologue. For Calvin, the pagan precursors of Christianity are characterized by a catastrophic falling-off from the true knowledge of God preserved in Scripture. The Princess approaches the question more positively, with a more Humanist emphasis. The endeavours of the past are undeniably limited, but, viewed purely as attempts to represent human history, they all demonstrate how much humans surpass animals in inventiveness and ingenuity – in what the Princess calls ‘intention’.

The offered contrast between word and visual image as instruments of communication, specifically communication of the divine, may provide another point of connection with Calvin. Elsewhere in the Institution, especially Chapter 3, discussing the second Commandment, Calvin writes extensively and disapprovingly about graven images; but in Chapter 1, if we except the case of the visual arts to provide him with metaphors, hardly at all. The ‘boys et pierre’ which the pagans worshipped signify only as expressions of a disordered imagination. Nevertheless, for Calvin, as for the Princess, the visual image is clearly inferior to the written word of Scripture. A logical extension of this single-minded reformist rejection of visual images was their wholesale destruction in the Edwardian era. But that destruction had begun, piecemeal, in the previous decade; so very possibly the Princess’s prologue is witnessing indirectly both to Calvin’s understandings and to developments nearer home.

If so, we may need to look elsewhere to find a parallel for the more measured tone she adopts: for example, the Enchiridion of Erasmus, a work whose ‘amazing popularity in the two decades after 1515’ led McConica to treat it as the ‘centre-piece’ of his analysis of Erasmianism. Erasmus contrasts the ‘image of Christ’s countenance represented in stone and wood’ with ‘the image of his mind… reproduced in the Gospels’, since “no Apelles has ever portrayed… the shape and features of the body in the way that speech reveals each person’s mind and thought’. The comment on Apelles comes very close to what the Princess is saying. There is, however, a vital difference between the two. Like Calvin, Erasmus is urging his reader to grow up spiritually and put away graven images. Unlike Calvin, he remains completely orthodox in regarding the image as a valuable visual aid for the laity. This defence of images was routinely made through the 1530s, even in writing whose real purpose was to discourage their use. The Princess’s silence on the potential benefits of the image points away from Erasmus and allows the reformist motivation it shares with Calvin to be at least inferred.

The Princess’s preface, then, is a much more creative response to Calvin than her actual translation. It affirms Calvinist positions while accommodating them to a wider understanding of artistic endeavour and literary values than Calvin was willing to apply.”

#Elizabeth I #Elizabeth I of England #Elizabeth Tudor #Jean Calvin #Roger Ellis #sources #article #that image of the Institution comes from later edition #I couldn't find the one from 1541

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jgrandstaff-art-blog · 7 years

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So this is the latest project I sent out to have fabricated by Shapeways. It is a raw bronze cast of an Orc Skull I modeled in Maya and Z-brush. I intended this to be a bead for the drawstring on a coin bag but I think I made the hole a little too small. I am already working on a V2 with a larger hole, which will also take less material and be cheaper to make. This is also my first time working with liver of sulfur and adding a patina to a precious metal.

#bronze #3d printing #z-brush #maya #orc #nerd stuff #bronzebead #shapeways #patina #jewelry #crafting #3d model #digital sculpt #digital art

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directlyjewelrysupplier · 3 years

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Q3: Can I get mixed products?

A3: Yes. Mix color and designs are available.

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junker-town · 7 years

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How a rooster at the Sanderson Farms Championship became one of golf’s best trophies

It’s indisputable: Reveille the rooster is one of the great trophies in sports. We had to find out more on how it came into existence and developed a cult following at the PGA Tour’s Jackson-area stop.

“It’s like going out in the yard and finding a badass rooster scuffling along and kicking up dirt” is not the first thing that may come to mind when conjuring up the image of a golf trophy. But that’s how Malcolm DeMille, the artist responsible for creating one of the PGA Tour’s most distinct (and I’d argue iconic!) trophies, characterizes “Reveille the Rooster.”

