Prima Gallery

Italian government’s ownership over the sculpture of Biblical hero David made by Renaissance period artist Michelangelo has been challenged by a local authority which claims the heritage statue belongs to Florence city.

Italy’s culture minister Sandro Bondi Monday described as ‘absurd’ and ‘inopportune’ a row that has erupted between the government and Florence city council.

Lawyers for the culture minister have presented a nine-page document claiming the 5.17-metre high marble figure, which draws over 1.5 million visitors annually, belongs to the Italian state.

But the mayor of Florence, Tuscany’s famous art city, insists the masterpiece belongs to the city council.

Centre-left mayor Matteo Renzi argues that when Rome became the capital of Italy, a decree in 1870-1871 assigned Palazzo Vecchio – where David was erected in 1504 – and all its contents to Florence.

But the government strongly disputes this claim and argues that history is on its side.

‘Against my will, I find myself involved once again in an absurd and inopportune row. Michelangelo’s David a symbol of cultural unity for Florence and for Italy,’ Bondi said in a statement Monday.

‘For propaganda purposes, the mayor of Florence is resorting to low tricks in disputing the ownership of this work of art,’ the statement added.

The Italian state, not Florence city council – created when the city was part of the Grand Duchy of Tuscany – is the legal successor to the Florentine Republic, according to government lawyers.

The sinuous sling-bearing David, the slayer of Goliath, is the main attraction at Palazzo Vecchio’s Accademia gallery, and is worth 8 million euros in annual ticket sales.

These ticket receipts are pocketed by the Italian government, along with 30 million euros of revenue from other Florence museums, including the world-famous Uffizi gallery.

3D Modeling

Modeling is the process of taking a shape and molding it into a completed 3D mesh. The most typical means of creating a 3D model is to take a simple object, called a primitive, and extend or “grow” it into a shape that can be refined and detailed. Primitives can be anything from a single point (called a vertex), a two-dimensional line (an edge), a curve (a spline), to three dimensional objects (faces or polygons).

Using the specific features of your chosen 3D software, each one of these primitives can be manipulated to produce an object. When you create a model in 3D, you’ll usually learn one method to create your model, and go back to it time and again when you need to create new models. There are three basic methods you can use to create a 3D model, and 3D artists should understand how to create a model using each technique.

1. Spline or patch modeling: A spline is a curve in 3D space defined by at least two control points. The most common splines used in 3D art are bezier curves and NURBS (the software Maya has a strong NURBS modeling foundation.) Using splines to create a model is perhaps the oldest, most traditional form of 3D modeling available. A cage of splines is created to form a “skeleton” of the object you want to create. The software can then create a patch of polygons to extend between two splines, forming a 3D skin around the shape. Spline modeling is not used very often these days for character creation, due to how long it takes to create good models. The models that are produced usually aren’t useful for animation without a lot of modification.

Spline modeling is used primarily for the creation of hard objects, like cars, buildings, and furniture. Splines are extremely useful when creating these objects, which may be a combination of angular and curved shapes. When creating a 3D scene that requires curved shapes, spline modeling should be your first choice.

2. Box modeling: Box modeling is possibly the most popular technique, and bears a lot of resemblance to traditional sculpting. In box modeling, one starts with a primitive (usually a cube) and begins adding detail by “slicing” the cube into pieces and extending faces of the cube to gradually create the form you’re after. People use box modeling to create the basic shape of the model. Once practiced, the technique is very quick to get acceptable results. The downside is that the technique requires a lot of tweaking of the model along the way. Also, it is difficult to create a model that has a surface topology that lends well to animation.

Box modeling is useful as a way to create organic models, like characters. Box modelers can also create hard objects like buildings, however precise curved shapes may be more difficult to create using this technique.

3. Poly modeling / edge extrusion: While it’s not the easiest to get started with, poly modeling is perhaps the most effective and precise technique. In poly modeling, one creates a 3D mesh point-by-point, face-by-face. Often one will start out with a single quad (a 3D object consisting of 4 points) and extrude an edge of the quad, creating a second quad attached to the first. The 3D model is created gradually in this way. While poly modeling is not as fast as box modeling, it requires less tweaking of the mesh to get it “just right,” and you can plan out the topology for animation ahead of time.

Poly modelers use the technique to create either organic or hard objects, though poly modeling is best suited for organic models.

