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Hand drawn Sticker of Characters from the Splatoon Series. Currently available: Shiver, Frye, Big Man (Deep Cut), Callie and Marie (Squid Sisters), Pearl and Marina (off the Hook), Agent 3 (Splatoon 3/Splatoon 1), New agent 3, Little Buddy, Inkling Girl, Inkling Boy, Spyke, deadf1sh (Acht), Mr.Grizz, Agent 4, Harmony, Agent 8 and the Side Order Agent Octoling, Murch, Commander Tartar, Captain Cuttlefish, C. Q. Cumber and DJ Octavio, Octoling Soldier, Sanitized & Fuzzy Octoling Rival The sticker are not waterproof If you have any questions or want a certain Splatoon character to be drawn that is still missing, feel free to let me know! SHIPPING INFORMATION: International Standard Shipping from Germany can take up to: 1-3 weeks (inside of Europe) 2-6 weeks (outside of Europe) (it often arrives earlier, but this is the estimated time) Tracking is not included Feel free to message me if there are any problems with the delivery.

This mix of intriguing subjects and beautiful composition enamoured us so much that we asked Mathieu to shoot seven of his current favourite people just for us.

Portrait of a Boy, by Jan Roos, circa first quarter of the seventeenth century. Pete Mitchell, also known as Dust Maker, from the Ponca tribe in Northern Nebraska, by Frank Rinehart, 1898. The Dolly Sisters, 1923. Louis-Antoine de Gontaut-Biron, duc de Biron as a peacock, French School, circa middle of the eighteenth century. Photograph by William Vanderson, 1936. Academic study, by Hippolyte-Dominique Holfeld, 1831. 1855. The dancer Marianne Cochois, attributed to Antoine Pesne, circa 1723. Louise-Rosalie Lefebvre, dite Madame Dugazon, dans le rôle de Nina, French School, circle of Vigée Le Brun, circa 1780s. Lilacs, by Johan Laurentz Jensen, 1845. Baron Oscar Ruben von Rothschild at the age of ten, by Leopold Horowitz, 1898. Courtesy of Stephen Rutledge. The Martyrdom of Saint Denis, toile marouflée in the Panthéon, Paris, by Léon Bonnat, 1880. Portrait of a Lady, by Anton Einsle, circa 1840. Portrait d'un gentilhomme à cheval avec carrosse devant une porte monumentale, by François Duchatel, circa 1660s. Le Cavalier-1917, by René-George Gautier, 1927. Marie-Geneviève Gaudart de Laverdine, by Jean-Marc Nattier, 1734. Head of a Woman with a Flower Necklace, by Maurice Marinot, 1920. Afternoon dress, American, circa 1865. Academic study, by Auguste Mengin, 1871. This and the study below were obviously both drawn at the same time. Academic study, by Eugène Quignolot, 1871. Both were awarded a second prize at the Ecole des Beaux-Arts. The former Empress Joséphine, by Firmin Massot, circa 1812. Élégants dans un parc, French School, circa 1780s. Eskil Wahlgren, Sweden, unknown photographer, 1915. René Charles Dassy and his brother Jean-Baptiste-Claude-Amédée Dassy, by Jean-Hippolyte Flandrin, 1850. Henriette d'Angleterre, duchesse d’Orléans, school of Pierre Mignard, before 1670. The Sea, by James Abbott McNeill Whistler, 1865. Anna Passini auf dem Balkon des Palazzo Priuli in Venedig, by Ludwig Passini, 1866. A portrait of the artist's wife. Anna Passini died the same year this was painted, at the age of twenty-five, after only a year and a half of marriage; the portrait may have been posthumous. Dandelions, by Ludwik Stasiak, 1900. Frederick Douglass, circa 1840. Portrait of a Widow, by Pieter Borsseler, 1664. The Storks, by Louise Dubois, 1858. To the Sahara, by Yan Yugay, 2020. The Music Room/Family Portrait, English School, circa 1780s. Overture de la nouvelle galerie du LIDO aux Champs-Elysées, 1927. (I haven't been able to identify the illustrator "Laur...") Courtesy of Matthew Dennison. A Spring Hat and the City of Bath, series for British Vogue, by Norman Parkinson, 1948. Adrian Lukas Müller, by Franz von Stuck,1924. Madame Louis Cézard, by Paul Baudry, 1871. Traditionally identified as Elizabeth, wife of Bishop Andrew Downe, by Lemuel "Francis" Abbott, 1786. 1855. Marie Antoinette as a Vestal, attributed to Charles Emmanuel Leclercq, circa 1778. Copy of the above portrait, artist unknown. Las Vegas, New Mexico, 1900. Sumo, 1890. Tulips in a vase, Louis Valtat, 1923. Georges Haasen, by Félix Vallotton, 1913. Anarchist Louis Lingg, 1887. Römischer Park, by Ludwig Passini, circa 1880. The Bay of Naples, by Sebastian Pether, 1823. Studies of hands on breasts, by Antoine Berjon, circa late eighteenth to early nineteenth century. Youth Playing a Flute, by Hans von Schrötter, 1913. "May Queen", circa 1855-60. Gladiators After the Fight, by José Moreno Carbonero, 1882. Hendrik Andersen and John Briggs Potter in Florence, by Andreas Martin Andersen, 1894. The artist was the brother of the figure at left. The marquise de Sainte-Maure d'Origny as a Sultana, by Jacques-André-Joseph Aved "Le Camelot", circa 1743. Students at Howard University, 1946. Virginia's Dolls, by Douglas Stannus Gray, circa 1940s. Margherita Sparapani Gentili Boccapadule, by Laurent Pécheux, 1777. Paysage du Boulogne, by Félix Vallotton, 1919. Family portrait, by Adriaen Thomasz Key, 1583. Edna Smith in a Japanese Wrap, by Robert Henri, 1915. Hungary, 1925.

