Artwork Using Quotes

Impressive, isn’t it?” Divan says with pride. “I purchased it from a Brazilian artist, who has apparently made a career working in flesh. He claims his artwork is to protest unwinding, but I ask you, how much of a protest can it be if he uses the unwound for his art?

A tarot reading is a synchronistic conversation that employs deliberately random use of archetypal artwork to open up possibilities, create self-awareness and explore potentialities in the lives of the participants. Plus, it`s a lot of fun.

People were always most interested in things that didn't have anything useful to tell them. I had no idea why.

you’ll be faded by the viewer you’re trying to use to threaten us.

The greatest act of love was to make a tape for someone. It was the only way we could share music and it was also a way of advertising yourself. Selection, order, the lettering you used for the track list, how much technical detail you went into, whether or not you added artwork or offered only artwork and no track list at all, these choices were as codified as a Victorian bouquet.

The best art is not always the most popular art, and the most popular art is never truly the best art. The best art is that which is streamed through God. And the worst art is that which is void of God. The master artist of the universe is the Creator of All Things, and his reflection is in all of us. Only the artist who is aware that he is a reflection of that greatness, and that creativity is supreme love, is a true divine artist. Even if he is not the most popular artist, he will be very popular among the stars of His universe. That is the master artist, one who uses his talents to serve as a vehicle of God. In his work, you hear God's voice and see with His eyes.

When I was younger I used to see the earth as a fundamentally stable and serene place, possessed of a delicate, nearly divine balance, which humans had somehow managed to upset. But as I studied trails more closely, this fantasy gradually evaporated. I now see the earth as the collaborative artwork of trillions of sculptors, large and small. Sheep, humans, elephants, ants: each of us alters the world in our passage. When we build hives or nests, mud huts or concrete towers, we re-sculpt the contours of the planet. When we eat, we convert living matter into waste. And when we walk, we create trails. The question we must ask ourselves is not whether we should shape the earth, but how.

I call them "The Tattooed Gerneration," those people who think it cool to use their bodies as canvasses; to desecrate themselves with ugly designs, inane sayings and the names of women who divorced them. And they call it ART? If they want art, let them go to an art gallery and buy a painting. If God wanted our bodies used to display artwork, he would have made us flat.

In fabricating equipment—e.g., an ax—stone is used, and used up. It disappears into usefulness. The material is all the better and more suitable the less it resists perishing in the equipmental being of the equipment. By contrast the temple-work, in setting up a world, does not cause the material to disappear, but rather causes it to come forth for the very first time and to come into the Open of the work's world. The rock comes to bear and rest and so first becomes rock; metals come to glitter and shimmer, colors to glow, tones to sing, the word to speak. All this comes forth as the work sets itself back into the massiveness and heaviness of stone, into the firmness and pliancy of wood, into the hardness and luster of metal, into the lighting and darkening of color, into the clang of tone, and into the naming power of the word.

Even if there are some objective criteria that make one artwork better than another, as long as context plays a role in our aesthetic appreciation of art, it’s not possible to create a tangible measure for aesthetic quality that works for all places in all times. Whatever statistical techniques, or artificial intelligence tricks, or machine-learning algorithms you deploy, trying to use numbers to latch on to the essence of artistic excellence is like clutching at smoke with your hands.

The memory of human blood manifests now as a kind of visceral reaction to seeing people's veins and their necks. The skin on a neck appears to me as different from the skin anywhere else on a body. It seems as thin and consumable as rice paper wrapped around a sweet. It is too blank compared with skin everywhere else, as though it is asking to have marks made on it, like very expensive calligraphy paper, or cold-pressed Fabriano. Often, I wonder whether the urge I have to make art is the same as the urge to consume and destroy the blankness of a human neck. While at art college, I read that the best paper used by artists in the seventeenth century was made from the skins of lamb fetuses. This skin was soft and absorbent, and had an even texture right across its surface. For a long time, the process of creating art has been linked to the killing of living things. My dad, even, used fine silk stretched across wooden frames in his own work as a painter. Once, when we still had some of his pieces, I looked at the odd geometric shapes he created on a huge sheet and thought about all the silkworms who had had their cocoons torn open before they were able to become moths.

Apparently the Ministerium Tenebrae had decided to conquer the region using the unusual twin-pronged attack of zombies and avant-garde artwork.

In tattooing, linework is arguably the most important element. Lines form the basis of our sketches and the stencils used to apply the artwork to the skin.

This sudden sharpening of our attention doesn’t just apply to pioneering artworks. It can be seen in an ordinary high school classroom. In a recent study, psychologists Connor Diemand-Yauman, Daniel M. Oppenheimer, and Erikka Vaughan teamed up with teachers, getting them to reformat the teaching handouts they used. Half their classes, chosen at random, got the original materials. The other half got the same documents, reformatted into one of three challenging fonts: the dense , the florid , or the zesty . These are, on the face of it, absurd and distracting fonts. But the fonts didn’t derail the students. They prompted them to pay attention, to slow down, and to think about what they were reading. Students who had been taught using the ugly fonts ended up scoring higher on their end-of-semester exams.21 Most of us don’t have

Paul speaks at one point of Christians as “God’s poem,” God’s “artwork.” We are his “workmanship,” say some of the translations of Ephesians 2.10. The Greek word Paul uses there is poiēma, the very word from which the English word “poem” is derived. God gives us these poems, the Psalms, as a gift, in order that through our praying and singing of them he may give us as a gift to his world. We are called to be living, breathing, praying, singing poems.

Cooking is like playing a violin. The bow is a tool used to play, as is the knives and other tools you use to prepare. (a chef's knife is even held in the same manner) Spices are the notes used in the score. The way the food is cooked and prepared is the rhythm and tempo. The ingredients are the violin themselves, ready to be played upon. The finished dish is the music played to its best melody. All of these things must be applied together at the right pace, manner, and time in order to create a flavourful rush of artwork and beauty.

Before she was allowed to take the albums out of their sleeves, Eleanor used to lay them out on the floor and stare at the artwork. When she was old enough, her dad taught her how to dust the records with a wood-handled velvet brush. She could remember her mother lighting incense

She made amazing artwork. While I focused on the absurd, trying to make the strangest juxtapositions possible, her work was delicate and transcendent. I’m sure she could make a white orchid look like an angel with her photographic skill and use of soft lighting, and then pull it into Photoshop and create an image that would bring even Richard Dawkins to his knees with the belief that he was seeing God.

