Mosaic Stepping Stone Printable Patterns

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Royal Ontario Museum
We painted the walls a delicate sage green to open the room to the landscape and create a.
Established16 April 1912; 110 years ago
Location100 Queen's Park
Toronto, Ontario
M5S 2C6
Coordinates43°40′04″N79°23′41″W / 43.667679°N 79.394809°WCoordinates: 43°40′04″N79°23′41″W / 43.667679°N 79.394809°W
Collection size6,000,000+
DirectorJosh Basseches
OwnerGovernment of Ontario
Public transit accessMuseum
St. George
Built1910–14, addition: 1931–32
ArchitectDarling & Pearson, addition: Chapman & Oxley
SculptorWm. Oosterhoff
Reference no.Heritage Easement Agreement AT347470

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This booming metropolis was designed and developed by our very own Chairman Rose. (Japanese: ローズ委員長に よって 計画的に 造られた 大都市A metropolis that was planned by Chairman Rose.). Wyndon Stadium is the biggest stadium in Galar and serves as the Pokémon League HQ.

See also[edit]

In the anime

The Trainers who have earned eight Badges participate in the Champion Cup here to decide who gets the right to challenge the current Champion for their title.

Icon of the prestigious hotel. The Rose of the Rondelands is a five-star hotel located on the western side of the city. It is an elegant Gothic and Victorian building, which, from the outside, exposes a V-shaped building and several small windows, brick chimneys, and blue roofs. In the main building, there are two cupular and a clock tower. The interior of the building is made up of a single floor, where an elegant hall with several columns with golden details, two waiting rooms with fine furniture and several floral arrangements is shown.

The elevators show a golden Art Deco design. Above the main building of the hotel, stands a huge clock tower, which exposes a stellar clock with several rings and bright stars that rotate counterclockwise. This clock is visible in various parts of the city. The hotel is named after Roselia, which is present in a mosaic of the main hall. The Battle Café is located on the west side of the city. The Rose Tower is Rose's office building that houses all the subsidiary companies working under Macro Cosmos. During the post-game, Leon takes over Rose Tower and turns it into Galar's Battle Tower. Wyndon Station is located in the south of the city. The player can catch a train from this station to the following locations:. Wild Area Station (Wild Area). Armor Station (once the player has visited Armor Station from Wedgehurst Station). Crown Tundra Station (once the player has visited Crown Tundra Station from Wedgehurst Station). This Poké Mart is located inside the Wyndon Station at the green storefront.

A vending machine is located inside Wyndon Station on the upper level. The boutique is located on the west side of the city.

After obtaining the Style Card (IoA). After obtaining the Style Card (IoA). The salon is located on the west side of the city.

This Poké Mart is located inside the Pokémon Center. This Poké Mart is located inside the Pokémon Center. Wyndon has a population of 157. This makes it the largest city in the Galar region and the second most populous overall, trailing Lumiose and preceding Nimbasa. An Artist in a house on the eastern street will offer to trade the player his Duraludon nicknamed "Linear" in exchange for a Frosmoth. Macro Cosmos's Eric is fought three times at the plaza in an attempt to get the key to ride the monorail to Rose Tower.

Due to cheering by Team Yell and Marnie, at the end of the first turn of each battle, the player's Pokémon gets a two-stage boost in its Speed; Defense and Special Defense; and Attack and Special Attack, respectively. Wyndon in the anime. Wyndon first appeared in Settling the Scorbunny!, when Ash and Goh arrived in the Galar region. Whilst waiting around for the next train to the Wild Area, they encountered a Scorbunny and a trio of Nickit, who stole Ash's backpack. The Nickit later carried Scorbunny to the train Ash and Goh took, urging it to follow them. In Flash of the Titans!, Ash and Goh traveled to Wyndon again to watch the finals of the World Coronation Series at Wyndon Stadium, where Lance and Leon battled for the title of Monarch.

The match ended in Leon's victory, officially making him the strongest Trainer in the world.

Afterwards, the stadium was attacked by a GigantamaxDrednaw unintentionally unleashed by Team Rocket. In the next episode, Ash and Goh battled Drednaw, but due to its giant size, their attacks didn't have any effect on it. Pikachu was then exposed to Dynamax energy leaking out of the ground, causing him to Gigantamax as well. Using Leon's advice, Ash was able to defeat Drednaw. The next day, Leon agreed to battle Ash at the stadium, giving him a Dynamax Band of his own. Although Ash's Gigantamax Pikachu was able to inflict some damage onto Charizard, he was still defeated.

