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Tutorial on Instructables: www.instructables.com/id/Functional-LEGO-Nutcrackers/
With a simple pull of the lever, these decorative figures can open and close their jaws like authentic nutcrackers!
Both of these models were built in the recent weeks leading up to Christmas. The design was pretty straightforward, but two major issues were making the faces look good, and finally getting the hats right. In fact, the green nutcracker's crown took the longest to figure out, and was finally made with hinge plates.
As mentioned in the tutorial, although these can in fact function as real nutcrackers, they're somewhat rickety and best suited for holiday decorations.
Sometimes it takes awhile to figure out exactly how to approach one of the most iconic and popular object in the ceramic world. I've seen a few features in my exploration of various piggy banks, and have been slowly integrating them into my own. This is one of the prototypes of my exploration, based on a really awesome Austrian piggy bank that I saw on Etsy once. #animal #wild #wildlife #animalbank #bank #coinbank #piggybank #clay #ceramic #stoneware #pottery #sculpture #handmade #pig #piggy #piglet #functional #claytoy #toy #indoor #yellow
For years, I've always had the cheapest of tripods. Probably, because when it comes to equipment that is not really for life-support, I settle for the most practical and functional -- and cheapest too. Its amusing, that in this city, a cup of coffee for my breakfast is more expensive than this tripod. But think again, if you're laughing now. My tripods can tell you that no matter how cheap they are they have been to places many of you haven't. They have been all over the world with me, literally. I can only try to enumerate and can't guarantee I wouldn't miss a thing this tripod has been to. If you're interested where the tripod has been to, read on. If not, stop here, it might be too long for you.
The Philippines -- Ilocos Norte: Laoag, Pagudpud, the windmills of Bangui, Bacarra, and to Ilocos Sur: to Bantay church, to the sand dunes and Vigan. To Tarlac, Pampanga and Zambales, through lahar and through the crater Lake of Mt. Pinatubo, partially dipped in its partially sulfuric water. Through rains and volcanic rocks. The the old cemeteries of Clark field. To Cavite: tagaytay, and its famous Taal Lake -- and on the volcano island. Batangas - Nasgubo and Taal, places and mountains of Laguna. Manila of course. Most of the places at the Metro. Albay - on the slopes of the smoldering Mt. Mayon, and tributaries and rivers around it. the caves of Camalig, it was there too. And to Palawan: Puerto Princesa, Honda Bay, Underground River -- the limestone cliffs and pristine white beaches. Aklan - of course, there's the boring overly visited Boracay and around that small island, and Kalibo. Negros -- Bacolod and Dumaguete, the capitals of the two provinces of the island. Cebu -- ah, there's too many places to mention, from the exotic Hilton Hotel, to Marco polo -- the one on the hill, to crown regency the tallest, to the beaches east of Mactan Island, to the southern municipalities, and in the middle of Dalaguete's mountain range. To Camiguin, amid all its volcanoes and its frustrating black beaches, except for the one off shore -- the white beach, the underground cemetery and the hot springs. Cagayan de Oro and its river, and some caves on its riverbank. To Siquijor, into the smallest of caves passable, and the mystic mountain of Bandilaan, and the white beach of San Juan and elsewhere in the Island, the municipalicity of Lazi, whose convent is more intriguing than it looks. Ozamiz city and its nearby municipities -- part of the places where I grew up. To samar and leyte, and walking across the San Juanico Bridge. Tacloban -- into the grand Imelda Mansion. And you think all these places are boring because its in the Philippines...