Keith Tyson, a winner of the Turner Prize, did a piece once where he just got the things already in the gallery and made them into artworks with what he called his ‘magical activation’. So he looked at the light switch and he called it ‘the apocalyptic switch’ and he looked at the light bulb and he called it ‘the light bulb of awareness’. He was using his power as an artist to designate things art, but it was within the art context.

Grateful Dead performances were by design not consciously planned, often reaching their artistic peak when the collective stumbled upon something stunning, when "the music played the band," as it were. Instead of using set lists, the Grateful Dead chose songs by experimenting together until a pulse, rhythm, phrase, or riff emerged from the group, suggesting a song. Their collective, improvisatory musical works communicate felling like any other artwork.

Squatters. The dispossessed. The water rats. Denizens of the deep, citizens of the shallows. And a lot of them were interested in trying something different, including which authorities they gave their consent to be governed by. Hegemony had drowned, so in the years after the flooding there was a proliferation of cooperatives, neighborhood associations, communes, squats, barter, alternative currencies, gift economies, solar usufruct, fishing village cultures, mondragons, unions, Davy’s locker freemasonries, anarchist blather, and submarine technoculture, including aeration and aquafarming. Also sky living in skyvillages that used the drowned cities as mooring towers and festival exchange points; containerclippers and townships as floating islands; art-not-work, the city regarded as a giant collaborative artwork; blue greens, amphibiguity, heterogeneticity, horizontalization, deoligarchification; also free open universities, free trade schools, and free art schools.

There's a table with some catalogues and a guest book in the corner; there are artworks. Today, I need so badly to be inspired by them, even though I hate that word: inspiration. It crops up in too many advertisements, politcians' speeches, Disney films, its meaning obliterated. I refuse to be 'inspired' in the same insipid way that ad executives and politicians and Hollywood producers suggest I should be. What I need from these works is to be reminded of why I used to care about art—so much that I'd try and make it for myself.

As any painter, writer, or composer knows, artworks arise from the tension between their physical materials and the thought or spirit that shapes them from within. Though they require some outward, physical element, they cease to function as art when they are reduced to their objectlike, artifactual element. This definitive tension underlies art’s varied social uses and explains how it came to be celebrated on the one hand as an expression of the highest spiritual achievements of humanity and, on the other, criticized as merely another precious object—a trapping of wealth, privilege, and social exclusion. Even in the heyday of classical music, there was always a gap between the philosophical claims for music and social practice

Actually, some asexual people celebrate sex—up to and including engaging in it themselves despite lack of sexual attraction. Some asexual people write stories or produce art depicting sexual situations and/or nudity. Some asexual people have no problem with consuming media that contains sexual content. They do not have to be attracted to other people to appreciate or create positive portrayals of these relationships. This can be especially difficult to explain if an asexual artist does create sexually explicit material, because people want to know whether they’re creating this because they secretly desire it. Or they might reverse the issue and suggest asexual people have no business creating this media—or that they can’t be good at it—if they don’t have personal experience. What artists choose to make art about has absolutely no bearing on what they’re attracted to or what they might want to experience themselves. Art can be used to express personal desires, but no one should assume someone must be doing so if that person depicts experiences or images contrary to personally expressed desires, and no one should use a person’s artwork or subject matter to invalidate claims. Asexual artists cannot be restricted to creating media that is devoid of sex. Asexual artists know and accept that most people are attracted sexually to others, so if they want to write realistic books or movies, they generally have to create at least some of their subjects with that dimension attached to them.

There is however, one reason why the arts so rarely accept a mission that IS within the power of the Church to alter. In the past, the densest or richest location of baptised art has been the Liturgy. The sacred use of the arts in the liturgical setting has provided inspiration for artists engaged in producing artworks for contexts outside the Liturgy, for consumption beyond the limits of the visible Church. In the modern West, the Muses have largely fled the liturgical amphitheatre, which instead is given over to banal language, poor quality popular music, and, in new and re-designed churches, a nugatory or sometimes totally absent visual art. This deprives the wider Christian mission of the arts of essential nourishment. Where would the poetry of Paul Claudel be without the Latin Liturgy? Or John Tavener's music without the Orthodox Liturgy? Where would be the entire tradition of representational art in the West without the liturgical art of which until the seventeenth century at least remained at its heart? We need today to summon back the Muses to the sacred foyer of the Church, to be at home again at that hearth.

Mr. Bredon had been a week with Pym's Publicity, and had learnt a number of things. He learned the average number of words that can be crammed into four inches of copy; that Mr. Armstrong's fancy could be caught by an elaborately-drawn lay-out, whereas Mr. Hankin looked on art-work as waste of a copy-writer's time; that the word “pure” was dangerous, because, if lightly used, it laid the client open to prosecution by the Government inspectors, whereas the words “highest quality,” “finest ingredients,” “packed under the best conditions” had no legal meaning, and were therefore safe; that the expression “giving work to umpteen thousand British employees in our model works at so-and-so” was not by any means the same thing as “British made throughout”; that the north of England liked its butter and margarine salted, whereas the south preferred it fresh; that the Morning Star would not accept any advertisements containing the word “cure,” though there was no objection to such expressions as “relieve” or “ameliorate,” and that, further, any commodity that professed to “cure” anything might find itself compelled to register as a patent medicine and use an expensive stamp; that the most convincing copy was always written with the tongue in the cheek, a genuine conviction of the commodity's worth producing—for some reason—poverty and flatness of style; that if, by the most far-fetched stretch of ingenuity, an indecent meaning could be read into a headline, that was the meaning that the great British Public would infallibly read into it; that the great aim and object of the studio artist was to crowd the copy out of the advertisement and that, conversely, the copy-writer was a designing villain whose ambition was to cram the space with verbiage and leave no room for the sketch; that the lay-out man, a meek ass between two burdens, spent a miserable life trying to reconcile these opposing parties; and further, that all departments alike united in hatred of the client, who persisted in spoiling good lay-outs by cluttering them up with coupons, free-gift offers, lists of local agents and realistic portraits of hideous and uninteresting cartons, to the detriment of his own interests and the annoyance of everybody concerned.

