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I played with this all afternoon...after church and lunch. The background gave me problems ...both deciding the color and the application. This paper seems to lift almost too easily! 9x12 pasted into a 9x12 journal...I write on the back of the prior page in these larger journals..
Looking forward to all your wonderful work!
Closing Date:
22nd Jan, 2015
Application:
Best Wishes
Prim
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
this is a reuploud of my Dark Times RPG application.
Planet B522K6.
The 2.Regiment of the 501st, lead by jedi general Jaran Nas and his Padawan Ramin Kallus, started an attack on a secret Separatist Base in the Tarabba-Sektor to hide the attack of the 212th legion on Utapau. But one second before the attack started commander Pulse got a massage from his transmitter, which turned out to change everything…
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Using 3D models of the ice sheet surface from the ArcticDEM project, alongside data from multiple satellite missions, scientists have discovered that a huge flood beneath the Greenland Ice Sheet surged with such force that it fractured the ice sheet, resulting in a vast quantity of meltwater bursting upwards through the ice surface.
Over a 10-day period in the summer of 2014, a massive crater – 85 meters deep and spanning 2 square kilometre – formed on the surface of the ice sheet as 90 million cubic metres of water were suddenly released from this hidden subglacial lake. While the sudden surge of meltwater was startling in itself, even more alarming was the accompanying damage – towering 25-metre-high ice blocks torn from the surface, deep fractures in the ice sheet, and the ice surface scoured by the flood’s destructive force.
Credits: University of Lancaster/ESA (contains modified Copernicus Sentinel data (2015) and ArcticDEM data); CC BY-SA 3.0 IGO
Hii darlings!
We are accepting application from bloggers!
If you are interested fill out the form at this link:
Thank you, xoxo! 😘💕
Applications for Halloweentown 2025 are now open!
Join us for the 16th year of spooky shopping, hunts, games, and more!!
Apply here: forms.gle/CFuUdNUgyfjq1R2XA
1. Build a base using a plate and two bricks leaving a 2 stud wide gap in between.
2. Place a minifig torso, with arms removed, in between these bricks leaving a one stud gap from the edge of the plate.
3. Cut the decal with sharp scissors very close the edge of the printing, ensuring you cut a good flat edge at the bottom.
4. Remove the clear glossy sheet on the glossy side and place the decal sticky side towards the torso in the gap between the torso and studs on the plate.
5. You can align the decal now and ensure the bottom is flat with the plate.
6. Simply push the decal up like a hinge into the torso where it will stick. Rub with your nails across the decal until the edges turn white.
7. Peel off the plastic protective layer and you have your torso - If there's any excess decal fold it around the side of the torso.
IT IS ALSO RECOMMENDED THAT AFTER A FEW DAYS WHEN THE DECALS HAVE HARDENED A LIGHT COATING OF CLEAR ACRYLIC SPRAY IS APPLIED TO PROTECT THE DECALS FROM HANDLING AND MOISTURE.
This guide is to accompany the word guide already on my photostream which is included with any decal order.
Blue hour after sunset
Blaue Stunde nach Sonnenuntergang
The London Eye, or the Millennium Wheel, is a cantilevered observation wheel on the South Bank of the River Thames in London. It is Europe's tallest cantilevered observation wheel, and the most popular paid tourist attraction in the United Kingdom with over three million visitors annually. It has made many appearances in popular culture.
The structure is 135 metres (443 ft) tall and the wheel has a diameter of 120 metres (394 ft). When it opened to the public in 2000 it was the world's tallest Ferris wheel. Its height was surpassed by the 140 metres (459 ft) Sun of Moscow in 2022, the 160 metres (525 ft) Star of Nanchang in 2006, the 165 metres (541 ft) Singapore Flyer in 2008, the 167 metres (548 ft) High Roller (Las Vegas) in 2014, and the 250 metres (820 ft) Ain Dubai in 2021. Supported by an A-frame on one side only, unlike these taller examples, the Eye is described by its operators as "the world's tallest cantilevered observation wheel". The Eye offered the highest public viewing point in London until it was superseded by the 245-metre-high (804 ft) observation deck on the 72nd floor of The Shard in early 2013.
The London Eye adjoins the western end of Jubilee Gardens (previously the site of the former Dome of Discovery), on the South Bank of the River Thames between Westminster Bridge and Hungerford Bridge beside County Hall, in the London Borough of Lambeth. The nearest tube station is Waterloo.
History
Design and construction
The London Eye was designed by the husband-and-wife team of Julia Barfield and David Marks of Marks Barfield Architects.
Mace was responsible for construction management, with Hollandia as the main steelwork contractor and Tilbury Douglas as the civil contractor. Consulting engineers Tony Gee & Partners designed the foundation works while Beckett Rankine designed the marine works.
Nathaniel Lichfield and Partners assisted The Tussauds Group in obtaining planning and listed building consent to alter the wall on the South Bank of the Thames. They also examined and reported on the implications of a Section 106 agreement attached to the original contract, and also prepared planning and listed building consent applications for the permanent retention of the attraction, which involved the co-ordination of an Environmental Statement and the production of a planning supporting statement detailing the reasons for its retention.
The rim of the Eye is supported by tensioned steel cables and resembles a huge spoked bicycle wheel. The lighting was re-done with LED lighting from Color Kinetics in December 2006 to allow digital control of the lights as opposed to the manual replacement of gels over fluorescent tubes.
The wheel was constructed in sections which were floated up the Thames on barges and assembled lying flat on piled platforms in the river. Once the wheel was complete it was lifted into an upright position by a strand jack system made by Enerpac. It was first raised at 2 degrees per hour until it reached 65 degrees, then left in that position for a week while engineers prepared for the second phase of the lift. The project was European with major components coming from six countries: the steel was supplied from the UK and fabricated in The Netherlands by the Dutch company Hollandia, the cables came from Italy, the bearings came from Germany (FAG/Schaeffler Group), the spindle and hub were cast in the Czech Republic, the capsules were made by Poma in France (and the glass for these came from Italy), and the electrical components from the UK.
