View allAll Photos Tagged Designs
Pałac Karola Poznańskiego
ul. Gdańska 32, 90-716 Łódź
Przy zbiegu dawnej ulicy Długiej - dzisiejszej Gdańskiej i Pasażu Schulza, zwanej dziś ulicą 1 Maja, wzniósł Izrael Kalmanowicz Poznański w latach 1904/1905 rezydencję dla swej rodziny. Projekt pałacu wykonał Adolf Seligson, autor m.in. fabryki Silbersteina przy ulicy Piotrkowskiej, szeregu domów i pałaców, ale też rytualnych budowli na cmentarzu żydowskim. Rozległa narożnikowa działka dawała możliwość realizacji obszernej siedziby, zapewniającej luksusowe warunki życia właścicielowi i jego najbliższym. Rezydencja uzyskała kostium stylowy nawiązujący do florenckiego renesansu. W fasadach dostrzegamy charakterystyczne zdwojone okna i potężne boniowania, motywy znane z piętnastowiecznych rezydencji toskańskich.
Pałac powstał wszakże w Łodzi, w początkach XX stulecia i musiał odpowiadać duchowi swych czasów oraz istniejącym podówczas potrzebom. Stąd mimo renesansowych detali pojawiły się w nim także rozwiązania typowe dla fabrykanckich rezydencji. Zwraca uwagę podcienie podjazdu od strony ulicy 1 Maja, służące jako reprezentacyjne wejście do rezydencji. Również narożnikowa wieża o owalnym planie, nakryta eliptyczną kopułą, czy lekko wypukłe fragmenty fasad i wykusze wskazują, że renesans włoski był tu adaptowany i przetwarzany.
Znakomite są wnętrza pałacu Poznańskich, mieszczące dziś Akademię Muzyczną. Ich urodę ujawnia choćby wspaniała, okrągła klatka schodowa zaopatrzona w kute poręcze, majstersztyk kowalstwa artystycznego, i nakryta wspaniałym sklepieniem. Rezydencja posiada też intymny „ogród zimowy", przykryty szklanym dachem. Jego widok od strony przypałacowego parku, zwłaszcza wiosną, gdy kwitną w nim krzewy magnolii, jest wspaniały. Potężną budowlę otacza dekoracyjne ogrodzenie. Na jednym z jego filarów stał kiedyś Moryc Welt, w wajdowskiej ekranizacji kreowany przez Wojciecha Pszoniaka, niezapomniany bohater „Ziemi obiecanej"...
Karol Poznański's Palace
32 Gdańska St., 90-716 Łódź
Izrael Kalmanowicz Poznański erected his own family residence at the crossing of the former ul. Długa - the present-day ul. Gdańska and Schulz Passage - now called ul. 1 Maja. The palace was designed by Adolf Seligson, author of, among others, Silberstein's mill in ul. Piotrkowska, a number of other residences and palaces, yet also the ritual buildings in the Jewish cemetery. The residence was given its stylistic attire following the manner of the Florentine Renaissance with its characteristic double-Windows and impressive rustications upon the façades, the motifs known from the l5th c. residences of Toscany.
The palace was yet created in Łódź at the turn of the 20th century, and it had to correspond to the spirit of the times as well as people's contemporary needs. Hence it also contained some solutions typical for the other industrialist seats. Worth our attention is doubtless the vaulted gateway from ul. 1 Maja, the main entrance to the residence. Also the corner tower on the oval plan, covered with an elliptical dome, or the slightly projecting fragments of the facades and bay-Windows point to the fact the Italian Renaissance was there adapted and transformed.
The interiors of the Poznañski palace, now housing the Music Academy, are exquisite, indeed. Their beauty is enhanced by the impressive, round staircase with wrought-iron banisters, a masterpiece of artistic blacksmithery, covered with a stately vaulted ceiling. The residence also possesses its own intimate 'winter garden' under a glass roof. It is most appealing when viewed from the palace park, especially in spring, when its beautiful magnolia bushes are in Pull bloom. The huge building is surrounded with an ornamented wrought-iron fence. It is upon one of its pillars that Moryc Welt, one of the unforgettable heroes of The Land o f Promise, played by Wojciech Pszoniak in Wajda's production, once stood...