...the tripod can tell you more. To the United States, from the four seasons of New England, Boston, Washington DC and the streets of New York. The historical places of Massachusetts, Concord and Lexington. Cambridge, and walking down Harvard hall. To Connecticut visiting Yale. Walking on the streets of New york, daylight and nighttime, watching the leaves fall at Central Park, watching it covered by snow, and watching the cherry blossoms too. The escapades of Baltimore(Maryland), and Philadelphia(Pennsylvania). Hmmm... I can't enumerate them all. Washington DC and Virginia. Walking around the city of Cleveland, in Ohio, in st. Louis, Missouri, it took my self-portraits on long stretches of deserted areas of Route 66, on my way to Chicago. Visiting Lincoln's tomb at Springfield, Illinois. On a cruise yacht at Lake Michigan, with the Chicago skyline in full view. In Milwaukee, Wisconsin, the beer capital of the United States. Spending time at San Francisco, and all its historical places. To Los Angeles, from Venice Beach, the the financial district, to that small famous town called Hollywood.
To the streets of Singapore, its modern architecture, to its zoo and the bird park of Jurong, to its cable cars at Mt. Faber, and the well created artificial (well, most of it) island of Sentosa, the Esplanade and the Fullerton, to Little India and the windows of China town and Joo Chiat. To Malaysia, the cities of Penang, Ipoh, Malacca, Seramban and Kuala Lumpur. To places in Gombak(Malaysia), the Batu Caves. The Federal site of Putra Jaya. On the skybridge of Petronas twin towers, and the shopping complex of Bukit Bintang. To Taiwan -- Taipei and neighboring cities, chiang Kai Shek memorial Hall, Taipei 101 and the national art museum. To Thailand and all its cultural art.
...and to Europe, from Frankfurt(Germany), to Austria. Soaked in Rain and seawater in Venice, Italy. Was there in Florence too. Helped me with bracketing shots at the cathedral square of Pisa and around Tuscany. Rome, among the ancient world, at the Colosseum and the old Roman forum, and taking shots of the old structures built by Roman emperors you can now only see in history books. Inside the walls of the Vatican, the seat of the Roman Catholic Church. And in Paris of course, where this photo is taken. To Normandy -- the D-Day landing sites and parts of Omaha beach. To Amsterdam, Belgium, Zurich and Munich...
...and there will be more.
Bordes de Galliner, Comallempla, Arinsal, La Massana, Vall nord, Andorra, Pyrenees
More Arinsal photos by Lutz Meyer: www.flickr.com/groups/ad400arinsal/pool
More La Massana parroquia photos by Lutz Meyer: www.flickr.com/groups/massana/
More Vall nord fotos (La Massana & Ordino): www.flickr.com/photos/lutzmeyer/sets/72157622806197778
More Arinsal & La Massana parroquia images: Follow the group links at right side.
.......
About this image:
* Medium format format 4x3 (645) high quality image
* Usage: Large format prints optional
* Motive is suitable as symbol pic
* "Andorra authentic" edition (10 years decade 2008-2018)
* "Andorra camis & rutes" active collection
* Advanced metadata functionality on dynamic websites or apps
* for large metadata-controlled business collections: photo-archives, travel agencies, tourism redactions
We offer 100.000+ photos of Andorra and North of Spain. The biggest professional image catalog of Andorra from the newer history: all regions, all cities and villages, all times, all seasons, all weather(s). HighRes & HighColor GeoCoded stock-photo images including metadata in 4-5 languages. Prepared for an easy systematic organising of large image portfolios with advanced online / print-publishing as "Culture-GIS" (Geographic Info System). The big stockphoto collection from the Pyrenees.
More information about usage, tips, how-to, conditions: www.flickr.com/people/lutzmeyer/. Get quality, data consistency, stable organisation and PR environments: Professional stockphotos for exciting stories - docu, tales, mystic.
Ask for licence! lutz(at)lutz-meyer.com
(c) Lutz Meyer, all rights reserved. Do not use this photo without license.
Fully functional model of Volvo L250G Wheel Loader. For more pictures visit my MOCPages page. Or Brickshelf.
See also how it works on YouTube.
