Graphic Design
Contrast is one of the graphic design fundamentals not used to it's maximum capability. Learn how to create contrast by Color, Size, Shape, & Typography.
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Concepts for the Moon destination player gear. The overall fantasy was "Astro-shaman" with the visual design aiming to highlight the contrast between logic and superstition.
Completed in 2021 in West Karawang, Indonesia. Images by Mario Wibowo. The FW House is located in a clustered neighborhood that provides a tropical contrast against the busy streets of Karawang, which is known for its...
Side Effects in Steering Fragments Defining Side Effects using Dynamic Logic and Short-Circuit Logic Taschenbuch von Lars Wortel Details Autor: Lars Wortel EAN: 9783846514825 Einband: Kartoniert / Broschiert Inhalt: 92 S. Ausstattung / Beilage: Paperback Sprache: Englisch Seiten: 92 Maße: 220 x 150 x 6 mm Erschienen: 30.09.2011 Schlagworte: Informatik / Computerprogrammierung und Softwareentwicklung / EDV Beschreibung In programming practice, side effects are a well-known phenomenon. However, a formal definition of side effects is missing. Intuitively, a side effect of a propositional statement is a change in state of a program or model other than the effect (or change in state) it was initially executed for. In this book, I will check this intuition and I will give a formal definition of side effects. I will do so by modifying a system for modelling program instructions and program states, Quantified Dynamic Logic (QDL), to a system called Dynamic Logic with Assignments as Formulas (DLAf), which in contrast
Optical logical operations have sparked major interest in the past decade since they can enable many applications, particularly those involving high-throughput and on-the-fly data processing such as secured wireless communication and autonomous driving. However, the reported optical logic gates rely heavily on the precise control of input light/pump light, including the phase, polarization, and amplitude. Due to the complexity and difficulty in these precise controls, the two output states may suffer from an inherent instability and a low contrast ratio of intensity. Moreover, the miniaturization of optical logic gates becomes difficult if the extra bulky apparatus for these controls is considered. As such, it is desirable, albeit challenging, to get rid of these complicated controls and to achieve full logic functionality in a compact photonic system.
A futuristic, cyberpunk-themed "Brain War" between a highly advanced robot and a human, showcases a clash of logic vs. emotion. The robot's brain is a glowing, intricate circuit board with neon blue and purple hues, while the human brain is organic, pulsating with vibrant red and gold energy. Sparks and digital particles explode as their minds collide in a dark, dystopian cityscape filled with holographic elements and floating data streams. The contrast between sharp, metallic textures and soft, organic details creates a visually striking and thought-provoking scene. #BrainWar #RobotVsHuman #FuturisticArt #Cyberpunk #CircuitBoardBrain #OrganicBrain #NeonGlow #DystopianCityscape #HolographicArt #DigitalParticles #LogicVsEmotion #AIImagery #SciFiArt #Futurism #MindClash #TechVsHumanity
Introducing New Font : Giveny – Classy Serif Font Giveny – Classy Serif Font is a Classy serif font whose design refers us to the style of transitional serifs. The distinctive features of Giveny – Classy Serif Font are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized businesslike nature. Giveny – Classy Serif Font has been crafted from scratch with a structural logic of its own: a fusion of pure geometry and optical balance. By combining a variety of styles Giveny – Classy Serif Font is suitable for Logo, greeting cards, quotes, posters, branding, name card, stationary, design title, blog header, art quote, typography Giveny – Classy Serif Font also suitable for art, Classy
Misogyny is a hot topic, yet it's often misunderstood. What is misogyny, exactly? Who deserves to be called a misogynist? How does misogyny contrast with sexism, and why is it prone to persist - or increase - even when sexist gender roles are waning? In Down Girl moral philosopher Kate Manne argues that misogyny should not be understood primarily in terms of the hatred or hostility some men feel toward all or most women. Rather, it is primarily about controlling, policing, punishing and exiling the "bad" women who challenge male dominance. And it is compatible with rewarding "the good ones" and singling out other women to serve as warnings to those who are out of order. A powerful, lucid analysis of the logic of misogyny from a remarkable feminist thinker, Down Girl is essential reading for the #MeToo era.