The Sanderson Farms Championship may not be the most prestigious event on the PGA Tour circuit, but in a few years, it has carved out a niche identity during the season’s wraparound fall schedule. It’s a smaller tournament with a cult following among the PGA Tour diehards and with a more important community-wide embrace in Jackson, Mississippi. And the emblem of it all is its trophy, Reveille the Rooster.

I’ll come out and say it early — I’m in the tank for Reveille, a grand specimen. When you win the Sanderson Farms Championship, you’re not going to mistake the trophy for any of those blasé cups, vases, plaques or other participation awards you might have back home. You’re getting the proud cock, strutting into your house with its chest out and flashy colored patinas owning the trophy case.

I needed to know more about what’s become one of golf’s most unmistakable trophies and should, in my humble opinion, occupy a place next to the Claret Jug, green jacket, Ryder Cup, and the other iconic and cool awards in the game’s history.

Photo by Sam Greenwood/Getty Images

A Reveille origin story

A rooster is obviously a nod to Sanderson Farms’ chicken business and Reveille is the finished product of a process that melded the idea of Joe Sanderson, the company’s CEO, and DeMille, the sculptor in California who has created several trophies for worldwide golf events. Sanderson knew he wanted a rooster trophy from the start.

“Joe Sanderson had it right off the bat, from the moment we signed the first agreement,” said Steve Jent, Tournament Director of the championship. “We really didn’t look at anything else. I know tournaments have crystal, silver. But he really honed in on a bronze, full scale life-size rooster, right out of the get-go.”

But this is not just any chump variety or random rooster off the street. It’s a specific kind of rooster, modeled after Chauntecleer from The Nun's Priest's Tale in Chaucer’s Canterbury Tales. “Sanderson had an idea in his mind of a chanticleer rooster, which in his mind is a very colorful, large breed of rooster,” added Jent.

Making Reveille

DeMille went to work to bring Sanderson’s idea to life. He’s been in the business for more than 25 years, but has evolved with the technology and now begins the process working exclusively with digital tools. He’s been using software for what he estimates is 10 years.

“It will allow me to sculpt in the computer in what we call ‘digital clay,’” said DeMille. “So I can actually feel and create with clay inside the computer and see it in a form.” He analogized it to how animated characters are now created for movies.

But like a golfer who may think he’s found his patterns on the range only to come undone once the shots start counting on the course, the digital sculpting can take DeMille only so far. He prints out mini renderings of the digital sculpture on a 3D printer.

“In the computer there’s still that other dimension — you can’t see or feel or sense the backside. You can’t envision it in the whole round. So I can’t totally trust making it in the computer and popping it up in the printer and printing it out. You still gotta have it, and hold it, and work it.”

The 3D test prints allow him to check proportions and the “attitude of the piece” and then get approval from Sanderson. It also allows him to add sculpting clay to the 3D printings and work it with his hands.

The process of creating the first Reveille took three to four months, DeMille estimates. The model is actually made up of six pieces, six different molds that are cast into bronze, polished, ground, and then welded together. Chemicals are applied to create the colors, which he said is a permanent change that takes just seconds to discolor bronze that has been heated by a torch.

Here's how @Sanderson_Champ 's own Reveille looks before his plumage gains its color. #SFCHAMP @PGATOUR http://pic.twitter.com/iUgkLy1MVL

— Malcolm DeMille (@MDSculpt) October 25, 2017

“As soon as that chemical hits the metal at a temperature, it begins to color it right away. It’s an artistic thing to apply the patinas properly to where you get the colors that you want.” The multi-colored bronze trophy is then sealed in wax, which can be burnished.

When he got to the finished Reveille product, DeMille said he was most proud of the “attitude” it displayed. “Obviously a rooster is kind of cocky, so I had a little fun with that,” the veteran sculptor beamed. “It’s got a bit of a cocky attitude. It’s kind of looking you in your face with a ‘Yeah!? What do you want?’ kinda attitude. I like that.”

Who wouldn’t?