After the battle, Leon and Ash agreed to face each other again at the stadium once Ash became stronger. In Toughing It Out!, Ash and Goh traveled to Galar again to watch Leon's World Coronation Series battle against Raihan.

Floor tiles[edit]

After Leon successfully defended his Monarch title, Ash and Goh met Sonia, who told them about the Darkest Day. Later, Ash and Goh heard of a strong Pokémon, which turned out to be a Galarian Farfetch'd. Goh tried to catch it but was unsuccessful. Following this, Ash started to battle Farfetch'd with his Riolu, eventually emerging victorious. After Farfetch'd was healed at the Pokémon Center, Ash asked it if it wanted to join his team, and it agreed. In the following episode, Ash and Goh encountered a Sobble, which Goh caught on accident. He soon sent it out to battle a Silicobra that he wanted to catch, but Sobble became too frightened in the middle of the battle and ran away. Ash and Goh ended up chasing after Sobble to the outskirts of Wyndon, where they ended up having to save it from Team Rocket, with Goh earning Sobble's trust in the process. In Sword and Shield: The Darkest Day!, Chairman Rose invited Ash to dine with him at Rose Tower.


As they ate, Rose told Ash about his vision of Galar's future and offered to support Ash's career as a Trainer. Ash, however, declined the offer, wanting to forge his own path. After spending a night at the Tower, Ash left it the next day to meet up with Goh. In The Spectral Express!, Ash and Goh arrived at Wyndon by train on their way to Stow-on-Side. They accidentally ran into Allister and followed him to a mysterious underground platform while trying to return a ticket he dropped, and boarded a ghost train bound for Stow-on-Side.

In JN099, Ash was designated to have a World Coronation Series match with Marnie at Wyndon Stadium.

Although Team Yell initially fooled Ash into going to Spikemuth instead, Piers managed to take him to the stadium in time. While the battle between Ash's Gengar and Marnie's Grimmsnarl eventually ended in Ash's victory, Marnie's battle skills still impressed the audience and thus provided help in revitalizing her dilapidated hometown. In JN100, following Ash's battle with Marnie, he and Goh planned to go looking for Pokémon in the Wild Area together, but due to Ash oversleeping, Goh headed for the Motostoke Riverbank without him.

After waking up, Ash intended to follow after him, but when he heard that Leon was having a battle at Wyndon Stadium, he couldn't resist going to watch it instead. After witnessing Leon's victory over Flint, Ash met up with Leon and was invited to join him for some training, which he happily agreed to. In the evening, Ash and Leon returned to Wyndon and reunited with Goh and Sonia. Wyndon in Pokémon: Twilight Wings. Wyndon first appeared in Letter. At the end of the episode, Oleana's office was shown in Rose Tower. The city and Oleana's office reappeared at the beginning of Training. The main part of the city, with Picadilly Street, Wyndon Station, the Rose of the Ronderlands Hotel, and the row of houses, appeared at the end of Early-Evening Waves.

The Battle Café appeared in the middle of the episode. In Assistant, it was revealed that Oleana had to deal with the planning of the city, mainly within Rose Tower itself, in addition to reviewing the league records and the construction of buildings.

In Sky, Leon had a match with Raihan at Wyndon Stadium. In The Gathering of Stars, Leon declared the commencement of the Galarian Star Tournament at Wyndon Stadium. Wyndon in Pokémon Evolutions. Wyndon was the main setting of The Champion, where Leon prepared for his Championship Match against Victor at Wyndon Stadium while recalling the events of the Darkest Day and emotionally dealing with his failure at stopping it.

Wyndon in Pokémon Adventures. Wyndon first appeared briefly in Crackle!! Practice Battle, where Chairman Rose was received a phone call from Leon at Rose Tower, regarding the endorsement he was planning to give to Henry and Casey. Wyndon reappeared more prominently in PASS25. Upon learning of Chairman Rose's plan to bring about the Darkest Day, most of the Galar Gym Leaders, Henry, Casey, Hop, Marnie, and Bede traveled to Wyndon to learn if what they had heard was true. They first went to Rose Tower, where they were confronted by Oleana, who told them that Rose wasn't there.

