#artcraft studios

[artcraftsartwork]

And again, our studio presents you our graphic capabilities. Today we are pleased to present you a T-shirt design with a beautiful Alfa Romeo Spider made in watercolor style. This design can also be prepared for illustration.

Artcrafts Instagram 👈 link (Instagram username artcrfts)

Artcrafts Telegram 👈 link (tme username artcraftsartwork)

We are ready to offer a readymade design or develop a new one for You.😀

[unopenablebox]

complaining online more. just whining

i kind of want to like. rent? a rigid heddle? so i can spend a month figuring out if using it normally gives me Diseases or not? and then decide if i need a different kind of loom/shouldn't weave/am content with the fabric-making and patterning capacities of a small lap loom without harnesses. however. im not sure i can do that feasibly. i guess i could advertise? online? to pay someone to borrow theirs?

small rigid heddles are cheap enough secondhand that i should just buy one except all the good deals that are not obvious scams are in providence. or like, woonsocket. and on observing this i am very tempted to buy one new. this is, essentially, paying $100 in exchange for not spending 2.5 hours round trip on the train to providence. objectively probably a stupid choice, but i like exchanging money for convenience. on the other hand at that point im buying it full price even though my only experience using it is that it bruises my hand bones. which also seems stupid.

theres also a decent deal on a table loom that i could just pick up in boston. tempting bc the table loom might be better on my hands? and would let me make more interesting things. and it's not much more than a new small RH would be. except 1. it's a structo artcraft and im not sure if those are weird somehow? there's a whole thing about how they were originally toy looms? maybe it's a problem? 2. it's almost certainly going to be less portable/i might struggle getting it home on the train 3. it will need more space in my home 4. it is going to be an additional whole thing to learn to set up/warp and i don't have a warping board or whatever 5. based on the photo i kind of think it's being sold by the person i took a class from? and for whatever reason that fact suffuses me with deep awkwardness and stress even though it would surely be totally normal to buy a loom from her.

additional problem with all of this is that due to my bad nature it is going to be very hard for me to assemble all the executive function steps that result in any object that enters my house being listed for sale online and then actually leaving my house. so i shouldn't get anything that will ruin my life if i turn out not to be able to use it and then it sits in my apartment for six months

maybe i should. stop by the weaving studio again the next time i go to my nearby knitting group. and just ask the person there if she rents looms and/or is selling secondhand ones. with my terrible human mouth. and if she says no then i guess i have to decide on the spot whether im buying a new cricket from her instead or dying and never speaking to her again

[limerentvoid]

IPPO

Associated Names: Шаг | イッポ | IPPO一步 | Step (Est Em) Author: Est Em Genre: Seinen, Josei, Slice of Life, Artcraft, Drama Lenght: 5 volumes (complete) Related Series: None. Original Publisher: Shueisha. English Publisher: None Year: 2012 Note: Special thanks to Lapin Peluche and Speculum Mundi. If you want to re-translate this, specially Spanish, please contact us for a joint.

Summary: The manga follows a maker of individually crafted shoes after he returns home from a trip to Florence, Italy. One day, a surprise visitor comes to his studio. (From MU)

DOWNLOAD

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[obsessiveviewer]

OV445 - Woman of the Hour (2024) & Saturday Night (2024) - Guests: Sam Watermeier and Joe Shearer

This week, I’m joined by guests Sam Watermeier and Joe Shearer to review Anna Kendrick’s directorial debut, Woman of the Hour in a non-spoiler and spoiler feature review. And for this week’s secondary review, Sam and I review Jason Reitman’s Saturday Night in a non-spoiler review. We also discuss news about Marvel Studios’ release calendar, Mike Flanagan adapting Carrie for Amazon, and what’s playing in theaters this week in Indianapolis.

