 editing and sound design. The style of a film can be recognized through its visual elements such as lighting, color, texture, focus and camera movement.

The styles of a film are often linked to its genre or subject matter. For example, many horror films use low-key lighting to create an eerie atmosphere or have characters who are lit from behind in order to create shadows. The same goes for adventure films where characters are often lit from above which gives them a heroic appearance.

Cinematic styles can also be linked to different periods in time as well as specific locations or countries. Classic Hollywood cinema is known for its glamorous look with bright colors and high contrast while European art-house films tend to be more subdued with their use of black-and-white film stock.

We have more choice than ever before and can find content that suits our individual tastes better than ever before. We can also watch it on our own terms — when we want, where we want and how we want.

This has had a huge impact on the way we consume film and television. The demand for new styles of storytelling has increased as audiences become increasingly demanding in their viewing habits. Audiences want something different from what they’ve seen before, which is why we’re seeing so many new cinematic styles being used by filmmakers today.

Here are some of the most common ones:

  1. Auteurism
  2. Cinematic Realism
  3. Contemporary Realism/Naturalism
  4. Digital Realism/Hyperrealism
  5. Fairytale Realism/Märchenfilm (German)

Find out on how to take advantage the cinematic styles.<|endoftext|>Landscape Painting: Techniques & Tutorials

Hillside-Sun-detail-Quinn-Munson

Painting Knife Techniques

If you’ve ever spread frosting on a cake, you have an idea of the textural possibilities when using a painting knife to create an oil painting. Deborah-Quinn Munson explains how you can achieve a variety of effects, from the sweeping strokes to refined details.

Start with perspective drawing to raise a roof in 15 steps. Then you can start adding your own unique feel for the artwork.

Draw a House Using Two-Point Perspective

Learn the basics of two-point perspective by constructing a simple house together step by step. We’ll imagine the house is on a little hill and we’re viewing it from somewhere down the hill; that is, our eye level is below the house. The structure is turned so that it’s in two-point perspective—we can see...<|endoftext|>Eckerd College IOTA Residence Complex / Campus housing upgrades and renovations / 30,500 GSF

The new IOTA Complex was designed to compliment the existing architectural style, the residential complex is comprised of four “Houses” featuring 52 Double-Bed and 41 Single-Bed Rooms. The two-story design offers a mix of single and double rooms adjacent to inviting lounge or “living rooms” to foster a sense of community. Two houses include kitchenettes and two houses include indoor laundry facilities designed to encourage interaction among the residents of the four houses. The complex features porches, courtyards, and walking/bike paths to celebrate open spaces.

Fast-Tracked, the IOTA Complex was completed in an unprecedented 295 days for both design and construction to meet the College’s move-in schedule. Scope included site development, utilities, lighting and landscaping. Constructed on a coastal site within an A-Flood Zone, the complex is hurricane-hardened to withstand a Cat-3 storm event with impact glass windows and doors. IOTA is LEED-NC Certified with “Smart Building” Energy Management Systems.<|endoftext|>Abstract and captivating, this Tamegroute pottery sculpture, with its looped form and elongated neck, strikes a delicate balance between traditional and contemporary. Its terracotta body, accentuated by a circular void, creates visual and tactile intrigue, reflecting its rich artisanal heritage.

  • Natural Clay<|endoftext|>Telephone Lamb Optical Illusion is more of some creative modern art rather than an illusion but never the less I thought it was pretty cool. From a distance they look like very realistic lambs, but up close you can see that the artist had just found a very creative use for some old telephones.  The cords are perfect for the lamb fur, and the phones them self are the perfect shape for the head. very clever!

Sheep made of old phones<|endoftext|>Chairs

{ Around the World: Chairs }

I'm dedicating one post a week to featuring designs and artists from around the world. Today's feature are chairs. I have always had a person affinity for different cultures. I've lived in South Korea and traveled to various countries; Cambodia, Mexico, Ecuador & Dominican Republic (to name a few).

I believe there's tremendous value in educating ourselves in other cultures. Your life can be enriched if you look behind just your own country's food, music and design. The world is vast and rich with beautiful talented artisans. I hope these posts will spark curiosity as to what else is out there and broaden your horizon!

MEXICO {Aldama Chair} Citizenry

INDIA {Narendra Sling Chair} World Market

LEBANON {Mickey} Bokja Design Studio

NIGERIA {Beaded Yoruba Chair} Out of This World

TURKEY {Suzani Box Chair} Name Design Studio

ROMANIA {Scaunul Lana Pentru Lime Chair} Photoliu<|endoftext|>top of page

High-quality engraving

With a strong background in working and collaborating with composers, performers, conductors, and music publishers, I bring experience and expertise to ensure the highest quality of musical notations. Here are some key highlights of my experience:

  • Large orchestral score expertise

  • Orchestral parts preparations (MOLA guidelines)

  • Graphic Score/Box Notation, Indeterminacy

Whether preparing scores for publication, creating performance materials, or adapting existing scores, I am dedicated to providing meticulous and professional work.

Please find my portfolio here, which includes samples of my previous work. I would be happy to discuss your specific requirements and provide any additional information you may need.

Mentoring and Teaching

As a dedicated composer and experienced instructor, I offer personalized guidance to help you unlock your musical potential and develop your unique voice in composition.

My non-traditional approach encompasses various compositional practices, including acoustic and electronic music, film music, and more. Whether you're a beginner or an experienced musician, my collaborative and student-centered approach fosters creativity, critical thinking, and musical expression through one-on-one mentoring sessions.

I love exploring compositional and orchestration techniques, analyzing musical works, and experimenting with performance and instantaneous composition.

You can contact me at info@jamesdiaz.co

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Authentic Large Emile Galle Vase

Estimate: $4,500 - $7,500
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Authentic Emile Galle Vase A Galle cameo glass tall stick neck Clematis vase. Signed Galle in cameo. French Art-Deco Cameo Glass. Galle' Tulip Vase:
Dimensions H 23.1/2 in. x Dm 8.1/4 in. H 60 cm x Dm 21 cm French Art Deco Vase by Emile Galle. Signed, circa 1920.<|endoftext|>Get FREE shipping on orders over $200

Air Balloon Whale Wallpaper Mural

SKU: 132685901

Transform your home into a whimsical wonderland with Decor2Go’s Air Balloon Whale Wallpaper Mural! Designed to ignite the vibrant world of a child’s imagination, this playful mural infuses your living space with color, playfulness, and extraordinary charm. Featuring a delightful scene of a whale floating in the air, tethered by colorful balloons, this mural adds a touch of whimsy and fantasy to your walls, sparking curiosity and joy.

Key Features:

  • Playful Styling: The Air Balloon Whale mural showcases a whimsical depiction of a massive sea creature carried by colorful balloons, transforming ordinary walls into extraordinary works of art. Perfect for children’s bedrooms, playrooms, or any space in need of a touch of whimsy.
  • Imaginative Design: With its imaginative design, this mural adds a sense of irony and fantasy to your walls, inviting viewers to embark on a journey of creativity and wonder. Each element of the mural is meticulously crafted to inspire curiosity and ignite the imagination.
  • Custom Sizing: Collaborate with us to bring this mural to life in your home. Specify your wall’s size, and we’ll adjust accordingly, ensuring a perfect fit for your space. Whether you have a small accent wall or a large feature wall, our custom sizing ensures a seamless installation.
  • Local Craftsmanship: Crafted with pride in Winnipeg, this mural represents our dedication to local craftsmanship. Countless hours are invested in conceptualization and design to ensure that each mural meets


devising", among other things], and the use of performance as therapy derives from Artaud. In fact, all attempts to break down the separation between stage and audience can be seen as based in Artaud. More specifically, Craig's abstraction and aestheticism, his concept of plastic space, even his replacement of the actor with an Uber-marionette, are all realized in Robert Wilson's work. Significantly, there is no question of direct influence here. Though familiar with some of Craig's designs, Wilson's style was already fully developed before he read anything by Craig. But the statuesque quality Wilson imposes on his performers, the sculptured costuming and facial masking (particularly in recent productions, such as the Paris Madame Butterfly) that transform actors into archetypes, the rigid choreography and the avoidance of emotional display, all correspond to Craig's ideal. So do Wilson's architectural settings, in which structural elements are shifted from scene to scene to create unfolding patterns, and the way he orchestrates light, making it a concrete presence. Even the high-tech quality of Wilson's theatre is essentially Craigean.