Henrietta is a revival of a font by the same name that was (probably) designed in the 1980s. It’s a Souvenir rip-off. But a rip-off with its own underlying logic. One with defined departures from that ubiquitous soft serif queen. It has a flatness that keeps it from being an oldstyle, a warble that feels more Art Nouveau than it does Arts and Crafts, a tall x-height, thick terminals, low contrast, with a lot of the diagonality of Windsor. In every in use I found, the letters are spaced tightly. Its a typeface that tried to hit the zeitgeist. What stood out to me about it, made it worth reviving, is that it's an opinionated rip-off. The whole idea, with a rip-off, is to siphon off some sales from the real version, right? At what point did the creator of Henrietta decide to take some major artistic liberties? After I became aware of Henrietta, I started noticing it in the big dumb books I own. It's in the Solotype catalog, and in 1990’s Homage to the Alphabet: A Typeface Sourcebook. Actually, during the 80's and 90's it’s in a lot of sources. But it isn’t really in the world. Maybe it sucks! Maybe it died for a reason, and lacks some important detail that keeps Souvenir in the upper echelon of font sales. It certainly has some..failings? The numerals feel stiff and collaged from other faces. There's inconsistent contrast, and the diacritics and furniture ($, ø, ç), and several characters look entirely mis-weighted. Or maybe, just maybe, it was poorly marketed. But ultimately, I think it's really beautiful. I'm hoping by reviving it, I can learn who drew it in the first place.
Happy New Year, Everyone! Welcome to 2017! I hope that everyone is doing great and ready for the new year. Here is a new addition of poetry that will...
Featuring quality solid oak construction, the Leon Vanity combines the natural warmth of wood with sleek finishes like composite stone and metal hardware. This durable and stylish piece is functional as well, with generously sized cabinets and drawers that neatly house all your personal care items. Whether you're remodeling your guest or master bath, or just looking to freshen up your space, the Leon is sure to impress. Features · Constructed of imported solid oak wood and plywood for superior durability and long-lasting beauty. · Available in your choice of a beautiful Fir Wood Brown, Fir Wood White, Fir Wood Grey, Fir Wood Black or Washed White finish to complement your décor. · Four soft-closing doors and three sturdy, soft-closing dovetail drawers offer ample space for all your toiletries. · Adjustable wooden drawer inserts allow you to keep toiletries and other items neatly organized. · Brushed Gold or Matte Black hardware adds a cool touch of style and contrast against the textured wood. · 3.9"-thick, Lightning White or Reticulated Grey composite stone top lends a fresh and contemporary look, featuring 45-degree chamfered water retaining edges all around without backsplash. · Bright white ceramic undermount sink with overflow blends seamlessly with the stone vanity top. · Built-in UL-listed power and USB outlets offer a practical way to power beauty and grooming appliances. · Includes convenient hair dryer organizer that keeps your favorite tool within easy reach · Double, circular, aluminum-framed mirrors complement the vanity and tie it all together. (Mirror Option) · Countertop has a pre-drilled, standard 1-3/8" faucet hole. · High-quality hardware adds a touch of classic style and stunning contrast against the textured wood. · Designed for easy, no-hassle plumbing and faucet installation. · Freestanding bathroom vanity (without back panel) comes fully assembled for your convenience. · 1-Year Manufacturer Warranty—purchase with 100% peace of mind. *Does not include faucet, drain assembly, backsplash, or P-trap,Storage Cabinet. Comes fully assembled and ready to install in your bathroom. Vanity Dimensions: Item: #703872-FN/703872-FW/703872-FY/703872-FB-LW/703872-WW-LW · Cabinet: 71.6"W x 21.8"D x 33.3"H · Top: 72 in.W x 22"D x 3.9"H · Overall Dimensions: 72 in.W x 22"D x 34"H · Basin Depth: 8.3" All specifications are subject to change without prior notice.
