View allAll Photos Tagged background
Front façade and court yard of the Château d'Azay-le-Rideau, Azay-le-Rideau, Loire Valley, France
Some background information:
Azay-le-Rideau is a commune in the French department of Indre-et-Loire in the Centre-Val de Loire region. It has more than 3,400 residents and is located about 30 km (19 miles) to the southwest of the city of Tours. There are two historic châteaux in the municipal area of Azay-le-Rideau: the Château de l'Islette and the more famous Château d'Azay-le-Rideau. Both belong to the UNESCO Word Heritage Site "The Loire Valley between Sully-sur-Loire and Chalonnes" with its many breathtaking châteaux. Altogether there are more than 400 of them in the Loire region.
Built between 1518 and 1527, the Château d'Azay-le-Rideau is considered one of the foremost examples of early French renaissance architecture. Set on an island in the middle of the Indre river, this picturesque castle has even become one of the most popular of all the châteaux of the Loire valley. The current occupies the site of a former feudal castle. During the 12th century, the local seigneur Rideau d'Azay, a knight in the service of the then French King Philip II Augustus, built a fortress here to protect the Tours to Chinon road where it crossed the river Indre.
However, this original medieval castle fell victim to the rivalry between Burgundian and Armagnac factions during the Hundred Years' War. In 1418, the future King Charles VII passed through Azay-le-Rideau as he fled from Burgundian occupied Paris to the loyal Armagnac stronghold of Bourges. Angered by the insults of the Burgundian troops occupying the town, the dauphin ordered his own army to storm the castle. The 350 soldiers inside were all executed and the castle itself burnt to the ground. For centuries, this fate was commemorated in the town's name of Azay-le-Brûlé (in English: "Azay the Burnt"), which remained in use until the 18th century.
In 1518, the land, together with the ruined castle, was acquired by Gilles Berthelot, the mayor of Tours and treasurer-general of the King's finances under King Charles VII and King Louis XII. Desiring a residence to reflect his wealth and status, Berthelot set about reconstructing the building in a way that would incorporate its medieval past alongside the latest architectural styles of the Italian Renaissance. Although the château's purpose was to be largely residential, defensive fortifications remained important symbols of prestige, and so Berthelot was keen to have them integrated in the architecture of his new castle.
Berthelot's duties meant that he was frequently absent from the château, so the responsibility for supervising the building works fell to his wife, Philippa Lesbahy. These took time, since it was difficult to lay solid foundations in the damp ground of this island in the Indre, and the château had to be raised on stilts driven into the mud. In 1527, the château was still incomplete, when the execution of Jacques de Beaune, (the chief minister in charge of royal finances and cousin to Berthelot) forced Gilles to flee the country. The then French King Francis I confiscated the unfinished building and, in 1535, gave it to Antoine Raffin, one of his knights-at-arms.
In 1583, Raffin's granddaughter Antoinette, a former lady-in-waiting to Margaret of Valois (the then Queen of Navarre and later Queen of France), took up residence in the château. With the help of her husband Guy de Saint-Gelais, she began modernising the décor. The Raffins, and their relations by marriage, the Vassés, retained ownership of the Château d'Azay-le-Rideau until 1787, when it was sold for 300,000 livres to the Marquis Charles de Biencourt, field marshal of King Louis XVI.
After having affiliated to the Third Estate and having committed himself to the ideals of the French Revolution, he was allowed to retain possession of his estate, which was in poor condition at that time. At the beginning of the 1820s, Biencourt undertook some alteration work. But after his death in 1824, it was his son Armand-François-Marie de Biencourt, who accomplished an extensive restoration of the château. This included restoring the old medallions and royal insignia on the staircase (which had been covered up during the French Revolution), extending the courtyard façade and adding a new tower at the east corner.
During the Franco-Prussian War of 1870 to 1871, the Château d'Azay-le-Rideau was once again threatened with destruction. It served as the headquarters for the Prussian troops in the area, but when one night a chandelier fell from the ceiling onto the table where their leader, Prince Friedrich Karl of Prussia, was dining, he suspected an assassination attempt and ordered his soldiers to set fire to the building. Only his officers' assurances that the chandelier had dropped by accident persuaded him to stay his hand and thus saved the château from a second burning.
