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Have not had this out for many months. Decided it needed exercise. Some say it is better than an EOS 3 but I just do not see that. Found out that the ESO-1 N are garbage with shutter fails on 2 of them and sold my 3rd promptly and purchased an EOS 3 that is still working fantastically.
Robonaut (R2A) uses its cameras to see when it is time to release the envelope. You can see in the screen behind R2 that it can see Marty Linn's (GM) thumb as he grabs the envelope.
Location: Kennedy Space Center
Photographer: Joe Bibby
Fanny Bonnington stood in the dock of the Blenheim Supreme Court on 21 October 1884 charged with the murder of her baby daughter.
Fanny was a 16-year-old domestic servant to Blenheim brewer and scion of the community Henry Dodson. Returning from a business trip to Wellington, Dodson found a trail of blood to the outdoor toilet. It was soon discovered that Fanny had dropped the body of her new born female child into it and covered her with soil. Knife wounds were found on the body and Fanny was duly charged with murder. She was found not guilty on grounds of insanity and served several months in the Wellington Asylum before Dodson arranged to collect her and return her to her family in the Wairau Valley.
Shown here is the knife which Fanny used to stab her baby. In highly unusual circumstances the knife has been retained as part of her criminal trial file
ABYB 23218/4 26
collections.archives.govt.nz/web/arena/search#/?q=R22888860
More information can be found here:
paperspast.natlib.govt.nz/newspapers/MT18841023.2.24?phra...
paperspast.natlib.govt.nz/newspapers/GRA18841022.2.7.14?i...
www.stuff.co.nz/national/crime/122798742/old-murder-weapo...
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter www.twitter.com/ArchivesNZ
Material supplied by Archives New Zealand.
twitter.com/KeltruckLtd/status/876493219588182018
The UK's largest selection of #Scania Used Trucks for UK sale & #export .
used.keltruckscania.com | keltruck.com/ScaniaUsedTrucks
#ScaniaUsedTrucks #UsedScaniaTrucks #Exports
This is all the stuff I got at Bricks Cascade 2014. I can't wait to use it. The stuff at the bottom is stuff I thought was particularly interesting.
Used the free Mother Daughter tote bag pattern - details: socalsewingmom.blogspot.com/2014/07/a-kcw-dance-bag.html
Please see the previous photo of Crocus sp. The camera on the Platypod is a Canon 6D Mark II with a EF180mm f/3.5L Macro USM mounted. The ball head is a Manfrotto 468MGRC5.
人 生來就是一面鏡子
只有靜靜的觀察才不會迷失自我
Use software LR 3.0 and PS cs2
photo by jovi
if you wanna see big pic you can check this link:
Used The Dozens December kit to amass all these thought about my sometimes "whateva" look--American Crafts, Vintage buttons, some Elsie, and the BamBubble!
Used as an emergency response vehicle at the Lindsey Oil Refinery (Total) on the south bank of the river Humber, this Subaru Legacy was seen attending the Wickenby Wings & Wheels event in Lincolnshire on 17/06/2012
All my images are processed to look their best on my monitor – they may appear slightly darker/lighter on other screens depending on your display settings.
If you feel that any of my images are worth having in your Flickr group, then all you have to do is invite it along.
Connect with me on Facebook at www.facebook.com/psimpson1 and tell me you're from Flickr.... Also now on Twitter @JP_Simpson
My photos can be purchased (either as prints or as image files) from www.paulsimpsonphotography.com - just send me a message for details, or indeed via Getty here on Flickr.
Using a scanner, the models (Gabby and Anouska) and myself placed our faces onto the glass. I wanted to explore how femininity isn't a;ways necessarily classed as conventionally beautiful, and how someone can look completely different from a different angle. Some people describe this work as "death-like", and apparently the images represent people either dead or trying to get out of a coffin. These images were inspired by Jenny Saville's work.
Used products:
Poppystamps - Brevilla Houses
Circle Die
Distress Oxides
Efco - German Sentiment
Follow me on IG :)
I used the CG-115 "Thank You" cling stamp for this card. Heat-embossed the image in white and colored with colored pencils. Details on blog.
