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A Herman Miller Exhibition at the ArtScience Museum. Singapore. Exploring the life and work of Charles and Ray Eames. August 2013.
JACK KIRBY
Fantastic Four 55
JACK KIRBY
Birth nameJacob Kurtzberg
BornAugust 28, 1917
New York City. New York
Died February 6, 1994 (aged 76)
Thousand Oaks, California
NationalityAmerican
Area(s)Penciller, Inker, Writer, Editor
Pseudonym(s)The King
Notable worksMarvel Comics
AwardsAlley Award
*Best Pencil Artist (1967), plus many awards for individual stories
Shazam Award
*Special Achievement by an Individual (1971)
Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.
He was inducted into comic books' Shazam Awards Hall of Fame in 1975.
The Jack Kirby Award for achievement in comic books was named in his honor.
Early life
Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]
Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.
The Golden Age of Comics
Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).
Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."
Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.
Simon & Kirby
During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:
“
I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...
and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.
Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.
Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.
As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.
After Simon
Sky Masters comic strip by Kirby & Wally Wood.
The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.
Stan Lee and Marvel Comics
Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.
Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.
Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.
Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.
In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".
In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.
Awards and honors
Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:
*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114
*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4
*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense
*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66
*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor
*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]
Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.
His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.
The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.
In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.
Legacy
Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.
The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).
Kirby: King of Comics (Hardcover)
by Mark Evanier (Author), Neil Gaiman (Introduction)
Editorial Reviews
From Publishers Weekly
As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Product Description
Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.
“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon
About the Author
Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.
Mark Evanier
Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
Für eine Frau, die einen Kleiderschrank voller Kleidung hat, aber nichts zum…
coolideen.com/2018/07/18/6-pailletten-essentials-fur-die-...
Lighting Essentials Assignment - Still Life
I was at the Galleria Borghese in Rome a few months back. Everything there was incredible. But after hearing the story of his life, the Caravaggio exhibit had the most impact. So I decided to try and do my still life in the style of a Caravaggio painting.
Shoot Notes: From set-up to post, I'd say this project took me about an hour and a half. The "window light " isn't from a window. I took a large piece of black mounting board, cut a square hole in it, and put a vertical and horizontal strip of tape over it. Then I hung it from a light stand and shined a speedlight through the hole and onto the wall. (20 mins) I set up two additional lights - one gridded light hitting the flowers from hard camera left. And another in a gridded medium softbox on the right to fill in just a touch. (20 mins) Shooting took longer than I expected because I had to play around with the height that the mounting board "window" was hung at. Funny, but the light on the still life itself was easy. The light on the background was much more difficult to get right. (30 mins) Finally, I spent about 20 minutes in post. I wanted those harsh Caravaggio shadows, so I did levels adjustment and added a slight desaturation layer.
Tenganan Pegringsingan or Pageringsingan is a village in the regency of Karangasem in East Bali, Indonesia. Before the 1970s was known by anthropologists to be a secluded society in the archipelago.
Rapid changes have occurred in the village since the 1970s, such as the development of local communications by the central government, the opening up to tourism, the breaking of the endogamic rules.
Tourists are attracted to Tenganan by its unique Bali Aga culture that still holds to the original traditions, ceremonies and rules of ancient Balinese, and its unique village layout and architecture. It is known for its gamelan selunding or Gambelan selonding music played on iron metalophones and gringsing or geringsing double ikat textiles woven in only 3 places in the world.
HISTORICAL LEGEND OF TENGANAN PEGRINGSINGAN
According to legend, the people of Tenganan Pegringsingan were selected by the Hindu god of storms and warfare Indra to administer a territory that was conceived in accordance with his divine plan to be a microcosm of the world. They were instructed to use every means to keep it pure and clean. The concept of territorial, bodily and spiritual purity and integrity is of paramount importance in the village.
Another variation of this legend is of the magical horse Uccaisrawa, of King Udayana, ruler of the 11th century kingdom of Bedahulu. The horse was to be sacrificed but escaped. The king was distraught and sent search parties out to find him. A group of trusted servants, men from the Peneges family were assigned to search the eastern area of the island in the area of Karangasem. The king had promised a huge reward to whoever found Uccaisrawa, however when they did find him, he had died of exhaustion.
The king rewarded the finders with the land for as far as the smell of the dead horse could be detected. The men of Peneges dismembered the horse and carried the parts to various places around the place where the horse had died. Unknown to the king's men, the Peneges men had hidden portions of dead horse into their clothes, so the rotten smell followed them everywhere until the king's men decided it was enough land and left.
The Peneges men brought their families to the place called ngetengahang which means "to move to the middle", a valley now known as Tenganan Pegringsingan. It also is named after the double ikat geringsing cloth that Indra taught the women to weave. It sparkled with star motifs that emulated his divine realm.
VILLAGE LAYOUT
Houses in Tenganan Pegringsingan village are built on either side of the uphill to downhill concourses with their doors opening on to it. The entrances of the houses are narrow, only allowing one person to enter or leave at any one time. Entrance to and exit from the village through the gate on the downhill end. On either side of the entrance are two small temples.
Across from these is the long balé agung, where the administrative decisions for the village are made. Next to that is the drum tower, kul-kul. The kul-kul is beaten 21 times each morning to start the day. Up the center are a series of communal pavilions (balé patemon) for formal and informal meetings, ceremonial gatherings. At the northern end is the village temple Pura Puseh, the temple of origin.
