Welder World Blog

Archive for March, 2011

In the expansion of the aluminum industry, aluminum castings have played a vital role. Anyone who is into the business of metal castings must be willing to learn some tips of welding aluminum castings with less amperage. There are few Tig welding inverters that can help you to meet your objective of power saving why you try to weld your castings in aluminum. These inverters use power as low as 115v only. These machines are first-class power sources but their output is limited to 200 amps only. At 200 amps, it’s not hot enough enabling you to weld with more comfort.

Another proven method to reduce amperage during welding is the preheating of the aluminum parts at a temperature of 200 degree. For preheating aluminum castings, you may use either a furnace or an oxy-fuel torch. But if you won’t have these two tools in place, still you have options to lower your amperage. Now in such a case, you need a gas grill. You may spare a gas grill just for preheating of aluminum parts but not for cooking anything on it. When you are ready with your gas grill, use aluminum foil to wrap the part to be preheated. Then put it on the oven. Keep the flame at medium and allow the heat to conduct through the part. Using a small propane torch won’t be a bad idea to make the part hot enough by moving the torch over it.

If you didn’t like the idea of using gas grill, here is another tip for you to reduce the amperage. When you try to Tig welding aluminum castings with less amperage, prefer using a 50-50 helium/argon mix as a substitute of straight argon. This mix does the magic, as helium provides more energy. Especially, for thick aluminum, use of helium is generally recommended. Helium adds more voltage to aluminum arc and supply of extra current is not needed. For aluminum with a thickness less than ? inch, use of straight argon can be a sensible choice.

Still, there is one great tip for Tig welding aluminum castings with low amperage. Now, you can think using a small Tig cup. Sometimes it is also called as Tig welding nozzle. This is actually a ceramic tip that is fixed at the end of the Tig torch. This Tig cup allows release of less shielding gas and prevents the oxidation of the tungsten electrode. The idea is not to use too much torch gas. The less amount of gas projected on the aluminum parts demands for less mount of amperage. Moreover, the degenerated arc energy adds to the gas shielding. Thus, welding parts get an extra amount of energy. In fact, allowing too much gas to flow will make it difficult to work with it.

Today, aluminum industry is a well-developed industry and hundreds of compositions of aluminum alloy castings are available keeping in mind their commercial usage. In most types of commercial casting processes, these tips for Tig welding aluminum castings will be greatly beneficial to reduce amperage.

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Don’t worry too much about how your welds look at first:
* While you’re improving electrode control, you’ll be learning more about different welding job situations.
* Plus I’ll tell you WHY it’s important to have good rod control.
* After you read these tips, THEN you can practice your welding rod control techniques.
* Whether you swing a golf club or a bat, if you don’t practice in correct ways, the results can be at least EMBARRASSING!

Let’s talk about arc pressure and gravity:
1) Arc pressure is produced by the voltage from the machine as it’s pushing the molten metal outwardly.
2) The pressure will vary depending on machine settings, rod size, & the amount of arc gap.
3) Gravity not only effects the direction of the molten metal, but also it’s going to try to make your puddle drip.
4) If you’re arc welding in a flat position, you mainly just worry about keeping the rod at right angles to the work-pieces, & tilted away from the puddle, to help control the puddle & the slag. (And that will help you to SEE THE PUDDLE!).
5) If you’re going to weld in a vertical position, you need to aim the arc up-ward to preheat the metal & to help keep the puddle from dripping.
6) At the same time, in vertical welding, you no longer need to worry about slag, because gravity is keeping it out of the way.
7) For horizontal positions it’s a lot the same. Gravity will try to drip the weld, so you aim the arc upwardly.
For overhead jobs you keep the rod nearly straight up for the same reasons. You don’t want to do any weaving in overhead welding, instead just use straight “stringer” beads.

Pipe welding:
* Pipe welding is rather unique, in that it involves all positions as you go around it. You will gain real electrode control experience in pipe welding!
* Horizontal welding on pipe can be tricky too, because you need to keep changing the rod angle as you go around.
* Save overhead welding practice for last. Get used to ELECTRODE CONTROL & amp settings in the easier welding positions first.

General tips:
* Learn to keep the arc length as steady as possible, plus keep the rod angle steady.
* Weld in a straight a line. This helps to give your welds to look better, and to give them more strength.
* Use both hands to steady the rod. Either place both hands on the rod holder, or one hand on the rod itself, until it gets too short (or until the rod gets too hot).
* Work on a steady speed to keep a uniform puddle shape. An oval shape is good, but don’t let it get too pointed. A round shape may be too wide, unless you need a wider or heavier bead for the job you’re doing. You’ll soon be able to judge that your welding speed is right for the job size & situation.
* Finding a good amperage setting for the job at hand, will help you to concentrate on getting a good weld, & not be fighting sticking rods, or having the rod burn through the work-piece.
* Learn to hesitate slightly at the start of your welds to ensure that the “puddle” forms sufficiently.
* Also pause a bit, at each side of the bead, when you’re doing a weave weld, to make sure there is good penetration.

REMEMBER, Don’t worry too much about how your welds look at first! Now start practicing!

Joel Ort of Miller Electric Mfg. Co. shares his tips for MIG welding success. Placing the focus on MIG technique, Ort’s useful comments are applicable for many garage applications involving farm and automotive repairs. Topics include: simple setup, butt joints, T-joints, lap joints and horizontal, vertical and overhead welding positions.

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The panels

The New World Tapestry, which in its entirety measures 267 ft x 4 ft (81.3 m x 1.2 m), consists of twenty four panels, each of which depicts the narrative of a particular phase in the period between 1583 and 1642.

Each panel measures 11 ft x 4 ft (3.4m x 1.2m).

The figures of the tapestry are rendered in an unmistakably modern, cartoon-like style, but it also follows in the tradition of Tudor and Jacobean canvas work embroidery. The panels are worked in gobelin stitch which entirely covers the ground, and along with pictures of the main scenes of the story, the panels also feature birds, animals, flowers and insects all beautifully worked in bold colours.

“Bristol and the New World”, Aztecs at MexicoLore        

The 24 Panels of the New World Tapestry

Years

Narrative

People

Plants

1583

  (1)

Expedition to Newfoundland

Humphrey Gilbert, Captain William Winter, Robert Davis, Edward Hayes, Richard Clarke, William Cox, Captain Cade, Thomas Edmondes, Thomas Aldworth, Gilbert Staplehill

Common Mallow, Soapwort, Dandelion, Thrift, Daisy, Jessamine, Bistort, Purple Iris, Cleavers, Heartsease, Yarrow

1584

  (2)

First Expedition to Roanoke

Walter Raleigh, Philip Amadas, William Grenville, John Wood, Richard Hakluyt, Henry Greene, William Sanderson, Josias Calmady, John Dee, Thomas Harriot, John Sparke

Foxglove, Plum, Dock, Peach, Corn Marigold, St John’s wort, Pear, Succory, Hollyhock, Cowslip, Tobacco

1585

  (3)

Second Expedition to Roanoake

Richard Grenville, Edward Kelley, John White, Thomas Wise, Robert Masters, John Stukley, Christopher Broking, John Arundel, Edward Gorges, Thomas Cavendish, Walter Raleigh

Honeysuckle, Dovesfoot, Saxifrage, Bramble, Melilot, Peppermint, Oxeye daisy, Wild Pink, Mullein, Potato, Hop

1586

  (4)

Roanoke Colony and Fort Raleigh

Francis Walsingham, Ralph Lane, John Harris, Francis Drake, Philip Sidney, Richard Grenville, Thomas Ford, Thomas Luddington, George Raymond, Marmaduke Constable, David Williams

Scabious, Parsley, Broad Leaved Dock, Good King Henry, Betony, Weld, Alkanet, Crosswort, Columbine, Hazel, Nonesuch

1587

  (5)

Fourth year on Roanoke Island

John White, George Howe, Edward Spicer, Roger Pratt, Edward Stafford, Roger Bayle, John Humphrey, George Maynard, Ananias Dare, Eleanor Dare, Virginia Dare

Bird-foot-trefoil, Burdock, Houseleek, Chervil, Forget-me-not, Bugle, Tutsan, Bladder Campion, Pimpernel, Strawberry, Thyme

1588- 1590

  (6)

End of the Roanoke Colony

Richard Grenville, William Winter, John Hawkins, Francis Drake, Anthony Cage, George More, Martin Frobisher, Robert Hughes, Lord Howard of Effingham, Christopher Cooper, Thomas Stevens

Basil, Briar Rose, Bay, Periwinkle, Feverfew, Tansy, Willow Herb, Elder, Borage, Alexanders, Comfrey

1595- 1596

  (7)

Expedition to the Guyanas

Walter Raleigh, Lawrence Kemys, Anthony Ashley, John Donne, Thomas Howard, John Hartington, Robert Devereux, Francis Vere, Charles Howard, George Carew, Thomas Bodley