Cost of a bronze bird

There’s what DeMille calls a perpetual trophy, the original creation that stays with the championship, and then the slightly smaller individual champions trophies that go home with the winner each year.

DeMille would not say exactly how much his creations cost, but that the perpetual trophies run from “$7-8,000 on the very low side, and they can go up to $25-30,000.” The annual champions trophies that are made “might run $5-10,000 each.”

Artwork used as a trophy

DeMille has been at this a long time, and will note that he’s an artist and not a trophy maker. Ultimately, he tries to best represent what the client wants and the artistic touch demanded for Reveille is what makes this job for the Sanderson Farms Championship so appealing.

“The last thing I want to do is a spun cup, a simple cup with engraving and little handles on it,” he said. “So it’s really fun for us to try to create something unique and different.”

His company does 15 to 17 events on different worldwide tours each year, including two of the other distinct trophies on the PGA Tour, the John Deere Classic’s leaping deer and the Hero World Challenge’s homage to its feline-named host.

Photo by Christian Petersen/Getty Images

The Hero World Challenge trophy, which is also now a DeMille creation.

“I create artwork that is used for trophies. I’m not a trophy maker. I create art that people appreciate and will use as a trophy. If somebody wins it, they put it up in their office or showroom or pool table room or what have you. It’s a cool piece that has more going on than just a trophy with their name on it.”

Naming rights

When your trophy is some “badass” rooster, it needs more than just a default moniker like [blank] Championship/Open/Invitational Trophy. It needs its own name, and Joe Sanderson knew what he wanted to call it from the beginning.

Again, it’s pretty intuitive, in the way that a chicken company would have a big ass rooster for a trophy.

“A rooster calls for the beginning of the day; Reveille is the call to start the day,” said Jent. “So [Sanderson] wanted the rooster to be called Reveille. So the rooster calls, you get up for work.”

Simple enough, but that doesn’t make it any less fun to say.

Photo by Sam Greenwood/Getty Images

Cody Gribble, last year’s winner of the Sanderson Farms Championship .

A community emblem

I’ll slow down to make a point beyond the idol worship. The Tournament Director, Jent, said that the Reveille silhouette is now in demand in the community.

“It’s actually turned out to be pretty cool because now we have a secondary logo, which has actually become very popular.”

It’s all over the grounds and the Sanderson Farms Championship attendees and the fans from the Jackson area want merch with the Reveille silhouette. A PGA Tour official said he saw hats, shirts, bags, etc. with the logo spread across the course.

The PGA Tour’s growth over the past two decades, largely thanks to Tiger Woods, is a well-worn story. The Tour has evolved and become a cash game that probably even the most optimistic could not have envisioned. The days of the best pros driving from stop to stop and grinding to get by, even while at the top of the game, have been gone for decades. There’s a FedExCup that doles out $70 million over four weeks at four of the biggest markets in the country, markets where the PGA Tour may not exactly be in the center of the radar screen. Just this week, opposite the Sanderson, was the final WGC of the year, a four-event series with no cuts, a closed off world-rankings points party, and hefty guaranteed paychecks for all involved.

There were 47 events on the PGA Tour last year, and all but five had total purses of at least $6 million. The Sanderson Farms Championship checked in at $4.2 million, only the Barbasol Championship (opposite the British Open) was lower at $3.5 million. This year’s Sanderson purse jumped slightly to $4.3 million, which was $5.45 million less than the PGA Tour’s WGC event on the other side of the world.

This is not to say that the growth is bad or those big-money events, however needlessly extravagant and forced they may feel at times, are not the “real” PGA Tour. It’s just to illuminate that the stop in Jackson is not that. The contrast between the Sanderson and a WGC could not be more stark. Both are good to have on the PGA Tour schedule, but it’s not crazy to wish that there were more like the small-market rally and enthusiasm that comes through in Jackson.

“This is a huge point of community pride.”

“This is a huge point of community pride,” Dr. Mary Taylor told me. She’s the Interim Chair of the Department of Pediatrics at Batson Children’s Hospital, the only children’s hospital in Mississippi and a major beneficiary of the charitable money raised.