Alles über die Solarpunk-Trilogie von Marie Graßhoff.

Art.com | We Are Art We exist so you can have the art you love. Art.com gives you easy access to incredible art images and top-notch craftsmanship. High-Quality Framed Art Prints Our high-end framed wall art is printed on premium paper using non-toxic, archival inks that protect against UV light to resist fading. Experience unmatched quality and style as you choose from a wide range of designs to enhance your room décor. Professionally Crafted Framed Wall Art Attention to detail is at the heart of our process, as we exclusively use 100% solid wood frames that include 4-ply white core matboard and durable, frame-grade clear acrylic for clarity, long-lasting protection of the artwork and unrivaled quality. With a thoughtfully selected frame and mat combination, this piece is designed to complement your art and create a visually appealing display. Easy-to-Hang & Ready-to-Display Artwork Each framed art piece comes with hanging hardware affixed to the back of the frame, allowing for easy and convenient installation. Ready to display right out of the box. Handcrafted in the USA. Figurative Art Think reality delights? You bet your walls do too. So, why not introduce them to our collection of figurative art. Make acquaintance with inspiring muses of famous masters or get a glimpse of pop culture icons caught on camera. Any masterpieces you choose will give your space a unique story to share in our handcrafted frames. This genre of art involves a realistic depiction of living as well as inanimate objects. Artists like Jean Michel Basquiat, Norman Rockwell, and Banksy are renowned for giving a platform to cultural commentary and human experiences through their art. The Print This photographic print leverages sophisticated digital technology to capture a level of detail that is absolutely stunning. The colors are vivid and pure. The high-quality archival paper, a favorite choice among professional photographers, has a refined luster quality. Paper Type: Photo Finished Size: 16" x 16" Arrives by Wed, Jun 26 Product ID: 41823375382A

Don’t miss my special: ♥ Add 5 “The Jane Victoria” patterns to your cart and only pay for 4! ♥ Individual patterns only. The R. E. Linwëlin Mantelet Pattern _______________________________________________ Beautiful Victorian/Medieval hybrid sleeved mantelet pattern is all in one piece and two layers. Inspired by the smoke-filled streets of Sherlock Holmes’ London and the Misty Mountains that preceded them, this mantelet has long sleeves with pleat and ribbon detailing and a button-up adjustable turtle-neck collar. Will you solve a mystery in this mantelet or will you defeat a band of orcs? Having this pattern leaves the options completely up to you. The cape section drapes over the shoulders for added warmth and dramatic flare. This is a multi-sized pattern S,M,L and fits busts 36”-40” Please Remember To Measure Your Biceps Before Knitting Your Garment. Make adjustments to sleeves accordingly. The materials required are: 5-6 skeins of Lion-Brand Wool-Ease yarn or just under 1,000-1,200 yards any other Aran weight yarn 12 buttons 5/8” - 1” diameter 4 yards 5/8” - 1” satin ribbon 32” or longer 5.5mm (US size 9) circular knitting needles for magic loop method or DPNs 32” or longer 5mm (US size 8) circular knitting needles for magic loop method or DPNs An additional circular knitting needle in either size, or a pair of straights Tapestry needle Wool-Ease is an Aran weight yarn. If you use a smaller, worsted weight yarn, your project may be far too small. You will have to watch your gauge carefully. If you’re unsure, it will be best to use a heavy worsted or light bulky yarn if you’re not using Wool-Ease for your project