A small Luft '46 project, but not an OOB kit but rather a massive kit conversion which comes close to scratch-building: the rather weird Messerschmitt 334, a true 'paper plane'. Some background The Me 334 (the project number's origins are not clear, the designation has never been officially accepted by the RLM) is one of the few plane designs that was intended as a conversion from a jet/rocket-powered plane into a piston-engine design, namely the Me 163 Komet. Due to the early unavailability of the Walter rocket engines for the Me 163 in 1942/43, the Me 334 was derived as an alternative. Dr. Lippisch, the Me 163' designer, modified this aircraft to accept a Daimler Benz DB 605 12-cylinder piston engine. The wings were taken from the Me 163. They were mounted mid-fuselage and swept back at a 23.4 degree angle. The main landing gear retracted inwards and the front gear retracted to the rear - a revolutionary design for its time. The DB 605 would drive a pusher propeller through an extension shaft, alle the way through the fuselage, and the vertical stabilizer was re-located under the fuselage as a protection for the propeller on the ground. Further development was abandoned when the Walter engines finally became operational and available, and Lippisch designed the P.20 as another evolutionary step of the basic design, but this time with a jet engine. The Me 334 was never built, and its performance can only be guessed. Sources consider the Me equivalent or even slightly superior to the contemporary Me 109G. General characteristics Crew: 1 Length: 7.0 m Wing span: 9.3 m Height: 3.72 m Wing area: 17.3 m² Aspect ratio: 5.0 Weight: 2.800–3.000 kg Performance: slightly better than a Me 109G Engine: 1 Daimler-Benz DB 605 with 1.475 hp Armament: Two MG 131 13mm machine guns on top of the engine cowl. The kit and its assembly Information and details are scarce, so I decided to take the same approach Dr. Lippisch did: take a Me 163, add a piston engine and see where it goes. The basis for my kit is a Me 163 from Academy - a very good model kit, which nor only comes with a tractor for the model but also offers two fuselage versions: the single seated interceptor and the two-seated trainer version. The latter would be perfect for my conversion, because I could use the complete rear cockpit and its interior! From this Me 163S, more or less the complete fuselage and the wings were taken, but donations from several other kits were used to "create" something that would resemble a Me 334 (all 1:72 scale): - Engine from a Matchbox Me 410 - Landing gear from a Hasegawa J7W Shinden - Main wheels from a Hasegawa XF8U - Main landing gear covers from an Italieri Fw 190D - Canopy from an Airfix P-38 - Propeller blades from a Matchbox Fw 190A - Air intake and jet fan parts from a Kovozavody Su-25 - Exhaust pipes from an Italierei He 111 Many other details like the front grille or the landing gear covers were built from scratch. Lots of putty was necessary to melt the engine and the fuselage into "one", as well as the P-38 canopy, which is actually a bit oversized for the tiny aircraft. The propeller was built from scratch - it is the tip of a supersonic drop tank, a wire shaft sits in a plastic tube in the plane's tail. The propeller blades come from a Matchbox Fw 190 - I thought that these characteristic, spade-like blades would add to the "German" look. All the landing gear wells had to be cut open manually, and filled with some details. This was easier than expected, just the front wheel bay was a bit difficult to install since it would be placed on the intersection of fuselage and engine. Since I am not certain what would be inside of the radiator intake in the Me 334's front, I decided to put a mesh inside and add a small fan which would be barely visible - a nice effect. I used the original cockpit from the Me 163 Academy kit, just added safety belts and a radio set behind the seat. Since fitting the canopy was rather complicated and messy, I left it unopened and without a pilot. Painting As a true "Whif" plane, total design freedom! But as usual with Luft '46 models, I tried to stay true to contemporary Luftwaffe camouflage and marking designs. The Me 334 would have been ready for trials in late 1943, so I thought that a machine from a fictional "Erprobungskommando 334" (or "EK 334" for short, a temporary testing unit, where a new type would be introduced to real life service, a common Luftwaffe practice at that time) would be fine. Since all-grey fighters were only about to appear at that time, I settled on conservative colours: * Wing surfaces in RLM 71/02 (Dunkelgrün/Grau, actually Humbrol #116 and Testors Testors #2071; it is a colour scheme that was common on Bf 109’s, after the original RLM 70/71 turned out to be much too dark an low in contrast) * Lower surfaces RLM 65 (Lichtblau, Humbrol #65) * Fuselage surface RLM 75/02 (Humbrol #106 Ocean Grey with additional mottles of Humbrol #140 Gull Grey) * All interior surfaces including the landing gear were painted in RLM 66 (Schwarzgrau). Markings come from the donation kit Academy Me 163 and from the scrap box. Among the extras are squadron batches and insignia for the technical officer’s plane (the chevron symbol with the dot instead of a number) from TL Decals, plus some ‘kill’ markings for planes and balloons on the tail fin, also from a TL Decals sheet.