The Sanderson Farms is more than just the distinct trophy and the hipster preference of diehard PGA Tour fans. It’s an annual highlight for one of the Tour’s smaller markets. Hearing Dr. Taylor and other locals talk about their pride in having the event felt organic and not run through the PR machine, like you often feel like you’re getting from sponsors, venues, and the Tour at many other tournaments.

“It’s an honor to be a stop on the PGA Tour. It’s a very big deal and our whole community gets involved and engaged and excited to have it here. Everyone in the community gets very excited about having such a large, national stage for Jackson, Mississippi and it’s a big boost to our entire community, but especially the children’s hospital...We are really indebted to this tournament for helping us secure funds to be able to build a children’s hospital expansion.”

Reveille may be the star but the children’s hospital patients get in on the chicken art, too, painting the tee markers for the week.

Ryan Armour’s win on Sunday was the latest in what is still the early stages of a 10-year contract that Sanderson signed in 2015 to be the title sponsor of the Jackson-area stop. So while it may not be the biggest cash game on Tour, it does have a committed title sponsor and a community that’s all in, rallied around an unmistakable identity and trophy, the badass bird that’s become its symbol.

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secretladyspizza · 3 years

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Churinga Jewelry Factory Certifications

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How does a jewelry factory?Churinga Jewelry Factory Production ProcessSTEP 1: DESIGNING A 3D JEWELRY MODEL

STEP 2: 3D WAX PRINTING YOUR JEWELRY

In most modern jewelry production, the manufacturer uses a 3d printing machine to print a wax model made out of resin, which usually doesn’t take more than 48 hours.

The Rubber Mold

The Wax Tree

STEP 3: CASTING THE WAX MODEL INTO METAL

STEP 4: THE PRE-POLISH

STEP 5: BASIC JEWELRY ASSEMBLY

STEP 6: THE STONE SETTING PROCESS

STEP 7: POLISHING, FINISHING, AND QUALITY ASSURANCE

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Churinga Jewelry Factory Shipping And Payment

We support global supply. Meet your jewelry business with optimal efficiency.

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Churinga Jewelry Stores Near Me

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Churinga Jewelry Factory FAQ

Q1: Are you direct factory wholesale?

A1:Yes, we are direct factory manufacture with more than 10 years experience. Over 200 new arrivals are launched each month. welcome, contact our customer service to know more details.

Q2: Can I place a sample order?

Q3: Can I get mixed products?

A3: Yes. Mix color and designs are available.

Q4: Is there a discount for larger orders of Jewelry?

Q5: How to place an order?

A5: You can choose some items you like online, or you can write down the item/code number, with quantities you want, contact our customer service to place an order.

Q6: Can I get one customized sample that laser my logo or make my design?

Q7: What is the lead time?

Q8: When can I get the quotation?

A8: We usually quote you within 24 hours after we get your inquiry. If you are very urgent to get the quotation. Please call us or tell us in your mail, so that we could regard your inquiry priority.

Q9: What’s your after-sales service?

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kathrynkfuller9 · 7 years

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THE IJL KICKSTARTER ‘INDUSTRY’S CHOICE’ AWARD IS NOW OPEN FOR VOTING!

IJL has announced the launch to choose this year’s ‘Industry’s Choice’ 2017 KickStarter. Now in its fifth year, the newly titled ‘Industry’s Choice’ competition rewards one KickStarter with a much sought after complementary stand in the Design Gallery at IJL 2018, with the winning designer announced at the show.

IJL Show Director, Sam Willoughby, explains the new format for voting: “This year, once again, we are extremely pleased with our KickStarters. All ten are extremely talented and very different. I look forward to seeing who comes out tops. Fingers at the ready and good luck everyone!”

This year’s KickStarter line up comprises Farrah Al-Dujaili (Oddical), Alice Barnes, Becky Dockree, Raliegh Goss, Emily Kidson, Lucy Spink (Lucy Spink Jewellery), Claire Macfarlane, Rhona McCallum, Ana Simoes (Muscari Jewellery) and Heather Woof.

