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"Colour Form View Dress"
rapu caluson x mayako nakamura
MODESTE cafe・gallery / Hachioji, Tokyo
2013.08.20-25
www.modeste.info/mayako.rapu.tenji.html
いろ かたち みる まとう
rapu caluson x mayako nakamura
MODESTE cafe・gallery / 八王子
2013.08.20-25
www.modeste.info/mayako.rapu.tenji.html
ワークショップを開催いたします
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
La isla de San Marcos forma parte de los grandes atractivos que presenta la feria nacional de San Marcos. Este año 2008 fue del 19 de abril al 18 de mayo. ¡Viva Aguascalientes Señores!
In Hindu system of religion to worship the God in a human form is regarded as the highest form of worship. In old Vedic era it is the Acharya (The Master/Teacher) who was worshipped as the embodiment of the God. Even today all the popular religious beliefs, like Vaishnavism, Bauls and the others, consider a human form as a temple of the God.
Kumari puja is one such ritual where the Goddess durga is being invoked and worshipped within the form of a virgin girl whose age is between 1 to 16 years. This ritual is being observed mostly on the third day, that is "Maha Astami", of Durga puja while in some places the fourth day, that is "Maha Navami", is considered to be the day for it. Kumari puja is actually a Tantrik ritual of Sadhana (worship) which is believed to bring great blessings on the worshipper. Different Tantras have extensive discussions on the methods and procedures to be followed by different categories of Sadhakas (worshipper); however I think the ritual is not being observed in all its rigorous details now-a-days during the puja, at least that is not realistically possible.
The choice of the virgin for Kumari puja is not made based on caste, religion or social backgroung, rather the physical, emotional and mental characteristics are taken into consideration. Swami Vivekananda is said to have worshipped a Muslim girl as a Kumari. The girls at different ages are believed to represent the different manifestations of the Goddess: A girl of 1 year is called Sandhya, of 2 years Saraswati, of 3 years Tridhamurti, of 4 years Kalika, of 5 years Subhaga, of 6 years Uma, of 7 years Malini, of 8 years Kuvjika, of 9 years Kalasandarbha, of 10 years Aparajita, of 11 years Rudrani, of 12 years Bhairavi, of 13 years Mahalaksmi, of 14 years Pithanayika, of 15 years Ksetrajna and of 16 years Annada or Amvika.
While chanting the "Mantras" (text from Holy Scriptures) different postures are assumed and these are strictly guided by the rituals of the puja.
Acknowledgement: I like to give thanks to the family members of Rani Rashmoni's house at Jaanbazar, Kolkata, for allowing me to photograph the rituals at their premises.
Jaanbazar, Kolkata.
October, 2007
NRFB FR LOFT DRESS FORM (female)
RARE & VHTF
Compare - eBay @ $250!
www.ebay.com/itm/RARE-FASHION-ROYALTY-1-6-SCALE-DRESS-FOR...
Chocolate sponge sandwiched with chocolate buttercream ganache and covered in a mix of fondant and chocolate flavoured fondant. All decorated to look like Alakay from the film Madagascar.
The star forming regions are giant hydrogen clouds shining a red emission light when powered by nearby young stars. The great Orion nebula is the best example of this process in the Milky Way, our galaxy. There are also many such regions in distant galaxies. In this image, I have processed the data of M51 both in the normal LRGB way but also adding to the same L and R components the data from 20 minutes (6 subs) of exposure through an Halpha filter (5nm). The HII regions can now easily be identified whilst the colour balance of the galaxy remains natural. Note that the HII regions are more abundant in the outer part of the arms and in the regions which have been disturbed by the crossing of the smaller galaxy now on the top right. Tidal waves generated by this perturbation have initiated new star formations.
For other details see the previous photo.
Hotel Pro Forma
Operation : Orfeo
Vizuális opera három tételben
Budapesti Tavaszi Fesztivál
Nemzeti Színház - Nagyszínpad
2010.03.22.
Lisbeth Sonne Andersen - tánc,
Baiba Berķe - ének,
a Lett Rádió Kórusa
Koreográfia: Anita Saij
Fény: Maja Ravn, Jesper Kongshaug
Jelmez: Annette Meyer
Technikai igazgató: Jesper Sønderstrup
Vezényel: Sigvards Kļava
Rendező: Kirsten Dehlholm
www.dailymotion.com/video/xcoh3r_hotel-pro-forma-operatio...