A Workflow that Works
The workflow you choose to create a model will largely depend on how comfortable you are with a given technique, what object you’re creating, and what your goals are for the final product.

Someone who is creating an architectural scene, for example, may create basic models with cubes and other simple shapes to create an outline of the finished project. Meshes can then be refined or replaced with more detailed objects as you progress through the project. This is an organized, well-planned way to create a scene; it is a strategy used by professionals that makes scene creation straightforward. Beginners, on the other hand, tend to dive in headfirst and work on the most detailed objects first. This is a daunting way to work, and can quickly lead to frustration and overwhelm. Remember, sketch first, then refine.

Likewise, when creating an organic model, beginners tend to start with the most detailed areas first, and flesh out the remaining parts later, a haphazard way to create a character. This may be one reason why box modeling has grown to be so widely popular. A modeler can easily create the complete figure before refining the details, like eyes, lips, and ears.

Perhaps the best strategy is to use a hybrid workflow when creating organic models. A well planned organic model is created using a combination of box modeling and poly modeling. The arms, legs, and torso can be sketched out with box modeling, while the fine details of the head, hands, and feet are poly modeled. This is a compromise professional modelers seek which prevents them from getting bogged down in details. It can make the difference between a completed character, and one that is never fleshed out beyond the head. Beginners would be wise to follow this advice.

Mesh Topology
Another aspect of proper workflow is creating a model with an ideal 3D mesh topology. Topology optimization is usually associated with creating models used in animation. Models created without topology that flows in a smooth, circular pattern, may not animate correctly, which is why it is important to plan ahead when creating any 3D object that will be used for animation.

The most frequently discussed topology is the proper creation or placement of edgeloops. An edgeloop is a ring of polygons placed in an area where the model may deform, as in the case of animation. These rings of polygons are usually placed around areas where muscles might be, such as in the shoulder or elbow. Edegeloop placement is critical when creating faces. When edgeloops are ignored, models will exhibit “tearing” when animated, and the model will need to be reworked or scrapped altogether in favor of a properly-planned model.

Next Steps
The next step to creating great models is simply to practice and examine the work of artists you admire. Some of the best 3D modelers are also fantastic pencil-and-paper artists. It will be well worth your time to practice drawing, whether you’re a character creator or a wanna-be architect. Good modeling requires a lot of dedication. You’ll need to thoroughly understand the software you’re using, and the principles of good 3D model creation laid out above. Character artists will need to learn proportion and anatomy.

By understanding these basics of modeling you’ll save yourself a lot of frustration and discouragement, and you’ll be well on your way to becoming a prolific 3D artist.

Rhinestone jewelry is made by gluing the rock crystal to foil which in turn is placed in a setting. The metal part of rhinestone jewelry is non-precious, made from either gold or silver colored base metals.

Hallmarking Rhinestone Jewelry

Vintage rhinestone jewelry ranges from $50 to over $1,000 depending on its quality, age and whether it has a hallmark. Hallmarks are unique symbols placed on a bracelet/necklace clasp or tag or inside a ring identifying the jewelry maker, date the jewelry was made and other related information. Having a hallmark doesn’t guarantee the jewelry is authentic nor does not having a hallmark mean it’s a fake. Hallmarks can be copied. Additionally, the jewelry designer may have forgotten to affix a hallmark it or may have made pieces they didn’t see the need to mark.

Caring for Rhinestone Jewelry

Over the years, rhinestone jewelry made with clear rock crystal may start to yellow. This is caused by the deterioration of the glue holding the rhinestone to the foil. As the cause of the yellow cast is underneath the rhinestone, it is impossible to remove by surface cleaning the jewelry. The only alternative is to have a jeweler replace the rhinestone – a simple process.

Jewelry cleaning camps are divided on how to best clean rhinestone jewelry or any costume jewelry for that matter with foil backings. Some say it’s okay to use soap and water brushing off the surface dirt with a toothbrush and rinsing the jewelry under running water.

Others say getting the foil wet causes it to turn black, ruining the appearance of white and light colored rhinestones. An alternate method to the above is to dunk a toothbrush into soapy water, shake until the brush is barely wet and carefully clean the rhinestones, taking care to keep any moisture from getting into the setting.

Bernini is one of the most famous and talented artist of the baroque period and indeed of all time. His work was a testament to his skill and genius. One such work that continues to enthrall observes today and was given the spotlight in Dan Brown’s book (and the subsequent movie of the same name) Angels and Demons, is the Ecstasy of St. Teresa (1647-52). What fallow is some background on the artist himself and the real story behind this magnificent sculpture.

