View allAll Photos Tagged using
My friend Tim Isaacson owns this great original painting by artist Shannon Stirnweis. We both think it was probably one of the paintings Stirnweis did for a men's adventure magazine, but we don't know for sure what it was used in. Does anyone out there know?
1. Used a Graham cracker box for the Airport counter. We have lots of these hanging around. My son loves them. They seem to be just the right size. I taped the ends closed with packing tape to get a flat surface.
2. Covered it with gray wood grain paper from Michael's. Attached with Extreme Craft Glue stick. Folded edges before applying glue.
3. Cut counter top from foam board. Used very sharp X Acto and metal meter stick to cut it. Spray painted it.
4. Added vintage American Airline sign. I plan to use this airport for all of my dolls and I've got the Barbie American Airlines flight attendant uniform.
This is how I am planning to make lab counters for my science classroom diorama.
I also painted a random tray I found in my stash and a cheap bench that I was going to donate to Salvation Army, but I'll see if it can be used in the airport. I really need to make seating, but I'm feeling a little lazy about it. I'm going to try to make myself make something.
Today i took the opportunity to use a Sony NEX-7 [Crop-Sensor] with a Sony-Zeiss Full-Frame 35mm 1.4f lens.
I have recently read that using a full-frame lens with a crop sensor may not produce better results than using a lens designed from a crop-sensor camera and in fact the images will be less sharp.
When starting out, many photographers choose to go with a crop body and invest in full frame lenses. This is usually recommended as a good approach as you can keep your lenses and swap out your body for something newer down the road, eventually leading to that high quality full frame sensor that you always wanted. However some experts, especially Tony Northrup, claim that starting out with the full frame lens and crop bodies does not provide you with the sharp images.
In my case I had a top end full frame camera [Canon 1DSIII] with a set of very expensive glass and I was not at all happy as the combination was way too heavy and totally unsuitable for street photography. About five years ago I decided that I needed a better solution and after using a Sony NEX-5 for about a year I decided to purchase a NEX-7 and switch from DSLR to Mirrorless [at the time that was a big gamble]. In theory it would be possible to use my Canon lenses with the NEX-7 but in reality it was not a workable solution. The NEX-7 featured a crop-sensor so I purchased a set of suitable Sony lenses and they were not expensive.
My reason for getting the NEX-7 and associated lenses was greatly reduced weight coupled with the fact that my equipment did not attract unwelcome attention.
The NEX-7 performed way beyond my expectations and I was really pleased and then towards the end of last year because the camera was giving problems at random I threw all logic out the window and took an ever bigger gamble by purchasing a Sony A7RMkII full frame mirrorless camera which is larger and heavier than the NEX-7.
To be honest, there is no comparison between the two cameras, the A7R is very much superior and while it is heavier it is actually easier to use. Also the Canon lenses actually work with the A7R but using the necessary adaptor was a pain and added weight. However the Canon lenses showed what the A7RMkII could do so I decided that maybe I should consider getting some native Sony FE prime lenses and then I discovered that they all were expensive and heavy [ unless I got manual focus lens such as the Loxia ]. Anyway I ended up with a set of primes [and no cash] but I now have serious weight issue especially when I travel.
I was planning to use the NEX-7 as a backup or when I travel but the crop-lenses are not very good so it would make no sense to leave my full-frame lenses behind so a possible solution would to bring along one of the FE primes [35mm 1.4f] but then I came across discussions online claiming that FE lenses underperform when used with a crop-sensor. Of course there is another issue in that the NEX-7 is at the end of its life and needs to be replaced by something like the A6300 but as I already said I have no spare cash.
After using the placemat as a rug (thanks to Call of the Small for her genius), I decided to use it again in a new scene but as wallpaper. I think the scale is pretty cool with it. The back wall is just plain scrapbook paper.
When I first started making scenes in the roombox, I pulled out all of my cool papers including a stack of origami sheets. I thought I would use them on the walls but I decided to steal another idea from Call of the Small -- flooring! She had used one piece as a rug I think. I needed to cover the whole space so I cut it into squares and glued it down to a piece of paper and made a tile floor from it. I will definitely do that again.
See the other shots for more information.
'Flickr used to provide a facility for photographers to quickly and easily upload, comment and fave the work of others. As such it helped create a community of creative people who could share, experiment and learn from each other.
Recent changes have made this very difficult and time consuming to do - what was a joy, has become a chore. The proposed changes are going to make this even more difficult.
I for one have remained simply because I have made a big investment in posting and commenting on photographs - and more importantly - in building relationships with other photographers, whose friendship, support and comments have helped me develop and made the flickr experience such a joy.
However, the spirit of Flickr is being eroded as it becomes nothing more that a glorified picture gallery. I do not understand why Flickr cannot have its picture gallery to share with the outside world, while allowing photographers, who are the heart and soul of flickr, to do what they need to do.
So Flickr, pay attention, I am protesting because I care, but the message your are giving, is that you have a new business model, and want us to go.'
Quote and statement from a Flickfriend I completely agree with.
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. It was preceded into production by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible.
After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I, and was the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties, which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) with constant updates and several sub-variants during its long and successful career. Its success was increased by the GBP-1S "Armored" Valkyrie and FAST Pack "Super" Valkyrie weapon systems, the latter enabling the fighter to operate in space.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system (notably on the Lunar facility Apollo Base) and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary VF of the UN Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters.
The 1st generation VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters and in several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68). However, the type proved to be very versatile and many more VF-1s were built from spares, and ongoing modernization programs like the “Plus” MLU update incorporated stronger engines and avionics from the VF-1’s successor, the VF-4 (including the more powerful radar, IRST sensor and a laser designator/range finder). These updates later led to the VF-1N, P and X variants, which, among modernized avionics and an improved cockpit layout, featured modified wings.
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
Equipment Type: all-environment variable fighter and tactical combat battroid
Government: U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation: pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
- Length 14.23 meters
- Wingspan 14.78 meters (fully extended)
- Height 3.84 meters
Battroid Mode:
- Height 12.68 meters
- Width 7.3 meters
- Length 4.0 meters
Empty weight: 13.25 metric tons
Standard T-O mass: 18.5 metric tons
MTOW: 37.0 metric tons
Powerplant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2008 thermonuclear reaction turbine engines,
output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse
vernier thruster nozzle mounted on the side of each leg nacelle/air intake,
1x wing thruster roll control system on each wingtip)
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Minimum time from Fighter to Battroid (manual): 0.9 sec.
Armament:
1x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 rds fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
- 12x AMM-1 hybrid guided multipurpose missiles (3/point), or
- 12x MK-82 LDGB conventional bombs (3/point), or
- 6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
- 4x UUM-7 micro-missile pods (1/point), each carrying 15x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
Optional Armament:
Shinnakasu Heavy Industry GBP-1S ground-combat protector weapon system, or
Shinnakasu Heavy Industry FAST Pack augmentative space weapon system
The kit and its assembly:
Another submission to the 2017 "Science Fiction" Group Build at whatifmodelers.com, and once more the eventual realization of a long- plan: a VF-1 in a dazzle scheme! To my surprise, I have never seen this, neither in the canonical sources (except for a VF-5000 with an all-grey splinter scheme, similar to the experimental US Keith Ferris schemes), nor on a model? Well, time to try this stunt ...again; I had actually built a VF-1D as a non-transformable supersonic trainer many years ago, and applied a livery inspired by the Keith Ferris schemes, but with very soft blue-grey tones, so that the disruptive effect of the underlying splinter would hardly "work". So, this is a second approach to the theme, and a more visually-oriented one.
This vintage ARII VF-1J fighter kit was built OOB, with the landing gear tucked up. This kit showed its age, though, the moulds seem to be well worn because the sprues showed considerable flash and other soft spots.
Anyway, the model received my usual additions of some blade antennae, a pilot figure and a custom display stand in/under the ventral cannon pod. The ordnance is standard, too, the full load of a dozen AAM-1 missiles is OOB. The only true additions are a small, scratched fairing for an IRST sensor under the nose, seen in a source book profile of an U.N.S.A.F. VF-1, and RHAWS antennae at the top of the fins.
Painting and markings:
This was the bigger part of the work, and a creative one, too. I did not simply want to copy an existing scheme, e .g. the Keith Ferris schemes that had been tested on some US aircraft.
The scheme was to be disruptive, confusing and also decorative - true camouflage was rather a secondary requirement, but welcome. Creating such a scheme from scratch is not as easy as it sounds, because you have to avoid collisions of the same color, the overall look needs some balance, and the scheme and its single shard shapes were to somewhat correspond with the Valkyrie’s outlines, too.
Since I did not dare to improvise this directly on the kit, and because I wanted to use more than three tones for the paint scheme, I actually created a VF-1 4-side view on a sheet of paper and started painting it out with colored pencils!
This was actually very helpful and I ended up with a four-tone scheme, rooted in pure black and white and somewhat inspired by pre-WWII dazzle schemes for ships.
Consequently the tones are black (I used a tone called Tar Black, Revell 6, which is actually a very dark grey), a dark/medium grey (Humbrol 27), light grey (Humbrol 64) and white (again, not the pure tone, but rather a very light grey, mixed from 95% Humbrol 130 and 5% Humbrol 64).
The pattern consists of large color sections, geometrical shapes, wedges and a few stripes at some intersections. It (unintentionally) reminds of certain late Su-27 schemes in Russian services, as well as US aggressors that carry similar outfits, e. g. some F-18s of USN’s VFC-12. But these are rather geometrical shapes added to a camouflage/grey background, and not as integral as my design.
The scheme was applied mostly free-handedly with brushes and a mix of enamels and acrylic paint. From certain angles it actually breaks up the VF-1's outlines well, esp. its silhouette, and at a quick glance it is actually hard to tell the Valkyrie’s orientation or direction of flight. In order to add some more onlooker confusion, I also added a fake cockpit with a white pilot helmet (cut from decal sheet) on top of the fuselage.
All other markings are rather minimal and subdued. Lacking different contrasting color options, I used yellow decals for the “U.N. Spacy” tags on the legs and the upper starboard wing. The “kite” insignia in grey and white were printed at home, while the tactical code comes from a Tamiya 1:100 Thunderchief. The chequered stripe on top of the fin is a generic decal, and blank, beige decal sheet was used for the wings’ and fins’ leading edges.
The rest came mostly from various OOB VF-1 sheets.
The ordnance was painted authentically, too. The AMM-1’s became all-white with black and red trim, the gun pod was painted Dark Sea Grey (Humbrol 123), blending into the overall color palette of this dazzle VF-1.
Except for a black ink wash, emphasizing the engraved panel lines, not much other weathering was done. Finally, the kit was sealed with matt acrylic varnish.
An… interesting result, and I am surprised how much the dazzle scheme changes the overall look of the VF-1, despite no fundamental changes to the airframe as such. Building was relatively simple, but the kit is not complex – just pretty old. Anyway, this updated aggressor bird makes a nice addition to the VF-1 collection, a worthwhile effort. A true eye catcher, I’d say.
Using a Tele-Vue/TNVC Night Vision monocular with a 6-nm Hydrogen-alpha filter attached, the night sky that I am used to is replaced with a view that is alien to my eyes. The white-phosphorus light from the monocular was surprisingly crisp (this is not the old generation of green-light night vision enhancement tools).
The drawing is done without magnification as viewed through the night vision monocular. The Hydrogen-alpha filter is so restricted in its bypass of wave lengths (6-nm range of wavelengths of light centered on the H-alpha emission line) that the rising third-quarter moon during my drawing seemed to have little effect.
This was a difficult drawing to do. Where the nebulosity ended as it faded from the brighter areas of the hydrogen emission nebulae was difficult or impossible to determine. One thing for sure was having the North American and Pelican Nebulae the brightest objects in view (even brighter than Deneb) was surreal. The flower-like petals of IC 1318 surrounding Sadr were equally unsettling.
The use of the Hydrogen-alpha filter for deep sky visual observing is not possible except when coupled with light enhancement equipment. It is often used in astrophotography but not as a nebula filter for visual use. The combination of the filter and monocular will easily attach to several of my eyepieces for use at the telescope. I have yet to explore the Hydrogen-alpha filter/telescope/monocular setup. You can rest assured it is on my to-do-list.
Wirrabara.
