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59dfa778-6781-48fa-95df-afdba9bed702	{ "cc_dump": "CC-MAIN-2023-40", "dolma2_qc": { "0": 0.9999390840530396, "1": 0.00008090989285847172 }, "exact_duplicates": 0, "lang": { "en": 0.9153319597244264 }, "madlad": { "num_sentences": 42, "rule.2": [ 40 ], "rule.5": [ 0, 8, 9 ], "status": "survived" }, "minhash": null, "original_word_count": 863, "sa_remove_ranges": [ [ 4067, 4952 ] ], "text_hash": "235657934802980854493853327227029583164", "warc_content_type": "text/html", "warc_date": "2023-09-23T06:26:31.000Z", "warc_url": "https://www.creativebloq.com/computer-arts/visualator-practice-1118710", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9783946871757508, "__label__education_and_jobs": 0.0019367348868399856, "__label__electronics_and_hardare": 0.0034934247378259897, "__label__fashion_and_beauty": 0.0010749627836048603, "__label__games": 0.004915405530482531, "__label__home_and_hobbies": 0.001042230986058712, "__label__science_math_and_technology": 0.006913838442414999, "__label__software": 0.13661839067935944, "__label__software_development": 0.06009664759039879, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Visualator in practice Visualator, our iPhone and iPad app, is available to download now and is a great little tool for creating abstract compositions. With two design platforms, Triangulate and Gradulate, Visualator enables you to design on the fly and then save your art to your device's internal memory. Although Visualator is fun to use, it needn't be just a fancy play-thing. In this tutorial I'll demonstrate how I took my Visualator compositions and combined them into my own original piece of graphic art using Illustrator and Photoshop. The possibilities are endless, and this tutorial should act as a starting point for your own experiments. We'd love to see your Visualator creations, whether you've created them in-app or exported the imagery. You can upload your creations to the Computer Arts Visualator Flickr group. 01 To begin with you'll need an iPhone, iPod Touch or iPad with a Wi-Fi or 3G connection. Head to the App Store and download Visualator. The app is free to install, and should take no longer than a few minutes to download. 02 Once installation is complete, launch Visualator and choose your drawing mode. For the purposes of this tutorial, I'm using Triangulate, as I want to create an angular, geometric piece. Choose a background colour and a range of colours to draw with, and experiment with toggling the Pattern Modes on and off. 03 Create a number of different, random compositions, connect your device to a desktop or laptop, and import the images. Open them in Photoshop, convert to Grayscale, and up the levels and curves so that the contrast is quite severe. Save all of your black and while images in a folder for use later. 04 Switch over to Illustrator and set up a new document. Using the Pen tool and the Basic Shapes tools, begin to flesh out a rough composition that we'll later drop our Visualator comps into. 05 To create the circular parallel bars, simply draw a circle and fill it with a Linear Gradient. Now go to Object> Expand and specify 10 objects. Hold Shift+R to rotate the shape, and then select Divide from the Pathfinder palette and hit Ctrl/Cmd+Shift+G to Ungroup the objects. 06 Ensure that all your elements are on separate layers, then export your document as a PSD with Write Layers selected. Open it up in Photoshop and turn all the layers off, apart from your parallel lines. 07 Open up one of your black and white Visualator comps and copy it. Back in your main Photoshop document, use the Magic Wand to select one of the parallel lines, and go to Edit> Paste Into. Repeat this process using different Visualator comps for all the separate bars until you have something that looks roughly like the image above. 08 Switch your other layers back on, and source some imagery to drop in. I want my piece to have a surreal look so I've found a desert scene from my own iPhoto library. Hit Ctrl/Cmd+I to invert the image, and ramp the contrast right up. Now, using the same technique as before, I paste the desert image into the central circle shape. 09 Now to add some colour. Select all of your Visualator layers, and click Merge Layers in the Layers palette drop-down menu. In the Layer Styles palette choose Colour Overlay, select Multiply as a Blending Mode, and choose your Overlay colour. 10 To finish off this simple graphic piece, I've pasted a number of inverted Visualator comps into the background, with Lighten selected as the Blending Mode. Experiment with the size and scale of the comps, and try to create some interplay between the angular elements. I've also drawn some diagonal lines and a diamond shape in Illustrator, and pasted them over, knocking the Opacity of the large triangle back to 75%. There you have it: a very quick and easy way to put Visualator to use in your own work. Luke O'Neill Deputy art editor of Computer Arts, Luke is a graphic designer and illustrator able to turn his hand to anything from complex layouts to branding projects. He is currently broadening his skill set by working on the design of Computer Arts' next must-have iPad applicatio
388341be-4cc3-4236-8983-dd195c6860f3	{ "cc_dump": "CC-MAIN-2024-51", "dolma2_qc": { "0": 0.9999737739562988, "1": 0.00004627726593753323 }, "exact_duplicates": 2, "lang": { "en": 0.95308518409729 }, "madlad": { "num_sentences": 39, "rule.2": [ 11 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 613, "sa_remove_ranges": [], "text_hash": "19460696687470902644129201673981477396", "warc_content_type": "text/html", "warc_date": "2024-12-10T04:03:28.000Z", "warc_url": "https://massculture.ca/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3998216390609741, "__label__education_and_jobs": 0.20690405368804932, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.004915405530482531, "__label__science_math_and_technology": 0.034110426902770996, "__label__software": 0.005564924795180559, "__label__software_development": 0.01799621433019638, "__label__finance_and_business": 0.02844603545963764, "__label__health": 0.00240673148073256, "__label__politics": 0.00574024673551321, "__label__social_life": 0.0021927168127149343, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Harnessing the power of research to learn and generate new insights, enabling the arts community to be strategic, focused and adaptive. This is how we work Take a stroll from here to there to encounter Mass Culture’s work and process: Creatively sharing knowledge There are benchmark moments when knowledge needs to be shared. However, as a learning organization, generating a report tends to signal the start of something rather than an end result. We also invest time in thinking about how to share information in ways that resonate with people. A great example is the poem written and recited by Luke Reece during the ASOs: Positioning a Future Forward event. Make your way back up to the top of the page to see what we mean by creatively sharing knowledge. From our earliest beginnings, we have built up our knowledge base by creatively convening the arts community. This work sets our priorities and determines the issues that matter to the sector. Here is a gallery of challenges that we crowdsourced in 2022 in preparation of ASOs: Positioning a Future Forward. For us, It is important to document, reflect and share our processes. Creating an evaluation framework early on in collaboration with the project's partners, establishes what we hope to learn and intentionally take time during the project to review and adapt. Click below to check out the Research in Residence: Arts' Civic Impact Evaluation Logbooks. Knowledge, research and data exist all around us. We just feel the need to amplify and organize it in ways that feel digestible and relevant. In the past, we've hosted datathons to collect resources on particular topics so that we can house them in Artifex! Click below to find out more about Artifex and share your resources to help it grow. The relationships and connections that we have made with well over 1000 people who care about the arts is fundamental to doing this work well. When we talk about Infrastructure, Mass Culture's network is major part of what we are are referring to as well as some of the research tools we've been able to build in concert with arts community. Our newest research tool is D.N.A's Arts Data Platform. As a way of sharing knowledge to strengthen the arts sector we host learning opportunities. The T.R.A.I.N program is our largest professional development program to date. We have lots of asynchronous learning materials from T.R.A.I.N here. Providing training opportunities also enables us to share how to use the research tools that we've created. Find out more about the D.N.A Learning Series here. Logo designed by Sariena Luy. We are very curious and experimental when it comes to designing processes. Our community-based approach to research often leads us to co-developing some type of convening. We thoroughly enjoy working with others to understand how best to bring people together to achieve resonance, continued engagement, and potential future action. An example of a creative convening approach: Mass Culture’s Play-Go-Rounds. Photography by Sariena Luy & Jazmine Snow. Research is a living thing. Although this linear representation of our work is ending, we continue to test and apply the emergent ideas and resources from our projects. An example of this is the Qualitative Impact Frameworks developed through our Research in Residence: Arts' Civic Impact program. Currently, we are working with the researchers and arts organizations to implement and test the usefulness of these new tools to determine impact. Travel back to the top to see the cycle begin again. Art by Harmeet Rehal. Getting from here to there is by no means linear. This is just for the purpose of being neat and tidy. Optimized by Optimole
ee34ec43-6be7-4131-aec5-30e4280a1136	{ "cc_dump": "CC-MAIN-2020-05", "dolma2_qc": { "0": 0.9999569654464722, "1": 0.0000630703434580937 }, "exact_duplicates": 0, "lang": { "en": 0.9609782695770264 }, "madlad": { "num_sentences": 24, "rule.2": [ 0, 22, 23 ], "rule.5": [ 21 ], "status": "survived" }, "minhash": null, "original_word_count": 676, "sa_remove_ranges": [], "text_hash": "87062884756726244615200500835267850118", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-01-29T05:33:24Z", "warc_url": "https://prague.tv/en/s72/Directory/c206-Art-and-Culture/n9068-In-the-Realm-of-Humans-Jaroslav-Kucera-s-Silent-Dialogues", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6442351341247559, "__label__education_and_jobs": 0.003955406602472067, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.018556566908955578, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.004765199031680822, "__label__health": null, "__label__politics": null, "__label__social_life": 0.004915405530482531, "__label__entertainment": 0.014073628932237623, "__label__history_and_geography": 0.09269777685403824, "__label__literature": 0.006702851038426161, "__label__sports_and_fitness": 0.003085370408371091, "__label__travel_and_tourism": 0.02596735954284668, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	In the Realm of Humans: Jaroslav Kučera’s Silent Dialogues Exhibition running till 2. 4. 2017 @ Leica Gallery Prague One of the most significant contemporary Czech photographers, Jaroslav Kučera, has explored urban environments of ‘people on the margins’ and through his newest works, he has created intriguing Silent Dialogues. Kučera became most famous for his ‘snapshots’ of the Sudetenland during the nineties which exceptionally captured the loose atmosphere after the fall of the Iron Curtain. His newest exhibition at the Leica Gallery maps ambiguous locations around Prague and is running until this Sunday, 2nd April. Kučera is known primarily for his unromantic profile of Czechs, including prostitutes, gold-diggers, or losers; however, due to a lack of time in his present schedule, he has made photos to capture the magic of Prague itself. As he has testified: “I began one day on my way from tennis, when I noticed how the air-supported hall is strangely illuminated by the sun, I dived into it and I have been travelling through Prague for two years already.” When we encounter Kučera’s depictions of the most ordinary of ordinary objects, our minds are reminded of old memories, or emotional and thematic associations. All of the photos in Silent Dialogues were taken with a digital Nikon during 2015 and 2016. Some places are familiar (like the Hilton Hotel), or there are objects that remind us of things we have once seen; others only seem as obscure belongings or habitats of people we will never know. The hidden narrative essence of his black and white photos is enhanced by the curatorial decision of Daniela Mrázková’s to group them in pairs. Try for yourself: a photo of a curled top of a pipeline poking out of a hill on a golf course is hung above an image of an old, used mattress sticking out of a rooftop against a clear sky. In his latest series, Kučera is following the tradition of Czech Surrealists, such as Jindřich Štýrský, Vilém Reichmann or Emila Medková. However, in his case it not really surrealism, but rather “surbanalism.” Instead of analysing bizarre aspects of reality, he is focusing on the totally banal. Although there are no humans captured in this cycle (except for one blurred walker), their presence seems to be in all of his photographs, anyway. The significance of these trivial images is how well they are able to reflect us, and the time that we are living in. Kučera is thus continuing his focus on people, but offering us a fresh view refined by deserted urban environments. Jaroslav Kučera (born 1946 in North Bohemia) studied at the Faculty of Civil Engineering at the Czech Technical University in Prague and he only became a free-lance photographer right after graduation. During the first anniversary of the occupation of Czechoslovakia in 1969, he was arrested as a dissident and held in Prague’s prison at Pankrác, where he made the decision to become a photographer. Since then, he has photographed commercially for magazines and businesses, but he has also never forgotten about his artistic pursuits. For his most exceptional work he has won many awards, including the Best Photograph of the Year 2000 in the Czech Press Photo competition. This exhibition is held in honor of Kučera’s 70th birthday, and it shows his continuous growth as one of the most preeminent contemporary photographers in this country. For more information visit www.lgp.cz Leica Gallery Prague Školská 28 110 00 Praha 1 Related articles Facebook comments KUKBURG - Farm to table Our meat and products straight to your table T.G.I. Friday's (Příkopy) A true legend in the restaurant industry - TGI Friday's The James Joyce Irish Pub Best Irish Pub in Prague Pražské Benátky Enjoy Prague from a different view Charles Bridge Museum Discover the history of Prague’s famous Charles Bridge Trabant Museum Prague Trabant Museum @ STK Motol Army Museum Žižkov Armádní muzeum Žižkov National Memorial to the... Národní památník hrdinů heydrichiády Prague’s # 1 source for Czech news in English… Expat and Czech Business Professional Network German Language Info Service
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Many people know this classic album sleeve even if they don’t recognise the name of the Belgian artist who painted it. Guy Peellaert died this week and this is easily his most famous picture. I remember being very struck by its appearance in the local record shop window which always displayed gatefold album sleeves opened out as above. By then the notorious dog’s genitals would have been removed from the picture to protect the delicate sensibilities of Bowie’s listeners; the copy here is from a later CD reissue. Taxi Driver (1976). Peellaert’s work was very visible in the 1970s, especially his book of rock star portraits, Rock Dreams, a ubiquitous pop culture item along with Roger Dean’s Views and Alan Aldridge’s psychedelic whimsy. I always liked the Bowie cover, it hinted at weirder music than the rather mundane post-Velvets/Mott the Hoople rock which the album contained, but much of the work in Rock Dreams seemed garish and awkward. Far more successful was Peellaert’s painting for Martin Scorsese’s Taxi Driver, undoubtedly commissioned on the strength of his earlier work but superior to nearly everything in his book. Peellaert’s official site has several galleries of his paintings. Elsewhere on { feuilleton } The album covers archive The illustrators archive Alan Aldridge: The Man With Kaleidoscope Eyes I’ve never been all that keen on Alan Aldridge‘s brand of psychedelic art but it’s worth noting here the (London) Design Museum retrospective which runs from 10 October to 25 January, 2009. Aldridge’s work as a designer and illustrator for Penguin Books in the Sixties impresses me more than his subsequent illustrated Beatles lyrics and The Butterfly Ball and the Grasshopper Feast (1973), a pair of books which seemed ubiquitous in the 1970s. Flickr has a decent selection of his book covers which included a run of sf paperbacks in 1967. Ballard’s The Wind from Nowhere is the very slight debut novel which the author prefers to forget. Where Ballard in Penguin is concerned, David Pelham’s work a few years later was a far more suitable match. Seeing Aldridge honoured with a big retrospective make me wonder why Roger Dean hasn’t yet been given the same accolade. Dean for me is by far the better artist in terms of distinctive and memorable imagery; he’s also a better draughtsman and far more imaginative designer (not to mention having always been a speculative architect). I suspect Dean’s reputation is still blighted by his associations with Yes and the general antipathy which that band’s name generates in a certain middle-aged sector of Britain’s cultural commentariat. Ballard’s name was equally blighted in literary circles by his science fiction associations and it was Barcelona, not London, which honoured him with a major exhibition recently. There may be some home-grown reappraisals in the offing but I won’t hold my breath. Elsewhere on { feuilleton } The book covers archive The illustrators archive Previously on { feuilleton } Ballard in Barcelona The New Love Poetry Penguin Labyrinths and the Thief’s Journal Penguin designer David Pelham talks Barney Bubbles: artist and designer Barney Bubbles: artist and designer Image-heavy post! Please be patient. Four designs for three bands, all by the same designer, the versatile and brilliant Barney Bubbles. A recent reference over at Ace Jet 170 to the sleeve for In Search of Space by Hawkwind made me realise that Barney Bubbles receives little posthumous attention outside the histories of his former employers. Since he was a major influence on my career I thought it time to give him at least part of the appraisal he deserves. His work has grown in relevance to my own even though I stopped working for Hawkwind myself in 1985, not least because I’ve made a similar transition away from derivative space art towards pure design. Barney Bubbles was equally adept at design as he was at illustration, unlike contemporaries in the album cover field such as Roger Dean (mainly an illustrator although he did create lettering designs) and Hipgnosis (who were more designers and photographers who drafted in illustrators when required). Colin Fulcher became Barney Bubbles sometime in the late sixties, probably when he was working either part-time or full-time with the underground magazines such as Oz and later Friends/Frendz. He enjoyed pseudonyms and was still using them in the 1980s; Barney Bubbles must have been one that stuck. The Friends documentary website mentions that he may have worked in San Francisco for a while with Stanley Mouse, something I can easily believe since his early artwork has the same direct, high-impact quality as the best of the American psychedelic posters. Barney brought that sensibility to album cover design. His first work for Hawkwind, In Search of Space, is a classic of inventive packaging. Update: BB didn’t work with Mouse in SF, I’ve now been told. Hawkwind: In Search of Space (1971). It’s fair to say that Hawkwind were very lucky to find Barney Bubbles, he immediately gave their music—which was often rambling and semi-improvised at the time—a compelling visual dimension that exaggerated their science fiction image while still presenting different aspects of the band’s persona. In Search of Space is an emblematic design that opens out to reveal a poster layout inside. One of the things that distinguishes Barney Bubbles’ designs from other illustrators of this period is a frequent use of hard graphical elements, something that’s here right at the outset of his work for Hawkwind. This album also included a Bubbles-designed “Hawklog”, a booklet purporting to be the logbook of the crew of the Hawkwind spacecraft. I scanned my copy some time ago and converted it to a PDF; you can download it here. Continue reading “Barney Bubbles: artist and designer”
dc2fe349-fb29-4598-9133-dcbb491a00de	{ "cc_dump": "CC-MAIN-2024-38", "dolma2_qc": { "0": 0.999961256980896, "1": 0.00005876795694348402 }, "exact_duplicates": 0, "lang": { "en": 0.9371204972267152 }, "madlad": { "num_sentences": 23, "rule.2": [ 12, 16 ], "rule.5": [ 7 ], "status": "survived" }, "minhash": null, "original_word_count": 318, "sa_remove_ranges": [], "text_hash": "259581898285294820988069395774233562161", "warc_content_type": "text/html", "warc_date": "2024-09-08T05:23:21.000Z", "warc_url": "https://tattoodesigns.golvagiah.com/3718/spanish-flag-tattoo-designs/", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.6859594583511353, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.5621865391731262, "__label__games": 0.0026416745968163013, "__label__home_and_hobbies": 0.003717252518981695, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00001000000338535756, "__label__entertainment": 0.003085370408371091, "__label__history_and_geography": 0.006299902219325304, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.00038998457603156567, "__label__crime_and_law": 0.00037829793291166425, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Spanish Flag Tattoo Designs Spanish Flag Tattoo Designs. Actor mickey rourke has a native american bulls skull and feathers tattoo design on his right arm. Spriggs’ flag was one of the first flags to be called a jolly roger. It was only adopted as the national flag in 1843 by queen isabel ii. Mexican tattoo designs are brash and bold. The skull theme brings an ominous look to the geometric artwork, giving it a scary and dark meaning. Karol G Spanish Tattoo Designs On Ribs; Since olden times, compass rose tattoos have always been the domain of sailors, and hence, they are also, at times, referred to as nautical compass rose tattoos. Find & download free graphic resources for spain flag. Swallow tattoo french tattoo design Definition Of The Word “Tattoo”. This has to be one of the more popular skull tattoo designs for men. It’s a truly unique tattoo design. Jams cross tattoo design on chest. Read Also: Sleeve Cloud Tattoos Designs Genital Double Headed Dragon And Hip Tattoo Work.jpg 2,592 × 1,944;. 1 tattoo ideas for men. Whether you want it on your arm, leg or as part of a sleeve, tribal skull tattoos are amazing pieces that can be designed in a variety of ways. This cool sleeve mixes in monuments from all over the county as well as a buffalo. This One Is A Large Cross Tattoo Design In Which Has Some Wings. Seamen believed that these tattoos would bring them good luck, and at the same time ensure that they made it. Simple filipino sun tattoo source: Puerto rico cover coloring page 2. Old San Juan La Garita 7. It was only adopted as the national flag in 1843 by queen isabel ii. However, it lacks almost all of the symbols we’ve come to associate with jolly rogers. There’s the trash polka style, and there’s the skull that seems to be hiding behind its skin.
15eb5bc9-daf4-4dae-b544-695f9f4304a4	{ "cc_dump": "CC-MAIN-2023-40", "dolma2_qc": { "0": 0.9999401569366456, "1": 0.000079829573223833 }, "exact_duplicates": 0, "lang": { "en": 0.9812349677085876 }, "madlad": { "num_sentences": 22, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 846, "sa_remove_ranges": [], "text_hash": "245519203344645275519766056364630239925", "warc_content_type": "text/html", "warc_date": "2023-10-01T20:53:32.000Z", "warc_url": "https://thisisreportage.com/this-is-how-from-the-veil-shot-to-an-intimate-moment-by-melissa-suneson/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6442351341247559, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.008587487041950226, "__label__games": null, "__label__home_and_hobbies": 0.01591639406979084, "__label__science_math_and_technology": null, "__label__software": 0.0019367348868399856, "__label__software_development": null, "__label__finance_and_business": 0.0034934247378259897, "__label__health": null, "__label__politics": null, "__label__social_life": 0.10088862478733064, "__label__entertainment": 0.04469086229801178, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.026769286021590233, "__label__crime_and_law": 0.0032830648124217987, "__label__food_and_dining": 0.0015587612288072703, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	We're now in Judging week: Winners of Collection 35 to be announced soon... This Is How: ‘From The Veil Shot To An Intimate Moment’ by Melissa Suneson Excited to have the fantastic Mexico-based TiR member Melissa Suneson of Car & Mel Photography on the site today, taking us behind the scenes of this beautiful capture for our ‘This is How…’ series of pieces. Melissa’s advice about patience – how waiting just that little bit extra can really elevate an image (in this case from a ‘detail’ shot of the veil, to a beautiful moment) – is priceless. I am based in Puerto Vallarta, Mexico; what used to be a fishermen’s village in the 60’s has turned out to be an international beach resort destination thanks to movie director John Houston who filmed the “Night of the Iguana” which was nominated for the Academy Awards for best cinematography and best art direction; featuring Ava Gardner and Richard Burton who brought Elizabeth Taylor to the set, and whom he was going to marry shortly after. With all this and throughout the years Puerto Vallarta has grown and developed so much that is now one of the top locations for beach destination weddings in México, having couples from the United States and Canada all the way to Australia. With this background I am a “destination wedding” photographer, I do not travel that much but my couples do, 95% of my couples are the ones doing their destination wedding here, and most of them have their wedding ceremony and reception at the beach in a resort, at a villa or a combination of both. The other 5% which are mostly Mexican or from Mexican backgrounds living abroad that have their wedding here have their ceremony at a church; so church weddings are rare for me. This wedding was one of those rare weddings at a church and another rare one for me was that the bride had very long and beautiful veil. Having elements I do not encounter in most weddings I was excited to see what would turn out. Once I got at the church I saw I needed to set up a flash as it was a time of the day where natural light and the lights of the church were both competing for their “not working for you” scenario. I only set up one off camera flash as I had driven with the bride and her father and had no more time to set another flash before the processional started. Talk about rushing at weddings, this was one of those times! Once the mass started I felt I was ok with that single flash, the time came for the chorus with the Mariachi band and would last some 2-3 minutes, it is when I decided to get a veil shot as the mother of the bride had fixed it for her very neatly and I knew I wanted a shot of those veils I don’t get very often. So I went in back of the bride and groom and started building the shot, first shot was just ok but I noticed the videographer on the left as well as my flash, something I didn’t want in my shot, so I went a bit lower to hide them and it still did not work out, got another shot which was good for what I wanted. But still I stayed there a bit more. The bonus I got for staying there to take 2-3 more shots, instead of just settling for what I had already gotten, was that suddenly the bride and groom had a little intimate moment between them when I saw them tilting their heads towards each other, so for me that was the shot, otherwise it would have been just a nice shot of the bride and groom sitting down with the long veil I wanted to get, but having that little moment made the image more meaningful with their gesture, once I got it I knew I had something special instead of what could have been just another standard shot from that perspective. With this, once again it comes to be true that sometimes staying a bit more after we think we have the shot can pay off with a better image. Sometimes it works sometimes it doesn’t but we never know if we don’t try and be patient in the crazy wedding environment we always work in, trying to capture all the safe shots, other times trying to be more creative paying attention more to a composition than to a moment, but sometimes in between it all we will be able to get that more meaningful shot that we can be happy and proud of. Nikon D810 Aperture 4.5 Shutter 1/200 ISO 640 Lens 20-35mm You can see lots more of Melissa’s work on her website, or here on her This is Reportage profile. Also, if you enjoyed this piece, you may be interested to see more of our ‘This is How’ pieces. Want to join This is Reportage? Join Here
7ef35099-59d2-41e0-a289-2750ee15cf7c	{ "cc_dump": "CC-MAIN-2024-22", "dolma2_qc": { "0": 0.999970555305481, "1": 0.00004943649400956929 }, "exact_duplicates": 4, "lang": { "en": 0.9725366830825806 }, "madlad": { "num_sentences": 10, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 241, "sa_remove_ranges": [], "text_hash": "322486450655775281245744039177802124041", "warc_content_type": "text/html", "warc_date": "2024-05-23T11:15:40.000Z", "warc_url": "https://philamirror.info/2020/06/30/hungary-issued-stamp-on-50-years-of-zugliget-chairlift/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.16027602553367615, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.01169725600630045, "__label__science_math_and_technology": 0.020974241197109222, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.014513582922518252, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.16027602553367615, "__label__literature": null, "__label__sports_and_fitness": 0.003717252518981695, "__label__travel_and_tourism": 0.009135636501014233, "__label__crime_and_law": 0.0018775658681988716, "__label__food_and_dining": null, "__label__industrial": 0.020974241197109222, "__label__transportation": 0.01591639406979084, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Commemorative Stamps History Behind a Stamp New Stamps News Stamps Themes World Hungary Issued Stamp on 50 Years of Zugliget Chairlift As early as 1930, drawings for a technical solution similar to today’s chairlift were submitted to the Budapest decision-makers by the engineer István Hantos Jr, and in 1933 documents for a cable car from Zugliget to János Hill to enable people to get to the green hills above Budapest faster in order to go on excursions and do sport were drawn up. The Leipzig engineering firm of world repute Bleichert & Co was consulted in the planning process, which gave a positive response to the Zugliget plans, and soon the procedure began with the Hungarian authorities. Ministerial approval for construction to start was granted but the works were slow to begin and then the outbreak of World War II scuppered the plans. The idea of a chairlift similar to the one designed by Hantos was raised again in 1967. Construction began on 24 March 1969. The special cables and the hanging chairs were obtained from Austria, but whatever could be made locally was produced in Hungary. As the result of a competition to find a name that would attract passengers, the chairlift was called the “libegő” in Hungarian, which suggests floating through the air. It was opened on 20 August 1970. Issue Date:11.05.2020 Designer:Glória Hefelle Printer:ANY Biztonsági Nyomda Nyrt. Process:Offset Colours:4 Colours Size:30 x 40 mm
f7b82f80-ea9c-4587-b805-4bca84d59166	{ "cc_dump": "CC-MAIN-2019-43", "dolma2_qc": { "0": 0.9999362230300904, "1": 0.00008377021731575951 }, "exact_duplicates": 0, "lang": { "en": 0.9314026832580566 }, "madlad": { "num_sentences": 36, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1100, "sa_remove_ranges": [], "text_hash": "21273886606782488433062819007312342429", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-10-13T20:09:01Z", "warc_url": "https://www.wupromotion.com/en/great-china-tour/dance-a-theatre/414-balletto-di-roma-italy-2011", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6654205918312073, "__label__education_and_jobs": 0.0023331623524427414, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.007355827372521162, "__label__games": null, "__label__home_and_hobbies": 0.0015111821703612804, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.2509227991104126, "__label__history_and_geography": 0.008587487041950226, "__label__literature": 0.1259327530860901, "__label__sports_and_fitness": 0.0021927168127149343, "__label__travel_and_tourism": 0.004478383809328079, "__label__crime_and_law": null, "__label__food_and_dining": 0.0016078451881185174, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Balletto di Roma, Italy, 2011 Tour Dates • 21 May - 4 Jun, 2011 Tour Dates: 21 May - 4 Jun, 2011 […] flexible and energetic, Bledi Bejleri, doesn't loose his depth even giving into his beloved without reservation." Balletto di Roma Biography Balletto di Roma was founded in 1960 as an artistic joint-venture between two Italian ballet icons, Franca Bartolomei, principal and choreographer of the main Italian Theatres and the étoile Walter Zappolini, who was Director of the Ballet School in Teatro dell'Opera di Roma from 1973 to 1988. The company has produced more than one hundred ballets in Italy and abroad, both the company’s own works and those by national and international contemporary artists. Balletto di Roma today combines its own traditions with those of the prestigious Balletto di Toscana, founded in 1985 under the directorship of Cristina Bozzolini, first dancer at the Maggio Musicale Fiorentino, Original and innovative choreographies by well established Italian artists in the contemporary dance scene marked the beginning of this new artistic era during the 2001/02 season. In the 2003/04 season the ballet staged Milena Zullo’s Don Chisciotte, starring André De La Roche, and the following year a production of Serata per Tre was choreographed by the established trio of Bigonzetti, Sciliano and Cannito. The 2006/07 season saw Cenerentola, choreographed by Fabrizio Monteverde, featuring an extraordinary performance by Monica Perego, while Mario Piazza’s The Nutcracker again featured the fantastic André De La Roche, and brought more than 10,000 audience members to the Teatro Quirino di Roma. This season will see the realisation of Bolero, Serata d’Autore, featuring four works by Bigonzetti, Scigliano, Zullo and Monteverde. Fabrizio Monteverde’s also penned Giulietta e Romeo, first staged in 1989 and reprised several times since due to the exceptional audience and critical reaction. In the latest production Romeo was portrayed is Raffaele Paganini, and its success can be measured by the exceptional audience numbers. Thanks to the quality of the performances and the high public demand, Balletto di Roma presented an extensive repertoire in the 2009/10 season, with new productions such as Otello (cor. by Fabrizio Monteverde), Contemporary Tango (cor. by Milena Zullo) and the new staging of Bolero, Serata d’Autore. Balletto di Roma has stayed true to its traditions, upholding the history and quality of its past glories, suggesting it will continue to hold a prominent and important position amongst Italian dance companies in the future. Juliet and Romeo The decrepit wall, the strewn ruins, indicate the tragedy left behind: a worldwide conflict that had erased forever 'the age of innocence', reflecting themes of moral convention, surging energies and emotions. It's a background that signals watershed and the want to be reborn to total passion in order to taste until the last breath- every small moment that is life. We are transported to an Italy that existed shortly after the Second World War, thirsty for passions previously tempered by the horrors of the past. It is still a small, quaint, and provincial Italy, whose existing ecclesiastical culture and pastoral setting nonetheless gives birth to a new bourgeoisie. She, Juliet becomes a symbol of the irresistible desire to escape from the rules of this world. The obligations that such a world imposes on her are mysterious and ambiguous, and will create in her an unstoppable want to escape of which she will find herself a victim. Romeo, on the other hand, is a shy, lonely and timid youth; totally open to the desire and curiosity that love offers, a knowing victim of the volatile impetuousness of his legendary love. So far, yet so close to the traditional Shakespearean archetypes; all triumphantly crystallized in the classical dance traditions and scoring of Prokofiev. The two lovers as imagined by choreographer and mise-en-scene director Fabrizio Monteverde for his first 'evening' production, created in 1989 for the renowned Ballet of Tuscany, notes an important landmark for Dance Theater in Italy. For the first time this production affirms- in an arduous challenge of producing a re- composition of a complete ballet. This writing of a completely new dance was not subject to terrible'historical' references, but is an autonomous and fiery interpretation of the Shakespearean plot, that delves with 'inspired fury' in it's sentiments and character if it's protagonists. The production's Roman choreographer, strongly influenced by the cinematic influences of the Italian neorealist (one feels Rossellini and Visconti in the production's interpretation of environment and wardrobe), explores the more constant and raw sides of human nature, drawing also from literary references (one feels the refrains of Brancati in Monteverde's interpretation of Juliet's governess). The ballet's streetscapes become a kind of human whirlpool depicting Southern Italy: lusty women showing their 'wares', a lifeless Juliet dressed with white the virginal purity of a bride ready for the wedding ceremony. At which point enter two protagonists fundamental to Italian culture, the mothers of Romeo and Juliet… In an autonomous and dramatic rewriting of this story by Montverde, these two women become the true and absolute unmovable engines of their children's demise. The viewer is transfixed by their obsessive, cloying, dark manner: their hate, clothed in silence. These women are both the oppressors and the oppressed: the first being a kind of 'female-object', repressed and superficial the second confined to a wheelchair- bigoted and suffocating. These women become the dea ex machina of the event, with fatal consequences in the death of Mercutio. The production magnifies the strong characters of its protagonists, translates their personalities into nervous choreography that twitches with energy and suspense: it's feel is pure and without frill or ornament. The power of this production's expressivity is owing to its continuing tie to modern choreography in the tradition of Neoaccademic Dance. "[…] a bold and well-made version […] Juliet [is] spirited and revolutionary […] […] flexible and energetic, Bledi Bejleri, doesn't loose his depth even giving into his beloved without reservation." "A rigorous production, where the choreographic research - combining classic and contemporary dance – embraces to a high quality a directing and dramatist vision. […] powerful dance which goes straight to the heart, enriched by literary and film quotes. Azzurra Schena (Juliet) and Bledi Bejleri (Romeo) are excellent, both aimed and vibrating as all the company is while they are all close and compact in giving the audience the Shakespearian tragedy emotions. Azzurra Schena is a determined and passionate Juliet who offers intense pas des deux with Bledi Bejleri." Payday Loans In Texas. Moreover, to order Cialis Daily online is highly advantageous because it interacts well with the small portions of alcohol and food.
4929b445-2886-41a5-9d48-77fe05b8ef4f	{ "cc_dump": "CC-MAIN-2019-22", "dolma2_qc": { "0": 0.9999250173568726, "1": 0.0000950268004089594 }, "exact_duplicates": 0, "lang": { "en": 0.9651432037353516 }, "madlad": { "num_sentences": 35, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 483, "sa_remove_ranges": [], "text_hash": "41094584688566663811837239986149068757", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-05-24T21:11:43Z", "warc_url": "https://www.csmonitor.com/Technology/Horizons/2011/1208/Diego-Rivera-communist-and-Mexican-icon-honored-with-Google-Doodle", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9924327731132508, "__label__education_and_jobs": 0.0019367348868399856, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.002261847723275423, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0013770253863185644, "__label__health": null, "__label__politics": 0.0032830648124217987, "__label__social_life": null, "__label__entertainment": 0.011341754347085953, "__label__history_and_geography": 0.014967083930969238, "__label__literature": 0.004915405530482531, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0020607432816177607, "__label__crime_and_law": 0.0009210511343553662, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Diego Rivera, communist and Mexican icon, honored with Google Doodle Mexico's most famous mural painter, Diego Rivera, is honored posthumously on his 125th birthday with a Google doodle. The Google homepage pays tribute to Mexican muralist Diego Rivera. Google pays tribute today to Mexican mural painter Diego Rivera, one of the great artists of the early 20th century. The search engine replaced its normal logo with an industrial landscape in honor of what would have been the artist's 125th birthday. So who was Rivera? What made his art special? Rivera was brought up by a middle class family in Mexico. Beginning at the age of 10, he studied at the Academy of San Carlos in Mexico City, then continued his studies in Europe. Early in his career, he learned to apply mathematical principles to his art. This led to a long period of Rivera producing Cubist paintings. The style involved twisting normal reality – while most paintings are inherently 2-D, Cubism mixes in 3-D elements. Viewers get to see multiple sides of the same object, even though they're staring at a flat canvas. The result often looks like peering into a shattered mirror. While Rivera spent two decades painting in this style, many people forget this period in his life and only remember him for what came next. Around 1920, he began moving away from Cubism, finding inspiration in the Russian Revolution. His work turned toward realism. It leaned heavily on politics, and his work still drives debates on how public art helps shape the social and economic crisis. For example, take a look at his mural "Frozen Assets," painted in 1931 and 1932. The painting is divided into three sections. The top shows the familiar New York City skyline, brimming with construction, innovation, and prosperity. The middle section shows dozens, if not hundreds, of homeless people packed into tight sleeping quarters. On the bottom sits an interior of a bank lobby. "In Frozen Assets, Rivera coupled his appreciation for New York’s distinctive vertical architecture with a potent critique of the city's economic inequities," writes the Museum of Modern Art in New York. Picture this 1930s scene. Now picture the current "Occupy Wall Street" movement. Seem familiar? In its review of the current Rivera exhibit at the MOMA, The New York Times called the painter "one of the great artists of his time." He also shared the spotlight with his famous wife, artist Frida Kahlo. Google created a doodle celebrating Kahlo in 2010. In 2002, Salma Hayek starred in a movie on Kahlo's life. The film, called "Frida," included Alfred Molina as Rivera. If you are unfamiliar with Rivera's work, or need a refresher, check out the video below, which runs through slides of his work. of stories this month > Get unlimited stories You've read of 5 free articles. Subscribe to continue. Unlimited digital access $11/month. Get unlimited Monitor journalism.
8e195c0f-18b5-41b8-9f50-27f27828159e	{ "cc_dump": "CC-MAIN-2018-47", "dolma2_qc": { "0": 0.9999196529388428, "1": 0.00010032581485575064 }, "exact_duplicates": 10, "lang": { "en": 0.9569556713104248 }, "madlad": { "num_sentences": 159, "rule.2": [], "rule.5": [ 38, 83, 103, 104, 105, 111, 112 ], "status": "survived" }, "minhash": null, "original_word_count": 2498, "sa_remove_ranges": [], "text_hash": "294917626157278252061382244198946076311", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-11-21T08:58:30Z", "warc_url": "http://www.representationmatters.me/about.php", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3276783227920532, "__label__education_and_jobs": 0.007355827372521162, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.038476187735795975, "__label__games": null, "__label__home_and_hobbies": 0.007587242405861616, "__label__science_math_and_technology": null, "__label__software": 0.024433093145489693, "__label__software_development": null, "__label__finance_and_business": 0.029322227463126183, "__label__health": 0.009718479588627815, "__label__politics": null, "__label__social_life": 0.006498271133750677, "__label__entertainment": 0.00942259095609188, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.009135636501014233, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	About Representation Matters We see them every day. They're in ads, magazines and websites. They're stock images - the pre-taken photographs and illustrations that businesses use in their marketing, advertising and blogging. Watch these photos pass by for a few days, and you'll notice that they only represent a very narrow range of the human experience. The (mostly professional) models in these photos are almost always white, thin and able-bodied. Big stock photo sites now offer group photos with the obligatory one or two people of color, but how often do you see a doctor, or dancer, or banker who's plus size or has a disability? This narrow ideal affects us. A recent study found that "70% of teen girls agreed that magazines strongly influenced what they thought was the ideal body type." Also, "Numerous correlational and experimental studies have linked exposure to the thin ideal in mass media to body dissatisfaction, internalization of the thin ideal, and disordered eating among women." The more we see unrealistic, idealized people in advertising and the media, the more it makes us doubt the worth of our own bodies, skin colors, looks and orientations. Thankfully, the world is changing. Customers are demanding better from the companies they interact with, and more businesses are focusing on diversity and inclusion in their stock image use. This expansion is good for all of us: Companies are able to appeal to more potential customers, and we all get a healthier mix of representation in the media-driven atmosphere in which we live. Representation Matters is the world's first and best site for high-resolution, royalty-free, diverse stock images for commercial use. You'll find images focused on inclusion and diversity in all walks of life, perfect for bloggers and graphic designers and priced for small business owners. About Lindley Hi there! I'm Lindley Ashline, and I'm a professional photographer who specializes in working with larger people of all ethnicities and genders. I also run Sweet Amaranth, a Seattle-based boudoir and portrait studio. I'm here in part because I spent ten years telling myself I couldn't be a photographer. As a child, I was bullied. I wasn't even fat -- that came later, when puberty and my German peasant genes kicked in -- but a variety of mean kids found a variety of things to tease me about instead. It was a very difficult period of my life. When those peasant genes kicked in and I spent high school as a size 18, the bullies had found other things to do, but I carried that terrible shrinking feeling in the pit of my stomach with me. It found a new target: my body. Me at 17ish, in the beginning of the baggy-clothing era I spent my teens and early 20s wearing the cheapest, baggiest clothing I could find, semi-consciously ashamed of my body and certain I needed to hide it. But someday, when one of my diets finally worked, I'd be "good," worthy of wearing normal clothes, worthy of being seen. It was a pretty miserable existence. At 27, I discovered body positivity and my entire world changed. It was the first time anyone had ever told me that I might just be a worthy human being even with my fat body. That I didn't have to hate myself. That I didn't have to dedicate my life to changing my appearance. I realized that I could be beautiful. Have you ever heard someone say "Oh, I'd just rather be behind the camera" or something similar to get out of having their photo taken? That was me. My photography developed (pun intended) in part so I never had to be in front of the camera. When I decided to no longer treat or think about my body negatively, I realized how sad that was. I was using my talent to hide from myself, avoiding being in front of cameras for a decade. There are very few photos of me from that time period. I started deliberately seeking out the spotlight, even in small ways. I finally took those voice lessons I'd been too afraid to start. I took hundreds of selfies (sorry, Facebook friends). I had portraits taken by a professional photographer. I pursued photography as a career myself. (Yes, I'd spent years believing I was "too fat" for my dream career.) This is me in 2016, at 36. Celebrating after moving 3,000 miles. Being awesome while unskinny. Knowing people were staring and not really caring because I was having fun and being myself. Now, I'm a crusader for the worth of all bodies. Representation Matters began as an offshoot of my body positive portrait work. To be honest, it started as a bit of an impulse project; I thought I'd throw together a small collection of plus size stock images and see what kind of response they got. The response? Overwhelming. There is such a need for this work. I'm glad to be the one here fulfilling it. Got questions, or want to chat? Email me (lindley@representationmatters.me), or sign up for my mailing list and get occasional free photos and updates. About Representation Matters Are these images right for me and my business? Some of the people who buy images at Representation Matters are: • Graphic designers • Outfit of the day (#OOTD) bloggers • Diet recovery coaches • Body positivity and fat acceptance bloggers • T-shirt designers • Body image and body acceptance coaches • Magazine publishers (both paper and digital) • Eating disorder recovery specialists, therapists and centers • Health at every size (HAES) and intuitive eating (IE) coaches and trainers • Diverse and inclusive workplaces, and those working to improve diversity Who's in these photos? Most of the people in these photos are not professional models. They have no training in modeling and are the kind of people you pass in the street and have over for dinner. You know. Regular folks. As often as possible, the people in these photos have the actual traits displayed or described in the photos. That man using a cane has an actual disability. That woman described as struggling with mental illness has actual anxiety and depression. That black software developer is an actual programmer. That plus size weightlifter is an actual powerlifter using real, ridiculously heavy weights. OMG, I know that person! Some of the models who've posed for Representation Matters are sort of famous on the Internet. I try not to ask them for their autographs. What if I can't find what I need? Hop over to the Contact page and let me know what you're looking for, and I'll try to work it into an upcoming shoot. If you need something specific on a timetable, shoot me an email (lindley@representationmatters.me) and I'll give you a quote for custom work. I want to model for stock photos! If you're in the Seattle metro area (or willing to travel to said lovely geographic location) and want to be a stock photo model, email me (lindley@representationmatters.me) and we'll chat. I want a portrait or boudoir session with you! You should check out Sweet Amaranth, my Seattle-based boudoir and portrait studio! Portrait info is here, and boudoir info is here. I want headshots/photos for my website! Email me (lindley@representationmatters.me) and I'll send you my commercial/headshot portrait rates. Plans & Pricing What currency is your pricing in? All prices are in U.S. dollars (USD). What's a credit? Credits are the currency used here at Representation Matters. Credits allow you to purchase and download images. One credit costs $1 or less, depending on how many credits you buy at once. See the Plans & Pricing page for current pricing on credit bundles and subscriptions. Please note that credits do not cover shipping costs. If you order an item that requires delivery, credits will be deducted for the item itself and you'll need to provide an additional payment method for shipping costs at checkout. What's a subscription? Representation Matters subscriptions automatically give you a certain number of credits to spend each month on the best stock image site for social and cultural diversity. That's here, by the way. (Insert your own joke about spending them all in one place.) Should I buy credits or a subscription? If you're jonesing for a specific photo or don't use stock images very often, buying credits outright is your best bet. However, if you use stock images regularly -- say, on your blog, website or social media channels -- then you'll want a subscription so that you can snag an image whenever you need one. What happens to any leftover credits? Will my subscription roll over? Yes, all credits are good for one year from the time you purchase them (or the time they're sent to you if you've got a subscription). Any credits you purchase as part of a credit bundle will remain in your account until you use them; there's no expiration date. How much do images cost? The cost of each image in credits is the same no matter which subscription or credit bundle you've purchased. Not all credits are made equal, though! Here are some ways you can get discounted credits. Note that purchases under $10 are charged a 50-cent processing fee. For digital downloads: • Web size: 5 credits • Medium resolution: 15 credits • High resolution: 25 credits • Original image: 50 credits Can I get a refund? Since digital items are downloaded to your computer, there are no refunds, sorry. Search, Downloads & Files How does the site search work? Typing into any search box on the RM website will match at least one of the words you enter. For example, typing the words diverse yoga will find all files that match either "diverse" OR "yoga." If you want to find files that match "diverse yoga" exactly, type in that phrase and include the quotes. But what if you want to find images of only diverse men doing yoga? Try searching for diverse +yoga +men. To find images that don't include men, try diverse +yoga -men. Short version: • Site search automatically uses "OR" operator • Use + and - to narrow your search • Use quotes for exact matches What are the image download dimensions? You've got four sizes to choose from when downloading images. The smallest - web size - is the perfect size for including with a blog post or on a landing page, and it goes up from there. Web size: Approx. 640x480 Low res: Approx. 1200 pixels on long side High res: Approx. 2500 pixels on long side Original: Approx. 4,000+ pixels on long side How do I remove the big watermarks across the photos? As you browse the site, you'll notice that the stock photos have a watermark -- a translucent word across the center of the photo. These watermarks prevent image theft and are automatically removed when you purchase the photo. What if I need a bigger size photo than what I bought? Please don't try to stretch the photos to fit; they'll get all pixelated and weird, and no one wants weird pixellations. It gets awkward. If you purchased a small size photo and need a bigger one, you'll need to go back to that photo's page and purchase it again in the larger size. Two exceptions: if you're upgrading from the smallest size all the way to the largest, and if you're upgrading more than five photos. In those cases, email me (lindley@representationmatters.me) for a discount. License Terms & Restrictions RM photos come with a perpetual, commercial use license. The short version: use them as you wish on your website, blog, marketing, or printed materials, but don't claim them as your own work or resell them. You are also prohibited from using these photos for or to illustrate the following subject areas: negative or critical body messaging, health warnings, or weight loss. Please see the License page to review the license you'll receive in detail. "Royalty free" means I don't have to pay for it, right? It's free! Unfortunately, no -- it's a common internet misconception that "royalty free" just means "free." What "royalty free" actually means is "you don't have to pay the artist a royalty every time you use their work." Take a look at the Quick Guide to Licenses to see which license is right for you. Can I use these photos any way I want? The license applied to these photos outlines what you can and can't do with the photos. The short version: use them as you wish on your website, blog, marketing, or printed materials, but don't claim them as your own work or resell them. You are also prohibited from using these photos for or to illustrate the following subject areas: negative or critical body messaging, health warnings, or weight loss. Please see the License page to review the license you'll receive in detail. Do I ever have to pay to renew the license for my photos? Nope! You'll enjoy a perpetual use license. Quick Guide to Licenses All rights reserved:This is a creator's way of telling you that you can't use this image in any way, shape or form. In other words, they've reserved all the rights. You often see this on photos over at Flickr. Copyright: When you purchase the rights to use an image, you're not purchasing the actual copyright. Except in very specific circumstances, the copyright remains with the creator of that artwork. Beyond the fact that it would make you a terrible person, this is also why you can't license an image and then claim it as your own work. Creative commons: This kind of license is one way some creators make their works available for other people to use. There are a number of variations on these licenses, so you can read more about them over at creativecommons.org. Google: Like "royalty free" down below, the internet has done some strange things to the concept of copyright. No matter what you've seen or heard online, just because you can google up an image and then right-click and save it doesn't make it free to use. Read more about why it's not okay. Public domain: These works include those whose copyright has expired and those deliberately released into the public domain. 99Designs defines public domain as, "a photo, clip art or vector whose copyright has expired or never existed in the first place. These images can be used by almost anyone for personal and commercial purposes." Rights managed: "With rights-managed images, your right to use the image is typically restricted, with limitations placed on things such as duration of use, geographic region, industry, etc., as established by your license agreement." (Thanks for the definition, StockPhotoRights.com!) Royalty free: A license that doesn't require you to pay the creator every time you use the work. These are generally paid licenses, though some websites do offer royalty-free images for, you guessed it, free. Right now, all images offered at Representation Matters are royalty free. @2017 Representation Matters \| About \| Become a contributor \| Contact \| Privacy Policy
7ebcb6a9-2c04-4dd0-8740-a3a12d2727ab	{ "cc_dump": "CC-MAIN-2018-39", "dolma2_qc": { "0": 0.9999687671661376, "1": 0.0000512067781528458 }, "exact_duplicates": 0, "lang": { "en": 0.9684485793113708 }, "madlad": { "num_sentences": 93, "rule.2": [ 79 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 2237, "sa_remove_ranges": [ [ 12016, 13223 ] ], "text_hash": "253784554105583369002635770354577785711", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-09-19T09:32:56Z", "warc_url": "http://www.craftanddesign.net/features/195/alun-heslop-chairs", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8221991658210754, "__label__education_and_jobs": 0.004915405530482531, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.41490885615348816, "__label__science_math_and_technology": 0.02596735954284668, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": 0.004478383809328079, "__label__sports_and_fitness": 0.005564924795180559, "__label__travel_and_tourism": 0.003717252518981695, "__label__crime_and_law": null, "__label__food_and_dining": 0.0036036029923707247, "__label__industrial": 0.004478383809328079, "__label__transportation": 0.0026416745968163013, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Creative Resources for Creative People Search Features: Alun Heslop - chaircreative by Angie Boyer Published: January 2008 Paul and I run from the car park, through the gardens, heads down against the driving rain. We’re heading for the long barn beyond the kitchen garden, where we have arranged to meet Alun Heslop in his chaircreative workshop. Alun throws the door open to welcome us in from the deluge. A warm golden glow comes from the recently lit stove, the earthy smell of burning wood mingles with the enticing aroma of coffee brewing. And there, on the floor between us and the stove, we see a huge, perfectly formed wooden ball, with an equally huge, hand crafted cricket bat resting on it. The ball that has been turned to 460mm in diameter fits snugly into the underside of the oak bat. Together they become a beautifully proportioned seat, 3 metres long, which dominates the floor space in Alun’s workshop. This Cricketer’s Bench is a special commission that he’s working on, to be sited beside the cricket pitch at Belmont Park, the peaceful country setting where Alun’s workplace is located, surrounded by lush gardens and wide open spaces. Alun tells me that he usually cycles to this workshop, near Faversham in Kent. “I live about ten miles away and would rather be on two wheels in the open air that sitting inside a tin can!” He tells us about this substantial piece of craftsmanship, “I have designed the seat with an incline along the length of it for comfort and rain relief, it follows the line of the wood. It’s important that a piece like this works ergonomically, it has to perform its function as well as look good, it’s much more than just a sculptural object.” Like much of Alun’s work, this seat is made from oak. “I like to use air dried seasoned oak, which comes from Lenham oak saw mill, a place about five miles from here,“ he explains. “That means the material costs are fairly substantial, but it’s more dependable to work with than green oak, which in some instances can distort and move on outside pieces. Weather will degrade wood, sunlight and rain; oak is naturally resilient, but it does help to give it a basic weather seasoning treatment. The oak in any outdoor piece like this will eventually turn a silvery grey with age and weather,” continues Alun, “but that’s okay really, the piece is about form rather than fancy wood!” Alun’s woodworking skills have a foundation based on his extensive knowledge and experience of green woodworking techniques. He tells me that “having recognised that maths and physics were not for me, I went off to do basic interior design, leaning towards product design as well. It was really good, but I soon knew that I didn’t want to be an interior designer, so I decided to study Fine Art Alternative Practice. For me, that involved looking at environmental issues, many of the things that are coming up again now. I realised then that art isn’t about what you do, it’s more about who you do with it, so that wasn’t for me either. “I wanted more of a hand to eye element in what I did. So after my degree course I went more towards green woodworking. I still hold the ethics of that type of work today, it’s very important to me. I don’t do much pole lathe turning now, but I still use many green woodworking techniques in my work. More and more I want to create my own designs using traditional techniques, to make one-off sculptural pieces, a transition to much finer and sophisticated work that’s more suited to galleries and ‘exhibiting’ shows.” We visited Alun at a time when he was busy preparing for Origin in London, having already exhibited at shows like Craft in Focus and Art in Action earlier in the year. He showed us some of the pieces that he would be exhibiting at Origin; flowing, balanced designs that are not only pleasing to the eye, but also entirely suitable for their purpose. Sometimes a piece may have a hint of fragility, which totally belies the stability and strength of the structure, qualities that are created not only in the actual design, but also in the careful attention to detail in the making. I asked Alun where he found his inspiration for this delicate aspect of his chair designs, which are very different from his robust and sturdy outdoor seating. “My wife is an entomologist, so maybe it’s the images of stick-like insects that surround her work that bring these designs to mind, it’s probably why some of my interiors work looks frail but (like insects) the pieces are strong in structure” A delivery van pulls up outside the workshop as we chat and two people from the local woodyard unload some rather spectacular pieces of wood, which Alun is drawn to like a magnet, checking its suitability for the work he has in mind. As the couple turn their attention to the magnificent cricket bat seat, Alun tells us more about his interiors work. “I like making very dainty things that look very fragile with refined lines.” This quality may be echoed in the stick-like legs of a chair, or perhaps in the fine lines of his rather eccentric ‘Apple Holder – Waiting for Temptation’, a tripod-like arrangement, which temptingly clutches a polished stainless steel apple. That final touch, a shiny piece of perfectly formed fruit specially made by fellow craftsman David Meredith “accentuates the extravagance of it all,” says Alun about this delicate looking piece, the design for which was in reality inspired by the shape of the ventilation shaft at Dartford Tunnel! “Inspiration can come from anywhere, civil engineering, rivers and bridges, landscapes as well as any entomological influences,” he says. “And I like to use local and native hardwoods such as ash, oak, cherry and elm, harvesting from sustainable, managed woodlands. I work with the grain of the wood using many traditional hand tools and techniques - it’s honest work, you can see the functionality of it. I like the whole sense of the integrity of the material as well as the making. Gradually people are waking up to that.” As Paul and I chat to Alun about the sentiment behind his work we realise that, at his invitation, we are sitting on one of his prototypes, a bench seat with the title of ‘Peapod’ “because the design is all about things fitting in with each other”. That sense of ‘fitting in with each other’ extends to the design and making of the Peapod as well; this is a collaborative project that Alun is working on with Sixixis from Cornwall. Together they are developing the steam bending of the wood to perfect the flowing compound bend that is at the heart of the design. “The shape dips in and rolls out, the edges roll and taper, it’s quite subtle; if it were flat it would not be so comfortable to sit on. Simplicity appeals.” This notion of collaboration on projects follows through to another piece that Alun is making in the grounds of Belmont House. Once more dodging the rain, the three of us go out into the gardens to see the ongoing work on his Hedgehog Seat. Protected from the elements under a tarpaulin, the seat is at a low level, fitting over an old, but stable ash tree stump. Using traditional hand tools familiar to him from his green woodworking days, Alun saddle carves each section of wood into a hollowing to form comfortable seating before securing it to the tree stump with stainless steel fittings. “The whole piece is a continuation of form and line with a concentric dished hollowing, it’s very subjective, deciding when something does or does not look right,” says Alun. There are oak seating planes radiating out, creating a whole that, when completed, will have at its centre a bronze hedgehog, again specially made by David Meredith. “The hedgehog is part of the coat of arms for Belmont, so it seemed ideal for the design.” Alun gives each of his designs a title, some appear at first to have been chosen in a fairly abstract way, but when he explains that these names are “poetic, descriptive of a location perhaps, or to do with word play and association” it begins to make sense. I get the impression that nothing happens in his workshop without reason. He continues, “I like it when pieces evoke emotions and thoughts - so they can ‘walk and talk’ on their own. Sometimes I make pure sculptural elements, to explore the relationships of shapes and curves and edges.” The pieces we see at his workshop illustrate well the contrasts in Alun’s work; delicate chairs for indoors, sturdy seating for outdoors; some pieces made to commission, others made speculatively simply to suit himself – each piece always marked with his signature emblem and the date stamp. “I’m working on more and more bespoke seating projects now and I really like the work I’m doing at the moment, big outside projects. The next piece is an 8.5 metres curvaceous flowing form to be placed near a pond at a private residence near Northampton. Each one is unique and a lot of fun. The bigger the piece is, the more impressive it becomes. But projects like this need to be balanced with a variety of types of work. The variation between large exterior work and finer interior pieces is a good balance. The buzz of it for me is to have the idea, bring up the drawings and see the manifest reality of the project. I keep pushing out the boundaries!” Alun Heslop, chaircreative The Workshop, Park House, Belmont Park Throwley, Faversham, Kent ME13 0HH T: 07740 644715 People thinking about pushing out their own boundaries may be interested to learn that Alun also holds chair making courses, which run for 7 days on a 1 to 4 basis. “I encourage and help participants to make pieces to their own designs,” he explains, “I don’t replicate a set pattern, it’s much more enjoyable for each person to think about what they want to make and where they’ll place it. The first morning of the course is the design assessment. I gauge it for people across the board, considering individual ability to what they’re proposing and work with them to fit it to the 7 days of the course. Working on their own individual projects, participants have a much broader learning and it’s ultimately really good fun - each chair can be as imaginative as the individual who creates it. Any teaching is exhausting, as you’re giving out so much, but part of the skill from the outset is fitting the participant’s ability to their design proposal and linking it realistically with the time scale of the course. People can stay at local B&Bs or there is camping within the grounds.” Full details of Alun’s chair making courses are available on his website www.chaircreative.com Where trees grow, so does the spirit of the imagination. Where inspiration flows, light, life and energy radiate in abundance. We move through space and time, dynamic and fluid. Occasionally we may rest or pause, and perhaps sit down for a while. And there is the moment of contemplation. A moment to deliver a truly unique experience; to sit and feel welcomed, comfortable, elevated and perhaps even astounded. A timeless elegance encapsulated within an innovative work of wonder. By its very nature chaircreative seeks to produce outstanding and unique chairs and seating whilst minimising the environmental impact of doing so. A grounding philosophy at chaircreative is ‘working with the wood – not against it’. We design and create with sustainability in mind, as a natural part of the process. Using and understanding the material properties of locally sourced native hardwoods. It’s all about choices! Creating single pieces, site-specific installations, ‘multiple’ chair family groups or bench type seating for interior and exterior spaces. Producing dynamic, sculptural centrepieces and focal points. A pure form, accentuated. Connecting life lines through generations, bequeathed. Just a chair? No, it is a reflection of desire.< br /> Alun Heslop
618ade51-c7af-4810-b67b-970c2dcf2582	{ "cc_dump": "CC-MAIN-2024-46", "dolma2_qc": { "0": 0.9999326467514038, "1": 0.00008737672760616988 }, "exact_duplicates": 2, "lang": { "en": 0.9389631748199464 }, "madlad": { "num_sentences": 24, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 565, "sa_remove_ranges": [], "text_hash": "161422414306097439882001457134363676933", "warc_content_type": "text/html", "warc_date": "2024-11-10T20:14:20.000Z", "warc_url": "https://rewireinteriordesign.com/designul-interior-contemporan-punte-intre-modern-si-minimalist/", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.999506652355194, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.032110705971717834, "__label__games": null, "__label__home_and_hobbies": 0.08270734548568726, "__label__science_math_and_technology": 0.00001000000338535756, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.00001000000338535756, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.00001000000338535756, "__label__literature": null, "__label__sports_and_fitness": 0.00001000000338535756, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.00001000000338535756, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Different people give different answers to the question “what is contemporary interior design”. Most people confuse contemporary design with modern or minimalist. The truth is that contemporary interior design is the only ever-changing design style, permanently connected to the present and forward-looking, always adapting to emerging trends and new design movements. What Contemporary interior design means Contemporary interior design ideas began to appear even before the end of the new millennium. The contemporary style took shape starting with 1970s, at the same time as post-modernism. With influences such as Art Deco, Futurism and Deconstructivism, contemporary style is often seen as a mix of styles, without a specific aesthetic, each day bringing a new twist on current trends. Contemporary interior design style is a bridge between modern and minimalism, with a more neutral color palette that highlights the architecture of a space. Contemporary design elements The contemporary style of interior design is versatile, which means there is a lot of room for experimentation and spontaneity. However, there are a few key elements that make this design style stand out from the rest: • blend of neutral and vibrant colors • mix of different textures and materials • simple geometric shapes and clear lines • merge of industrial and natural elements • decorative lighting (candelabras, suspended fixtures), as well as indirect light (spotlights, LED strips, etc.) • large, open spaces with a hint of minimalism Spaces furnished in contemporary style are not, however, as empty as true minimalist interiors. Contemporary designers use minimalism as a way to highlight the key elements of a space, but are more liberal when it comes to decorative objects, variations in texture and different colors in a room. Contemporary design vs. Modern design Contemporary interior design style favors wide and open layouts to create a sense of space in a home, as well as modern and industrial design styles. Contemporary style homes also have large windows to let in as much natural light as possible. Unlike contemporary interiors, which are much more fluid and ever-changing, modern homes incorporate specific qualities and elements, often derived from or inspired by the mid-century modern movement of the 1940s and 1950s. Contemporary design vs. Scandinavian design The goal of the Scandinavian design style is to create an environment that promotes contentment and simple happiness, with a focus on simple and functional elements. Similar to the contemporary design style, Scandinavian interiors use natural materials, minimalist decor and large, open spaces. However, Scandinavian design features almost exclusively light and neutral colors, while contemporary design has bright and contrasting color palettes. Contemporary design vs. Rustic design The two interior design styles are similar in their use of natural materials as a means of breaking the monotony of a space. But rustic interiors focus on rugged, natural and raw elements to create a space that exudes refined roughness, while contemporary-style rooms have modern, polished wood furniture that exudes a more luxurious feel. Found in residential, office or commercial spaces, contemporary interior design is the chameleon of interior design styles, constantly changing and adapting and extremely versatile. While it has its key elements, such as contrasting color palettes and geometric shapes, this style doesn’t really set any boundaries. All it takes is creativity and the support of an interior designer who can bring life to any construction.