So, you want to improve your home like you have some knowledge and respect for the endeavor, yes? Very well. First, you need to know the basics associated with it to showcase what type of knowledge you actually have about it. If that is not enough, try reviewing the article listed below to assist you. Home improvement is often a daunting task. This is because of the time and the amounts of money required. However, it doesn't have to be so bad. If you have several projects in your house, divide them up into several smaller DIY projects. For example you may want to redo the entire living room. Start simple, by just replacing the carpet, and before you know it, your living room will be like new. One great way to make the inside of your home sparkle is to put new molding in. New molding helps create a fresh sense in your living space. You can purchase special molding with beautiful carvings on them to add a unique touch of elegance and style to your home. When it comes to home improvement, consider replacing your windows and doors. This not only has a chance of greatly improving the value of the home, but may also severely decrease the amount of money required to keep your house warm and dry. You can also add extra security with new doors and windows. Change your shower curtain once a month. Showering produces excessive humidity in a bathroom that in turn causes shower curtains to develop mold and mildew. To keep your space fresh and healthy, replace your curtains. Don't buy expensive plastic curtains with hard to find designs, and you won't feel bad about replacing it. Sprucing up your walls with art is a great improvement idea, but it doesn't have to be a painting. You can use practically anything for artwork. For instance, a three-dimensional tile works great if you contrast the colors. You can even buy some canvas and a frame and paint colored squares. Anything colorful can work as art. If you are renovating your kitchen but need to spend less money, consider using laminate flooring and countertops. These synthetic options are generally much less expensive than wood, tile, or stone. They are also easier to care for. Many of these products are designed to closely mimic the natural products, so that the difference is only visible on close inspection. New wallpaper can transform a room. Before you add wallpaper, you need to find out what type of wall is under the existing wallpaper. Usually walls are either drywall or plaster smoothed over lath. You can figure out what kind of wall you are dealing with by feeling the wall, plaster is harder, smoother, and colder than drywall. You can also try tapping the wall, drywall sounds hollow while plaster does not. Ah, you have read the aforementioned article, or you wouldn't be down here reading through the conclusion. Well done! That article should have provided you with a proper foundation of what it takes to properly and safely improve your home. If any questions still remain, try reviewing the article again.

The fact that my parents did not have the where-with-all to buy toys, didn’t slow me down. Sometimes at the nearby dumps or in garbage cans, I would find discarded toys that could be repaired. In some cases, my father would restore a toy, such as my pedal fire engine that he fixed and repainted. My cousin Walter and I enjoyed years of peddling around, bumping into things and pretending to put out non-existing fires. Never mind that it had been restored, for us it was as good, if not better, than new. Papa was fairly handy. He didn’t always get it right, but more often than not he fixed things good enough for them to work again. He was also a reasonably good artist and painted copies of artwork done by well-known artists. For whatever reason, I never saw him do anything original, but his work did inspire me to try painting and construct things by myself. Much of the material I used came from the other side of U.S. Highway 1, or Tonnele Avenue, where the dumps were located. I didn’t know it at the time, however Tonnele Avenue was named after John Tonnele, a farmer and politician in the 1800’s. There were also some railroad tracks that I had to cross, but the dangers of crossing a highway or railroad tracks didn’t stop me, even though there were frequent articles in the Jersey Journal of people getting hurt or killed doing exactly this. To me the dumps were a warehouse of treasures.

it’s claimed that they can tell us most things about life. This trend isn’t just found in popular science books. At universities, economists analyse ever greater parts of existence as if it were a market. From suicide (the value of a life can be calculated like the value of a company, and now it’s time to shut the doors) to faked orgasms (he doesn’t have to study how her eyes roll back, her mouth opens, her neck reddens and her back arches – he can calculate whether she really means it). The question is what Keynes would think about an American economist like David Galenson. Galenson has developed a statistical method to calculate which works of art are meaningful. If you ask him what the most renowned work of the last century is, he’ll say ‘Les Demoiselles d’Avignon’. He has calculated it. Things put into numbers immediately become certainties. Five naked female prostitutes on Carrer d’Avinyó in Barcelona. Threatening, square, disconnected bodies, two with faces like African masks. The large oil painting that Picasso completed in 1907 is, according to Galenson, the most important artwork of the twentieth century, because it appears most often as an illustration in books. That’s the measure he uses. The same type of economic analysis that explains the price of leeks or green fuel is supposed to be able to explain our experience of art.

Openness can enhance creativity in many different ways—not just for organizations like the LEGO Group, but also for individuals. And the benefits of openness are greater now than ever before, thanks to digital technologies. If you’re making videos, websites, or other digital creations, you can get ideas and suggestions from people around the world—and also make use of code, artwork, and music created by other people. On the flip side, you can make your digital creations available for others to modify, extend, and integrate into their own projects. This is all possible because digital media, unlike traditional products, can be copied and sent around the world at virtually no cost.

Science and philosophy have for centuries been sustained by unquestioning faith in perception. Perception opens a window on to things. This means that it is directed, quasi-teleologically, towards a *truth in itself* in which the reason underlying all appearances is to be found. The tacit thesis of perception is that at every instant experience can be co-ordinated with that of the previous instant and that of the following, and my perspective with that of other consciousnesses—that all contradictions can be removed, that monadic and intersubjective experience is one unbroken text—that what is now indeterminate for me could become determinate for a more complete knowledge, which is as it were realized in advance in the thing, or rather which is the thing itself. Science has first been merely the sequel or amplification of the process which constitutes perceived things. Just as the thing is the invariant of all sensory fields and of all individual perceptual fields, so the scientific concept is the means of fixing and objectifying phenomena. Science defined a theoretical state of bodies not subject to the action of any force, and *ipso facto* defined force, reconstituting with the aid of these ideal components the processes actually observed. It established statistically the chemical properties of pure bodies, deducing from these those of empirical bodies, and seeming thus to hold the plan of creation or in any case to have found a reason immanent in the world. The notion of geometrical space, indifferent to its contents, that of pure movement which does not by itself affect the properties of the object, provided phenomena with a setting of inert existence in which each event could be related to physical conditions responsible for the changes occurring, and therefore contributed to this freezing of being which appeared to be the task of physics. In thus developing the concept of the thing, scientific knowledge was not aware that it was working on a presupposition. Precisely because perception, in its vital implications and prior to any theoretical thought, is presented as perception of a being, it was not considered necessary for reflection to undertake a genealogy of being, and it was therefore confined to seeking the conditions which make being possible. Even if one took account of the transformations of determinant consciousness, even if it were conceded that the constitution of the object is never completed, there was nothing to add to what science said of it; the natural object remained an ideal unity for us and, in the famous words of Lachelier, a network of general properties. It was no use denying any ontological value to the principles of science and leaving them with only a methodical value, for this reservation made no essential change as far as philosophy was concerned, since the sole conceivable being remained defined by scientific method. The living body, under these circumstances, could not escape the determinations which alone made the object into an object and without which it would have had no place in the system of experience. The value predicates which the reflecting judgment confers upon it had to be sustained, in being, by a foundation of physico-chemical properties. In ordinary experience we find a fittingness and a meaningful relationship between the gesture, the smile and the tone of a speaker. But this reciprocal relationship of expression which presents the human body as the outward manifestation of a certain manner of being-in-the-world, had, for mechanistic physiology, to be resolved into a series of causal relations.” —from_Phenomenology of Perception_. Translated by Colin Smith, pp. 62-64 —Artwork by Cristian Boian