A Kaurna Aboriginal name meaning “gum trees with running water” was used to name the town when it was proclaimed in 1874 although the local Aboriginal people were the Ngadjuri tribe. Before 1874 the land was firstly leased by Samuel and Frederick White from 1844 who named their run Charlton. A small and not very successful copper mine, the Charlton mine, was established in the 1850s on this run just north of the present town site. The Charlton Mine was run by the Australian Mining Company from 1854 for just a few years. White’s leasehold was purchased by Charles. B. Fisher in 1861 who renamed the property Wirrabara instead of Charlton but Charles White retained his old homestead and some acreage around it. When Surveyor General George Goyder visited Fisher’s Wirrabara run in 1864 he estimated it was carrying 50,000 sheep. In 1866 the Wirrabara run was taken over by Alexander Borthwick Murray and his three sons of Mt Crawford as a sheep stud for their Murray Merinos. When parts of the run were resumed in 1872 for closer settlement Alexander Borthwick Murray used his employees to purchase extensive areas of freehold land in a system known as dummying. The Murray family built a homestead in 1872 on the property called Avonmore shown because they then had freehold to the property. When Alexander Scott Murray married in 1874 he extended and remodelled it into a grand ten roomed house with marble fireplaces and cedar architraves and it became his family home. There is a fine stone memorial to Alexander Scott Murray near the railway station with its silo art. He was only 34 years old when he died of ill health and he was the highly respected manager of Wirrabara Station. He had a large public role and apart from supporting local organisations he did public works like laying the foundation stone of the Laura Institute etc. On his death he left a wife and four children under five years of age. The memorial was unveiled in February 1882 two years after Alexander Scott Murray’s death in 1880. After Alexander Scott Murray’s death his brother John took over Avonmore but he too died of health issues in 1884 aged 35 years. Alexander Borthwick Murray and his remaining son Malcomb of Avonmore also had lands northwards along the ranges. In 1885 A.B. Murray had some of these lands surveyed and put up for sale as a private town named Murraytown after himself. Up to 50,000 sheep were shorn on the Wirrabara run in the late 19th century which by then occupied 20,700 acres freehold. But then son Malcom Murray committed suicide in April 1900. Malcom Pulteney Murray was known for his pranks, drunkenness and rash behaviours and his depressions. Alexander Borthwick Murray died in 1903 and his estate trustees managed Avonmore and the lands at Murraytown. The 20,700 acre Wirrabara Estate was sold as part of Alexander Borthwick’s estate in 1910 for over £141,000. At that time it was known for its fruit orchards, grain paddocks and lucerne flats. It was subdivided into 47 farms.
Apart from pastoralism forestry has been a major industry in the region even after grain farmers arrived in 1874. Some individual foresters were cutting timber and selling it from around 1865. Good quality straight posts were sold by them for the erection of the telegraph line to Melrose and Port Augusta in 1865. The first plantation forest in Australia was established by the SA government in 1875 at Bundaleer near Jamestown. The second forest was declared at Wirrabara in 1877. The government had resumed almost 50,000 acres in 1875 which was set aside as the Wirrabara Forest Reserve. A Forester’s residence and a Nurseryman’s residence were soon erected. The most drought resistant of the pine trees the Aleppo Pine from Syria was planted here in 1878. Tasmanian blue gum and other exotic and native trees were planted at Wirrabara. Most of the lands of the forest were about 1,700 feet above sea level (518 metres) and about 20 small leasehold farm blocks were created in it for fruit growing. The horticulturists were known as the Wirrabara Blockers. In these early years Wirrabara forest was also used to produce seedlings for plantings at Bundaleer. The first saw mill began in 1880 with another in 1902 to mill the Aleppo pines. In 1881 the Wirrabara Forest School opened as so many people lived in this area. A second Forest School was built in 1910. Forestry and saw milling remained an industry until the Bangor bushfires of 2014 destroyed large areas of the forests which the then current Labor government decided not to replant. The native trees along the ranges remain as forest or as conservation parks. Thus it is not surprising that the theme for the Wirrabara grain silo art is the forestry worker and the native birds of the forests like the red capped robin. The King Tree or Eucalyptus camaldulensis (usually called River Red Gum) is one of the main trees of the native forests. By 1889 the Blockers were under the control of the Commissioner of Crown Lands and some purchased their farms freehold. Most Blockers grew vines or fruit trees. Some blocks were sold by the government as soldier settler farms after World War One but this was not successful with farmers deserting their blocks by 1932.
The town began to emerge overnight in 1874 with many buildings being erected by 1875. The first stores in the town were opened by Melrose storekeepers. They were followed by a baker, a butcher, a saddler and the hotel. In fact the Wirrabara Hotel was licensed in 1875 and the fine sandstone building opened shortly thereafter. A government school followed the Free, Compulsory and Secular Education Act for 1875 by opening in 1879. It was replaced with a larger red brick school building in 1921. The Post Office started in 1880 and the Institute foundation stone was laid in 1884. Once open it was used for Anglican and Lutheran church services. It still runs a library service, the only independent library service left in SA. In 1912 a new local Wirrabara stone institute or hall was built and opened by the Governor Sir Day Bosanquet. The War Memorial in front of the Institute was unveiled in 1921. The first courtroom operated in Wirrabara from around 1880 with a temporary police station. One of the biggest events in the town growth was the arrival of the railway line from Laura in 1910 as it pushed northwards to Booleroo Centre. Public meetings in Wirrabara had called for this from 1901. Parliament approved the line in 1908 and the work was finished to Wirrabara in 1910. In 1923 the government bought a block of land in Fifth Street for a new police station but this was not erected until 1929. Apart from industry and commercial premises the town soon churches.
The Wesleyan Methodists opened their church in 1876 being the first in town. The Bible Christians Methodists opened theirs soon after. The Anglicans held early services in the first Institute until St Margaret’s Church opened in 1909 on the corner of Second and Fifth Streets. The old or first Institute was left vacant for some time after 1912 and then in 1920 it was taken over by Manning’s Furniture Store. In the early 1940s the Anglican began planning for a new and larger church. When Manning’s Furniture store came on the market in the first institute the Anglicans purchased that and it was consecrated in 1964 with the old foundation stone on the front. The Lutheran church opened in 1921. The foundation stone of Catholic Church was laid on 1 June 1930 by the Bishop of Port Augusta with the church opening in February 1931.
Wirrabara received an $80,000 federal government grant through the Fund My Neighbourhood program to have their silos painted. The Mount Remarkable Council conducted a local survey to select the artist and the theme of the painting. The most favoured artist was Sam Bates, alias Smug, of Melbourne and he was awarded the task. The most popular theme voted for was forestry and woodcutters. The woodcutter depicted on the silos is Dion Lebrun of Tumby Bay and the beautiful bird is a red capped robin. Since the closure of the forests the silo art is just one of a number of measures the locals are taking to keep their town alive. A farmers’ market is held once a month on a Sunday morning, they maintain a community website, the volunteer staffed craft shop distributes tourist information and some locals still grow apricots, peaches and nectarines and one enterprising horticulturist is now growing Manuka bushes to produce Manuka honey in a few years’ time.
a texture for your photographic use
this texture is free to use in your personal or commercial work, but you may not reshare, distribute, or claim/imply it to be your own. Please do not sell my textures in any form. I would be pleased if you would credit me when using - thanks ♥
Love Stitching Red and Carolyn Saxby - Mixed Media Textile Art
Üse Junger
Bryan Pfister
Dani Bucher
Andreas Neisser
Kata Bucher
Thomas Fretz
Francesco Gasparini
_AR33680-72cg
I like to use this Parker fountain pen which I fill from a bottle of ink. One has to buy a new bottle before the old one has been used up as one needs to dip the nib into the ink to fill the pen. So, having used a quantity of ink from the new bottle, I'm pouring what was left of the old bottle into the new one. I didn't spill any on the paper towel, I use that to wipe the pen when I've filled it.
It just happened that I did this on the 10th of August, the 131st anniversary of the patenting of the screw top bottle by Dan Rylands of Hope Glass Works, Barnsley, Yorkshire.
It took me a few years to get used to everything in school being in English and just as many to hear name “Tatyana” there, something I was never called before. We don’t call kids by their full names in Ukraine or Russia. Eventually I started to like the sound of my full name. Also, hated name “Tanya” so much that was overwhelmed with happiness that finally I didn’t have to hear shortened version of my name in school anymore. As a teenager was terrified to date a non-Russian speaker just because I was scared he wouldn’t know that I like to be called “Tanusha” and not “Tanya”.
Detention ☑️
Fight in cafeteria for bullying me for my Russian dressing style so I got up & smacked her ☑️
Dean’s office after arguement with popular Italian boys in my class after they made fun of Russians ☑️
Hiding in the bathroom during breaks ☑️
Highest gpa & gift certificate each semester & key chains “#1” ☑️
Some published poems that year ☑️
I tried to wear with pride my Russian accent & style but was always embarrassed & scared in local supermarkets . . . what if my classmates saw me pulling food stamps or someone ever will see me walking out of the welfare office. Before HS I had a pair of jeans, top & 2 sweaters. So, first thing I did by that October got a job to make enough money to dress the way I liked. That’s why in High School no one could ever tell I come from the family below poverty level and never even had my room since we left Ukraine.
To this day I consider 1997-98 one of the best years of my life. I went to Washington with mama, met up with her on Decalb Ave by LIU, where she went.
After 1998 everything just went downhill. Mama was in & out of the hospitals and stress over the years eventually turned into major breakdown at 21 to problems in school. My grandma told me to go the Dean and explain. I never did. I never convince anyone to take me back. I was able to get back and graduate but my ability to take tests without getting panic & anxiety attack never came back by graduation.