Theory triumphs. It has become absorbed, inscribed in contemporary performance by osmosis.

Indeed, it's hard to see how (even if successful) their stage work could have served as a model, since so few people had the chance to see it. Appia's final Wagnerian production of Die Walkure in Basel only had four performances, Craig's earliest (and in some ways most striking) production of Dido and Aeneas ran for three nights, Artaud's single "Theatre of Cruelty" production (The Cenci) only lasted for two.

[1]. Warren Susman, Culture as History, 1984, p.234.

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© 2003-2006 CRC Performance & Culture<|endoftext|>Hey! I’m Anna, a Marketing, Creative & Tech hybrid 👽

I get excited about combining creativity with strategic insight to craft resonant marketing strategies that drive engagement. My expertise spans Creative Strategy, Interaction Design and Product Marketing.

I also enjoy tinkering with digital formats that invite user interactivity, be it mobile interactive ads, UI/UX design and even technical 3D art.

Beyond my professional work, I channel my love for drawing into passion projects and am currently illustrating children’s books for Allkin, a social good organization in Singapore.

Bachelor of Business, Marketing – National Technological University

Interaction Design Specialisation, University of California San Diego, Coursera, 2024

Google UX Design Specialisation, Coursera, 2023

Google Ads Display Certification, 2017

Meta Blueprint, 2017

English, Mandarin

Look Ma, No Mouse<|endoftext|>use clipart often and transport it into other programs such as Print Master to make cards. It was easy to make a few small changes in it and use what you redesigned. I hope you'll reconsider it's removal and put it back. Personally, I don't care for Bing's images. And I don't want to go out on the net to find other clipart when I'm in the process of getting a manuscript together. It's a waste of time.<|endoftext|>Fri. Jun 21st, 2024

Elevating Artistry Best Digital Drawing Inspirations

Exploring the Boundless World of Digital Drawing

In the realm of artistic expression, digital drawing has emerged as a captivating medium that offers endless possibilities for creativity and innovation. From intricate illustrations to breathtaking concept art, digital drawing has revolutionized the way artists bring their visions to life.

Unveiling Inspirational Techniques

One of the most intriguing aspects of digital drawing is the wide array of techniques available to artists. From digital painting to vector illustration to photo manipulation, artists have access to a diverse toolkit that allows them to experiment and explore new artistic horizons. Whether they’re creating hyper-realistic portraits or whimsical cartoons, the possibilities are limited only by their imagination.

Embracing the Power of Technology

At the heart of digital drawing lies the power of technology. Artists harness the capabilities of digital drawing software and hardware to create stunning artworks with precision and efficiency. With the use of digital tablets, styluses, and advanced software programs, artists can seamlessly translate their ideas onto the digital canvas, allowing for greater flexibility and control over their creations.

Pushing the Limits of Creativity

Digital drawing encourages artists to push the limits of their creativity and explore new artistic territories. With the ability to easily manipulate colors, shapes, and textures, artists can experiment with different styles and techniques to develop their unique artistic voice. Whether they’re creating hyper-detailed illustrations or abstract compositions, digital drawing provides artists with the freedom to express themselves in ways that traditional mediums cannot.

Exploring Conceptual Artistry

In addition to traditional forms of drawing, digital drawing also encompasses a wide range of conceptual artistry. From character design to environmental concept art to storyboarding, artists use digital drawing techniques to visualize ideas and concepts in a variety of industries, including film, animation, and video games. Digital drawing allows artists to create immersive worlds and compelling narratives that captivate audiences and evoke emotional responses.

See also  Mastering Digital Art Best Glove for Precision Drawing

Embracing Versatility and Flexibility

One of the key advantages of digital drawing is its versatility and flexibility. Unlike traditional drawing mediums, which require physical materials and can be time-consuming to set up and clean up, digital drawing can be done virtually anywhere with a computer or tablet. Artists can easily adjust their artwork, experiment with different compositions, and undo mistakes with the click of a button, allowing for a more fluid and dynamic creative process.

Fostering Collaboration and Community

Digital drawing has also fostered a vibrant and inclusive community of artists who share their work, techniques, and insights online. Through social media platforms, online forums, and digital art communities, artists can connect with like-minded individuals, receive feedback on their work, and collaborate on projects with artists from around the world. This sense of camaraderie and collaboration not only enriches the artistic experience but also inspires artists to continually push the boundaries of their creativity.

Inspiring the Next Generation

As digital drawing continues to evolve and innovate, it is inspiring a new generation of artists to explore the possibilities of digital artistry. With the accessibility of digital drawing tools and resources, aspiring artists can easily learn and develop their skills, regardless of their background or experience level. Digital drawing empowers artists to unleash their creativity and express themselves in ways that were previously unimaginable, shaping the future of artistic expression for generations to come. Read more about best digital drawing

By Miracle

Related Post<|endoftext|>Question: Can You Clean An Oil Painting With Water?

What is used to restore the color of old paintings?

Hydrogen peroxideHydrogen peroxide is used to restore the colour of old oil paintings containing lead oxide..

Can you clean an oil painting with a potato?

Another home remedy for cleaning oil paintings is to cut a big white potato in half, then rub the white moist part over the painting. Do this gently; do not use brute force to try to get the dirt off. The dirt will stick to the potato.

How do you get mold off an oil painting?

Again, they’re fragile so treat them gently until they can be stabilized. To deal with the MOLD growing the on the paintings, lightly spray (do not saturate) the canvas, front and back, with Lysol spray (not the liquid). This will help arrest the mold growth, and you may need to repeat this a few times.

Is oil painting toxic?

Most oil paints are not toxic, even if you do eat them (not recommended). Oil paint is basically pigment and oil, and most pigments are perfectly safe. There are toxic ones, of course, such as lead-white, cadmium, and cobalt. … You would struggle trying to breathe in oil paint.

Can you use vinegar to clean an oil painting?

2. Don’t Use Potato or Vinegar. Many amateurs will tell you that wiping the surface of an oil painting with vinegar or a cut potato is a great way to remove dirt and grime from the surface. This is not a good idea, especially if your painting is valuable or old.

Can I clean an oil painting myself?

The simplest way to clean up an oil or acrylic painting on canvas is to use a white cotton cloth soaked in a gentle soapy water; olive oil–based soap works wonders. You’ll be surprised to see how much grime comes off. Be gentle with paintings with thick impasto, as you do not want to break hardened paint.

How much does it cost to have a painting cleaned?

He says a small painting with an average amount of restoration work can cost $800 to $1,000. A larger painting with damages can cost $10,000 to $15,000. Grants to fund conservation come from a variety of sources.

What solvent is used to clean oil paintings?

Usually Acetone (diluted with turpentine or “white spirits”) is used to dissolve the varnish layer which “seals” most paintings surfaces. Dirt which accrues on top of that might be removed if only soap and water is used extremely gently.

How do you get cigarette smoke out of an oil painting?

The easiest thing to do is simply rub a slice of white bread over the painting. The nicotine buildup will hopefully transfer to the bread, so turn the bread to a clean area as needed. Bread is slightly acidic, so it can cut through the nicotine.

Can you wash oil paint with water?

Remember that oil is impervious to water. That means that if you just take your oil paint brush and put it in water, the water is going to bead right off of it. So what we need to do


"The Martyr of Solway" by John Everett Millais
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The visual arts are art forms such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, filmmaking and architecture. Many artistic disciplines (performing arts, ...
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sometimes called "Ordinary Time"

27 January 2006
worship - organist's role in

organ cross section

Regarding the question "What is demanded of a good organist?" in essence, I believe it comes down to the following four points. He must
  1. play chorales superbly, and consequently have a comprehensive knowledge of thoroughbass;
  2. play a good suitable prelude;
  3. be adept at accompanying a musical work and be able to play in the less commonly used keys;
  4. have knowledge of organ building, and try to maintain his instrument in good condition.