Their primary customers are upper-income women between thirty and fifty years sold. The average markup on a handbag is ten to twelve times production cost. Perfume has, for more than seventy years, served as an introduction to a luxury brand. The message was clear: buy our brand and you too, will live a luxury life. The contradiction between personal indulgence and conspicuous consumption is the crux of the luxury business today: the convergence of its history with its current reality. Today, luxury brand items are collected like baseball cards, displayed like artwork, brandished like iconography. The tycoons have shifted the focus from what the product is to what is represents. Perfume has a mystical, magical quality. It catches your attention, enchants you. It complements and enhances your personality. it stirs emotion, within you and others around you. Perfume was a link between gods and mortals. It was a way to contact the gods, Hermes's Jean-Claude Ellena told me. Now it is a profane link: it's between you and me. Contentment is natural wealth. Luxury is artificial poverty. Socrates More than anything else today, the handbag tells the story of a woman: her reality, her dreams. Oscar Wilde said elegance is power. If it would abolish avarice, you must abolish its mother, luxury. Cicero People don't believe there is a difference between real and fake anymore. Bernard Arnault's marketing plan had worked: consumers don't buy luxury branded items for what they are, but for what they represent. Luxury is the ease of a T-shirt in a very expensive dress. If you don't have it, you are not a person used to luxury. You are just a rich person who can buy staff. Karl Lagerfeld Luxury is exclusivity, it is made for you and no one else has it. At a minimum, it must be impeccable. Maximum, unique. If you do luxury, Louboutin explained, you have to treat people in a human way and you have to be elegant. You can't ask poor people in bad conditions to make beautiful things.

The Artist's Drawing Book by Katy Lipscomb and Tyler Fisher is filled with numerous art lessons for beginner artists. A self-motivated individual will likely find this an appealing way to learn art, though I think teachers might consider this useful in middle and high school classrooms as well. Seventeen different lessons are presented in this book, and each one builds on the other, helping to lay a strong art foundation. You could buy different art books that may have some or most of these lessons, though I’ve not seen any that provide the sort of succinct and precise approach that this one does. Each lesson is carefully thought out and needs to be practiced by the reader. The text is packed to the brim with information essential to succeed in art. That’s what makes this book so valuable. The lessons are intended to be learned by the budding artist, and so some may take days (or longer) to complete until the user masters the skill. The important thing is not to be in a hurry while working your way through this book. You might want to buy a sketchbook to go along with this, so you can keep your artwork in one place. You might also want to purchase a copy of this book for a friend, so you can practice your art skills together. After teaching art in school for 16 years (grades K-12), I fully understand how The Artist's Drawing Book by Katy Lipscomb and Tyler Fisher is an essential tool for those beginning in art. If you are serious about learning this fascinating subject, then this book is for you. This is an outstanding piece of work.

One final word before we press on. Paul speaks at one point of Christians as “God’s poem,” God’s “artwork.” We are his “workmanship,” say some of the translations of Ephesians 2.10. The Greek word Paul uses there is poiēma, the very word from which the English word “poem” is derived. God gives us these poems, the Psalms, as a gift, in order that through our praying and singing of them he may give us as a gift to his world. We are called to be living, breathing, praying, singing poems.

The art critic Robert Hughes pointed out that if you were to take the pile of bricks that compromises Carl Andre’s minimalist sculpture Equivalent VIII (1966) out of the museum and place it in a parking lot, it would no longer be a work of art but a neat stack of building materials. If you were to put a sculpture by Rodin in a parking lot, by contrast, it would be a ‘misplaced’ work of art. Hughes was emphasizing that the Rodin is identified as art by its form, while the Andre (which Hughes also admired) is identified as art by the idea behind it. For all that I have issues with this tendency to draw battle lines between form and content, to trust in the aura of an artwork and to assume that art should be found in museums and never parking lots, it does identify a useful distinction: a large part of the contemporary art I like does not aspire to independence from the everyday world but to alert us to it.

The Tanakh directs many polemics against Israelites who practice polytheism and idolatry. Isaiah 44:9 declares, “All who make idols are nothing, and the things they delight in do not profit.” The polemic continues when the chapter mocks the construction of such images: He cuts down cedars [to be used as fuel]. . . . Part of it he takes and warms himself; he kindles a fire and bakes bread. Then he makes a god and worships it, makes it a carved image and bows down before it. Half of it he burns in the fire; over this half he roasts meat, eats it and is satisfied. . . . The rest of it he makes into a god, his idol, bows down to it and worships it; he prays to it and says, “Save me, for you are my god!” (44:14–17) The unit concludes by stating about anyone who would worship such idols that “a deluded mind has led him astray” (44:20). We suspect, were there a Canaanite Anti-Defamation League, they would protest such claims as bigoted polemic. We have heard these verses deployed against Roman Catholics, for whom art can function as a focus of prayer, and Hindus, who depict their gods through artwork. We find such deployments equally unhealthy.

Christian formation is more than concepts and creeds. What is required is a lifelong transformation at the hands of the Master Artist through the use of specific tools of the Spirit. The phrase Benedict uses, instrumenta artis spiritalis, literally means 'instruments of spiritual arts.' He viewed the faith community as God's workshop or art studio--a place where God's artwork in our soul takes place.