Following the Prussian troops' retreat, Azay-le-Rideau returned to the Biencourt family. In 1899, financial difficulties forced the young widower Charles-Marie-Christian de Biencourt to sell the château, along with its furniture and 540 hectares of land, to the businessman Achille Arteau. He sold the château‘s contents for profit and as a result, the building was emptied and its artwork and furniture dispersed. In 1905, the estate was purchased by the French state for 250,000 francs and finally became a listed historical monument.
Today, the Château d'Azay-le-Rideau is one of many national monuments under the protection of the Centre des monuments nationaux. It is open to the public and its rooms are re-equipped with interior decoration and furniture, which reflect the influence of the Italian Renaissance. Many of the rooms display 16th- and 17th-century Flemish tapestries and the château also houses a significant collection of artwork. The current gardens were designed in the 19th century by the Biencourts, who laid out a large landscaped park in the English style. To the south and west, the river serves as a water mirror for the château, reflecting the façades and creating an attractive tableau.
***Please feel free to use this Background in your Artwork, if you do use it i would love it if you would please post your work in my group here****
www.flickr.com/groups/1296873@N23/
Do not re-distribute in ANY WAY ~
~ Please do not use to create your own stock ~
Thank you ***
**Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.
If you do use them, I would love it if you would please post your work in my group, Ruby's Treasures.
...Please DO NOT redistribute as your own...
See all my Premade Backgrounds~ Here
This iPhone Background (640x960 wallpaper) is released under a Creative Commons license.
If you like this image, please leave a comment. Thanks!
How do I get this onto my iPhone?
There are a number of ways to do this, however I think the easiest and fastest way is to download Flickr’s free app. Within the Flickr app you surf over to my photo feed to view the images (if you make me a contact then I’ll appear in the flickr contact list). When you find one you like, just click the download button and save the image directly to your phone. Quick & Simple!
I don’t have an iPhone. Can I still use it on my phone?
As of this writing this image (960 x 640) should be large enough to be used as wallpaper with the Droid / Android, BlackBerry, Windows 7, and iPhone.
How did you make it?
This background was made using graphic design software such as Photoshop, Illustrator, Filter Forge, Genetica, Wacom, Alien Skin, Topaz Labs, as well as several other programs.
About Patrick Hoesly
I’m a graphic illustrator, specializing in architectural illustrations and graphic design. I work with Architects, Interior Designers, and Landscape Architects, to help them visualize and sell their designs ...Or in other words... I make the fun/cool images!
Check out my Blog at ZooBoingReview.blogspot.com
Also take a look at my website at www.ZooBoing.com
---
UPDATE: Please note that another Flickr User is claiming this image and is filing it under full Copyright. This is not allowed under the Creative Commons License, nor have I allowed them rights to claim this as their own property. As the original illustrator of this piece, you are still granted full use of this image under the CCA license. Share and Enjoy. :)
Feel free to use my image in your personal artwork, non commercial use.
If you use this one, credit me with a link back to this picture.
I would love to see the results of your work, so please leave me a small copy in my comments.
Please do not re-distribute as your own.
Don't use this image on websites, blogs or other media without my explicit permission.
***Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.
If you do use them, I would love it if you would please post your work in my group,
See all my Premade Backgrounds~ Here
...Please DO NOT redistribute as your own...
***Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.
If you do use them, I would love it if you would please post your work in my group
...Please DO NOT redistribute as your own or use for ANY Commercial purposes without my consent...
To see all my Premade Backgrounds please visit Here
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Please Sign Here to stop the Dog Cruelty and Tortures in China.
You can help the billions of animals across the world who suffer everyday, if you care enough ,
Please Sign Here And give them a Voice.
The Retreat Animal Rescue where i Volunteer ~
And on ~
Website~ Here
Facebook ~Here
Pinterest~Here,
***Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.
If you do use them, I would love it if you would please post your work in my group, Ruby's Treasures.
...Please DO NOT redistribute as your own...
Located in today's gardens in the Marzahn-Hellersdorf district and opened in October 2000, the Chinese Garden is the largest Chinese garden in Europe with a size of 2.7 hectares. When naming a Chinese garden, the name always has a symbolic character. The name "Garden of the Reclaimed Moon" stands for the reunification of Berlin, which has been divided over decades. The garden was created as part of the city partnership Berlin - Beijing and the planning is a gift from the city of Beijing to Berlin.