  Timestamps

  Show Start - 00:28

Now Playing in Indianapolis - 09:13

News - 15:54 

  Feature Review

Woman of the Hour - 34:02

Spoiler - 1:08:48

  Secondary Review

Saturday Night - 1:37:50 

   Closing the Ep - 2:04:04

Patreon Clip - 2:06:03

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OV446 - HIFF2024: Filmmaker Interview - Off the Record (2024) Writer/Director Kirsten Foe

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OV448 - Your Monster (2024) & Smile 2 (2024)

Check out this episode!

[imagesinbloom]

Moving thoughts

I have learned a lot about myself over my lifetime, but one thing I did solidify is that I don’t like to move: that mean home, Studio, churches, or jobs. Like most people, I am a creature of habit, and grow comfortable with the familiar. With her recently moved from the Artcraft building to the Twist Drill my thoughts Lingered on white one. I realized I needed to change that to anticipation of…

[veroslawa]

My watercolor no-face

[hclib]

NEW! Hennepin County Library Digital Collection: Mary Moulton Cheney Collection

The Mary Moulton Cheney Collection is now available to view online, just in time for Christmas and New Year. The collection includes prints, original drawings, designs for bookplates, logos, greeting cards and stationery designed by Mary Moulton Cheney. Cheney was a well-known figure in the Minneapolis art scene in the late 19th, early 20th century. From 1897 to 1917 she operated a studio and printmaking shop, The Artcraft Shop: Sign of the Bay Tree. In 1897 she also organized the first class in design at the Minneapolis School of Fine Arts (now MCAD), eventually becoming the principal of the design department, then Dean of Women, and from 1917 to 1925 she served as the school’s first female director.

Browse Christmas cards, New Year cards, and more in the Hennepin County Library Digital Collections.

[sophieladydeparis]

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[silent-era-of-cinema]

Dorothy Elizabeth Gish (March 11, 1898 – June 4, 1968) was an American actress of the screen and stage, as well as a director and writer. Dorothy and her older sister Lillian Gish were major movie stars of the silent era. Dorothy also had great success on the stage, and was inducted into the American Theater Hall of Fame. Dorothy Gish was noted as a fine comedian, and many of her films were comedies.

Dorothy Gish was born in Dayton, Ohio. She had an older sister, Lillian. The Gish sisters' mother, Mary Robinson McConnell Gish, supported the family after her husband James Leigh Gish, a traveling salesman, abandoned the family in New York. Mary Gish, who was "a former actor and department store clerk", moved with her daughters to Indiana, where she opened a candy and catering business. In 1902, at the age of four, Dorothy made her stage debut portraying the character "Little Willie" in East Lynne, an adaptation of the 1861 English novel by Ellen Wood.

In 1910, she heard from her husband's brother, Grant Gish, who lived in Shawnee, Oklahoma and informed her that James was ill. He was in a hospital in nearby Norman, Oklahoma, so Mary sent 17-year-old Lillian to visit him. At first, Lillian wrote back to her 12-year-old sister Dorothy that she planned to stay in Oklahoma and continue her education, but after seeing her father she admitted she missed her mother and sister. So, after a few months away from them, in the spring of 1912, she traveled back. Soon afterward, their childhood friend, actress Mary Pickford, introduced the sisters to director D. W. Griffith, and they began performing as extras at the Biograph Studios in New York at salaries of 50 dollars a week. During his initial work with the sisters, Griffith found it difficult to distinguish one from the other, so he had Lillian wear a blue ribbon in her hair and Dorothy a red one. The girls, especially Lillian, impressed the director, so he included them in the entourage of cast and crew he took to California to produce films there.

