Wednesday, December 28, 2011

Jim Tait - Marine Artist

!±8± Jim Tait - Marine Artist

Before my visit to Shetland in the summer of 2008, I stumbled upon the website of artist, Jim Tait. Jim is unusual in that he is a Shetland artist with a website, the Tait Gallery . I was highly impressed by the photo-realistic images Jim manages to capture in his seascapes and arranged a meeting.

Once you meet Jim and view his paintings, his modesty might very well amuse. I had to smile at the guarantee on his website 'If you are dissatisfied with your painting, please let me know within a week of receipt, and return it to me in good condition for a full refund' I never asked if he has ever had any paintings returned.

James Tait was born in Baltasound, Shetland in 1948. He attended art college, but found the process unsuited to his needs - so he left. Jim then attended university to study law, left before completing his studies and a varied subsequent career ensued. Jim now lives in Lerwick, doing what he is so obviously meant to do - marine art. Jim Tait's astrological sign is cancer, the least predictable of all the signs. Cancerians are ruled by the moon and have water as their element, which is obvious in Jim's life and work. He even positions his chair to allow an unrestricted view of the sea from his Shetland home. The three main loves he mentions are: oil painting, sea and ships. The Shetland Islands are framed by the North Atlantic on the west and the North Sea on the right. The coast and views differ wildly and Jim faces the North Sea.

Jim dislikes being asked for his inspiration as he finds the term too lofty. If he has anything similar to inspiration he says, it must be the changing seas and skies of Shetland. Jim's favourite artist is the Belgian Surrealist, Paul Delvaux 1897--1994. There were no similarities, as far as could be seen during our meeting. I later read that Marc Rombaut has written of Delvaux '...he always maintained an intimate and privileged relationship to his childhood, which is the underlying motivation for his work and always manages to surface there. This childhood, existing within him, led him to the poetic dimension in art'; this quote certainly strikes a chord. Delvaux was famous for his female nude compositions, skeletons, and architecture. The absurdity of Delvaux' work seems to be the antithesis of Tait's work. The yin to Tait's yang gritty masculine realism reflected in his work. Jim also admired the work of Cezanne, van der Weyden and Fuseli and definitely admires many local artists and, if they are not inspiration, they were certainly encouragement.

Jim's interest in the fishing fleets of Shetland, Scotland and the rest of Europe has grown into a fascination. He learned all he could about the boats - their tonnage, length, names, numbers, where they were built and when, as well as details of their engines and ownership. His interest coincided with substantial developments in the types of vessels being used, and Lerwick became the hub of a large fishery involving much of the northwest European fishing fleets. Jim's father bought him a paint-by-numbers set when he was around twelve. This was how he first learned to paint with oils, and he sold his first seascape painting, of the Shetland Zulu drifter Research at the age of thirteen. The painting still hangs in an office in Lerwick!

Had Jim had been fully fit, he would have made his living directly from the sea, rather than scraping an existence attempting to perfectly capture its essence in oils. As things were, a muscular condition precluded this - fishermen have to be very quick and strong to react to all the elements throw in the normal course of fishing operations. Nevertheless, Jim took trips off to the seine-net and purse-net with local boats whenever he could. Jim was never seasick, no matter how bad the weather. This was a matter of some curiosity to the crews of these vessels, who were used to seeing landlubbers throwing up enthusiastically on such trips.

A passion for all things nautical, in particular the fishing industry, the vessels which pursue the shoals, has combined with his talent to produce Jim Tait, marine artist. Undoubtedly, Jim's passion for maritime scenes emanated from somewhere almost prehistoric within him. It was there before he had any conscious memory.

Jim has always used oils: he loves the pliable nature of the medium. Watercolours and acrylics dry too fast for his liking. According to Jim, a Tait watercolour would be a very flat uninteresting object. In the late 1960s, acrylics were quite new and revolutionary and, he suggests, are a bit more workable: he used to enjoy the medium at high school but still found the product stiff and too quick to dry. Also, whilst at school, Jim produced what he considered a magnum opus - a painting of a Shetland ram standing on top of a hill, Monarch of the Glen style! Modestly as ever, Jim considers the picture attracted nothing but mirth and derision from his peers and teachers!

The end of Jim's secondary school education came in 1967 and the only reasonable thing to do seemed to be to go to art school. Jim had mastered drawing: landscapes, plants, animals, and people flowed from his energetic pencil. He was convinced he would become another Turner, Constable, or van der Weyden within a remarkably short space of time. However, art school was not what Jim expected and his enthusiasm for art as an academic subject waned. By Christmas 1969, he had lost all interest in anything the college had to offer and failed his second year studies.

