View allAll Photos Tagged Create
Created for Pareeericas Texture Extravaganza #14~
www.flickr.com/groups/1192983@N21/discuss/72157624040102149/
A World Economic Forum‑Water Resources Group meeting in Mongolia, co‑hosted by the Office of the President of Mongolia and the Water Resources Group in June 2011
Use left-over scraps of binding to create this block. Find out more about this and all the Patchsmith Sampler Blocks at The Patchsmith.
An old photo, looked at again. Of course I've warmed the colours because they make me feel more cheery.
Feminist/Sexist
BFA Thesis Project and Gallery Show
As a twenty-one year old woman, I am often faced with the need and desire to fulfill two or more conflicting roles. By showing the audience only the black and white, I encourage them to reflect on their own gray areas. I use quilts, traditionally a woman's medium, as sites to talk about sexuality, self-image, and stereotypes.
CREATED WITH FLICKR TOYS ~~~~~~~motivator614214~~~~~~~
Webster's photo was taken through the window in Southern New Jersey USA
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Frozen in Time photos by Marianne.Unauthorized use or reproduction for any reason is prohibited.
Please visit my Photostream,
thanks!
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Acton, London*. Here are the details of the project
Brief: The plot for this design was a mid-size family garden, which had recently benefited from the addition of a large sunroom on the back of the property. It was a fairly blank canvas, with nothing of note to be retained in the re-design. The garden had side access and worn boundary fences which required replacing. There was no clear brief other than that the design include a seating area and some lawn, and that the transition from sunroom to garden be fairly seamless.
Solution: The focus of this design was to create an exterior space that serves as an extension to the interior, featuring several distinct and versatile areas that can be adapted to a variety of uses.
The garden's boundaries were replaced with new fencing to provide a uniform and attractive backdrop to the transformation within, while the long sideway down the right of the house was renovated with the addition of attractive 'bamboo' slate tile flooring in a random lay pattern.
The first section of the space comprises a large area of Western Red Cedar decking adjoining the house, and offers ample room for entertaining, with a long L-shaped fixed-bench seat stretching width-ways across the space from the left-hand side to the centre. This was backed with a rendered block raised bed, planted with fragrant lavender and capped with 'bamboo' slate tile, to provide a sense of enclosure and separation from the rest of the garden.
A decked walkway running down the right hand side of the space provides access to a 'spa' area, featuring a large square hot tub housed upon a reinforced paved hard-standing and nestled between existing and additional trees, shrubs and foliage to provide a secluded and intimate area for bathing throughout the seasons. Hidden behind mature and new planting in the bottom left corner, a large shed provides ample storage for the client's garden accessories. The middle of the space has been given over to a large lawn edges with slate.
A purple and yellow planting scheme of soft, cottage-style evergreen shrubs and flowering perennials will help to bring year round lightness and subtle colouring to the space.
After-dark hot tub bathing is enhanced by several strings of pea-lights woven through the existing shrubbery. Deck lights demark the main area of decking and guide one's journey along the decked walkway. Finally, spot lights in the beds highlight certain area while providing a gentle wash throughout the space.
Testimonial: "After months of planning and a full year of having builders everywhere, we had finally got the house into good shape but the garden was a nightmare. It had been somewhat overgrown before the builders moved in, but after a year of being used as a builders yard, it needed shock treatment.
We needed help fast so we searched the web. We were looking for garden designers with creative ideas for smaller London gardens. We didn't want anything too traditional but at the same time, nothing too extreme.
Earth Designs fitted the bill and after a design session with Katrina, we engaged them for the project. They had offered us a design service only, but as we only had a 4 week window in which to complete the job, we gave them the whole project.
We had built a new extension with wide glass doors that opened out into the garden, so the brief to Earth Designs was to "bring the outside, inside" and create a strong link between the new room and the garden beyond. The actual garden space was not large so we wanted to use the space as an extension of the living space - to be an "outside room".