The intelligence professional’s passion to collect everything possible is nicely illustrated in an NYPD report under the rubric “Secret,” and beneath a blacked-out box that may have contained notes from an infiltrator. The censored document declares ominously in large type: “LOCAL ACTIVIST GROUP TO USE ART MURALS IN ORDER TO SPREAD PEACE MESSAGE; GROUP MAY USE DIRECT ACTION METHODS IN CONJUNCTION WITH STREET THEATRE.” It describes the organization as “a collective of artists dedicated to using artwork to spread the word of peace.” It uses “murals, banners, posters, and street theatre during its actions.

Just like a painter’s brush or a sculptor’s chisel, you camera is a tool to create artwork. The camera does not take the photo, the user takes the photo. The camera is not in control, the user is in control. Your camera is a tool and anyone who wants to take a great photo needs to learn how to use it.

In a sense, the book’s turn to ugly feelings to reanimate aesthetics is simply the flip side of its privileging of the aesthetic domain as the ideal site to examine the politically ambiguous work of negative emotions. More specifically, this book turns to ugly feelings to expand and transform the category of “aesthetic emotions,” or feelings unique to our encounters with artworks—a concept whose oldest and bestknown example is Aristotle’s discussion of catharsis in Poetics. Yet this particular aesthetic emotion, the arousal and eventual purgation of pity and fear made possible by the genre of tragic drama, actually serves as a useful foil for the studies that follow. For

I slap the paper down on his desk and hold my flat palm over it. “What the fuck is this?” He looks down at it. “That was a perfectly good invitation, until somebody fucked it up with hearts,” he growls. I look down at it. “I kind of like the hearts,” I admit. “Next time, I’ll use hearts,” he says. He smiles. “You’re looking for a roommate?” I ask. I toy with my lip piercing until his gaze lands there, and then I force myself to stop. “Since when?” “Since I found out you’re homeless,” he says. “I’m not homeless,” I protest. “Where are you living after today?” he asks. I’m not at all sure about that, but he doesn’t need to know it. “Shut up,” I say instead. He pushes the paper toward me. “I have an extra room. You need a place to stay. Let’s not make it more than it is, okay?” “That’s all you’d expect?” I ask, hating how quiet my voice suddenly gets. “You could be pregnant, Friday,” he says. “What else would I want from you?” My breath catches. He is so right. I have been looking at this like it’s all about us, but it’s not. It’s all about this baby I have to protect for nine months, a baby he’s now fully aware of, even if he’s not aware of the details. “How much?” I ask. “How much can you afford?” he asks. He knows full well how much money I make; he pays me. But he isn’t aware of the money I make doing commissioned portraits and other artwork. He waves a hand in the air. “Don’t worry about what it costs,” he says. “Pay me whatever you can. The room is just sitting there empty. And if you live with me, I won’t have to worry about you being homeless.” I snort. “Like you’d worry anyway.” His brow rises. “I worry. I worry about you all the fucking time. But if you live with me, I won’t have to. So take pity on me and just take the fucking room, dammit.” “Okay.” He looks surprised. “Okay?” “Yes.” He grins. “Okay.

Rach.” He laughed low and my eyes snapped up to his. “What’s up?” “Oh, um . . .” This was a really bad idea. Would I look like a complete freak if I took off running for my car right now? “Well, I . . .” “Yes . . . ?” “You, uh, wanna have a lock-out night with me?” He mouthed the words lock-out night before recognition flashed through his gray eyes. “Mason with Candice?” “Yep.” “You don’t have to ask or have a reason, Rach. You’re welcome here whenever.” My eyes drifted over the colorful artwork covering his shoulders and arms and I somehow made it into the apartment without running into anything. I wanted to study the tattoos but he was still smirking, so I forced my eyes onto the TV and walked past him. “So did you get tired of hanging out at Starbucks for hours on end, or did they finally kick you out?” I huffed and shook my head. Such an ass. Spinning around, I began walking right back to the front door. I don’t care that he’s half-naked and I have to use superhuman strength to not throw myself at him and explore his sculpted body with my hands and mouth. He’s just such a freaking pain. “I don’t think so, Sour Patch.” He grabbed my arm and pulled me back until I was standing in front of the couch. “Sit.” “I’m not a dog.” He rolled his eyes. “Sit down, woman. I’ll be right back.” With a shove strong enough to send me down to the couch, he smiled wryly and turned toward his bedroom. “Put a shirt on while you’re in there!” He snorted.   Kash

To make a bathroom feel relaxing and restful, it’s best to choose colors that provide feelings of warmth and comfort. These colors include earth tones ranging from rich chocolate to tan to cream. Accenting with these nurturing colors relaxes us and makes us feel safe. Paint, tile, towels, rugs, shower curtains, and artwork can be used to bring warm colors into the bathroom. Try this:

TERMS AND CONDITIONS Sketches and Comps Fee quoted includes ____ preliminary concepts / sketches; additional concepts / sketches are $ _______ each. Final Artwork Fee quoted includes one set of final mechanical artwork. Changes to final artwork will be provided at an additional cost based on the extent and complexity of the changes, at $ ___ per hour or a mutually agreed upon fee, TBD. Rights Upon full payment of all fees and costs, the following rights to the use of the designs and/or artwork transfer to Client, as noted: Credit Unless otherwise agreed, Designer shall be accorded a credit line on all published, printed material, to read as follows: Overtime Fees quoted are based upon work performed during the course of regular working hours (based on a ____ hour week). Overtime, rush, holiday, and weekend work necessitated by Client’s directive is billed in addition to the fees quoted at $ ____ per hour or a mutually agreed upon fee, TBD. Change Orders Work change orders will be issued for additional work and changes requested after approvals or commencement of work. WCO’s include a description of the change/addition requested, estimated additional costs, and changes to work schedules/project completion. Client’s signature is required on WCO’s to proceed with changes/additions. Billable Items In addition to the fees and costs estimated herein, costs incurred for outside services (TBD), messengers, and courier services are billable (at cost __; with a markup of __ percent). Wherever applicable, state and local sales taxes will be included in Billable Items. Travel expenses are billed additionally, at cost.

Craft is what they call artwork that’s useful to humanity,” Hugo said.