Unfortunately, Jim had spent his fare back to Shetland and was faced with the problem of how to get home. It so happened a fishing boat from Burra Isle was in Aberdeen landing a catch of fish and the crew offered to take Jim home free of charge. Thus began an excellent adventure and he went off in a state of breathless excitement. The crew had neglected to tell him they were going to fish on the way home. Therefore, the next morning found the crew southeast of Fair Isle, with no land in sight and the net about to be shot. Although unable to help, Jim witnessed the whole operation three times during the course of the day, with what seemed to be large hauls of fish, and the weather worsening all the while. By evening, a gale was blowing from the west, and the skipper decided to head for Scalloway, where they berthed just before midnight.

Jim had to find work and he entered banking as a clerk in 1969. Thus began a long and undistinguished career in minor clerical and administrative posts. Jim says it deserves no more mention than the fact of its existence, and it was broken by an equally undistinguished two years at the Faculty of Law at the University of Aberdeen. All the time he remained loyal to his first love, the sea and ships, and he still tried, with varying degrees of success, to portray these scenes.

How does Jim describe the sea, or express the thrill that he extracts from seeing a fishing boat pitching and rolling through it? He said he cannot describe the feeling adequately except to say 'it's a vital part of my being - my very soul'. Painting, however, is a talent and an acquired skill, and Jim's quest to capture the perfect seascape has always been his main reason for continued existence - my perfect storm, my perfect gale, my perfect fresh breeze, my perfect calm. Perhaps some day Jim claims, he will get it right. Dali's words maybe offer some comfort 'Have no fear of perfection, you'll never reach it'.

In Jim's perfect storm, almost everything would be white with spray, with a marbled mess of dull greens, greys and blues. Any vessel would be an indistinct darker grey shape in the tempest. However, Jim reckons he has always been too tentative with his storms - saying he was too concerned with form and order. I suggested he abandon form and order, and quickly wished I had not.

Jim's perfect gale would have less white than the storm, but the sea would still be greys, greens and blues marbled with white, with spray flying from waves and wavelets, each wave a multi-headed medusa. Any boat out in this would normally have her head to windward, now diving into the swell, now throwing green water and spray from her deck as she emerges from it, before plunging into the next lump of water. Jim says he is too tentative; he has yet to paint his perfect gale and he reckons it may never happen.

Jim's perfect fresh breeze would be over an Atlantic or North Sea swell, with some wave tops breaking white, the colour of the sea more reflective of the clearer sky above, a fishing boat still pitching and rolling through it, only less violently. Jim has still to paint his perfect fresh breeze seascape to his standards. On viewing Jim's paintings, the viewer might disagree with him. As for the calm, where the swell becomes oily in appearance, the boat rolls and pitches slowly, gently, and rhythmically, and the sea, a flexible, floppy mirror, reflects in some detail what is above. Jim recommends time spent just observing the way the sea moves, like the living organism it is, and the changing colours which happen when it breaks. This sea gazing might attract curious glances from passers-by and anxious thoughts in friends, but it is well worth it when the results appear on canvas. Jim thoroughly recommends leaving the rat race behind to watch the sea go by; it's wonderful therapy.

When Jim sits in front of a blank canvas, with malicious intent (he said) to produce a seascape, there are certain things he has to consider before applying any paint. These come in the form of various questions; where is my light appearing from? what degree and type of cloud cover do I want? Where is my wind going to be from - left, right, towards or away from, or somewhere in between? Just as important is the strength of the wind, an excellent measure and description of which can be found in the Beaufort Scale, which specifies the various wind strengths and their effects. These criteria will affect the height of the waves and the amount of breaking water. With these questions answered, Jim can, with experience and technique, produce a seascape whether it features ships, coastal features, or both or neither of these elements.

In the conventional manner, Jim starts at the top, and begin to create the sky. The light in Shetland seldom descends directly from its source. It sneaks down between clouds, creating all sorts of beautiful colours on the way. This phenomenon is even more noticeable in winter, when the sun is low in the sky. It is a pity, says Jim, there are so few hours in a winter's day to witness this spectacle, but, even so, Jim has spent hours just looking at the sky in summer, as it constantly moves and rearranges itself. Jim tries to transpose this onto canvas, as this creates a perfectly good backdrop to a seascape. The sky in Shetland, he explains, has a special silvery quality. There are unlimited phenomena in the Shetland skies - colour you will never see elsewhere. According to Jim, on a showery February afternoon the sky can contain almost every colour of the rainbow! While visiting, I caught my first glimpse of a perihelion.

For fishermen, whose whole existence revolves round the weather, the most important element is wind, and for the marine artist it is just as vital a feature. There are many amusing examples of the result of neglecting the factor of wind direction. Jim has seen paintings of steamships with the smoke from the funnel blowing from left to right in the picture, and the mizzen mast flag pointing the opposite way. Jim told me the artist who painted this has doomed his work to scorn in the eyes of any seaman who looked at it. Without realising it, Jim has exposed an integral truth: he does not work to impress anyone, not art critics, wealthy buyers, or even the paying public.