I thank life & NY for taking this poor girl in and giving her all the magic there was to give or maybe my mom was right when she kept saying that when you keep trying, trying & trying eventually life rewards you 💚
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
More information at fransimo.info/?p=1100
ID:4bb71738eb75192f8fba7abf23cc2932
Image credits: www.flickr.com/photos/vixyao/3705039/
www.flickr.com/photos/vixyao/3705061/
www.flickr.com/photos/vixyao/3705061/
www.flickr.com/photos/vixyao/3705114/
www.flickr.com/photos/vixyao/3705114/
www.flickr.com/photos/vixyao/3705128/
www.flickr.com/photos/russelljsmith/7010236/
www.flickr.com/photos/kuap/7068214/
www.flickr.com/photos/hoder/8244992/
www.flickr.com/photos/ravenu/8301117/
www.flickr.com/photos/acme/8525629/
www.flickr.com/photos/shelli/9605130/
www.flickr.com/photos/shelli/9605130/
www.flickr.com/photos/shelli/9605132/
www.flickr.com/photos/shelli/9605133/
www.flickr.com/photos/obra/9605535/
www.flickr.com/photos/obra/9605613/
www.flickr.com/photos/obra/9606172/
www.flickr.com/photos/quinn/9607478/
www.flickr.com/photos/rkeefer/9609920/
www.flickr.com/photos/richardchild/9770213/
www.flickr.com/photos/dbarefoot/9778531/
www.flickr.com/photos/liako/9782911/
www.flickr.com/photos/alx/9784630/
www.flickr.com/photos/paulwatson/9788070/
www.flickr.com/photos/kevinclark/9795785/
www.flickr.com/photos/kevinclark/9796660/
www.flickr.com/photos/kevinclark/9796672/
www.flickr.com/photos/thompkins/9797711/
www.flickr.com/photos/maxim303/9800939/
www.flickr.com/photos/obra/9801211/
www.flickr.com/photos/nycbone/9837712/
www.flickr.com/photos/nycbone/9837884/
www.flickr.com/photos/obra/9840476/
www.flickr.com/photos/obra/9840476/
www.flickr.com/photos/joshbousel/9840573/
www.flickr.com/photos/obra/9840745/
www.flickr.com/photos/obra/9840760/
www.flickr.com/photos/obra/9840785/
www.flickr.com/photos/obra/9840864/
www.flickr.com/photos/obra/9840884/
www.flickr.com/photos/joshbousel/9840999/
www.flickr.com/photos/obra/9841051/
www.flickr.com/photos/obra/9846150/
www.flickr.com/photos/tomarthur/9847261/
www.flickr.com/photos/obra/9847494/
www.flickr.com/photos/obra/9847505/
www.flickr.com/photos/obra/9847517/
www.flickr.com/photos/hkboyee/9849079/
www.flickr.com/photos/hkboyee/9849373/
www.flickr.com/photos/obra/9849663/
www.flickr.com/photos/obra/9849717/
www.flickr.com/photos/obra/9849826/
www.flickr.com/photos/hkboyee/9850084/
www.flickr.com/photos/hkboyee/9850084/
www.flickr.com/photos/hkboyee/9850354/
www.flickr.com/photos/seaniz/9915390/
www.flickr.com/photos/tonyolsen/9922145/
www.flickr.com/photos/jenica26/9922302/
www.flickr.com/photos/pcalcado/9922695/
www.flickr.com/photos/pcalcado/9922711/
www.flickr.com/photos/pcalcado/9922740/
www.flickr.com/photos/pcalcado/9922740/
www.flickr.com/photos/pcalcado/9922750/
www.flickr.com/photos/laihiu/9923139/
www.flickr.com/photos/obra/9925492/
www.flickr.com/photos/gslin/9931304/
www.flickr.com/photos/gslin/9931304/
www.flickr.com/photos/gslin/9932153/
www.flickr.com/photos/obra/9932190/
www.flickr.com/photos/obra/9932229/
www.flickr.com/photos/obra/9932249/
www.flickr.com/photos/obra/9932345/
www.flickr.com/photos/obra/9934151/
www.flickr.com/photos/obra/9934151/
www.flickr.com/photos/onthetower/9934282/
www.flickr.com/photos/obra/9937585/
www.flickr.com/photos/obra/9938149/
www.flickr.com/photos/obra/9939050/
www.flickr.com/photos/mahmoth/9953716/
www.flickr.com/photos/ehud/9977988/
www.flickr.com/photos/idlir/9979898/
www.flickr.com/photos/snabelfisk/10003682/
www.flickr.com/photos/snabelfisk/10003756/
www.flickr.com/photos/tigergirl/10026817/
www.flickr.com/photos/rangerholton/10244738/
www.flickr.com/photos/lukemontague/10497919/
www.flickr.com/photos/ocherdraco/10515584/
www.flickr.com/photos/danbri/10532501/
www.flickr.com/photos/atleta/10754323/
www.flickr.com/photos/sillysocks/10938779/
www.flickr.com/photos/braininavat/11027597/
www.flickr.com/photos/joshfrank/11045032/
www.flickr.com/photos/seaniz/11758813/
www.flickr.com/photos/fatty/11759134/
www.flickr.com/photos/fillito/11765298/
www.flickr.com/photos/seaniz/11770285/
www.flickr.com/photos/seaniz/11772143/
www.flickr.com/photos/35034356962@N01/11776870/
www.flickr.com/photos/obra/11786982/
www.flickr.com/photos/obra/11787115/
www.flickr.com/photos/obra/11787130/
www.flickr.com/photos/obra/11787189/
www.flickr.com/photos/obra/11787236/
www.flickr.com/photos/obra/11787266/
www.flickr.com/photos/obra/11787291/
www.flickr.com/photos/obra/11787299/
www.flickr.com/photos/obra/11787310/
www.flickr.com/photos/obra/11787326/
www.flickr.com/photos/greencolander/11791573/
www.flickr.com/photos/joyoflife/11793169/
www.flickr.com/photos/niteseeker/11793228/
www.flickr.com/photos/obra/11794018/
www.flickr.com/photos/afterthought/11800674/
www.flickr.com/photos/afterthought/11800676/
www.flickr.com/photos/afterthought/11801515/
www.flickr.com/photos/jerrroen/11808708/
www.flickr.com/photos/adactio/11810496/
www.flickr.com/photos/joeljohnson/11863634/
www.flickr.com/photos/elicrisko/11869131/
www.flickr.com/photos/elicrisko/11869131/
www.flickr.com/photos/jdaykin/11952578/
www.flickr.com/photos/cshwdpt/11952637/
www.flickr.com/photos/jtheo/11952919/
www.flickr.com/photos/bcpnyc/11953268/
www.flickr.com/photos/oxymoron/11963132/
www.flickr.com/photos/oxymoron/11970241/
www.flickr.com/photos/stevey/11982505/
www.flickr.com/photos/stevey/11983183/
www.flickr.com/photos/pantulis/11991201/
www.flickr.com/photos/debschultz/12229392/
www.flickr.com/photos/debschultz/12229392/
www.flickr.com/photos/jenniever/12311246/
www.flickr.com/photos/jenniever/12311410/
www.flickr.com/photos/jenniever/12311438/
www.flickr.com/photos/jenniever/12311828/
www.flickr.com/photos/jenniever/12312027/
www.flickr.com/photos/jenniever/12312284/
www.flickr.com/photos/14591708@N00/12400854/
www.flickr.com/photos/14591708@N00/12400854/
www.flickr.com/photos/rkeefer/13018579/
www.flickr.com/photos/rkeefer/13018579/
www.flickr.com/photos/andymaluche/15179444/
www.flickr.com/photos/dphiffer/17504094/
www.flickr.com/photos/dphiffer/17504221/
www.flickr.com/photos/dphiffer/17504730/
www.flickr.com/photos/dphiffer/17504781/
www.flickr.com/photos/dphiffer/17504965/
www.flickr.com/photos/dphiffer/17505022/
www.flickr.com/photos/dphiffer/17507358/
www.flickr.com/photos/dphiffer/17507642/
www.flickr.com/photos/dphiffer/17507710/
www.flickr.com/photos/dphiffer/17507781/
www.flickr.com/photos/dphiffer/17507991/
www.flickr.com/photos/dphiffer/17508051/
www.flickr.com/photos/dphiffer/17508150/
www.flickr.com/photos/dphiffer/17508203/
www.flickr.com/photos/spyderella/17613288/
www.flickr.com/photos/joshbousel/17701863/
www.flickr.com/photos/pvera/17702182/
www.flickr.com/photos/pvera/17702452/
www.flickr.com/photos/joshbousel/17705105/
www.flickr.com/photos/plushev/18920608/
www.flickr.com/photos/glenalth/21556177/
www.flickr.com/photos/glenalth/21556524/
www.flickr.com/photos/larachris/21557021/
www.flickr.com/photos/hgruner/22501225/
www.flickr.com/photos/klemenz777/23075454/
www.flickr.com/photos/wiredaftermidnight/23161372/
www.flickr.com/photos/perspective/23172137/
www.flickr.com/photos/imlynch/23295208/
www.flickr.com/photos/philscoville/23394509/
www.flickr.com/photos/termie/23918585/
www.flickr.com/photos/steveganz/24369094/
www.flickr.com/photos/davidm69/24372720/
www.flickr.com/photos/davidm69/24372770/
www.flickr.com/photos/pulgar18/24954356/
www.flickr.com/photos/corydalus/25348313/
www.flickr.com/photos/nataliedowne/28217079/
www.flickr.com/photos/dkj/28244556/
www.flickr.com/photos/mrjoro/28348947/
www.flickr.com/photos/sbrubles/28348973/
www.flickr.com/photos/ijac/28490506/
www.flickr.com/photos/vixyao/29354743/
www.flickr.com/photos/vixyao/29354830/
www.flickr.com/photos/vixyao/29355255/
www.flickr.com/photos/akma/30148833/
www.flickr.com/photos/mattstafford/30156632/
www.flickr.com/photos/amatern/30476334/
www.flickr.com/photos/martys_three_girls/31218630/
www.flickr.com/photos/martys_three_girls/31218631/
www.flickr.com/photos/martys_three_girls/31218632/
www.flickr.com/photos/ageless/31820517/
www.flickr.com/photos/dsifry/31821079/
www.flickr.com/photos/gwilmore/31822191/
www.flickr.com/photos/jillchen/32004173/
www.flickr.com/photos/albinoflea/32016999/
www.flickr.com/photos/ciordia/32021653/
www.flickr.com/photos/clopin/32147945/
www.flickr.com/photos/clopin/32149030/
www.flickr.com/photos/astanhope/32149309/
www.flickr.com/photos/clopin/32153685/
www.flickr.com/photos/mcvay728/32158283/
www.flickr.com/photos/mcvay728/32158365/
www.flickr.com/photos/mcvay728/32158440/
www.flickr.com/photos/maxim303/32159027/
www.flickr.com/photos/butella/32470857/
www.flickr.com/photos/dougward/32470864/
www.flickr.com/photos/maveric2003/32470867/
www.flickr.com/photos/maveric2003/32470956/
www.flickr.com/photos/budtheteacher/32471447/
www.flickr.com/photos/budtheteacher/32471470/
www.flickr.com/photos/budtheteacher/32471518/
www.flickr.com/photos/budtheteacher/32471548/
www.flickr.com/photos/budtheteacher/32471548/
www.flickr.com/photos/budtheteacher/32471702/
www.flickr.com/photos/budtheteacher/32471752/
www.flickr.com/photos/budtheteacher/32471781/
www.flickr.com/photos/budtheteacher/32471811/
www.flickr.com/photos/jasra/32481387/
www.flickr.com/photos/heather-n-jeff/33979149/
www.flickr.com/photos/heather-n-jeff/33984697/
www.flickr.com/photos/dbspringer/33990574/
www.flickr.com/photos/dbspringer/33991428/
www.flickr.com/photos/cappellmeister/34227686/
www.flickr.com/photos/grumpypants/34416824/
www.flickr.com/photos/heidebrecht/35395114/
www.flickr.com/photos/heidebrecht/35395115/
www.flickr.com/photos/heidebrecht/35395116/
www.flickr.com/photos/heidebrecht/35395310/
www.flickr.com/photos/perspective/35632597/
www.flickr.com/photos/perspective/35730974/
www.flickr.com/photos/hsuzi34/37222245/
www.flickr.com/photos/wck/37792056/
www.flickr.com/photos/andrman/38087102/
www.flickr.com/photos/hsuzi34/38088092/
www.flickr.com/photos/davezilla/38094409/
www.flickr.com/photos/dugless/38097482/
www.flickr.com/photos/gdahlberg/38101132/
www.flickr.com/photos/globalreset/38101455/
www.flickr.com/photos/pepino1976/38101641/
www.flickr.com/photos/pepino1976/38101785/
www.flickr.com/photos/chadada/38102737/
www.flickr.com/photos/pepino1976/38103962/
www.flickr.com/photos/pepino1976/38104164/
www.flickr.com/photos/kim_scarborough/38283956/
www.flickr.com/photos/lambdachialpha/38427305/
www.flickr.com/photos/lambdachialpha/38427317/
www.flickr.com/photos/lambdachialpha/38427366/
www.flickr.com/photos/eliya/39274970/
www.flickr.com/photos/eliya/39276541/
www.flickr.com/photos/slightlywinded/40161136/
www.flickr.com/photos/vernonmarshall/40169667/
www.flickr.com/photos/vernonmarshall/40170195/
www.flickr.com/photos/vernonmarshall/40177870/
www.flickr.com/photos/vernonmarshall/40178683/
www.flickr.com/photos/vernonmarshall/40179060/
www.flickr.com/photos/carlos/40505666/
www.flickr.com/photos/carlos/40505667/
www.flickr.com/photos/madpixelist/40665068/
www.flickr.com/photos/djweso/40665849/
www.flickr.com/photos/clockwerks/40670312/
www.flickr.com/photos/isriya/40677204/
www.flickr.com/photos/krisandapril/40677447/
www.flickr.com/photos/bamcat/40677726/
www.flickr.com/photos/termie/40679994/
www.flickr.com/photos/clockwerks/40681841/
www.flickr.com/photos/ashkev/40862211/
www.flickr.com/photos/filthy/41009831/
www.flickr.com/photos/filthy/41009834/
www.flickr.com/photos/peter_verrant/41010747/
www.flickr.com/photos/peter_verrant/41012388/
www.flickr.com/photos/baslow/41013152/
www.flickr.com/photos/_mae/42020126/
www.flickr.com/photos/jwagner/42155165/
www.flickr.com/photos/gorriti/42401951/
www.flickr.com/photos/arkangel/43407944/
www.flickr.com/photos/noodlum/44185282/