Globe Thistle, Stitchwort, Orpine, Water lily, Black Poplar, Wormwood, Winter savory, Dill, Bell heather, Flax, Sneezewort

1602- 1603

  (8)

Expedition to Cape Cod

Bartholomew Gosnold, Gabriel Archer, William Strete, John Brereton, John Popham, John Hele, William Parker, Bartholomew Gilbert, Thomas Walker, Edward Hayes, Walter Raleigh

Red Valerian, Squill, Toadflax, Plymouth Thistle, Archangel, Vervain, Hedge mustard, Lily of the Valley, Self heal, Buttercup, Majoram

1605

  (9)

Expedition to Maine

George Waymouth, Henry Wriothesley, Walter Mathew, Wiliam Rosecarrock, Ferdinando Gorges, John Popham, Robert Martin, Thomas Arundell, Richard Aldworth, Thomas Smythe, James Rosier

White Rose, Violet, Groundsel, Rest Harrow, Knapweed, Lady Bedstraw, Bluebell, Fennel, Clowns Ringwort, Lady Mantle, Tare

1606

(10)

Plymouth Company and London Company

John Popham, William Parker, George Popham, Raleigh Gilbert, Thomas Hanham, John Maddock, John Dodderidge, William Waad, James Bagg, Henry Challons, Martin Pring

Cotton Lavender, Lemon balm, Bittersweet, Willow Tree, Celandine, Meadowsweet, Red Campion, Bugloss, Woad, Thistle, Fumitory

1607

(11)

Jamestown Settlement

Christopher Newport, Bartholomew Gosnold, Henry Montagu, Robert Cecil, John Smith, Chief Powhatan, George Percy, John Ratcliffe, Walter Cope, Edward Maria Wingfield, Robert Killigrew

Lady Smock, Furze, Poppy, Privet, Primrose, Pink Rose, Bindweed, Pellitory, Cornflower, Rue, Plantain

1607- 1608

(12)

Expedition to Maine, Popham Colony (Sagadahoc)

Francis Popham, William Parker, Matthew Sutcliffe, Richard Champernoune, Thomas Horner, Edward Rodgers, John Mallet, Raleigh Gilbert, George Popham, Roger Warre, Abraham Jennings

Ground Ivy, Ragwort, Great Willowherb, Agrimony, Teasel, Rocket, Germander, Oak, Dovesfoot, Ribwort, Sage

1609- 1610

(13)

Bermuda claimed after Sea Venture shipwreck

Thomas Campbell, William Godolphin, William Shakespeare, William Strachey, Thomas Gates, William Craven, George Somers, Matthew Somers, Henry Wriothesley, Richard Frobisher, Robert Aldworth

Yellow Iris, Orach, Rose, Hawkweed, Wood Sorrel, Water mint, Yellow Poppy, Gentian, Biting Stonecrop, Solomon Seal, Goldenrod

1613- 1614

(14)

Jamestown Settlement grows

Samuel Argall, Pocahontas, John Rolfe, Thomas Dale, Thomas Smythe, John Borlase, Prince Charles, John Scobie, Richard Buck, Thomas Hayes, Thomas Savage, John Smith

Spurge, Horehound, Tormentil, Love in a Mist, Sloe, Eyebright, Red Clover, Oxlip, Marshmallow, Garlic, Sow Thistle

1616

(15)

John Rolfe brings Pocahontas to England

Michael Drayton, John Rolfe, John Smith, Thomas West, William Shakespeare, John Leman, Edward Lawrence, Thomas Dale, John King, George Yeardley, Ben Jonson

Clary, Rhubarb, Great Burnet, Mercury, Scurvy-grass, Sea holly, Wallflower, Purple loosestrife, Water Ragwort, Figwort, Lime Tree

1617- 1618

(16)

Failure of Raleigh Expedition to the Guyanas

Roger North (Oyapoc), Robert Trelawney, Henry Rolfe, Lewis Stukley, Henry Montagu, Robert Tounson, Samuel Argall, Nicholas Frankwell, Walter Raleigh, John Bingley, Edward Coke

Tamarisk, Nepeta, Tarragon, Hellebore, Sweet William, Cherry, Prince of Wales Feathers, Holly Tree, Gooseberry, Mouse Ear, Mulberry

1619

(17)

House of Burgesses, Slaves and Bartered Brides

George Yeardley, William Paget, Henry and Thomas Lyle, William Cavendish, William Herbert, John Mason, Edward Seymour, William Cockayne, Robert Spencer, William Tucker, Edwin Sandys

Chickweed, Wortleberry, Service Tree, Cocks Head, Woodrush, Opium poppy, Avens, Onion, Yam, Beech, Orchis

1620

(18)

Mayflower Compact

John Robinson, Edward Winslow, William Brewster, Henry Wallis, Ferdinando Gorges, William Bradford, Gerryt Lanaertz, Edward Richards, John Plumleigh, Thomas Fownes, John Carver

Speedwell, Chamomile, Mayflower, Valerian, Rosemary, Lavender, Nettle, Herb Robert, Wild Arum, Ivy, Spearmint

1621- 1623

(19)

Indian Raids, beginning of New Hampshire

David Thompson, Leonard Pomeroy, John Mason, Thomas Hobson, Robert Rich, Abraham Colmer, Edward Hilton, Robert Gorges, Alexander Shapleigh, Myles Standish, Thomas Weston

Indian Corn, Crab Apple, Barberry, French Lungwort, White clover, Barren Strawberry, Lungwort, Runner bean, Currant, Horse Chestnut, Lilac

1624- 1630

(20)

Massachusetts Bay Colony, Dorchester Company

John White, John Warham, John Wolstenholm, Roger Conant, Thomas Morton, Edward Rossiter, Thomas Holcombe, Roger Clap, Jonathan Gillett, John Endecott, James Gould

Rocket, Snowdrop, Pasque flower, Garlic Mustard, Hyssop, Wolf Bane, Cranesbill, Dead Nettle, Elm, Leopard’s bane, Fritillary

1630

(21)

Massachusetts Bay Colony, John Winthrop

Adam Winthrop, William Laud, Richard Saltonstall, Hugh Peter, Matthew Craddock, Isaac Johnson, John Winthrop, Emmanuel Downing, William Coddington, William Pynchon, John Underhill

Loosestrife, Musk Mallow, Hounds-Tongue, White Bryony, Hairless Catmint, Spindle, Organy, Jacob Ladder, American Winter Cress, Brooklime, Campion

1628- 1634

(22)

Calvert family and the Province of Maryland

George Calvert, Cecil Calvert, Leonard Calvert, Richard Blount, Thomas Dorrell, Thomas Cornwallis, Richard Gerard, Jerome Hawley, Henrietta Maria, Edward Winter, Jerome Weston, Nicholas Ferfax

Dyer Greenweed, Quince, Scarlet Pimpernel, Nettleleaved Bellflower, Sea Beet, Asparagus, Sand Spurrey, Meadow Clary, Marsh Marigold, Monkshood, Sweet Cicely

1635- 1641

(23)

New England, Harvard College and Taunton

Nicholas Frost, Anne Hutchinson, John Eliot, Nathaniel Eaton, Henry Dunster, Thomas Gorges, Roger Williams, Drapers Company, John Harvard, Elizabeth Pole

Pennyroyal, Scabwort, Astrantia, Vetch, Wayfaring Tree, Dark Mullein, Centaury, Green Alkanet, Saxifrage, Corn Cockle, Sweet Woodruff

1642

(24)

Great gardeners and herbalists. English Civil War begins

William Turner, Edward Seymour, Henry Lyte, Robert Cecil, Thomas Johnson, Nicholas Culpeper, John Gerard, John Tradescant the elder, John Parkinson, Henry Danvers, John Tradescant the younger

Simpson, Fleabane, Pot Marigold, Scots Rose, Stag Horn Sumach, Larkspur, Navelwort, Wild Candytuft, Spiderwort, Charlock, Aster

The creation of the tapestry

The designer was Tom Mor, who also designed the Plymouth Tapestry at Prysten House, Plymouth, the Adventurers for Virginia (London) Tapestry, and was the consultant on the Jersey Liberation Tapestry (St Helier, Channel Islands) and the Plympton Tapestry (Plympton, Devon). The panel was researched by Tom Mor, Tom Maddock, Paul Presswell and Freda Simpson. Chief tapissiers were Joan Roncarelli and Rene Harvey. A New World Tapestry Website has been developed as of December 2008 and will soon include 120 pages, showing all complete panels.

Research for the New World Tapestry twenty four panels began in 1980. Tom Mor was joined by Tom Maddock, a retired friend from Ivybridge. Over the months they travelled hundreds of miles together, researching the two hundred sixty four people who would be named on the tapestry. Heraldic expert Paul Presswell of Buckfastleigh identified all the Coats of Arms of the people, colleges and companies involved. The result has been the creation alongside the tapestry of a library of files on each person and a collection of reference books of great use to researchers, scholars and teachers.