Amanda Marie, known internationally by her artist moniker Mando Marie, is an American painter and stencilist currently based in Portugal. Mando’s instantly recognizable characters draw their stylistic inspiration from Golden Age picture books, exuding a sense of childhood adventure and wonder. Adding a contemporary spin that reflects her street art savvy, Mando works primarily with […]

Regency Reader Question For the aristocracy, it was apparently all the rage to have a male French chef. However, the references I’ve found said that such men

She came to you in a dream, at the dinner table, in the shower. What did she tell you? Did she speak at all? Did her looks explain everything? The majority of writers understand they cannot completely control their characters. Why? When you create them they become their own person. The writer is just there to report the journey through the conflicts they made. (If you need help with conflicts, start here: Conflict and Character.) I've read from several reference books on how I go about creating characters. It's not so much that they help me come up with one, they help me dimensionalize (oh yes, new word) them into helping me create plot. Once you understand your characters it's easier to make the plot-plot-plotting as you type-type-type your pages. Your characters are the ones that move plot as they deal with the conflicts you've put in their way. Does that make sense? Comment if it does or doesn't. To figure out your character the best way is something we all know and love, but somehow we get the descriptors prioritized differently, perhaps wrongly. What do I mean: the color of your character's hair does not matter when it comes to the reader (unless it's purple, or it's an indicator into something else in the story, or both). The reader cares about caring: the heart, the mind, the soul. Create your character from the inside-out, and let the outside reflect inside. Designing Your Character Establish Goals and Motivations Prioritize Traits Believe The Lie Cue their "Aha" Moment Flesh Out the Face (and body...and hair) Here is my character template sheet I customized on Scrivener. If you don't have this application, I wish I could throw it into your computer right now, so you could get to work on it right away. But I can only send you this handy link from Literature & Latte. (It's a free trial; please take advantage! I adore Scrivener. It makes outlining and note-keeping so much easier. I'm an index-card kinda gal and this app really works for me. ) BRIE'S BODACIOUS CHARACTER TEMPLATE: Look at all that craziness. Okay. It's not totally crazy. Actually makes some sense. Are you ready for the explanations? Here we go: Establish Goals and Motivations This is foremost because this is your plot-driver. Your character is nothing without desire, and your book is plotless if the character isn't wanting enough to be motivated. Establish a concrete goal and figure out why they are motivated to achieve it. A motivation might be an over-protective family and the goal might be freedom to be their own person. I have a character who comes from an abusive household. She wants to be independent and do her own thing but her family restricts her. The motivation might also be the conflict. It depends and that's another subject. Focus! Prioritize Traits You don't want an info-dump to make the reader groan and toss your book aside (or over the fence...cough). Put your character in pieces throughout your story. What trait do you want to show first? Choose wisely. The first trait is the one that'll stick to them the entire book. Like a first impression. This trait will be in their first scene. Are they a womanizer? Lazy? Hot-headed? Family-oriented? You choose. And then choose another. Remember Shrek? Your characters are onions. Make them sweet, sharp, or purple (purple poppin' everywhere today!), but peel the layers one by one, and give your reader a taste. Just a taste. Believe The Lie The Lie is their belief. What do they strongly believe in? What are they convinced about that is their truth? Possible Lies: all women are manipulative See-You-Next-Tuesdays You can only rely on yourself money brings happiness people are too stupid to live independently killing murderers is not murder, it's justice K.M. Weiland wrote an excellent post on Believing the Lie and it's where I got all the questions for it: The Lie Your Character Believes Cue their "Aha" Moment Characters will grow. They will change. Their belief system may be shattered. An "aha" is the moment of realization. Their Lie will be put in the spotlight and crushed before the character's eyes. Truth rises from The Lie's remains and the character sees everything, from their first scene up to the "Aha" moment. What has changed? Why? How? If your character has no "aha" moment, there is no growth, and the reader will be left empty, and your book flying over their fence. Flesh Out the Face (and body...and hair) I said the outside should reflect the inside. Now is the time to look at their personality through their goals and motivators, their traits, and beliefs, and consider their physical appearance. A lot of factors come into play here: their location, origin, discipline, vocation, positive or negative traits, finances, etc.. You're not going to have a soldier with long hair and a beard (unless they're special ops) but maybe they have a tattoo that indicates something more. Or a woman who is very uptight and doesn't have a single wrinkle in her wardrobe. Maybe you have a rebel teen who can't afford a professional haircut, so they cut and dye their own hair against their parent's wishes. Physical descriptions are lesser priority than what will help move your story. There are a couple exceptions that I use, but they don't overrule the goals and motivations which push the characters through conflict. Ultimately, it's up to you. I have given you my template in hopes of inspiring you to build your characters with depth. My character sheet is from months of adding and subtracting what I need to make it work for me. As you can see, I have "Food" and "Song" as a helper. I'm a former chef who worked in the Navy for eight years. The culinary world is a part of me and I know how it feeds into people's lives (you see what I did there?). Favorite food might not be priority, but it gives me perspective on my character. Kinda like going out on a date with them outside the book and just seeing them as a person. That's this blog, by the way: Dating Your Characters. Their food doesn't even have to show up in the book; it's just something to help dimensionalize them. Just like the Song, which is my interpretation of their theme. When I need some motivation to write and need to get into a character's head, I have a playlist. But their theme song generalizes that playlist. For instance, my boy Caelum's song is "King Me" by Lamb of God. I listen to it if I need to and feel the anger, the frustration, the driving factor of him. That's why it's in the template. Add Song to your template, if it helps you. What would you add to your template? Would you take away anything? Please comment below and tell me if this helped or didn't help. I'd love to hear from you. I'm also on Facebook if you wanna stalk me there. Say Hi! Hi!

