Three Squares a Day » Art & Puzlets

History of Wooden Jigsaw Puzzles

admin — Thu, 13 Aug 2009 23:40:10 +0000

The following featured hand-cut wooden jigsaw puzzles are some of Carrie’s early pieces, patterned after the jigsaws popular in America between about 1910 to 1940.

In the early 1930’s, with the country in a great depression, wooden jigsaw puzzles, especially those featuring figural pieces, hit their zenith of popularity. Wealthy collectors bought them for pleasure and for entertaining guests, while the middle classes enjoyed renting them from local “libraries,” which operated much like today’s video stores.

The middle classes were also the puzzle makers – especially women. For a time, puzzle cutting was a booming cottage industry, as ladies could buy or borrow treadle scroll saws and manufacture puzzles at home.

It was also during the early 1930’s that die cut cardboard puzzles were first introduced, and became popular as promotional giveaways. While the cardboard puzzles made it possible for even the poor to enjoy this popular pastime, they did eventually spell demise for the great wooden jigsaw puzzle fad of the early 20th century.

Today there are still enough wooden jigsaw puzzle cutters out there to more than supply demand. One of the most famous wooden jigsaw companies still surviving from the 1930’s is Par Puzzles (ParPuzzles.com), whose marketing strategy was to continue catering to the wealthiest collectors.

Carrie soon realized there was not room for another full size puzzle cutter in today’s market, which is what motivated her to develop the miniature 1930’s-style Puzlet Gems (www.letsplayhistory.org/Puzlets/).

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Shows figural pieces

Mini handcut puzzle, 3x4-inches

Springtime on the Farm, Currier & Ives

Puzlet Gems

How to Repair or Replace Puzlet Gems

admin — Thu, 14 Feb 2008 01:15:04 +0000

Limited edition Puzlet Gem replacements are only available for a very short time. We may or may not keep a small backup supply following sell-out of an edition. After a brief period any backup supply is destroyed or stamped “sample” in order to maintain edition limit integrity.

If you receive a Puzlet Gem that is damaged or defective, return it to us promptly with a note of explanation, along with your name and mailing address. ONLY WHEN we have received the damaged puzlet are we able to send a replacement.

If a discontinued puzlet, or a sold out limited edition puzlet is discovered damaged after the backup supply has been destroyed, the only option is to try and repair it. This is not easy, especially considering how small Puzlet Gem pieces are. With a little patience and a steady hand, you can do it!

For lumber breaks we recommend using Titebond wood glue (aliphatic yellow glue) only.

For re-securing lifted paper use non-yellowing paper glue (like Elmer’s) very sparingly, and try not to get the glue on the surface/face of the paper. Using a toothpick as an applicator is helpful. NOTE: GO SLOWLY, and be sure to (damp) wipe ANY glue off of your fingers as you go (sticky fingers lift off tiny paper knobs and corners very, very easily).

Tears and creases can be concealed using soft colored pencils, such as Berol Prismacolor pencils.

To fill hollows and voids in the plywood use Elmer’s Carpenter’s Wood Filler, which is very moist and comes in a tube (putty in a jar is too stiff to work with). For greater flow and application control, poke a pin or nail hole in the nozzle of the tube rather than cutting the tip off. Squeeze filler into the void, and use a toothpick or dental tool to pack, shape, and smooth the filler.

If sanding is required after filler is dry, go slowly and get creative! You can use rolled 150 (or higher/finer) grit sandpaper, fingernail files that have been cut narrow, or small needle files that can be purchased at any hardware store. Any of a number of ideas for abrasives can be used. We don’t, however, recommend the use of power tools when working with Puzlet Gems. The puzzle pieces are just too small to hold, and to delicate to subject to normal power tool torque.

For the reconstruction of lost puzzle pieces, we recommend contacting Micah Puzzles at: www.Micahpuzzles.2ya.com

225 Most Popular Artists in History

admin — Wed, 20 Jun 2007 18:55:16 +0000

I went and visited the Art Renewal Center’s website this morning. They have a list they’ve released that claims to be the top 225 most popular artists in history based on web searches. All of the artists are representational. They also claim it debunks the modernist’s propoganda that modernists lead the popularity contest.

If you haven’t had a chance to read it yet, my article/blog post titled “When is Real Art Fake?” touches on the art-style popularity issue.

While I whole-heartedly agree that representational (what most people call “realistic”) art is by far the most popular art collected today, I am skeptical about the ARC’s findings. If I’m reading it correctly, results are based on searches conducted on their website alone. As their supporters and visiters are pre-disposed to represenational art, the search results would reflect this bias.

ARC pages are graphics-rich, and load slowly, so be patient. To view the ARC article and list, click here:

http://www.artrenewal.org/articles/2005/Reasons/museum1.asp

Announcing Carrie Franzwa’s Signature Trio

admin — Sat, 02 Jun 2007 18:56:39 +0000

Well, I love horses, and it shows in my art. Quantum Ponies are exceptional in detail, but also offer that artsy feel so many people covet. I will be doing more horse trios in the future, some in realistic style, and some in other styles and mediums. But forever, Quantum Ponies will be my signature trio set.

When is Real Art Fake?

admin — Tue, 29 May 2007 23:02:45 +0000

As a self-taught artist I have not received an extensive introduction to art philosophy. Yet, I admit I am curious, and I have once or twice been confronted with the question of my art being “fake.”

My curiosity was recently rekindled as I read another artist’s expression of fear that she might unwittingly produce a “fake” piece. Obviously she had no idea what the definition of such a piece would be, so she had no clue as to how to avoid the creation of a fake.

Is there a definition? There is, but it is hard to track down. And I propose it is hard to track down because it is subjective.

I was first introduced to the concept of fake art by a well-educated modern artist friend of mine, who told me that realistic art is the most phony art produced. The explanation I was given, was that representational art requires the artist to create a “deception” in 2-D, so that it looks 3-D.

I personally call that skill, but apparently in certain circles it is considered nothing more than pretentious.

Later internet searches offered me little clarification on the topic, although the Art Renewal Center

(www.artrenewal.org) came close. Their confrontational essays aimed at the theoretical strongholds of modern art’s supposed superiority over representational art, was relevant. They do defend realistic representational art as requiring superior artistic ”skill.”

As for the specific topic of “real vs fake,” though, I found it directly addressed at www.reverent.org, where they offer an online quiz to test personal ability in spotting fake art. Commentary by test takers there seemed to indicate that any art, no matter the style, was “real” so long as it was intentionally created… and, of course, not computer aided.

By this definition, which is far more popular than it is elite, realistic and modern art are equally intentional, and therefore equally real.

My personal observation is that any definition of fake (original) art is subjective, because preference is subjective, and preference plays a role in this definition.

Just as beauty is in the eye of the beholder, so original art labeled “fake” is nothing more than a construct of the human mind. This construct started out as a marketing strategy meant to elevate the status of nonsensical art.

Just as there will always be those who prefer nonsensical art for the challenge of interpretation (the game of it feels intellectual), so there will also be those who prefer art to speak plainly for itself (to evoke emotion).

Both kinds of art provide enjoyment, which is what art appreciation is all about.

So, I say to my fellow artists and art collectors, don’t worry about it unless you aim to rub elbows with the relatively small, though admittedly wealthy elitist groups who prefer to muse over nonsensical art and its interpretation. In any other circle there is no such thing as fake original art.