完全未発表の貴重な音源を収録したデラックス・エディションを発表するレッド・ツェッペリンのすべてをここに凝縮!! ジミー・ペイジの最新インタビューをはじめ、初期アルバム3作のボックス・セットの内容に肉薄!! さらにバンド結成時から解散、そして

MediaSlut's choice of the best international and local magazine covers: Süddeutsche Zeitung Magazin, Esquire UK, Sports Illustrated US, Yankee, IEEE Spectrum, Golf Digest South Africa and Marie Claire South Africa.

MediaSlut's choice of the best international and local magazine covers: Süddeutsche Zeitung Magazin, Esquire UK, Sports Illustrated US, Yankee, IEEE Spectrum, Golf Digest South Africa and Marie Claire South Africa.

French illustrator Aurélien Débat has already been featured in Socks with his "Imaginary City of Tamponville". The work shown here (titled: Lignes d'horizon) is an experiment with lines and textures, depicting sea landscapes. The project came into life as a small publication of 20 pages...

Hi Friends.... The past two weeks we have been working on Prefixes and Suffixes in our second grade classroom! My kiddos were having such a good time brainstorming words with prefixes and then figuring out the meaning. They really had a strong grasp of the concept... I will pretty impressed. After our whole group lesson on Prefixes and Suffixes, my kiddos completed my Prefix Presents Tab-Its and we just started working on my Suffix Stems Tab-Its on Friday. We will finish up Suffixes on Monday. Check out how they did.... Here they are working on my Suffix Stems! If you are interested in checking out these resources, click the images below. If you are looking for more Grammar activities, check out my Grammar Tab-Its… Here is just a sampling of what is included in my Grammar Tab-Its Resources! Thanks for stopping by!

Read Naša matematika 1 (udžbenik) by Školske novine on Issuu and browse thousands of other publications on our platform. Start here!

Es ist die Nacht vor dem Fest im uckermärkischen Fürstenfelde. Das Dorf schläft. Bis auf den Fährmann – der ist tot. Und Frau Kranz, die nachtblinde Malerin, die ihr Dorf zum ersten Mal bei Nacht zeigen will. Ein Glöckner und sein Lehrling wollen die Glocken läuten, das Problem ist bloss: die Glocken sind weg. Eine Füchsin sucht nach Eiern für ihre Jungen, und Herr Schramm, ein ehemaliger Oberst der NVA, findet mehr Gründe gegen das Leben als gegen das Rauchen. Niemand will den Einbruch ins Haus der Heimat beobachtet haben. Das Dorfarchiv steht aber offen. Doch nicht das, was gestohlen wurde, sondern das, was entkommen ist, treibt die Schlaflosen um. Alte Geschichten, Sagen und Märchen ziehen mit den Menschen um die Häuser. Sie fügen sich zum Roman einer langen Nacht, zu einem Mosaik des Dorflebens, in dem Alteingesessene und Zugezogene, Verstorbene und Lebende, Handwerker, Rentner und edle Räuber in Fussballtrikots aufeinandertreffen. Sie alle möchten etwas zu Ende bringen, in der Nacht vor dem Fest.

A curated exhibition at the Robert Mann Gallery in New York this summer explores the approaches of 11 artists who take a needle and thread to photographs.

