View allAll Photos Tagged redrawing
An apron I made for a friend. I owed him for redrawing a tattoo for me. I hope he likes it!
Bartering is great when you have creative and talented friends!
Loch Long (Gaelic for Ship Lake, Long being the word for ship) is a body of water in Argyll and Bute, Scotland. The sea loch extends from the Firth of Clyde at its southwestern end. It measures approximately 20 miles in length, with a width of between one and two miles. The loch also has an arm, Loch Goil, on its western side.
Loch Long was historically the boundary between Argyll and Dunbartonshire. However in 1996 boundary redrawing meant that it moved wholly within the council area of Argyll and Bute.
The loch was used as a testing ground for torpedoes during World War II and contains numerous wrecks. It is now a popular area for sport diving.The Ardentinny Outdoor Education Centre (on the other bank) also uses the loch for watersports.
Several Scottish Sea Fishing records are attributed to the Loch:
SpeciesWeightAngler / Date
Argentine00-05-03I. Miller, 1978 (Boat)
Herring01-02-00R. C. Scott, 1974 (Boat)
Rockling, Shore00-14-08A. Glen, 1982 (Shore)
The Finnart Oil Terminal is located on the eastern shore of the loch, linked to the Grangemouth Refinery via a sixty mile long pipeline. The eastern shore is also the location of the Royal Navy's Coulport Armament depot, part of HMNB Clyde, and the Glen Mallan jetty, linked to Glen Douglas defence munitions depot.
Important villages on the loch include Arrochar at its head and Cove on the east shore near its foot.
The loch forms the entire western coastline of the Rosneath Peninsula
Oil on canvas. In this painting, please note the traces of redrawing visible in the face, the back of the chair, the left hand and the right shoulder. The left hand appears to have been left intentionally vague, the outline and color of the left sleeve are etched in scretched lines, Matisse deliberately left these as evidenct of the creative process and explained their importance as follows: "The artist's reactions during each stage of the painting's development are as important as the subject matter, because thse reactions ariginate from me, not from the subject. When working, I begin with my own interpretations and there is a constant back-and-fourth until the work and I am in harmony. Like a writer, I am always revising, going back and making new discoveries." (Henri Matisse, Notes of a painter).
National Museum of Modern Art, Tokyo
So here's the finished version. The original was tiny, only about 3" x 2" and there was very little detail I could pull out of it, so I've had a go at hand colouring. Not a lot I can do about the grunginess without actually redrawing the lines by hand and that's a bit beyond my Photoshop skills at this stage.
... so further edits - played up the grunge. That grain and the lack of sharpness is not going away. So added a film filter & vintage texture, which is pretty LOL under the circumstances.
This illustration about a rock girl band performed by DC superheroines is a redrawing of Cliff Chiang's art I've made a few years ago.
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Pages scanned from a type specimen book for the Chicago Sun Times and Daily News ca. 1961. "They plan copy with care" is the endless mantra throughout.
To design in those days was to be constantly counting, adding, dividing and redrawing to fit the available space. Though lead would soon be replaced by photo typesetting processes, the drudgery of counting characters and calculating what size type you could safely use remained the same until the arrival of the Macintosh. Unless that is, you were one of the lucky who owned their own stat camera.
As my father worked as a stereotyper at my hometown newspaper, these books bring back memories of Saturday nights watching him make plates for Sunday's paper. The linotype operators were in the next room, the composing room next to them.
My father was usually the only one working at that hour and often brought my brother and I with him. We wandered around picking up stray bits of type, entire lines of copy, advertisements that weighed a ton. Each page of the paper sat in a line on its own cart, so heavy was the finished composition.
My father sent the page, covered by a thick fibrous sheet they called a met through a high pressure machine which perfectly indented every halftone, every nuance of the smallest line of copy. He then took this positive, placed it over a 180 degree cylinder, closed it, told us to get out of the way and poured a half gallon of molten lead into the contraption . What resulted was a printing plate, nearly ready to go on press.
After being sent through a cooling chamber Dad trimmed both sides with a saw and routed out any large white areas that might attract ink. He then placed it into a chute that delivered it swiftly to the pressman two stories below.