Nowadays, when there are few steamships still in operation, and sailing ships are used mainly for recreation and training, the wind direction is still as vital a picture component as in the days of Drake and Nelson. Basically, the surface of the sea moves in the direction of the wind, and this is how it should be represented by seascape artists. Jim has lived with the sea as his neighbour all his life and has delighted in painting all its moods. He has sailed, rowed, motored, played, and fished the sea and explored parts of the coastline, which are inaccessible from the land, and like most of his fellow Shetlanders, always accorded it the respect it deserves.

We are told the reason for the earliest manifestations of art, such as the beautiful cave paintings at Lascaux, France, is power. These early artists, so we are told, produced paintings of animals because the depiction gave the artist power over the beasts, thus making them better hunters. 'If this is the case, I must have been a most power hungry four-year-old. My father used to take me down to the Kiln Pier at Baltasound, on windy days, to see the fishing fleet sheltering. I sat on his shoulders to view the boats. My father could feel my little body stiffen in concentration. Later, I demanded a piece of paper and pencil, and produced a pretty good portrayal of what I'd seen.'

Jim's health meant that rough sports were avoided. Whenever there was rough-and-tumble, usually Jim tumbled. He preferred to spend time on his own, enjoying the hills, the shore, and, wherever possible, the sea. He knew where the larks and other birds nested, where the blue milkwort and sea campion grew, and where the best pools for catching fish were. Jim was an expert on the flora of Shetland by the time he was ten. Having myself photographed many flowers while visiting the Shetland Islands I bought a guide to the flora and fauna of Shetland, to help identify the plants. Instead of identifying from the book, I sent all of the photographs to Jim and he named each flower by return.

At the age of twelve, Jim wanted to learn more about the beautiful Norwegian longliners and whalers, which called at Lerwick and other harbours in numbers, so he began to learn Norwegian. This seemed a perfectly reasonable thing to do, and Jim sees nothing remarkable about this. He also has Higher English, French, and German and therefore can write and speak four languages to a high academic level. We could also take into consideration that Shetland has a language all of its own. Where else in the UK do we see 'dinna chuck bruck' litter notices?

Apart from maritime themes, Jim has tackled other genres with varying degrees of success. Jim suggests he paints landscape almost as frequently as seascape, although there is usually a marine element, because in Shetland you can never be further than three miles from its 900 miles of coastline. Jim once presented an exhibition in Shetland Museum on the theme of cats and flowers - a singularly unsuccessful show according to Jim - as dogs, horses, female nudes, and interiors have all been. Jim has also attempted slightly more surreal themes while under the influence of a particularly famous artist at the time - sounds like Delvaux. In the case of being under the influence of well-known artists, Jim's view is, it is bad practice, like being under the influence of drugs or alcohol - the result is not Tait originality.

When asked if the sea was the only subject matter that interested Jim he said: 'the glib answer to the question: what do I paint? could be whatever my clients want me to! or whatever my clients will pay me to do. A similar response to why do I paint? could be because somebody is paying me to... As far as Jim concerned, there is a strong element of truth in this. After all, artists, like other people, need heat, light, food, drink and the rent paid.'

'I just finished a painting of two border collies against the background of a Shetland landscape. I don't even like dogs. A customer was willing to pay me a certain amount of money, so I did the work. That is the commercial reality of life, and that is what the consummate professional artist must do - whatever pays the bills.' I suspect Jim does not really like painting other subject matter to survive and that is why he sounds so annoyed.

The downside of non-commissioned works is the accompanying ever-present fears that no one will like the results. Thinking through the creation of a work, with the usual elements of composition and colour, not to mention space and time, is always a problem, but is much more acute where the whole conception of the work begins from nothing! Jim is sure the day will come when he sits down in front of a blank board or canvas, and nothing comes into his mind at all. In fact, he feels has this already happened on several occasions, but the condition has been temporary! Many cures have been mooted for artists' block.

It's enjoyable listening to Jim's critique of other artists and how he arrived at the juncture he now occupies. He was watching an artist on television depicting a storm at sea. 'He used copious amounts of black and indigo to represent cloud, out of which bright flashes of lightning were emanating. Underneath this dramatic sky was the sea, which consisted of horizontal streaks stretching the length of the canvas. On top of this, an indeterminate shape, representing a boat, was plonked, looking like a squashed fly on a badly laid sheet of blue formica. This picture had not even a suggestion of the two most frightening aspects of bad weather at sea, which are wind and waves.' Jim was furious at this charlatan and his total misrepresentation of a storm at sea.

