#Trace Trompe-l'oeil

[copaline]

BEHOLD! A BIBLICALLY ACCURATE LEAF!

Or if she's too scary, you can hire only three of her infinite dimensions for your business needs!

Many thanks to the wonderful @stephofromcabin12 who took my descriptions and ran with it! Commission her here!

[fashionbooksmilano]

Roomscapes

The Decorative Architecture of Renzo Mongiardino

Renzo Mongiardino, Fiorenzo Cattaneo

Rizzoli, New York 1993, 208 pages, 320 col.ill., 24,5x28,5 cm, ISBN 978-0847815531

euro 60,00

email if you want to buy booksinprogressmilano@yahoo.it

On the international design scene, Milan-based architect Renzo Mongiardino is renowned as the consummate creator of spectacular, atmospheric spaces. His dramatic, theatrical approach to design has produced elegant period interiors that have influenced many other designers. This handsome monograph, the first complete presentation of Mongiardino's work, explores his philosophy of space, design, and life itself. Extraordinary color photographs illustrate the brilliant arrangements of objects, art, and antiques and the rich array of textiles and painted effects-- faux wood, marble, and other materials, extravagant full-scale trompe l'oeils-- that epitomize his style. Mongiardino draws from sources that range from ancient Greek, Roman, and Etruscan artifacts to the work of the Renaissance and baroque masters Michelangelo, Palladio, Bernini, and Borromini and to antique fabrics, carpets, and objets; he also adds poetic recollections of important personal and historical spaces and incorporates his view of nature as a collaborator in the design process. Equally important is his ability to reflect the personality and lifestyle of his distinguished clients, whether in New York, London, Milan, Rome, or Paris. The resulting interior landscapes transform rooms into evocative surroundings of startling beauty. Practical considerations of design are discussed in Mongiardino's own words. He shares his insights into particular spaces-- small or large, study or grand gallery-- and traces the solutions he originated to create them. Through early sketches, impressionistic drawings and watercolors, and detailed photographs, he unfolds the story of each space, highlighting both its particular challenges and the lessons to be learned from its ultimate success as a stunning environment for living.

22/11/24

[evan-collins90]

Subterranean Discotheque ‘Olimpo’ - Rome, IT (1987)

Designed by Pino Piantanida 

“Mt. Olympus, so legend tells us, was the lofty habitat of the Greek gods, from which the deities ruled over the earthlings. Olimpo, by contrast, is a subterranean complex situated deep in the heart of Rome: a combined discotheque and piano bar, and the current favorite among the nocturnal haunts of the jeuness dorée. As for the reality, the site on which Olimpo stands (or, more explicitly, was sunk into) near the Pantheon was, in the days of Imperial Rome, the site of a complex of Roman baths, a fact whose authenticity was proved during excavations in that area. The boundary walls of the disco area are actually those of the baths. So much for history. 

Pino Piantanida, the architect who envisioned and designed Olimpo, found his inspiration in both the myths of antiquity and the historic facts that were revealed to him. Giving his imagination free rein, he has created a dream-like atmosphere: one in which the gods and goddesses appear amid the evanescent clouds of a sky that is sometimes blue, sometimes flame-colored—an effect he has achieved through lighting and mirrors. Should the ancient Romans return to their old haunt, they would doubtless find the whole picture confusing. The young Romans of today. however, take it all in stride, and evidently feel completely at home with it.

For starters, the existing interior divisions of the area (3,800 sq. ft.) were demolished, and all traces of its former incarnations were erased. The space was then divided into three main rooms and one small bar. all interconnected by a labyrinthine system of corridors designed to effect a transition from one room to another and back again, returning by a different route, all of which may mystify the first-time visitor, as the designer doubtless intended it should.

Piantanida likes to think of the descent from the sidewalk into the depths of the disco as a descent into the Roman baths, and so he has used deep turquoise as the basic color here. Distant skies are painted in tempera by Piantanida and Leonardo Tonioni, his assistant, in varying pinks deepening into flame. Thus the three basic elements, earth, fire and water, are portrayed.

The floor of the disco room is made of structural glass and is lighted from beneath with blue, pink and flame-colored tubes that give to the floor a sensation of movement. The upper reaches are lighted only with spots at rare intervals, preserving the mysterious atmosphere. The ceilings and walls, above the "water line," are pure white, except for a simulated black crack, and for the finely drawn greater-than-life-size heads and figures of mythological figures. In the first room the head of Laocoon floats in clouds above the dancers; on another wall Diana fixes a victim with her arrow. Above the bar, Bacchus (after Bronzino) hovers, and in yet another room, the horses of Castor and Pollux assume the same pose as that in which they are seen in the famous sculpture group in the Piazza Quirinale. Structural glass, illuminated from beneath, in the same color combination as that used in the dance floor, is also used for the center paths of the corridors leading from room to room, leaving the walls and ceilings in near-darkness. The piano bar is simply furnished with comfortable chairs, sofas and small tables, and is dimly lit, except for the farthest wall, which has a trompe l'oeil mural of a fiery sunset. Piantanida has achieved his dramatic effects with contrasting lights and darks, and with brilliant hues against black and white. His original injection of mythological figures, finely drawn and of heroic proportions, adds wit to the whole harmonious scheme.”

See Neoclassical PoMo, Pomo Faux Ruins, and Pacific Punk Wave

Scanned from an April 1987 issue of Interior Design Magazine 

[ecclecticmx]

What's the thing... When you try to make art a perfect almost photorealistic copy (w/o tracing)? Not trompe l'oeil but that other thing. Am I just thinking of a study? I feel like there's another word I'm missing but can't remember.