The Gym Leaders battled Oleana while the others headed to the top floor via elevator, only to find out that Rose indeed wasn't there, although he did contact them through a screen from the Hammerlocke StadiumEnergy Plant. Due to the unforeseen turn of events, he announced that he would start the Darkest Day immediately, instead of waiting for the Champion Cup before doing so, like he had originally planned. As a result, Power Spots across Galar began to react and numerous Pokémon started to Dynamax involuntarily across the region, prompting Henry and Casey to head to Hammerlocke to stop Rose.

Decorative tile work and colored brick[edit]

A boy by a statue near the entrance says that a nearby Galarian Mr. Mime is named Marcel, a reference to the Mr. Mime that can be obtained from an in-game trade in Pokémon Red and Blue.


According to an NPC near the Rose of the Rondelands hotel, the inaccessible Ferris wheel near the hotel is called the "Galar Hurricane". When first entering Wyndon in the games, Hop refers to it as "Wyndon City". Wyndon takes its inspiration from London. The Rose of the Rondelands is modeled after the Palace of Westminster which houses Big Ben, while the Galar Hurricane is based on the London Eye. Wyndon Stadium is based on Wembley Stadium. The shopping district is modeled after Piccadilly Circus.

The Rose Tower may have been inspired by the ArcelorMittal Orbit and The Shard. Retrieved from "".

Tiles are usually thin, square or rectangular coverings manufactured from hard-wearing material such as ceramic, stone, metal, baked clay, or even glass. They are generally fixed in place in an array to cover roofs, floors, walls, edges, or other objects such as tabletops. Alternatively, tile can sometimes refer to similar units made from lightweight materials such as perlite, wood, and mineral wool, typically used for wall and ceiling applications. In another sense, a tile is a construction tile or similar object, such as rectangular counters used in playing games (see tile-based game). The word is derived from the French word tuile, which is, in turn, from the Latin word tegula, meaning a roof tile composed of fired clay.

Tiles are often used to form wall and floor coverings, and can range from simple square tiles to complex or mosaics. Tiles are most often made of ceramic, typically glazed for internal uses and unglazed for roofing, but other materials are also commonly used, such as glass, cork, concrete and other composite materials, and stone.

Tiling stone is typically marble, onyx, granite or slate. Thinner tiles can be used on walls than on floors, which require more durable surfaces that will resist impacts. Art Nouveau tiles in Brussels (Belgium). Decorative tilework or tile art should be distinguished from mosaic, where forms are made of great numbers of tiny irregularly positioned tesserae, each of a single color, usually of glass or sometimes ceramic or stone.


There are various tile patterns, such as herringbone, staggered, offset, grid, stacked, pinwheel, parquet de Versailles, basket weave, tiles Art, diagonal, chevron, and encaustic which can range in size, shape, thickness, and color.[1].

The earliest evidence of glazed brick is the discovery of glazed bricks in the Elamite Temple at Chogha Zanbil, dated to the 13th century BC. Glazed and colored bricks were used to make low reliefs in Ancient Mesopotamia, most famously the Ishtar Gate of Babylon (ca. 575 BC), now partly reconstructed in Berlin, with sections elsewhere. Mesopotamian craftsmen were imported for the palaces of the Persian Empire such as Persepolis. The use of sun-dried bricks or adobe was the main method of building in Mesopotamia where river mud was found in abundance along the Tigris and Euphrates.


Here the scarcity of stone may have been an incentive to develop the technology of making kiln-fired bricks to use as an alternative. To strengthen walls made from sun-dried bricks, fired bricks began to be used as an outer protective skin for more important buildings like temples, palaces, city walls, and gates. Making fired bricks is an advanced pottery technique.

Fired bricks are solid masses of clay heated in kilns to temperatures of between 950° and 1,150°C, and a well-made fired brick is an extremely durable object. Like sun-dried bricks, they were made in wooden molds but for bricks with relief decorations, special molds had to be made. Rooms with tiled floors made of clay decorated with geometric circular patterns have been discovered from the ancient remains of Kalibangan, Balakot and Ahladino[2][3].