db558318-163f-43b2-8f73-0590e6aaec6f	{ "cc_dump": "CC-MAIN-2024-38", "dolma2_qc": { "0": 0.9999376535415648, "1": 0.00008237393194576725 }, "exact_duplicates": 0, "lang": { "en": 0.9158247113227844 }, "madlad": { "num_sentences": 90, "rule.2": [ 17, 30 ], "rule.5": [ 17, 87 ], "status": "survived" }, "minhash": null, "original_word_count": 1793, "sa_remove_ranges": [], "text_hash": "224682666830355739491762210165260847576", "warc_content_type": "text/html", "warc_date": "2024-09-09T07:15:29.000Z", "warc_url": "https://kuvaweddings.co.uk/pricing/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3415925204753876, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.0021257030311971903, "__label__fashion_and_beauty": 0.0980893224477768, "__label__games": null, "__label__home_and_hobbies": 0.029322227463126183, "__label__science_math_and_technology": null, "__label__software": 0.009135636501014233, "__label__software_development": null, "__label__finance_and_business": 0.01799621433019638, "__label__health": null, "__label__politics": null, "__label__social_life": 0.032110705971717834, "__label__entertainment": 0.00942259095609188, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.11921291798353197, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.0026416745968163013, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Wedding Photography Pricing & Packages Welcome to the heart of the action – our Pricing Page! At Kuva Wedding Photography, we believe in making your journey of capturing precious moments as delightful as the memories themselves. Here, you’ll find our wedding photography packages tailored just for you in Chesterfield, Derbyshire and South Yorkshire. Unlocking Smiles, Not Safes: Our Photography Packages & Pricing. No mysteries, no surprises – just transparent pricing that won’t play hide and seek. We’re all about bringing your dream wedding photos within reach without breaking the piggy bank. So, grab a cuppa, get comfy, and let’s explore the perfect package for your unforgettable day. Full Day Upto 11 hours coverage • Unlimited coverage with 2 photographers • Approx 8-11 hours • Online Gallery (12 months access) with your fully edidted images (typically minimum of 500) • Beautiful bespoke USB in wooden box with your edited images Half Day Upto 6 hours coverage • Unlimited coverage with 2 photographers • Approx 5-6 hours • Online Gallery (12 months access) with your fully edited images (typically minimum of 300) • Beautiful bespoke USB in wooden box with your edited images Micro Day Upto 3 hours coverage • Approx 2-3 hours • Online Gallery (12 months access) with your fully edited images • Beautiful bespoke USB in wooden box with your edited images Play Video about Wedding videography Add Hybrid Video Coverage for £400 Enhance your wedding photography package with our captivating hybrid video coverage for just £400. With two photographers on hand, we dedicate one entirely to capturing your story in motion. This ensures nothing is missed. Your hybrid package seamlessly blends stunning photographs with a beautiful highlight film, a 3-6 minute masterpiece set to music, that captures the full spectrum of emotions and tells the complete story of your unforgettable day. Why Kuva Wedding Photography is The Perfect Choice Complimentary engagement photoshoot and benefit from the expertise of two photographers on your wedding day, all at no extra charge. Free Engagement Photo Shoot £350 We’re thrilled to offer a complimentary Engagement Photo Shoot with every package. It’s also a chance to get comfy in front of the lens, explore stunning locations, and create memories that’ll make your heart skip a beat. Natural Documentary style Photography No endless posing, we capture all the candid moments without dominating your day. Get Your Wedding Gallery Quick The vast majority of our wedding galleries are delivered within a month, We also provide some sneak peak photos within the first few days after your wedding. Free Second Photographer worth £300 A second Photographer is included in our full and half day packages meaning we can see to both wedding parties in the morning so you don’t have to compromise on those awesome getting ready pictures. Don't Just Take Our Word For It Were rated 5 stars on Hitched, Facebook and Google. Find out what some of our happy couples think about us. “Couldn’t be happier with our experience!” Being the type of people who do not enjoy being photographed, we really deliberated over whether we wanted wedding photos. I’m SO happy we did. We went for the mini 3 hour package Stephen arrived an hour before the ceremony and left just as we started the wedding breakfast. It was perfect for us and the photos really do speak for themselves. It was a dull December afternoon but he really captured the magic of the venue and the relaxed vibe we wanted for our pictures. Bianca Butler Makeney Hall Hotel “We could not have asked for a better photographer than Kuva! ” We could not have asked for a better photographer than Kuva! From our engagement shoot to the wedding day, we felt completely comfortable and in safe hands. We couldn’t be happier with our wedding photos which completely captured our day perfectly. Richard Pilling The Maynard Pick Your Package & Get in Touch Choose your preferred package and drop us a message using the contact form below or you can email: kuvaweddings@gmail.com or WhatsApp: 07746327768, and we will get back to you within 48 hours. Dates fill up quickly, so get in touch as soon as possible to avoid disappointment. Book to Secure Your Wedding Date So you’ve decided Kuva Wedding Photography is for you. That’s amazing! To secure your date, we will provide an online booking form to supply all your details. Once this is complete, we will send an invoice and contract for a £200 deposit. Congratulations! Your wedding day is now secured! Arrange Your Engagement Photo Shoot and Wait For The Big Day If you want to take your free engagement photo shoot, simply drop us an email or WhatsApp with your preferred date. We recommend waiting until spring or summer for the best weather. We will be in touch a few weeks before the big day for a video call or in person meetup to go over all the plans and timings for the day. Complimentary £350 Engagement Photo Shoot with Half Day & Full Day Packages Join us on a journey to capture the heartwarming moments of your love story with Kuva Wedding Photography! We’re all about keeping it real and genuine. Our awesome team is here to snap up every little detail, making sure your special day is as unique as your love. Take your pick from our laid-back half day, full day and videography packages, and guess what? We’re throwing in a cool engagement shoot worth £350 RRP for free! Let’s create some magical memories together and tell your love story the way it deserves to be told. What areas do you serve? We are based in Derbyshire but are happy to travel across the country but our main areas are Derbyshire, Staffordshire, Yorkshire, Nottinghamshire and Leicestershire. Our half day and full day wedding photography packages come with the special inclusion of two Derbyshire Wedding Photographer, ensuring that every significant moment of your big day is captured from multiple angles and perspectives. This dual-photographer approach allows us to create a comprehensive and diverse collection of images, providing you with a more detailed and memorable visual narrative of your wedding. However, please note that our micro wedding package, designed for more intimate celebrations, is an exception to this rule. While it still offers exceptional coverage, it includes the services of a single photographer to perfectly suit the scale and dynamics of smaller events. We believe that having two photographers for our standard wedding packages enhances the overall quality of your wedding album, providing you with a richer and more complete representation of your special day. To secure your wedding date and our photography services, we require a £200 non refundable booking fee. This non-refundable booking fee is a commitment to reserve our professional services exclusively for your special day. The booking fee ensures that our team is dedicated to capturing the unique moments of your wedding. By submitting the £200 non-refundable booking fee, you are taking the crucial step of securing our availability for your chosen date. We understand the excitement of reliving your special day through the photographs, and we strive to deliver your edited images promptly. We deliver a sneak-peek gallery, which includes a handful of images, within the first week. The editing process of our full gallery takes approximately 8 weeks. However, please note that this is a maximum timeframe, and in many cases, we are able to provide the edited images much sooner. Our dedicated team works diligently to ensure that the editing process is thorough and that the final collection reflects the uniqueness of your wedding day. Factors such as the complexity of the editing and the volume of images captured may influence the timeline, but rest assured, we make every effort to deliver your images promptly without compromising on quality. We appreciate your patience and understanding as we craft a stunning collection of memories that you’ll cherish for a lifetime. If you have specific concerns or require a more prompt delivery, please feel free to discuss this with us and should this be achievable we will do our best to accommodate your needs. The final payment for our photography services is due in total no later than 30 days before your wedding day. We understand that wedding planning involves careful budgeting and coordination, so we’ve set this deadline to ensure all financial aspects are settled in advance, allowing you to focus on the joyous moments leading up to your wedding. The total amount owed for our services, excluding the initial £200 non-refundable booking fee, is to be paid in full by this 30-day mark. This non-refundable booking fee serves as your commitment fee to secure our services on your wedding date. The remaining balance that is due, in total, before the specified deadline, is the total cost excluding the non-refundable booking fee from the total cost provides the remaining balance that is due before the specified deadline. Booking our photography services for your wedding is a simple and straightforward process. To secure your date and choose the perfect package for your needs, follow these steps: 1. Contact Us: Reach out to us through our website’s contact form or use the provided contact details. Feel free to include any initial questions or specific details about your wedding plans. 2. Provide Wedding Date: Let us know your wedding date to check our availability. This step is crucial in ensuring that we can dedicate our services exclusively to your special day. 3. Select Your Package: Browse through our photography packages and choose the one that best suits your preferences and requirements. If you have any questions about the packages, we’re here to help guide you. 4. Confirmation and Deposit: Once we confirm our availability for your wedding date, we’ll guide you through the booking process. A £200 non-refundable booking fee is required to secure our services for your date. 5. Finalise Details: As your wedding day approaches, we’ll work closely with you to finalise any remaining details, ensuring that we capture all the moments that matter most to you. Ready to Say I Do? Fill in our contact form today to start a conversation about capturing your special moments. Schedule a Free Video Consultation Simply fill in the below form and i’ll get back to you ASAP to arrange your free Video call. Download our packages and pricing guide Simply fill in the below form to download our packages and pricing PDF. Valentines day Special Offer Thanks for your interest in our special offer, fill in your details below to receive your discount. I will get in touch with you as soon as possible
6809e800-2996-48b4-b473-e6e41b18b268	{ "cc_dump": "CC-MAIN-2017-39", "dolma2_qc": { "0": 0.99993896484375, "1": 0.00008104395965347067 }, "exact_duplicates": 1, "lang": { "en": 0.9552384614944458 }, "madlad": { "num_sentences": 9, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 99, "sa_remove_ranges": [], "text_hash": "268553115634505799146554615758528757135", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-09-20T23:50:33Z", "warc_url": "https://cycling74.com/forums/ot-more-touching-stuff/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.7773098945617676, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.287777841091156, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.08510905504226685, "__label__software": 0.04604391008615494, "__label__software_development": 0.03623005375266075, "__label__finance_and_business": null, "__label__health": 0.10375863313674928, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.24509501457214355, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.018556566908955578, "__label__crime_and_law": null, "__label__food_and_dining": 0.03515484184026718, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.01543455570936203 }, "weborganizer_max": "__label__art_and_design" }	[ot] more touching stuff. Jul 28 2006 \| 8:31 pm I stumbled upon something which I thought would be very interesting to many artists on the list. http://www.k2.t.u-tokyo.ac.jp/members/alvaro/Khronos/ near the end of this video, it describes a method of interaction with a projection. what they do is project an image from behind, then shine infra red light at the back of the screen. a IR camera apparently is able to sense depressions in the screen. this sounds right up "our" ally. has anyone tried it? at the very least its fricken amazing. -matt
1ea2a1b8-83b2-423f-8223-6b2ec40cc698	{ "cc_dump": "CC-MAIN-2023-23", "dolma2_qc": { "0": 0.9999735355377196, "1": 0.00004642486237571575 }, "exact_duplicates": 0, "lang": { "en": 0.913748264312744 }, "madlad": { "num_sentences": 17, "rule.2": [ 0, 2, 13 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 667, "sa_remove_ranges": [], "text_hash": "54667402823086624493125483009263926173", "warc_content_type": "text/html", "warc_date": "2023-06-03T00:09:01.000Z", "warc_url": "https://www.archpaper.com/event/new-museum-presents-ideascitybronx/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.46102678775787354, "__label__education_and_jobs": 0.011341754347085953, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.01799621433019638, "__label__science_math_and_technology": 0.0191340371966362, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.003717252518981695, "__label__health": null, "__label__politics": 0.06372499465942383, "__label__social_life": 0.008587487041950226, "__label__entertainment": null, "__label__history_and_geography": 0.01169725600630045, "__label__literature": 0.0034934247378259897, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.003955406602472067, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	New Museum Presents: IdeasCityBronx New Museum Presents: IdeasCityBronx « All Events The New Museum is pleased to announce IdeasCity Bronx, a free public festival taking place the afternoon of Saturday, September 21, 2019, at Concrete Plant Park in the Bronx. IdeasCity Bronx will feature conversations, artist talks, performances, and activations by an array of cultural agents engaging the physical, social, and economic forces that define the Bronx and other cities. Highlights will include keynote conversations by Teddy Cruz and Fonna Forman and Jon Gray of Ghetto Gastro, and a series of participatory workshops organized by Xaviera Simmons, Torkwase Dyson, Oscar Oliver-Didier, Coco June, Marquita Flowers, and Monxo López and Libertad Guerra of South Bronx Unite. Pop-up activations by Bronx-based art and activist groups and food vendors will operate throughout the afternoon, organized with DreamYard, a nationally recognized community organization that works with Bronx youth, families, and schools to build pathways to equity through the arts. Themed New Ecologies 3755, this iteration of IdeasCity focuses on the effects of climate change faced by communities in the Bronx, and the inextricable link between the conditions of our planet and the state of culture and society. IdeasCity has invited locally and internationally recognized practitioners to design interactive workshops focused on key areas of inquiry pertaining to the theme of New Ecologies. Workshops are centered on topics ranging from Waterfront De-Industrialization, Divesting from Whiteness, Borders and Migration, Housing Production and Preservation, Public Health and Pleasure, and Food Justice, and highlights include a somatic movement workshop on strategizing Resources for Resistance, storytelling performances combating Food Apartheid through agricultural autonomy, and a livestream conversation on the Architecture of Diaspora between South Bronx activists and allied groups in Santurce, Puerto Rico. “The number 3755 refers to the 3,755 days between IdeasCity Bronx and the start of 2030, noted internationally as the deadline for irreversible climate crisis. The number also evokes a distant future, over a millennium away, one that we might imagine shaped by the Bronx and by communities that were erased or marginalized in the last millennium,” stated V. Mitch McEwen, Curator of IdeasCity. “Inspired by the urgency around climate change, artists and organizations in the Bronx are working to address structural inequality, real estate development models, and even national politics, topics that will take center stage at IdeasCity Bronx.” Prior to the festival, IdeasCity will release a podcast produced in collaboration with Gesso, members of NEW INC, the New Museum’s cultural incubator, who have developed a free location-based mobile app for innovative audio content. The podcast is designed to accompany visitors en route to the festival, expanding on the program’s themes with additional information, conversations, and interviews with IdeasCity Bronx speakers and community leaders. On Friday, September 20, 2019, IdeasCity and the Bronx Museum of the Arts will cohost a workshop for local and emerging practitioners that will consider the inequalities produced and reproduced by urban spatial relationships, and the shifting approaches devised by artists, designers, planners, and architects engaging with public space in the Bronx’s contemporary landscape. IdeasCity Bronx will be held at Concrete Plant Park, located on the Bronx River between Westchester Avenue and Bruckner Boulevard. Home to a functioning concrete plant from the late 1940s to 1987, Concrete Plant Park’s revitalization began in 2000 under the stewardship of the Parks Department and the Bronx River Alliance. In addition to salt marshes, greenways, a promenade, and boat-launch, Concrete Plant Park is also home to the Bronx Foodway, a pilot project examining how a sustainable food landscape can be integrated into a public park. IdeasCity Bronx follows IdeasCity New Orleans, which took place in April 2019 and was centered on the theme of “Everyday Festival,” and IdeasCity Toronto, which took place in September 2018 and was centered on the theme of “City of Cities.” New Museum 212-219-1222 info@newmuseum.org View Organizer Website Concrete Plant Park Concrete Plant Park The Bronx, NY United States + Google Map
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It is a departure from the last posting because, with that one, I knew the concept and the look I wanted to achieve from start to finish. But with this rabbit, I wasn't quite sure what she was going to look like until I was almost done. I knew I liked this quizzical pose, with the body turned sort of awkwardly, but as I was working one night, the clay was a little too wet to support the weight I was adding on top, and she started to sag downward. Hence the big butt and pregnant belly, which I had no idea that she would have, but once I saw it, that became a great element to her story. (More the belly than the butt.) After that her story took shape around this element. I decided she needed a strong, erect posture, hinting towards some pride and determination. The ear pose reflects this as well. Her eyes convey nothing of her inward emotions, just looking back at her wagon to make sure everything is as it should be. Now, the wagon... I wasn't sure what she should be pulling until after she was completely done, but I settled on this as a way to convey her fortitude and emotional capacity. The wagon itself is a slapped together vessel with weird 'wooden' slats of all shapes and sizes, and rickety wheels helping it to teeter along. But the contents are all manner of little treasures I had collected while growing up, and I borrowed a few from friends who had done the same thing as kids. This was stuff like part of a honeycomb, a skeleton key to nothing, a cartoon character plastic ring, a broken light bulb, etc. To me, these things say, yes, this rabbit is a little crazy, but she also, for whatever reason, holds these things very dear and has plans for them in her (and the baby's) future. I wish I had a few more detail shots to show you inside the wagon and some other views of momma rabbit, but this one is no longer mine so you'll just have to settle for my description. Tuesday, November 10, 2009 They'll Be Lining Up Here finally, is the finished sad dog piece. This guy went through a number of changes before I settled on what you see here. First was a minor catastrophe when I took him out of the kiln for what I thought would be the last time, and I looked on in horror as his "skin" was popping off in large flecks before my eyes. So the really crusty, kind of amazing surface treatment you see on this guy now is a result of me frantically rubbing off all the slip that was going to shed, and hitting the bare spots with an iron oxide stain, and throwing him back into the kiln one day before he was supposed to be shown. Luckily, that all worked out and he serendipitously looks better than I had hoped! The second change was a departure from my original idea, which was to have malicious little puppies chewing on his house while he sat stoically. So he was displayed a few times on a large wooden platform with these puppies rolling around and bits of glass and "wood" from the house around them. But it was just too much and the puppies were goofy looking. Finally I decided that his pained expression, sturdy posture, and the decay of the house told the same story without the pups. I have a picture from one of those early showings so I'll post that and see what you think, but I'm afraid I won't be able to do much about it if you think I'm wrong since those pups are now somewhere in the garbage. And here's the back view. Here you can really see the straining of the house on his muscles and skin, and the broken roof and beams. This is where the puppies were chewing and playing, but it just looked silly. Seen Show Update! So the show at The Seen Gallery in Decatur went really well. We had a big turn out on Halloween eve and I had a chance to meet a lot of new fans. We've had a few pieces sell already, and hopefully more to come! Next up is the annual Callanwolde Holiday Sale starting Friday night Nov 20 and ending the following Sunday. I will have a few new pieces in this one, and the Seen has graciously let me borrow back some from them, so if you missed it there you can still see 'em at Callanwolde! And finally, I just got my photos back from Walker Montgomery and he's done a bang-up job once again. I can't seem to create a link to his name without resigning to all italics. Hmm... Anyway, I'll be posting new pics again soon now that these are done. Enjoy! Tuesday, October 27, 2009 Seen Gallery Show After a lengthy hiatus, here's a post to tell you that I'll be hosting a show at the Seen Gallery in downtown Decatur on October 30 at 7 pm till around 10. I've got lots of new pieces that I'll be posting here after the show. Come drink wine and check out all the new work! Thursday, May 14, 2009 Spring Sale at Callanwolde! Tomorrow is our annual spring sale in the greenhouse at Callanwolde! We'll be there hanging out from 7 til 10 for the reception with cheap wine and art snacks. Then the show will be up all weekend until about 5 on Sunday, so come check out my newest works and all the various forms in clay that the assistants and instructors have made. Tuesday, May 5, 2009 Here's his droopey underbelly and his sinewy neck where he turns away from the house being pulled off. I love his belly and it's a bummer you can't see it unless you're really looking. But as a treat for you internet viewers I'll point you right to it! This is another dog in progress. This one sits stoically, but wincing in pain as his house is pulled from him by silly little pups (not yet pictured). I like to use dogs as characters who represent loyalty and power, much like the fierce and skinny dog who protects his house. But this dog recognizes it is time to surrender, although it is painful for him. He's still a muscular and formidable figure, but the things we create must pass on to a new generation. I want him to show he has faith in a principal, and that is his loyalty. The Price of Safety And the professional shot, so you can see a different angle. This was the first sculpture I made standing up on thin little legs, and I had to fire it with a large clay support on his stomach to hold him up while he dried. Getting this into the kiln was really dicey, but successful in the end! Here's the finished version on display at the Callanwolde Holiday Sale '08! Red and Orange and dirty and angry! The sinews in his neck are my favorite part. Here's a shot of an emaciated dog, scared and angry, protecting the house on his back. I wanted his body to look taxed from holding this house up, and the house to look like a tiny mansion, something many of us would strive for and maybe lose sight of the cost of getting there or holding on to it. Thursday, April 2, 2009 Left To Burn One vain rabbit with a once nice two story little house, now all burnt out. This one's got a provocative little pose going and a contented grin on its face, unaware of the problems it holding on its back. By the way, if you want a closer look at any of these, just click the picture. Side view and a close up of the house Foolish Bird (the cynic) and here is the second one. I wanted him to look older and grumpier. He resigned himself long ago and has really crumbled under the weight of his tower. You can't see the back view, but his ribs and spine slowly become the beams and siding of the tower. I wanted the line of distinction between animal and structure on this figure to be especially obscured, to convey the length of their symbiosis. Foolish Bird (defeated) This is the finished first bird: Foolish Bird (defeated). He has a dopey kind of look on his face and some nice big fat rolls from his lack of movement. He's a lazy and sad character, content to sit and dumbly ponder his fate. Sunday, March 29, 2009 The second piece in the series - a fat, lazy bird. Grounded by the tower he's got on his back, he just sits dopily. I wanted to make three bird, one fat and lazy (this one), one old and cynical, and one stupidly optimistic. They would all be tethered to each other by bridges connecting the towers. I have yet to make a stupid optimistic one I'm happy with, so the two I finished have just been displayed alone and flightless. A Beast Submits The finished piece: A Beast Submits Clay work was done, so now just drying it out for the glazing! Back view after the slabs were added for the house. and the front. They were still pretty soft when I put them on so it would look more like they were melding with the skin. I thought this was important for the concept - not that the houses were just built there or fastened on, but that they grew from the animals and their relationship was symbiotic. This was the first piece in the series I've been working on lately. The basic idea of most all my artwork has been trying to find a balance with basic human nature and the modern world. So these animals, which I try to use to represent raw emotion (ie: dog = loyalty, anger ; pig = sloth, defeat) are burdened by the structures that grow from their backs, but are ultimately responsible for them because they are attached. So the sculptures are the resulting struggle of that playing out. Weighted down birds get fat, vain rabbit ignores the house and it ends up burning... that sort of thing.
9ee60d45-6214-47b5-8cfa-677548163d5e	{ "cc_dump": "CC-MAIN-2014-15", "dolma2_qc": { "0": 0.999969720840454, "1": 0.00005030655665905215 }, "exact_duplicates": 0, "lang": { "en": 0.9576262831687928 }, "madlad": { "num_sentences": 24, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 678, "sa_remove_ranges": [], "text_hash": "213342552994066562356829591986276778089", "warc_content_type": "application/http; msgtype=response", "warc_date": "2014-04-17T19:14:17Z", "warc_url": "http://www.sunvalleymag.com/Sun-Valley-Magazine/Summer-2007/Art-as-an-Adventure/index.php?cparticle=3&siarticle=2", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.4843900501728058, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.005230126902461052, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.004080137703567743, "__label__health": null, "__label__politics": null, "__label__social_life": 0.010662510991096497, "__label__entertainment": 0.02596735954284668, "__label__history_and_geography": 0.014967083930969238, "__label__literature": 0.032110705971717834, "__label__sports_and_fitness": 0.006498271133750677, "__label__travel_and_tourism": 0.048867784440517426, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.004080137703567743, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Partly Cloudy 52.0F \| Forecast » Art as an Adventure Tony Foster Blurs the Lines Between Creative Work and Play (page 3 of 3) “Generally, I simply draw the colour areas and have my own shorthand for the colour to be applied (PG, BU, AC over YO for example: Paynes Grey, Burnt Umber, Alazerian Crimson over an undercoating of Yellow Ochre) or “sick”—an eau de Nile Green with a touch of Chrome Yellow. In the end, it’s all about aesthetics—what looks right when applied. My eye tells me immediately if, when a colour is applied, it strikes a false note, so I may completely ignore my notes when I get back to the studio, and use my memory and judgment instead.” The work then is hauled back to Tywardorth, the small village in Cornwall where he and his wife, Ann (also an artist), reside. There, tucked up against the fierce winters that visit that wild coast, he completes each painting. Once I ask him, with his awards and acclaim, if he was considered famous in his hometown. Foster says his mates at the local pub in Tywardorth (once described by Daniel Defoe as “a village of little note”) are mostly unaware of the sometimes exhausting and dangerous nature of his work. Or the esteem in which he is held by the larger world. And, after a prolonged absence, they might chide him about “the missus” keeping him away from his pint. Never mind that he may have just returned from an expedition to the Amazon, freezing in Greenland, baking in the Grand Canyon or suffering altitude sickness near Everest, all in the pursuit of his art. A fact he is unlikely to enlighten them with. There is not enough room here to compile the list of Tony Foster’s accomplishments, adventures, travels, and works of art. In keeping with the British (and Foster’s) penchant for understatement, just the list of his catalog titles and major journeys from 1982 to the present may testify to the passion and dedication he brings to his work, and to the world: “Travels without a donkey in the Cevennes—in the footsteps of Robert Louis Stevenson”; “Thoreau’s Country—walks and canoe journeys through New England, U.S.A.”; “John Muir’s High Sierra-—a 250-mile walk in the Sierra Nevada, U.S.A.”; “Exploring the Grand Canyon—400 miles walking the Grand Canyon, Arizona, U.S.A”; Rainforest Diaries—watercolours from Costa Rica”; “Arid Lands-—watercolour diaries from journeys across deserts”; “Ice and Fire—watercolour diaries of volcano journeys”; “After Lewis and Clark—explorer artists and the American West”; “The Whole Salmon”;“Watermarks—watercolour diaries from swamps to icebergs”. Foster’s current project (his most ambitious yet) is titled “Searching for a Bigger Subject.” With it, the artist brings huge (6’x6’) iconic works painted on site of several sides of Mount Everest and the Grand Canyon from both rims. The next major exhibition for those works is scheduled for October of 2008 at galleries in San Francisco and New York, with a show in Sun Valley being negotiated. At the same time, Foster’s large-format, four-color book, Painting at the Edge of the World, will be available. The list above and the work before him are almost as exhausting as the journeys, presenting to us an extraordinary man leading an extraordinary life. So we come back around to truth! And whether or not we should believe Mr. Foster when he denies the importance of his reputation as adventurer versus that of artist. Knowing Foster, first as a comrade of the trek, and now as an artist and writer, I feel qualified to say his real truth is in his work, his humanity, and his heart. The rest being moot because, fortunately for him (and for us), when the artist departs, be it for the Arctic or the Amazon, he will be unable to leave the adventurer at home. Sun Valley Magazine encourages its readers to post thoughtful and respectful comments on all of our online stories. Your comments may be edited for length and language. Add your comment:
1cacebdb-7170-4e56-88e2-fe867be2a627	{ "cc_dump": "CC-MAIN-2021-10", "dolma2_qc": { "0": 0.9999467134475708, "1": 0.00007328850915655494 }, "exact_duplicates": 2, "lang": { "en": 0.9526426792144777 }, "madlad": { "num_sentences": 64, "rule.2": [ 4, 19, 27 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1304, "sa_remove_ranges": [], "text_hash": "298750021129217764289058943057295938703", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-03-06T13:42:08Z", "warc_url": "https://sculptorcentral.com/friday-five-with-nastaran-mousavi/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8962613940238953, "__label__education_and_jobs": 0.006107562687247992, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.010023568756878376, "__label__games": null, "__label__home_and_hobbies": 0.042097724974155426, "__label__science_math_and_technology": 0.008071991614997387, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.006299902219325304, "__label__health": null, "__label__politics": 0.004478383809328079, "__label__social_life": 0.004619571380317211, "__label__entertainment": null, "__label__history_and_geography": 0.004080137703567743, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.020342351868748665, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Born and raised in the small Iranian city of Sari surrounded by the Alborz Mountains and the Caspian Sea, architect Nastaran Mousavi grew up appreciating the vast differences between the rich natural landscape and the heavily populated city. With a houseful of architects, it’s no surprise that it’s the career she landed on as well. Mousavi earned her undergraduate degree in Architectural Engineering from the University of Tehran before moving to the United States in 2011 to study for a Master of Architecture degree at the California College of the Arts (CCA). She remained in San Francisco after school and co-founded Studio BANAA, an architecture practice focused on innovative urban infill and adaptive reuse projects for real estate developers, local businesses, and community organizations. The firm is also a certified Woman-Owned San Francisco Local Business Enterprise (Micro LBE). Over the years, Mousavi has taught architecture for the Young Artist Studio program and undergraduate students at CCA, while also acting as a guest reviewer at Academy of Art University, CCA, and UC Berkeley. Today, she joins us for Friday Five to share places, designs, and things that inspire her. Photo: Esghali Iranmanesh 1. Mazandaran I grew up in a small but dense city in the province of Māzandarān. This chunk of land in Northern Iran is unique in many ways. It is bounded on one side by the Caspian Sea, and by the Alborz mountain ranges on the other. Through the history of Iran and the many invasions it has undergone, this land has remained majorly intact due to its geographical setting. The language (now considered a dialect – Tabari) and the culture remain mainly untouched and unaltered. The fertile lands close to the sea and the giving and rich forests along the mountains made this jewel a diverse ecosystem. My life has been split between the dense urban setting of my hometown and the rich, lavish setting of villages where my farmer relatives lived. The juxtaposition of these two very different lifestyles have always raised a question in my head on which lifestyle is really better for us and our planet? I continue my obsession with villages and micro-living and anywhere I go, my first pick is to visit a village. I believe that’s where you really learn about an ethnicity, their culture, art, and way of living. Where globalization and industrialization are ruining all these unique and rich pieces of land and their culture. From the book: “The Beautiful Brain: The Drawings of Santiago Ramon y Cajal” \ Photo taken from book: Nastaran Mousavi 2. Brain Cells, biological microscopic forms/geometry in nature One of my biggest inspirations is natural forms, especially the microscopic ones. I dig deep in those and love to study their structure and materials. I’m obsessed with collecting books that depict natural forms and compositions. There is something in nature that we as human beings have not yet been able to realize and replicate. Compositions that work so perfectly in terms of color and structure, functions that are harmoniously creating an ecosystem that’s self-sufficient and works on its own. Tala Madani, Projections, 2015. Oil on linen, 80 x 98 1/4 x 1 3/8 inches. Courtesy the artist; David Kordansky Gallery, Los Angeles; and Pilar Corrias Gallery, London \ Photo: Josh White 3. Tala Madani I became familiar with Tala Madani’s work at multiple museums in the US and Japan. She’s an Iranian-born American artist and her art has a satirical theme. Her sketchy but exaggerated style through which she describes delicate relationships between people and themselves and their body, some things you might not see or touch on in everyday life are very inspirational to me. It’s always a discovery process looking at her work, which is what I like! Photo: Nastaran Mousavi 4. Handwoven Rugs I come from a world of rugs, and I’m obsessed with them. Every time I travel home, I bring at least one rug back with me. I sometimes spend hours sitting on my rugs at my apartment, and it just takes me all the way back to Iran and to my childhood memories. All the effort and thought behind creating these masterpieces are invaluable. From Gabbeh to Farsh to Gilim and Namad, there are thousands of years of history, culture, art, and heritage in these pieces. I can’t get enough of them. Photo: Maryam Moqisé 5. Locally Crafted Jewelry I am not a jewelry designer or maker in any way, but I sure am a collector. I am particularly interested in jewelry made by indigenous people from all over the world. It is a type of art that really comes from people and is something that I feel should not be “designed” in the contemporary term. Any place I travel to, I try to buy jewelry from local artisan markets, where the opportunity is given to local and indigenous people to showcase their arts and crafts, not from fancy museums. One of my favorite jewelry makers is mim accessories, an online jewelry store founded by Maryam Moqisé from Iran. What I love about her mission is that she collaborates with indigenous women from different tribes of Iran (Balochi women in particular), using their craft such as Suzan Duzi (embroidery) and weaving to create authentic handmade jewelry. Suzan Duzi is a crafting technique carried over for hundreds of years amongst the Iranian tribes using natural dye to create vibrant fabrics. Work by Nastaran Mousavi: Photo: Mike Sanchez Voyager The Square This kiosk for Voyager had to be built in just 45 days. But not only that, being a small space within a much larger one at San Pedro Market in San Jose required creative solutions for brand visibility and ease of use in a high traffic area. Challenge, accepted. We positioned most of the glass windows to overlook the street and created a round bar that would stop people in their tracks from any angle (long enough to smell the coffee). Arched metal shelving echoes the broader context and colored triangular dowels shift and change with your line of sight – creating movement where there isn’t much space to move. Photo: Danny Le The fitness tech company, Zenrez, calmly sits on the cutting edge of a crowded industry. So, for us, the headquarters needed to harness that spirit and inspire its workers every time they jogged through the door. We designed the entire space – that sits within a historic building in downtown San Francisco – around a central piece we call the “spine” (no idea why). Curving and flowing through the center, it separates focus areas and collaboration spaces, while guiding people through the space. Inspired by Eastern philosophies at the heart of the brand, we kept the interiors full of light, air, ergonomic shapes, and hints of nature. Perhaps most importantly, we designed this space to grow as the company does – with the opportunity for more desk space and collaboration areas as needs change. Mini Living Finding new ways to house more people in a city of diminishing space, is a challenge that’s always on our minds. A Dezeen x MINI Living Future Urban Home competition asked us to consider how we will live in cities 100 years from now and propose an innovative solution for a “big life, small footprint.” We brainstormed hard, threw ideas at the wall, and worked with fellow architect and urban designer, Sarah Estephan, to consider how we could add density to a low-rise landscape. The crux of our solution was to create a self-contained mini village where work and play coexist, and space is shared like never before. We proposed utilizing backyard spaces as extra land lots to house more homes. And embracing rooftop gardens, close neighbors, small business hubs and affordable housing that feels modern, vibrant and community minded. Source link
adf42665-7604-4dae-b544-3e762264d7c1	{ "cc_dump": "CC-MAIN-2024-26", "dolma2_qc": { "0": 0.999980330467224, "1": 0.00003965906580560841 }, "exact_duplicates": 0, "lang": { "en": 0.975991666316986 }, "madlad": { "num_sentences": 37, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 828, "sa_remove_ranges": [], "text_hash": "61532309693669017366665042253809960307", "warc_content_type": "text/html", "warc_date": "2024-06-23T06:45:23.000Z", "warc_url": "https://www.nuggetnews.com/story/2020/10/20/news/wattenburg-strives-to-keep-the-arts-alive-at-college/31294.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.59267657995224, "__label__education_and_jobs": 0.07370626926422119, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.01323282066732645, "__label__science_math_and_technology": 0.011341754347085953, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.017452487722039223, "__label__entertainment": 0.38492217659950256, "__label__history_and_geography": 0.003386611817404628, "__label__literature": 0.014073628932237623, "__label__sports_and_fitness": 0.03022458776831627, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.005230126902461052 }, "weborganizer_max": "__label__art_and_design" }	News and Opinion from Sisters, Oregon Wattenburg strives to keep the arts alive at college Lauren Wattenburg is helping to keep the performing arts alive during a time when live performances are not possible. This Thursday, she will participate in virtual performances put on by Utah Ballet and the University of Utah School of Dance. Wattenburg — 2017 Sisters High School graduate — is a senior at the University of Utah pursuing her bachelor’s degree in fine arts in ballet, as well as doing prerequisite courses for physical therapy. This past year, her livelihood and way of life has shifted due to the COVID-19 pandemic; she is no longer able to perform or have a normal studio life. “The entire dance world has had to adapt because we have been taken out of our studios and dancing from kitchens and living rooms and we have to get creative to keep moving and training,” said Wattenburg. In March, Wattenburg returned home to Sisters and finished her junior year from home, using her living room and kitchen as her dance studio. Virtual classes and intensives were made available from all over the world over the summer for dancers. Wattenburg completed a virtual summer intensive with Alonzo King’s LINES Ballet, a contemporary ballet company based out of San Francisco. “We were all sort of out of our element, not being in the studio surrounded by people as usual in the dance world,” she said. For her senior year, she is back at the University of Utah with her academic classes all online. Her dance classes are now in person with modifications and mask wearing and social distancing in class. “It has been really nice to be able to be back in the studio for classes, even with the modifications,” she said. Wattenburg and her peers in dance are putting on virtual live performances streaming from the Marriott Center for Dance Theater in Utah. Every year, the School of Dance at University of Utah puts on a set of choreographed performances with a live audience, but this year, they will be doing the same type of performance with a virtual audience watching on a livestream. The event was made possible by the School of Dance faculty striving to give their dancers the opportunity to perform. “They decided to go with doing virtual performances and to adapt to the situation as best as they can and get us to still have these performances,” said Wattenburg. The performance will consist of four unique pieces, all with original choreography by faculty. The shows run for three nights, with all four pieces featured each night. Wattenburg is performing in the third piece, entitled “Maybe Tomorrow,” choreographed by professor Melissa Bobick. “The performance is a reflection on thoughts and feelings during this immense uprooting of reality and a chance to experience that reality,” said Wattenburg. Wattenburg and four of her peers will be performing live on stage, wearing masks and livestreaming the performance out to audience participants. The livestream event also gives people from Wattenburg’s hometown of Sisters the opportunity to see her perform live for her university. “The people that previously couldn’t see these performances can now, and it reaches a broader audience — hopefully inspiring a deeper interest and appreciation for the arts,” she said. As for Wattenburg’s post-graduation plans, she is currently figuring out how to adapt to a changing livelihood. “My pre-COVID plans are out the window,” she said.“I was originally supposed to be graduated by now and dancing in a professional company. I have become OK with the change and being able to expand my work with the university and the academic course work as well.” Wattenburg is currently trying to adapt to a changing world in performing arts and is excited to see how the future will unfold for the profession as a whole. “I am learning to accept and appreciate the uncertainty of the future and will hopefully be auditioning in a professional environment in the near future,” she said. The virtual performances put on by Utah Ballet and the School of Dance, will be this Thursday, October 22, at 4:30 p.m., Friday, October 23, at 6:30 p.m. and Saturday, October 24, at 1 p.m. and 6:30 p.m. These times are PST, but on the website, they are listed in mountain time. The show consists of four sets within each performance. The livestream for the shows can be found at https://www.dance.utah.edu/virtualshows. These live streams are free of charge and open for anyone to watch. There will also be a donation button where patrons can donate to supporting the work of the faculty, staff and students at the School of Dance at University of Utah. “The goal of the event is to bring together as best we can and it gives a chance for people outside of Utah to see the performances from anywhere,” said Wattenburg. Reader Comments(0) Rendered 06/20/2024 06:36
ccd795e5-c4be-4f17-ae43-e04aff7c1078	{ "cc_dump": "CC-MAIN-2019-35", "dolma2_qc": { "0": 0.9999665021896362, "1": 0.00005349623097572476 }, "exact_duplicates": 8, "lang": { "en": 0.9789528846740724 }, "madlad": { "num_sentences": 11, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 314, "sa_remove_ranges": [], "text_hash": "239080619130311298209415842262896240043", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-08-23T00:04:26Z", "warc_url": "http://www.lutherweber.com/bio", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9263137578964232, "__label__education_and_jobs": 0.03515484184026718, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0019367348868399856, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": 0.0034934247378259897, "__label__finance_and_business": 0.0017107223393395543, "__label__health": null, "__label__politics": null, "__label__social_life": 0.004478383809328079, "__label__entertainment": null, "__label__history_and_geography": 0.006299902219325304, "__label__literature": 0.0013770253863185644, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0015587612288072703, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.0015587612288072703 }, "weborganizer_max": "__label__art_and_design" }	Besides baseball, in my youth I was enamored with all kinds of art and loved to sketch, but was especially drawn to the places where people lived and worked. In my spare time I would redesign homes, churches and schools imagining how they could be improved, yet observing that every one of them had a particular character and place in history. As a preacher’s kid, I also learned that every person has a unique story worth hearing and appreciating. Now an architect, I believe every place has a story and I search for that dialogue between person and place in every project. During high school, I worked as a custodian cleaning and maintaining a nearby church and school. There, I became intimately familiar with how buildings functioned and the importance of material durability. I have also had wonderful opportunities to learn the craft of building and design along side many talented architects throughout the country and internationally since 1979. Shortly after graduating from the University of Cincinnati, College of Design, Architecture, Art and Planning in 1983, I moved to the Washington DC area earning my license in 1986. I have since worked on residential, commercial and institutional projects including Reagan National Airport. Also highlighting that period was twelve years working with Hugh Newell Jacobsen on many elegant residential and institutional projects located across the country, serving as his Chief of Staff for four of those years. “There are not different kinds of architecture, but only different situations which require different solutions in order to satisfy man’s physical and psychic needs… Man dwells when he experiences the environment as meaningful…Architecture means to visualize the ‘spirit of place’ and the task of the architect is to create meaningful places, whereby helping man to dwell.” -Christian Norberg-Schulz Favorite Quote Travel, photography, theology, parenthood, volunteering with Food For Others, Homestretch and Rebuilding Together
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Image Source: Netflix. Starring Anna Kendrick, Daniel Dae Kim, Shamier Anderson and Toni Collette, Netflix’s Stowaway follows a space mission that is headed to Mars when an unintended stowaway accidentally causes severe damage to the spaceship’s life support systems. Facing dwindling resources and a potentially fatal outcome, the crew is forced to make an impossible decision. The film’s co-writer and editor, Ryan Morrison, relied on Adobe Premiere Pro, After Effects, and Photoshop while editing remotely. We asked Ryan about his favorite scenes to write and cut together, how Productions in Premiere Pro allowed his team to work more efficiently, and his advice for aspiring filmmakers. Ryan has been editing on Premiere Pro since his days as a YouTube creator and we were excited to hear about his experience as he transitioned into feature filmmaking, first with Arctic and now with Stowaway.” How and where did you first learn to edit? I first learned to edit pretty late in the game. I was taking some basic production courses in college. It was great to learn the basics there, but I did most of my learning from trial and error. Shooting and editing my own projects for fun. How do you begin a project/set up your workspace? I’m often editing on set, so my setup and workspace are usually dictated by the location. For Arctic, I brought the bare essentials into the snow with me and assembled much of the film from a cold trailer in the middle of the Icelandic wilderness. For Stowaway, I had the great fortune of setting up my suite in an office only a few steps from the stage. At some points my desk was literally in the soundstage next to the set pieces. See also How Bridgestone re-aligned its digital marketing with Adobe Experience Cloud Tell us about a favorite scene or moment from this project and why it stands out to you. My favorite scene is the launch at the very beginning. It was the first thing [director and co-writer] Joe [Penna] and I wrote and didn’t change very much from that first draft all the way through the final edit. We both had such a clear picture of what that should look, sound and feel like right from the beginning. It was so much fun seeing every layer being added. Words on the page, to previsualization, to production, the cut, sound design, music, VFX, then color. The final product was better than we imagined. Image source: Netflix. What were some specific post-production challenges you faced that were unique to your project? How did you go about solving them? The pandemic hit while we were in the middle of post. Joe and I were in LA and were not allowed to travel to Europe at the time. We ended up coming up with a workflow where Joe and I were in LA and could remotely monitor the colorist and DP who were in Germany. We used calibrated iPad Pro’s to ensure uniform color representation. Then we managed to review some exports at a local color house. Image source: Netflix. What Adobe tools did you use on this project and why did you originally choose them? Why were they the best choice for this project? I relied heavily on Premiere Pro, After Effects and Photoshop. Productions in Premiere Pro offered us a platform for a very efficient workflow involving multiple users. After Effects integrates seamlessly with Premiere Pro and it was critical for me to be able to mockup effects in order to feel the truest rhythm of a scene. Photoshop was an essential tool for Joe and I to mockup and communicate complex visual concepts to our VFX team. What do you like about Premiere Pro, and/or any of the other tools you used? I love that all of the Adobe products I use are constantly evolving. Most NLEs serve the same basic functions, but Premiere Pro stands out to me because Adobe is always listening to the users. Every project has different needs and problems. In the years I’ve been editing professionally, I’ve had a laundry list of features that were at one time wishes and now are part of my daily workflow. What’s your hidden gem/favorite workflow hack in Adobe Creative Cloud? Productions in Premiere Pro was an absolute gamechanger. It allowed myself and my assistant to be able to work simultaneously without fear of overwriting or undoing anyone’s progress. It also eliminated wait times on opening large projects. Who is your creative inspiration and why? It might seem a bit odd, but my creativity is heavily influenced by a phrase my dad would always say to me when I was growing up: “Use the right tool for the job.” Looking at things that way makes me take a step back from whatever I’m working on (writing, shooting, editing) and remember to ask myself “what are you trying to achieve?” In my YouTube days, frenetic editing was the right tool for an off-the-wall MysteryGuitarMan video. For Arctic, the right tool was stark, slow shots to feel isolated. For Stowaway, it’s focusing on tension, both externally and internally. That phrase has really shaped me as a filmmaker. What’s the toughest thing you’ve had to face in your career and how did you overcome it? What advice do you have for aspiring filmmakers or content creators? The toughest challenge I’ve ever faced in my career was when our YouTube channel was no longer sustainable for Joe and I to make a living. We were left with a choice to go get stable jobs in advertising or we could go all in and take one big swing at jumping into the big league with a feature film. The film was Arctic. People often ask what advice I would give to aspiring content creators. I would tell them to start making things. If you’re already making things, then keep making them. Make them with friends. I think it’s better to look back and have an assortment of small projects that each carried a lesson with them, then to have a handful of great ideas that only live in your mind. Share a photo of where you work. What’s your favorite thing about your workspace and why? Image source: Ryan Morrison. I love working from home because I don’t need to commute, I can start and finish as early or late as I’d like. And it’s so easy for my best friend (who happens to be the director) to come by and get some work done. That said, I’d love to someday have a space dedicated purely to my setup. The Arnold poster is a modified prop from the film with my face pasted onto it, courtesy of the art department. This photo is indie filmmaking in a nutshell. My living room doubling as our edit suite. Stowaway is streaming on Netflix today. Source : Adobe Back to top button Adblock Detected Please disable your ad blocker to be able to view the page content. 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a696a7c7-6b62-4395-840e-4c0de804e683	{ "cc_dump": "CC-MAIN-2019-43", "dolma2_qc": { "0": 0.9999687671661376, "1": 0.000051256418373668566 }, "exact_duplicates": 0, "lang": { "en": 0.9463045001029968 }, "madlad": { "num_sentences": 56, "rule.2": [], "rule.5": [ 0, 47 ], "status": "survived" }, "minhash": null, "original_word_count": 1145, "sa_remove_ranges": [], "text_hash": "47770002450660412513585052978101735156", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-10-15T09:13:22Z", "warc_url": "http://s3-us-west-1.amazonaws.com/polishget/how-to-kiss-a-girl-step-by-step-video.html", "weborganizer": { "__label__adult_content": 0.003955406602472067, "__label__art_and_design": 0.8774868249893188, "__label__education_and_jobs": 0.004915405530482531, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.03964884206652641, "__label__games": null, "__label__home_and_hobbies": 0.0026416745968163013, "__label__science_math_and_technology": 0.005564924795180559, "__label__software": 0.007825888693332672, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.0023331623524427414, "__label__politics": null, "__label__social_life": 0.003085370408371091, "__label__entertainment": 0.002482622629031539, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	How to kiss a girl step by step video,how to find a birth record,relationship quiz are you happy,relationship advice searchquotes com - Videos Download admin 04.10.2015 1000+ ideas couple drawings pinterest art, How to draw step by step drawing drawings of couples, anime couple drawings, tumblr couple drawing drawing cute kiss, cute couple drawings,. How draw chibi characters - cute chibi couple love heart cc, How draw chibi characters - cute chibi couple adorable chibi great valentine' day drawing draw anime couple. How draw hugging people animals loving embraces, How draw hugging people animals loving embraces easy step step valentine' day hugs drawing draw couple learn draw anime. My "How to Draw Realistic Lips" is power packed with plenty of sketches, tips, and techy info on the lips and mouth. Now when you draw lips, the line which separates them needs to be drawn first and defined (dark). Look for generalities (like the top lip is thinner than the bottom lip) and uniqueness (when lips are shaped differently, like top larger than bottom). The two parallel lines in gray are to give you ability to compare where the red intersecting lines go. I made this line drawing especially for you if you don't want to do the pencil shading and blending part. The picture that goes with this step shows two different ways to hold your pencil to acquire certain effects. PENCIL STROKES & TONE, SHADING, TEXTURE -- For your convenience, I have inserted this step with different pencils, strokes to use. Now technically this is your first step and what you will do to start it off is draw two circles the exact same size for the heads. In this step you will start the sketching process of the hair style in the front and then the shaping of their faces. In this fourth step you will start drawing out the rest of the hair style for both the anime female and male. Well this is your last drawing step and all you will have to do here is add the hair definition lines to their heads, and then draw out the shape of his ear. You will now draw her one eye that is showing closed, and make sure the lid is thick, bold and dark. I did not create shading for this drawing, but if you would like to draw Jessie J, I have a tut on her. Another thing to mention is lips tend to get thicker when the mouth puckers up as presented at the bottom line of sketches. Also the cylinder shape in the picture represents the direction and perspective of the lips. And you can study the shapes that make up this drawing universe, along with tone, shading, and texture. If I were to do the whole picture in a pencil sketch,(sketching in small circles, lines or crosshatching to shade the areas, it would take hours upon hours to cover all that area with a pencil. The easiest way to start these steps is to draw two faces with one on top of the other and then just erase the lines of the females nose and top lip. You will then add the face guidelines which are two dash like lines and then the line of position for their necks. Once that is done you will draw out and thicken the closed eyes and draw out the front of the necks. How many of you have always wanted a tutorial on drawing these two Mario characters embraced in a moment of love and affection? Again, draw the profile of Mario's face, then draw in the hair line as well as his large ear. From the artist point of view, it is important to know the parts of your subject to convey a more knowledgeable and realistic art piece. Check out the different shapes (nicknamed) lips can come in, even some that don't have that Cupid's Bow shape. Practice drawing them within the semi-cylindrical surface, this represents the jaw bones and follows the rules of perspective. Just like my guidelines, imagine a line between the mouth’s corners, then everything will be clear. UNDERHAND: Holding the pencil at a 45 degrees or near level to the table with end of pencil under your palm with pencil on the flat side, gives you large shading coverage. You can put out some subtle signals that you’re angling for a kiss without coming right out and saying it. There was this one position that I never drew before and I thought that it would make a cool tutorial because if you really think about it you can’t find this pose anywhere. In the second step start first with the inside outline of the mouth and progress to draw her teeth and tongue. Follow the pictures to learn how the lip shape is formed through 3-dimensional and block lines. Are there any celebrities, family, friends or even your lips that match any of these shapes? Also at the bottom line you have a mouth opened, a snarl, and one perhaps blowing out a candle. As a general rule, the upper lip is usually thinner then the lower (samples in the previous steps give unique lips that don't apply to that rule). When you rotate this picture to the right 90 degrees (clockwise), you get that archer's bow shape. It’s an area where the top and bottom lips intersect, so make sure they have a fair amount of volume. I really had a lot of fun drawing out the concept of this project and I think that they came out beautifully. I have to admit, I didn't know that drawing Mario and Princess Peach kissing was going to be so fun. Make sure you don't forget that since the teeth are under her upper protruding lip that makes the shadow. ORAL (LIP) COMMISSURES are the corners of the lips and are always darker since it's away from the light. The way that their lips are locking really makes it look like that these anime people are in love. ANOTHER TIP: For the profile view, the top lip normally protrudes more than the bottom lip or as much as it. The 3 lips in the lower right-hand corner are sketches of unusually positioned lips, puckering, lick, biting on lower lip. How to meet a british guy in american Promo code javari.co Comments to «Online dating service for free» 1. XAN001 writes: Get sex for totally look past your physique and. 2. 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cd1bb13c-e737-460e-bc31-bb3e24491ef0	{ "cc_dump": "CC-MAIN-2021-31", "dolma2_qc": { "0": 0.9999557733535768, "1": 0.0000642160521238111 }, "exact_duplicates": 0, "lang": { "en": 0.9613921642303468 }, "madlad": { "num_sentences": 79, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1724, "sa_remove_ranges": [], "text_hash": "339168529102293453857114195373139940074", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-07-26T02:37:35Z", "warc_url": "https://www.pressreader.com/uk/the-simple-things/20210421/282054804844746", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.0566624328494072, "__label__education_and_jobs": 0.00942259095609188, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.03964884206652641, "__label__science_math_and_technology": 0.024433093145489693, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.014967083930969238, "__label__politics": null, "__label__social_life": 0.01799621433019638, "__label__entertainment": 0.0229873675853014, "__label__history_and_geography": null, "__label__literature": 0.014513582922518252, "__label__sports_and_fitness": 0.03115382604300976, "__label__travel_and_tourism": 0.020974241197109222, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	The Simple Things In their element EARTH Kanchan Dawn Hunter connects with the soil as a gardener “What I teach is to spend two thirds of your life as close to the earth as possible. If you work in an office, you need to plug into the planet after work. The earth gives us everything we need, but we need to start extracting less and living in balance. We don’t have to go back to the stone age, but we can devise better models. Small changes are easy, I wish people would get rid of their lawns and instead plant pollinators to give back to the creatures that keep us alive. I watch our garden carefully for a decrease in bees and butterflies. I feel so connected to the planet; I hope that we’re going to be fine but I get so upset sometimes thinking about the people being affected by climate change who had nothing to do with making that problem. The majority of my work is focused on our non-profit nursery, Spiral Gardens, where we sell plants to the community at low cost. I’m working with soil, with plants, watering, transplanting and answering questions from people new to gardening. About 10 years ago it dawned on me that plants are the true currency. I think that it’s a revolutionary viewpoint for humans to take because it goes against capitalism. Access to food is a natural right for all living things and it shouldn’t be regulated and monetised. Understanding how to use the soil and learning how to work in collaboration with the natural elements gives us a deeper understanding of life. Gardening and growing your own food and plant medicine is a way of unplugging from a system that, in my view, is totally broken. The big agricultural organisations are such a top heavy, male-dominated model. The people actually doing the heavy lifting and planting on farms like those are eating that produce the least. More women are growing food, especially women of colour, so we’re steering the resources to the communities that need it the most. We’re trying to teach these communities how to grow their own food: it should be taught in schools really. People ask me how I keep working so hard, but it’s the only thing keeping me sane. I am outside all day and I’m sure it’s the soil, the plants, the creatures – they all make me incredibly happy.” AIR Gretchen Kimball navigates the skies as a hot air balloon pilot “When you fly a hot air balloon, you’re surrendering yourself to the elements. There’s something so primitive and simple about it. It’s quite otherworldly, being able to levitate off the ground and to float without really being able to steer, but also having to be very accurate; there’s a sort of mystery to it, you really only have control of up and down. I don’t think I’d have pursued this career if it hadn’t been the family business, but I grew up with it, it was fun, and I was good at it. I tried other careers but a few years ago my brother needed extra pilots and asked if I would come back and fly the small balloons. Sometimes you have to make difficult decisions, but you can’t work from a place of fear. There’s a fine line between what we have control of and what we don’t. You need a tremendous amount of respect for nature, it’s always stronger and smarter than us. Understanding the dynamics and laws of nature allows you to feel humble in its presence. I think that anyone who does extreme sports understands the harmony that’s created when you understand the winds, the atmosphere and gravity. You may not understand it in mathematical form on paper, but you can feel it intuitively. The sensation people have just as you lift off, when they suddenly realise that we’re off the ground and we’re lighter than air, floating away, is actually really tranquil. Passengers sometimes expect more of an adrenaline rush but it’s tranquillity and peace that buoyancy gives you, just floating on the currents. And when you touch back down, everyone realises they’ve just been on a very special adventure. The most wonderful moments are when people tell me it’s something they’ve wanted to do their entire lives, and I’ve made that possible and taken them into a realm they’ve always wanted to experience. Sometimes people joke, ‘You call this work?’ I’m glad I make it look easy!” “You need a tremendous amount of respect for nature, it’s stronger and smarter than us” FIRE Cjay Roughgarden harnesses heat as a welding fabricator “I’m totally a fire person, when I work with it, I feel like I’m in contact with a raw element. It’s a direct bodily experience, when I’m using my own weight to pull against a piece of metal to bend it, or looking at the colour of steel to tell how hot it is. The man who taught me how to weld said, ‘These are the elements on the periodic table, you are manipulating them with light and heat.’ I can’t think of anything more spiritual than that. I’ve always been crafty, but that first time I got to cut through metal with an accelerated jet of hot plasma, I was in love. I’ve done desk work, but I love working with my hands – the outcome is so tangible. I had Lyme disease in my twenties, which affected my capacity to work. Coming into metalwork my first thought was that I probably wouldn’t be able to do it; you walk into a workshop, there’s sparks flying, you don’t know how any of the big tools work. I learned that I could do it, but that I had to pay real attention operating equipment, because these things could kill people. I’ve worked as both a teacher and a writer and found that if you make a mistake, you apologise and then shuffle around looking a little embarrassed. But if you’re operating equipment, no one cares about apologies. You have to own your mistakes, it’s a different type of strength and confidence. It’s not a very healthy job; without a lot of protective gear I’ll come home looking like a chimney sweep. And it’s dangerous: I’ve sat on a hot weld, fallen from a great height and sometimes pieces of steel fly in my eyes and I have to remove them with a magnet. It gets hot wearing a hood and leathers and it’s uncomfortable, but I think most people who are drawn to working in the trades are kind of used to pushing through physical conditions. I’m part of an artist collective called Five Ton Crane. We make large art pieces for Burning Man, an experimental festival in the Nevada desert that showcases huge art installations. I’m one of the only female builders. It’s been a great exercise, as a human being, to get to know myself and what my capacity is. I am very grateful to the group – the women for being so inspiring, and the men for being excited to support us.” WATER Aylana Zanville works the waves as a surfer “I live in Santa Cruz, California – I grew up here and learned to swim before I could walk. The ocean’s cold but exhilarating – you can’t stay out for long but you can surf every day of the year. I moved to Hawaii for a while, around 15 years ago, and discovered that the water was warm and comfortable. I’d always surfed in a wetsuit before that, and I hadn’t realised that women’s swimsuits just don’t stay on when you surf. I was teaching surfing and right next door was a seamstress, so I brought one of my bathing suits to her and asked “That first time I cut through metal with hot plasma, I was in love” her to make a few adjustments; now I have my own brand of swimwear suitable for surfing in (olachica.com). In 2018, I got the right crew together to take over running ‘Women on Waves’, an amateur surfing event. It’s such a positive experience for young girls, less gnarly competition and more supportive. The surfing scene is still a bit of a boys’ club, although I feel pretty welcome, especially here in Santa Cruz, because people recognise me. However sometimes, when I travel, some guys still think a girl can’t surf. I’m not afraid to show them we can! It’s never the same, day to day, that’s what keeps it interesting. Some waves are big and scary and you wonder if you can handle it. But there’s nothing like being barrelled – it’s almost like time slows down when you’re surfing inside the curve of a breaking wave and it’s super peaceful. People tell me I look young and I say, it’s the ocean. It keeps me youthful. It’s such a de-stresser. I have to swim or surf or kite-surf or something. I surf in a helmet now because I was in an accident in Indonesia. The waves were great, but I’d been travelling for 24 hours and I definitely made a couple of mistakes, which is not the way I normally work. As I was pushing myself up to stand, my board dropped away from underneath me and the wave threw me around eight feet down, headfirst into my surfboard. I knew straightaway that I’d broken my nose, blood was gushing down my face. It turned out my cheek was broken, too. I needed plastic surgery and had to stay in hospital. When I eventually got home, I was out of the water for three months recovering. Once I was ready to surf again, I bought a helmet with a retractable faceguard. I felt a bit dorky at first, but I was just so happy to be surfing again, it was like coming home.” This feature was originally published in Oh Comely, issue 49. “It’s like time slows down when you’re surfing inside the curve of a wave” Newspapers in English Newspapers from United Kingdom
9e5f0212-aad1-46de-9d48-577fa324c664	{ "cc_dump": "CC-MAIN-2024-18", "dolma2_qc": { "0": 0.999975323677063, "1": 0.00004467744656722061 }, "exact_duplicates": 0, "lang": { "en": 0.958658754825592 }, "madlad": { "num_sentences": 24, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 581, "sa_remove_ranges": [], "text_hash": "164316984076730002040705912333888540512", "warc_content_type": "text/html", "warc_date": "2024-04-13T18:00:40.000Z", "warc_url": "https://www.visualdomain.com.au/blog/one-day-x-one-eighty", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.275139719247818, "__label__education_and_jobs": 0.04337579756975174, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.01641303114593029, "__label__software": 0.014513582922518252, "__label__software_development": 0.027595279738307, "__label__finance_and_business": 0.11597072333097458, "__label__health": 0.024433093145489693, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.09010298550128935, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.014073628932237623, "__label__transportation": null, "__label__religion": 0.014967083930969238 }, "weborganizer_max": "__label__art_and_design" }	Contact us now An agent is available and waiting to get back to you. Fill in your details below. We received your Request Your video creation request has been sent to the Visual Domain team. An expert producer will contact you soon. One Day x One Eighty 13 August 2020 One Day x One Eighty We are committed to assisting organisations with our One Day initiative. This is an initiative where Visual Domain supports one organisation per month who will benefit from our expertise in video production! Supporting your cause, your voice and your community. To break it down the initiative comprises of providing a worthwhile organisation one day of creative planning, one day of filming, and one day of post production. If you know of a business that should be considered please fill out this form and hopefully we will be able to assist them next! Visual Domain has partnered with One Eighty which is an organisation that fills a gap currently in Australia's current suicide prevention strategy, based in Sydney, run by young people for young people with a vision of a future free of youth suicide. After sitting down with One Eighty and discussing what type of video would be best suited to assist, Lauren Burgueno, Producer and Adam Moorhead, Relationship Manager pitched 3 creative ideas. Initially they all decided on a concept that involved filming with their facilitators in Sydney. Over this time COVID-19 reached Australia and One Eighty decided to post-pone until after lockdown. "Being able to use our skills to make an impact and give back to organisations like One Eighty who are doing so much good in their communities is such a privilege" - Lauren B, Creative Producer However Lauren believed, their message about 'Opening Up' was more crucial during this time than ever so she proposed an idea of animation that would serve the same purpose as the in real life filming. After sharing some examples and assuring the message everyone was on the same train of tough. Lauren fleshed out the script and developed the concept on the video featuring real people to flow throughout the video, Adam then refined the script and shared it with Josh (Legend Animator) to get input on the visuals from the outset. Once the script was approved, Josh worked through the animation and he was focused on trying out a different style of animation that would work well for the concept. Josh then worked his magic with a workshop on a few of the visuals the video was then ready for the client to review. The aim of the video was to create something that showcase One Eight's 'Open Up' program, however on a deeper level communicated the messaged behind the program that are so relevant in this climate and how important it is to communicate with each other and be there to listen. One Eighty were so ecstatic with the video that there were no changes. "Thank you SO much!! We really love it!Thanks for your time and support, we really appreciate it" To find our more about One Eighty and what they do please go to their website. If your business or a business you know might be suitable for our One Day Initiative please let us know and contact us here. One Day x One Eighty Let’s make an amazing video Tell us what you dream about for your video and we will make it happen Get In Touch
5c7a9b13-70ac-42e7-8ae1-629dd89687aa	{ "cc_dump": "CC-MAIN-2024-46", "dolma2_qc": { "0": 0.9999617338180542, "1": 0.00005828888242831454 }, "exact_duplicates": 0, "lang": { "en": 0.9669960737228394 }, "madlad": { "num_sentences": 35, "rule.2": [ 29 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 748, "sa_remove_ranges": [], "text_hash": "238650385391673908648479975442010222377", "warc_content_type": "text/html", "warc_date": "2024-11-01T21:51:19.000Z", "warc_url": "https://www.dailydot.com/irl/bunny-michael-thinx-memes-plagiarism/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.16452647745609283, "__label__education_and_jobs": 0.020342351868748665, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.01169725600630045, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0695517510175705, "__label__health": 0.02162533439695835, "__label__politics": 0.03964884206652641, "__label__social_life": 0.03022458776831627, "__label__entertainment": 0.11597072333097458, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.014513582922518252, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.013646835461258888 }, "weborganizer_max": "__label__art_and_design" }	Artist says Thinx underwear campaign ripped off their memes (updated) Bunny Michael says Thinx was familiar with their work. Nayomi Reghay When period underwear company Thinx released a new campaign last week, artist, musician, and “higher self” meme-creator Bunny Michael was shocked to find that the images resembled their own art. Featured Video Michael, who is nonbinary and uses they/them pronouns, created a side-by-side comparison of the images and posted their concerns to Instagram. Thinx’s photographs feature “doubles” of comedian Ilana Glazer promoting the company’s Crimson line. In one image, Glazer relaxes on the sofa as her body double and triple serve her tea and cakes, all in red underwear. In another image, Glazer forms a massage train with her many selves. In a third image, Glazer embraces herself from behind while resting her chin on her other self’s shoulder. According to Michael, the images closely resemble the signature concept of their own “higher self” memes, in which they use double-exposure portraits to illustrate the relationship to the self. Michael acknowledges that they are not the first person to create “double” photos but found the similarities alarming because Thinx reached out to work with them in April. Michael documented what happened in an Instagram Story. “[Thinx] knew my work, especially in the context of self-care,” Michael told the Daily Dot. According to Michael, Thinx offered them $700 to be a contributor for a book project. Michael said Thinx sent a contract and coordinated a phone meeting, during which Michael shared creative ideas with Thinx employees. But Thinx failed to follow up on the meeting, and when Michael reached out again, they were told Thinx would no longer be doing the book project. The company invited Michael to write a blog for its website instead. “I felt it was kind of shady,” Michael told the Daily Dot. “I wouldn’t have voluntarily given creative ideas to a company unless I knew that they had hired me.” Michael expressed their frustration and Thinx apologized, again offering a blog assignment. Michael did not respond. “It’s an unethical practice that happens all of the time, and the more awareness and more consequences are built around it, the more companies will step back,” Michael said. Since their post about Thinx, Michael has received tremendous support from fans and followers. They said they exchanged messages with Glazer, who had previously reposted Michael’s memes. “She apologized,” Michael said. “She was like, ‘I’m gonna think about this and thank you for posting this.’ She was very sweet and supportive and she always has been.” Michael has been creating double exposure self-portraits since as early as 2015, when they exhibited such portraits in New York City. The artist said they were inspired in 2016 by Evil Kermit memes to create their now widely-shared “higher self” memes, which invert the joke of an “evil self” who encourages you to make terrible, self-destructive choices. In Michael’s memes, the self is instead greeted by a “higher self” who encourages compassion and self-love. Update 6:50pm CT, Nov. 11: Thinx responded to Michael’s accusations via email on Monday. It maintained that the campaign is not a plagiarism of Michael’s work, citing the images with three and four Ilanas as key differences. Of their response, Michael said, “It’s a bummer and I feel gaslighted.” Michael has over 111,000 Instagram followers, including famed astrologer Chani Nicholas and artist Stephanie Sarley, who recently accused Miley Cyrus of plagiarizing her art. Michael has two self-published two books, Me and My #HigherSelf: A Book of Memes to Channel Your Inner Wisdom, and Love Notes from Your Higher Self. “Finding your higher self is a process of remembering who you truly are and remembering your worth,” Michael told the Daily Dot. Michael also noted that they don’t have a problem with others expanding on the “higher self” theme. “I’m totally excited when people come up with their own ‘higher self’ content,” Michael explained. “That’s so cool to me. I love that it inspires other people’s work.” However, Michael added, “When it comes to corporations that are not being forthcoming—especially when their values are supposed to be to uplift people like me, a nonbinary person of color, I embody what they’re saying they support—I feel like that hypocrisy needs to be pointed out.” Thinx and Glazer did not immediately respond to the Daily Dot’s requests for comment.