Here's a couple of my new OOAK girls in Jennijee designs: www.flickr.com/photos/66889585@N03/ Erin is unfinished, but I wanted to throw her into this photo shoot as well when these gorgeous new hippie chic fashions and bags arrived! I'm thinking about selling both dolls, but I'm not entirely sure yet. I probably should, since I've got so many dolls on pre-order and I lack space here.
Lord Jesus Crown Of Thorns Embroidery Designs
This designs is made using free motion digitizing to give it more realistic effects.
Size :
W/H: 199.2 mm x 276.7 mm
Stitches: 132.079
Color : 16
Available Formats: JEF, PCS, SEW, DST, PES, HUS, XXX, VP3, EXP
check our embroidery designs collections at lembroidesigns.com
"Almost finished" says Alina ...
She is working on a tapestry cushion for the 1:12 scale cabinet dolls' house and the design is a William Morris - well it is attributed to him but (like many of the William Morris wallpaper and textile designs) it is probably by his daughter May.
Costume designs by Thelma Afford
Call number: PX*D 330/f.229
Digital ID: FL7773185
Format: photograph
Find more detailed information about this photograph: search.sl.nsw.gov.au/permalink/f/1cvjue2/ADLIB110333320
Search for more great images in the State Library's collections: archival.sl.nsw.gov.au/home
From the collection of the State Library of New South Wales www.sl.nsw.gov.au
Collection & Designs by Megan Bramhald
Make-up by Lizzie Webster
Modelled by Maryjo Monaghan
Thanks to Adam for the VW van & Jack Pendlebury for assisting!
New work over on my website! www.hollyrosestones.co.uk/patchwork
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
In the early days of World War II, Royal Navy fighter requirements had been based on cumbersome two-seat designs, such as the fighter/dive-bomber Blackburn Skua (and its turreted derivative the Blackburn Roc) and the fighter/reconnaissance Fairey Fulmar, since it was expected that they would encounter only long-range bombers or flying boats and that navigation over featureless seas required the assistance of a radio operator/navigator. The Royal Navy hurriedly adopted higher-performance single-seat aircraft such as the Hawker Sea Hurricane and the less robust Supermarine Seafire alongside, but neither aircraft had sufficient range to operate at a distance from a carrier task force. The American Vought F4U Corsair was welcomed as a more robust and versatile alternative.
In November 1943, the Royal Navy received its first batch of 95 "birdcage" Vought F4U-1s, which were given the designation "Corsair [Mark] I". The first squadrons were assembled and trained on the U.S. East Coast and then shipped across the Atlantic. The Royal Navy put the Corsair into carrier operations immediately. They found its landing characteristics dangerous, suffering a number of fatal crashes, but considered the Corsair to be the best option they had.
The Royal Navy cleared the F4U for carrier operations well before the U.S. Navy and showed that the Corsair Mk II could be operated with reasonable success even from escort carriers. It was not without problems, though: one was excessive wear of the arrester wires, due both to the weight of the Corsair and the understandable tendency of the pilots to stay well above the stalling speed, and because of the limited hangar deck height in several classes of British carrier, many Corsairs had their outer wings "clipped" by 8 in (200 mm) to clear the deckhead. However, the change in span brought about the added benefit of improving the sink rate, reducing the F4U's propensity to "float" in the final stages of landing. The Royal Navy developed further modifications to the Corsair that made carrier landings more practical. Among these were a bulged canopy (similar to the P-51 B/C’s Malcolm Hood), raising the pilot's seat 7 in (180 mm), and wiring shut the cowl flaps across the top of the engine compartment, diverting frequent oil and hydraulic fluid spray around the sides of the fuselage so that the windscreen remained clear.
The Corsair Mk I was followed by 510 "blown-canopy" F4U-1A/-1Ds, which were designated Corsair Mk II (the final 150 equivalent to the F4U-1D, but not separately designated in British use). 430 Brewster Corsairs (334 F3A-1 and 96 F3A-1D), more than half of Brewster's total production, were delivered to Britain as the Corsair Mk III. 857 Goodyear Corsairs (400 FG-1/-1A and 457 FG-1D) were delivered and designated Corsair Mk IV. A total of 2,012 Corsairs were supplied to the United Kingdom during WWII, and British Corsairs served both in Europe and in the Pacific. Despite the large number of aircraft, the Mk IIs and IVs were the only versions to be actually used in combat.