Places of interest

Tiling was used in the second century by the Sinhalese kings of ancient Sri Lanka, using smoothed and polished stone laid on floors and in swimming pools. Historians consider the techniques and tools for tiling as well advanced, evidenced by the fine workmanship and close fit of the tiles.[citation needed] Tiling from this period[dubious] can be seen in Ruwanwelisaya and Kuttam Pokuna in the city of Anuradhapura. Relief made with glazed brick tiles, from the Achaemenid decoration of Palace of Darius in Susa. The Achaemenid Empire decorated buildings with glazed brick tiles, including Darius the Great's palace at Susa, and buildings at Persepolis.[4]. The succeeding Sassanid Empire used tiles patterned with geometric designs, flowers, plants, birds and human beings, glazed up to a centimeter thick.[4].

Roof tiles[edit]

The Shah Mosque in Isfahan, Iran. Early Islamic mosaics in Iran consist mainly of geometric decorations in mosques and mausoleums, made of glazed brick.

Typical turquoise tiling becomes popular in 10th-11th century and is used mostly for Kufic inscriptions on mosque walls. Seyyed Mosque in Isfahan (AD 1122), Dome of Maraqeh (AD 1147) and the Jame Mosque of Gonabad (1212 AD) are among the finest examples.[4] The dome of Jame' Atiq Mosque of Qazvin is also dated to this period.

Timurid turquoise-glazed muqarna. First half of the 15th century, Shah-i-Zinda. The golden age of Persian tilework began during the Timurid Empire. In the moraq technique, single-color tiles were cut into small geometric pieces and assembled by pouring liquid plaster between them. After hardening, these panels were assembled on the walls of buildings. But the mosaic was not limited to flat areas. Tiles were used to cover both the interior and exterior surfaces of domes. Prominent Timurid examples of this technique include the Jame Mosque of Yazd (AD 1324–1365), Goharshad Mosque (AD 1418), the Madrassa of Khan in Shiraz (AD 1615), and the Molana Mosque (AD 1444).[4]. Other important tile techniques of this time include girih tiles, with their characteristic white girih, or straps. Mihrabs, being the focal points of mosques, were usually the places where most sophisticated tilework was placed. The 14th-century mihrab at Madrasa Imami in Isfahan is an outstanding example of aesthetic union between the Islamic calligrapher's art and abstract ornament.

The pointed arch, framing the mihrab's niche, bears an inscription in Kufic script used in 9th-century Qur'an.[5]. One of the best known architectural masterpieces of Iran is the Shah Mosque in Isfahan, from the 17th century. Its dome is a prime example of tile mosaic and its winter praying hall houses one of the finest ensembles of cuerda seca tiles in the world. A wide variety of tiles had to be manufactured in order to cover complex forms of the hall with consistent mosaic patterns. The result was a technological triumph as well as a dazzling display of abstract ornament.[5].

During the Safavid period, mosaic ornaments were often replaced by a haft rang (seven colors) technique. Pictures were painted on plain rectangle tiles, glazed and fired afterwards. Besides economic reasons, the seven colors method gave more freedom to artists and was less time-consuming.

It was popular until the Qajar period, when the palette of colors was extended by yellow and orange.[4] The seven colors of Haft Rang tiles were usually black, white, ultramarine, turquoise, red, yellow and fawn.

Two panels of earthenware tiles painted with polychromeglazes over a white glaze. The Persianate tradition continued and spread to much of the Islamic world, notably the İznik pottery of Turkey under the Ottoman Empire in the 16th and 17th centuries. Palaces, public buildings, mosques and türbe mausoleums were heavily decorated with large brightly colored patterns, typically with floral motifs, and friezes of astonishing complexity, including floral motifs and calligraphy as well as geometric patterns.

Tile in the Topkapi Palace, Istanbul, Turkey. Enderun library, Topkapi Palace. Window Apartments of the Crown Prince, Topkapi Palace. Phoenix on the portal of Nadir Divan-Beghi Madrasah, Bukhara, Uzbekistan.