82d171a2-38c1-472d-bfec-1ec79659a427	{ "cc_dump": "CC-MAIN-2022-05", "dolma2_qc": { "0": 0.9999693632125854, "1": 0.00005069309190730564 }, "exact_duplicates": 0, "lang": { "en": 0.950242042541504 }, "madlad": { "num_sentences": 23, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 749, "sa_remove_ranges": [], "text_hash": "304144928314052292938627010719416706723", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-01-29T02:24:12Z", "warc_url": "https://thefifthestate.com.au/events-tfeevents/awards-event-news/emes-artisan-apartments-scoops-multiple-bdav-awards/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8558611869812012, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.0032830648124217987, "__label__fashion_and_beauty": 0.002810927340760827, "__label__games": null, "__label__home_and_hobbies": 0.4532718360424042, "__label__science_math_and_technology": 0.1778208613395691, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.004208795726299286, "__label__health": null, "__label__politics": 0.004208795726299286, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.002810927340760827, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.04604391008615494, "__label__transportation": 0.0025609128642827272, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Artisan Apartments EME Design has taken out the Building Designers Association of Victoria 2016 Building Design of the Year award for the Artisan Apartments development in Heidelberg in Melbourne. It is the first time a multi-residential project has won BDAV’s top gong, with the project also winning awards for energy-efficient design, multi-residential design and environmentally sustainable design. “The team at EME Design have ‘designed for the future’, creating a true exemplar of sustainable living and ticking all the boxes in a convincing and credible manner,” judging panel chair Timothy Ellis said. “Through features such as carefully detailed building fabric and internal daylighting, water efficient plumbing fixtures and a 20,000 litre rainwater tank, as well as energy-efficient lighting, occupants will benefit from lower running costs and healthier spaces.” The development’s design also ensures high levels of natural cross-ventilation through the relationship between the apartments and common areas. Internal thermal mass, a well-insulated building fabric, framing and shading the glazing to optimise thermal performance, and energy-efficient lighting all contributed to the apartments achieving an average NatHERS rating of 8.6 stars and a STEPS rating of 339.9. “Truly sustainable design is a challenging exercise, as it actually has many dimensions to address: energy and water efficient performance, prudent material usage and durability, social liveability, even aesthetic attractiveness,” the jury citation said. The judges also noted the use of Universal Design principles, including a continuous accessible path of travel throughout the building and pre-planning to ensure adaptability within the apartments if the needs of residents change due to ageing or disability. EME Design also took home another award in the residential design: new houses up to $300K category for its Cathedralette project in Brunswick. The judges said the “budget makeover” of a small cottage using a simple, robust palette of finishes including lime-washed walls and timber ceiling claddings created a “light-filled and airy modern home”. “The home reflects the client’s passion for sustainability, love of nature and Australian materials. It is a brave little building.” Other award-winners also highlighted a growing trend for sustainable design. The Culvert House in Trentham by Maxa Design won the residential design: new houses $300K-500K category. The home has been sited to maximise the outlook and winter solar access and “demonstrates the essence of passive solar design principles”, the jury citation said. Culvert House, Trentham “The design provides the occupants a zero energy and zero water future through low-tech integrated systems, allowing them an uncomplicated lifestyle in a beautiful rural setting.” The Culvert House was also highly commended in the best environmentally sustainable design category “because of the comprehensive and effective steps taken in the design process to address sustainability criteria”. “At a relatively modest capital cost, the Culvert House demonstrates the leading-edge resource management features that reflect best practice,” the judges said. “Energy neutrality and water management self-sufficiency are not only highly appropriate to the Trentham setting of this property, but also point the way ahead for residential buildings in sprawling coastal cities where a large number of Australians live.” The judges also commended the project for its use of local materials, including spotted gum, and an attention to embodied energy, “an initiative that is actually well in advance ahead of national building code considerations.” The judges noted that overall it was gratifying to see how many submissions to the awards recognised the importance of good energy performance as an “integral feature of any building laying claim to design excellence”. “However, many claims for passive solar design and high insulation levels were not supported by solid evidence such as accredited NatHERS energy ratings,” they said. The award for best environmentally sustainable design – non-residential was won by NRG Systems for the Winton Wetlands Hub. The Winton Wetlands Hub “The client brief called for the Winton Wetlands Hub to be environmentally sensitive, technically innovative and socially engaging for the local community. This criteria can actually been read as code for sustainable design in its purest sense,” the judges said. The Hub addressed this design brief in an effective and credible manner, they said. Its “comprehensively worked” sustainability features and its function as a community resource to heighten the awareness of visitors and locals to the significance of the surrounding wetlands and the area’s Indigenous cultural heritage were also said to be “particularly commendable”. • Read the full list of 2016 BDAV Awards winners here Leave a comment Your email address will not be published.
5d4571a1-2a48-4645-8117-9af5207970ac	{ "cc_dump": "CC-MAIN-2019-30", "dolma2_qc": { "0": 0.9999493360519408, "1": 0.0000706907594576478 }, "exact_duplicates": 11, "lang": { "en": 0.9248001575469972 }, "madlad": { "num_sentences": 9, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 126, "sa_remove_ranges": [], "text_hash": "47703651770953011342187405829319314783", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-07-19T08:07:38Z", "warc_url": "http://www.laurakmoore.com/blog/agua-linda-farm-alice-in-wonderland-whimseical-theme-tucson-wedding-photographer-part-one?rq=matt", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.5698626637458801, "__label__education_and_jobs": 0.0004683129664044827, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.009718479588627815, "__label__games": 0.0008395892800763249, "__label__home_and_hobbies": 0.01799621433019638, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.06009664759039879, "__label__entertainment": 0.0018202114151790736, "__label__history_and_geography": null, "__label__literature": 0.010338151827454569, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.06755668669939041, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Matt + Marcy: "Alice in Wonderland" Whimsy & Snapdragons, Agua Linda Farm Wedding \| Part One What do you get when two artists/graphic designers get married? Creative overload; details galore; an "Alice in Wonderland" themed wedding that kept us jaw-dropped the whole day. Flowerbeds. Daffodils and larger-than-life Snapdragons. Pocket watches. Bronze trinkets. Antique chandeliers suspended from ivy. An incredible farm in the middle of Nowhere, Arizona with more sunbeams, butterflies and whimsy than I knew what to do with. (I was positive Anne of Green Gables was going to come out of a nook or cranny and belt poetry at any moment...) Nearly every detail was designed/collected/hand-crafted by the bride and her ensemble of friends and family who helped create this wonderland.
a1b945c5-2d56-4c05-a1b3-08002a6a1860	{ "cc_dump": "CC-MAIN-2021-17", "dolma2_qc": { "0": 0.9999679327011108, "1": 0.00005211485404288396 }, "exact_duplicates": 6, "lang": { "en": 0.9853386282920836 }, "madlad": { "num_sentences": 8, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 145, "sa_remove_ranges": [], "text_hash": "37824525165836256675262535686483631075", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-04-16T12:03:45Z", "warc_url": "https://fatalerror.blog/tag/cennydd-bowles/", "weborganizer": { "__label__adult_content": 0.004915405530482531, "__label__art_and_design": 0.13661839067935944, "__label__education_and_jobs": 0.0229873675853014, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.004341503139585257, "__label__science_math_and_technology": 0.006498271133750677, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.009718479588627815, "__label__health": 0.004208795726299286, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.02596735954284668, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.004765199031680822, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.01244165189564228 }, "weborganizer_max": "__label__art_and_design" }	Listen on Spotify Listen on Apple Podcasts Show Notes I was so stoked to get Cennydd on the show. As a former designer myself Cennydd was always someone I looked up to. Not just because of his design chops, but also because he always came across as a very principled designer. When I looked him up recently in researching guests for the show I was therefore thrilled to see that he’d completely shifted focus to evangelising ethical and future design. My conversation with him did not disappoint. On the practical level we cover some specific approaches to how designers can do their job better from a climate point of view. But we also discuss how these topics can lead to personal burnout and down periods and how to deal with them. Here are the direct links to resources mentioned in the episode: Video Version
245a6709-222e-4d6b-a130-b4d72b87392c	{ "cc_dump": "CC-MAIN-2024-10", "dolma2_qc": { "0": 0.9999806880950928, "1": 0.00003935959466616623 }, "exact_duplicates": 2, "lang": { "en": 0.8991186022758484 }, "madlad": { "num_sentences": 11, "rule.2": [ 10 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 229, "sa_remove_ranges": [], "text_hash": "297271310626003461301241162995620857498", "warc_content_type": "text/html", "warc_date": "2024-03-04T13:32:41.000Z", "warc_url": "https://www.exberliner.com/art/chiharu-shiota-uncertain-journey/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.7981967926025391, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.006107562687247992, "__label__home_and_hobbies": 0.008587487041950226, "__label__science_math_and_technology": 0.04469086229801178, "__label__software": 0.003955406602472067, "__label__software_development": 0.0036036029923707247, "__label__finance_and_business": 0.00507033197209239, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.01972912810742855, "__label__history_and_geography": 0.007587242405861616, "__label__literature": 0.010662510991096497, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	• Chiharu Shiota: Uncertain Journey Chiharu Shiota: Uncertain Journey Shiota returns to Berlin with an installation of red thread that begs to be instagrammed. On through Nov 12 Sun at Blain\|Southern. The Berlin-based Shiota was dubbed the “most Instagrammed artist” by Sleek at last month’s Art Week for a reason. Uncertain Journey, which picks up where her showstopping Japanese Pavillion installation at last year’s Venice Biennale left off, is profoundly complex, utterly beautiful and a total must-see. Bright red thread interlocks hundreds of thousands of times in 3D triangulation, arching down to the hollow iron frames of what could be sunken ships. Awe, confusion, sadness and connectedness are woven into the random yet sophisticated structure, which brings form to everything from neural synapses to the circulatory system, the internet to infinity. In eight pieces upstairs, the same threaded triangles find their way onto canvases and houseshaped metal frames. At this smaller scale, lines and density can be more tangibly contemplated. But ever-lingering is the subconscious terrain of the consuming installation, which, when seen from above on the first floor, is so dense it’s pure red. A video of the installation process, which took 10 people three weeks to complete, will make its way onto Blain\|Southern’s website soon. Uncertain Journey, Sep 17-Nov 12 \| Blain\|Southern, Potsdamer Straße 77–87, Tiergarten, U-Bhf Bülostr.
afa62e3f-93fd-43c5-a0ca-aea18f488fba	{ "cc_dump": "CC-MAIN-2018-47", "dolma2_qc": { "0": 0.9999731779098512, "1": 0.00004681446080212481 }, "exact_duplicates": 0, "lang": { "en": 0.9491480588912964 }, "madlad": { "num_sentences": 27, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 511, "sa_remove_ranges": [], "text_hash": "212037604293641746127262539206359210585", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-11-18T23:15:18Z", "warc_url": "https://www.oakappledesigns.com/product/grotesque-corbel/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6001983880996704, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.00574024673551321, "__label__games": null, "__label__home_and_hobbies": 0.16027602553367615, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.006498271133750677, "__label__history_and_geography": 0.16452647745609283, "__label__literature": 0.003955406602472067, "__label__sports_and_fitness": 0.0026416745968163013, "__label__travel_and_tourism": 0.02518884465098381, "__label__crime_and_law": null, "__label__food_and_dining": 0.004619571380317211, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.004341503139585257 }, "weborganizer_max": "__label__art_and_design" }	Grotesque Gargoyle - Medieval Misericord Carving - Gothic Gift Grotesque Corbel Taken from the ornate carvings found upon the misericords within the choir stalls of Chester Cathedral. This hand crafted reproduction has been produced from a mould taken directly from the original medieval carving and which captures all the fine detail applied by the master craftsmen that carved these in the middle ages, representing a true piece of England’s long history and heritage. Product Description Grotesque Corbel. Taken from the Medieval (C.1380) carvings found upon the misericords and supports from within the choir stalls of Chester Cathedral. This carving from the 14th Century is called Grotesque Corbel and belongs to a category of church and Cathedral carvings known as a Grotesque. Very much like a gargoyle they are ugly little creatures primarily to ward of evil spirits and protect the good citizens and parishioners of the church. The main difference being a Grotesque is often carved from wood and is found on interior decoration, the Gargoyle is found outside made of stone and spouts water from the mouth. A Gargoyle is used mainly used as an elaborate drain exit where excess water from the roof is channelled and poured away. This comes from the French term to gargle. This little man has his tongue stuck out which is one of his most distinctive features, apart from this within the beard there are two smaller faces appearing through is facial hair. This reproduction has been taken from the original carving that captures all the fine detail that is found in the original. Designed to be wall mounted this artefact makes a magnificent and eye drawing focal point in the home. Comes with a hanging hook and product label. Size (H) 12cm x (W) 11cm. This one of our unique and exclusive hand crafted Medieval reproduction carvings. This is a cast replica produced from a mould taken directly from the original carving found within Chester Cathedral, England. We have exclusive permission to take moulds from original medieval carvings from within the Cathedrals & Abbeys of Britain and to then reproduce them for sale. These reproductions are cast from a resin composite and then stained to give the product all the fine detail, feel and authenticity of the original carving. v This is great opportunity to purchase a true piece of England’s Rich cultural History. v Our reproductions are so authentic, copied directly from the original carvings they include all the original cracks & chips from over centuries of use along with wood worm, wood grain and the makers tool marks. Beautifully colour stained and toned they are virtually indistinguishable from the originals. v Our Exclusive & unique range of items make the most perfect & unusual gift for all occasions and one that shows a true thought in choosing from the sender. There are no reviews yet. Only logged in customers who have purchased this product may leave a review. I am currently away until mid-November 2018. Please note that there will be a delay in processing any new orders placed after 9th October. Dismiss
892c2754-6f86-455a-9a43-f631906bed51	{ "cc_dump": "CC-MAIN-2023-06", "dolma2_qc": { "0": 0.9999314546585084, "1": 0.00008855993655743077 }, "exact_duplicates": 0, "lang": { "en": 0.9650075435638428 }, "madlad": { "num_sentences": 45, "rule.2": [ 2 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 863, "sa_remove_ranges": [], "text_hash": "42670115466099709347923209448850555751", "warc_content_type": "text/html", "warc_date": "2023-02-03T22:11:13.000Z", "warc_url": "https://www.umiteasets.com/collections/yixing-tea-sets?page=2", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.29422497749328613, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.01323282066732645, "__label__games": 0.006702851038426161, "__label__home_and_hobbies": 0.2568419873714447, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.004080137703567743, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.004478383809328079, "__label__history_and_geography": 0.020974241197109222, "__label__literature": 0.0038344827480614185, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.008071991614997387, "__label__crime_and_law": null, "__label__food_and_dining": 0.1778208613395691, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	This site has limited support for your browser. We recommend switching to Edge, Chrome, Safari, or Firefox. Valentine's Day: All Items are Free Shipping; Buy 2 Items With 10% OFF. Shopping Cart Your cart is empty Continue Shopping Buy Genuine Yixing Tea Sets from Yixing For centuries, tea master and tea enthusiasts the world over have sought the perfect method of preparing leaf tea. Either as part of a ritual or simply to obtain the best possible beverage, each culture has developed its own art of tea, adapted to its specific lifestyle. Of course, the practice of drinking tea is essentially to enhance and develop the preparation of leaf tea and adapt it to daily consumption. The tea set is best suited to this purpose. Here, then, is an overview of different kinds of Yixing tea sets, some of which are linked to a specific culture or ritual. Yixing Tea Sets Earthenware Yixing tea sets come from the Chinese county of the same name. Thanks to the porous nature of the clay from which they are made, they have the capacity to "remember" the teas that have been infused in them, and so they are called "memory teapots." Objects fashioned from clay date back to the Han dynasty (206 BCE to 220 CE), but it was in the middle of the Ming dynasty (1368-1644), around 1500, that a significant production began. Toward the end of the 17th century, Yixing teapots arrived in Europe. High demand from European clients led Chinese craftspeople to create some of their pieces with them in mind. Yixing is a town in Jiangshu Province, to the west of Shanghai. Famous for the quality of its clay as well as for the incredible creativity of its potters, Yixing still produces tea sets that enjoy a solid reputation in China and abroad. The center of production is in Dingshan, a community close to Yixing. In addition to the small workshops of craftspeople who work entirely by hand, there are large manufacturers who mass-produce tea sets. Yixing purple clay tea sets are particularly suited to the preparation of black, wulong and Pu er teas. YIXING CLAY There are three main types of Yixing clay: zishani (purple-clay), hongni (red-clay) and banshanlu (yellow-clay). The following natural characteristics make Yixing clay a distinctive raw material: • Its malleability, which makes it easy to work with and has allowed craftspeople to develop a technique to make the tea sets entirely by hand. Note that Yixing teawares are rarely formed using a pottery wheel; they are usually shaped by hand. • Its porous quality, which means that a Yixing tea set should only be used for a single family of teas. • Its high concentration of ferrous oxide is easily visible on the surface of the tea set. The clay is made from rocks that are extracted, crushed, cleaned, kneaded and sifted, then mixed together. The colors of the three types of Yixing clay vary according to where and from what depth the rocks were extracted, as well as the firing method used by the potter. The sound made by the teapot when it is tapped gently with its lid is also distinctive and can often be a test of quality. The sound should be clear and metallic. When they are hot, the sides of a Yixing teapot absorb the tannins in the tea, creating a deposit that builds up over successive infusions. This is how the memory teapot acquires its coating. The more the teapot is used, the better it will reveal the wealth of aromas in the teas infused in it. If a Yixing teapot for the gong fu cho ceremony is well made, it will conform to the three-level rule: the tip of the spout and the top of the handle will be level with the rim of the teapot In addition, the lid should fit the opening in the teapot as closely as possible, so it does not move, and the handle and spout should be perfectly aligned. The seal (or signature) of the potter is printed on each teapot. It is usually on the bottom of the teapot or under the lid, and sometimes it is under the handle. About Our Yixing Tea Set Established and founded by tea lovers for tea lovers. Our factory was made to reflect the classic age of the National Yixing Factory, carrying the culture and tradition of this famous tea set to future generations. We aim to make useable tea set that enhances tea drinking with its beauty and function. Insurance of quality: 1. Our Material Our ore is chosen by masters with decades of experience and mined with the best of today's technology, then processed by hand in the age-old ways. 2. Clay Our clay is mixed and kneaded in the traditional way to ensure the quality of the pots. 3. Artisans Our potters are chosen from thousands of applicants. Many of them are prize-winners. No factory has done this since the classic age. 4. Kiln Our kilns use the best of modern technology to ensure consistency and quality of the tea set.
8c3f934e-e9ef-4f24-a3b9-3872f402a3f8	{ "cc_dump": "CC-MAIN-2021-31", "dolma2_qc": { "0": 0.9999566078186036, "1": 0.00006341509288176894 }, "exact_duplicates": 0, "lang": { "en": 0.968072772026062 }, "madlad": { "num_sentences": 28, "rule.2": [ 27 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 749, "sa_remove_ranges": [], "text_hash": "330822842280606604234008649714552384951", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-07-25T20:30:13Z", "warc_url": "https://www.dexigner.com/news/29766", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3702353835105896, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.002261847723275423, "__label__games": null, "__label__home_and_hobbies": 0.1294127255678177, "__label__science_math_and_technology": 0.001108730910345912, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0007654056535102427, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0017107223393395543, "__label__entertainment": 0.0011435691267251968, "__label__history_and_geography": 0.0027249858248978853, "__label__literature": 0.0013770253863185644, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.3557848632335663, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Belmond Mount Nelson Reveals its Guestroom Redesign Belmond Mount Nelson Reveals its Guestroom Redesign Inge Moore and her London-based design team have completed the refurbishment of 48 guestrooms and suites in one of the world's most iconic hotels - Cape Town's Belmond Mount Nelson. The design intent was to recreate the original spirt of the grand old hotel, which opened in 1899 and was said at the time to be as elegant as any fine London hotel, while updating it in such a way to engage today's connoisseur travellers and lovers of exceptional hotels. Inspired by Heritage Capetonian heritage and influences were therefore the foundation to the designers' thinking and this was a narrative that proved to open up layers of design opportunity. Once, seafarers from around the globe discovered the Cape and made it home, embracing what she had to offer and combining this with what they had brought from their previous lives. Local materials, rustic timbers, beads and clay brought together with sparkling crystal, silver cutlery and fine bone china created a new vernacular that uniquely belonged in the Cape. It was this mixing of the old and the new, the refined and the artisanal that Inge has translated into the refurbished guestrooms. Importantly, just as the "Nellie" has always been, the redesigned rooms are comfortably residential in feel. For the many loyal guests who return year-after-year, the ambience of their room will be reassuringly familiar while there will be much to discover that is new and enchanting. "The Mount Nelson is one of a small handful of hotels that epitomise the inheritance and soul of their location, so they must be subtly moved on within the continuum of their beloved personality," Inge commented. Connected with Nature The gardens, lovingly tended and matured over the decades since the hotel first opened, as well as the breath-taking view of Table Mountain mean that Mount Nelson Hotel is the place to contemplate both the majesty of untamed nature and the beauty of man's work with nature. The redesign celebrates both. Windows and casings have been restored and painted white, while the new drapery pelmets are smaller than before, effectively opening up the windows and framing the views. Guests can now better connect with what is outside and take the emotion with them as they relax inside. The bed is the centrepiece of each room, focused on the view and, at the foot of each bed, there is a local 'riempies bank' - the bench introduced to the Cape by the early settlers and locally made. Each room has a "chair to dream in," a deeply comfortable armchair placed at a vantage point to soak up the panorama and allow the guest a place to slow down and feel what is important to them, be it to think, read or just to be. Other heirloom furniture includes dark timber tables and cabinets with brass and leather detailing, while some furniture has been specially designed as a modern take on traditional pieces. There are idiosyncratic pieces, such as a beaded mirror, introduced to balance the collection and ensure the rooms retain an air of light hearted residential randomness. In re-planning the rooms, wardrobe space has become as generous as each room allows to meet the needs of the many guests who stay for a week or more. All materials are classic, timeless and locally sourced. Originally, the hotel had timber flooring. Now, new oak flooring has been introduced into some suites, scattered with rugs crafted by local carpet weavers. Natural leather and linen abounds and antiqued and bevelled mirror reflects the sparkle of crystal and the sunshine dancing through the room. Drapery is soft and calming in tone, locally embroidered with a flower motif to bring a biophilic context - a love of life and things natural and hand-made - to the design. The guestrooms are light and airy on sunny days but they will also be cosy and cocooning when the sea mists and rain roll in. "They are rooms for slow living, a place to nest and connect with one's emotions," says Stan Chan, a senior member of the design team. In the bathrooms, there is classic white and grey marble, sparkling sanitary ware which was locally sourced, elegant chrome taps, and plenty of storage space. The result is wonderfully light bathrooms which feel spacious, have a timeless look and offer a modern sensibility. Photography: Micky Hoyle • Filed under Interior Design • Last updated • 23,578 impressions, 2,227 clicks
87b22680-5822-4528-a677-0cf750bf75a7	{ "cc_dump": "CC-MAIN-2023-23", "dolma2_qc": { "0": 0.9999797344207764, "1": 0.000040280880057252944 }, "exact_duplicates": 0, "lang": { "en": 0.9382265210151672 }, "madlad": { "num_sentences": 101, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1584, "sa_remove_ranges": [ [ 8952, 9637 ] ], "text_hash": "1703789805342318825774328438637032109", "warc_content_type": "text/html", "warc_date": "2023-06-03T16:52:28.000Z", "warc_url": "https://stylesatlife.com/articles/best-house-elevation-designs/", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9124462008476256, "__label__education_and_jobs": 0.0004978571087121964, "__label__electronics_and_hardare": 0.001042230986058712, "__label__fashion_and_beauty": 0.0019367348868399856, "__label__games": null, "__label__home_and_hobbies": 0.4765896201133728, "__label__science_math_and_technology": 0.0004144815029576421, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.0015587612288072703, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0007893660222180188, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.001335022272542119, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Did you know the value of your property depends upon the elevation designs of the space? Yes! Usually drawn to scale, the finished home measurements correspond directly with the architectural drawings’ length and thickness. You will gather information about how your home will look from specific angles with these elevation designs’ help. Know what to expect from your beautiful home with the home elevation designs mentioned in this article before meeting the architect. Best Elevation Designs for Homes With Pictures: This article gives you elevation designs from different angles giving you an idea about the house’s look. Let us have a look. 1. House Front Elevation Designs For A Single Floor: One of the elevation designs for any home is the front elevation. This house front elevation design gives you a perfect view of your home from the entry-level along with the main gate, windows, entrance, etc. Unless strategically built or protruding from your home, the front view doesn’t show sidewalls. The 3d elevations on the building beautify it elegantly. 2. House Front Elevation Designs For A Double Floor: A double-floored building’s front elevation is relatively similar to a simple house except for an additional floor. This is another example of a front elevation that displays all the protruding features of this double-floor building uniquely and perfectly. The small parking space in front of the house is a balcony on the first floor with stylish wall patterns. 3. Elevation Designs For Three Floors Building: Three floored buildings are a common sight in many places. These houses are constructed by people who are not much into apartment culture but still want to incorporate some elements. This G+2 elevation design gives you a clear picture of a three-floored construction in a front view. Although this is a final view, you can always make changes according to your requirements. 4. 3d Elevation Design: If you want to create an elevation of your line properties, then 3d elevation can be a perfect choice. The relation between the building model and elevation is quite evident. Since elevation is a preparation done before starting the construction, you can always update the details reflected in the design plans as per your needs. [See More: East Facing House Plans] 5. House Compound Wall Elevation: A compound wall is a necessary addition to every house that protects your building and imparts beauty to the onlooker’s view. A single flat section covers the area all-around the space looking beautiful and attractive. You can finalize the height of the compound wall according to your need. The entrance and the front view of the terrace are also clearly visible. 6. Bungalow Elevation: Typically, a bungalow has a single story or a partial second one with a cottage style. The beautiful elevation of this bungalow has a flat roof with a protruded chimney-like structure. You can view all the designs in the raw form, giving you an insight into what you are getting. Parts of the buildings look like they are in the blocks creating a unique design. 7. Duplex House Elevation: This is a simple house elevation that is gaining popularity with each growing day. This building’s thoughtful and straightforward designs combined with the neutral grey color work well, tying up all the elements beautifully. A simple parking space is provided in front of the house, which can be altered according to your personal need. 8. Independent House Elevation: Independent houses are constructions that are gaining popularity, especially in the suburbs. But the suburbs doesn’t mean you can’t go all-out in the designing and architectural representations of your home. It is also a design best suited for people who want a stylish look without making too much fuss. Read: Smelling Flowers for Home Decor 9. Ultra-Modern House Elevation: Glass elevation designs are some of the options preferred by many people who want to give your house a stylish and rich look. This design is not only ultra-modern but elevated further by placing attractive lighting. This elevation combines the style quotient with the natural elements tying up all of them elegantly. The addition of a woof in the frontal area is another beauty to look at. 10. Apartment Elevation Design: Apartment culture is multiplying quickly in both urban and rural areas because of all the advantages it offers. This is one of the best elevation designs that give you a preview of how your apartment looks. Not always, but some apartment buildings have commercial shopping spots on the ground floor, elevating the space even more. The design of every floor is quite similar yet looks beautiful. 11. Villa Elevation Design: Having a villa is a dream for many, and it takes a lot of financial investment to realize this dream. Having a perfect elevation plan in place gives you an idea before you make a final choice. This beautiful house elevation combines the look of your house in front and sideways. You can have a clear view of your parking space, patio, and garden area beautifully. [See More: Latest Master Bedroom Designs] 12. Contemporary Elevation Designs: If you are looking for a way to blend modern and contemporary styles into your home’s look, this is one of the best and latest elevation designs you can choose. Although there is only a single floor for residential purposes, a terrace is a cherry on top. You have side and front views of the building, giving you a pretty good idea about how the construction looks. 13. Wooden Front Elevation: This is yet another front house elevation design best suited for people who want to incorporate wood into your home’s exteriors. This two-floored building has a flat roof with doors and décor made out of wood. The addition of a glass railing is an added advantage. You can change the materials used according to your personal choice on each floor. 14. Small House Elevation Designs: Owning a home is a dream for many, irrespective of the size. With the modern techniques at our disposal, you don’t have to go in blind, especially when you want to construct a small home. This beautiful elevation of a small house can be a perfect example of a house’s beauty with its architectural elements and stylish finish. 15. Office Elevation Design: An elevation of your office design is quite different from a residential building since it focuses on a classy and attractive feel rather than focusing on the homely feeling. The rustic and refined design not only encourages you to go to work with much-needed enthusiasm. There is always a separate parking space provided for the employees in such areas. 16. Minimalist House Elevation: Minimalist house elevation design has become popular in recent times due to multiple reasons like budget and environment. These home designs are simple, spacious, light-filled and attractive. In general, minimalists follow the concept of “less is more”; they prefer fewer colours, simpler detailing, simple finishes and fewer decorations. If you are a minimalist, this house elevation design is for you. [See More: How Many Types of Elevators are There] 17. Narrow House Elevation: Narrow house elevation designs are popular because urban areas are densely populated, and house lots are scarce and expensive. If you live in an urban area and are looking for narrow house elevation designs, here is the best and most modern house elevation design with car parking for you. 18. Stone Front House Elevation: If you are thinking of stone cladding on the front elevation of your house, go for it without a second thought, it may be expensive compared to common designs, but this stone house elevation design will give your house an attractive look and make your house unique. Whether the stone is granite, sandstone or slate, any natural stone wall elevation for the home will give you an evergreen look and showcase your taste. Here is the best stone front elevation house design for you. 19. Kerala House Elevation: If you want to build your dream home in Kerala house model then this house elevation design is for you. Kerala house elevation designs look modern and their sloping roof designs maximize natural light in the house. Generally, Kerala houses are very spacious, well ventilated and very comfortable to stay. They are not only comfortable but also built to suit the weather conditions. Their traditional architectural styles can withstand extreme heat and even rain. [See More: Best Staircase Design Ideas] We all have a dream to live in a beautiful home. The elevation designs give you an idea about what to expect both inside and outside your house. Do your homework before meeting your architect with the help of some beautiful home elevation designs from the front, side, rear, and split, helping you make the final choice without any hesitation. Don’t forget to let us know how this article has helped you
5d88ae38-4cb8-4b5c-b3ec-47225004060c	{ "cc_dump": "CC-MAIN-2019-18", "dolma2_qc": { "0": 0.9999250173568726, "1": 0.00009498657163931056 }, "exact_duplicates": 0, "lang": { "en": 0.9438216090202332 }, "madlad": { "num_sentences": 51, "rule.2": [ 26 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1401, "sa_remove_ranges": [], "text_hash": "220566670148647636230889403759961926097", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-04-21T04:09:26Z", "warc_url": "http://www.biscaynetimes.com/index.php?option=com_content&view=article&id=1443:hide-the-elevators-&catid=50:community-news&Itemid=223", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8175845146179199, "__label__education_and_jobs": 0.006498271133750677, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0191340371966362, "__label__science_math_and_technology": 0.010662510991096497, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.003717252518981695, "__label__health": 0.0071314298547804356, "__label__politics": 0.005394937004894018, "__label__social_life": 0.0038344827480614185, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.0038344827480614185, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0026416745968163013, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	The Biscayne Times Apr 21st Hide the Elevators PDF Print E-mail Written by Helen Hill - Special to the BT April 2013 The concept of Active Design in architecture comes to Miami A ActiveDesign_1few years ago the message “You are where you live” alluded to the sophisticated lifestyles offered by new condominium developments. Now the concept of “Active Design,” integrating architecture, planning, and personal health in cities, neighborhoods, and individual buildings, takes living well to a whole new level. The Center for Active Design in New York evolved as a response to the current public health epidemics of obesity and related chronic diseases. By increasing opportunities for daily physical activity and healthy eating, urban designers can play a crucial role in preventing and controlling these problems. For example, did you know that just two additional minutes of stair-climbing a day -- about six floors -- can burn enough calories to offset the average U.S. adult’s annual weight gain? Studies indicate that improving access to places for physical activity can result in a 25-percent increase in the number of people who exercise at least three times a week. ActiveDesign_2In New York City, strategic improvements to public spaces resulted in a 161-percent increase in the number of people who walk and bike regularly. Active Design also offers an economic benefit by reducing long-term operating costs through increased energy efficiency. When people choose stairs over elevators, bikes instead of cars, or physical activity instead of screen time, they burn calories instead of electricity and carbon fuels. The three-year-old guidelines for Active Design are the product of a collaboration between the American Institute of Architects, AIA New York, New York City agencies like the Department of Health, private-sector architects and developers, and academic partners. In the big picture, urban design strategies create neighborhoods, streets, and outdoor spaces that encourage walking, bicycling, and recreation. In new residential and office buildings, the placement and design of stairs, elevators, and indoor and outdoor spaces sets the scene for active living. Many of the guidelines’ strategies can be applied to existing buildings as well. These include unlocking the doors to stairwells so people can walk up and down. (Implementing a key card or code system for security is suggested; fire doors, which usually inhibit easy access, can be redesigned to open and close when required in an emergency.) Getting people to use the stairs can be as simple as making the environment more appealing with paint, artwork, and visible signage. Biking becomes more desirable when there are designated places to securely store bikes, while safe recreational spaces invite children’s play. The community as a whole can enjoy growing fresh, healthy herbs and vegetables in roof-top or street-level gardens. While the exercise facilities and social rooms recommended by the guidelines are already featured in most Miami multifamily buildings, other ideas may take a while to fly in Miami. Active Design is still new here, and its guidelines have yet to be formally adopted. Designed for northern climes, they may need some adaptation to South Florida’s tropical climate and different recreational opportunities. ActiveDesign_3Rick Bell, executive director of the AIA New York Chapter’s Center for Architecture and a conference organizer for the Center for Active Design, says that Miami’s great advantage is an extraordinary climate that allows for outdoor activities year-round. “Physical activities become part of everyday life instead of only at weekends,” he notes. “Exercise is more than a treadmill or stationary bike in the bedroom.” Bell believes that single-family neighborhoods function better as mixed-use communities, with clusters of stores and places to get a cup of coffee or a snack. “Nobody is going to walk two miles to get a bagel, but half-a-mile is doable,” he says, adding, “communities should have shaded benches for resting and perhaps contemplative mini gardens and other amenities to make walking pleasurable.” Bell was a featured speaker at a recent event held downtown at Miami-Dade College’s Wolfson Campus. Organized by the Miami chapter of the AIA, the panel brought together Bell; Dr. Karen Lee, director of the Built Environment and Active Design Program for the New York City Health Department; Karen Hamilton of the South Florida Regional Planning Council; David Weller, Miami-Dade Metropolitan Planning Organization; and Karen Weller, RN, director of Community Health and Planning, Miami-Dade Health Department. Moderator Bernard Zyscovich, head of Miami-based Zyscovich Architects, had a special interest in the topic, as his firm designed the new classroom building on the Wolfson campus. This is the first local project to incorporate Active Design guidelines and be recognized by the U.S. Green Building Council for an “Innovation in Design” credit, awarded for “exemplary performance” in green design. “We accepted the challenge to incorporate the Active Design guidelines because of an even bigger challenge to our community -- young people in Miami and South Florida have a statistically higher rate of obesity and related health issues than most other areas of the country,” says Zyscovich. “This issue requires both education and action, therefore a student services and classroom building with a variety of functions, including a fitness center and food service, provided a wonderful opportunity to make a difference.” Building #8 on NE 2nd Street blends well with the original 1960s building across the street, and is compatible with other Miami-Dade College buildings that rely on the use of durable, low-maintenance, pre-cast concrete panels. However, the material is used more creatively here, with panels moving in and out on different levels, creating street-facing walls with implied movement. At the ground level, the line of pre-cast concrete undulates above an uninterrupted glass wall and makes the building appear to hover above the ground. Windows on upper floors are not uniform, but expand where there is a significant interior public space. “College-age students appreciate buildings that allow them to feel a part of their environment -- in this case, a vibrant campus in an international city,” says Thorn Grafton, director of sustainable initiatives at Zyscovich Architects. The building’s transparency rises with the light-flooded main stairway, which anchors the space directly adjacent to the entry doors. The open stairway is designed as a sculptural element, to encourage students to walk up and down and enjoy social engagement and views of the urban campus. The elevators, per Active Design guidelines, are intentionally less prominent, located in the rear corner of the building. Another innovative design feature takes education out of the confines of the classroom: Extra-wide upstairs hallways have small “break-out” alcoves with tables and chairs, so students can work together in groups or study on their own. Coding constraints meant the main, open staircase could only service the first four of the building’s seven levels, so it was decided the building’s enclosed fire stairs would take over for the last three levels. To meet the Active Design guidelines, these fire stairs have windows offering rooftop views and glimpses of cruise ships at the Port of Miami. Signage encourages users to continue on the stairs all the way to the fitness center at the top level. Some changes were made to plans at the request of the college. Exterior spaces created by the building’s undulating façade, originally planned as balconies, were later modified to become inaccessible, roofed areas, and a proposed running track on the building’s roof did not meet budget requirements. Looking to the future, Miami is joining progressive cities across the nation growing their transportation choices. A bike-share program -- following on Miami Beach’s successful program ( two million rentals in not quite two years) -- and an increase in pedestrian investments will help to implement some of the basics of Active Design. AIA Miami is working with partners to create the first “FIT City Miami Forum” later this year, with a full day of programming that it hopes will raise the visibility of Active Design practices here. See centerforactivedesign.org/conferences. Feedback: This e-mail address is being protected from spambots. You need JavaScript enabled to view it Art and Culture ArtFeature_1Little Haiti artist Eddie Arroyo heads to New York Art Listings Events Calendar bigstock-Big-Funny-White-Pelican-Portra-288760279Sales, special events, and more from the people who make Biscayne Times possible Picture Story Pix_PictureStory_4-19A view of our past from the archives of HistoryMiami Community Contacts
ee05d0ad-a668-40bc-9424-d20e0f355909	{ "cc_dump": "CC-MAIN-2024-22", "dolma2_qc": { "0": 0.9999624490737916, "1": 0.00005762089494965039 }, "exact_duplicates": 4, "lang": { "en": 0.9412722587585448 }, "madlad": { "num_sentences": 13, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 234, "sa_remove_ranges": [], "text_hash": "65178100317451782720556533959427696034", "warc_content_type": "text/html", "warc_date": "2024-05-28T15:44:21.000Z", "warc_url": "https://www.ambermariephotography.co.uk/wedding-photography/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6791887283325195, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.3557848632335663, "__label__games": null, "__label__home_and_hobbies": 0.0566624328494072, "__label__science_math_and_technology": null, "__label__software": 0.006913838442414999, "__label__software_development": null, "__label__finance_and_business": 0.001042230986058712, "__label__health": 0.0008930459152907133, "__label__politics": null, "__label__social_life": 0.23371636867523193, "__label__entertainment": 0.003955406602472067, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.004478383809328079, "__label__travel_and_tourism": 0.010023568756878376, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Wedding Photography Whether it’s a wedding, an engagement shoot or a mini-portrait session; great photos tell stories for generations. I want to capture beautiful and natural photos that can be cherished by you, and cherished by those that love you. I want you to really enjoy the time you spend with me. Whether that’s on the day itself, or in the run up to your shoot. If you’re feeling at ease and enjoying yourselves, that shines through in your photos. 73 73 I’m a big believer that your photos should be about your wedding day, and that your wedding day should not be all about photos! That’s why I shoot in a mostly documentary style, capturing natural moments as they happen. In the run up to a wedding day, I’ve got lots of useful advice for how to plan your photos into your schedule. This comes with a guide on how much time to allow, so that you aren’t feeling rushed, along with suggestions for what time of day will give us the prettiest light whilst fitting in to the natural flow of things. So first things first, you're enjoying your wedding day and catching up with your loved ones. Secondly, you’re relaxed. Next, we’ve found great light. And ultimately, you’re going to have beautiful photos that tell the story of an amazing day.
