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Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
Technique: I used a syringe to inject artificial nectar into some flowers to give this Bumblebee a reason to let me get close. This species is very skittish, so even with the bait it wasn't easy to photograph. Lots of deleted frames.
Tech Specs: Canon 70D (F11, 1/125, ISO 200) + a Canon EF-S 60mm macro lens with 25mm of extension + a diffused MT-24EX (flash head "A" set as the key and "B" as the fill, both on the Canon flash mount). This is a single, uncropped, frame taken hand held. Camera set to expose the natural light in the background, with E-TTL flash metering exposing the subject.
"A single cup of coffee can create a friendship that lasts for 40 years"
Turkish Coffee is the name given to a type of coffee whose preparation and brewing techniques were invented by the Turks. It has a unique taste, froth, aroma, brewing technique and presentation… in other words it has its own identity and tradition.
The first coffee was made in the Arabian Peninsula by boiling coffee cherries. The new method invented by the Turks revealed coffee's true flavour and peerless aroma. The Turks introduced coffee to Europe where for many years it was prepared and consumed as Turkish Coffee.
Turkish Coffee is made from high quality arabica coffee beans from Central America and Brazil that are blended and carefully roasted, then very finely ground. The coffee is mixed with water and the desired amount of sugar and cooked in a "cevze", or Turkish coffeepot. The coffee is served in small cups. The coffee must be left to stand for a short time after serving to allow the grounds to settle at the bottom of the cup.
HISTORY
Istanbul was introduced to coffee in 1517 by Özdemir Pasha, the Ottoman Governor of Yemen, who had grown to love the drink while stationed in that country.
Prepared in a cezve or "güğüm" (copper vessel) using the technique invented by the Turks, the drink became known as Turkish Coffee.
The Turkish public became acquainted with coffee through the establishment of coffeehouses; the first coffeehouse opened in the district of Tahtakale and others rapidly cropped up all over the city. Coffeehouses and coffee culture soon became an integral part of Istanbul social culture; people came here throughout the day to read books and beautiful texts, play chess and backgammon and discuss poetry and literature.
As coffee became a staple in palace cuisine as well as in private homes, its consumption increased dramatically. The raw beans were roasted in pans and then ground in mortars. The coffee was then brewed in cezves and served with great care to esteemed friends.
Thanks to the efforts of merchants and travellers who passed through Istanbul, and even Ottoman ambassadors, Turkish Coffee's renown soon spread to Europe and ultimately to the whole world.
CHARACTERISTICS
Turkish Coffee… Is the world's oldest coffee brewing method.
Consists of foam, coffee and grounds.
Remains on the palate longer than all other types of coffee thanks to its soft and velvety foam.
Remains hot for a long time thanks to its delicious foam, which keeps its form for several minutes after the coffee is poured.
Cools much more slowly than other varieties of coffee as it is served in thin cups, thus prolonging the drinking pleasure.
Has an unforgettable flavour thanks to its thick, syrupy consistency that stimulates the taste buds.
Is thicker, softer and more aromatic than other types of coffee.
Is easily discernible from other types of coffee due to its unique aroma and foam.
Is the only coffee that can be boiled.
Is the only coffee that can be used to predict the future. Cafedomancy: The use of coffee grounds to cast fortunes.
Is unique in that its grounds are left in the cup: the coffee is not filtered or strained because the grounds settle at the bottom of the cup.
Does not have to be sweetened after it has been poured as the sugar is added during preparation.
THE TURKS AND
TURKISH COFFEE
Drinking coffee is a unique pleasure for Turks.
A cup of Turkish coffee is endowed with a variety of important connotations for Turks: friendship, affection and sharing. This is best illustrated in the old saying: "A single cup of coffee can create a friendship that lasts for 40 years". Turkish coffee is such an intrinsic part of Turkish culture that it has given its name to the word for breakfast, "kahvaltı", which translates as "before coffee", and is derived from the words "kahve" (coffee) and "altı" (before).
Serving a cup of Turkish Coffee is also a way of sealing a friendship. The preparation and care taken by a host in serving Turkish Coffee to his guests is an important aspect of hospitality. In Turkey, it is traditional for a prospective bride to serve coffee to her suitor and his family when they come to ask for her hand in marriage. Accepting a cup of coffee is a source of pride to the person who offers it. This is illustrated in the Turkish expressions "his coffee can be drunk" and "I would drink a cup of your coffee".