Islamic buildings in Bukhara in central Asia (16th-17th century) also exhibit very sophisticated floral ornaments. In South Asia monuments and shrines adorned with Kashi tile work from Persia became a distinct feature of the shrines of Multan and Sindh. The Wazir Khan Mosque in Lahore stands out as one of the masterpieces of Kashi time work from the Mughal period. Zellige tilework in the Palace El-Hedine, Meknes, Morocco. The zellige tradition of Arabic North Africa uses small colored tiles of various shapes to make very complex geometric patterns. It is halfway to mosaic, but as the different shapes must be fitted precisely together, it falls under tiling. The use of small coloured glass fields also make it rather like enamelling, but with ceramic rather than metal as the support.


Casa de los Azulejos, Mexico City, 18th century, with azulejos. Azulejos are derived from zellige, and the name is likewise derived.

The term is both a simple Portuguese and Spanish term for zellige, and a term for later tilework following the tradition. Some azujelos are small-scale geometric patterns or vegetative motifs, some are blue monochrome and highly pictorial, and some are neither. The Baroque period produced extremely large painted scenes on tiles, usually in blue and white, for walls. Azulejos were also used in Latin American architecture. Quadra (architecture) of St. John the Baptist covered with azulejos in carpet style (17th c.); Museu da Reinha D.

Leonor; Beja, Portugal. The Battle of Buçaco, depicted in azulejos. Medieval influences between Middle Eastern tilework and tilework in Europe were mainly through Islamic Iberia and the Byzantine and Ottoman Empires.

Pokémon Adventures

The Alhambra zellige are said to have inspired the tessellations of M. Escher.[citation needed]. Medieval encaustic tiles at Cleeve Abbey, England.

Medieval encaustic tiles were made of multiple colours of clay, shaped and baked together to form a patternt that, rather than sitting on the surface, ran right through the thickness of the tile, and thus would not wear away. Medieval Europe made considerable use of painted tiles, sometimes producing very elaborate schemes, of which few have survived. Religious and secular stories were depicted.

The imaginary tiles with Old Testament scenes shown on the floor in Jan van Eyck's 1434 Annunciation in Washington are an example. The 14th century "Tring tiles" in the British Museum show childhood scenes from the Life of Christ, possibly for a wall rather than a floor,[6] while their 13th century "Chertsey Tiles", though from an abbey, show scenes of Richard the Lionheart battling with Saladin in very high-quality work.[7]Medieval letter tiles were used to create Christian inscriptions on church floors.

17th century Delft blue and white tile with sea monster. Delftware wall tiles, typically with a painted design covering only one (rather small) blue and white tile, were ubiquitous in Holland and widely exported over Northern Europe from the 16th century on, replacing many local industries.

Further reading[edit]

Several 18th century royal palaces had porcelain rooms with the walls entirely covered in porcelain in tiles or panels. Surviving examples include ones at Capodimonte, Naples, the Royal Palace of Madrid and the nearby Royal Palace of Aranjuez. There are several other types of traditional tiles that remain in manufacture, for example the small, almost mosaic, brightly colored zellige tiles of Morocco and the surrounding countries.

Ancient Middle East[edit]

With exceptions, notably the Porcelain Tower of Nanjing, decorated tiles or glazed bricks do not feature largely in East Asian ceramics.

William de Morgan, fantastic ducks on 6-inch tile with luster highlights, Fulham period. The Victorian period saw a great revival in tilework, largely as part of the Gothic Revival, but also the Arts and Crafts Movement. Patterned tiles, or tiles making up patterns, were now mass-produced by machine and reliably level for floors and cheap to produce, especially for churches, schools and public buildings, but also for domestic hallways and bathrooms.

For many uses the tougher encaustic tile was used. Wall tiles in various styles also revived; the rise of the bathroom contributing greatly to this, as well as greater appreciation of the benefit of hygiene in kitchens. William De Morgan was the leading English designer working in tiles, strongly influenced by Islamic designs. Since the Victorian period tiles have remained standard for kitchens and bathrooms, and many types of public area. Tiles in a pub in Utrecht, Netherlands. A late Art Nouveau kiosk (1923) in Las Palmas de Gran Canaria covered with tiles from Manises, Spain.

Far East[edit]

Portugal and São Luís continue their tradition of azulejo tilework today, with azulejos used to decorate buildings, ships,[8] and even rocks. Roofs with "beaver tail" tiles in Dinkelsbühl, Germany. Tile mosaics at the University of Bremen, Germany. Roof tiles are designed mainly to keep out rain and heat, and are traditionally made from locally available materials such as clay, granite, terracotta or slate.