Daniel Gottlob Türk on the Role of the Organist in Worship (1787), trans. Margot Ann Greenlimb Woolard

So, not much has changed. I might update it slightly:

  1. play hymns superbly, and consequently have a comprehensive knowledge of harmony;
    • I love Türk's use of the word "superbly"
    • This includes hymn introductions, which Türk rightly called "preludes." This tradition isn't really separate from good hymn playing any more.
  2. play a good suitable repertoire;
    • Repertoire instead of "prelude." Maybe the phrase "varied repertoire" would be appropriate. Whatever the case, it must be liturgically appropriate and played well.
    • Türk's original writing does address Postludes:
      Perhaps this would be the most opportune time for the organist to demonstrate his proficiency . . . Should he stray to far afield in this, the nuisance he causes as a result will not be of great consequence because the majority of the congregation will no longer hear him.
  3. be adept at accompanying a musical work and be able to play in the less commonly used keys;
    • "less commonly used keys" seems a little dated, but what the heck.
  4. have knowledge of organ building, and try to maintain his instrument in good condition.
    • We just sent a space probe to Pluto; there's no reason we can't do thi<|endoftext|>Nonprofit Brand Development & Visual Identity Design.

The mission of the Cumberland River Compact is to enhance the health and enjoyment of the Cumberland River and its tributaries through education, collaboration, and action. As Nashville and the surrounding area continues to grow rapidly, Cumberland River Compact serves a vital role in creating both awareness and action throughout the community about sustainable practices that improve our water and environment. Proof partnered with the organization on rebranding and design including a new logo/visual identity, brand standards, and supportive collateral.

With a refined and renewed brand identity in place, brand standards and guidelines, and marketing/promotional materials in hand, The Cumberland River Compact is well-equipped to bolster and further their impact and reach throughout the community, establishing Middle Tennessee as an engaged and committed leader to improving the quality of live for residents and supporters.

We absolutely loved working with Proof Branding! Their team was professional, efficient, patient, and engaging. Can’t recommend them enough!”

Eleanor Barbee, Director of Operations<|endoftext|>The Ruins of the Old Kreuzkirche in Dresden 1765

Bern


 competing for views, so crafting an appealing and enticing thumbnail is nothing short of essential. It’s the digital equivalent of a book cover and is a crucial element in driving views, engagement and channel growth. In this highly competitive environment, your video’s thumbnail becomes the magnet that draws in viewers to delve deeper into your content. According to YouTube, 90% of top-performing videos use a custom thumbnail. That’s no coincidence.

The Thumbnail’s Visual Impact

When it comes to processing information, the human brain has a clear favourite: visuals. Our brains are hardwired to process visual information at an astonishing speed. Research confirms this preference for visuals, with studies showing that our brains can identify images in as little as 13 milliseconds. This innate ability underscores the importance of visuals in effective communication, making them a vital aspect of conveying messages efficiently, allowing us to form immediate impressions and reactions based on what we see. As we delve into the world of YouTube thumbnails, it becomes clear that their role as visual cues holds immense power in capturing viewer interest and engagement. Thumbnails are not just static images but dynamic tools that leverage the brain's natural inclination towards visuals to drive click-through rates and shape perceptions.

First impressions exert remarkable influence across different facets of our lives, from shaping our perceptions in personal interactions to driving our decisions when consuming online content. Within the digital realm, the significance of first impressions is especially evident. On YouTube, where billions of videos compete for attention, the thumbnail becomes the initial and decisive impression that a video presents to potential viewers. It's a fleeting moment where viewers decide whether to click or scroll past, making the thumbnail a critical factor in determining a video's success. In this fraction of a second, a compelling thumbnail can pique curiosity and initiate engagement, while a lacklustre one may result in missed opportunities for creators and channel managers.

Thumbnails have the remarkable ability to encapsulate the essence of a video's content, tone, and quality in a mere blink of an eye. An engaging thumbnail acts as a digital teaser, skillfully piquing viewers' curiosity and luring them to click on the video for more. Effective thumbnails often incorporate clear visuals, evoke emotions, or feature intriguing imagery, making the video's subject matter instantly apparent.

Thumbnails and Click-Through Rate

Click-Through Rate (CTR), is a pivotal metric on YouTube. It represents the percentage of viewers who click on your video after seeing it displayed. CTR is essential because it directly impacts your video's visibility and engagement. A high CTR means more viewers are choosing to watch your video, driving increased visibility, watch time, and, consequently, revenue potential.

Thumbnails are like digital invitations to your video. They play a dynamic role in increasing CTR. A compelling thumbnail grabs attention and communicates your video's value. In contrast, a poorly crafted one can lead to lower CTR and missed opportunities.

Design Principles for Captivating Thumbnails

Effective YouTube thumbnails are more than just random images. They adhere to key design principles that make them stand out in a sea of content. These principles include the use of contrasting colours, thoughtful text and typography, and strategic imagery and composition.

Contrasting colours can make your thumbnails pop and draw the viewer's attention. A well-chosen colour palette can create visual excitement and help important elements, such as text or the subject of the video, stand out. High-contrast colour combinations, like complementary colours, often work well in thumbnails.

Text in thumbnails is an opportunity to convey information and emotion quickly. Use clear and concise text that complements the video's content. Experiment with different fonts and sizes to find a style that matches your branding and enhances readability, even at small thumbnail sizes.

Your choice of imagery and how it's arranged in the thumbnail are crucial. Use high-quality images that accurately represent your video's content. Consider the rule of thirds and visual balance when composing the thumbnail. A well-framed image can create a sense of intrigue and encourage viewers to click.

Creating attention-grabbing thumbnails is an ongoing process. A/B testing can help you identify which thumbnails resonate best with your audience. Additionally, studying competitors and successful YouTubers in your niche can provide inspiration and insights into thumbnail design trends. By combining these design principles with testing and research, you can continually refine your thumbnails to maximise their impact on CTR and viewer engagement.

Branding and Thumbnails

Thumbnails aren't just a means to attract clicks; they are powerful branding tools, even for B2B companies. They offer a visual canvas to communicate your brand's identity, values, and messaging. Incorporating branding elements into thumbnails ensures that your videos are instantly recognizable amidst the YouTube clutter. This is especially crucial for B2B companies looking to establish and maintain a consistent brand presence across their video content.

Let's examine some real-world examples of B2B brands that have successfully integrated branding elements into their thumbnails. Companies like HubSpot and Shopify consistently use their logo, corporate colours, and unique design elements in their thumbnails. These subtle yet consistent branding touches reinforce their brand identity, making it easier for viewers to connect with their content and remember their brand.

Consistency is the cornerstone of successful branding on YouTube. Maintaining a cohesive look and feel across your thumbnails helps build brand recognition over time. When viewers repeatedly encounter your videos with consistent branding elements, they become more familiar and comfortable with your brand. As a result, they are more likely to click on your content, engage with it, and trust your brand as a reliable source of information or entertainment. Building this trust is key to long-term success in the competitive YouTube landscape.

Thumbnail SEO and Discovery

YouTube's recommendation algorithm is a complex system that considers various factors when suggesting videos to users. Thumbnails play a crucial role in this process. YouTube's algorithm analyses thumbnails to determine their relevance and appeal to users. An engaging thumbnail can lead to more clicks, longer watch times, and higher user satisfaction—all of which positively influence a video's performance in algorithmic rankings.

To enhance your video's discoverability, it's essential to optimise your thumbnails. Consider using high-resolution images that are visually appealing and relevant to your video's content. Ensure that the text and visuals in your thumbnails are easy to understand at smaller sizes, as many viewers browse on mobile devices. Additionally, experiment with A/B testing to identify which thumbnail designs resonate best with your audience.

When considering keywords in thumbnails, striking a delicate balance is key. Ensure that any keyword usage in the actual thumbnail enhances rather than detracts from its visual appeal, maintaining clarity and viewer appeal. If keywords can be subtly integrated without compromising the thumbnail's quality, it may aid discoverability. However, keywords should also be used in the file name for the thumbnail. These descriptive, relevant keywords in the file name assist YouTube's algorithm in comprehending your video's content and heighten its likelihood of surfacing in appropriate searches.

Thumbnail Mistakes to Avoid

It's easy to fall into the trap of making thumbnail mistakes that can hinder your YouTube channel's success. These missteps often include overcrowded thumbnails with too much text, lack of clarity regarding the video's topic, and neglecting the importance of branding elements. Another common mistake is using misleading or clickbait thumbnails that do not align with the video's actual content.