Nothing compares to long, friendly conversation over a cup of frothy Turkish Coffee, followed by having your fortune told.
LEGO® MOC Tutorials, Reviews, Techniques, Tips and Tricks, etc.
www.youtube.com/user/KosBrick/
This is my personal VLOG (Video Blog at YouTube Channel) to share my exploration, journey, and passion about LEGO® creations for other beginner builders like me out there :)
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Well I know the arm isn't that round but I thought the idea was pretty cool. I'll try my best to make something out of it but I'm kind of stuck right now. I'm pretty much only uploading this to spark ideas for other MaK builders because I don't think I've seen a Lego MaK hardsuit that actually has the minifig arms inside of the arms of the minifig.
For Corran's Western bar
The widest part of a skeleton's arm has enough friction with a middle corner of the face part: www.peeron.com/inv/parts/30396
, but you need to leave room with the 1 x 1 clip, only clip about halfway to the skeleton arm.
I discovered the secret to the gavel. It's got some odd dimensions but like everything else it conforms to the LEGO system grid. very nicely. See my writeup at www.dagsbricks.com/2013/11/lego-techniques-bring-down-gav...
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Technique used for the sliding toilet doors.
Turning the Pneumatic T Piece 90° behind the seat keeps the door shut when closed.
For the techniques group. I use those technic connectors a lot, and I don't like the fact that they can spin.
Using the pulley wheel and four of those 3/4 pins keeps the round part from spinning. And, unlike a lot of other weird solutions, this one is very solid.
There is very little motion, as the bar across the middle actually clicks into place. It's a good solution if you have the room and are mounting an object like this into something with a + hole in it.
Taken with the ancient technique of camera on tripod pointing straight down. These are Cineraria leaves just after a light rain shower. Lightroom 5, Silver Efex Pro 2 and back into Lightroom.
HBW!
busy day,
i got a new room in Leiden, yayy:)
editing some shoots.
© Copyright 2011 Piejie Photography, All Rights Reserved. Images may not be reproduced, copied, or used in any way without permission.
Robert Adamson, David Octavius Hill
Probably 1843
Accession no. PGP EPS 90
Medium Calotype print
Size 16.60 x 12.60 cm
Credit Edinburgh Photographic Society Collection, gifted 1987
For more information please select here.
MUNICH/GERMANY - JANUARY, 22: Katrin Suder (German Federal Ministry of Defence), Claudia Nemat (Deutsche Telekom) and Amy Wilkinson (Ingenuity) speak in a panel discussion during the DLD18 (Digital-Life-Design) Conference at the Alte Bayerische Staatsbank on January 22th, 2018 in Munich, Germany (Photo: picture alliance / Andreas Gebert) | Verwendung weltweit
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
Technique: a combination of zooming out and intentional camera movement (ICM). No post-processing was done.
Copyright J.R. Devaney
Life continues to move on and I am now sixty…how did I get there so fast?…the reality is I have! I moved into my sixth decade of life earlier this year and it has given me a renewed outlook on my cross-dressing. I do have regrets in my life, the biggest being my self imposed suppression of my transgender self. Why did I hold back? The answer is I was not brave enough. I feared the reaction of others, I feared losing my family life and I feared losing my income. I just caved in and tried to ignore it.
Well, back in the year 2000, 19 tears ago, at the age of forty one I began to cross-dress as a woman. I could no longer suppress my inner desire to appear as a woman. It caused a lot of upset with my family and though I am now fortunate enough to engage in cross0dressing, it is a compromise in regard to the opportunities I have. My family tolerate it but my moments as my female alter-ego are rare. I have no wish to jeopardise my family life and work so I accepted the limited opportunities. I do adore becoming Helene and though it is rare it is always an amazing and rather emotional experience.
Now I am older and less hung up about my cross-dressing I find myself being more confident and at ease with it and having more fun when I do dress up as a woman. Last night I had a sudden opportunity to become Helene again ad I totally went for it. i was somewhat tired and not quite as focused as I would have liked, not to mention very much out of practice, but I intended to enjoy my time en femme.