[fallenrazziel]

Les Chroniques de Livaï #321 ~ QUI LAISSE UNE TRACE, LAISSE UNE PLAIE (avril 845) Steffen Wenzel

L'histoire de Livaï comme vous ne l'avez jamais lue. ​Le personnage le plus populaire de L'Attaque des Titans, le soldat le plus fort de l'humanité… Qui est-il vraiment ? Qu'a-t-il dans le coeur ? Qu'est-ce qui a fait de lui ce qu'il est ? Je me suis mise en devoir de répondre à ces questions en vous livrant ma propre vision de sa vie, de ses pensées, des épreuves qu'il a traversées, ainsi que celles des personnes qui l'ont côtoyé, aimé, admiré, craint, détesté. Si j'essaie le plus possible de respecter le canon, quelques libertés seront prises sur les aspects de sa vie les plus flous. Quelques personnages seront également de mon invention. Livaï, un homme que l'on croit invincible et inatteignable… Est-ce bien sûr ? Jugez-en par vous-mêmes.

Nous voilà repartis, encore moins nombreux... Tous les blessés graves du dernier tronçon sont restés en arrière. A présent, c'est l'inconnu, toutes les expéditions précédentes ont fait demi-tour à partir d'ici.

Le chef est fébrile, ça se sent d'ici. Il galope vite, à côté du major, et il prendrait la tête s'il le pouvait. Nous arpentons depuis un moment un vaste plateau vide, sans relief particulier. Le cartographe, à côté de moi, mémorise les lieux et prend même le temps de tracer quelques lignes tant que les titans ne nous ennuient pas. Ca risque de ne pas durer, j'en aperçois au loin. Pour l'instant, nous les évitons volontairement. Mais j'ai quand même le cul serré.

Livaï a ��té envoyé à l'arrière avec l'escouade d'Hanji qui escorte le chariot. Greta et Mike ont aussi été dispersés, l'escouade de recrues est en arrière garde et l'équipe de Gelgar accompagne les lignes avant, devant moi. Je suis au centre, ce qui me donne la possibilité de d'avoir presque tout le monde à l'oeil.

Les jeunes sont pas rassurés, mais nous le sommes tous en vérité. C'est toujours un grand moment quand on dévoile une nouvelle zone. La première chose à faire c'est de repérer les bois, forêts et arbres isolés en cas d'escarmouche, ça nous permet d'y attirer les titans et de pouvoir nous battre plus efficacement. Ca manque, par ici... Les terrains plats, je déteste ça... On peut y galoper mais les titans y sont avantagés et peuvent nous voir plus facilement. Ils doivent aussi nous sentir car ils déboulent souvent de nulle part. Pourvu que cette fois...

La colonne s'engage dans une petite pente menant à un autre plateau semblable au précédent. J'ai l'impression que nous descendons de façon régulière... Même le parfum de l'air a changé ; il pique un peu le nez... Je me demande ce que ça veut dire... Et si il y avait une ville dans le coin ? Des humains comme nous qui auraient échappé au titans ? Non, impossible, les monstres sont bien trop près... Aucun humain ne peut survivre ici. Bon sang, je crois qu'ils se rapprochent.

Shadis fait un geste de la main et ordonne un arrêt dans un bosquet d'arbres. Une fois à terre, il nous dit qu'il n'y a sans doute rien d'intéressant par là. Erwin serre les lèvres, dans l'attente de la suite. Le major nous refait le topo : le but du bataillon est de trouver l'origine des titans, et ce n'est pas en nous en écartant que nous y arriverons, qu'il dit. Hanji s'apprête à s'exclamer de joie, mais Livaï l'arrête d'un petit coup de pied dans la jambe. Shadis continue en disant que nous allons nous rapprocher des lignes ennemies afin de découvrir quelque chose qui peut nous faire avancer. Nous n'avons jamais été si loin au sud et il est probable que notre objectif ne soit plus très éloigné.

Ouais, admettons. Mais on est peu nombreux, se jeter dans leur bras comme ça... Je le sens pas. Erwin demande pourquoi ne pas continuer encore ainsi sur quelques kilomètres ? Il sera toujours temps de bifurquer. Mais le major reste ferme ; nous avons une vue plongeante sur le plateau et aucun avant-poste ne se dessine à l'horizon. Nous n'avons rien pour voyager de nuit et nos réserves s'épuisent. Il faut vite en terminer sinon nous nous retrouverons sans ressource dans ces terres. On a même pas de quoi chasser, et nos réserves d'eau diminuent, c'est la merde...

Je trace des ronds dans la terre près de mes pieds en écoutant le chef et le major négocier notre avenir. Erwin soutient que tant que nous allons au sud, il n'est pas nécessaire de se diriger vers les titans, nous atteindrons bien quelque chose ; Shadis affirme que si nous n'allons pas au-devant de nos ennemis, tout ceci n'aura servi à rien et nous ne découvrirons rien de nouveau. Erwin essaie de rester calme. Nous, les soldats, on a pas notre mot à dire, mais je vois que Livaï est prêt à bondir et à gueuler si nécessaire. Chef Hanji danse d'un pied sur l'autre, n'osant pas prendre parti pour l'un ou l'autre. Greta boit les dernières gouttes de sa gourde - je la vois la pencher vers le sol et plus rien n'en tombe. La matinée est déjà terminée et si on doit prendre une décision, c'est maintenant ou jamais.

Soit on continue vers le sud-ouest comme on le fait depuis un moment, loin des titans, en prenant le risque de ne pas trouver d'abri, ce qui nous obligera à monter un campement ; soit on remonte vers le sud-est, en direction des titans, et on essaie de trouver d'où ils viennent. Mais si ça se trouve, on a tout faux, et cette étendue continue encore sur des kilomètres, avec des titans à perte de vue ! On peut pas le savoir avant d'avoir vérifié, que le major nous répond. Mais on a plus de vivres dans le chariot qu'on trimballe, et la réappro ne suffira pas si on doit livrer une bataille.

Faut bien se rendre à l'évidence, on est coincés. Mais le plan d'Erwin est plus sûr : si au bout de quelques heures, on ne trouve rien d'intéressant, on peut toujours revenir au dernier avant-poste, en espérant que la voie sera toujours libre. Shadis, lui, nous précipite dans un dangereux inconnu, avec l'assurance de combats à la clef.

Je me sens bizarrement anesthésié. Comme si je me préparais mentalement et physiquement à y rester cette fois. Nous nous préparons à remonter en selle, mais même nos chevaux semblent inquiets. Ils doivent eux aussi sentir des odeurs étranges...