Hollah! Kassia here. Day three was all about getting our surf on. We towed this sick old school raft behind the boat to hold our stuff. It was full-on Huck Finn. Chels and I did cannonballs off the top for funs. (Meanwhile Sofia’s on her board all sophis, looking back at us like we’re crazy. We are, a little bit.)
Photo: Jeff Hornbaker
The vikings needed new canopy as the original was thick & blurry - blocking out the cockpit details. Hence I need to make my own canopies.
The setup consist of:
1. Vacuum Pump from a brake bleeding kit. It didn't bleed my motorcycle brake well :(
2. A forming "table" made from tupperware.
3. Female mold of the original made with RTV silicone.
4. A frame to hold the hot plastic.
5. A toaster oven.
Business is so bad at CVS, that they are getting rid of cash registers. They definitely don't need them.
Green form - There is also a brown form
These are very short this year due to the dry June we have had. I managed to capture these orchid flowers with their labellum's down. They are pollinated by small gnats and mosquitoes in the column (hood) when they are trapped by the sensitive labellum which flicks closed when touched.
flickriver.com/photos/javier1949/popular-interesting/
Tate Modern.
Bankside, Londres, Inglaterra, U.K.
Arquitectos: Central eléctrica inicial: Giles Gilbert Scout 1947-1963.
Intalación del Museo: Jacques Herzog y Pierre de Meuron (Herzog & de Meuron) 1997 – 2001. Premio Pritzker de arquitectura en 2001
Ampliación: Jacques Herzog y Pierre de Meuron (Herzog & de Meuron) 2009 – 2016
La Tate Modern es la galería londinense destinada al arte contemporáneo y forma parte del complejo Tate Gallery junto con la Tate Britain, en Londres, además de la Tate Liverpool y la Tate St Ives. Se ha convertido en uno de los principales museos británicos, con una interesante colección de arte de los siglos XX y XXI, además de ser un foco de atracción turística junto al Támesis, frente a la catedral de San Pablo y al lado del teatro Globe de Shakespeare
El prestigioso estudio de arquitectura suizo Herzog & de Meuron, ganador del Concurso internacional de arquitectura convocado al efecto, se encarga de la adaptación de la antigua central eléctrica de Bankside a las orillas del Támesis, diseñada por Sir Giles Gilbert Scott, construida en dos fases entre 1947 y 1963, clausurada en 1981 y abandonada hasta 1996.
Los arquitectos apuestan por preservar el carácter industrial del edificio integrando en el espacio museístico su gran nave central, y enfatizando el carácter de sus muros de ladrillo cobrizo, que se restauran manteniendo los huecos y la gran chimenea -un icono para el nuevo museo-, y sus imponentes estructuras metálicas. La intervención para crear los nuevos espacios del museo se realiza mediante una sutil combinación de viejas y nuevas estructuras sin entrar en distorsión, en una integración perfecta. Una gran estructura de acero construida en el interior del edificio original da cabida a las nuevas dependencias derivadas del nuevo uso. Exteriormente, sobre el gran volumen prismático de ladrillo, se levanta un gran elemento de vidrio que actúa como ático, cubierta y lucernario, además de servir de faro nocturno.
La gran Sala de Turbinas, enorme espacio central de 155 metros de largo, 23 de ancho y 35 metros de altura, cubierta mediante paneles de vidrio, se convierte en el vestíbulo y el espacio protagonista del museo en el que se realizan las exposiciones singulares. La gran estructura interior se distribuye en siete niveles con fachada a la gran Sala. En los dos primeros se sitúan recepción espacios comunes, cafetería y tiendas. Entre el tercero y el quinto las galerías de exposiciones. Finalmente, en los niveles sexto y séptimo tras el volumen acristalado restaurante, café y zonas destinadas a socios, además de las terrazas que se constituyen en un privilegiado mirador londinense . No se utilizan falsos techos, las instalaciones se dejan vistas y la estructura se pinta de negro, para enfatizar el carácter industrial del espacio. En los diferentes paramentos interiores se combinan la madera sin tratar y los suelos de hormigón que reemplazan los originales dando a los espacios un aire rústico pero refinado.