Line: An artist’s tool used to illustrate the outer edges of shapes and forms. Technically, no physical lines exist in nature. For example, there is not an actual line around an apple to distinguish it from the table it’s sitting on, nor is there a physical line between the sky and the land at the horizon; therefore, lines in art are an artist’s interpretation of the boundaries between forms in a scene, or the perceived edges of shapes in a composition. Repeated lines can also be used to create values and textures in two-dimensional and three-dimensional art. Shape: The outside two-dimensional contour, outline or border of a form, figure or structure. Form: The three-dimensional representation of a shape. In drawings, paintings and other two-dimensional art, the artist creates the illusion of a three-dimensional form in space using light, shadow and other rendering techniques. In sculpture, the form is the manifestation of the object itself. Texture: The distinctive surface qualities found on all things as well as the overall visual patterns and tactile feel of objects and their surroundings. Value: The relative lightness or darkness of shapes, forms and backgrounds of two-dimensional or three-dimensional compositions. Value plays a prominent role in both black-and-white and color artworks, potentially adding dramatic contrasts and depth to an otherwise bland composition. Color: The spectrum of hues, values and intensities of natural light and man-made pigments, paints and mineral compounds that can be used in all art forms.

All the ancient dissimilarities, conflicts and antagonisms were solely due to the fragmentary fashion in which people had been content, until then, to study the universe. When all these divergent rays of thought had found their common focal point in the four-dimensional synthesis, natural variations were no longer anything but harmonic manifestations of a single common thought. And from matter, formerly judged inert, to the noblest speculations of the human mind, the world was now no more than a single soul, living the same life, an emanation of a single diverse thought that was named, in memory of the naïve beliefs of old, the Golden Eagle. This union of minds, of the same time and all times, by the direct path of the fourth dimension—by the subconscious, as one would once have put it—had nothing blissful or passive about it, though, although no one had believed otherwise in the times when humankind still dreamed of naïve celestial sentimentality and eternal paradisal adoration. More than ever, contradiction engendered an intense intellectual life in which opposition alone, as in all the mind’s operations, was able to motivate thought. What ensured that all effort became useful and positive, however, was that each individual action of intelligence concurred with the same continuous whole—just as, in a statue, all the lines, because they are opposed, unite to perfect a single masterpiece—and that love had replaced hatred since the language of the four-dimensional soul had been substituted for the fragmentary hypocrisies of three-dimensional modes of expression: hypocrisies contained in the concrete words of language as in the relative formulas of science. After overturning all human traditions and mores, sincerity, imposed by the direct reading of thoughts, had engendered love and created, in the spiritual domain, a sort of state of nature, this time transcendental, that marked the definitive liberation of the human mind. Every man understood, in the Age of the Golden Eagle, that he was but one fragment of a single statue—whether an eye, nose or finger did not matter—that he was only one act of the same intelligence, and that he desired the beauty of the whole with all his heart, his duty was to devote all his strength to make the part that was confided to him as beautiful as possible. That detail of the whole, his personality, immortal as the whole outside time, was the art-work signed with his name for all eternity within the universal art-work; it was the “I” marking his place in the universal continuum. It was not important whether the act was one of intelligence, faith, revolt or kindness, provided it was worthy of the whole; on the contrary, woe betide the man if his “I” was nothing but a defect, a lack or a fault, forever.

Cotton fiber offers the most durable type of drawing paper and is usually the highest quality, offering a crisp feel while allowing tones to appear richer and deeper, and handling a moderate amount of erasing. Bristol is a type of cotton fiber-based paper that is pasted together to form a thick board, known for its durability and versatility. Bristol board provides a stiff, strong surface to work on without the need for mounting. Cellulose fiber paper is the most common type of paper. It is made out of wood pulp, which is acidic, but the material can handle different marking materials and plenty of erasures. When devoting time and effort to an artwork, an artist should use acid-free, archival quality papers.

The Secret on How to Write Comedy In a fashionable context, comedy is a subjective element. Making humans funny is an incredibly difficult job and developing a chunk of comedy is even more difficult. If you are an aspiring comedy writer, there is loads to be found out and Filipino concert in Las Vegas( ticklemecomedy.com) in case you lack that writing skills, there's no way you may produce an excellent comedy piece. So how do you write stuff that is actually funny and will make everyone roll round in laughter? Are there definitely techniques on how to write comedy or steps with a view to decorate your comedic writing? Maybe these are the questions rambling around your thoughts now. Well, happily, there are some easy strategies on for writing humorous cloth. Tips on How to Write Comedy Like all different forms of writing, comedy writing is no one of a kind. It additionally takes exercise to get it right. Some comedic writers might also master the artwork of comedy writing with only a little exercise while a few conflict lots before getting Filipino show in Las Vegas to know it. With that being said, every person who wants to realize the secret to writing high-quality comedy need to consider some easy pointers. Whether you come to be being funny or no longer, the most essential element is which you have discovered how to excellent write comedic cloth and are capable of produce quality comedy pieces. To assist you emerge as a very good comedic writer, beneath are some guidelines. • Choose the type of comedy - One tip on how to write comedic portions is to pick out the type of humor you need to exhibit. There are various forms of comedy along with slapstick, parody, dark humor, edgy humor, own family humor, dry observational humor, and plenty of others. You simply need to select one in your comedy piece and paintings on it. Failure to consciousness on one sort of humor will end result on your audience being careworn. • Use warfare - Another golden rule is to discover the battle in anything and play on the boundaries. Professional comedic writers say that anger is frequently the middle of all comedy. But this doesn't suggest however that you need to be a raging psycho simply so one can realize the way to write comedy. This virtually approach that you got to have the ability to address a conflict in a humorous manner. • Carefully choose your words - Successful comedic playwrights realize nicely the way to maximize the comedic impact. Obviously, they are experts in finding the funniest in everything. Choose phrases that sound funny and discover ways to tweak your paintings to give you actual funny piece. • Know how and whilst to magnify - In comedy, "extra" is generally better. Think approximately conditions that might be funnier if things have been exaggerated a chunk. Something mildly humorous can quickly Las Vegas Filipino shows become hilarious with a little bit of embellishment. • Timing - In comedy, timing is the whole thing. It is a totally critical component in writing comedy. You want to inject the proper joke inside the proper location and in the right time. This is in which your punch traces ought to appear. This also manner understanding whilst to end. But take word that timing depends significantly at the sort of comedy you're pursuing. Practice makes best After being given these few hints on how to write comedy, you need to have a terrific begin composing fine, comedic work. But as the famous adage says "Practice makes best" so preserve to exercise and work at your stuff. You don't always want to be intrinsically humorous to study comedic writing but it'll help.