Monday 18th April and three very charming men arrived on our doorstep at 8.0am sharp. Arlo was the project manager, ably aided and abetted by Paul and Phillip. They worked brilliantly as a team and always hit all the deadlines. In particular they did a great job in working with our neighbours to ensure the whole project ran smoothly.
The first week involved clearing the site - no mean feat with 30-year-old ivy stems that looked more like tree trunks.
The second week involved levelling the garden, putting up new fencing, building the corner seating base and planters, plus marking out the garden shape. It was good to be able to make minor changes to the design on the ground at this stage. The hot tub arrived too and was winched into place for connection later.
Week 3 saw the decking and seating built.
Then in week four the turf arrived, the lawn went down and on the last day, Katrina arrived with a truckload of wonderful specimens (and Matt) and we had a wonderful time planting. Ground Force Mk II - a complete garden from start to finish in just 4 weeks!
There were a few things that needed to be sorted out after the main work was complete. Earth Designs were great about coming back until all was complete and finished.
Our thanks to Katrina, Matt, Arlo, Paul and Phillip for a great job, completed on time and on budget with a great looking result."
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
Mini Midi 2010 Shanghai
Mini Midi was created in 2005 as the experimental stage of the MIDI Music Festival in Beijing’s Haidian Park.
The fourth Mini Midi festival took place on May 1-3, 2008, at Beijing’s Drive-In Theater, with the theme “Noise Is Free.” The program included discussions, outdoor and indoor discussions, sonic games, special electronic music and DJ performances, film screenings, massages, and fried cakes. Participants hailed from the UK, Germany, Switzerland, Japan, Korea, as well as Hong Kong, Taiwan, and mainland China. With sound artists crowding the stage and over one thousand participants, the event was a sound carnival.
Mini Midi is not only a music festival; it is a sound action gathering, a sonic amusement, a daydream. Mini Midi is a living organism, listening to every person it meets, and making sound together.
This event is a part of MIDI Festival
Curated and organized by Sub Jam (www.subjam.org) (www.minimidi.cn)
Organizer: Beijing Midi Productions (www.midimidi.cn)
Local organizing: Junyuan
Support: Yang Ge and Caotang (www.douban.com/group/caotang/)
Support: Art World magazine (www.yishushijie.com), O Art Center (www.oartcenter.com)
Program
May 1st:
Pm 8; Caotang (Dongjing Street 31, Zhujiajiao, Shanghai; TEL: 15221361365); ticket 50rmb (80 for two days)
Mafeisan, Walnut Room, Ben Houge, Anthony Carcone (from ETC)，Jacques Foschia (from ETC), Juanyuan (from MTDM)
May 2nd:
Pm 8; Caotang (Dongjing Street 31, Zhujiajiao, Shanghai; TEL: 15221361365); ticket 50rmb (80 for two days)
Yan Jun, Justin Sebastian, DFF (from ETC), Feng Hao, Li Zenghui + Junky (from Torturing Nurse)
May 3rd:
Pm 5-pm7, pm 8- pm 12; MAO (building 32, Huaihai Xilu 570, Changning, Shanghai; TEL：021-5258 9999), ticket 80rmb
Fakemistress + *LLND, Walnut Room + Tao Yi (from MTDM), Ben Houge + Justin Sebastian，Junyuan + Anthony Carcone (from ETC) + Jacques Foschia (from ETC), Xu Cheng (from Torturing Nurse) + Shu Qi, Yan Jun + DFF (from ETC), Mai Xiao Guo Da Shi (+Junyuan + Yan Jun), Junky (from Torturing Nurse) + Mafeisan, Li Jianhong solo
May 4th:
pm7:00; O Art Center (Art World magazine, Panyu Lu 888, Shanghai); ticket 50rmb
