I love making snowflakes just for the joy of doing it. I love folding up some paper, randomly cutting and then opening it up to see my results. I don’t think one is ever too old for it, or …
Here's 6 tips to help you save time using interactive notebooks in your middle or secondary science classroom. Try these teacher-tested time-savers and love INBs all over again - from Getting Nerdy Science
Auf Aentschies Blog findet Ihr DIY-Anleitungen, leckere Rezepte, schöne Printables, Tipps und Tricks zum Thema Pflanzen und dem Leben mit Katzen.
It's been around for centuries and artists today are making sure it'll be around for centuries to come.
This weeks free textures include five handmade vintage stained paper sheets. The sheets can be used for adding vintage feel to almost any design or illustration. I hope that you like them and can find a good use for them, enjoy! Download all textures as ZIP (12.2Mb) Download all
How to Make Paper Wisteria - This is one of those glorious DIYS that *looks* so much more complicated than it is. Easy, inexpensive DIY's are my jam.
Paper Cherry Blossoms With Free Printable Templates and SVG Cut Files for Cricut. Create paper cherry blossoms for Springtime decor.
Working with ink, paper, leaves, scissors, and other materials, Atlanta-based graphic designer Matthias Brown (previously) loves to experiment with rotoscoping and other traced animations that he shares on his Tumblr, Traceloops. Each animation is physically drawn, cut, carved and scanned frame-by-frame to create what you see here. Brown has also lent his design sense to a host of brands including Tate Modern, Converse, MTV and others, and you can get lost in more of his trippy animations here. More
Sagen Sie´s mit dem MOODBEAR! Auf dickes Papier ausdrucken, ausschneiden und aufstellen. Wo steht ihr Moodbear? Bin auf Reportagen gespannt :-) Gruß aus dem Skizzenblog und viel Spaß! Zur WM2010 gibts auch den CountBear zum Download »
These are so easy to make and they look AWESOME! This is such a fun Halloween craft to make with the kids and a great Halloween decoration!
Learn how to make mini origami succulent plants. Origami plants make perfect gifts, your friends will love them. No cutting or glue required.
Getting Nerdy is the best choice for engaging and fun life science lessons and resources for your middle school science classroom!
How to hold scissors: Cute method to teach a child how to hold scissors: Thumbs Up Alligator!
19/09/11 EJ Major: Shoulder to Shoulder Matt Roberts Arts 2 – 24 September 2011 EJ Major, an artist and lecturer at Middlesex University, who graduated with an MFA in Fine Art from Goldsmiths in 2009, this year beat nearly 1000 international photographers to win the new Salon Photo Prize, organised by Matt Roberts Arts, and judged, amongst others, by Simon Baker (Curator of Photography at Tate) and Stefanie Braun (Curator at the Photographers’ Gallery). Alongside the financial reward of £1000, she also won the opportunity for a solo show, held at Matt Roberts Arts, in the trendy East London arts hub of Vyner Street, this month. Major’s photographic works, which include both digital and analogue technologies, are rooted in questions of identity and performance: how we both construct ourselves and are simultaneously constructed by the people, things, and events around us. Her works bear reference to historical and contemporary events, intertwining the two, and constructing a new narrative. The result is layered, remaining both a document to the past, but also opening up a conceptual space where questions of personal motive and relevance become pertinent, should the viewer wish to venture down this route. Major usually incorporates text as well as image, and claims to be “interested in how these two forms of representation enforce and displace meaning.” This solo show consists of two main bodies of work: the eponymous Shoulder to Shoulder (2009-2011), shown here for the first time, filling the walls of the main gallery space, and Marie Claire RIP (2004-2007), already widely toured, which hangs in the back room. This earlier work, which consists of 12 portraits, hung in two rows of six, is based on a set of police mug shots of an anonymous female heroin addict, taken over a 14 year period, which appeared in an article in Marie Claire magazine in 2002. The article revealed that the woman was found dead not long after the final picture was taken, and the images therefore formed part of an anti heroin campaign. Major saw the original photos in a magazine at a friend’s house, and, weeks later, still haunted by the images in her head, asked her friend for the magazine, scanned them in to her computer, and began working on them. This series constitutes a restaging, with