C'est le major qui décide en dernier ressort. Et je ne suis même pas étonné quand nous commençons à tourner vers l'est, et nous dirigeons vers les silhouettes massives de nos ennemis. Ils ne se doutent pas du festin qui s'apprête à fondre sur eux... Non, Steff, ne soit pas défaitiste. Mike et Livaï sont là, avec eux, ça peut pas mal tourner. Je reste fixé sur Erwin, qui chevauche à côté du major, sûrement à contrecoeur mais assez diplomate pour ne pas le montrer.

Mais je ne m'y trompe pas : si ça barde trop, il fera ce qu'il peut pour nous tirer de là.

[kezya-ar]

Illusion, Deceit, Deception, Trompe-l'œil (Trick of the eye)

As I am mainly interested in this topic, I decided to have a separate post on the concept of illusion and tricks of eye! 

Creating tentsion between what is fictous or made and what is reality. What truly exists.

AR can be considered as somewhat a deceit or a lie as they are not actually there in reality. It is just a constructed image or object that seems to come into life or exist (in a way). First it ‘tricks’ the eye which then turns to trick the brain into seeing something that was not there but then appears on a screen that acts like a mediator.  

Tracing back to long long years ago before today, there has been a lot of indication in art towards the progression of what we know today as Mixed reality (as in both AR and VR). This is seen in how 

The image above illustrates the observation of Plato in 380BC of what is projected and is seen on the wall instead of what the real objects which the light casts on. In a way, the shadows themselves can be considered as another reality as well. (Source: https://wiki.mq.edu.au/display/ar/Augmented+reality+history%2C+background+and+philosophy)

This relates to puppet shows that uses shadows (believed to first originated form Asian countries such as China, India, Indonesia and more). By using lights and shadows, people in the olden days managed to create an interesting form of entertainment to tell a story or simply to perform. Shadow puppets are very powerful as it often times is a weapon in politics and power due to the ease and entertaining way in spreading stories.

Chinese Shadow puppet

Indonesia’s Wayang Kulit Shadow Puppet 

Source: https://www.thejakartapost.com/multimedia/2019/07/15/wayang-kulit-a-story-of-shadows.html

Trompe-l'œil

Masaccio - Trinity with the Virgin, Saint John the Evangelist, and Donors, ca. 1425-27/28 

This painting was designed as to having the vanishing point and the average eye level (audience’s) to be on the  foot of the cross so if they look up, they are looking at the Reedemer and the Father. If they were to look down, they will be looking at the tomb. When they look up, it is as if they are really there and is witnessing this scene since it was painted with perspective (as seen in how the ceiling is painted). Again, it kind of tricks you into making it belieavable that you truly are right in front of the cross when in fact, you are looking at a painting on a wall.(Source: https://www.artsy.net/article/artsy-editorial-closer-visual-illusions-artists-deceive-eye) 

Andrea Mantegna -  Camera Picta, Ducal Palace, 1465-1474

This is a painting on the ceiling where it deceives one’s eye into thinking that there is really an opening towards the sky. If you stand on the right, specific spot while looking upwards, it is as if you are really looking out to the sky as you can see all those baby angles hanging around the opening. This illusion works really really well given the perspectives and carefully detailed paintings of the subjects in the painting!

Adriaen van der Spelt, Trompe-l’Oeil Still Life with a Flower Garland and a Curtain, 1658

The painting above shows how easy it is for man to deceive another by means of having something so realistic and believable. This painting referenced a well-known story :

In his Naturalis Historia (ca. 77–79), the Roman author Pliny the Elder relays a now-infamous tale about a competition between Zeuxis and Parrhasius, the two leading artists in ancient Greece. According to the myth, the artists, who lived in the 4th century B.C.E., challenged each other to a contest to determine who was the greater painter. When Zeuxis unveiled his still-life composition, the depicted grapes appeared so realistic that birds flew down to peck at them. It may have seemed like the battle was over. But then Zeuxis asked Parrhasius to draw back the curtain covering his own entry—only to discover that the “curtain” itself was a painted illusion. Zeuxis may have fooled the birds, but Parrhasius fooled the man.

Petrus Christus, Portrait of a Carthusian, 1446

At first, this painting looks normal... unitl you spot a fly hanging on the painting frame. The composition and the details of the painting makes the fly believable, as if it really is on the frame. 

Source: https://www.artsy.net/article/artsy-editorial-closer-visual-illusions-artists-deceive-eye

Pere Borrell del Caso, Escaping Criticism,1874

The painting uses trompe l'oeil to blur the boundary between real and fictitious space (Credit, Wikimedia Commons). This creates an illusion of the boy about to jump out from a painting into our reality (realm and space), kind of breaking the 4th wall in art.

Source: https://www.bbc.com/culture/article/20160304-the-painting-that-tricks-the-eye

Anomorphic Image

Anamorphosis, in the visual arts, an ingenious perspective technique that gives a distorted image of the subject represented in a picture when seen from the usual viewpoint but so executed that if viewed from a particular angle, or reflected in a curved mirror, the distortion disappears and the image in the picture appears normal. Derived from the Greek word meaning “to transform,” the term anamorphosis was first employed in the 17th century, although this technique had been one of the more curious by-products of the discovery of perspective in the 14th and 15th centuries.  (Source: https://www.britannica.com/art/anamorphosis-art)

Examples:

William Scrots , Potrait of Edward VI, 1546

At first it may look distorted, but if seen in the right point of view, it will all make sense!

Hans Holbein the Younger, The Ambassadors, 1533 

A closer look at the distorted and deformed figure below which apparently... is a skull!! This can be correctly seen if the painting is seen at the a certain point and angle.

This painting has a lot of symbolisation in various elements of the painting and the skull here symbolises mortality of men!

Source: https://www.nationalgallery.co.uk/products/the-ambassadors-limited-edition-print/p_1047418 

A clever anamorphic installation by  French artist Bernard Pras in 2013.