+++ DISCLAIMER +++ Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE! A small Luft '46 project, but not an OOB kit but rather a massive kit conversion which comes close to scratch-building: the rather weird Messerschmitt 334, a true 'paper plane'. Some background The Me 334 (the project number's origins are not clear, the designation has never been officially accepted by the RLM) is one of the few plane designs that was intended as a conversion from a jet/rocket-powered plane into a piston-engine design, namely the Me 163 Komet. Due to the early unavailability of the Walter rocket engines for the Me 163 in 1942/43, the Me 334 was derived as an alternative. Dr. Lippisch, the Me 163' designer, modified this aircraft to accept a Daimler Benz DB 605 12-cylinder piston engine. The wings were taken from the Me 163. They were mounted mid-fuselage and swept back at a 23.4 degree angle. The main landing gear retracted inwards and the front gear retracted to the rear - a revolutionary design for its time. The DB 605 would drive a pusher propeller through an extension shaft, alle the way through the fuselage, and the vertical stabilizer was re-located under the fuselage as a protection for the propeller on the ground. Further development was abandoned when the Walter engines finally became operational and available, and Lippisch designed the P.20 as another evolutionary step of the basic design, but this time with a jet engine. The Me 334 was never built, and its performance can only be guessed. Sources consider the Me equivalent or even slightly superior to the contemporary Me 109G. General characteristics Crew: 1 Length: 7.0 m Wing span: 9.3 m Height: 3.72 m Wing area: 17.3 m² Aspect ratio: 5.0 Weight: 2.800–3.000 kg Performance: slightly better than a Me 109G Engine: 1 Daimler-Benz DB 605 with 1.475 hp Armament: Two MG 131 13mm machine guns on top of the engine cowl. The kit and its assembly Information and details are scarce, so I decided to take the same approach Dr. Lippisch did: take a Me 163, add a piston engine and see where it goes. The basis for my kit is a Me 163 from Academy - a very good model kit, which nor only comes with a tractor for the model but also offers two fuselage versions: the single seated interceptor and the two-seated trainer version. The latter would be perfect for my conversion, because I could use the complete rear cockpit and its interior! From this Me 163S, more or less the complete fuselage and the wings were taken, but donations from several other kits were used to "create" something that would resemble a Me 334 (all 1:72 scale): - Engine from a Matchbox Me 410 - Landing gear from a Hasegawa J7W Shinden - Main wheels from a Hasegawa XF8U - Main landing gear covers from an Italieri Fw 190D - Canopy from an Airfix P-38 - Propeller blades from a Matchbox Fw 190A - Air intake and jet fan parts from a Kovozavody Su-25 - Exhaust pipes from an Italierei He 111 Many other details like the front grille or the landing gear covers were built from scratch. Lots of putty was necessary to melt the engine and the fuselage into "one", as well as the P-38 canopy, which is actually a bit oversized for the tiny aircraft. The propeller was built from scratch - it is the tip of a supersonic drop tank, a wire shaft sits in a plastic tube in the plane's tail. The propeller blades come from a Matchbox Fw 190 - I thought that these characteristic, spade-like blades would add to the "German" look. All the landing gear wells had to be cut open manually, and filled with some details. This was easier than expected, just the front wheel bay was a bit difficult to install since it would be placed on the intersection of fuselage and engine. Since I am not certain what would be inside of the radiator intake in the Me 334's front, I decided to put a mesh inside and add a small fan which would be barely visible - a nice effect. I used the original cockpit from the Me 163 Academy kit, just added safety belts and a radio set behind the seat. Since fitting the canopy was rather complicated and messy, I left it unopened and without a pilot. Painting As a true "Whif" plane, total design freedom! But as usual with Luft '46 models, I tried to stay true to contemporary Luftwaffe camouflage and marking designs. The Me 334 would have been ready for trials in late 1943, so I thought that a machine from a fictional "Erprobungskommando 334" (or "EK 334" for short, a temporary testing unit, where a new type would be introduced to real life service, a common Luftwaffe practice at that time) would be fine. Since all-grey fighters were only about to appear at that time, I settled on conservative colours: * Wing surfaces in RLM 71/02 (Dunkelgrün/Grau, actually Humbrol #116 and Testors Testors #2071; it is a colour scheme that was common on Bf 109’s, after the original RLM 70/71 turned out to be much too dark an low in contrast) * Lower surfaces RLM 65 (Lichtblau, Humbrol #65) * Fuselage surface RLM 75/02 (Humbrol #106 Ocean Grey with additional mottles of Humbrol #140 Gull Grey) * All interior surfaces including the landing gear were painted in RLM 66 (Schwarzgrau). Markings come from the donation kit Academy Me 163 and from the scrap box. Among the extras are squadron batches and insignia for the technical officer’s plane (the chevron symbol with the dot instead of a number) from TL Decals, plus some ‘kill’ markings for planes and balloons on the tai fin, also from a TL Decals sheet.
In a rapidly digitizing world, businesses face an ongoing challenge to adapt and optimize their processes in order to stay ahead. One significant factor in this digital transformation is the choice of tools. It can drive business operations with agility, efficiency, and innovative flair. Microsoft’s PowerApps, an integral component of the Power Platform, emerges as an empowering solution, enabling users to build and deploy custom business applications quickly, without extensive coding expertise. Especially with the looming retirement of Microsoft InfoPath in 2026, many organizations are gearing up for this shift and are exploring the pathway of migrating from InfoPath to PowerApps. Decoding InfoPath Migration and Its Constraints Microsoft introduced InfoPath as an application aimed at creating, distributing, and filling electronic forms with structured data. It served as a simple yet powerful tool that allowed users to design forms with rich user controls, like text boxes, radio buttons, checkboxes, etc., which could then be integrated with SharePoint Lists and external data sources. While InfoPath was a stalwart for a considerable period, it has become increasingly clear that it has its limitations. One of the primary challenges is that InfoPath forms are platform dependent. Not only is it difficult to make InfoPath form controls responsive on mobile devices, but some of them aren’t even supported. Furthermore, InfoPath forms are tied to Internet Explorer, leading to compatibility issues with other popular browsers. Working with data from different site collections or non-Microsoft services is another difficult and complex task. Furthermore, InfoPath forms are only accessible from a browser with a SharePoint Enterprise license, which can be quite costly. Moreover, they are neither responsive nor scalable by today’s standards, and data is stored in XML format, which could lead to complexities in dealing with these files after Microsoft deprecates InfoPath. The Superiority of Power Apps In contrast to InfoPath, Microsoft PowerApps offers a dynamic, adaptable, and superior alternative. PowerApps facilitate the creation of custom forms and applications that are responsive across devices and browsers. It can easily integrate with other Microsoft products and a wide range of external data sources. PowerApps stands out for its ability to simplify the movement and automation of manual business processes through its rich business logic and workflow capabilities. Notably, applications built using PowerApps can be developed without writing code, yet they allow programmatic interaction with data and metadata, application of business logic, creation of custom connectors, and integration with external data. PowerApps is not merely a tool for developers; it empowers end-users to create applications tailored to their specific needs. It supports a more intuitive user experience with its diverse set of controls and capabilities. It a potent instrument for digital transformation. Microsoft has been striving to make PowerApps more streamlined and user-friendly. Its continuous updates since its announcement in 2016 as the successor to InfoPath forms. InfoPath to PowerApps Migration The transition from InfoPath to PowerApps requires a careful and systematic approach. There’s no direct way to migrate InfoPath forms into PowerApps without building them from scratch, making it challenging, especially for those with minimal technical skills when it comes to app building. If you’re going to redo all of your customized forms, it’s an opportunity to improve them and your business logic at the same time. The first step in this process is to conduct an in-depth assessment of the existing InfoPath forms to understand their functionalities, complexities, and integrations. Documenting the business rules, data sources, and user interface details for each form is vital to this stage. Next comes