The industry and profession of stereotyping was already a dying one by the time Dad was in his 50s. Eventually the paper replaced lead with plastic and Dad retrained to be a pressman.
Ironically after all those years of working with lead with no adverse health issues he developed an allergy to the plastic plates and retired early.
Had another go at redrawing a pre-Worboys warning sign. This time I went for the post 1958 Children design.
Any thoughts?
We finished the first half of our life class with a 30 minute pose. I decided this would be a good point at which to try a line and wash sketch, as I wasn't sure if we'd be doing long or short poses after the break.
I went for my more or less usual approach of a light pencil sketch which I rubbed out after doing an ink sketch on top (redrawing, not just inking in the pencil lines) and before applying the watercolour washes.
This time I started by laying in the background washes first - yellow ochre in the middle, Payne's grey with a little cerulean blue for the foreground and mostly burnt sienna for the top (I later worked over this with a random mix of colours to try and darken it a bit). i then painted the chair with Payne's grey, before working on the figure, which was done mostly with mixes of burnt sienna and ultramarine, and a bit more Payne's grey for the hair.
Mesh panel
Stainless Steel Eletro Welded Mesh Panel
material: stainless steel 302,304,316,316L cold drawing iron wire
surface treatment : electrolysis, electro galvanized,hot galvanized ,PVC and plastic dipped.
Feature : smooth serface ,even mesh hole, firm welding point and fine corrosion resistance.
Usage :widly used in industry protection,construction ,breeding ,mining etc.
Welded Mesh Panel
Made with good quality low-carbon iron wire ,then after cold galvanized, hot
galvanized and PVC coated, surface passivation and plastic treatment. It has the features of smooth mesh surface, even in mesh points, firm in welded points, good in local processing performance, stable and anti-corrosive.
Made with good quality stainless steel wire and produced by auto welding machine, acid resistance, alkaliproof ,stable,beautiful. It is one popular product in 21 century.
Welded wire mesh Widely used in industry, agriculture, construction, transportation and mining,such as machine protective covers, animal and livestock fences, flower and plant fences, window fences, thoroughfare fences, poultry cages, egg baskets, office baskets, food baskets, paper baskets and
used for decorations.
Galvanized Iron Wire Welding Panel
Feature: Made with good quality low-carbon iron wire and stainless steel wire by auto welding machine, it is divided as hot galvanized,elctro galvanized, PVC coating , dipped , special electro welding mesh panel ; has strong corrosion resistance and oxidation resistance.
Usage : Welded wire mesh Widely used in industry, agriculture, construction, transportation ,mining, court, lawn, feeding as fencing, decoration and machinery protection.
Steel Bar Welded Wire Mesh
material: steel bar
Weaving: the wires that run parallel to the width of the roll are placed on top of the wires running parallel to the length. Then, the wires are welded where they intersect.
Wire diameter for welded steel bar panels ranges from 5mm to 16mm.
Welded bar panels opening: 75mm to 300mm.
Panel length: 100cm to 1400cm.
Panel width: 100cm to 300cm.
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Features: Solid construction,Easy handling,
Packing: PVC Shrink, Moister-proof paper, Carton,pallet, Wooden Box , Special packing can be arranged upon request.
Iron Wire Welded Mesh Panel
Material: low carbon steel wire ,hot galvanized wire,cold galvanized wire ,cold drawing wire ,redrawing wire,PVC wire ,dipped wire
Usage : widly used in mine, commercial, transportation,construction,decoration,garden green belt
construction panel
construction panel : it is a new kind of walling material, it can substitute various kinds of bearing wall, un- bearing wall, floor and balcony for brick wall. It expands the use area of the building (10%-15% ), and it also has the characteristics of heat insulation, sound insulation, aseismatic, waterproof, simple construction, light deadweight ,At the same time, it reduces the engineering cost greatly.