Source: https://thevirtualinstructor.com/blog/anamorphic-art-then-and-now

In the source above, it also shows us steps and directions to create an anomorphic imagery!

[designerbagauctions-blog]

Hermès - Création Trompe l'oeil -Kelly 32 \Rodeo\ par PatBo en cuir box noir et accastillage plaqué or Handbag

New Post has been published on https://designerbagauctions.com/herms-cration-trompe-loeil-kelly-32-rodeo-par-patbo-en-cuir-box-noir-et-accastillage-plaqu-or-handbag/

Hermès - Création Trompe l'oeil -Kelly 32 \Rodeo\ par PatBo en cuir box noir et accastillage plaqué or Handbag

Go to the Hermès Handbag Auction

Hermès Handbag Details

Brand: Hermès

Colour: Black

Model name: Création Trompe l’oeil -Kelly 32 "Rodeo" par PatBo en cuir box noir et accastillage plaqué or

Object type: Handbag

Material: Leather

Made in: France

Condition: Very good condition – slightly used with small signs of wear

Height: 24 cm

Width: 32 cm

Depth: 10 cm

Bid Now

Hermès – Création Trompe l’oeil -Kelly 32 \Rodeo\ par PatBo en cuir box noir et accastillage plaqué or Handbag – Black – Leather

We are proud to introduce the latest “Rodeo” creation by the artist PatBo in trompe l’oeil style taking the famous Hermès bag jewel representing a horse affixed on this splendid Kelly 32 bag in black calfskin, straps and gold-plated clasp, handle, bell-shaped key, padlock.

Dimensions: 32 x 24 x 10

Signature: HERMES Paris made in France Stamp: R in a circle (1988)

Very good overall condition despite some traces of wear on the leather and chandler.

Visit the Hermès Handbag Auction

[aostormborn-blog]

Westworld Episode Names

Westworld Episode Names The names of each of the episodes of Westworld have many meanings in relation to the episode and the overarching theme of the show.

The Original This episode focuses mostly on Dolores. It is stated in the show that she is the oldest host still in the park. Many of the events in the show are a snowball effect from some of her actions. Dolores was the first host Arnold paid serious attention to, so as a result, she can be seen as the original host to achieve his goals.

Chestnut The phrase 'that old chestnut' is often used to refer to something that has occured many times in the past. This episode introduces us to William and Logan; two important characters in the first season. The first episode had certain scenes which occured multiple times and this episode again features that scene.

The Stray Another episode title likely focusing on Dolores. There are two parts here involving Dolores. Her talks in a basement and her actions with William. Dolores is a little bit different from the rest of the hosts, so in a way she is straying from the others. There is also a rogue host who is straying from his path and sending information outside of the park.

Dissonance Theory Cognitive dissonance is the mental discomfort held by someone who holds two or more contradictory beliefs or moral sets. A few of the hosts at this point are dealing with their ideals of two worlds. Both Dolores and Maeve are attempting to figure out what the outside world is like and trying to adapt it to their current world.

Contrapasso Contrapasso is the torturing of souls in Dante's Inferno by a process resembling or contrasting the sin.

The Adversary An adversary is typically an enemy or an antagonist of one. This episode solidly sets up humans as the adversaries for the hosts.

Trompe L'Oeil This is a French phrase that refers to an illusion of the eye. It is typically employed to make 2D objects appear 3D. This episode is full of many reveals and is often considered one of (if not the) best episode of the season. One important character has a huge character reveal, revealing to the viewer that our eyes have been deceived this whole time. My quotes section referrences one important part of this episode.

Trace Decay The hosts often have their memories wiped. There is a reveries update issued by Dr. Ford in the first episode which allows hosts to access bits of their previous memory. Trace decay is a psychological theory that memories leave traces in the brain which deteriorate as we age. A certain character after having his memory wiped is now recollecting bits and pieces of his wiped memories, accessing those traces of memory.

The Well Tempered Clavier A clavier is a fancy name for a keyboard instrument, pianos probably being the most common. There is a character revealed to be an instrument for Dr. Ford and this character is kept well-tempered by many memory wipes and an embedded loyalty to his creator.

The Bicameral Mind Bicameralism is a psychological theory that states that cognition is divided into two parts: one focused on speaking and the other on listening and obeying. Arnold's theory on the hosts revolved around this system and he created them with an initial commanding voice (Arnold's voice) which tells them how to behave and what to do and listens to their programming and eventually they develop their own voice and can speak. This is an important theme in the show for the consciousness of the hosts.

[public-new-yahoopartner-blog]

3 soins pour cheveux foncés et colorés

Les produits pour cacher la repousse

L’ennemi numéro un des cheveux colorés sont les racines. Les vilaines racines qui donnent l’air souillon, et ce peu importe le degré d’élégance naturelle. Aller chez le coiffeur refaire votre couleur tous les mois abîmeraient à la fois vos cheveux et vos économies. Ménagez les uns et les autres en masquant vos racines à l’aide de produit non agressifs comme l’Hair Mascara de Schwarzkopf  

Composé à plus de 90% d’ingrédients d’origine naturelle, il est inoffensif pour vos cheveux qui resteront en bonne santé et vos racines, invisibles. 

L’Hair Mascara se présente comme un mascara pour cils. Vous pouvez l’appliquer dans les toilettes d’un restaurant en attendant votre rendez-vous. Il part au premier lavage ni vu ni connu, sans laisser de trace. 

Les bons shampoings

L’ennemi numéro deux des cheveux colorés sont les shampoings bon marché à la composition douteuse. Avant d’acheter un shampoing, jetez un œil à...

Retrouvez cet article sur Public

Cheveux : Découvrez notre tutoriel coiffure du chignon tressé façon Fendi

Réveillon de Noël : Tuto cheveux : La ponytail rock et rétro

Réveillon de Noël : Tuto cheveux : Le carré wavy en trompe l'oeil

Réveillon de Noël : Tuto cheveux : La couronne twistée

Plan coeur : coup de foudre pour la nouvelle série Netflix

[skiodi-paralipomena]

Ανιχνεύοντας μυστηριακές καταιγίδες μέσα σε μισοτελειωμένες κούπες

Αυτό είναι ένα απόφθεγμα που βρήκα σε ένα tumblr blog. Δεν ξέρω αν είναι παρμένο από πουθενά αλλού. Έψαξα στο Δίκτυο αλλά δεν βρήκα κάτι σχετικό με Borgesian Circulating Depository, εκτός από αυτό το blog.