To avoid these mistakes, strive for simplicity and clarity in your thumbnails. Limit text to essential information, ensuring it's easily legible. Focus on conveying the video's topic accurately and consider using branding elements consistently. Avoid misleading tactics, as they can lead to viewer dissatisfaction.

YouTube thumbnails are the digital handshakes that can make or break your video's success. They wield immense power in driving Click-Through Rate (CTR), with effective design principles and consistent branding playing a crucial role. Optimising for search visibility and avoiding common thumbnail mistakes are vital steps. Thumbnails are the gateways to viewer engagement and revenue generation on YouTube. Whether you're a seasoned content creator or just starting, recognising the importance of thumbnails and implementing these best practices is a cornerstone of channel growth. By making compelling thumbnails a priority, you can capture the attention of your target audience, boost CTR, and ultimately, elevate your YouTube game to new heights.

Are you facing challenges in designing thumbnails that truly captivate your audience and set your videos apart? We understand the importance of creating eye-catching visuals to boost click-through rates and viewer engagement. Take the next step by scheduling a discovery call with us - book now.<|endoftext|>How to Create a Kiwi Logo?

Symbolic meaning

Kiwi fruit is highly valued in many cultures of the world, especially in China, New Zealand, and Italy. In these countries, kiwi is similar to a sacred fruit. Kiwi can be associated with health, generosity, well-being, kindness, and openness. Kiwi also symbolizes luck, youth, energy, strength, and unity with nature. Given these factors, a logo with kiwi can be chosen by brands that work in the niches of creativity, healthcare, and services. This symbol can also be used by brand companies in the IT sector or organizations working in the fruit supply market.

Who uses it?

The Internet marketing company known as Kiwi Agency uses a stylization reminiscent of the fruit in the cross-section as a logo. A similar idea was implemented for the KiWi Gruppen corporate sign. However, at the same time, the symbol resembles the sun. The marketing agency Kiwi Creative used an unusual picture of a kiwi half, looking like a blot, as its logo. A company with the same name specializes in design services. Its logo is also built on the visualized symbol of the fruit half.

Which colors to choose?

The kiwi logo is most often rendered in the natural colors of the fruit. The flesh is white-green, with a hint of yellow and small black seeds. However, at the same time, the recognition of the fruit allows you to use any combination of colors and shades for it. So, you can emphasize the non-standard brand. The current trend is the simplification of branding. Therefore, it is recommended to use one to three colors


2, p. 69, no. 45, color plate XVI); PWM, 57.1/64; Brooklyn Museum of Art, 78.198 (Poster et al. 1994, pp. 52–53, no. 17); The Cleveland Museum of Art, 81.55 (Leach 1986, pp. 18–19, no. 7); The Metropolitan Museum of Art, New York, 1990.82; Asian Art Museum, San Francisco, 81 D33.2 and 81 D33.3 (Khandalavala 1985); and the Khalili Collection, MSS. 961.1 (Leach 1998, no. 1).
    3. Jeremiah P. Losty. The Art of the Book in India Exh. cat. London: The British Library, 1982.
    4. Goswamy with Bhatia 1999, no. 69, reproduces a page of a ragamala series, in the Goenka Collection, which is closely related to the style of this Chandayana. For a fragment of another painting from the same series, see Mark Zebrowski. Deccani Painting. London: Sotheby Publications; Berkeley and Los Angeles: University of California Press 1983, plate III.<|endoftext|>Meet the ritual figures invented by the Japanese to try to tame the elements.

The vibrant colors of Charles Fréger’s work caught my eye a few weeks ago as I walked up rue de la République, one of the main streets of Arles, a sunny city in the South of France. Inside the 17th Eglise des Trinitaires, striking portraits of human monsters big and small contrasted with the solemn, vaulted church ceiling. The photographer’s exhibition “Yokainoshima” is a highlight of this year’s Rencontres d’Arles festival, which celebrates the best of contemporary photography. And that’s exactly what draws you into Fréger’s documentation of ritual Japanese figures: just how contemporary tradition can be.

Roads & Kingdoms: Hi Charles, where are you calling from?

Charles Fréger: I’m in Rouen, I just came back from India yesterday. I was in Delhi working in schools on the idea of school transportation. In neighborhoods like Chandni Chowk, where you can’t navigate by car because roads are so narrow, people use school rickshaws to transport children. I was looking into the communities of Delhi through that lens. It’s a sort of portrait of India and its social classes, which are growing further apart.

R&K: How do you usually prepare for these projects? Do you have a team on location?

Fréger: Yes, I went with an assistant and I had three Indian assistants on location that had organized meetings with schools and that helped me contact certain groups. The preparation for each trip is much longer than the shooting time. We need to find the subjects but also the place, and then contact them and create a schedule, which takes time. I’m always preparing many projects at the same time, five or six trips that might or might not work out.

R&K: How much time did you spend on the project Yokainoshima?

Fréger: Not very long, I took five trips in two years. The book is called Yokainoshima, which means the island of yokai. A yokai is a creature that is strictly Japanese and that can be a monster, a ghost, even an object, and that shows up on Earth to poison people’s daily lives. It’s very complex, because some yokai are also divinities. The Namahage is a yokai, and also a god that descended from the mountains to bring a message and to scare children. The oni are demons. They are also gods. All of this is a question of how you consider each creature, how they are embodied, and what the context of the celebration is. “Yokainoshima” is not a real island. I came up with that title because throughout the project I always thought about being on an imaginary territory. We visited 20 islands, and we didn’t know what we would find on each. In a way, it’s the story of Japan. We see how figures and traditions that come from far away have migrated, how they’ve transformed, or how they created themselves on their own. There are things that resemble what you would find in Cambodia, in Korea, in China, but there are also things that resemble European masquerades. So it’s all very complicated.

R&K: You specifically looked at Europe’s winter traditions in your book Wilder Mann. Were you looking for the same types of celebrations in Japan?

Fréger: In Yokainoshima, I look at all the seasons. At first I started working on one tradition that had a strong resemblance to what I had photographed for Wilder Mann: the Namahage. That was my first trip, but when I decided to continue this project, I actually started with the summer. We are not in the same mindset of what I found in Europe—carnivals and masquerades. Japan’s traditions accompany the inhabitants of a town or of an island throughout the rhythms of life and of nature, and also remind them of their responsibilities towards the community. There is an educative element to them.

R&K: You had to work around quite a few restrictions on how and when you could photograph these traditions.

Fréger: Yes. Some groups allowed me to photograph them only on the day of the celebration. Others were most flexible, thankfully, otherwise the project would have taken 20 years. I never photographed during the festivals, though. I always defined the context myself, so the shoot would take place just before. My work was not to document the celebrations. It was to pick out figures I was interested in and to photograph them in my visual territory, a place coherent to me with all the subjectivity that implies.

R&K: How were you able to pick out the shoot locations so quickly?

Fréger: I just showed up an hour or two before, or the day before, and we would scout the surroundings. Depending on the figure, I would be looking for the sea, or a field, or mountains—it was very varied. Most of these groups came from small towns or villages so it was easy. One tradition was in the suburbs of Tokyo though, and we had to be a bit more creative. Preparation isn’t the most complex part. What was difficult was the weather and the willingness of people to get involved and to take time to do this, because it takes a lot of time.

R&K: Just putting on the costume must have taken a while in some cases.

Fréger: Yes, and that’s also why certain groups only agreed to be photographed during the festival; simply wearing the costume was complex. Some costumes are made with natural materials, and are very fragile. They were made on the day of the celebration, so in those cases we had to be there that day. It was similar for the straw men in Wilder Mann.

R&K: How were you able to see what the costumes would look like in advance? Had they already been documented in photographs or drawings?

Fréger: These figures are often used in villages as tourist draws, so there is a little bit of material—documents, drawings, photographs, pictograms. That’s how we were able to go: hey, in the prefecture of Fukuoka, there are these little black devils and then we’d go to find them.

R&K: We very rarely see their faces.