Two hundred sixty four armorial shields run along the top and bottom tapestry borders throughout its length, alternating with illustrations of the same number of flowers of herbs, medicinal plants, trees and shrubs. The latter are shown because the colonists took ointments and cure-alls with them on their voyages and plant hunters returned with such things as the potato and tobacco.

All the flowers and florets depicted were drawn from nature by Tom Mor, who studied them under a watchmaker glass. He was helped from the very early days by Freda Simpson of Plymouth, who was passionately interested in herbs and old herbal remedies. She identified and gave him over 230 flower specimens in the years that Mor lived with his wife and family in Plymouth. Later they moved to Cambridge were he was able to complete the set of 264 drawings with the help of Clive King and Caroline Lawes of the Cambridge University Botanic Garden, Lady Jane Renfrew of Lucy Cavendish College and Alison Davies, Monica Stokes and Edna Norman.

The stitchers

Tom Mor could not have seen his canvasses brought to life without the help of his friends and the expertise of the dedicated tapissiers. When the very first stitch was made in the New World Tapestry in 1980, the team working in Prysten House numbered 20. By the time the last stitch was made in March 2000, the number of tapissiers had increased to 256 with the addition of another eight centres. In Devon there was a second in Plymouth at HMS Drake (the Royal Navy panel), Ivybridge, Chillington, Exeter, Bideford, Totnes and Tiverton Castle. Dorset Tapestry centre was in the Guildhall at Lyme Regis and it was there that the Great Gardeners and Herbalists panel was stitched.

The first Oblique Gobelin stitch was made on 26 September 1980 in Prysten House in Plymouth, by U.S. Ambassador the Hon. Kingman Brewster. The coat of arms of His Excellency’s ancestor, Pilgrim leader William Brewster, appears on the 1620 Mayflower Panel.

The last Oblique Gobelin stitch was made by HRH Prince Charles on 3 March 2000 in the Orchard Room of his home at Highgrove House in Gloucestershire. Most fittingly, with his interest in history and a keen gardener himself, the Prince put his golden wool stitch in the date of the 1642 Great Gardeners and Herbalists Panel.

Stitches have also been added by HM the Queen, HM the Queen Mother, HRH Prince Philip, HRH the Princess Royal and HRH the Duchess of Gloucester.

The Library

The New World Tapestry Library material includes histories of the years 1583-1642, much of it original research, files on the two hundred sixty four people named on the tapestry, plus heraldic information on over three hundred individuals, companies, towns, counties and universities.

Supporters

Supporters of the New World Tapestry include the Adventurers for Virginia patrons of the New World Tapestry and Library. Their names are inscribed for posterity in the Adventurers for Virginia Record Book. Supporters who join the Adventurers for Virginia may also:

In London, celebrate the Adventurers for Virginia Day every 10 April to commemorate the granting of Royal Charters by James II of England to the London Company and the Plymouth Adventurers (Plymouth Company) in 1606 to establish colonies in Virginia

Help fund the production of the book, The Jamestown, Sagadahoc and Bermuda Story, for schools and researchers.

Help fund the production of the Yeardley/Flowerdew Brasses for presentation in England and America.

Help make grants to the British Empire and Commonwealth Museum at Temple Meads in Bristol to create the permanent exhibition of the New World Tapestry, expand and enhance the New World Tapestry Library and help the development of three-way educational research between England, the Americas and Bermuda.

Receive a tie showing the Adventurers badge plus a lifetime pass to view the tapestry at the museum in Bristol.

References

^ Caron Parsons (27 September 2004). “Art and Exhibitions: Setting sail for a pow-wow”. BBC News. http://www.bbc.co.uk/bristol/content/articles/2004/09/27/powwow_event_feature.shtml. “Helping to illustrate the story is the New World Tapestry; which, created in the West Country, is a detailed record of the early colonial period and the largest such embroidery in the world.” 

^ a b “World’s biggest tapestry on move”. BBC News. 5 October 2003. http://news.bbc.co.uk/2/hi/uk_news/england/bristol/somerset/3165712.stm. “The 267-feet-long New World Tapestry, which depicts the colonisation of the Americas between 1583 and 1642, has been on display at Coldharbour Mill in Devon for 10 years. Now the 39 million stitch tapestry, which was 23 years in the making, is to have a new home at the British Empire and Commonwealth Museum in Bristol.” 

^ “New World Anniversary Tapestry in Bristol, July 2006″. VisitBritain Press Centre. http://www.visitbritain.com/corporate/presscentre/presscentrebritain/britaincalling/July2006/Attractions/newworld.aspx. “More than 260 adventurers are named in total and their coats-of-arms displayed, along with a similar number of herbs, medicinal plants, trees and shrubs used by the early settlers. There are several humorous touches in the manner of ancient tapestries and almost 39 million stitches, including one made by Prince Charles.” 

^ Photograph of 1617-1618 panel. “Bristol and the New World”. Aztecs at MexicoLore. http://www.mexicolore.co.uk/index.php?one=azt&two=aaa&id=274&typ=reg. 

^ “Prysten House: Frommer’s Review”. Frommer’s. http://www.frommers.com/destinations/plymouth/A25436.html. 

^ “Ceremonies in London mark 400th anniversary of Virginia Charter”. Richmond Times-Dispatch. History News Network. 10 April 2006. http://hnn.us/roundup/entries/23820.html. “The Adventurers for Virginia group, based in southwest England, displayed pieces of its New World Tapestry, which depicts the lineage of the families who traveled to settle the colony as well as other well-known aspects of history.” 

^ a b c d “City marks 400th anniversary of England’s American adventure”. City of London media centre. 4 April 2006. http://www.cityoflondon.gov.uk/Corporation/media_centre/files2006/54_06.htm. “Today Adventurers for Virginia are also backers of England ayeux Tapestry, The New World Tapestry, which, together with its Library, is a unique source of Anglo-American historical reference and an important international teaching tool. Designed by Tom Mor in 1978 and stitched by 256 volunteer Westcountry tapissiers, the massive work was completed in 2000 with a stitch made by Prince Charles.” 

^ www.newworldtapestry.co.uk

^ “Cash appeal for tapestry casing”. BBC News. 13 May 2002. http://news.bbc.co.uk/2/hi/uk_news/england/1984302.stm. “Mr Mor has created a fund-raising group called Adventurers for Virginia, which will work on both sides of the Atlantic. The group takes it name from a tapestry panel, specially created for the fund-raising drive, which was made by a group of volunteers in Lyme Regis, Dorset. The panel is dedicated to the work of 18 London livery companies that, in 1620, gave money to support settlements in Virginia.” 

^ “Artifacts collection: Excavations have uncovered over 200,000 artifacts.”. Website of the Flowerdew Hundred (Virginia historic landmark on the James River) Foundation. http://www.flowerdew.org/Artifacts.html. 

External links

New World Tapestry Website

v  d  e

Embroidery

Styles

Assisi  Bargello  Berlin work  Blackwork  Broderie Anglaise  Broderie perse  Candlewicking  Canvas work  Counted-thread  Crewel  Cross-stitch  Cutwork  Darning  Drawn thread work  Free embroidery  Goldwork  Hardanger  Machine  Needlepoint  Quillwork  Smocking  Sprang  Stumpwork  Surface  Suzani  Trianglepoint  Whitework

Stitches

Backstitch  Blanket  Brick  Buttonhole  Chain stitch  Couching and laid work  Cross stitches  Embroidery stitch  Featherstitch  Holbein  Parisian  Peyote  Running  Satin stitch  Sashiko  Shisha  Straight stitch  Tent stitch

Tools

and materials

Aida cloth  Embroidery hoop  Embroidery thread  Evenweave  Perforated paper  Plainweave  Plastic canvas  Sampler  Slip  Yarn

Regional

and historical

Art needlework  Bunka shishu  Brazilian  Chikan  Chinese  English   Indian  Jacobean  Kaitag   Kantha  Kasuti   Korean  Mountmellick  Persian  Opus Anglicanum  Suzhou  Ukrainian   Vietnamese  Zardozi

Embroideries

Apocalypse Tapestry  Bayeux Tapestry  Bradford carpet  Hastings Embroidery  Hestia tapestry  Margaret Laton’s jacket  New World Tapestry  Overlord embroidery  Quaker Tapestry

Designers

and embroiderers

Leon Conrad  Kaffe Fassett  Juanita Growing Thunder Fogarty   Marilyn Leavitt-Imblum  Ann Macbeth  May Morris  Charles Germain de Saint Aubin  Mary Elizabeth Turner   Teresa Wentzler  Erica Wilson  Lily Yeats

Organizations

and museums

Embroiderers’ Guild (UK)  Embroiderer’s Guild of America   Embroidery Software Protection Coalition  Royal School of Needlework   Chung Young Yang Embroidery Museum   Han Sang Soo Embroidery Museum

Related

Applique  Crochet  Knitting  Lace  Needlework  Quilting

Categories: Tapestries | Embroidery | Culture of the Americas | Arts in the United Kingdom

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What’s it about?