Technical characteristics: after both sides of the Shule steel wire mesh supporting plate was plastered with cement mortar, it form good globality plate. The cement mortar bears the pressure, the netting flake and steel wire bears the pulling force, the oblique wire bears the transverse shearing force, and the the polystyrene foam plastics in the middle lightens deadweight and improve the heat-insulatied effect. So, such complex plate can utilize characteristics of each material effectively, it has good comprehensive performance.
Structural system: Shule steel wire mesh supporting plate wall's technology is of good performance, it is suitable for un- bearing partition inner wall, frame bounding out wall, and thermal barrier of composite heat-insulatied outer wall.
SecDef' 13: Redrawing the security map - Parallel session III: EU-NATO: The search for a common cyber-strategy
Victorian Alpine Huts survey, for Parks Victoria April, May 1994.
This hut is located on Grazing Block 25 which was held by HB Duane around 1900 followed by FA & PH Howman of Eskdale in the 1920s who were joined by JK Kelly{ 1092/121}. L Prichard of Mitta Mitta had it in the 1930s when the lease boundaries were disputed with adjoining leaseholder, Maddison. Maddison & Neilson took the block in 1934-5 but Prichard & Hodgkin won it back in the following year. Hodgkin & Yea of Eskdale took it in the early 1940s but by then the Soil Conservation Board was undertaking its investigation into erosion in the alps. In 1946 the Bogong High Plains advisory Committee recommended that all leases be cancelled in the area and reissued with new conditions limiting stock numbers. The limit on this block was suggested at 350 cattle or horses (no sheep allowed) and the tenure was strictly 25 November to 30 April{ ibid. departmental note 9.10.46}. The area was also reduced from 8700 acres to 8100, along with a general redrawing of grazing block boundaries. The Soil Conservation Authority requested Graeme Butler 24,25 be terminated at the end of 1956-7, allowing a years grace if fencing was carried out on the Eskdale Spur to exclude the Kiewa Scheme catchment. Grazing Block 25 was cancelled October 1957. This hut was reputedly built by the SEC in the 1950s to facilitate hydronic measurements for the Big River diversion{ Boadle (1983): 10}. A first aid kit and `Accident Report Ledger' held in the hut date from 1954, with reports such as chainman, Leslie Hay (/d 20201), who worked in the Bogong section complaining of a stomach upset in January 1955; he was back on the job the next day. The hut was not shown on the 1945 SEC `Kiewa Scheme' plan{ copy held}. The hut was described in 1983 as clad with galvanised iron, in good condition but infrequently used and not important for refuge. It was to be maintained by the National Parks Service but was not to be replaced{ NPS (1983): 45}. It was no longer used by the SEC. Set on a river flat in snow and mountain gum, some 10m from the Big River, the hut (3.25x2.75m) frame was sawn hardwood, the cladding c.g.i. and the floor timber. A double bunk, a table and simple chairs were provided{ Boadle (1983): 10}. Access was by foot, with fording of the Big River required to reach the hut. Nearly ten years later (1992) this hut was described thus: INTERIOR A sink and bench were at the opposite end (north) to the door, with a bunk bed at the south-east corner. Floor- short lengths of apprx. 110mm T&G softwood, painted Walls- unlined Ceiling-unlined, Malthoid over roof battens. EXTERIOR Door- vertical T&G boarded, L&B Windows- two 4-pane timber framed Walls & Gabled Roof- silver painted cgi. Floor- hardwood bearers and stumps, floor 450-600mm above ground, joists short lengths
An apron I made for a friend. I owed him for redrawing a tattoo for me. I hope he likes it!
Bartering is great when you have creative and talented friends!
The classic space lego "Bumblebee" pattern is tucked mind-ship, where I used "Chima" Bright Light Orange and Trans-Black slopes for a more rounded and three dimensional look.
I've collected all the classic space sets between 1978 and 1984 and wanted to pay homage to the lineage by photographing the "moon and ship" logo from a large piece (www.bricklink.com/v2/catalog/catalogitem.page?P=3939p91), then diligently redrawing it in Adobe Illustrator. I ordered a set of custom stickers from Moo with matching brick colors.