Instructions available:
A photowalk of the Cranbrook gardens estate and Cranbrook art museum - which was having their 2021 Graduate Degree Exhibition
Bloomfield Hills, Michigan
Adventure zone. Swing bridge at Els Cortals, Encamp (parroquia), Vall d'Orient, Andorra, Pyrenees
More Els Cortals & Encamp parroquia images: Follow the group links at right side
.......
About this image:
* Full frame format 3x2 quality image
* Usage: Large format prints optional
* Motive is suitable as symbol pic
* "Andorra authentic" edition (10 years decade 2008-2018)
* "Andorra camis & rutes" active collection
* Advanced metadata functionality on dynamic websites or apps
* for large metadata-controlled business collections: photo-archives, travel agencies, tourism redactions
We offer 100.000+ photos of Andorra and North of Spain. The biggest professional image catalog of Andorra from the newer history: all regions, all cities and villages, all times, all seasons, all weather(s). HighRes & HighColor GeoCoded stock-photo images including metadata in 4-5 languages. Prepared for an easy systematic organising of large image portfolios with advanced online / print-publishing as "Culture-GIS" (Geographic Info System). The big stockphoto collection from the Pyrenees.
More information about usage, tips, how-to, conditions: www.flickr.com/people/lutzmeyer/. Get quality, data consistency, stable organisation and PR environments: Professional stockphotos for exciting stories - docu, tales, mystic.
Ask for licence! lutz(at)lutz-meyer.com
(c) Lutz Meyer, all rights reserved. Do not use this photo without license.
UPDATE: I have since deleted my Instagram, too; never quite learned to like its functionality.
I never thought it would come to this, but I am leaving Flickr.
Flickr has been a ghost town for years, but still I stubbornly stuck with it and defended it after so many people dismissed it as a joke.
Well, the joke is on me.
I am not opposed to the idea of paying for my Flickr account, especially after nearly a decade of getting so much from Flickr for free.
But I am refusing nonetheless to pay for my account, for a simple reason: I can never trust Flickr again.
If Flickr had announced that only the 1,000 most recent photos on one's photostream will be accessible without a paid account, that would be one thing; it was once the case that one could only access the most recent 200 photos on one's stream, so there would be precedent. But no, they are deleting people's photos after offering free unlimited storage. How can I trust them not to pull the rug out from under us again? I don't want to pay their fee to preserve my photos only to have SmugMug decide to delete the site completely in two or three years.
I love Flickr, and I have never cared for Instagram, but I am not yet ready to give up on my hobby, and so I have reluctantly decided to pursue Instagram; even as a photo receives between 50 and 70 likes on Instagram within a few days and I know that it would only have received ten or more "Favorites" here on Flickr, I still wish that I could keep using Flickr, instead.
I will miss being able to sort my photos into albums. I will miss being able to google a given photo of mine to find it quickly and easily. I will miss the ease with which I was able to share my Flickr photos on forums; I will now be leaving thousands of broken and blank images across these forums because Flickr is going to delete nearly 2,000 of my photos. (Actually, I am going to delete them myself; that way, I can choose which ones I keep).
Most of all, I will miss you, my Flickr friends. I hope that those of you who are not already using Instagram will consider doing so, but in the meantime I will keep my From the People You Follow page bookmarked so that I can keep up on your new photos.
To paraphrase Bret Hart, I will never forget what Flickr has taken away from me, but I will also never forget what Flickr has given to me.
Tutorial on Instructables: www.instructables.com/id/Functional-LEGO-Nutcrackers/
With a simple pull of the lever, these decorative figures can open and close their jaws like authentic nutcrackers!
Both of these models were built in the recent weeks leading up to Christmas. The design was pretty straightforward, but two major issues were making the faces look good, and finally getting the hats right. In fact, the green nutcracker's crown took the longest to figure out, and was finally made with hinge plates.
As mentioned in the tutorial, although these can in fact function as real nutcrackers, they're somewhat rickety and best suited for holiday decorations.