For artwork, I simply turned to nineteenth-century books and magazines, of which I built a large collection. I knew that (under the copyright laws of the time) works created prior to 1906 were no longer subject to copyright, so we were free to use the artwork. To create the cartoons, I would leaf through old sources until I found a cartoon that I thought would match the text. Much later, I learned from Robert Graves’s The White Goddess that what I was practicing was iconotropy, the deliberate misreading of images. Graves thought that a lot of myths had come from people misreading or twisting the meaning of the pictures on Greek vases. I spent the next nineteen years iconotropically creating those cartoons. They were at once a chore and a relief from the pressures of running the business. Best of all, they caught on with the public, and played a major role of establishing Trader Joe’s as a “different” kind of retailer, one that didn’t take itself too seriously.

Poetry is the practice of creating artworks with language. Sculptors use marble, steel, cardboard, pâté, whatever material they choose. Musicians use sound. Painters use paint. Furniture-makers use woods and fabrics. And poets use language.

If your work is good, people are going to copy it. You have to accept that. This is just one part of business that you have to deal with. You can’t let your worries stop you from posting your images online. The art business is a visual one; you have to show the world your work for you to be able to sell it. There are ways to protect your work from copycats and art thieves. The most important is to file copyrights to your artworks. This will give you legal leverage if your work is stolen and being used commercially. I cover this more in the chapter on copyrights. I recommend placing a subtle copyright notice or your signature or logo or name somewhere on the image, where it’s not obstructing the beauty of the art. A few examples of copyright notices are: “Artwork (c) 2017 Drew Brophy” “Artwork (c) Drew Brophy” “(c) Drew Brophy” “(c) Drew Brophy, all rights reserved.

When an artist uses AI to create art, is it still art? Yes. AI is a tool, and it doesn’t diminish the quality or validity of the outcome.

While in mainstream culture, idiosyncrasies and differences are often seen as flaws; in our world—the world of artists—they are your strength. They are part of what embody your artistic “voice”: all of the characteristics that make your artwork distinct from the artwork of other artists, like how you use colors or symbols, how you apply lines and patterns, your subject matter choices, and what your work communicates.

In an Asiatic (Semitic) settlement (c. 1876–1560 B.C.) that was discovered at Avaris (Tell el-Dab’a), there is a monumental tomb where archaeologists found fragments of a colossal statue of an Asiatic dignitary that had been broken up. The statue had been deliberately destroyed and defaced. The original statue of the seated official was 150% of life size, approximately 2 m high, made of limestone and carved by Egyptian sculptors. This Asiatic man has a red mushroom-shaped hairstyle, yellow painted skin (traditional color of an Asiatic in Egyptian artwork), a long multi-colored cloak (red, white, and black stripes) which is non-Egyptian, and a throw stick (the Egyptian hieroglyph for a foreigner) held against his right shoulder. There is no name on the statue to identify the person, but the size of the statue indicates a person of great importance. Although some have suggested that this is Joseph, a more plausible explanation is that it is Jacob, the patriarch of the family. The clothing on the statue and its color are Asiatic; Joseph was clothed in Egyptian garments of fine linen (Genesis 41:42). The hairstyle on the statue is distinctly Asiatic; Joseph’s hairstyle would have almost certainly been Egyptian given that his brothers did not recognize him when they saw him (Genesis 42:8). Also, a fragment of the statue’s base shows that it was inscribed with the Egyptian word sntr = incense (a word used on funerary inscriptions), which signifies death. The statue was apparently built to commemorate a dead person. The style of the fragments that come from this statue are in harmony with statuary that came from a facility that produced statues during the reign of Amenemhat III, who came onto the throne the year Jacob died (1859 B.C.).34 It makes perfect sense that the statue is made to honor Jacob, who was not buried in Avaris but in Canaan (Genesis 47:29–30, 49:28–30).

symbature—a symbol used in place of a signature. Many of the early philosophers, artists, and authors signed their work with their own unique symbol or monogram rather than their name. This practice added a mysterious allure to their work and also protected them from persecution should their writings or artwork be deemed counterestablishment.

The trick to getting a good-looking pixel art game is to pay attention to the orthographic camera size with respect to the resolution, and make sure the artwork looks good at a certain PPU. In our game, we’re going to use a resolution of 1280 × 720 but we’ll use a trick to scale up the art a bit. We’re going to multiply the PPU by a scaling factor of 3. Our modified equation will look like this: (Vertical resolution / (PPU * Scaling factor)) * 0.5 = Camera Size Using a resolution of 1280 × 720 and a PPU of 32: (720 / (32 PPU * 3)) * 0.5 = 3.75 Camera Size This is why we set our camera size to be 3.75 earlier.

Achieving perpetual organization means, first, clarifying your values and ideal life, and then clearing and organizing your space to support that life. Who you are is, in many ways, reflected by the stuff you keep: the memorabilia, collections, photos, books, furniture, clothing, knickknacks, tools, sporting goods, artwork, and all your worldly goods. So taking care of your things is part of how you take care of yourself; your useful, treasured belongings deserve care and appreciation.

The only Black bookstore in Detroit, Vaughn's Bookstore-a frequent gathering place for young activists-was intentionally destroyed by police, witnesses reported. Police firebombed the building, mutilated the artwork, damaged many photographs, and left the water running, ruining the vast majority of books.

Media-type blogs The type of media they use to express their thoughts online defines these blogs. For instance, a blog that consists of content in the form of photographs is called as a photoblog. A vlogger is a blogger who uses videos to share his/her thoughts. An artblog consists of sketches and other artwork by the blog owner. Blogs that express content in the form of comics are called comic blogs.