Αν και μέχρι στιγμής δεν έχει τύχει να έχω Γ τάξη, συμπλήρωνα κάποιες ώρες το 2013-2014 σε μία τρίτη, συμμετέχοντας στο πρόγραμμα που πραγματοποίησε η δασκάλα του τμήματος Χριστίνα Μαρινοπούλου, στο πλαίσιο των καινοτόμων δράσεων στην Ευέλικτη Ζώνη. Σ' αυτή την ανάρτηση συγκέντρωσα τις εικαστικές δραστηριότητες που κάναμε με τα παιδιά στη διάρκεια του προγράμματος. Ξεκινήσαμε με τις βραχογραφίες των σπηλαίων! Αφού είχαν δουλέψει με τη Χριστίνα την αντίστοιχη ενότητα και είχαν δει σχετικές φωτογραφίες, έφτιαξαν τα δικά τους σχέδια με τέμπερες σε χαρτί. Χρησιμοποιήσαμε ελαφρώς κίτρινα χαρτιά, κόκκινη, κεραμιδί και μαύρη μπογιά. Ο καθένας έφτιαξε όποιο σχέδιο ήθελε. Αφήσαμε τα έργα να στεγνώσουν καλά και την επόμενη μέρα τα τσαλακώσαμε για εφέ ;-) και τα στολίσαμε στην τάξη. Αργότερα, δοκιμάσαμε να υφάνουμε σε αυτοσχέδιους αργαλειούς από γλωσσοπίεστρα και σπάγκο. Δεν χρησιμοποιήσαμε μαλλί, αλλά σπάγκο γιατί θέλαμε απλά να δούμε την τεχνική και να προλάβουμε να το ολοκληρώσουμε. Τους αργαλειούς τους είχα ετοιμάσει από πριν. Ένωσα τέσσερα ξυλάκια κατασκευών (τα μεγάλα) με σιλικόνη. Στη συνέχεια, έφτιαξα πέντε "χορδές" σε κάθε κατασκευή και τις σταθεροποίησα κι αυτές με σιλικόνη. Τα παιδιά πήραν από ένα κομμάτι σπάγκο που στη μία άκρη του ήταν δεμένο σε ένα ξυλάκι (κι εδώ έβαλα σιλικόνη για να μη φύγει) . Την άλλη άκρη την έδεσαν με κόμπο στην πρώτη χορδή και μετά ξεκίνησαν να υφαίνουν. Περνούσαν το ξυλάκι με το σπάγκο κάτω από την πρώτη, πάνω από τη δεύτερη, κάτω από την τρίτη χορδή κ.ο.κ. Όταν τις περνούσαν όλες, τραβούσαν τον υπόλοιπο σπάγκο και συνέχιζαν προς την αντίθετη κατεύθυνση αυτή τη φορά πρώτα από πάνω, μετά κάτω κ.ο.κ. Φτιάξαμε και την τοιχογραφία της άνοιξης με ψηφίδες από γλασέ και απλά χρωματιστά χαρτιά. Αρχικά την σχεδίασα, με τη βοήθεια της φωτογραφίας στο βιβλίο, σε χαρτί του μέτρου. Πέρασα όλο το σχέδιο με μαύρο μαρκαδόρο και μετά αρχίσαμε να κολλάμε τις ψηφίδες. Τις λεπτομέρειες τις ζωγραφίσαμε με μαρκαδόρους. Μας πήρε δυο-τρία μαθήματα για να τελειώσουμε, γιατί είχε αρκετή δουλίτσα. Για το δίσκο της Φαιστού, χρησιμοποιήσαμε πέντε πακέτα πηλού που στεγνώνει στον αέρα σε καφέ χρώμα. Κάθε ομάδα πήρε από ένα πακέτο πηλό, ένα ποτήρι νερό για να βρέχουν τα χεράκια και ξύλινα καλαμάκια για το σκάλισμα. Αφού κατάφεραν με λίγη δυσκολία να πετύχουν το σχήμα του δίσκου, τον τοποθέτησαν σε ένα χαρτί Α4 για να μην κολλήσει στο θρανίο και άρχισαν να γράφουν τις δικές τους ιστορίες στον πηλό με τα καλαμάκια τους. Αφήσαμε τους δίσκους στο περβάζι για να στεγνώσουν. Μια εβδομάδα μετά αφαιρέσαμε τα χαρτιά που είχαν κολλήσει στο πίσω μέρος και γράψαμε τα ονόματα των παιδιών της κάθε ομάδας. Αυτές ήταν οι δημιουργίες μας!! Δοκιμάσαμε διαφορετικά υλικά και τεχνικές για ποικιλία! Ελπίζουμε να σας άρεσαν!

The 100 greatest album covers of all time, from Elvis Presley to Public Enemy to Lana Del Rey.

For a Mexican country home, CC Arquitectos positions living quarters and stables side by side to forge a closer bond between human and horse. One man’s passion for horses inspired the design of his family’s vacation home, set in the mountains two hours from Mexico City. The linear, gable-roofed wood structure contains four bedroom suites that float above the ground floor’s reception hall and the expansive living and dining area, finished in wood and stone and outfitted with furniture by renowned French designer Christian Liaigre. Additional quarters for the household help are also included in the elongated volume. Partially depressed

The water convoy is attacked by forces unknown, plunging Mary into a conflict that she doesn't want, but one she can handle. With over a thousand kilometers to go, can she make it across the Sahara unscathed?

Michael Kagan’s artwork for White Lies’ record Big TV wins the Best Art Vinyl award for 2013. Chosen from a long-list of 50 covers designed for records released in 2013, White Lies’ Big TV has emerged triumphant in the public vote for best vinyl cover artwork, beating Paul Jackson’s work on Dan Le Sac vs. […]

Explore Joe Kral's 5579 photos on Flickr!