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This is part of a walkthrough Album of a Lego MoC (My own Creation) called the Chrysalis. It took about two months, and a few hundred hours.
www.flickr.com/photos/kanemoto/albums/72157680243394264
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The British Original Jigsaw Club(s) of Cornwall & London were the subject of an article by Nicki Barker in the Spring 2023 issue of the BCD Magazine (issue 148,pg 14-15). Subsequent information received from Anne Williams confirms identity of the Rowes (Ashley & Kathleen) as Mr & Mrs Aldon Roen, and a link to Aldon Studios.
The fantastic late cut (by AB) shown in the left column was discovered by USA expert Anne Williams. Its label has the same format as two others with earlier stock numbers, which date the club to 1909 and both name the Rowes as proprietors - one from Cornwall and the other in London. Interestingly, the Cornwall label has the printed address 'Scorrier' crossed out and amended in ink with Mount Hawke. Perhaps this is an earlier address!
The Cornish examples both have the advice to 'Re-Tie the Bag' printed on the label. The London Club map of Europe jigsaw, which has dated replacement pieces putting its cutting date pre-Sept 1922, has no such advice, but the other London example has a label talking about a bag - possibly implying the introduction of a bag where one was not previously used. Unfortunately, the identity of the cutter (K?) or stock number K53184? is not clear or in the same format as the Cornish Labels.
A European map would have been of great interest after the redrawing of country boundaries during the conferences and treaties ending the Great War. The cut of this jigsaw is similar to that of the Valley Church. The Escape of a Heretic shows some line-cutting and a push-fit style with less defined knobs - it is closer in style to the example shown in the BCD magazine of the monks fishing, belonging to the London Club but listing Mrs Aldon Roen as proprietor.
Anne Williams found information about Aldon Studios from Games and Toys, a Feb 1917 Trade Magazine. It gave the address as 263 Regent St W, and described them as specialists in jigsaw puzzles, 'unique little figures cut in 3ply wood', makers of 'Eve' figures and 6d calendars.
An undated London Directory: "First Aldon Studios & Jig Saw Puzzle Club (Ashley & Kathleen Rowe, 24 Great Russell St WC )."
Red, dark green and orange layers. And black and white. Warm grey background. More Delacroix than Doig.
My ninth tattoo completed on 27th Sept 2012. I took reference photos to the tattooist of the lace back of Bella's wedding dress in The Twilight Saga Breaking Dawn Part 1 movie and after much redrawing decided on this design!
There's room to add to this so it may change in the future.
Pages scanned from a type specimen book for the Chicago Sun Times and Daily News ca. 1961. They plan copy with care is the mantra throughout. To design in those days was to be constantly counting, adding, dividing and redrawing to fit the available space. Though lead would soon be replaced by photo typesetting processes, the drudgery of counting characters and calculating what size type you could safely use remained the same until the arrival of the Macintosh. Unless that is, you were one of the lucky who owned their own stat camera.
As my father worked as a stereotyper at my hometown newspaper, these books bring back memories of Saturday nights watching him make plates for Sunday's paper. The linotype operators were in the next room, the composing room next to them.
My father was usually the only one working at that hour and often brought my brother and I with him. We wandered around picking up stray bits of type, entire lines of copy, advertisements that weighed a ton. Each page of the paper sat in a line on its own cart, so heavy was the finished composition.
My father sent the page, covered by a thick fibrous sheet they called a met through a high pressure machine which perfectly indented every halftone, every nuance of the smallest line of copy. He then took this positive, placed it over a 180 degree cylinder, closed it, told us to get out of the way and poured a half gallon of molten lead into the contraption . What resulted was a printing plate, nearly ready to go on press.
After being sent through a cooling chamber Dad trimmed both sides with a saw and routed out any large white areas that might attract ink. He then placed it into a chute that delivered it swiftly to the pressman two stories below.
The industry and profession of stereotyping was already a dying one by the time Dad was in his 50s. Eventually the paper replaced lead with plastic and Dad retrained to be a pressman.
Ironically after all those years of working with lead with no adverse health issues he developed an allergy to the plastic plates and retired early.