Όπως και νάχει, νομίζω πως γράφει κάτι το ωραίο και το σημαντικό, άρα το παραθέτω:

I am an Attendant of the Borgesian Circulating Depository. Duties: 1. honoring visionary ancients who were centuries or millennia before their time; 2. tilting the game board so as to cast everything in a new light; 3. celebrating allegory and metaphor as scenic shortcuts to wisdom; 4. discovering the macrocosm in the microcosm; 5. measuring non-material forces which nonetheless carry weight (Umberto Eco); 6. tracking extraordinary tempests in mundane teacups; 7. finding mystical analogues to scientific breakthroughs—putting the super into the natural, the other into the worldly, the meta into the physical, the para into the normal, the magical into realism; 8. puzzling over hidden, deeper meaning; 9. carrying the key, even when the lock has been lost; 10. identifying archetypes at play; 11. studying the legend, even when the map is blank; 12. searching through the deepest shadows for the bright light that cast them; 13. delving into the unfathomable in wordless awe of the inexplicable; 14. photographing background images for the insides of mystery boxes; 15. offering the inscrutable its due scrutiny; 16. endowing branches of Borgesian catacombs; 17. diagramming the sacred syllables in the mumbo jumbo; 18. believing as many as six impossible things before breakfast; 19. building 3D models of M.C. Escher's visual illusions; 20. crafting something out of nothing; 21. designing floor plans for memory palaces; 15. plundering cultural detritus; 16. bringing warmth to fuzzy logic; 17. looking through trompe l'oeil windows; 18. freeing radicals; 19. centering on marginalia; 20. navigating the ocean that roars within the seashell; 21. making the past perfect and the future less tense; 22. seeking a grand unification of hard science, soft science, and ethereal science; 23. resisting the belligerence of ignorance; 24. erecting signs on dotted lines; 25. taking a stand for poetic justice; 26. tracing constellations in the starry-eyed; 27. fighting to cure anhedonia; 28. getting in stitches over how many angels can dance on the point of a needle; 29. exploring intangible powers, from those celebrated by the world's great religions to square roots to the literary tradition (Umberto Eco); 30. directing good brain power to fanciful ends.

"It is the custom here that we go just a little beyond, that we consider each direction with the possibilities of madness and its grand, all-inclusive theatrics, where even minor dreams are worth their weight in gold, when balanced against the darkness out of which they have gestated and taken their cues from the fiercest and loveliest of all the animals." —J. Karl Bogartte

[dontpostme]

Passengers at The Flat - Massimo Carasi 9 February - 18 March 2017, Milan

Andrea Carpita, Cosimo Casoni, Eracle Fabio Dartizio, Domenico Laterza, and Marco Strappato

We are submerged by images, while we live in a world where anonymous IKEA furnitures and normcore clothes seem to be the only way to avoid a visual overcrowding that suffocates us. Advertisings, tv spots, banners fixed to street lamps or on the tube walls: our eyes slip on those flat forms everyday without perceiving anything but a vague presence. This is quite absurd if we think that before the XX century the people would see less or more a hundred images during their entire life, which is the same amount we can generally achieve in a few minutes. But what happens to the image if we deny it, if we ignore it? It becomes meaningless, and what remains is just a form, a silhouette. We often start something like a mental iconoclasm, but does it make sense if more and more images are being produced everyday? Has art reached a point where she has to abandon those recognizable forms that have always been part of our human behaviour, at all? This would mean to leave this current world without any trace of our passage to posterity. It would also mean to deny a tipically human necessity: that of using images to learn and recognize, as Aristotle already claimed in the IV century b.C. The five artists on show – Andrea Carpita, Cosimo Casoni, Eracle Fabio Dartizio, Domenico Laterza, Marco Strappato – are linked together by a methodology that constantly stress this reflection by bringing together technique, research and poetry. The artworks have images, but those are often hidden. They need to be found, to be hosted, as in everyday life should happen. The artists themselves invite the beholder to dig and search those images, holding them without denying or taking them for granted. As Georges Didi-Hubermann taught, we should try rebuilding every image from each fragment left behind: we have to start from their loss and their lacking to make their form floating from an absence that was either accidental or deliberate. In the art of the new millennium this is the main task of us, as users and beholders.

Andrea Carpita (1988) lives and works in Carrara. His research has led him to cross various phases of the representation process: starting from a fantastic and delicate imaginary to phytomorphic suggestions that remind of the Japanese aesthetic, until the present attitude to a radical synthesis of the visible in the Minimum Portraits series, where he uses a few lines and dots to resume a body, a face or a person, without claiming to be narrative or whatever. The image here hiddens a place that is intimate and closed to the beholder, while what emerges is just an outline, an almost detached superficiality in which, however, we are able to grasp a little about the artist's sensibility.

Cosimo Casoni (1990) lives and works between Florence and Milan. His artworks try to reconcile the abiguous meaning of the word “equilibrium”, by challenging everyday-life objects to mantain their shape and identity even after having de-structuralised, re-assembled and then recomposed them in an empty and suspanded space which is cut off from ordinary references. The strenght of these images touches the color-fielding reality, that is liquid and thus unstable: from this collapse the trompe-l'oeil and the landscapes become a window that stays in between the realm of imagination and that of reality. Then, a third element comes in, which is the most personal of them all: the skate culture, from which Casoni comes and that he pours on the canvasses. Even in those artworks where there are not recognizable objects stays the skate gesture, which is an authentic representation, the remark of a passage.