From large luxury powerboats and sports boats to wooden dinghies and narrowboats, the marine industry can produce a wide range of professions dealing with watercraft for you to indulge in.

An apprenticeship in this trade has several pathways which could see you working in a number of roles- from aspects of boat building, maintenance and repair, to marine engineering, electrics and electronics. Most apprentices will work under the supervision of others and undertake tasks such as boat handling, support, repair, and outfitting.

You won’t necessarily be working in coastal areas either, as a fair amount of the UK’s waterways industry is based around canals, rivers and lakes. So don’t worry if moving far away from home is your only hindrance.

Who’s it for?

It’s vital you’re a physically fit person as you’ll be crafting away with much manual work which can really take its toll. Practical and technical skills are important too as constructing frameworks could play a big part in your apprenticeship.

Those in the marine industry spend a large period of time away from home and work unsociable hours- you’ll need to be prepared and willing to do this if you want to survive in the industry.

Having the ability to communicate well with others and being a good team player are both essential skills for marine professionals.

What do I get out of it?

As an apprentice, you could learn a variety of skills and techniques to build boats of all sizes and for all functions. You might use carpentry, electrical, plumbing and welding skills as well as more traditional maritime craft skills like rigging and sailmaking. The work could involve constructing frameworks, hulls and decks – even installing parts such as engines, propellers and steering systems.

Apprentices on the advanced apprenticeship will be working as craftspeople and taking up more complex work without direct supervision. Many career paths stem from this apprenticeship – at the end of it, you’ll have a large range of skills and the practical experience needed to get ahead in the industry.

The framework of the apprenticeship consists of, an NVQ at Level 2 or Level 3 with an advanced apprenticeship. Those taking the advanced level could go on to do a higher qualification such as an HNC or NVQ at Level 4. And there is likely to be a combination of on-the-job and off-the-job training.

Job roles as a marine craftsperson, engineering technician or a boatbuilder are just a few of the opportunities that will be available to those who complete the apprenticeship. A starting salary of £12k- £17k once qualified, is standard in the industry.

There is a particular shortage of skilled craftspeople and technicians at the moment in the marine sector- so an apprenticeship is a great option!

So…all aboard!

At present, there are several welders available in the market and it can be a little confusing for an average person to consider which one to buy. In most of the cases, what you buy is actually determined by the kind of project that you will be doing in most of the times. But, if the case is that you are new to the welding, then your first welder will probably be a stick or a wire feed welder because they are the most easiest process to make use of. However, the system of wire welder sometimes is easier, as in this you need to constantly make use of a feed into your gun for welding.

While, in a stick welder, you have to change the stick occasionally as it runs out. In addition, wire welder is quite easy to use, which provides better quality weld and one can learn it relatively faster than the stick welding. Another thing that is quite important is the selection of the kind of welding that you generally wish to do. Basically, two types of welding are there: Flux cored wire welding and Gas Metal Arc Welding or MIG. Both of them vary largely, so it is essential to understand the basic difference between the two.

While considering doing welding for small repairs, you can probably go for the services of MIG welder as it is very much versatile with the types of work pieces it can weld. If you are thinking of using it for your internal use, then it is wise to go for the MIG welder. However, the process is not very portable, as you need to use a container full of shielding gas with it. Flux coated wired welding, on the other hand is probably the best choice to do a lot of outside welding.

Since flux is already present in your machine, you may not require a shielding gas and this will make it more portable. The only concern with this welding type is that through this you can only weld one steel type. The other better idea is to go online and check out as many welding forums as you can and make sure to ask about the various welders. You can even read many archives and can ask for specific questions related to your requirements, and can receive guidance from other welders too.

Find More Wire Welders For Sale Articles

Have you hired a bricklayer and you’re not sure what he’ll get up to? Here’s a quick guide so you know what’s in store…

Bricklayers do small one-off jobs but they are also an essential part of a building team, constructing and maintaining various structures. These include internal and external walls, chimney stacks and tunnel linings on both domestic and commercial buildings. They can also build fancy stuff like arches, garden walls, barbeques and benches.

A bricklayer coming to work on your project will use a variety of tools (both hand tools and power tools such as a cement mixer) and materials (bricks, blocks, mortar, lintels) depending on what the job involves.

Your brickie can’t just turn up and start building a wall. He first needs to measure out the area and make sure he understands the architect’s or designer’s plans. He then works from the corners building up with bricks and mortar. He may work in a team, or at least have a labourer with him to keep supplying him with materials. The trade can be quite hierarchical, with labourers handing out tools, materials and tea, junior bricklayers doing straightforward laying and the more experienced bricklayers taking care of corners and decorative brickwork.

As he builds up a wall your bricklayer will be using a spirit level and plumb-lines (string stretched horizontally as a building guide) to ensure the wall is straight. He may also use tools to cut and shape the bricks (for instance around openings for doors and windows). And he will shape and make neat the mortar in between known as “pointing”.

Your bricklayer will either use a corner lead or corner pole method to build. Corner lead involves building a pyramid of bricks at each corner. Once these are complete the walls in between can be filled, often by a less experienced bricklayer. But corner leads need to be really precise so they are time consuming and expensive.

Corner poles, also known as masonry guides are the alternative. The corner poles or posts are fixed and plumb-lines stretched between them, to guide the bricklaying. A layer of mortar (a cement mix) is then laid and bricks are laid and built up, with mortar to hold them in place.

On a big project a bricklayer may need temporary platforms of even scaffolding to reach up high. And if windows and doors are being inserted into a wall then a joiner will follow close behind to put in the frames.

So what sort of person do you want your bricklayer to be? He should be able to follow plans and be methodical, careful and physically fit – there’ll be a lot of heavy carrying involved. You may also need him to be a good team worker and get on with other contractors if he’s working as part of a bigger project.

And what sort of qualifications is he likely to have? Most brickies learn their trade on the job but there are formal qualifications they can get if they are happy to study. Local colleges can provide courses to gain NVQ qualifications in Trowel Occupations levels 1 to 3. This involves learning the essentials such as setting up and taking down working platforms, building structures (e.g. walls) and safe loading and unloading of materials.

Beyond the basics there are areas for specialist training including bricklaying, stone fixing and craft masonry. Once fully experienced bricklayers can become supervisors or estimators and beyond that construction managers.

If you are hiring a bricklayer it’s worth taking an interest in what he is doing (while allowing him to get on with the job). Not only will it put you in a position of confidence but like anyone, your bricklayer may appreciate the interest you are taking in his trade.

Related Bricklayer Articles

Welding is the method by which two metal pieces are connected firmly to make them compact and solid. Architectural and Industrial structures have a need of high-class and well-known welding services in order to carry out this kind of complicated job. High-quality welding necessitates toughness and potency and will never ever compromise on protection, security and cleanliness and safety. Structural welds have to be looked over, studied and inspected every now and then to make certain that there are no discontinuities which may effect to some harms and dangers or hazards in the future. Some zones of businesses and industries require the welding services and processes in some context. The following are some of the intricacies of the welding services that you should know in order to understand fully the matters concerning this line of work.

Commercial welding companies are stringent in providing work for only experienced and trained welders who are professionals in knowing the accurate heat to be directed while welding. Their overall work shouldn’t seem to be hulking or potholed which means the weld is not consistent and the holes and cracks might turn up henceforward.

Moreover, there are some food and hospitality industries that make use of several welded steel paraphernalia. Premium steel known as 304 is utilized here for the reason that it is not prone to corrosion, without doubt. The welding services in this industry should be completed with grand accuracy to put off bacteria and other dangerous and harmful effluents from polluting and contaminating the foodstuff, which is a risk if there are not smooth or fractured segments in the equipments. So, in order to make certain that you will not experience this, you have to get the welding services that can ensure maximum safety. Thus, TIG welding is suggested here.

The many welding services can be prepared in diverse ways specifically gas welding which makes use of the heat and the flame from burning gas. In addition, propane torches are also utilized to weld minor items which have need of only a smaller amount heat. On the other hand an Oxyacetylene torch is the most extensively employed welding contrivance. Nevertheless oxy-propane is a more cost-effective and easy on the pocket alternative to both the aforementioned types. MIG welders, TIG welders, AC and DC welders are utilized for superior projects and weighty equipments.

In a nutshell, all accredited welders and welding services providers are capable of giving you the welding services that you need for your home and personal business enterprise. But making sure that they have a certification program even qualifies them as accomplished workers. The excellent standards continue to live all over the country as well as in the neighborhood. Experienced welders, until the end of time, make certain that their welds are in good health ground, smooth and out of sight. Deformation is negligible in the work they do. Skilled welders are always and forever acquainted with the tricks for the different types of specialty welding and grinding, as well.