The Chinese Garden is designed in the style of classical Chinese garden of scholars and strives for a balance of the "seven elements" earth, sky, water, stones, buildings, living things and plants. All materials come from China and the entire construction was done by skilled workers from Beijing.
In the hilly landscape planted with numerous exotic plants, a 4,500 m² lake forms the center of the garden. In addition to several bridges, walls, buildings and fantastically shaped stones, the Chinese tea house, the "mountain house for osmanthus juice", is one of the special features of this garden. Since 2007, a walkway connects the tea house with the pavilion of the quiet moonshine. Thus, a structural design of the garden already existing in the original plans could be realized.
For thousands of years, fantastically shaped rocks and stones have become the peculiarities of a Chinese garden, with the principle that "the stone must be lean and wrinkled like a centenary". The most beautiful stones in the "Garden of the Recovered Moon" come from the area of Taihu Lake near Wuxi. They are a symbol of strength and beauty.
Guided tours are also offered through the Chinese Garden, where interested visitors can learn about the background of the garden as well as the symbolism of the stones and plants used. In the teahouse there are also demonstrations of Chinese tea art. Both offers are only available on certain days of the week.,
The Chinese Garden, along with the Japanese Garden , the Balinese Garden , the Korean Garden , the Oriental Garden and other typical gardens are part of the "Gardens of the World" project.
***Please feel free to use this Background in your Artwork, if you do use it i would love it if you would please post your work in my group here****
www.flickr.com/groups/1296873@N23/
Do not re-distribute in ANY WAY ~
~ Please do not use to create your own stock ~
Thank you ***
***Please feel free to use this Background in your Artwork, if you do use it i would love it if you would please post your work in my group here****
www.flickr.com/groups/1296873@N23/
Do not re-distribute in ANY WAY ~
~ Please do not use to create your own stock ~
Thank you ***
Dove ~ Falcon1961~
www.flickr.com/photos/falcon1961/3463513059/
Other Elements my own
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Korean People's Army Air and Anti-Air Force began as the "Korean Aviation Society" in 1945. It was organized along the lines of flying clubs in the Soviet Union. In 1946, the society became a military organization and became an aviation division of the Korean People's Army (KPA). It became a branch of the army in its own right in November 1948. The KPAF incorporated much of the original Soviet air tactics, as well as North Korean experience from the UN bombings during the Korean War.
North Korea’s first indigenous jet fighter aircraft, the Wonsan Aircraft Works 여-1 (known as “W-1” outside of the country), started its existence in China as the Shenyang J-3 (Jianjiji = fighter). The J-3 was a project to exploit the knowledge and hardware gained through the license production of the Soviet MiG-15UTI trainer, locally designated JJ-2 (Jianjiji Jiaolianji – fighter trainer), a study that was primarily intended to improve China’s aircraft industry and the country’s respective engineering know how after the Korean War. The Soviet VVS and PVO had been the primary users of the MiG-15 during the Korean war, but not the only ones; it was also used by the PLAAF and KPAF (known as the United Air Army).
The J-3 was designed during the Korean War between 1952 and 1953 and two prototypes were built with Soviet help and tested in 1953, but the aircraft came too late – and it was not regarded as a successor or even an alternative to the Soviet MiG-15, because it lacked modern features like swept wings. The J-3’s design drew more on American rather than British inspiration, having elected to use features such as a very thin (but almost straight) wing akin to the Lockheed P-80 Shooting Star and a basic configuration comparable to the North American F-86 Sabre. Due to its conceptual interceptor role, an emphasis had been placed on a fast rate of climb. Power came from a Klimov VK-1 centrifugal-flow turbojet, a derivative of the British Rolls-Royce Nene Mk.104B that also powered the MiG-15. Armament consisted of four 23 mm (0.906 in) Nudelman-Suranov NS-23 autocannon under the nose.
The J-3’s rate of progress on the project was such that, within 15 months of design work having formally started, the first prototype had been fully constructed. On 28 October 1953, the first J-3 fighter prototype conducted its first flight, even though it still lacked pressurization, armament, and other military equipment. Gradually, new hardware was integrated and tested, and a second aircraft joined the tests in January 1954. Flight tests followed quickly and showed that the J-3 was easy to fly and had exceptional performance and maneuverability for a straight-wing aircraft. Unfortunately, it soon became clear that the laminar flow section used for the original tail unit was totally unsuitable, with extremely severe buffeting setting in at 500 km/h (310 mph). The buffeting was so bad that the test pilots were thrown about in the cockpit, banging their head on the canopy, and the needles fell off all the flight instruments. Fortunately, accidents could be avoided, and the tailplane section was changed with much improved results.