'Thunderstorms pose no greater threat at sea than they do on land. A direct lightning strike would probably damage a ship in a similar way to a shore-based structure.' Masts might be damaged and it could affect electronic equipment, but Jim has heard few seamen's tales about lightning strikes at sea. However, every year, ships and men are lost because of the action of wind and waves. 'For those who work on it, the sea can be a generous benefactor, but can also be a tyrannous master. It is a treacherous beast, ready to consume the unwary as its mood swings from benign, bright and balmy, to dark, violent and threatening in the space of a moment.'

Hardboard and canvas are Jim's favoured surfaces, especially the smooth side of board, to be more precise. Jim's technique is to use paint straight out of the tube onto the palette without thinners or lubricants. Therefore, a smooth surface is necessary to evenly cover the area. It is worth traveling to Shetland to visit Jim's palette. It resembles a lunar landscape on a tray, with multiple piles of oil, stacked up looking like volcanic stacks in miniature.

The surface of a canvas is rougher and the brush requires a scrubbing technique to cover the canvas. Jim has to discard his brushes after every work and the bristles certainly look like they have scrubbed a stone floor. Jim has also used the rough side of hardboard, which presents the same problems, only worse. This surface has to be primed, then applied with at least two layers of undercoat before it can be used at all. Jim tends to paint in thin overlapping layers, rather than single thick coats. Jim finds this technique achieves the depth he seeks. 'A painting should be a window, rather than a wall!'

The only Shetland artist to cause Jim to stand in front of an artwork and earnestly wish it were his work, was Adam Robson 1928--2007. Robson painted in oils, but was a man of many other talents and achievements, according to Jim, such as writing. Robson was the author of the book The Saga of a Ship: the Earl of Zetland, (The Shetland Times, Lerwick, 1982). The vessel plied between Lerwick and the north isles of Shetland, carrying passengers and cargo. Jim's uncle, Adam Tait, was captain of this vessel during the 1939-45 war. Although the image, which had the strongest effect on Jim, was of a bay, probably in Yell, the island with which Adam Robson had a strong connection. It was the effect of light and spray on the waves, which were just beginning to break as they approached the shore, and the land on the other side of the bay, that he had captured.

An early influence was Billy Kay, who produced an exhibition in the first Shetland Museum, built in the 1960s. This was certainly the first show of artworks that Jim had seen there, while still at school. Billy was even better known for music and, in particular, for production of music recordings by other artists in his studio in Lerwick. A modest man, with little to be modest about, he was seen daily managing the family drapery and outfitters' shop on Commercial Street. He is a man of many talents and interests.

In 1988, Jim had the honour of being asked to produce drawings to illustrate the Shetland Folk Book, volume 8 edited by Billy Kay and John J. Graham 1921-2008. Graham was another eminent Shetland writer, who was Jim's English teacher at high school. He was another creative influence in Jim's life, and who, amongst other literary achievements, produced the Shetland Dictionary (Shetland Times, Lerwick 1979 1993, 1999). During the course of producing these drawings, Jim had occasion to visit Billy to discuss the drawings, and was amazed at the jazz piano music, which seemed to be filling the whole building from an unknown source!

Jim's friend and fellow artist, Liam O'Neill, has been another positive influence in his life and work. Originally, from the Glasgow area, Jim first met Liam at Gray's School of Art, Aberdeen. When Liam moved to Unst as a teacher in the late 1970s, they renewed their acquaintance. Liam has been a source of encouragement when this was what was needed by most. By the late 1990s Jim had all but given up on art, following a series of, what he claims were, mediocre and poorly-received exhibitions at Shetland Museum. Liam visited one day, and provided the necessary injection of enthusiasm to overcome Jim's discouragement.

In 1999, Jim and Liam ran a stall together at the craft fair accompanying a visit of the Cutty Sark Tall Ships Race and, although Jim did not have enough time to produce properly thought out and created paintings, he was back in the saddle. Many tough days followed, during which he re-thought his technique regarding painting seascapes. Liam was a ready source of encouragement and constructive criticism, and Jim's work improved immeasurably as a result of this. One of the things that Jim particularly admired about Liam's work was his masterful treatment of the shoormal, ie the maelstrom of broken water where the ocean meets the cliffs or beach, with its marbled patterns of blue, grey, green, and white. Surprisingly, Liam does not seem to be listed in the Shetlopedia of Shetland artists.

Another influence among the local artists, is Brian Henderson, an art teacher, again from the Scottish mainland and long-term resident of Shetland. Brian's work displays a mastery of the reflective surface. Brian does merit a sixteen-word entry in Shetlopedia, including his name and where he lives. Jim keenly observed these Shetland artists and, states seriously he has, where possible, mercilessly plagiarised and plundered their work for material and ideas to support his own works. Jim is grateful his mind has been open to the inspirational effect of these talented people. Ah, so he does have inspiration beyond the sea and skies.