Dorothy and her sister both debuted in Griffith's 1912 production An Unseen Enemy. She would ultimately perform in over 100 short films and features, many times with Lillian. Throughout her own career, however, Dorothy had to contend with ongoing comparisons to her elder or "big" sister by film critics, fellow actors, studio executives, and by other insiders in the motion picture industry. Such comparisons began even from the outset of the sisters' work for Biograph. Linda Arvidson, Griffith's first wife, recalls their initial work for the studio in her autobiography When The Movies Were Young:

Lillian and Dorothy just melted right into the studio atmosphere without causing a ripple. For quite a long time they merely did extra work in and out of pictures. Especially Dorothy, as Mr. Griffith paid her no attention whatsoever and she kept on crying and trailed along. She also continued to play in many one and two reel Biograph films, learning the difficult technique of silent film acting, and preparing for opportunity when it came. Dorothy was still a person of insignificance, but she was a good sport about it; a likable kid, a bit too perky to interest the big director, so her talents blushed unnoticed by Mr. Griffith. In 'The Unseen Enemy' the sisters made their first joint appearance. Lillian regarded Dorothy with all the superior airs and graces of her rank. At a rehearsal of 'The Wife', of Belasco and DeMille fame, in which picture I played the lead, and Dorothy the ingénue, Lillian was one day an interested spectator. She was watching intently, for Dorothy had had so few opportunities, and now was doing so well, Lillian was unable to contain her surprise, and as she left the scene she said: 'Why, Dorothy is good; she's almost as good as I am.' Many more than myself thought Dorothy was better.

Dorothy Gish's budding film career almost ended on a street in Los Angeles on Thanksgiving Day in 1914. On Friday, November 26, the 16-year-old actress was struck and nearly killed by a "racing automobile". Newspapers and film-industry publications at the time reported the event and described the severe injuries Gish sustained. The near-fatal accident occurred as Dorothy was walking with Lillian at the intersection of Vermont and Prospect avenues. According to news reports, after the car struck her, it dragged her along the street for 40 to 50 feet. Other movie personnel who were standing together on a nearby sidewalk, including D. W. Griffith, witnessed Dorothy being hit. The following day, the Los Angeles Times informed its readers about the accident:

...Miss Dorothy Gish, a moving picture actress, was seriously injured yesterday afternoon. Picked up unconscious, she was taken to the office of Dr. Tryon at number 4767 Hollywood boulevard, where it was found her injuries consisted of a crushed right foot, a deep cut in the right side, and bruises on all parts of her body. She was later removed to the home of her mother at LaBelle apartments, Fourth and Hope streets. The automobile that ran her down is owned by T. B. Loreno of No. 6636 Selma avenue, also of the moving picture game.

Subsequent news reports also describe the reaction of other pedestrians at the scene. The Chicago Sunday Tribune and trade papers reported that Dorothy's "horrified friends" rushed to her aid, with Griffith being among those who lifted the unconscious teenager into an ambulance and reportedly rode with her in the emergency vehicle. In addition to Gish's initial examination by the doctor identified by the Los Angeles Times, the Chicago newspaper and Motion Picture News stated that she was rushed to the hospital, where surgeons mended her "very badly torn" left side with "many stitches" and treated the area where one of her toes had been "cut off", presumably a toe from her badly damaged right foot. At the time of the accident, Gish was completing a two-reel romantic comedy with actor W. E. Lawrence. The film, How Hazel Got Even, had already been delayed once at Reliance-Majestic Studios due to director Donald Crisp's bout with pneumonia. Completion of the short was postponed yet again, for over a month, while Gish recuperated. Originally scheduled for release on December 27, 1914, How Hazel Got Even was not distributed to theaters until mid-February 1915.

After recovering from the 1914 accident, Gish resumed her screen career the following year, performing in a series of two- and three-reel shorts as well as in longer, more complex films such as the five-reel productions Old Heidelberg, directed by John Emerson, and Jordan Is a Hard Road, once again under D. W. Griffith's direction. Increasingly, Dorothy's appeal to both producers and audiences continued to grow in 1915, leading W. E. Keefe in the June issue of Motion Picture Magazine to recognize her as "one of the most popular film stars on the Motion Picture screen". In an article about Gish in the cited issue, Keefe also recognizes that Dorothy, career-wise, was finally emerging from her sister's shadow:

A year ago she was known as Lillian's little sister. A year's growth has changed this. Today she is taller and weighs more than her "big" sister, and is known as Dorothy Gish without always being identified as "Lillian's sister."