3c6bf398-82d8-42b0-8709-8a0feb3a157b	{ "cc_dump": "CC-MAIN-2024-18", "dolma2_qc": { "0": 0.9999679327011108, "1": 0.00005208638322073966 }, "exact_duplicates": 0, "lang": { "en": 0.9228514432907104 }, "madlad": { "num_sentences": 53, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 964, "sa_remove_ranges": [], "text_hash": "324391704480334350179151291826210050755", "warc_content_type": "text/html", "warc_date": "2024-04-14T00:22:33.000Z", "warc_url": "https://phpinfo.in/3-essential-design-trends-october-2018/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8479777574539185, "__label__education_and_jobs": 0.005921069998294115, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.007825888693332672, "__label__games": 0.005921069998294115, "__label__home_and_hobbies": 0.02844603545963764, "__label__science_math_and_technology": 0.014513582922518252, "__label__software": 0.0695517510175705, "__label__software_development": 0.11921291798353197, "__label__finance_and_business": 0.014073628932237623, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.008071991614997387, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Sunday, April 14 3 Essential Design Trends, October 2018 This month’s trends have something in common: You’ve probably seen all of these ideas before, maybe just presented in a slightly different way. Designers are returning to dark backgrounds, large headers and cards to encourage engagement, and get users interested in content on the screen. Here’s what’s trending in design this month: 1. Dark Backgrounds It seems like designers were focusing on light, white minimal styles for a long time, but that era is starting to end. Dark backgrounds are making a comeback in a big way. Dark backgrounds provide a design opportunity quite different from white Maybe it’s the idea that cooler weather is coming. (Many of these dark backgrounds do have a cool feel.) Or maybe it’s just a shift in order to try something different. (Dark backgrounds provide a design opportunity quite different from white.) Either way, it’s a trend that needs to stick around for a while. Dark backgrounds can be used in so many different ways – and each presents an opportunity to create something in an entirely different way. • Black, flat background: A simple black background creates a wide open canvas. Denys Loveiko uses a black background to set the tone for animated elements and clean white typography. It’s sharp and easy to engage with. • Dark color background: Atlanta Brewing Co. uses a dark background with blue tones to emphasize its brand color and highlight the bright product designs. What’s nice about a dark color is that it is a little softer than a flat black background. • Dark color overlay background: While much of this trend does focus on single color backgrounds, an image overlay is just as effective. Here the dark background provides an opportunity to meet the men who are the subjects of the website but with room to feature elements such as text, a logo and call to action. 2. Heavy White Headers While some designers are going all in with dark backgrounds, there’s still a lot of white space trending. Heavy white headers are replacing all white designs though. This trend is exemplified by almost oversized headers that take up nearly half of the first screen, followed by other elements with more color, images or video. a great way to create a minimal style and use high-value imagery at the same time It’s a great way to create a minimal style and use high-value imagery at the same time. The white space does a great job of creating an easy first impression that gives room to branding and key messaging, while there’s something a little more engaging to look at beyond the initial glimpse. This design style encourages scrolling. Most of these designs split the screen in such a way that the users sees the heavy white header and a portion of the next level of content at the same time. Each of the examples below uses this technique in a slightly different way: • Anchour uses a heavy white header that encompasses about two-thirds of the screen with a significant text block. What’s important to note is the use of the graphic to point users up to the information above. This key directional helps ensure that website visitors look at the headline and text first, then scroll. • Ascend uses a half screen of white space to tell you what they do with two calls to action (based on which part of the audience you are from). Below is a full-screen video that shows the school in action. It’s a fun way to tell the story without overwhelming users with too much information at once. • 45royale takes another approach with a heavy white header followed by image tiles on a white background. The header still contains a logo, navigation and text block that highlights why users have come to the website. The text block at the top is oversized and has plenty of room around it, so that it’s easy to focus on. 3. New Application for Cards Card-style interfaces got a lot of attention as Material Design was beginning to take off but kind of fell of the radar for a while. Cards are returning to projects again, but not in the use-them-for-the-whole-design kind of way. These cards are somewhat smaller and designed for specific interactions. What’s nice about cards is that they do a good job of directing users to do something. When designed well, a card almost demands that the user click or tap it, making them a great tool to convert CTAs or aid navigation. • Manhattan Miami uses cards as calls to action for different types of users. The homepage features three cards, each with an action for a different segment of the audience. They are simple but attention grabbing because of the layered effect from the background. • Day of the Dead uses mini cards throughout the design to direct attention (note the arrow on the orange card to the links to the right of it) and provide additional information. Each tiny card includes a hover animation that further encourages clicks. • Malka uses cards in a different way altogether. The four cards at the bottom of the screen are actually navigation elements. The card that relates to the video reel that’s actually playing pops up a little higher and turns yellow. Users can also change cards (and video on the screen) by moving to the appropriate card. I love new takes on classic design elements. That’s what this month’s design trends captures. And any of these techniques is pretty easy to incorporate into projects (always a bonus). Source: Webdesignerdepot.com 0 0 votes Article Rating Notify of Inline Feedbacks View all comments Would love your thoughts, please comment.x
3b9847d4-3ce7-44b6-88af-f8c8288091e6	{ "cc_dump": "CC-MAIN-2021-17", "dolma2_qc": { "0": 0.9999394416809082, "1": 0.00008058484672801569 }, "exact_duplicates": 2, "lang": { "en": 0.9744784832000732 }, "madlad": { "num_sentences": 21, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 430, "sa_remove_ranges": [], "text_hash": "45762136589066647034598987875061367345", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-04-15T04:18:47Z", "warc_url": "https://educationfounda.111mb.de/online-art-lessons/how-do-online-art-classes-work/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.5078218579292297, "__label__education_and_jobs": 0.4532718360424042, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.0038344827480614185, "__label__home_and_hobbies": 0.03733688220381737, "__label__science_math_and_technology": null, "__label__software": 0.004341503139585257, "__label__software_development": 0.1968362182378769, "__label__finance_and_business": 0.04469086229801178, "__label__health": 0.02162533439695835, "__label__politics": null, "__label__social_life": 0.01323282066732645, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.15611489117145538, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	How do online art classes work? First of all, they’re pretty boring. But they’re also incredibly useful. What to pay for a 3-week art class: $50 for two hours. $95 for three hours. Where are the art classes at? Every single one of the art classes we run is online. There’s only a handful of classes that are being taught in person (and only a few of the classes that will be being taught in person). Which art classes do I need? You should go to a class that can help you develop a good relationship with your clients or make you have a positive impact in the lives of your clients. You can find classes that will make a big impact, but don’t feel intimidated by taking a class that might not be the best fit for you. A good rule of thumb for determining if a class will be the best fit for you is to look at how much time you need to spend on each work item and see if that’s comparable to other types of work that you currently do. As you start working in your studio, you’ll realize less and less that what you’re used to is a good fit with the space. If you go to a class that’s about an hour long and not that involved, don’t worry too much about how long it takes you to do the work. You’ll probably have the time in the next few weeks to do the project, so you really don’t have to worry about it. Here’s a good chart of what we look for in each art class: How many hours should I spend on each work item: This is kind of a weird one. It’s really simple to get people to spend more time in the program, but what does it really mean? Well, what it means is that they really really want to learn how to draw and paint, and they’ve either been at that level and haven’t moved on or are really struggling or in college and just want to help with a project that they had previously taught someone how to do. The trick is making all of the information available in the online art classes so that students can learn to practice and practice and practice. There are only a handful of things that will increase the chances of them having good results in the online classes, so they need to be as efficient with their learning as possible. The most important thing you can do is make
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BEARDSLEY \| The Toilet of Helen, original ink drawing for Savoy, 1895. BEARDSLEY \| The Toilet of Helen, original ink drawing for Savoy, 1895 Margin Scheme 30,000 - 50,000 GBP BEARDSLEY \| The Toilet of Helen, original ink drawing for Savoy, 1895 BEARDSLEY \| The Toilet of Helen, original ink drawing for Savoy, 1895 30,000 - 50,000 GBP Lot sold: 'The Toilet of Helen' 247 by 173mm. (sheet 253 by 178mm.), fine pen, brush and Indian ink drawing, unsigned, white wove paper with single pin hole at each corner, paper hinges on reverse The Savoy was a periodical published by Leonard Smithers in 1896. Smithers – seeking to distance the publication from any connection with Oscar Wilde – introduced the first issue with the statement “We are not Realists, or Romanticists, or Decadents". The first number – dated January 1896 – included the first three chapters of ‘Under the Hill’ (subtitled ‘A Romantic Novel’) by Aubrey Beardsley and was accompanied by three illustrations of which this is one. It accompanies the second chapter. It appears that Beardsley first informed Smithers on 7 November 1895 that ‘the Toilet scene goes splendidly though I’m afraid it can’t possibly be got through with till Saturday night’. Around three days later Beardsley had still not finished for he wrote ‘…the Toilet is going really grandly but there is such a heap of work in it. It will be finished tomorrow and that will include a night’s work’ (see Letters, 1970, pp. 103-104). As Linda Zatlin notes in her catalogue raisonné of Beardsley, ‘…the “night’s work” produced a drawing bursting with an abundance of detail – one reason it took longer’. Zatlin notes that Max Beerbohm specifically referred to this picture when he complained about Beardsley’s ‘plethora of exquisite inventions’. Zatlin suggests that ‘…it was as if Beardsley could deny his weakening body by producing copious details’. Early criticism found Beardsley’s imagination at times horrific. The New York World stated that Beardsley’s '…mind lingers, snuffling and sniffing things from which most of us turn away in disgust. The most remarkable of the three pictures is that of the Princess Helen at her toilet. Helen herself is a disordered dream. Several wan horrors in female form attend her. Two monstrous dwarfs are fighting in a corner' (16 February 1896, p. 2). Critics have found the large figure on the right, Mrs Marsuple or Priapusa, to be of particular interest. Edward Hodnett in Image and Text (London, 1982) suggests that it is a portrait of Oscar Wilde. Zatlin claims that ‘…this drawing inspired twentieth-century literary and visual work. The flamboyance of Helen’s dressing-room, the candles and her jewels in this drawing… are mirrored in the elaborate wording of the ‘Game of Chess’ section in T.S. Eliot’s The Waste Land’ and ‘…Mrs Marsuple may have been a source for the obese seated nude with an aquiline nose and hatchet profile resting on layers of fat that obscure her chin in Otto Dix’s Drei Weiber…’ This drawing was last recorded in a Berlin bookdealer’s catalogue in 1918. It seems likely that it was purchased from the bookdealer, Paul Graupe, by Max Morgenstern, who travelled widely in Europe on business. Small wonder that at the same time he indulged his passion for rare books by visiting establishments such as Graupe's. Born in 1883 in Moravia, then part of the Austro-Hungarian Empire, Morgenstern made his fortune by building up his father’s textile mill in Bielsko-Biala in Poland and became an award-winning and world-renowned manufacturer of high-quality worsted cloth. In the early 1900s, he began collecting works by Alfred Kubin (he would become the artist’s first patron and a lifelong friend) and compiled a magnificent library of over 1,500 rare books, many of which were bound by the famous Wiener Werkstätte, a productive cooperative of artisans in Vienna, which was regarded as a pioneer of modern design. His library included several books illustrated by Beardsley and a copy of Beardsley's Letters to Smithers (Chiswick Press for the First Edition Club, London, 1937). Family photographs show Morgenstern in Berlin around 1918. It was in Berlin that he met Hertha Israel and the couple married in 1922. They would establish their family home in Wattmanngasse in Vienna. As Morgenstern’s business continued to prosper in Bielsko, Max and Hertha’s two sons were sent to England for their education, while the couple enjoyed entertaining members of the Viennese intelligentsia and artistic circles at their house in Wattmanngasse. Their art collection, which largely consisted of works by Viennese Secession artists and beautiful Wiener Werkstätte furniture, provided a wonderful and impressive environment for their illustrious guests. With the Anschluss in 1938 the Morgensterns were forced to flee. Hertha Morgenstern escaped from Vienna and, a month later, Max left from Poland. They managed to join their sons in England and eventually settled in Bradford in Yorkshire. The Nazis seized many of the Morgenstern’s possessions although, in 2019, sixteen works by Alfred Kubin were restituted to the heirs of Max and Hertha Morgenstern. The Morgensterns managed to escape with a handful of pieces from their art collection, including some works by Kubin and this drawing by Beardsley. It is Sotheby’s honour to present Beardsley’s drawing – last seen in 1918 - from such a prestigious provenance. Linda Zatlin, Aubrey Beardsley: a catalogue raisonné (New Haven, 2016), number 1000. Reproduced: Savoy, number 1 (January 1896), p. 161; Book of Fifty Drawings (1897), p. 179; Later Work (1901), number 121; Under the Hill (1904), between pages 12 and 15; Best of Beardsley (1948), plate 79; Reade (1967), plate 424 Leonard Smithers; [unknown owner]; [?Fritz Waerndorfer]; [?Lily Waerndorfer] (by 1911); Paul Graupe (German Bookdealer) Catalogue (1918); Maximilian (Max) and Hertha Morgenstern, thence by descent to the present owners Exhibited: London, 1914 some minor browning, minor browning and minimal surface abrasion to lower right corner, some minor spotting
57f2984b-d775-4af4-9930-ddb89ba987e3	{ "cc_dump": "CC-MAIN-2018-13", "dolma2_qc": { "0": 0.9999173879623412, "1": 0.00010257253597956152 }, "exact_duplicates": 0, "lang": { "en": 0.9422160387039183 }, "madlad": { "num_sentences": 14, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 225, "sa_remove_ranges": [], "text_hash": "240053294576599729225483949891783183515", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-03-24T15:57:25Z", "warc_url": "https://ileanaprosperholman.com/2018/02/24/venus-art-pyrography/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8991314172744751, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.1824355274438858, "__label__science_math_and_technology": 0.00507033197209239, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.01641303114593029, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0005627787322737277, "__label__history_and_geography": 0.0008659008308313787, "__label__literature": 0.0008140857680700719, "__label__sports_and_fitness": 0.00048285454977303743, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.0071314298547804356, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.0006562031921930611 }, "weborganizer_max": "__label__art_and_design" }	Venus and the Art of Pyrography Posted on Botticelli’s Birth of Venus painting was the inspiration for my latest experiment in watercolor, water-soluble graphite and white Conté. Her name is Venus Rising. This image was also the inspiration for a drawing I made a while back on birch wood… …which I will use to explore the art of pyrography. I’m planning to experiment on a small piece of basswood first, so I don’t just dive into it and botch her up. For starters, I bought The Art & Craft of Pyrography. I also ordered a wood burning kit, recommended for beginners and reasonably priced at $22.09 (with Amazon Prime). While doing research I learned that certain woods, like plywood, contain formaldehyde and can cause asthma or increase the risk of nasal and sinus cancer or other serious illnesses. Apparently birch, basswood, maple and Italian poplar are better choices. To be safe, a dust mask and gloves when sanding the wood is highly recommended. The Sawdust Connection has a great info page if you have any concerns about which woods to use/not to use and safety tips on sanding and burning. Pyrography is a beautiful art, and it’s important to know how to do it safely. Happy burning! 2 Replies to “Venus and the Art of Pyrography” Any thoughts? I'd love to hear from you!
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Your home, an intimate extension of self, becomes a canvas capturing the subtleties of your essence. As connoisseurs of residential interior design in Singapore, our nuanced approach ensures each project is an embodiment of tailored sophistication. Delving into the artistry of home interior design, our team of interior designers seamlessly transforms visions into curated realities. Rooted in a delicate palette of pink hues, greys and cosy neutral furnishings, this quaint dwelling exudes the essence of Scandinavian and Farmhouse design with its’ casual elegance. A clean base of earthy tones with pops of greenery flows through the Modern Colonial interior design of this stunning family dwelling. Reflecting a classic allure, the abode boasts a curated concoction of cosy furnishings and elegant marble-grained surfaces, contrasted by walnut wood textures. From compelling shapes to textures, the Contemporary French interior design of this abode strikes a captivating balance between the hard and soft. Complemented by a multitude of colours, the ambience of this home is filled with a phenomenal sense of serenity and refined living. Our work speaks for itself, now hear what our clients have to say. • A Comfortable and Perfect Home We have decided to renovate our new unit and took up my sis in law’s recommendation to engage ID Yen from The Interior Lab who had done up the renovation for her, after listened to her positive feedback. We would like to thank Yen for taking her time to active listening to our requirements and raised questions. To help us to gain deeper insight on our needs. After clarification, she is willing to give her professional perspectives towards the overall design concept and guided us throughout the duration. We would like to thank her for accompanied us to select the type of materials, lightnings, furniture and fixtures that will best bring out the best for our new home. Despite the final 10% is delayed due to the COVID-19 situation, we are pleased with the quality of the workmanship. Besides knowing a profession, we have come to know a new friend whom we can shared our dream and perspective. Thank you, Yen, and TIL for making our dream house come true. – David Jedidiah Goh • Timeless Classic And A Job Well Done! Vincent was resourceful and very helpful in recommending the wide range of material options along with the price difference. He clearly understood the design concept that I put across. I was really busy at work, so I whole-heartedly entrusted this renovation process onto Vincent and The Interior Lab team. Even so, the constant update and communication made me feel included and that assurance in Vincent’s good judgment and honesty helped to take a load off my mind. I wanted a modern oriental home of a timeless quality that was significantly unique on its own and different from other oriental homes, and Vincent successfully helped to realize that dream for me. Even though the timeline was demanding and this interior project was quite challenging, The Interior Lab team managed to piece everything together in due time and they achieved it with such smooth professionalism and high efficiency. – Linus Loh • Great Results, Personable, Creative Matty has worked with us on several projects over the past 10 years including the recent project in 2019. She is very creative in her use of colors, patterns and textures, and we love the results! Matty also has a great network of specialists, so she can pull together large projects as well as small. Matty have a fun personality. I would not hesitate in recommending Matty for all interior design needs. – Gary Yeo
8e5b7e07-bc33-40b3-a688-3f363cd79180	{ "cc_dump": "CC-MAIN-2021-10", "dolma2_qc": { "0": 0.9999747276306152, "1": 0.00004526659904513508 }, "exact_duplicates": 4, "lang": { "en": 0.9628589749336244 }, "madlad": { "num_sentences": 7, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 168, "sa_remove_ranges": [], "text_hash": "94278245815736876274635246839860907426", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-03-08T09:42:18Z", "warc_url": "https://store.sca.coffee/products/coffee-milk-blood", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.2689514458179474, "__label__education_and_jobs": 0.01323282066732645, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.007587242405861616, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.01283121295273304, "__label__health": 0.006107562687247992, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.02596735954284668, "__label__history_and_geography": null, "__label__literature": 0.21734751760959625, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.007587242405861616, "__label__crime_and_law": null, "__label__food_and_dining": 0.08757384121417999, "__label__industrial": 0.029322227463126183, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	SCA Members receive 20% off storewide. Click here to learn more. Coffee Milk Blood Coffee Milk Blood A stunning new book by Vava Angwenyi released as a limited edition die-cut cover. As described by the author: "Coffee Milk Blood is a project and book inspired by my own experience as an African woman in the industry. The theme of the book touches on appropriate storytelling and depiction of producers - how we want to be seen beyond the coffee, beyond the dirty hands that pick the cherries and till the land, who are we as Women who work in this sector beyond our work? The African woman, the culture of the place as well as underpinnings of Colonialism that are the structures we still operate within in our industry. The book of which we have released a main version and limited edition will be a tool the industry needs especially challenging the visual context we often see of coffee producing countries and the faces behind the coffee."
8d63b91e-7d8b-47ac-aacb-dd59d09dac31	{ "cc_dump": "CC-MAIN-2020-10", "dolma2_qc": { "0": 0.9999268054962158, "1": 0.00009322455298388375 }, "exact_duplicates": 4, "lang": { "en": 0.9353488087654114 }, "madlad": { "num_sentences": 41, "rule.2": [ 2, 5, 31 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 848, "sa_remove_ranges": [], "text_hash": "38634142468276284892138576912783892050", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-02-22T14:03:10Z", "warc_url": "https://www.ucca.org.cn/en/lab/2018-huawei-next-image-awards-enter-paris-photo/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9914325475692748, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.01591639406979084, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.011341754347085953, "__label__software": 0.006299902219325304, "__label__software_development": null, "__label__finance_and_business": 0.010996942408382893, "__label__health": null, "__label__politics": 0.00574024673551321, "__label__social_life": 0.006299902219325304, "__label__entertainment": 0.006107562687247992, "__label__history_and_geography": 0.007825888693332672, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.008857354521751404, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Grand Palais, France The “2018 HUAWEI NEXT-IMAGE Awards” Enter Paris Photo 2018.11.8 - 2018.11.11 Location: Grand Palais, France From November 8 to 11, the exhibition of winning photos from the “2018 HUAWEI NEXT-IMAGE Awards” is mounted at one of the most important art photography fairs internationally—Paris Photo 2018. The exhibition is curated by the organizing committee for the Awards and UCCA. Presented are photographic works by the Grand Prize Winner, Best-in-Category Winners, the Runner-Up Winners, and the Committees Recommendation. The exhibition includes more than 5,000 photos taken on Huawei phones, by photographers and Huawei users all over the world. On the eve of the exhibition, the HUAWEI NEXT-IMAGE Awards committee held an awards ceremony in the Grand Palais. Mark Lubell, Executive Director of the International Center of Photography, Karin Rehn-Kaufmann, Art Director and Chief Representative of Leica Galleries International, and Li Changzhu, Vice President of Huawei’s Handsets Product Line, presented the awards. The “HUAWEI NEXT-IMAGE Awards” center on the theme of “Inspiration in Focus.” More than just a traditional photographic exhibition, the exhibition runs through multiple cities—Beijing, Qingdao, and Paris—giving a sense of the creative potential of photography. Installation Views Installation Views 1 / 9 In today’s society, people use phones to draw images from disparate times and spaces, displaying a modern sensibility. In the post-internet era, artists, viewers, and residents of cities all receive information from people in various parts of the world. Phones now become “windows” to the intensity of visuality. Images on phones encircle us, ephemeral yet lingering. We, as viewers, must ascertain the information they convey. In street corners, these “windows” are transformed into glistening neon lights and electronic advertising boards. Their legibility is uncertain; they convey only fragmentary information. However, they arouse the sense of a city’s vitality, of the city as a secondary nature. The phone plays an important role in this process. Myriad hues and shapes replace content, and images rule our memories. The NEXT-IMAGE will eventually become the embodiment of the era. It is an era where art has demonstrated an enormous amount of flexibility; artists, artistic mediums, artistic spaces, and art itself, are opening up into a field of infinite possibilities. With a phone in their hands, the modern subject is at once user, consumer, viewer, advertiser, image maker, and documentarian. Art spaces are now built in different social spaces: trade fairs, malls, cinemas, residential areas, and coffee shops. In contrast to other “windows” into daily life, such as cinema screens, computers, and billboards, cellphones are fully integrated into our lives. They are ideal nodes of information, extensions of the human body, creating two-way communication channel between humans and the world, whereby we receive images and send out consciousness. We present, and participate in, part of the history of the moving image. It is the perfect time for the NEXT-IMAGE Awards. Using Huawei as a platform, users can make their images part of a comprehensive knowledge system. In Paris Photo 2018, these photos are displayed alongside those of other participants, spread across the globe. They share their experiences, revealing the hidden significance behind everyday stories, and integrating these stories into a large, virtual network. Finalists’ photos are shown in light-boxes; each demonstrates a unique artistic style. Viewers absorb these memories, becoming adherents of the NEXT-IMAGE themselves. About the Exhibition The exhibition of winning photos from the “2018 HUAWEI NEXT-IMAGE Awards” is curated by UCCA and the committee. Media partners include Zai-Art App and Sola Arts and Creative Communication. The exhibition runs from November 8 to 11, 2018, at Grand Palais, France. Viewers also have the chance to experienceHuawei’s new flagship phone, the Huawei Mate 20, at the exhibition. As an important component of Huawei's NEXT-IMAGE Plan started in 2017, the annual NEXT-IMAGE Awards, partnered with the International Center of Photography (ICP), are committed to explore possibilities for a new generation of visual culture together with mobile phone users worldwide. The "NEXT" in NEXT-IMAGE refers to the next generation of photographers using the next generation of tools to create and spread the next generation of visual content — all with new forms of interaction and feedback. The "IMAGE" part of the name refers to both static imagery and new forms of dynamic visual expression. Huawei has proposed the NEXT-IMAGE concept not only to highlight the many years of innovative spirit it has brought to the field of visual expression, but also to create a new word that conveys its insight into what it believes is growing into a new school of photography. Owing to the rapid advancement of smartphone camera capabilities and the power of images in today's global social media trends, mobile photography is flourishing. New types of content and new ways to share their work allow photographers to attract larger, more global audiences. Following from Huawei's innovation interpretation of modern photography, the NEXT-IMAGE Awards embody the brand's commitment to providing high-quality tools that make work of this new generation of artists possible.
68053042-a7ee-42a9-8adc-269d339fae52	{ "cc_dump": "CC-MAIN-2023-40", "dolma2_qc": { "0": 0.9999732971191406, "1": 0.000046720753744011745 }, "exact_duplicates": 0, "lang": { "en": 0.9587607383728028 }, "madlad": { "num_sentences": 26, "rule.2": [ 20 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 496, "sa_remove_ranges": [], "text_hash": "55866723701484305833921363543953368144", "warc_content_type": "text/html", "warc_date": "2023-09-24T12:34:03.000Z", "warc_url": "http://www.nattoli.net/entry/249/aoi-nishimata-illustrations-passion", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9841036200523376, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.007587242405861616, "__label__games": 0.0018775658681988716, "__label__home_and_hobbies": 0.006913838442414999, "__label__science_math_and_technology": 0.01543455570936203, "__label__software": null, "__label__software_development": 0.002261847723275423, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.00318268220871687, "__label__literature": 0.08036746829748154, "__label__sports_and_fitness": 0.003085370408371091, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.0020607432816177607, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Aoi Nishimata Illustrations Passion October 30th, 2010, 7:48PM by nat \| 2 comments Aoi Nishimata Illustrations Passion is a doujinshi art book that was released at Comiket 67, so suffice to say it was a while ago. Though there are a couple books that are more interview than art book along with series specific books, Aoi Nishimata's first full-fledged commercial art book Vivid will be coming out in December, making earlier books a lot less interesting ^^ So I figured I'd review these while they have a shred of relevance! Passion is a hardcover art book and 116-pages. The covers are actually included in the page numbering, as seems to be the case more often than not with doujinshi. It's A4 in size and almost entirely in color, aside for a few intentionally monochrome circle cuts. There is no index or image information written next to pictures, but for the most part the illustrations are fan arts or originals. Since this art book was released in the summer of 2005, the majority of art work pre-dates that, so by today's standards a lot of the illustrations look quite old. On that same note, there are several that reflect Aoi Nishimata's current illustration style, with softer round faces and more ruffly clothing designs. Though there are some tiled images, most of the illustrations are given full page displays. If you've ever purchased Aoi Nishimata's JOKER TYPE doujins, you may have noticed that's she really into using textured paper. That's actually another unintentional perk of this book, all the same illustrations on non-textured pages, so they have a better look and better colors overall. The latter half of the art book is quite heavy on fan art works. Aoi Nishimata was a big fan of KEY, and it shows in her many illustrations from Air, Clannad, and Kanon. Also present are fan arts from Higurashi no Naku Koro ni, To Heart, and White Album. Also rather unexpected were fan arts from One Piece and Fruits Basket. But like many of the other one-shot illustrations in this collection, they were covers for comic doujins. It's the same case for the Sister Princess illustrations, though I'm not sure if that's the case for the Futakoi one above ^^; It's a nice collection overall, though it's hard to be objective about things from five years ago with my current tastes. I really prefer Aoi Nishimata's current style, and hope to see more of that in her upcoming art book. Passion originally "retailed" for 3,675円 when it was being sold on Toranoana. But nowadays, you can pick it up from used book stores like Mandarake for less (sometimes). • Title: Aoi Nishimata Illustrations Passion • タイトル: Passion • Pages: 116 (including covers) • Release date: 8/14/2005 • Buy: Mandarake, Yahoo! Japan Auctions Already signed up? Login. 12 years, 10 months ago Thanks for the lots of photos! Very in depth today! 12 years, 10 months ago Old school!
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1103ea95-55fb-4286-b9d7-10764c26f67f	{ "cc_dump": "CC-MAIN-2024-22", "dolma2_qc": { "0": 0.9999179840087892, "1": 0.0001020743729895912 }, "exact_duplicates": 0, "lang": { "en": 0.9696618914604188 }, "madlad": { "num_sentences": 18, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 396, "sa_remove_ranges": [], "text_hash": "272360397669094069512520422607547307510", "warc_content_type": "text/html", "warc_date": "2024-05-21T02:54:34.000Z", "warc_url": "https://www.artsy.net/article/artsy-editorial-marcin-dudek-mixes-football-and-soviet-politics-in-searing-new-works-at-edel-assanti", "weborganizer": { "__label__adult_content": 0.0011795104946941135, "__label__art_and_design": 0.8354935646057129, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.0011795104946941135, "__label__home_and_hobbies": null, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.04743587225675583, "__label__social_life": 0.0028995804022997618, "__label__entertainment": 0.009718479588627815, "__label__history_and_geography": 0.02596735954284668, "__label__literature": 0.005921069998294115, "__label__sports_and_fitness": 0.01591639406979084, "__label__travel_and_tourism": 0.0012943083420395851, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Marcin Dudek Mixes Football and Soviet Politics in Searing New Works at Edel Assanti Karen Kedmey May 11, 2015 5:44PM Though artist Marcin Dudek left his native Poland at the age of 21, the country continues to inform his work. In his second solo exhibition at London’s Edel Assanti gallery, titled “we stumbled as we clambered,” he presents installations, sculptures, photography, and mixed-media compositions focused on the intertwined themes of violence, politics—and football (or, for the Americans out there, soccer). The exhibition turns on an old snapshot. In it, Dudek and his friends and fellow members of the Cracovia football fan club pose energetically. They are primed not only for the competition among the teams but also among the fans themselves, whose expressions of passion for their side would often turn violent. Such violence, and its chilling resemblance to the political violence of Soviet-era Poland, informs the work in this exhibition. “I was never particularly fanatic about a flying piece of leather, but I do like the atmosphere of a football game and I tend to consider hooliganism as a vital form of independent movement,” Dudek once explained about his focus on football. “During the ’90s, there was an explosion of football fan subculture in Poland, with an active club in every city. Krakow, where I come from, is particularly active on that front and the presence of two major football teams electrifies the divided town. On the day of the Derby you can smell the adrenaline in the air.” The artist effectively demonstrates the overlap between sports and politics in Poland through an installation that dominates the gallery space. Papering one wall is a greatly enlarged, low-quality black-and-white photograph, capturing the members of his football club moments before a fight. Their faces are obscured by balaclavas, as well as by abstract, sculptural fragments that he has placed over the heads of some of the club members. In this way, he redacts them from this photographic record, much as the Soviet government scratched out the faces of dissidents from family photo albums during political purges. But rather than aiming to eradicate their existence through such erasures, Dudek wants to remember them by bearing witness. Karen Kedmey we stumbled as we clambered” is on view at Edel Assanti, London, Apr. 30–Jun. 6, 2015. Follow Edel Assanti on Artsy.
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868d72a3-5502-4152-bd9e-3a4a06fdb58f	{ "cc_dump": "CC-MAIN-2017-30", "dolma2_qc": { "0": 0.9999418258666992, "1": 0.00007820472092134878 }, "exact_duplicates": 10, "lang": { "en": 0.9634334444999696 }, "madlad": { "num_sentences": 58, "rule.2": [ 0, 55, 56, 57 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1574, "sa_remove_ranges": [], "text_hash": "251436897514420286262467395245008708004", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-07-28T14:57:51Z", "warc_url": "http://www.musicweb-international.com/josephs/vm2004.htm", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.771853506565094, "__label__education_and_jobs": 0.008587487041950226, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.004478383809328079, "__label__science_math_and_technology": 0.010996942408382893, "__label__software": null, "__label__software_development": 0.0018202114151790736, "__label__finance_and_business": 0.0018775658681988716, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.26285186409950256, "__label__history_and_geography": 0.004208795726299286, "__label__literature": 0.11280541121959686, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.003085370408371091 }, "weborganizer_max": "__label__art_and_design" }	Chairman: Matthew Eve Sonata No 1 for Violin and Piano for Solo Violin Sonata No. 3 for Violin and Piano Michael Davis - Violin Nelson Harper - Piano Vienna Modern Masters VMM2004 Notes © Bernard Jacobson 1992 Music for Violin and Piano Of all the instruments in common use in the Western concert world, the violin and the piano are the two that enjoy the most extensive repertoire, and are called on to enlist some of the most taxing technical and artistic abilities in its interpretation. So significant and striking, moreover, is the body of music that brings these two instruments together that we are inclined to forget how hard it is to make them really work as a duo. The differences in tuning between the stringed and the keyboard instrument make it imperative for the composer either to differentiate in turn between his styles of writing for the two, or else to make a virtue of necessity by turning an apparent problem into a constructive feature. This recording gathers together five of the six works Wilfred Josephs has written for the violin as a recital instrument. All of them display a fine perception of the needs and potential of the violin, and the four that pair it with the piano demonstrate impressively how seeming in-compatibles may be brought into creative harmony. Josephs is not himself a violinist, and those of his friends to whom over the years he has introduced his new works at the piano might be inclined to dispute his title to being, beyond some fairly rudimentary point, a pianist. But then, as great a composer as Berlioz remarked how glad he was not to be a pianist when he heard some of the inane invention that pianist-composers were seduced by sheer keyboard facility into allowing to pass for composition. What may fairly be said is that there is a distinction between music for the violin and violin music, and there is a distinction between music for the piano and piano music. Josephs' essays belong in the first category in each of those pairings. There is no more disadvantage here than attaches to, say, Brahms' violin writing in contrast with Paganini's. Josephs' writing is that of an enormously experienced composer who has come to know all the instruments intimately in orchestral and chamber contexts through the production of an oeuvre already numbering some 170 pieces (and through years of experience as a conductor of film and television scores). You will not find Paganinian finger-wizardry in his violin parts or Lisztian fireworks in his piano writing, but you will not find any awkwardness or lack of aural imagination either. Technical mastery goes hand in hand with musical inventiveness in Josephs' work. It was not achieved easily or quickly, but the signs were always there. Born in Newcastle upon Tyne on 24 July 1927, Josephs began composition studies part time under Arthur Milner while at the same time qualifying as a dentist. In 1954 he entered the Guildhall School of Music in London on a scholarship to study with Alfred Niernan, and in 1958 a Leverhulme Scholarship took him to Paris for a year's study under Max Deutsch. Early works had already shown Josephs to be a composer with a recognizable personality of his own, but one not yet emancipated from the fairly innocuous style endemic on the insular English musical scene of the time. Now a wider perspective opened for him, and the issue of 12-note serialism was joined in earnest. Max Deutsch was a distinguished Schoenberg pupil. His teaching helped the young composer to assimilate the lessons of the Second Viennese Schcol and to come out on the other side. From the early 1960s on, Josephs' music shows an arrestingly individual use of techniques derived from serialism while liberating itself with increasing sureness from the grip of 12-note chromaticism. In the gradual recent shift of contemporary music back to practices once regarded as seditious - the expressive use of tonal harmony, and particularly the writing of real tunes - it was natural that a composer blessed with Josephs' outstanding melodic gift should soon have found himself in the vanguard. But the broadly arching melodies of his later music gain enormously in strength and cogency from the constructive interaction of the intervallic cells they grow from. Josephs' serial legacy, in other words, continues to be productive capital for him. Along with these resources, virtually all Josephs' music has displayed a still more striking gift: the gift of the trouvaille (a "find" or "discovery" or "invention'). In every work, he has been able (rather like Schubert in his song accompaniments) to seize and fix a moment of inspiration that renders the piece unique. It need not be - often isn't - an inspiration on the grand scale: but it is almost always something that the listener carries away as a permanent marker in the memory. The result is that, while it would be hard to deny Josephs the claim to a distinctly personal voice, he can never be accused (as composers as widely separated in time and style as Vivaldi and Bruckner have sometimes been accused) of writing the same work many times over. The present recording begins with a piece - the Chacony for violin and piano, Op. 38. composed between April 1962 and 1963 - that in a sense is all one big trouvaille. The title is an old English form of the term "chaconne," which, like "passacaglia," commonly denotes a set of variations on a ground bass in the form of a triple-rhythm dance. But what Josephs has done here is to write variations, not on a bass or any other kind of extended theme, but on a single note. In this case, unlike that of Purcell's Fantasia on One Note (where the note is sustained continuously), the fundamental B natural comes and goes, advances and retreats, and is frequently present only by implication. It is the composer's highly purposeful melodic and harmonic writing that makes every aspect of the piece sound like either B natural or a suspension or appoggiatura or other commentary on B natural. The earliest piece on the disc, written in one day, on 11 October 1955, is Siesta, Op. 8, whose character is suggested by the sly superscription at the head of the score: "He is asleep in the sun: she tempts him but habits die hard - now is siesta time - only for siesta." Even this unpretentious miniature has its trouvaille - in this case, a subtly convincing interchange between 6/8 and 3/4 meters that may owe something to Ravel (think of the slow movement of the G major Piano Concerto) but sounds entirely personal. In between, we hear three of Josephs' four sonata compositions for the violin: with piano, the Sonata No.1, Op. 46, of 1965 and the Sonata No, 3, Op. 147, of 1986-87; and, unaccompanied, the Solo Violin Sonata, Op. 15, completed on 29 July 1957. The First Sonata is laid out on thoroughly original lines in six movements, and neatly illustrates Josephs' fresh approach to the functions of individual movements within a cyclic structure. The delicately understated Intermezzo that stands second makes a modified return appearance (as Reprise) after a furiously driving fourth movement that many composers might have been tempted to use as finale. To much more imaginative effect Josephs here makes his Reprise lead directly into a last short slow movement where the characters of the two instruments are brought into a lucid final unity-through-contrast. Smaller in physical proportions, and more gnomically allusive in manner, the Third Sonata concludes with a sustained set of variations whose theme looks indirectly back to the opening of the first movement's slow introduction. Here the most trouvaille-like movement is the middle one, marked to be played as fast as possible. This scurrying little piece recalls some of Brahms' lighter scherzo-cum-intermezzos, just as the sonata as a whole follows that master in moving, with increasing maturity, towards a heightened compression of scale and simplicity of melodic manner. Some composers grow longer-winded with advancing years: Josephs, like Brahms, goes in the opposite direction. All of these violin and piano works are inventive in different ways in their instrumental interrelations. The Solo Violin Sonata must of course make its points without such combinations of resource, and it does so with remarkable assurance, reinforcing melodic clarity with real and implied harmonic writing of surprising power and breadth. These five works are all dedicated to their performer here, Michael Davis (with Robert Sutherland in the case of the Violin Sonata No. 1). It was Mr. Davis, moreover, who premiered four of the five: Siesta in London in 1955 or 1956, the Chacony at Carnegie Hall, New York, with Richard Woitach on 23 October 1963, the Sonata No.1 at the Metropolitan Museum of Art, New York, with Robert Sutherland on 22 October 1965, and the Sonata No.3 at Wigmore Hall, London, with Nelson Harper on 11 December 1989. The Solo Violin Sonata was first played by Alan Loveday at Wigmore Hall on 1 April 1958. Notes by Bernard Jacobson Artistic Director, Het Residentie Orkest (Hague Philharmonic) The recording was produced with the generous assistance of a grant from The Ohio State University. Return to: The Wilfred Josephs Discography The Wilfred Josephs Index page Classical Music on the Web
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Chantal Omodiagbe Posted by Chantal Omodiagbe With a clear purpose to build living spaces that inspire life with health, wellness and comfort, Romeciti engaged Frostcollective to create and execute a strategic brand marketing program to launch the first stage of the 11,000 square-metre, 357-apartment development to market. Frostcollective devised Natura’s brand strategy and all marketing assets. Key deliverables included identity and naming, environmental place-making, incorporating development branding in the sales display suite as well as the development’s EOI and brand websites. “The team at Frost has shown a true understanding of what we were wanting to achieve with this project and has created a beautiful brand for Natura” Dan Tang, associate marketing manager at Romeciti Investment Group, said. “Their attention to detail means that every aspect of Natura reflects Romeciti’s objectives for this project.” Ant Donovan, group creative director at Frostcollective, said: “This has been such an incredibly satisfying project to be involved in. “For Natura, we were able to apply expertise from across the entire business, starting with a strategic deep-dive to deliver a truly collaborative experience for everyone involved. Seeing the brand’s articulation and expression across all touch points is very exciting.” Kick-starting the project with a strategy phase enabled the brand story to unfold. Frostcollective’s strategy and design team defined the brand, developed the brand idea and workshopped naming options, focusing on Romeciti’s commitment to building and creating ‘green’ residential projects supported by and using sustainable technology. “We arrived at the core idea of ‘Human by Nature’ pulling out humanity’s deep, unmoveable connection with nature,” Jeanne Ogilvie, strategist, at FrostDesign, said. “It speaks to the thoughtfulness, respect and the sense of belonging that community offers and essentially creates.” ‘By Nature’ has a double entendre. It can mean ‘by essence’ or all that is true and authentic, while also lending itself to ‘inspired by nature’ – all that is elegant, prestigious and effortless. “We wanted the brand to convey an inspired and perfect balance of nature and urban living,” Ogilvie added. Urbanite’s team of branded environment specialists, working closely with award-winning architectural practice Elenberg Fraser, conceived Natura’s generous 700 square-metre display suite complete with branded activations on the journey to entry, signage and graphics. With the display suite entrance sitting deep in the existing building, a 40-metre long external place-making piece, which was designed and integrated into the landscaping next to Waterloo Road, serves to pique public interest and guide visitors and potential buyer to the suite. Donovan added: “Natura is all about unique connections with both nature and those amongst the community. Romeciti wanted the Natura brand to promote the kind of lifestyle that we all aspire to – one that offers elegance and style and that also provides a sense of belonging.” Some of the development’s five-star amenities are key points of difference designed into the Natura experience to heighten the sense of well-being. They are showcased in the gallery space as a preview of what life at Natura would be like. These include a wine cellar, business lounge, high-end dining, outdoor bar and library. At the end of the sales journey, a large window draws gallery visitors to a view of the riparian corridor, Shrimpton’s Creek. Urbanite worked with Elenberg Fraser to frame this view with reflective material, giving the visitor a sense of connection with nature and to reinforce the core purpose behind the development. Nest, Frostcollective’s digital agency, designed and developed the website, presenting the Natura brand story aiming to drive leads and visitation to the display suite. The Natura precinct’s unique selection of amenities has been featured, while its compelling proposition of nature and lifestyle have been thoughtfully highlighted throughout the design. Additional brand executions delivered by Frostcollective are brand guidelines, style guide, advertising, hoarding and signage, as well as residential brochure, penthouse brochure, floor plans, sales folder and boxed gifts containing premium, soy-based candles accompanied with a bottle of sparkling wine, presented in a carry bag. Executive creative director: Vince Frost, Frostcollective Creative director: Ant Donovan, Frostcollective Strategist: Jeanne Ogilvie, FrostDesign Client services: Emma Stone, FrostDesign Senior designer: Alex Dalmau, FrostDesign Designer: Alex Baumann, FrostDesign Senior account director: Phil Smith, FrostDesign Creative director: Ben Hennessy, Urbanite Environments design director: Maria Briganti, Urbanite Senior design manager: Melanie Reid, Urbanite Designer: Yvonne Tong, Urbanite Designer: Muriel Ricafrente, Urbanite Digital producer: Nathalie Cano, Nest Senior digital designer: Zion Wu, Nest Technical lead: Jeffrey Burns, Nest Front-end developer: Minh Hoang Senior web developer: Andy Ewer Production manager: Jason Hughes Architects: Architectus Interior design: Elenberg Fraser Landscape design: Aspect Studios
6433d949-e2b7-458a-b5bd-7aa5858d54ec	{ "cc_dump": "CC-MAIN-2023-23", "dolma2_qc": { "0": 0.999977707862854, "1": 0.000042340034269727767 }, "exact_duplicates": 0, "lang": { "en": 0.9242601990699768 }, "madlad": { "num_sentences": 25, "rule.2": [ 1 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 566, "sa_remove_ranges": [ [ 2972, 3491 ] ], "text_hash": "208259552486511388938188774194333646781", "warc_content_type": "text/html", "warc_date": "2023-06-04T16:11:11.000Z", "warc_url": "https://www.nfm.wroclaw.pl/en/component/nfmcalendar/event/10095", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3998216390609741, "__label__education_and_jobs": 0.003386611817404628, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.0020607432816177607, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.00507033197209239, "__label__social_life": null, "__label__entertainment": 0.13297423720359802, "__label__history_and_geography": 0.06009664759039879, "__label__literature": 0.02369946800172329, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0038344827480614185, "__label__crime_and_law": 0.002810927340760827, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.00507033197209239 }, "weborganizer_max": "__label__art_and_design" }	NFM Orkiestra Leopoldium / fot. Łukasz Rajchert Leo Festival Stories for Children 5:00 PM NFM, Main Hall P. Hindemith Wir bauen eine Stadt – children's opera H. Krása Overture for small orchestra, Brundibar – children's opera (Prague version) Ernst Kovacic – conductor Soloist children TBC NFM Boys' Choir NFM Girls' Choir Małgorzata Podzielny – artistic direction of NFM Boys' Choir and NFM Girls' Choir NFM Leopoldinum Orchestra Maciej Ćwieluch – stage direction NFM, Main Hall plac Wolności 1, 50-071 Wrocław from 20 to 65 zł During the concert ending this year’s LEO Festival, the musicians will perform two children’s operas by Paul Hindemith – one of the most charismatic artists of the twentieth century – and Hans Krása, a Czech composer of Jewish origin. These compositions are worth attention, inviting the youngest into the world of contemporary music. In Paul Hindemith’s professional life, apart from composition, theory of music and conducting, an important place was also occupied by activities of cultural animation. Immediately after moving to Berlin, where he taught at the local Hochschule für Musik, Hindemith got involved in the cultural life of Germany. In 1930, he published a “game” in the form of an opera dedicated to children – Wir bauen eine Stadt (We build a city). In a fanciful way, it tells the story of an imaginary city built and ruled only by children. The work is part of the promotion of the amateur movement in music – it was intended not for professional musicians, but for anyone who would like to delve into the world of fantasy. Concise and simple in expression, the work interweaves numerous songs sung a cappella, dialogues and instrumental parts with parts of the choir and orchestra. Brundibar, an opera by Hans Krása, although also intended for children, is associated with a depressing story. It was written to words by Adolf Hoffmeister in 1938, but it had its premiere only in September 1943 in the Theresienstadt concentration camp established in the Protectorate of Bohemia and Moravia. It is, in fact, a beautiful story about the fight between good and evil – the story of siblings who want to collect money for milk for their sick mother by singing together. On their way stands the vengeful barrel-organ player Brundibar, whose aim is to get rid of the competition. Unfortunately, the Nazi authorities quickly recognized the propaganda potential of staging the opera in the camp. It was supposed to prove that normal life was going on there and that the Germans did not commit any crimes against the Jewish population. The work was performed dozens of times, and finally recorded in the propaganda film Der Führer schenkt den Juden eine Stadt (Hitler gives the Jews a city) prepared for the Red Cross. Krása was murdered on 17 October 1944 in Auschwitz-Birkenau, where he was transported together with other composers: Viktor Ullmann, Pavel Haas, and Gideon Klein
aa558172-e5e5-4963-9525-6d60cff6c8f8	{ "cc_dump": "CC-MAIN-2020-29", "dolma2_qc": { "0": 0.9999454021453856, "1": 0.00007459137123078108 }, "exact_duplicates": 1, "lang": { "en": 0.9739285707473756 }, "madlad": { "num_sentences": 29, "rule.2": [ 25, 27 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 599, "sa_remove_ranges": [], "text_hash": "3677050395552893958759062787705994648", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-07-10T22:24:27Z", "warc_url": "https://fampeople.com/cat-terence-cuneo", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9433575868606568, "__label__education_and_jobs": 0.0017107223393395543, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.0007654056535102427, "__label__home_and_hobbies": 0.0020607432816177607, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0019367348868399856, "__label__history_and_geography": 0.21734751760959625, "__label__literature": 0.0025609128642827272, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.0010105045512318611, "__label__food_and_dining": null, "__label__industrial": 0.0028995804022997618, "__label__transportation": 0.0011795104946941135, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Terence Cuneo Terence Cuneo bigraphy, stories - British artist Terence Cuneo : biography 1 November 1907 – 3 January 1996 Terence Tenison Cuneo CVO, OBE, RGI, FGRA (1 November 1907 – 3 January 1996) was an English painter famous for his scenes of railways, horses and military action. He was also the official artist for the coronation of Queen Elizabeth II in 1953. Life and work Cuneo was born in London, the son of Cyrus Cincinato Cuneo and Nell Marion Tenison, artists who met while studying with Whistler in Paris. Cyrus Cuneo’s elder brother Rinaldo Cuneo was also an acclaimed painter in San Francisco, as was his youngest brother Egisto Cuneo. Terence Cuneo studied at Sutton Valence School, Chelsea Polytechnic and the Slade School of Art, before working as an illustrator for magazines, books and periodicals. In 1936 he started working in oils, continuing with his illustration work. During World War II he served as a sapper but also worked for the War Artists Advisory Committee, providing illustrations of aircraft factories and wartime events. He served and became good friends with fellow artist Cyril Parfitt. After the war, Cuneo was commissioned to produce a series of works illustrating railways, bridges and locomotives. A significant point in his career was his appointment as official artist for the Coronation of Elizabeth II, which brought his name before the public worldwide. He received more commissions from industry, which included depicting manufacturing, mineral extraction and road building, including the M1. He was most famous for his passion for engineering subjects, particularly locomotives and the railway as a whole. But in fact Cuneo painted over a wide range, from big game in Africa to landscapes. Further success was achieved in his regimental commissions, battle scenes and incidents as well as portraits (including H.M. the Queen, and Field Marshal Montgomery). Many of these works include a small mouse (sometimes lifelike, sometimes cartoon-like), his trademark after 1956.Antiques Roadshow Series 32; 15. Brooklands, broadcast 17 Jan 2009 They can be difficult to detect, and many people enjoy scouring his paintings to find one. Even some of his portraits of the famous contain a mouse. His work has been used in a variety of manners, from book jackets and model railway catalogues to posters and jigsaws and even Royal Mail postage stamps. His paintings have appeared on both Great Britain and Isle of Man stamps. His work can also be found in many museums and galleries, including Guildhall Art Gallery, Lloyd’s of London and the Royal Institution. Cuneo was awarded the OBE and was a CVO. A 1.5 times life size bronze memorial statue of Cuneo, by Philip Jackson, stands in the main concourse at Waterloo Station in London. It was commissioned by the Terence Cuneo Memorial Trust (established March 2002) to create a permanent memorial to the artist, together with an annual prize at the Slade School of Art, given by the Trust. In tribute to Cuneo’s trademark, the statue includes a hidden mouse peering from under a book by the artist’s feet, and another carved into the statue’s plinth near the ground. Year Title Image Dimensions Collection Comments 1972 Self Portrait Sir Edward Heath Field Marshall Viscount Montgomery of Alamein Her Majesty The Queen with Her Dogs at Frogmore 1944 Untitled (production of tanks), oil 200px The National Archives, Kew, Richmond, UK Scene: workers manufacture Churchill tanks on a factory production line. 1942 Untitled (assassination of Heydrich) (c. 1942), oil 200px The National Archives, Kew, Richmond, UK Subject: SS-General Reinhard Heydrich (1904-1942; Operation Anthropoid). Bentley vs The Blue Train Express Engines at Tyseley
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499be849-1118-487c-b336-6d760a0d7252	{ "cc_dump": "CC-MAIN-2018-51", "dolma2_qc": { "0": 0.9999343156814576, "1": 0.00008570100908400491 }, "exact_duplicates": 3, "lang": { "en": 0.9634776711463928 }, "madlad": { "num_sentences": 16, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 250, "sa_remove_ranges": [], "text_hash": "187456456270604288505032579753305453831", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-12-13T18:09:03Z", "warc_url": "https://artunleashed.uarts.edu/artist-page/Bae/Joong%20Han", "weborganizer": { "__label__adult_content": 0.006107562687247992, "__label__art_and_design": 0.6992644667625427, "__label__education_and_jobs": 0.00942259095609188, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.004915405530482531, "__label__science_math_and_technology": null, "__label__software": 0.004765199031680822, "__label__software_development": 0.0025609128642827272, "__label__finance_and_business": null, "__label__health": 0.009718479588627815, "__label__politics": null, "__label__social_life": 0.007587242405861616, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": 0.014513582922518252, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.01206377986818552 }, "weborganizer_max": "__label__art_and_design" }	Joong Han Bae Student 2017 BFA Crafts Making is for my own satisfaction. It brings me to a state of meditation. It sets me free from too many thoughts, worries and brings me inner peace. Labor became pure intimate interaction among me, my tools and the material. Wood, which is my primary material is imperfect and often limited. These imperfections are traces of life that is once alive and stand the test of time which makes me feel awe. The process of making, the act itself forms who I am and what I think in my work. It connects me and the outside world and each work is a reflection of the inner part of me. Therefore, my works are avatars of me. They can be avatars only if there are interaction. This interaction takes place in three different steps; interaction between me and the material, interaction between the object and the audience, and the interaction between me and the audience. I am fascinated by how people understand different materialities and have applied that knowledge to build sturdy structures throughout history. I am interested in studying efficient structural form with its own beauty. The ideal role of my works is to fulfill people’s life emotionally and spiritually with its own beauty. Whether it is utilitarian or not, I want my works to be a psychological tools that forms and deliver people good memories and value. Wood-Furniture Ambrosia Maple, Cherry 30" X 73" X 36"
4b5281e3-0f92-4d70-8a08-a26a34c21e03	{ "cc_dump": "CC-MAIN-2019-18", "dolma2_qc": { "0": 0.9999597072601318, "1": 0.0000603465705353301 }, "exact_duplicates": 0, "lang": { "en": 0.9226880073547364 }, "madlad": { "num_sentences": 13, "rule.2": [ 5 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 255, "sa_remove_ranges": [], "text_hash": "49140222463590172823120418386372298186", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-04-21T04:51:57Z", "warc_url": "https://www.3dgalleries.com/art/vase-en-bronze-au-capricorne-18", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9539760947227478, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0008659008308313787, "__label__games": null, "__label__home_and_hobbies": 0.0038344827480614185, "__label__science_math_and_technology": 0.0010105045512318611, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0004144815029576421, "__label__history_and_geography": 0.08036746829748154, "__label__literature": 0.0019367348868399856, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0006978511810302734, "__label__crime_and_law": null, "__label__food_and_dining": 0.000949943671002984, "__label__industrial": 0.00038998457603156567, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	In FDB 's collection Vase en bronze au capricorne circa 1900 A rare bettle sack vase by Gustav Gurschner from the early 20th century, Patinated bronze. Fabric texture on the lower part of the vase, while the upper section features a succession of Celtic motifs. The beetle motif on the front with it's feeler forms a framing pointed oval form. Gustav Gurschner studied at the Vienna School of Arts and Crafts from 1888-1894 and in Munich in 1896, before moving to Paris in 1897 and apprenticing under the Art Nouveau artists Alexandre Charpentier, and Jean-Auguste Dampt. About Gustav Gurschner Gustav Gurschner (1873–1970) was an Austrian sculptor active in the decorative arts. He studied under August Kühne and Otto König at the Kunstgewerbeschule in Vienna. He married the writer Alice Pollak in 1897. In 1898, he participated in the inaugural exposition of the Vienna Secession. From 1904 to 1908, he was part of the Hagenbund, a group of like-minded Austrian artists. His body of work consists of functional objects such as ashtrays, electric lamps, door knockers, and doorknobs. Gurschner's style was influenced by the sinuous lines of Art nouveau and the symmetry of the Wiener Werkstätte.[1] In 1914 Gurschner designed medals and uniforms for the sovereign prince of Albania, Wilhelm zu Wied. In July he raised and led a small army of 150 volunteers to help the prince fight of rebels who laid siege to his capital of Durrës.. To leave a comment on that piece, please log in