Eracle Fabio Dartizio (1989) lives and works between London and Milan. He's always been fascinated by infinity and cosmos, so he uses astronomic elements as a pretext for making a reflection and giving a tale about personal experiences, in which he finds refuge to existentialist questions that are difficult to answer. The result are sculptures and installations that speak about mankind and its uncertain condition, forcing to rediscuss its anthropocentric vision on things. Thus, life seems to slip on an undefined surface, as images flowing on puddles during a rainy day. And there, on the edge of the water, stays the border that separates “here” from “there”, the earthly world from the stars, which are both intimately unknown and fascinating.

Domenico Laterza (1988) lives in Milan although several projects brought to California, Berlin and Frankfurt. His works' aim is to animate objects with a clever and funny irony by facing the limits of an encyclopedic knowledge. Laterza reflects on art and design, on actions and their meanings, leaving them 'pollute' each other. In Dancer's case the artist has collected kilos of advertising flyers and has impiled them around an iron soul. So they are fixed to a central pale, but unfasten from each other, so that the sculpture is always different every time is composed, and the result is a high column that seems to be dancing in the air. Moreover, the artwork ennoble a kind of object often considered unnecessary, that we look with bored and indifferent eyes, transforming it into something that is brand-new and suddenly desirable.

Marco Strappato (1982) lives and works in London. His artworks remind of the open air and the Leopardian infinity, even if their aesthetic seem to be formally alienating, cold and detached. But there's a deeper issue in this, which is given by the beauty of what is shown: pieces of manipulated nature that loose their identity, on the borderline with abstraction but at the same time witnesses of a natural and, overall, figurative state. To look at one of Strappato's works means to use an archeology of the image that shall manage with intensity the narrative apparatus built by the artist. Like a little and precious secret hidden in a castle that defends it and that we have to save from oblivion. We are both terrorists that make the ancient temples fall down and the archaeologists who dig to save their fragments.

[gratex-wallpaper-blog]

New directions in wallpaper design & art

Wallpaper in the 20th century had become very much associated with the 'country house' look, with chintzy florals, Morris revivals and historic patterns predominating. There was a brief flowering of new and original design directions in the 1950s and 1960s, when architects and artists revitalised the industry; designers such as Lucienne Day initiated a trend for adventurous patterns inspired by contemporary painting and sculpture, while John Line's Palladio and Modus ranges were characterised by bold large-scale contemporary designs, many by artists new to wallpaper. However, this confident phase was soon overwhelmed by a taste for nostalgic patterns, reproductions and pastiches. And as one journalist put it, wallpaper in the 1990s had been a 'no-no', out of fashion for so long 'we're almost scared to say its name.'

A renaissance of sorts has been underway since the 1990s, as 1950s, 1960s and 1970s furnishings were rediscovered as design classics and retro styles found a new and enthusiastic audience in the style-conscious generation, readers of the new aspirational interiors magazines, Elle Decoration and Wallpaper. Original 1960s and 1970s wallpapers got a new lease of life as collectibles, used on feature walls or framed as pictures and murals. At the same time, the very unfashionability of wallpaper, which had become associated with a certain kind of restrained middle-class 'good taste', prompted designers to reinvent it.

One of the most striking aspects of the best contemporary wallpaper design is its rejection of traditional imagery and motifs, or the radical reworking of conventions. The new wallpapers take their cue from the best of the Palladio and Modus ranges, and use strong, uncompromising designs and colours.

David Oliver, who established a wallpaper range, the Paper Library, in 1998, claims he was inspired by the furore about 'the Chancellor's wallpaper' (the controversial refurbishment of the Lord Chancellor's apartments at the House of Lords in 1997). He said 'I just thought wallpaper was getting such a negative press, it was a wonderful time to do something new and fresh and funky.' Oliver deliberately avoided conventional motifs and certainly did not look to the history of wallpaper for inspiration. Instead, his first design, was based on a drawing he had made, tracing the white space between the columns, pictures and headlines in a copy of the French newspaper Libération. The result is a bold geometric pattern which has proved very popular; Oliver himself has used it in his hallway, where he says it has created a feeling of movement. It has since featured regularly as the backdrop to fashion and lifestyle features in magazines and newspaper colour supplements.

Minimalism, a decorating style which has largely coincided with an increase in 'loft-living' in converted industrial buildings or architect-designed urban developments, has tended to exclude the traditional use of wallpaper. Not only is there too much wall to cover, wallpaper itself still carries overtones of a cosy suburban domesticity which the urban loft-dweller is emphatically rejecting. However, artist and designer Sharon Elphick sees this shift towards living in larger open-plan spaces as an opportunity to use wallpaper in a new way. As she says 'People have got the space for an interesting paper without it dominating everything.' Again this is an acknowledgement of wallpaper's new place in the decorative hierarchy; it is not simply a background, but a feature which complements other furnishings and fittings, or serves as a talking point in its own right, much as a painting or poster might do. Inspired by her own photographic limited edition wall-panels, Elphick has designed the quintessential wallpaper for the inner-city loft - Prefab Stripe is an all-over repeat of an image of a 1960s prefabricated tower block. Printed in dull blues and greys with stripes of thinned colour veiling the image it perfectly captures the stained concrete façade, with its monotony and anonymity embodying the alienation of urban life; it also looks like a typical urban landscape viewed through a pall of rain - a neat replication of the likely view from the loft's picture windows!

Several contemporary designs have been inspired by this idea that wallpaper should make some visual reference to the urban context, rather than reproducing the nostalgic fantasy of a rural lifestyle. In 1996 four wallpapers were commissioned by Glasgow's Centre for Contemporary Arts, and sold through the city's fashionable interiors store Nice House. These included David Shrigley's Industrial Estate, a cartoon vision of the anonymous uniformity of the contemporary urban landscape with everything from carpet warehouse to garage, church and sauna inhabiting the same brick box or blank walled shed. By his own admission, the paper would be 'very oppressive' to live with. Martin Boyce designed a geometric black, grey and white grid, From Now Until Night, intended to evoke the pattern of darkened office-block windows. He designed the paper for public spaces where people were simply passing through - hotel lobbies, waiting rooms, corporate foyers - rather than domestic settings. Domestic life itself provides the motif for Hayley Tomkins' design: a 'messy' collage of babies' heads in shades of pink, Cry Baby suggests that there can be a claustrophobic aspect to the domestic ideal.