Jim Tait is exhibiting in the tea-room at the beautiful Duff House Galleries, Banff this year; 2009. He plans to have eighteen paintings ready for the exhibition and at the time of writing had one completed. Jim has captured the old Buckie MFV Crimond rigged for the herring fishing, rolling through Yell Sound, with the Ramna Stacks in the background. Another exhibition was held in the Creel Inn, Catterline, largely themed on the harbours and fishing vessels of north-east Scotland, with a historical slant on the boats.


Jim Tait - Marine Artist

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Sunday, December 25, 2011

Unique Christmas Tree Themes

!±8± Unique Christmas Tree Themes

If you are a style maven who is a bit bored with the traditional then you might be interested in unique christmas tree themes. Here are some unique suggestions for christmas tree themes that are sure to be real conversation starters.

The Christmas Cocktail Party Tree

This christmas tree theme looks great on both big and small trees. First, if your tree is not a prelit tree try stringing it with a string of novelty lights instead of the usual egg shaped lights. You can buy plastic novelty lights in the shape of Chinese Lanterns (for a 50's feel), chili peppers (for that modern martini bar feel) and Pink Flamingos (for that Tikki cocktail party atmosphere.)

Then try decorating the tree with tiny cocktail parasols and multicolored cocktail picks. If your tree is really big you could also decorate it with plastic champagne glasses into which you have glued sequins or glitter. Miniature chocolates filled with liquor also make nice tree decorations.

The Gingerbread Tree

This most gorgeous of christmas tree themes never goes out of style. It looks best on a green or red tree. Decorate it with gingerbread man cookies, red glass balls, tons of candy canes, red velvet bows
and homemade paper snowflake ornaments.

This tree looks great accented it with white or gold beaded garland or a bushy red or white tinsel garland. or icicle-look garland. Top it with a Christmas themed stuffed white or brown teddy bear.

The Chocolate and Gold Tree

This is probably the trendiest of the christmas tree themes described here. It looks great on a red artificial tree. The color scheme in this case is reds, browns and golds. Tiny twinkling gold and red
lights look best. Think of the eighties when you decorate this one. Decorate this tree with walnuts, pinecones and chocolates wrapped in foil. Gold coins are a nice touch. Then tie large transclucent gold
and red ribbons, using the kind of ribbon that has bendable wire inside onto the ends of the trees. The ultimate effect of this tree should be very opulent and lush.

The New Baby Tree

If you are celebrating the birth of a child or a child's first birthday this is a great tree to honor how happy you are about the new arrival in your home. The decorations suggested look great on
any kind of tree but you could consider buying a small blue or pink artificial tree. This is a good idea so any toddlers or infants around can't get ahold of any shed needles. Also if you buy prelit artificial trees then you don't have to worry about them yanking lights and pulling the whole thing down. If you have lots of toddlers around then you might want to opt for a small ceramic christmas tree until they are old enough not to grab at decorations and xmas tree limbs.

Pink, mint green, lavender and blue frosted glass christmas balls look particularly nice on pink or blue artificial trees. You can also decorate these trees with baby toys, baby bottles filled with candy,
teddy bears, baby booties and socks, pacifiers and wooden alphabet blocks. Little stuffed animals look great on this type of tree and a larger teddy bear or soft plush toy makes a great tree topper. If the
baby is a girl you might want to consider topping the tree with a doll dressed as an angel.

The Peppermint Twist Tree

This most minimalist of christmas tree themes looks fantastic on a bright white, prelit artificial tree. The color scheme of this is red and white but you can add a touch of green in the lights that you
string around it. Purists however think that keeping the whole thing red and white in every way looks best.

When it comes to the decorations stick with red and white round glass balls. Red and white frosted glass balls look much better than the conical ones. Also festoon the branches with as many red and white peppermint candy canes as you can find. Remember too that you can also stripe red or white christmas balls with white or red glitter by simply adding some glue in a striped shape to the ball and rolling it in the glitter.

You can also accent this look with red and white ball shaped peppermint candies. A large lollipop with red and white striping and surrounded by a sunburst bouquet of candy canes makes a great tree
topper.

The Sea Side Tree

This most unusual of christmas tree themes looks best on artificial trees in aqua or light blue colors. However it would also suit any tree that has a coral color such as light orange or pink.

This tree is decorated with treasures from the sea including seashells, sea horses, and ornaments made from aquarium decorations (treasure chests, coins and corals.) Strings of pearls can be used as
a garland and novelty lights shaped like seashells or even fish can be strung to enhance the aquatic theme.

The Snow and Ice Tree

This is one of the most unusual of christmas tree themes as it is white and icy blue instead of the more familiar red and green. First decorate it with a garland of novelty lights shaped like icicles or snowflakes. Your decorations should be made of see through plastic or crystal so it looks like the tree is dripping with frozen, glittering shapes. Instead of cotton batten, drape the tree with faux spider
webs or cotton shreddings to simulate boughs heavy with snow. You can even mound this cotton at the ends of the bough so it looks like it has been clumped there.