Major herself taking on the triple role of model, photographer, and retoucher – an experience she describes with hindsight as “very intense and quite isolating”[1]. The piece grew out of a desire to memorialise the unnamed woman, to give her a name, and also, through the addition of small textual annotations (“did not cry”, “do not care”, “hid in fear”, “i did it”, etc.) at the foot of each image, to initiate a narrative, reminding the viewer that no person’s life can be condensed to a set of just 12 images. By playing the role herself, Major challenges the authenticity of the photographic portrait and the role of acting in the creation of any individual identity. She is also keen to point out that there is, in her work, no direct reference to heroin, since, for her, that’s not really what it’s about: the story is certainly one of the individual’s personal demise, but also that of every (wo-)man’s. Shoulder to Shoulder likewise tells the story of both the individual and society at large. Really, it falls into two parts, linked intrinsically through their historical reference. Three large colour pieces comprise Seriously Damaged By Attack, based on the attack on Velázquez’s Rokeby Venus, on 10 March 1914, by militant suffragette Mary Richardson. Armed with an axe, fixed inside her jacket sleeve and held in place by a chain of safety pins, Canadian born Richardson entered London’s National Gallery unnoticed, and, after hours of hesitation, quite literally let rip, slashing the only surviving female nude by the leading artist of the Spanish Golden Age a total of seven times. Although the attack had been being planned for some time, it is said to have been triggered by the arrest, the previous day, of fellow suffragette Emmeline Pankhurst. Richardson, who was sentenced to the maximum term of six months’ imprisonment for the destruction of an artwork, later explained: “Values were stressed from a financial point of view and not the human. I felt I must make my protest from the financial point of view, therefore, as well as letting it be seen as a symbolic act. I had to draw the parallel between the public’s indifference to Mrs. Pankhurst’s slow destruction and the destruction of some financially valuable object.” She further added, in a statement to the Women’s Social and Political Union: “I have tried to destroy the picture of the most beautiful woman in mythological history as a protest against the Government for destroying Mrs. Pankhurst, who is the most beautiful character in modern history.” In Major’s rendering of events, we see first Venus Vanitas – part re-enactment, part photographic composite – a modern reworking of the painting itself, with Major as both Venus and Cupid, and the reflection in the mirror posed by her mother – a stark comment on the demands of ideal beauty in contemporary society as youthful, botoxed, and wrinkle-free. The second photograph shows Major in the role of Richardson, standing before the genuine Velázquez, axe in hand. The final of the three images is of the aftermath: a slashed black and white news image of the damaged masterpiece standing below a framed portrait of Richardson, all set against satin drapes, in the colours of the Suffragette flag (purple, white and green), with a mysterious and disturbing figure in the foreground. Mummified in white satin, with only her hands protruding above her head, she is squeezing a cable release bulb. This is the most recent work Major has made, and she confesses to not yet fully knowing what it means: “The longer I live with the works once made, the clearer they become. The desire to make work, for me at least, comes of some enquiry fizzing away in my mind. It is only when I cannot answer or even articulate the question that I resort to making work. As the work gets made, the fizzing (usually) begins to abate or at least move elsewhere, and I begin to come to some understanding of what I’ve been fizzing about.”[2] My own response on seeing this image was to interpret the bulb as a detonator, resonant perhaps of modern day militancy (aka terrorism?) and those prepared to give their lives for a cause in which they truly believe. Major’s desire that viewers should seek their own readings and relevancies is therefore clearly effective. The rest of Shoulder to Shoulder is made up of a series of black and white photos – four small landscape shots, taken from archives (some manipulated, some not), and three larger contact sheets – all relating to the theme of suffrage and protest, something in which Major has become increasingly interested over the past few years. As she explains on her website[3]: “The Suffragette movement provides a historical context for the performance and investigation of protest today, a