Fréger: Yes, because I’m interested in the character, and not the person under the costume. I’m interested in the embodiment, in the imaginary identity. That’s why faces appear very little. However, in Yokainoshima, much more than in Wilder Mann, the head is visible. People wear masks that don’t cover the entire face, so you’ll see the person’s ears or cheeks for example. These masks are different than ours. European masks often cover the face completely. We hide the hands and whatever gives the man away behind the costume. Here, I think there is a willingness to show that the man is still there, in control of the figure. People aren’t transformed; they are playing. What’s really apparent about Japan in this project is theatricality. In Wilder Mann, we were documenting the transformation of people, who became beasts. They never took off their costumes. Here, masks could be taken off at any time. It’s about fantasy and theatrics.

R&K: You’ve worked in Japan already, with your series about sumo wrestlers, “Rikishi,” and the one about the Seijinshiki ceremony. What did this new project teach you about the country?

Fréger: “Rikishi” was made in Tokyo and its surroundings for two years. “Seijinshiki” was made in Osaka and Kyoto. Here, I traveled throughout the rest of Japan and discovered something else entirely. I am the son of a farmer. My sister is a farmer. With Yokainoshima, I got to meet Japan’s rural people. It’s an aging population, which is very frustrating to me. Sometimes I think Japanese people think food drops from the sky. It’s so much more chic to sell robots and cell phones than to grow rice, but paradoxically, Japanese agriculture is fundamental. I saw a lot of fishermen that were 75. I saw 75-year-old women growing rice. There are no young people in the farms. So right now, we are arriving at a


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Recently viewed<|endoftext|>Ride the Future

Paul Geusebroek directs this truly cinematic spot for Van Moof’s latest global campaign. One of our most ambitious and meticulously crafted yet, the film inspires people in cities to keep moving forward, instead of reverting to old and destructive pre-pandemic mobility habits.

Throughout the pandemic, people across the world started to stand up for what they believed in. Mobility became a hot topic as people chose to leave their cars at home and city legislators created more space and infrastructure for people, not cars. To put it simply, the world changed. And to make sure people keep up the momentum of positive mobility change, VanMoof is stepping in to remind them.

The film, created together with HALAL’s very own director Paul Geusebroek, should inspire people towards a greener, calmer, and more enjoyable lifestyle.

As Paul Geusebroek explains: “My aim was that the end of the film feels like a breath of fresh air. This bicycle stands for not just the environment, but also for escaping the rut that people are in – for cycling out of that nine to five grind. It stands for freedom: everyone is stuck, but this person is just breezing through.”

The result is a beautiful and highly cinematic film, that serves as a thought-provoking piece that can spark off more conversation around this topic.<|endoftext|>46 let od srpnového vpádu vojsk Varšavské smlouvy do Československa

Ukrajinská krize
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Velikost textu: a a A<|endoftext|>Artist Spotlight: Bertina Lopes

In celebration of artist Bertina Lopes and the inclusion of her mixed media work Rais Antica 2 – Una Historia Verdadeira in the 2024 Venice Biennale, courtesy Tia Collection, we are honored to highlight her dedication to political activism and social criticism.

Born 1924 in Maputo, Mozambique, Bertina Lopes moved to Lisbon at a young age, where she received an arts education. There she was inspired by the avant-garde painters of Portuguese Modernism, in addition to other artistic international movements. Lopes became an influential professor upon her return in 1953 to Maputo, where she engaged with the country’s poets, writers and political activists. Mozambique had become an overseas province to Portugal, attracting thousands of Portuguese settlers to the country as the economy expanded rapidly. Much of Lopes’ body of work during this time reflected not only African iconography, but also the political events of the time. Bertina was forced to return to Portugal in 1961 as a result of the tumultuous political unrest between the two countries. Prosecuted by the Portuguese International and State Defense Police (PIDE), Lopes fled to Rome, where she remained for the rest of her life and where the subject of African identity took on an even more compelling meaning for the artist, expressing an end to colonialism and a desire for independence.

Bertina Lopes, Mussunda (dedicato al Agostino Neto), 1961.

In 1961, the same year that the Portuguese Colonial War started in Angola, poet and eventual first President of Angola Agostino Neto wrote his revolutionary poem which acted as a rallying cry and was dedicated to the Mussunda region of Angola. Lopes, a friend of Neto, was inspired by his political work, and created Mussunda (dedicato al Agostino Neto) as an homage and memorial to the massacres that ensued. The central collaged image is of a classic Chokwe mask (a genre that honors female ancestors as they trace their descent through matrilineality). Chokwe masks were often worn in celebrations to mark initiation into adulthood, dissolving the bond between mothers and sons, much like the dissolution of the bonds between the colonial powers and the native peoples of Angola. The two figures in Lopes’ work each hold such a mask in front of their face. This work also shows the importance of friends and fellow artists to the artist, and the influence of the wider political network surrounding her.

Bertina Lopes, Rais Antica 2 - Una Historia Verdadeira, 1972.

In the early 1960s, Lopes began working on her Rais Antica series, which played upon the Western visual art’s widespread trend of consuming and incorporating what was then termed as “primitivism” or “tribal” forms, borrowed from African and Oceania art. After acquiring a work from this series, the Smithsonian National Museum of African Art wrote how “Lopes references the traditional methods of economy and production in Mozambique (palm fibre) – the ‘ancient root’ of the country and hence the series of painting’s title.” Incorporating feathers, reeds and thickly painted impasto in Rais Antica 2 – Una Historia Verdadeira, the central male figure is indeed a force, carrying within him the kernel of Lopes’ intent around so-called “Primitivism.” For Lopes, such a “root” was the very essence of its history, its people—for her, everything.

It’s also interesting to note that Lopes depicts a local tribesman as the “warrior” here, as the Portuguese were under increasing pressure to recruit local tribesman for their Flechas (Arrows) units—units specializing in reconnaissance and tracking, considered better suited to try and create relationships with the local populace (similar to the “hearts and minds” strategy used by the US in Vietnam). By introducing the Chokwe mask, Lopes makes it clear that the local tribesmen are under the rule and ancestral obligation of the Mozambican people—not the Portuguese. The political situation in Mozambique runs parallel to the subject matter of her paintings and so here, painted in 1972, Lopes was inspired by the infamous massacre of Wiriyamu that year, in which nearly 400 civilians were killed by Portuguese soldiers.

Bertina Lopes, Omaggio per la morte di Picasso (Homage for the death of Picasso), 1974.

Omaggio per la morte di Picasso (Homage for the death of Picasso) is an homage to Picasso’s Guernica, which was hugely influential on Lopes’ practice. Lopes was introduced to Picasso through the Spanish gallerist Juana MordòIt. Their brief meeting would leave an indelible mark on her memory; Omaggio per la morte di Picasso was painted in 1974, following another brief yet intense meeting with the master, just a few months before his death, and the same year a ceasefire was negotiated, with Mozambique’s final independence in 1975. Like Guernica, it shows the tragedies of war and the suffering it inflicts on individuals: specifically, the 10-year War of Independence in Mozambique and its impact on the local people. She features tormented figures with their hands lifted up and mouths stretched wide open in pain. Unlike Picasso, who didn’t feature any soldiers in his painting, she paints the figures of two Portuguese soldiers, each wearing a helmet with a gun slung across their shoulder. Four doves are featured in the painting, a direct allusion to ensuing peace with the signing of the ceasefire. The antiwar painting is an explicit critique of the Portuguese colonial powers, and a reminder of the suffering endured by the Mozambicans.

Installation view of Bertina Lopes at Richard Saltoun Gallery in Roma. All images courtesy of Richard Saltoun Gallery.

Other works by Lopes during this decade through the late 1980s further signify the grave economic and military problems of Mozambique’s victory for independence, as well as the subsequent civil war which ended in 1992. From the late 1990s to the 2000s, her practice denoted a freedom of gestural abstraction and extraordinary color, often made with industrial paints. In addition to participating in the Venice Biennale twice, Lopes achieved significant cultural recognition and won numerous awards and


 rainscreen cladding systems, and a large Nana wall system to guarantee it withstands high winds and properly manages water.