Feng Hao, Li Zenghui, Mafeisan, Yan Jun, Junyuan (from MTEM), Mai Xiao Guo Da Shi, Disfigurement Activities Room (Shu Qi + Menthae), Junky (from Torturing Nurse)
artist list
Artists from Beijing: Feng Hao, Mafeisan, Li Zenghui, Walnut Room (Feng Hao + Li Zenghui), Yan Jun
Artists from Shanghai: Junyuan, Torturing Nurse, Shu Qi, Mai Xiao Guo Da Shi, Ben Houge (US), LLND (FR), Justin Sebastian (DE)
Artist from Hangzhou: Li Jianghong
Artists from abroad: Fakemistress (DE)，Anthony Carcone (UK) and Jacques Foschia (BE) and DFF (US) from ETC
Feng Hao
Feng Hao is a Beijing based experimental music artists, also known as DJ Strausss that are his aliases used in his various projects and creative styles including noise,experimental music,sound collage, performance& video art ect.He is also a member of experimental band Walnut Room and N4A. In 2007, he release main album named Sound. His collage work Pleasure been selected in 1994-2004 China Avant-Guard Music by UBUWEB. Single Track ParaREM been selected in VA:2 by BrainWave Communication Records.He performed in exprimental music concert series Waterland Kwanyin , Art Beijing2006, Get It Louder 2007 (Beijing), MINI MIDI Festival (2006, 2007), Sally Can't Dance Festival (2008, 2009) ect.
Work:
2007 release main album 'Sound'.
2007 Ten Joint Array
2007 single track'Pleasure' in VA album'1997-2007 China Comportory Expermental Music',UBUWEB
2007 'Ring Society',Sound&Performance
Website:
Mafeisan
China, In early 2005, appears a NOJIJI tribal representative band.
Excluded all the qualitative appreciation of thinking and customary manufacturing methods; refused to compromise the truth of groups; lonely and ugly and foul licentiousness Color; otherwise not allowed to watch;
Their site can give people the central nervous speed signal transduction, inhibit anxiety, promote the secretion of adrenaline and gas field caused by intense re-thinking. They will gather thought directed at the solution, restructuring, and in an instant release, and from the gas field to show tremendous energy.
www.douban.com/artist/mafeisan/
Li Zenghui
Li Zenghui Male, born in Qingdao in 1983, relocated in Beijing in 2007. He is the most promising star in China’s free music/avant-jazz realm.Saxophone player, poet, voice experimenter.He had found indie/experimental rock band “the Tipsy Verse” in 2001. Afterwards he held a concurrent post as the keyboard player in “Pipedream Princess”. found “Walnut Room” with Feng Hao in 2007.
Walnut Room
Feng Hao and Li Zenghui.
www.myspace.cn/walnutroomchina
www.douban.com/group/WalnutRoom/
Yan Jun
Yan Jun, working on realm of sound and language.
Yan was born in Lanzhou in 1973, now based in Beijing. B.A. of Chinese Literature.
He works with feedback noise, drone sound, voice, field recording, site-specific sound installation, impro music, environmental sound, writing, publishing and curating. He regard them as one thing.
Yan has founded the Sub Jam and its sub-label KwanYin Records. He runs weekly enevt Waterland Kwanyin and annual festival Mini Midi since 2005.
He has published 5 essay collections about Chinese new music and 3 poetry collections.
Music Projects:
Tie Guan Yin: open form, varied members.
Pisces Iscariots: with Yao Dajuin and Li Jianhong.
FEN (Fareast Network): with Otomo Yoshihide, Ryu Hankil, Yuen Cheewai.
Junyuan
Jun-Y Ciao: born in Shanghai.2006 graduate the study at the academy of fine arts Duesseldorf, Germany. The member of the free music group MTDM.2009 make the acoustic-electronic project “Power Wood Quality” with Olaf Hochherz.