The first, and also most important, European FAA Corsair operations were the series of attacks in April, July, and August 1944 on the German battleship Tirpitz (Operation Tungsten), for which Corsairs from HMS Victorious and HMS Formidable provided fighter cover. From April 1944, Corsairs from the British Pacific Fleet took part in several major air raids in South-East Asia beginning with Operation Cockpit, an attack on Japanese targets at Sabang island, in the Dutch East Indies. In July and August 1945, RN Corsairs took part in a series of strikes on the Japanese mainland, near Tokyo, operating from Victorious and Formidable. It was during this late phase of the war that the Admiralty was expecting new and more powerful indigenous naval fighters to become available, primarily Griffon-powered Seafires and the Hawker Sea Fury, a navalized derivative of the Hawker Tempest fighter powered by the new Centaurus radial engine. Both types, however, faced development problems, so that the Royal Navy approached Vought and requested a new variant of the proven Corsair, powered by the British Centaurus engine and further tailored to the Royal Navy’s special needs. This became the Corsair Mark V.
The Corsair V was based on the newest American variant, the F4U-4, but it differed in many aspects, so much that it effectively was a totally different aircraft. The F4U-4 was the last American Corsair variant that would be introduced during WWII, but it only saw action during the final weeks of the conflict. It had a 2,100 hp (1,600 kW) dual-stage-supercharged -18W engine, and when the cylinders were injected with the water/alcohol mixture, power was boosted to 2,450 hp (1,830 kW). To better cope with the additional power, the propeller was changed to a four-blade type. Maximum speed was increased to 448 miles per hour (721 km/h) and climb rate to over 4,500 feet per minute (1,400 m/min) as opposed to the 2,900 feet per minute (880 m/min) of the F4U-1A. The unarmored wing fuel tanks of 62 US gal (230 L) capacities were removed for better maneuverability at the expense of maximum range. Other detail improvements were introduced with the F4U-4, too: The windscreen was now flat bullet-resistant glass to avoid optical distortion, a change from the curved Plexiglas windscreens with an internal armor glass plate of the earlier variants. The canopy was furthermore without bracing and slightly bulged – an improvement adopted from the Royal Navy Corsairs.
The original "4-Hog" retained the original armament of six 0.5” machine guns and had all the external load (i.e., drop tanks, bombs, HVARs) capabilities of the F4U-1D. A major sub-type, the F4U-4B, was the same but featured an alternate gun armament of four 20 millimeters (0.79 in) AN/M3 cannon, and the F4U-4P was a rare photo reconnaissance variant with an additional camera compartment in the rear fuselage, but fully combat-capable.
The Royal Navy agreed to adopt the new F4U-4 but insisted on the British Centaurus as powerplant and demanded British equipment and armament, too. The latter included four Hispano 20 mm cannon in the outer wings, adapted wirings for British unguided rockets under the outer wings and a four-channel VHF radio system, a radio altimeter and a G2F compass. Vought reluctantly agreed, even though the different engine meant that a totally different mount had to be developed in short time, and the many alterations to the F4U-4’s original airframe would require a separate, new production line. Since this would block valuable resources for the running standard F4U production for the USN, the Corsair V was outsourced to the newly established Kaiser-Fleetwing company (a ship builder with only limited aircraft experience so far) and designated FK-1 in American circles.
As expected, the development of the FK-1 alone took more time than expected – not only from a technical point of view, but also due to logistic problems. The Centaurus engines and most vital equipment pieces had to be transported across the Atlantic, a hazardous business. The first precious Centaurus engines for the development of the modified engine mount were actually transferred to the USA through the air, hanging in the bomb bays of American B-24 bombers that were used as transporters to supply Great Britain with vital materials.