Modern materials such as concrete, glass and plastic are also used and some clay tiles have a waterproof glaze.

A large number of shapes (or "profiles") of roof tiles have evolved. Making mosaic tiles. Cross section of an earthenware tile. Section through a porcelain stoneware slab.

The elaborate floor pattern of the Sydney Queen Victoria Building. Floor tile in Karpas, northeastern Cyprus. 6"x6" porcelain floor tiles. Patio with stone tile, Hawaii, US 1960. Cracked tile flooring. These are commonly made of ceramic or stone, although recent technological advances have resulted in rubber or glass tiles for floors as well. Ceramic tiles may be painted and glazed. Small mosaic tiles may be laid in various patterns.

Floor tiles are typically set into mortar consisting of sand, cement and often a latex additive. The spaces between the tiles are commonly filled with sanded or unsanded floor grout, but traditionally mortar was used. Natural stone tiles can be beautiful but as a natural product they are less uniform in color and pattern, and require more planning for use and installation. Mass-produced stone tiles are uniform in width and length.

Granite or marble tiles are sawn on both sides and then polished or finished on the top surface so that they have a uniform thickness. Other natural stone tiles such as slate are typically "riven" (split) on the top surface so that the thickness of the tile varies slightly from one spot on the tile to another and from one tile to another. Variations in tile thickness can be handled by adjusting the amount of mortar under each part of the tile, by using wide grout lines that "ramp" between different thicknesses, or by using a cold chisel to knock off high spots. Some stone tiles such as polished granite, marble, and travertine are very slippery when wet. Stone tiles with a riven (split) surface such as slate or with a sawn and then sandblasted or honed surface will be more slip-resistant.

Ceramic tiles for use in wet areas can be made more slip-resistant either by using very small tiles so that the grout lines acts as grooves or by imprinting a contour pattern onto the face of the tile.

The hardness of natural stone tiles varies such that some of the softer stone (e.g. limestone) tiles are not suitable for very heavy-traffic floor areas. On the other hand, ceramic tiles typically have a glazed upper surface and when that becomes scratched or pitted the floor looks worn, whereas the same amount of wear on natural stone tiles will not show, or will be less noticeable.

Natural stone tiles can be stained by spilled liquids; they must be sealed and periodically resealed with a sealant in contrast to ceramic tiles which only need their grout lines sealed. However, because of the complex, nonrepeating patterns in natural stone, small amounts of dirt on many natural stone floor tiles do not show.

The tendency of floor tiles to stain depends not only on a sealant being applied, and periodically reapplied, but also on their porosity or how porous the stone is. Slate is an example of a less porous stone while limestone is an example of a more porous stone.

Rose Tower/Battle Tower exterior

Different granites and marbles have different porosities with the less porous ones being more valued and more expensive. Most vendors of stone tiles emphasize that there will be variation in color and pattern from one batch of tiles to another of the same description and variation within the same batch.

Stone floor tiles tend to be heavier than ceramic tiles and somewhat more prone to breakage during shipment. Rubber floor tiles have a variety of uses, both in residential and commercial settings. They are especially useful in situations where it is desired to have high-traction floors or protection for an easily breakable floor. Some common uses include flooring of garage, workshops, patios, swimming pool decks, sport courts, gyms, and dance floors. Plastic floor tiles including interlocking floor tiles that can be installed without adhesive or glue are a recent innovation and are suitable for areas subject to heavy traffic, wet areas and floors that are subject to movement, damp or contamination from oil, grease or other substances that may prevent adhesion to the substrate.

Common uses include old factory floors, garages, gyms and sports complexes, schools and shops.

Ceiling tiles are lightweight tiles used inside buildings. They are placed in an aluminium grid; they provide little thermal insulation but are generally designed either to improve the acoustics of a room or to reduce the volume of air being heated or cooled. Mineral fiber tiles are fabricated from a range of products; wet felt tiles can be manufactured from perlite, mineral wool, and fibers from recycled paper; stone wool tiles are created by combining molten stone and binders which is then spun to create the tile; gypsum tiles are based on the soft mineral and then finished with vinyl, paper or a decorative face.[citation needed].