designing the new PowerApps. This includes designing the user interface, configuring the data connections, and implementing the necessary business rules. Microsoft provides extensive resources, tutorials, and support to help users design and create their custom apps. The next phase involves testing the newly designed PowerApps to ensure their functionality matches the existing InfoPath forms and to check for any glitches or bugs. This step is crucial to avoid disrupting the business process during the transition. Following a successful testing phase, the PowerApps can be deployed in a phased manner. By replacing the InfoPath forms as they are phased out. Adequate user training is also a vital part of this transition, ensuring that all users understand how to operate the new applications. Despite the challenges this migration can bring, it is an opportunity to review and optimize business processes. The adoption of PowerApps brings a wealth of advantages such as improved user experience, enhanced data integration, and streamlined business operations. Securing Successful Migration With any digital transformation, the journey from InfoPath to PowerApps migration can seem daunting, but taking a methodical and strategic approach can ensure its success. Some of the key aspects to consider in ensuring a successful migration include: Understanding the present InfoPath form functionality: This step is crucial for determining what needs to be replicated in PowerApps. Involving users in the process: User input is valuable for creating an app that meets the requirements and expectations of its users. Adequate training: Since PowerApps has a different user interface and functionality from InfoPath, it is important to provide sufficient training for users to feel comfortable and proficient using the new apps. Utilize Microsoft’s resources: Microsoft provides a range of resources and support for PowerApps. Leveraging these tools can help to simplify and guide the migration process. In conclusion, the migration from InfoPath to PowerApps represents a significant shift towards digital transformation and modernization of business operations. While the journey may present challenges, it offers an opportunity for businesses to improve their processes. It will embrace a more flexible and versatile platform for your business. Microsoft PowerApps is an innovative tool that is reshaping the digital landscape and propelling organizations forward in a rapidly changing world. Veelead is adept at transforming your business operations with InfoPath to PowerApps migration. Our team is equipped with the skills and resources necessary to make this transition seamless and beneficial for your organization. Don’t hesitate to reach out to us for more information on how we can tailor this solution
In October 1947, the Musée de l’Orangerie arranged a large posthumous exhibition of Bonnard’s work. Towards the close of the year, an article devoted to this exhibition appeared on the first page of the latest issue of the authoritative periodical Cahiers d’Art. The publisher, Christian Zervos, gave his short article the title “Pierre Bonnard, est-il un grand peintre?” (Is Pierre Bonnard a Great Artist?) In the opening paragraph Zervos remarked on the scope of the exhibition, since previously Bonnard’s work could be judged only from a small number of minor exhibitions. But, he went on, the exhibition had disappointed him: the achievements of this artist were not sufficient for a whole exhibition to be devoted to his work. “Let us not forget that the early years of Bonnard’s career were lit by the wonderful light of Impressionism. In some respects, he was the last bearer of that aesthetic. But he was a weak bearer, devoid of great talent. That is hardly surprising. Weak-willed, and insufficiently original, he was unable to give a new impulse to Impressionism, to place a foundation of craftsmanship under its elements, or even to give Impressionism a new twist. Though he was convinced that in art one should not be guided by mere sensations like the Impressionists, he was unable to infuse spiritual values into painting. He knew that the aims of art were no longer those of recreating reality, but he found no strength to create it, as did other artists of his time who were lucky enough to rebel against Impressionism at once. In Bonnard’s works, Impressionism becomes insipid and falls into decline.” It is unlikely that Zervos was guided by any personal animus. He merely acted as the mouthpiece of the avant-garde, with its logic asserting that all the history of modern art consisted of radical movements which succeeded one another, each creating new worlds less and