Voted for by the industry and awarded at the discretion of IJL and the NAJ, voting begins at 9am on the 29th June and closes on the 29th July.

To vote:

•Social media users should mention the name of the KickStarter they would like to vote for by using the hashtag #KickStartVote.

•Alternatively, you can cast your vote for your favourite on the IJL website at

Let the battle begin!

Find out more about KickStart and the Industry Choice directly at: www.jewellerylondon.com/kickstart

Free registration for IJL is now open. Visit www.jewellerylondon.com/register to ensure you receive your Essential Guide to the show and badge in the post.

Notes to Editors

For more information about IJL 2017 please contact: Jennifer Hall-Thompson or Suzanna Hammond: +44 (0) 7770 802442 [email protected]

KickStart Programme

The annual KickStart Programme is now in its ninth year and supports the best in design, offering ten outstanding designers a place on this unique mentoring initiative. Winners benefit from exhibiting on a group stand at IJL 2017, receiving invaluable marketing and industry support from both IJL and The National Association of Jewellers.

The 2017 KickStarters are:

Farrah Al-Dujaili, Oddical

Oddical is the creation of Farrah Al-Dujaili, a graduate of the School of Jewellery in Birmingham. Oddical is an emerging British jewellery brand that adores the quirky and the individual, with the mantra ‘Wear Oddical. Be Oddical’. The debut collection has taken inspiration from plant and skeletal structures to create eye-catching statement earrings that have the appearance of being made in precious metals, without the weight. Each pair of quirky, lightweight earrings are 3D printed in nylon, plated in 22ct gold and finished with hand painted details.

Alice Barnes

Born in London, Alice has always been influenced by the strong architectural lines that surrounded her whilst growing up. She now draws complex beauty from the simplest of forms to make elegant, contemporary jewellery with meticulous attention to detail. Her work is influenced by the cuts, folds and repetition used in paper art, and draws on lines, angles and repetitive shapes for inspiration.

Alice’s collections originate from a playful exercise in which she limited her materials to a small square of silver sheet. By carefully piercing, forming and sometimes combining squares, she realised that just as in origami there were endless possibilities, and this was the beginning of her debut ‘Square Roots’ range. Her latest collection ‘Pleated’ continues to be inspired by paper art, but to get the sharp folds and weighty quality she wanted, Alice returned to her first love of wax carving and the ancient lost wax process. She carefully hand carves each section front and back to create elegant linear pieces with a touch of art deco sophistication.

Becky Dockree

Becky Dockree is influenced by a passion for pattern and form. She uses traditional etching techniques to display these ideas and create eye-catching designs. Becky has a sculptural background, graduating from the Sir John Cass School of Art and Design. Inspirations from this time have been introduced into her jewellery practice, taking her past sculptural projects to a new audience. Her etched designs originate from a series of paintings, which focus on the female form. These forms have been manipulated to create symmetrical patterns which rotate and spiral across the metals surface. Her recent collection ‘Inked’ has evolved the idea of pattern and form with the creation of hand carved bodies from wax that display her intricate patterns. She combines these ideas with the use of precious metals and gemstones. Each piece is carefully handmade in her London studio.

Raliegh Goss

Raliegh started her jewellery journey silversmithing at the Sir John Cass Faculty of Art. The ASTRAEUS collection, a multi coloured diamond jewellery collection, takes its name from the Greek god of the stars.  The Astraeus Ring shoots it’s glistening branches of gold and diamonds around the finger. This white gold ring is adorned with yellow and white diamonds of round and pear shapes with diamond pave that gradually turns into intense yellow to accent the flick of the stars tail. Raliegh Goss was established in 2016 with her partner Angus Law. All manufacturing is entirely in-house bar the stone setting. In January 2017, the Inaugural Casino Collection was launched, inspired by the evocative motifs of a set of cards: Clubs, Spades, Hearts and Diamonds are the focus of each piece in the collection. Their latest collection, Shield, is launching this July, a contemporary fine gold collection inspired by the geometrics of Egyptian jewels.