The gun armament caused troubles, too. Firing all four NS-23 at once made the robust engine surge – a problem that did not occur on the MiG-15, but it only carried two of these weapons. A remedy was eventually found through the introduction of a slightly elongated nose that kept the air intake further away from the gun blast shock waves. The flight and test program lasted until 1955, and a total of five J-3 prototypes were built, but with no serious plan to put this aircraft into series production, even more so after China had been offered to produce the even more modern and capable Soviet MiG-17 fighter under license as the J-5. In the People's Republic of China (PRC), an initial MiG-17F was assembled from parts in 1956, with license production following in 1957 at Shenyang. The Chinese-built version was/is known as the Shenyang J-5 (for local use) or F-5 (for export). After this decision, the J-3 program was stopped, but the machines were retained in flightworthy condition as testbeds and chase planes by the PLAAF until the late Sixties
However, this was not the end of the J-3. After fighting had ended on 27 July 1953 when the Korean Armistice Agreement was signed, the Korean People's Army Air and Anti-Air Force (KPAAF) was keen to boost its capabilities and build a domestic aircraft industry, beyond the option to produce existing designs in license. Turning to its main sponsor China, North Korea was offered the plans for the J-3 and its tools, together with a supply of Chinese-built VK-1 engines. Even though the J-3 did not represent the state-of-the-art in jet fighters anymore, it was the best option for an industrial quickstart and until 1956 a dedicated production site for the J-3 was built at Wonsan, leading to the Wonsan Aircraft Works (Wonsan hang-gong-gi jag-eob , 원산 항공기 작업) and its first military product, the 여-1 (Yeo-1 = W-1). When NATO became aware of the aircraft it received the reporting code name “Freshman”.
However, despite the J-3’s plans and tools at hand, the W-1’s production was hampered by the lack of experience, sub-optimal materials, and poor logistics (esp. concerning vital imported components like the Chinese WP-5 engine, a license-built VK-1). Consequently, it took almost three years to roll out the first pre-serial production aircraft in 1959, and even then, the W-1 was plagued with material and reliability problems. Furthermore, once the W-1 became operational in 1961, the aircraft had become outdated. The W-1 had been designed to intercept straight-and-level-flying enemy bombers, not for air-to-air combat (dogfighting) with other fighters. The subsonic (Mach .76) fighter was effective against slower (Mach .6-.8), heavily loaded U.S. fighter-bombers from the Fifties, as well as the mainstay American strategic bombers during the aircraft's development cycle (such as the Boeing B-50 Superfortress or Convair B-36 Peacemaker, which were both still powered by piston engines). It was not however able to intercept the new generation of British jet bombers such as the Avro Vulcan and Handley Page Victor, which could both fly higher. Most W-1s were initially used as night fighters – even though they lacked any on-board radar and the pilot had to rely on visual contact and/or radio guidance from ground stations to make out and close in on a potential target. The USAF's introduction of strategic bombers capable of supersonic dash speeds such as the B-58 Hustler and General Dynamics FB-111 rendered the W-1 totally obsolete in front-line KPAAF service, and they were quickly supplanted by supersonic interceptors such as the MiG-21 and MiG-23.
The rugged aircraft was not retired, though, and found use as ground attack aircraft (despite its limited payload of around 2 tons) and as an advanced fighter trainer. Total production numbers are uncertain, but less than 100 W-1s were produced until 1969, with no further variants becoming known. In 1990, probably forty were still operational, and even after 2000 some KPAAF W-1s were still flying.
