Create and print a single envelope. Click the Printing Options tab. The printer driver tells Word which way the envelope should be loaded into the printer, and this information is displayed in the Printing Options tab of the Envelope Options dialog box. The feed method determines the position of the envelope (right, middle, left) and whether the long or short edge is being fed into the printer. The envelope can be face up or face down. The face is the side that the address is printed on. If the envelope is fed short edge first, the envelope may need to be rotated to prevent the text from appearing upside down on the face of the envelope. The envelope in the illustration below is positioned to the right, face down, flap at the top, and the short edge is being fed into the printer, in accordance with the settings in the dialog box shown above. ![]() ![]()
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This market is humanity, humanity at its core” said Li to an audience of culture bearers who blur borders with an eye- dazzling convergence of handmade forms, textures, and designs—textiles, jewelry, beadwork, basketry, wood carvings, ceramics, rugs, glass and metal work, sculpture, mixed media, toys, and more. ![]() ![]() In these turbulent times, it’s an amazing experience to be part of something based on beauty and respect. Face to face with artists from over 5. As one of the 1. 54 artists who participated this year said, “The market is everything that’s right with the world” affirmed Keith Recker, IFAA Creative Director and board member. Kavita Parmar from IOU Project was a first time participant in Innovation Inspiration, a special exhibition area featuring works by 3. I have had the opportunity as a designer to present my work in many shows and fairs around the globe including fashion capitals like Paris, New York, Florence, Milan etc. I have never encountered such a strong sense of community and an incredibly beautiful empathy within the artisans, the clients and the many staff and volunteers of the IFAA. The client response I have had even after coming back from the show has reinforced my belief that the customer is looking for authenticity and a direct dialogue with the craftsperson and this is one of the answers to the future of a true luxury shopping experience. Carla Fernandez, from Mexico and also a first time participant, said that she was very surprised to encounter a spiritual experience sort of a boot camp of the positive, the possible and the future where sharing is the currency. She has been to many shows around the world just selling her products but this is the only time where she has felt a real support, a real sense of community. The show reaffirmed her belief that the future is handmade, that this is a possible and relevant future that can be a sustainable thriving business. She also said she encountered the real America, one that favors diversity and culture and a very different one from the one in the news. Porfirio Gutierrez from Oaxaca who participated in 2. To be accepted means to receive a special recognition and be the beneficiary of all the knowledge and care by a pull of top specialists in different areas such as branding, entrepreneurship, marketing etc. Porfirio was very proud to be chosen as a mentor this year, helping first time artisans to get around. Somporn Intaraprayong from Thailand, represented by Chinalai, has participated 8 times at the market. Her booth is the first stop of any serious textile collector and one of the first to sell out. This year she was invited as a panelist where she spoke from the heart about her community of seamstresses and sewers who use stitches to tell stories of the rice fields and their daily lives. She includes everyone who needs and wants to work, they all have a chance and get the most important teaching of all: there is also beauty in imperfection, beauty in every process, beauty in every stitch. Olga Reiche from Guatemala has been to the market 8 times representing pik’bil textiles from the Queckchi ethnic group of Coban. These lace type textiles were nearly extinct with all the Chinese imports. Olga, the daughter of a German and an indigenous woman from Coban, remembers visiting her grandmother and being mesmerized by her silver jewelry and intricate white lace dress made using one thread hand spun cotton, back strap loom and white on white. Eight years ago, Olga saw the market as the perfect place to present to the world this technique and to use this as an “excuse” to rescue the knowledge and convince the artisans that there is a market that appreciates their heritage. I have the highest respect for the show, I know I will be surrounded by the best of the best, all chosen carefully according to principles of ethics, respect, tradition, heritage and culture. There is no place in the world where artisans are respected and honored like in Santa Fe”. Olga travels to the market with Amalia Gue, a weaver from a remote village who at 3. Olga’s. Fe Francis is the name of Amalia’s baby, named after the patron of the city and the market. Indeed, this is not a market, this is a miracle, as one of the slogans claims. The Santa Fe Folk Art Market is a community of ideals around sustainability, entrepreneurship, empowerment, diversity, well being and cultural preservation. Artists go home with 9. This impact is especially great for disenfranchised women and artists from developing countries, where artisan work is second only to agriculture and daily income averages less than $3. For both consumers and artists, the most positive path to the future is handmade.” Affirms Keith Recker. Seeing these cultural treasures and meeting the artists creates a connectivity that stirs the heart, opens the mind, and invites us to speak a single language,” says Judith Espinar, a co- founder of the Market. Through folk art, hope grows and understanding spreads across the world.”Marcella Echavarriawww. Marcella Echavarria is a Colombian- born, Mexico City based lifestyle specialist. She collaborates with designers and artisans around the world developing links that connect local knowledge with global trends. Her specialty is branding