For this line and wash sketch I started with a pencil under-drawing. This turned out to be a good thing, as I started a bit too far to the right and didn't leave enough space for the left foot. Rather than redrawing in pencil, I just did the pen sketch slightly offset.
As usual, I applied the watercolour paint using water brush pens.
I put this sketch aside to dry for a bit while I got on with another one. I intended to come back and do a bit more work on this one but I ran out of time.
Loch Long is a body of water in the council area of Argyll and Bute, Scotland. The Sea Loch extends from the Firth of Clyde at its southwestern end. It measures approximately 20 miles in length, with a width of between one and two miles. The loch also has an arm, Loch Goil, on its western side.
Its name is not a reference to its length; it actually comes from the Gaelic for "ship lake". Prior to their defeat at the Battle of Largs in 1263, Viking raiders sailed up Loch Long to Arrochar, and then dragged their longships 2 miles overland to Tarbet and into Loch Lomond. Being inland, the settlements around Loch Lomond were more vulnerable to attack.
Loch Long forms part of the coast of the Cowal Peninsula, and forms the entire western coastline of the Rosneath Peninsula.
Loch Long was historically the boundary between Argyll and Dunbartonshire; however, boundary redrawing in 1996 meant that it moved wholly within the council area of Argyll and Bute.
The steamboat Chancellor used to traverse the loch, departing Dunoon at 11:00 and returning about five hours later. PS Waverley was also built to serve Loch Long and Loch Goil from 1947, a route that she still sailed as of 2021, albeit as more of an attraction than a primary means of transport. [Wilkipedia]
Red, green, blue layers. Arbitrary background. Black and white layers step 1 and 3 added. Dark olive green layer used as neutral layer in between.
Panaca is an unincorporated community and census-designated place in eastern Lincoln County, Nevada, United States, on State Route 319, about 1 mile (1.6 km) east of U.S. Route 93, near the border with Utah. Its elevation is 4,729 feet (1,441 m) above sea level. As of the 2010 census it had a population of 963.
Panaca was southern Nevada's first permanent settlement, founded as a Mormon colony in 1864. It was originally part of Washington County, Utah, but the congressional redrawing of boundaries in 1866 shifted Panaca into Nevada. It is the only municipality in Nevada to be "dry" (forbidding the sale of alcoholic beverages), and the only community in Nevada besides Boulder City that prohibits gambling.
Coke ovens here once produced charcoal for the smelters in nearby Bullionville (now a ghost town), but the town's economy is predominantly agricultural.
The name "Panaca" comes from the Southern Paiute word Pan-nuk-ker, which means "metal, money, wealth". William Hamblin, a Mormon missionary to the Paiutes, established the Panacker Ledge (Panaca Claim) silver mine there in 1864.
en.wikipedia.org/wiki/Panaca,_Nevada
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Panaca is an unincorporated community and census-designated place in eastern Lincoln County, Nevada, United States, on State Route 319, about 1 mile (1.6 km) east of U.S. Route 93, near the border with Utah. Its elevation is 4,729 feet (1,441 m) above sea level. As of the 2010 census it had a population of 963.
Panaca was southern Nevada's first permanent settlement, founded as a Mormon colony in 1864. It was originally part of Washington County, Utah, but the congressional redrawing of boundaries in 1866 shifted Panaca into Nevada. It is the only municipality in Nevada to be "dry" (forbidding the sale of alcoholic beverages), and the only community in Nevada besides Boulder City that prohibits gambling.
Coke ovens here once produced charcoal for the smelters in nearby Bullionville (now a ghost town), but the town's economy is predominantly agricultural.
The name "Panaca" comes from the Southern Paiute word Pan-nuk-ker, which means "metal, money, wealth". William Hamblin, a Mormon missionary to the Paiutes, established the Panacker Ledge (Panaca Claim) silver mine there in 1864.
en.wikipedia.org/wiki/Panaca,_Nevada
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Here's the classic orange squeezer, clean re-drawing by Doctor Tweek. Parts available at www.doctortweek.co.uk
To see the Peter Doig painting: click here. Notice that one of the elements that are left out - the pond bank - is lacking the patterns that make the others parts stand out.