In addition to the sitting form of meditation, there is the meditation practice in everyday life of panoramic awareness. This particular kind of practice is connected with identifying with the activities one is involved in. This awareness practice could apply to artwork or any other activity. It requires confidence. Any kind of activity that requires discipline also requires confidence. You cannot have discipline without confidence; otherwise it becomes a sort of torturing process. If you have confidence in what you are doing, then you have real communication with the things you are using, with the material you are using. Working that way, a person is not concerned with producing masterpieces. He is just involved with the things that he is doing. Somehow the idea of a masterpiece is irrelevant.

explore Becker’s concept of the art world but in relation to Henry Jenkin’s use of the idea in relation to fandom and fan conventions. In Jenkins’ view, an art world involves networks of artistic production, distribution, consumption, circulation and the exhibition and forums for the sale of artworks. In this regard, argues Jenkins, fan conventions are not simply events in which fans can interact with fellow fans, but they also perform a key role in the distribution of knowledge about media productions and are one of the modes by which producers promote cultural products such as comic books, science fiction novels, new film and TV releases, or online/game releases (typified by events such as Comic Con). More importantly, Jenkins argues, conventions provide spaces in which producers have the opportunity to communicate directly with the consumers of their cultural products

Over and over again in our music, liturgies, displayed artwork, and language and word choices, we have reinforced the idea that white is holy and black equals sin. These passive suggestions have created an entire subconscious theology of race. For example, most pastors wear a white alb or surplice while they lead worship—using whiteness to represent baptism, purity, and closeness to the creator. We’ve never stopped to ask why we equate the color white to goodness. Every day we sit in church, we are being subtly fed this narrative about whiteness—a narrative that is at work in all of us consciously or subconsciously. The person who administers the sacraments: clothed in white. The colors of resurrection and ultimate victory: white. The candle you light at the anniversary of your child’s baptism: white. The message is clear, whether we realize it or not. White equals pure. And the inverse is also true: the absence of white—darkness or blackness—equals bad or evil.

My grandma used to collect bears. She started collecting little ceramic bears years ago and that collection grew and grew. At every holiday and birthday, people would buy my grandmother more freaking bears. Stuffed bears, bear artwork, bear figurines, bear dishes and even a teddy bear toilet seat cover.

Designer roller blinds in Australia Our designer Roller Blinds in Australia creates a casual and relaxed environment for any space. Prices include the supply of BQ Design fabric and the manufacturing of the product. We custom make our designer roller blinds to your exact requirement using either your own image or design, or one from our extensive library of artwork, photographs and patterns. Our printed roller blinds are redefining the creative landscape of Interior Design. They are perfectly suited to both commercial and residential applications and have many exclusive qualities. The qualities are fire resistant, crease resistant, easily cleaned, made in Australia, Printed with the latest technology. Our designer roller blinds come standard in a full block out fabric but by special request are also available in sheer view. Contact us or visit our Sydney showroom for motorized, linked systems, sheer view or additional decorative trims and finishes. Powered by SEO

WhatsApp info:+12723 328 343 As a freelance artist based just outside of Austin, I had always relied on platforms like Upwork to sell my work and connect with clients. So when I first heard about NFTs, I was intrigued by the idea of using blockchain technology to sell my art and reach new buyers. It seemed like the perfect way to break free from the limitations of traditional platforms and finally make my digital creations more profitable. I came across what appeared to be a reputable NFT marketplace. The platform had a flashy interface and showcased prominent artists, while the online art community buzzed with excitement around it. This validation gave me the confidence to dive in. I spent weeks creating a new series of digital artworks, pouring my heart and soul into them, and then minted them as NFTs on this platform. The fees associated with minting were steep around $20,000 but I believed the potential returns would more than justify the investment. With my NFTs listed, I eagerly promoted them on social media, leveraging my experience from Upwork to engage potential buyers. I received a couple of bids, which filled me with optimism. It felt like everything was finally coming together. But that excitement quickly turned into confusion and frustration when I tried to withdraw the funds from the bids. Instead of receiving my earnings, the platform displayed an error message. When I reached out to their support team, they requested additional payments to "process my withdrawal." At first, the fees seemed minor, but then they escalated, with new demands for payment popping up regularly. The requests quickly spiraled into an endless loop. Days turned into weeks, and my hopes of seeing any return on my investment faded. It dawned on me that I had been scammed. The platform was a fake, and the supposed big-name artists likely part of an elaborate scheme to lure in unsuspecting creators like me. I was devastated both financially and emotionally and felt too embarrassed to tell anyone. I feared people would think I had been reckless or gullible. After confiding in a close friend, I felt a sense of relief. She suggested I reach out to ADWARE RECOVERY SPECIALIST , a service that specializes in tracking down stolen digital assets and helping people who have fallen victim to online scams. Desperate, I contacted them, and to my surprise, they were able to recover my funds. The experience taught me a hard lesson, but it also gave me hope that not all was lost. It reminded me that even in moments of vulnerability, reaching out for help can lead to unexpected solutions.

In this beautiful picture book, readers are shown the remarkable diversity of nature and are encouraged to connect with it through the metaphor of home. Kate is a likable character whose curiosity and openness to the world around her turn an ordinary walk in the woods into an adventure. Simple text that emphasizes dialogue underscores the story’s message about connection, while the beautiful artwork uses earthy tones to invoke the spirit of the forest. Kate the Earthling invites readers to see the environment in which they live through new eyes and to feel at home in the natural world that surrounds them.

Even before I owned one, I'd always taken issue with the casual way people throw around the word 'cabin.' It seemed that somewhere along the line, the definition of a cabin went from a primitive, basic-needs shelter to any structure that had more than six or seven trees around it. I'd once been invited to a friend's supposed cabin only to arrive and find that it had a basketball court. Cabins do not have basketball courts. Cabins have tetanus. True cabins are hardly better than tents. They have limited amenities, basic comforts, and inefficient systems that make you thankful for the plush life you live 95 percent of the time. They are not anyplace with a sign above the toilet that says, "Life Is Better in the Woods." Cabins are small, musty places. They are poorly finished, outfitted with the hand-me-downs of people's real homes. They are repositories for knives that are a bit too dull, furniture that no longer matches, and artwork showcasing anything but good taste. When you enter a cabin, there should be a sense of encountering how things used to be, not just a variation on how they already are.

Stick-style erasers are a more precise alternative to conventional block erasers. They come in a long, cylindrical shape encased in a protective plastic case, often with a convenient clip on the side. Many stick erasers can be advanced or retracted as needed. The rubber is soft, pliable, and won’t tear the paper. The best stick erasers are small in diameter and result in clean and precise mark removal, as the wider versions do not allow for thin erasure lines. Refills are available for some brands of eraser stick even though replacements are not frequently required, as these erasers last a while. This tool is best utilized when putting the finishing touches on an artwork. Drawbacks to using this tool is the temptation to use it too early. Creating highlights and light lines on an artwork too soon can cause an artist to focus on small details before the composition and first lay down of shade is complete. Also, the stick eraser should only be used on small areas.