Batik is a technique of wax-resist dyeing applied to whole cloth, or cloth made using this technique. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting (IPA: [ʈ͡ʂantiŋ], also spelled tjanting), or by printing the resist with a copper stamp called a cap (IPA: [ʈ͡ʂap], also spelled tjap). The applied wax resists dyes and therefore allows the artisan to color selectively by soaking the cloth in one color, removing the wax with boiling water, and repeating if multiple colors are desired.
A tradition of making batik is found in various countries, including Nigeria, China, India, Malaysia, Philippines and Sri Lanka; the batik of Indonesia, however, is the most well-known. Indonesian batik made in the island of Java has a long history of acculturation, with diverse patterns influenced by a variety of cultures, and is the most developed in terms of pattern, technique, and the quality of workmanship. On October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity.
ETYMOLOGY
The word batik is Javanese in origin. It may either come from the Javanese word amba ('to write') and titik ('dot'), or may derive from a hypothetical Proto-Austronesian root *beCík ('to tattoo'). The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik.
HISTORY
Wax resist dyeing of fabric is an ancient art form. It already existed in Egypt in the 4th century BC, where it was used to wrap mummies; linen was soaked in wax, and scratched using a stylus. In Asia, the technique was practiced in China during the Tang Dynasty (618-907 AD), and in India and Japan during the Nara Period (645-794 AD). In Africa it was originally practiced by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal. These African version however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.
The art of batik is most highly developed in the island of Java in Indonesia. In Java, all the materials for the process are readily available - cotton and beeswax and plants from which different vegetable dyes are made. Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism, have an age-old tradition of batik making.
Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a small reservoir of hot wax, and proposed that the canting was invented in Java around that time. The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier.
In Europe, the technique was described for the first time in the History of Java, published in London in 1817 by Stamford Raffles, who had been a British governor for the island. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists.
In the 1920s, Javanese batik makers migrating to Malaya (now Malaysia) introduced the use of wax and copper blocks to its east coast.
In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colors. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.
TECHNIQUE
Firstly, a cloth is washed, soaked and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or bees wax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a canting (IPA: [tʃantiŋ], sometimes spelled with old Dutch orthography tjanting) is the most common. A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used. Alternatively, a copper block stamp called a cap (IPA: [tʃap]; old spelling tjap) is used to cover large areas more efficiently.
After the cloth is dry, the resist is removed by scraping or boiling the cloth. The areas treated with resist keep their original color; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colors desired.
The most traditional type of batik, called batik tulis (written batik), is drawn using only the canting. The cloth need to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik.
CULTURE
INDONESIA
Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. Some designs are reserved for royalties, and even banned to be worn by commoners. Consequently, a person's rank could be determined by the pattern of the batik he or she wore.
Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time.
In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage.
POPULARITY
The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial and cultural boundaries.
The batik industry of Java flourished from the late 1800s to early 1900s, but declined during the Japanese occupation of Indonesia. It further declined after the Indonesian independence, as people chose western clothes, decimating the batik industry. However, batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.
After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is also celebrated as National Batik Day in Indonesia. Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.
Batik is also popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Prior to UNESCO's recognition and following the 2009 Pendet controversy, Indonesia and Malaysia disputed the ownership of batik culture. However, Dr Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, were quite a different tradition from the "very fine" traditional Indonesian batiks produced for many centuries.
Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya with parang gondosuli motifs.
TERMINOLOGY
Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn by wrapping it around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single pattern or divided into several sections.
Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, are commonly used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body.
The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to determined whether the cloth is kain panjang or sarong.
The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colors called pagi-sore ('dawn-dusk'). Brighter pattern are shown during the day, while darker pattern are shown in the evening. The alternating colors give the impression of two batik sets.
Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon are common in the area beside seret.
TYPES
As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, Batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colors into batik pedalaman (inland batik) or batik pesisir (coastal batik). Batiks which do not fall neatly into one of these two categories are only referred to by their region.
JAVANESE BATIK
INLAND BATIK
Inland batik or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy color such as black, indigo, brown, and sogan (brown-yellow color made from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are reserved for royalty, while other are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the center of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.
COASTAL BATIK
Coastal batik is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colors and patterns inspired by a wide range of cultures as a consequence of maritime trading. Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.
A notable sub-type of coastal batik called Jawa Hokokai is not attributed to a particular region. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa Hokokai. Common motifs of Hokokai includes Japanese cherry blossoms, butterflies, and chrysanthemums.