General characteristics:
Crew: 1
Length: 10.73 m (35 ft 2 in)
Wingspan: 12.16 m (39 ft 10½ in)
Height: 4.46 m (14 ft 7½ in)
Wing area: 23.8 m² (256 sq ft)
Aspect ratio: 7.3
Empty weight: 4,142 kg (9,132 lb)
Gross weight: 7,404 kg (16,323 lb)
Max takeoff weight: 7,900 kg (17,417 lb)
Powerplant:
1× Wopen WP-5 (Rolls-Royce Nene Mk.104B) centrifugal-flow turbojet
with 26.5 kN (5,950 lbf) thrust
Performance:
Maximum speed: 940 km/h (580 mph, 510 kn) at sea level
Maximum speed: Mach 0.76
Cruise speed: 750 km/h (470 mph, 400 kn)
Maximum Mach number: M0.83
Combat range: 450 km (280 mi, 240 nmi)
Ferry range: 920 km (570 mi, 500 nmi)
Service ceiling: 13,000 m (43,000 ft)
Rate of climb: 38 m/s (7,500 ft/min)
Take-off run: 783 m (2,569 ft)
Landing run: 910 m (2,986 ft)
Armament:
4× 23 mm (0.906 in) Nudelman-Suranov NS-23 autocannon with 100 rounds per gun
2× underwing hardpoints for 2.000 kg of payload, including a variety of unguided iron bombs such
as 2× 250 kg (500 lb) bombs, napalm tanks, pods with unguided missiles, or 2× 350 l (92 US
gal; 77 imp gal) drop tanks for extended range.
The kit and its assembly:
I always thought that the tubby Dassault Ouragan had something “Soviet-ish” about it, looking much like one of the obscure early Yakowlew jet fighter prototypes (e .g. the straight-wing Yak-25 [first use of this designation in 1947] or the swept-wing Yak-30) around 1950. With this idea I had stashed away a Heller Ouragan for a while, and recently wondered about an indigenous North-Korean aircraft that could have emerged after the Korean War? The Ouragan looked like a good basis, and so this project started as a simple conversion of the Heller kit.
While most of the airframe was retained, I made some cosmetic changes to change the aircraft’s looks and add a Warsaw Pact flavor. The characteristic wing tip tanks disappeared, and the wings’ ends were rounded off. The fin tip was extended with a piece of 1.5 mm styrene sheet and a different fin shape was sculpted from it. The original stabilizers were replaced with what I think are stabilizers from a VEB Plasticart 1:100 An-24 – they better match the wing shape than the OOB parts!
The cockpit was taken OOB, I just replaced the ejection seat with a different piece from a KP 1:72 MiG-19. The air intake was modified with the opening from a Heller 1:72 F-84G, extending and narrowing it slightly, even though the internal splitter plate (which also bears the front wheel well) was retained. The landing gear was also basically taken OOB, but the main wheels were now mounted on the outside position (with an adaptation of the covers), and the front wheel was moved 3 mm further forward, to compensate for the slightly longer nose section, and its cover was modified accordingly. The flaps were lowered, primarily because this modification is easy to realize on this kit and it makes the simple aircraft look “livelier”, and the canopy was cut into three parts for open display.
Pylons were added under the wings, together with drop tanks from a Hobby Boss 1:72 MiG-15. The same source provided the swept antenna mast behind the cockpit and the small but characteristic altimeter sensors under the wings. As a final twist of “Sovietization” I added small fences to the wings, made from styrene profiles – they would not be necessary on the aircraft’s straight wings, but they help change the model’s overall look. 😉
Building the Heller Ouragan was a straightforward affair, even though the plastic of the recent re-boxing I used was pretty soft and took long to cure after gluing parts together. A real problem occurred when I tried to close the fuselage halves, though, because the parts did not align well behind the cockpit, as if they were warped? The walls were rather thin, too, and as a result a lot of PSR went into the spine and the ventral area behind the wings, which mismatched badly. The rather thin material in these areas did not help much, either. I have built the Ouragan before, and I do not remember these massive troubles?!
Painting and markings:
I initially considered a North-Korean night fighter camouflage from the Korea War, but since the aircraft would have been introduced into service after the open hostilities, I rather settled for a very dry NMF finish with minimal markings. Therefore, the model received an overall coat with “White Aluminum” from the rattle can and a light overall rubbing treatment with graphite to emphasize the raised panel lines and add a slightly irregular metallic shine to the paint. Since they had disappeared through PSR, I also added/recreated some panel lines with a soft pencil.
The cockpit interior was painted in medium grey and Soviet cockpit turquoise, the landing gear and its wells became metallic-grey (Humbrol 56). The areas around the exhaust and the guns were painted with Revell 91 (Iron), the only color contrasts are red trim tabs.