Your final step is to spray the whole thing down generously with flocking. Flocking is simulated snow that comes in an aerosol can. You can spray this stuff on just about any kind of tree including artificial prelit christmas trees and ceramic trees to make them look frostier.

This treatment is stunning on a white artificial tree but it also looks great on red, purple, blue or other artificial trees as all of the white provides a nice contrast to the tree's original color.


Unique Christmas Tree Themes

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Thursday, December 22, 2011

Mulberry Rice Paper Ball Handmade Pumpkin Design Art Shade White Round Globe Lantern Brown Asian Oriental Decorative Accent Bedside Bedroom Mini Table Lamp

!±8± Mulberry Rice Paper Ball Handmade Pumpkin Design Art Shade White Round Globe Lantern Brown Asian Oriental Decorative Accent Bedside Bedroom Mini Table Lamp

Brand : Antique Alive | Rate : | Price :
Post Date : Dec 22, 2011 15:21:08 | Usually ships in 1-2 business days

A well-ripened pumpkin is the motif of the lampshade made of hanji. The base of the lamp is also made of hanji and is dyed with a natural pigment giving it a wooden color. Produced after an arduous, time-consuming manufacturing process made only by hand, hanji, Korean mulberry paper, is an amazingly durable and versatile material for all kinds of arts and crafts. When used for a lampshade, hanji helps produce a beautiful, long-lasting lighting accessory for the home, radiating soft and comforting natural light to soothe the body and mind, tired from busy urban life.

  • Soft and comforting natural light through Hanji, Korean mulberry paper, to soothe you body and mind
  • Made only by hand after an arduous, time-consuming manufacturing process
  • Touch button for three levels of brightness
  • Size: 8.7"W x 7.9"H (22 × 20cm)
  • Notice: This lamp is made to order. It takes a week or two to create it for you.

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Tuesday, December 13, 2011

Mulberry Rice Paper Ball Handmade Three Fruit Design Art Shade Green Round Globe Lantern Brown Asian Oriental Decorative Bedside Accent Unusual Home Decor Bedroom Table Desk Lamp

!±8±Mulberry Rice Paper Ball Handmade Three Fruit Design Art Shade Green Round Globe Lantern Brown Asian Oriental Decorative Bedside Accent Unusual Home Decor Bedroom Table Desk Lamp

Brand : Antique Alive
Rate :
Price :
Post Date : Dec 13, 2011 14:30:22
Usually ships in 1-2 business days



This tree-like table lamp consists of three lanterns covered with hanji shades in the shape of large fruit. The branch below which the three lanterns hang is connected to a power source through a flexible cord that can be bent according to the user's need. The frame and base of the lamp is also made of hanji and is dyed with a natural pigment giving it a wooden color. There is a button under the lamp so that the user can choose from three levels of brightness.Produced after an arduous, time-consuming manufacturing process made only by hand, hanji, Korean mulberry paper, is an amazingly durable and versatile material for all kinds of arts and crafts. When used for a lampshade, hanji helps produce a beautiful, long-lasting lighting accessory for the home, radiating soft and comforting natural light to soothe the body and mind, tired from busy urban life.Select Color: Green, Red, Yellow, White

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Saturday, December 10, 2011

Adesso Gyoza Floorchiere, Walnut

!±8± Adesso Gyoza Floorchiere, Walnut

Brand : Adesso | Rate : | Price : $100.00
Post Date : Dec 10, 2011 02:43:25 | Usually ships in 24 hours


The Gyoza Floorchiere lamp brings simplicity and serenity to any space. This is not your average floor lamp! A satin steel pole holds aloft a collapsible rice paper shade. The base of this lamp is a squared wood block with a rich walnut finish. This elegant Asian influenced design also has a touch of modernity with an on/off footstep switch. The Gyoza Floorchiere lamp will bring the natural harmony of wood, paper and light to any space. This lamp also makes a gorgeous accent piece while not in use, and would be a stylish housewarming gift.

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Saturday, December 3, 2011

Awesome Pool Party Ideas

!±8± Awesome Pool Party Ideas

If you have a pool, chances are you have lots of pool party ideas already, because people love hanging out at your place whether you are having a planned party or not. Planning a party around the pool is always an instant hit. The pool is an attraction and can be either used or simply as a backdrop to a more refined party. For example, a "wine and cheese" patio party is very nice, with dim outdoor lighting accentuated by the pool lighting. On the other end of the spectrum is the down and rowdy pool party, where everyone's splashing and having a great time. That's the kind this article focuses on.

Where

You can have a pool party wherever the pool is! If you have one in your backyard, great! If not, a community or public pool can be used. Sometimes, community and public pools will even allow you to rent them out for parties, but if they don't, you'll just have to share the pool with whoever else is there.