Another coastal batik called tiga negeri (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively. As of 1980, batik tiga negeri was only produced in one city.
SUNDANESE BATIK
Sundanese or Priangan Batik is the term for batik from the Priangan region of West Java and Banten. Although Priangan batiks can use a wide range of colors, a preference for indigo is seen in some of its variants. Natural indigo dye made from Indigofera is among the oldest known dyes in Java, and its local name tarum has lent its name to the Citarum river and the Tarumanagara kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Priangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite independently, and an older tradition of batik Baduy.
Batik Banten employs bright pastel colors and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan and several other places have been identified.
Batik Baduy only employs indigo color in shades ranged from bluish black to deep blue. It is traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy people of Lebak Regency, Banten.
SUMATRAN BATIK
Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik.
The Minangkabau people also produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than 1 day and later designed with motifs of animal and flora. The Batik from Bengkulu, a city on west coast of Sumatra, is called Batik Besurek, which literary means "batik with letters" as they draw inspiration from Arabic calligraphy.
BALINESE BATIK
Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favored by the local Balinese and domestic tourists. Objects from nature such as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and ngaben processions or religious and mythological creatures such as barong, kala and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects.
Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote batik Bali as elegant fabric that can be used to make casual or formal cloth. Using high class batik, like hand made batik tulis, can show social status.
MALAYSIA
Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was ordered by Malacca King, Sultan Mahmud, to sail to India to buy 140 pieces of serasah cloth (batik) with 40 types of flowers depicted on each. Unable to find any that fulfilled the requirements explained to him, he made up his own. On his return unfortunately his ship sank and he only managed to bring four pieces, earning displeasure from the Sultan.
The method of Malaysian batik making is different from those of Indonesian Javanese batik, the pattern being larger and simpler with only occasional use of the canting to create intricate patterns. It relies heavily on brush painting to apply colors to fabrics. The colors also tend to be lighter and more vibrant than deep colored Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine. However, the butterfly theme is a common exception.
INDIA
Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2000 years. Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary batik making in India is also done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and also work in other vocational programs.
SRI LANKA
Over the past century, batik making in Sri Lanka has become firmly established. The Sri Lankan batik industry is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.
CHINA
Batik is done by the ethnic people in Guizhou Province, in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.
AFRIKA
In Africa, paste made from starch or mud is used as a resist instead of wax. The most developed resist-dyeing skills are to be found in Nigeria where the Yoruba make adire cloths. Two methods of resist are used adire eleso which involves tied and stitched and adire eleko that uses starch paste. The paste is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth thick paste. The Yoruba of West Africa use cassava paste as a resist while the Soninke and Wolof people in Senegal uses rice paste. The Bamana people of Mali use mud as a resist.
WIKIPEDIA
This texture is free to use in your creative works.
Please do not redistribute or make small changes and claim it as your own.
Please provide credit via a link under your work back to this image or to my account where possible.
I would love to see the results of your work, so please leave me a link or a small copy in my comment box below.
Thank you,
Brenda.
I belong to this set. ~Textures~
If you are looking for more stock images and textures, please check out my new group at
Chad Valley
approx. 225 pieces, used and complete
17.5 x 12 in
On the lid it says "from the coloured pages of these papers [it then shows the covers of The Illustrated London News, The Tatler, The Sphere, The Sketch, The Illustrated Sporting and Dramatic News, The Bystander]"
At the bottom of the box lid it says: 'THE LONDON ELECTROLYTE AGENCY LTD,
23, FETTER LANE,
LONDON, E.C.4.'
I spotted another copy of this jigsaw on eBay some time ago but there was a piece missing, so I didn't bid. When this copy came up I was determined to get it, as although one piece had a small amount of colour missing, another had a missing 'nub' and a third needed minor repair, it seemed to otherwise be in good condition for its age, with a reasonable box too. Luckily I was able to purchase it with a maiden bid. Not the rarest of Chad Valley's puzzles, but worth owning. Dates from before the Second World War, so at least 80 years old.
An attractive, colourful subject.