A fully functional Launch Abort System (LAS) with a test version of Orion attached, launches on NASA’s Ascent Abort-2 (AA-2) atop a Northrop Grumman provided booster on July 2, 2019, at 7 a.m. EDT, from Launch Pad 46 at Cape Canaveral Air Force Station in Florida. During AA-2, the booster will send the LAS and Orion to an altitude of 31,000 feet, traveling at Mach 1.15 (more than 1,000 mph). The LAS’ three motors will work together to pull the crew module away from the booster and prepare it for splashdown in the Atlantic Ocean. The flight test will prove that the abort system can pull crew to safety in the unlikely event of an emergency during ascent. Photo credit: NASA/Tony Gray and Kevin O’Connell
Seen on the outside wall of the Outbound Station Restaurant in Conshohocken, PA.
Photo from our recent walk along the Schuykill River Trail in Conshohocken, Pennsylvania.
A rusty but functional basketball hoop at the local primary school.
I watched the Hitchhiker's Guide to the Galaxy movie recently and found it rubbish. Then I downloaded a live concert of Douglas Adams reading excerpts from his books and found it totally hilarious. The words just don't translate! That Douglas Adams sure is a hoopy frood!
URBAN DICTIONARY
Hoopy = really together guy
Frood = really amazingly together guy
Taken with iPhone 4S.
Put your right leg in, your right leg out, in, out, in, out, and shake it all about.....
I was meant to be meeting up with a photographer/videographer friend of mine this evening to take some portraits of him with his £3k camcorder, but its raining.
Not just raining, its bloody pouring.
This is a photo of a Canon 50mm f/1.8 lens that was given to me by my partners family.
It belonged to her grandfather, who, like me, was an avid photographer.
It sits proudly on a shelf in my bedroom attached to a fully functional Canon AE-1.
View my other image from today on my Tumblr! and let me know what you think!
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Nikon D300, Nikkor 50mm f/1.8D
Nikon SB-900 right of camera @ 1/128 power gelled 1/2 CTB (blue)
Triggered by Seculine T2Ds
F225 universal agricultural tractor as of 1962. Includes two cylinder engine, two speed transmission, drive shafts, working steering, lifting arrangement. Can be configured as tipper, front loader with digger or fork. There was also a sowing machine and a mower for it.
This has been grouted for couple months...finally got it cleaned..but see I still need to do a little more...I have a lot of starting and stopping right now, resting.
Betonmast mit Hausnummer, Kommunikationsleitung,Stromleitung, Beleuchtung und Storchennest, gefunden bei Kolberg in Polen, HTT / Multifunctional concrete pole with house number plate, communication cables, power lines, lamp and a stork nest, seen near Kolobrzeg/Poland, HTT
Scala eXchange 2016, Thursday, 8th - Friday, 9th December at Business Design Centre, London. skillsmatter.com/conferences/7432-scala-exchange-2016#pro.... Images copyright www.edtelling.com
Costume Design Manual - Rovingian Nomadic Monks by Daniel Arrhakis (2026)
® All designs created by Daniel Arrhakis.
Costume Design Manual: Rovingian Nomadic Monks
Design Objective: To create an oriental-inspired nomadic monastic costume with a spiritual, functional, and travel-worn appearance. The costume should communicate asceticism, resilience, freedom of movement, and an animistic connection to the landscape.
1. Visual Concept and Costume Language
The costume should start from a wide, crisscrossing, and enveloping silhouette, similar to a kimono or monastic robe adapted to itinerant life. The main piece should appear simultaneously ritualistic and utilitarian, as if it had been constructed, patched, and adjusted over many journeys.
Main Guidelines
Silhouette: wide, vertical, asymmetrical, and enveloping, with wide sleeves and overlapping layers.
Identity: monastic, nomadic, spiritual, and connected to nature.
Dramatic Function: To suggest a character accustomed to walking, meditating, surviving, and performing rituals outdoors.