Panaca is an unincorporated community and census-designated place in eastern Lincoln County, Nevada, United States, on State Route 319, about 1 mile (1.6 km) east of U.S. Route 93, near the border with Utah. Its elevation is 4,729 feet (1,441 m) above sea level. As of the 2010 census it had a population of 963.
Panaca was southern Nevada's first permanent settlement, founded as a Mormon colony in 1864. It was originally part of Washington County, Utah, but the congressional redrawing of boundaries in 1866 shifted Panaca into Nevada. It is the only municipality in Nevada to be "dry" (forbidding the sale of alcoholic beverages), and the only community in Nevada besides Boulder City that prohibits gambling.
Coke ovens here once produced charcoal for the smelters in nearby Bullionville (now a ghost town), but the town's economy is predominantly agricultural.
The name "Panaca" comes from the Southern Paiute word Pan-nuk-ker, which means "metal, money, wealth". William Hamblin, a Mormon missionary to the Paiutes, established the Panacker Ledge (Panaca Claim) silver mine there in 1864.
en.wikipedia.org/wiki/Panaca,_Nevada
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Pages scanned from a type specimen book for the Chicago Sun Times and Daily News ca. 1961. They plan copy with care is the mantra throughout. To design in those days was to be constantly counting, adding, dividing and redrawing to fit the available space. Though lead would soon be replaced by photo typesetting processes, the drudgery of counting characters and calculating what size type you could safely use remained the same until the arrival of the Macintosh. Unless that is, you were one of the lucky who owned their own stat camera.
As my father worked as a stereotyper at my hometown newspaper, these books bring back memories of Saturday nights watching him make plates for Sunday's paper. The linotype operators were in the next room, the composing room next to them.
My father was usually the only one working at that hour and often brought my brother and I with him. We wandered around picking up stray bits of type, entire lines of copy, advertisements that weighed a ton. Each page of the paper sat in a line on its own cart, so heavy was the finished composition.
My father sent the page, covered by a thick fibrous sheet they called a met through a high pressure machine which perfectly indented every halftone, every nuance of the smallest line of copy. He then took this positive, placed it over a 180 degree cylinder, closed it, told us to get out of the way and poured a half gallon of molten lead into the contraption . What resulted was a printing plate, nearly ready to go on press.
After being sent through a cooling chamber Dad trimmed both sides with a saw and routed out any large white areas that might attract ink. He then placed it into a chute that delivered it swiftly to the pressman two stories below.
The industry and profession of stereotyping was already a dying one by the time Dad was in his 50s. Eventually the paper replaced lead with plastic and Dad retrained to be a pressman.
Ironically after all those years of working with lead with no adverse health issues he developed an allergy to the plastic plates and retired early.
Pages scanned from a type specimen book for the Chicago Sun Times and Daily News ca. 1961. They plan copy with care is the mantra throughout. To design in those days was to be constantly counting, adding, dividing and redrawing to fit the available space. Though lead would soon be replaced by photo typesetting processes, the drudgery of counting characters and calculating what size type you could safely use remained the same until the arrival of the Macintosh. Unless that is, you were one of the lucky who owned their own stat camera.
As my father worked as a stereotyper at my hometown newspaper, these books bring back memories of Saturday nights watching him make plates for Sunday's paper. The linotype operators were in the next room, the composing room next to them.
My father was usually the only one working at that hour and often brought my brother and I with him. We wandered around picking up stray bits of type, entire lines of copy, advertisements that weighed a ton. Each page of the paper sat in a line on its own cart, so heavy was the finished composition.
My father sent the page, covered by a thick fibrous sheet they called a met through a high pressure machine which perfectly indented every halftone, every nuance of the smallest line of copy. He then took this positive, placed it over a 180 degree cylinder, closed it, told us to get out of the way and poured a half gallon of molten lead into the contraption . What resulted was a printing plate, nearly ready to go on press.
After being sent through a cooling chamber Dad trimmed both sides with a saw and routed out any large white areas that might attract ink. He then placed it into a chute that delivered it swiftly to the pressman two stories below.