In 1916 and 1917, Dorothy continued to expand her acting credentials by starring in a variety of five-reelers for Fine Arts Film Company or "Griffith's studio", which was a subsidiary of Triangle Film Corporation. Her work in those years required filming on locations in New York and on the West Coast.

In the 1918 release Hearts of the World, a film about World War I and the devastation of France, Dorothy found her first cinematic foothold in comedy, striking a personal hit in a role that captured the essence of her sense of humor. As the "little disturber", a street singer, her performance was the highlight of the film, and her characterization on screen catapulted her into a career as a star of comedy films.

Griffith did not use Dorothy in any of his earliest epics, but while he spent months working on The Birth of a Nation and Intolerance, Dorothy was featured in many feature-length films made under the banner of Triangle and Mutual releases. They were directed by young Griffith protégés such as Donald Crisp, James Kirkwood, and Christy Cabanne. Elmer Clifton directed a series of seven Paramount-Artcraft comedies with Dorothy that were so successful and popular that the tremendous revenue they raked in helped to pay the cost of Griffith’s expensive epics. These films were wildly popular with the public and the critics. She specialised in pantomime and light comedy, while her sister appeared in tragic roles. Dorothy became famous in this long series of Griffith-supervised films for the Triangle-Fine Arts and Paramount companies from 1918 through 1920, comedies that put her in the front ranks of film comedians. Almost all of these films are now considered to be lost films.

"And So I Am a Comedienne", an article published in Ladies Home Journal in July 1925, gave Dorothy a chance to recall her public persona: “And so I am a comedienne, though I, too, once wanted to do heroic and tragic things. Today my objection to playing comedy is that it is so often misunderstood by the audiences, both in the theater and in the picture houses. It is so often thought to be a lesser art and something which comes to one naturally, a haphazard talent like the amateur clowning of some cut-up who is so often thought to be ‘the life of the party’. In the eyes of so many persons comedy is not only the absence of studied effect and acting, but it is not considered an art.”

She made a film in England Nell Gwynn which led to three more films. Gish earned £41,000 for these movies.

When the film industry converted to talking pictures, Dorothy made one in 1930, the British crime drama Wolves. Earlier, in 1928 and 1929, her performances in the Broadway play Young Love and her work with director George Cukor renewed her interest in stagecraft and in the immediacy of performing live again. The light comedy had proven to be popular with critics and audiences in New York, in performances on the road in the United States, as well overseas in a London production. Those successes convinced her to take a respite from film-making.

In 1939, both Dorothy and Lillian Gish found the stage role of a lifetime. “Dorothy and I went to see the New York production of Life With Father, starring Howard Lindsay and Dorothy Stickney,” Lillian wrote in her autobiography. “After the performance I said: ‘This is the play we’ve been waiting for to take through America.’” Lillian predicted the popular play would be a perfect showcase for all the people who had seen the hundreds of films featuring Mary Pickford, Dorothy, and herself. She was introduced to Lindsay backstage, and immediately surprised the producers with her enthusiastic desire to head the first company to go on the road, with Dorothy taking the same part for the second road company, and the movie rights for Mary Pickford. Pickford did not make the film version, but the Gish sisters took the two road companies on extensive tours. Another stage success later in Gish's career was The Magnificent Yankee, which ran on Broadway at the Royale Theatre during the first half of 1946. Lillian in her pictorial book Dorothy and Lillian Gish repeats John Chapman's comments about her sister's work in that production: "'Miss [Dorothy] Gish and Mr. Calhern give the finest performances I have ever seen them in. She is a delight and a darling.'"