THE PEOPLE OF TENGANAN PEGRINGSINGAN
The people of Tenganan Pegringsingan are called Bali Aga—the original Balinese. They descend from the pre-Majapahit kingdom of Bedahulu. There are strict rules as to who is allowed to live in the village. Only those born in the village can stay in the village and become full members of the community. There are rules regarding marriage and anyone who marries outside of the village has to leave. A strict protocol regarding marriages among the kin groups have steered the Tengananese through the genetic perils of intermarriage although with increasing contact with the outside world these rules have relaxed somewhat.
RITES AND RITUALS
Many of the life-cycle rituals of the Tengananese are similar to those of the Balinese in general, but have subtle differences. Some ceremonies are unique. One of the distinguishing features is the use of geringsing or double ikat cloth. By virtue of their magical qualities geringsing are not only capable of keeping impurities and danger out of the village, but also shield and protect humans from harmful influences during rites of passage as they transition from one phase of life to the next.
The Tengananese receive their first geringsing at the hair cutting ritual. The cut hair is placed in a basket which is placed on a folded geringsing on the balé tengah, on which the Tegananese both enters and leaves the world.
In the ceremony that admits a boy or girl to the youth association of the village, they are carried dressed in geringsing cloth on their father's right shoulder. In the concluding ceremony of teruna nyoman which is the initiation, the candidates wear a geringsing and a keris or dagger.
For the tooth filing ceremony, an essential rite of passage for all Balinese Hindus, the participants' pillow is covered by geringsing.
After death the genitals of the deceased in Tenganan are covered by a geringsing hip sash. These cloths may not be used again and so usually are sold. For muhun soul purification rites, an effigy of the dead is carried in a geringsing shoulder cloth.
In the wedding ceremony the groom invites his in-laws to visit his parents home where the couple, dressed in festive geringsing clothing sit while relatives bring symbolic gifts which are placed on a geringsing cloth.
WIKIPEDIA
Many restaurants deliver food these days. Oftentimes young people are the ones fit for the job - wearing gloves on the go.
#corona_kindness #docu style
Jem & the Holograms stage essentials.
The package includes 1 guitar, 1 jacket, 1 amp, 1 guitar case, 3 guitar straps, 1 keyboard, instrument wires (and knobs for the amp), sheet music and what appears to be a photo of a dude.
This set is awesome!
The essentials of being on site.
You don't want to run out of any of these!
Bottled water - the tap supply cannot be trusted. I think I may come from a storage tank (this is old building).
Soap - the toilets are sometimes out of this essential liquid!
Toilet paper - as above.
Kitchen roll - for effective drying hands of instead of old and past it hand dryers.
Black pepper essential oil is a famous oil, made out of black pepper, which is widely used as a spice around the planet. Still black pepper oil can be used for medicinal uses , a preservative and perfumery. The main advantage of black pepper oil happens because it contains piperine , which helps enhance the digestive system and protect the stomach from oxidative damage.
the "need more people to know we're here" challenge.
Challenge
When Blackpool Airport transferred from public to private ownership, attracting new passengers and new airlines was critical to any future success. It was essential that the airport created a niche for itself in an already strong North West air travel market.
Discuss
Our PR and design teams got out and about to learn more about other airports and the aviation market. From logos to signage, media targets to outdoor advertising - everything came under our scrutiny – and was up for discussion. We then blended our marketing expertise to create a truly hardworking solution.
Solution
Bucking the trend of corporate colours used by most other airports, we chose warm colours to make Blackpool's branding stand out from the crowd. Punchy strap-lines such as 'More holiday, less hassle' highlight the airport's unique selling points, and our PR team came up with a stream of story angles to generate ongoing media coverage.
Result
The result is an easily recognisable and vibrant brand that works on all levels. Marketing copy that gets to the point. Increased positive 'airport visibility' in the media – and most important – more passengers! ICG has now been working with the airport for 5 years.
Visit Blackpool International's website:
"We say nothing essential about the cathedral when we speak of its stones. We say nothing essential about Man when we seek to define him by the qualities of men."
(Antoine de Saint-Exupéry)
Seen in the Marienkirche (church St. Mary), Mühlhausen, Thüringen.
This big stone cube was part of an exhibition inside the church, showing the techniques of the medieval builders.
I fool around with graphics software so much...never leaving any image the way I found it...I find myself wondering sometimes..
"SHould I really call myself a photographer? Maybe I should just be saying, "I'm into photo-graphics."
And then Mabel lays down in the sunlight coming through the patio door on a sleepy SUnday afternoon, and I just point the camera at her and push the button and I don't wonder anymore..The answer to the Question
"Can I still just take a good photo?"
..is, "YES - as long as Mabel lives here"
++++++++++++++++++++
This photo has not a single thing done to it..no change in contrast, no fake light and shadows, not even cropped..NOTHING!!!! It's so obvious in the face of this that the Essential Element is Mabel!
Oh, and I can't let this opportunity go by without bragging on her..how she's grown up and found a new more mature position in the pack in the wake of Sam and Shelby passing.
I'M SO PROUD OF HER!!!!!