www.flickr.com/photos/mbravo/44355775/
www.flickr.com/photos/termie/44532789/
www.flickr.com/photos/olaerik/46143954/
www.flickr.com/photos/afterthought/46148009/
www.flickr.com/photos/afterthought/46152868/
www.flickr.com/photos/afterthought/46152868/
www.flickr.com/photos/matthewblank/46155532/
www.flickr.com/photos/bootbearwdc/46278087/
www.flickr.com/photos/vixyao/46462664/
www.flickr.com/photos/vixyao/46464296/
www.flickr.com/photos/calilily/46639434/
www.flickr.com/photos/peterjoel/46646805/
www.flickr.com/photos/hgruner/46648521/
www.flickr.com/photos/hgruner/46650520/
www.flickr.com/photos/lauralessa/46957171/
www.flickr.com/photos/lauralessa/46957434/
www.flickr.com/photos/bracken/46966339/
www.flickr.com/photos/bracken/46967183/
www.flickr.com/photos/bracken/46967183/
www.flickr.com/photos/damianandedilma/48145434/
www.flickr.com/photos/go/48684814/
www.flickr.com/photos/go/48685045/
www.flickr.com/photos/nycbone/48686852/
www.flickr.com/photos/deadhorse/48686895/
www.flickr.com/photos/caramiaculpa/48697048/
www.flickr.com/photos/calypso/48697569/
www.flickr.com/photos/calypso/48697569/
www.flickr.com/photos/skippy/48704422/
www.flickr.com/photos/skippy/48704546/
www.flickr.com/photos/caramiaculpa/48705189/
www.flickr.com/photos/caramiaculpa/48706077/
www.flickr.com/photos/calypso/48706092/
www.flickr.com/photos/caramiaculpa/48707954/
www.flickr.com/photos/mobileobjective/48709064/
www.flickr.com/photos/schulz/48862606/
www.flickr.com/photos/vickylee/48866012/
www.flickr.com/photos/brianteutsch/48878134/
www.flickr.com/photos/in-duce/49520581/
www.flickr.com/photos/freetoeknee/50881786/
www.flickr.com/photos/matthewsim/51439631/
www.flickr.com/photos/matthewsim/51440487/
www.flickr.com/photos/matthewsim/51441314/
www.flickr.com/photos/matthewsim/51441368/
www.flickr.com/photos/etchantdigital/52847356/
www.flickr.com/photos/doctorow/53036309/
www.flickr.com/photos/500hats/53036448/
www.flickr.com/photos/500hats/53036906/
www.flickr.com/photos/dckickball/53037160/
www.flickr.com/photos/nycbone/53218432/
www.flickr.com/photos/henryfaber/53218983/
www.flickr.com/photos/savvy/53219028/
www.flickr.com/photos/alanz/53219852/
www.flickr.com/photos/flissphil/53220179/
www.flickr.com/photos/redune/53220899/
www.flickr.com/photos/jillchen/55249407/
www.flickr.com/photos/iheitlager/55249484/
www.flickr.com/photos/iheitlager/55249552/
www.flickr.com/photos/steelmore/55428198/
www.flickr.com/photos/oskarlin/55799936/
www.flickr.com/photos/rgusick/56750890/
www.flickr.com/photos/rgusick/56751453/
www.flickr.com/photos/rgusick/56757209/
www.flickr.com/photos/rgusick/56757209/
www.flickr.com/photos/dedrawolff/57255067/
www.flickr.com/photos/jaypod/57605991/
www.flickr.com/photos/greggoconnell/57607823/
www.flickr.com/photos/greggoconnell/57607823/
www.flickr.com/photos/jaypod/57608198/
www.flickr.com/photos/cardoso/57613792/
www.flickr.com/photos/rduarte/57614912/
www.flickr.com/photos/pfmeurer/57627663/
www.flickr.com/photos/pfmeurer/57627713/
www.flickr.com/photos/pfmeurer/57628212/
www.flickr.com/photos/pfmeurer/57628212/
www.flickr.com/photos/pfmeurer/57628280/
www.flickr.com/photos/hodgers/57628865/
www.flickr.com/photos/telstar/57629115/
www.flickr.com/photos/hodgers/57629721/
www.flickr.com/photos/dbspringer/57854979/
www.flickr.com/photos/tomsly/57855275/
www.flickr.com/photos/tomsly/57855275/
www.flickr.com/photos/smull/57864133/
www.flickr.com/photos/dobyns/58108803/
www.flickr.com/photos/travinder/58109075/
www.flickr.com/photos/tinfoilraccoon/58302180/
www.flickr.com/photos/donabelandewen/58303393/
www.flickr.com/photos/toolmantim/58303684/
www.flickr.com/photos/richmilnix/58305875/
www.flickr.com/photos/kevinclark/58309070/
www.flickr.com/photos/momoftwo/58314061/
www.flickr.com/photos/scoregasm/58314265/
www.flickr.com/photos/momoftwo/58314803/
www.flickr.com/photos/scoregasm/58315045/
www.flickr.com/photos/momoftwo/58315475/
www.flickr.com/photos/momoftwo/58315476/
www.flickr.com/photos/thegists/58315919/
www.flickr.com/photos/courosa/58317471/
www.flickr.com/photos/courosa/58317626/
www.flickr.com/photos/courosa/58318090/
www.flickr.com/photos/sirmildredpierce/58318159/
www.flickr.com/photos/courosa/58318498/
www.flickr.com/photos/sarasays/58324854/
www.flickr.com/photos/sarasays/58324909/
www.flickr.com/photos/sarasays/58324963/
www.flickr.com/photos/sarasays/58325036/
www.flickr.com/photos/sarasays/58325036/
www.flickr.com/photos/sarasays/58325036/
www.flickr.com/photos/sarasays/58325437/
www.flickr.com/photos/sarasays/58325604/
www.flickr.com/photos/sarasays/58325939/
www.flickr.com/photos/hill0703/58328895/
www.flickr.com/photos/xenlab/58781654/
www.flickr.com/photos/rwp-roger/60493525/
www.flickr.com/photos/taniapaz/60500040/
www.flickr.com/photos/heyjupiter/60502829/
www.flickr.com/photos/twopoos/60508995/
www.flickr.com/photos/stevan/60510907/
www.flickr.com/photos/stevan/60511326/
www.flickr.com/photos/stevan/60511368/
www.flickr.com/photos/stevan/60511699/
www.flickr.com/photos/stevan/60511754/
www.flickr.com/photos/entzmann/60932840/
www.flickr.com/photos/roland/60942104/
www.flickr.com/photos/demos/60951019/
www.flickr.com/photos/cote/61112801/
www.flickr.com/photos/skronk/61121466/
www.flickr.com/photos/mzd/62315840/
www.flickr.com/photos/maynard/62485892/
www.flickr.com/photos/glindsay65/62486231/
www.flickr.com/photos/glindsay65/62487017/
www.flickr.com/photos/mgerlach/62631654/
www.flickr.com/photos/mgerlach/62631704/
www.flickr.com/photos/treilly/62632952/
www.flickr.com/photos/krathbun7/62641305/
www.flickr.com/photos/erikbenson/62645895/
www.flickr.com/photos/erikbenson/62645895/
www.flickr.com/photos/erikbenson/62647417/
www.flickr.com/photos/randylane/63026156/
www.flickr.com/photos/phoppel/63027955/
www.flickr.com/photos/thessaly/63028577/
www.flickr.com/photos/distobj/63029088/
www.flickr.com/photos/erix/63301501/
www.flickr.com/photos/nycbone/80688990/
www.flickr.com/photos/patchofpuddles/81552518/
www.flickr.com/photos/ejbaurdo/81554803/
www.flickr.com/photos/martin-family/81555107/
www.flickr.com/photos/martin-family/81555170/
www.flickr.com/photos/martin-family/81555189/
www.flickr.com/photos/stevedinn/82298216/
www.flickr.com/photos/brevort/83801876/
www.flickr.com/photos/brevort/83801876/
www.flickr.com/photos/milena/92666731/
www.flickr.com/photos/kola1965/92672181/
www.flickr.com/photos/tomm/95275796/
www.flickr.com/photos/cumbers/95599893/
www.flickr.com/photos/italoblog/95600189/
www.flickr.com/photos/dennis/95600773/
www.flickr.com/photos/cumbers/95601137/
www.flickr.com/photos/thekilens/110987835/
www.flickr.com/photos/thekilens/110987980/
www.flickr.com/photos/jilllemon/113278390/
www.flickr.com/photos/toddhiestand/115663108/
www.flickr.com/photos/sunweik/121836211/
www.flickr.com/photos/sunweik/121837037/
www.flickr.com/photos/sunweik/121837138/
www.flickr.com/photos/macwebb/124053221/
www.flickr.com/photos/siggimus/139279075/
www.flickr.com/photos/siggimus/139279538/
www.flickr.com/photos/ben_hengst/139279621/
www.flickr.com/photos/ben_hengst/139279621/
www.flickr.com/photos/hdreisler/139280911/
www.flickr.com/photos/mogello/140111363/
www.flickr.com/photos/sq/141188137/
www.flickr.com/photos/markart/141769176/
www.flickr.com/photos/armyofgnomes/145051550/
www.flickr.com/photos/osheas/145952569/
www.flickr.com/photos/megpi/146371052/
www.flickr.com/photos/derschlosser/146371383/
www.flickr.com/photos/derschlosser/146372330/
www.flickr.com/photos/maeng/153439873/
www.flickr.com/photos/maeng/153439873/
www.flickr.com/photos/ceosanna/157169857/
www.flickr.com/photos/bmindful/160539009/
www.flickr.com/photos/trevhunter/160539087/
www.flickr.com/photos/urbanwide/162526262/
www.flickr.com/photos/dimator/165427410/
www.flickr.com/photos/dimator/165427630/
www.flickr.com/photos/dimator/165427630/
www.flickr.com/photos/dmamundsen/165427631/
www.flickr.com/photos/dimator/165428709/
www.flickr.com/photos/dimator/165428709/
www.flickr.com/photos/kfuller/169815773/
www.flickr.com/photos/justkristin/169817252/
www.flickr.com/photos/jerryzurek/169827934/
www.flickr.com/photos/kfuller/169828219/
www.flickr.com/photos/kfuller/169828968/
www.flickr.com/photos/kfuller/169829808/
www.flickr.com/photos/guillaume/169831501/
www.flickr.com/photos/37996605603@N01/169833189/
www.flickr.com/photos/mrvjtod/169835175/
www.flickr.com/photos/iheartphoto/170678234/
www.flickr.com/photos/veritatem/171029362/
www.flickr.com/photos/amallen/171030276/
www.flickr.com/photos/davidw/171030640/
www.flickr.com/photos/jsolomon/174225288/
www.flickr.com/photos/jsolomon/174225437/
www.flickr.com/photos/jsolomon/174225437/
www.flickr.com/photos/bryanbell/182658932/
www.flickr.com/photos/bryanbell/182659665/
www.flickr.com/photos/darwinbell/184915310/
www.flickr.com/photos/italoblog/184925951/
www.flickr.com/photos/italoblog/184926025/
www.flickr.com/photos/italoblog/184926025/
www.flickr.com/photos/italoblog/184926042/
www.flickr.com/photos/italoblog/184926086/
www.flickr.com/photos/urbanmixer/184927003/
www.flickr.com/photos/urbanmixer/184928369/
www.flickr.com/photos/urbanmixer/184928369/
www.flickr.com/photos/agirregabiria/184936935/
www.flickr.com/photos/gimpbully/184945633/
www.flickr.com/photos/ocherdraco/184946888/
www.flickr.com/photos/pseudoplacebo/184954675/
www.flickr.com/photos/cubicgarden/184955567/
www.flickr.com/photos/graeme/186709480/
www.flickr.com/photos/graeme/186711774/
www.flickr.com/photos/theericksons/189191548/
www.flickr.com/photos/laughingsquid/190130275/
www.flickr.com/photos/laughingsquid/190130275/
www.flickr.com/photos/footy/191029328/
www.flickr.com/photos/breaux/191938590/
www.flickr.com/photos/kamikura/192323221/
www.flickr.com/photos/kamikura/192323538/
www.flickr.com/photos/mlepore/195035061/
www.flickr.com/photos/thecabaretvoltaire/198215081/
www.flickr.com/photos/raucousrage/198215770/
www.flickr.com/photos/raucousrage/198215770/
www.flickr.com/photos/raucousrage/198216233/
www.flickr.com/photos/insaneblaine/201481854/
www.flickr.com/photos/ijac/201484057/
www.flickr.com/photos/ijac/201484078/
www.flickr.com/photos/ijac/201484098/
www.flickr.com/photos/23748404@N00/205417933/
www.flickr.com/photos/wader/205423259/
www.flickr.com/photos/cool_dry_place/207422564/
www.flickr.com/photos/sanjeevlj/207422635/
www.flickr.com/photos/davidewen/207431370/
www.flickr.com/photos/sanjeevlj/207434928/
www.flickr.com/photos/sanjeevlj/207435197/
www.flickr.com/photos/cambodia4kidsorg/212255396/
www.flickr.com/photos/bensnyder/214303604/
www.flickr.com/photos/bensnyder/214306947/
www.flickr.com/photos/upstandingshitizen/215282532/
www.flickr.com/photos/kaba/215284623/
www.flickr.com/photos/kaba/215284623/
www.flickr.com/photos/wiredwitch/215285356/
www.flickr.com/photos/kaba/215287375/
www.flickr.com/photos/dckickball/216798507/
www.flickr.com/photos/der_dennis/218627777/
www.flickr.com/photos/heyjupiter/221326442/
www.flickr.com/photos/nachocorrea/222221052/
www.flickr.com/photos/nachocorrea/222225325/
www.flickr.com/photos/nachocorrea/222225410/
www.flickr.com/photos/75259143@N00/222225770/
www.flickr.com/photos/djimison/222226008/
www.flickr.com/photos/jordanho/228517824/
www.flickr.com/photos/hepp/228519238/
www.flickr.com/photos/hepp/228519239/
www.flickr.com/photos/coolshots/228520057/
www.flickr.com/photos/iainmackenzie/229389127/
www.flickr.com/photos/hectore/229725156/
www.flickr.com/photos/hectore/229725671/
www.flickr.com/photos/lilapants/229727696/
www.flickr.com/photos/smulloni/229750038/
www.flickr.com/photos/lemonizer/229754167/
www.flickr.com/photos/tomhe/230885945/
www.flickr.com/photos/sablesma/232063031/
www.flickr.com/photos/sablesma/232063448/
www.flickr.com/photos/jonmasters/232063889/
www.flickr.com/photos/jonmasters/232063896/