Costume Condition: Worn, patched, aged, but well-maintained; it should never appear merely dirty or abandoned.
The visual result should balance austerity and detail: simple forms from a distance, but rich in texture, stitching, wear, and symbolism when observed up close.
2. Main Piece: Cross-Cut Tunic with Hood
The central piece of the costume is a cross-cut tunic, with a front overlap, wide sleeves, and an integrated or attached hood. It should allow for ample movement and create a recognizable presence in silhouette.
Construction Specifications
Cut: Kimono or robe-type base, with overlapping front panels.
Overlap: should create a double barrier at the chest, reinforcing the impression of protection and shelter.
Sleeves: wide and slightly elongated, capable of generating visual movement during walking or ritual gestures.
Hood: deep, voluminous, and functional, capable of casting shade over the face.
Lapels and edges: can be reinforced with heavier fabric, visible stitching, or decorative patches.
Intention of movement
At rest: the tunic should fall vertically, solemnly, and contemplatively.
On the move: the sleeves, hems, and layers should sway, reinforcing the idea of travel.
In ritual: the cut should allow for wide arm gestures without breaking the visual composition.
3. Trousers and Leg Wraps
The trousers should combine comfort, volume, and adaptability to the terrain. The basic shape is wide, but the lower area can be gathered with leg wraps, creating two distinct readings: ritual rest and functional movement.
Base: wide, straight or slightly tapered trousers in resistant fabric.
Lower area: prepared to be tightened by bands, straps, or wraps.
Wraps: can be fabric bands, soft leather, wool, or waxed cotton.
Visual Reading: When tight, the legs should appear ready to traverse difficult terrain; when loose, they should reinforce the solemnity of the attire.
Dramaturgical and Practical Functions
Protection: prevent the fabric from getting caught on vegetation, rocks, or debris.
Survival: suggest insulation against cold, humidity, mud, and insects.
Scenic Transformation: allow the character to visually alter the attire between a contemplative state and a state of travel.
4. Materials, Textures, and Finishes
Materials should appear natural, tactile, and historically plausible. The costume should avoid overly modern, shiny, or synthetic surfaces, favoring fibers with visible texture, weight, and irregularity.
Recommended Materials
For tunics, kimonos, and hoods: use substantial fabrics that maintain their shape without hindering fluidity.
Cotton canvas for structure and resistance.
Rustic cotton or woven fabric for handcrafted texture.
Lightweight cotton twill for pleats, reinforcements, and movement panels.
Heavy or washed linen for more ceremonial or warm-weather versions.
Beated wool, burel, or felt for cold and mountainous environments.
Surface treatments: apply controlled wear to suggest prolonged use without compromising the careful reading of the costume.
Slightly frayed hems on sleeves, hood, and tunic.
Visible seams in repair areas.
Patches of contrasting fabrics, but within the same natural palette.
Spot waxing on hems and areas subject to mud or moisture.
Subtle stains of pigment, dust, or charcoal to create visual history.
5. Color Palette and Environmental Variations
Chromatic base: brown, sand, terracotta, dark gray, moss green, and ochre.
Spiritual accents: saffron, burnt orange, burgundy, deep indigo, or charcoal.
Design rule: avoid saturated and clean colors; all colors should appear dyed, faded, or mineralized.
The palette should function as a visual geography: each garment reflects the climate, route, and history of the monk who wears it.
Variations by environment
Highlands and cold climates: favor dense wools, handcrafted felt, fabrics rich in lanolin, and earthy tones for landscapes such as rocky gray, deep brown, and moss green.
Forests and woodlands: use heavy cotton, rustic hemp, organic greens, bark brown, botanical dyes, and waxed reinforcements.
Desert: opt for lightweight linen, raw cotton, wide layers, off-white, sand, ochre, and deep indigo.
Mixed routes: incorporate patches of different fabrics to show successive journeys, exchanges, and adaptations.