MTDM, it means “horse without legs” literally in Chinese. The band was founded in 2005 in Duesseldorf, Germany by 2 young artists, who commit themselves to the freedom of music and a pure spontaneous music. Similar to the Fluxus predecessors’ exploration into the cross-border arts, the practice of MTDM can be considered a tribute to the pioneers.MTDM seems to be synonymous with “good-for-nothing”. In almost all of the Western films, if the legs break, the horse will be killed by cowboys with no exception. The 2 members, Jun-Yuan and Yi Tao, both were born in the year of horse (in 1978). “Horse without legs”, the self-mocking name, implies exactly the profound thinking of the 2 artists on how to walk without legs.
www.douban.com/artist/powerwoodquality/
Torturing Nurse
analogue harshnoise/pure noise group from shanghai, china!
myspace.com/torturingnurseforever
douban.com/artist/torturingnurse
Shu Qi aka Shu Ride
Analog Noise & instrumental Improvization
www.noishanghai.org/shuride/index.htm
Mai Xiao Guo Da Shi
Guitat improviser from Shanghai.
Ben Houge
Ben Houge is a composer and sound artist whose attention is focused on finding connections. His areas of activity range from computer game soundtracks to sacred choral music, and he is energized by the way in which these disparate trajectories inform and invigorate each other. Much of his work employs computers to make decisions and generate sound, and he has incorporated ideas from his experience in digital media into compositions for live performance.
Ben moved to Shanghai, China, in 2004, to accept a job as senior audio designer with the French videogame company Ubisoft, a position he held for over four years. Since his arrival, he's presented his music at the Zendai Museum of Modern Art, the 2pi Festival, the Shanghai eArts Festival, and Noishanghai, alongside local musicians including Torturing Nurse and Wang Changcun. He's also transplanted the Sound Currents concert series from Seattle to present visiting artists from the US. His work has been profiled in local publications, and he served as a contributing music editor to That's Shanghai from January 2007 through September 2008.
*LLND
*LL wave constructor, circuit bender, instruments creator, programmer and *ND, anima-videiconist stage artist director.
Installations, performances, live act, VJ, their creations are like a round trip between the direct and the fictional virtual documentary
a controlled Digital Automation.
A thundering mix called Live Act Kinotoys.
Each of their performance offers a pass for traveling to multiple geostrategico-sensory destinations in a poetic network universe of immersive sounds and visuals.
*LLND's live art is a unique show where all the images and sound are created live.
using a set up of micros, cameras , objects, realtime 3d software, and a multichannels broadcast video mixer.
Justin Sebastian
Justin Sebastian hat Jazz an der Folkwang-Hochschule in Essen studiert und während seines dreijährigen Aufenthaltes in Bangkok von 2000 bis 2003 Unterricht in traditioneller thailändischer Musik genommen.
Im Alter von 13 Jahren war er bereits festes Mitglied des Peter Kowald Ort Ensembles.
Er hat als freier Theatermusiker am Schauspielhaus in Köln gearbeitet und ist seit 2007 Mitglied im WIO (Wuppertaler Improvisations Orchester). Justin Sebastian hat in zahlreichen Musik- und Tanzprojekten mit Künstlern wie: Peter Kowald, Nusara Mai-ngarm, Christoph Iacono, DJ Orson, I-Fen Lin, Sebastian Gramss, Adam Holzman, Geraldo Si, Jean Sasportes u.v.a. gearbeitet
Justin Sebastian studied jazz-trumpet at Folkwanghochschule in Essen. Between 2000 and 2003 he gained experience in Thai traditional music in Bangkok. At the age of 13 he was a member in Peter Kowald`s “OrtEnsemble”.
He has also worked at the “Schauspielhaus Cologne” as part of the music ensemble. Throughout his career he has worked independently with artists such as Nusara Mai-ngarm, Peter Kowald, Geraldo Si, DJ Orson, Sebastian Gramss, Christoph Iacono, Adam Holzman, Jean Sasportes.
Currently Justin Sebastian is a member of the “WIO” (Wuppertal Improvisers Orchestra) and is active in smaller formations and as a soloist in Germany.
Li Jianhong
With his guitar and effect pedals, Li Jianhong is one of the best noise / improv musicians in China. His guitar drifts among improvisational music, noise music, and psychedelic rock. Recently, he is trying a new way to create from the relationships between environment and performing.