Opening
The London Eye was formally opened by the Prime Minister Tony Blair on 31 December 1999, but did not open to the paying public until 9 March 2000 because of a capsule clutch problem.
The London Eye was originally intended as a temporary attraction, with a five-year lease. In December 2001, operators submitted an application to Lambeth Council to give the London Eye permanent status, and the application was granted in July 2002.
On 5 June 2008 it was announced that 30 million people had ridden the London Eye since it opened.
Passenger capsules
The wheel's 32 sealed and air-conditioned ovoidal passenger capsules, designed and supplied by Poma, are attached to the external circumference of the wheel and rotated by electric motors. The capsules are numbered from 1 to 33, excluding number 13 for superstitious reasons. Each of the 10-tonne (11-short-ton) capsules represents one of the London Boroughs,[25] and holds up to 25 people, who are free to walk around inside the capsule, though seating is provided. The wheel rotates at 26 cm (10 in) per second (about 0.9 km/h or 0.6 mph) so that one revolution takes about 30 minutes, giving a theoretical capacity of 1,600 passengers per hour. It does not usually stop to take on passengers; the rotation rate is slow enough to allow passengers to walk on and off the moving capsules at ground level. It is stopped to allow disabled or elderly passengers time to embark and disembark safely.
In 2009 the first stage of a £12.5 million capsule upgrade began. Each capsule was taken down and floated down the river to Tilbury Docks in Essex.
On 2 June 2013 a passenger capsule was named the Coronation Capsule to mark the 60th anniversary of the coronation of Queen Elizabeth II.
In March 2020, the London Eye celebrated its 20th birthday by turning several of its pods into experiences themed around London. The experiences included a pub in a capsule, a west end theatre pod and a garden party with flower arrangements to represent the eight London Royal parks.
Ownership and branding
Marks Barfield (the lead architects), The Tussauds Group, and British Airways were the original owners of the London Eye. Tussauds bought out British Airways' stake in 2005 and then Marks Barfield's stake in 2006 to become sole owner.
In May 2007, the Blackstone Group purchased The Tussauds Group which was then the owner of the Eye; Tussauds was merged with Blackstone's Merlin Entertainments and disappeared as an entity. British Airways continued its brand association, but from the beginning of 2008 the name British Airways was dropped from the logo.
On 12 August 2009, the London Eye saw another rebrand, this time being called "The Merlin Entertainments London Eye". A refurbished ticket hall and 4D cinema experience were designed by architect Kay Elliott working with project designer Craig Sciba, and Simex-Iwerks as the 4D theatre hardware specialists. The film was written and directed by Julian Napier and produced by Phil Streather.
In January 2011, a lighting-up ceremony marked the start of a three-year deal between EDF Energy and Merlin Entertainments.
Coca-Cola began to sponsor the London Eye from January 2015. On the day the sponsorship was announced the London Eye was lit in red.
In February 2020, lastminute.com replaced Coca-Cola as the sponsor.[50] Grammy Award-winning singer Meghan Trainor performed at the launch party on a boat overlooking the London Eye.
In March 2020, the wheel was illuminated blue every Thursday at 8pm in support of the National Health Service as part of the ‘Clap for our Carers’ campaign created during the COVID-19 pandemic.
Financial difficulties
On 20 May 2005, there were reports of a leaked letter showing that the South Bank Centre (SBC)—owners of part of the land on which the struts of the Eye are located—had served a notice to quit on the attraction along with a demand for an increase in rent from £64,000 per year to £2.5 million, which the operators rejected as unaffordable.
On 25 May 2005, London mayor Ken Livingstone vowed that the landmark would remain in London. He also pledged that if the dispute was not resolved he would use his powers to ask the London Development Agency to issue a compulsory purchase order. The land in question is a small part of the Jubilee Gardens, which was given to the SBC for £1 when the Greater London Council was broken up.
The South Bank Centre and the British Airways London Eye agreed on a 25-year lease on 8 February 2006 after a judicial review over the rent dispute. The lease agreement meant that the South Bank Centre, a publicly funded charity, would receive at least £500,000 a year from the attraction, the status of which is secured for the foreseeable future. Tussauds also announced the acquisition of the entire one-third interests of British Airways and Marks Barfield in the Eye as well as the outstanding debt to BA. These agreements gave Tussauds 100% ownership and resolved the debt from the Eye's construction loan from British Airways, which stood at more than £150 million by mid-2005 and had been charging an interest rate of 25% per annum.
Critical reception
Sir Richard Rogers, winner of the 2007 Pritzker Architecture Prize, wrote of the London Eye in a book about the project:
The Eye has done for London what the Eiffel Tower did for Paris, which is to give it a symbol and to let people climb above the city and look back down on it. Not just specialists or rich people, but everybody. That's the beauty of it: it is public and accessible, and it is in a great position at the heart of London.
Big City Review wrote that:
If you're an amateur or professional photographer, the London Eye delivers the chance to get breathtaking photos of the city of London. The ride moves so slow which enables one to have ample opportunity to shoot photos and video from all angles. When your done shooting your photos, the ride's slow speed lets you just sit back and take in the incredible views of London. From the time your carriage reaches the highest point your breath will have been take away. That is why the London Eye is worth visiting.
Transport links
The nearest London Underground station is Waterloo, although Charing Cross, Embankment, and Westminster are also within easy walking distance.
Connection with National Rail services is made at London Waterloo station and London Waterloo East station.
London River Services operated by Thames Clippers and City Cruises stop at the London Eye Pier.