The industry and profession of stereotyping was already a dying one by the time Dad was in his 50s. Eventually the paper replaced lead with plastic and Dad retrained to be a pressman.
Ironically after all those years of working with lead with no adverse health issues he developed an allergy to the plastic plates and retired early.
Attack of the Kraken designed by Brian Chan folded by me from a 80cm square of tissue-foil (I know it is very messy). The base was very easy but the shaping was hard. Some of the tentacles become very thick and this fold is not the best one in the world but I am satisfied with it.
I would like to thanks Karol Kafarski for redrawing the CP and Djordje Jovanovic for helping me with the hull.
I hope you like it. :D
希望大家喜歡吧~
Hong Kong Central Ferry Pier Project
A project about redrawing the appearance of the ferry pier building.
Hope you like it.
大圖版 : For larger version:
JAKARTA/INDONESIA, 13JUN11 - Karen Agustiawan, President Director and Chief Executive Officer, Pertamina (Persero), Indonesia; Co-Chair of the World Economic Forum on East Asia, captured during "Redrawing the "Greenprint" of Asia's Energy Architecture" at the World Economic Forum on East Asia in Jakarta, Indonesia, June 13, 2011.
Copyright World Economic Forum (www.weforum.org)Photo by Sikarin Thanachaiary
Many of the kids in Mtsilidza eagerly posed for the camera. In fact, I had to keep redrawing the line in the sand for them to stand behind.
This kid was different. I don't know if he was afraid of me, or my camera, or came from a painful family situation… I can only guess.
Attack of the Kraken designed by Brian Chan folded by me from a 80cm square of tissue-foil (I know it is very messy). The base was very easy but the shaping was hard. Some of the tentacles become very thick and this fold is not the best one in the world but I am satisfied with it.
I would like to thanks Karol Kafarski for redrawing the CP and Djordje Jovanovic for helping me with the hull.
I hope you like it. :D
JAKARTA/INDONESIA, 13JUN11 - Melody Meyer, President, Chevron Asia Pacific Exploration and Production Company, Chevron Corporation, USA, captured during "Redrawing the "Greenprint" of Asia's Energy Architecture" at the World Economic Forum on East Asia in Jakarta, Indonesia, June 13, 2011.
Copyright World Economic Forum (www.weforum.org)Photo by Sikarin Thanachaiary
Pages scanned from a type specimen book for the Chicago Sun Times and Daily News ca. 1961. They plan copy with care is the mantra throughout. To design in those days was to be constantly counting, adding, dividing and redrawing to fit the available space. Though lead would soon be replaced by photo typesetting processes, the drudgery of counting characters and calculating what size type you could safely use remained the same until the arrival of the Macintosh. Unless that is, you were one of the lucky who owned their own stat camera.
As my father worked as a stereotyper at my hometown newspaper, these books bring back memories of Saturday nights watching him make plates for Sunday's paper. The linotype operators were in the next room, the composing room next to them.
My father was usually the only one working at that hour and often brought my brother and I with him. We wandered around picking up stray bits of type, entire lines of copy, advertisements that weighed a ton. Each page of the paper sat in a line on its own cart, so heavy was the finished composition.
My father sent the page, covered by a thick fibrous sheet they called a met through a high pressure machine which perfectly indented every halftone, every nuance of the smallest line of copy. He then took this positive, placed it over a 180 degree cylinder, closed it, told us to get out of the way and poured a half gallon of molten lead into the contraption . What resulted was a printing plate, nearly ready to go on press.
After being sent through a cooling chamber Dad trimmed both sides with a saw and routed out any large white areas that might attract ink. He then placed it into a chute that delivered it swiftly to the pressman two stories below.
The industry and profession of stereotyping was already a dying one by the time Dad was in his 50s. Eventually the paper replaced lead with plastic and Dad retrained to be a pressman.
Ironically after all those years of working with lead with no adverse health issues he developed an allergy to the plastic plates and retired early.
JAKARTA/INDONESIA, 13JUN11 - Martin Soong, Anchor, CNBC Asia, Singapore, captured during "Redrawing the "Greenprint" of Asia's Energy Architecture" at the World Economic Forum on East Asia in Jakarta, Indonesia, June 13, 2011.