less related to reality. The history of modern art seen as a chronicle of avant-garde movements left little space for Bonnard and other artists of his kind. Bonnard himself never strove to attract attention and kept away altogether from the raging battles of his time. Besides, he usually did not stay in Paris for any length of time and rarely exhibited his work. Of course, not all avant-garde artists shared Zervos’s opinions. Picasso, for example, rated Bonnard’s art highly in contrast to his own admirer Zervos, who had published a complete catalogue of his paintings and drawings. When Matisse set eyes on that issue of Cahiers d’Art, he flew into a rage and wrote in the margin in a bold hand: “Yes! I maintain that Bonnard is a great artist for our time and, naturally, for posterity. Henri Matisse, Jan. 1948.” Matisse was right. By the middle of the century, Bonnard’s art was already attracting young artists far more than was the case in, say, the 1920s or in the 1930s. Fame had dealt strangely with Bonnard. He managed to establish his reputation immediately. He never experienced poverty or rejection unlike the leading figures of new painting who were recognized only late in life or posthumously — the usual fate of avant-garde artists in the first half of the twentieth century. The common concept of “peintre maudit” (the accursed artist), a Bohemian pauper who is not recognized and who readily breaks established standards, does not apply to Bonnard. His paintings sold well. To get a better insight into life and works of Bonnard, please continue this exciting adventure by clicking on Amazon US , Parkstone International, Ebook Gallery, Amazon Australia , Amazon UK , Amazon Canada ,Kobo, Google books , iTunes , Proquest , Scribd. Share via: Facebook Twitter LinkedIn Email Print Copy Link More
Dont you just love that ridiculous word? For those of you in the know, you are just as excited by it as I am, and for those of you who are just now thinking "what the #$%^&* is she talking about?," you are in for a treat. Pluckyfluff gave me my fledgling wings to fly back into painting. Pluckyfluff saved my creative life!! Alright, let me explain... Lexi Boeger is an art yarn spinning extraordinaire. She pretty much trail blazed the world of art yarn making. Online she goes by Pluckyfluff and I am so excited to add her blog to my list of inspirational reads on my side bar. My relationship with Art Yarn Making started when I was 7 months into Stay-At-Home-Motherhood, and my son was becoming seriously on the move, availing me very few options for a creative outlet without him having to eat it, wear it, or destroy it. I dont knit, I barely crochet, I had never weaved a thing at that point, but one morning while escaping the house to a local bookstore with my son (you other SAH moms know what I mean when I say "escaping"), I found Lexi's book. I couldnt help but pull it off the shelf and flip through, my jaw dropping and heart soaring with every page turn. I had never seen anything like it! She made yarn look like art! Pluckyfluff 2010 found here Textures, colors, shapes, contrast, interest, focal points, she incorporated all these art design elements into spun fiber. Pluckyfluff 2010 found here It blew me away and I bought the book and spent days on end studying the pages and the techniques described inside. It was at this same time that I was really struggling with feeling happy staying home all the time. I felt isolated, bland, dull, and BORED! I missed doing creative things. I had pretty much left all my artsy-ness behind in the wake of my graduate studies, pregnancy, and arrival of my first child. At the end of it all that sacred inner creative personality that I used to trust, rely on, and find passion in just faded away. (blogged about it a few months back here) Pluckyfluff 2010 found here But that moment I found this amazing book on making art yarn, a spark of that creative person ignited inside me. Pluckyfluff 2010 found here With no logic or plan behind it, I decided to enroll in a yarn spinning class that next month. (BTW never failed to be a very funny moment for me when I tell someone that I am taking a spinning class and they ALWAYS assume I was going to a gym). Three months later, I was spinning yarn, playing with colors, textures, crazy combinations, and themes. It felt like painting! My Pluckyfluff Inspired Ballerina Yarn 2008 I started to feel that excitement, that rush of energy and intensity of life I remembered from my painting days, only this was not a messy toxic thing for my child to play in, and (glory be!) I could work on it for a few minutes at a time then tend to baby and come back hours later without worry