El proyecto de ejecución definitivo para la ampliación “la Tate 2” se presentó el 18 de julio de 2008, dos años tras la presentación del primer proyecto de ampliación. El diseño exterior del proyecto cambió de forma radical respecto de la primera propuesta. En lugar de la fachada facetada de vidrio original, el nuevo diseño exterior se basaba en una celosía continua de ladrillo, que según la explicación de los arquitectos, se adaptaba mejor a la fábrica de ladrillo de la fachada del edificio original. Sobre esta celosía continua se abrirían unas largas aberturas horizontales en las que se situarían los ventanales hacia el exterior. Con sus once plantas y 70 metros sobre rasante, el diseño final del edificio añadirá 21.500 metros cuadrados adicionales a los 35.000 ya existentes.
es.wikiarquitectura.com/index.php/Tate_Modern
www.tate.org.uk/visit/tate-modern
es.wikipedia.org/wiki/Tate_Modern_2
www.tate.org.uk/about/projects/tate-modern-project
Herzog & de Meuron
www.herzogdemeuron.com/index.html
King Felix is an electronic music group formed in 2011 in Los Angeles, California. King Felix produces and Djs a wide variety electronic music such as: bass music, electro-house, progressive house/trance, instrumental hip hop, glitch, dub-step, industrial, ambient, and experimental electronica
The live performances feature Dj sets incorporated with live instruments such as: analog synthesizers, pianos, vocoders, drums, bass guitars, vocals, guitars, and other virtual instruments. In addition, when King Felix performs they create their own animations/visuals to accompany the performance. King Felix states, "Nothing means more to us than our fans, we want them to just forget about their daily lives and have a good time when they go out to a show."
In November 2012 the group released a series of HD/VHS style music videos. King Felix created every element of the music and videos including animation, editing, music production and mastering. These videos have a vintage psychedelic ambiance as they were mixed down through a VHS player to give the videos a nostalgic flavor. The music video for King Felix's song "Touching Basses" alone has received over 300,000 views on YouTube as of 2013.
www.facebook.com/kingfelixmusic
www.youtube.com/kingfelixmusic
King Felix has released several albums since their formation in 2011. The albums the "The Healing Code" and "Home Free/Medical Hookers E.P." can be found on itunes, beatport, amazon, ect.
itunes.apple.com/us/album/home-free-medicinal-hookers/id6...
itunes.apple.com/us/album/the-healing-code/id620033782
www.beatport.com/release/home-free-medicinal-hookers/1044387
However, King Felix has released several songs and albums free of charge on their bandcamp site @ www.KingFelix.bandcamp.com
Bio
Itchy Tasty Records is a Los Angeles based Electronic Music Record Label. Itchy Tasty Records is a Label that aims to represent/promote undiscovered original, talented, musicians/groups within the electronic musical field.
Are you itchin to hear something awesome?
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Itchy Tasty Records current artists - King Felix, Huxley's Nightmare, Super Awesome Ultra Cool, Wh1ch House?, Dynamite Jacksin, Kanga, Lara FM, Dj Fresh'n Nasty
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www.ItchyTastyRecords.bandcamp.com
www.facebook.com/ItchyTastyRecords
www.soundcloud.com/ItchyTastyRecords
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itunes.apple.com/us/album/the-healing-code/id620033782
www.youtube.com/kingfelixmusic
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www.soundcloud.com/HuxleysNightmare
www.twitter.com/HuxleysNightmare
www.tumblr.HuxleysNightmare.com
www.youtube.com/HuxleysNightmare
itunes.apple.com/us/album/crunchy-single/id640237695
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soundcloud.com/superawesomeultracool
www.SuperAwesomeUltraCool.bandcamp.com
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www.soundcloud.com/dynamitejacksin
www.DynamiteJacksin.bandcamp.com
We Love Innovation, Itchy Tasty Records fully supports underground groups and individual artists who excel in electronic music. We have talent in almost every genre of electronic including but not exlusive to: Hip/glitch/trip hop, rap, Electro, house, minimal, Chillstep, experimental, new wave, dark wave, electronica, beats ambient, Dubstep, Funkronica, Witch House, downtempo, 80s, Trap, Dark electronica, idm and edm.
www.soundcloud.com/ItchyTastyRecords/dropbox for Music Submissions
We reply to both Artists who we think have what it takes to be on Itchy Tasty as well as artist who have potential in the near future.
