Super User Omeka MetsExport Plugin The software used to generate this document is called Omeka MetsExport, which operates as a plugin for Omeka. Documentation can be found at http://github/MetsExport/ Reliefs made from air-dried clay. For the ground she uses mediapan boards (groundwood panels), natural wood panels (from walnut wood) or pieces of wood she finds on the seashore. She paints mediapan base with acrylic paints, the natural wood with linen oil. The wood debris is left in its natural condition First, she draws the shapes on paper and cuts them out, then she puts them on the rolled clay and uses a sharp little knife to cut the shape out of the clay. Then she engraves an ornament on each piece. When the clay is almost air- dried, she patinates it with linseed oil. She then assembles the pieces into a complete motif on a wooden base and glues them. Then she paints the pieces with acrylic paints. All the stages of making the relief are carried out by hand, so that each product is unique. 2100 iain Intangible 813 Reliefi iz zračnosušene gline. 13/01/2026 13/01/2026 x x current,46.1072,14.1481; She had previously taken a pottery course (on the spindle), but this did not suit her and she wanted a different approach to clay as a base material. She developed the technique of making reliefs from air-dried clay by experimenting on her own. The practice of air-dried clay products is unique in this environment, and Petra Debelak knows no one else in Slovenia who is engaged in this type of practice. The technique is unique. Initially, Petra used " bobrovci" - a ceramic roof tile - for the underlay. Later, she changed this to wooden panels (mediapan or natural wood). The technique progressed with experience and practice, so that the products became more and more sophisticated. The tools remain the same, and there are very few of them (roller, small sharp knife, brushes). No specific organisation is linked to this practice. The workshops took place in a primary school Gorenja vas and at the DUO Handicraft Centre in Škofja Loka. Machine-made products are all the same and can be much cheaper; they don't involve as many hours of manual labour. Not all customers recognise this. This is an artistic practice, so none of these threats are relevant. High taxes and margins. Gorenja vas is situated in the Poljanska valley, about 16 km south-west of Škofja Loka, along the Sora River and its right inflow, the tributary Brebovščićica. Škofja Loka, one of Slovenia’s oldest and best-preserved medieval towns, is rich in historical, natural, social, cultural, and economic significance. Founded in the 10th century, Škofja Loka was a key administrative center under the rule of the Bishops of Freising, who governed the area for over 800 years. The town’s medieval layout remains largely intact, with landmarks like Škofja Loka Castle, historic townhouses, and remnants of defensive walls. Historically, Škofja Loka thrived on trade, crafts, and agriculture, with traditional industries such as ironworking, textile production, and woodworking playing an essential role. Today, the local economy is diverse, with tourism, small-scale manufacturing, and services being dominant sectors. Making reliefs from dry clay does not require many tools. Pre-prepared materials are the basic wooden tiles, which is prepared by the joiner using machines.Gift packaging is produced by a local manufacturer. This practice does not require a lot of space or expensive equipment. There is no waste, practice does not require electricity. This practice contributes to economic sustainability, opens up the market, strengthens local entrepreneurship, and enables individuals to earn a living. stable 2104 Gorenja vas, Gorenjska, Slovenia ZRCSAZU_CP_03 Industrial production Community Engagement Decent Work and Economic Growth,Sustainable Cities and Communities,Responsible Consumption and Production,Life On Land This practice enables personal and community development, contributes to the sustainable development of local environments, connects tradition with modern life, and facilitates the transfer of knowledge through workshops. She herself is passing on the knowledge to younger generations through 4 workshops for primary school children and one for adults. However, the procedures are lengthy and therefore the product cannot be made in a short workshop. That is why she does not have many such workshops. Lidija Debelak includes in her works motifs that are part of local and Slovenian folklore and tradition, e.g. the ornaments of the Mali kruhek (Little Bread), entered in the Slovenian Register of Intangible Heritage: http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models )); she uses traditional ornaments which are on paintings of old chests; on her reliefs she applies handmade lace, which is also entered in the National Register of Intangible Heritage (Making Slovene bobbin lace:http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-slovene-bobbin-lace). Barbara Ivančič Kutin Yes Deepl Translator. University of St Andrews TEXT