Limited editions, commissions and unique prints have produced wallpapers with the kind of exclusive status previously enjoyed by flocks, Chinese papers and French scenics. One of the finalists in the Peugeot Design Awards for 2000 was Deborah Bowness with her Hooks and Frocks wallpaper. Each version of the design is unique to the client, whose furniture and possessions are photographed and reproduced in pictorial montages on lengths of wallpaper. When hung, real hooks are added, so the client can if they wish, hang the actual frock, shirt or bag over its two-dimensional counterpart. She has since produced a variety of trompe l'oeil papers with photographic imagery.

Ella Doran has also broken with the tradition of repeating pattern and conventional mural decoration in wallpapers such as Gloriosa, with its bold single image of a lily blown up to wall-size. She also produces more conventional repeating designs of photographed objects - shoals of fish, asparagus, artichokes and pebbles - but the images are manipulated on computer and can be printed so that every piece is different. This is expensive, about £700 ($1000) for one average living room wall, but the appeal lies in the fact that the decoration would be unique; as she says 'nobody else would have exactly what you've got.' And though these limited edition designs and one-off commissions are relatively dear, the cost is offset by using the paper on only one wall, in a corner or an alcove. Indeed, Doran sees her papers as being too assertive to be used for a whole room and says the result 'would be a nightmare.' In fact, the new generation of designs are generally limited to use on one wall - a 'feature' wall, as in the 1950s and 1960s. Advertising agency Mother has used original 1960s papers in this way in their Clerkenwell premises; textile designer Neisha Crosland likewise used her own wallpapers (for Paper Library) in her Fulham Road shop.

Wallpapers like these continue the trend which began in the late 19th century for the home and its furnishings to be seen as self-expression, an extension of the owner's personality and taste. 'Good taste' is no longer the issue - the kitsch, eccentric or ironic are all valid characteristics of personal taste, and are 'read' and appreciated as such by [Source]-http://www.vam.ac.uk/content/articles/n/new-directions/

Buy Waterproof Wallpaper For Walls Online with best offers at Gratex. Check trendy Wallpaper Design And Price. Get installation guide and service from us.

[trekspertise]

Trekspertise 3.0 Bibliography - Westword & Solving The Pathetic Fallacy

Writers - Katie Boyer & Kyle Sullivan, with input from Jay Manning & Brandon Fibbs

Editing - Ryan Kindahl & Kyle Sullivan

Narration - Kyle Sullivan

Coffee Pot Sequence - Ryan Kindahl, with assistance from Shelly Kindahl

Title Graphics Based On Work By - Dan King

Ultra special thank you to Hank S (a Trekspertise Doctor!) and big hearty thank yous to David Oxley, Darren Descallar, Ben Pfeifer, David Radford, Paul Laker, Alex Zheng, Troy Bernier, Jay Yan & Alex Blocker for their continued support of the channel. You are all heroes of the New World =)

Additional thank you to all our Patreon supporters, without which this work would not be possible. You are all taking this ship to orbit and it is GLORIOUS.

Footage

Westworld, 1973

Metropolis, 1927

Chappie, 2015

I, Robot, 2004

Blade Runner, 1982

WALL-E, 2008

Terminator 2: Judgement Day, 1991

2001: A Space Odyssey, 1968

The Matrix, 1999

Monty Python And The Holy Grail, 1975

The Animatrix, The Second Renaissance Part 1, 2003

The Iron Giant, 1999

Batteries Not Included, 1987

Autómata, 2014

A.I. Artificial Intelligence, 2001

Bicentennial Man, 1999

Ex Machina, 2015

Redemption Part 1, TNG, 1991

Hitchhiker's Guide To The Galaxy, 2005

The Original, Westworld, 2016

Chestnut, Westworld, 2016

The Stray, Westworld, 2016

Dissonance Theory, Westworld, 2016

Contrapasso, Westworld, 2016

The Adversary, Westworld, 2016

Trompe L'Oeil, Westworld, 2016

Trace Decay, Westworld, 2016

The Well-Tempered Clavier, Westworld, 2016

The Bicameral Mind, Westworld, 2016

Images

Aristotle, by Francesco Hayez, 1811, taken by The Yorck Project, uploaded by File Upload Bot (Eloquence), 2005

Portrait Of John Ruskin, by John Everett Millais, 1853-54, taken by Robert Hewison, 2000, uploaded by Yann, 2008

Music

Gaia In Fog by Dan Bodan

Morning Mood by Edvard Grieg

Synth Sensation by Atwood Media

West Coast by Ryan Little

Reverie by Claude Debussy

Spectralysis by Symetrk

Wonderstruck by Ryan Little

[lazyscrapbook-blog1]

Attractive Polymer Paint Tips For Beginners

Acrylic paint offers many advantages such as fast drying out time as well as the fact that it's allergen- and odor-free. Acrylic paint is functional and provides an enduring finish. If you're just discovering the art of ornamental acrylic paint, utilize the ideas listed below for a wonderful start.

Polymer Paint Products

You must have a selection of brush dimensions so you could be adaptable in your painting. Likewise, a scheme or tray for paint will certainly be useful. Other supplies include a scheme knife, follower brushes, as well as tooth brushes. Make certain to include plenty of technique products and also documents for mapping out.

Drying out Time

Acrylics dry very quick, generally within only minutes, so it's important to keep the paint in the tube and just utilize a little at a time. If you favor to utilize a combination, there are now palettes that will remain damp throughout use so your paint will not dry. Or, you could utilize a routine palette and keep it wet by splashing it with a small amount of water periodically. This maintains your acrylic paint in a ready-to-use type.

Mixing Acrylic Color styles

With fast-drying acrylics, mixing colors could be an attempting task in itself. You can mix shades several methods. Shades could be mixed as well as kept in tubes or containers and afterwards blended making use of an internet palette. Additionally, you can utilize extremely small dots of various shades and overlap the colors to mix them. You could additionally layer shades as opposed to attempting to mix them while wet.