A Jacquard Loom The Jacquard loom was invented by Joseph Marie Jacquard in Lyon in 1801 to weave textiles, mainly silk. It stored weaving programmes in a series of punched cards. Usually, about 4,000 cards were used for each design, though a portrait of Jacquard [see below] needed 24,000 cards. I have seen one of these portraits [in the Cité des Sciences et de l'Industrie, Paris] and the quality is remarkable. Automatic looms were already in use but could only produce simple designs. Complex patterns had to be produced by hand weavers. The Jacquard loom allowed complex designs to be machine produced. In a process that was very reminiscent of that once used to create computer programs a design would be drawn on paper and a punch card machine would be used to create a set of cards. These were then stitched together. Card punch Once a set had been tested it could easily be duplicated on another specialised machine. Sets of cards could then be sold to other weavers or used on several machines simultaneously. Essinger claims that the Jacquard loom increased the productivity of weavers about 24 fold and transformed the Lyon silk weaving industry. A silk print of Jacquard produced on one of his looms Jacquard's invention was not completely original. It built on earlier work by three other inventors. Basile Bouchon invented a way to control a loom [see below] with a perforated paper tape in 1725. A year later his co-worker Jean-Baptiste Falcon improved the design by using perforated paper cards instead of a tape. This made it easier to quickly change programs. However, the Bouchon-Falcon loom was only semi-automatic. In 1745 Jacques de Vaucanson built on the work of Bouchon and Falcon and created the world's first completely automated loom. His invention attracted the hostility of hand weavers and was largely ignored. A Bouchon Loom The Jacquard loom separated a loom from the instructions used to operate it. This stored program concept can be directly traced to the architecture of modern computers. Jacquard did not invent the idea of separating a machine and the instructions to operate the machine [stored program concept]. That was done by Bouchon. Nor did he invent the idea of storing instructions on punched cards. That was done by Falcon. Jacquards contribution was to use the ideas of Bouchon and Falcon and produce an efficient and practical card controlled loom. Jacquard machines were soon employed in other industries. These cards were employed in Nottingham's [UK] lace industry. Jacquard is important in the history of computing because his loom influenced Charles Babbage who had the idea of using punched cards to control his Analytical Engine. Babbage certainly knew of Jacquard's device. He owned a copy of the machine woven portrait of Jacquard. Punched cards were also used by Herman Hollerith to input US Census data to his tabulating machines. Hollerith's contribution was to use punched cards to store data as well as programs. This was another important milestone in the development of modern computers. Punched cards were used extensively for data processing until the mid 1980s. IBM developed a range of powerful card processors. As electronic computers developed they slowly replaced the card processors. IBM card processing units In 1945 John von Neumann developed the von Neumann architecture for computers. This separated data from the programme used to process the data, and both from the computing device. Just as Jacquard separated silk, punched cards and loom. Essinger, J., 2007. Jacquard's Web: How a Hand-loom Led to the Birth of the Information Age New Ed., Oxford University Press. More Industrial Revelations [DVD] 2010 has an excellent episode [Cutting it Fine] on Jacquards Loom covering the inventions that preceded and followed Jacquards Loom. It also shows how the cards were produced. Paradise Mill is part of the Silk Museum in in Macclesfield. This mill was Macclesfield's last working Jacquard silk-weaving mill until its closure in 1981. Cheaper imported silks and high quality new synthetic materials made the production of silk in England an uneconomic prospect. It is a large mill and still houses over 20 original fully working Jacquard looms - each still capable of producing the kind of intricate and delicate woven patternwork that made Macclesfield famous throughout Britain for the production of fine silks These looms have been lovingly restored to their original working condition, and can be seen in operation during the guided tours organised by the Silk Museum.