The large KPAAF roundels with a white background came from a Cutting Edge MiG-15 sheet, the large red tactical code was left over from an unidentifiable “Eastern Bloc” model’s decal sheet. After some more graphite treatment around the guns and the tail section the model was sealed with a coat of semi-gloss acrylic varnish (Italeri), resulting in a nice metallic shine that looks better than expected on this uniform aircraft.
Well, this converted Ouragan looks pretty dull at first sight, due to its simple livery. But this makes it pretty plausible, and the small cosmetic changes add a serious Soviet-esque touch to the aircraft.
****Please feel free to use thisBackground in your Artwork, if you do use it i would love it if you would please post your work in my group here****
www.flickr.com/groups/1296873@N23/
Thank you ***
Do not re-distribute in ANY WAY ~
With Thanks To Dario Sanches for the beautiful Bird~
It is difficult to keep focused on 1 disaster when there are so many. Katrina, Japan, New Zealand, economies, terrorists, riots...
So I pay attention to the sounds of birds and dogs and cats amidst the background noise of rotten politicians and corporations...
For my informative friend
Collage-Nikov2010
Just outside of the frame to the left of this picture is the entrance to the engine house at the Strasburg Railroad. Shop tours would enter through this door to see behind the curtains and witness some of what it takes to prepare a steam locomotive for the day's work.
Here in the frame sits the cab of ex-CN steamer 7312, which has been converted into a covered seating area with benches inside. Sure, I'd love to see the cab on a running engine, but this is better than being fully scrapped I suppose.
If you look just beyond the cab roof, in the background you'll see the star of the show. Norfolk & Western steam locomotive #611 sits preparing for the day. Strasburg has become a real hub of activity for their own operations of both scenic and revenue freight. Add to that, the visit of such a famous steamer, and you have a powerhouse of an operation on your hands. On this day in October, 2019, I got to witness it all!
Bubble gum background graphic available for download at http://dryicons.com/free-graphics/preview/bubble-gum-background/ in EPS (vector) format.
View similar vector graphics at DryIcons Graphics.
I've posted this sun catcher before (you'll see it on my front page in the Black and White set), but what's amazing is this is the color of the sky in the background from my kitchen window.
Looking down from Eddy St. as P&W local PR-3 performs a few switch moves at the Shell (ex Motiva) racks pulling one load and spotting one empty tank.
The cool blue waters of Providence Harbor and upper Narragansett Bay are visible in the background.
The 2 mile long Harbor Junction Running Track and it's connection the South Harbor Track (the line peeling off to the right i. the foreground) are both owned by the City of Providence and served exclusively by the P&W accessed from Cranston Yard off the Amtrak Northeast Corridor Mainline.
2008, an EMD GP38-2 built new for the railroad in December 1980 has spent its entire almost four decade career working the rails of Southern New England and is very much at home here.
Providence, Rhode Island
Thursday January 9, 2020
There will be plenty of old images coming in the next days (or weeks) as I clear tons of unedited raw material fro phones and cameras in 2006-2007. Most are 'nothing special' (apolite word for mediocre but I dump them here for everyone's boredom and displeasure. Skip!
Published in the 'Backgrounds' app for iPhone and Android
PsP gallery (buy PsP pictures on SmugMug)
PsP (Wordpress)
500px
www.instagram.com/pspimages4u/
Shutterstock
***Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.
If you do use them, I would love it if you would please post your work in my group Here~
...Please DO NOT redistribute as your own or use for ANY Commercial purposes without my consent...
To see all my Premade Backgrounds please visit Here
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Please Sign Here to stop the Dog Cruelty and Tortures in China.
You can help the billions of animals across the world who suffer everyday, if you care enough ,
Please Sign Here And give them a Voice.
The Retreat Animal Rescue where i Volunteer ~
And on ~
Website~ Here
Facebook ~Here
Pinterest~Here,
***Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.
If you do use them, I would love it if you would please post your work in my group, Ruby's Treasures.
...Please DO NOT redistribute as your own...
See all my Premade Backgrounds~ Here
Landscape Brushes Purchased from~PNG Tubes
nked background, with handmade lace paper overlaid, and inked at edges. Bottom and top pieces of laces were kindly given to me by Jan.
Beads and pearls glued on
stickles glitter added
~~~~~~***Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.
If you do use them, I would love it if you would please post your work in my group, Ruby's Treasures.
...Please DO NOT redistribute as your own...
To see all my Premade Backgrounds please visit Here
Please Like me @ Facebook