Free book cover templates for kids that can be used for a book report. This page also has reading clip art with blank book covers in various colors

A golden age for memoir and a fresh outing for old favourites Kim Philby and Queen Victoria – Paul Laity rounds up this year’s life writing

Good morning cute people! I wanted to show you the notebook cover that I designed for Quilts and More magazine:) I designed the notebook with Kassidy in mind… she loves a cute notebook for school and she likes to switch them up often. It's in the spring issue and is on the stands now! I was asked to participate in the Scrap Lab Challenge along with the amazing Carrie of Miss Rosie Quilt Co. and Patty Young of ModKid They also asked if they could use some FQ's from my Gracie Girl collection to design with. Patty designed an adorable skirt and Carrie designed the cutest bag! I've want to sew both of them too:) My simple notebook cover has a pocket on the inside front cover... and the inside back cover… there is plenty of room for stashing notes and homework sheets ...etc. The outside has a pocket as well… perfect for pens, pencils and of course a cell phone. The cover can easily be slipped off when the notebook is full and it can be washed if it gets dirty. It was so much fun designing this simple little project for such a fabulous magazine:) If you want to make one (or two) of your own… CLICK HERE to go to All People Quilt… and download the pattern. I love their website:) Have a quilty kind of day! xx Lori

Originally intended purely as tools for navigation, maps have long branched off from this practical function to become an unexpected medium for visual expression.

Read INNOVATIVE PATTERN CUTTING FOR GRADUATES + PROFESSIONALS 2014 by Innovative Pattern Cutting @ CSM on Issuu and browse thousands of other publi...