Emily Kidson

Emily Kidson is a jeweller whose layered, intuitively designed jewels marry bold materials with traditional craftsmanship. Known for her use of laminate with silver, wood and resin, Kidson makes every piece of jewellery by hand in her London studio. Colour is central to her work and is the backdrop to a minimal, modern aesthetic with areas of intricate detail. Each piece is the culmination of an immersive creative process and her inspiration comes from anywhere and everywhere, whether a quickly-captured image or the careful contemplation of a painting. Nature, art and architecture are particular influences. Kidson studied 3D Crafts (wood, metal, ceramics and plastics) at the University of Brighton and has exhibited widely across the UK and increasingly abroad.

Lucy Spink Jewellery

Every piece of jewellery is handcrafted in Lucy’s workshop in Cornwall. She is fascinated by how closely our lives were once bound to the rhythms of nature and uses a small element of gold in her pieces to represent the importance of the natural environment. The techniques Lucy uses are ones that have remained unchanged for hundreds of years and she use traditional tools from her grandfather’s workshop to keep her anchored to her inspiration. She allows marks left during the making of each piece to remain as an integral part of the surface. This gives the wearer a glimpse of the processes involved and the time taken in creating handmade jewellery.

Claire Macfarlane

Originally having studied sculpture, Claire manipulates her materials beyond conventional means and this has been recognized with industry awards. Visually, she is drawn to structural forms and patterns – in architecture or wherever they may be. As she says: “I can’t go for a walk without taking a snap of an interesting fence!” Design inspiration for her Spin Me Around collection came from “letting loose on a traditional lathe”; the contoured elements then fashioned into bold, modern designs with inverted patterns and striking silhouettes. The highly polished finish emphasizes the form and reflects the precise, clean nature of lathe work. The result is a collection that is strong, feminine and curvaceous for night or day.

Rhona McCallum

Rhona McCallum is a Glasgow based jewellery designer and a graduate of Edinburgh College of Art. She regularly exhibits her jewellery collections throughout the UK and abroad, including Goldsmiths’ Fair in London and, most recently, at LOOT – the annual retail exhibition of contemporary jewellery at the Museum of Arts and Design in New York. Inspired by geology, ancient history and our ever changing landscapes, Rhona creates statement jewellery in silver and gold that combines rugged, natural textures with bold, sculptural forms.

Ana Simoes, Muscari Jewellery

The grand-daughter of a goldsmith, Ana Simoes followed the only career she knew would spark her passion. She trained as a jeweller and gem setter and graduated from the BA (Hons) Jewellery course at The Sir John Cass School of Art, Architecture and Design – London Metropolitan University. She designs and creates jewellery in precious metals and gemstones and her aim is to merge traditional jewellery making techniques with a modern aesthetic.

Her brand, Muscari Jewellery, is characterised by thought-provoking design and attention to the finest details. Muscari Jewellery’s collections are inspired by the richness of Ana’s home country’s history, landscape and architecture, particularly by its connection to the sea and the unknown. All her jewellery pieces are handmade at Ana’s studio in London and encapsulate essential qualities that are at the heart of her work – meticulous craftsmanship and an intricate preciousness that can be seen and felt within every piece.

Heather Woof

Heather Woof creates subtle, refined yet distinctive jewellery in silver and gold. Inspired by pattern and structure, Heather’s designs are characterised by clean lines and sculptural forms. Each piece is handcrafted from her Edinburgh studio with a focus on detail and beautiful craftsmanship. Heather designs with the wearer in mind, creating pieces that embody everyday simplicity and understated elegance.

Trained at Edinburgh College of Art, Heather has a passion for making, referencing ancient techniques to create contemporary forms. She has won multiple awards for her work, including a gold award from the prestigious ‘Goldsmiths Craftsmanship and Design Awards 2016’. She has exhibited internationally, including shows in New York, Seoul, Paris and exhibits regularly throughout the UK.