Having emerged from the bath with freshly shaved, legs, chest and arms I enjoyed plucking my eyebrows into a better shape and excitedly sat down to start putting on my make-up. Part of my excitement was a new piece of equipment I purchased in December purely for my make-up application. I’m sure many of us struggle with getting a real world foundation coverage because of our beard shadows. The dreaded beard shadow , even after a super close shave, can feel smooth but the skin is bumpy due to the underlying hair follicles and this also leaves a visible shadow (unless you are fortunate enough to have light hair colour).
I usually employ all the techniques to neutralise the beard shadow cover then several layers of heavy foundation and can usually get a successful coverage result but it is rather heavy looking compared to real women. I had been looking into trying to get smoother coverage but without the thick layer result. On my male face after decades of shaving I could never get the look I hoped for ski coverage on my face.
I have new aspirations to spend more time out in the real world as a woman. I do love make-up and enjoy wearing it but to be amongst women and men in public in daylight had me wanting nice smooth makeup coverage that successfully disguised my shadows but did not look like a heavy coating on my face. As I say, I love wearing make-up and when I cross-dress in private I have no issue with wearing heavy coatings of foundation at all. For the real world though, I realised I need to up my game if I was to be perceived as a female when out and about.
This led me to look at applying foundation using an airbrush with a small air compressor. The look and finish from foundation applied with an airbrush is very good. I bought a kit and some silicone foundation for use with the airbrush and I have been biding my time to give it a go.
Last night was my chance. I set it all p, watched the manufacturers tutorials and set about spraying the foundation onto my face. It is a very different feel to the traditional method of applying foundation. It is a far more subtle approach. as you gradually build up the coverage using a light misted spray and moving in small circular motions.
I had to laugh when I began as I soon realised this required a degree of practice and my initial spraying efforts were somewhat inept. I was getting the hang of it but I definitely need a lot more practice and..patience! You cannot rush it. I think once one gets competent with it it is possible to apply the foundation considerably faster than my first effort.
Despite my poor technique I was amazed by the coverage, your skin looks amazing! It’s like a flexible, durable, long lasting coverage but none of the thick make up appearance. My skin is unavoidably bumpy around my upper lip, cheeks, chin and neck area but this cover was unlike any previous efforts and the realisation that this was going to work for real world trips in public made me dizzy with excitement. Even on m y sixty year old skin it was as smooth as I was ever going to look.
I bought the Airbase HD kit, which is bigger than I expected. In hindsight I may have been better with the compressor and airbrush alone. The HD kit comes in a se with a lighted mirror. There are alternative kits from other manufacturers such as DInair and Luminess.
If you are serious about trying to look female and avoiding the heavy coverage look during the day then I can recommend using airbrush foundation application. I will admit I have decided to book myself onto a one day training course in the late Spring in order to learn how to use it well. As I am obsessed with trying to look as female as I possibly can I think the cost of the training is a god personal investment as was purchasing the airbrush kit.
I took a lot of selfies last night and one accompanies this narrative. It was rather fabulous to be appearing as a woman once more :-)
BRICKSPO 9: Online continues it's weekly technique building challenges. This week we asked to see curved wall techniques!
Technique: The weather has been fluctuating a lot, but when it's warm and sunny I've been taking the cocoons harvested from my Mason Bee house out and letting them hatch. They're not all hatching at once, but when they decide to come out it's fast.
I think that this is an O. bicornis (= O. rufa), Red Mason Bee, but I could be wrong.
Tech Specs: Canon 70D (F11, 1/250, ISO 100) + a Canon MP-E 65mm macro lens (over 2x) + a diffused MT-24EX (both flash heads on the Canon flash mount) and I had to switch to manual mode (E-TTL metering was getting confused by this scene). This is a single, uncropped, frame taken hand held.
Hi there! I have always wanted to make a technique tag book, and this month's bookmaking challenge inspired me to give it a go! Here is my work in progress ... I am hoping to make at least 15 to 20 tags before it is finished.
I will be describing my inspiration for the tag book and the techniques I used for each tag on my blog, Gaal Creative, starting on Monday, July 26th.
To answer Arlene - Yes, I am making a label to stick on the back of each tag, with the colors, techniques, and stamps used, for future reference.
I am waiting on some orders for new trans-clear pieces, but I had a lot of these lying around, and this is what I came up with. Great if you are like me and got a few of these from random sets!