Our team created specific flashing and transition details to accommodate the complex systems and integration, ensuring the building is capable of regulating air and moisture leakage, all while maintaining the unique architectural design intent.<|endoftext|>Troy Planning Commission Approves New Selfie Mural for Public Square

By William Lutz

Civic Capacity

TROY — Earlier this year, the Troy Planning Commission approved the placement of an 11-foot by 17-foot mural at the building at 2 S. Market St., facing north towards the Public Square. The artwork was designed to promote the April 8 Solar Eclipse and seemed to be very popular, as evidenced by scores of social media photographs that used the mural as a backdrop. Following up on the success of the Solar Eclipse Mural, Troy Main Street gained approval for a new “selfie” mural to be installed to replace the current artwork.

Generally, murals are large pieces of artwork painted or applied directly on a wall, ceiling, or other permanent surfaces. It’s a form of visual art that is sometimes integrated into the architecture of the space. Murals have a long history, with origins in ancient times, serving various purposes such as communication, storytelling, decoration, and expression of social and political messages. They are designed to be seen by a wide audience and often reflect cultural or community values.

These new murals, are better described as a “selfie mural.” A “selfie mural,” on the other hand, is a modern twist on traditional murals. It’s specifically designed to serve as a backdrop for selfies and photographs. These murals are often located in public or semi-public spaces and are created with the intention of being visually appealing or interactive, encouraging people to take photos of themselves with the artwork. Selfie murals might incorporate vibrant colors, bold patterns, or 3D elements to create engaging and photogenic scenes. They have gained popularity with the rise of social media, as people look for unique and interesting backgrounds for their photos.

The new mural is 11-foot by 11-foot in size and, like the previous mural, is actually a set of very large vinyl stickers. This smaller mural is expected to be in place until 2029. Troy Main Street will be responsible for the upkeep of the mural. The above picture is a rendering of the new selfie mural that should be up before the end of April.

What are your thoughts on the new selfie mural? Is it visually attractive? Does it capture the spirit of our community? Will you take a picture of it? Will you have your picture taken with it? Those who have thoughts are encouraged to leave ideas and insights in the comment section of this article on the Civic Capacity Newsletter at https://www.civiccapacity.com/

The writer is creator of the Civic Capacity newsletter and is also the executive director of The New Path, Inc, one of the county’s largest nonprofit organizations. Civic Capacity is available at https://www.civiccapacity.com/

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STAR OF JOY: The vibration of the star Arcturus, as it is used in navigation. The Polynesians referred to Arcturus as the star of joy and used it to navigate east and north across the ocean to arrive at the big island of Hawaii. This painting helps one to “follow their joy”. It also helps those who practice out of body travel, to find their way to Arcturtar Of Joy art print by Teal Eye Print Store.   Our prints are produced on acid-free papers using archival inks to guarantee that they last a lifetime without fading or loss of color. All art prints include a 1" white border around the image to allow for future framing and matting, if desired.

*Please note that this is a made-to-order item and has to be created from scratch before we can ship it! Please allow 5-7 business days (excludes weekends) for production prior to your item shipping out.<|endoftext|>3 - Image 11

Resource type:
The Michigan Daily, 2013-12-05

Disclaimer: Computer generated plain text may have errors. Read more about this.

The Michigan Daily - michigandaily.com
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 a pedestal, and it makes him a better communicator.

“You get to know the students, when to encourage, cajole or give a hug. It’s far more rewarding,” he says.

Too bad art isn’t thriving in the public schools.

“It’s been proven that art education always enhances knowledge of other areas,” says Smith. “Ceramics, and it’s only one example, could be the basis for a complete curriculum. Earth sciences, geology, chemistry, glaze calculations, social sciences, how cultures developed, and thermodynamics can all be learned through pottery.”

Additionally, schools must be diverse in their approaches to students. The capacity to learn is based on musical, physical, visual or other natural aptitudes. This is known as the theory of “multiple intelligences” (see www.edutopia.org).

Bob points out a way that works referring to the movie “Mr. Holland’s Opus.” Ghetto kids are saved by the violin. I’ll point out that they were also nurtured by a great teacher.

Bob thinks quite a bit about teaching clay and is dedicated to developing a pedagogy that matches his intense knowledge of the subject. He’s learned it’s not just the process of throwing on a potter’s wheel, but attuning with what your hands are doing. He certainly has his heart in it. Hands and heart.

Hannah B. Hayes is a former Both Sides Now debate columnist, small-business owner and peace activist. She has been a part of the Evergreen community for more than 35 years.<|endoftext|>what are the five basic types of lines?

Booker stresses that comedy is more than humor. ." After all, it is usually the first and the most pristine outcome of our contact with writing tools, pens, pencils, crayons, etc, and typically the first thing we choose to use in order to represent the reality around us. Part of the beauty of maps is that they can be used in a variety of different ways, from navigation, to establishing ownership, to presenting information. The distance from which we may be able to observe a painting and the possibility to circle around an exhibit are almost as relevant as the content of the artwork itself. You might find form singled out as a separate category, defined as a three-dimensional alternative to shape. These include geometric shapes (deployed by cubists, for example), organic (which you may find among the examples of Art Nouveau posters and paintings), abstract, etc. Fold mountains are the most common type of mountain. create three designs using lines A Visual summary of the illusions created by straight line combinations is found in Fig (1 - 5 ). This includes the things we see in everyday life that exhibit linear features, but also the phenomena we perceive as lines due to our vision, which is instructed by linear perspective. The diagonals form angles and change direction suddenly. It refers to a pattern where the conflict becomes more and more confusing, but is at last made plain in a single clarifying event. Watch Queue Queue Space is often illusively recreated in a painting or a drawing, realistically or in a distorted manner. This video is unavailable. However, when a brand wants to communicate with their customers, then the communication takes another form. Rasheda. It is common for artists to use various line drawings as a warm-up, oftentimes giving them fresh ideas on how to begin working on a longer study, which may end up a final work of art. Humans can detect 5 distinct types of taste. Texture 5. In prayers of adoration or worship, we exalt the greatness of God, and we acknowledge our dependence on Him in all things. Booker now interprets the mind of God, and analyses not just the novel – which will never to me be quite the same again – but puts the narrative of contemporary human affairs into a new perspective. Organization 4. Finally, in the resolution, the hero overcomes his burden against the odds. Nonetheless, the human capacity to translate these visual stimuli into something as simple as a line attests to the significance of abstract thinking, and basically sums up the reasons why we are able to create something as artificial, albeit nature-like, as art. Gestalt psychology was mentioned in this text, due to its main principle that points out how human perception acknowledges the whole as other than a sum of parts. [7], Others have dismissed the book, criticizing especially Booker's normative conclusions. Parallel or cross-hatching 4. For example, lines with sharp peaks are not easily read by our eyes and impart a feeling of uneasiness. It recognizes the anthropological tendency to group similar traits and to categorize information, to connect parts and to deduce meaning rather than merely observe without contemplation. Fig. Hardly anything that belongs to the domain of the visual can be achieved without at least one of these elements. Our beautiful visual world is richer than ever, and so are the ever-progressing means of representation. [3] 0 0. Length 2. the five types of lines are :curved,horizontal,diagonal,vertical and zigzag. You might find form singled out as a separate category, defined as a three-dimensional alternative to shape. Do you know an answer to a question What are the elements of art exactly? Definition: The protagonist goes to a strange land and, after overcoming the threats it poses or learning important lessons unique to that location, they return with experience. Diagonal lines may stand in a horizontal or vertical fashion, but they are slanted. Lines describe an outline, capable of producing texture according to their length and curve. This helps us identify those that cannot be named or attributed to the organic ones, and perceive closed or almost-closed lines as shapes, and not lines. The five different types of map and their uses. There are five basic kinds of mountains: Fold Mountains (Folded Mountains) Fault-block Mountains (Block Mountains) Dome Mountains; Volcanic Mountains; Plateau Mountains; These different types of mountain names not only distinguish the physical characteristics of the mountains, but also how they were formed. - Anish Kapoor. Width 3. "Everything ever written boiled down to seven plots", review by Kasia Boddy. Your sense of taste helps you evaluate food and drinks so … Horizontal Lines:When a line moves from left to right direction, it is horizontal. Some have celebrated the book's audacity and breadth. What each of the other characters represents is really only some aspect of the inner state of the hero himself.". Happiness . A line is mathematically defined as a path that connects two dots or a path of an imagined moving dot. Sign in. Give you the latest and most authoritative answer; HOME; bestanswer > lines > of > types > What are the five basic types of lines? Most of today’s architecture would have never been built if there wasn’t for it. "The Plot Thins, or Are No Stories New? However, even though the book mainly centers around the question of why has one single sense – sight – become so predominant in architectural culture and design, it may also be perceived as a guidebook to understanding the power and nature of our five senses. As discussed above, lines are the primary tools of artistic expression, and therefore analogous to handwriting in terms of expressing individuality. Some also mention value, which is described as a parameter that determines the intensity of color, and pattern, which refers to repetition. Teacher teaches by explaining lines ; Teacher explains different types of lines with the aid of diagrams. Mario Zavala/Demand Media. This type of line is found most often. Length, width, texture, direction, and degree of curve. 1 decade ago. This type of German Shepherd has a narrower head and exaggerated rear … At some point, the difference between arts and crafts became drastic, and this “intellectualized” approach to art is a trend that remains to this day. Consequently, a piece of art, be it a sculpture, an assemblage, an installation or even a painting, occupies a particular physical space with a certain purpose. They can be straight or could zig-zag or curve. Watch Queue Queue. Definition: An event forces the main character to change their ways and often become a better individual. What are the five basic types of lines?,answer:Element of Art - Line - SlideShare. This is followed by a dream stage, in which the adventure begins, the hero has some success, and has an illusion of invincibility. Implied lines And their 5 functions are: 1. Style Other types of lines are defined by the technique you are using: 1. In order to achieve these ultimate goals, however, a number of more basic needs must be met such as the need for food, safety, love, and self-esteem. Juhani Pallasmaa wrote The Eyes of the Skin in 1996, and it has become a classic of architectural theory. 0 0? Curved You can make a variety of lines using these tools: 1. "The Seven Basic Plots", review by Clive Bradley, "What are the seven basic literary plots? On the other hand, the artwork might be playing with our expectations from it, since various materials are commonly used to create illusions of a texture that they do not possess - such as the increasingly popular marble-looking foam rubber in furniture design, or the transparent stone in the architecture of Kengo Kuma. Communication is a very basic and fundamental process for human beings. Everything you need to know about manufacturing techniques and processes. The Teacher introduces the topic (TYPES OF LINES).   There are five different levels of Maslow’s hierarchy of needs. Vertical 2. Tiffany Means . Examples: Ramayana, Odyssey, Alice's Adventures in Wonderland, Goldilocks and the Three Bears, Orpheus, The Time Machine, Peter Rabbit, The Hobbit, Brideshead Revisited, The Rime of the Ancient Mariner, Gone with the Wind, The Third Man, The Lion King, Back to