About International Jewellery London:

International Jewellery London is the UK’S leading trade event for the international jewellery industry. The event showcases the latest product ranges from over 550 high end, finished jewellery manufacturers, designers, loose gemstones, and retail services suppliers. IJL attracts an unparalleled range of jewellery focussed and pre-qualified buyers from 64 countries in an exclusive trading environment to do business, share knowledge and network in the heart of London, the UK’s style capital. Inspiring the industry for over 60 years, IJL showcases future industry trends, provides 100% free education and attracts an unrivalled selection of consumer and trade press.

IJL is sponsored by the NAJ and supported by the GIA, Gem-A, The Houlden Group, The Company of Master Jewellers, The Responsible Jewellery Council, Euromonitor and CIBJO.

For further information please visit www.jewellerylondon.com

About Reed Exhibitions

Reed Exhibitions is the world’s leading events organiser, with over 500 events in 30 countries. In 2015 Reed brought together over seven million event participants from around the world generating billions of dollars in business. Today Reed events are held throughout the Americas, Europe, the Middle East, Asia Pacific and Africa and organised by 40 fully staffed offices. Reed Exhibitions serves 43 industry sectors with trade and consumer events. It is part of the RELX Group plc, a world-leading provider of information solutions for professional customers across industries.

Jewellery and Fashion Accessories events are: Jewelers International Showcase (JIS) in January and April; Girls Jeweller Tokyo (IJT); Bijorhca Paris; JCK Tuscon; Tokyo Fashion Jewellery Expo (April); Garderobe; International Jewellery & Watch Show (JWS); International Jewellery Kobe (IJK); Luxury and JCK Las Vegas.

For further information please visit: www.reedexpo.com

from Trending Jewellery http://blog.jewellerylondon.com/the-ijl-kickstarter-industrys-choice-award-is-now-open-for-voting/

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loribos · 7 years

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New Post has been published on Toronto Events, Activities and Entertainment

New Post has been published on http://www.torontonicity.com/2017/04/13/sabrina-melendez-leslieville-goldsmith/

Sabrina Melendez, Leslieville Goldsmith: Turning Wood into Gold

One crisp March morning in Leslieville, I visited with Sabrina Melendez, who showed me her collection of precious wood. Sabrina is the Master Goldsmith at On the Other Hand Jewellery at 1015 Queen Street East, Toronto where she helps Karen MacRae makes custom engagement rings, but in her spare time and when Karen isn’t busy, Sabrina likes to use wood to decorate or accentuate earrings and necklaces of her own design.

Sabrina inspects her wood collection at On the Other Hand Jewellery in Leslieville

Sabrina Melendez’s jewellery wood collection includes blocks cut from trees on every continent. She hides it on the top shelf in the back of her Leslieville studio, and when I arrived, she got out a step ladder and fetched the wood down for inspection. First up were her Snakewood samples.

Sabrina Shaves Snakewood To Show Off the Grain

Shaving snakewood will show the red snake-like bands across the grain, photo by Rob Campbell

Years ago, Sabrina was given Snakewood samples from a knife maker who no doubt used the wood for handles. His supply, and now Sabrina’s stash originates from Brazil. The more common red coloured Snakewood we sometimes see in craft shops in Canada probably comes from Peru or Bolivia where there’s more of an industry. Prized for its deep red flesh and distinctive snake-like bands in the wood across the grain, Snakewood will oxidize (dry out) if not shellacked or varnished immediately after cutting, and even then its bright red colour will fade over time. The wood’s crimson flesh and stripes will darken to a less pronounced but still lovely reddish brown.

As I watched Sabrina struggle to scrape away the drier wood and expose the rich red wood below, I came to understand the density and oily texture this wood. The material must be equally challenging for carpenters as it splits easily and can make nasty splinters. But on the bright side, Snakewood ‘turns’ well and polishes up beautifully, and I suppose that’s why its most commonly used to make cereal bowls, vases, and pool-cue butts.