Copyright World Economic Forum (www.weforum.org)Photo by Sikarin Thanachaiary
Spent hours redrawing and inking this and then decided the biro version was better.... so that's the one that went to print...
Amy Pope, Director-General, International Organization for Migration (IOM), Geneva; David Bach, President, IMD Business School, Switzerland; Erika Kraemer Mbula, Professor of Economics, University of Johannesburg, South Africa; Hisayuki Idekoba, President, Chief Executive Officer and Representative Director of the Board, Recruit Holdings, Japan; Nacho De Marco, Founder and Chief Executive Officer, BairesDev, USA; speaking in Redrawing the Geography of Jobs session at the World Economic Forum Annual Meeting 2025 in Davos-Klosters, Switzerland, 23/1/2025, 10:15 – 11:00 at Kurpark Village - Aspen 4. Stakeholder Dialogue. Copyright: World Economic Forum / Valeriano Di Domenico
Attack of the Kraken designed by Brian Chan folded by me from a 80cm square of tissue-foil (I know it is very messy). The base was very easy but the shaping was hard. Some of the tentacles become very thick and this fold is not the best one in the world but I am satisfied with it.
I would like to thanks Karol Kafarski for redrawing the CP and Djordje Jovanovic for helping me with the hull.
I hope you like it. :D
In 2018 the voter initiative to replace politicians redrawing the election map every ten years with a citizen commission. Now that new approach is becoming a reality. Capping the first phase of statewide listening at public hearings by the citizen commissioners comprising the MICRC (www.michigan.gov/micrc), the Michigan Independent Citizen Redistricting Commission, this 5 p.m. event on July 1 at Devos Place in downtown Grand Rapids is the 16th such event. It combines in-person with online written comments and questions, and video conference participation for commenters at a distance. This video clip starts the formal proceedings, but ends with the roll call of commissioners present to form a quorum. Microphone stands at the left and right sides of the room near the front allow commenters 2 minutes to speak, anonymously if they wish. The large video screens include close-captioning, a remote commissioner, the slide image being discussed, and the sign-language interpreters who take turns to avoid fatigue.
See the extended recording and description at www.archive.org/details/micrc2021grandrapids
Press L for lightbox, black background viewing.
Crease pattern of my labrador retriever.
www.flickr.com/photos/gen_hagiwara/9561951936/
Designed and drawn by Gen HAGIWARA
I've been redrawing the CP of my designs.
I've replaced the CP I uploaded in the past.
La Tour EIFFEL a scintillé de mille feux pour ses 120 ans, retraçant l'épopée de sa propre histoire de 1889 à 2009. Super spectacle en avant première Christophe Mahé et Johnny Halliday avaient déjà allumé le feu au bonheur des spectateurs venus très nombreux (800 000 à 1 000 000).
The Eiffel Tower sparkled of one thousand fires(lights) for his(her,its) 120 years, redrawing the epic of its own history(story) from 1889 till 2009. Great show(entertainment) forward first Christophe Mahé and Johnny Halliday had already lit(already switched on) the fire(light) in the happiness of the very numerous come spectators (800 000 - 1 000 000).
La Torre Eiffel centelleó de mil fuegos(luces) para sus 120 años, volviendo a trazar la epopeya de su propia historia del 1889 al 2009. Espectáculo super adelante primer Christophe Mahé y Johnny Halliday ya habían encendido el fuego(luz) a la felicidad del spectateus venido muy numeroso (800 000 - 1 000 000).
エッフェル塔は彼ののために千の火事（ライト）についてきらめいた（彼女そ）１２０年、１８８９の現金用引き出しからそれ自身の歴史（物語）の叙事詩を引き直しています２００９．クリストフィー・マヘとジョニー・ハリデイがすでに持っていた最初に前進的な素晴らしいショー（娯楽）が火がつきました（すでにスイッチを入れました）幸福の火事（光）が spectateus になった非常に多数の（人たち・もの）の（８００ ０００ － １ ０００000).