Television in the 1950s offered many stage and film actors the opportunity to perform in plays broadcast live. Dorothy ventured into the new medium, appearing on NBC's Lux Video Theatre on the evening of November 24, 1955, in a production of Miss Susie Slagle's. She and Lillian had previously performed that play together on screen, in Paramount Pictures' 1945 film adaptation.

"The truth is, that she did not know what she really wanted to do," wrote her sister, Lillian, in her autobiography. "She had always had trouble making decisions and assuming responsibilities, in some ways she had never grown up. She was such a witty and enchanting child that we enjoyed indulging her. First Mother and I spoiled her and later Reba, her friend, and her husband Jim. Reba called Dorothy 'Baby' and so did Jim. With the best intentions in the world, we all helped to keep her a child."

From 1930 until her death, she only performed in five more movies, including Our Hearts Were Young and Gay (1944), which was a hit for Paramount. Director Otto Preminger cast Dorothy in his 1946 film, Centennial Summer, and Mae Marsh appears in the film in one of her many bit parts. In the 1951 release The Whistle at Eaton Falls, a film noir drama film produced by Louis de Rochemont, Dorothy portrays the widow of a mill owner. On television during this period, she also made several appearances in anthology television series. Her final film role was in 1963 in another Otto Preminger production, The Cardinal, in which she plays the mother of the title character.

Dorothy Gish married only once, to James Malachi Rennie (1890–1965), a Canadian-born actor who co-starred with her in two productions in 1920: Remodeling Her Husband, directed by sister Lillian, and in the comedy Flying Pat. In December 1920, the couple eloped to Greenwich, Connecticut, where they wed in a double ceremony in which Gish's friend, actress Constance Talmadge, also married Greek businessman John Pialoglou. Gish and Rennie remained together until their divorce in 1935. Dorothy never married again

Gish died aged 70 in 1968 from bronchial pneumonia at a clinic in Rapallo, Italy, where she had been a patient for two years to treat hardening arteries. Her sister Lillian, who was filming in Rome, was at her bedside. The New York Times reported the day after her death that the United States consulate in Genoa was making arrangements to cremate "Miss Gish's body" for return to the United States. The ashes were later entombed in Saint Bartholomew's Episcopal Church in New York City in the columbarium in the undercroft of the church. Lillian, who died in 1993, was interred beside her.

In recognition of her contributions to the motion picture industry, in 1960 Dorothy Gish was awarded a star on the Hollywood Walk of Fame at 6385 Hollywood Boulevard in Los Angeles.

The (since renamed) Gish Film Theatre and Gallery of Bowling Green State University's Department of Theatre and Film was named for Lillian and Dorothy Gish and was dedicated on that campus in 1976.

[ginnyyang]

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[artcraftsartwork]

ARTCRAFTS art studio

Artcrafts Instagram 👈 link

(Instagram username artcrfts)

Artcrafts Telegram 👈 link

(tme username artcraftsartwork)

Vector art , Cartoon and realistic illustrations in the vector of your cars and motorcycles from Artcrafts. To order, write to DM Telegram and Instagram Artcrafts.

[atrixfromice]

So I ruined my life...and now what?

I always knew my greatest passion and dream was making comics and animated cartoons, since I can remember. I knew I was born to tell histories with endearing characters, hearwarming and useful great life lessons.

And I had all planned up. I had all planned all of it since I was seven. my career, my future...where I was going to be in 30 years from there. And as I saw it, I had two pretty cool options. Follow the path of science or the path of art.

I though I could go to elementary school, then the equivalent of highschool for mexicans. And studying english in the meantime and work middle time, so when I could finish all the basic school levels at 18 years old. I'll then take my suitcase and the money I saved and travel to study art at Oxford and ten trying to apply to some of the biggest animation studios as visual artist.

Or in the case I couldn't travel to USA, to study visual arts at the UNAM (one of best universities on Mexico) and then try to apply to a job on some of the small mexican studios and climp from there. And in the mean time doing  my personal comic projects, and maybe write a graphic novel.