 $12,800<|endoftext|>PostModernism Museum

for English please scroll down

PostModernism Museum este o platformă muzeală privată care produce și promovează proiecte de cultură contemporană și dezvoltă programe de cercetare culturală, cu focus pe domeniul artelor vizuale.

Ca producător și promotor de proiecte de artă contemporană, dezvoltă proiecte curatoriale, educaționale și de cercetare în artă. Printre proiectele expoziționale și de cercetare se numără: „De la propagandă la baby-boom”, „Înainte și după revoluția culturală în România 1971”, „Arhitectura socialistă în București”, „Centenarul femeilor în arta românească”, „Naționalism și multiculturalism”, „Minorități etnice în cultura vizuală din România”. Proiectele expoziționale pot fi vizionate aici. Proiectele de cercetare se regăsesc aici.

PMM a inițiat în 2015 DARE, un program de Documentare, Arhivare, Expunere și Revalorificare a artei produsă în România în intervalul 1945-1990.

Pentru alte detalii și colaborări suntem aici info at postmodernism.ro

PostModernism Museum is a private museum platform, a resource and education centre and a research publishing house. PMM produces and presents its projects and programmes in spaces around the world.

With curated art projects and a pool of various approaches of exhibiting modern and contemporary culture, PostModernism Museum is dedicated to the open conversation between the past and the present, the established and the experimental, being devoted to the culture of the 20 and 21 century.

The exhibition programme consists of group and solo exhibitions featuring modern and contemporary artists, national and international, and there is an equal dedication to ensure that these exhibitions are accompanied by a challenging discursive programme that is to strive to open a dialogue not only with the visual arts, but with a variety of disciplines such as theatre, economics, sociology, philosophy, creative industries.

Through its close cooperation and collaboration with artists, researchers and other cultural actors, PostModernism Museum aims to be an active participant in the international discourse on contemporary art and recent history, related fields and creative sector in general and to highlight current issues that are of concern to not only the arts, but also to society at large.

The first 3 years it operated within an own space, in Bucharest, being opened daily, with free entrance. From 2018 onwards it takes up a new model, opening to the public within different cultural spaces in Romania, institutional and private partners. The present model sustainably concentrates the curatorial, exhibitional and educational activities, tunning with the specific dynamics of the local creative environment and with the local cultural agenda.

All projects presented within PostModernism Museum are not merely objects exhibited but thoroughly documented initiatives. They all aim to mean more than an exhibition and to last more than two months. Collaborating with international curators and cultural entities, publishing papers, studies, books – all activities aim towards a sustainable consistent aproach of research in culture and creativity.

PostModernism operates a publishing house and disseminates its publications to Emag Romania, Amazon and other 39.000 online distribuitors around the world.

PMM joins and supports the professional training in creative industries in Romania, through the programme Formare Culturala. More, here

Professional principles under which we work are transparency, accountability, confidentiality and long-term partnership.

The executive team is best possible dynamic and energetic team ever, passionate about cultural entertainment. We value the diversity of our organisation and welcome staff from all sections of the community. The team working for PostModernism Museum is formed out of professionals in the field, each of it having extensive experience (between 8 and 20 years of experience in history of arts, curatorship, cultural management, administration).

Out partners are cultural operators with broad work knowledge and skills, in the Romanian context and European and international contexts.

If you would like to reach out, please write at info at postmodernism.ro<|endoftext|>Nicole Bolar | January 4, 2022

The Quick Facts

Mesmerize is a temporary interactive art exhibit. Just like the Texas State Fair it’s here one day and gone the next – So enjoy this amazing experience while you still can!

It’s a great space to inspire creativity! Bring your cameras and get ready for a photoshoot because every room you enter is pretty picture perfect. There are 15 art exhibits to explore. Neon lights, a rose covered throne, one long rainbow hallway, and a cloud covered room are just a couple examples of the awesome spaces you’ll be able to use for your Instagram pic’s backdrop.

You can meet the artists who designed it all! Clayton Lillard and Mateo Gutierrez work within the exhibit to help guide you and answer any questions you may have! I stopped to talk with Mateo – who was dressed absolutely fabulously by the way – and we got to talk about his inspiration for Mesmerize. He described many of the same feelings we all had during quarantine…feelings of sadness and boredom, as well as the desire to escape reality. In an effort to break out of that creative rut, he worked on concepts for Mesmerize. Mateo used the current exhibit as a way to channel his energy into something productive in a time where everything seemed to be disheartening in the normal world. He hopes that the interactive exhibit will inspire visitors to pursue their own creative dreams like working on the project inspired him to get back to his passion.

The Experience

To begin the experience, one of the artists leads you to a nondescript door. Pulling the handle, he waves his hand forward to welcome me into the first dimly light room. Immediately I recognized it as a scientist’s private office. The Equipment, wires, and tubes winding their way out of an old tv in the corner drew my eye first. The tv looked like it was straight out of the movie The Ring, but instead of static, black and white stripes rapidly swirled inward and out of sight. It looked like a portal to a different universe.

Already I was hooked. I wanted to know more about Mesmer, this mysterious visionary who believed in unworldly experiences beyond our imagination. Dark corridors and beams of light guide you along the way, casting a rainbow of shadows across the walls and floors. Secret rooms and trick wardrobes make it feel like you’re walking out of one world and into another – I felt like Lucy discovering the land of Narnia!