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The Great Continental Divide in the Western States in America defines water running east or west. Not just a geologic formation in its younger age 100 million years ago, this awesome and continent defining set of snow-capped mountains offers the barrier of imagination through which migrating Americans traveled to come to what are now States like California (38 million residents).   
 

Like a book of facts, the majestic formations that characterized this area of the world are spiced even by its denizens, its citizens, its friends as a part of the Pacific Rim. In these words, seemingly encyclopedic in their arrangement and tone, turn to the more man made, the humble, the unusual in the Wild West where in a City named Oakland, situated on San Francisco Bay and sharing with its more romantic and celebrated sister San Francisco the recognition that the construction of a modern Roman Catholic Cathedral captures the visual and religious sensibilities of the diverse worshipers of what these residents, mere humans with a lifetime so short, have built to their God with skill and style and up-to-date techniques for its 600 thousand or more Diocesan members use. A holy place, a Benedictine Monk told this writer, a place of worship, and a House of God this Cathedral of Christ the Light as it is called was a work of devotion and love.    

The Cathedral’s altar contains relics, inserted and sealed in the stone. The holy persons represented are Andrew, apostle; Thomas, apostle; Stephen, deacon and first Christian martyr; Sixtus II, pope from 257 to 258 and martyr; Perpetua, a young wife and new mother martyred in North Africa in 203; Cecilia, Roman martyr of the third century; early Christian martyrs Restituta and Speusippus; Francis of Assisi, founder of the Order of Friars Minor, the Franciscans (1181-1226); Colette of Corbie, Poor Clare who established many reformed monasteries (1381-1447); Francis de Sales, bishop and spiritual writer (1567-1622); Junipero Serra, Franciscan President of the California missions (1713-1784); John Vianney, parish priest (1786-1859); Pius X, pope who allowed children to receive Holy Communion (1835-1914). Two additional, unusual contents of the reliquary are soil from Auschwitz, commemorating the victims of the Holocaust (especially Saints Maximillian Kolbe and Teresa Benedicta [Edith] Stein) and a rock from Calvary.    

The firm responsible for the construction and design is Skidmore, Owens, and Merrill with lead architect and designer Craig Hartman. Mr. Hartman is currently working on a second Roman Catholic Cathedral in California, and so was not available for interview. Skidmore, Owings and Merrill supplied this writer with an excellent video presentation that introduces the design concepts in a talk by architect Craig Hartman. Note that Mr. Hartman has numerous important prizes for the work he did on the Cathedral.    

In a Press Statement, Skidmore, Owings, and Merrill says:    

Set on a prominent, two-block site overlooking Oakland’s Lake Merritt, the 1350-seat cathedral is the centerpiece of a 224,000-square-foot complex that includes a mausoleum, conference center, administrative offices, bishop’s and clergy residences, bookstore, café, and community-serving ministries. The design gives special consideration to the Cathedral Center’s physical and cultural place within the city of Oakland. A landscaped public plaza, accessible from all directions, firmly links the center with the city’s commercial downtown and surrounding neighborhoods. Within the cathedral, the experience of light and space, rather than traditional iconography, instills a deep sense of sacredness…    

Christ the Light Cathedral Architect’s Presentation    

Christ the Light Cathedral Architect’s Presentation
Uploaded by ctlcathedral. – News videos hot off the press.
   

Cathedral of Christ the Light spokesman told us some bare bones facts about this significant and even unusual structure in its graphic conception and unusual look, so attractive and inviting. This is a well thought through construct of new Cathedral, inviting to its parishioners, visitors, and pilgrims. The Cathedral spokesman answered some questions.    

You are one of those I have questions for, including some clarification. For example, the Docent who was very good told us that the previous Bishop worked with the architect on the construction?    

The project began with Bishop John Cummins. He really got the whole process off the ground. Developed the very large committee and lay people. 2003 Bishop Vigneron was involved in 2003, January 1, 2009. He was there for the early period and groundbreaking.    

Is that so, and can you tell me briefly what he did?    

He was the boss. It was his project. The architect was hired by the Diocese, and so was the liturgical designer.    

Who was on the design committee? Was it a large group?    

There were a good handful on the design committee.    

On my visit to the spacious and even majestic Cathedral I stayed for Communion and noticed there is an Altar, of course, but no rail. We took Communion in a round, standing.    

Vatican II papers really opened up that form of receiving the Holy Eucharist. That was a Vatican II set of directives.    

How new is the Cathedral? It seems so almost breathtaking in its spacious interior, and with the huge figure of Christ created with natural light there is a supernatural sense to the interior. I found it so.    

Most recent Cathedral in the world. The Diocese was formed in 1962. It spun off from the San Francisco arch-Diocese. Estimate closer to 700,000 because of the Hispanic population. It’s a real mix of Vietnamese, Hispanic, and Anglo. Mass for Vietnamese every week; two Masses in Spanish, of course English.    

Sometimes various stories evolve around Cathedrals. They can be true or false. For example, there is a rumor that goes around that there is a cat buried in a tomb in the Episcopal Cathedral in San Francisco (Grace Cathedral). The Docent who showed my group around Christ the Light Cathedral said that the Finials on top of the building were the unfinished crown of the Christ the Light Cathedral and represent Mary Mother of God. Did I get the name right?    

Finials: It is not a liturgical design to represent a crown; that is not the case.    

Who was the Judge in the competition offered by the Roman Catholic Diocese to find an architect? Was it the San Francisco Chronicle Architectural Critic Alan Tempko?    

Alan Tempko headed up the selection committee, and the world’s architects were invited to compete.    

What of the naming of the Cathedral?    

The naming was one of the high points that came from a collaborative meeting process.  Former pastor of St. Francis de Sales Cathedral, Fr. Don Osuna, recalls inspirations for the name:    

“The name is a departure from the tradition of naming cathedrals after Mary the Mother of God or a patron saint. In dedicating its mother church to Christ the Light the Diocese of Oakland highlights the role that Christ must play in the new millennium.    

“Only Jesus, ‘light from light, true God from true God,’ can guide the Human Family into the uncertain challenges of future centuries. Jesus himself declared, “I am the light of the world. Whoever follows me will not walk in darkness but will have the light of life.    

“The name ‘Christ the Light’ also resonates with the image of God’s People so impressively described in Vatican II’s Dogmatic Constitution on the Church.  Its opening sentence reads, ‘Christ is the light of nations’ [Lumen Gentium].    

“In it the council fathers express their heart-felt desire that by proclaiming the Gospel to every creature the People of God ‘may being to all the light of Christ which shines out visibly from the Church.    

“Light is a universal phenomenon, celebrated by every country and cherished by every culture. The Cathedral will hopefully provide a resting place – like a candelabra – for those who seek a home and for those who may seek a beacon in the night.”    

When taking a Docent tour of Cathedral of Christ the Light ours told us that the large organs, which are lifted up on the walls of the Cathedral were, “…better than Grace Cathedral’s organ.”  In addition to comments, we were served with a look at various works of art in Cathedral of Christ the Light, including the Stations of the Cross, built to the walls so even a child can reach up and touch them. They are lovely, this writer reports, and modern. Sculptor Andre Bonnett was their maker, as well as other works of sculpture in the Cathedral. He worked with liturgical designer and director Brother William Woeger. There is an interview with both these talented and devoted men of faith later in this article.    

Our Docent told us that Mary is the Diocesan Patron Saint, and there is a sculpture of Mary with a bear (representing the State of California, we were told) on the floor of the Sanctuary. We could touch the Mary sculpture, and were told to notice her eyes. The eyes were especially noteworthy and unusual, one could say shaped like a fish—each eye.    

The sculpture of Christ on the Cross, another work of impact, simplicity and displayed in the sanctuary for all to see, was another greeting to the visitor. But above all was the huge Christ created in light on the high wall of the inside of the building. Just huge, and impressive as both image, work, and graphic. For it does appear as a graphic presentation and if memory serves correct was conceived as such.    

The interior in daytime is entirely illumined by natural light. This is a lovely use of light, and light of its own accord plays a role in the ethos of the Cathedral (Cathedral of Christ the Light).    

Three years in construction, the Roman Catholic Diocese staked 0 million in construction costs on the belief that people will come. Average Sunday Mass attendance in 2009 – 1400    

“It bespeaks a kind of missionary confidence,” said BishopVigneron. “With the attractiveness of the message of Christ, we can build up the congregation.” San Francisco Chronicle Religion Writer Matthai Kuruvila San Francisco Chronicle reported those words, Saturday, September 13, 2008 in the Bay Area morning paper.    

Mr. Kunuvila noted in his report this important matter:    

Instead of naming the cathedral after a particular saint, a designation that might seem to favor one ethnic group, the diocese chose the neutral “Christ the Light” – a reference to the first lines of the magna carta of the Second Vatican Council, which ended in 1965 and began the era of modern Catholic multiculturalism.
 
 
    

 
During the Docent tour, ours stayed with us the entire time of her walkthrough, answering questions well. I asked her if she had a question for the Architect, and she said Yes.
 