Inside the lid is a list of the seven subjects in this, the "Illustrated Newspapers" range:
1 - "A Present from Caesar"
2 - "Nefertiti, the Wife of Akhnaton, drives forth in her Chariot"
3 - "Cleopatra beholds her lover who for her sake, had cast world aside, lie lifeless beneath the Golden Gods of Life and Death"
4 - "David Copperfield's Journey from Yarmouth to London"
5 - "A Christmas Incident in a Surrey Farmhouse"
(all the above by F Matania)
6 - "References" by Charles E Brock
7 - "The Apple of His Majesty's Eye" by William Van de Velde the Younger
Total piece count for 2018: 164,265
Puzzle number 229
UPDATE: A little investigation has turned up the following information: the painting is 'Nefertiti in her royal chariot' by Italian artist Fortunino Matania (1881-1963). The puzzles were produced in the period 1935-37.
Using Digispark ATTINY85 USB board, programmed Zoom Mute and Video toggle keystrokes to the buttons (guitar pedal switches).
I used to hate velvia slidefilm - with our old processors it cross-processed a muddy browny-pink. But used in my fantastic Vivitar Wide & Slim (a no-control camera, the most basic point'n'shoot ever - thank you .danimal!) and processed at asda, I'm learning to love it!
Joaq and I watched part of 2001: A Space Odyssey tonight, and I was inspired to make this.
"You have to pee? Read these complicated instructions first."
Some background information about the Bedford QL can be found under the previous Maltese version. This second version carries the livery of Sammut Bros Transport of Luqa, a company well-known for its superbly-presented fleet of classic trucks. The body is from Sammut's Bedford S-Type dropside. I have used a little artistic licence for the background, which is actually Xewkija on Gozo (04-Aug-14).
All rights reserved. Follow the link below for terms and conditions, additional information about my work; and to enquire about commissioned work:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
I used an orange gel ( Roscoe 15, I think), put it over the lens of my camera and did a custom white balance off a sheet of paper. When I did a test shot after taking away the gel and setting the white balance to custom, everything turned blue. Then I took that same gel and put it over the beauty dish. This has the effect of keeping the subject normal color, but throwing everything else blue. This is sort of like setting the W/B to tungsten and mixing daylight with a CTO covered strobe, but the effect is more intense. To warm up the subject a little more, I added a 1/8 CTO gel on top of the Roscoe 15 on the beauty dish.
Setup shot on my blog:
mizomi.blogspot.com
Canon 5D iso 400 70-200mm L @ 200mm 1/200 @ f8
Cookie on Left - I used Wilton Decorating Tip 2. It was too big.
Cookie on Right - I used Wilton Decorating Tip 1S. A little better.
Here is what I did to create these Star Wars cookies...
I used Wilton gel colors for frosting - leaf green and black.
www.wilton.com/store/site/product.cfm?id=3E30B2D9-475A-BA...
I used silver dragees for Yoda's eyes.
I also used Williams Sonoma's Star Wars Cookie Cutters.
Here's the recipe I used (from my coworker Jen Fritzler)...
Sugar Cookies
(NOTE: This recipe doesn’t make many cookies, so I made two batches of this recipe.)
Ingredients:
1 3/4 cup flour
½ teaspoon baking powder
1/8 teaspoon salt
¾ cup sugar
1 stick of butter
1 egg
3/4 teaspoon vanilla
* Preheat oven to 350 degrees.
* Mix flour, salt and baking powder in one mixing bowl and put aside.
* Soften butter
* Mix butter with the sugar in another mixing bowl. Then mix in egg and vanilla until everything is thoroughly mixed.
* Slowly mix in the flour mixture into the butter/sugar/egg mixture.
*Wrap the dough in cling wrap and put it in the freezer for an half hour or so. Bake the cookies the same day you make the dough or else the dough gets dried out and it is difficult to roll out if you are cutting out shapes. You want the dough chilled so the cookies retain their shapes.
* Roll the cookies out to about 1/3 inch. Make sure you don’t overly flour the dough as you are rolling it out, or it becomes more difficult to reroll again.
* The recipe says the cookies should be in the oven for 10 minutes (on an ungreased baking pan - I use a silpat), but make sure you start checking on the cookies about 6-7 minutes in. You know the cookies are ready if you start seeing the bottom edges of the cookies start to slightly turn a light tan (if it is darker than a light tan, they are burning).
* Move the freshly baked cookies off of the baking pan as soon as it comes out of the oven, or else it will stick to the pan (unless you're using a silpat).