Ceiling tiles very often have patterns on the front face; these are there in most circumstances to aid with the tiles ability to improve acoustics.[citation needed]. Ceiling tiles also provide a barrier to the spread of smoke and fire. Breaking, displacing, or removing ceiling tiles enables hot gases and smoke from a fire to rise and accumulate above detectors and sprinklers. Doing so delays their activation, enabling fires to grow more rapidly.[9]. Ceiling tiles, especially in old Mediterranean houses, were made of terracotta and were placed on top of the wooden ceiling beams and upon those were placed the roof tiles. They were then plastered or painted, but nowadays are usually left bare for decorative purposes.


Modern-day tile ceilings may be flush mounted (nail up or glue up) or installed as dropped ceilings. Ceramic materials for tiles include earthenware, stoneware and porcelain.[10]Terracotta is a traditional material used for roof tiles.[11].

This is a US term, and defined in ASTM standard C242 as a ceramic mosaic tile or paver that is generally made by dust-pressing and of a composition yielding a tile that is dense, fine-grained, and smooth, with sharply-formed face, usually impervious.

The colours of such tiles are generally clear and bright.[12]. Tilework in Jameh Mosque of Isfahan, Isfahan, Iran. Similar to mosaics or other patterned tiles, pebble tiles are tiles made up of small pebbles attached to a backing. The tile is generally designed in an interlocking pattern so that final installations fit of multiple tiles fit together to have a seamless appearance. A relatively new tile design, pebble tiles were originally developed in Indonesia using pebbles found in various locations in the country.

Today, pebble tiles feature all types of stones and pebbles from around the world. Printing techniques and digital manipulation of art and photography are used in what is known as "custom tile printing". Dye sublimation printers, inkjet printers and ceramic inks and toners permit printing on a variety of tile types yielding photographic-quality reproduction.[13] Using digital image capture via scanning or digital cameras, bitmap/raster images can be prepared in photo editing software programs. Specialized custom-tile printing techniques permit transfer under heat and pressure or the use of high temperature kilns to fuse the picture to the tile substrate.

This has become a method of producing custom tile murals for kitchens, showers, and commercial decoration in restaurants, hotels, and corporate lobbies. [14] Recent technology applied to Digital ceramic and porcelain printers allow images to be printed with a wider color gamut and greater color stability even when fired in a kiln up to 2200°F. A method for custom tile printing involving a diamond-tipped drill controlled by a computer.

Compared with the laser engravings, diamond etching is in almost every circumstance more permanent.[citation needed]. Certain shapes of tiles, most obviously rectangles, can be replicated to cover a surface with no gaps. These shapes are said to tessellate (from the Latintessella, 'tile') and such a tiling is called a tessellation. Geometric patterns of some Islamic polychrome decorative tilings are rather complicated (see Islamic geometric patterns and, in particular, Girih tiles), even up to supposedly quaziperiodic ones, similar to Penrose tilings.

Goldberg, "Greek Temples and Chinese Roofs," American Journal of Archaeology, Vol. Örjan Wikander, "Archaic Roof Tiles the First Generations," Hesperia, Vol.

William Rostoker; Elizabeth Gebhard, "The Reproduction of Rooftiles for the Archaic Temple of Poseidon at Isthmia, Greece," Journal of Field Archaeology, Vol. (Summer, 1981), pp. Michel Kornmann and CTTB, "Clay bricks and roof tiles, manufacturing and properties", Soc. Industrie Minerale, Paris (2007) ISBN2-9517765-6-X. ^"Ceramic Tile History". Traditional Building. 15 September 2020. Retrieved 29 March 2021. ^Indian History. Tata McGraw-Hill Education. ISBN9781259063237. kalibangan tiles.

^McIntosh, Jane (2008). The Ancient Indus Valley: New Perspectives. ^ abcdeIran: Visual Arts: history of Iranian TileArchived 24 November 2010 at the Wayback Machine, Iran Chamber Society. Kleiner (2008). Gardner's Art Through The Ages, A Global History.