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Marie Katherine Stewart (May 25, 1882 - October 9, 1956), also known as Marie Doro, was an American stage and film actress of the early silent film era. She was born on May 25, 1882, in Duncannon, Pennsylvania, as the daughter of Richard Henry Stewart and Virginia Weaver. Like many other young ladies, she started out in the chorus in musical comedy productions, finally performing as a single character in a program in San Francisco in 1903. From there, she went to New York and caught the eye of C

Louis Charles (the second son of Louis XVI and Marie Antoinette) had followed his parents when they were taken from Versailles to Paris by an angry mob in October 1789. When Louis XVI was executed on January 21, 1793, Louis Charles had become King Louis XVII automatically. At this time he was just eight years old. So far the little boy had stayed from his mother and his aunt but this was to change. Louis Charles in 1792 On July 3, 1793 Louis Charles was suddenly removed from his mother and taken to a windowless room in the Temple prison. Antoine Simon was appointed care-taker of the precious prisoner. Antoine Simon was determined to raise the child in such a manner that he would forget his royal inheritance and in this way not want to take the throne. During his imprisonment the little King was pressured on several occasions until he finally told his interrogators what they wanted to hear: that his mother, Marie Antoinette, had molested him sexually. These accusations were used against the dethroned Queen at her trial - of course the accusations were not true. But his mother was send to the guillotine nonetheless and Louis Charles had become an orphan. His prison cell (still barricaded) was filthy and as a consequence hereof Louis Charles fell ill. Louis Charles was alone for most of the time until a man with the name of Barras entered the cell on July 27, 1794. Barras would report that he had found the child severely neglected but Louis Charles himself never said anything about his treatment; it is quite possible that he was too afraid to do so. In 1795 (on June 8) he died of tuberculosis - alone in his dark cell.When the Bourbon dynasty was restored a lot of the documents of the Temple prison was destroyed which mean that we have very little written evidence of what actually happened to Louis Charles while he was imprisoned on his own. Originally, the body of the ten-year old King of France was buried in the cemetery of Ste. Marguerite. Recent research has revealed that the little boy who was reburied in Saint-Denis was indeed the son of Marie Antoinette; the identification was made with DNA from the child's heart. Depictions of Louis Charles' imprisonment The heart of Louis Charles - it was from here that DNA was taken Interrogation of Louis Charles "The Dauphin in the Temple" Louis Charles and Marie Thérèse (probably their last meeting)

À l'usage des plus grands, un recueil de toutes ces formulettes traditionnelles qui, depuis des siècles, font les délices des tout-petits.

Adélidélo dompteuse de colère ! von Marie-Agnès; Benaglia, Frédéric Gaudrat

yesterday would of been a bettr time to compare but anywheg i found old art 🔥🔥🔥

A diplomat, spy, and celebrated fencer, D'Éon lived the first half of life as a man and the second half as a woman.

This art piece belongs in our Wahine series creative directing and concept by ADRIENNE WHITEWOOD - beautifully shot by Amanda Ashton Models are Micaiah Jones and Stella Maris. Inspired by the postcards I saw of the guides of Whakarewarewa I loved imitating the obvious romanticism of the models and ever changing ideal of what Maori looks like in todays world. This image inspired by the Hongi (breath of life) Aroha Mai Aroha Atu (Love given love received) a beautiful postcard to send to a friend or frame in a set! Laser printed in Rotorua on 300gsm card size A5 148 x 210mm Envelope not included back is a beautiful bunch of fuchsia roses.