Royal Icing
Ingredients:
(NOTE - you must sterilize all of our equipment and materials when making Royal Icing. If there is a speck of grease or fat on anything, your icing will fail and not set)
4 cups of powdered sugar
3 tablespoons of meringue powder (you can get this at Meijer’s and Michael’s in the cake decorating section. This is what hardens and makes the icing shiny)
~6 tablespoons of warm water
1 plastic “ketchup” bottle (you can also get this at Meijer and Michael’s in the cake decorating section. It costs less than a dollar.)
Dye (if you want the icing to have a color)
* Use an electric mixer and mix powdered sugar, meringue powder and warm water together. Make sure you don’t over mix…you don’t want the icing to be “whipped.” Mixing it for about 1 minute is perfect.
* Check the consistency. (Use the 10 second rule! Read here.)
* When you think you have a good consistency, add the dye and mix for another 20 seconds. For Yoda I used Wilton's leaf green gel color with a little bit of black.
* Now it's time to frost the main color of each cookie. Take the plastic ketchup bottle and cut the very edge of the tip off (so that you have about ¼ inch diameter of an opening on the tip). Open the bottle and start spooning the icing into the bottle. (You might not want to fill the bottle in case you discover the icing is not the correct consistency.) Make sure that you put a damp paper towel over the remaining icing in the mixing bowl, or else it will dry up.
* Take a cookie and squeeze the icing bottle and trace around the perimeter of the cookie. If the icing is oozing off of the cookie, it means that you have too much water in the icing. You will need to dump the icing back into the mixing bowl and add more powdered sugar.
* After you have outlined the perimeter of the cookie, go back and “flood” in the rest of the cookie. If you are finding that the icing isn’t really flooding around the perimeter well (even when you try to help it along), it means you have too much baking powder. You need to dump the icing back into the mixing bowl and add a little more water.
* After you have iced the cookies with their main color (yoda = green, darth vader = black, storm trooper = white), you need to lay the cookies out overnight to dry and adding the final details.
* After the base color is dry, it's time to add the facial details. I used Wilton round decorating tip 1L or 1S. I found round 2 decorating tip to be too big.
* You can lightly lay wax paper or paper towel over the cookies as long as the top layers of the frosting is relatively dry. If you completely cover the cookies so that they don’t have access to air, the frosting won’t dry and the frosting tends to “wrinkle,” thus, ruining the cookies.
May the force be om nom nom no
the EMERGENCY ROOM LIBRARY collect materiel that can interest the students from the ACADEMY OF EMERGENCY ART back to www.emergencyrooms.org/
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December 2004 : "Old News" Jesper Fabriciuseditor freelance curator Copenhagen .2005
press relaéase from the Pork Salad :
Old News: Los Angeles Contemporary Exhibitions (Los Angeles, 29. June-11. September 05), Dunkers Kulturhus (Helsingborg, Spring 2006) and cneai = le des impressionnistes (Chatou, Fall 2006).
A project about the media and recycled news. The articles are be cut from newspapers or magazine in the language of the artists choice. Participating in Old News Volume #1 / 2004: Jakob Kolding (Denmark) / Loke Fowler (Scotland), Emily Jacir (USA) / Cesare Pietroiusti (Italy), Tercerunquinto (Mexico) / Erick Beltran (Mexico), Tania Bruguera (Cuba) / Jessica Almy-Pagan (USA), Alfredo Jaar (Chile) / Mauricio Arango (Columbia), Carolina Caycedo (Columbia) / Andrea Riviere (Columbia), Julie Ault (USA) / Stephan Pascher (USA), Sabah Naim (Egypt) / Mohamed Able (Egypt), Sam Nhlengethwa (South Africa) / Velaphi Mzimba (South Africa), Rivane Neuenschwander(Brazil) / Cao Guimares (Brazil), Takuji Kogo (Japan) / YOUNG-HAE CHANG HEAVY INDUSTRIES (South Korea) and Jesper Fabricius (Denmark) / Camilla Nørgård (Denmark)
At Los Angeles Contemporary Exhibitions the following artists will participate with new clippings: Andrea Bowers, Kaucyila Brook, Mari Eastman, Morgan Fisher, Sharon Hayes, Marc Herbst, Elliott Hundley, Mary Kelly, , Laura Owens, Ed Ruscha, The Center for Land Use Interpretation, Lincoln Tobier Pae White.