www.flickr.com/photos/jonmasters/232063897/
www.flickr.com/photos/joliexis/232073683/
www.flickr.com/photos/gretchenblaire/234556833/
www.flickr.com/photos/fredthechicken/238077302/
www.flickr.com/photos/raindog808/239577870/
www.flickr.com/photos/jamiec/240764734/
www.flickr.com/photos/foxtongue/240766521/
www.flickr.com/photos/franklinheijnen/240767163/
www.flickr.com/photos/kenward_family/244305069/
www.flickr.com/photos/kenward_family/244308673/
www.flickr.com/photos/bradcerenzia/244309792/
www.flickr.com/photos/seandreilinger/244388963/
www.flickr.com/photos/stephenleung/245061673/
www.flickr.com/photos/blakley/245062282/
www.flickr.com/photos/blakley/245062287/
www.flickr.com/photos/the_wb/247972240/
www.flickr.com/photos/ststephen65/247978438/
www.flickr.com/photos/globalvoyager/247978497/
www.flickr.com/photos/globalvoyager/247978580/
www.flickr.com/photos/globalvoyager/247982227/
www.flickr.com/photos/avaiki/247982791/
www.flickr.com/photos/globalvoyager/247982910/
www.flickr.com/photos/50044271@N00/247983746/
www.flickr.com/photos/specialk-files/247993020/
www.flickr.com/photos/a2creative/249964051/
www.flickr.com/photos/kfisto/250997142/
www.flickr.com/photos/ryanmurry/250998897/
www.flickr.com/photos/zwgraham/251000301/
www.flickr.com/photos/ryanmurry/251001686/
www.flickr.com/photos/ryanmurry/251001686/
www.flickr.com/photos/theericksons/252000388/
www.flickr.com/photos/ickna/252002378/
www.flickr.com/photos/einfallslos/253531959/
www.flickr.com/photos/74068658@N00/254608904/
www.flickr.com/photos/tobes/255322762/
www.flickr.com/photos/ari/256606096/
www.flickr.com/photos/pgautier/256607241/
www.flickr.com/photos/pgautier/256607857/
www.flickr.com/photos/pgautier/256608053/
www.flickr.com/photos/jrphillips/256608123/
www.flickr.com/photos/pgautier/256608151/
www.flickr.com/photos/pgautier/256608273/
www.flickr.com/photos/pgautier/256608376/
www.flickr.com/photos/pgautier/256608508/
www.flickr.com/photos/freshelectrons/256608889/
www.flickr.com/photos/excauboi/256608921/
www.flickr.com/photos/scottsp64/256610305/
www.flickr.com/photos/71256895@N00/256616172/
www.flickr.com/photos/thecabaretvoltaire/256617056/
www.flickr.com/photos/77903155@N00/257648060/
www.flickr.com/photos/freshelectrons/257648247/
www.flickr.com/photos/77903155@N00/257648832/
www.flickr.com/photos/77903155@N00/257648895/
www.flickr.com/photos/38742781@N00/261644260/
www.flickr.com/photos/38742781@N00/261644260/
www.flickr.com/photos/38742781@N00/261644354/
www.flickr.com/photos/38742781@N00/261644512/
www.flickr.com/photos/38742781@N00/261644662/
www.flickr.com/photos/38742781@N00/261644806/
www.flickr.com/photos/rwr/261954505/
www.flickr.com/photos/heather_joy/261955012/
- Used a texture from Emma Cox here at Flickr
- Earth as photographed from the moon by the Apollo 11 people
- Photograph of mannequin in box + window + goggles are mine
Day 572- This pressed flower was in one of the used books we bought on Sunday. We always find interesting things stuck between pages of books. One time we even found a map of ghost towns in New Mexico. So many things that people put in books and then they are forgotten. Handwritten notes, photos. I wonder what the story behind this flower was, it was obviously important enough that the person wanted to save it. But in the time it took to flatten the flower it was forgotten. Then the person either donated books they didn't read or the owner passed away and books were donated. I can't bring myself to throw things like this away. They may be lost to one but they are found to me.
used the hydrangea and these two
i was not going to use my tipsy tuesday photo for my 365 BUT i want to be sure to mark this day because, for me, it is sort of large!!!! i am out sick and after i felt better i started fooling around with elements and the photo before this one was my very first one that i uploaded to flickr that was all done in elements. and this one is a raw photo processed in elements!!! so this one not only celebrates that BUT it is also a photo of this old bottle that means so much to us! what better day to take a photo of it!!!! i am still so confused by all the stuff i have to learn and i am hoping i have done these correctly. but do and learn, right? and i have so many wonderful friends out there to ask!!! that is the amazing and wonderful part of it all!!!!!
i hope everyone is having a splendid day! i raise my coffee cup to you all!!!
copyright © 2007 sean dreilinger
view sequoia's baby feet - _MG_5397 on a black background.
Merci beaucoup to xavnco2 for allowing me to use his excellence picture of this WW II, U.S. Army Air Compressor truck as the subject for this “digital illustration”. Xavnco2s’ original picture can be viewed here
Hope you enjoy......... (my madness)
US Army in World War II
Engineers and Logistics
by Rich Anderson
Engineers
It was perhaps fitting that the U.S. Army, with an officer corps heavily influenced by the teachings of the United States Military Academy (which was the first engineering school in the United States), should be lavishly equipped with engineer troops and equipment. The divisional combat engineer battalions were capable of performing most engineering tasks (including demolitions, obstacle emplacement, fortification, and light bridge building) for the division. Additional battalions from corps or army augmented divisional engineers for more extensive tasks. Corps battalions were assigned to the command of an engineer group headquarters, which consisted of an H&H Company and an engineer light equipment company. Normally there were between three and six battalions in an engineer group and one or two groups per corps or army.
Combat engineer battalions tended to have high esprit de corps; they rightly considered themselves to be elite specialists. In a pinch, combat engineers also could act as infantry and did so frequently. In the Battle of the Bulge, a handful of engineer battalions proved to be a vital asset to the beleaguered American Army.
In addition to the combat engineer battalions there were in the Army a number of other general engineer units. The Engineer Amphibian Brigade was designed to support amphibious operations and included an H&H Company, three boat-and-shore regiments, a boat maintenance battalion, a medical battalion, and a quartermaster, ordnance, and a signal company. A single amphibian brigade (with naval support) was capable of transporting and landing an infantry division. Later, the brigade was strengthened and re-designated as the Engineer Special Brigade. Six Engineer Special Brigades, numbered 1st to 6th, were eventually formed. The 1st served in the MTO, ETO and PTO, the 5th and 6th served in the ETO, the others all served in the PTO.
Engineer aviation regiments and battalions were designed to construct and maintain air bases. Aviation engineers included engineer airborne aviation battalions, which were designed to be air transportable; so as to repair airfields captured by airborne forces.
Engineer bridging units included heavy ponton (the word pontoon is properly pronounced ponton, and beginning in World War II, that is the way it has been spelled by U.S. Army Engineers) battalions (nineteen formed, allotted usually one to three per army), light ponton companies (usually one per engineer group), and treadway bridge companies (usually one per armored division, but held at corps).
Engineer general service regiments and battalions performed construction, repair, and maintenance duties of all kinds behind the front lines. Many general service battalions were formed as pools of unskilled labor troops and later were organized as regiments.
Engineer special service regiments (seven formed) contained highly skilled construction personnel and had a large allotment of heavy equipment. The remainder of the engineer corps was made up of various specialist units, topographic, water supply, railway, oil field, railway operating, and camouflage battalions. In addition, there were large numbers of separate companies and even specialist engineer detachments consisting of a few officers and men. Over 600 battalion-size engineer units were formed during the war.
Curiously, only the engineer combat regiments were broken up into separate battalions as a part of the pool concept in 1943. The H&H Company of the engineer combat regiments were re-designated as engineer combat groups in 1943. The other specialized engineer regiments were retained to the end of the war.
Source: www.militaryhistoryonline.com/wwii/usarmy/engineers.aspx
* Can you identify the various tools / items included in this image?
========================================================
To use this photo on your site, please point an image credit to www.buenosairesfotogenica.com. Example: [Photo credit: www.buenosairesfotogenica.com]. Also add a comment here with the link of your own post. Thanks!
========================================================
Para utilizar esta foto en su sitio web por favor indique como crédito de la imagen a www.buenosairesfotogenica.com. Ejemplo: Example: [Photo credit: www.buenosairesfotogenica.com]. También agregue un comentario aquí con el enlace a su propio post. ¡Gracias!
========================================================
Fotos de Buenos Aires | Buenos Aires en Facebook | Buenos Aires en Instagram
S Methode
Pause und Präsentation
5S (methodology)
en.wikipedia.org/wiki/5S_(methodology)
• 5S Kaizen
Es ist eine Idee aus dem japanischen Toyota-Produktionssystem.
Just in time Prozess Steuerung
5S was developed in Japan and was identified as one of the techniques that enabled Just in Time manufacturing.
.. verbessert durch Philip Effinger an Hand von Mercedes Benz just in time Produktions-Steuerung
(Promotions-Arbeit)
Philip Effinger, Visualization of business process models, Dissertation thesis, 208 pages, Eberhard Karls Universitä Tübingen, 2013
Arbeitsbereich Paralleles Rechnen
Wilhelm-Schickard-Institut für Informatik
Fakultät für Informations- und Kognitionswissenschaften
Eberhard-Karls-Universität Tübingen
Zum letzten sprachlichen Feinschliff haben noch Johannes Spielmann
und Kristina Abels beigetragen.
Wurde bei der Toyota PKW Prozesssteuerung entwickelt.
Das Automobilwerk in Tichy (Polen) - Fiat und andere Marken werden dort gebaut - orientiert sich daran, weshalb der Panda I und II so erfolgreich waren.
Panda II wird wieder in Italien gebaut im skandalbekannten Alfa-Sud Werk.
Deshalb hat der Ford Fiesta (2016) den Fiat Panda erstmals in Europa überflügelt, bezogen auf die Verkaufszahlen.
• S – Sortieren
•• S – Systematisieren
••• S – Saubermachen
•••• S – Standardisieren
••••• S – Selbstdisziplin
-
Als sechstes S wird zumeist noch • SHUKAN • genannt. Als Shukan wird der Zustand betitelt bei dem die ständige Beachtung und Optimierung der 5 S Methode zur Gewohnheit wird.
-
5. Shitsuke = Selbstdisziplin - Sustain
Die vorgestellten Methoden werden tagtäglich konsequent eingehalten.
Das nächste Level der 5S Methode wird erreicht, indem ein weiterer Durchlauf der 5S angestoßen wird, bei dem ein noch höheres Niveau des zu erreichenden Zustandes erreicht werden wird.
- ständige Verbesserung (Kaizen).
ps
Logikfehler:
(... führt zum absurdum!)
Ohne Selbstdisziplin wird schnell wieder das altbekannte und vertraute Chaos in der Arbeitsumgebung herrschen.
Für dauerhafte Erfolge ist daher Selbstdisziplin unabdingbar.
Präsentieren Sie Ihre Ergebnisse und Fortschritte vielleicht in einer Fotodokumentation.
Für Chaos Begabte braucht es keine Regeln!
Aber ein eidetisches Gedächtnis („Fotografisches Gedächtnis“) ist von Vorteil!
- auch "Ikonisches Gedächtnis" genannt - und ein Langzeit-Gedächtnis.