Be cautious of Cheap Acrylic Paints

Prevent getting cheap acrylic paints unless you're utilizing them for practice just. These will frequently fade after exposure to the sunlight for a period of time, specifically certain light tones such as pink and also violet. Purchase artist-grade acrylics for lasting beauty in your art works.

Usage Sketches as a Starting Factor

It's wise to make use of pre-drawn sketches as the beginning point of your acrylic drawings. Trace or replicate the sketch into canvas or board. After that, utilize a thin layer of acrylic paint to prime the illustration. Be sure your sketch-work could still be seen through the thin layer. You can likewise prime the canvas or board initially with white color and after that duplicate your sketch onto the topped surface.

Masking Fluid for Layering

Watercolor concealing fluid works well for layering colors or saving areas of your painting to painting later on. The covering up fluid could be put on maintain an area of the paint clear. You have to eliminate the masking fluid only after it has actually completely dried out. It can be eliminated by rolling it with tidy fingers. Likewise, make certain to make use of a brush especially for masking liquid. Don't utilize your regular paint brushes.

Learn from the Pros

Research after a few acrylic painting pros to get pointers as well as learn new methods. Artists such as Donna Dewberry (One Stroke technique) as well as Priscilla Hauser (First Lady of Ornamental Painting) provide many terrific ideas. You could learn innovative methods such as Trompe L'oeil or create stunning wall murals as well as other magnum opus.

Polymer painting could be both fun and rewarding. Use your creative imagination along with these pointers to create ornamental acrylic works of art that you and also your pals can enjoy for several years to find!

[kokoonblog]

Golden Globes Breast Dressed

Holy Mother of Globes! What was the most popular color of the 2017 Golden Globes?  Boob. The color of Boob. Remember when JLo caused a stir with her deep plunging chiffon number? Well, that was child's play compared to last night's Red Carpet looks.  A surprising number of starlets got the memo and followed along...even sweet little Mandy Moore! Let's take a look at some of the best.

Even though I wanted to grab Kristen's bodice by both sides and pull them together, I loved this dress so much, and she looked adorable.

Ditto for Jessica.

In a sea of black and shiny neutrals, this stood out. I just kept feeling nervous that those shoulder straps were going to slip off while she was presenting.

It's hard not to love Emma Stone, and she managed to make a jewel-encrusted, plunge necked, backless gown look demure. 

And Keri Russell! She rocked this dress, and it was a LOT of dress. 

Michelle Williams was my favorite look of the night. The hair, makeup, the little black choker...she was the perfect whisper in the room. 

Reese has rarely looked better. She shined in canary yellow. 

Tom Ford. A man of a million talents...why wouldn't a fashion designer be nominated for a Best Director Golden Globe? Loved the clean, strong lines on Amy.

One of the most daring looks due to the lack of skin, shine, and embelishment.

How perfectly cool was Millie Bobby Brown from Stranger Things?

I don't think I like this dress at all, but I loved The Crown so much, and after binge watching and staring at Claire's face for hours on end, I can't help but be mesmerized. To be fair, it appear better on film as she was walking to accept her award. 

Same story for Tracee...I was really happy for her because I love her in Blackish (although not appreciating all the in-show adver-shilling for Microsoft and Buick. Like we're stupid.) Do we love the dress? I think almost....maybe if it was floor length? Or is it the horizontal corset-ry across the lady parts that throws it off? Because if I look at the hips up, I am in love. 

The length might be what throws off Kerry Washington's dress for me, too. Close up on camera this was an amazing work of art. This photo does not do it justice.

The Pinks:

I gotta say, I would have rather seen wide open boobies than this mess on Felicity. The skirt is really pretty...never been a fan of the trompe l'oeil thing. 

This was done right.

That's a whole lotta pink + a whole lotta ruffle on Zoe. 

I did not get this at all. I don't know if those are pockets or finger warmers. 

I'm sorry to say this is the second time recently that SJP has been among my picks for least favorite looks. It's not terrible, it just isn't fun.

I think this has to be my least favorite dress of the evening...

Except there was this. 

Overall, I was surprised to see SO many neutrals, shiny metallics, ivory, and black. I thought there would be a ton of color, but the bursts of color were very sporadic.  Of course the most memorable part of the evening besides the breast parade, was Meryl Streep's Lifetime Achievement acceptance speech. 

If you have a favorite (or not so favorite) I would love to hear!

[designerbagauctions-blog]

Hermès - Création Trompe l'oeil -Kelly 32 \Rodeo\ par PatBo en cuir box noir et accastillage plaqué or Handbag

New Post has been published on https://designerbagauctions.com/herms-cration-trompe-loeil-kelly-32-rodeo-par-patbo-en-cuir-box-noir-et-accastillage-plaqu-or-handbag-2/

Hermès - Création Trompe l'oeil -Kelly 32 \Rodeo\ par PatBo en cuir box noir et accastillage plaqué or Handbag

Go to the Hermès Handbag Auction

Hermès Handbag Details

Brand: Hermès

Colour: Black

Model name: Création Trompe l’oeil -Kelly 32 "Rodeo" par PatBo en cuir box noir et accastillage plaqué or

Object type: Handbag

Material: Leather

Made in: France

Condition: Very good condition – slightly used with small signs of wear

Height: 24 cm

Width: 32 cm

Depth: 10 cm

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Hermès – Création Trompe l’oeil -Kelly 32 \Rodeo\ par PatBo en cuir box noir et accastillage plaqué or Handbag – Black – Leather

We are proud to introduce the latest “Rodeo” creation by the artist PatBo in trompe l’oeil style taking the famous Hermès bag jewel representing a horse affixed on this splendid Kelly 32 bag in black calfskin, straps and gold-plated clasp, handle, bell-shaped key, padlock.

Dimensions: 32 x 24 x 10

Signature: HERMES Paris made in France Stamp: R in a circle (1988)

Very good overall condition despite some traces of wear on the leather and chandler.

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