Floral carving has been around for centuries. The differences are in how things are laid out, to some extent size, and a number of other factors. Some of it is individual style, some artists combine styles making it all the harder to pigeonhole things. So why pigeonhole them at all! Just as with paintings, styles and such can be hard to distinguish to the untrained eye but eventually it all starts to make sense.
The different styles were/are developed by the different artists just like painting, then as they become popular their style gets copied. A lot of it is the business side too on the more modern styles at least and probably why you thought it started in the 40s, Stohlman for example started about that time and as he got better he started to produce tools and books and made it a business which promoted his style further. It makes it troublesome to some degree as the tools we can buy were created to do a certain style well but we as artists/humans also want to develop our own style as we get better so we either have to make do, learn to use them differently or develop tools we need ourselves. At least that's my take on it.
Leather carving IMO is influenced by centuries old traditional methods, folk art/ untrained leather workers embellishing personal items, professional artists/people making a living at it and every thing in between.
Thanks for the replies. That clears things up a bit. I think I'm beginning to see the subtle differences between the dominant styles. Just looking at Jim Linnell's course page where the different styles are shown side by side makes it easy to see the differences. I used to go to LA for business and whenever I had a few hours of spare time I would visit the Gene Autry Museum of Western Art to look at the leather work up close. It seems significantly different from contemporary styles. It seems like floral carving came from Mexico like so much of cowboy culture. The cuts and beveling aren't as deep as today. I have some pieces that were carved by a great uncle in Oregon about 80 years ago, and they are not cut deep and hardly beveled at all.
This video continues from parts 1 and 2. It concentrates on the fine details of this style of carving. Includes use of the seeder, veiner, mulesfoot, background, hair blade and the swivel knife for decorative cuts.
Al Stohlman award winner, Chan Geer will be joining Learn Leather to teach his techniques for carving various elements of the Sheridan style of floral tooling. Chan will cover several leaf types, flowers and stem work in this training in addition to insights into his carving techniques. (1hr 30min)
1111111111111111111111111111111111111111111111111111 P LATE S following page 60 1. Navajo shell and turquoise necklaces 2 Navajo woman's dress 3 Navajo squash-blossom necklaces 4 Navajo Ganado-style rug 5 Navajo Wide Ruins rug 6 Mural of the sea ania (the Yaqui flower world) 7 Mayo pahkora masks 8 Yaqui pahkola masks and disk rattle 9 Apache Creation Story painting 1.0 Western Apache coiled basketry 1.1. San Carlos Apache agave wood fiddle 1.2 Western Apache bilobe canteen 1.3 Western Apache painted twined burden basket 1.4 Western Apache beaded buckskin moccasins 1.5 Western Apache war shield 1.6 Canyon Creek in the Grand Canyon in the late 1.850S 1.7 Havasupai basketry bowl and jar 1.8 Hualapai twined jar and "fruit basket" 1.9 Two Yavapai coiled baskets 20 Hualapai beadwork following page 1.56 21. Tohono 0'odham wi:gida figures 22 Tohono O'odham women picking saguaro fruit in 1.854 23 Saguaro fruit pickers 24 Tohono O'odham saguaro wine-making paraphernalia xii 25 0'odham bowl baskets 26 Akimel O'odham women in 1854 27 O'odham pottery 28 Tarahumara cross and rosary 29 Tarahumara violin 30 Tarahumara Easter objects 31 Tarahumara Fariseo dancers on Holy Thursday 32 A Tarahumara Soldado and Fariseo 33 Tarahumaras dance around a straw Judas 34 Tarahumara Judas figure 35 Southern Paiute basketry water jars 36 San Juan Paiute baskets 37 Southern Paiute wedding baskets following page 220 38 Seri ceramics and figurines 39 Seri seaweed dolls 40 Seri carrying pouches 41 Seri necklaces 42 Seri coiled basketry 43 Seri santos 44 Mohave figures 45 Mohave warriors in the late 1850S 46 A Quechan ferry on the Colorado River in about 1854 47 Colorado River Indian Tribe arts and crafts 48 Colorado River Yuman tourist crafts 49 Maricopa pottery 50 Hopi art with Kachina motifs 51 Hopi belt and brocaded sash 52 A Hopi tableta 53 Hano polychrome jar 54 Hopi tiles 55 Contemporary Hopi jar 56 Hopi Niman kachina tihu 57 Clark Tenakhongva carving a tihu PLATES ...