2c2d3993-d579-4acf-ac89-7fabd681448a	{ "cc_dump": "CC-MAIN-2013-48", "dolma2_qc": { "0": 0.999948263168335, "1": 0.00007177159568527713 }, "exact_duplicates": 0, "lang": { "en": 0.9696211814880372 }, "madlad": { "num_sentences": 439, "rule.2": [ 215 ], "rule.5": [ 180, 215, 273 ], "status": "survived" }, "minhash": null, "original_word_count": 12634, "sa_remove_ranges": [ [ 0, 8623 ], [ 33379, 37278 ] ], "text_hash": "230967784292326133473752001851993074827", "warc_content_type": "application/http; msgtype=response", "warc_date": "2013-12-05T07:32:08Z", "warc_url": "http://tattoozen.wordpress.com/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.11280541121959686, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.01799621433019638, "__label__games": null, "__label__home_and_hobbies": 0.013646835461258888, "__label__science_math_and_technology": 0.01283121295273304, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.0695517510175705, "__label__politics": 0.053413331508636475, "__label__social_life": 0.08036746829748154, "__label__entertainment": 0.026769286021590233, "__label__history_and_geography": null, "__label__literature": 0.018556566908955578, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.014073628932237623 }, "weborganizer_max": "__label__art_and_design" }	How to use reference without stealing pt1 When getting critiqued most of us hear “you should use reference “, its right up there with ” needs more black” in the advice you will hear the most. Yet I, like most tattooers, live in mortal fear of being a “biter”. The best definition of “biter” I can give is “a tattooer who deliberately steals an image from another tattoo”, otherwise known a a plagiarist, copycat, or forger. What complicates the issue is that in our business the client frequently brings you a picture (from the Internet or a magazine) of the “exact tattoo” they want. The way I see it there are two kinds of dilemmas surrounding reference; one is using non-tattoo sources to make our drawings and the second is how to use tattoo images as reference without copying the original material. Lets start with the easy one first, using non-tattoo reference in creating our own original drawings for a tattoo. So, who needs reference when they are doing a drawing? YOU do. “But wait”, I hear you say ” I’m an artistic genius so I can see whatever I’m drawing in my head so I don’t need reference, besides what I’m drawing is my personal style so it doesn’t matter if it doesn’t look like a real picture of whatever, and anyway if I use reference it won’t have my special signature style!”. Sorry to tell you, but these kinds of folks need reference the most, not the least, here’s why; reference is a way to enhance your personal take on an image, not limit it. Argument 1:” I can see whatever I’m drawing in my head so I don’t need reference” The world is full of what I like to call play-doh tattoos. Tattoos that resemble whatever they are supposed to be but look like they were made of dough. Sure the basic shape is there, but they always lack detail, a sense of solidity, and usually get specific, yet crucial, elements wrong. They look like an outline with nothing inside. The viewer (and customer) can almost see the unsteadiness of the artist trying to fill in that blank space without knowing what goes inside that general shape. I can’t tell you how many koi fish tattoos I have seen with a giant fat headed koi with kissy face lips, eyelashes like a princess pony, a dorsal fin that goes from their (tiny) tail up to their head like a mohawk. Same for anchors which look like they were made of those balloons they make animal shapes with and daggers that look like some safety Halloween prop for a toddler instead of a weapon to stab people with. And oh the faces! Thousands and thousands of sad genetic mutant pin up girls and hairlipped inbred gypsy. . .uh. . .girls. . . I guess. You need reference because our minds are designed to take in a general outline of the world, not to memorize minute details. If our caveman (cave person?) ancestors took the time to memorize the exact shape of a saber toothed tigers fangs, well, we wouldn’t be here because one of those fangs would be through his face. One of the reasons those rare autistic people who can draw entire gothic churches from memory are so impressive is because we can’t. When you look at a photo or a real koi (to stick with that example, but feel free to insert anything you are drawing in that space) our brains pick out details that we would never remember, the right number of fins, the general shape, the proportions and relationships of one part to another. When you put that on paper the end result is still filtered through your unique lens into a drawing, it still looks like you (and only you) created it but all the bits are correct, this makes for a better tattoo. Argument 2: “what I’m drawing is my personal style so it doesn’t matter if it doesn’t look like a real picture of whatever” Reference can be used for realism, it’s true, in fact that realistic tattooing is simply the art of recreating reference in a way. What about other kinds of art though? What about twisty chrome new school , multi layered biomech, or super simplified traditional? What about whatever the hell you call what it is that you do? What if you are so unique and your style so personal? Well, lets look at the non-tattoo world for a second, at the Dalis, the Picassos, the Blakes , Matisses and Freuds, the guys whose work was so out there and unique that they spawned entire artistic movements? They all used reference, in fact they all spend years in art school drawing live models, still life’s, and pouring over anatomy books! The wildest artists around had a firm grounding in reference before they could spread those metaphorical wings on flights of fancy. Argument 3: “if I use reference it won’t have my special signature style” When you draw something you are taking your memory of that object and transferring it through your hand, which is great except that there will always be elements of that object you would want in there , but you can’t remember. Your unique style is actually choked by the bottle neck of only coming from your inaccurate, generalizing, and incomplete memory. Don’t feel bad, we all have shitty memories! If you have a special signature style then reference will only enhance it the way spices enhance a meal, no chef thinks pepper dilutes her work because she sees it as just another tool to put forth their own unique take. Reference does the same for you. Your style is what happens when creativity comes through your hand, all that you have seen and experienced in your life is part of that moment, if you are using reference then you are simply adding more accuracy to what you are going to render in your own style and everyone will notice it as an improvement, even you! Ok so how do you use reference? It used to be that you could tell how serious a tattooer was by the size of their library. In the age before google, and ready made tattoo reference material a tattooer would buy an entire book for one good photo! We would take a day off to go to the library and photocopy books of birds, ships, faces, swords, animals, anything that might some day be useful in drawing something. It kind of sucked! You would have some guy come in and ask for the one thing you didn’t have a book for! Thank the tattoo gods for the internets! Using google alone can emulate a library of a million books, and since our phones and tablets are so ubiquitous we almost have no excuse to not use this incredible resource. These days when I set out to draw I will try to find 2-3 images of whatever I’m drawing. More than that and I tend to get over-referenced and confused as to the bits I like best, less and you are limiting yourself to one view, pose, size, and details. Besides, we’re not copying the reference, we are adding it to the stuff our mind already knows about whatever we are drawing. By using multiple references we keep from getting too focused on reproducing the photo. I’ll lay the books/pages out around my drawing area and rough out my first draft, looking at the pages here and there to add elements that my eye likes, refining the proportion. Once I have more of a finished draft ill clean up the line work and look for areas that feel unfinished or empty, one look at your reference material is usually enough to spark an idea for how to tackle a problem area. I’ve been doing this for years and never once has my drawing looked like someone else drew it, nor has it ever looked exactly like the reference! If I am drawing a pin up or a face I will often use images of old time (30′s-60′s) pin up girls or vintage stills of Indian actresses since the poses and expressions are much more dramatic than todays stilted, bored looking actors and models. Much like using an artists manikin this helps keep the proportions correct. In fact, if I used reference for no other reason, I would still use it for anything based on a human body, our brains seem especially sensitive to something being “off” when it comes to people. Even when doing traditional imagery I find that looking at photos of a real rose makes my traditional roses look better and less like the 300th copy of a copy of a sailor Jerry rose. Real daggers and anchors and hourglasses make the drawn versions of these things so much better without ruining the “old-school ness”. The folks who gave us that wonderful bank of images, the Bert Grimms and Sailor Jerrys and a hundred more were using reference to craft their flash. Many of the old stand bys were actually popular advertising and illustrations of the time that the old timers of the era referenced and created in their own hands. And looking at a profile photo of a real woman will, I guarantee, improve those gypsy girl heads, the traditional guys who passed that imagery on to us were looking at images of popular actresses and models of their day when they drew them. There are some tips I have learned specifically for Japanese tattoo imagery I’d like to share. Japanese tattooing is unique in that it is based on and still very heavily reliant on ukiyo-e woodblock prints instead of “real”images. In fact many of the greatest tattoo masters in traditional Horimono tattooing lift images directly from these ancient prints. It is not considered wrong or improper to use a Hokusai or kuniyoshi print, and even current masters consider it fair game. I recently attended a seminar taught by Horitomo whose Japanese tattooing is some of the best around today when a fellow attendee asked him “Do you get offended if a tattooer uses one of your drawings for their tattoo?” He answered “if you can’t draw a better one than me, then you should use mine”. Note that Horitomo was referring to his drawings not directly referencing one of his tattoos. It’s seems clear to me and I think to any tattooer that reference can only be a benefit to our work. If we agree that each and every tattoo we do should be our very best effort then I think it’s obvious that we should be using reference for each and every tattoo. Next time Ill give you my take on using other tattoos as reference without copying. Categories: Tattoo stuff \| Tags: , , , \| 2 Comments the New Multi-post 3000! many subjects handled half-assedly in a hurry. . . ,. 1) The book reading/signing with Brad Warner was awesome! Not only did we fill the place to capacity (30 or so by my reckoning) but Kevin Sousa treated Brad, Cara, and I to dinner at his Salt of The Earth restaurant! It was really fun and I was happy to host one of the more important authors in my life. Sometimes we get to meet our “heroes” and even more rarely they are sometimes as cool as wed like to think they are. jsn n bradSpeaking of Zen. . . . 2) It’s a given in the Zen world that every person who gets “involved” in zen comes into the room with the “wrong” motivation. We want to be peaceful, to have less stress, to love more, better, or with more honesty. We want to improve ourselves, we want “enlightenment” or wisdom, at the very least we want to be something other than what we walked into the room as. One of the wonderful things about zen is that even if you start with the completely wrongheaded idea, doing it long enough and regularly enough tends to “work” anyway! One of the funny things is that we come to Zen looking to fix a particular problem or set of problems and eventually we learn that not only will we not get the solutions we are looking for, but that we aren’t even asking the right questions! In my younger, poorer years I neglected going to see a dentist for a long time. I had good reasons for this, I was broke, dentists are scary, and my teeth seemed fine to me. One day I noticed a spot on a tooth that I couldn’t seem to brush away, “oh great, ” I thought ” A cavity so bad that it’s on the front of my tooth!” So I went to the local college school of dentistry which offered extremely reasonable rates since you get worked on by recent graduates doing a sort of residency. After taking x-rays and examining I asked what the bad news about the spot was and the hygienist said “oh that’s just plaque” and popped it right off with a pick, on the other hand the x-rays had revealed severe bone loss and a need for immediate surgery and aggressive cleaning if any of my teeth were to be saved from falling out! In other words what i went in with seemed like a huge problem for me until the dentist showed me that it was nothing and that much more sever, undetected issue was at hand. Same with Zen. I came into zen looking for peace of mind, a way to make the whole world not scary and to somehow take away all the bad parts of my life while leaving the rest of it basically untouched. Well, just like my dissolving jaw line, it turned out that all the stuff which was out of sight, undetected, was causing far more harm than all the surface stuff i thought was the real problem. I don’t care how smart, wise, or perceptive you are, until you sit down and stay very quiet with your own thoughts for a little while you really can’t see what is causing the suffering in your life. It goes way way back and our minds have gotten so used to shouting it down and covering it up with superficial problems that we not only don’t know whats really going on down there, we don’t want to know! Why am I talking about this now? Well for one thing, even with 10 years of meditating under my belt new things continue to be revealed as I sit zazen. The other day I was sitting, my monkey mind just beginning to settle down after about 10 minutes when something, a thought or realization i guess, popped in and I realized “I do a lot of things to be validated by other people!” It’s almost as if I’m always performing for an audience in the hope that someone (apparently anyone) will recognize it and pat me on the head saying “you are very good!” I recognize that lots (maybe all) people do this to some degree I realized how strongly it affected my sense of self! As soon as I had this sort of light-bulb moment I also realized that it was harming me, getting in the way of being a genuine person and easing suffering, I can now begin the work of undoing the habit. Once again, I didn’t come to Zazen with the knowledge that what was causing my suffering was the set of habits and conditioning that had begun even before i was old enough to talk, but sit long enough and they come up. Sit even longer and slowly, inevitably, they go away. 3) Trayvon Martin. I try to keep this blog as inoffensive as possible, however occasionally something happens (like the Sandy Hook School shooting) and I feel like maybe I have something to say. I wont address the murder and trial of Trayvon, and I think anyone who doesn’t have their head up their ass will agree that it is a fucking shame when a young person loses their life for whatever reason. Rather Id like to address the ridiculous notion that somehow this case was not about race, and the even bigger fable that race is no longer a factor in this country. The right-wing pundit corral has even claimed that to mention race in this event is the real racism. It is, of course, a load of shit. I have my own opinions on the Trayvon Martin case, but I think aside from this specific case the notion that we in the US are somehow “Post-racial” or that racism is a thing of the past is ridiculous. Anytime you have a society with a past like Americas you are going to have long-term fallout, repercussions, and ripples by which events of the past still affect the present. When a race has been systematically suppressed and given second best (or third or worse) opportunity for education and advancement then that group is going to be saddled with that legacy for a long, long time. The idea that just because black people are now granted equality (or at least lip-service is paid to their equality) can’t erase the result of generations of second class citizenship anymore than we can expect the oceans to repopulate overnight just because we stop overfishing today. Time, whether we like it or not, is required to right our historical wrongs as a nation. No amount of self-righteous “I never owned a slave, don’t blame me” can change the fact that generation after generation of black American has been raised with one boot on their shoulder holding them down. Both in historically overt ways (Jim Crow laws) and psychologically subtle ways (equating black people with “inherent” criminality) have created a chasm between black people and the rest of American society and no amount of right-wing self-denial can bridge it. The problem is, most of the racist people in this country don’t even know that they are racist. By accepting the “common wisdom” that “we” are not racist, we deny the reality that is all around us. We are born into a society with its own history, behavioral cues, and a class/caste system in place that we are indoctrinated with birth, like it or not, we are fed a series of non factual cues and stereotypes (about everything, not just people) that we generally swallow so early and is reinforced by our parents, teachers, media, and peers so constantly that we seldom question them. Sometimes when forced to deal with the reality of this unrealistic conditioning we stop, look around and get a tiny glimpse of reality and modify our worldview. Far more often, unfortunately, we circle the wagons and declare our dedication to the “party line”. As reality seeps further and further into our world, as I believe it always does, that facade of bullshit gets more and more brittle. its defenders more strident, and eventually, finally, the truth bursts forth like flood-waters and the new “reality” asserts itself. What a shame that it has to take so long and be fought against by so many who would rather cling to a clearly mistaken idea than to be uncomfortable for the short time it takes to become acquainted with reality. Whether you or I like the idea or not, the Trayvon Martin case was also about race. I see it is an opportunity to examine my own biases and behaviors, it has caused me to think deeper than I normally do day-to-day about my own acceptance of the conditioning that this society has trained into me since I was a child. When something terrible happens, sometimes the best thing we can do is to take that shock, sadness/anger, and outrage and use it to look at our own world rather than turning the blame outward, its much harder to do, but in the end it changes the world for the better. Categories: Buddhism and life \| Tags: , , , , , , \| 1 Comment Great Unsung heros of tattooing (part 1) If you are a tattooer chances are that you know the names of the people who paved the road of tattooing before us. Giants like Sailor Jerry and Ed Hardy, if you have dug a little deeper you might know some of the slightly less famous folks like Cap Coleman or George Burchett upon whose shoulders we all stand. But most tattooers don’t really know about the people and inventions which have directly and pointedly changed tattooing into what it is today. These people and milestones aren’t just important because they left a legacy of artwork or an ethic we can aspire to, in many cases these folks literally invented the stuff we use daily and we don’t even know about it! My first candidate is also my personal choice for the tattooer who has done the most for the technology of modern tattooing, Bill Baker. Id be willing to bet that 90% of tattooers reading this right now don’t know who Bill baker is, note that i said “is” not “was” because he is still alive and still doing stellar work in Toronto at the Pearl Harbor Gift Shop. In the late 80′s and early 90′s He did the first real scientific testing on tattoo needles and eventually came up with a theory of needle manufacture that led to the first high quality, textured, really sharp pins available in various thicknesses. Today it is a given that needles made specifically for tattooing are available, but prior to Bills work the vast majority of tattoo needles were actually milliners needles or other sewing type needles. That should be enough to consider him an unsung hero of tattooing, but he didn’t stop there, he founded a company to make and supply those needles called Eikon. Through this company he released his research for free online for any tattooer to study, also through Eikon he literally changed the way we all think of tattoo machines when he created the very first power supply that not only powered your tattoo machine, but told you real, heretofore unknown data about how that machine was running. What do I mean? Prior to Bill producing the EMS power supplies and meters it was commonly believed that a tattoo machine ran at about 25 to 50 strokes per second. Imagine our surprise upon hooking up those first power meters produced by Bills company and finding that our machines ran hundreds of cycles per second! Some power units could tell you how much voltage they were sending to the machine, but none told you how “efficient” it was (the percentage of time the needle was in the extended position vs. the retracted, Bills meters did. In short and overnight we went from a world of tattoo superstition and old wives tales to hard facts and, perhaps unsurprisingly, it turned out that most of the “common knowledge” out there was flat-out wrong! So these things would definitely be enough to put Mr. Baker in our hall of fame if he had gone no further, but, of course, he did go further. In a series of “zines” put out by Eikon over several years Bill broke down the functions of a tattoo machine scientifically, tested, experimented, tested again and all the while he made this information public! He figured out exactly why and how a tattoo machine works, how to adjust it, and how to make it do all this efficiently and using repeatable, testable, information. Information that was only gather-able because of the meters he invented! He didn’t hide it like most “old timers”, he wanted to better tattooing as a whole, and he most certainly did. Because this blog is open to the general public I wont go into technical details, but rest assured that dozens and dozens of technical things about tattooing changed from the way they had been for decades! I can’t speak for other tattooers, but those zines were the Rosetta stone of tattoo machines for me, I could finally know exactly what I was doing when I built and tuned a machine, my tattooing got better almost instantly and a load of phony tattoo “lore” went out the window. The great shame is that Bill was forced out of the company he founded and provided the innovations for, if he hadn’t been sidelined by the ouster and ensuing legal battles how much more would he have been able to contribute to tattooing? Every modern tattooer is using some piece of the knowledge that Bill Baker contributed to our world, if you use needles and a power supply to tattoo then something Bill created, modified, or perfected went into making them better. To finish off this first episode of the great unsung heroes of tattooing id like to briefly mention the contribution of a piece of technology so common today that we seldom notice it, the Ink Jet printer. It’s almost impossible to imagine at this remove what it was like before cheap, highly functional photocopiers/printers were as ubiquitous as they are today. The fact is that even as recently as the late 1990s a copier was huge, expensive, and seriously limited in its functionality. One of the great advantages to the shop where I served my apprenticeship at was that it was half a block from a Kinkos copy center. I’m not kidding, this fact alone made us stand out from the more suburban places where the tattoo you got was the same size as the one on the wall and that was it! Today it is no problem for a customer to ask for a tattoo to be 10% bigger, but until the availability of the modern inkjet this meant either a trip to the copy-store or using some contraption to enlarge the image in order to retrace it. Perhaps, then, it is no surprise that since the advent of these copier/printers that tattoos have gotten larger and larger as the artist is able to take a small drawing and blow it up until it fits around (and with) the contours of the body. The irony is that a technology which made doing the same image over and over has actually helped steer clients away from flash and towards one-off client specific tattoos. The cheap copier made accommodating the customers preferences easier and helped to make custom tattooing the norm rather than the exception. Categories: Tattoo stuff \| Tags: , , , , , , , \| Leave a comment Newness (shop and tattoos) So the new shop is open. Its been about 3 weeks and already I feel like I’m settling in like we’ve always been there. In addition to Cara, myself, and Jesse, we hired our good friend and fellow new dad Matt Macri . So while I have stopped doing walk in Thursdays, we still have at least one artist almost everyday who can handle walk ins, at least until they get booked up too! Another big change is that I am now taking thursday off to hang out with Luna and Cara is tattooing all day Thursdays. I feel so lucky that I get to spend so much time with my daughter and that I have such reliable friends working for me that I can give Luna all my attention and give her mom a much-needed break from baby duty, even it its only one day a week so far. We had a great “grand opening” party, tons of friends showed up, Kevin Sousa provided the food and Full Pint Brewing donated beer and Cara and her good friend, local fine artist Thommy Conroy hung the crazy amount of art we moved over from the old shop. I took a second out of the busy night to snap a couple of pictures which i stitched together to give you an idea of how much BIGGER the new place is compared to our Oakland locale.. party pic I totally based the idea for the open floor plan and oak toolcarts that we tattoo off of my trips to get tattooed in New York, specifically on the Kings Ave. Bowery location. I really liked the open room idea, and it has already been conductive to a relaxed ability to exchange ideas and critiques as well as a more free flow of conversation between artists and customers. I’m a worrier by nature, and naturally moving across town into a building with a completely different format and with new people should have really set off my panic buttons, but this time I wasnt all that stressed out. I guess I knew that this was a step up for Cara and myself and I was confident that the new space would be a benefit to all of us in the Black Cat family. I have been working on some really fun stuff and with a few more artists I have been able to focus more on the specific stuff I want to tattoo. It’s always tricky, because I don’t want to sound snobbish or picky, but at 42 years old I feel like its time for me to specialize in the kind of tattoos I can do a really good job on and let the ones that would be good but not spectacular go to people who would do a better job on them. I confess to feeling a little guilt because, if I’m being honest, I’m also a little burnt out on doing tattoos that are not in my area of enjoyment. I guess I have earned the right to pick and choose, others people certainly reassure me of this, but I still feel a little concern that by not taking any and all tattoos that I have somehow become a big-headed rock star. The mind is funny like that, as soon as you get what you want you either want something else or you feel guilty for getting it. Thats why Shunryu Suzuki called the untrained brain the “monkey mind”, jumping and running around this way and that, never stilled. One of the nice things about sitting for a few years is that I can see this monkey mind from a little distance, I still have the crazy running around thoughts, but these days I can watch them without having to pick them up and play with them, sometimes I start to go into that cycle and a little voice says , “ah, best not to go there, buddy” and I can back off. Anyhow, here are a few recent things I’ve been working on. alison back A good friend and ray of sunshine in our lives has been talking about a back piece for some time. She has a special affinity for Ganesha but was torn between the elephant headed boy and a Medicine Buddha to honor her herbalist/holistic healer career. In the end we combined the two ideas doing a Ganesha but in the more Nepalese Buddhist style of art. Back-pieces are no fun for the customer 90% of the time, even folks with very heavy coverage and lots of years getting tattooed are surprised at how bad the pain can be. We ended up doing this outline in two sessions. jim chadw dragon I finished this dragon on a long time customer and we blended the background a bit up into some tribal blackwork we did a few years ago. I think I am done doing tiny dragons on arms, this piece is a great size and allowed us to get a lot of detail and readability. nurse gypsyI love doing traditional inspired tattoos like this nurse/gypsy, It might seem strange to do Japanese and traditional American t first glance, but in reality they are very similar in technique and graphic punch. They both have a long history of stories and meaning that a tattooer can draw on to add depth to a tattoo and if done correctly both will look good for the clients lifetime. tricia owl Some tattoos become popular and then fade never to come back, some are perennial favorites that have been around as long as tattooing and will still be getting done generations hence. I have done owl tattoos for 16 years and they never seem to fade in popularity, like a lot of tattoos which have that kind of staying power, an owl tattoo has a visual power which affects everyone who sees it on a subconscious level, it goes beyond the simple image and into a symbol. When we see a heart we think of “love”, when we see a skull we think of “mortality, and when we see an owl we think of “wisdom“. Categories: Tattoo stuff \| Tags: , , , , , , , , , \| Leave a comment What not to say to a pregnant lady. Having a baby is a lesson. It is a lesson in patience and humility, it is a lesson in generosity and respect for the power of a womans body. Unfortunately it is also a lesson in the power of careless words and speaking before you think. Now that our amazing baby is almost six months old I can reflect on Caras pregnancy with joy and wonder, and also a little cringing at some of the dumb shit people would say to us about the pregnancy. People often say hurtful or just plain stupid things out of ignorance or pure thoughtlessness, when you are saying these things to a person who is not only scared about all the many many unknowns of childbirth but also riding the waves of hormonal wackiness I believe a little more consideration might be in order. So think of the following blog as helping you to avoid accidentally saying some of the things that made me want to knock people’s teeth out when they thoughtlessly (though innocently) said one of those things one should never say to a pregnant couple. 1) The only thing to say about a pregnant woman’s body is “You look beautiful!”. Lets face it, we live in a culture where women’s bodies are constantly and bizarrely open to public comment. The covers of countless shitty gossip rags are full of articles about how this or that person is “too” fat or “too” skinny complete with blown up photos of a cellulite thigh. Many women in our society were expressly told by their parents, friends, or boyfriends that their bodies were somehow imperfect, even the most independent and self actualized woman often harbors a fear of public comment about their bodies. So when some well-meaning person says “My god you look HUGE!” it doesn’t matter that said buffoon wa talking about her belly full of baby and may even mean it as a compliment, after 20+ years of being terrified of being called fat in public this comment carries a lot of psychic harm. Consider that you are speaking to person whose body has radically transformed in months, not years, into something unrecognizable. A pregnant woman’s body looks different, feels different, occupies otherwise familiar spaces differently, also these bodies are producing tons of hormones that the mother is not used to, these may make the pregnant woman feel nervous, angry, protective, or depressed and the last thing they need is to deal with the fallout in their minds of a society that values woman primarily by their appearance at a time when that appearance is going crazy. In short, if you must comment then keep the comment positive and accentuate the good aspects of the pregnancy on her body. Trust me on this, no matter how funny you think you are or how much “she must realize how big she is” you are going to get a pregnant lady karate chop to the throat if you go there. 2) We have already heard it. What do I mean by “it”? I mean all of it. Any of it, and I guarantee that you are not going to be telling us something we fucking don’t already know about pregnancy. She shouldn’t eat sushi while pregnant? we fucking already heard that shit 400 times. Oh my life is about to change? Thanks for assuming im such a fucking idiot that I don’t realize that creating a new life that i will be responsible for clothing, feeding, loving, education, and protecting for 18 years might cause my life to change a little bit. Oh you read this great book? Thanks Bookie McReviewer, good thing you read my mind and realized I wanted to have yet more shit to read than the 5000 books every pregnant couple gets “gifted”. We heard what Dr So-and-so said, we heard about cloth diapers vs. disposable, we heard about what too much caffeine can do, we heard about playing music for the fetus, we read all about the hospital/midwife center/witch doctor that is a magical wizard when it comes to zooming babies out of the vajayjay and into a bassinet. Guess what, If we don’t Ask then keep your fucking nugget of wisdom to yourself. Pregnant couples are already drowning is a sea of information, we obsessively read, watch, listen to any and all things relating to pregnancy. It’s like we dropped into a 9 month intensive college course where the final exam involves my wife pushing a live human out of her body, you don’t think were gonna do a little research on that shit!? So when you come up with this really important thing you saw on Ellen or on (that fucking) A Baby Story it is almost 100% of the time just adding another tiny little brick of stress to our lives. oh and if the tidbits you wish to share with us is a fucking horror story about your or someone you knows shitty birth experience then. . . . 3) Keep your shitty birth experience story to your goddamn self. You are not helping. You’re not. Telling my wife about your 500 hours of bloody fucking screaming labor, or how your poor baby had to have an extra toe removed from its precious goddamn skull or how the nurse laughed at you when you screamed for morphine and how you needed 52 stitches is not helping. It might help you to justify your pain and to process your traumatic experience, but you need to do that shit with someone who is NOT about to give birth in a few weeks or months. We already live in a culture which treats birth like a disease and there are actual television series (like that shit sucking A Baby Story) whose entire premise is “look how fucked up this birth thing is yo!” Our Doctors have already spelled out exactly how crazy and heavy this is going to be, we don’t need someone telling us about the horror story their cousins birth was. Think of it this way, if your best friend was about to go on a plane and was terrified of flying, would you a) tell them it will be fine or b) describe about how your neighbors brother died in a fiery crash? Look, your experience is valid, and if you overcame some serious shit then you are a fucking hero (really) and I have nothing but respect for you, but can we talk about it after my wife has her own experience? Because scaring the shit out of us really is not a help at all, not even a little bit. 4) Don’t predict our doom. Telling me that I have no idea about how shitty my life will be with a baby, sucks. Telling my wife that her body will be destroyed by birth or that she wont be able to handle the sort of birth she wants really sucks. Telling us that fraising kids is really hard and that maybe we wont enjoy our lives anymore (because they don’t enjoy theirs since kids came into it) sucks and is kind of sad. A surprising number of people seemed to take perverse delight in letting us know how naive we were and about how we would never sleep, have fun, travel, eat at restaurants, or “hang out” ever again. It turns out that they were all wrong, at least about our lives, maybe their lives suck that bad. I certainly hope not, but that’s what they seemed to be going through and confidently predicted we would too. Maybe these people (and its usually guys) don’t like having kids, it certainly sounds that way. They have every right to feel what they feel but its a sad and desperate sort of attempt to project the fact that having kids is not their bag onto us before we’ve had a chance to try it for ourselves. Perhaps I could have hated it too, maybe I could have regretted my “loss” of “freedom”, but it was our experience to have and the smarmy predictions of how miserable we would be just added more worry to our minds when it wasn’t really necessary. Even worse was when we told people that we were going to have the baby at a midwife center with no drugs, oh the looks of “yea right, good luck with that, hippy” followed almost every time with “Yea you say that now, wait til you’re in labor!” Well my wife did wait til she was in labor, and then the proceeded to have a baby while standing up feeling and every second of it. Guess what? she tells me she would do it again in a heartbeat. She is a bad ass, but lots of folks who consider us their friends predicted that she would crumble like a cookie and it sometimes caused us to doubt ourselves when we should have been pumped up by those we love instead of torn down with bummer predictions. Even if you are right, and even if your dire predictions are going to come true, why on earth would you want to put that onto us before we go into one of the biggest moments of our lives? Are these the kind of people who tell their buddies right before marriage, “well, no more having fun for you!”? Think about it, are you that unhappy that you need to project that misery onto other people before they have their own turn at this thing called “being a parent”? So basically the gist of this article is to say that for Cara and I (and, I’m guessing, lots of pregnant couples) there was a surprising amount of thoughtless or outright ignorant comments and while many were well-intentioned, the final result was to cause stress at a point when more stress was acutely painful. Pregnant ladies are sensitive, their babies daddies are protective, and at a time when the world seems chaotic and unpredictable a few kind words will (and did) do wonders for our mental state. So, what should one say to a pregnant couple? Unless specifically asked, I would keep my stories and medical opinions to myself, I would tell any expecting couple that they will do great, that their experience will be awesome, that mom looks beautiful and that I’m sure they will have a great birth! Even if you are wrong, who wants to be the one who predicted a tragedy in a friend or loved ones life. Keep it positive or keep it to yourself. Categories: fatherhood, random dumbness \| Tags: , , , \| 1 Comment New shop? New shop! Because I have not written a blog in a long time I feel it’s tiny voice even in my sleep. Like a dog you thought would die if locked in the shed only to hear is mewling whines for weeks and weeks, ever quieter and yet no less there. Sorry, that was a pretty heavy metaphor. Anyway, having given birth to this blog I feel like I must, occasionally, feed it. But to be honest I haven’t had the urge lately, you see there is a new ” project” on the horizon and I tend to be the kind of guy who gets very hot on one thing and let’s it consume me for a bit. Right now most of my waking energy is spent thinking about my new baby girl and THE SHOP. The baby girl part is mostly thinking about how I can be less useless to my wife who I estimate is doing ninety-eleventy percent of the work currently, while letting me remain a selfish lazy crybaby. This requires a lot of work and self reproach fortunately I have a lot of practice at it and, like the master of judo who has hardened his muscles through countless hours of training, I too can throw my ego around using only its own (prodigious) weight against it. So I try to remember to change a diaper before being asked and to entertain my little girl as long as possible while my poor exhausted wife gets a shower, not as easy a task as it sounds since my breasts will, stubbornly, refuse to produce milk. Perhaps we should all be grateful for that. The other, and significantly less important, object taking up space in my mind is the impending relocation of Black Cat Tattoos from our current location to butler street in Lawrenceville some time in April. Cara and I have been looking for a new, larger location for some time and since the current lease on our spot on Craig street ends in April we were actively searching for a few months. Sadly most of the spots on Craig street were unsuitable (stupid expensive) or not a good fit (run down shitholes impossible for customers to find) and so we had to look in other areas more acceptable to hipsters like us. Clearly we needed to look to Lawrencevile where the waxed mustache and ironic “who’s the boss” t-shirt still roam the plains in herds uncountable. Through great fortune and the keen eye of friends we found such a location that, uncannily enough, would become available right when we needed it. Also, being in the as yet mostly empty but clearly up and coming area of butler street near 34th street we would be over a mile from the next nearest tattoo establishment. In this age of Southside tattoo shops opening inside each others back pocket I may be a bit old fashioned, but I still feel that a respectful distance from other tattoo shops should be the (polite) right thing to do. I will miss Oakland, I have tattooed in its dirty bosom for my entire tattooing career, I’ve smelled it’s O fries and told its bums to fuck themselves for nigh on 16 years. More specifically I will greatly miss the folks at Phantom of the Attic games. One could only dream of more pleasant neighborsm , truly, of all the changes to come, moving away from Geoff and crew is the only cause for regret I have. Still, onward and upward! We will be in a nice, newly refurbished building with heat that works, ceilings which don’t leak, and with room to stretch out. We will also be welcoming a new artist, Matt Macri into the black cat family (I’m the dad). At this point all I can really do is plan and work on preliminary things like signs and what sort of chairs to have, fortunately the move will be far less of a build out than the current Black Cat location where we had to take a very raw space and build walls, lay floor, install plumbing and electricity, instead we will be picking out bookshelves and figuri grout where to hang the pile of great art from friends we have acquired over the years. As of now the only firm info I have to share is that we will be in the new spot by May and that I will be updating you if e folk as I am able. I’m excited! Categories: Uncategorized \| 4 Comments (Dis) illusion It is a sad cliche that our heroes often, in time, are revealed to be all to human. Sometimes this is because they espouse something that they can’t live up to, or because they commit some action that seems to be counter to everything they stand for. Very often it is because our own expectation and ideal of them is unrealistic and after a time it dawns on is that this person we held up in our minds as a hero is simply, disappointingly, human. Sometimes though, our heroes stop being so heroic in our eyes not because they failed, or because we weren’t looking at them realistically, sometimes they stop being our heroes because we become better than they are. It’s difficult to articulate something like this and not sound like you are giving yourself a compliment, but being honest with oneself includes not only finding our own faults, but also in seeing our own progress. If you only ever think “I suck” then you are as deluded and full of horse poop as someone who only thinks “I’m the best”. Many years ago when I first became a tattooer I devoured any kind of information on tattooing that I could. There wasn’t so much media as these days and the few books out there (aside from Ed Hardys excellent “tattootime” books) were dated and generally full of mediocrity. So most of the best stuff came from tattoo magazines, and the best of those came from Europe since almost all the u.s. magazines were full of biker shit and shitty supplier ads. I picked up an Italian mag called “tattoo planet” regularly. The art was awesome, featuring guys like Filip Leu, Theo Jak, Permenant Mark, and others who I idolized. One guy in particular whose interview and pictures inspired me to the point that I set my plan for my entire tattooing career on his example. This artist was an American like me but had eschewed the street shop and “low com denom” flash ( as in; mediocre art which appealed to the greatest number of uninformed tattoo public) that was my world at the time in favor of having a private studio off the street, doing large scale Asian inspired work, and generally avoiding all the trappings of cheesy tattoodom. Despite the fact that I was a pretty bad to average tattooer at the time something in the this guys approach resonated with me and right then, a mere 2 years into tattooing I decided that someday I would be doing that kind of work in that kind of environment. Pretty lofty for a guy who couldn’t pull a straight line or draw better than a high schooler, but I knew that the goal was something for the future. After a long time I got better at tattooing, and eventually did open my own shop off the street, doing mostly larger Asian stuff, with few of the trappings of cheesy tattoodom. In short, I actually did reach the goal I set in 1997, I never forgot that interview, and I still don’t know to this day if my life would look the way it does if I had read that piece. I was, and am, grateful to that tattooer for their inspiration, I would occasionally look for their work in books or online, but nothing really new seemed to show up. Enter Instagram. I saw this persons comment on another tattooers thread a month or so ago and was really happy, at last I would get to see their newer work! Maybe I would write this person telling them how inspirational they had been to me. So I clicked on their name and was shocked. There was a few nice pieces but in general it was pretty average, and surprisingly, it was worse than the artists stuff I had seen in the 90′s! I kept following their work for a few weeks but eventually “un-followed” them, I use Instagram to be inspired by people who are killing it, people who I may never be as good as, but who inspire me to try anyway, and this persons work wasn’t anymore. I want to make it clear that I am not saying that this artist is “bad” or that I am better than they, I also still owe them a tremendous debt of gratitude for showing me what was possible outside of the tiny fishbowl of tattooing I had lived in, but it was still a disappointment. For little while anyway. A strange thing happens when we have our illusions dissolved, even apparently beneficial ones like the inspirational illusion I had all those years ago. Assuming that we dont run right out and fill the void with another delusion (which is what we usually do) a space is opened up for the truth to sit where the illusion had been. I found myself suddenly inspired to draw a particular set of 1/2 sleeves that had been poking around in the back of my mind, I had a weird rush of new ideas fora big project we will be announcing soon, I suddenly felt at peace with my (slow but steady) progress in my own tattooing. In short, I like to think that letting that image go opened me up to new inspiration. Illusions (and delusion) are a part of human nature, you can’t stop them for happening but we can learn to let them go. Sometimes we can do it quickly, like when we look at a menu at Arby’s and think ” that’s gonna taste good” and 10 minutes later feel like throwing up. Other times we have been indoctrinated with them from so early on that we don’t even realize its a delusion til something happens to shock us out of it (like realizing that getting a bunch of money and power still doesn’t stop us being miserable). But the end of an illusion is a wonderful opportunity, the humanizing of our heroes is a wonderful opportunity to be inspired by something greater and one person or ideal, it’s a chance to be inspired by the truth, by yourself, by all of us (which, coincidentally, are all the same thing anyway.) Categories: Buddhism and life, Tattoo stuff \| Tags: , , , , , \| Leave a comment In Buddhism there are three big reasons why we are suffering, and every other smaller reason can be chalked up to one of these three big ones. I’ve talked before about greed and ignorance, but right now the one I see most prevalent around us is fear. If these three poisons, as we call them, are the cause of all of life’s suffering, then perhaps none has caused quite so much actual death, destruction, and mayhem as fear. We’re living in a time when we as a society, at least in the Western world, live, work, create, and exist in an atmosphere of fear. It pervades everything around us, and we are so engulfed by it, so conditioned to accept it as a natural way of things, that we are like a fish who swims in the ocean and never knows that he is in water, we breathe the fear and exhale anger. even those of us on the supposed peaceful path have a lot of anger. And it doesn’t require taking a very hard look to realize how extremely poisonous and harmful of a world this has created for us. Lets take a look to the news for an example; right now in the United States is a huge debate about gun control, this is mostly the result of a series of tragic mass killings and a growing realization on the part of the average citizen of the extraordinary number of deaths related to firearms in this country. Frankly, my point in this labor is not to take a side, but to simply to show what an environment of fear can do to an otherwise rational debate. If you asked somebody who is against gun control why they don’t want any form of restriction on firearms you can get all kinds of answers that relate to home security or personal safety or hunting, but just getting a little deeper and asking why they are against even seemingly benign and reasonable restrictions you find that 90% of them, the people who are hard-core gun enthusiasts let’s say, will tell you that the real reason they don’t want any restriction at all on firearms is because they feel it is their only defense against our own government. In other words these folks really believe that at any moment an American Nazi-type regime Gestapo could come in and try to ” take over”, and for these folks it is a perfectly reasonable line of argument to say we should have absolutely no restrictions on guns that we should allow the amazing number of killings that we have every single year, and that we should allow tragedies like dozens of schoolkids being shot in mass killings to occur because of a Fear of some fantasy attempt at a ” takeover “occurring. It’s kind of like deciding that we should all live underground concrete bunkers because one day the moon men might come down and try to take our women. The likelihood is almost exactly the same of these two events occurring, and yet otherwise rational people act and believe like this ridiculous notion could occur and furthermore they surround themselves, their families, their neighbors, with frightening firepower and ignore all the studies which are shown that they are far more likely to harm their own children or spouse or themselves than to ever defend themselves from any outside force. You want talk about one another example that it’s a bit less politically hot? Did you know that up until the turn of the 20th century there was no such thing as mouthwash for bad breath? oh i am sure it existed and that people didn’t like it, but it wasn’t considered a big enough deal to have a whole separate product for it. All it took was one genius to write that first ads tagline along the lines of “I would marry her, but that breath!” And now we have a multimillion dollar industry dedicated to making our breath not smell. The company wanted to sell a product, and so created a fear that has now lasted for 100 years and probably never go away. Need more examples? All it takes is a cursory glance at magazines from the late 1800s to realize that what was once considered a healthy body would today be considered obese. Once again a company(s) wanted to sell a product (or several million products in the case of weight loss and body image) and so they created a fear. Millions of us torture ourselves worrying about whether our bodies are too fat, smelly, dark, or light. Fear is a natural state but these days it is being used for profoundly unnatural reasons by people for both political and financial gain. It’s incredibly liberating reach a certain age or meditate long enough to get up with the fear and to decide to stop feeling it. And it really does happen that way by the way, one day for whatever reason, you just get tired of accepting it. At least if you’re lucky, there’s a lot of people out there watching news pundits, reading inflammatory website,s believing in obscure ridiculous conspiracies who never get tired of the fear, but man, it’s got a be like drinking poison every day though. No matter how much you think you like the taste, and a how immune you think you are, there comes a time when this will finally beat you down and destroy your health so thoroughly that you ceased to be functional. FDR is famous for having created a quote” the only thing we have to fear is fear itself” that quote might be more accurate now than even when he when he came up with it during the Great Depression. Fortunately, there is a way out of the fear trap. And like most solutions to the complicated problems of our lives the solution seems goes against the conditioning that we have been indoctrinated with her whole lives. In the same illogical way that the only way to cure hate is with love and the only way to cure intolerance is by understanding the intolerant, it turns out the only way to cure fear is to let ourselves be vulnerable. To accept that these things that happen in our lives are not the end of the world and to see that the real drama and trouble doesn’t come from outside of us but from our own minds. It is true that our nation in particular is subject to pernicious dosing of fear from those who use it to control us ( the gun manufacturers and weight-loss companies and fashion magazines and news pundits make their living because we are fearful) and they do a very good job of convincing us that we need fear, but we don’t. At the end of the day they are afraid, they are afraid of us no longer being afraid. All those groups who make a profit of our paranoia live in mortal fear that one day we will not air each other that we will realize how alike we really are, that we will get to know our neighbors not as foes or potential competition but as people who are very much like us trying to live lives very much like the ones we wish to live. And to start to live this way is the ultimate middle finger in the face of fear, to say “I refuse to drink your poison.” Categories: Buddhism and life \| Tags: , , , , , , \| Leave a comment Blog at WordPress.com. The Adventure Journal Theme. Get every new post delivered to your Inbox. Join 585 other followers
84fd5724-6a66-48b2-a04a-12d49c2a990a	{ "cc_dump": "CC-MAIN-2021-04", "dolma2_qc": { "0": 0.999962568283081, "1": 0.00005740145206800662 }, "exact_duplicates": 1, "lang": { "en": 0.8679624199867249 }, "madlad": { "num_sentences": 12, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 344, "sa_remove_ranges": [], "text_hash": "335322572009898742991327106325702770513", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-01-22T05:37:16Z", "warc_url": "http://www.luohu18.icu/best-free-fonts.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9985088109970092, "__label__education_and_jobs": 0.0011435691267251968, "__label__electronics_and_hardare": 0.0005133356316946447, "__label__fashion_and_beauty": 0.0005293049616739154, "__label__games": null, "__label__home_and_hobbies": 0.0014203583123162389, "__label__science_math_and_technology": 0.010662510991096497, "__label__software": 0.01972912810742855, "__label__software_development": 0.10088862478733064, "__label__finance_and_business": 0.00048285454977303743, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0005457804654724896, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	<progress id="yptfw"></progress><noframes id="yptfw"> <noframes id="yptfw"><progress id="yptfw"></progress> <menuitem id="yptfw"><nobr id="yptfw"></nobr></menuitem> <track id="yptfw"></track> Magazine for designers and web developers 55 Collect 100 Best Free Fonts for Designers in 2020 Article by Awwwards in Design & Illustration - - Typography is currently playing a central role in web design, with progressive improvements like Variable Fonts, CSS Shapes, FlexBox, CSS Grids and Subgrid definitively changing the way we work with typography in web design. The key to this visually pleasing trend is the use of big-personality typography, which adds rhythm and contrast to compositions. Serifs and display fonts dominate, while mixing typefaces is a fundamental practice for generating stunning designs where typefaces with very different qualities, weights and styles work together in perfect harmony, to create a very strong visual impact. It’s good to see the recent wave of kinetic type animations is making use of those much awaited variable fonts. Every day we see more and more experiments with animated variable fonts and its properties, with effects like wrapping text using CSS Shape and many other effects made popular by kinetic type experiments. Another piece of good news is the update of the Google Font API that allows the use of variable fonts with an exclusive set of 10 high quality and varied fonts. Including serif, sans-serif, slab or monospaced typefaces. In this new collection of Fonts, you will mainly find fonts that are free to use, some are for non-commercial use only, and some have a free version available. To see some of our favorite examples, have a look at our collection of Free Fonts which displays a wide variety of free typefaces. If you’re looking for fonts for commercial use, you can visit our new collection Best Fonts where you’ll find a variety of exceptional high quality fonts at a very good price. We also think you’ll like this selection of google fonts most loved by our users. 伊人久久大香线蕉综合
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BigTown Gallery, Rochester. Through October 4. click to enlarge A detail from “First Dropps” by Bunny Harvey • A detail from “First Dropps” by Bunny Harvey The BigTown Gallery’s current exhibition, “On the Landscape: A Feminine Eye,” features five commanding artists who share a subject and a gender. Rather than drawing these works together under a feminist rubric, however, gallery owner and curator Anni Mackay selected them for their quality. On view are works by mature, internationally known contemporary artists who happen to be women. The show provides a window into their various views and renditions of the landscape. Style, palette and subject vary widely among them, suggesting complex, layered relationships to the natural and built environments. Bunny Harvey’s dramatic palette contrasts deep greens and blues with bright blue-whites and lime-yellows. Her painting “First Drops” is a large horizontal landscape of a darkening sky looming over a spring field filled with geometric, grasslike marks and textures. Brooding trees form a middle ground between the yellow field and the blue mountains beyond. The sky is a morass of swirling, gray-blue clouds that hover right to the edge of the painting. You can almost feel the barometer dropping, the air charged. On the far left, bright blue paint “drops” punctuate the fall of thin, blue strokes that drip diagonally over midground trees, putting us right in the artist’s shoes, so to speak. Harvey makes us feel we are not just seeing rain on a field, but standing in the downpour. Celia Reisman uses bold colors in her works, but to a very different end from Harvey. Reisman’s landscapes center on homes and buildings that she paints as clustered blocks of color, each in slightly “off” hues of the same shade. This technique creates energetic tension that contrasts with the steady order of the rectangular buildings. That orderliness at times recalls Edward Hopper’s paintings, but Reisman’s works are also joyful, even funny. In “Tall Trees in Fall,” a tightly closed green patio umbrella sits beneath the canopy of a tall, orange-red tree. The shelter of leaves covers the humanmade shade of the umbrella. In these compartmentalized scenes, Reisman paints the landscape of single-family culture while chuckling at its seriousness. Ginger Levant is also concerned with the built environment, seen in the context of its natural surroundings. Levant employs an arid palette and a plein-air sensibility to “juxtapose human history as seen in local architecture with the wildness of the natural elements,” she writes in her artist’s statement. In “Olive Grove and Farmhouse,” she divides the canvas diagonally with a sloping hillside and horizontally with a mountainous horizon in the distance. A demure terra-cotta dwelling perches at their intersection, flanked by two enormous trees. The peaked building gives the painting a sense of balance and human history but is not its focal point, suggesting a supporting role for humans in the landscape. People are absent from Frances Wells’ paintings of glassy rivers and soft, hulking hills. Wells is a contemporary Hudson River painter, bringing the famous earlier school’s reverence for nature and sense of romance into her own paintings. Her landscapes are soft and airy; yet these small canvases, edged in faint gold, deny us entry to the hazy sunsets. The paintings have a scrim-like quality, as if we are seeing the landscape through a screen door. They evoke a sense of longing, speaking to the beauty of the untouchable scene, and maybe to Wells’ yearning for the romance of the preindustrial landscape. Kate Emlen seems to take a balanced approach to the landscape: Her work shows a mixture of Wells’ poetic distance, Harvey’s chutzpah and Levant’s architectural acuity. Emlen paints nature in its vast and powerful yet orderly flow. Her small paintings of mountains, “Connecticut River Evening” and “Connecticut River Morning,” are lush constructions of dusky blue, ochre and lime green. Simultaneously structured and loose, the works combine refined rendering with expressive flow. Emlen’s spectacular painting “Gathering Clouds” looks like an expanded version of the two smaller works, but the larger scale allows the viewer to relish the landscape in all its undulating wonder. Emlen translates compelling visual experiences with her concise, fluent brush. Got something to say? Send a letter to the editor and we'll publish your feedback in print! Pin It More by Amy Rahn About The Author Amy Rah
e5d1d338-6cf4-4546-9232-f6733fc7367c	{ "cc_dump": "CC-MAIN-2019-51", "dolma2_qc": { "0": 0.9999387264251708, "1": 0.00008131787035381421 }, "exact_duplicates": 0, "lang": { "en": 0.9417808651924132 }, "madlad": { "num_sentences": 119, "rule.2": [ 42, 58, 84 ], "rule.5": [ 117 ], "status": "survived" }, "minhash": null, "original_word_count": 2259, "sa_remove_ranges": [], "text_hash": "233678474781154469186617290192401389507", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-12-08T13:48:11Z", "warc_url": "https://konfrontacje.wordpress.com/english/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.880807101726532, "__label__education_and_jobs": 0.01641303114593029, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.020974241197109222, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.01244165189564228, "__label__social_life": 0.004765199031680822, "__label__entertainment": 0.00574024673551321, "__label__history_and_geography": 0.016924913972616196, "__label__literature": 0.024433093145489693, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.004478383809328079, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.005564924795180559, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	By mal2008 The descriptions of the artworks at the 2003 Shipyard-Konfrontacje project: <!– @page { size: 21cm 29.7cm; margin: 2cm } P { margin-bottom: 0.21cm } The winding-sheets of shipyard (Agnieszka Szreder) I imprinted on them an impresion of places/things from that part of shipyard which stopped to work, which became almost 70hectares of waste land.Winding-sheets show few particular places but they concern all shipyard.They show(rather showed) sth.that a few years ago was vibranting with life,sth.about what hundreds of workers were walking every day,sth.that that people were touching,openinig,wearing,sth.what died and brang to ruin. Now,after the destruction act(washing),which I did during the openning of exhibition,we can see only a sketch of what it was.Time will do the same with shipyard – will destroy it. Only a remembrance, unprobable and transitory,will be left. About the work of Benjamin Coelle. The work I made during the plenner 2003 was a video installation about the uprising during the 1981-strikes in the Gdansk shipyard that was sampled from the original film-material of that time. With my installation I linked visually the uprising in the shipard to the uprising in Soweto/South Africa that took place in exactly in the same time but on the other part of the world. The idea was to show that people can organise powerful resistance against opression ? anytime and anywhere. Benjamin Coelle works audio-visual within an intercultural and socio-philosophical context. Source of inspiration are people from all over the world who initiate or take part in projects and collectives of theoretical and practical exchange of ideas ? together creating alternatives to contemporay capitalist culture in this complex world. This network of people works within an open platform between the local scenes of different cities (Amsterdam, Barcelona, Berlin, Gdansk, London, New York?) and on the internet (http://www.funk-the-system.net). The work of Ell Southern during the project. The artwork I make falls into two catagories: documentation and drawings. During the Gathering, I took many photographs. I was editing them and making archives too. I also made a documentary movie, which due to lack of time i had to edit very crudely. I made one single large drawing for the Plener (A0). I thought I would make more at first, but in the end what I did felt right. I made a large drawing because thats how the shipyard terrain felt to me, made me feel slightly out of my depth. And the stillness of the shipyard visually was why the paper remained largely blank, sheer space. I prefer the lonely parts of the terrain, the forgotten parts. Trembling with past events yet surrounded by silence and stillness. I was inspired by the film footage we saw in the Roads To Freedom (Drogi do Wolnosci) exhibiton at the start of the Plener. That footage, so distant, out of focus, colours and pixels desperatley hanging on to the images of far away figures being beaten, crushed, gunned down. Real people feeling real pain, yet so far away. General Statement – Jack Southern Much of my work stems from an ongoing investigation into the representation and portrayal of world political events by the Western media. Embedded, is a fundamental interest in the accessibility of information, how it is presented, preserved and mediated. I am fascinated by the concept of „true” information in a saturated society. I aim to explore how and to what extent, our interpretation of information is dictated through editing and how this penetrates popular consciousness and breeds in the public domain through television, film, advertising, newspapers and the Internet.Central to this interest is the notion of individual identity, and the degree to which it is lost in the midst of collective experience. The Rise of the Polka Dot – Rachel Oxley Sound. Headset – Reflection Aural journey through the space and rhythms of the shipyard. Best listened to through headphones in the terrain of the shipyard. The audio aimed to describe the patterns of movement and sound that transend the generations and time specifics, within the shipyard. Time present, time passing. Time wasted – time to come. The Rise of the Polka Dot.Warning Signals – As normally encountered by students, fishermen and professional mariners. Large wall drawing relating to the specific and worldwide use of light warning signals for ships. Plotted within a target area, the warning ‚polka’ dots gather around a center point. The image is left as a line drawing, to be filled in by anyone. You follow the instructions and paint the warning dots by number. Cultural transgressions Light warning signals for ships are officially illustrated as polka dots. Polka Dot – Poland = Woman; Polka Dot – Shipyards = Warning signal ; Polka Dot – London = Fashion Statement Absent/ excluded. Women in the shipyard. (Ewa Majewska) To say about women, that they were not present during the 1980 strikes is simply not possible for me. They were here – phisically – about 30% of the workers of the shipyard were women, and also in the memories, dreams, desires of the striking men. In the space of the shipyard plants grow up and trees, which helps to think of and see also the imaginary space of the unconscient dreams, desires and needs, that supported, as it usually does, all kinds of strugle. The shipyard is also an udigested fragment of the common memory, which was vital still in the 80’s, but somehow disapeared after ’89. In my installation I tried to speak about all these things. I think, that the intime and the political united in this work, just as it usually does. Identities of people in changing Gdańsk (Robert) We have been invited to Stocznia Gdansk to „confront” the history of the shipyard and work with what inspires us here. As someone who does not work with his own hands but rather with information I was impressed by the immanence of materiality at the shipyard. Raw-materials are being processed step by step, into gigantic machines. Meanwhile, very closely, there is a group of young people with laptop computers and instant internet access reflecting on that condition, reflecting about what work means, and how creative energy should be directed. There are discussion about the possibilities and dangers of new technologies and how information may be appropriated by anybody and being developed further collectively through means of open software. The shipyard not only represents the opposition to bureaucratic domination and repression, it is also the witness of a social process; of peoples lives and individual stories. There are all kinds of buildings and machines as well as numerous relationships between „actors” and technologies at the shipyard. The parallelity and continuity/discontinuity of all these lines creates a very dynamic tension, Stocznia Gdanska is alive! The work of Piotr Mróz during the gathering The Shipyard of Gdańsk – The Old Forge in Oliwa. Three colours – black. I made a cycle of graphics comparing similar places from the Shipyard of Gdańsk and The Old Forge in Oliwa, which was built in the XVIII century. My work is confronting two places that come from totally different technological times. The basic idea for these graphics was to show two different historical times and work-places characteristic for them. To make the representations similar I used very simple colours – three kinds of black – 100, 50 and 30% (that’s where the title of my cycle comes from). The shipyard – a look from inside. Computer animation based on digital pictures compiled with some video sections (4’20’’) The idea for the animation was to confront the nowadays shipyard spaces owned by Synergia, the rests of the Shipyard of Gdańsk on one hand and the political and social changes from the 70’s and 80’s on the other. My movie is an overview on the working rooms, demonstrations and simple, creative work, which is the most important for people nowadays. Coordination of the cyberspace for the Gathering (Szczym) During the Gathering in the shipyard I have concentrated on creating the space of collaboration between the artists taking part in the project, busy organizers and the public. This space took form of a system for group work, editing and archive based on internet and the multimedia studio in the atelier of the Gathering, which, apart from being a busy working space, was serving as one of the connection points to the creative work in the internet. The internet space is based on rules of open publication in sense of indymedia and is under a careful patronage of the bzzz network from where comes the theoretical and technical support in the wide sense. The website http://www.konfrontacje.bzzz.net is fully powered by the free software under GNU license. Wonderful linux, apache, postnuke and many others, is where the credits go. Also in the multimedia workshop we have used open standards, where it was possible. The drawings of Iwona Zając My drawings are for me a bridge between the gasplant, my previous art -studio and the shipyard; the place, where I work now. The works that I made are a big collage of what happened with me in the last years. Its so cool, that Art lets you combine so different emotions, places and experiences. There is me in the gasplant, than me on a drawing, than in the back of it, on a picture, than the picture of all of it inspires my another work. The silhuette of that woman; means me; becomes a matrix, something like a soul, which comes with me everywhere. There is a bike coming out of my head; I combine myself with the pipes, my body becomes the main part of a ship, a part of the factory, like room. On the poster I was given wings, and I always wanted so much to fly. Ian made a printable matrix out of my draving, it is so easy to repaint that drawing everywhere, that it contrasts a lot with the way I make my drawings. With the reprints I can apear everywhere, I became a real Madonna, I have a face of a real pop star. Participantsof the International Gathering of Young Artists : Stocznia – spojrzenie z zewnątrz/ konfrontacje II” : Ell Southern studied multimedia art at the University of the West of England, Bristol, UK, and now works as a video activist in Gdansk. Ell has been involved in creative activism and independent media for several years, and now co-runs a multimedia workshop, Obin.org, in Gdansk shipyard. Rachel Oxley graduated in Fine Art at Falmouth College of Arts in 2001. Since graduating Rachel has exhibited in both group and solo exhibitions in the UK and abroad, most recently showing ‘Rhetoric’ – an adapted radio installation at 340 Old Street, London. Rachel is currently undertaking a Sonic Arts research MA at Middlesex University and lives and works in London. Jack Southern graduated with an MA from the Slade School of Fine Art, London in 2003. Recent exhibitions include; ‘Tape291’, 291 gallery, London, ‘New video art from London’, Muu gallery, Helsinki and ‘Odds on placebo’, Gallery Morcilla, Barcelona. Jack is a participating artist in ‘Kulturforum’, Berlin 2004. Jack is currently artist in residence at east London based arts organisation ‘Acme’. Tom Mason studied art at the University of the West of England, Bristol, UK. He lives and works in London England, after having lived in Berlin. Tom has just finished a book of his drawings, and recently participated in a 2 week artists gathering at Area 10, London. Ewa Majewska finished philosophical studies at the Warsaw University. Since many years she has been involved in various progressive social projects and independent media. In 2003 she was teaching in the Gender Studies in the Warsaw University. She has been photographing since many years, exhibited her work in small cultural events (like the “antyakt” exhibition in the Baugart/ Libera cafe in Warsaw). Published in several social and feminist reviews, including “Zadra”, “Bez dogmatu”, “Lewą Nogą”. Currently works on her PhD, lives in Warsaw. Ewa Sobczak studies painting in the Art. Academy in Gdansk. She took part in the collective exhibitions, as: „Interpretacje” (Sopot, March 2003); „PlenerStocznia” (Gdańsk; July 2003); „Teatr Stocznia” (w ramach Festiwalu Szekspirowskiego w Gdańsku, August 2004). Nina Kosakowska finished philosophical studies in the Warsaw University. In the years 1998 – 2002 she cooperated as camera operator and photograph with the usa – canadian – british group „Cromwell Productions” which produced movies based on Shakespeare’ s theatre. She exhibited in the Public State Gallery in Słupsk in 2003 (The „Young and clever” exhibition). For almost 2 years she worked in one of the polish tv station as a camera operator. Currently lives in Warsaw. Jo Frgmnt Grys studied chemistry, philosophy mineralogy etc at the Justus-Liebig-University of Giessen. Than more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law. He cooperated with many independent sound based projects, like noisiv (www.noisiv.de.vu) . He lives and works in Berlin. Martin Kuentz – since 1991 works in various ways with soundart, spontanous universities, open workshops, housing projects, radionetworks, media collectives and for this project with Berlin based Grys as reingeneering source for forthcoming sound and radio installation „made in stocznia gdanska”. 0 Responses to “English” 1. Dodaj komentarz Wprowadź swoje dane lub kliknij jedną z tych ikon, aby się zalogować: Logo WordPress.com Komentujesz korzystając z konta WordPress.com. Wyloguj / Zmień ) Zdjęcie na Google Komentujesz korzystając z konta Google. Wyloguj / Zmień ) Zdjęcie z Twittera Komentujesz korzystając z konta Twitter. Wyloguj / Zmień ) Zdjęcie na Facebooku Komentujesz korzystając z konta Facebook. 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ba2ccf0d-0185-4c6d-8e34-e8c9cd9b9416	{ "cc_dump": "CC-MAIN-2019-51", "dolma2_qc": { "0": 0.9999308586120604, "1": 0.0000891166491783224 }, "exact_duplicates": 1, "lang": { "en": 0.9627280831336976 }, "madlad": { "num_sentences": 81, "rule.2": [ 3, 68 ], "rule.5": [ 78 ], "status": "survived" }, "minhash": null, "original_word_count": 1585, "sa_remove_ranges": [], "text_hash": "28003584038910983006394851740599790186", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-12-15T08:28:03Z", "warc_url": "https://www.fineartistmade.com/testimonials.php", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.41490885615348816, "__label__education_and_jobs": 0.017452487722039223, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0029910325538367033, "__label__games": null, "__label__home_and_hobbies": 0.3998216390609741, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.002810927340760827, "__label__health": null, "__label__politics": null, "__label__social_life": 0.004080137703567743, "__label__entertainment": 0.004478383809328079, "__label__history_and_geography": 0.010662510991096497, "__label__literature": 0.0029910325538367033, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.007825888693332672, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	custom furniture, kitchens, and baths by fineartistmade After a hard day's work what a few of our clients have said "Joyce and Patrick understand the value of conserving original historic fabric and wherever possible preserving details of 19th century construction. Craftsmanship, curiosity and love for the spirit of early homes are all a part of an innate preservation ethic that they bring to projects. Add to the mix the artist’s eye, a thoughtful approach, timeliness, dependability, and their honest connection with clients …. what more to say." - Allyson Ford & Leslie Chatterton, Dennysville, Maine "Joyce and Patrick of Fine Artist Made are truly artists. I am extremely happy with my new kitchen. They were able to retain old features, so the kitchen feels inviting and comfortable. Their attention to detail was incredible. Everything is beautifully crafted and of the highest quality. I would highly recommend Fine Artist Made!" - Dr. Susan Luthin, Red Beach, Maine "LOVE following your beautiful work. Thank you for all you do!" - Sarah Hansen, Executive Director of Greater Portland Landmarks, Portland, ME "We contacted fineartistmade to update the kitchen & dining room in our 1899 Queen Anne home. Joyce and Patrick tackled the project with great enthusiasm.They designed and built lovely period cabinets, tripling the amount of storage. There was a tin ceiling in the kitchen area that they painstakingly removed and were able to reconfigure to fit the new cabinets. Joyce & Patrick are very professional and easy to work with. Their work is peerless. They also researched the history of the house which was fascinating - it will be included in a book about local architecture." - Tom & Sharyn Sexton, Eastport, Maine "We highly recommend the Fine Artist team. Patrick & Joyce’s work is beautiful. Their artistic touch is throughout our new house and seaside cottage. Their skill and attention to detail lead to a truly, classic finished product. We couldn’t be happier with the transformation of our cottage. Your work is done to perfection! Family of the previous owner recently visited and were in awe. Thank you for a job well done." - Denise & Shawn Harris, Perry, Maine "Patrick and Joyce helped us renovate our Victorian home. Everything they did was of the highest quality, plus they were reliable, neat, efficient and considerate. It would be a pleasure to come home from work and see how much they accomplished every day. In regard to their charges, they were very professional and reasonable. I would highly recommend them." - Drs. David & Ann Simmons, Calais, Maine "I cannot overstate my satisfaction and delight with the work of Joyce and Patrick from fineartistmade. I have completed several remodel projects under their guidance and resulting craftsmanship, both of which have made my antique Eastport home a real showcase in my small coastal community. They are exacting in their work and most professional in how they approach a project, including the research they conducted to understand the history of my home. Cost definitely equals the highest of quality. The artist in Joyce and Patrick are evidenced in the final product - both my kitchen and bathroom are works of art! I highly recommend this duo, no reservations. And to top it all off, they are really fine human beings and fun to work with during the smooth and trying times that always accompany the execution of a remodel." - Pamela Hanes, Eastport, Maine "Just finished another project for Fine Artists. We really enjoy working for Patrick and Joyce because they put so much attention to detail and take so much pride in their work." - Riverside Electric, Calais, Maine "I live in the oldest house, in the small town of Perry, Maine. It needed lots of structural and aesthetic work. The final product, the result of the team (work and love partners), Joyce and Patrick, is magical. I wanted my house to have modern amenities, but maintain a historically accurate look. With their extensive restoration experience - Fine Artist managed to do just that. They were flexible to work with me on designs that met my needs. We worked it out 'til all agreed - the results would look fantastic. Thank you Joyce & Patrick. Your presence and celebration of our family, lands, buildings and history - your love of this place - is an incredible gift to us." - Georgie Kendall, Kendall Farm Cottages, Perry, Maine "The restoration work you did for the Dr. Job Holmes Cottage & Museum showed your remarkable skill and sensitivity. Especially your retention of all the original wavy and bubbly panes to their original spaces in each of the fourteen windows." - St. Croix Historical Society - Brand Livingstone, Calais, Maine "Thank you again and again for giving us the best looking bathroom. You are both truly artists as it shows in your work. We are very happy with the outcome; it is better than I ever thought it would be given what it looked like." - Bob & Eleanor Kennedy, Eastport, ME "A local Eastporter recommended fineartistmade. However, meeting you really sealed the deal. We loved your work and found what we wanted in your team - a similar aesthetic, the respect for the house and the ease you showed in willingness to collaborate. It was the first time we ever had gone through the design/contracting process. We learned later, talking with others just how fortunate we were to find contractors who actually finished the job, as promised - and even more astounding that it was all done long-distance!" - Steve Erwin & Patricia Caya, Eastport & Meddybemps, Maine "Their recommendations assured that the new rooms would blend perfectly in this old house. They hand made cabinets in the kitchen that are spectacular pieces of work. They coordinated the electrical and plumbing work…and made excellent decisions regarding placement of outlets and selection of fixtures. All of this work was accomplished over the worst winter since 1939 and we were 1400 miles away in "balmy" Cincinnati. Joyce and Patrick are true professionals and we have engaged them for other projects in our 200 year old home. When we return for our annual visits we are finally able to feel that we are home." - Eric Kuhn & Suzie Luhn, Dennysville, Maine "Patrick Mealey and Joyce Jackson bring to furniture design the same blend of traditional aesthetics and clean, contemporary lines that they employ in the historic kitchen renovations they've completed in and around Eastport." - Virginia Wright, Senior Editor, Down East magazine "I received your Sweetgrass Box as a birthday gift - it is a totally wonderful success. So often when you see things on the screen they look good and then disappoint when actually in hand. Not so in this case. The box was all and more than I expected....beautiful to the hand, the eye and perfect in function. The pattern reminded me of Gee's Bend Quilts, Anni Albers textiles, and African weavings. The vibration of the edge of the stencil, where the gold and deep black brown meet, is just right, the colors rich and sophisticated. Your blend of minimalism, craft and folk is skillful and fresh. It has a proud position in our space. Thank you!" - Louise Roman, Phoenix, Arizona "Thanks to your research and collating the Revolutionary War history embodied in the Havens Terry Ketcham Inn, our tours are impacting our guests by our ability now to share this Revolutionary history in the restored rooms of the inn. Thank you so very much." - Bertram E. Seides, President of Ketcham Inn Foundation, Center Moriches, NY "They did our work professionally, neatly and on time... there were no surprises. Simply put, they were super." - Hank Flynn, Architect, Southampton, NY "Patrick Mealey and Joyce Jackson are talented artists. Their attention to detail, whatever the restoration project ...is indeed meticulous. They are affable and actually enjoy their work. They take pride in what they do. They are true professionals." - Dick McBride & Charles Whatley, Sag Harbor, New York "I found them to be honest, precise, dedicated and superb craftspeople. They really care about what they do and that shows in their work. If you're considering hiring Patrick and Joyce, just do it. You won't regret it." - Peter Gethers, author & president, Random House Films, Sag Harbor & New York, New York "Fine Artist consulted with us and our architect from the inception of our renovation. They were responsive to our needs and proved to be innovative problem solvers when the inevitable difficulty presented itself. They made significant contributions to the design of the renovations and offered valuable advice about design details, including research and recommendations to assure that the new features would fit well in this historic home." - Michael & Margaret Bromberg, Sag Harbor, New York "Everything was done meticulously, with strict attention to detail and preserving the authenticity of this historic 1790, whaling captain's home." - Harriet La Barre (mystery writer, Dicey Deere) Sag Harbor, New York "We highly recommend Patrick and Joyce for their professionalism, technical expertise, high work standards, timeliness and commitment to each project they have worked on." - Louis Bradbury & Douglas Jones, East Hampton & New York, New York "Your knowledge of paints, surfaces and construction have enabled you to specify for us methods and materials to produce first class work - which you have accomplished in every instance." - Sanna & Michael Feirstein, Esq., Sag Harbor, New York "Patrick and Joyce approached the job thoughtfully and with care. Their emphasis was on making enduring improvements, not just getting the job done." - Ken Sandbank, North Haven, New York join our mailing list \| contact us Join us at Facebook Join us at Pinterest View our Etsy store View our Houzz profile © Copyright fineartistmade. All rights reserved. Website by Barnstormer Design Group.