Sabrina Has Two Blocks of African Blackwood

African Blackwood is so dense that it is very difficult to work with. Photo by Rob Campbell

All the way from Kenya, Sabrina has blocks of very heavy jet-black wood called, not surprisingly, African Blackwood or in Latin, Dalbergia melanoxylon (the wood is also called grenadilla, or mpingo) and is from a sweet-smelling flowering tree native to East Africa.

This wood has been used for centuries in the manufacture of musical instruments and fine furniture. Because of this dense wood’s great weight, it was sometimes used in place of stones as ship’s ballast. The advantage being that northern populations would buy the wood and use it to make household kitchen items like rolling pins and knife handles. To this day two German knife companies. Wüsthof and J. A. Henckels continue to make blades with blackwood handles because of the wood’s moisture repellent properties.

Sabrina uses her African blackwood to contrast the metallic luster of gold and silver in earrings and necklaces.

Sabrina Has Red Coolibah Burls from Australia

Red Coolibah Burls from Australia, photo by Rob Campbell

From the remote floodplains of the Australian outback, Sabrina has two blocks of richly textured orange wood that are cuts from a Red Coolibah tree or more accurately, from a ‘burl’ that formed on the side of the trunk. This tenacious tree is from the Eucalyptus family, but it is quite rare and the logs are much too mean and snarly to make decent timber.

Coolibah burls have historically been traded throughout the British Empire and were used to make musket stocks, salad bowls and wood ornamentation of every description. Australian Red Coolibah is a very peculiar; its highly-figured wood whose rarity adds to its expense. But as Sabrina will tell you, burl wood in general is very hard to work with using hand tools or even on a machine lathes, because its grain is twisted and interlocked, and this causes the wood to chip, and lathes to chatter.

Sabrina Proves Beautiful Jewellery Can Be Made from Wood

Ring in 10k gold and Bocote, $1,250 plus tax by Sabrina Melendez

Sabrina Melendez also makes silver rings that are cast around a hand carved wooden inlay of Bocote, which is a jewellery wood from Mexico. The rings nicely exhibits Bocote’s wild grain patterns with curved lines and swirls while the color is a stunning golden brown with yellow tints. Bocote is a hard, heavy, and dense wood, strong and stiff, with a medium texture. It polishes well with wax or polyurethane, and will take a moderately high natural gloss.

Another gorgeous specimen, this Sabrina Melendez original silver ring has a Fiji Mahogany wood inlay. The most common jewellery wood in Sabrina’s collection, Mahogany is the world’s oldest and most elegant project wood. The color of its heartwood ranges from pinkish to pale brown, with reddish brown streaks. Evidenced here is the yellow brown sapwood that could still darken a little more over time; as the ring and its wearer age they both gain more character.

These Musical Bangles Are Made from Wood

Wood bangles made from Bubinga Yellow Heart and Tineo, $80 plus tax each by Sabrina Melendez

A set of three, these hand-carved wooden bangles were also available for sale at On the Other Hand Jewellery that day. They are composed of three more exotic timbers from Sabrina’s collection. The bright one is Pau Amarello which is Portuguese for Yellow Wood. Sabrina calls it Yellow Heart and its a lovely yellow softwood that’s ideal for carving and lathe work. The second bangle is made from wood called Tineo, or more scientifically, Weinmannia trichosperma from a tree that once grew in Argentina (or less likely Chile). This wood is prized for its colour and grain and is considered a ‘precious wood’ in the furniture industry. The third and darkest bangle is Bubinga, which is also luxury-wood used in furniture making. Bubinga is part of the Guibourtia tree family, and is a mighty towering giant found in the swamps of both Africa and South America. It flourishes in lands that are underwater certain times of the year.

Sterling silver ring with Bootee inlay, $450 plus tax by Sabrina Melendez

Gold, silver and wood rings made by Sabrina Melendez, photo by Rob Campbell

Sabrina Melendez is an inspiring artist who proves everyday that beautiful jewellery really does grow on trees.

#Leslieville jeweler #Sabrina Melendez #wood jewellery

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