Because Kaiser-Fleetwings had to establish a proper production line for the FK-1 and supplies for raw F4U-4 airframes had to be diverted and transported to the company’s factory at Bristol, Pennsylvania, delays started to pile up and pushed the Corsair Mk. V development back. The first Centaurus-powered Corsair flew in January 1945 and immediately revealed massive stability problems caused by the engine’s high torque. Enlarged tail surfaces were tested and eventually solved the problem, but this measure changed the F4U-4s standard airframe even more. It was furthermore soon discovered that the early Centaurus engine suffered frequent crankshaft failure due to a poorly designed lubrication system, which led to incidents of the engine seizing while in mid-flight. The problem was resolved when Bristol's improved Centaurus XVIII engine replaced the earlier variant. Tests and adaptations of British equipment to the airframe continued until May 1945, when the Corsair V was eventually cleared for production. But when the first of 100 ordered machines started to roll off the production lines the war was already over.
At that time many of the Fleet Air Arm's carrier fighters were Seafires and Lend-Lease Corsairs. The Seafire had considerable drawbacks as a naval aircraft, notably the narrow undercarriage, while the Corsairs had to be returned or purchased. As the UK did not have the means to pay for them, the Royal Navy Corsairs were mostly pushed overboard into the sea in Moreton Bay off Brisbane, Australia.
Since the Corsair V had not been part of the Lend Lease agreement with the United States, the Royal Navy was not able to easily retreat from the production contract and had to accept the aircraft. Because the Royal Navy’s intended new standard shipborne fighter, the Hawker Sea Fury, was delayed and almost cancelled during this period of re-organizations and cutbacks, the Admiralty bit the bullet, used the inevitable opportunity and procured the Corsair V as a stopgap solution, even though the original production order from May 1945 was not extended and effectively only 95 Corsair Vs were ever produced in the USA and transferred as knocked-down kits via ship to Great Britain.
The first re-assembled Corsair Vs entered Royal Navy service in August 1946, but their frontline service with 802 and 805 NAS, both based at Eglington (Northern Ireland), was only brief. Following the successful completion of weapons trials at the A&AEE Boscombe Down, the Sea Fury was eventually cleared for operational use on 31 July 1947 and quickly entered service. The Corsair Vs were gradually replaced with them until late 1948; 805 NAS was the first unit to abandon the type when 805 Squadron was reformed as a Royal Australian Navy FAA squadron operating Hawker Sea Fury Mk II aircraft. In 1950, 802 NAS was assigned to HMS Ocean and equipped with the Hawker Sea Fury, too, and sent to Korea.
Most Corsair Vs were then relegated to the Royal Naval Volunteer Reserve (RNVR) in August 1951, where they replaced Supermarine Seafires and took over their role as classic fighter aircraft, despite the Corsair V’s strike/attack potential with bombs and unguided missiles. Most of the time the Corsairs were used for lang range navigation training. RNVR units that operated the Corsair V included Nos. 1831, 1832, 1833, 1834, 1835 and 1836 Squadrons. No. 1832, based at RAF Benson, was the last RNVR squadron to relinquish the type in August 1955 for the jet-powered Supermarine Attacker, and this ended the Corsair V’s short career.
General characteristics:
Crew: One
Length: 34 ft (10.37 m)
Wingspan: 40 ft 8 in (12.10 m)
Height: 15 ft 4 in (4.68 m)
Wing area: 314 sq ft (29.17 m²)
Empty weight: 9,205 lb (4,238 kg)
Gross weight: 14,670 lb (6,654 kg)
Max takeoff weight: 14,533 lb (6,592 kg)
Powerplant:
1× Bristol Centaurus XVIII 18-cylinder air-cooled radial engine with
2,470 hp (1,840 kW) take-off power, driving a 4-bladed
Rotol constant-speed propeller with 14 ft (4.3 m) diameter
Performance:
Maximum speed: 453 mph (730 km/h, 397 kn) at sea level
Cruise speed: 215 mph (346 km/h, 187 kn) at sea level
Stall speed: 89 mph (143 km/h, 77 kn)
Range with internal fuel, clean: 1,005 mi (1,617 km, 873 nmi)
Combat range with max. ordnance: 328 mi (528 km, 285 nmi)
Service ceiling: 41,500 ft (12,600 m)
Rate of climb: 4,360 ft/min (22.1 m/s)
Armament:
4× 20 mm (0.787 in) Hispano Mk II cannon in the outer wings, 250 RPG
A total of 11 hardpoints under the wings and the fuselage for a total ordnance of
4,000 pounds (1.800 kg), including drop tanks, up to 16× 60 lb unguided aircraft rockets on twin
launch rails and/or bombs of up to 1.000 lb (454 kg) caliber
The kit and its assembly:
My first submission to the 2023 “Re-engine” group build at whatifmodellers.com, and a British Corsair with a Centaurus instead of the original R-2800 is almost a no-brainer. But taking the idea to hardware turned out to be a bit trickier than expected. I based my fictional conversion on an Italeri F4U-4, which would have been the appropriate late-WWII basis for a real-life conversion. The kit has good ex- and internal detail with fine engraved panels and offers the late Corsairs’ all-metal wings, too.