20a8d6a5-a550-4019-9745-0af1f4ee8e30	{ "cc_dump": "CC-MAIN-2014-41", "dolma2_qc": { "0": 0.9999780654907228, "1": 0.00004195941073703579 }, "exact_duplicates": 1, "lang": { "en": 0.9504221677780152 }, "madlad": { "num_sentences": 75, "rule.2": [ 74 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1414, "sa_remove_ranges": [], "text_hash": "321806335712965605997634444703578368677", "warc_content_type": "application/http; msgtype=response", "warc_date": "2014-10-01T04:00:52Z", "warc_url": "http://www.fastcodesign.com/1663378/mit-media-labs-brilliant-new-logo-has-40000-permutations-video", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9173126816749572, "__label__education_and_jobs": 0.01244165189564228, "__label__electronics_and_hardare": 0.008325778879225254, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.004765199031680822, "__label__science_math_and_technology": 0.20182321965694427, "__label__software": 0.01543455570936203, "__label__software_development": 0.07808816432952881, "__label__finance_and_business": 0.02162533439695835, "__label__health": null, "__label__politics": 0.004341503139585257, "__label__social_life": null, "__label__entertainment": 0.01169725600630045, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	MIT Media Lab's Brilliant New Logo Has 40,000 Permutations [Video] An algorithm can create 40,000 logo shapes in 12 different color combinations, providing the Media Lab an estimated 25 years’ worth of personalized business cards. To honor 25 years of backseat-driving robots and vision-scanning iPhones and touchscreen-keyboard-3-D-display hybrids, the MIT Media Lab tapped Brooklyn-based designers (and erstwhile Media Lab rats) E Roon Kang and Richard The to dream up a fresh visual identity. The result is pure, unadulterated Media Lab: an algorithmic logo that generates a sui generis image for each of the Lab's sui generis brains. (Cue spazzo nerd gasp.) It's darn clever stuff. As The tells Co.Design, the Media Lab never really had its own logo. "There were identity components designed by Jaqueline Casey [in 1984] referencing the original [Media Lab] building by I.M. Pei," he says. 'It features a nice colorful mural by Kenneth Noland. But there never was an actual logo per se.' The algorithmic design represents the Media Lab's first official stab at a coherent identity, and it's high time. The Lab has transformed from a scruffy operation focused on quaintly enhancing the "digital revolution" into a full-blown brand synonymous with wild experimentation, collaboration, and big-time math geeks. Now, it's got the graphic design to match. The basic idea here is that the logo has three intersecting spotlights that can be organized in any of 40,000 shapes and 12 color combinations using a custom algorithm. That's enough to supply each and every new card-carrying Media Labber with his very own logo for a whopping 25 years. Folks select a design on a web-based platform, and once they've made their choice, no one else can poach it; it's as personal as a Social Security number -- perhaps more so. The spotlights tip a hat to the Media Lab's rakish spirit of cross-pollination, with each spotlight symbolizing a single individual. "People come from many different backgrounds -- they're engineers, scientists, artists, designers -- and have very different ways of thinking, seeing, and working," The says. "At the lab these people cross paths, collaborate, and inspire each other, and that's the magic of this place." On another level, the logo looks ambitiously ahead, as the Media Lab itself so often does. "The Media Lab has outgrown this notion of traditional media, with researchers working in areas ranging from human computer interaction to neurobiology or nanotechnology," The says. "Whatever ?media" means, it has been and will be defined at this place, in the next 5, 10, 20 years. The algorithmic logo is an effort to capture this dynamism.? If you follow our site closely, you know that "dynamism" is a embryonic concept in identity design nowadays, with a few brave souls like Comedy Central and the Southeastern Center for Contemporary Art testing the waters. See it at the Media Lab, though, and you know it's the future. [Images courtesy of Richard The] Add New Comment Basically, they've written an algorithm that randomly positions 3 pairs of squares: a black one, and a primary/secondary colored one. All that happens is a blend shape is created between each pair. This isn't graphic design. It's 10 minutes in Illustrator. I really want to know how this can happen in Illustrator. Can you share this with me? macankur@gmail.com thnx in advance Not a fan. Too much trying to be unique, not enough trying to be good. • He Of 40,000 Names I fail to see how 40,000 symbols is effective as an identity. Jim or Jmi or Ijm or Mij or Imj or Mji • Roberto Martinez The fist logo that is not a logo... People from MIT... are you sure? I agree that you are a very experimental institution with all new concepts and forms... but... mmh.. I actually have a GD services studio here in Mexico City, I always have encourage to my students (geometry professor too at a School of Visual Arts) for new challenges to imagination, to break convensions, but... I think that if you resolve only one or even 5 positions for your 3 nice coloured blacky blocks you have done.. I mean, is unnecessary make that frame by frame animation and say that every frame is a logo and is valid, then... where is graphic identity? I mean only 1 position will distinguish your subject, no 40,000 (it looks like Snow White film, frame by frame) I hope not to be very square with my comments, I only have an oppinion outside of your country. Choose only one choice and I think you have a great logo. I'm suprised that no one here has mentioned (perhaps no one here remembers?) how Rhizome's line-logo was doing this a decade ago, with visual permutation after permutation being generated by a very smart alogorithm. So well done. Here's a link to a mention of it back on 9/5/01. (The title is raising the question if it was actually the world's first generative logo.) http://rhizome.org/editorial/2... • Alessandro Gugliotta I have mixed feelings about this. I agree with Thomas Briggs on the fact that it doesn't convey a clear message as to what they are or do, but then again does the Nike swoosh manage that? When plenty of people already know well enough who you are, that is when you can get away with something like this. Then again, on the flip side, I love the idea of a "personalized code" embedded in the logo. I think it would be amazing for them to create a sort of QR code reader smartphone app that would allow them to scan it and send the user to their own personal web space or blog and. • gergo csikos super nice work. dynamic in its core. these adaptive graphic programs to gained more turf in the past years. started with Melbourne and London2012, then Casa da Musica and MAD in nyc. they require a certain level of openness from the brand though... • Tom Berno I think the criticisms are as interesting to discuss as the logo itself, and an illustration of the state of an industry that is truly at a crossroads. The truth is, the conception of brand identity is evolving, from that of a fixed icon to a dynamic system. The old terminology is really not that relevant when discussing this as a brand identity. While this may not be the right approach for every client, it is well focused for MIT Media Lab. It's a wonderful integration of art and technology. The implied space containing the myriad visual variations is a perfect metaphor for the lab: a contained space within which reside infinite possibilities. One of the emerging ideas from the Design Thinking movement is the idea of viewing desired outcomes as quantum behavior—i.e. the specific outcome may not be absolutely predictable, but a defined range of variations will materialize with a reasonable amount of predictability. This identity is the manifestation of that concept. • Ruba Khalaf Abdel Creating an experience out of a logo... yo see the colors and and the combination of shapes and you won't mistaken guessing the MIT Media ♥ • Luis London Even if I like the logo, I am not sure if it is good to have 40,000 permutations. If they are used to brand different departments or services that can be usefull, but if it is for the same company it will be hard to choose which one to use for a sponsorship, partnership, on a poster, business cards or an Ad. Dont you think? • Thomas Briggs While the Media Lab graphic identity, designed by the late and distinguished Jacqueline Casey, consisted of a program of simple, colored tiles that used a set of formal variations evoking the I.M. Pei designed building's lobby mural by artist Kenneth Noland, this "re-branding" attempt seems to be mostly about clever digital programming. The new logo appears to reference some sort of neo-modernist (futurist?) conception of theatrical lighting; naive imagery that conveys little in relation to the ever-progressive mission of this marvelous institution. As a visiting faculty during the Media Lab's mid-1990's Visible Language Workshop era (under the direction of Muriel Cooper), I am appalled that present leadership at MIT has adopted a logo that, while technologically entirely appropriate, suggests so little visual sophistication. Tom Briggs Assistant Professor of Design Massachusetts College of Art and Design
6c89f255-2a42-42d0-8968-d1c9c25a27ed	{ "cc_dump": "CC-MAIN-2022-05", "dolma2_qc": { "0": 0.9999443292617798, "1": 0.00007570513116661459 }, "exact_duplicates": 2, "lang": { "en": 0.9652947187423706 }, "madlad": { "num_sentences": 51, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1027, "sa_remove_ranges": [], "text_hash": "224240695576861591318040420464238825707", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-01-21T22:56:12Z", "warc_url": "https://lindapaul.com/about_egg_tempera.htm", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.994455099105835, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0034934247378259897, "__label__games": 0.0007654056535102427, "__label__home_and_hobbies": 0.014073628932237623, "__label__science_math_and_technology": 0.004080137703567743, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.009718479588627815, "__label__literature": 0.0017646141350269318, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.002261847723275423, "__label__crime_and_law": null, "__label__food_and_dining": 0.001335022272542119, "__label__industrial": 0.005394937004894018, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Egg Tempera Paintings - Fresco Paintings by Linda Paul photo of artist Linda Paul About Bas-Relief and Egg Tempera Fresco Painting by artist Linda Paul Artist Linda Paul uses natural crushed stone and earth mixed with a bit of water and egg yolk to make paint for her egg tempera frescoes. Blues come from crushed lapis lazuli, greens from malachite and natural green earth found around Verona Italy. She uses fascinating colors which have been lost for hundreds of years and new colors which she has discovered in the Rocky Mountains. This medium is luminous and lasts for centuries. See all available egg tempera paintings for sale. collecting pigments for fresco paintings Pigment Collecting Left: This is the ancient ochre mine in Rousillon, France which historically provided natural ochre pigments for fresco paintings. Ochre is earth, and in Rousillon the earth has formed sedimentary layers in 17 beautiful colors that the artist uses in her work. Rousillon is no longer an operating quarry. Les Ocres de France is the only remaining European company operating the ocher deposits in the French quarries of Gargas and Rustrel, nested in a 12 miles long enclave, in the heart of the Luberon Mountains, the ocher country. Artist Linda Paul has discovered several new colors in her local area of the Rocky Mountains which have never been used before in the history of fresco painting. She received a grant from the Puffin Foundation for further research in this area. Paul collects rock samples and grinds them into a fine dust from which the impurities are then filtered. A small quantity of the crushed mineral is then mixed with egg yolk for painting. Each mineral has it own set of properties and idiosyncrasies particular to it. ocher mines in France Egg tempera painting precedes oil painting and was abandoned after the fifteenth century when oil paint was created. Oils allowed the artist to paint outdoors for the first time and this new found freedom all but made egg tempera extinct. Egg tempera painting is painstakingly slow because many layers of pure translucent pigment and egg yolk must be built up one by one. This medium lasts for centuries. Lost Pigments: Some of the ancient pigments used to create the worlds great masterpieces have been lost. Ancient painters used stones and earths available in their particular geographical areas and knowledge of the locations of these pigments has vanished. Conservationists have a very difficult time repairing many old paintings because they can not match the pigments originally used. One of the recently rediscovered lost colors is a rare purple slate from Switzerland which Linda Paul uses is her paintings. Restorers working on the Swiss Benedictine monastery of Maria Einsiedeln were having problems with a particular shade of violet. The pigment dated back to the eighteenth century and was not available anywhere. The restorers turned to Dr. George Kremer who is an expert in historical pigments. After many years of searching, the violet pigment was found by chance when Kremer was driving in the Swiss Alps and saw some rocks glinting in the mountains. It turned out that it was precisely the stone pigment the conservationists has been looking for. Linda uses this rediscovered ground stone everyday. it gives new meaning to the words 'quantities are limited'! artists pigments Gargas ocher mines natural ocher mine Historical Pigments: Some historically fascinating pigments, which are still available today ( but not used by this artist) include Tyrean Imperial Purple which was so rare it was only used in the robes of emperors and kings. It is collected from a shellfish called Pupura Lapillus and 1 gram of this dye is made from the secretion of 10,000 large sea snails. Sepia, which was used in architectural drawings, is collected from Adriatic cuttlefish. Some of these Renaissance pigments are also very toxic and were responsible for the early death of many a painter and printmaker. Among the more bizarre historical pigments was Indian Yellow which was made by feeding mangoes to cows, collecting their urine, and then evaporating the liquid to create an amazing color. This process is extinct (thank goodness) Deep carmine red was made from the bodies of female wingless insects that fed on prickly pear cactus. Caput Mortum (literally translated as death's head) is a pigment originally made from the wrappings of mummies Adapted for today's world, (and a lack of available mummies), artist Linda Paul uses a caput mortem which is a natural iron oxide with complex layerings of sienna red and dark brown-black colors. Linda Paul is an American painter born in Canada. She is a self taught artist who discovered her talent in her 30's when she was between countries and had a year off to freely experiment without rules or boundaries. In this time, she played with various mediums but fell in love with old school egg tempera. Linda mixes actual crushed stones and minerals with a bit of egg yolk to create amazing colors. Blues come from crushed lapis lazuli, greens from malachite, and her ocher colors come from the ancient ochre mines in France and Italy. Linda Paul is an egg tempera rule breaker, no cross-hatching or tight lines for this artist. Some of her artworks are sculptures as well as paintings. She will first sculpt the artwork in low bas-relief before painting. Linda Paul's work has appeared in many galleries and shows, publications and on numerous book covers as well as being licensed for a number of products. She runs a reproduction studio which reproduces her fine art prints onto tile. She does not paint in any one style or subject matter. Her work runs the gamut from chunky realism to abstract and impressionist painting. Her inspirations come from nature combined with conceptual ideas. When asked what is her favorite painting, she responds "the next one I am going to paint!" watch video of how to separate an egg for egg tempera paintings You also might like these works of art by artist Linda Paul Lousisiana Kitchen framed Louisiana Kitchen egg tempera painting 25" x 21" Sign Up For occasional newsletter and deals from Linda Paul Studio
322ece6e-73eb-4db6-b7b0-faaa2f81003e	{ "cc_dump": "CC-MAIN-2013-48", "dolma2_qc": { "0": 0.9999754428863524, "1": 0.000044590567995328456 }, "exact_duplicates": 29, "lang": { "en": 0.9473655819892884 }, "madlad": { "num_sentences": 36, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 776, "sa_remove_ranges": [], "text_hash": "331088200647006602848157478861625564844", "warc_content_type": "application/http; msgtype=response", "warc_date": "2013-12-07T18:20:09Z", "warc_url": "http://www.osu-tulsa.okstate.edu/news/email/2011/01-13-journalrecord.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3702353835105896, "__label__education_and_jobs": 0.07808816432952881, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.016924913972616196, "__label__science_math_and_technology": 0.032110705971717834, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.008587487041950226, "__label__health": null, "__label__politics": 0.01244165189564228, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.08757384121417999, "__label__literature": 0.005394937004894018, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.004478383809328079, "__label__food_and_dining": null, "__label__industrial": 0.02596735954284668, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	These Walls: OSU-Tulsa By Kirby Lee Davis The Journal Record January 6, 2011 OSU-Tulsa Campus Photo by The Journal Record Oklahoma State University’s Tulsa campus consists of six buildings in north Tulsa’s Greenwood District. TULSA – A sort of agelessness pervades Oklahoma State University’s six-building Tulsa campus. Conceived as an academic village, the brick, steel and concrete structures lie in clusters largely linked by covered walkways. With their broad footprints and sloped overhanging roofs, the spreading grounds project a prairie or ranch style prevalent across this former frontier. “They wanted to have something that felt regional,” said Vic Thompson, a senior associate with the Tulsa architectural firm PSA-Dewberry. “When you lay a style on this area, probably the most recognizable is art deco. They didn’t want to pursue that. They wanted something uniquely different. That’s kind of where the prairie style came about.” The pristine look and feel of those window bands, broad atriums, shaded courtyards and tile artworks denote a deceiving consistency. PSA-Dewberry draws a lot of credit for that, having designed all six structures along a conforming style that hides the two-decade age difference between them. “That’s always an objective of ours, to try and design it as a timeless style,” said PSA-Dewberry Principal David L. Huey. OSU-Tulsa’s campus dates back to 1986, when the newly formed University Center at Tulsa took 200 Greenwood District acres to establish Tulsa’s first publicly owned center for higher education. That effort gathered different programs from the state’s two largest universities, plus Langston University and Northeastern State University. Two years later Flintco finished the first part of its new home, a $22.7 million, 166,625-square-foot central commons area with four wings and a separate bookstore. “We went through kind of a myriad of options as we started out on it,” said Thompson. “It fairly quickly kind of centered around the basic concept of trying to create an academic village.” In 1995 Manhattan Construction completed the second phase, a $43 million, three-building cluster now known as the North Hall, Administration Hall and Auditorium, all linked by landscaped stairs, sidewalks and courtyard. PSA-Dewberry kept the brick, steel and concrete structures in line with the geographic slope, so that a central axis ran from the Main Hall to the north complex and the hilltop just beyond its doors. The designs also incorporated special glass and other features to conserve energy, predating the U.S. Green Building Council’s now-widespread standards. “We tried to keep them low-profile,” said Thompson, noting the horizontal lines and sloped roofs. “At the same time we tried to create large two-story faces.” But as those walls went up, observers had already recognized the lack of momentum in University Center. As NSU and the University of Oklahoma considered other Tulsa campus options, in 1996 the Legislature placed UCT under the direction of Claremore’s newly crowned Rogers University. Two years later, as NSU received $16 million from Broken Arrow to land its campus and OU entered negotiations to acquire Amoco’s abandoned research center, the Legislature changed gears and put OSU in charge of UCT. Northeastern State University departed in 2001 with completion of its first Creek Turnpike campus buildings, leaving OSU and Langston sharing the facility. Tulsa County’s Vision 2025 vote in 2003 then provided starting funds for two more additions: Langston’s 25-acre Tulsa campus, carved from the UCT plot, and OSU-Tulsa’s proposed research center. With aid from the Helmerich family and others, Flintco finished that $47 million-plus project in 2008, bringing the OSU-Tulsa campus to 525,000 square feet. Although the three-story structure stood apart from the existing clusters, separated by parking lots, PSA-Dewberry’s design managed to maintain the prairie styling while adding distinctive flourishes. Langston’s dream, meanwhile, established its own identity in January 2009 with 33,723 square feet encased in walls of black glass and stone. Outside of Langston’s nursing classes and leased space by the Oklahoma Department of Commerce and the Oklahoma Educational Television Authority, the 175-acre campus focuses totally on OSU programs. Last month OSU-Tulsa President Howard Barnett launched a re-evaluation of their master plan, the first time that campus expansion outline has been examined in a decade. With well over 100 acres available, the 2,700-student university faces a number of options. “The interesting challenge becomes when and how we leap west,” said Barnett, who foresees a possible classroom addition around Cincinnati Avenue. “We want it to be one campus. I don’t think we want to develop that land over there in a way that it’s isolated. We want it to have a common feel.”
b63b2f5e-d4b1-4de9-8060-ef9072d3097b	{ "cc_dump": "CC-MAIN-2017-09", "dolma2_qc": { "0": 0.999980330467224, "1": 0.00003966212898376398 }, "exact_duplicates": 3, "lang": { "en": 0.9315302968025208 }, "madlad": { "num_sentences": 51, "rule.2": [ 8 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 910, "sa_remove_ranges": [], "text_hash": "254266451130164182370529449546378146926", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-02-26T19:52:02Z", "warc_url": "https://en.wikipedia.org/wiki/Marie_Taglioni", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6723417043685913, "__label__education_and_jobs": 0.00574024673551321, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.00574024673551321, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.008071991614997387, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.010996942408382893, "__label__entertainment": 0.10088862478733064, "__label__history_and_geography": 0.3923468291759491, "__label__literature": 0.014073628932237623, "__label__sports_and_fitness": 0.010023568756878376, "__label__travel_and_tourism": 0.00240673148073256, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Marie Taglioni From Wikipedia, the free encyclopedia Jump to: navigation, search Marie Taglioni Maria Taglioni Kriehuber.jpg Taglioni in a lithograph of 1839 Born (1804-04-23)23 April 1804 Stockholm, Sweden Died 22 April 1884(1884-04-22) (aged 79) Marseille, France Nationality Italian/Swedish Occupation danseuse Years active 1824–1847 Known for La Sylphide, other romantic ballets Parent(s) Filippo Taglioni and Sophie Karsten Relatives Paul Taglioni (brother) Marie Taglioni (23 April 1804 – 22 April 1884) was a ballet dancer of the Romantic ballet era, a central figure in the history of European dance. She was one of the most celebrated ballerinas of the romantic ballet, which was cultivated primarily at Her Majesty's Theatre in London, and at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet. She is credited with (though not confirmed) being the first ballerina to truly dance en pointe. Early life[edit] Taglioni was born in Stockholm, Sweden, to Italian choreographer Filippo Taglioni and Swedish ballet dancer Sophie Karsten, maternal granddaughter of the Swedish opera singer Christoffer Christian Karsten and of the Polish opera singer and actress Sophie Stebnowska. Her brother, Paul (1808–1884), was also a dancer and an influential choreographer; they performed together early in their careers.[1] Marriage[edit] Taglioni was married to Comte Auguste Gilbert de Voisins on 14 July 1832, but separated in 1836. The couple had one daughter, Eugenie-Marie Edwige.[citation needed] Training[edit] Taglioni moved to Vienna with her family at a very young age where she began her ballet training under the direction of her father. Filippo created a rigorous training regimen for his daughter that consisted of holding positions for 100 counts and engaging in two hour long intervals of conditioning exercises, adagio, and jumping combinations. In Vienna, Marie danced her first ballet choreographed by her father titled "La Reception d'une Jeune Nymphe à la Cour de Terpsichore". [2] Career[edit] Lithograph by Chalon and Lane of Marie Taglioni as Flora in Didelot's Zéphire et Flore. London, 1831 (Victoria and Albert Museum/Sergeyev Collection) Before joining the Paris Opéra, Taglioni danced in both Munich and Stuttgart, and at age 23 debuted in another ballet choreographed by her father called "La Sicilien" that jump-started her ballet career. Taglioni rose to fame as a danseuse at the Paris Opéra when her father created the ballet La Sylphide (1832) for her. Designed as a showcase for Taglioni's talent, it was the first ballet where dancing en pointe had an aesthetic rationale and was not merely an acrobatic stunt, often involving ungraceful arm movements and exertions, as had been the approach of dancers in the late 1820s. [3] Pas de Quatre[edit] Taglioni (center) in Pas de Quatre, 1845 In 1827 Taglioni left the Ballet of Her Majesty's Theatre to take up a three-year contract in Saint Petersburg with the Imperial Ballet (known today as the Kirov/Mariinsky Ballet). It was in Russia after her last performance in the country (1842) and at the height of the "cult of the ballerina", that a pair of her pointe shoes were sold for two hundred rubles, reportedly to be cooked, served with a sauce and eaten by a group of balletomanes.[4] In July 1845, she danced with Lucile Grahn, Carlotta Grisi, and Fanny Cerrito in Jules Perrot's Pas de Quatre, a ballet representing Taglioni’s ethereal qualities that was based on Alfred Edward Chalon’s lithographic prints. Pas de Quatre was originally choreographed to be presented to Queen Victoria.[citation needed] Retirement, last years, and death[edit] Taglioni retired from performing in 1847; for a time she took up residence at the Ca' d'Oro on the Grand Canal in Venice. When the ballet of the Paris Opéra was reorganized on stricter, more professional lines, she was its guiding spirit. With the director of the new Conservatoire de danse, Lucien Petipa, and Petipa's former pupil, the choreographer Louis Mérante, she figured on the six-member select jury of the first annual competition for the corps de ballet, held 13 April 1860. Her only choreographic work was Le papillon (1860) for her student Emma Livry, who is remembered for dying in 1863 when her costume was set alight by a gas lamp used for stage lighting. Johann Strauss II composed the "Marie Taglioni Polka" (Op. 173) in honour of Marie Taglioni's niece, Marie "Paul" Taglioni, also known as "Marie the Younger". The two women, having the same name, have often been conflated, or confused with each other.[5][6] Later in England, she taught social dance and ballroom to children and society ladies in London; she also took a limited number of ballet pupils. She resided at #14 Connaught Square, London from 1875 to 1876. Death[edit] Taglioni died in Marseille on 22 April 1884,[3] the day before her 80th birthday.[7] See also[edit] References[edit] 1. ^ Profile, abitofhistory.net; accessed 18 February 2016. 2. ^ Chisholm 1911. 3. ^ a b Secombe 1898. 4. ^ Kassing, Gayle (2007). History of dance: an interactive arts approach. Human Kinetics. p. 131. 5. ^ This article incorporates text from a publication now in the public domainChisholm, Hugh, ed. (1911). "Taglioni, Maria". Encyclopædia Britannica. 26 (11th ed.). Cambridge University Press. 6. ^ This article incorporates text from a publication now in the public domainSeccombe, Thomas (1898). "Taglioni, Marie". In Lee, Sidney. Dictionary of National Biography. 55. London: Smith, Elder & Co. 7. ^ Marie Taglioni, the Italian Ballerina, lifeinitaly.com; accessed 18 February 2016. Sources[edit] External links[edit]
1e19068f-9597-4468-97ed-512232f46cdc	{ "cc_dump": "CC-MAIN-2018-22", "dolma2_qc": { "0": 0.9999370574951172, "1": 0.0000829020282253623 }, "exact_duplicates": 0, "lang": { "en": 0.9471648931503296 }, "madlad": { "num_sentences": 35, "rule.2": [ 34 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 740, "sa_remove_ranges": [], "text_hash": "200831479155313018810114179668091668851", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-05-23T23:36:51Z", "warc_url": "https://www.hindustantimes.com/art-and-culture/it-s-time-to-tango/story-YP1HZRBIPNXvp3eXCAodMN.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.22816647589206696, "__label__education_and_jobs": 0.01244165189564228, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0566624328494072, "__label__games": null, "__label__home_and_hobbies": 0.005394937004894018, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.02596735954284668, "__label__entertainment": 0.13661839067935944, "__label__history_and_geography": 0.0229873675853014, "__label__literature": null, "__label__sports_and_fitness": 0.16452647745609283, "__label__travel_and_tourism": 0.02596735954284668, "__label__crime_and_law": null, "__label__food_and_dining": 0.01169725600630045, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	It’s time to tango \| art and culture \| Hindustan Times • Wednesday, May 23, 2018 Today in New Delhi, India May 23, 2018-Wednesday New Delhi It’s time to tango As the Tango Festival kicks off in the city, we tell you where you can learn the dance form from ballantino dance studios. American tango or ballroom tango is what is taught at this institute. art and culture Updated: Nov 19, 2011 00:15 IST American tango or ballroom tango is what is taught at this institute. Explaining the difference between Argentine and American tango, Lucky, the instructor, says, “Argentine is more subtle and slow, whereas, American tango is more dramatic in terms of its moves and presentation. In the past few years, Argentine tango is really picking up in the Capital.” They have eight institutes across Delhi/NCR. They take two months/eight classes to teach this dance form. Rs 1500 for a month/four classes 2 to tango If you want to learn Argentine tango, this is the place to be. Briefing us on this dance form, Rakesh Borar, the instructor, who has been practicing Argentine tango for the past 19 years, says, “This dance form is very elaborate and has many musicalities to it.” Here, they teach gotan, vals, piazzolla and pugliese. “All these forms have different looks and style,” adds Borar. Besides their Sunday classes in Defence Colony, they also take a two-hour class in Capitol, Ashoka. E-5, Defence Colony Rs 3500 for three months noida dance studio Out of the many Latin dance forms taught at this institute, tango is one of the most popular. The three-month tango class, starts with the basic footsteps, walks and loops and moves to specific turns and getting comfortable with the partner. It then heads on to more professional things like stretching and poses. “It’s a very graceful dance, hence it’s important to be good with your poses,” says Vikki Varma, the instructor at the studio, who has been teaching tango for the past eight years. They also take personalised individual class. : C-48, Sector 20, Noida Rs 2000 for a month that includes eight classes Dance with me This institute is for those who want to take private lessons. Students, themselves, can decide whether they want one or more tango classes.“To completely get the hang of the dance form, students must take eight classes, but it also depends on their learning ability,” says Prashant Saini, the instructor, who has been teaching this dance form for the past four years. Saini learnt tango from an Argentine in Delhi. A class here means learning body movements, which is essential to this form. “Body movements are an essential part of this dance form as it’s a very passionate and sensual dance,” adds Saini. : J-1/123, Khirki extension, Malviya Nagar Rs1000 for a class of 45 minutes What is tango? Considered as one of the most fascinating of all dances, the tango is a sensual ballroom dance that was originated in South America in the early 20th century. Tango is usually performed by a man and a woman, expressing an element of romance in their synchronised movements. Originally, the tango was performed only by women, but once it spread into Argentina, it developed into a dance for couples. The popularity of the tango has greatly increased over the years. Tango festival 2ToTango, brings to Delhi the first Argentinian Tango festival. The three-day festival will be held in Hotel Ashoka from November 25 to 27. The festival will witness dazzling performances and milongas. Watch out for tango music from classics of Sarli, D’Arienzo and Fracis Canaro to more experimental Piazollo. Vaibhav Arora’s academy of dance This academy teaches all five kinds of tango — from musical to broadway. “But people want to learn the most common form of tango, which is duet tango,” says Vaibhav Arora, the instructor. Duet tango starts with the selection of a song, followed by learning basic movements and then more complicated moves, twists and turns. “Tango is a vast field and it’s important do a thorough research before deciding to go for it,” adds Arora. They also give certification course in tango. Kalpatru Shopping Cplx, Basement, NR Mother Dairy, Sadar Bazar, Delhi Cantt 011-66361159 Rs 2,500-R3,000 for 12 classes
1a064fd6-27f1-4851-803c-8ad575a31912	{ "cc_dump": "CC-MAIN-2017-34", "dolma2_qc": { "0": 0.9999610185623168, "1": 0.00005900866017327644 }, "exact_duplicates": 1, "lang": { "en": 0.9723908305168152 }, "madlad": { "num_sentences": 16, "rule.2": [ 1, 11 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 240, "sa_remove_ranges": [], "text_hash": "130039279229884647980260684896064490778", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-08-18T13:32:26Z", "warc_url": "http://articles.chicagotribune.com/1999-06-28/news/9906280174_1_rusty-pelican-village-board-plans", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.23935934901237488, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.05835584178566933, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.008325778879225254, "__label__health": null, "__label__politics": 0.006913838442414999, "__label__social_life": 0.005394937004894018, "__label__entertainment": null, "__label__history_and_geography": 0.005564924795180559, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.00507033197209239, "__label__crime_and_law": 0.0012548431986942887, "__label__food_and_dining": 0.12253321707248688, "__label__industrial": 0.03623005375266075, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Northwest Business. Design Plans Filed For New Greek Restaurant June 28, 1999\|By Morgan Luciana Danner. Special to the Tribune. ARLINGTON HEIGHTS — The former Rusty Pelican restaurant at 10 E. Algonquin Rd., Arlington Heights, is to be redone as a Mediterranean dining spot featuring Greek cuisine, according to documents recently filed with the village. The Village Board last December approved a liquor license for Yanni's Garden. At the time, the restaurant was expected to open in May, but plans are just now coming before the Design Commission. Architect James Metropulos of Glenview, who plans to change the building's exterior, was supposed to appear before the Design Commission last Thursday, but his presentation was postponed because there was no quorum. Joseph Skach, village design development planner, said he had planned to recommend approval. Skach said the architect plans to replace the building's weathered-looking wood siding with white stucco, the fieldstone with cut stone cladding and the corrugated roof with a metal roof resembling a Mediterranean clay tile roof. The Rusty Pelican closed in spring of 1998. Restaurateur Spiro Angelos, who also owns the Jameson's Charhouse restaurants in Arlington Heights and Mt. Prospect, acquired the property last December. At his appearance before the Village Board that month, Angelos said the new restaurant would seat 300 people and serve dinner from 4 to 10:30 p.m. Angelos also said he eventually planned to serve lunch. Efforts to contact him Friday were unsuccessful.
1031615f-eaf6-431c-95e0-4d3cbc9081a9	{ "cc_dump": "CC-MAIN-2018-22", "dolma2_qc": { "0": 0.999963641166687, "1": 0.00005631660678773187 }, "exact_duplicates": 1, "lang": { "en": 0.94089674949646 }, "madlad": { "num_sentences": 42, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1058, "sa_remove_ranges": [], "text_hash": "137733307516926105580612886138663924526", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-05-20T15:41:23Z", "warc_url": "https://trip101.com/article/vienna-state-opera-the-story-of-art-elegance-and-symbolism", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6442351341247559, "__label__education_and_jobs": 0.0015587612288072703, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.00240673148073256, "__label__science_math_and_technology": null, "__label__software": 0.0012548431986942887, "__label__software_development": null, "__label__finance_and_business": 0.0017646141350269318, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0006978511810302734, "__label__entertainment": 0.010023568756878376, "__label__history_and_geography": 0.013646835461258888, "__label__literature": 0.002261847723275423, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.4225146472454071, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Theatres & Concerts Tours & Itineraries Architectural Gems History & Culture Museums & Galleries opera arts Austria > Vienna (state) > Vienna Vienna State Opera: The Story Of Art, Elegance And Symbolism Updated May 24, 2017 Vienna State Opera, or Staatsoper in German, is one of the most established opera houses around the world, comparable to the likes of New York’s Carnegie Hall and the Parisian Opera Garnier. Recognized as the symbol of the Austrian capital, the opera house is famous for various performances written by the world’s finest composers, the annual Opera Ball, as well as its mesmerizing but subtle decoration. The edifice features utmost elegance, and there is a great deal of symbolism to be discovered while touring its halls, lobbies and lounges. Top 3 activities to book in Vienna An exterior that bespoke stories The Vienna Opera House was the first inaugurated building along the Ringstrasse Boulevard in 1869, once the defensive walls encircling the city had been dismantled. It is situated on the intersection of the Opernring and Karntner Strasse, and is easily recognised, thanks to its magnitude and characteristic early Renaissance architecture. Above the main entrance, you can see two equestrian statues, representing Harmony and Muse of Poetry, while on each side of the opera an allegorical fountain is to be discovered. On the right side, the dominating statue of the siren, Lorelei, is supported by Love, Grief and Revenge sculptures, while the fountain on the other side illustrates Dance, Music and Joy. The historical architecture and intricate carvings will appeal even to non-art lovers and prepare you for the grandeur within. See our full list of recommended hotels near Vienna State Opera and also compare the prices with airbnbs near Vienna State Opera A revelation of art and history within the opera house Marble interior with ornate decoration welcomes the visitors inside the Opera. Stylish chandeliers, busts of prominent people from the world of art and culture, and elaborate garnish are subtly blended into the rich ambiance. A quick glance reveals two separate marble staircases leading to the first floor; one used to be reserved for the members of the higher social classes, while the other was used by the commoners. If you take a moment on the intermediate level, a couple of interesting things are revealed. The reliefs above the medallions, portraying ill-fated architects Eduard van der Null and August von Siccardsburg, represent main provinces of the Staatsoper – the ballet and the opera. Further disassembling, through canvas paintings in arches, provides more detailed information about related performances – the ballet, comic opera and tragic opera. The main figure of the ceiling painting illustrates Fortune while delivering gifts. Sculptures adjacent to the intermediate and the first level depict muses and different types of art. See our full list of recommended hotels near Vienna State Opera and also compare the prices with airbnbs near Vienna State Opera Look out for legendary composers! The busts on the first floor feature legendary composers. Their masterpieces are illustrated by the paintings over the busts. The ceiling frescoes illustrate scenes from Mozart’s Magic Flute. Intermission halls, flanking the lobby and the auditorium, are known as the Gustav Mahler Hall and Schwind Foyer. The one to the right of the stairway is named after the one-time director, while another honours Moritz von Schwind, whose exhibited paintings depict famous operas from the past that are rarely performed nowadays. See our full list of recommended hotels near Vienna State Opera and also compare the prices with airbnbs near Vienna State Opera One of the highlights is the Emperor’s Salon! The central salon, which used to be the Emperor’s Salon, is another highlight that you do not want to miss. Located on the first floor, next to the Emperor’s balcony in the auditorium, the salon features 22 carat gold leaves that line the walls and ceiling. Can you identify Franz Joseph’s initials that form his coat of arms on the tapestries? See our full list of recommended hotels near Vienna State Opera and also compare the prices with airbnbs near Vienna State Opera Gain greater understanding to operations within the opera house from the backstage The huge auditorium features over 2000 sitting places, each equipped with a screen; these provide subtitles for visitors that aren’t familiarized with the German language. The gilded eagle statue marks the former box of the Emperor. The final stop of the guided tour takes you to the back of the stage, where you are about to discover how the performances are prepared, the stage set, old costumes preserved and other interesting things, such as how fast the stage and auditorium are transformed into the ball hall. On the way out, you pass through a store where various related publications, garments and sundries (designed napkins, cups, etc.) make for good souvenirs. See our full list of recommended hotels near Vienna State Opera and also compare the prices with airbnbs near Vienna State Opera Good-to-know information The Opera Ball, held in the Staatsoper, used to be, and still is, a prestigious event. In the beginning, the girls from the upper classes were introduced to the society this way, which is still part of a tradition that permits a person to attend such an event only once in a lifetime. Strict dress code and the age of the gentleman and lady (only people under 24 years of age or so are entitled to participate) are other major requirements that the participants are obliged to fulfil. Admission fees for the auditorium range between a few thousand and tens of thousands Euros. Theatrical performances tend to be rather expensive, up to several hundred Euros, but exceptions do exist. Tickets for the standing places, symbolically priced, are released prior to the performance, and are quickly sold out. To make such a purchase, it is often necessary to stand in line for a long time because these tickets cannot be reserved. Alternatively, how about joining a guided tour? The guided tours take approximately 40 minutes and are organized in several languages. The full price is 7.50 EUR (around 8.10 USD). This article was originally published on Sep 22, 2015 In my writing career, I’ve been researching and writing about various world destinations and travel companies, including cities, regions, specific countries and cruising companies. Besides writing...Read more Good things are meant to be shared!
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Nevertheless, jumble tattoo designs do certainly not require to be seamlessly collaborated, and also the space between the various images creates all of them each stand out. This is actually an attractive selection if you would like to blend multiple motifs. Somehow, patchwork concepts provide you more independence with positioning and are actually versatile as you can quickly mix several different images. It is actually still an excellent concept to follow the same color design and also style advantageous end results. design logo based on a tattoo legality. Typical designs are actually the oldest type of tattoo. Popular layouts feature roses, skulls, bald eagles, souls, and others. Practical tattoos look exactly the like the actual one. If it’s properly performed at that point it can seem like an actual photograph published on your skin layer. They may represent chance, spiritual confidence, makeover, objective, finding the means residence, success or achievement, a fantastic second in your lifespan, a rate of interest in astrochemistry, a problem to overcome, your role as a fisherman or even yachter, stardom, a desire to achieve larger targets, member of the Naval force Tape or Coastline Protector, originality or individuality, and also the birth of your child. design logo based on a tattoo legality. When it comes to girls specifically, little, adorable tattoos are the most effective tattoo designs for females. It is actually mainly due to the fact that they really love to keep it basic and also delightful and also would like to maintain it more secure. Certainly not that women are actually lagging when it comes to large as well as lovely designs yet it is actually regularly viewed that this type is actually more popular with females as well as dandelions are right now trending all around. Design Logo Based On A Tattoo Legality:101 The Majority Of Popular Design Layouts As Well As Their Significances– 2022 Nisha is actually a factor to StyleCraze. She is actually a make-up fan and also blends her love for make-up and also contacting provide her viewers with the latest relevant information in the charm globe. When she is actually certainly not will definitely … additional design logo based on a tattoo legality. Regular dark ink operates properly for some layouts, yet if you yearn for one thing much more daring, you will like watercolor tattoos. The type is pretty brand new, although it is actually rapidly gaining recognition, and also the technique generates a finish that appears as though somebody has skillfully repainted a masterwork onto your skin layer. Lots of styles give themselves properly to canvas, yet florals usually tend to be the best prominent, producing a daring, lively appearance. Tattoos such as this work unbelievably effectively when blended with a black foundation, which aids to keep the ink from fading quickly as well as produces a much more recognizable synopsis. The bright side is actually that certainly not all position on the physical body will certainly create you severe pain when receiving inked, and a few of the most well-liked as well as least excruciating choices consist of the forearm, external upper leg, outer bicep, calves, uppermost shoulders, and also upper and lower back. This is usually due to the fact that these areas possess bulky skin layer and also muscle mass and not a lot of nerve-endings. design logo based on a tattoo legality. Isn’t it outstanding to observe your artwork being actually displayed in someone’s physical body. Since designs will definitely continue to be in their bodies for good at that point you need to beware in performing them. Design Logo Based On A Tattoo Legality: Tattoo design Concepts The owl is actually a marvelous animal, often linked with understanding and also cleverness and enigma and witchery. In Indigenous United States cultures, the owl is actually additionally related to the feeling globe and also may be seen as the guardian of understanding. Certainly not simply is it creatively appealing to get inked with this bird, yet it can easily additionally have an assortment of definitions and also offers itself properly to different concepts. There are a number of species of owl to pick from, from the white snowy owl to the more common yet no less beautiful shed owl. You can opt for a practical portrayal of the pet or even one thing attractive and straightforward. The owl tattoo style is bound to turn minds. design logo based on a tattoo legality. Tribal tattoo designs are normally based upon ancient tribe art. These tattoo designs came coming from the artworks of historical people, such as the people of Celtic, the Borneo, the Haida, as well as the Maori. The modern-day type of these tribe art work is knowned as New Tribalism. Some designs additionally originated in India, Hawaii, Aztec, Samoa, as well as Polynesia as well as spread to the remainder of the world. Generally, a thunderbolt exemplifies power, knowledge, energy and also obtaining originalities. It can easily additionally signify the devastation of ignorance and the simple trigger of cleverness. If you are seeking a revolutionary idea that may alter the globe around you, this tattoo design is actually a best method to influence your own self each day. Getting it at the rear of your ear shows your imagination as well as distinct individuality. design logo based on a tattoo legality. Mandarin tattoos are actually high sought after because of their amazing patterns. These are actually minimalistic designs and also may appear very fancy, refined, and elegant. Chinese personalities are just one of the best decided forms of tattoo design styles. If you intend to have a mystical tattoo design that can’t know by the majority of, Mandarin tattoos are the one for you. Design Logo Based On A Tattoo Legality:200 Best Design Suggestions For Women in 2022. Given that gals have a tendency to get quotes which will increase their peace of mind so the definition of such text designs could be of spiritual concern or even nature-inspired. For such tattoo designs, select a content intelligently and check out to make it quick. design logo based on a tattoo legality. These tribe concepts are usually significant which deals with an outstanding selection of tattoo design layouts coming from the conventional tribal designs of aboriginal and aboriginal societies for the body system. The tribal tattoo layouts for guys have actually regularly stayed straightforward tattoo design layouts with geometric forms. They consistently bring an information along with all of them along with several forms like sunlight, bald eagle, superstars and so on, as made use of in the above design. Our company likewise make use of various exterior companies like Google Webfonts, Google Maps, as well as external Video providers. Because these carriers might accumulate personal data like your internet protocol deal with our company enable you to obstruct all of them listed here. Feel free to know that this might heavily lessen the functions as well as appearance of our internet site. Modifications will certainly take effect once you refill the webpage. design logo based on a tattoo legality. Arrow designs have a number of powerful, good definitions connected with them. Several of them are actually as follows:. Design Logo Based On A Tattoo Legality: Funny Tattoos Everybody reveals the ache of a tattoo in different ways. Depending upon the region as well as size of the tattoo it may be fairly unpleasant or even rather easy. Tattoos are actually most definitely acceptable though and also shouldn’t be invested worrying over. The best point to carry out is to relax your body. Getting a tattoo was your idea besides, so merely kick back. design logo based on a tattoo legality. Wing tattoos are connected with spiritual symbolism. These tattoo designs stand for rate, freedom, altitude, and also aspiration. These tattoo designs can be of different measurements, styles, and different colors. One of the tattoo design types that we know today, which was initially popularized for guys was actually Sailor Chamber pot tattoo design. design logo based on a tattoo legality. Stick as well as poke designs are enjoying a rise of attraction over the last few years. This is given that individuals look for alternative types and also ways to ink on their own; it is worth noting that the do-it-yourself method is certainly not suggested. That claimed, it is actually some of the earliest methods for physical body art. The technique makes use of a needle and rod-type contraption and also is tattooed by hand rather than with a power tattoo design machine. The outcome is distinct, along with each part having light blemishes and an incredibly distinctive appearance, yet that is the appeal of this particular design. It might likewise be actually appealing to a lady who desires something that possesses a rebellious affiliation or wishes to respond to the rudiments of tattooing in its own original type. When it relates to what you can receive tattooed, there are no limitations, coming from small to hu
4d3d5efc-ddde-447f-908c-dc14936d6863	{ "cc_dump": "CC-MAIN-2015-48", "dolma2_qc": { "0": 0.999969482421875, "1": 0.00005057975431554951 }, "exact_duplicates": 0, "lang": { "en": 0.9157543778419496 }, "madlad": { "num_sentences": 30, "rule.2": [ 21, 23, 24 ], "rule.5": [ 26 ], "status": "survived" }, "minhash": null, "original_word_count": 487, "sa_remove_ranges": [], "text_hash": "79636174574343549355053789462240376082", "warc_content_type": "application/http; msgtype=response", "warc_date": "2015-11-27T15:23:06Z", "warc_url": "http://culture.pl/en/work/angelus-lech-j-majewski", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.13297423720359802, "__label__education_and_jobs": 0.007587242405861616, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.014513582922518252, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0036036029923707247, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00574024673551321, "__label__entertainment": 0.03623005375266075, "__label__history_and_geography": 0.08757384121417999, "__label__literature": 0.07370626926422119, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.0036036029923707247, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.07586817443370819 }, "weborganizer_max": "__label__art_and_design" }	Angelus - Lech J. Majewski A still from Angelus dir. Lech Majewski The fictive story of the film was inspired by a true story: the story of startling, internationally unique phenomenon, the occult commune of Janów, active in 1920-60 in Silesia. It became known to the society thanks to the paintings of the commune's members, which in several cases (Teofil Ociepka, Erwin Sowka) achieved international success. The time and place of the film's action are concrete and clearly defined: Katowice, Janow and Nikiszowiec, early 1950s. The message of the film consists of a defence of poetic, metaphysical sensibility and imagination, of the attitude of searching for the Mystery and the Sense, a defence of the human being against materialism and totalitarianism. In 1920 the district of Janów, like almost all of Silesia, was a particular cultural enclave. The habitants were separated both from Polish roots and the German elite and they formed a separate, closed cultural group, where the old traditions, beliefs, customs and rites were cultivated. Magic was omnipresent as well as the belief in the real existence of various "creatures" and alchemy practices were applied. The interest for parapsychology and hermetic sciences caused Janow to become an important occult centre. The status of the master of secret sciences belonged to Teofil Ociepka, miner and painter. A strong occult commune formed around him. Ociepka and his disciples, simple uneducated miners, searched for the "philosophic stone" and pursued spiritual perfection, which would permit them to penetrate the Principle and the Sense of the World and of God, to reach the mystery of Existence. Their activities included elements of occultism, alchemy and theosophy with archaic and magical Silesian beliefs. The circle of Janow was in the times of Stalin a startling, metaphysical oasis, a charming adventure. This phenomenon was consciously and consequently falsified by the authorities of the People's Republic of Poland. This story, its paradoxes and contrasts were the inspiration for Lech J. Majewski's concentrated and "painted" film. • Angelus, Poland, 2001. Directed by: Lech J. Majewski, written by: Lech J. Majewski, Bronisław Maj and Ireneusz Siwiński, director of photography: Adam Sikora, music: Jozef Skrzek and Lech J. Majewski, set design: Lech J. Majewski and Katarzyna Sobańska-Strzałkowska, costumes: Małgorzata Zacharska, Editing: Eliot Ems, production: Henryk Romanowski. Cast: Jan Siodlaczek, Jacenty Jedrusik, Grzegorz Stasiak, Andrzej Mastalerz, Andrzej Skupinski, Marian Makula, Tadeusz Pławecki, Malgorzata Madejowska, Elżbieta Okupska, and others. Cinema premiere: in Silesia, October 12, 2001; national premiere, November 2, 2001. Facebook Twitter Reddit Share envelope culture Did you like our article? English newsletter here Sign up for newsletter • 0 subscribers • In accordance with the law from August 29, 1997, relating to the protection of personal data (consolidated text, Journal of Laws, 2002, no. 101, Item 926), I am hereby giving my formal consent to the Adam Mickiewicz Institute, located at 25 Mokotowska Street in Warsaw (00-560), to process my personal data. • Email Marketingby GetResponse Zobacz także:
d8039829-9294-4d57-858d-e7e41275d930	{ "cc_dump": "CC-MAIN-2017-47", "dolma2_qc": { "0": 0.9999451637268066, "1": 0.00007485254172934219 }, "exact_duplicates": 0, "lang": { "en": 0.9521263241767884 }, "madlad": { "num_sentences": 42, "rule.2": [ 29 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 1456, "sa_remove_ranges": [ [ 6396, 8862 ] ], "text_hash": "233791378818942696925588889311734814061", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-11-21T06:02:41Z", "warc_url": "http://viemagazine.com/article/leather-reimagined/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.41490885615348816, "__label__education_and_jobs": 0.005921069998294115, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.23935934901237488, "__label__games": null, "__label__home_and_hobbies": 0.03022458776831627, "__label__science_math_and_technology": 0.003085370408371091, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.04743587225675583, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.00574024673551321, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.002810927340760827, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": 0.01206377986818552, "__label__industrial": 0.007587242405861616, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	vie magazine subscribe button Leather Reimagined Handcrafted American-Made Accessories By Megan Trent \| Photography by Fantasia McDaniel – Little Miss Creative Studio Just over a year ago, in the kitchen of her home in Santa Rosa Beach, Florida, Christie Casillo set aside the conventional idea that business should start with an end in mind. Instead, she ran freely with the inspiration she found in the rich, raw materials and the vast colors and textures of the natural landscape in her own backyard. She did not consult with or restrict her concept to a business plan; she embraced a process of her own creation. As the textiles that captivated her became transformed through color and texture of her own design, Coastal Road was born. Coastal Road leather designs are a fusion of a desire to honor the timeless heritage of handcrafting natural leather and the limitless possibilities of new textile technologies. The brand’s creation was heavily influenced by Casillo’s background in corporate events, her lifelong obsession with artistic details, and her deep appreciation of quality production. All these things, along with a heaping helping of passion, led to the discovery of a way to bring something entirely new into the design world. “All of my life experience has kind of funneled into this expression, and when I am designing and creating things, I am at my most peaceful,” Casillo said. “I am acting with true joy.” leather reimagined in purses Working in event management, Casillo fell in love with the creative process whereby she would transform the shell of a space, producing a new look and feel to meet her client’s vision. Event design led her to other forms of design; she next worked for a fashion label, which gave her new ways to bring others’ visions to life. Casillo was drawn to overseeing the production of goods, and, in managing the process, she began to better understand the importance of cut, pattern, and materials, not to mention the hands and hearts that bring them all together. One of the defining characteristics of Coastal Road—being American made—began with this awareness and a desire to retain the quality and heart of the products, which can so often be lost in mass production. The design process and most of the production of Coastal Road’s smaller leather goods take place in the studio in Santa Rosa Beach, while some larger pieces are constructed in the heart of the Garment District in Manhattan. The process of bringing together visual and tactile elements is as important as the product to both Casillo and Coastal Road—the two are inextricably linked. With a vision and a lot of heart, Casillo learned to trust her instincts when creating her initial designs and sample pieces. The first sample to arrive back on her doorstep as a finished product was a crossbody bag, which, with some revisions, is still a customer favorite today. Holding in her hands a product that had previously only existed in her heart and mind was one of the first tangible successes in the journey of Coastal Road. When her collection included enough samples, Casillo assembled a visual presentation to show to a retail buyer. This meeting resulted in her first wholesale order and a validation that Coastal Road was, in fact, something sought by her target market. leather purses in three colors Since then, Casillo has continued to trust her instincts both in creating collections for Coastal Road and in making business decisions. She has expanded to a new studio warehouse and hired a supportive creative team to help with all aspects of the business, from design and production to marketing and sales. Above all, she continues to support American-made, quality craftsmanship and inspired design. The process of bringing together visual and tactile elements is as important as the product to both Casillo and Coastal Road—the two are inextricably linked. She says this is crucial for the future. “I have seen what happens when people step away from the process and get too distant,” Casillo explains. “With success, they forget all the hands, minds, and talents that drove that success. I will never let that be part of our story.” An exciting development for Coastal Road was the brand’s selection as one of only seven brands nationwide to be part of the FedEx Big Box of Small Goods campaign, whose aim is to grow small businesses through the exposure of industry experts. The offer to become part of the campaign came after Coastal Road was a finalist in FedEx’s small business grant program. coastal road designers in design room The Big Box of Small Goods campaign includes a Coastal Road product, along with the products of the six other selected small businesses, placed in a special box handcrafted by a Brooklyn artisan. The boxes will be sent to national brand influencers: Guy Kawasaki, Michael Williams of A Continuous Lean, Justin Livingston from Scout Sixteen, Alexa Jean Brown, Ashley Rodriguez of Not Without Salt, and Rita Mehta of The American Edit. Coastal Road was specially paired for engagement with The American Edit, a site focused entirely on finding the best American makers and brands. FedEx.com will feature the campaign for three to six months. “We are beyond appreciative that FedEx would create such an amazing program and that our growing business is a part of its initial phase,” Casillo says. Casillo shares that she also hopes the program will help her endeavors to “Support Local” and give back to the artistic beach community that provided the inspiration and the first steps for Coastal Road. “We hope that in shining a light on our locally made brand at a national level, we can share that gratitude with the other small businesses—shops, boutiques, and publications—that have helped us grow,” she says. The growth of Coastal Road has brought with it a lot of personal growth for its founder. “I am more fearless,” Casillo says. “I now know I can trust, go, work, and connect without limits. It has changed my whole thought process about business and passion and how neither should ever hold the other back.” To learn more or to shop Coastal Road, visit CoastalRoad.net. Megan Trent is the business developer for Coastal Road. Portions of this story are from the essay she wrote when applying for the FedEx small business grant program
4ec7f89d-3fe1-4812-98ed-7975ba13a444	{ "cc_dump": "CC-MAIN-2024-10", "dolma2_qc": { "0": 0.9999194145202636, "1": 0.00010063504305435345 }, "exact_duplicates": 0, "lang": { "en": 0.9562037587165833 }, "madlad": { "num_sentences": 13, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 3737577861989, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 298, "sa_remove_ranges": [], "text_hash": "23146485528744565591131443741769002567", "warc_content_type": "text/html", "warc_date": "2024-02-28T01:25:42.000Z", "warc_url": "https://designapplause.com/event/please-be-seated-by-paul-cocksedge-for-london-design-festival-2019/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9099169969558716, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.004208795726299286, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.10375863313674928, "__label__science_math_and_technology": 0.010662510991096497, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.0017646141350269318, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.004915405530482531, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0018202114151790736, "__label__crime_and_law": null, "__label__food_and_dining": 0.0029910325538367033, "__label__industrial": 0.02162533439695835, "__label__transportation": 0.010023568756878376, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	« All Events • This event has passed. please be seated by paul cocksedge for london design festival 2019. 14 September 2019 - 11 October 2019 british designer paul cocksedge is transforming finsbury avenue square with please be seated. located in the heart of broadgate, the landmark project will be the most ambitious of british land’s commissions to date. the large-scale installation fuses innovation and technology, and responds to the changing rhythm of the community: its design features curves for people to sit on and walk under, further enhancing london’s largest pedestrianized neighborhood. the work is made from scaffolding planks, and cocksedge has collaborated with essex-based high-end interiors company white & white to re-imagine and re-use the building wood. “every single aspect of the installation is tailored to its environment as well as the function it serves,” says cocksedge. “the curves raise up to create backrests and places to sit, as well as space for people to walk under, or pause and find some shade. it walks the line between a craft object and a design solution. it occupies the square without blocking it.” broadgate’s the space \| 3fa will be home to an exhibition of paul cocksedge’s work, including his journey from inception to creation of please be seated. as part of shoreditch design triangle’s design night, paul will be in conversation with a panel of experts discussing meaningful design for the public realm. chief executive of british land, chris grigg said: “design is integral to everything we do at british land so we’re delighted to continue our partnership with london design festival for the fourth consecutive year. we truly believe good design has the power to create places where people want to be and where people want to spend time.” Paul Cocksedge british land
f43ea2c4-9f8a-471c-92f8-2d74a2dcbab4	{ "cc_dump": "CC-MAIN-2017-26", "dolma2_qc": { "0": 0.9999173879623412, "1": 0.00010260169074172154 }, "exact_duplicates": 0, "lang": { "en": 0.8961055278778076 }, "madlad": { "num_sentences": 19, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 499206072005, "cc_idx": 0, "cc_size": 3 }, "original_word_count": 189, "sa_remove_ranges": [], "text_hash": "116679544350145491152165995390847461209", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-06-23T18:46:58Z", "warc_url": "http://www.aswexpress.com/wholesale/paints/oils/cas-alkydpro.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8479777574539185, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0036036029923707247, "__label__games": null, "__label__home_and_hobbies": 0.04743587225675583, "__label__science_math_and_technology": null, "__label__software": 0.0005293049616739154, "__label__software_development": 0.0008659008308313787, "__label__finance_and_business": 0.003386611817404628, "__label__health": 0.0007654056535102427, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.001465063076466322, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.010662510991096497, "__label__transportation": 0.001465063076466322, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	ASW Art Supply Wholesale Club offers a variety of convenient payment options including PayPal, Visa, Mastercard, Discover, and American Express. Wholesale Art Supplies! Save Money on Canvas, Paints, Brushes, Frames & More! C.A.S. AlkydPro Fast-Drying Colors and Mediums For years C.A.S. has been researching and making alkyd paints. This research led to the development of C.A.S. AlkydPro. Finally, artists have another choice for alkyd-oil paint! C.A.S. AlkydPro Paint is the first line of true alkyds made in the United States, and the first line of genuine artists' grade alkyds. Unlike some fast-drying oils available today, AlkydPro paints are made entirely from an alkyd resin base. C.A.S. did not start with a traditional linseed oil paint and simply add alkyd resin — AlkydPro paints contain no linseed oil. This new improved formula for the entire line is made with a non-yellowing sunflower alkyd oil for the highest performance. This is a unique paint. C.A.S. AlkydPro is now offered in 72 luminous colors and four mediums, providing artists with a full range of color and creative potential! webbasix.com WBX.MARS v6.2.5763.33921 This page loaded in: 0.5156224 seconds.