6. Patterns, Symbols, and Pseudo-writing
Graphic elements should appear personal, meditative, and handmade. Decoration should not function as gratuitous ornamentation but as a spiritual record, travel map, and protective mark.
Animistic motifs: leaves, waterways, footprints, sacred animals, crevices, branches, and mountains.
Travel lines: bands, outlines, and seams that evoke crossed rivers, traveled routes, or seasonal cycles.
Sacred Imperfection: Asymmetries, misalignments, and irregularities should be maintained as part of the visual identity.
Rovingian pseudo-writing should suggest an intuitive language, without a fixed alphabet. It can visually translate sounds of nature, meditative visions, the flow of wind, the movement of water, or memories of places traversed.
Types of Graphic Application
Organic Glyphs: Forms inspired by branches, cracks in ice, erosion marks, and mountain contours.
Flow Writing: Continuous and intertwined lines, applied in a single gesture, evoking wind, water, or inner movement.
Recommended Methods
Hand Painting: Natural pigments from charcoal, clay, berries, or minerals.
Subtle Embroidery: Threads slightly different from the base fabric to create discreet relief.
Block Printing: Wooden stamps with imperfect marks and irregular repetition.
Strategic Application: Concentrate prints on hems, hoods, lapels, cuffs, backs, and patches.
7. Double Hood and Modularity
The double hood is a key element of the costume. It should offer volume, mystery, and functionality, allowing for alternating between exposure, protection, and meditative retreat.
Inner Layer
Materials: washed linen, rustic cotton, or fine wool.
Function: to maintain comfortable contact with the head and create a feeling of retreat.
Staging interpretation: brings the character closer to a state of meditation or inner listening.
Outer Layer
Materials: waxed coarse linen, beaten wool, or fabric treated with natural oils.
Function: to protect against rain, snow, wind, sun, and dust.
Visual interpretation: to create shadow over the face and increase the volume of the shoulders and neck.
States of Use
The costume should allow for three main interpretations through the position of the hood and layers:
Rest: outer hood lowered, inner hood visible.
Crossing: both hoods raised to create total protection.
Ritual: Deep hood and pronounced shadow to isolate facial expression and reinforce mystery.
8. The Cloth Belt, Sash, or Cincture-type cord
In the tradition of the nomadic Rovingian monks, the cloth belt is similar to the obi (sash) used in a martial arts kimono. This belt is long and wraps around the waist several times. It may also contain ritualistic natural elements hanging from cords or it may be made of a priestly cincture-type cord.
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Manual de Design de Figurino: Monges Nómadas Rovingianos
Objetivo de design: criar um traje monástico nómada de inspiração oriental, com aparência espiritual, funcional e desgastada pela viagem. O figurino deve comunicar ascetismo, resistência, liberdade de movimento e ligação animista à paisagem.
1. Conceito Visual e Linguagem de Figurino
O traje deve partir de uma silhueta ampla, cruzada e envolvente, próxima de um quimono ou robe monástico adaptado à vida itinerante. A peça principal deve parecer simultaneamente ritualística e utilitária, como se tivesse sido construída, remendada e ajustada ao longo de muitas viagens.
Diretrizes principais
Silhueta: ampla, vertical, assimétrica e envolvente, com mangas largas e camadas sobrepostas.
Identidade: monástica, nómada, espiritual e ligada à natureza.
Função dramática: sugerir uma personagem habituada a caminhar, meditar, sobreviver e executar rituais ao ar livre.
Estado do traje: usado, remendado, envelhecido, mas cuidado; nunca deve parecer meramente sujo ou abandonado.
O resultado visual deve equilibrar austeridade e detalhe: formas simples à distância, mas ricas em textura, costura, desgaste e símbolos quando observadas de perto.
2. Peça Principal: Túnica Cruzada com Capuz
A peça central do figurino é uma túnica de corte cruzado, com transpasse frontal, mangas largas e capuz integrado ou acoplado. Deve permitir amplitude de movimento e criar uma presença reconhecível em silhueta.
Especificações de construção
Corte: base tipo quimono ou robe, com painéis frontais sobrepostos.
Transpasse: deve criar uma barreira dupla no peito, reforçando a leitura de proteção e abrigo.
Mangas: largas e ligeiramente alongadas, capazes de gerar movimento visual durante caminhada ou gestos rituais.
Capuz: profundo, volumoso e funcional, com capacidade para projetar sombra sobre o rosto.
Lapelas e bordos: podem ser reforçados com tecido mais pesado, costura visível ou remendos decorativos.
Intenção de movimento
Em repouso: a túnica deve cair de forma vertical, solene e contemplativa.
Em marcha: as mangas, bainhas e camadas devem oscilar, reforçando a ideia de viagem.
Em ritual: o corte deve permitir gestos largos dos braços sem quebrar a composição visual.
3. Calças e Envoltórios de Perna
As calças devem combinar conforto, volume e capacidade de adaptação ao terreno. A forma base é larga, mas a zona inferior pode ser recolhida com envoltórios de perna, criando duas leituras distintas: repouso ritual e deslocação funcional.
Base: calças amplas, direitas ou ligeiramente afuniladas, em tecido resistente.
Zona inferior: preparada para ser apertada por faixas, tiras ou envoltórios.
Envoltórios: podem ser faixas de tecido, couro macio, lã ou algodão encerado.
Leitura visual: quando apertadas, as pernas devem parecer prontas para atravessar terreno difícil; quando soltas, devem reforçar a solenidade do traje.
Funções dramatúrgicas e práticas
Proteção: evitar que o tecido se prenda em vegetação, rochas ou detritos.
Sobrevivência: sugerir isolamento contra frio, humidade, lama e insetos.
Transformação cénica: permitir que a personagem altere visualmente o traje entre estado contemplativo e estado de viagem.
4. Materiais, Texturas e Acabamentos
Os materiais devem parecer naturais, táteis e historicamente plausíveis. O figurino deve evitar superfícies demasiado modernas, brilhantes ou sintéticas, privilegiando fibras com textura visível, peso e irregularidade.
Materiais recomendados
Para túnica, quimono e capuz: utilizar tecidos encorpados que mantenham a forma sem impedir a fluidez.
Lona de algodão para estrutura e resistência.
Algodão rústico ou tecido de tear para textura artesanal.
Sarja leve de algodão para pregas, reforços e painéis de movimento.
Linho pesado ou lavado para versões mais cerimoniais ou de clima quente.
Lã batida, burel ou feltro para ambientes frios e montanhosos.
Tratamentos de superfície: aplicar desgaste controlado para sugerir uso prolongado, sem comprometer a leitura cuidada do figurino.
Bainhas ligeiramente desfiadas nas mangas, capuz e túnica.
Costuras aparentes em zonas de reparação.
Remendos de tecidos contrastantes, mas dentro da mesma paleta natural.
Enceramento localizado nas bainhas e zonas sujeitas a lama ou humidade.
Manchas subtis de pigmento, poeira ou carvão para criar história visual.
5. Paleta Cromática e Variações Ambientais
Base cromática: castanho, areia, terracota, cinza escuro, verde musgo e ocre.
Acentos espirituais: açafrão, laranja queimado, bordeaux, índigo profundo ou carvão.
Regra de design: evitar cores saturadas e limpas; todas as cores devem parecer tingidas, desbotadas ou mineralizadas.
A paleta deve funcionar como uma geografia visual: cada traje reflete o clima, a rota e a história do monge que o usa.
Variações por ambiente
Terras altas e frias: privilegiar lãs densas, feltro artesanal, tecidos ricos em lanolina e tons telúricos como cinzento rochoso, castanho profundo e verde musgo.
Florestas e bosques: usar algodão pesado, cânhamo rústico, verdes orgânicos, castanho-casca, tingimentos botânicos e reforços encerados.
Deserto: optar por linho leve, algodão cru, camadas amplas, branco sujo, areia, ocre e índigo profundo.
Rotas mistas: incorporar retalhos de diferentes tecidos para mostrar viagens, trocas e adaptações sucessivas.
6. Padrões, Símbolos e Pseudoescrita
Os elementos gráficos devem parecer pessoais, meditativos e feitos à mão. A decoração não deve funcionar como ornamento gratuito, mas como registo espiritual, mapa de viagem e marca de proteção.
Motivos animistas: folhas, cursos de água, pegadas, animais sagrados, fendas, ramos e montanhas.
Linhas de viagem: faixas, contornos e costuras que evoquem rios cruzados, rotas percorridas ou ciclos sazonais.
Imperfeição sagrada: assimetrias, desalinhamentos e irregularidades devem ser mantidos como parte da identidade visual.
A pseudoescrita rovingiana deve sugerir uma linguagem intuitiva, sem alfabeto fixo. Pode traduzir visualmente sons da natureza, visões meditativas, fluxo do vento, movimento da água ou memória de lugares atravessados.
Tipos de aplicação gráfica
Glifos orgânicos: formas inspiradas em ramos, fendas no gelo, marcas de erosão e contornos de montanhas.
Escrita de fluxo: linhas contínuas e entrelaçadas, aplicadas num gesto único, evocando vento, água ou movimento interior.
Métodos recomendados
Pintura manual: pigmentos naturais de carvão, argila, bagas ou minerais.
Bordado subtil: fios ligeiramente diferentes do tecido-base para criar relevo discreto.
Impressão por bloco: carimbos de madeira com marcas imperfeitas e repetição irregular.
Aplicação estratégica: concentrar padrões em bainhas, capuz, lapelas, punhos, costas e remendos.
7. Capuz Duplo e Modularidade
O capuz duplo é um elemento-chave do figurino. Deve oferecer volume, mistério e funcionalidade, permitindo alternar entre exposição, proteção e recolhimento meditativo.
Camada interior
Materiais: linho lavado, algodão rústico ou lã fina.
Função: manter contacto confortável com a cabeça e criar sensação de recolhimento.
Leitura cénica: aproxima a personagem de um estado de meditação ou escuta interior.
Camada exterior
Materiais: linho grosso encerado, lã batida ou tecido tratado com óleos naturais.
Função: proteger contra chuva, neve, vento, sol e poeira.
Leitura visual: criar sombra sobre o rosto e aumentar o volume dos ombros e pescoço.
Estados de uso
O figurino deve permitir três leituras principais através da posição do capuz e das camadas:
Repouso: capuz exterior baixado, interior visível.
Travessia: ambos os capuzes erguidos para criar proteção total.
Ritual: capuz profundo e sombra marcada para isolar a expressão facial e reforçar mistério.
8. A Faixa ou Cinto de Pano
Na tradição dos monges nômades rovingianos, o cinto de pano é semelhante ao obi (faixa) utilizado num Quimono de Artes Marciais, este cinto tem um formato longo e envolve a cintura várias vezes. Pode conter igualmente elementos naturais ritualísticos pendurados por cordões ou pode ser ele feito em cordão de tipo cíngulo sacerdotal
Bordes de la Casa, Els Cortals, Encamp, Vall d'Orient, Andorra, Pyrenees
More Els Cortals & Encamp parroquia images: Follow the group links at right side.
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About this image:
* Half frame format 3x2 image
* Usage: Large format prints optional
* Motive is suitable as symbol pic
* "Andorra authentic" edition (10 years decade 2008-2018)
* "Andorra camis & rutes" active collection
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* for large metadata-controlled business collections: photo-archives, travel agencies, tourism redactions
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