Masterpiece Design Quotes

We are, not metaphorically but in very truth, a Divine work of art, something that God is making, and therefore something with which He will not be satisfied until it has a certain character. Here again we come up against what I have called the “intolerable compliment.” Over a sketch made idly to amuse a child, an artist may not take much trouble: he may be content to let it go even though it is not exactly as he meant it to be. But over the great picture of his life—the work which he loves, though in a different fashion, as intensely as a man loves a woman or a mother a child—he will take endless trouble—and would doubtless, thereby give endless trouble to the picture if it were sentient. One can imagine a sentient picture, after being rubbed and scraped and re-commenced for the tenth time, wishing that it were only a thumb-nail sketch whose making was over in a minute. In the same way, it is natural for us to wish that God had designed for us a less glorious and less arduous destiny; but then we are wishing not for more love but for less.

There is a journey that’s waiting for you, you will make great discoveries, you will find treasures and hidden powers, it’s a journey divinely design just for you, Today be brave in self-love and start the journey within yourself, There God is waiting to show you his masterpiece of love.

He was an awkward mixture of strong moral impulse and restless aesthetic curiosity, and yet he would have made a most ineffective reformer and a very indifferent artist. It seemed to him that the glow of happiness must be found either in action, of some immensely solid kind, on behalf of an idea, or in producing a masterpiece in one of the arts.

Copywriting is a design muse, it carves a beautiful masterpiece in an imaginative way.

I like to remind people that creativity also isn't a spark; it's a slog. Every artist, inventor, designer, writer, or other creative in the world will talk about his work being an iterative experience. He'll start with one idea, shape it, move it, combine it, break it, begin anew, discover something within himself, see a new vision, go at it again, test it, share it, fix it, break it, hone it, hone it, hone it, hone it. This might sound like common sense, but it's not common practice, and that's why so many people are terribly uncreative - they're not willing to do the work required to create something that's beautiful, useful, desirable, celebrated. No masterpiece was shaped or written in a day. It's a long slog to get something right. This knowledge and willingness to iterate is what makes the world's most creative people so creative (and successful).

God knows what it is going to take to get the greatest results. He dress your past, your present, and your future. He has a remarkable design for your life and all you need to do is submit to His gentle hands. It is at that moment you become His masterpiece in motion.

A visionary company is like a great work of art. Think of Michelangelo’s scenes from Genesis on the ceiling of the Sistine Chapel or his statue of David. Think of a great and enduring novel like Huckleberry Finn or Crime and Punishment. Think of Beethoven’s Ninth Symphony or Shakespeare’s Henry V. Think of a beautifully designed building, like the masterpieces of Frank Lloyd Wright or Ludwig Mies van der Rohe. You can’t point to any one single item that makes the whole thing work; it’s the entire work—all the pieces working together to create an overall effect—that leads to enduring greatness.

The difference in structure is of the same kind as that between an ordinary wallpaper in which the same pattern is repeated again and again in regular periodicity and a masterpiece of embroidery, say a Raphael tapestry, which shows no dull repetition, but an elaborate, coherent, meaningful design traced by the great master.

His office was a spider’s lair of silver thread and tempting promises, a page out of Power Architecture Magazine. The dean copied the design from President Lyndon Johnson’s old senate office. The room narrowed toward his desk, an architectural device that channeled all eyes toward the dean, and his chair was slightly elevated, forcing visitors to look up. The two visitors’ chairs were both lowered and oversized, making each guest feel like a child, swimming in too much chair. His architect had assured him it was a subliminal masterpiece.

The Bible says, “We are God’s workmanship, created in Christ Jesus to do good works.”1 Our English word poem comes from the Greek word translated “workmanship.” You are God’s handcrafted work of art. You are not an assembly-line product, mass produced without thought. You are a custom-designed, one-of-a-kind, original masterpiece.

Every child is a one of a kind mini-masterpiece. No known duplicates exist. They each have distinctive fingerprints, heart rhythms, eye patterns, and blood constitution. Even identical twins can be physically alike and yet light years apart in how they are mentally wired and gifted. Our children do not just grow up different; they show up different. Though circumstances and training will greatly affect their lives, the originality that is already ingrained into each of our children reflects brilliant preplanning. Every birthmark is a trademark. Every special feature is a signature of divine design.

As Susan Kare, designer of the original Mac interface, said, “You can’t really decide to paint a masterpiece. You just have to think hard, work hard, and try to make a painting that you care about. Then, if you’re lucky, your work will find an audience for whom it’s meaningful.

There are a thousand 'greatest' melodies, just as there are a thousand 'greatest' poems and a thousand 'greatest' pictures, because there are a thousand moods in the mind of man when a certain note rings with the most clarity--when a certain design is most sharply silhouetted against the changing curtain of his mind.

The universe has designed us on purpose to who we are! We are God's MASTERPIECE!

A woman of God is a Masterpiece, perfectly designed to be a mouthpiece of God.

The art of loving is not how many you touch, it is the heart of one that shows a masterpiece of your deepest design.~Bluenscottish

Thou'rt wise, and knowest better than I speak." And as he is, who unwills what he willed, And by new thoughts doth his intention change, So that from his design he quite withdraws,

His every facial attribute was a masterpiece of bloody-minded unoriginality, an aesthetic tribute to the forgettably average. Collectively they formed an orchestra designed to produce the facial muzak of the Gods.

2001’s production notes contain a number of startlingly prescient glimpses of the world we live in today. As of mid-1965, approximately the same time that the US Department of Defense was conceiving of the internet’s direct predecessor, ARPANET (Advanced Research Projects Agency Network), Kubrick’s intrepid band of futurists had seemingly already visualized important aspects of the new technology’s implications. One document sent from Tony Masters to Roger Caras on June 29 listed matter-of-factly—under a letterhead replete with the roaring MGM lion—nine props that he asked Caras to help him with. Number one was “2001 newspaper to be read on some kind of television screen. Should be designed television screen shape; i.e., wider than it is high.

Matters came to a head after 1918, when the French scientist Paul Portier published his rhetorical masterpiece Les Symbiotes. He was nothing if not bold, claiming that: ‘All living beings, all animals from Amoeba to Man, all plants from Cryptogams to Dicotyledons are constituted by an association, the emboîtement of two different beings. Each living cell contains in its protoplasm formations, which histologists designate by the name of mitochondria. These organelles are, for me, nothing other than symbiotic bacteria, which I call symbiotes.

So it's not an architectural masterpiece. When Da5id and Hiro and the other hackers wrote The Black Sun, they didn't have enough money to hire architects or designers, so they just went in for simple geometric shapes. The avatars milling around the entrance don't seem to care.

When you feel the need to escape your problems, to escape from this world, don't make the mistake of resorting to suicide Don't do it! You will hear the empty advice of many scholars in the matter of life and death, who will tell you, "just do it" there is nothing after this, you will only extinguish the light that surrounds you and become part of nothingness itself, so when you hear these words remember this brief review of suicide: When you leave this body after committing one of the worst acts of cowardice that a human being can carry out, you turn off the light, the sound and the sense of reality, you become nothing waiting for the programmers of this game to pick you up from the darkness, subtly erase your memories and enable your return and I emphasize the word subtle because sometimes the intelligence behind this maneuver or automated mechanism is wrong and send human beings wrongly reset to such an extent, that when they fall to earth and are born again, they begin to experience memories of previous lives, in many cases they perceive themselves of the opposite sex, and science attributes this unexplainable phenomenon to genetic and hormonal factors, but you and I know better! And we quickly identified this trigger as a glitch in the Matrix. Then we said! That a higher intelligence or more advanced civilization throws you back into this game for the purpose of experimenting, growing and developing as an advanced consciousness and due to your toxic and destructive behavior you come back again but in another body and another life, but you are still you, then you will carry with you that mark of suicide and cowardice, until you learn not to leave this experience without having learned the lesson of life, without having experienced and surprised by death naturally or by design of destiny. About this first experience you will find very little material associated with this event on the internet, it seems that the public is more reserved, because they perceive themselves and call themselves "awakened" And that is because the system has total control over the algorithm of fame and fortune even over life and death. Now, according to religion and childish fears, which are part of the system's business to keep you asleep, eyes glued to the cellular device all day, it says the following: If you commit this act of sin, you turn off light, sound and sense of reality, and from that moment you begin to experience pain, fear and suffering on alarming scales, and that means they will come for you, a couple of demons and take you to the center of the earth where the weeping and gnashing of teeth is forever, and in that hell tormented by demons you will spend eternity. About this last experience we will find hundreds of millions of people who claim to have escaped from there! And let me tell you that all were captivated by the same deity, one of dubious origin, that feeds on prayers and energetic events, because it is not of our nature, because it knows very well that we are beings of energy, then this deity or empire of darkness receives from the system its food and the system receives from them power, to rule, to administer, to control, to control, to kill, to exclude, to inhibit, to classify, to imprison, to silence, to infect, to contaminate, to depersonalize. So now that you know the two sides of the same coin, which one will your intelligence lean towards! You decide... Heads or tails? From the book Avatars, the system's masterpiece.

We all act as independent learners in charge of designing our autodidactic curricula. Reading the books written by the prophetic genius of history including the literary masterpieces and philosophical treatises awakens the mind. Reading can act as a gateway drug leading to writing and expansion of a personal state of conscious awareness.

Under the microscope, I found that snowflakes were miracles of beauty; and it seemed a shame that this beauty should not be seen and appreciated by others. Every crystal was a masterpiece of design and no one design was ever repeated. When a snowflake melted, that design was forever lost. Just that much beauty was gone, without leaving an record behind.

In order to understand how engineers endeavor to insure against such structural, mechanical, and systems failures, and thereby also to understand how mistakes can be made and accidents with far-reaching consequences can occur, it is necessary to understand, at least partly, the nature of engineering design. It is the process of design, in which diverse parts of the 'given-world' of the scientist and the 'made-world' of the engineer are reformed and assembled into something the likes of which Nature had not dreamed, that divorces engineering from science and marries it to art. While the practice of engineering may involve as much technical experience as the poet brings to the blank page, the painter to the empty canvas, or the composer to the silent keyboard, the understanding and appreciation of the process and products of engineering are no less accessible than a poem, a painting, or a piece of music. Indeed, just as we all have experienced the rudiments of artistic creativity in the childhood masterpieces our parents were so proud of, so we have all experienced the essence of structual engineering in our learning to balance first our bodies and later our blocks in ever more ambitious positions. We have learned to endure the most boring of cocktail parties without the social accident of either our bodies or our glasses succumbing to the force of gravity, having long ago learned to crawl, sit up, and toddle among our tottering towers of blocks. If we could remember those early efforts of ours to raise ourselves up among the towers of legs of our parents and their friends, then we can begin to appreciate the task and the achievements of engineers, whether they be called builders in Babylon or scientists in Los Alamos. For all of their efforts are to one end: to make something stand that has not stood before, to reassemble Nature into something new, and above all to obviate failure in the effort.

Here, reader, thou must pardon us if we stop a while to lament the capriciousness of Nature in forming this charming part of the creation designed to complete the happiness of man; with their soft innocence to allay his ferocity, with their sprightliness to soothe his cares, and with their constant friendship to relieve all the troubles and disappointments which can happen to him. Seeing then that these are the blessings chiefly sought after and generally found in every wife, how must we lament that disposition in these lovely creatures which leads them to prefer in their favour those individuals of the other sex who do not seem intended by nature as so great a masterpiece! For surely, however useful they may be in the creation, as we are taught that nothing, not even a louse, is made in vain, yet these beaus, even that most splendid and honoured part which in this our island nature loves to distinguish in red, are not, as some think, the noblest work of the Creator. For my own part, let any man chuse to himself two beaus, let them be captains or colonels, as well-dressed men as ever lived, I would venture to oppose a single Sir Isaac Newton, a Shakespear, a Milton, or perhaps some few others, to both these beaus; nay, and I very much doubt whether it had not been better for the world in general that neither of these beaus had ever been born than that it should have wanted the benefit arising to it from the labour of any one of those persons. If this be true, how melancholy must be the consideration that any single beau, especially if he have but half a yard of ribbon in his hat, shall weigh heavier in the scale of female affection than twenty Sir Isaac Newtons!

The person who really writes the minor work is a secret writer who accepts only the dictates of a masterpiece. Our good craftsman writes. He’s absorbed in what takes shape well or badly on the page. His wife, though he doesn’t know it, is watching him. It really is he who’s writing. But if his wife had X-ray vision she would see that instead of being present at an exercise of literary creation, she’s witnessing a session of hypnosis. There’s nothing inside the man who sits there writing. Nothing of himself, I mean. How much better off the poor man would be if he devoted himself to reading. Reading is pleasure and happiness to be alive or sadness to be alive and above all it’s knowledge and questions. Writing, meanwhile, is almost always empty. There’s nothing in the guts of the man who sits there writing. Nothing, I mean to say, that his wife, at a given moment, might recognize. He writes like someone taking dictation. His novel or book of poems, decent, adequate, arises not from an exercise of style or will, as the poor unfortunate believes, but as the result of an exercise of concealment. There must be many books, many lovely pines, to shield from hungry eyes the book that really matters, the wretched cave of our misfortune, the magic flower of winter! Excuse the metaphors. Sometimes, in my excitement, I wax romantic. But listen. Every work that isn’t a masterpiece is, in a sense, a part of a vast camouflage. You’ve been a soldier, I imagine, and you know what I mean. Every book that isn’t a masterpiece is cannon fodder, a slogging foot soldier, a piece to be sacrificed, since in multiple ways it mimics the design of the masterpiece. When I came to this realization, I gave up writing. Still, my mind didn’t stop working. In fact, it worked better when I wasn’t writing. I asked myself: why does a masterpiece need to be hidden? what strange forces wreath it in secrecy and mystery?

Eric Steele was strapped in and rubbing a rag over his father’s 1911. Demo had brought the pistol with the rest of Steele’s gear on board the C-17. In the cockpit, the pilot pushed the throttle forward, shoving Steele back in his seat. He barely noticed because he was thinking about the first time his father let him hold the pistol. It had felt so heavy in his hands back then. So much I never got to ask him. He ran his thumb over the spot where the serial number should have been. It was silver and all traces of the file marks were smoothed out by years of use. The pistol was one of John Moses Browning’s masterpieces, the same design that the American infantryman had carried in the Battle of Belleau Wood, Iwo Jima, Korea, and Vietnam. It was the only thing he had to remind him of the father he never really knew. Steele had made the pistol his own by modifying it to shoot 9mm, adding a threaded barrel, and installing suppressor sights, which were taller than the factory ones. It was his gun now, and he slipped it away before taking an amphetamine tablet out of his pocket and downing it with a sip of water.

The book originated in the suggestion of a publisher; as many more good books have done than the arrogance of the man of letters is commonly inclined to admit. Very much is said in our time about Apollo and Admetus, and the impossibility of asking genius to work within prescribed limits or assist an alien design. But after all, as a matter of fact, some of the greatest geniuses have done it, from Shakespeare botching up bad comedies and dramatising bad novels down to Dickens writing a masterpiece as the mere framework for a Mr. Seymour’s sketches. Nor is the true explanation irrelevant to the spirit and power of Dickens. Very delicate, slender, and bizarre talents are indeed incapable of being used for an outside purpose, whether of public good or of private gain. But about very great and rich talent there goes a certain disdainful generosity which can turn its hand to anything. Minor poets cannot write to order; but very great poets can write to order. The larger the man’s mind, the wider his scope of vision, the more likely it will be that anything suggested to him will seem significant and promising; the more he has a grasp of everything the more ready he will be to write anything. It is very hard (if that is the question) to throw a brick at a man and ask him to write an epic; but the more he is a great man the more able he will be to write about the brick.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

The granite complex inside the Great Pyramid, therefore, is poised ready to convert vibrations from the Earth into electricity. What is lacking is a sufficient amount of energy to drive the beams and activate the piezoelectric properties within them. The ancients, though, had anticipated the need for more energy than what would be collected only within the King's Chamber. They had determined that they needed to tap into the vibrations of the Earth over a larger area inside the pyramid and deliver that energy to the power center—the King's Chamber —thereby substantially increasing the amplitude of the oscillations of the granite. Modern concert halls are designed and built to interact with the instruments performing within. They are huge musical instruments in themselves. The Great Pyramid can be seen as a huge musical instrument with each element designed to enhance the performance of the other. While modern research into architectural acoustics might focus predominantly upon minimizing the reverberation effects of sound in enclosed spaces, there is reason to believe that the ancient pyramid builders were attempting to achieve the opposite. The Grand Gallery, which is considered to be an architectural masterpiece, is an enclosed space in which resonators were installed in the slots along the ledge that runs the length of the gallery. As the Earth's vibration flowed through the Great Pyramid, the resonators converted the vibrational energy to airborne sound. By design, the angles and surfaces of the Grand Gallery walls and ceiling caused reflection of the sound, and its focus into the King's Chamber. Although the King's Chamber also was responding to the energy flowing through the pyramid, much of the energy would flow past it. The specific design and utility of the Grand Gallery was to transfer the energy flowing through a large area of the pyramid into the resonant King's Chamber. This sound was then focused into the granite resonating cavity at sufficient amplitude to drive the granite ceiling beams to oscillation. These beams, in turn, compelled the beams above them to resonate in harmonic sympathy. Thus, with the input of sound and the maximization of resonance, the entire granite complex, in effect, became a vibrating mass of energy.

Although he always talked about technology and Oracle with passion and intensity, he didn’t have the methodical relentlessness that made Bill Gates so formidable and feared. By his own admission, Ellison was not an obsessive grinder like Gates: “I am a sprinter. I rest, I sprint, I rest, I sprint again.” Ellison had a reputation for being easily bored by the process of running a business and often took time off, leaving the shop to senior colleagues. One of the reasons often trotted out for Oracle’s success in the 1990s was Ellison’s decision to hire Ray Lane, a senior executive credited with bringing order and discipline to the business, allowing Ellison just to do the vision thing and bunk off to sail his boats whenever he felt like it. But Lane had left Oracle nearly eighteen months before after falling out with Ellison. Since then, Ellison had taken full control of the company—how likely was it that he would he stay the course? One reason to be skeptical was that Ellison just seemed to have too many things going on in his life besides Oracle. During the afternoon, we took a break from discussing the future of computing to take a tour of what would be his new home—nearly a decade in the making, and at that time, still nearly three years from completion. In the hills of Woodside, California, framing a five-acre artificial lake, six wooden Japanese houses, perfect replicas of the fifteenth- and sixteenth-century originals in Kyoto, were under construction. The site also contained two full-size ornamental bridges, hundreds of boulders trucked in from the high Sierras and arranged according to Zen principles and an equal number of cherry trees jostling for attention next to towering redwoods. Ellison remarked: “If I’m remembered for anything, it’s more likely to be for this than Oracle.”3 In the evening, I noticed in Ellison’s dining room a scale model of what would become his second home: a graceful-looking 450-foot motor-yacht capable of circumnavigating the globe. Already the owner of two mega-yachts, bought secondhand and extensively modified (the 192-foot Ronin based in Sausalito and the 244-foot Katana, which was kept at Antibes in the South of France), Ellison wanted to create the perfect yacht. The key to achieving this had been his successful courtship of a seventy-two-year-old Englishman, Jon Bannenberg, recognized as the greatest designer of very big, privately-owned yachts. With a budget of $200 million—about the same as that for the Japanese imperial village in Woodside—it would be Bannenberg’s masterpiece. Bannenberg had committed himself to “handing over the keys” to Ellison in time for his summer holiday in 2003.

And by the end of March one of them had already begun his journey. Twenty-two years old, an A.B. and LL.B. of Harvard, Francis Parkman was back from a winter trip to scenes in Pennsylvania and Ohio that would figure in his book and now he started with his cousin, Quincy Adams Shaw, for St. Louis. He was prepared to find it quite as alien to Beacon Hill as the Dakota lands beyond it, whither he was going. He was already an author (a poet and romancer), had already designed the great edifice his books were to build, and already suffered from the mysterious, composite illness that was to make his life a long torture. He hoped, in fact, that a summer on the prairies might relieve or even cure the malady that had impaired his eyes and, he feared, his heart and brain as well. He had done his best to cure it by systematic exercise, hard living in the White Mountains, and a regimen self-imposed in the code of his Puritan ancestors which would excuse no weakness. But more specifically Parkman was going west to study the Indians. He intended to write the history of the conflict between imperial Britain and imperial France, which was in great part a story of Indians. The Conspiracy of Pontiac had already taken shape in his mind; beyond it stretched out the aisles and transepts of what remains the most considerable achievement by an American historian. So he needed to see some uncorrupted Indians in their native state. It was Parkman’s fortune to witness and take part in one of the greatest national experiences, at the moment and site of its occurrence. It is our misfortune that he did not understand the smallest part of it. No other historian, not even Xenophon, has ever had so magnificent an opportunity: Parkman did not even know that it was there, and if his trip to the prairies produced one of the exuberant masterpieces of American literature, it ought instead to have produced a key work of American history. But the other half of his inheritance forbade. It was the Puritan virtues that held him to the ideal of labor and achievement and kept him faithful to his goal in spite of suffering all but unparalleled in literary history. And likewise it was the narrowness, prejudice, and mere snobbery of the Brahmins that insulated him from the coarse, crude folk who were the movement he traveled with, turned him shuddering away from them to rejoice in the ineffabilities of Beacon Hill, and denied our culture a study of the American empire at the moment of its birth. Much may rightly be regretted, therefore. But set it down also that, though the Brahmin was indifferent to Manifest Destiny, the Puritan took with him a quiet valor which has not been outmatched among literary folk or in the history of the West.

The Schwarzkogler in question turned out to be Rudolf, an Austrian who considered himself an artist, and in order to prove it he reportedly sliced his penis off a little bit at a time and took photographs of the process. This was such an artistic triumph that he continued his career, until his masterpiece finally killed him.

Before you build a masterpiece you must design it. It’s the same way with life, you know. Too many people go through life living by chance, but when you live by design and know the life you want to create, you are able to create a masterpiece instead of a piece of junk.

the forest islands of Bolivia are comparable to any place in South America. The same is true of the Beni savanna, it seems, with its different complement of species. Ecologically, the region is a treasure, but one designed and executed by human beings. Erickson regards the landscape of the Beni as one of humankind’s greatest works of art, a masterpiece that until recently was almost completely unknown,

If you are looking for Alpine clichés, Munich will hand them to you in one chic and compact package. But the Bavarian capital also has plenty of unexpected trump cards under its often bright-blue skies. Here, folklore and age-old traditions exist side by side with sleek BMWs, designer boutiques and high-powered industry. The city’s museums showcase everything from artistic masterpieces to technological treasures and Oktoberfest history, while its music and cultural scenes are second only to those found in Berlin.

The kingdom is the people under King Jesus who fellowship with one another and form churches. These churches are the politic of Jesus in this world. That is, a local church embodies—or is designed by God to embody—the kingdom vision of Jesus in such a way that it tells the kingdom story. That is a politic, a witness to the world of a new worship, a new law, a new king, a new social order, a new peace, a new justice, a new economics, and a new way of life. Engagement at the pulpit level to endorse or denounce a candidate is a minor chord in God’s masterpiece. Rather than spending our time with candidates, kingdom politics means we embody all that the country could be and far more than it is by living out what Jesus calls us to do. As John Howard Yoder has said, “If in society we believe in the rights of employees, then the church should be the first employer to deal with workers fairly. If in the wider society we call for the overcoming of racism or sexism or materialism, then the church should be the place where that possibility first becomes real.”2

Transit maps are masterpieces for what they leave out. They’re designed so people can choose the most expedient route. But woe to the person who takes their transit map aboveground to find their way around town!

God made each person with intiment brush strokes, which no one else will have. Each one of his children has a spot designed and ready, that no one else can fit in, go find your spot that God made only for you.

When God created you, He created a work of art, a masterpiece not meant to be compared to any other form of creation. The image of beauty you were designed to reach is right in front of you. In you He has created a new, original design for the world to enjoy beholding. Go look around, and you will not find one other piece of creation that looks exactly like you.

Here’s something to consider: let’s say that you spent hours upon hours upon hours drawing a work of art that would become your masterpiece. Consider all of the time and effort it would take to design and get every detail exactly right. Then think about how ecstatic you would be, the exhilaration you would feel, upon its completion. Now then, after all of the time and hard work that you put into that project, how would you like it if someone came along and scribbled on it? How would that make you feel? Okay, considering that, how do you suppose it makes God feel when someone gets a tattoo?

Le Corbusier made architecture seem easy. His mind was focused. His lines are fecund and lean. His circles weave tabular cones of early morning facial grimaces. His buildings are magnificent. My spirit revolts positively whenever I muse over the masterpieces he left behind. He held his breath on rotund glimpses that stretched out in mirrors so sopping that they simply diffuse distortions. He truly was the architect of his own breathtaking designs. Impeccably talented.

Ordway was simply proposing a design enabling a reverse-angle shot of a person's face, illuminated from below by a screen. At this very moment, of course, a sizeable percentage of the planet's population is lit in exactly this way. But inevitably this technology, and its resulting lighting geometry, was described for the first time and in a first place. Probably here, decades before the sight became so omnipresent as to be unworthy of comment ....

Making movies is complicated, maddening, highly technical at times, ephemeral and Gossamer at others, slow asthma lalasses on a Wednesday but with a gun to the head deadline on a Friday. Imagine a jet plane, the funds for which were held up by Congress, designed by poets, riveted together by Musicians, supervised by executives fresh out of business school, to be piloted by wannabes with attention Deficiencies.

Making movies is complicated, maddening, highly technical at times, ephemeral and Gossamer at others, slow as molasses on a Wednesday but with a gun to the head deadline on a Friday. Imagine a jet plane, the funds for which were held up by Congress, designed by poets, riveted together by Musicians, supervised by executives fresh out of business school, to be piloted by wannabes with attention Deficiencies.

For we are His workmanship, created in Christ Jesus for good works, which God prepared beforehand, that we should walk in them." Did you know you're God's masterpiece, uniquely designed for good works?

Programs, like any other human-made objects, are designed—or should be designed—with a definite lifespan and scope of application in mind. Like the “Deacon’s Masterpiece,” which was “built in such a logical way it ran a hundred years to the day,” a program should have neither over-designed or under-designed parts. Yet it is an occupational disease of programmers to spend more time on those program parts that present, for some reason, the most intellectual challenge rather than on those that require the most work.

The theory of second systems was formulated by an IBM executive named Frederick Brooks, whose career supervising large-scale software teams taught him that designers of computer systems tend to build into their second projects all the pet features that tight finances or short deadlines forced them to leave out of their first. The result is an overgrown, inefficient monstrosity that rarely works as expected. As he put it in his pithy masterpiece, The Mythical Man-Month: “The second is the most dangerous system a man ever designs.

I know that not everyone sees the kind side of him. He has weapons and suits and a million kinds of armor, all designed to shield his humanity.

Creating a website is akin to crafting a digital masterpiece, where each pixel and line of code serves a purpose. Begin by envisioning the essence of your website, its core message, and the audience it aims to captivate. Lay a sturdy foundation by selecting the right platform, be it a user-friendly website builder or delving into the intricacies of coding languages like HTML and CSS. Embrace simplicity in design, allowing for intuitive navigation and seamless user experience. Remember, content reigns supreme; curate it with precision, blending creativity and relevance to engage your visitors.

emphasizes the significance of consciously designing our days and aligning our actions to our goals by comparing this process to the creation of a masterpiece; anyone seeking to make the most of their time on Earth and build a life full of significance and achievement can use this knowledge as a beacon.

In a realm of soft hues and blooming blossoms, a young girl lay amidst a field of flowers, a celestial veil gracing her features with a gentle, translucent touch. Her arms extended gracefully above her, eyes closed, she seemed to dance on the edge of dreams. The flowers painted the canvas in shades of blue, purple, and pink, their petals swaying in a tender breeze. Dew-kissed blades of grass formed a sea of diamonds, reflecting the soft glow of an unseen moon. As the girl stirred in her slumber, a distant echo of horse steps reached her ears, a melody that danced through the flowered meadow. Slowly, she rose from her flowery bed, the veil slipping away like morning mist to unveil her enchanting presence. Her gown, a masterpiece of celestial elegance, cascaded around her. A floor-length creation in light blue, it cradled her form with a sweetheart neckline, the bodice adorned in gold, floral designs. Layers of tulle formed the flowing skirt, adorned with accents of blueish flowers, and a train that trailed behind her like a comet's tail. Around her neck hung a pendant, a crescent moon cradling a star, both crafted from silver and adorned with blue gemstones, a twin to the one she wore in the enchanted garden. Her golden locks, a cascade of loose curls, framed her face with ethereal grace, flowing like strands of sunlight. Awakening from the meadow's embrace, her deep blue eyes sought the source of the approaching steps. With a sense of dreamlike purpose, she floated towards the sound, the forest mist enveloping her like a lover's caress. In the heart of the foggy woodland, a clearing revealed itself, trees standing sentinel in the distance. From the shroud of mist emerged a figure on horseback, a man in the regalia of a medieval warrior. The horse, a noble steed of white, carried him forward with determined grace. His attire, a tapestry of dark fabric and gilded accents, spoke of a history steeped in honor and battle. High collars and embroidered shoulder pads, buttons, and chains of gold, all adorned his form. His cape billowed behind him, a canvas of golden threads dancing in the breeze. Their eyes met innocence and determination woven together in the tapestry of fate. As he approached, still astride his noble mount, he extended a hand, a silent invitation. With an innocence that matched the morning dew, she lifted her hand to meet his, and at that moment, the world seemed to swirl and dance around them.

In a realm of soft hues and blooming blossoms, a young girl lay amidst a field of flowers, a celestial veil gracing her features with a gentle, translucent touch. Her arms extended gracefully above her, eyes closed, she seemed to dance on the edge of dreams. The flowers painted the canvas in shades of blue, purple, and pink, their petals swaying in a tender breeze. Dew-kissed blades of grass formed a sea of diamonds, reflecting the soft glow of an unseen moon. As the girl stirred in her slumber, a distant echo of horse steps reached her ears, a melody that danced through the flowered meadow. Slowly, she rose from her flowery bed, the veil slipping away like morning mist to unveil her enchanting presence. Her gown, a masterpiece of celestial elegance, cascaded around her. A floor-length creation in light blue, it cradled her form with a sweetheart neckline, the bodice adorned in gold, floral designs. Layers of tulle formed the flowing skirt, adorned with accents of blueish flowers, and a train that trailed behind her like a comet's tail. Around her neck hung a pendant, a crescent moon cradling a star, both crafted from silver and adorned with blue gemstones, a twin to the one she wore in the enchanted garden. Her golden locks, a cascade of loose curls, framed her face with ethereal grace, flowing like strands of sunlight. Awakening from the meadow's embrace, her deep blue eyes sought the source of the approaching steps. With a sense of dreamlike purpose, she floated towards the sound, the forest mist enveloping her like a lover's caress. In the heart of the foggy woodland, a clearing revealed itself, trees standing sentinel in the distance. From the shroud of mist emerged a figure on horseback, a man in the regalia of a medieval warrior. The horse, a noble steed of white, carried him forward with determined grace. His attire, a tapestry of dark fabric and gilded accents, spoke of a history steeped in honor and battle. High collars and embroidered shoulder pads, buttons, and chains of gold, all adorned his form. His cape billowed behind him, a canvas of golden threads dancing in the breeze. Their eyes met innocence and determination woven together in the tapestry of fate. As he approached, still astride his noble mount, he extended a hand, a silent invitation. With an innocence that matched the morning dew, she lifted her hand to meet his, and at that moment, the world seemed to swirl and dance around them. Yet, just as the dance was about to begin, Princess Mehjabeen's eyes fluttered open, the enchanting dream slipping away like mist beneath the twilight.