25d65e93-1d52-4f71-8c3b-a3a76ccaac9b	{ "cc_dump": "CC-MAIN-2022-05", "dolma2_qc": { "0": 0.9999227523803712, "1": 0.00009730980673339218 }, "exact_duplicates": 1, "lang": { "en": 0.9335028529167176 }, "madlad": { "num_sentences": 55, "rule.2": [ 4 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 5520274492788, "cc_idx": 16, "cc_size": 122 }, "original_word_count": 658, "sa_remove_ranges": [ [ 1463, 3898 ] ], "text_hash": "156036493756660245549564742237265055475", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-01-16T22:07:46Z", "warc_url": "https://www.pinotspalette.com/naperville/event/565860", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6654205918312073, "__label__education_and_jobs": 0.003085370408371091, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0014203583123162389, "__label__games": 0.0021927168127149343, "__label__home_and_hobbies": 0.14805719256401062, "__label__science_math_and_technology": null, "__label__software": 0.004341503139585257, "__label__software_development": 0.0021257030311971903, "__label__finance_and_business": null, "__label__health": 0.002261847723275423, "__label__politics": null, "__label__social_life": 0.0016584827098995447, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.006498271133750677, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Open Studio at Pinot's Palette - Thu, Sep 02 1PM at Naperville Open Studio at Pinot's Palette Thursday, September 2 1:00 - 5:00PM per guest Customize your fun! Surface Options: {{ selectedSurfaceCategory.Name }} Options: • {{ option.Name }} ({{ option.Price > 0 ? '$' + option.Price : 'Included' }}) Add-ons for your party! • {{ option.Name }} ({{ option.Price > 0 ? '+$' + option.Price : 'Included' }}) Number of Guests: Class Details It's an Open Studio at Pinot's Palette today. Need a break today, join us in the studio for an afternoon of painting! Do your own thing or follow along with one of our Self-Guided Painting Instructions. Freestyle Afternoons are designed for people looking for some unstructured creative things to do individually or with friends and family. Sign-ups recommended, but not necessary. If you have a group of six or more, we would appreciate a reservation. Walk-ins welcome. Come in anytime between 1 and 5. It takes about an hour to paint a small canvas and two to paint a 16x20. Relax and unwind for a while. $15 to paint a Mini 8x8. $25 to paint a larger 16x20 canvas. Paint your denim, wine glasses, or bottles, too! We have over self-guided paintings to choose from. There will be artists available to assist you. Masks recommended. We have a new OptiClean air filtration and purification system in the studio to clean and move the air. Discounts and complimentary cards are not accepted for this
f43cb516-1a42-42a0-a93c-5d0f1d644b7b	{ "cc_dump": "CC-MAIN-2015-11", "dolma2_qc": { "0": 0.9999727010726928, "1": 0.00004727026680484414 }, "exact_duplicates": 0, "lang": { "en": 0.9482192397117616 }, "madlad": { "num_sentences": 37, "rule.2": [ 36 ], "rule.5": [ 31 ], "status": "survived" }, "minhash": { "cc_id": 6594637074562, "cc_idx": 2, "cc_size": 8 }, "original_word_count": 661, "sa_remove_ranges": [], "text_hash": "109757120773596082852211792051369821800", "warc_content_type": "application/http; msgtype=response", "warc_date": "2015-03-06T20:01:45Z", "warc_url": "http://www.juuce.com.au/services/brand-design/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9362950325012208, "__label__education_and_jobs": 0.0029910325538367033, "__label__electronics_and_hardare": 0.03515484184026718, "__label__fashion_and_beauty": 0.042097724974155426, "__label__games": null, "__label__home_and_hobbies": 0.005564924795180559, "__label__science_math_and_technology": null, "__label__software": 0.001335022272542119, "__label__software_development": 0.01543455570936203, "__label__finance_and_business": 0.771853506565094, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.005394937004894018, "__label__transportation": 0.0018775658681988716, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Navigation Menu+ Brand Design The core meaning of brand design and branding create a lot of confusion in the marketplace. A brand is not a logo. A brand is not a colour, and a brand is not a typeface. Mind you, these are components of branding. Essentially a brand is what exist in the consumers mind about a company or entity. Think of it like a cumulative standing of all aspects of the business. Much like you may judge a person by their overall values by their words, actions, appearance, etc. Every bit of communication a company has with the market and clients makes or breaks a company brand. The quality of the product speaks volumes, the customer service, the language, the advertisements, the company colours, the ethical / unethical dealings it has in the market. All of this forms the brand in the customers mind. Brand Management is a long term job, not just a once-off set and forget component of marketing. Branding design Sydney Brand design is the process of how this perception of a company is influenced strategically. Juuce makes sure that company brand design is synonymous with the core philosophy. To make sure that the visual brand design and visual communications look right to the right people. Most businesses know their market well, and know their products and services inside out. They know what to say, and whom to say it to but not sure how to say it specifically. We’d liken this to know which party and people you’d like to go tonight but have no idea what to wear to make the right impression. We say “right impression” because making a bad impression is possible worse than none at all. The wrong sort of brand design for your business can alienate exactly the people you are looking to attract. We’ve all seen examples of terrible marketing and advertising brand design. This is simply the results of spur of the moment ideas put into production without much thought of their relevance and appropriateness to the company brand. Every company is in a different stage with their branding strategy. Startups generally don’t have one, so they have a clean slate. There are businesses that have been around for a long time and have unknowingly created brand direction that needs some attention. brand design - style guide Then there are companies that truly need a change of course in their brand design. Perhaps the company is under new ownership or are chasing a new market. Maybe the last brand design approach was a disaster and needs to be forgotten a.s.a.p. – (politicians love this one). Re-branding is a common activity The typical branding design process involve a good deal of research before any brainstorming is needed. Fundamentally it is important to know where a company is and where they design to be. To know their desired brand personality is key. The following steps are typical in resolving a fragmented company brand: • Solidify the company core values • State the values and aims in a company manifesto • Develop a core Trademark or Logotype that embodies the core values as far as possible • extend the visual systems via colors, typeface, image selections and layouts that further communicate the corporate values • Document the chosen elements into a “style guide” or brand guide (standards manual) • Use the design communications materials and the manual to ensure consistency. The visual branding only makes up a part of the overall brand, albeit and important one – especially first impressions. Making a good first impression and a consistent impression is what good visual branding is about. Saying the right thing to the relevant people, and following up with a consistent personality. A professional brand design company or corporate identity designer will not only have a great portfolio but also a good understanding of the role and importance of relevant brand design through research and experience. Related Projects portfolio_geoproxima brand design - style guide Character Brand Design Woody Illustration Mascot redcartel_logo_design_identity_design2_featurejpg
5204f01c-6136-4734-8395-3898c7436753	{ "cc_dump": "CC-MAIN-2015-35", "dolma2_qc": { "0": 0.9999622106552124, "1": 0.0000577792088733986 }, "exact_duplicates": 0, "lang": { "en": 0.96709406375885 }, "madlad": { "num_sentences": 74, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 8296182326633, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 1537, "sa_remove_ranges": [], "text_hash": "78307509734655381509440474337161718741", "warc_content_type": "application/http; msgtype=response", "warc_date": "2015-08-31T13:22:43Z", "warc_url": "http://www.recorder.com/artsentertainment/movies/2252942-95/art-video-artist-festival", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6791887283325195, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.005230126902461052, "__label__science_math_and_technology": 0.007355827372521162, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.006299902219325304, "__label__health": null, "__label__politics": 0.010662510991096497, "__label__social_life": 0.005564924795180559, "__label__entertainment": 0.03733688220381737, "__label__history_and_geography": 0.01244165189564228, "__label__literature": 0.0028995804022997618, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.007355827372521162, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	P/sunny P/sunny Hi 88° \| Lo 61° Brick + Mortar Video & spoken-word festivals downtown Friday & Saturday This year’s Brick + Mortar International Video Art Festival features a blizzard of creative visual artworks from Canada. They’ll be shown continuously at nine downtown Greenfield buildings from 4 to 10 p.m. this Friday and Saturday. The selections, highlighting what’s trendy and new in Canadian videography, were made by Massachusetts Museum of Contemporary Art (MASSMoCA) curator Denise Markonish. “I think the whole spirit of the show is going to be one that people will want to see,” the curator said recently, speaking from her North Adams office. “A lot of the pieces are fun and engaging.” Running concurrently in the downtown are both the Greenfield Annual Word Festival — some 10 businesses will host poetry, hip-hop and short story readings — and “Art in the 01301” — a juried art by local residents on view at 9 Mill St. “This is going to be a huge weekend for pedestrian cultural activity,” Becky George, event coordinator for the Franklin County Chamber of Commerce said, speaking from her office. This year’s video festival is the distillation of Markonish’s intermittent 31∕2 year-Canadian odyssey in which she met with some 400 artists. The quest was undertaken to curate MASSMoCA’s “Oh Canada” exhibit, an installation of sculptures, videos and paintings from 62 artists continuing through April 1, 2013. It’s the most comprehensive profile of that country’s artists ever brought to the states. While involved with that undertaking, she began choosing video artists for the festival 18 months ago. “I decided to focus the show on artists that were doing work that would somehow align with ‘performance,’” Markonish said. She explained that performance art in video may be theatrical or simply the actions of an artist. The curator noted that in the 1960s and 1970s, there was a fledgling primitiveness to the form, rendered in grainy films or low-contrast video. There was often a single, fixed camera simply documenting the action. Performance has now become more complex, with artists creating specifically for several cameras and screens, both possibly run at different speeds with different effects. As an example, at this year’s festival there’s Alison Kobayashi’s “Defense Mechanism,” a surreal live performance by the artist on a New York stage. It presents a constellation of visual ideas provided by several video screens. “She’s definitely playing off the idea of theater and old movies,” Markonish said. Fortunately, for any of us who may still remain confused about the concept, Calgary artist Dick Averns and Toronto artist Johannes Zits (pronounced “Zights”) will be present to perform as their videos play. Averns is an art instructor at the Alberta College of Art + Design. Zits is a multimedia artist whose 30 solo exhibits have toured the world. Symbiotic meetings George estimates that festival attendance has doubled each year with some 1,500 viewers in 2011 viewing films at sites ranging from the dormant hotel rooms on the upper floors of Wilson’s to the magnificent Art Deco ghost of the former First National Bank. “There are a group of people in town who probably couldn’t give a hoot about video art, but they like to get into the buildings,” George said. “Then there’s people who don’t care about the buildings, but they really want to see the art.” She noted that a certain symbiosis then takes place between the lovers of architecture and video enthusiasts. “You get the two of them standing next to each other and they say ‘Oh! We’re neighbors.’ There’s a certain camaraderie that you build in the community around that,” she added. Putting on the free festival costs in the neighborhood of $15,000 annually, relying upon the efforts of some 60 volunteers. The Chamber of Commerce and the Greenfield Business Association, the event’s chief organizers, seem to have tapped into an artistic mother lode. “Greenfield is developing a reputation as a destination for cultural events,” George said. “We get a lot of people coming from outside the area who end up loving what they see.” Because the event offers attendees a tour of vacant retail and office spaces displaying videos, it’s also a subtle advertisement for available properties. George noted that several unused sites, available in past years, are now occupied by businesses. “It’s going to be an ever-changing game,” she said, noting that there’s some suspense each year in finding new venues. Art Deco and grain “I was very careful to pick things that are all pretty short,” Markonish said. “I know that the nature of the event is that people are sort of wandering around town and popping into things.” If you’re pressed for time, pop into the vacant First National Bank on Bank Row, where five different videos will be on display. The building, as Peter Miller, vice-chairman of the Greenfield Historic Commission notes, is one of the few surviving examples of Art Deco in the region. The style was the bee’s knees in the 1920s and 1930s, identifiable by its bold geometrical symmetry. The bank opened for business in 1930 and has, for decades lain dormant. Miller, who once worked there, described it as “an ark. It was a monstrosity, hard to heat. It was a waste of space.” Threatened at one time by the wrecking ball, it’s been saved with a cash infusion that shored up leaking windows and the infrastructure. The marble counters have long vanished and the elegant walls have been stripped. The design of the check-writing podium, however, gives you some idea of what the interior details may have been. As to what could revivify the structure, Miller said it would require “somebody who’s going to have a really good imagination.” On the opposite side of the street, a few hundred yards downhill on Bank Row, is the Abercrombie Building, where videos will also be shown. Dating to the late 1800s, it was originally a grain storage building, one of three which served the booming railroad commerce in that era. “Greenfield was a huge railroad center for generations, a really important one,” Miller said. The site then became Luey & Abercrombie, wholesale distributors of dry goods. It’s been vacant for some 35 years. Four not to be missed Canada is not only where the first electric cooking range was invented, or where almost 10 per cent of the earth’s renewable fresh water is to be found. It’s also a country that provides subsidies for its artists. Studio space is found in government-funded “artist-run sectors.” “There are fewer commercial galleries and much less individual patronage,” Markonish said. “(There) was a more experimental studio practice than one driven towards the market.” Among the artists to be viewed, the curator suggested four not to be missed. For “Ambivalence Blvd” videographer Averns traveled everywhere with his eponymous sign — from the Canadian prime minister’s home and Buckingham Palace to U.S embassies and military sites. In an e-mail, the artist said that he thinks of ambivalence as indecisiveness, the coexistence of opposing thoughts. At the festival, he wrote that he’ll be “promenading ... to local sites of historical, cultural, or political interest.” His hope is to spur dialogue. Rhode Island School of Design instructor Jocelyne Prince intends to provoke dialogue of another sort with “Cherry Blossom.” Filmed at the Korean University of the Arts in Seoul, the short captures the ephemeral quality of newly created glass flowers noisily fracturing and breaking apart as they cool. “I hope there is amusement,” Prince wrote. “Then I hope there are thoughts about the fragility of things.” Zits wrote that his video “Snow Mounds” was inspired by a trip to Dawson City, in the Yukon. He was struck by the transformation that major snows had made to the environment. The artist intends to perform in front of his video for several hours and wrote that “(t)his work plays with the artifice and illusion that have been created through the manipulation of material, space and technology.” Algonquin Indian Nadia Myre is of the Kitigan Zibi Anishinabeg, meaning “we, the people of the Garden River.” The multimedia artist has created “Rethinking Anthem.” It’s a critique of Canada’s Euro-centric national anthem where the lyrics “our home and native land,” are, on film, continually written and erased. For almost three years, we had a violent dustup with British-ruled Canada, known as the War of 1812. As peace broke out, the British suggested that an independent state be set aside for Native Americans. The U.S. government ignored the request. “I am bringing to memory ... the native land that was taken to build the country and the devastating effect this had on the tribal people.” Myre wrote. “Although specific to Canada, similar historical subtexts are shared with many countries.” For more information on the festival, including information on all the films being shown, got online to www.greenfieldvideofest.org/about.html The Greenfield Business Association will also have tent on the Greenfield Common (Court Square) with maps, schedules and other information. Don Stewart is a freelance writer who lives in Plainfield. He has written for The Recorder since 1994. There are no comments yet. Be the first! Post a Comment You must be registered to comment on stories. Click here to register.
adbbc56c-e475-423f-9c4c-f818f9677bbc	{ "cc_dump": "CC-MAIN-2021-10", "dolma2_qc": { "0": 0.9999343156814576, "1": 0.00008571482612751424 }, "exact_duplicates": 2, "lang": { "en": 0.9478737711906432 }, "madlad": { "num_sentences": 57, "rule.2": [ 0, 7 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 9099357984887, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 1811, "sa_remove_ranges": [], "text_hash": "72537981920982187160659601912811653610", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-03-01T19:33:23Z", "warc_url": "https://apalmanac.com/interviews/pictures-that-move-an-in-depth-look-at-making-films-about-architecture-11709", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9963027834892272, "__label__education_and_jobs": 0.005394937004894018, "__label__electronics_and_hardare": 0.0023331623524427414, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.008857354521751404, "__label__software": 0.003085370408371091, "__label__software_development": 0.0032830648124217987, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.09010298550128935, "__label__history_and_geography": 0.0027249858248978853, "__label__literature": 0.0032830648124217987, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0012548431986942887, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Pictures That Move: An In-depth Look At Making Films About Architecture Pictures That Move: An In-depth Look At Making Films About Architecture Commentary Interviews “The two professions – filmmaking and architecture – are very close. Both require a plot: you have to develop episodes, a kind of montage that creates interest, and a sequence that gives the circulation, the path or the experience of building a certain suspense…” Rem Koolhaas Architecture and the moving image, and of course photography and the moving image, have a long, intertwined history. By the turn of the 19th Century, the technology that the early photography pioneers were still experimenting with had progressed to the point at which they could record a series of stills in an incredibly short amount of time, and play them back to animate the sequence. The built environment was the natural subject for the early photographers, with the long exposures required and architecture’s tendency to stay very still, and so by the time they were experimenting with the moving image, many of these early silent movies amounted to moving snapshots of the same scenes: people, horses, trolley cars moving through a cityscape. Still from ‘Juergen Teller Studio by 6a Architects’, Jim Stephenson 2017 By the time the 1930’s were underway, movies had developed narratives, multiple camera angles, storylines and sound. The world of architecture was quick to take notice with a flurry of films. Le Corbusier was an early adopter, working with Pierre Chanel on Trois Chantiers in 1931. From there Charles and Ray Eames played, Diller + Scofidio pioneered and MVRDV experimented. We’re used to seeing great architecture used as a device in movies (all those wonderful Bond villain lairs), ads (Gehry in the early Apple ads) and music videos (Zumthor’s Therme Vals as the setting for a 1997 Janet Jackson video) but what can the moving image give to architecture? My name is Jim Stephenson, I’m a UK based architectural photographer and filmmaker, and for this article I’ve spoken to other members of the community who are spearheading this new wave of architectural video; Sara Nunes in Portugal, Pedro Kok in Brazil and Jeff Durkin in the US. We spoke about three of the key differences between architectural photography and architectural film making… Still from ‘The Absence of Light’, Jim Stephenson 2020 The most obvious difference between photography and film making is movement. While a photograph can capture a single beautiful moment, in a film, people, light, vehicles, clouds, animals, the wind and rain all shift and move and suddenly we become aware of time passing. “The films I do can add movement, sound, voices, the perspective of the architects, narratives, music, but all comes down to one word: time! Films add time!” Sara Nunes Still from ‘M. Hulot’s Visit’, Sara Nunes / Building Pictures 2019 There are two principle methods of movement in a film. The people and objects moving around, through, into and out of the frame and the camera moving across, around, over and through the subject. Like myself, and many architectural film makers, Pedro Kok came from a photography background: “Since I adhere to the cannons of architectural photography, adding movement to motion picture was a tricky proposition. At the beginning, I thought movement should only come from the elements of a scene: architecture remained static, while people transformed the image though motion. Later, I added very slight moments as to highlight changes in perspective and the three-dimensionality of architectural space”. Still from ‘This was not my dream’, Pedro Kok 2014 While a static shot, with the camera remaining in one place as an observer of a scene, focuses the viewer and allows them to take in the detail, moving the camera can take us on a journey. As the foreground, mid and background slip over each other, a three dimensional space is created and the camera becomes the silent narrator of the film. There must be a reason to move the camera, with the key reason being to better tell the story of the building or architect “I use camera movement as a way to tell the audience where to look and what to feel about something” notes Jeff Durkin “It’s like the punctuation at the end of a sentence. Is this shot an exclamation point, comma or question mark?” Still from ‘Lipton House’, Jeff Durkin / Breadtruck Films 2019 “If it’s done right you don’t even notice it, instead you feel it, it’s the emotional heartbeat of a film.” Jeff Durkin Try watching a film on mute and see how different it feels. Even in scenes that contain no dialogue, so much of the feeling of a film is lost, and therefore so is the viewer’s attention. I often work with a sound designer, Simon James, and witnessing the work he puts into the ambient recordings of a space is remarkable. In the editing software you see layer upon layer of recordings, made with different microphones that each pick up something unique, combining to add a unique texture to the film. This texture is what creates an immersive environment for the viewer. In addition to the atmosphere-creating ambient sound we can also add interviews and music to films. A spoken dialogue creates a narrative for the viewer and allows the architect, end-user, or anyone with a relevant voice to guide us through the key aspects of the building. The whole film can build from this element, as Jeff says, “The interviews are actually what I stress out most about getting right, and when I start editing the interview is the first layer I put together to give me a clear road-map of where the visuals go. Then I use music to layer in the emotion and punctuate certain feelings”. For Sara the music also tells a story about spaces; “I work with a sound designer, Ana Pedro Machado, every single week and every time that I can, I work with a composer, Bruno Ferreira. We even created a Soundcloud playlist with some of our favourite original music that we produce for our films”. The Edit Movement and sound are the most obvious differences between architectural photography and architectural filmmaking, but arguably the most important (and the one most frequently overlooked by people who are just starting out) is the editing process. Most photographers are familiar with making an edit of their images, (in this sense ‘the edit’ refers to picking which shots to give to a client and in what order, not post-processing), but the editing process in moving image adds an entirely new dimension and, in the early days of cinema, was the first thing that allowed movies to be considered an art form of their own. In the 1910’s and 1920’s, Soviet film maker Lev Kuleshov conducted a series of experiments. In his most famous one, he recorded matinee idol Ivan Mosjoukine looking at the camera with a neutral gaze. He then split this shot up and made three new films by inserting an image of a bowl of soup, then a girl in a coffin, then a woman reclining on a couch in the middle. Kuleshov noted how audiences marvelled at Mosjoukine’s incredible ability to depict hunger, grief and desire just with small expressions in his face. Of course, it’s the same recording of his face in each instance – the power of the edit is in the audience’s ability to form a story from a montage of shots. The Kuleshov Effect Editing for me is pure Architecture, and like Architecture I start with a set of plans by writing a script that outlines a beginning, middle and end” says Jeff “It gives me a framework to plug in who’s talking, what they are saying and how much time we dedicate to it. This gives me a clear story structure with the set-up, conflict, and resolution structured into a 3-5 min story.” The edit is where everything comes together to form a real narrative. Every building has a story to tell, and while those of us who are also photographers continue to tell these stories through still images as well as moving ones, films allow us to take control of the story, as Pedro notes; “From a documentary perspective, the films have allowed architects (and myself) to retain control of the narrative. Historically, architectural editors, publishers, curators and critics were the ones which built narratives around buildings. I like how project authors can add to this. Alternatively, when working with a narrative fiction, new and unexpected meaning can arise.” The story of the building can be didactic, with an architect clearly explaining the design intent over the top of shots that are full of visual information, or it can be looser and more experimental, verging on fictional. In “This was not my dream” by Pedro (above), Jeff’s film “Lipton House”, Sara’s “Mr Hulot” and my own film with the poet LionHeart (all below), we play with the idea of a different kind of storytelling. However the story is told, the golden rule is ‘show; don’t tell’ – audiences like to have the chance to form these stories themselves, so it’s our job with the movement, sound and the edit to give them the tools to do so. To paraphrase Andrew Stanton and Bob Peterson (writers for some of the most compelling storylines in cinema through their work with Pixar), good storytelling never gives you 4, it gives you 2+2. Sara firmly believes that “… architecture can change the world! We do it one film at a time, so for us is important that the films could be seen for the biggest number of people as possible.” Now that we have the technology and the platforms to watch films smoothly and easily online and on social media, there’s never been a better time to be making movies. Right now, it feels like Vimeo, Instagram and YouTube are their natural home, but it’s worth looking out for the growing number of architecture and design film festivals that give us the chance to view some of the best films being made about buildings in cinemas and at outdoor screenings. The Architecture Player is also the largest repository of architecture films online and features work by Pedro, Sara, Jeff and myself. Photography and film have so much in common. Both are excellent means of documenting a work of architecture, and both can be used to tell engaging stories; neither is more valuable than the other, but sometimes it might be worth considering adding a little movement, making some noise and bringing it all together for a beautiful narrative. Between us, Pedro, Sara, Jeff and I have made hundreds of films about architecture and the built environment. You can watch more here… Jim Stephenson: www.clickclickjim.com / @clickclickjim Sara Nunes: www.buildingpictures.pt / @building_pictures Pedro Kok: www.pedrokok.com / @ kokpedro Jeff Durkin: www.breadtruckfilms.com / @durkin.films
8379d009-7857-4bf9-a6ef-e1c4ea4fe893	{ "cc_dump": "CC-MAIN-2022-27", "dolma2_qc": { "0": 0.9999659061431884, "1": 0.00005415135092334822 }, "exact_duplicates": 0, "lang": { "en": 0.8625969886779785 }, "madlad": { "num_sentences": 11, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 11768361389772, "cc_idx": 25, "cc_size": 52 }, "original_word_count": 159, "sa_remove_ranges": [ [ 215, 954 ] ], "text_hash": "47520338548327896395992569741878135215", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-07-07T01:57:31Z", "warc_url": "https://www.outregallery.com/products/passport-photo-6", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.91965252161026, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.0004273156810086221, "__label__fashion_and_beauty": 0.029322227463126183, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.00001000000338535756, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0004144815029576421, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00001000000338535756, "__label__entertainment": 0.002482622629031539, "__label__history_and_geography": 0.00001000000338535756, "__label__literature": null, "__label__sports_and_fitness": 0.0008930459152907133, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Use code BREAKER150 upon checkout to get free shipping on all Australian online orders over $150! (Exc. large Shags & exhibition pieces.) Passport Photo 6 $220.00 AUD Artist: Tom Gerrard Title: Passport Photo 6
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24606b74-b157-4017-9913-008180c99c63	{ "cc_dump": "CC-MAIN-2015-40", "dolma2_qc": { "0": 0.9999657869338988, "1": 0.00005420968955149874 }, "exact_duplicates": 0, "lang": { "en": 0.9177180528640748 }, "madlad": { "num_sentences": 8, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 9933856706801, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 195, "sa_remove_ranges": [ [ 0, 977 ] ], "text_hash": "190539084230530110367941722507497192605", "warc_content_type": "application/http; msgtype=response", "warc_date": "2015-10-09T14:09:58Z", "warc_url": "http://www.trendhunter.com/trends/hair-transplant-robot-restoration-robotics-help-docs-plug-heads", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.3923468291759491, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.001108730910345912, "__label__fashion_and_beauty": 0.022296184673905373, "__label__games": null, "__label__home_and_hobbies": 0.0004020417982246727, "__label__science_math_and_technology": 0.004080137703567743, "__label__software": 0.0028995804022997618, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.0013770253863185644, "__label__history_and_geography": 0.0005803157691843808, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.0004978571087121964, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	65 clicks in 424 w Interest: > 3 minutes Concept: Hair Transplant Robot Related: 65 examples / 50 photos Segment: Males, 18-55+ Comparison Set: 24 similar articles, including: moon landing timepieces, airport tower photography, and postal service photos.
4a5e4862-d88a-4154-b8e0-6d0cac8c3f86	{ "cc_dump": "CC-MAIN-2014-52", "dolma2_qc": { "0": 0.9999648332595824, "1": 0.000055180120398290455 }, "exact_duplicates": 0, "lang": { "en": 0.9729175567626952 }, "madlad": { "num_sentences": 72, "rule.2": [ 10, 23, 34, 64 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 3154150162858, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 1526, "sa_remove_ranges": [], "text_hash": "14138273815470576295668023014456289904", "warc_content_type": "application/http; msgtype=response", "warc_date": "2014-12-21T18:39:56Z", "warc_url": "http://cornwallartists.org/directory?page=35", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9850529432296752, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.007587242405861616, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.001465063076466322, "__label__social_life": 0.0032830648124217987, "__label__entertainment": 0.003386611817404628, "__label__history_and_geography": 0.040855713188648224, "__label__literature": 0.003085370408371091, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.004915405530482531, "__label__crime_and_law": 0.0016078451881185174, "__label__food_and_dining": null, "__label__industrial": 0.0007421813788823783, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	351-360 of 3878 1872—1924 The artist is known to have died at Polperro and is buried there (registration district of Liskeard). He studied at the School of Art in Edinburgh, and at the Royal College of Art in London. In 1909 he married Ellen Eliza RICHARDSON (also known as 'Nellie') who was also to become his model for a series of paintings from 1910-1917, and who was an artist in her own right, painting and exhibiting her work at the RA. The couple set up their first home together in Chelsea, London, but shortly thereafter moved on to Walberswick in Suffolk where there was an active artists' community working. W Kay Blacklock, as he signed his paintings, probably also painted in Holland as the subjects and titles of his paintings reveal, and his subject matter and style is akin, and reminds of Elizabeth FORBES. Born in Sunderland, in 1872, the artist was the second son of John Blacklock, engine fitter, and his wife Isabella née Blackett, who married at Sunderland in 1770. In the 1881 Census, William was an 8 year old living at 5 Hudson’s Buildings, Bishop Wearmouth, Sunderland with his parent’s, 39 year old John and 36 year old Isabella, and his two siblings, all born at Sunderland. His father died in 1886 and in 1891 young William was an 18 year old lithographer’s apprentice living at 10 Corporation Road, Rickersgate, Carlisle where his widowed mother was a publican. They had moved by 1901 to 4 Dixon Street, where William, still a lithographer, lived with his mother who was described as a ‘boarding house keeper’. He then studied at the School of Art in Edinburgh and the Royal College of Art in London and became a painter in oil and watercolor. Living in London, he married at Chelsea in 1909, [Nellie] Ellen Eliza RICHARDSON. He seems to have added ‘Kay’ as his middle name when he took up as an artist. In the 1911 Census Blacklock is listed as a 41 year old artist painter at 46 Gunder Grove, Chelsea with his wife, and a one year old daughter Eleanor Irene, who had been born in Chelsea. By 1912 they had moved to 'The Barn' Walberswick and in 1916 were still living at Walberswick but by 1922 they had moved on to Liskeard, Cornwall. He died at Polperro, Cornwall in 1924. Initially a potter, Clive turned to painting full-time in 1984. The artist was born in Kingston upon Thames, Surrey and attended Twickenham and Kingston Schools of Art. He came to Cornwall at the age of 20 in 1960, and concentrated wholly upon the potters' arts in both porcelain and stoneware. As a painter he has worked steadily between France (Provence) and Cornwall, where he lives near Helston. Buckman lists a partial exhibition record, the WCAA keeps an ongoing list of current exhibitions in London and elsewhere. In 1992 he was included in the Artists from Cornwall Exhibition at the RWA. The artist is listed as a member of NSA (2009). Carolle Blackwell's imaginative sculptures, created from local stoneware clay, are influenced by ancient cultures. Peter Blagg: A Critical Appreciation: by the late Michael Canney, Director of Newlyn Art Gallery, Penzance, Cornwall 'As a native of Camborne-Redruth, I know that visually these towns are far from inspiring. Mining has shaped both of them, together with the surrounding countryside, so that finding an artist at work here is something of a surprise. However, Peter LANYON drew and painted around Dolcoath Mine at the Western foot of Carn Brea. The multi-talented Sven BERLIN produced many of his early works here, under the encouragement of Arthur HAMBLY, influential head of the Redruth School of Art. Thirty-three years ago, Peter Blagg too captured much of the character of the area in a series of evocative paintings and drawings, but he unaccountably seems to have been overlooked by critics and historians of art in Cornwall. A typical title of one of Blagg`s drawings, `Redruth: View Towards Carn Brea`not only gives the flavour of his work at the time, but also indicates that countryside and seascape are knocking at the suburban door here, so that these works are townscapes and landscapes combined, Blagg`s subject matter is found in the heartless granite terraces of Redruth, the surrounding fields and mine dumps, in mine engine houses, furzey hedgegrows with brass bedsteads in lieu of farm gates. It takes an exceptional artist to find inspiration here: to rise above the overwhelming melancholy of industry dead and gone – of subsistence farming, but Blagg does allow himself the luxury of painting the neighbouring sea-coast, indulging in positively `Lanyonesque` gestural works with their freely brushed imagery. These are unique. In 1963 or thereabouts, I arranged an exhibition of Blagg`s work in the lower gallery at Newlyn, where, I recall, it looked well. It was impossible at time to discern what he might do in the future or where his talent might take him? Over thirty years on, I now look forward to seeing the answer.' Michael Canney ( Curator; Newlyn Art Gallery/Broadcaster B.B.C. Bristol) September 1996 Peter Blagg exhibited at the Newlyn Art Gallery in 1963. An artist identified as F Blair exhibited a painting in the Summer Exhibition at NAG in 1926. This artist may or may not be the same person as Frances M BLAIR in the next entry. Frances M BLAIR Frances Blair produced watercolours and woodcuts. Before her move to Cornwall she was based in Edinburgh and was a member of the Scottish Society of Artists. Born in Padstow, Cornwall, she became the wife of Samuel Blake. In the 1891 Census, she is identified as living at 55 High Street, Falmouth, and as a teacher of Art Needlework. Justin BLAKE 2013 NEW INFORMATION JUST ARRIVED: Can anyone confirm or give further information about this artist? 'My husband bought a Justin Blake from the artist in the 1960's. I found another which I bought 20 years ago. Justin Blake was missing and his body was found down a tin mine. An artist in Lamorna told us this and that this is why his output was reduced.' Previous inquirers: Three welcome correspondents have contributed the following memories: A. 'I noted the entry of the painting The Talisman fishing boat Mousehole, for this artist. My daughter did see this painting for sale a few years ago in an art gallery in Mousehole and was interested, because I have a small original, oil on board bought from the artist in Mousehole during the 1960's. It depicted the harbour showing the Lobster Pot Hotel which sadly, has now been redeveloped. I spent several holidays there. My late husband used to go out shark fishing on The Talisman with Frank and Phillip the owners of the boat. I bought the painting at the time when the artist was short of money and had a small child. I have wondered what happened to him. I believe he used the name 'Justin Blake' as there was an artist of a similar name to his real name - which I do not know - painting at the same time in St Ives.' (2011) B. Another correspondent (2012) writes that he would also like to know more about Justin Blake and what has happened for him. He has a painting that he bought from the artist in the 1960s, which hangs again in his study after a few years in the attic until a recent move. He met the artist painting at the harbour in Mousehole, and came back the following day to collect the finished subject. C. A third correspondent (2012) writes from Adelaide, Australia: About 15 years ago, I walked into a second-hand shop near my home, and saw a painting hanging on the wall. I had to buy it as it brought back many memories. The painting looks towards The Lobster Pot and a row of buildings behind. From memory I think Andrew's Street runs behind it. In the forefront is a circular area of sea, with a couple of small boats tied up. It is signed by Justin Blake on the the front. On the back is a label saying,`Orignal oil by JUSTIN BLAKE,SEASCAPES,FISHING VILLAGES, STORM AND WRECK. Studio at Wavecrest, Mousehole, Cornwall, England. The above raise very interesting questions, and if anyone can help, many thanks in advance. We must all remember that this is now half a century ago, and barring any detail of birth, death, etc. and even his full name, it is doubtful that we will hear from him now? Artprice Index list one painting by Justin Blake as having been sold in 2005: Boats moored at Mousehole. A major exponent of Pop Art, Blake became internationally recognised in the 1960s. Falmouth Art Gallery holds some of his work.
e8bb87ab-be44-4e48-afe0-da270e3fc399	{ "cc_dump": "CC-MAIN-2019-22", "dolma2_qc": { "0": 0.9999648332595824, "1": 0.00005518148827832192 }, "exact_duplicates": 0, "lang": { "en": 0.9523143768310548 }, "madlad": { "num_sentences": 33, "rule.2": [ 7 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 1737716940736, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 763, "sa_remove_ranges": [], "text_hash": "245260982708236603885166217342491492721", "warc_content_type": "application/http; msgtype=response", "warc_date": "2019-05-19T23:38:21Z", "warc_url": "https://abbey-mariapia.net/high-altar.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6150978803634644, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0011435691267251968, "__label__games": null, "__label__home_and_hobbies": 0.003085370408371091, "__label__science_math_and_technology": 0.00240673148073256, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.008071991614997387, "__label__history_and_geography": 0.1968362182378769, "__label__literature": 0.003955406602472067, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.006107562687247992, "__label__crime_and_law": 0.002482622629031539, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.027595279738307 }, "weborganizer_max": "__label__art_and_design" }	High Altar - abbey Go to content High Altar Abbey > CHURCH The nave is dominated by the ANCONA, the majestic eighteenth-century monument enthroned in the center of the presbytery, which incorporates the ancient the High Altar. NOTE: A temporary altar was placed in front of the Ancona. so that the Celebrant is directed to the Assembly. aisle view from the top of the ancona Foreground dell'Ancona that encloses, like a precious gem, the Icon of the Madonna di Pia. We read in an operetta on our Shrine written by the historian P. G. Salvi O.S.B. that "The Lords Don Ottavio Maria Prasca, canon of the collegiate of Finalmarina and Dr. Cristoforo Maria, his brother, in 1728 had the greatest altar built with the very pretty ANCONA and the balustrades, all conducted in" fine marbles and mixtures " of Palermo " This Ancona encloses in an oval frame of black marble the sacred ICON OF THE MADONNA DI PIA, the heart of our Sanctuary. It is a table reproducing the Madonna and Child. The devotion of the faithful over the centuries has been intense towards this icon. Various indications indicate its origin at the beginning of the fifteenth century, which is confirmed by the stylistic examination of the painting on which other precise chronological indications are lacking. This means that in the previous period there had to be another effigy of the Madonna in the church of Pia, which was later lost or replaced for reasons unknown to us. The present painting, in fact, makes its appearance in the church of Pia in 1533, the year in which it was displayed in the grandiose wooden frame inlaid by Fra Antonio da Venezia. Later the upper part ending in an acute arc was eliminated and some other modifications were made. It can be assumed that the painting originally constituted the central panel of a polyptych, reduced to the current proportions due to the deterioration of the surrounding parts. As for the author, an attribution to Niccolò da Voltri, active between 1385 and 1417, was proposed by the great critic Adolfo Venturi: identification is based on a comparison with a very similar, clearly signed, existing subject in Genoese church of S. Donato and which presents strong analogies with the painting of Pia as to the compositional structure of the group depicted. The Madonna is surrounded by two angels with crossed stoles and reveals, in the static nature of the composition and the peculiarity of the decoration, a persistent Byzantine influence filtered through a mediation of Sienese art. The painting, in any case, derives its own importance also from the fact that it is one of the rare testimonies of Ligurian painting between the '300 and' 400. On the right there is a polyptych of 1600 where the central image of the Madonna is surrounded by the traditional 15 images of the Rosary. Has been recently suggested the funerary origin of our painting, in the sense that it was commissioned in suffrage of some soul. The child divin holds on the index finger of the left hand a little peck (a goldfinch?) In fact, the image of the soul freed from the earthly bonds hovers like a bird recurs throughout medieval art (we remember here the same vision of the soul of St. Scolastica, just deceased, by St. Benedict). There is also, in this framework, a detail that makes it unique in absolute terms. In no other representation of Jesus in the arms of the Mother, one sees the Child vellicating the sole of one foot. Gesture, however, is quite frequent in children who, still barefoot, play on the mother's lap During the restoration of the church (2004) the lower part of the Aconona was photographed, which incorporates the High Altar. The only negative aspect of this elegant example of Baroque art is that this Altar is not addressed towards the assembly of the faithful. Scaffolding for restorations During the church's restorations, work to repair the ceiling was carried out This is how, from the height of the scaffolding, it was possible to highlight the placement of the temporary altar in front of the Ancona. The current plurideccenal stay of this provisional is due to the lack of approval of the many projects presented to the competent authority by the parish. Postal Address: Abbazia S. Maria di Finalpia 17024 Finale Ligure Pia (SV) Italy Telephone +39 019 602 301 Fax: +39 019 604 9940 updated 17 May 2019 Back to content
eb2fbdf8-ad32-481b-8fd4-53d93fba8fc5	{ "cc_dump": "CC-MAIN-2018-39", "dolma2_qc": { "0": 0.9999680519104004, "1": 0.00005199010411160998 }, "exact_duplicates": 1, "lang": { "en": 0.9638267159461976 }, "madlad": { "num_sentences": 50, "rule.2": [], "rule.5": [ 49 ], "status": "survived" }, "minhash": { "cc_id": 5077506989304, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 1252, "sa_remove_ranges": [], "text_hash": "92962313183277710720881649521939925750", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-09-20T02:28:09Z", "warc_url": "https://amp.theguardian.com/cities/2017/jul/04/unbuilt-liverpool-city-might-have-been-in-pictures", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9871888160705566, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.016924913972616196, "__label__science_math_and_technology": 0.008071991614997387, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0038344827480614185, "__label__health": null, "__label__politics": 0.006702851038426161, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.44553956389427185, "__label__literature": 0.003386611817404628, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.02369946800172329, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.007825888693332672, "__label__transportation": 0.002810927340760827, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	A 1960s proposal for Liverpool city centre by the Shankland Cox Partnership. A large public square takes the place of St John’s Gardens. The five 21-storey towers were never built, and the Liverpool One shopping development now takes up much of the site. Photograph: RIBA Collections Unbuilt Liverpool: the city that might have been Liverpool’s mercantile grandeur endures – but its architectural history is littered with compromised visions, botched projects and grand designs never realised Liverpool is a city of hills and vast expanses of water, of grand architectural gestures and monuments that speak to its mercantile wealth and history. It is also a city of design blunders and compromises – and of great buildings never built.. “In some cases the brief changed, in others the architect’s own ideas changed, especially in the course of a long and complicated project,” explains Joseph Sharples, co-curator of RIBA North’s Liverpool(e): Mover, Shaker, Architectural Risk-Taker exhibition and author of the Pevsner Architectural Guide to Liverpool. Some projects proved too costly and others were mere “flights of fancy” designed by architecture students, he adds. Of the long and complicated projects, the most notable is Giles Gilbert Scott’s Anglican Cathedral, a modern Gothic edifice on a prominent site overlooking the city. Some 75 years in the making, it was only completed 18 years after Scott’s death. An alternative design for Liverpool’s Anglican Cathedral by Thomas Murray, 1886. Photograph: RIBA Collections But the cathedral which stands today is not the building, or even the site, the Diocese originally intended – a previous competition held in 1885 for a cathedral next to St George’s Hall proved unable to raise sufficient finances. Thomas Murray’s unbuilt design is pictured above. Scott’s original design changed too. He was 22 when he won the project so was assigned an older architect to work with called George Frederick Bodley. Tensions between the pair ran high and after Bodley died in 1907 Scott radically altered the twin-towered design. “It was then that he abandoned the idea of two towers, one over each transept, and settled instead on a single, far taller, central tower,” says Sharples. Design for a bridge over St James’ Cemetery by Stirrat Johnson-Marshall, 1931-2. Photograph: RIBA The results are awe-inspiring but might have been even more so had a dizzyingly tall and monumental viaduct spanning St James’ Cemetery (a former quarry) at the feet of the cathedral been more than just the imaginative outcome of a sketching exercise by architecture student Stirrat Johnson-Marshall. In 1947 Scott proposed a series of elegant and symmetrical mansion blocks flanking an imposing central garden and approach to the cathedral’s west porch. Had this scheme gone ahead it would have stood on the site of a grid of early 19th century terraced streets that were cleared to create an appropriately grand setting for the cathedral. Though arguably more desirable than what is there now – an unremarkable and traditional early 1980s scheme – Sharples believes the original rows of Georgian houses should have been retained. “One of the things that adds to the impact of very large structures is when they are revealed through gaps between streets and buildings,” he says. Just a short walk along Hope Street is the city’s other great hilltop monument, the Metropolitan Cathedral – known locally as “Paddy’s Wigwam”. It too had a long and troubled gestation. The winning design – a circular structure designed by Frederick Gibberd in 1959 and crowned with a stained glass lantern – was built over the crypt of an unfinished Romanesque cathedral scheme awarded to architect of the day Edwin Lutyens in 1929. The second world war interrupted construction on Lutyens’ masterpiece and ballooning costs (the final estimates were £27m – eye-popping at the time) eventually meant it was abandoned altogether. Sketch for the Catholic cathedral by Sir Edwin Lutyens, 1932. Photograph: RIBA Collections “It was an astonishingly ambitious project,” says Sharples, “set to rival the scale of St Peter’s in Rome with a colossally high dome.” A series of pencil sketches by Lutyens shows the extraordinary massing of the building, which looks like a medieval Italian hilltop village piled up high, diminishing in perspective as it rises. Yet another twist in the Metropolitan Cathedral’s tale is that one of the designs in the 1950s competition was by brutalist architect Denys Lasdun, of London’s National Theatre fame. Drawings show an elegant and low-slung star-shaped building with a folding origami-style roof that was probably to be made out of concrete. Sharples believes Lasdun’s low-lying form would have had far less impact on Liverpool’s skyline than Gibberd’s. Denys Lasdun’s 1959 competition design for Liverpool’s Catholic cathedral. Photograph: RIBA Collections The exhibition also looks at various projects intended for the site near St George’s Hall, a building that has never found a neighbour to live up to its lofty architectural majesty. It is now somewhat miserably enclosed on one side by a major road and on another by the sprawling St John’s Shopping Centre, opened in 1971. Designed by the 20-something Harvey Lonsdale Elmes, St George’s Hall was initially supposed to be a concert hall while another building next to it was to house the Assize Courts. In an early and unusual example of mixed use the functions were combined into one and the resulting building is widely considered to be a masterpiece of the neo-classical genre. Elmes was later asked to design a daily courts building to occupy the site of Islington Market (where the Wellington Column now stands). Drawings show an octagonal tower to be linked by a tunnel to St George’s Hall and provide ventilation for both buildings. The building temporarily revived the idea of a three-sided square around St George’s Hall, with Lime Street Station providing the southern side, but the scheme was ultimately abandoned – along with the opportunity to create a formal civic space. “St. George’s Hall became – and still is – an isolated monument rather than part of a grand public space,” says Sharples. In the 1960s, planning consultant Graeme Shankland advised Liverpool City Council on urban renewal. The resulting Liverpool City Centre Plan of 1965 declared two thirds of the city’s buildings to be obsolete, and proposed road-building on a vast scale, but it also recognised that Liverpool had outstanding Victorian architecture which must be preserved. In Shankland’s panorama of the future city centre (pictured at top) a large public square takes the place of St John’s Gardens. The five 21-storey towers of the proposed Strand-Paradise Street housing and shopping scheme are just to the left of the centre – they were never built, and the Liverpool One shopping development now covers part of the site. A render of Will Alsop’s doomed Cloud scheme for Liverpool waterfront. Photograph: aLL Design Perhaps the most recent – and controversial – example of unbuilt Liverpool is architect Will Alsop’s Cloud, popularly known as the Fourth Grace as it was to stand alongside as the Pier Head trio of the Royal Liver Building, the Cunard Building and the Port of Liverpool Building. Spiralling costs meant the project never went ahead, but some argue its abandonment was really down to a lack of vision and courage. Whether the building in its final version could have matched the weightless whimsy of the renderings is debatable but it would have been a show-stopping and audacious landmark to mark Liverpool’s stint as cultural capital in 2008. Follow Guardian Cities on Twitter and Facebook to join the discussion, and explore our archive here
8798a417-203f-4308-9afe-b6236bb99e1b	{ "cc_dump": "CC-MAIN-2014-42", "dolma2_qc": { "0": 0.9999735355377196, "1": 0.0000464392542198766 }, "exact_duplicates": 0, "lang": { "en": 0.9282953143119812 }, "madlad": { "num_sentences": 47, "rule.2": [ 2, 7, 37 ], "rule.5": [ 42 ], "status": "survived" }, "minhash": { "cc_id": 11536852594153, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 697, "sa_remove_ranges": [ [ 3732, 4281 ] ], "text_hash": "168819634817071397098900772230655830920", "warc_content_type": "application/http; msgtype=response", "warc_date": "2014-10-21T13:42:15Z", "warc_url": "http://www.vashonbeachcomber.com/entertainment/226171361.html", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 0.9966334104537964, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.010996942408382893, "__label__science_math_and_technology": 0.00001000000338535756, "__label__software": null, "__label__software_development": 0.00001000000338535756, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0005627787322737277, "__label__entertainment": 0.006299902219325304, "__label__history_and_geography": 0.00507033197209239, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.004208795726299286, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.00001000000338535756, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Arts and Entertainment Let art be your umbrella on a gallery walk Hita von Mende Hita von Mende's work will be on display this month at the Vashon Allied Arts Gallery. — image credit: Courtesy Photo Bergamot Studio, in Burton, will present “Landscape: A Broad View,” featuring island artist Leslie Wu, who will show pastels from her “Milagros” series, as well as a selection of oils on canvas. Also featured will be artworks by Victoria Adams, Suzanne DeCuir, Gretchen Hancock, Deannie Belinoff and Don Cole. Blooms and Things will feature work by Devon Genser, whose art form is Japanese Kokedama, a bonsai technique using moss balls. Café Luna will have an exhibition of harvest-themed works. William Forrester, who owns GreenMan Farm and created the Vashon history mural at U.S. Bank, will exhibit 20 new watercolor paintings and photography works. Other artists on display will include Lotus, Cory Wiaziak, Tom Conway, Peter Ray and Jonathan Kuzma. The Hardware Store Restaurant will continue the show “Feminine,” an exhibit of paintings by islander Olivia Pendergast. The popular show is being held over from last month. Island Lumber will host an exhibit called Bowhaus — three dog houses designed by island architects. The doggy domiciles will be auctioned off at the Vashon Island Pet Protectors Fur Ball on Oct. 27. The exhibit will also include other works of art that will be on the block at the VIPP auction. Island Quilter will show 40 colorful works by California quilter Freddy Moran. Moran is the author of several books on quilting. She’ll visit the island later this month. Snapdragon Restaurant/Hastings-Cone Gallery will show photographs by Martin Koenig. The exhibit, “Close to the Bone: The Balkans 1962 to 1987,” consists of images Koenig captured during his travels to the region. Koenig is a nationally recognized dance enthnographer and cultural specialist. Puget Sound Cooperative Credit Union will feature the silkscreen batik work of Marcia McKinzie and the folk music of Tuesday Night, a band. Quartermaster Press Studio will be open on Friday for an exhibit of work by members Deborah Taylor and Lisa Guy. The gallery and studio will also be open from noon to 4 p.m. Saturday and Sunday. Suzanne Moore will conduct monoprint demos from 1 to 3 p.m. Saturday, and Guy will conduct demos from 1 to 3 p.m. Sunday. The studio is located at the Beall Greenhouses. Raven’s Nest will treat visitors to a work in progress. “The Journey,” a canoe panel by Tlingit carver Israel Shotridge, is being painted by Sue Shotridge and an assistant. The panel is one of two pieces commissioned by the Cape Fox Corporation, a Native business in Alaska. The panel depicts figures of a Tlingit chief, an eagle, a bear child, a raven, a frog, a beaver and a killer whale. Shotridge will be in attendance. VALISE will present “Sand Drift,” an exhibit of works by Jiji Saunders that includes paintings in encaustic wax and sculptures in sand — an exploration of relief and contour in the landscape, focusing on hills, mountains and drifts. Vashon Allied Arts Gallery will exhibit a show with an equine flair. Hita von Mende’s paintings of horses will grace the walls, and Randee Crisman’s interpretations of horses in bronze and wood will fill the floor. Vashon Community Care will show works by Vashon painter Tim Carney covering his 45-year career. Vashon-Maury Island Heritage Museum will continue its show, “Vashon 1885: The Early Settlers.” Vashon Senior Center, on Bank Road, will show “Portraits of Outcasts” by Odie Hendershot. Most First Friday venues are open from 6 to 9 p.m. Also see ‘What’s Happening’ for information about film and music ev
695923d3-3f44-4969-9a3f-01a5f1274b9c	{ "cc_dump": "CC-MAIN-2023-50", "dolma2_qc": { "0": 0.9999747276306152, "1": 0.000045269622205523774 }, "exact_duplicates": 0, "lang": { "en": 0.8422887921333313 }, "madlad": { "num_sentences": 19, "rule.2": [ 0 ], "rule.5": [ 6 ], "status": "survived" }, "minhash": { "cc_id": 9082614319011, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 263, "sa_remove_ranges": [], "text_hash": "248386044960390469078871848707385562369", "warc_content_type": "text/html", "warc_date": "2023-12-06T06:35:43.000Z", "warc_url": "https://hitherandyonstudio.com/product/canva-template-everyday-pockets/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9019306898117064, "__label__education_and_jobs": 0.004478383809328079, "__label__electronics_and_hardare": 0.005230126902461052, "__label__fashion_and_beauty": 0.053413331508636475, "__label__games": null, "__label__home_and_hobbies": 0.08757384121417999, "__label__science_math_and_technology": null, "__label__software": 0.0695517510175705, "__label__software_development": 0.017452487722039223, "__label__finance_and_business": 0.014073628932237623, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": 0.00240673148073256, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0009797518141567707, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Canva Template: Everyday Pockets Canva Template: Everyday Pockets This is a Canva Template for various styles of everyday gusset style pockets. You will need a Free Canva account to use this template. Create these pockets using this template provided and canva.com and then export to PNG, PDF, SVG or JPG. Endless design possibilities. Video HOW TO provided with purchase and delivered with order. You will receive a file with a link to a Canva Template which must be used in Canva.com You will need a free Canva.com account. I recommend signing up for the account before you download. Link will allow you to open the template in your own account and design tags using the 1000s of free photos and graphics in Canva. You can export these designs to various formats, upload to Silhouette, Cricut and print and cut or print out and fussy cut. ©2022 Hither and Yon Studio. All Rights Reserved. You Can: Use the templates to design and create personal use products or commercial end products of your own design. You Cannot: Resell the templates AS IS or as templates in any form. Resell the frame elements AS IS or as templates in any form. Resell the SVG files in Cricut Store or Silhouette store without first modifying the design. If you have any questions, please ask before purchase. ***Because of the instant access to digital files, refunds till not be given on this product after purchase. There are no reviews yet. Only logged in customers who have purchased this product may leave a review.
66a194fd-0b95-489d-b7c4-daa4516a53cf	{ "cc_dump": "CC-MAIN-2018-43", "dolma2_qc": { "0": 0.9999812841415404, "1": 0.00003876797563862055 }, "exact_duplicates": 2, "lang": { "en": 0.9161151647567748 }, "madlad": { "num_sentences": 13, "rule.2": [ 0 ], "rule.5": [ 10 ], "status": "survived" }, "minhash": { "cc_id": 2925879363213, "cc_idx": 33, "cc_size": 36 }, "original_word_count": 276, "sa_remove_ranges": [ [ 473, 1698 ] ], "text_hash": "7632569591033855540023351884721971390", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-10-23T16:29:38Z", "warc_url": "https://drawnthere.patternbyetsy.com/listing/522377633/ink-sketch-of-the-domino-sugar-factory", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 1.0000100135803225, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.0023331623524427414, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0004542184469755739, "__label__science_math_and_technology": 0.0007654056535102427, "__label__software": 0.0004405571380630135, "__label__software_development": null, "__label__finance_and_business": 0.0011435691267251968, "__label__health": null, "__label__politics": null, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.0014203583123162389, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.029322227463126183, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Ink sketch of the Domino Sugar factory in Baltimore, Maryland - Drawing, Art, Print, 5x7, 8x10, Architecture, Inner Harbor, Pen and Ink Pen and ink drawing of the iconic Domino Sugar factory on the Inner Harbor in Baltimore, Maryland. Drawn on location in 2017. This item is a 5x7 reproduction of the original ink drawing reprinted on high quality 100lb matte stock paper ready for framing. Your order also includes a 5x7 print of the Drawn There photograph taken on site
4f3de5e3-5ee1-4a5b-bc4e-23b53ec51796	{ "cc_dump": "CC-MAIN-2018-34", "dolma2_qc": { "0": 0.9999332427978516, "1": 0.00008680480095790699 }, "exact_duplicates": 1, "lang": { "en": 0.9138543605804444 }, "madlad": { "num_sentences": 12, "rule.2": [ 0 ], "rule.5": [ 9 ], "status": "survived" }, "minhash": { "cc_id": 2925879363213, "cc_idx": 28, "cc_size": 36 }, "original_word_count": 246, "sa_remove_ranges": [ [ 188, 1543 ] ], "text_hash": "47710252620729771713285182823467496756", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-08-21T06:42:42Z", "warc_url": "https://drawnthere.patternbyetsy.com/listing/620477201/pen-and-ink-drawing-of-charlotte-north", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 1.0000100135803225, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.00001000000338535756, "__label__games": null, "__label__home_and_hobbies": 0.00001000000338535756, "__label__science_math_and_technology": 0.00001000000338535756, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.00001000000338535756, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.0019367348868399856, "__label__literature": null, "__label__sports_and_fitness": 0.00001000000338535756, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.00001000000338535756, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Pen and Ink Drawing of Charlotte North Carolina Skyline - Buildings, City, Skyscraper, Architecture A pen and ink drawing of the Charlotte, North Carolina skyline. Drawn from a photograph
4adbbaa6-d550-482f-be17-59058dab05ec	{ "cc_dump": "CC-MAIN-2024-10", "dolma2_qc": { "0": 0.9999386072158812, "1": 0.00008142736623995006 }, "exact_duplicates": 0, "lang": { "en": 0.900330126285553 }, "madlad": { "num_sentences": 12, "rule.2": [ 0 ], "rule.5": [ 9 ], "status": "survived" }, "minhash": { "cc_id": 2925879363213, "cc_idx": 11, "cc_size": 36 }, "original_word_count": 262, "sa_remove_ranges": [ [ 553, 1651 ] ], "text_hash": "3063718865883255197740717829860533975", "warc_content_type": "text/html", "warc_date": "2024-02-25T13:53:34.000Z", "warc_url": "https://drawnthere.patternbyetsy.com/listing/754399941/vintage-sewing-machine-singer-seamstress", "weborganizer": { "__label__adult_content": 0.00001000000338535756, "__label__art_and_design": 1.0000100135803225, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.000949943671002984, "__label__fashion_and_beauty": 0.0034934247378259897, "__label__games": null, "__label__home_and_hobbies": 0.0012548431986942887, "__label__science_math_and_technology": 0.00001000000338535756, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.00001000000338535756, "__label__social_life": 0.00001000000338535756, "__label__entertainment": null, "__label__history_and_geography": 0.00001000000338535756, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.0009797518141567707, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	VINTAGE SEWING MACHINE - Singer, Seamstress, Fashion, Sew, Drawing, Watercolor, Painting, Sketchbook, Art, Drawn There Shipping to United States: Free Buy 2 items and get 30% off your order Ink and watercolor drawing of a vintage Singer sewing machine. Drawn in 2019. This item is a reproduction of the original ink drawing reprinted on high quality 100lb matte stock paper ready for framing. As an architect by training, I have a deep appreciation for the natural and built environment and do my best to capture a visual record of the places I go
9b699e8f-6acb-4528-a99b-a52fc97082ae	{ "cc_dump": "CC-MAIN-2017-34", "dolma2_qc": { "0": 0.9999417066574096, "1": 0.0000783528303145431 }, "exact_duplicates": 6, "lang": { "en": 0.7650938630104065 }, "madlad": { "num_sentences": 26, "rule.2": [ 14 ], "rule.5": [ 24 ], "status": "survived" }, "minhash": { "cc_id": 6767291410489, "cc_idx": 0, "cc_size": 3 }, "original_word_count": 902, "sa_remove_ranges": [ [ 986, 5225 ] ], "text_hash": "10224317535678388079799734445404273311", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-08-18T08:57:28Z", "warc_url": "http://en.elephorm.com/panoramic-photography-training/measuring-exposure-time.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.5078218579292297, "__label__education_and_jobs": 0.007825888693332672, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.008587487041950226, "__label__science_math_and_technology": 0.008857354521751404, "__label__software": 0.024433093145489693, "__label__software_development": null, "__label__finance_and_business": 0.005921069998294115, "__label__health": 0.00574024673551321, "__label__politics": null, "__label__social_life": null, "__label__entertainment": null, "__label__history_and_geography": 0.00240673148073256, "__label__literature": null, "__label__sports_and_fitness": 0.004619571380317211, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.003717252518981695, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Panoramic Photography training : Measuring exposure time How to Remove Exposure Difference? Exposure match problems are discussed in the initial lesson and the trainer further explains and tells you about two ways through which you can make exposure corrections. For this purpose Autopano Pro can be useful as it can be helpful in removing exposure errors in two consecutive photos. Some pictures are taken in sunshine and some in shadows so its important in a panoramic photograph that the stitched photos’ exposure match. You will learn this as the trainer gives you an example of pictures taken under different exposures. The trainer gives you some useful tips on how you can take a panoramic photograph by keeping the exposure adjustments in mind. Un contenu flash devrait s'afficher ici. Votre navigateur ne comporte pas de plugin flash, ou il ne s'est pas correctement initialisé. Vous pouvez télécharger le plugin flash depuis le site d'Adobe à l'adresse suivante : http
a1ea64c1-1dc3-40b0-857d-43b11b59dd4b	{ "cc_dump": "CC-MAIN-2017-22", "dolma2_qc": { "0": 0.9999402761459352, "1": 0.00007974967593327165 }, "exact_duplicates": 0, "lang": { "en": 0.953743815422058 }, "madlad": { "num_sentences": 39, "rule.2": [], "rule.5": [ 27 ], "status": "survived" }, "minhash": { "cc_id": 6392689730619, "cc_idx": 1, "cc_size": 4 }, "original_word_count": 754, "sa_remove_ranges": [], "text_hash": "317617676887187224744360590667622432018", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-05-23T07:08:59Z", "warc_url": "http://www.moviehabit.com/review.php?story=sam_if12", "weborganizer": { "__label__adult_content": 0.0019367348868399856, "__label__art_and_design": 0.2689514458179474, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.02844603545963764, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.004080137703567743, "__label__politics": 0.0021927168127149343, "__label__social_life": null, "__label__entertainment": 0.2509227991104126, "__label__history_and_geography": 0.005921069998294115, "__label__literature": 0.00942259095609188, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0027249858248978853, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.003717252518981695 }, "weborganizer_max": "__label__art_and_design" }	Thoughtful reviews, the Boulder film scene " We must whup Mr. Tooth Decay " — Muhammad Ali, When We Were Kings MRQE Top Critic Muscle Shoals Even if the Muscle Shoals sound isn't on your iPod, you'll like seeing where it came from —Marty Mapes (review...) Etta sings in Muscle Shoals Sponsored links It’s been 19 years since Ron Fricke’s last film, Baraka, was released. I’m grateful that he wasn’t done making films, because Samsara is excellent. I first saw Fricke’s work in Godfrey Reggio’s Koyaanisqatsi, one of my favorite films. Fricke was the cinematographer who broke ground with time-lapse motion photography. By leaving the shutter open longer, he turned taillights into corpuscles. By mounting the camera on a special tripod, he integrated graceful panning and tracking shots that took hours to execute. Holds together better than Baraka Holds together better than Baraka Baraka was his first feature, and it was filmed using many of the same techniques, in amazing 70mm. I don’t think Baraka is as good a feature-length film as Koyaanisqatsi — the shots are great and some sequences are good, but it isn’t as strong a 90-minute composition. I think Samsara is also better than Baraka. It holds together better, I like the music better, and the themes are better developed. As with the other films mentioned above, Samsara is a composition in film and music. There are images of monasteries, villages, and pure nature. There are images of faces and masks, and vague creations in-between. Later, there are images of production lines and junk piles making the great material-consumer cycle from life to death and rebirth anew. The music ranges from monastic chanting and gongs to electronically hip fusions of voices, gongs, and drum machines. The assemblage doesn’t tell a literal story, but there is a story arc. The film has about 18 discrete segments, each joined with surprising or inspired segues. Fricke and editor ** really know what they are doing. Across the various segments are repeated themes. For example, there is a segment showing abandoned civilizations. Start with the Anasazi dwellings of mesa verde, transition to a sand-blown house being swallowed by a desert, then introduce post-Katrina New Orleans. A contrasting cut takes us to a crystal chandelier in Versailles with delicate cherubim and seraphim, and then we continue to a cut of a cherubic American child being baptized in a church. These young Christians recall the young Buddhists we saw earlier at the monastery, making a deeper connection to other parts of the film. The opening shot is of a girl’s face wearing an artificial expression of something between surprise and contentment. The facial expression is part of a dance, as though it were a mask. Before the opening sequence ends, we will see the frozen faces of mummies, then the golden mask of an Egyptian king. Throughout the film Fricke finds human expression in faces and masks; a performance artist makes faces of clay on his own face, a scientist has crossed the uncanny valley with an electronic twin, and the sex industry makes sex dolls without head (perhaps the heads are just finished separately), and turns men into girls. Many of my favorite documentaries from recent years are recapitulated in Samsara. Manufactured Landscapes showed us the detritus of the west being picked apart by Asian workers, then showed different Asian workers assembling new junk for the west to use up. Our Daily Bread and Food, Inc.both showed us what it takes to produce food on a large, industrialized scale. Even the Qatsi trilogy seems to have been nodded at, with Samsara ‘s sulfur miners recalling the gold miners at the beginning of Powaqqatsi. But Samsara doesn’t feel like it’s repeating what’s already been said. Where those documentaries were literal and objective, Samsara uses those scenes of modern life in a musical and artistic composition about the human condition. Samsara would be a great film to show a space alien about what life is like on Earth, the good and the bad, all set to appropriate and intriguing music. Samsara was shot in Super 70 — meaning the original negative is dense and detailed. So for example, in the scene of Mecca, you can see each of the tens of thousands of worshippers circling and bowing individually. Samsara is a movie that deserves to be seen on the biggest screen with the best projection you can find. I’ve been fortunate enough to see it twice and I look forward to revisiting it again (and again).
304dade4-567c-4407-a4b5-b0f1c241dd45	{ "cc_dump": "CC-MAIN-2022-21", "dolma2_qc": { "0": 0.999980926513672, "1": 0.00003907803329639137 }, "exact_duplicates": 3, "lang": { "en": 0.9679222106933594 }, "madlad": { "num_sentences": 34, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 8000349670288, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 531, "sa_remove_ranges": [], "text_hash": "339731817553916816617446973762710901186", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-05-26T12:06:52Z", "warc_url": "https://www.benleander.com/memories-losing-value/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3629792034626007, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.006702851038426161, "__label__fashion_and_beauty": null, "__label__games": 0.0071314298547804356, "__label__home_and_hobbies": 0.05835584178566933, "__label__science_math_and_technology": 0.00507033197209239, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.020974241197109222, "__label__health": null, "__label__politics": null, "__label__social_life": 0.0566624328494072, "__label__entertainment": null, "__label__history_and_geography": 0.03623005375266075, "__label__literature": 0.02369946800172329, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.010023568756878376, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	BenLeander_Design Studio +43 650 707 9191 (12-18 h) hello@benleander.com Memories losing Value Not that long ago, I planned an exhibition with my friend Jacqueline Kaulfersch – the same friend with whom I held the exhibition Unter die Haut/Beneath the Skin. This time we didn’t wanna show paintings we’ve been working on but went a more conceptual route. The Value of Memories We wanted to deal with the value of memories and therefore planned to showcase objects that have incredibly strong meanings for us. For each item, we wanted to reveal the story behind it and give a selling price. It wasn’t easy to find prices for the objects that are so infinitely valuable to us but seem inconspicuous to visitors. Our memories would have been bought with the exhibits – at least that’s the concept. My walls are filled with memories Unfortunately, we have never found an appropriate gallery to display this exhibition, but maybe there will be a place for it in the future. In the event that this never happens, I would still like to ask a few central questions that came to our minds while creating this concept… What are memories worth? Can memories be valued? How much would you have to be paid for the memories of your first love? Of your childhood? Your parents? Old memories A few days ago I was thinking about this concept again and remembered something I wanted to exhibit. A glazed clay vase from Greece. My parents bought it for me and my former boyfriend and told a story from the artist: The vase symbolizes a love relationship and as long as the vase is intact, so is the relationship. When it breaks, the love breaks too. I have taken good care of the vase over the years (and have absolutely never used it), so it is still intact. When we developed the concept for this exhibition, I attributed a very high price to this vase. When I thought about that a few days ago, I had to laugh about the price. Today, I would prefer to get rid of the vase. Maybe have it be stolen from the exhibition. It lost value to me, no matter how valuable it once seemed to be. I wonder why we forget things that used to be important to us, how memories can lose value and whether everything in our lives is pretty irrelevant when you look at it over time. Even if it were possible, I’d hate to sell memories. But I think my brain does a pretty good job at deciding which memories are valuable and which ones are better worth forgotten. Title photo: Sarandy Westfall Compulsive nonconformist who left the 9-to-5 world after studying psychology and has since then devoted himself to design and writing on a freelance basis. Has at least four different kinds of chips at home at any given time. • 19. February 2020 Cool posting – thank you. In my humble and unimportant opinion, some memories are indeed both invaluable and priceless. Others may be enjoyed but easily cast aside. 🙂 Naked hugs! Do you have something to say? %d bloggers like this:
75fd2b1f-102b-45ac-b890-0463a5b10162	{ "cc_dump": "CC-MAIN-2022-21", "dolma2_qc": { "0": 0.9999434947967528, "1": 0.0000764834985602647 }, "exact_duplicates": 16, "lang": { "en": 0.9383643865585328 }, "madlad": { "num_sentences": 12, "rule.2": [ 5, 6 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 7677488934103, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 306, "sa_remove_ranges": [], "text_hash": "334639238257575089152516792202085506229", "warc_content_type": "application/http; msgtype=response", "warc_date": "2022-05-22T14:24:42Z", "warc_url": "https://www.pmq.org.hk/event/hong-kong-on-steps-tales-of-our-city-nov19/?lang=en", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.4378334879875183, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.005394937004894018, "__label__home_and_hobbies": null, "__label__science_math_and_technology": null, "__label__software": 0.0015587612288072703, "__label__software_development": null, "__label__finance_and_business": 0.0010105045512318611, "__label__health": null, "__label__politics": 0.001465063076466322, "__label__social_life": 0.0029910325538367033, "__label__entertainment": 0.06561483442783356, "__label__history_and_geography": null, "__label__literature": 0.0019977742340415716, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.1067005917429924, "__label__crime_and_law": null, "__label__food_and_dining": 0.0025609128642827272, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Exhibition,Tourist Information Hong Kong On Steps: Tales of Our City From now 7:00am – 11:00pm 11/01/2019 07:00 12/31/2019 23:00 Asia/Hong_Kong Hong Kong On Steps: Tales of Our City DATE: From now TIME: 7:00am – 11:00pm 20 flights of stairs across PMQ 20 flights of stairs across PMQ Fee (HKD) +852 2870 2335 “Hong Kong On Steps: Tales of Our City” is the latest rendition of PMQ’s stairs art project. Twenty new stories from eleven different artists have been painted across the historic stairs of PMQ. Ten of which are from Hong Kong and one is from South Korea. This diverse group of artists took inspirations from the city’s tales and their own personal stories, adding their own artistic flair in the mix. Thus, creating a vivid landscape with different themes, one of which is Hong Kong’s local food, some artists were inspired to paint “Wonton Noodles”, “A Delicious Bath” and “Love for food in distance”. Some artists explored Shared Memory of the public, such as “Timeless”, “Candy Vending Machine”, “Pinball Machine” and “Watch Your Step”. An imaginary world is introduced through “A Day-dreaming City”, “Marshmallow Planet”, “Curious Galactic Meow” and “Portrait of Wind & Thunder”. You can learn about the ups and downs of the artists’ journey through their works of “Dash”, “Let Go and Relax”, “Here” and “Lotus”. Last but not least, “Family Boating” by the South Korean artists is also a must-see destination. Before you leave, make sure to take snapshots of all the paintings and share them with your friends on social media! We use cookies to optimize website functionality and improve browsing experience. By continuing to use this site, you accept to its use of cookies, or click to find out more.
e1215836-5d82-4b19-b5c8-081d87b2b86b	{ "cc_dump": "CC-MAIN-2018-39", "dolma2_qc": { "0": 0.999976396560669, "1": 0.00004367122164694592 }, "exact_duplicates": 0, "lang": { "en": 0.9655871391296388 }, "madlad": { "num_sentences": 42, "rule.2": [ 41 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 5100793772893, "cc_idx": 1, "cc_size": 2 }, "original_word_count": 754, "sa_remove_ranges": [], "text_hash": "139249606793947786604831590548749570289", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-09-25T09:31:49Z", "warc_url": "http://www.chicagotribune.com/redeye/ct-redeye-xpm-2014-01-09-46038972-story.html", "weborganizer": { "__label__adult_content": 0.00318268220871687, "__label__art_and_design": 0.546748161315918, "__label__education_and_jobs": 0.0025609128642827272, "__label__electronics_and_hardare": 0.0015587612288072703, "__label__fashion_and_beauty": 0.006913838442414999, "__label__games": 0.0015587612288072703, "__label__home_and_hobbies": 0.03964884206652641, "__label__science_math_and_technology": null, "__label__software": 0.003955406602472067, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": 0.02369946800172329, "__label__entertainment": 0.320831298828125, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	The RedEye newsletter delivers the rundown on what to Eat. Drink. Do. across Chicago to your inbox every Monday and Thursday. Sign up now and never be bored again. Digital Artist Calum Jones brings Star Wars figures to life on Instagram I first discovered digital artist Calum Jones while scrolling through my Instagram feed. As I'm always on the lookout for cool Star Wars-related images, Jones' gallery tickled me with the way he took SW action figures and re-created scenes from the movies. In some cases, he went "off the screen" and depicted events that never took place in the films, and yet one could imagine happening. After "liking" most of his photos, I reached out to the London-based artist to ask him some questions. I wanted to know why he started the gallery; what equipment he used; and what inspired him. We corresponded mainly via e-mail, and this is what he told me: Geek To Me: I really enjoyed checking your stuff out on your Instagram, and I wondered where the idea came from? What got you started? Calum Jones: I used to set them up just for fun, I'd never thought to take pictures of them until my sister who was on Instagram suggested I try and save them for posterity! Geek To Me: Where do the ideas for the different scenes come from? Calum Jones: I draw my ideas for set ups from the source material of the films, but also imagining what might be happening in between the scenes. I tend to work on the idea in my head - usually when I'm running - then I work out the posing. I'm always trying to capture the spirit of Star Wars and try to represent the kind of adventures I used to have with my old Kenner figures back when I was a boy growing up! Geek To Me: Who are some of the artists who have inspired you? Calum Jones: I love the Ralph Mcquarrie concept paintings; to this day I can't stop looking at his great work without a sense of awe! For posing figures, I'm heavily influenced by comic book art. I'm a big fan of Frank Miller and his Sin City. Geek To Me: How long does it take for you to get a scene finished? Calum Jones: Depending on whether my cat Henry decides to get involved I only take a few minutes to take the shots. I then take a quick screen shot of an appropriate still from the movies for my background. The bit that takes the real time - sometimes a few hours - is in Photoshop where I composite the shot together and paint in effects and do all my general editing. Geek To Me: What equipment do you use? Calum Jones: Equipment-wise I use the camera on a Galaxy S2 phone, Photoshop, natural light and a king sized prawn (when available) to distract the cat. Geek To Me: I just recently discovered you, so how long have you been doing this? Calum Jones: I started taking pictures in April last year. Geek To Me: I can only imagine how many figures you have. Have you counted how many are in your collection? Calum Jones: My collection is pretty massive.. I actually don't know how many figures I have! Geek To Me: Is there some Star Wars item out there that you don't have yet, that you really want to own? Calum Jones: The one item I really want to get my hands on is the recent Toys R Us Exclusive Speeder Bike; it didn't have a release over here in the UK and I totally missed it! Geek To Me: Which of the Star Wars movies is your favorite? Calum Jones: I've come to love all 6 Star Wars movies, but my favourite film in any galaxy will always be the original: A New Hope. It was the first movie I ever saw at the cinema and my love for it has lasted my whole life! Geek To Me: Any advice for young artists? Calum Jones: My advice would be to create work that you personally love to make; by making it a personal it becomes a piece of you and that makes it unique. I also think you should always keep pushing your boundaries, always keep trying to beat your best game and you've got a shot at something awesome! See more cool Star Wars action in Calum Jones' gallery on INSTAGRAM Copyright © 2018, RedEye Chicago
232accd8-24a1-4fc1-aa47-9e567415349a	{ "cc_dump": "CC-MAIN-2021-04", "dolma2_qc": { "0": 0.999976396560669, "1": 0.00004355800410849042 }, "exact_duplicates": 1, "lang": { "en": 0.9106944799423218 }, "madlad": { "num_sentences": 13, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 7209756924719, "cc_idx": 0, "cc_size": 2 }, "original_word_count": 419, "sa_remove_ranges": [], "text_hash": "12635942018135423930028478091678955947", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-01-22T13:44:42Z", "warc_url": "http://www.research.lancs.ac.uk/portal/en/publications/antarctic-exposure(1345b699-0046-4c4b-a2b1-9f8a35b535eb).html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.7981967926025391, "__label__education_and_jobs": 0.0027249858248978853, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": 0.0034934247378259897, "__label__science_math_and_technology": 0.013646835461258888, "__label__software": 0.0011435691267251968, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.00574024673551321, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.004619571380317211, "__label__history_and_geography": 0.6513648629188538, "__label__literature": 0.03733688220381737, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0017646141350269318, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Home > Research > Publications & Outputs > Antarctic exposure Text available via DOI: View graph of relations Antarctic exposure: archives of the feeling body Research output: Contribution to journalJournal articlepeer-review <mark>Journal publication date</mark>04/2007 <mark>Journal</mark>cultural geographies Issue number2 Pages (from-to)211–233 Publication StatusPublished <mark>Original language</mark>English This article examines attempts to capture and form knowledge about the Antarctic landscape through expeditionary photography and embodied practice. It begins with a visual piece. As an antidote to contemporary investment in heroic Antarctic narratives, Action Man, Antarctic Inertia takes the original 1970s special issue Antarctic Action Man on another kind of journey, restaging his adventures through the landscape. Concentrating on the excessive expenditure of explorers’ accounts, as opposed to the heroic destinations of the original, this visual mapping considers nonproductive landscape encounters in order to explore other possibilities of staging history and geography. The written essay that forms the second part of this article concentrates on the anxieties of representation that emerge from the interplay between mark making and being marked, and the marks that fall beyond this visual register. Using the metaphor of light, which includes both the light cast on a photographic plate and the dubious physical light of the Antarctic landscape, I examine how this marker both constitutes a trace of history and a fleeting form of knowledge production. As a mode of representation, landscape photography simultaneously illuminates and obscures the histories of encounter with landscape. The argument proceeds by looking at how the photographic frame both arrests landscape and points to a subtle beyond (Barthes). Using narratives from the Heroic era (1890s–1910s) expeditions, I then consider how landscape exposure collides with photographic exposure to present other inhabitations that are in excess of the photograph. In these other narratives, the landscape writes through the body to disrupt the heroic narrative of a contained and purposeful body in the landscape. This Antarctic ‘look back’ ultimately points the way to new geographies of visual culture that expand understandings of the Antarctic landscape. At the same time, by exceeding the visual, this approach provides the grounds for a renewed ethics of engagement with the ability of landscape to inscribe the explorer’s body as he inscribes the surface of the continent through embodied journeys and representational practice. In conclusion, I argue for a reciprocal dialogue between landscape and vision, one that acknowledges that vision is entangled with pain, blindness and excess as much as with a clear sighting of encounter.
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David Cowlard Topics Culture Exposed: Voyeurism, Surveillance and the Camera is the latest ambitious photography exhibition at London’s Tate Modern gallery. With a mix of stills, videos and slideshows by internationally renowned artists, photojournalists and amateurs, as well as military surveillance footage, Exposed highlights the contradiction between two coexisting trends today. On the one hand, there are growing concerns around privacy, surveillance and security, with a number of formal and informal restrictions being placed on photographers. On the other hand, there is ubiquitous access to high-tech cameras and we have seen an explosion of photo- and video-sharing on social networking sites, with people willingly revealing intimate details of their private lives. The strength of the exhibition is that it does not try to provide any easy answers to the big questions raised. It includes photographs of everything from the normal and mundane – people in the street, lovers in bars, holidaymakers on the beach – through to the obsessive and horrific – clandestine FBI images of KGB agents, photographs taken illicitly in the Dachau concentration camp. Throughout the exhibition, a tension is set up between the pictures at both extremes of the spectrum. The exhibition’s most compelling question is raised by the photographs taken of people without their knowledge or permission. How should we respond to such pictures? And how we should expect to live our lives in public? The tone is set in the opening room, where Walker Evans’s photographs of people riding the New York subway are shown alongside Philip-Lorca diCorcia’s pictures of people in Times Square. Both capture individuals unaware of the photographer’s presence. As portraits, the street photographs in Exposed are engaging because they at once display the lives of others, broadening our social and historical understanding of the world, and touch on our own sense of humanity. Of course, such an understanding cannot simply come about through watching images, yet without a rich photographic record our knowledge of the world would be so much the poorer. In comparing the Evans photographs, taken between 1938 and 1941, with the di Corcia images, taken in the late 1990s, the most significant shift does not concern the skill or curiosity of the photographers, but our changing responses to the images. Today, it is common to regard images such as these as an invasion of privacy or as a misrepresentation of the people on display, yet being in public is by necessity a negotiation of your self with others. When diCorcia’s images originally went on show at the Pace/MacGill Gallery in New York this question was brought to the fore by a lawsuit initiated by one of the people featured in the photographs. He claimed his privacy had been invaded, but the judge dismissed the case, ruling that this was not an invasion of privacy but ‘simply the price every person must be prepared to pay for a society in which information and opinion freely flow’. While quite correct, this judgement seems out-of-kilter with the recent trend towards the legal protection of privacy at the expense of press freedom. Though this process has been spearheaded by the rich and famous, who can afford costly lawsuits, it has informed a wider public conception of how to distinguish between our private and public lives and about the ethics of photography. In the UK, police, community support officers and private security guards frequently stop amateurs and professionals from taking photographs in public. For instance, many photographers have been detained under Section 44 of the Prevention of Terrorism Act 2000. This not only makes the lives of photographers more difficult, but it also sends a message that taking photographs in public is a suspicious activity. In addition to growing legal restrictions on photography, the informal parameters of what is and what is not ‘allowed’ to be photographed are becoming more restrictive, too. This is particularly noticeable in relation to photographing children. For instance, Magnum photographer Martin Parr has pretty much admitted that his lauded documentary studies of the English seaside, which include nude pictures of children, could not be produced today because of new anxieties and taboos. While Exposed raises many complex questions rather than attempting to give us all the answers, its biggest failure is in presuming that photography always contains an element of voyeurism. Perhaps that’s why the exhibition also includes a great number of images of intimacy and sexual liaisons. The exhibition’s principal curator, Sandra S Philips, summarises this outlook in her opening essay in the book accompanying the show. She locates the ‘family resemblance’ between street photography, sexually explicit pictures, celebrity stalking and photographs of death and violence in that they all ‘represent a transgression of accepted rules of privacy’. The implication is that, without the consent and permission of the subject most, if not all, forms of photography are voyeuristic, both in their execution and audience reception. This is simply untrue. To claim that voyeurism is the unifying feature of all the diverse images on show in Exposed is to apply an extremely blunt theoretical instrument in examining them. This strips them of the very thing that makes the pictures worth revisiting: their context. It overlooks the multiple influences that shape a photographer’s interest and curiosity, whether this is Lewis Hine’s reformist project to document the conditions of American labour or Gary Winogrand’s claim that he photographed ‘to see what things looked like as photographs’. The impact is to remove any sense of social or historical understanding of the themes represented in photographs, rendering them only as a response of an individual. Still, the exhibition does manage to examine the tensions and negotiations involved in encounters between photographers and subjects. Nowhere is this clearer than in the section that highlights the relationships between celebrities and ‘paparazzi’. It includes sequences of images by the Italian photographers Tazio Secchiaroli and Marcello Geppetti, who both worked as news photographers in Rome in the 1950s. Secchiaroli is widely recognised as the inspiration behind the character Paparazzo, a Vespa-riding photographer, in Federico Fellini’s film La Dolce Vita. Secchiaroli, whose pictures regularly appeared in magazines such as L’Espresso and who established the Roma Press Photo agency, once said of the paparazzi: ‘Nothing will stop us, even if it means overturning tables and waiters, or raising shrieks from an old lady… even if the police intervene or we chase the subject all night long, we won’t let go, we’ll fight with flashes.’ It’s hardly a call to arms, but the image of the paparazzi as intrusive and relentless has stuck. As if to underline this fact the exhibition displays two spreads from the British press following the death of Princess Diana. One is from the Sunday Mirror and carries the headline ‘Paparazzi to blame’. However, the exhibition also reveals that there is often collusion between stars and the paparazzi. For instance, while Secchiaroli photographed a secretive meeting between Ava Gardner and Tony Franciosa, thus exposing their affair, he was also once asked by the actor Marcello Mastrioanni to photograph his meeting with French star Catherine Deneuve. Secchiaroli’s pictures were widely published and therefore took the heat off Mastrioanni and Deneuve so they could actually spend time together without the press pack following them around. The tensions and collusions between the photographers and the photographed are beautifully summed up in a picture taken by Parisian photographer Georges Dudognon. It is of the actress Greta Garbo in a nightclub in Paris’s St Germain district. Garbo looks directly at the camera while a hand attempts to block the photographer’s view of the actress. The hand doesn’t look as if it belongs to Garbo. It looks more like somebody is trying to stop the picture being taken, even though the actress stares directly into the camera. Despite its failings, Exposed raises some very important questions about the nature of contemporary society and the role that photography plays in our lives today. It is well worth a look. David Cowlard is a documentary and urban landscape photographer. View his work here. Exposed: Voyeurism, Surveillance and the Camera is showing at Tate Modern, London, until 3 October 2010. For more information, see the Tate website. Previously on spiked Tessa Mayes said royals should stop harassing the paparazzi. Nathalie Rothschild joined a protest against restrictions on photography and went to a Tate Modern exhibition which sparked a debate about child porn. Elsewhere, she reviewed a Tate show taking in 170 years of photography. Or read more at spiked issue Arts and entertainment. To enquire about republishing spiked’s content, a right to reply or to request a correction, please contact the managing editor, Viv Regan. Topics Culture Want to join the conversation? Only spiked supporters and patrons, who donate regularly to us, can comment on our articles. Join today
e9714bb4-9815-46fc-afef-521e492613a6	{ "cc_dump": "CC-MAIN-2018-22", "dolma2_qc": { "0": 0.9999657869338988, "1": 0.00005419480294222012 }, "exact_duplicates": 0, "lang": { "en": 0.921323537826538 }, "madlad": { "num_sentences": 28, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 11708986832145, "cc_idx": 0, "cc_size": 3 }, "original_word_count": 564, "sa_remove_ranges": [], "text_hash": "196216819583553122608214397546390047629", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-05-28T05:04:32Z", "warc_url": "https://blog.sonos.com/es/healthy-habits-of-home-music-patterns-and-the-art-of-de-clutter/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.8740872144699097, "__label__education_and_jobs": 0.010662510991096497, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.003955406602472067, "__label__games": null, "__label__home_and_hobbies": 0.0695517510175705, "__label__science_math_and_technology": 0.0034934247378259897, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.0016078451881185174, "__label__health": 0.010662510991096497, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.040855713188648224, "__label__history_and_geography": null, "__label__literature": 0.0018202114151790736, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": 0.010338151827454569 }, "weborganizer_max": "__label__art_and_design" }	PATTERNITY is the baby of art and interiors duo Anna Murray and Grace Winteringham. We joined forces with them at the London Design Festival and talked to Grace about the patterns that shape our homes, lives and listening habits. You’re something of a unique entity! Tell us a bit about how PATTERNITY came to be? Anna and I set up PATTERNITY because pattern is everywhere, from the mundane to the magnificent. We’re on a mission to inspire positive living through pattern research, design and experience. Anna Murray and Grace Winteringham Anna Murray and Grace Winteringham What kind of influence can patterns have in shaping the rhythms of daily life at home? There are so many unseen patterns that shape our daily lives that are so easy to overlook. So we’ve been looking at the power of rituals and simplification. There’s a big shift for us towards ‘design’, and what this actually means beyond aesthetic and starting to consider our patterns of behaviour, or how we design our lives. When you reflect on the less visual patterns that shape life you really start to learn more about creativity which is a big part of what our event is for you is about. Patternity de-clutter strategy at play The art of simplification played a big part in your workshop for us. How can the art of de-clutter bring joy in the home? We’re living in a complex, oversaturated world and we can feel totally overwhelmed by the amount of ‘stuff’ we have to deal with on a day to day basis. The home environment is an extension of our individuality so it’s really important that you surround yourself with things that are authentic and pleasing to you. So be it through visual art, colours, smells and – of course – sound, curating your space to really nurture our senses. Patternity plants What role does music play for you in all of this? Let’s hear some of your inspirations? I think music and sound is hugely important to our process and wider purpose – it has been since the beginning as it was how Anna and I first met – in the club! We either commission soundtracks or work with sound artists for our events, it’s an important part of crafting the space for tranquillity and creativity to flow. The soundtrack we commissioned for this event, starts off as a backdrop to the talk – an ambient collation of percussive sounds and gradually builds to a more rhythmical, industrial pace. The repetition of drums and beats can help focus and concentration and detach the analytical mind and reinstate the creative mind. We listen to a real variety in the studio – it slightly depends on what we’re all working on and the time of day. Generally the mood is relaxed and meditative, playing world music like Midori Takada, Ethiopiques or bird song. Maybe something a little more jazzy in the afternoon like Dorothy Ashby, Alice Coltrane and Cinematic Orchestra. The mellow rhythms of Suzanne Kraft, CFCF and Project Pablo are great for focus, but calming when I’m designing. Music is one of the simplest ways to craft or change the mood at home or in the studio – and there is always space for a disco classic to shake it all out! Grace Winteringham Esta publicación también está disponible en: en en-gb en-au fr de it da nl sv no
b04b9255-4a90-450f-8406-1fe58285b0b3	{ "cc_dump": "CC-MAIN-2016-18", "dolma2_qc": { "0": 0.9999711513519288, "1": 0.00004886673923465423 }, "exact_duplicates": 0, "lang": { "en": 0.9294559359550476 }, "madlad": { "num_sentences": 24, "rule.2": [ 0 ], "rule.5": [], "status": "survived" }, "minhash": { "cc_id": 6916474417396, "cc_idx": 0, "cc_size": 4 }, "original_word_count": 573, "sa_remove_ranges": [], "text_hash": "289287439556498127236698680640214359730", "warc_content_type": "application/http; msgtype=response", "warc_date": "2016-05-01T18:15:39Z", "warc_url": "http://savannahnow.com/accent/2012-12-22/art-soul-butcher-art-gallery-invites-you-feast-your-eyes-savannah", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.979677677154541, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0008140857680700719, "__label__games": null, "__label__home_and_hobbies": 0.0011435691267251968, "__label__science_math_and_technology": 0.0005803157691843808, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": 0.0007893660222180188, "__label__politics": null, "__label__social_life": 0.0028995804022997618, "__label__entertainment": 0.017452487722039223, "__label__history_and_geography": null, "__label__literature": 0.0015111821703612804, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0007196703809313476, "__label__crime_and_law": null, "__label__food_and_dining": 0.0229873675853014, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Art & Soul: Butcher Art Gallery invites you to 'Feast Your Eyes' in Savannah "Suburban BBQ" by Eric Darnes Last December, The Bucher Art Gallery organized an art exhibit to benefit the Savannah Association for the Blind. “We had a great turnout,” said Jenny Hawkes, manager and curator of The Bucher Art Gallery. “We decided to make December a month to give back to various community organizations.” This year, a percentage of the sale of every work of art in “Feast Your Eyes,” a new group show featuring compositions by 20 artists, benefits America’s Second Harvest of Coastal Georgia. Attendees are also invited to donate non-perishable food items at the gallery during the run of the show. “America’s Second Harvest is such a reputable charity,” Hawkes said. “Everything they do goes back to benefit people in the community.” “Feast Your Eyes” showcases food-themed art in a variety of media, from paintings and prints to comic books and textiles. Artists incorporate a range of stylistic approaches — from hyperrealism to abstraction — to depict sushi, coffee, steak, fish, apples and grapes. Eric Darnes’s “Suburban BarBQue” uses sardonic humor to portray a grim family cookout. In this wickedly hilarious backyard scene framed by weathered picket fences and sickly yellow lawns, cartoonish open-mouthed piglets roast on the grill as stoic family members throw back hotdogs and donuts. Comic book artist and illustrator Falynn Koch takes the humor into utterly outrageous territory in a hand-drawn, full-color comic book titled “Food Born Illnesses.” Starring such disreputable characters as E. Coli, Salmonella, Campylobacter and Norovirus, this visual narrative traces the gruesome origins and unfortunate effects of food born illness in a few quick panels. Photographer Chris Maddox takes a more serious approach in “Food Crisis,” a mixed-media print focusing on a liquor sign advertising beer and cigarettes and boasting, “We Accept Food Stamps.” Maddox references food deserts in urban environments, while SCAD graduate Rheannon Frette treads into warmer, fuzzier territory with series of intricately cut out animal-food hybrid portraits. Most of the work on display in “Feast Your Eyes” tends to be straightforward, realistic portrayals of familiar foods, but Leah Mayer’s stunning “Honeypot Catalyst” captures the eye with its creative use of color, form, contrast and texture. The artist, who owns Mayer Studios in Clarksville, Tenn., paints radiant yellow sunbeams spreading across the surface of a rectangular wood panel, bleeding off the edges and flowing around the sides of the piece. She wraps the entire composition in black plastic honeycomb mesh, evoking the sun-drenched spirit of honey, rather than the object itself. “The variety is huge,” Hawkes said of the “Feast Your Eyes” exhibit. “I’m thrilled with the amount of entries we received and the quality of the work on display.” What: “Feast Your Eyes,” a food-related art show with proceeds benefiting America’s Second Harvest of Coastal Georgia When: Tuesday-Thursday 1-7 p.m.; Friday-Saturday 1-9 p.m.; Sunday 1-6 p.m.; through Jan. 4 Where: The Butcher Art Gallery, 19 E. Bay St. Info: 912-234-6505, www.whatisthebutcher.com Sun, 05/01/2016 - 9:50am Art & Soul: Elvis through the lens Sun, 05/01/2016 - 9:12am Jane Fishman: It’s comfortable under the radar of hi-tech Maps were good in their day. Yes, they were hard to fold back once we opened them up. Yes, the print seemed to be larger back then. Yes,... Read more
2f84399b-cb34-43d2-b958-66776579d5a5	{ "cc_dump": "CC-MAIN-2024-26", "dolma2_qc": { "0": 0.9999619722366332, "1": 0.00005801558290841058 }, "exact_duplicates": 1, "lang": { "en": 0.9187132120132446 }, "madlad": { "num_sentences": 8, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 144, "sa_remove_ranges": [], "text_hash": "114357926371470783448587605588983539809", "warc_content_type": "text/html", "warc_date": "2024-06-25T17:12:18.000Z", "warc_url": "https://www.hiraethcreative.co.uk/product-page/whitstable-whitstabubble-coaster", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.7931159734725952, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.0011435691267251968, "__label__games": null, "__label__home_and_hobbies": 0.02162533439695835, "__label__science_math_and_technology": 0.001465063076466322, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.006913838442414999, "__label__history_and_geography": 0.042097724974155426, "__label__literature": 0.0010105045512318611, "__label__sports_and_fitness": 0.0015111821703612804, "__label__travel_and_tourism": 0.7248802781105042, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": 0.010023568756878376, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	top of page This fun and quirky coaster depicts the seaside town of Whitstable, Kent (with a little artistic licence thrown in). The colourful image, which is from a painting by Canterbury artist, David Weeks, celebrates the spirit of this seaside town and its harbour. The famous Whitstable diver waves from the foreground while a cheeky seagull with a goldfish in its beak perches on his head. An oyster fishing vessel is depicted entering the harbour while the ever-present fishing boats and fishermen's huts show a working harbour. The sailing boats depict the fun, recreational side of the town while The Old Neptune pub perches on the horizon. Size: 3.5 inches width x 3.5 inches length (9 cm x 9 cm). Please note that colours and tones may slightly differ according to monitor/screen types, etc. Whitstable, 'Whitstabubble!' - Coaster bottom of page
b8d7aace-fae8-4065-90c0-a41a8c6d2ced	{ "cc_dump": "CC-MAIN-2017-30", "dolma2_qc": { "0": 0.9999431371688844, "1": 0.00007692085637245327 }, "exact_duplicates": 1, "lang": { "en": 0.9647762179374696 }, "madlad": { "num_sentences": 14, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 354, "sa_remove_ranges": [], "text_hash": "82006258959324116371284061042392170306", "warc_content_type": "application/http; msgtype=response", "warc_date": "2017-07-24T22:26:16Z", "warc_url": "https://www.ronkingstudio.com/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.9219318628311156, "__label__education_and_jobs": null, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": 0.003955406602472067, "__label__games": 0.008071991614997387, "__label__home_and_hobbies": 0.15611489117145538, "__label__science_math_and_technology": 0.00507033197209239, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": 0.004208795726299286, "__label__social_life": null, "__label__entertainment": 0.0695517510175705, "__label__history_and_geography": 0.00942259095609188, "__label__literature": 0.013646835461258888, "__label__sports_and_fitness": 0.03623005375266075, "__label__travel_and_tourism": null, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Your cart We are delighted to introduce Ron's ACROBAT mini-series with new work cut from board and inspired by trapeze artists. The fluidity of the acrobats' forms and ease in the air are captured in these colourful, bold pieces. Ron has long been interested in the circus and his collection of cuttings from magazines, drawings and photographs go back to the 1960s. A visit to watch the the performers at Cirque de Soleil also made a big impact on him. The incredible display and feats that the acrobats were able to accomplish with just the human body fascinated him. "There was lots going on at the same time and you had to be on the ball to keep up with the incredible display and completely different poses the acrobats were able to put their bodies through". Over the years, Ron has used the marvellous visual spectacle of the circus, with something of the grotesque about it, as a stimulus for his ideas and work. Notably, this can be seen in Circus Turn, dedicated to its characters and performers and the acrobats featured in his Pyramid Patience, from his Games of Patience series. He has also experiemented with moveable acrobatic figures, cut out and painted from old Song of Solomon books he found a re-invented. Circus Turn Title Circus Turn - Ron King Acrobat Book (1) Ron King Acrobat book (1i) Ron King Acrobat Book (2) Ron King Acrobat Book (3i) Ron King Ron has also created a number of maquettes in his studio that feature the trapeze artist as the subject. These are sculpted from a single piece of wire and are 9 inches high. We would love to know what you think. Would you be interested if Ron made one on a larger scale or to own a same sized version if it were created in a limited edition? Acrobat Maquette (Ron King Studio) Acrobat Maquette 2 Ron King Studio Please do let us know your feedback on our twitter or instagram pages or email us at hello@ronkingstudio.com. Featured Collections
683a30bc-77be-4005-87b1-e161dbc614f1	{ "cc_dump": "CC-MAIN-2021-43", "dolma2_qc": { "0": 0.9999171495437622, "1": 0.00010288005432812496 }, "exact_duplicates": 10, "lang": { "en": 0.9315208196640016 }, "madlad": { "num_sentences": 15, "rule.2": [], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 336, "sa_remove_ranges": [], "text_hash": "335902471275905462176136446381828953280", "warc_content_type": "application/http; msgtype=response", "warc_date": "2021-10-26T06:11:32Z", "warc_url": "https://isea-archives.siggraph.org/presentation/electronic-art-and-the-globalisation-of-culture/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.6513648629188538, "__label__education_and_jobs": 0.024433093145489693, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": null, "__label__home_and_hobbies": null, "__label__science_math_and_technology": 0.03309597820043564, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.032110705971717834, "__label__health": 0.004080137703567743, "__label__politics": 0.18714269995689392, "__label__social_life": null, "__label__entertainment": 0.0032830648124217987, "__label__history_and_geography": 0.006107562687247992, "__label__literature": 0.1968362182378769, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.005921069998294115, "__label__food_and_dining": null, "__label__industrial": null, "__label__transportation": null, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	Electronic Art and the Globalisation of Culture Session Title: • Globalisation of Culture Presentation Title: • Electronic Art and the Globalisation of Culture Presenter(s): • This paper begins by examining the cultural and political assumptions underlying specific cases in the history of electronic network art practice. These assumptions are a starting point in a more general discussion of the condition of art making in the context of a global (cultural) economy which is increasingly subject to the forces of transnational control. Cultural identity and technological empowerment: two issues traditionally examined separately are here discussed together as aspects of the same condition. The implications of the demise of the power of the state in the face of growing transnational control is discussed. The cultural product of this demise, the ‘dissolution’ of the centre, and the implicit impossibility of peripherality or marginality is considered. As the state becomes hollow and a new order of transnational economy arises, the channels by which the transnationals purvey goods, and the goods themselves, are technological: Electronic hardware, media and information networks. Automated technologies transmit the cultural practices of their producers. Transnational economy works its own hypercolonialism as the ‘margins’ are appropriated and reconstituted: this argument is applied both to third world nations and to the art world. Appropriation and reconstitution are achieved through instantaneous markert surveillance and analysis and the flexible pruction practices allowed by modern, rapidly reprogrammable machine tools. This induces a condition of “hyper-conformity of difference” (Fry). The potential for art as a critical activity and the concept of marginality as site of resistance are examined in the context of the rapid rate of change of technological tools and the possibility of intervention. The work of contemporary artists attempting such intervention is discussed. The computer-artist synergy is still in its infancy. The distinctions between dimensions may be an indication of this infancy. As it grows and matures these distinctions may fade into arbitrariness, and computer art- may earn the recognition it deserves as a rich new medium.
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794fc26a-7ccd-448b-a585-027f876f57fe	{ "cc_dump": "CC-MAIN-2020-45", "dolma2_qc": { "0": 0.9999449253082277, "1": 0.00007506772089982405 }, "exact_duplicates": 0, "lang": { "en": 0.9545891880989076 }, "madlad": { "num_sentences": 25, "rule.2": [ 24 ], "rule.5": [], "status": "survived" }, "minhash": null, "original_word_count": 587, "sa_remove_ranges": [], "text_hash": "187454478528189035958056387696776324968", "warc_content_type": "application/http; msgtype=response", "warc_date": "2020-10-22T17:33:44Z", "warc_url": "http://news.northamericanreport.com/story/200646/5d-artist-will-send-replacements-and-discounts-amidst-covid19-pandemic.html", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.3007555902004242, "__label__education_and_jobs": null, "__label__electronics_and_hardare": 0.006299902219325304, "__label__fashion_and_beauty": 0.01323282066732645, "__label__games": null, "__label__home_and_hobbies": 0.007825888693332672, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": 0.13297423720359802, "__label__health": null, "__label__politics": 0.003955406602472067, "__label__social_life": null, "__label__entertainment": 0.01244165189564228, "__label__history_and_geography": null, "__label__literature": null, "__label__sports_and_fitness": null, "__label__travel_and_tourism": null, "__label__crime_and_law": 0.0034934247378259897, "__label__food_and_dining": null, "__label__industrial": 0.020342351868748665, "__label__transportation": 0.007587242405861616, "__label__religion": null }, "weborganizer_max": "__label__art_and_design" }	North American Report 5D Artist will send replacements and discounts amidst COVID19 pandemic Breaking News • No posts were found 5D Artist will send replacements and discounts amidst COVID19 pandemic May 12 05:27 2020 5D Artist amidst covid-19 pandemic will be sending free replacements in the next three months for lost orders to make sure their customers receive their orders. Customers will also receive an amazing discount on their net purchase. Las Vegas, NV – May 11, 2020 – 5D Artist customers worried about undelivered orders in the wake of COVID-19 crisis can finally heave a breath of relief. The leading diamond painting kit company has recently announced to send replacement orders for orders that were to be delivered within April 15- May 15, 2020. Additionally, the company is offering $20 discount for all these customers on their next purchase with 5D Artist. The replacement orders will reach the customers within 90 days from the date of placing the order. “Our sincere apologies to all our customers who were about to have their order delivered between April 15- May 15, 2020. We are running slightly late due to the current lockdown situation and we know we have not been able to ship your orders to your address within the specified timeline. We are an ethical business and we take full responsibility of all orders lost in the shipping process. In response to that, we are sending exact replacement order to every customer who has lost their order and delivery time frame is within 90 days, stated the spokesperson from 5D Artist. “Please be with us in these dark times and together we will sail through. We know we have kept you waiting, and we sincerely offer our heartfelt gratitude to all our customers. As a token of appreciation, we are also offering a handy 20 USD worth discount for your next purchase with us.” As per the statements of the spokesperson, the delay in delivery is due to the collapse of supply chain in the current COVID-19 lockdown scenario. As per the lockdown rules, there are fewer flights than ever to deliver packages. And those that are there are mostly flying with only the most essential items like masks, protective gear and equipment, and basic commodities such as food and drinks. Non-essential items are scheduled to be shipped later. “The current lockdown crisis has crumpled the entire supply chain industry and the courier flights are only prioritizing the essential and basic goods. Unfortunately, our packages fall within the category of non-essential items and hence it will take us some more time to deliver them to your doorstep. Please pardon the delay and bear with us in these tough times.” A name of big repute in the diamond painting industry, 5D Artist offers comprehensive diamond painting kits that include- color-coded canvas, pre-applied adhesive, colored resin diamonds, tweezer, wax picking pad, diamond pens and storage bags. The company promises the most premium kits with diamonds packed individually and checked for accuracy. Customers can choose from a wide range of diamond painting kits, ranging from generic paintings to paintings made by legendary artists. Added to full-fledged kits, 5D Artist also houses a separate section for individual accessories and tools required for diamond painting projects. The company assures fast shipping for customers all across the world. For more, please visit https://5dartist.com. Media Contact Company Name: 5DArtist Contact Person: Benjamin Plaksin Email: Send Email City: Las Vegas State: NV Country: United States Website: https://5dartist.com
e4ec4b24-f05a-4a85-a8c0-8f4c4ef21f7b	{ "cc_dump": "CC-MAIN-2018-22", "dolma2_qc": { "0": 0.9999712705612184, "1": 0.00004870339034823701 }, "exact_duplicates": 0, "lang": { "en": 0.9080200791358948 }, "madlad": { "num_sentences": 17, "rule.2": [], "rule.5": [ 14 ], "status": "survived" }, "minhash": null, "original_word_count": 251, "sa_remove_ranges": [ [ 1016, 1547 ] ], "text_hash": "158290901411375355414707952009853958418", "warc_content_type": "application/http; msgtype=response", "warc_date": "2018-05-27T15:29:55Z", "warc_url": "https://wirapics.wordpress.com/2011/08/21/cologne-cathedral-in-a-glance/", "weborganizer": { "__label__adult_content": null, "__label__art_and_design": 0.812877357006073, "__label__education_and_jobs": 0.002810927340760827, "__label__electronics_and_hardare": null, "__label__fashion_and_beauty": null, "__label__games": 0.02596735954284668, "__label__home_and_hobbies": 0.0025609128642827272, "__label__science_math_and_technology": null, "__label__software": null, "__label__software_development": null, "__label__finance_and_business": null, "__label__health": null, "__label__politics": null, "__label__social_life": null, "__label__entertainment": 0.002482622629031539, "__label__history_and_geography": 0.08757384121417999, "__label__literature": 0.0229873675853014, "__label__sports_and_fitness": null, "__label__travel_and_tourism": 0.0695517510175705, "__label__crime_and_law": null, "__label__food_and_dining": null, "__label__industrial": 0.001465063076466322, "__label__transportation": null, "__label__religion": 0.005921069998294115 }, "weborganizer_max": "__label__art_and_design" }	Cologne Cathedral in A Glance The most famous building in the Deutschland isn’t in the capital itself. The Cologne Cathedral is a marvelous example of a gothic architecture, a style which made popular by the Notre Dame of Paris. Many of the masons and craftsmen from the Notre Dame project continue to work in similar projects. Cologne Cathedral hasn’t been finished yet to this time. One reason, it’s a really expensive project. In the World War II, the allied bombers didn’t even want to shot a single bullet to the cathedral, while the rest of the city burned down. No, the reason was because it was used as a marker. You sew the cathedral’s tower, then you’re above Cologne. The second reason why it hadn’t been finished yet, is another superstitious story. It is believed when the cathedral is completed, the world will end. So, why bothering it? Eventhough we saw unfinished cathedral, it was still a marvelous one 🙂 I also have pictures taken inside the cathedral, but it’s another stor

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