About the Artist

Gianlorenzo Bernini was born in Naples December 7th, 1598 and received his first education from his father Pietro, who was a successful Florentine sculptor. From a young age he was a prodigy and chiseled his first bust when he was only 8. He learned by studying the sketching the great masters. It was not easy to follow in the footsteps of such great artists as Michelangelo and Raphael but Bernini did just that. Soon he was getting commissions form nobles and even the pope himself.

Bernini himself was passionate about the theater and an innovative scene designer. He was at his best when he could merge architecture, sculpture and painting. He accomplishes this magnificently in the Ecstasy of St. Teresa.

The Statue

The statue is set in Cornaro Chapel in the church of Sta. Maria della Vittoria. The sculpture recounts one of her divine experiences; of how an angel pierced her heart with a flaming golden arrow. The statue shows the moment as the angel has pulled the arrow out from her. In her own words Saint Teresa says: “The pain was so great that I screamed aloud; but a the same time I felt such infinite sweetness that I wished the pain to last forever. It was not physical but psychic pain, although it affected the body as well to some degree. It was the sweetest caressing of the soul by God.”

The figure of the angel comes directly from the saints’ account. She describes him as young and beautiful. St. Teresa herself is reclined on a floating cloud, her mouth parted. Both are on a floating cloud as they appear to rise toward heaven. The saints garments are chiseled in such a way as to appear all rippled and disheveled – an outward sign of her turbulent spirit within. The angel’s garments are done in such a way that they make him look like he is wrapped in flames.

They are both lit from above by a window and above that is a fresco by Guidebaldo Abbatini depicting the glory of the heavens. At its center is a brilliant burst of light and clouds of jubilant angels surround it. This celestial “explosion” gives force to the thrusts of the angel’s arrow and make the ecstasy of the saint believable.

1. Low lighting

Lighting is always an issue indoors so use it to your advantage. Choose an area or location in your house that has good natural lighting, enough to light your subject but not too much that will overpower it. Switch off your flash and any other artificial lighting. This low lighting is going to help you get a moody effect with just natural light. An image doesn’t always need to brightly and evenly lit and shadows will only add something extra to the photo. A half lit face adds drama to a portrait shot indoors using just natural light.

2. Abstract art

This is a really an easy photo opportunity and lends itself to macro or close-up photography. What’s great about the home is that there are many items that can be given a new artistic perspective when shot close-up. Choose part of the object, get in really close and see if you can shoot it in such a way that someone would not recognize it for its intended purpose. Most of us have seen those ‘guess what this is’ photos in magazines of an object where readers have to guess what the image actually is. Change your white balance settings for some interesting color casts.

Amber is fossilised pine resin (from the amber pine) which oozes out of the trunk and then sets. When it fossilised, it becomes amber. Often bits got trapped in the resin before it set, perhaps even insects (see right). The film “Jurassic Park” imagines that you could take a mosquito from a piece of amber, remove some dinosaur blood from the mosquito’s stomach, extract the DNA from the blood, and clone a dinosaur. This is impossible, but not completely impossible, and it makes a good story!

Amber beads were common throughout Bronze Age Europe.

The Greeks called amber “elektron” (which may come from a Phoenician word for the sun, meaning “golden”). They noticed its power to attract small bits of ash when rubbed with a cloth. This is static electricity, and the word “electricity” comes from “elektron” or amber. Pliny, the Roman author, knew that amber came from resin, by its smell and the way it burns, but didn’t realise that it was fossilised.

You can find amber on the beaches of East Anglia UK. The top piece in the photograph above was found at Great Yarmouth on the east coast of England. Ambergris (which gives its name to amber) is a strongly smelling substance found in the intestines of some whales, which is used to make perfume. It is nothing to do with amber! But since amber can be found on beaches, perhaps people thought that it can from the sea, and so must be ambergris.

Broken pottery happens to everyone eventually. After a certain amount of use, someone is bound to drop a mug or plate. Luckily, it is easy to fix ceramics using special products and techniques. Follow the tips below to successfully prepare your broken ceramic pieces.