The engine replacement is a massive resin piece from OzMods, part of a conversion twin set for a Bristol Brigand; I assume it’s intended for the Valom kit? The set includes resin four-blade props with deep blades which I rather wanted to use than the Sea Fury’s typical five-blade prop.
The Italeri Corsair was basically built OOB, but beyond the different engine, which caused some trouble in itself (see below), I incorporated several mods to change the aircraft’s appearance. The streamlined Centaurus was insofar a problem because it has s slightly smaller diameter than the original R-2800 cowling. Not much, but enough to make a simple exchange impossible or at least look awkward. While the upper cowling section and its curvature blended well into the Corsair fuselage, the difference became more obvious and complicated underneath: late Corsairs have a “flattened” bottom, and from below the Centaurus appears somewhat undersized. To smooth the intersection out I grinded much of the cooling flaps away, and to even out the profile I added a shallow air scoop from an Italeri F4U-7 under the engine, which required some PSR. A good compromise, though. The resin propeller was mounted onto a metal axis and fitted into a hole/channel that was drilled through the Centaurus’ massive resin block.
As an FAA Corsair the wing tips were clipped, which was easy to realize thanks to the massive parts in this area. The Corsair’s original oil coolers in the wing roots were retained, but the four guns in the wings (separate parts in the Italeri kit with quite large holes) were replaced with faired Hispano cannon for/from an early Hawker Tempest, aftermarket brass parts from Master Models.
To change the model’s look further I modified the tail surfaces, too; the rounded fin was replaced with a rather square and slightly bigger donor, a stabilizer from a Novo Supermarine Attacker. The original stabilizers were replaced, too, with trapezoidal alternatives from a Matchbox Meteor night fighter, which offer slightly more area. Since the tail surfaces were all graft-ons now I implanted a vertical styrene tube behind the rear cockpit bulkhead as a display holder adapter for later flight scene pictures. Together with the clipped/squared-off wingtips the new tail creates a consistent look, and with the propeller and its dominant spinner in place the Corsair V reminds a lot of a late Bristol Firebrand mark or even of an Unlimited Class Reno Racer? It looks fast and purposeful now!
Even though unguided missiles and/or bombs could have been a valid ordnance option I decided to leave the Corsair V relatively clean as a pure gun fighter; I just used the OOB drop tank on the centerline station.
Painting and markings:
Very dry and using real 1948 Royal Navy aircraft as benchmark, the Corsair V ended up with a rather simple and dull Extra Dark Sea Grey over Sky (Humbrol 123 and 90, respectively) with a low waterline, and still with wartime Type C roundels with “Identification red (dull)”, even though the RAF officially had reverted to bright identification colors in 1947 and started to use the high-viz Type D roundel as standard marking. To add a British flavor the cockpit interior was painted in very dark grey (Revell 06, Tar Black) while the interior of the landing gear wells was painted in a pale cream yellow (Humbrol 74, Linen) to mimic zinc chromate primer. The only highlight is a red spinner, a contemporary unit marking of 805 NAS.
The kit received a light black ink washing and post-shading to emphasize and/or add surface structures, and this nicely breaks up the otherwise uniform surfaces. Decals/markings came from Xtradecal Hawker Sea Fury und late WWII FAA/RN aircraft sheets, and some decals were mixed to create a fictional serial number for the Corsair V (TF 632 was never allocated, but the code fits into the model’s era). Some light oil and exhaust stains were also added, but not as severely as if the aircraft had been operated under wartime conditions. Finally, the model was sealed with matt acrylic varnish.