^Tring TilesArchived 18 October 2015 at the Wayback Machine British Museum. ^Chertsey TilesArchived 18 October 2015 at the Wayback Machine, British Museum. ^"Trafaria Praia: On the Waterfront". 23 August 2013. Archived from the original on 9 January 2017. Retrieved 18 August 2016. ^Missing Ceiling Tiles. Washington, D.C.: United States Congress Office of Compliance, 2008. ^"What are ceramics?" Science Learning Hub. Retrieved 29 March 2021. ^Maldonado, Eduardo (19 November 2014). Environmentally Friendly Cities: Proceedings of Plea 1998, Passive and Low Energy Architecture, 1998, Lisbon, Portugal, June 1998.


ISBN978-1-134-25622-8. Archived from the original on 6 May 2018. ^Dictionary of Ceramics. Institute of Materials/Pergamon Press. ^"Inkjet Decoration of Ceramic Tiles". Archived from the original on 8 June 2010.

Medieval Europe[edit]

Retrieved 28 July 2010. ^"Next Generation of the Digital Printing Process".

Archived from the original on 7 January 2022. Retrieved 7 January 2022.

Mathematics of tiling[edit]

Retrieved from "".

Ceiling tiles[edit]

A bilingual sign with directions to the elevator. Museum programs are provided in English and French.

The ROM offers programs and services in both English and French.[132] These include:

  • Tactile tours[133]
  • An audio description program that provides descriptive narration for people who are blind or have low vision
  • Tactile books featuring Braille, raised line graphics, large print and colour pictures
  • Large-print floor plans[133]
  • Large-print guides
  • Hands-on galleries
  • Gallery interpreters that provide visitors with active exploration activities
  • American Sign Language (ASL) interpretation and tours
  • ASL video podcasts
  • Museum interactive touch screens
  • A hearing loop system
  • Assistive communication technology (Ubi-Duo), which allows real-time communication between a deaf visitor and staff members


In 2008, ROMCAN was created to make the ROM more accessible to a variety of communities. ROMCAN provides free general admission tickets to participating community and charitable organizations. Each year, thousands of general admission tickets are distributed to these communities.[131] ROMCAN tries to eliminate barriers that might stand between these communities and the museum. Since 2008, ROMCAN developed into a larger community initiative that seeks to enable learning experiences for visitors and organizations. A main goal of the program is to give the museum the power to engage, share and inspire a greater diversity of visitors by trying to break through economic and social barriers.[131] Partners include United Way of Greater Toronto, Boys & Girls Clubs of Canada, the Hospital for Sick Children and the Centre for Addiction and Mental Health (CAMH).[134]

In the manga

The 2000 novel Calculating God by Canadian science fiction author Robert J. Sawyer is mainly set in the ROM. The novel received nominations for both the Hugo and John W. Campbell Memorial Awards in 2001.[135] In the novel Bugs Potter Live at Nickaninny by Canadian children's fiction author Gordon Korman, one of the primary characters searching for the lost Naka-mee-chee (fictional) tribe was from the ROM. A large part of Life Before Man, a novel by Canadian writerMargaret Atwood, takes place in ROM. Three of the four main characters of the novel work there. The museum is described in the novel in great detail, including the dinosaur gallery with its exhibits, contemporary to the time when the novel takes place. The novel was a finalist for the Governor General's Award.

The museum was also filmed in several television shows. It was featured in Zoboomafoo, an American-Canadian children's television series in the season 1 episode "Dinosaurs", where the Kratt brothers (Chris and Martin) were invited to see the museum's dinosaur bones. The museum appeared as itself in the Canadian police procedural television series Flashpoint for an episode of the third season and the Canadian historical detective series Frankie Drake Mysteries in the season 2 episode "The Old Switcheroo". The Crystal was featured in the pilot of American science-fiction television series Fringe as a company headquarters and the season 2 episode "Shiizakana" of American television series Hannibal as a fossil exhibit.[136]


Materials and processes[edit]


  • Dickson, Lovat (1986). The Museum Makers: the Story of the Royal Ontario Museum. University of Toronto Press. ISBN0-8020-7441-3.
  • Sabatino, Michelangelo; Windsor Liscombe, Rhodri (2015). Canada: Modern Architectures in History. Reaktion Books. ISBN978-1-7802-3679-7.
  • Shaw, Roberta L.; Grzymski, Krzysztof (1994). Galleries of the Royal Ontario Museum: Ancient Egypt and Nubia. Royal Ontario Museum. ISBN0-88854-411-1.

Pokémon Evolutions

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