Invitations

Shindigz has a cute pool party invitation that looks like a flip flop. You can also write the details on an inflated beach ball and then deflate it to mail or give to the invitee. Use phrases like "Make a Splash With Us!" and be sure to explicitly say to bring or wear a swimsuit.

Decorations

Pool party decorations should be wildly colorful. Lots of primary colors - balloons can be tied to the pool fence (or around the yard), streamers can be put on the patio or even in the kitchen. Beach balls could be tossed around. The pool should have plenty of floatable toys, rafts, noodles, etc. in it. Be sure to put out all of your lawn chairs and lounges and give them a festive look by putting colorful towels over them. Other fun things - use a beach shovel (clean!) to scoop ice for drinks and use (clean!) pails or frisbees to serve fruits and veggies. Use tiki torches or paper lanterns for light (if your party is at night).

Costumes

Well.... if you are swimming, major costumes are not recommended! Swim suits are the pool party costume of the day!

Favors

Favors for a pool party could be sun screen (or zinc oxide!), beach balls, flip flops, sunglasses, snorkel and mask, or a beach towel.

Food

Since everyone will be swimming, you want to keep the food lighter. Salads and snack foods will be best. If the food will be outside, avoid anything with dairy or mayo. Here are a couple of "cool" ideas: jello, popcicles, finger sandwiches, fruit smoothies, fresh veggies, watermelon, hot dogs.... You get the idea - really easy!

Cake

Here are a few pool party ideas for cakes: A sheet cake with a pool in blue icing and little outdoor loungers or figures lying on icing beach towels. Or a round cake decorated to look like a fristbee, a beach ball, or an inner tube (maybe even a bundt cake!). A cake decorated to look like a beach towel or a flip flop.

Games/Entertainment

Ok, is there anyone on earth who has never played Marco Polo? It's a little like a water-based hide and seek. One person keeps their eyes closed and calls out "Marco" and then everyone else calls out Polo, and the person with their eyes closed tries to find and tag anyone calling out Polo. That person then becomes "it" and calls out Marco. You can also toss play gold coins and dive for them (if the water is deep enough) or have swim races. Last but not least, just plain playing and splashing is always a hit!

You can also have activities out of the pool like dancing, the limbo, "hot" potato (with a water filled balloon), water gun fights, and other similar games.

A pool party is such a blast! When you have yours, get wet, get wild, and above all, have fun!


Awesome Pool Party Ideas

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Thursday, December 1, 2011

Red Dead Redemption - Blackwater House Glitch - Tutorial

For this glitch you just need to go to this house in Blackwater and shoot this window left of the front door, then you can jump right through the window into a house thats locked. no need to do the stagecoach glitch to get in, or the no clip glitch just shoot the window then jump through!. extra tags ignore: Red Dead Redemption glitch spot 5th prestige golden guns 100% compleate war horse deadly assasin outfit Cod7 call of duty black ops nazi zombie round 999 666 fable 3 new release hack Call, of, Duty, 4, In, Real, life, modern, warfare, xbox, xbl, counterstrike, sounds, playstation, xbox, live , halo gmod gta 5 need for speed undercover g unit lego lost green lantern movie mtv gamestop yellow ps3 grapes twin towers 2 lego spider man lego indiana jones lego star wars 3 lego batman arkham asylum game the dark knight video game jak 4 jak 5 jak 6 ps4 ps5 yellow ps3 gta 5 bully 2 psp nyc Super Mario Galaxy 2007 97 call bj of duty assassins creed gta 4 grand theft auto vice city san andreas 4 bioshock mass effect metal gear solid 4 2 Legend of Zelda: Twilight Princess, resistance fall of man tom clancy's rainboy six vegas The 2006 95 3 Super Smash Bros. Brawl 2008 94 4 Resident Evil 4 Wii Edition 2007 battlefield bad company ps2 gamecube ok roll'd xbox 91 5 Metroid Prime 3: rick roll Corruption 2007 90 6 Okami 2008 89 7 Zack & Wiki: Quest for Barbaros' Treasure 2007 87 8 Guitar Hero III: Legends of xbox live Rock 2007 86 9 Super Paper Mario 2007 85 10 Boom Blox 2008 85 11 No ...