„Die Fähigkeit ein genaues, detailliertes, visuelles Bild einer komplexen Szenerie oder ein Muster zu behalten (umgangssprachlich manchmal als ‚fotografisches Gedächtnis‘ bezeichnet), oder die nur bei einer Minderheit existierende Fähigkeit ein Bild (gedanklich) zu ‚sehen‘, das eine exakte Kopie der ursprünglichen sensorischen Information darstellt.“
Das ikonische Gedächtnis hat eine weitaus größere Kapazität als das Kurzzeitgedächtnis
Ganz gemäß Arthur Brisbane (1911):
"Use a picture. It's worth a thousand words."
Zweck der 5S Methode
Was soll vermieden werden?
Verschwendung von kostbarer Zeit durch:
• Warten
• Suchen
• Ablegen
• Nachdenken
• Doppelarbeit
• Stapeln von Teilen
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.
Hello you beautifully lovely Flickrs out there, I just wanted to share some exciting news.
My photo made it on the cover of another book! Its called Uses for Boys by Erica Lorraine Scheidt
I'm super super happy!!! You can buy it on amazon along with The Scarlet Libretto which is my first book cover ever! Also, here's the original photo.
Sometimes I get caught up in where everyone else is going and I don't realize how far I've come, and how much I've accomplished. I'm super excited about where life is taking me and I can't wait to see what's next!
Facebook | Tumblr | Formspring | Youtube
St. Nicholas Cathedral (Vienna)
Wikipedia, the free encyclopedia
This term has other uses, see St. Nicholas Cathedral.
Orthodox church
Cathedral of St. Nicholas
Kathedrale zum Heiligen Nikolaus
View of the Cathedral from the southwest
(another pictures you can see by clicking on the link at the end of page!)
Country Austria
City of Vienna, Jauresgasse, 2
Orthodox confession
Diocese of Vienna
Building Church
Project author Gregory Kotov
Builder Luigi Giacomelli
Construction years 1893-1899
Upper chapel - St. Nicholas, the lower - Alexander Nevsky.
Status protected by the State
Cathedral of St. Nicholas on the Commons-logo.svg Commons
Coordinates: 48 ° 11'50 .73 " with . sh. 16 ° 23'05 .84 " in the . d (G) (O) ( I )
Cathedral of St. Nicholas in Vienna (3rd district) - Orthodox church, now the Cathedral of Vienna diocese of the Russian Orthodox Church (Moscow Patriarchate). 7.3.2012, the Diocese of Vienna and Austria has been recognized by the Austrian authorities as a legal entity.
Abbot - Archpriest Vladimir Tyschuk.
History
The first temple
First, the Trinity church was moved to Vienna in 1762 at the request of Ambassador Prince Dmitry Golitsyn from Augsburg. The temple was iconostasis "Kamke on blue". The church was placed in the house of the prince, and then "in especial living room".
In 1781, the church moved to a different but closed and poorly lit place. In 1803, the church moved to a new, more fitting place, and in 1812 - the house on Valfishgasse 5
Modern Cathedral
The temple was built as the embassy (the Russian Imperial embassy) in 1893-1899 under the project of Grigory Ivanovich Kotov by Italian architect Luigi Giacomelli. A significant portion of the construction costs (400 000 ) was made by a donation of Emperor Alexander III.
Consecrated April 4, 1899 by the Warsaw KHolmskim Archbishop Jerome.
After the First World War, due to the rupture of diplomatic relations between Russia and Austria, the embassy was closed, and with it the Cathedral. By establishing in February 1924 diplomatic relations between the USSR and Austria, the church was handed over to the community under the jurisdiction of Metropolitan Eulogius loyal to Moscow (St. George). The latter, together with their parishes, passed in February 1931 under the jurisdiction of the Patriarchate of Constantinople (Western European Exarchate of Russian Parishes).
After the Great Patriotic War in June 1941, the entire property of the Soviet embassy in Vienna, including the cathedral, was confiscated by the foreign affairs agencies of the Third Reich. May 19, 1943, the cathedral was loaned ROCA community led by Col. George von Genyukom.
After the occupation of Vienna by Soviet troops in May 1945, the church was transferred to the Moscow Patriarchate.
In 1962, in view of the establishment of the Synod of the Russian Orthodox Church Diocese of Vienna and Austria, the church became known as the Cathedral.
May 19, 1969 the cathedral parish was recognized legal entity.
From 1975 until 1991, Archbishop (later Metropolitan) of Vienna was Irenaeus (Zuzemil).
From 2003 to 2008 took place in the cathedral restoration, after which renewal of the consecration of the temple was planned. However, instead December 21, 2008 was held a memorial service for the late Patriarch Alexy II.
Architecture
Church made in the form of pseudo architecture.
The building of the Cathedral of 2 floors: the upper temple consecrated in the name of St. Nicholas, the lower - in memory of Emperor Alexander III, its patron Prince Alexander Nevsky.
Near the temple are the administrative offices of the diocese.
Никольский собор (Вена)
[править | править исходный текст]Материал из Википедии — свободной энциклопедии
У этого термина существуют и другие значения, см. Никольский собор.
Православный храм
Собор святителя Николая Чудотворца
Kathedrale zum Heiligen Nikolaus
Вид на собор с юго-запада
Вид на собор с юго-запада
СтранаАвстрия
ГородВена, Jauresgasse, 2
КонфессияПравославие
ЕпархияВенская
Тип зданияЦерковь
Автор проектаГригорий Котов
СтроительЛуиджи Джакомелли
Строительство1893—1899 годы
ПриделыВерхний — святителя Николая Чудотворца; нижний — благоверного князя Александра Невского.
СтатусОхраняется государством
Состояниедействующий
СайтОфициальный сайт
Собор святителя Николая Чудотворца на Commons-logo.svg Викискладе
Координаты: 48°11′50.73″ с. ш. 16°23′05.84″ в. д. (G) (O) (Я)
Показать географическую карту
Собо́р святи́теля Никола́я Чудотво́рца в Вене (3-й район) — православный храм; в настоящее время кафедральный собор Венской епархии Русской православной церкви (Московский Патриархат). 7.3.2012 г. Венская и Австрийская епархия была признана австрийскими властями как юридическое лицо.
Настоятель — протоиерей Владимир Тыщук.
Содержание [убрать]
1 История
1.1 Первый храм
1.2 Современный собор
2 Архитектура
3 Источники
4 Примечания
5 Ссылки
История[править | править исходный текст]
Первый храм[править | править исходный текст]
Первая, Троицкая, церковь была перевезена в Вену в 1762 году по просьбе посла князя Д. М. Голицына из Аугсбурга. В храме был иконостас «на голубой камке». Церковь была размещена в доме князя, а затем «в особливой гостинной».
В 1781 году церковь переехала в другое, но тесное и плохо освещённое место. В 1803 году храм перенесли в новое, более приспособленное место, а в 1812 году — в дом на Вальфишгассе, 5
Современный собор[править | править исходный текст]
Храм построен как посольский (при российском императорском посольстве) в 1893—1899 годах по проекту Григория Ивановича Котова итальянским архитектором Луиджи Джакомелли. Значительная часть расходов на строительство (400 000 рублей) составили пожертвования императора Александра III.
Освящён 4 апреля 1899 года архиепископом Холмским и Варшавским Иеронимом.
После начала первой мировой войны, ввиду разрыва дипломатических отношений между Россией и Австрией, посольство было закрыто, а вместе с ним и собор. По установлении в феврале 1924 года дипломатических отношений между СССР и Австрией, храм был передан в ведение общины в юрисдикции лояльного Москве митрополита Евлогия (Георгиевского). Последний, вместе со своими приходами, перешёл в феврале 1931 года в юрисдикцию Константинопольского Патриархата (Западноевропейский экзархат русских приходов).
После начала Великой Отечественной войны в июне 1941 года, вся недвижимость советской дипмиссии в Вене, включая собор, была конфискована Внешнеполитическим ведомством Третьего рейха. 19 мая 1943 года собор был передан во временное пользование общине РПЦЗ во главе с полковником в отставке Георгом фон Генюком.
После оккупации Вены советскими войсками в мае 1945 года, храм перешёл в ведение Московского Патриархата.
В 1962 году, ввиду учреждения Синодом РПЦ Венской и Австрийской епархии, храм стал именоваться кафедральным собором.
19 мая 1969 года приход собора был признан юридическим лицом.
С 1975 года до 1991 года архиепископом (затем митрополит) Венским был Ириней (Зуземиль).
С 2003 по 2008 год в соборе проводилась реставрация[1], по окончании которой планировалось освящение обновлённого храма[2][3]. Однако вместо него 21 декабря 2008 года была проведена панихида по покойному Патриарху Алексею II[4].
Архитектура[править | править исходный текст]
Церковь выполнена в формах псевдорусской архитектуры.
В здании собора 2 этажа: верхний храм освящён во имя святителя Николая Чудотворца; нижний — в память императора Александра III, его покровителя благоверного князя Александра Невского.
Рядом с храмом находятся административные помещения епархии.
ru.wikipedia.org/wiki/%D0%9D%D0%B8%D0%BA%D0%BE%D0%BB%D1%8...
I made this tea towel using the new SS patterns --- it was a lot of fun creating something with "real" women, although I did slim their midsections just a wee bit. I gave the blonde a tattoo as well :-)
Using the Leica M246 and Apo-Summicron M 50 (Grreat combination) Probably the best!
Everything you do works so well
© All rights reserved. Use without permission is illegal
www.youtube.com/watch?v=keoJMgD5QZQ
Io, io sarò re
E tu, tu sarai la regina
Sebbene niente li porterà via
Li possiamo battere, solo per un giorno
Possiamo essere Eroi, solo per un giorno
E tu, tu puoi essere mediocre
E io, io berrò tutto il tempo
Perché siamo amanti, e questo è un fatto
Si siamo amanti, è proprio così
Sebbene niente ci terrà uniti
Potremmo rubare un po' di tempo,
per un solo giorno
Possiamo essere Eroi, per sempre
Che ne dici?
Io, io vorrei che tu sapessi nuotare
Come i delfini, come i delfini nuotano
Sebbene nulla,
nulla ci terrà uniti
Possiamo batterli, ancora e per sempre
Oh possiamo essere Eroi,
anche solo per un giorno
Io, io sarò re
E tu, tu sarai la regina
Sebbene niente li porterà via
Possiamo essere Eroi, solo per un giorno
Possiamo essere noi, solo per un giorno
Io, io posso ricordare (mi ricordo)
In piedi accanto al Muro (accanto al Muro)
E i fucili spararono sopra le nostre teste
(sopra le nostre teste)
E ci baciammo,
come se niente potesse accadere
(niente potesse accadere)
E la vergogna era dall'altra parte
Oh possiamo batterli, ancora e per sempre
Allora potremmo essere Eroi,
anche solo per un giorno
Possiamo essere Eroi
Possiamo essere Eroi
Possiamo essere Eroi
Solo per un giorno
Possiamo essere Eroi
Siamo un nulla, e nulla ci aiuterà
Forse stiamo mentendo,
allora è meglio che tu non rimanga
Ma potremmo essere più al sicuro,
solo per un giorno
Oh-oh-oh-ohh, oh-oh-oh-ohh,
anche solo per un giorno
Using this as my 365 photo for 6th October... I picked the We're Here group that day, hats n wigs, and had a plan of what I was going to do but then Jack, my 7 year old decided, just for larks and fun, to headbutt a radiator at his friends house. He said his vision was blurred afterwards so off to A&E I went and no photo was taken! Luckily he hadn't done any damage and he's back to normal now.
I didn't want to miss my day though - but I changed my mind about what to do and just dug out my only wig instead. I need more photography props!
So, after a month where I ended up using over 6 pounds(!) of butter in the kitchen, I figured I should bake something with a lean dough, and I haven't made bagels in a while. Up until my kids were about 2 years old, I used to make a dozen bagels just about every weekend, but now it's not quite so frequent.
It was a gorgeous morning, too, so I just moved the cooling rack out onto the shade of the front porch and grabbed a few photos, and I liked this one so much I thought I'd post it.
This recipe started life as the bagel recipe in The Best Recipe from the folks at Cooks Illustrated, then modified to suit my tastes a bit (really should get around to that web site someday), and finally converted into the weights you see here, which is essentially a 60% hydration dough (or a 5:3 ratio of flour:liquid).
Ingredients
30 oz. high-protein flour (about 6 c.—I use the Sir Lancelot variety from King Arthur Baking)
15 oz. water (1 7/8 c.) at about 110°F
3 oz. barley malt syrup (3/8 c.)