(Wikipedia)
Das London Eye (englisch „Auge von London“), auch bekannt unter der Bezeichnung Millennium Wheel, ist mit einer Höhe von 135 Metern seit 2022 das zweithöchste Riesenrad Europas. Es steht im Zentrum von London am Südufer der Themse im London Borough of Lambeth nahe der Westminster Bridge und gilt als eines der Wahrzeichen der britischen Hauptstadt.
Baubeginn des Riesenrades war 1998. Am 10. Oktober 1999 wurde die Konstruktion aufgerichtet. Die Eröffnung für Besucher verzögerte sich wegen technischer Probleme bis zum 9. März 2000. Das London Eye sollte ursprünglich nur etwa fünf Jahre betrieben werden; angesichts des großen Erfolges wurde dies verworfen. Bis zum 10. September 2022 war es das höchste Riesenrad Europas, bis in Moskau das 140 m hohe Riesenrad Sonne von Moskau eröffnet wurde.
Merkmale
Das London Eye besitzt 32 bodentief verglaste und klimatisierte Gondeln, in denen jeweils 25 bis 28 Personen Platz finden.[5] Die Gondeln sind horizontal verlängerte Rotationsellipsoide. Sie sind von je zwei fest im Riesenrad montierten Kreisringen umgeben und in ihnen um ihre horizontale Achse drehbar gelagert (s. unten stehendes erstes und zweites Bild). Wegen ihres tiefen Schwerpunktes drehen sie sich darin so, dass der Gondelboden immer waagerecht bleibt.
Die Gondeln befinden sich außerhalb des Rades, was eine fast uneingeschränkte Panorama-Aussicht ermöglicht. Ihre Umfangsgeschwindigkeit ist 0,26 m/s (knapp 1 km/h). Ein Umlauf dauert fast ½ Stunde.[6] Durch die geringe Geschwindigkeit wird der Fahrgastwechsel während der Fahrt möglich, so dass das Rad nur anhält, um u. a. Rollstuhlfahrern den Einstieg zu ermöglichen. Der Antrieb des Radkranzes erfolgt an beiden Seiten durch insgesamt 16 Reibräder (siehe ein Reibrad in unten stehendem dritten Bild): 8 pro Seite, zu je 2 Gruppen à 4 Stück zusammengefasst.
Bei guter Fernsicht kann man vom Riesenrad aus bis zu 40 km weit sehen, unter anderem bis zum etwas außerhalb Londons gelegenen Schloss Windsor.
Planung und Bau
Das Riesenrad wurde von den Architekten David Marks und Julia Barfield entworfen. Tragwerksplaner war John Roberts, der auch später mit Marks Barfield beim British Airways i360 Aussichtsturm in Brighton zusammenarbeitete. Marks und Barfield hatten versucht, nach dem Erfolg des London Eye die Idee an weitere Städte zu verkaufen; sie erwies sich aber als zu teuer, weshalb sie als kostengünstigere Alternative den Aussichtsturm i360 entwarfen. Für das London Eye war ursprünglich Arup als Ingenieursfirma eingebunden. Diese stieg jedoch aus, als das Unternehmen Mitsubishi, mit dem sie verbunden war, sich zurückzog. Das Design der Gondeln stammt von Nick Bailey; das niederländische Stahlbau-Unternehmen Hollandia baute sie. Die Drehachse und die einseitige, schräge Stütze aus Rohren und Spannelementen wurden von der tschechischen Maschinenbaufirma Škoda geliefert. FAG Kugelfischer entwickelte und baute in Schweinfurt das riesige Pendelrollenlager an der Nabe. Die Kapseln und das Stabilisations-System stammen von der französischen Firma Sigma. Der Antrieb wurde von Bosch Rexroth geliefert. Am 10. September 1999 versuchte das niederländische Spezialunternehmen Smit-Tak mit einem der größten Schwimmkräne der Welt, das liegend zusammengebaute Rad des London Eye aufzurichten, doch der Versuch schlug fehl. Erst einen Monat später konnte das Rad zunächst um 60 Grad aufgerichtet werden. Es dauerte eine weitere Woche, um es in seine endgültige Position zu heben.
Betreiber
Die Merlin Entertainments Group besitzt und betreibt das Riesenrad. Sponsor seit Februar 2020 ist die Online-Reisesuchmaschine lastminute.com.[10] Zuvor waren von 2011 bis Ende 2014 EDF Energy und von 2015 bis Ende Januar 2020 Coca-Cola die Sponsoren. Bei der Eröffnung 2000 gehörte es noch der Tussauds Group, British Airways und der Architektenfamilie Marks Barfield gemeinsam. Tussaud kaufte 2006 die Anteile der anderen Eigentümer und wurde 2007 dann selbst von Merlin übernommen.
Einordnung
Das London Eye ist das sechstgrößte Riesenrad der Welt. Bis zum 4. Januar 2006 war es das höchste Riesenrad der Welt, wurde aber dann durch das 160 Meter hohe Riesenrad „Stern von Nanchang“ in Nanchang, China, abgelöst, das wiederum mit der Eröffnung des Singapore Flyer am 1. März 2008 als damals größtes Riesenrad der Welt ersetzt wurde (siehe auch Dubai Wheel). In der Zeit zwischen 2014 und 2021 war der High Roller in Las Vegas das größte Riesenrad, welches im Oktober 2021 vom 260 Meter hohen Ain Dubai abgelöst wurde.
Bis zum 10. September 2022 war es außerdem das größte Riesenrad Europas, wurde aber durch das 140 Meter hohe Riesenrad „Sonne von Moskau“ in Moskau, Russland abgelöst.
Zur Kolonialausstellung Empire of India Exhibition stand von 1895 bis 1907 im Earls Court Exhibition Centre das Great Wheel, das mit 94 Meter bis zum Bau des Riesenrades in Paris im Jahr 1900 das höchste Riesenrad der Welt war.