Her name, Esperanza Quenteros. It was during the tour the title for this article appeared to me, for it represented my initial reaction to the new building: Agog in Oakland: Visiting the “New” Catholic Cathedral Christ the Light . We were told there is a new Bishop in Oakland, California USA. A city that is so very diverse it is billed as a metropolis of unusual diversity with its many kinds of ethnic and national citizens. The Cathedral must accommodate them, and unify the Roman Catholic Community.
 
Just for the record, the current Bishop Salvatore Joseph Cordileone offers this about himself in his official biography:
On March 23, 2009 Pope Benedict XVI appointed Bishop Cordileone to be Fourth Bishop of Oakland. His Mass of Installation in the Diocese of Oakland was celebrated on May 5, 2009 at the Cathedral of Christ the Light .
 
Bishop Cordileone presently sits on the Committee for Canonical Affairs and Church Governance and the Ad Hoc Committee for Defense of Marriage of the US Conference of Catholic Bishops (USCCB.) He also serves on the Religious Liberties Committee of the California Catholic Conference. 
 
Bishop Cordileone’s avocations include a life-long interest in jazz music. Even during his seminary studies in Rome he played his alto saxophone in a jazz quintet, and continues to follow the music.
What of the Theological purposes of the Cathedral. On its website, the Cathedral says of itself:
 It is the mother church and spiritual home of all the members of the Catholic Church in the Diocese of Oakland, which inspires our diverse community across Alameda and Contra Costa counties. The ministries at the Cathedral and its adjacent campus foster unity through worship, teaching and evangelization, and works of service – especially to the poor and those at the margins of society. The Cathedral functions as a “palace of the poor,” serving those in need by appealing to volunteers and donors who support cultural and community projects from a platform that will exist for centuries. Free health and legal clinics give life to this mission.
     

Bishop Allen Vigneron said: The Cathedral is to be a place for God and his people to meet. This only happens in Christ and thus the Cathedral is an icon of Christ, re-presenting the meaning of Christ. The Bishop continued with other remarks during the conception of the Cathedral and its building: Through the Cathedral, the idiom of our day can give voice to faith that is timeless.     

He described the Cathedral this way, and it is a kind of charge for Architect Craig Hartman, who worked so closely and well with Bishop Vigneron: Abundant with Catholic symbols and metaphors, woven into a context that has universal appeal, achieved through the shape of the Cathedral and the dramatic unfolding from the Story of Creation to Redemption through Christ…     

Asking for the creation of a place of being, a place of space and purpose, Bishop Vigneron added:    

The Cathedral then is our statement about how we, through whom Christ dwells in the world, dwell in Oakland and the East Bay.
  
A Catholic Catechism declares: …Christians construct buildings for divine worship. These visible churches are not simply gathering places but signify and make visible the Church living in this place, the dwelling of God with men reconciled and united in Christ. There is no mistake on the charge given Architect Craig Hartman, an Episcopalian who worships in an Episcopal Church in San Francisco: In this ‘house of God’ the truth and the harmony of the signs that make it up should allow Christ to be present and active in this place.
 
No doubt Architect Craig Hartman shared a similar vision as the Bishop, at least when it came to the concept of using light. He’d been working with this concept previous to his being chosen Architect to build the Cathedral of Christ the Light.
 
 
Skidmore, Owens and Merrill wrote this of their SOM architectural partner Craig Hartman:
 
The Oakland Diocese’s initial project prospectus called for light as the central focus of the design. In response to a question about which lighting principles he would employ on such a project, Hartman quoted architect Louis Kahn’s pronouncement: “We are born of light . . . we only know the world as it is evoked by light.” 
 
Hartman was invited to participate in the design competition in large part because of his imaginative use of light and reflection in the then-under-construction International Terminal at San Francisco International Airport. In the competition questionnaire, Hartman evoked the airport terminal project both to indicate his own “predisposition towards lightness and luminosity in architecture,” and as an example of “the recent advances in the technology of glass and concepts in structural engineering” that made the terminal a celebrated architectural work. Light, 
Hartman suggested, could indeed be the key “to create a contemporary design that was still evocative of the Church’s two millennium-old traditions.”
   

   
    In the SOM report, again Craig Hartman speaks of his work and design of the Oakland, California USA Cathedral:    

The Diocese asked the design team to think about the cathedral in terms of a three-century lifespan: “We felt that the 300-year standard applied not only to the cathedral’s structural integrity,” Hartman recalls, “but equally to the aesthetic that that building should be architecturally worthy of lasting at least until the 24th century.” According to structural engineering partner Bill Baker, it was equally important to use “an ‘of the moment’ approach to design and material because it was the most honest and sensible way to proceed.” This belief in the rightness of contemporary design led the team away from, for example, a neo-gothic tribute and towards a modern design instead.     

The sanctuary design references two interlocking spherical grids in the form of the “Vesica Pisces,” the conjoined circles that represent both an ancient symbol of congregation and the basic symbol of Christianity—the fish. The interlocking grids will support curved glass walls that are ceramically coated to infuse varying degrees of opacity. The results will be a glowing, variegated, indirectly lit interior space, vaulting up 12-stories to a glass oculus roof which is also in the intersecting circle motif.    

The oculus was designed to focus light on the central altar, provide a view of the sky above, and be a component in a unique, passive cooling system.     

Richard Rapaport, who wrote the article for Skidmore, Owens, and Merrill, put it right when he emphasized the use of structural integrity, and that it be worthy in its architectural sense to last until the 24th Century. Mr. Rapaport quotes Architect Hartman on the matter, and as well emphasizes another significant element in the design and symbolism of the Cathedral. That is the use of the form “Vesica Pisces,” an ancient symbol indicating meeting place for Christians.    

Skidmore, Owingss, and Merrill reports on its website:    

Bishop Vigneron ultimately believes that the SOM design succeeded both “as an expression of a created Cosmos,” and as a design that “meets all of the requirements for sheltering people to pray.” Beyond that, the Bishop sees something “beautifully worked about the way the design uses wood, concrete, and stone. Each of these materials,” he feels, ultimately “makes its own contribution to the display of light in very powerful yet subtle ways.”    

This writer can’t recall if our Docent mentioned any of the specific awards won by Craig Hartman, but his biography offers these paragraphs in summary with emphasis on some:    

Mr. Hartman’s work has been recognized with over 100 awards for design, which, in addition to 8 national AIA Honor Awards, includes two Gold LEED® Certifications and AIA awards for environmental sustainability at Treasure Island and the University of California, Merced. He also received a Federal Design Achievement Award in the 2000 Presidential Design Awards Program.     

In 2001, Hartman became the youngest recipient of the Maybeck Award, an award presented periodically by the California Chapter of the AIA to an individual in recognition of “lifetime achievement in architectural design.” During the dedication ceremony for The Cathedral of Christ the Light in September 2008, the Vatican’s Knighthood for Service to Society (St. Sylvester) was bestowed upon Hartman by Pope Benedictus XVI. He also received an Honorary Doctorate of the Arts from Ball State University during the May 2009 commencement ceremony.     

Minor City with the beautiful new Cathedral, Oakland had as Mayor Jerry Brown, well know three time Presidential aspirant and grass roots candidate who when the grass in the Springtime of his life was green was Governor of California USA. Then that young man, son of a father who was a popular Governor of California…Jerry Brown, the Catholic Seminary attendee, had the label Governor Moonbeam. At 72, this well-known politician again seeks the Governorship after being Mayor of Oakland, California. He was a centerpiece of fame for the minor California City, described in Wikipedia as a City that “…is a major West Coast port, located on San Francisco Bay, about 8 miles (13 km) east of San Francisco. Oakland is a major hub city for the Bay Area subregion collectively called the East Bay, and it is the county seat of Alameda County. Based on United States Census Bureau estimates for 2010, Oakland is the 41st-largest city in the USA with a population of 446,901.” The current Mayor of the City of Oakland is star of a YouTube that presents a montage of the many faceted laboring and sometimes troubled and crime plagued City of work and working class with its fine homes and tony people living in the Hills above the metropolis. With this thumbnail sketch of the lesser known California City with its marvelous new Cathedral, let us turn again to Cathedral of Christ the Light, spiritual home to Roman Catholics in the City’s region.    

Probably the both spare and moving artwork of the Cathedral adds to its beauty in a way of simple and impressive candor about faith and the place of worship and Christ in the Cathedral’s holy expressions of devotion. This writer talked with sculptor Andrew J Bonnette by phone when he was in his studio. We talked by phone more than once. On one call one of his children answered the studio phone and the youngster said his father had gone out. One recognized by this that the studio was probably in close proximity to his home.    

I live in Afton, in a country area. The home is a civil war era stone house built in 1851.    