2 1/4 tsp. active dry yeast (1 packet)
1 tbl. kosher salt
Directions
Combine the dry ingredients in the work bowl of a standing mixer fitted with the dough hook. Combine the malt syrup and water in a measuring cup and stir to combine.
Mix the dry ingredients on low speed until the yeast is mixed in well, then pour in the liquid. Continue mixing until a dough ball forms, then mix at low-medium speed for 10 minutes in the stand mixer. This is a real workout for my stand mixer, so keep an eye on yours to avoid it walking or overheating. When done, the dough will be smooth, only very slightly tacky, and easily pass the windowpane test. Remove from the mixer, form into a ball, cover with plastic wrap, and let rest for 5-10 minutes.
Cut dough into quarters, then cut each quarter into thirds (12 pieces total). Shape each into a bagel by rolling into a smooth ball, then poking your finger down through the middle and stretching out like an elastic band. Arrange the shaped dough on two half-sheet pans dusted with cornmeal, cover lightly with plastic wrap and a kitchen towel, and place in the refrigerator overnight to proof. They won't appear to rise much in the fridge; that's expected.
In the morning, preheat your oven to 450°F. In a large, deep skillet or a dutch oven, bring 2 quarts of water plus 2 tbl. of sugar or malt syrup to a boil (for darker bagels, as seen here, add a teaspoon or so of baking soda to the boil as well.)
Working with about 3 bagels at a time, gently stretch the bagels out so the hole is at least an inch in diameter, then boil for about 1 minute on each side. The bagels will puff up almost to their final size while being boiled. Return them to the sheet pan (with a little more cornmeal to prevent sticking).
If you want to put some sort of topping on your bagel, now's the time. The outside of the bagel is usually sticky enough for seeds and the like, but a little egg white can be used as glue if you want more insurance.
Put the sheet pans into your preheated oven in the upper-middle and lower-middle positions, and spray the inside of your oven with water to make a good amount of steam (or, leave a heavy skillet on the floor of the oven during your preheat, and pour in a half cup or so of ice water.) Bake 18-20 minutes until nicely browned, rotating the pans halfway through.
Transfer to a cooling rack. These are great still warm from the oven, and, once completely cool, will keep well stored in a plastic bag for 4-5 days, particularly if you're toasting them. They also freeze nicely.
A test shot using my new Elinchrom Studio Strobes. This has not come out very well but I will learn how to use it more effectively as I try some stunts with my new lights
In this shot: My Mother
Strobe: Elinchrom Dlite 400 with diffuser at half power camera right at 45 degrees as main light. White reflector camera left near the subject as fill light.
___
Gears I use:
[If you are interested in photography gears that I use to create these images, please check them out in my affiliate links below, any view helps, any purchase helps a ton]
.
Camera (personal) Sony A7III amzn.to/2X8XoVJ
Camera (workplace) Sony A7RIV amzn.to/3dSeCNd
Actioncam: Gopro Hero 8 Black
___
Lens: Sony 24mm f1.4 G-Master amzn.to/2XbY4JQ
Lens: Sony FE 35mm f1.8 amzn.to/2xGvF4f
Lens: Sony 100-400mm f4.5-5.6 G-Master amzn.to/2wdf2g4
Lens: Sony FE 55mm f1.8 Zeiss [US version: amzn.to/2wWHGlO]
------------------------------------- Or [Discounted version - which I use: amzn.to/2x0LimR]
Lens: Laowa 10-18mm f4.5-5.6 C-Dreamer FE amzn.to/2wWHR0s
Lens: Sony FE 90mm G macro OSS amzn.to/2UH7TOB
Lens: Sigma 24-70mm DG DN Art amzn.to/2xItL2T
___
Gimbal: Zhiyun Webill S amzn.to/2JMJ7GB
Tripod: Benro Velocity ($80) amzn.to/3bPtkCu
A little something to remember the summer from.
Non-commercial use allowed when name of photographer is mentioned. No derivative works allowed.
_______________
_______________
If you find my work worth using, please humor me and read my About section!
Unfortunately many people take using photos they found online very lightly and disregard (or are unaware of) the fact that most of it is copyright protected and using it may have conditions or be completely disallowed. Before you use my photos, I ask that you read my About page so that we're both on the same page and avoid all the headaches that result from license violations and copyright infringements.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Lettice is nursing a broken heart. Her beau, Selwyn Spencely, son of the Duke of Walmsford, has been sent to Durban for a year by his mother, the Duchess of Walmsford, Lady Zinnia in an effort to destroy their relationship which she wants to end so that she can marry Selwyn off to his cousin, Pamela Fox-Chavers. Lettice returned home to Glynes to lick her wounds, however it only served to make matters worse as she grew even more morose. It was from the most unlikely of candidates, her mother Lady Sadie, with whom Lettice has always had a fraught relationship, that Lettice received the best advice, which was to stop feeling sorry for herself and get on with her life and wait patiently for Selwyn’s eventual return. Since then, Lettice has been trying to follow her mother’s advice and has thrown herself into the merry dance of London’s social round of dinners, dances and balls. However, even she could only keep this up for so long, and on New Year’s Eve, her sister, Lally, suggested that she spend a few extra weeks resting and recuperating with her in Buckinghamshire before returning to London and trying to get on with her life. Lettice happily agreed, however her rest cure ended abruptly with a letter from her Aunt Egg in London, summoned Lettice back to the capital and into society in general. Through her social connections, Aunt Egg has contrived an invitation for Lettice and her married Embassy Club coterie friends Dickie and Margot Channon, to an amusing Friday to Monday long weekend party of Sir John and Lady Caxton, who are very well known amongst the smarter bohemian set of London society for their amusing weekend parties at their Scottish country estate and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John, so they attract a mixture of witty writers and artists mostly.
Now we find ourselves in the cosy and cluttered, old fashioned Art and Crafts decorated drawing room of Gossington, the Scottish Baronial style English Art and Crafts castle near the hamlet of Kershopefoot in Cumberland belonging to Sir John and Lady Gladys, where Lettice, Margot and Dickie have joined their hosts along with a few stragglers who arrived on a later train to Carlisle who were chauffeured to the house from the railway station there.
Lady Gladys stands by one of the full length windows looking out at the countryside beyond. Her face crumples up as she stares at the roiling and dark clouds in the sky. She pats her finger waved grey hair anxiously, as though trying to protect it from being spoiled by the rain she perceives is coming, “Looks like the weather is on the turn, John.”
“What’s that, Gladys?” her husband pipes up, glancing over the top of his book from his Savonarola chair by the crackling fire.
“I said it’s starting to cloud over.” she replies in a slightly louder voice, turning to face him so he can hear her more clearly. “I do hope that it doesn’t rain on Pheobe and the other ramblers.”
“I’m sure they can all shelter in a barn somewhere.” he replies. “It will be a new and novel experience for some of them.”
Snorts and muffles giggles come from a few of the guests sitting about the room enjoying indoor pursuits.
Sir John looks over at the clusters of heads lowered together and chuckles good-naturedly as he remarks, “Don’t get so self-righteous you lot!” He closes his book. “I bet it would be a new and novel experience for most of you too!”
Lady Gladys wanders across the room, toying with the long string of pearls about her neck and takes a seat, just as Lettice appears at the door of the drawing room.
“Oh, do come in Lettice,” Lady Gladys says warmly from a corner of the Knole sofa* upholstered in William Morris’** ‘Strawberry Thief’ fabric. “Come and sit with me.” She softly pats the cushion next to her, the action emitting a small cloud of dust motes.
“Thank you Lady Caxton.” Lettice replies as she walks across the room, squeezing between the clusters of chairs and occasional tables, some occupied by the late arriving guests, including Dickie and Margot, playing a range of parlour games on offer from the Gossington games cupboard.
“Ah!” the hostess wags her finger admonishing at Lettice. “I might be older than your mother, my dear, but here, we are egalitarian. We are all on a first name basis. I am Gladys and Sir John is just, John. Hmmm?”
“Very well, thank you, Gladys.” Lettice replies awkwardly, a little startled by this revelation, as she sits on the opposite end of the sofa, closest to the fire.
“Gladys is an old Fabian*** from before you were born, Lettice.” Sir John adds with a kindly wink from his seat opposite her.
“Not so much of the old, thank you John!” Gladys remarks, pretending to be offended. “Remember, I’m younger than you.”
“That doesn’t say much when you compare yourself to all these youngsters!” He waves his hand about the room.
“That’s why I like young people,” Gladys smiles indulgently at Lettice, directing her comment to her rather than her husband. “They help keep me young with their talk of nightclubs, the latest shows and the like.”
“More like it gives you fodder for your next novel, Gladys.” He looks lovingly at his wife, a mischievous glint in his sparkling blue eyes and a cheeky smile playing across his lips. “Writing vicariously through others.”
“It pays to keep up to date with the latest trends, John. I don’t want to fall out of fashion.”
“I don’t think your novels will ever fall out of fashion, Lady… err, Gladys.” Lettice remarks magnanimously.
“You’re a flatterer, that’s for certain!” Lady Gladys chuckles. “You’ll get on. I shall graciously accept your compliment.” Her pale, wrinkled face stills for a moment as a far away look glazes over her eyes. “We none of us think we will fall out of fashion, but we do, in one way or another – especially as we get older. Take this room for example. Decorated in what was once the height of fashion. Would you decorate your home in this way, my dear Lettice?”
From her vantage point, Lettice gazes around the room. Looking at the William Morris ‘Strawberry Thief’ pattern on the sofa, woven carpet and the Morris ‘Poppies’ wallpaper, Lettice estimates the room, like most around the grey stone castle, were decorated in the late Nineteenth Century during the heyday of the Arts and Crafts Movement. A hotch-potch of furnishings that jostle comfortably for space suggests a period of prosperity driven acquisition over the ensuing years up until the Great War, yet each piece is of high quality and well made, implying her hosts’ dedication to the arts, as do the ornaments that cover surfaces around the room, all of which are beautiful and handmade. Old paintings of Scottish landscapes remind Lettice of Sir John’s proud heritage, whilst the large number of books tell her of Lady Caxton’s literary pursuits and success.
“Oh, I think it’s charming,” Lettice replies. “You obviously have an eye for fine workmanship and artistry.”
“But?” Lady Gladys picks up Lettice’s unspoken thought.
“But no, I wouldn’t decorate my home like this.”
“That’s the correct answer, Lettice.” Lady Gladys replies kindly. “And, if I were your age, I wouldn’t either. It’s fusty and old fashioned.”
“It is lovely though, and all my modern ideas would look out of place in a room like this. You need to have older things here, not what is fashionable and up-to-date. It would look out of place.”
“Tea, Lettice?” Gladys leans forward towards the low beautifully hand embroidered footstool before her and picks up an empty cup. “Or would you prefer coffee?”
“Oh, tea will be fine Lady Cax… err, I mean, Gladys.” She chuckles awkwardly at such familiarity with people she barely knows. “White and one sugar, please.”
“Good. I’ve never been one for coffee myself.” Lady Gladys pours tea from the silver pot into the cup over the sugar, and adds a slosh of milk, before she passes it to Lettice to stir. “I do hope you found your room to be satisfactory, Lettice.”
“It’s lovely. Thank you. I shall feel like Sleeping Beauty when I retire.”
“Hhmmm,” Gladys smiles understandingly. “Yes. I thought you’d like the décor in there.”
“The Art Nouveau wallpaper is lovely. It is William Morris, like in here, is it not?”
“Yes,” Lady Gladys remarks with a surprised lilt in her voice. “How clever of you to notice. It’s ‘Sweet Briar’, so your reference to Briar Rose is most apt, my dear.”
“My Aunt Eglantine has it in her bedroom in Chelsea. She loves William Morris too.”
“And you, Lettice? Do you like William Morris?” Lady Gladys asks.
“I like a mixture of old and new, Lad… Gladys. I think a well placed antique on a modern table adds elegance, and I think a William Morris cushion,” She pulls the cushion from behind her back and looks at it thoughtfully. “Could look splendid as an accent on a plain coloured settee.”
“How is Eglantine?” Sir John asks, changing the subject as he takes a sip of his own cup of tea.
“I didn’t know you were acquainted with my Aunt, Sir John, until my aunt told me of my invitation to this weekend.”
“Just John, my dear.” he corrects Lettice politely, causing her to blush. “Remember the old Fabian in the room.” He nods at his wife. “And yes, Gladys and I have similar artistic and literary pursuits to her, so we know Eglantyne quite well.”