The floor technique I used in Hunter. The majority of the build is made up of this piece: www.bricklink.com/v2/catalog/catalogitem.page?P=48989#T=S..., and this piece: www.bricklink.com/v2/catalog/catalogitem.page?P=32140#T=S....
Using cylinders, bars, and rubber bands. Bars are place inside the cylinders (this can be in any direction you wish) and then a rubber band was wrapped around 4 bars. Afterwards bars were slipped inside the rubber band and placed in the empty lattice between the cylinders. This actually gives good friction to position the bars at whatever height you wish. Despite the simplicity, I am very proud of this fence technique.
iss068e040292 (Jan. 16, 2023) --- Roscosmos cosmonaut and Expedition 68 Commander Sergey Prokopyev wears a head cap with sensors measuring his performance while practicing on a computer potential spacecraft and robotic piloting techniques a crew member might use during future planetary missions.
Processed by: mavenimagery Lab, Universal Studios, Californa.
HDR PROCESSED with IRET (Iris Range Enhancement Technology)
IRET (Iris Range Enhancement Technology and MavenFilters are products of mavenimagery Labs Innovation)
Note: This image was taken for 'test' and 'review', purposely, under the worst lighting and weather conditions. Beside a colorless, overcast late afternoon, there was a gust of wind and movement such as shifting river floats and fast pacing clouds that cause ghosting in HDR images. None is visible here, but don't let the post-processing mislead you.
Those who missed the first impressions of the review can catch up here: www.flickr.com/photos/maven_imagery/5127045978/
Welcome back. HDR Efex Pro has been around enough now to assume that we've all have our share of experience. Before we continue to get with the program, I’d like to mention a few things about human [eye] perception. However, if you’re a student of human perception or have a Gestalt-ian (deliberately throwing a grand German name here to make this review look as intelligent as humanly possible, and, maybe, just maybe, to grab your attention so that you stay with me throughout this most important guiding principles for tonemapping) vision and an eye that would make Stephen Spielberg bite his lips with an overwhelming jealousy, causing him to maybe even swallow his tongue, please skip this section. Above and all: If your image(s) are free of the following inherent problems in any form of photography and sure that they will qualify for the ‘standard market’ requirements (since most of us would like seeing our works published), then, by all means STOP READING! (not recommended). Time is precious so use it for more productive labor. Here are the most overlooked fundamentals that will cripple your ambitions and prevents you from entering the professional world which luckily still has a little room for the talented:
Your image is free of the following problems:
- Artifact Problems: Noise/Grain/Chromatic or other artifacts due to low light, blue or purple fringing, high ISO, halos, over-sharpening/saturated or post processing techniques (mostly in HDR images).
- Low interest subject: Probably little demand/selling potential for this image. Try for more marketable shots.
-Blurry: Image is not very crisp or is blurred when viewed at full size. 1:1 or 100%
- Snapshot composition: This image is more of a snapshot than a marketable image. Overall problems can include poor lighting, poor composition, non-interesting subject matter, etc.
- There is enough of this subject already...sorry. More unique images will help your images stand out from the crowd. Not another sunset, flowers, your dog or flags which are easy to shoot
- Hard shadows: Caused by on-camera flash. Try not to use flash, use more fill light instead. Flash often creates hard ugly shadows
- Exposure problem: Image is too dark or too light, not properly exposed. You may be able to try using 'Levels' control in Photoshop to fix depending on how bad the issue is.
- Poor composition/Cropped subject: Chopping off part of subject makes photo harder to use
generally
There are hundreds of reasons more why your image wouldn’t work, but these should suffice since they are the ‘gate kipper’ to the ‘Declined’ and ‘Accepted’ of the Art World.
But, I’m staying and keeping my course along with those who do. Who knows, maybe I’ll read your book where you call HDR Technology “an art form” (as sum-fellah did and got away with it; the very same person who recently blessed us with Nik’s HDR Pro Efex exaltations and asserted that HDRI was splintering…breaking and disintegrating into the realms of abyss. Impressive statement, ha? To me, it’s nothing more than a plain Forest Gump’s “stupid as stupid does-kind of assertion”) and not “a tool to combine artistry and technology to create High Dynamic Range Images”. That’s HDR-ly confused and messy…
Confused and messy? That’s right. HDR and tonemapping allow us, given the right set of exposure, to reproduce any tone and any color in an image in any way we choose. This may sound great and unlimited freedom in producing the ultimate image as close to human’s eye perception as possible, right? Wrong! This is exactly where one can face confusion with all of them sliders and stray away long from true-perception.