I am 44. When I was about 15, my father would hire me to do odd jobs in the shop for him. Cast waxes, and make plaster molds and the like. As time went on the projects were  sometimes rather complex. Some of his mentors from the past I began to know quite well, as they often played a role in his work. Around 1986, he began to suffer from some  terminal physical problems. He died 1987. He was very well known all over the United States as an important sculptor of Liturgical and Sacred art, Gerald S Bonnette.    

I went to technical school for the field of hospital central service technician, (CSR). But I never went to art school. I learned the profession of sculpting,  mold making and how to use wax and clay from my father. He left me with a lot of  equipment and tools, and introduced me to oxy-acetylene torch welding. Most of the other skills I have picked up were self-taught, like Tig welding, stick welding, and metal casting, which were things that my father did not do himself.     

My skills with wood were also self-taught, and to this day I do most of the small wood related tasks myself.    

After the death of my father, the orders for the artwork continued to come to me. I expanded my skills as the need to do so evolved. There was never much time when I didn’t have a project to do.  At the Cathedral of Christ the light in Oakland California, all of the sculptures I am responsible for were cast by myself: The Stations of the Cross, the Madonna and Child with the black bear cub, the Tabernacle reliefs and the life-size crucifix are all designs of my creations. Some people have asked me what is the meaning of the bear cub. The bear cub symbolizes a state of strength, and wisdom of the coronation of Mary as the mother of God. That is all; this is my understanding, otherwise Oakland is a place of the black bear. There was also supposed to be a bronze oak tree near the Madonna. This tree was never fully completed in time, the Cathedral ultimately decided not to place the tree in the Cathedral. It remains in my shop, and someday it may be used for another reason.    

Text of email to the Bishop:    

Andrew:    

Fr. Minnihan forwarded to me a photo of the corpus you致e created for the sanctuary crucifix for our new Cathedral.  It is very beautiful.     

Thank you,    

Bp. Vigneron    

Do you like the work done on the Cathedral?    

It is fantastic, the most interesting Church and Cathedral I have ever seen or been in. When I visited Oakland, I was able to see how it was built and I love the physical shape of it. From the outside, it is very well illuminated from all directions. You can see the light coming from the inside from all directions. The light shines in from all directions during the day. It is so unique. I have so many good memories of going in there, everywhere you look there is something to see of history, art and the focus of the real light of Christ is everywhere.    

The reason the Cathedral chose me as one of the artists was mostly because of my personal accomplishments, however without the help of a good friend, Brother William Woeger, I do not think I would have been there.    

Do you say the Stations of the Cross?     

Yes, of course. Attending the processions of the Stations is very important thing for myself and my family. We usually attend mass at Saint Rita’s Catholic Church in Cottage Grove, but there are more than a few Catholic churches where I live. Since childhood, Saint Rita’s Church I have thought of as my church.    

My father was one of the main Liturgical Artists at Saint Rita’s, and there are a few pieces of his work there.    

Did you do much Church work before the Cathedral?     

There is a large 3 dimensional of Christ the King in Madison, Wisconsin. It is 7 1/2 feet from head to toe. It is a full size copy of a very important little bronze crucifix of my father’s design. It looks like a gigantic duplicate of the little crucifix. It is in the courtyard of the Archdiocese. I was paid a fair price for the work, however now that it is done, the cost of it is not important; the meaning of the statue is the only important thing.    

Did you work with the Bishop on the crucifix for the Cathedral of Christ the light?     

Yes, I met with Bishop Vigneron more than a few times. Myself, the design consultants and others met to have dinner in his house in Oakland, California. During our conversations, we arrived at the conclusion that Mary be very gentle looking and have a slightly Middle Eastern appearance because this is the region of the world they were from, and have certain features on the facial expressions of the Madonna statue. The final details of Mary’s eyes were my doing. The entire design was changed more than a few times. She is looking very lovingly at Jesus. I didn’t want her to look hard or difficult at all, and to show that Jesus is our gateway to God.    

Bishop Vigneron said, Oakland is populated by many different ethnicities and that relating to the masses and varieties of the ethnic generations is very important. Nobody really knows for sure exactly how Jesus or Mary really looked, and so you have to use some artistic license in deciding this.    

I spoke with the main architect a few times. We exchanged emails and talked about dimensions and where we would place the sculptures. I wanted people to touch the stations, and some people are not very tall, and so the height of where they are is important. We live in a three dimensional world and seeing is not all visual, and so a lot of our comprehension comes from being able to hold onto what is around us with our hands. It was important to me for the statues to be accessible to everyone.    

Text of email to the Bishop:    

Dear Bishop Vigneron    

The photos sent are of the feet on the large crucifix. They were changed because the size and shape of the feet prior were not acceptable. I am moving forward with the casting.     

Merry Christmas and Happy Newyear    

sincerely, Andrew Bonnette    

Dear Andrew:    

I’m sorry it has taken me so long to respond to this message.  I very much appreciate seeing the feet of the Crucifix.  What struck me first was the thought you put into it in having the nail holes show the result of the flesh being torn by the nails as the Lord’s body pressed downward.      

I am so very eager to see the whole.    

Know that I am most grateful that your talents are enriching our Cathedral.  I hope that you and your family have a blessed Christmas.    

Will you speak briefly of the method you used, and maybe even tell us something of the inspiration that led you to create the Crucifix Christ, and the Mary statue? Can you talk briefly of the meaning of the Mary statue to you, and what your feelings are about Mary?     

I wanted the sculptures at the Cathedral to look slightly Romanesque. There is no perfect art. I have always felt that if an artist is a perfectionist or fancies him or herself a professional artist, that is the opinion of the artist only. If you look at a Romanesque work that was made thousands of years ago, the artist was not thinking of making something perfect. The idea was captured in the act of doing the sculpting. I love the material bronze because it is such a usable material, and it has a beautiful color, the 2,000 year old castings are probably more interesting now than they were back then.    

It makes one want to know something about her and pray the rosary. The rosary is something I pray a lot. I think that was what gave me my inspiration. When I was sculpting Mary I prayed the rosary a lot. I didn’t want to make her look too glamorous. I don’t think that is the right thing to do for making a sculpture that is to be holy, to make it too glittery. I wanted it to be conservative—simple, yet beautiful.    

Of Andrew J Bonnette Mary by Rick White

Bronze is what it is, you can brush it or buff it and then let it patina. Usually you do not have to clean it up and it looks beautiful anyway.    

I do not think that that Mary is often given enough glorifications. She is not the savior of our human race of course, but she is the mother of our lord.    

I hope that the Madonna statue encourages more people to pray the rosary. The holy rosary is something I practice. I am sure it has given me a lot of my inspiration for the work    

Text of email to the Bishop:    

Dear Bishop Vigneron    

The photos sent are of the feet on the large crucifix. They were changed because the size and shape of the feet prior were not acceptable. I am moving forward with the casting.     

Merry Christmas and Happy Newyear    

sincerely, Andrew Bonnette    

Dear Andrew:    

Thank you, again, for your work on our Crucifix.  And thanks, too, for your good wishes for Christmas.  Mine to you and your family.    

Bp. Vigneron    

Dec. 20, 2007    

Doing this kind of work is a labor of love, and there are a lot of hazards. The original design concept probably takes a month or a few days, depending on how you look at it and the complexity. Taking your concept and turning it into a sculpture may take up to a few months for the original, and the final product could take up to a year.    

Welding is important. No matter how thoroughly the attention to detail is, you will always have to weld some part or parts of your work. You need to know how to join pieces of metal together. You need to know how to turn one scale into a larger scale.    

I make a lot of my own tools and machinery, and do invent new concepts in the process. For the most part, I am self-educated on most subjects, even electricity. In the house and shop, that really comes in handy. If someone were going to try to make a sizable and large sculpture, they would want to get familiarized with material and how to handle it. Come up with a good plan, write it down on paper, right down to the last detail, and perform each task as a separate job. That’s key to the whole thing.    

You do get tired. Over the years, my hands have become stronger, my abilities to notice details have increased and certain arm muscles are just stronger than usual. It’s hard work, and you want to get your design done while the idea is fresh in your mind. I like to think of myself as a do-it yourselfer, however I know that I am not an average person–I do not want to be, I couldn’t go down that road again.    

Text of email to the Bishop:    

Dear Bishop Vigneron,    

I wanted to let you know that I do plan on being at the dedication of the Cathedral in September, and thank you for the invitation, it will be faxed to Oakland. I hope that you have been well, and I look forward to seeing you again. The crucifix will be delivered to Omaha this Monday or Tuesday.     

Sincerely, Andrew Bonnette    

Dear Andrew    

I’m glad you are able to be present for the Dedication.  I have received some photos of the corpus for the sanctuary crucifix.  They are exquisitely beautiful.      

I have shared them with my priests and with my co-workers in the Chancery.  One of the secretaries seems near to tears as she spoke about the serenity you have portrayed in Christ’s face.      

God bless you for the gift of your talent in His service.    

If a reader wants to contact the sculptor, write, Andrew J Bonnette, 12487 40th St.    