Fix Broken Pottery with Industrial Strength Adhesive

Often times, people will recommend using a two-part epoxy when fixing ceramics. Though the two-part epoxy works well, it is difficult to maneuver over a small area like the edge of the ceramic crack. It is easier to use an industrial strength adhesive gel.

Industrial strength adhesives, such as the E-6000 brand, can be purchased at local craft or home stores. The adhesive comes in gel form which makes it easier to apply to the ceramic. It is packaged in a small tube with an applicator tip, also making it easy to apply to small spaces.

Before gluing the ceramic, try piecing together the broken parts to make sure they fit snugly. If any small parts are missing, the ceramic piece might not be salvageable. Also make sure that all of the cracked parts are dry and free from dust. Run a dry paint brush along the break line to brush out any excess dust or dirt.

Next, use the applicator tip to apply a light amount of industrial strength adhesive gel to the crack. Remember that the gel will spread when the ceramic pieces are pushed together. Because of this, only apply a thin line of glue that does not cover the entire width.

Carefully but firmly press the two parts together and hold for around ten seconds. Wipe any excess glue away using a dry paper towel. Place the piece in a cool dry place to dry for a day.

Reusing Broken Ceramic Plates and Mugs

Never drink or eat out of broken ceramic dishes. Not only could this weaken the bond of the glue, but it could also be potentially harmful due to swallowing dust or glue chemicals. Instead, find other ways to use ceramics around the house.

Plates can be used to hold candles. Place a large pillar candle on a ceramic plate or fill the plate with river rocks and place a few votive candles amongst the rocks. Smaller pillar candles of varying heights can also be staggered on the plate for an interesting centerpiece.

Mugs can be used as pencil holders in the office. They also make nice planters for herbs or small flowers. Mugs can even be used to hold small hard candy, as long as the candy is wrapped in plastic.

Easily Fix Broken Ceramic Dishes

Though they can’t be used for eating or drinking again, ceramic dishes can serve a decorative purpose in anyone’s house. Luckily broken dishes and pottery can easily be fixed and still provide a variety of uses around the house.

DSLRs are complex pieces of photographic equipment and it is easy to get lost or fail to take full advantage of their capabilities. Looking beyond the user aids such as scene modes in entry level DSLRs, they are still capable of stunning results in the hands of a competent photographer even if they come in designer colors. .

Scene modes appear helpful but hey apply a one size fits all approach to more complex photographic situations and fail to take full advantage of the camera’s capabilities. Presumably, photographers choose DSLRs so they can produce excellent images under all conditions.

To learn how to cope with the complexity and powerful capabilities of your new DSLR try taking small steps. This means taking plenty of photographs of the same things in your neighborhood. This is how professionals try out new equipment and techniques.

Read the Manual

But not all at once. The aim is to read small sections of the manual, only as they are needed. Only read far enough to read the “Getting Started” or “Quick Start Guide” section. This should be enough to start taking photos and having fun with new camera. As the confidence in the camera builds move on to other sections in the user manual, one at a time.

P Mode

The first step is to leave all the menu settings on default so that the camera is in auto everything mode. Then set the mode dial to P and start shooting. This is a basic automatic exposure mode where the camera decides on the exposure settings and is good place to start for the first pictures. In the picture of the Nikon d3000 below, the P mode is grouped by the line on the mode dial with the serious photography modes.

This allows practice with all the other basic operations of taking a digital photograph and using it on the computer and printing it. The P mode is like training wheels on a bicycle, handy when learning, but they do prevent the user from using the device to its full capabilities.

Use The Viewfinder

When photographers use the viewfinder they are holding the cameras properly, minimizing the possibility of camera shake. Live view is largely a marketing gimmick designed to appeal to photographers graduating from cameras lacking a good optical viewfinder. Live view is useful when using a tripod, but for hand held shots use the viewfinder.

Exposure Compensation

This is a good first step in taking control of the DSLR as it allows finer tuning of the camera’s suggested exposure settings. Exposure Compensation is useful when lighting conditions become a bit more complex.

Using the EXIF Data

EXIF data is a marvelous feature of all digital cameras; they keep the shooting notes for photographers. Novice photographers often have no idea what shutter speed or aperture to use. Review the photographs made using the P mode, noting the settings the camera chose, and see the resultant picture. This gives a good starting point for photographers choosing these settings.

Aperture Priority

The most popular exposure mode amongst advanced photographers is Aperture priority, usually indicated by A or Av on the mode dial. Here the photographer sets the lens aperture to suit their Depth of Field needs and the camera decides the appropriate shutter speed.

Shutter Speed Priority

This is for capturing moving subjects, usually T or Tv. The photographer sets the shutter speed to suit the speed of the subject and the camera sets the lens aperture for a good exposure.

ISO

This is the sensitivity of the cameras to light. Higher the sensitivity is good for lower light conditions but image noise increases as the ISO increases. Set it to the lowest value or use the Auto ISO function which only raises it when low light conditions require more cameras sensitivity

Only the Start

DSLRs are incredibly powerful photographic tools and these first steps are long way from complete mastery of the digital camera. The main aim in any long-term project is to break down into small manageable steps. Suite 101 are continually adding more photography Feature Articles for photographers ranging from novice to expert.

The NCKCR is a non-profit and non-governmental organization aiming to rediscover and reintroduce Khmer ancestral pottery techniques and support the development of contemporary Khmer ceramic art. In the process, NCKCR creates economic opportunities, helping to decrease poverty in Cambodia.

Serge Rega established NCKCR in Siem Reap-Angkor, renowned for the Angkor temples. Tourists abound, creating substantial incomes, but paradoxically Siem Reap remains one of the poorer provinces of Cambodia. Siem Reap is emerging as a developed city, but geographically, poverty is displaced by about only 2 kilometers.

NCKCR is involved in Vocational training, which helps the poor rural population and will decrease poverty. Training is provided free of charge. Students are given an allowance to compensate for ‘lost’ time, which would otherwise be spent earning a living. Vocational training includes working with clay, but also technical skills, such as building a potter’s wheel, a kiln, tools etc. A student finishing a vocational training session with NCKCR must be able to establish his/her own studio. After training, students may be hired by NCKCR, or NCKCR may provide help to the young potter to install a studio.

Serge Rega says “rural workshops will help the poor and will allow women to express themselves, play a role in society and become participants in an economic activity”. The first rural workshop will be installed in August 2007 in Koh Ker (80 km north-east of Siem Reap) in collaboration with Heritage Watch NGO. A second rural workshop will be installed in May 2008 in Pouk Area, 30 km west of Siem Reap. Rural studios will provide economic assistance for poor peoples but will also play a role in the prevention of looting of Khmer Archaeological sites.

Research on Khmer Antique glazing and techniques – Antique Khmer ceramics are renowned, but the technology was lost during the recent terrible upheavals in Cambodia. NCKCR has sought to rediscover this technology, researching antique Khmer glazing, bisque, kilns, potters language etc. NCKCR wants to soon start the construction of an antique Khmer kiln (Dragon kiln). A first firing is scheduled for December 2007-January 2008. It will be the first time in 500 years such a kiln will be fired in Cambodia – a 10 day and night event. We will make this an international event, in order to facilitate exchange with potters from all around the world. For many years international potters have had exchanges with each other. Khmer potters rarely have the opportunity to travel outside of Cambodia to meet their peers, so this meeting will be held in Cambodia at the NCKCR. The kiln will allow us to fire our reconstituted antique Khmer glaze under the same conditions that it was made in Angkor. Such a kiln is a major tool in the research of antique Khmer techniques.

Revival of contemporary Khmer Ceramic Arts – NCKCR has rediscovered ancestral techniques, which it now teaches. When this knowledge is established, students are encouraged to develop contemporary Khmer ceramic art, with the support of a French volunteer designer. Contemporary Khmer ceramic art consists of stoneware, salt-glazed wares and raku. Different technologies will be used in the future.

Fight against illicit trade of Khmer Antiques – Looting of archaeological evidence is catastrophic for the understanding of our past, our roots. Looting of antiques include two actors: the looter of the archaeological site trying to support his family, and the buyer. If NCKCR can offer the buyer high quality Khmer antique replicas, it can help to avoid the purchase of originals. Looting of archeological sites destroys potential income from tourism in rural areas, while it’s a unsustainable source of income for poorer peoples. Serge says “Installation of rural workshops will offer a chance to get sustainable money incomes for populations”.

The goal of self-financing will ensure the sustainability and independence of NCKCR – NCKCR is not a cursory project – it’s aim is the long-term promotion of Khmer ceramics. This includes establishing a Khmer potter’s library with books translated into Khmer language, workshops, raw material furniture, research etc. In order to reach this goal, NCKCR’s target is to be self-supporting within two years,