While a classic F4U with a British Centaurus engine sounds simple, and actually is, getting there was not as easy as it sounds – the ventral air scoop came to the rescue. With some more small mods like the new tail surfaces the aircraft got a subtly different look from its American ancestor(s). The Corsair V IMHO has now a very Blackburn-ish look, thanks to the big spinner and the square fin! And I wonder what I will do with the other Centaurus from the conversion set?
A new Mercedes-Benz series, factory coded W18, began production in 1933 and replaced the Type 350/370 Mannheim series. The fresh motor car, more commonly known as the Type 290, heralded a number of advanced engineering features, among them were hydraulic brakes, a transverse leaf-spring/coil-spring front suspension, a coil-spring floating rear axle, and a 60 horsepower, 2,867-cubic centimetre, side-valve inline six-cylinder engine. In addition to the bare chassis for custom coach builders, six factory-built body styles and a Kuebelwagen (military) variant were available. The factory designs included a four-door touring car, a four-door saloon, and four 2-door convertibles or cabriolets (A, B, C, and D) with various seating configurations.
Mercedes-Benz produced 7,495 W18 passenger cars, of which 3,566 sat on a shorter chassis, whilst 3,929 used a longer chassis. The shorter cars’ bodies, which were on 2,870-millimetre chassis, reflected the design seen on the Type 200 (W21) models of the time, but the 290 bodies were actually a bit longer. The least expensive of the offered bodies was, ironically, a six-seat light limousine, listed at 7,950 Marks. A pricier saloon with a torpedo body, which was called a Tourenwagen, offered a more elegant option. Three convertible bodies were additionally offered and designated as Cabriolet B, Cabriolet C, and Cabriolet D. These were offered in two- or four-door configurations, with two for four-passenger seating. One more convertible was offered with a much sportier look, the Cabriolet A. It had a body that sat 190 millimetres lower than the other soft-topped versions, and it was amongst the most expensive, with it priced at 13,000 Marks.
Elegantly exhibiting a more streamlined appearance, this special W18 Cabriolet A by Sindelfingen was delivered new through Berlin in November 1934. It is arguably one of the most well-proportioned and sporting designs of the day, and it was certainly destined for an astute connoisseur who could appreciate the illusion of width and length, which was created by the low profile of the body and greatly enhanced by the presence of the dual rear-mounted spare tyres.
My own LEGO designs in 2025 were dominated again by my contribution to our Rogue Bricks collaboration called Rogue Francisco. It was a huge collaboratively built MOC, that showed selected districts of San Francisco in the 1960's including the Golden Gate Bridge as well as Alcatraz island. It was shown for three days at Bricking Bavaria 2025 in Friedrichshafen / Germany.
My contributions included parts of the Haight-Ashbury district, namely the corner house at the intersection of Haight Street and Ashbury Street. I built it mainly in bright light yellow color together with dark turquise, like it was in the 1960's. Its distinctive architectural feature is a small round tower in the corner of the buiding right above the main entrance.
In the gound floor (first floor) I have designed a record store called Magic Dragon Records with parts of a dragon's head above the entrance as its trademark.
The adjacent house to the left is built in the same style and color scheme. It houses a small café called Bobby McGee's café, an allusion on the famous song "Me and Bobby McGee" by Chris Kristofferson and made famous by Janis Joplin's performance.
The ficticious scene shows on the left side my interpretation of the Grateful Dead House in Haight-Ashbury (mainly in dark purple color). This is where the influential rock band Grateful Dead lived in the 1960's. It was a well known meeting point for famous 1960's californian rock bands and musicians, like Janis Joplin and Jefferson Airplane and known for infamous parties as well.
All over the place you can find many allusions to the music and life style of the 1960's, including reproduced album covers of the time like, Janis Joplin, Grateful Dead, Jefferson Airplane, Jimi Hendix and Bob Dylan.
The yearly Rogue Olympics competition was again another highlight of my LEGO year. Only 101 parts are a allowed to build a model for a given subject. I managed to build a MOC for each of the eight rounds. Meanwhile, the competition is made up of very skilled and experienced builders, so to reach the top 10 ranks is a real award one can be proud of.