But he wasn’t procrastinating because he didn’t want to work on the friar’s painting. No. A masterpiece did not pop immediately to mind. He had to knead the problems like dough: how could the Virgin’s face fulfill classical expectations of beauty, yet surprise the viewer with the unexpected; how could each of the figures maintain their separate identities, yet intertwine into a single whole; how could he transform a few scratches of lines on paper into a living, breathing, complex organism? Creating new life took time. Now that his first year was almost up, Leonardo needed to convince the friars to let him stay. He had barely made any progress on human flight. Relocating now would interrupt his experiments. He had to prove that he was not only working on the altarpiece, but that a painting by him would be worth the wait. So, for the last two weeks, he had been displaying his design to the public, and now he had invited the friars up to witness the spectacle. As the song came to an end, Leonardo stepped onto a raised platform next to a large panel covered in a piece of black velvet. He raised his hand with a flourish, and Salaì yanked off the cloth. His cartoon, the life-sized preparatory drawing for the altarpiece, was displayed on a gilded pedestal. Candlelight illuminated the charcoal and chalk sketch on thin, tinted paper. The picture was of St. Anne, the Virgin Mary, John the Baptist, and baby Jesus, all interconnected in a surging, pyramidal composition. The four figures were vibrant, their faces the ideal of classical beauty. He’d spent months dreaming up that image before putting it down on paper, so when he’d finally started sketching, the lines seemed to appear in a flash. Like his performance that night, it was all part of his show. Let the people think the design had arrived complete and perfect, as if sent by God himself.

Making movies is complicated, maddening, highly technical at times, ephemeral and gossamer at others, slow as molasses on a Wednesday but with a gun-to-the-head deadline on a Friday. Imagine a jet plane, the funds for which were held up by Congress, designed by poets, riveted together by musicians, supervised by executives fresh out of business school, to be piloted by wannabes with attention deficiencies. What are the chances that such an aeroplane is going to soar? There you have the making of a movie, at least as I saw it at the Skunk Works.

We've got exactly what we need to fulfill our destiny! The universe has designed us on purpose to who we are! We are God's MASTERPIECE! We are the most BEAUTIFUL thing in this universe!

Be the best that you can be The scripture says God has given us the power to enjoy what’s appointed and allotted to us, which means I don’t have the power to enjoy your life. You may have more money, more gifts, more friends, and a better job. But if you put me in your life, I will not enjoy it. You are uniquely created to run your own race. Quit wishing you were someone else or thinking things such as, “If I had his talent…” If God wanted you to have his talent He would give it to you. Take what you have and develop it. Make the most of your gifts. Instead of thinking things such as, “If I had her looks…,” be grateful for the looks God gave you. That’s not an accident. The life you have is perfectly matched for you. Why don’t you get excited about your life? Be excited about your looks, your talent, and your personality. When you are passionate about who you are, you bring honor to God. That’s when God will breathe in your direction, and the seeds of greatness He’s planted on the inside will spring forth. Really, it’s an insult to God to wish you were someone else. You are saying, “God, why did you make me subpar? Why did you make me less than others?” God didn’t make anyone inferior. He didn’t create anyone to be second-class. You are a masterpiece. You are fully loaded and totally equipped for the race that’s designed for you. Your attitude should be: “I may not be as tall, as tan, or as talented as someone else, but that’s okay. Nobody will ever be a better me. I’m anointed to be me. I’m equipped to be me. And not only that, it’s also easy to be me.” It’s easy to be yourself. It’s easy to run your race because you’re equipped for what you need. But so many times, people try to be something they are not. I’ve known dark-skinned people who apply cream to try to be lighter. And I know light-skinned people who go to a tanning bed to try to be darker. I had an older lady touch my hair at a book signing recently. She said, “Joel, I wish I had that curly hair.” Nowadays you can do something about it. If you have straight hair and you want curly hair, you can perm it. If you have gray hair and you want brown hair, dye it. If you have no hair and you want hair, buy it!

TEAM DESIGN-3D ARCHITECTURAL RENDERING The 3D Architectural Rendering services, Canada.3D Interior visualization is a fantastic way to create individual the product, animation, 2D/3D home design plan etc, that produce the best with 3D rendering at Team designs, Canada.We will turn your ideas into attractive digital masterpieces with customization. We service all over Canada with an office in Toronto, Ontario

We are each a work in progress—special and unique. By learning and living the “Art of First Impressions,” you can design a masterpiece of which you can be proud.

PROBLEMS IN YOUR LIFE. Though many things feel random and wrong, remember that I am sovereign over everything. I can fit everything into a pattern for good, but only to the extent that you trust Me. Every problem can teach you something, transforming you little by little into the masterpiece I created you to be. The very same problem can become a stumbling block over which you fall, if you react with distrust and defiance. The choice is up to you, and you will have to choose many times each day whether to trust Me or defy Me. The best way to befriend your problems is to thank Me for them. This simple act opens your mind to the possibility of benefits flowing from your difficulties. You can even give persistent problems nicknames, helping you to approach them with familiarity rather than with dread. The next step is to introduce them to Me, enabling Me to embrace them in My loving Presence. I will not necessarily remove your problems, but My wisdom is sufficient to bring good out of every one of them. We are assured and know that [God being a partner in their labor] all things work together and are [fitting into a plan] for good to and for those who love God and are called according to [His] design and purpose. ROMANS 8 : 28 (AMP) But we preach Christ crucified: a stumbling block to Jews and foolishness to Gentiles, but to those whom God has called, both Jews and Greeks, Christ the power of God and the wisdom of God. 1 CORINTHIANS 1 : 23 – 24

Every great idea has a spark of inspiration. Divine…if the shoe fits. Every great spark of inspiration comes from a remarkably intense passion, love, or desire. It can be out of love for God, a family member, a lover, child, friend, or just out of a desire to be compassionate and help others. It can be an intense passion for music, art, physical comforts, or beauty. It can be from the desire to prove those who hurt, wrong, or doubt them wrong because they themselves are not yet capable of asking questions and chasing dreams which seem so far away. The paradox of any genius or creative virtuoso is that they see one plus one does not equal two and they do not consult the mathematicians to hear what they have to say about this. When the idea or project they desire to create is fueled from a combination of these previously mentioned factors and then ignited by a pure intention of their heart and soul it is more than the sum of its’ parts. It is no longer a song composed of a melody and words or a picture brushed with paint upon an easel. It is a masterpiece with an explanation which can only be hinted or pointed at. Just like the moon can only reflect the light passed on to it by the sun. Personally, a master watch maker is a person I look up to. They lovingly and thoughtfully put immense energy and concentration on putting seemingly small pieces into place that once put into place learn to work on their own in perfect synchronization and harmony. However, this working together of gears and pieces does not happen by itself; It happens because the master had a vision of what he wanted and put in the time, energy, love, and effort to make it happen. The designer didn’t have it materialize right in front of their face instantly. Rather, they had faith it would come together a piece at a time. It’s my mission to find as many of these Masters who don’t run away from their ability to love, be loved, and create. The more we present beauty to those around us, the quicker others will find light within themselves. The more assistance we give to those we know struggling with poverty both inside and externally, the quicker we change this world into what it’s meant to be.

Masterpiece Laboratories is an online marketplace for sales of used and vintage lab equipment. Search our used and vintage lab equipment, some of which are operational, some needs repair, and others are just for parts. None of the equipment is refurbished and therefore will be sold as-is with a policy of no return. Our vintage lab products are for testing laboratories, chemists, engineers, academic universities, set designers, and collectors.

I declare a war against my Parasite for the freedom to use my own mind and body, for the freedom to become the architect of my own life, to design the life of my dreams, and to create a masterpiece of art.

What makes you different is what makes you stronger. You are a masterpiece uniquely designed by God. You can have tremendous victories, love, and abundance.

What makes you different us what makes you stronger. You are a masterpiece uniquely designed by God. You can have tremendous victories, love, and abundance.

Doris Mortman said, “Until you make peace with who you are, you’ll never be content with what you have.”9 Until you understand that you are God’s masterpiece, made in His image, you’ll never be content with the features He’s given you. Do you believe you are a happenstance mixture of your parents’ genes, or do you believe you were intentionally woven and knitted together by God with a specific design in mind? What we believe about our origin greatly affects what we believe about our destiny. You want to know the best beauty secret ever? You won’t find it in a spa, at the cosmetic counter at the mall, or in a makeover article in a magazine. You will find it in the Word of God. We become more and more beautiful every time we sit at Jesus’s feet. “We, who with unveiled faces contemplate the Lord’s glory, are being transformed into his image with ever-increasing glory, which comes from the Lord, who is the Spirit” (2 Corinthians 3:18).

MAKE FRIENDS WITH THE PROBLEMS IN YOUR LIFE. Though many things feel random and wrong, remember that I am sovereign over everything. I can fit everything into a pattern for good, but only to the extent that you trust Me. Every problem can teach you something, transforming you little by little into the masterpiece I created you to be. The very same problem can become a stumbling block over which you fall if you react with distrust and defiance. The choice is up to you, and you will have to choose many times each day whether to trust Me or defy Me. The best way to befriend your problems is to thank Me for them. This simple act opens your mind to the possibility of benefits flowing from your difficulties. You can even give persistent problems nicknames, helping you to approach them with familiarity rather than with dread. The next step is to introduce them to Me, enabling Me to embrace them in My loving Presence. I will not necessarily remove your problems, but My wisdom is sufficient to bring good out of every one of them. We are assured and know that [God being a partner in their labor] all things work together and are [fitting into a plan] for good to and for those who love God and are called according to [His] design and purpose. —ROMANS 8:28 AMP But we preach Christ crucified: a stumbling block to Jews and foolishness to Gentiles, but to those whom God has called, both Jews and Greeks, Christ the power of God and the wisdom of God. —1 CORINTHIANS 1:23–24

The lovely young lady in the mirror was not a stranger, nor was she Lady Overlooked. Once again, Brierly had found some essential core of her model and designed the whole dress around it. Brierly had gathered Nissa’s brown hair in a loose pile on top of her head, with a curl spilling over here and there. The comb secured a single rose just verging on full bloom. Nissa still looked short and sturdy but—endearingly so. A friendly elf. Youthful, but not childish. The dress flattered and concealed the correct curves. Not even Aunt Perturbance would mistake her for fifteen tonight. Nissa blushed–ith pleasure at her appearance, yes–but mainly that her childhood heroine would think so highly of her as to craft such a masterpiece. That she would know her so well as to reflect the true Nissa, but love her so well as to reflect the best possible Nissa.

Kubrick had caught wind of Pahnke’s so-called Marsh Chapel Experiment, conducted in 1962 under the supervision of his thesis advisors, Timothy Leary and Richard Alpert. The study was designed to see if hallucinogenic drugs, when taken in a religious setting such as a Boston University chapel, could induce religious experiences comparable to those recorded by the great mystics of history. Nine of the ten theology students participating reported that they had indeed experienced sensations indistinguishable from religious revelation.

Sometimes, for skeptics, life’s chemistry more closely resembles a child’s drawing than a magnificent masterpiece.

These included dozens of futuristically curvaceous scarlet Djinn chairs, designed by Olivier Mourgue in 1963, which livened up the otherwise monochrome interior of Space Station 5, and several examples of Eero Saarinen’s 1957 Tulip table. Geoffrey Harcourt’s chrome-and-leather lounge chairs furnished the Clavius Moon Base conference room.