fixed vantage point from which to explore the myriad issues at play in contemporary society.” The women in prison uniforms clearly evoke the fate of Richardson and her cohorts, and the placard calling for “deeds not words” echoes their radical approach, but through their deliberate coalescence of these early 20th century protests with those of more recent years, concerning such issues as climate change and welfare cuts, the photographs’ complex narratives place today’s protesters – Major’s audience, and Major herself, who appears in most of the shots, and attended the climate change march, as pictured, in a full length Suffragette prison uniform, borrowed from National Theatre Costume Hire company – in amongst their ancestors, both lending weight to the contemporary issues, but also revitalising old battles, and perhaps hinting that the struggle for gender equality is not yet won. Major’s use of series of stills is a longstanding feature of her work and stems from when she was working with films, as, for example, in Try To Do Things We Can All Understand (2003-2008), freezing frames in an attempt to see whether she could apply Barthes’ notion of the punctum (that which is purely personal and dependent on each individual viewer, in contrast to the symbolic meaning of an image, or its studium) to the moving image. My impression, on viewing these works, however, is that she achieves a strong and powerful blurring of the two: as later generations of feminists went on to note, the personal is political. Our identity is formed of both our collective and individual past and present. We can escape from neither. The lives of others impact inescapably on our own. [1] An interview with artist E J Major by Jessica Furseth for Amelia’s Magazine, 28/07/11 http://www.ameliasmagazine.com/art/ej-major/2011/07/28/ [2] Personal correspondence with the artist, 16/09/11 [3] http://www.wanderingbears.co.uk/ejtest/works/shoulder-to-shoulder/ Originally published at: http://www.rovesandroams.com/2011/09/review-ej-majors-shoulder-to-shoulder-at-matt-roberts-arts/ See also: http://www.ejmajor.co.uk/ and http://www.mattroberts.org.uk/
After weeks bored in isolation, we quickly grew tired of our surroundings and wanted to jazz up the walls. It was important to us that our poster store gave you art that was easy, accessible and BIG! Printed on 230gsm paper Original Variety Hour print by designer Cassie Byrnes. Colour is bright and true to each original prints painting. 61cm x 91cm, designed to fit in an Ikea frame; view frame options here. Also available in A0 Grande Size - measuring 84.1cm x 118.9cm (pictured) We love supporting local professional framers! So that is also a great option if you're after a more fancy look. Will need to take the A0 size straight to a framer as there are no frames of this size available off the shelf in Australia. We recommend sending them (to the framer) in the tube. We know its tempting to want to peek first but it will be worth the wait! Please note your artwork will be high res and the first product image is website quality Posters are not available for international orders. Printed in Australia.
(Self) Love Potion Cake Art Print is a print of a my hand drawn, watercolor painting. It features a pretty pink and red potion bottle with label explaining the contents are a "self love potion: 100% self love". It is printed on a cold press, watercolor textured paper. Acid free, archival, and very sturdy with a matte finish. They are quickly shipped in both a plastic protective sleeve and a rigid mailer to ensure its safety during shipping. Each print is made to order- printed, cut, and packaged by hand in my home. Sizes: 5x7, 8x10, 11x14Please note! No frame is included- they are just the physical print but are ready to be framed in your own style of frame.*This is a reproduction of the original watercolor painting. Colors may differ between screens among screens and monitors.*
While primarily working as a landscape painter and art teacher, UK artist Jamie Poole was struck with the idea of deconstructing printed poems into individual words and using the text to create large scale portraits. The final pieces are quite large measuring several feet tall, allowing for excruciating detail in both line and shadow, as well as creating an intriguing hybrid of portraiture, typography, and collage. You can see more images of Jamie’s work on his blog and in his Flickr stream. More
My name is Nathanna Érica and I'm an illustrator and paper artist based in São Paulo, Brazil. I can't imagine my life without art, and having graduated from Law school a few years ago made me see that doing anything else other than being an artist would be really difficult. Read the full interview here »