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Monday, November 28, 2011

How to Make a Child's Lamp Shade : Child's Lamp Shade: Draw Images on White Paper

What shapes and images would you like to have on your child's lamp shade? Learn how to make a childs lamp shade in thisfree crafts video. Expert: Gary Zier Bio: Gary Zier, originally from Florida, is a systems administrator with 10 years of computer networking experience and an expertise in conditional access security systems. Filmmaker: Gary Zier

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Friday, November 25, 2011

How to get on Black Ops Zombie Mode Round 25 LEGIT (SOLO) Part 3 (w/ Commentary (German))

Dies ist ein Tutorial wie man bei dem Zombie Mode leicht Zombie Mode Runde 25 schafft undzwar allein ohne hilfe. Extra Tags [IGNORE] COD hack, COD: MW2 cheat, Call, of, Duty, 4, In, Real, life, modern, warfare, xbox, xbl, counterstrike, sounds, playstation, xbox, live , halo gmod gta 5 need for speed undercover g unit lego lost green lantern movie mtv gamestop yellow ps3 grapes twin towers 2 lego spider man lego indiana jones lego star wars 3 lego batman arkham asylum game the dark knight video game jak 4 jak 5 jak 6 ps4 ps5 yellow ps3 gta 5 bully 2 psp nyc Super Mario Galaxy 2007 97 call bj of duty assassins creed gta 4 grand theft auto vice city san andreas 4 bioshock mass effect metal gear solid 4 2 Legend of Zelda: Twilight Princess, resistance fall of man tom clancy's rainboy six vegas The 2006 95 3 Super Smash Bros. Brawl 2008 94 4 Resident Evil 4 Wii Edition 2007 battlefield bad company ps2 gamecube ok roll'd xbox 91 5 Metroid Prime 3: rick roll Corruption 2007 90 6 Okami 2008 89 7 Zack \& Wiki: Quest for Barbaros' Treasure 2007 87 8 Guitar Hero III: Legends of xbox live Rock 2007 86 9 Super Paper Mario 2007 85 10 Boom Blox 2008 85 11 No More Heroes 2008 83 12 MLB Power Pros 2007 83 13 BlastWorks: Build, Trade, Destroy 2008 83 14 WarioWare: Smooth Moves 2007 83 15 Bully: Scholarship Edition 2008 83 16 Pro Evolution Soccer 2008 2008 83 17 Pinball Hall of Fame: The Williams Collection 2008 82 18 Mario Kart Wii 2008 82 19 Rock Band 2008 81 20 Madden NFL 07 2006 81 21 ...

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Tuesday, November 22, 2011

There is More to Chinese Lamps Than The Round Paper Lanterns

!±8± There is More to Chinese Lamps Than The Round Paper Lanterns

Whether you are Chinese in ethnicity or just hope to visit one day, Chinese decorating styles have made their way around the world and are popular all over. The intricate use of porcelain in the build of Chinese lamps that are used for interior decorating with Asian influences is highly regarded in all cultures. In addition to lighting, the unique and ornate furniture that is created with influences of China and Japan, along with their techniques on arranging the items in the home make the Asian culture stand out when it comes to interior design.

Feng Shui is the Chinese art of placement and is essential when using Chinese influences to design your living space. Whether you actually believe that the way you position your furniture has an impact on your financial and physical well being really has nothing to do with it. However, the general principles will also help the furniture flow together a little better and maximize useful space in your room. Lighting will also be placed strategically to light the area appropriately.

When you think of Chinese lamps, chances are that your mind goes directly to round paper lanterns. This is one of the designs you can find, and one of the most popular by far. They are also some of the most versatile design choices, as that can go just about anywhere. Find an empty corner in your home where you may ordinarily put a floor lamp or a table with a lamp on it. Instead of lighting from the ground up, try the opposite. Hang a string of four or five paper Chinese lamps from the ceiling, stopping them just below where the lamp would have stood to. It doesn't take up any more space than a table or floor lamp would have, but it just gives the room a different look and appeal.

Chinese lamps don't have to be paper lanterns, and many different styles of lamps are simply Chinese-inspired. A large, porcelain based lamp can fill up an otherwise empty table and are beautiful on a China hutch or mantle if you have the room. Many are embellished with designs of Chinese writing and pictures, while others are solid colors common in traditional and ancient Chinese culture, like jade and red. The lamp shades on these types of lamps are generally white or cream in color, not to take away from the intricate detail and vibrant colors influenced by the Chinese culture.

These lamps can be very expensive or incredibly inexpensive, depending on where you go and what you're looking for. You don't have to spend a fortune on a stunning Ming Vase lamp when you can get a similar design at a furniture closeout store or second hand. You may pay a premium for design and detail that no one will ever notice but you. Set your priorities as far as which styles are most important to you in your home, then shop accordingly. Because you can use such a large variety of shapes, styles and sizes, Chinese lamps throughout the home can set a distinctive tone and style.


There is More to Chinese Lamps Than The Round Paper Lanterns

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Thursday, October 27, 2011

Adesso Suki Floor Lantern, White

!±8±Adesso Suki Floor Lantern, White

Brand : Adesso
Rate :
Price : $106.86
Post Date : Oct 28, 2011 00:15:34
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Ribbed with bamboo, this floor lantern by Adesso has a collapsible white rice paper shade, lined with a second layer of rice paper, for a diffused, soft lighting effect. A foot step switch allows for overall operation of two 75-watt bulbs. Lamp has small chrome legs.

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