Contextual Studies Task 4: Presentation F R A N C E S C A C U T A - - PowerPoint PPT Presentation

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Contextual Studies Task 4: Presentation

Traditional Maltese Tiles

• Been locally used for

about 300 years.

• Number of workers

who are able to produce these traditional tiles is unfortunately decreasing.

Process of Tile Making

1. They chose the mould of the shape and design they want.

• 2. They put

something under the mould to support the mixture as it sets.

• 3. They put a smooth

back plate, put

• ver the mixture to

weight the surface

Back in the days..

Only 2 changes were made.

 The mixture used to be made out of beach sand however

now they use marbled powder .

 The pressure to produce the tiles used to be made

manually now a machine is being used.

General Information about Traditional Maltese Tiles

 Produced individually not in batches.  Durable and improves with age.  Certain colours are not used because they tend to fade ex.

Blue

 Take 10 years to polish themselves naturally therefore it is

recommended to polish them often.

 Option of customising since they are made by order.

Inspirations

Patterned mugs inspired by Maltese tiles by Stephanie Borg Patterned buttons inspired by Maltese Tiles by Matthew Demarco

Il- Girna

• The ‘Girna’ is a hut found in

the Maltese farmland.

• The inside is always dome-

shaped but the outside can be rectangular, round, oval

• r square.
• Rectangular and square are

more practical for sheltering more people but round or

• val are more common

because they are easy to build.

• The height may have been

utilized as a vantage point for the looking over of harvests, to check against burglary.

• Generally no windows in a

'girna‘

• One entryway which fronts

the east to increase greatest preferred standpoint from the daylight.

• The stones that they use to

make a ‘girna’ are usually found on the ground. The

• nes which make the field

pathway difficult to pass.

• Sometimes in side you will

find some stones to still, some opening for air and a little rack to put farming tools.

• The majority of the bigger ‘giren’

were utilized for raising animals, however they have likewise been utilized for a 'house' in spite of the absence of sanitary qualities,

• r of even a stack for cooking.
• Cooking was done in a different

place, or a small stove was moved

• utside, bringing its fumes with

it.

Buildings inspired by the ‘Giren’

Gozo and Maltese Farmhouses

Tberfil

 Tberfil is a traditional form of art which involved hand-

painted lettering and is more commonly found on vintage buses, trucks and horse-drawn cabins (karrozzin).

 Tberfil was very popular during the 1930‘s just after the

second world war ended.

 Bus drivers personally made sure that their bus was fully

and freshly decorated with tberfil's swirling flourishes and rich lettering styles.

The Style

 Usually sprayed with contrasting and bright colours such

as; green, yellow and red.

 In my opinion it is influenced by Art Nouveau and Art Deco

because of the flourish designs, line texture, colours and retro vibe.



Tberfil Influences

 During my research, I have also discovered that similar

contemporary designs are found on the African bus located in Zimbabwe in India.

 The old Maltese bus and the African are quite similar since

they are both so coloured with such bright tint.

Tberfil in The 21st Century

 Tberfil is an art that is almost dying out. But not quite.  Joseph Farrugia is one of many artists that has managed to

keep the traditional typography alive and keeping the Maltese culture still in contact with the public eye.

L-Għonnella

 The għonnella, sometimes referred to as a faldetta, was a

form of women’s head dress and shawl, or hooded cloak, unique to the Mediterranean islands of Malta and Gozo.

 It was generally made of cotton or silk, and usually black or

some other dark colour.

 The upper part of the għonnella was starched quite stiffly,

and given a broad, rounded frame, formed by means of a board, cane, or whalebone.

 By a slight adjustment it could be rapped more closely to

their face

Background

 From the twenties up to late fifties the black għonnella

dominated the streets of towns and villages.

 From the 16th century onwards nobles would wear white or

brightly coloured materials typically made of a more expensive purchase such as satin or silk whilst lower classes purchased wool.

 The origins of the għonnella are unknown. It has been described

as a “western garment, worn in an eastern fashion.”

 After the fifties, it became exclusively a head cover of a

laywomen’s religious organization, known as Tal-Muzew, who for decades, until the early seventies, kept the fashion alive.

The Abondoning of The Ghonnella

 It rapidly fell into disuse in the 1940s and 1950s, following

World War II. By the 1970s, it was rarely seen at all.

 The abandoning of the black għonnella and the velu came

about during a time when the Roman Catholic Church was undergoing changes in the accordance with the Ecumenical Council decisions which took place in the Vatican in the early sixties.

Postcard

Nowadays the Għonnella’s uni que design is portrayed through art forms such as Dingli’s artworks and is also found on vintage postcards and photographs.

Thank you