The fun comes with each visitor’s unique interpretation of the art. One particular area supposed to look whimsical a fun, left a sad impression on me as I walked through alone. Everything I laid eyes on, and I mean everything was teal. That’s right, the color teal. The floor, the walls, the furniture, the pictures – it was all washed in a shade of muted blue-green. Running my hands across a solid teal piano, I envisioned a world that was cold. One lived in by a person who tainted everything they touched and left it frozen in their absence.

Each exhibit tested the limits of normality. Don’t be surprised to find yourself going from open spaces filled with color to dark rooms where it’s impossible to make out where one wall ends, and another begins. Expecting the weird, wacky, and wonderful I was surprised to find myself in a state of quiet stillness and thoughtfulness as I wondered through the exhibits. Scattered throughout are handwritten notes left by Mesmer, provoking deeper thoughts about life and further intensifying my feelings.

Along the way, I helped a group of girls get their Instagram pictures in the cloud room and down the rainbow hallway. After they left, I had the entire exhibit to myself and it got very quiet. I wondered through, revisiting sites I had already seen to get an even closer look. The most memorable part for me was leaving a note on the wishing tree in the main room. The bright green tree looks like it would come straight out of a storybook or maybe even Willy Wonka, with twisting branches going up to the ceiling and colorful leaves in every color lining the branches. Wishes from past visitors tell stories about what they were thinking in that same moment, and what they wanted for the world or for themselves in the future. It was powerful to read some of them, and I made sure to leave my own.

I highly recommend Mesmerize! Not only is the exhibit amazing, but Native Hostel is an absolutely stunning hotel with a full café and bar on the inside. I made sure to grab a coffee on my way out!<|endoftext|>Norway built numerous grain silos in coastal cities during the interwar years, to ward off the risk of shortages and famine. For example, the one in Kristiansand, built in 1935 with fifteen large concrete cylinders, to which another number were added in 1939, with a total capacity of 15,000 tons.

When the 21st century arrived, many of these facilities were in disuse, and the authorities considered what to do with them: demolish them or give them a new life.

The one in Kristiansand was cataloged in 2010 and, subsequently, it was decided to transform it into a museum, which opened its doors yesterday Saturday, as home to several collections, among which the Nordic art of the Norwegian magnate Nicolai Tangen,


 These are the questions we asked ourselves and for us the answer lies in the creation of Brunnenpassage”, tells us Anne Wiederhold-Daryanavard.

What is Brunnenpassage

Brunnenpassage is an “art and social space” with a very low and easy participation threshold. Entrance for the more than 400 events per year is “pay-as-you-can”. The event programme ranges from music and dance to theatre events. The special thing about Brunnenpassage is that you can participate at events not only as a spectator, but also actively in their creation. “For example, you can be a part of an Arab opera. I don’t have anything against Mozart, but in our opinion, in the 21st century we need to realise how diverse our society has become. This has not only to do with art, but also architecture and urban development field, in the context of how we live together in Vienna and in the world in general”, explains Anne.

Building bridges between cultures and spaces

Normally, one would not expect to see the world-renowned cello player and UN Peace Ambassador Yo-Yo-Ma, together with UN Secretary-General António Guterres at Yppenplatz, in Vienna’s 16th district. However, he performed a concert together with young artists in the Brunnenpassage, and the whole experience was free of charge. With events like this, the Brunnenpassage takes on the role of a bridge between the city centre, where many high-ranking art institutions are located, and the outer districts. By cooperating with museums or opera houses, Brunnenpassage tries to break down stereotypes. “We have a huge choir that sings together with an orchestra in the Opera House. For the audience it is a huge surprise to see people on stage who look and dress differently.” This cooperation is important to create new connections in the city. Brunnenpassage sees itself as a transdisciplinary laboratory with both a social and an artistic aspect in its work. “For example, our choir consists of hundred people, but has a Turkish conductor. It is the first choir in Austria where Austrians are singing, and a Turkish man is conducting.”

An open yet safe space

Openness is one of the core features of the Brunnenpassage. “I think it is very important to share spaces in society. Otherwise, communities become static. You see this all over the world, Turkish men in cafes, Austrian old ladies in other cafes, they are always segregated.” Therefore, it is an important objective for the Brunnenpassage that its premises are available to all communities, no matter how different they may be, explains Anne: “We don’t ask what language they speak, how long their asylum permission is. The idea is to bring the different parts of society together. It is important that it is a free decision to come because they want to come and not because they have to.”

But at the same time, it is also important for the Brunnenpassage that its visitors feel comfortable and safe, even though it is a public place. “For example, gay Muslims from Nigeria come to Brunnenpassage and they tell us that they can be themselves when they are here.” As an example, Anne tells us about a project where 16 people from different refugee backgrounds, such as Iraq, Syria, Iran, or Afghanistan, were employed for one year in the Brunnenpassage. This gave them the opportunity to network with each other and to focus on their future goals. “In that one year one of them had time to prepare for entrance exams for university and is now studying acting in Salzburg. Someone else is studying at the Academy of Fine Arts. They are living their dreams.”

A diverse team encourages participation

The diversity found in the audience of Brunnenpassage audience is also reflected in the composition of the venue’s coordination team, which is, according to Anne, key for Brunnenpassage’s success: “Often people try to bring communities together, but they don’t succeed because their team is too homogeneous. For example, I come from Germany. If the whole team was made up of Germans, we would never reach the Arab community. If we hire people who speak Arabic, it is much easier. I had a Muslim colleague and since she has been working here, other Muslim women joined because they trust her. When you have such a diverse team, you also have access to different social media groups and have different ideas.” In addition to the 12 employees, asylum seeker volunteers also work for the Brunnenpassage, for example at the bar, as public coordinators, or for childcare.

The financing of Brunnenpassage

The foundation for the Brunnenpassage was laid by the charity organisation Caritas in 2007 when they bought the buildings at Yppenplatz. In addition to the support of Caritas, the Brunnenpassage also receives funding from the Arts Department and the Integration Department of the City of Vienna, as well as from the Austrian Ministry of Culture and Social Affairs. However, Anne emphasises that the Brunnenpassage still has a free hand in putting together the programme.

Brunnenpassage’s future plans

The Brunnenpassage is known both nationally and internationally as an art hub with a social impact. In the future, the Brunnenpassage would like to work increasingly internationally, as Anne explains: “Last year the Mayor of Amsterdam visited us with a delegation of 65 people.  I hope we can be a model project for other cities.” But Brunnenpassage also wants to be a pioneer for other districts in Vienna and also for rural areas: “The Mayor of Vienna asked me to write a concept for the 10th district, where there is a huge market. We found a market stand and we work there with the same methods as here. It is a question of funding from the municipality because in many other districts it would be helpful to have shared spaces like ours.” Through its work, the Brunnenpassage has already gained international fame. For example, it was in 2020 selected by the European Cultural Foundation to be part of their European Pavilion project. Their project “Story: Telling! Europe” within the European Pavilion, involves people from marginalised groups, and invites them to tell hidden stories.

Brunnenpassage’s Message

Brunnenpassage has a clear message, and that is that art can change the world. As Anne Wiederhold-Daryanavard explains: “Activism and art work together. It is like acupuncture, where you have many points in the body to stimulate. In the society of Vienna there are also many points where you can really make a change and inspire. We need to show people what Europe is. Show them a new way: post national, post colonial, post migrant. We need more spaces like Brunnenpassage.”

Get involved! You can attend many events and participate in workshops at Brunnenpassage!

Address: Brunnengasse 71, 1160 Wien, Austria

Interview by Jorge Mosquera.

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Must read<|endoftext|>Friday, August 04, 2017

Brillo Box (3¢ off): Art, Investment, Commodity, Cultural Icon, Whichever

The producer of the definitive Andy Warhol documentary rightly observes the world has become vastly more Warholian since his death in 1987. Perhaps none of his pieces are more fundamentally Warholian than the Brillo Boxes—so-called because they faithfully copied the design of the Brillo Box cartons you could have found in the backroom of any supermarket in the 1960s. Warhol made a fair number of the big white Brillo Boxes, but only seventeen of the smaller, yellow “3¢ off” version. Lisanne Skyler’s family had one, but they parted with it before the Warhol market exploded. Skyler traces the box’s journey and explains its significance in the short (forty-minute) documentary, Brillo Box (3¢ off) (trailer here), which premieres this Monday on HBO.

The Skyler Brillo Box