Afton, MN 55001 USA. A pictorial brochure is available upon request    

An interview with liturgical and design director, Brother William J. Woeger, F.S.C.    

Director, Office for Divine Worship, 100 N. 62nd St., Omaha, NE  68132. 402.558.3100 ext. 3008    

402.558.3026 (fax).

Will you speak some to the subject of art and faith for readers? Perhaps they’ll gain a better understanding of the Cathedral space, and the liturgical role works of art play in a space that accommodates and nurtures faith?    

I’ve been a big fan of the art of borone in Switzerland. Basically, it’s late 19th century Viennese secessionists associated with the monastery of Barone. They were reacting to the romanticism of religious and also to the kind of artist himself as an object of cult and following. That the artist becomes bigger than the work of art itself. The true purpose of art is to serve religion. Ultimately the work was anonymous and the style heavily borrowed from Egyptian. They felt art was closely related to mathematics.    

Personally, I identify more with work that is iconic. It is theology and not just emotional. There should be some content. That was what I was looking for with some of the artists and so we have art that is evocative of the religious; we have art that is devotional, and art that speaks of a culture. It may not be the primary culture of the people who use the cathedral. For example, the art in the holy family chapel is Spanish colonial, and the average age of the paintings is 200 years old. The school of Cusco. The Cusco paintings are anonymous and come out of the school. The two sculptures that are in there are Cusco but they are contemporary. There San Jose Joseph with the child, and Conino Nino. (The Family Chapel.) The immaculate (Mary).    

How did you get involved with the Cathedral project, and when?    

For about thirty years I’ve been travelling around the country as a liturgical designer and I interviewed with the Diocese and was hired. The Bishop and members of his staff and committee. That was Archbishop Vignonor, who is now in Detroit. For about the last forty years Catholic Churches have not been built with Communion Rails because people receive standing. Other than the altar rail, the layout of the Church is really not radical at all, even though the architecture is very, very contemporary. I don’t think anybody, even an architect or a designer than the client is, and nine times out of ten if you’ve got a good client you’ve got a good result. Archbishop Vignoron is one of the best clients I’ve ever worked for. He approached the project in a manner that was open minded and inclusive. When he came in to the Cathedral, the basic concept of the Cathedral was made. He called the project techno – that he appreciated the way a building like that is built. There is never too much. He would affectionately refer to the building as techno, for it had an abundance of technical design. He very much appreciated the whole metaphor of light.    

At your age, when working on the Cathedral, what were the expectations for the liturgical and theological designs?    

I think all of us knew we were doing something special. This was not just “another church.” We knew there were a lot of people looking to see what would happen. We thought we were onto something very positive, and moved forward with it. Relationships were established. I have friends I made I will have all my life.    

The lead architect was very open to the project and input of the people around him. This was not a one man show. He was very responsive to the gifts that were brought to the table.    

Whose idea was it to have the smaller “chapels” throughout the Cathedral?    

Chapel of the Suffering Christ, Courtesy of Skidmore, Owings & Merrill LLP
 

Those spaces were there and it was not clear how they were going to function. My job was to work with the committee and the Bishop to reflect on the building and build a theology for it. We came up with the idea of the Chapel of the Suffering Christ because people may be in pain. The family is supposed to remind people that the principle educator of children is parents. Chapel of the saints will be filled with icons. No one has been commissioned to fill the frames. They are quite ornate. The all seasons chapel was created where the average parishioner could make a seasonal statement or where a more spontaneous expression could be made, like a shrine. That changes all the time.    

It was and continues to be a great privilege to be involved in this project. It is one I will continue to stay close to. I came away from the project feeling like I had received a gift to be involved with it.    

The Pacific Rim it is said faces Asia, and the Rocky Mountains divide east from west.  So we’ve said. The cities of the Pacific Rim include those not only in the United States but within this entire global definition. That a Cathedral, in this case a new Roman Catholic Cathedral is to last three centuries, into the 24th Century, takes building skills, imagination, and a lot of work that promises quality. As an addition, so small in the geologic sense, and even small when compared to the proportion of population of the Pacific Rim, this Cathedral of Christ the Light is an addition to the Western United States and especially the City of Oakland and all of California.    

Hyperbole? Of course! What else is a new Cathedral, but a celebration? Regardless of denomination, a house of God, a light of and for believers in Christ, need not and should not be ignored. This writer hopes we have celebrated the addition of a new Cathedral, and expressed the modern and unusual space of light and graphic presentation of the “supernatural” huge Christ as a place of worship for Roman Catholics.    

The second Cathedral for Architect Craig Hartman is going to be built:    

In the Roman Catholic tradition, a Cathedral houses the cathedra – the teaching seat – of the bishop. The Cathedral becomes the focal point of important liturgical events within the diocese and hosts celebrations and other activities closely linked to the diocesan community and its faith. An important distinction for the new Cathedral is the long-range plan to make the complex serve ecumenical as well as parochial needs; and to become an important spiritual and cultural center for all of Orange County.     

The search for an architect capable of translating the many ethnic and cultural facets represented in the Diocese of Orange, while acknowledging the historical architectural and worship traditions of Roman Catholicism, culminated with the selection of San Francisco-based Hartman, the Design Partner in SOM’s San Francisco office…    

Educated at Ball State University and the Architectural Association in London, where he studied under Cedric Price, Hartman was recruited from school by Walter Netsch, FAIA, to join the Chicago office of SOM in 1973. He moved to SOM’s Houston office in 1982, becoming a Design Partner in 1985 at the age of 35. In 1987, he became the Design Partner of SOM’s Washington, D.C. office and ultimately joined SOM’s San Francisco office in 1990 as the Design Partner in charge of Architecture for the West Coast practice.    

[One Press Statement headline reads:] Christ Our Savior Cathedral Design will Feature Innovative Engineering and Extensive Community Service Facilities when Completed.    

If one is in Oakland, visiting San Francisco, hear the organs of Cathedral of Christ the Light. Currently, on every 2nd and 4th Wednesday of the month, a brief demonstration of the Conroy Memorial Organ will take place at 1PM as part of the docent-led tour. Join the Cathedral’s organist, Rudy de Vos, as he briefly talks about this magnificent instrument and demonstrates some of the different sounds from its 5,298 pipes.    

The good work of the Cathedral Center is now highlighted in a new brochure, in both English and Spanish. (updated 8-27-2010)    

ADDENDUM II    

Unanswered questions regarding the Cathedral of the Architectural firm    

At the time of this posting the writer continues to work on these questions for Skidmore, Owens and Merrill.    

Food for thought and reflection    

(1) In the realm of public work meeting the private, what particulars of architecture and community do you see as most significant and immediately recognizable as necessary? Can you think of a Church or Cathedral that speaks to this ethos and aesthetic in important ways? Is there a particular project with which you are familiar, or worked on, that you could mention in this regard?    

(2) What is the architectural role of the kind of building that is religious or faith oriented in the community, to your mind? What of your own place of worship? Does it or does it not fit your criteria for a good place of its kind within its city or community? In what way?    

 (3) Will you speak for a moment for attribution, if only briefly, about the Western United States and its sense of architectural design in cities as opposed to those sensibilities in the Eastern United States? Can you think of a Cathedral or Church that is memorable and a statement for its own region or area? Even a building that strikes your mind when considering this kind of difficult and probably unfair, and too broad of a question? But there the question is, and I am sure readers will be interested to get a feel for American architecture in this regard.    

The area that occurs to me is in part a statement of design by architect Craig Harman made in his video of the design process for the Cathedral. His words were to the effect that the building was placed so as to be created between the urban Oakland and the natural setting of Lake Merritt. I consider this as a boundary, as outlined in a book     

I reviewed Esther de Waal’s work (link to book review is here: http://www.examiner.com/x-10965-SF-Religion-in-the-News-Examiner~y2009m8d22-Book-Review-Entering-into-a-life-in-the-Spirit ). (A link to where the video is found is here: http://www.ctlcathedral.org/resources/video_display2.shtml )     

Further, a Cathedral is a symbol, and many religious requirements are met in its design. For instance, the direction the altar faces is a traditional matter of religious intent and necessity. It requires some special knowledge within its own sense of value and purpose. Just in that it becomes particularly special, even as religious statement. May we agree on that?    

A reiteration in rephrasing of the questions for reflection:    

In what way is the Cathedral situated within its public and private environs so that it creates a series of boundaries and statements, if that is even so?   
Where or what is the statement about the western parts of the United States in the design of this building, especially as a public place for worship for the community? I understand you are familiar with regional and public design and reason for same in architecture, hence the question.   
The Bishop who worked on the building in its building stage noted that he thought the design “techno.” It does seem so modern and “techno.” Though you cannot speak for him, perhaps you know what he means for on your website you have a genre of buildings that are modern in their particularity. If you understand what I mean, please comment on this form of Skidmore, Owen Merrill work.   
The graphics on the building are striking. Who was in charge, and will you say something of the design team’s vision?
  

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