A very special event is the yearly Rogue Advent. We build small models that must fit into a LEGO Christmas bauble, which we give as a present to another participant.
I have built a micro model of a steam train running around a Christmas trees like on a music box.
In fact there was again not much time left for independant MOCs which I built based on my own impulse. However, I managed to build another vignette from the Star Wars universe: The fourth episodes of The Mandalorian, Season 1. I will continue with that in 2026.
All in all it has been again a very busy and rewarding LEGO year.
Thank you for following me. I hope you will further enjoy my own creations. I am looking forward to 2026.
I wish you all a Happy New Year 2026!
[Xprs] - EXCLUSIVE FASHION SHOW ITEM! Dame Dress and shoes Pink
Comes with its own hat (not shown)
Available for Belleza Freya, ebody curvy, legacy/perky, Maitreya/petite and hourglass bodies.
TP TO ROCK YOUR RACK ~ maps.secondlife.com/secondlife/Atria%20Isle/58/28/22
TP TO XPRESSIONS UNLIMITED ~ maps.secondlife.com/secondlife/Bluebell%20Island/153/157/24
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
VESTA - Pois Hat
With colour change hud for hat/dots/bow
TP TO ROCK YOUR RACK ~ maps.secondlife.com/secondlife/Atria%20Isle/58/28/22
TP TO VESTA CLOTHS ~ maps.secondlife.com/secondlife/MiTaMa/164/64/3646
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Resizable Bow Handbag PINK & Slv Hearts HUNT ITEM
By Boutique- find the coat hanger and pay just 10 lindens and its yours :)
TP TO ROCK YOUR RACK ~ maps.secondlife.com/secondlife/Atria%20Isle/58/28/22
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
SAS - September 2023 Apricot Tulle Bolero ~ BOLERO BY SASCHAS STORE
TP TO SASCHA'S DESIGNS ~ maps.secondlife.com/secondlife/Salerio/179/78/502
With summers array of floral designs and pink petals we can embrace with our eyes and nose the fragrance of all there is to offer.
Have a safe and fun summer to all you dear Flickr friends !
Clash is a mix of patterns, textures and colours found on lots of dazzling looking birds and animals from around the world. He has been designed to stand out from the crowd and his ‘urban-cool’ look is loud and very proud.
Artist: Damien Jeffery
Is a Bristol based painter, born in Bromsgrove, who studied art at Southampton institute. He is currently working on seascapes inspired by winters surfing on the North coast of Cornwall and Devon. ‘Damo’ designs and paints murals for schools, businesses and homes and he has twice painted at ‘Upfest’, Europe’s largest urban arts festival; he has designed Gorillas, Rhinos, Buses and Olympic Mascots for Wild in Art events across the country.
Website: www.damienjeffery.co.uk
Sponsor: KPMG
Auction Price: £7000
The Big Hoot captured the imagination of everyone in Birmingham and beyond, with hundreds of thousands of people taking to the streets with their Big Hoot Trail maps to explore the colourful invasion of individually designed owls. Taking in the city’s 10 districts, tourists and residents alike enjoyed their owl adventure, discovering and celebrating the extraordinary creativity produced by many of Birmingham’s artistic community and over 25,000 young people.
The Big Hoot owls went under the hammer on 15 October 2015 at The Big Hoot auction sponsored by Vodafone and we are thrilled to have smashed our target by raising the incredible sum of £508,035!
The money raised from the auction will support Birmingham Children’s Hospital Charity’s £3.65m Star Appeal. This appeal will enable us to create a first of its kind, a Rare Diseases Centre in the UK specifically for children. It will provide co-ordinated care, treatment, support and most importantly hope to children and families living with a rare or undiagnosed condition.
In addition the auction raised £15,000 for G’owl’d by Temper with proceeds going to Edward’s Trust, and £7,800 for Fleet and Free with proceeds going to Birchfield Harriers.
So thank you - we simply couldn’t have done it without you.
Artists have played a major role in The Big Hoot, creating almost 100 owl sculptures. We would like to thank all the artists for their incredible creativity and hard work.
Professional artists from Birmingham, the wider Midlands region and further afield have created extraordinary giant owls that are all unique in style and character and represent the city’s creativity, history and heritage, music, fashion, architecture and attractions.