(Wikipedia)
Orsy Event Designers Applications APRIL
Orsy Event applications are open
❤App Here Please:
Dates of event:
9th - 23rd
We once again open our doors for new talented designers to join us for our 2nd round!
Disturbed Event - 8th to 29th
___________________________
The IM Arena AI application on Discord generated this video clip based on an image or text description that I had provided.
The Google IFX image application generated the original still image based on a description that I had provided.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Beevor Street off Tritton Road, Lincoln, Lincolnshire.
Beevor Street runs north-west from Firth Road to an unaccesable railway crossing. The route haw been used from the mid-1880s but was not named until 1896 when the official application for its modern construction was made by Boultham parish Committee, the name "New Boultham" being applied to the general area. Beevor was the family name of Elizabeth Beevor, the wife of Rev C C Ellison, vicar of Bracebridge and rector of Boultham.
The road was cut in half when Tritton Road was completed in 1967. It is mainly a road to access industrial works west of Tritton Road, but there is a row of terraced housing at the junction with Firth Road (1-6). Originally there were 10 houses (1-10).
The Warehouses on Beevor Road were built by Ruston Proctor and Co. during WW1 on south side of Beevor Street beginning at eastern end and progressively extending westwards. Ruston and Hornsby in the 1920s. There has been partial demolition of the works, including machine moulding shop demolished in the 1990s now occupied by Morrisons supermarket, petrol station and car park, roundabout and roads; in 2001/2 the east shops were removed for the construction of B and Q DIY store and further demolition continued westwards along Beevor Street. Ruston Bucyrus joined with Erie of the USA to become Bucyrus-Erie in January 1930 and built 3 shops in that year; offices extended in 1931. The OS map shows these buildings with numerous railway sidings into them, connected with the L M and S Railway. These works were used for the manufacture of mechanical excavators, first called steam navvies in the 1920s or earlier.
By World War 2 ten shops had been built including nos. 9 and 10 for the military Trench Digger Project. These buildings all have gable ends facing the street in red brick, with tall metal-framed windows in rectangular brick recess. The roofing appears to be more recent. On the north side of the street R-B occupied some buildings, including Becor House offices. In December 2002 R-B International was bought by Nottinghamshire-based manufacturer Langley Holdings as a going concern. Becor House offices for Bucyrus-Europe in 2009; Homelet until 2012. Windmill Pine occupied a shop parallel and against the Main Drain 1980s-2000, which was demolished in 2009. Becor House part demolished and adapted in 2013 by the University of Lincoln for a School of Mathematics and Chemistry, which opened in 2014.
The new CAFNR app is the best way to connect with the MU College of Agriculture, Food and Natural Resources. The smart phone app features stories, highlights events, showcases CAFNR’s Agricultural Research Centers and provides users a way to easily connect to the college’s social media accounts.
Photo by Kyle Spradley | © 2014 - Curators of the University of Missouri
WOMENSTUFF HUNT APPLICATION
Attention Bloggers!
Get ready for an extraordinary event this July – the Womenstuff Hunt! 🌟
We’re thrilled to announce that our annual Womenstuff Hunt event is just around the corner, and we want YOU to be a part of it!
Don't miss out on this unique opportunity to showcase your talent and be a part of something truly special.
Key Dates:
Event Start: July 1st
Event End: July 31st
Sign up now and let’s make this event unforgettable together!
Thank you in advance for your enthusiasm and participation.
Let's hunt and have fun!
Scrabble with words Occupation, Application, Resume, Hiring
When using this image please provide photo credit (link) to: www.flazingo.com per these terms: www.flazingo.com/creativecommons
Liz is alright, giant brainbot is dead, no one is killed, everything's fine. I call this a good day. Still though, I have work to do. I don't like the idea the giant robots walking around. Not having any of that shit. Wherever that brainbot came from, I gotta find it. And when I do, I'm either gonna kill it so hard there isn't much left to bury, or blow it the fuck up until there's nothing but ash and memories. Can you tell I don't like giant robots? Anyway, most of whatever's left of the brainbot before Linda blew it up is with the cops, but I did manage to steal an important-looking piece off of it about the size of my chest for Arnie and his nerds to play with. Might give me clues. Annoyingly, about 3 days after this whole clusterfuck I haven't heard anything. So I'm just back to work with nightly slaughtering. I finally moved my armor back to the shack so that means I'm out to the woods. I get to the shack and I see something's off. The door is open. Padlock off and everything. The fuck? I storm on in ready to kill whatever the fuck got in here. The first thing I saw though was....Linda? Alright, i should be asking how the metaphorical and literal fuck she got in here, but....she's smiling at me. It's still the most beautiful thing I've ever seen. I can't ask too many questions looking at it. I will ask why she's holding one of my old helmets, though. And what's with her hair? it's not in a ponytail? Actually, i like it like this...
"Linda?'
"Hey..."
"W-what's going on? How'd you get here?"
"I, uh...followed you here one night....so this is where you keep all your stuff, huh?"
"Uh, yeah....not very charming, but that's kinda the point."
"Yeah, I get it. Good idea..."
"....Hey, your bandage is off."
"Yeah. Got this ugly scar now, though."
"I think you still look beautiful. I like your hair, too."
"Thanks..."
"So....what's up? What'cha doing here?"
She looks at the old helmet for a few seconds, that beautiful smile still on her face. And that scar....I like that, too. She says it's ugly....if it wasn't for Liz, it would've been much worse.
"J....Can I talk to you? it's really important...to me. And maybe to you..."
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
Shot with three large Neewer LED panels, nothing else, no light formers .... seems like I start to like LED light (never would have guessed that).
EXIF
5d3 with EF 70-200 f/2.8 II at f/3.5 and at 145 mm,, ISO 320, Av-Mode, Raw., WB on flash.
Camera: 1952 Leica IIIf RD 35mm Rangefinder.
Lens: Waterworth 2 inch Centaur f/3.5.
Film: Ilford FP4 Plus ISO 125 35mm black & white negative.
Development: Ilford ID-11 1 + 3 @ 20C/21m.
Camera supported on Linhof Junior tripod & ball head.
Lens is wide open for this image. Focus point is the "W" badge and lens of the nearest projector, carefully set via the Leica's coupled rangefinder. For a lens with a little front coating damage (cleaning-related I suspect), I thought the contrast and resolution of such an old lens to be respectable.
The Waterworth Centaur is a vanishingly rare 2 inch f/3.5 lens manufactured by Waterworth of Hobart, Tasmania, Australia. Optical manufacture began at the Domain on the edge of the city of Hobart during WWII in order to furnish the Australian defence forces (and to an extent, also, other Allied forces) with lenses, prisms and other components vital for military use in targeting equipment, gunsights and for photo reconnaissance camera applications among others. After the war the workforce turned their skills to the production of goods for civilian use, notably projection equipment for educational institutions. A small number of still camera lenses were nevertheless manufactured in Hobart in the Leica 39mm rangefinder thread mount.
The Centaur was available in two different guises, both with the 39mm Leica thread mount: a non-focusing enlarger version made for darkroom printing; and the type used to make the image shown above. This being a focusing and rangefinder coupled version.
During a visit to the University of Tasmania to inspect the items in their Waterworth Collection (a bequest from the late Peter Smith, long a UTAS chemistry faculty member) I was permitted to fit the focusing example of the Centaur in the collection to my own Leica IIIf Red Dial rangefinder and take a few photos of the collection with it.
In the foreground you will see just a few of the different types of still projectors Waterworth manufactured after World War II.
The Centaur fitted readily to the IIIf like any Leica lens made for it, and coupled perfectly to its (well-calibrated) rangefinder from close range to infinity.
I set the camera and lens onto my own Linhof junior tripod and ball head (which was itself formerly owned by Peter Smith before it came into my possession, so there was a brief reunion of these items once owned by him). A short series of images was made by me at different apertures including wide open at f/3.5 with the camera on the tripod, using a cable release to maximise sharpness.
I have added four very similar images made with this very rare lens. Whilst there are a handful of images of a Waterworth Centaur lens locatable by Google Image search, I have not seen any photos actually taken with the lens: let alone taken with one fitted to a screw mount Leica rangefinder, the type of camera the lens was actually designed to be used with. This series might therefore be the only images on the web with a Centaur on film using a Leica rangefinder and have been uploaded for the benefit of those who may like to see some photos created with one.
The exact number of Waterworth Centaurs produced is not definitively known. At least one serial number into the low 300s exists. But whether all serial numbers from 1 were allocated and used is not known. The actual number made may be considerably less, one source suggests perhaps 200-odd? Many of those would have been for enlarger use and not suitable for photography, thus, the amount of surviving Centaurs with rangefinder coupling may, potentially, be tiny. Who knows? UTAS are researching the activities of the annexe.
You may see a photograph of the Centaur lens attached to my Leica at UTAS here:
www.flickr.com/photos/43224475@N08/51087053587/in/datepos...
More information about the wartime activities at the Hobart annexe and the Waterworth optical products which were made after WWII for civilian use may be found at UTAS's own website for Waterworth, here:
Some images of the actual Waterworth Centaur I had the privilege of photographing with (Centaur serial number 171) may be viewed here:
waterworth.omeka.net/items/show/76
Copyright 2021 Brett Rogers All Rights Reserved
In an increasingly digital world...
There are still some applications where paper has the edge.
Dedicated to all those trees that die to preserve my posterior from a digital solution.
Strobist sb80dx 1/4 pwr 24mm zoom in 38cm ezybox. 1m above , behind camera left
I took this photo a while ago and thought I had posted it but I didn't.
Basically it shows how I apply my stickers. Using this technique it allows me to line up the bottom of the sticker with the bottom of the torso. The only issue that i have sometimes is getting it centered but if you only stick the bottom then you can check the alignment before you place it all the way.
I hope that this helps some of you.
Professional, unique, quality bloggers wanted.
Aesthetic: Asian, cyber, futuristic, fantasy.
Items: Accessories, gadgets, clothing, props.
Application -
SEKAI
A beautiful artist’s concept of an earth-orbiting Apollo Applications Program (AAP) configuration, possibly of an experimental micro-gravity biology module…maybe… ¯\_(ツ)_/¯…docked to the Apollo Command/Service Module (CSM).
The scientist-astronaut seems – I think – to be using a snazzy microscope of some sort, although I’m having some perspective issues regarding it, to include what the large rectangular component with the conical appendage is being used for. Photomicrography? And how it correlates with the other components in the immediate vicinity, which may include dual/binocular eyepieces?
Note also the item that looks like a bubble helmet on the half shelf to the left of the scientist-astronaut. I think I see the vague, barely perceptible features of a human head inside it. Do you see it??? GOOD GOD, what kind of unholy experiments were under consideration?!? 😲😉
And, I can’t seem to identify the rough, textured, metallic(?)…’mass’ depicted on the other side of the module, across from the scientist-astronaut. And, it looks like there’s a fixed stool in front of it.
Based on the strong similarity of this CSM to that in another work I’ve linked to below, which is also from this series of works (based on photo ID no. sequence), I really think it, and this one is by Raymond Bruneau. That other one has the letters “RB”, with an arrow adjacent to it, depicted as if it were part of the surface markings on the exterior of the Service Module. That, and the fact that Mr. Bruneau chose to use actual photographs of the earth in a number of his earth orbit depictions, such as this one, gives me confidence in my identification.
Finally, although I haven’t been able to find a match from the exemplars available online, I’m sure the Neil Armstrong signature is an autopen.