“I have some of her pieces,” Lady Gladys remarks proudly and indicates firstly to two dainty pots of hand painted petunias on the mantlepiece, which are part of Eglantyne’s pre-war work, and then to a pedestal next to a very full bookcase, where one of Lettice’s aunt’s more modern pottery pieces sits. “She is a wonderful ceramicist and artist. She can create such beautiful sinuous lines in pottery. It really is remarkable.”
“She doesn’t do that so much now,” Lettice remarks.
“That’s a pity.” Lady Gladys replies a little sadly. “It’s a shame to waste such a gift.”
“Her arthritis slows her somewhat when it comes to ceramics, and she is seldom happy with the results. She’s following different pursuits these days.”
“She paints now, doesn’t she?” Sir Caxton asks.
“She does… John. She’s currently painting a piece for the Royal Academy.”
“Excellent! We shall look forward to seeing that, shan’t we Gladys?”
“Oh indeed, John. And of course, she has her embroidery.” Lady Gladys adds.
Lettice laughs softly. “I fear sometimes that if I sit still in her drawing room for long enough, one day she might embroider me.”
A thunderclap breaks outside. It’s noise echoes through the atmosphere inside, sending a collective shiver through the guests in the room.
“I told you, John. Pheobe and the others are sure to get rained upon now.” She glances around the high wing of the Knole sofa to the window. Looking back at Lettice, she picks up her own teacup and tops it up with tea from the pot before continuing, “Pheobe, our niece and ward, has taken all the other young guests for the weekend on a ramble about the estate to help everyone work up an appetite for dinner. I do hope they will be back soon, especially now that it’s going to pour.”
“I bet they all went to the pub in the village for a lark.” Dickie remarks from where he sits. “And they are quite cosy and warm in there. They’ll be back when they are good and ready.”
“You may be right, young Dickie!” Sir John chortles.
“I’m puzzled,” Lettice says, her face crumpling up in thought. “As to why you asked me here for the weekend.”
“Puzzled, my dear?” Lady Gladys asks.
“Yes. I must confess I was very surprised to receive your kind invitation – delighted, but surprised. I mean, we’ve never met as far as I’m aware. Is it because of your connection to my aunt?”
“Well, that does have a little to do with it, Lettice,” Sir John explains. “You are your aunt’s favourite niece…”
“She says that to all of us Si… err, John.”
“Well, be that as it may, she has spoken to us about you and your talents over many years, particularly since you have come of age. However, Gladys and I keep our own eye on the artistic scene in London, so your name has been mentioned to us a number of times on different occasions.”
“Really?” Lettice asks in astonishment.
“Oh yes,” adds Lady Gladys. “Surely you must know that you’re gaining quite a reputation now, for your stylish interior designs.”
“Especially after that article in Country Life, showing the work you did for Margot and Dickie,” Sir John nods in the direction of the couple, ensconced together on an Art Nouveau sofa, happily playing cards. “It looked wonderful! So fresh and elegant with all those clean lines that are so fashionable now.”
“We did so want to finally meet you, dear Lettice.” Lady Gladys adds.
“Well,” Lettice blushes. “I’m very flattered, and honoured to be invited to Gossington. Your weekend parties are famous for being filled with fun and enjoyment.”
“Then I hope we shall not disappoint, dear Lettice.” Sir John beams.
“I’m sure with the return of the others, you won’t be starved for wit and aristocratic intelligentsia.” Lady Gladys adds. “Your aunt tells us that you can be quite witty yourself, and you obviously have intelligence amongst other attributes.”
Lettice notices a look exchanged between her two hosts but can’t read what it means.
“Ahem, Lettice,” Sir John clears his throat awkwardly. “I’m afraid that Gladys and I have a confession to make.”
“A confession?”
“Yes,” Lady Gladys explains. “I’m afraid that we’ve invited you here with an ulterior motive, my dear.”
“Oh?”
“Not that we aren’t delighted to have you here for your charm, beauty and obvious intelligence.” Sir John assures her with hands raised in defence.
“Yes.” Lady Gladys soothes in agreement with her husband. “As I said before, we’ve heard such great things about your interior designs, so you are under no obligation to agree to our request.”
Lettice suddenly looks about the room again, her eyes darting anxiously from surface to cluttered surface as she makes a calculated assumption. Her eyes grow wide and her cheeks pale. “You’re your request, La… Gladys?”
“Gladys my dear, you’ll scare the poor girl! She’ll think we want her to redecorate this old pile of stones from the cellar to the battlements.”
“Oh no!” Lady Gladys assures Lettice. “We don’t want you to redecorate our home! No, I have far too many treasures here to ever think of parting with. Good heavens no!”
“Then what?” Lettice asks cautiously.
“Well, it’s Pheobe.” Lady Gladys explains. “She’s moving to London. Now that she’s of age, she has decided to pursue a career in garden design, and she’s been accepted to a school in Regent’s Park associated to the Royal Academy, so she’ll be in London more often than she has been.”
Lettice looks on, puzzled and unsure as to how she can be of service to her hosts’ ward. “You want me to decorate her rooms in your London townhouse?”
“Oh no my dear!” Sir John defends. “Like here, our London house is very much an Arts and Crafts relic.”
“No. Pheobe’s father, my youngest brother Reginald, was part of the civil service in India before the war.” Lady Gladys continues. “He and Pheobe’s mother, Marjorie, died of cholera out there.”
“Oh, I am sorry.” Lettice says sadly, putting her hand to her chest.
“Thank you my dear. My brother bought a pied-à-terre**** in Bloomsbury for when they were in London.”
“Gladys actually lived in it when she worked as my secretary before she married me.” Sir John adds.
“Yes.” Lady Gladys acknowledges. “Anyway, when Reginald died, he bequeathed his pied-à-terre to his only surviving child, Pheobe. It was to be held in trust for her by us until she came of age. Now she is of age, we’re giving her the flat to live in. It will be more efficient, as when we go to London, we take staff from here, and when we aren’t in London, there is only a caretaker looking after the house. Pheobe can manage the flat without the need for any live-in staff, and she can finally have some independence from us, which I suspect she craves.”
“The flat hasn’t been redecorated since Reginal and Marjorie lived there.” Sir John adds.
“It’s so old fashioned.” Lady Gladys agrees. “It isn’t good for Pheobe to live in a flat surrounded by the ghosts of parents she hardly even knew. You’ll be sitting next to her at dinner tonight, and dear Nettie, who has some considerable sway with Pheobe. We’ve suggested that Pheobe talk to you herself. We’ll obviously foot any bills if she likes your ideas, which we’re quite sure she will. Will you consider it, my dear Lettice? It would be such a great favour to us, and to Pheobe of course.”
“Well, I’ll certainly consider it, Gladys.” Lettice replies.
“Splendid! Splendid!” Lady Gladys claps her hands in delight. “I knew you’d be open to the idea!”
*The original Knole Settee (also known as the Knole Sofa) is a couch chair that was made in the 17th century, probably around 1640. It is housed at Knole in Kent, a house owned by the Sackville-West family since 1605 but now in the care of the National Trust. It was originally used not as a comfortable sofa but as a formal throne-like seat on which an aristocrat or monarch would have sat to receive visitors. It was wide enough that a monarch and consort could be seated side by side. As of 2021, it is kept at Knole House in a transparent case.
**William Morris (24th of March 1834 – 3rd of October 1896) was a British textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co.
***The Fabian Society is a British socialist organisation whose purpose is to advance the principles of social democracy and democratic socialism via gradualist and reformist effort in democracies, rather than by revolutionary overthrow. The Fabian Society was also historically related to radicalism, a left-wing liberal tradition.
****A pied-à-terre is a small flat, house, or room kept for occasional use.
This very cluttered and overstuffed room may appear like something out of a historical stately country house, but it is in fact part of my 1:12 miniatures collection and includes items from my childhood, as well as those I have collected as an adult.
Fun things to look for in this tableau include:
The Knole Sofa covered in William Morris’ ‘Strawberry Thief’ pattern comes from Mick and Marie’s Miniatures in the United Kingdom. The cushions on it, and on the Savonarola chair opposite also feature the Morris ‘Strawberry Thief’ pattern in 1:12 size, and came from an American seller on E-Bay. The Savonarola chairs are made by high-end miniature furniture manufacturer JBM Miniatures.
The large embroidered footstool in front of the fireplace was made by the high-end miniature furniture maker, Bespaq, but what is particularly special about it is that it has been covered in antique English floral micro petite point by V.H. Miniatures in the United Kingdom, which makes this a one-of-a-kind piece. The artisan who made this says that as one of her hobbies, she enjoys visiting old National Trust Houses in the hope of getting some inspiration to help her create new and exciting miniatures. She saw some beautiful petit point chairs a few years ago in one of the big houses in Derbyshire and then found exquisitely detailed petit point that was fine enough for 1:12 scale projects.
The small round footstool in front of Sir John’s Savonarola chair has been hand embroidered as well, and was acquired from Kathleen Knight’s Dolls House Shop in the united Kingdom.
The silver tea and coffee set on the large embroidered footstool, consisting of milk jug, sugar bowl coffee pot and teapot come from Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. The silver tray upon which they stand also comes from Warwick Miniatures. The four dainty floral teacups with gilt edging scattered about the room are part of a larger tea set that I acquired from Beautifully Handmade Miniatures in Kettering.
The books on the table to the left of the photograph between the two Savonarola chairs are 1:12 size miniatures made by the British miniature artisan Ken Blythe. They are novels written by Sir Arthur Conan Doyle. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. These books are amongst the rarer exceptions that have been designed not to be opened. Nevertheless, the covers are copies of real Victorian bindings. What might amaze you even more is that all Ken Blythe’s books and magazines are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The wonderfully detailed red and white chess set in the foreground of the photograph came from Kathleen Knight’s Doll’s House Shop in the United Kingdom. The set came in its own hand crafted compartmented wooden box with a working sliding lid which can be seen just in front of the Pig-a-Back and Ludo game boxes. The chess game is set up correctly with a match in progress. I wonder who will win? The table on which the chess game is being played comes from Mick and Marie’s Miniatures in the United Kingdom, whilst the two red velvet seated chairs drawn up to it, I acquired from an auction some years ago. The pieces date from the 1970s and are very well made.
The box of Ludo and Pig-a-Back are both 1:12 artisan pieces, produced authentically to scale with great attention to detail by Little Things Dollhouse Miniatures in Lancashire.
Sir John and Lady Gladys’ family photos on the mantlepiece are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are from various suppliers, but all are metal. Only one, the larger square frame at the back, leaning against the tall blue vase on the left-hand side of the mantle is sterling silver. I t was made in Birmingham in 1908 and is hallmarked on the back of the frame. It has a red leather backing.
The two small vases of primroses on the mantle are delicate 1:12 artisan porcelain miniature ornaments made and painted by hand by ceramicist Ann Dalton.
The two dark blue double handled gilt vases with floral banding at either end of the mantlepiece, I have had since I was a child. I was given them as a birthday gift when I was nine.
The two tall blue glazed jugs featuring irises at either end of the fireplace came from Mick and Marie’s Miniatures in the United Kingdom, as did the brown glazed jug on the tall pedestal in the corner of the room next to the bookcase.
The grey marble French barrel clock on the mantlepiece is a 1:12 artisan miniature made by Hall’s Miniature Clocks, supplied through Doreen Jeffries Small Wonders Miniatures in England.
The Georgian style fireplace with its heavy wooden surround and deep mantle in the background was made by Town Hall Miniatures supplied through Melody Jane’s Dolls’ House Suppliers in the United Kingdom.
The glass fronted bookcase is a replica of a bookcase belonging to Abraham Lincoln and is part of the Lincoln Collection, made and distributed in America.
Lady Gladys’ book collection inside the glass fronted bookcase are 1:12 size miniatures made by the British miniature artisan Ken Blythe. Ken Blythe was famous in miniature collectors’ circles mostly for the miniature books that he made: all being authentically replicated 1:12 scale miniatures of real volumes. I have quite a large representation of Ken Blythe’s work in my collection. Each book is a 1:12 replica of a life sized volume with an authentic cover. To create something so authentic to the original in such detail and so clearly, really does make these miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago and through his estate courtesy of the generosity of his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The paintings hanging on the walls are all 1:12 artisan pieces made by Amber’s Miniatures in the United States. The wallpaper is William Morris’ ‘Poppies’ pattern, featuring stylised Art Nouveau poppies. William Morris papers and fabrics were popular in the late Victorian and early Edwardian period before the Great War.
The miniature Arts and Crafts rug on the floor is made by hand by Mackay and Gerrish in Sydney.