Birmingham is home to a wealth of artistic and creative individuals and communities and many award-winning and nationally and internationally acclaimed artists. We are delighted with the response from Birmingham’s creative community and are thrilled to work in collaboration with them to transform the streets, squares and parks of the city.
For five months artists have been creating owls in their studios, at home and in The Big Hoot Artists’ Studio at the Custard Factory in Digbeth. Their inspiring and innovative designs have been realised in genres including graffiti, illustration, fine art, graphics, typography, mosaic and new media. They have worked with both community groups and with corporates to realise ideas and create their stunning designs.
The Big Hoot not only provides a high quality and ambitious free public event for families but also supports the creativity of artists and celebrates talent and diversity. The Big Hoot has provided an inspiring relationship between the city and the arts.
The artists have also reached out to communities enabling more people to participate in the arts, to experience working with professional artists and to be inspiring and inspired. From the north to the south of the city residents groups, youth groups and older peoples’ groups have been collaborating with artists to generate ideas, design and create owls for The Big Hoot.
Creativity is everywhere but the opportunity to participate is not. A range of activities have been programmed within Birmingham’s diverse communities and people from the age of 3 – 97 and from wards within the city boundaries have contributed to The Big Hoot and helped make the event extraordinary. Our projects have seen artists working with hundreds of residents and community members including children in looked after care, older peoples’ clubs, young people and residents organisations to design and decorate the owls displayed as part of the 10 week public event.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1O4hfXO
-------------
Now Featuring: @hull_fogarty_designs
“Dots” -Hull-Fogarty #different #creative #art #modernart #painting #abstract
Follow @hull_fogarty_designs on Instagram for more like this!
The biggest steampunk gathering in the world, thousands gather in Lincoln city centre. Dressed in amazing costumes, designs and colours. No limit to the imagination, resourcefulness and inventiveness of these costumes. Come as you are or whoever you want to be.
Location: Fantasy Faire SL 2022 Bassett Town
Wearing:
Head: Lelutka Evo X Avalon 3.1
Body: Maitreya Lara
Skin: Pumec Iris (in May shade)
Eyes: Keshi Mayfly Luminous Mesh Eyes (Borealis)
Fingernails: Eventyra Octurnal in purple
Antenna: Southpaw Fae Antenna from Fantasy Faire SL 2013
Hair: Vanity Hair Finley (Happy color HUD)
Top: Pixel Box Designs Steampunk Leather Uniform (teal)
Skirt: Pixel Box Designs Steampunk Leather Uniform Skirt
Boots: Alien Gizmo Isolde Boots - Brown
Earrings: Pixel Box Designs Earrings Grunge Apocalyse (right ear) and Apocalypse Gears (left ear)
Hat: Roawenwood {RW} Galway Bowler Hat - Black
I freaked out when I saw this great condition Designs 3 quart casserole at the rummage sale. For $2!!
I am in the process of creating some WW1 designs for my bricklink store and this is what I have so far.
Click Here....
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
FOOD TRUCK APP UI INSPIRATION FREE DOWNLOAD
I prefre to be walking through a forest of trees rather than buildings but some of the shapes and designs are very cool
This corrugated iron building stands on the edge of Bristol Docks. I am unsure of its original purpose although it may have been related to operations on the dock railways.
Unfortunately flickr allows only 90 secs, so if you want to see the full video you can watch it here:
www.youtube.com/watch?v=oipYNUkXIzI
For this Video i had the pleasure to work with the amazing Calima Dufaux.
A big thank you Calima!
Modeling:
Calima Dufaux
Luca Boucher
Directed by:
Luca Boucher
Designs by:
Tableau Vivant
Glam Affair
Kmadd
Enjoy ;)
Beautiful Brunette Brown Eyes Bikini Model Malibu Beach! Pretty Swimsuit Bikini Model Surf Girl Venus Woman Goddess! Tall Thin Fit 45SURF 45EPIC Athletic Model! Pretty Helen from Homer's Iliad! Nikon D800 E & Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens
Dr. Elliot McGucken Epic Fine Art Photography Prints:
Support epic, stoic fine art: Hero's Odyssey Gear!
All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats