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En attendant le bus, dessin au trait puis ajout des contrastes et lumières en atelier
Novembre 2018
Carnet Stillman & birn beige
Hortus Botanicus Amsterdam … Nederland
www.instagram.com/eric_fotografie/
BEELDVULLENDE COMPOSITIES zijn herkenbaar aan hun herhalende karakter. Vaak komen visuele elementen in de foto vaker voor. Daarnaast zorgt een beeldvullende compositie ervoor dat er meer mysterie voor de kijker ontstaat. De totale vorm van het onderwerp wordt niet vrijgegeven in de foto.
Een deel van fotografie waar ik altijd en overal naar opzoek ben. Het is gewoon leuk jezelf dit soort opdrachten te geven. Het lijkt daardoor wel of je steeds meer van dit soort pareltjes vind. Pareltjes waar een ander meestal aan voorbij loopt.
"Nature in the city" - observed and photographed next to a hospital parking lot in northeast Calgary.
Copyright J.R. Devaney
Pencil - Modern Fuel copper mechanical. Pen 1 - Conid Minimalistica. Pen 2 -Platinum Preppy EF02. Ink - Iroshizuku Take Sumi. Surface - Leuchtturm1917 journal
I took similar shots in 2014 (#1 to 3) and 2017 (#4), sort of an ongoing series; see my "Nature (up close)" album for these older images.
C. J.R. Devaney
Experimenting with new MJ insights, I was listening to Kendra Morris. To see what would happen I inserted her name in the prompt in combination with various album names. Whatever happened, for one, Kendra Morris is not an unified entity in the MJ language models.
The EYE Film Institute in the Netherlands is an in Amsterdam located film archive and museum. It preserves and shows foreign and Dutch films. The museums collection includes 37,000 film titles, 60,000 posters, 700,000 photographs as well as 20,000 books. The oldest materials date back from the start of the film industry in the Netherlands which was in 1895.
The museum is located in the Overhoeks area of Amsterdam. There is a a cinematography museum which was formerly called Filmmuseum and was founded in 1952. Prior to that it was called the Dutch Historical Film Archive (founded in 1946). The Filmmuseum used to be situated in the Vondelparkpaviljoen from 1975 but in 2009, The Nederlands Filmmuseum merged together with Holland Film and the Netherlands Institute for Film Education as well as the Filmbank. Plans were announced for a new home on the north bank of Amsterdam's waterfront, just behind the Central Station and is connected to the free ferry. Queen Beatrix officially opened the new building on April 4, 2012. The EYE building was designed by Delugan Meissl Associated Architects, their specialty designing buildings that appear to be in motion.
Client: ING – Real Estate
Architect: Delugan Meissl Associated Architects (DMMA)
Consultants: Implementation planning - Bureau Bouwkunde Rotterdam bv
Structural engineering: Abt-Adviseurs in Bouwtechniek, Delft
HVAC (Heating, ventilation, and air conditioning): Techniplan Adviseurs Bv, Rotterdam
Building physics: Peutz bv, Zoetermeer
Main Contractor: Bouwbedrijf M.J. de Nijs en Zonen BV
Location: IJpromenade 1, 1031 KT Amsterdam
Start of planning 2005
Start Construction August 2009
Completion December 2011
6.300 m² Total floor area | 4 Cinemas | 315 seats | 1.200 m² Exhibition space | 90 m² Workshop | 1.200 m² Offices | 450 m² Information | 100 m² Museum shop | 100 m² VIP area | 1.050 m² (approx.) Bar & Restaurant
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#amsterdamcity #architecture #art #cityarchitecture #citygrammers #design #film #fineartarchitecture #fineartphotography #fineartzone #home #iamsterdam #igersamsterdam #instagood #instagram #line #lines #linework #minimaldotcom #museum #photography #pattern #straight #symmetry #symmetry_art #symmetryart #symmetrybreakfast #symmetryhunters #symmetrykillers #symmetrylovers #symmetryphotography
This attempt was inspired by the elegant photo of a lovely jar of honey, taken by one of my fellow 365ers. But as I searched through my cupboards for props, I struck me that we don't do elegant very well here in the Midwest, especially in the mornings. So, here is this morning's honey.
Excerpt from agb.life/visit/exhibitions/holding_up_the_sky:
Caroline Monnet: Holding Up The Sky
Lee-Chin Family Gallery
In this survey of new and recent works, multidisciplinary artist Caroline Monnet centers geometries, especially the cube, to draw attention to how different spatial relationships condition the way that we live and think. Monnet’s practice moves between textiles, photography, sculpture, and film to address the complexity of Indigenous identities and bilateral legacies, drawing from her Anishinaabe and French heritages. In her work, traditional Anishinaabe sacred geometry transforms and softens the industrial into something more personal, constructing a new point of view—centering the cube. As a form, the cube is present in architecture and many traditions of building, shaping the way we understand the world and dictating the ways in which we live, play, and learn. And, like the repetitious creations unfolded in birch biting, Holding Up The Sky follows a symmetrical continuum.
The exhibition features her new work The Room (2023), a ten-foot square construction of industrial-grade styrofoam, a material used in residential buildings to create water and air-resistive barriers and insulate against inclement climate conditions. The Room is open on one side, exposing the box and welcoming the audience into its constructed space. The foam is incised with a repetitive pattern; the motifs, inspired by traditional Anishinaabe iconography, break the strictness of the industrial square form by introducing the personal and the poetic into architectural rigidity.
In conversation with The Room is Pikogan (Shelter) (2021), a sculptural work with voluminous curvatures constructed of reticulated polyethylene pipes, PVC conduits, copper, velcro, and steel. The materials are bent to shape, working against the prescription of colonial architecture, and resisting the urge to square and compartmentalize. The fluidity of the circle intentionally builds from knowledge rooted in the past. This can also be seen in the direction of Monnet’s recent photographic works that depict a formal arranging and rearranging of foam “beads” into cubed borders. Manipulating the material for the camera leads to endless possible formations and configurations.
A series of technical drawings from Monnet’s early career (2014) of multiple cube structures are seen alongside a new series of diagrams, completed in a Swedish residency, mapping the ceiling of her studio. Positioning these works in conversation illustrates the circular process of Monnet’s practice—from drafting architectural forms, to utilizing structural design to underscore the severity of the housing crisis, to manipulating industrial material into textile creations and wearable fabrics, and returning to schematic renderings and geometric linework. These are simultaneously performances for the camera and blueprints for future work.
Born to an Anishinaabe mother and a French father, Caroline Monnet is from Outaouais, Québec, and now based in Montréal. After studying at the University of Ottawa and the University of Granada, in Spain, she pursued a career in visual arts and film. Her work is regularly presented internationally and can be found in prestigious museum, private, and corporate collections. Monnet has become known for minimalist yet emotionally charged work that uses industrial materials and combines the vocabulary of popular and traditional visual cultures with the tropes of modernist abstraction to create unique hybrid forms. She is represented by Blouin Division Gallery.
At the AGB, we lean into our unique position of being a public art gallery at the crossroads of craft and contemporary art production and presentation. Monnet’s work examines the traditional craft of Anishinaabe embroidery and textiles in alternative methods and materials, exemplifying the potent fluidity of craft and contemporary art. Holding Up The Sky continues the dialogue on how new material engagement takes up space within craft and how traditional and ancestral knowledge of art production is being represented in the expanded field of contemporary art institutes.
A moment of stillness, captured in ink. This piece explores the subtle emotions that come with deep reflection and introspection. 🌑️
📅 Created: 2023
️ Medium: Ink Pen on Dark Paper
🔍 Title: "Thoughtfulness"
What does this expression evoke for you? Let me know in the comments. 👇
Ink on board, from BEAR BONES. New version of a drawing from earlier this year - this one is twice as big (24 x 70cm) and i'm way happier with the linework. Bad photo though, sorry.
⚙️ MECHANIZED ⚙️
Full-arm biomechanical tattoo with dark, precise detail and a bold industrial flow.
Engineered for avatars who wear strength like armor.
🔩 Arms only – dual sleeve design
🔹 Definition 2K BOOM
🔹 Includes Light – Medium – Dark versions
🔹 Clean, high-impact linework
Available now at:
🔗 TAXI
NOKTUA INK — Realism. Power. Detail.
Drawn with a Platinum Preppy EF02 fountain pen with Iroshizuku Take Sumi ink in a Leuchtturm1917 journal
Rydal Cave, also known as Loughrigg Cave, is actually a former quarry working on the lower southern flank of Loughrigg Fell. It can be reached by a footpath from Grasmere to Ambleside. Just outside the cave are extensive spoil heaps and there is a another, less deep, cave a little further down the slope. The quarry produced good quality stone suitable for building work, the stone splitting in regular shaped blocks. The main cave has a fairly deep pool by the entrance but the interior, about 100 yards deep or so, can be accessed by stepping stones. I sketched the cave from the entrance, getting the basic information down quickly as it was fairly busy with many families queuing to use the stepping stones, and added a bit more ecolour and linework from memory while having a cup of tea at the end of our walk. The drawing fills half a page in my A5 size Moleskine sketchbook.
Done by Erik Mannhardt of Lucky Lotus Studio in Rochester, NY. The linework was done two weeks ago; the shading and filling was done yesterday. Linework: flickr.com/photos/sjl7678/524292693/
I'm really, really happy with how it came out. I'll have to get someone to take a picture of it up close so you can see the detail in the poles... my roommates are out of town for the weekend once again.
No one managed to guess the meaning of it, so here it is:
The birds represent 1's. The spaces represent 0's.
The arrangement of birds on the wires (with the flying bird) is:
01001101 01001111
01010110 01000101
Which means MOVE in binary.
If the flying bird flies away, it changes to:
01001100 01001111
01010110 01000101
Which translates to LOVE.
Wasn't that satisfied with my old minifigure so I decided to do a new one, going all out with the details, doing all the linework and colour myself and even constructing a properly scaled helmet.
Experimenting with new MJ insights, I was listening to Kendra Morris. To see what would happen I inserted her name in the prompt in combination with various album names. Whatever happened, for one, Kendra Morris is not an unified entity in the MJ language models.
Drawn with a Pilot MYU 701 fountain pen (1974) with Iroshizuku Shin Kai ink in a Leuchtturm1917 journal