The other option was to be a scientist which had more or less the same path. Basic studies, marine biology studies, studies to become a teuthologist. Working on fisheries related stuff a bit if it's all what it's avaliable, and then go to US after gaining some experience to some of the stuff I dreamed ;  apply in a  nice public aquarium to take care of the animals and to try teach an enteroctopus dofleini in aquarium to comunicate with us, throught a language I had created over the years, adapted to them. Oh of course! I also wanted to take marine photography and observe the enteroctopus dofleini's behavior in the wild!

But things aren't as easy as you think when you’re a kid...

In my journey for these paths I found a lot of obstacles, not only economic problems, but a lot of people who told me I wasn't good enough. And also my own lack of self-confidence ony myself and my skills.

When I was 13 one of my teachers made every student an "apptitude test" and told me, that even if I loved science I wasn't going to be good for it not because I wasn't intelligent, but because "science it's, organized, methodic, and you are not." I remember that made me enraged and sad and tried to be more organized since then.

At that time I thought science was better, because my dad said that an art field career would never get me a job, and will make me starving.

But with time I realized I loved more to make cartoons in general, so I decided an art related career and something on art field as a job could be a better path for me than a science career. So I tried to follow it.

I studied basic school. And in the meantime I studied English, and I took a part time job after school to save for my college as I was planned.

But lack of sleep because all the tasks I had to do were affecting my notes. My parents saw that and said it was ok if I only concentrated on my studies, that they could save to give me a college career at least in a Mexican university.

I stopped worrying and spent the money I had earned on stuff like videogames, movies, art supplies, and on intiving my family to dinner Pizza or some other fast food from time to time.

I think that was one my biggest mistakes on my life.

If someone had told me that when I had finished my basic school I wouldn't have enough for my college...I would have saved my money.

I think the other biggest mistake I made, was to be a coward...

When I finished my basic studies and was supposed to make my trip to Mexico City, my parents said they couldn't go with me because their work was there. And my brothers and sister were too small to go with me.

I was scared to live alone and work alone on a city where I didn't know anybody. Specially after my dad commented I watch out cos I could be robbed and rapped, and be kidnapped so my organs could be stolen and be sold to rich people.

This is why I made them chose my career for me the first time. My dad suggested it was better idea to move to a more closer city, 3 hours from where I lived, and study accounting, and that then after that I could work as an accountain and study what I really wanted on the side. So I thought it was maybe an smartest idea than mine, and I tried it.

But accounting never filled my spirit.  

When I was trying to figure out the business taxes my teacher had given us to work with, my mind was not there...

...it was day dreaming, thinking about what the next scene in my comic was going to or what traits of personality my next character should have. Immersed in fictional characters' character development and wonderful fantastic universes.

I last there a couple of years, mostly because my dad was helping me to pay the school and he seemed to be convinced it was the best path for me.

But One day at late night, I looked at my taxes work. And I noticed I had my accounting notebooks and books full of little doodles, sketches of comics and drawings of characters in heroic poses. And that the same thing happened to my elementary school, junior high and my highschool notebooks. And I had an epiphany. I was right when I said as a little kiddo I was born to make cartoons.

So I told my dad "Please don't keep helping me with money for this career, I'll leave it! I will never finish it, it doesn't fill my spirit"

My dad was mad and told me he was dissapointed when he heard that, of course. But in retrospective, I think he said that because he thought his help and advice had been in vain, and he was actually sad. And also because he felt money have been wasted.

Then I decided to be brave for the first time and stop letting people to decide for me. I looked up for some art related career, and luckily I found a college that wasn't as long as the UNAM.

Then I and I studied graphic desing there instead of visual arts, cos at that time visual arts on the university that had it has already started, and time was running and I was getting old. I worked there as well at the same time.

Studying graphic design instead of graphic arts was not the best decision of my life, now I realize it. But at that point in my life it was no longer time to study and let my parents pay for my college, but to work to earn a life of my own.