The groups he formed or participates includes D!O!D!O!D! and VagusNerve. By now, he has released over 20 solo albums and collaborations in several labels including 2pi Records, PSF, Utech, Post-concrete, Archive and so on.
While being an artist, he is also managing a indie lable "2pi Records", which held an annually experimental and avant-garde music festival "2pi festival" since 2003.
www.douban.com/artist/lijianhong/
Fakemistress
voice, beats, sounds, slogans, words, noise, screams, cut-ups, melody- fake mistress is performing with voice, loop station and sampler, creating vivid images and atmospheres, exploring the limits of beauty and disharmony....what an explosive relationship!
Anthony Carcone and Jacques Foschia and DFF from ETC
ETC is a one night improvised collective, or an individual group of kindred post musical spirits
Description: improvised, sound/visual art, metal vibes, atmosphere, experimental ambient,sample ritual-like drone, post minimalism, low frequency voice...
From an Audio/Visual Art Performance:
www.youtube.com/watch?v=eUm8-DzoRJs
Anthony Carcone - disturbed guitar and sounds disruptions
Jacques Foschia - radio waves and fog
DFF - sheet metal
1908 - soprano Maria Kuznetsova as Tosca.
She was born in Odessa, Ukraine during 1880 and died in Paris, France during 1966.
Having been a ballet dancer in St. Petersburg, she then studied singing with baritone Joakim Tartakov and made her debut as 'Marguerite' in Gounod's opera Faust at the Mariinsky Theatre during 1905.
She created the role of 'Fevroniya' in Rimsky-Korsakov’s opera the Legend of the Invisible City of Kitezh and the Maiden Fevroniya on 20th Feb 1907 at the Mariinsky Theatre in St. Petersburg.
She created the role of 'Fausta' in Massenet's opera Roma world première at the Opéra de Monte Carlo on 17th Feb 1912 and created the role of 'Cléopâtre' in Massenet's opera of the same name at the Opéra de Monte-Carlo on 23 February 1914.
On 14th May 1914 she created the role of Potiphar's wife in the ballet the Legend of Joseph by Richard Strauss at the Théâtre National de l’Opéra, Paris.
I created this for the BrickFair VA 2020 LEGO convention which, like everything else, was canceled.
A few years earlier, I saw a MOC of a dragon on top of a Rubik's cube where parts of the cube rotated. I thought "I wonder if I can make a rotating cube GBC?" I kept coming back to the idea so I finally worked it out.
The interior is lit with color-changing RBG LEDs and the UV balls are charged by UV LEDs. The LEDs and UV balls are non-LEGO. And yes, there is a bit of a "Borg Cube" idea behind the lighting.
Grand Central Creative Campus, Glendale, CA
Engineered by Pacific Aquascape: pacificaquascape.com/index.html
Just want to share a card I made for CREATE Blog challenge: 3 flowers, 2 butterflies and 1 bird. FUN~
details:Here
Stamp:
CL513 Lauderdale Flower
CG360 Vine Background
Participants during the session: Creating Profit through Purpose at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Ciaran McCrickard
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
Create your own doh-doh island adventure. Playing with modeling compound. And by the way, it came with 4 colors....but we mixed them to get other colors.
Avec la pâte à modeler, crée ta propre aventure dans l'île doh-doh. On a réussi a faire toutes ces couleurs avec seulement 4 couleurs à la base.
Create a high-fashion surrealist portrait of a glamorous model whose upper body is replaced by a glossy red soda can, shaped like an elegant hourglass. She wears a shimmering red gown that flows like liquid metal, capturing studio light in dazzling reflections. Silver stiletto heels accentuate her confident stride, while the muted background highlights her bold, iconic silhouette. Blend haute couture with pop-art whimsy, celebrating the fusion of fashion, fantasy, and commercial nostalgia in a striking editorial style.