Building an application in Facebook is a really different experience from normal interaction design as you are constrained by the Facebook developer toolkit. Not that it is a bad thing, just a different way of designing a solution. This concept is now launched as an application for the Danish charity Folkekirkens Nødhjælp (Danish Church Aid) apps.facebook.com/bliv_indsamler/
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs
The Case of the Missing Warts!
At some point in time, back then in the very early seventies the thought donned on me that I too could attend university, that, just because I was a grade ten dropout didn’t necessarily mean that my qualifications were much different than those who had attained their grade thirteen graduation certificates. There was a school of thought which supported the broader idea of Mature Student. This was me, had to be me, I was older, therefore wiser by experience. The decision was honed by observation and experience. My buddy, John the Count had taken me to a few lectures at U of T. At one such lecture Father David Belyea was lecturing to an English class numbering in the hundreds in a huge auditorium. The meat of the lecture was his discourse on the priest in the book Diary of a Country Priest written by George Bernanos. His lecture was nothing less than holy, I was impressed with his grasp of matters pertaining to the soul. On another visit to the campus John had me sit in at a small third year Sociology class which was about the lives of negro street people. The professor in that class had the students read a book titled Tally’s Corner which was about a man who worked now and then in a inner city East Coast American City, it may have been Baltimore. Count used me as a current day example of folk who though not pursuing a scholarly future were wise from experience, just like the guy in the book Tally’s Corner. I remember reading the book, enjoying the simplistic narration the writer wrote about, his observations, his respect for the characters in the book. One section described the method by which the shop keeper would pay his staff for unloading a truck full of merchandise. The owner estimated that the going rate for labour was five dollars an hour, this work took place in the sixties when rates of pay were much less than today, but so were the costs of goods. The owner would then subtract his estimate of how much the worker would steal from him per hour, he came up with the figure of two dollars and fifty cents an hour. The owner deducted this sum from the going rate then paid his workers the sum of $2.50 an hour. Surprisingly, the Count would find himself in a similar situation later in life while he ran the big cheese shop Pasquale Brothers on King Street East in downtown Toronto. John would from time to time actually hire, street folks, drunks, drifters, hoboes to help unload his merchandise and I know he applied the knowledge he learned in this social class to his wage structure.
Beside Count taking me to his school he also introduced me to his school friends who were not slouches when it came to scholarly matters. Some of the other guys were attending Universities around the country, one could say that my interest was by osmosis, or simply said, if they can do it, so can I.
Being an ardent writer, I penned letters to a few schools, U of T, U of Guelph and the U of Windsor. I recall having an opportunity to attend Guelph however my application arrived too late for the upcoming fall semester and this left Windsor as the school ready to accept me into a full first year of university studies. The roller coaster ride was about to pick up speed.
As an added bonus to attending school in Windsor my friend John the Count's brother Pete Kalci was looking for a roommate to share an apartment with as he was entering his second year of studies at Windsor. Using their dad Matts car we drove down to Windsor in late July of 71 to look at a bachelor apartment for the upcoming school year, Pete had gotten the lead from one of the newspapers. The apartment was situated at the back on the second floor in a plain three storey building. A centre stairway cut the building into two sections. The building was situated on University Avenue about a mile or so north of the school itself. An added bonus was that it was situated directly kitty corner to an Ontario Liquor store outlet. Besides that it was walking distance, about ten minutes to the downtown section, clubs/bars etc and a few blocks from a great second hand store. There was a clothing thrift shop in one of the store fronts of the thirty or so unit building. We took the small bachelor apartment without much thought. I believe the rent was around two hundred a month. It was furnished, albeit somewhat sparingly with a green pull out couch, an easy chair, small kitchen table and chairs which fit nicely into the tiny apartment size kitchen, it was the tiniest kitchen, no bigger really than that which a single person could fit into at one time. The eating area was tiny as well, however there was enough room for two to sit at the small rectangular table. Pots and pans and cutlery and dishes were also included. A small bathroom was tucked into the corner of the apt near the kitchen, there was no tub, just a small shower, the tiles were black and white one inch pieces with a black relief every here and there. The floor tiles matched but were a larger size, four inch by four inch. Although the fixtures were ancient, they were of a quality one seldom sees in more modern buildings. Really, everything was just perfect. The large walk in closet was to act as Pete’s bedroom, it was just large enough to accommodate a single bed with a dresser for clothes above which hangers could be hung with shirts and other articles.
Having been built I would think in the late thirties, the building was rock solid, the materials used in its construction were plain but durable. Solid wooden railings led to each floor, heavy steel self closing fire doors were present at each entrance. The building itself had character, there was an unusual stairway between the left and right hand sides of the building which was a great place to have a puff and hang out your laundry as a number of clotheslines were strung up for this purpose. Brenda the lease holder had graduated from Windsor and was taking a year off to live and study in Toronto. The neighbours across the hall were Sam, a balding, intellectual sounding Greek, short, barrel chested, Ouzo drinking Chrysler line worker, about thirty five or so years old and his new bride Mary a bit chubby twenty something, farm raised, locally, organic, dark haired woman, his conquest and love interest.
It was a hot day that July Saturday in Windsor and this is often the case in far southern Ontario as the location of the city is almost as far south as Canada reaches. We visited the school, there were a lot of empty buildings. I’m just estimating but I would think the campus took in about ten or so city acres. There were several older looking school styles, for the most part the construction was that of a late fourties architectural style with some early sixties buildings that contrasted with the older style. Prior to receiving university status the University of Windsor was known as Assumption College. The campus was growing as a new Arts and a fabulous Science facility were being constructed on the outskirts of the current campus.