These stays are certainly the most complex cording project I've done, so I wanted to share how I've been going about it! First off, I'm using a totally different cording method than the ones shown in my Making a Corded Petticoat post. In both methods shown in that tutorial, the cord was put in place first and its channel was sewn around it. Those methods work just fine for a corded petticoat, but won't work very well for these stays. Instead, I'm sewing channels into the fabric first, then inserting the cording afterwards. As a reminder, this is the pattern I'm working with: Fabric Prep Since the criss-cross cording is the most difficult part of these stays, that's what we'll focus on. Each of the squares that make up the criss-cross pattern are only 0.25" wide, so they're very small and difficult to sew accurately. The space between each square forms the channel that the cord threads through. I'm using a green shot cotton as the pretty outer fashion layer of the stays, with two layers of thin but tightly woven white cotton as the strength layers. My stitches will go through all three layers of fabric, but the cording will be run between the two white layers of cotton. The first challenge was figuring out how to mark the stitching guidelines on the fabric. I could have made all the markings on the back of each piece, but I find that the top side of my stitching often looks a bit more precise than the back, so I needed a way to mark the green fabric so that I could stitch accurately, but not have the markings visible later. Squares marked with water soluble pen, with a penny for scale. At first I tried using a water soluble fabric marker that had a relatively fine tip. It showed up very well on the fabric, but since it is a marker and the fabric wicked the ink out a bit, the line it left was fairly thick. The thicker line made it very hard to see where exactly to stitch. Some of my test squares were more parallelogram than square, and the width of the squares varied between 5/16" and 3/16" wide. It may seem like I'm being overly picky, but that is a difference of 1/8", which means I was off in some areas by the width of half of a square! When working at such a small scale, even a little bit of deviation becomes extremely obvious. Wibbly wobbly stitching due to wide fabric marker guidelines. I considered using a fine mechanical pencil to draw more precise, accurate lines, but there were two potential issues. One, I was worried it wouldn't wash off well, leaving me with pencil lines all over my stays. Two, it's actually pretty hard to draw an accurate line on this fabric with a mechanical pencil, as the pressure of the lead warps and distorts the fabric as you're trying to draw. Can't draw a straight line b/c the pressure of the lead warps the fabric. Luckily, I was able to solve both issues at once with my favorite secret weapon: Mah super-sekrit weapon. Shh, don't tell! Starch has saved my butt on many a sewing project. Here, it serves two purposes. First, it stiffens the fabric so that it is almost paper-like, so now I can easily draw on it using the mechanical pencil without the fabric distorting. Now I can get perfectly straight, thin, highly accurate stitching lines! With starched fabric, no distortion! Comparison of marker lines vs mechanical pencil lines. Second, thanks to Lifeofglamour's various experiments with tinting starch for use on ruffs, I know that very often, pigments and dirt that are mixed in with or sitting on top of starch wash out without staining the fabric. When I tested this theory on my fabric, washing the starch out washed the pencil marks down the drain too! You can buy spray on starch or the liquid kind you dip your fabric into from the store, but thanks to Frolicking Frocks (dude, check out those petticoats!) I'm a convert to making my own out of cornstarch. My test stitching proves much more straight and accurate with the pencil guidelines, and after washing all evidence of the pencil lead is gone! Now that I've got that settled, the last step before stitching is to use a lightbox to trace my design onto the fabric. Stitching My original plan was to hand-stitch the stays, but I came to my senses after attempting a sample. I tried using my modern sewing machine, but it's very hard to stitch a line precisely 0.25" and stop in exactly the right place using the pedal control, so I pulled out the little Singer 99 hand crank machine I refurbished a few years ago instead. Remember this one? Isn't she pretty? With a hand crank, it's really easy to stop right at the exact number of stitches you want. A lot of fiddling and several tests later, I settled on a stitch length calibrated to precisely 1/16 of an inch, giving me squares that were 4 stitches wide on each side. Getting the correct stitch size is no mean feat on these old machines, since you set the length by screwing an unlabeled knob in or out as needed. That knob is the stitch length regulator. Notice the distinct lack of numbers or any useful markings of any sort? Now that I've got the length set, sewing each square is now as easy as starting the needle in the right place, sewing 4 stitches, sinking the needle on the 4th stitch, raising the presser foot, turning the fabric, putting the foot down again, sewing 4 more stitches, etc, all the way around the square. This leaves a bunch of thread tails all over the place. Of course I can't just trim them because the stitching would come out, so the loose threads are pulled to the back and tied off. Since I'm a bit paranoid about the knots coming undone, I put a dot of Fray-Check on each to prevent unraveling. Remember to test the Fray-Check on an inconspicuous spot first! My layers are thin, and on the first few knots I used too much and it soaked through to the front. Threads pulled to the back for tying. At first I was tying the threads after each square, but it's more efficient to sew several squares, then flip to the back and start pulling through/tying off. The problem with doing it that way is that those loose tails get in the way of stitching, and if you sew through the tail of a square a few rows down it's a mess to untangle. Luckily, I'm owned by two exceedingly furry felines, and thus have a clothing de-furring brush that doubles as a way to clear all my loose threads off to one side with a single swipe. Guess the fuzzbeasts are good for something. There's something like 200 tiny squares on just ONE front panel, plus more on each side panel, so you can see why this has been taking me a while! Cording After washing the starch out, drying, and pressing each piece, it's FINALLY time to stuff some cord in there. I'm using the same Sugar n' Cream cotton cord that I used in my corded petticoat. You'll want a cord of a width that fits fairly snugly in your channels, so choose accordingly, or stitch your channels to accommodate the cord you wish to use. I'm using a thick, blunt needle with a wide eye. Tapestry needles are perfect. The eye should be large enough that the cord just fits through it, but not so big that the needle won't fit through your channels with the now doubled cord in tow. I also have a pair needle nose pliers, because despite my best efforts, the eye of my needle still gets stuck in the fabric sometimes. When I made my last pair of corded stays, I broke the only good needle I had and swapped to one that was nearly the same, only sharp instead of blunt. It sorta worked, but the sharp tip kept shredding the fabric on both sides, and those scrapes later unraveled into larger holes, allowing the cord to poke out. I wouldn't have minded if they were all on the inside, but most of them were on the pretty outside! If all you can get is a sharp needle, grind the tip down. Holes in channels caused by sharp needle shredding fabric. Sadly, these are on the front, so they show when I wear it. On the backside of the stays, I poke the needle through just one layer of fabric right at the start of a channel. Since the needle is blunt, with some fabrics an awl is needed to start the hole. It takes a bit of practice to get the tip to go through just one layer of fabric, but practice makes perfect, right? Using an awl to start the hole. Threading the needle into the channel. Once inside, the needle is pushed down the length of the channel, dragging the cord behind it. It's tight, and I have to moosh (super technical term) and manipulate the fabric around the needle to move it along. Sometimes the pliers are necessary to pull the needle through the channel too. The eye is stuck at the entry to the channel, so I use pliers to help it along. At the opposite end, I poke the tip of the needle back out through the back fabric and pull it out, taking care to not pull all the cording out with it! The pliers are also super useful here, as the eye of the needle generally gets stuck on the way out. All the pushing and pulling on the needle is pretty rough on my fingers; using the pliers instead solves that problem. The downside is that I'm more likely to break a needle when pulling on it with the pliers. It's easier on my fingers to just use the pliers to pull the needle out. I don't trim the cord close to the fabric just yet; instead I cut it so there's about 1" still hanging out, then move on to the other channels. The places where the cords cross are a bit tricky to get through, but it's doable. Eventually I end up with a small forest of cord ends growing out of the back of the stays. Well that's a right mess. Once I've got a whole section done, I start trimming the stray tails. I cut the cord pretty close to the fabric, but not right flush with it. There are till some tiny tails hanging out. Trimmed close, with just a little bit hanging out. Then, without holding onto the cord, I tug on both ends of the channel, stretching the fabric slightly. Most of the tails pop back into their holes and disappear. A few are still sticking out a bit, but this is the inside of the garment, so I don't care overmuch. Gently stretching each channel. There are still holes at the start and end of each channel, but again, it's the inside, and they close up a little with time anyways. No more tails! Wow, that got lengthy! If any part of this tutorial isn't clear, let me know and I'll try to unmuddy it a bit. If you've got a cool cording project you're working on, show us in the comments! I've still got a few panels to go, so I'm off to the sewing table again for another late night.