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Cambridge AS Level Drama provides opportunities for learners to develop their skills as theatrical practitioners, engaging with performance texts in practical and creative ways. It fosters engagement with, and enjoyment of, the study of a wide range of theatrical styles and genres. Through their study, learners will develop as skilled, well-informed, reflective practitioners, able to research ideas and create and interpret meaning through drama.
When studying the Cambridge IGCSE Music syllabus, learners listen to, perform and compose music, encouraging aesthetic and emotional development, self-discipline and, importantly, creativity. As a result, learners enhance their appreciation and enjoyment of music, an achievement that forms an ideal foundation for future study and enhances life-long musical enjoyment. Learners study music of all styles; each style is placed in its historical and cultural context, and they are encouraged to e perceptive, sensitive and critical when listening. Although the majority of the syllabus examines Western European music, the music of other cultures is always represented.
Chorus provides students with instruction in the development of technical skills in the choral setting. Emphasis will be placed on the development of skills in reading music notation; music theory and composition; individual and ensemble performance techniques; analysis of form, style, and history included in the performance preparation of varied choral literature; and critical listening skills and aesthetic values. The content should include, but not be limited to, the following healthful and musically appropriate vocal tone production techniques; independent interpretation of varied choral literature; application of rhythmic and melodic notation and expressive markings in performance, composing, and improvising; analysis of musical form, varied style periods, and aesthetic perceptions; evaluation of musical performance as a performer and a listener; application of appropriate choral performance techniques; responsible participation in music activities; roles and influence of choral music and musicians in culture, society, and everyday life.
This course develops guitar performance proficiency using a variety of techniques. Emphasis will be placed on the development of skills in reading music notation; analysis of form, style, and history; and improvisation and composition techniques. The content should include, but not be limited to, the following: performance of a variety of guitar literature using appropriate articulations, dynamics, phrasing, tempo, and style; use of proper posture, hand position, fingering, and technique; interpretation of melodic and rhythmic notation in a variety of key signatures and meters; composition, arrangement, and improvisation techniques; analysis and evaluation of individual and ensemble performance; responsible participation in music activities; roles and influence of guitar music and musicians in culture, society, and everyday life.
SPECIAL NOTE: The course requirements contained in this course description are designed for a one-credit course. This course may be repeated by a student for multiple credits if, on subsequent offerings, the required level of student proficiency increases.
Students will become conversant with basic chord progressions and the scale/chord relationship, strengthen aural skills, and learn to improvise and compose melodies over progressions as they rehearse, perform, and study high-quality jazz ensemble literature. Musicians study jazz history and become familiar with the cultural context of various compositions and artists. Students may be required to attend and/or participate in rehearsals and performances outside the school day to support, extend, and assess learning in the classroom. Students in this class may need to obtain (e.g., borrow, rent, purchase) an instrument from an outside source.
This is an introductory course designed to explore the fundamentals of producing musical productions. This course deals with cutting edge technology as well as a working knowledge of industry standard equipment. Topics include live sound production, multiple techniques of musical productions. Additional topics included: appropriate use and recording techniques of various sound equipment as well as lighting designs. Other content will include, but not be limited to, the following: scenery construction, costuming, make-up, lighting, sound, set de- sign, maintaining the auditorium.
SPECIAL NOTE: Will meet graduation requirements for Performing Fine Arts, The course requirements contained in this course description are designed for a one credit course. After- school activities, including rehearsals, technical sessions, concert attendance, and other performances may be included as part of this course.
Musical Theater provides an opportunity to study and perform scenes from varied styles of musical theater with special attention to the fundamentals of stage movement, acting, characterization, and all other aspects of the production of a musical. The content should include, but not be limited to, the following: performance and auditioning techniques (dance, acting, singing); music theory and sight singing; production techniques (lighting, sound, set design, costuming, make-up, stage direction); analysis and evaluation of musical theater performance; vocational and recreational pursuits in musical theater; connections between musical theater and other subject areas; role and influence of musical theater in history, culture, society, and individual lifestyles.
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