There was a landscaped buffer zone from the main artery University Ave. A short five minute walk would take you to the central hub of the school, the cafeteria and student affairs building where everyone gathered, ate, attended concerts and generally observed life’s slowly turning pages in the lounges created in the foyer. Across from the cafeteria there was an impressive four storey library, quite new, well landscaped, with elevators to reach the upper floors that housed hundreds of thousands of books in sturdy six foot tall racks made of metal and dark oak wood shelves. Numerous areas had been created for sitting and studying, some had desks with chairs. On each floor there were a number of areas where four modern comfortable easy chairs faced each other. In the basement there was a microfiche department where one could look up information on this predecessor to the computer, computers were still a thing of the future, only large corporations had those newfangled information storage machines at the time. The library also had sound booths with excellent turn tables to play the fine assortment of records from the school library.
Trees graced the grounds, along with weed free trimmed lawns and hedges. On this quiet pre fall Saturday just the odd student could be seen coming and going. At the rear of the campus there was a pair of tall eight or ten storey complexes designed for students to live in, residences, beside these buildings there was a low rise building that housed the student pub.
Pete and I stopped for a few beers at the local watering hole, a place called Sid’s Bridgehouse, named thusly as it was within view of the large steel Ambassador bridge which connects Windsor to Detroit across the murky Detroit River. Draft rooms were not strange places for Pete and I, as frequent bouts of relaxation would often find us sitting at one of the many draft beer hotels in various parts of Toronto. It seems now as if we knew the city by the location of its drinking holes. With a bit of a glow on we headed over to Detroit to get some Ripple wine on my insistence. We happened upon a herd of streetwalkers, black damsels dressed in various manner many were sashaying in black high heels at the sidewalks edge wearing the kind of butt enhancing short tight miniskirt their cleavage propped up by wire hinged push up bras. It was quite obvious what the girls were up to and what we were looking for. We chatted a mother and daughter act up and we met them around the corner at the Chicago Hotel a three storey grey brick dive of a place that was more of a flop house as well as a hub for the prostitution trade. I can still see the black sign with white neon lettering above the entrance. Now why they would call a Detroit hotel the Chicago Hotel is a mystery. Each lady required ten dollars in advance which was a bargain compared to rates in Toronto at the time. The Hotel itself required a dollar fifty from each of us to use the room, I balked at the extra dollar fifty charge. The burly, dark 350 pound gentleman behind the counter didn’t make any fuss over his attempt to overcharge us, it was either pay the extra fee or leave and risk losing the money we had already paid the ladies in advance. The room was very basic, there was a small bed, a toilet, a sink, one worn thin faded green facecloth and a small once white towel. I let Pete go first, he had the daughter, a skinny thing, much less than twenty, whatever they did they did it fast, he came out of the room with his typical reserved grin and a glint in his pale blue grey eyes after his session. It was now my turn. The thirty something year old lady stripped down to her white panties and white brassiere which I found to be quite a contrast to her dark brown skin, she could have been a member of the Supremes, she cleaned herself down there with the facecloth, then rinsed the threadbare cloth in the little sink and cleaned my bulging apparatus. I couldn't help but notice the contrast in her skin color with that of her clitoris walls, why she was just like a white woman down there! My mind took a permanent snapshot of her anatomy which remains vivid today. She then proceeded to attempt to get me off, it was a while before Henry would cooperate, no amount of lip work or hand persuasion could keep Henry at attention for a very long period. A few attempts at entering her walnut shaped area failed, it was embarrassing. At the time I had a few small genital warts on my pecker that gave me some concern, Mavix jerked me off vigorously for five or so minutes, I finally came. Later that night back in Windsor while having a piss I checked and the warts were gone! She was protesting how long it was taking me to finish but I didn’t remember her saying we were on a time limit! You could say it was not a real touchy feely lovemaking session. Leaving the first floor room I stuck my chest out like a cock in the chicken pen, Pete was sitting with his date on a ratty sofa in the hotel lobby, the girl was chewing gum and primping her hair, the clerk wore a black summer shirt, he had a pencil stuck in his ear, a radio played soul music in the background, the lights were dim. We bought some Ripple wine and slept at the apartment in Windsor as had been arranged with the owner prior to leaving the city, a key was provided beforehand. Indeed life in Windsor was getting off to a very good start.
Tuition for the first year in school was going to be paid for by a grant and student loan, which was to be used for living expenses. Besides that money I had saved almost twelve hundred dollars at a summer job delivering Roll It shelving brackets. The total of the combination grant and loan was the sum of three thousand five hundred dollars. A third of that went directly to the University for tuition. Fortunately the Government issued two separate cheques for the grant portion, one in early September and the other shortly after the Christmas holiday or I surely would have spent it all in no time. Now I was pretty good with dollars, knew how to divvy them up, as I had developed my budget back in the Dyer and Miller and White House days. My habit was to take note of what was coming in and what was needed to go out. I’d been living on my own since the age of seventeen. I would make a list just before paydays and write on a piece of paper in order of necessity, the rent, meals at the Silver Tip, tobacco, bus fare, snacks for the room, beer money, HFC payments, I always owed my mom a few bucks. But this was so different, living in an unexplored town, a big town with a big city just across the bridge. My quest for adventure would drain the account in order to properly explore this new horizon. As mentioned the Liquor outlet was less than fifty steps away, it was hot in Windsor in September, to make matters worse there was a province wide beer strike, Pete and I quickly became fond of a beverage called Lite n Easy Sparkling Cider an apple beverage that was similar to beer in its alcohol content and similar in size of bottle and also satisfaction.
As mentioned the first week back to school is similar on many campuses, the new pupils gets oriented, they forgot to tell Pete and self and thousands of other students that it was not a week for getting disoriented! Check the local sales of booze in school towns during orientation week, they must be over the top. Pete and I lived like kings, we drank daily starting early in the afternoon. For entertainment I would cruise all the new to me second hand shops seeing which one could fill whatever purpose. Buying new shirts, pants etc was out of the question but poverty or near poverty was no excuse for not looking sharp. There were new goldmines of hand me downs to be explored. An early find was a bassy sounding record player AM FM radio combo, a boxy shaped wooden sound system about three feet tall by two feet wide, when you put on Albert Kings Born Under a Bad Sign album particularly that cut When I Lost My Baby, why you’d almost start to cry. The boxy 50s style system was easy to put on my shoulder and carry the few blocks to the apartment, up the stairs and down the hall on a sunny early fall afternoon.