Are you still with me? Hope you are, Skipper. Because, I want this review to be as much a fun as instructive.
Perception. Seeing. Why is it so important?
When an artist looks at a tree, he or she sees details, light, shadow and reflected light as opposed to a normal individual who sees three as a whole. But, an artists who are born with innate talent and an eye sees more: If it’s Spring, he or she sees is green and pinkish blooms, contrast, structure, shade and details that make each leaf and the light that falls on them in three values: Direct light, diffused light (reflectance) and shadow (Luminance=3D form). But,
Confused, already? I don’t blame you. That’s only natural. We’ll stretch and flex underneath this phenomena.
Due to large files accompanied by also large text, they will not be posted on Flickr. To view the images and read more, you'll have to request a link which will be provided by mavenimagery. Thus, we will know who's really interested in this review seriously which will save us all the 'uselessly spent time and effort'.
Thank you
A jolly cover to this popular post-war publication by Bruce Angrave (1914 - 1983) whose work included the use of such folded paper and collage techniques.
Three weapons I've used my idea for a telescoping/folding stock.
Basically cut off the end of a ABR, I would also suggestion sanding the top of it around a little to make it more round. It is a better alternative to the standard stock BA has on the M4 and the ARC.
The weapons from top to bottom;
- M110 CSASS
- MW2 styled AK-47 Grenadier
- C8A2 Carbine
I apologize for the chipped paint, I actually repainted the CSASS because of how messy it was when I had originally had this set up.
This juvenile Ring-billed Gull demonstrates the proper technique for protecting a freshly captured Shrimp Eel: head out to sea and eat on the fly. Jamaica Beach, Galveston Island, Texas.
Operating Room Techniques Class (practice) led by Mr. Randell Docks, #SurgicalTech. Program Director, and his students, Karin Schmidt and Kirk Mitchell. Here we see them practicing gowning and gloving for surgery #Surgery #Training #OperatingRoom #Miami #CityCollege
The gate is located between towers 30 and 31, little remains of the original gate, and the modern reconstruction may not be accurate.
The Theodosian Walls were situated between the Sea of Marmara and the Golden Horn and have a length of 6.5 km.
The walls were completed in 413 during the reign of Theodosius II (408–50). The wall was given his name, but was actually built under the supervision of Anthemius of Byzantium, a praefectus praetorio of the Eastern Roman Empire.
From 439 onwards, the sea walls were built along the Golden Horn and the Sea of Marmara (Propontis), thus walling the entire peninsula on which the city was situated.
The Theodosian Walls consisted of:
- the main inner wall (5 meters thick and 12 meters high); this was separated by a terrace (peribolos) from
- the lower outer wall (2 meters thick and 8.5 meters high).
An outer terrace, the parateichion, extended between the outer wall and the moat. The moat was about 20 m (66 ft) from the outer wall. The moat itself was over 20 m (66 ft) wide and as much as 10 m (33 ft) deep, with a 1.5 m (5 ft) high crenellated wall on the inside, which served as a first line of defense.
Access to the outer wall from the city was provided through the main gates at the base of the towers of the inner wall. The outer wall also had towers, which were placed about halfway between the towers of the inner wall. They were spaced at a distance of 48–78 m (150–250 ft) from each other. Of the towers of the outer wall, 62 have survived.
The walls of Constantinople were notoriously impregnable throughout the Middle Ages. Greek engineers used a much more effective construction technique than others in the Middle Ages. The walls in the Byzantine Empire were usually not solid, but consisted of double walls filled with rubble, which allowed gaps to be quickly repaired. Numerous armies of Bulgarians, Avars, Kipchaks, Russians, Galatians and Arabs failed to penetrate the walls. The first breach of the walls came in 1204, when the Fourth Crusade laid the city to waste. Two centuries later, the city had not yet recovered from the damage of the Crusade, and in 1453, after a relatively short siege, it fell into the hands of the Turkish Ottomans.