Art is about life, love, joy, pain, growth, and learning; Itchy Tasty Records will give careful consideration to all artists who live and love art and innovation
Itchy Tasty Records |2012|
The year was 1974. The jeep in its civilian form had been trucking along for nearly 30 years. The original wagon was gone, but there was the Wagoneer, the first full sized SUV that gave birth to all of the modern SUVs on the road today. Jeep had the CJ, of course, as well as the J-trucks, but there was something missing from its lineup, something mid-sized with an appeal to a family that wanted and needed something smaller than a Wagoneer. It was the jeep that Jeep nicknamed “the Jeep and a half,” the Cherokee that debuted that year. It was poised to place Jeep in a better position to go up against the likes of the International Scout, the GMC Jimmy and Ford’s Bronco. Families were looking something a bit less spartan than the CJ, larger than a pickup, but not as large as the Wagoneer and that package came in the Cherokee, SJ.
The Cherokee became the jeep for young families and as well had the benefit of automatically placing the Wagoneer into a new category, that of the luxury and prestige vehicle. The Cherokee was offered as a two door model that was similar to the Wagoneer’s four doors and for the first time a jeep was offered with front power disc brakes and Saginaw power steering as well as an open knuckle Dana 44 that, especially helped the Wagoneer to reduce its turning radius. The Cherokee was no slouch in its class. While its older big brother came with the 360 or 401 V-8 standard, the Cherokee had the solid 258 inline six.
The Cherokee came in a base and an ‘S’ trim model as well as a Cherokee Chief trim level. Forty years ago is a long time, but the Cherokee had a lasting impact that can be felt until just recently. The first incarnation of the Cherokee, the SJ continued on until 1983 and its second remodel, the XJ soldiered on until 2001. In honor of the Cherokee’s 40th anniversary enjoy this full 1976 model lineup brochure from Jeep of Canada that was sourced from the auto enthusiasts website, a “web magazine/blog” Lov2xlr8. The Cherokee of course isn’t the only thing to enjoy in it! Check it out here- this-old-jeep.com/These_Old_Jeep_Dealer_Items/Pages/1976_... Come back next week for lots more of the best of the jeep since 1940!
Flaque du : 11 Mars 2011, 15h20
Pieds : 1 Seul (le droit)
Formes Principales Possibles : Visage de côté avec un gros œil (larme possible) et un pinch // une Silhouette d’un Homme (à l’envers) // Un oiseau qui tombe avec des plumes (juste le haut de la flaque) et une branche ou un serpent
Résidus d’eau : Beaucoup
État Physique : Normal, un peu fatigué
État Mental à la prise de vue : Neutre, un peu préoccupé, mais calme, impression de solitude
État Mental à la fin de la journée : Assez heureux, après une soirée entre amis
Évocation D’un Futur Possible : N/A
Évocation D’un Passé Possible : N/A
Autre : Oiseau : J’ai entendus les premiers corbeaux du printemps le matin suivant
Analyse :
Le visage : il me représente quand même bien … la larme et la barbe
La silhouette : elle est obscure et semble émané du noir… il lui manque une jambe et sa tête est rabaissée
L’oiseau : ressemble étrangement au signe du groupe de musique Insomnium… l’oiseau semble en chute libre, le reste de la flaque tente de le rejoindre … ou est-ce un serpent qui vient pour manger sa victime?
The Secondary school at Buttershaw has had a number of name changes since its opening in 1956.
In 1956 it opened as Buttershaw Secondary School , since then it has been Buttershaw Comprehensive, Buttershaw Upper School and Buttershaw High School. Currently it enjoys the name of Buttershaw Business and Enterprise College.
The original 1956 buildings were extended in the early 1960. Further building work continued during the 70’s 80’ and 90’s.
In 2008 the new building was opened and the old building demolished.
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Backstage Sky TG24HD una puntata con Paola Saluzzi insieme a Maurizio Zorzetto Country Manager Italia di Meetic per parlare dell'amore ai tempi della rete e come si formano le coppie in rete. In onda su Sky TG24
Second day-trip to Panthertown Valley, NC. This is a near-wilderness area that has been set aside for hiking, fishing, and outdoor enjoyment. The first day up there was anything but enjoyable for us. Long story short: we missed the first (and most important) trail turnoff, and got lost. Many hours later, we happened upon a Boy Scout group that seemed to know their way around, and gave us directions back to where we began the day...
The second day was much more productive, since we met up with our photography buddy, KT, who had been in the area a time or two previously.
On this day, our final destination was to be a white pine "plantation" that provided cover for a large group of Cypripedium acaule (Pink Lady's-slipper Orchids). We had no trouble finding several rather large populations of this beautiful orchid as well a a rare white form. During this part of the spring season, there are other wildflowers in the area, as well: Rhododendron, Flame Azalea, and Mountain Laurel to mention a few...