Windsor was divided as are many towns into economical sections, we were living just south of the downtown where there were apartments and shops and side streets with big homes in a neighborhood I would describe as a step up from working class blue collar. Across from the centre of town lay more working class streets where a lot of the plant employees lived. The city’s main employer was Chrysler, they had plants spread out over the area north of the main intersections of Wyandotte and Oulette. While going to the school I was quite unaware of the fact the local economy was spurred by the automobile industry. To me, it was just another working class town, not unlike Toronto, or Hamilton. There was a good size downtown it seemed to have all the usual trappings, bars, clubs, restaurants, Woolworths, Kressges, Eatons, specialty shops, bookstores, curio stores, hospitals, police stations, pizzerias, grocery stores including a new Steinbergs everything one would need including my favourite a handful of second hand stores. One day at a second hand shop run by the St Vincent De Paul organization I found an old black typewriter from the 1920s complete with case. It was in working order I paid five dollars for it, it was a thing of beauty. It had no purpose except to look good, it oozed character but was somewhat dysfunctional as the ribbon that held the ink jammed shortly after I took it home. For assignments, which had to be typewritten and double spaced I used a newer portable electric Smith Corona bought for about seventy five dollars in Toronto complete with an aerodynamic looking plastic case.
The Geranium Tea Garden was a gem of a restaurant ran by a couple of older ladies. It was situated on a secondary street a few blocks from the downtown core. On Tuesdays buisness must have been very slow as a hand scrawled red poster board sign in the window beckoned one and all to come and eat the Tuesday luncheon buffet for .89 cents! After the first months partying Pete and I were getting a bit low on money. When we found the Geranium it became a regular event for us to attend this feast on Tuesdays, mid afternoon. Much of the food was casseroles, hamburger hash, leftover lasagna and meatballs, stick to your ribs goulash and other such fare that was probably left over from the previous weekend. Those items along with soggy mixed vegetables and gravy with a formidable skin on it were served from a stainless steel water heated table. Besides those dishes there was always a big tray of breaded pork chops and pieces of breaded fish, as well as southern fried chicken drumsticks. There were tiny rolls, along with those cold one inch squares of butter and plenty of jugs of water to wash it all down with. The deal was you could have two plates full for the cost of .89 cents. Getting the overloaded plate to your table was a bit tricky, I would often slip a half dozen chops and some breaded fish and drumsticks into my brown tweed sports jacket pocket before arriving at the table, before leaving the serving area I would look around and check that the ladies were busy elsewhere. There was a chilled display case that held homemade rice pudding as well as a variety of brightly coloured jellos with small squirts of whipped topping on top, these were also included in the buffet price.
Orientation week was coming to an end, a few bands played a free concert in the cafeteria, there were other activities as well. Pete encouraged me to check things out, as up to this point we had pretty much avoided the week long festivities on campus as we were to busy drinking at the apartment and gallivanting downtown. We just happened to go into the cafeteria mid afternoon as a beer chugging contest was winding down after a day of preliminaries. We sat down and ordered some cheap draft to watch the goings on. There were four contestants left on the stage sitting behind small desks. The judges would place six draft in front of each contestant and blow a whistle, whichever drinker finished first would advance to the next round with the second place finisher. As I recall quite a few contestants participated in the advertised event, drinks for all contestants were free of charge. No one knew me, I was a sleeper, an import, a high draft pick! Pete egged me on, our eyes meeting each others in knowing ways. Up on the raised stage there sat one last person, his name was Iggy or something like that he was the president of the local motorcycle gang, the Lone Bunch or Satans Breed, he was a big six foot four, long haired son of a bitch, a brute of a man older than me, shit older than most of the teachers. The judges hushed the crowd and asked if there were any challengers, I looked around, no one dared challenge Iggy! No one except me. As Iggy began to go for the trophy I finally stood up and got out of my chair and swaggered up to the stage, chest out like that cock in the chicken coop. I took a seat, in my mind of minds I projected myself to some of the previous victories I had amassed at places like the Embassy Tavern in Toronto on Belmont Street and of course the Place Pigalle on Avenue Road, the bars in Canton New York like Billy’s Lower, no one could beat me at chugging. They poured us each six draft in seven ounce glasses. We waited for the judge to give us the signal to drink. No one knew I had perfected the 'straight drop' technique, which allows me to open my throat and pour a full glass of beer down without gulping. As the bell rang I looked my competitor in the eye, it was like a shoot out. An alarm sounded, RRRRRIIIINNNGGG the bell went and I drank the six draft in what must have been world record time, Iggy had three left when I had slammed the sixth glass on the table. There was much applause from the drunken audience, I stood up and non chalantly shook my opponents hand and returned to the table with Peter, there was a small write up in the University newspaper marking the occasion, the prize was more free draft. Mature Student.
Abnormality's 3rd year anniversary round: Mythos is open for applications until March 14th!
If you want to participate, fill out our application form!
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Chromolithographic patterns from La Plante et ses Applications Ornementales (1896) by Maurice Pillard Verneuil (1869–1942), French artist and decorator in the Art Nouveau and Art Deco movement. Verneuil studied and developed his style from Eugène Grasset, a Franco-Swiss pioneer of Art Nouveau design. Inspired by Japanese art, nature and particularly the sea. He is known for his contributions to the Art Deco movement through the use of bold floral designs on ceramic tiles, wallpapers, textiles, and posters. We have digitally enhanced the decorative illustrations from La Plante et ses Applications Ornementales (1896) for you to download for free under the creative commons 0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1267418/la-plante-et-ses-applications-ornementales-free-cc0-ornamental-designs