luxury and sustainability in a way that preserves cultures and traditions. Instagram. Collectivo 1. Grados, a collective of Mexican potters, makes modern forms using traditional methods and finishes. Left: Densely stitched indigo textiles by Thailand’s Somporn Intaraprayong Right: Li Edelkoort shopping at Somporn’s stand. Generously scaled Thai tribal silver jewelry was included among the textiles at Somporn Intaraprayong’s stand. Detail of a hooked rug made from recycled clothing by Cooperative de las Alfombras de Mujeres Mayas de Guatemala, a group of over 6. An array of indigo and natural cotton textiles by Somporn Intaraprayong. Detail of the sensuous stitchery of Somporn Intaraprayong. Detail of the recycled running stitch quilts of India’s Siddi Quilters, an African diaspora group whose work combines Indian and ancestral influences. Naturally dyed silks by Somporn Intaraprayong. Peruvian textile artist, author, and community organizer Nilda Callanaupa demonstrating the basics of hand spinning the Incan way. Details of hand- sewn, hand- embroidered, and hand- trimmed traditional Mexican blouses. Nepalese carpet weaver Sandeep Pokhrel shows off the lush tactility of his work. Kyrgyz felter Fariza Sheisheye stands in front of a massive, masterful felt carpet that sold moments after the opening bell. Details of jackets and tunics from the workshop of Uzbek ikat master Fazlitdin Dadajonov, who learned his skills from his father and grandfather. A member of the Valadez family, whose Huichol yarn paintings and beaded objects are market favorites for over a decade. The sisal- beaded edges of Tintsaba baskets from a women’s cooperative in Swaziland. Rushana Burkhanova sits atop a luxuriant pile of intricate Uzbek rugs from the Bukhara Carpet Weaving School. Left: an embroidery artist from Qasab Kutch, whose revival of 1. Right: a sculpture from Mexico’s Juan Garcia Antonio Stitch by Stitch founded by designer Graham Hollick is run by Graham and Karen Sear Shimali. They work with embroiderers and textile artisans in Gujarat, India to create hand crafted contemporary textiles for the home. After several life- changing trips to India, Graham admits to feeling as though he must have lived in India in a past life. One of the things that really excites me about India, is the visibility of craftsmanship everywhere you go: statue makers, weavers, kite makers.. This is lost in our culture - it's just not an everyday thing." says Graham.
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InformationWeek.com: News, analysis and research for business technology professionals, plus peer-to-peer knowledge sharing. Engage with our community. ![]() What Your Teacher Is Really Thinking When They Read Your Paper. Welcome back to school, kids! In just a few short weeks—maybe sooner—you’ll have to get back to your favorite late- night hobby: writing papers. I struggled with writing papers as a student, but then one day I became an instructor and had to read this garbage. Geez, guys. Starting Your Paragraphs With Quotes Means You’re Intimidated by the Idea of Writing. I know, deep psychological insights here. But if you’re just collaging quotes together—and students who start paragraphs with quotes tend to also end them with quotes and fill them with quotes in the middle—you’re not actually writing anything. I understand this is exactly why you do it. But this practice results in an unreadable paper and a bad grade, even if the information is accurate and properly cited. Why? Well, imagine I asked you to bake a casserole for a potluck. But you’re not sure you can actually do that, and so you spend days procrastinating and fretting and flipping through recipe magazines. And then on the day of the potluck, you show up with a pan that contains a ripped- out magazine page with a photograph of a beautiful casserole. Same thing, right? Nope. Quoting a Definition Tells Me You Have No Idea What It Means. If you knew what it meant, you would have just explained it in your own words. If for some reason the specific words in the definition were just so significant you have to quote them, then you would certainly discuss what’s so amazing about this source’s word choice and why you’re giving them such special treatment. But no, you just quoted the definition and then moved on to another sentence that has nothing to do with it. I see what you did there. Same with lists. Why are you listing ten symptoms of diabetes in the first place, and why the heck do you think you need to put that list in quotes? Whenever you find a list in your research materials and think “Ooh, good, this is ten words I don’t have to write,” just stop. Pick a few things on that list and use them as examples. Explain what the hell they have to do with anything, and now look at you! You’re actually writing! You Don’t Think I’m Going to Check Your Sources, Huh? You can’t write your paper off Web. MD and Livestrong pages and then list some dusty books on your Works Cited page. Yes, I’ve seen students pull this. Guys. I have Google too. It takes mere minutes to find your actual sources, and thanks to the magic of Google Books and Amazon Look Inside, I can confirm that you didn’t get your quotes from these dead tree books. Nice try, but you’re in big trouble now. You Don’t Know the Difference Between an Introduction and a Conclusion. These are actually different! I don’t blame you for this, though. I blame whatever idiot teacher told you that the format is “Tell ‘em what you’re going to tell ‘em, then tell ‘em, then tell ‘em what you told ‘em.” This apocryphal quote is a joke about the scholarly essay format. It can be a mnemonic if you suddenly forget, wait, which part comes first? It is not meant as literal instruction. Here’s the difference. Your introduction explains the question you’re going to address, including who cares about it and why. And then your conclusion is about the answer: you explain how all the stuff in the middle of the paper fulfilled your promise and thoroughly answered the question. So the structure is question, evidence, answer. Okay? Make up a catchy mnemonic for that please. |
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