of drying paint or ruining brushes. It was heavenly! My Very First Art Yarn! 2008 But it did result in a TON of crazy arty yarn that was mostly useless for anything except making funky wool beanie hats and scarves (never very popular in the 75 deg Florida winter) So I started trying to sell it on Etsy and eventually, when my son started warming up to having sitters and gave me chunks of time to myself, I worked up the courage to paint again. But I will always have a soft place in my heart for Pluckyfluff Art Yarn and my sweet Louet Spinning Wheel (which looks adorable collecting dust in my dining room right now) that gave me a push back into creating and art making. Take some time and check out Lexi's website, her blog, and of course the Book, you wont be disappointed, I promise. (PSST...speaking of art making, dont forget to enter in my giveaway this week! Spread the word and join in the fun :)
Dont you just love that ridiculous word? For those of you in the know, you are just as excited by it as I am, and for those of you who are just now thinking "what the #$%^&* is she talking about?," you are in for a treat. Pluckyfluff gave me my fledgling wings to fly back into painting. Pluckyfluff saved my creative life!! Alright, let me explain... Lexi Boeger is an art yarn spinning extraordinaire. She pretty much trail blazed the world of art yarn making. Online she goes by Pluckyfluff and I am so excited to add her blog to my list of inspirational reads on my side bar. My relationship with Art Yarn Making started when I was 7 months into Stay-At-Home-Motherhood, and my son was becoming seriously on the move, availing me very few options for a creative outlet without him having to eat it, wear it, or destroy it. I dont knit, I barely crochet, I had never weaved a thing at that point, but one morning while escaping the house to a local bookstore with my son (you other SAH moms know what I mean when I say "escaping"), I found Lexi's book. I couldnt help but pull it off the shelf and flip through, my jaw dropping and heart soaring with every page turn. I had never seen anything like it! She made yarn look like art! Pluckyfluff 2010 found here Textures, colors, shapes, contrast, interest, focal points, she incorporated all these art design elements into spun fiber. Pluckyfluff 2010 found here It blew me away and I bought the book and spent days on end studying the pages and the techniques described inside. It was at this same time that I was really struggling with feeling happy staying home all the time. I felt isolated, bland, dull, and BORED! I missed doing creative things. I had pretty much left all my artsy-ness behind in the wake of my graduate studies, pregnancy, and arrival of my first child. At the end of it all that sacred inner creative personality that I used to trust, rely on, and find passion in just faded away. (blogged about it a few months back here) Pluckyfluff 2010 found here But that moment I found this amazing book on making art yarn, a spark of that creative person ignited inside me. Pluckyfluff 2010 found here With no logic or plan behind it, I decided to enroll in a yarn spinning class that next month. (BTW never failed to be a very funny moment for me when I tell someone that I am taking a spinning class and they ALWAYS assume I was going to a gym). Three months later, I was spinning yarn, playing with colors, textures, crazy combinations, and themes. It felt like painting! My Pluckyfluff Inspired Ballerina Yarn 2008 I started to feel that excitement, that rush of energy and intensity of life I remembered from my painting days, only this was not a messy toxic thing for my child to play in, and (glory be!) I could work on it for a few minutes at a time then tend to baby and come back hours later without worry of drying paint or ruining brushes. It was heavenly! My Very First Art Yarn! 2008 But it did result in a TON of crazy arty yarn that was mostly useless for anything except making funky wool beanie hats and scarves (never very popular in the 75 deg Florida winter) So I started trying to sell it on Etsy and eventually, when my son started warming up to having sitters and gave me chunks of time to myself, I worked up the courage to paint again. But I will always have a soft place in my heart for Pluckyfluff Art Yarn and my sweet Louet Spinning Wheel (which looks adorable collecting dust in my dining room right now) that gave me a push back into creating and art making. Take some time and check out Lexi's website, her blog, and of course the Book, you wont be disappointed, I promise. (PSST...speaking of art making, dont forget to enter in my giveaway this week! Spread the word and join in the fun :)