There is nothing new about Old News
"There are 4,000 holes in the road in Blackburn, Lancashire, or one twenty-sixth of a hole per person, according to a council survey. If Blackburn is typical, there are two million holes in Britains roads, and 300,000 in London".
This was what John Lennon read in Daily Mails Far and Near column on 17 January 1967. Lennon transformed the news into the last verse of the song A Day In A Life, the last song on The Beatles 1967 album Sergeant Peppers Lonely Hearts Club Band. Reading about the 4,000 potholes in Blackburn, Lancashire, may start you thinking about the flood of information that is constantly printed and possibly read by millions of people around the globe. You may begin to think about the amount of information that is accessible to an individual. Read, unread, understood, misunderstood.
Old News is a project about information and media.
In Old News you will find images and articles selected by 24 individuals. It could have been 24 farmers, dental technicians or real estate agents choosing the articles and images, but the information in Old News was selected by artists. Starting in January 2004, I invited one artist a month and continued to do so for twelve months. Each invited artist was asked to invite a fellow artist to participate and both clipped four articles or images (possibly one every week) from news sources s/he read during the designated month. All articles appear, as they were sent to me. Some have been reduced in size, due to the size of the original clipping, but otherwise they have not been edited. A few artists have culled their articles and images from webnews sources, some have re-worked them graphically, and that is how they are shown here.
It is still true that the media now form an integral part of reality effects by creating a media-oriented vision of reality that contributes to creating the reality it claims to describe. Patrick Champagne: The Weight of the World. Social Suffering in Contemporary Society, Ed. Pierre Bourdieu et al., Stanford University Press, 1999.
When I first started thinking about Old News, I thought about how news, newspapers and information influence my life. How I select my news sources and how information can be manipulated in the media. I thought of how I would react to my own Old News request. Would I read and look at the daily paper differently? While you read this, you might think about what you would do.
I was curious how 24 artists would react to my request and make their selections. The artists approached the Old News project in a variety of ways. Besides the 24 artists clipping articles, I asked the artists John Miller and Joachim Koester to write short essays for the cover of the premiere issue of Old News.
News and newspapers have been used in many different creative processes long before Lennon discovered the 4,000 holes. Recycling news articles, headlines, images and using information from the print media were at the core of visual art in the 20th century. The expressions are many and varied from intervention, incorporation, appropriation, reproduction of news to self published newspapers and montaged newspaper fragments.
Many artists, writers and musicians have inspired me in my research. I would like to mention Sylvan Hoffman and C. Hartley Grattan's book News of the World, a History of the World in Newspaper-style (1953), On Kawaras I read (1966 to the present), the news paper insert in Dead Kennedy's album Bedtime for Democracy (1986), Tom Lehrer's That Was The Year That Was (1965), Ken Loach's segment from the film September 11 and Guy Schraenen's exhibition Kunstzeitung/Zeitungskunst about the history of artworks in and around newspapers. I looked for, but regrettably never found, Aleksandr Mosolov's Four Newspaper Advertisements (Chetyre gazetnyh obyavlenya) a 1926 composition inspired by real advertisements in the Russian newspaper Izvestija.
This is the first issue of Old News. There are more to come. The Old News project will also be presented at different exhibition venues and take on many different shapes and forms.
If you would like to contribute to the Old News archives, send your articles or images to: Old News / Jacob Fabricius / Dannevirkegade 2, 1th / DK-1763 Copenhagen / Denmark. Please, remember to clip and submit date and news source along with your name and address. Thank you.
The Impossible Real, The Danish Pavilion, Venedig Biennalen 2005
Sanne Kofod Olsen (curator) and Jacob Fabricius (co-curator/editor)
Artists:
Eva Koch, Joachim Koester, Peter Land, Ann Lislegaard and Gitte Villesen
back to www.emergencyrooms.org/
Photoshopped using ps express app. I reduced the noise, increased the contrast, gave it a silvered look, and added a fading black frame. You may use this image for your web site, book cover or whatever it is just as long as you send me a flickr mail telling me what you are using it for.
Using transparent LEGO bricks, a low-wattage candelabra bulb and my technical knowhow, I rigged up a neat little mood lamp! I've sold this original model to a former coworker of mine, but I managed to build a non-working replica exclusively for the LEGO City: Undercover release party event.
Using my phone camera, a couple of pictures taken whilst crossing the River Tyne after an evening concert at Sage.