I studied in a modality where were classes were more difficult and rush up, but time to finish the carrer was a bit less and you could work on the side. Plus I wanted to make my best effort with this one because I felt so ashamed of leaving accounting.

I finished my graphic design career with 9.3 final note (it's the equivalent of having an A+) and at the fabulous age of 27 years old. (usually people finish college at 23-24, to give you a prespective )

And the rest is shorter, hehe.

My fabulous career and high notes weren't very useful in work field. I graduated and I tried to apply for a graphic designer job, but everbody wanted both experience in enterprise and a career, and I haven't worked at any enterprise at that moment. Finally, I worked on graphic desing industry on enterprise once. But I left it, because I was being exploited with insane schedules and on top on that, bad payed.

Luckily I found out that selling artcrafts and gourmet food from my hometown was a lot less exhausting and an agreable way to earn a life. It was cool actually, because I could practice my english and french with the tourists that could come, and meeting new people every day and heard their stories of their trips to exotic places.

And on the side I offered my services as a freelance illustrator and graphic designer. And while I'm not a super popular artist, I've got some money from there, and I'm making way to the artist field little by little. :)

So it was all good...until my workplace closed because of the coronavirus quarantine. So now I depend enterely of my  artwork to survive and it's scary..

And is in these moments I wonder... ...Have I ruined my life?

What would have happened if I had saved money from part time jobs and if I haven't been so chickery to travel to hollywood or to study in Mexico but far away from home?

Or I was dommed to fail since I choosed the art field as a career? As my dad and many other people told me.Should I have chosen the path of science and leave art as a hobby or a side work?

And if I had, could I have been able to make my tests to confirm t my theory that enteroctopus dofleini are intelligent enough to learn complex language to comunicate with us?

The answers of these questions, specially the last one....I will never know them...

And it breaks my heart! But at the same time it's something I need to face and accept it, to cope with it.

I think the important question isn't if I ruined my life or not, because that’s history.

But the important question is: what can I do to make my life better in this moment? And I think there's still a hope for me!

I'm not sure if I should talk about this..because then people might try to scam me into telling them my ideas without being a scientist, or without the intention to devote their life to make them a reality.

But it's been a good time I've been looking up for a scientist who already have studied marine biology or something related, and who would love cephalopods and would loved to put away their social life to dedicate their life to discover more about the enteroctopus dofleini. To inherit my work and that he or she puts in practic my experiments and tries to teach the octopus the language I invented.

I know by doing this I'll never receive any credit, neither fame nor recognizion, neither money or anything related. It will be the scientist that work with my heritage who will do it. And he or she will. I'm darn sure the enteroctopus dofleini can comunicate with this!

of course, I feel sad with this, I would have been glad to dedicate the rest of my life to do it myself, and see with my own eyes how people arround the world are amazed when the enteroctopus dofleini could tell us not just what he wants to eat, but complex emotions like rage, the amazement, hapiness, sadness, dissapointment...

But look at me! look at who I am!

I'm no artist, I can't earn a life as an artist.

I'm not a scientist...

And it’s too late for me to have the opportunity to study a science career now.

I'm a nobody, and that’s the truth.

So I'm aware this is the best decision. I worked a lot on this projetc, almost a life time. I prefer someone else do it, than all my work to be lost forever when I die.

And I did all that work, not because of money nor fame, or people's love. Not because I wanted people validate me as an intelligent person who achieved something extraordinary.

It was for one reason, and only one reason:

Because deep in my heart I wanted people stopped seeing the enteroctopus dofleini only as food and the lowest of minds.

People shouldn't eat the enteroctopus dofleni!! It's already discovered they're more intelligent than dolphins, birds, and even apes! Then why people keep eating it raw and cutting it in tiny pieces while being alive like they do very often in japan? Causing them unnecesary pain and suffering.

And we human race are supposed to be the most intelligent beings.

People shouldn't eat them, they should take care of them and protect them. They shoulf preserve their natural habitat and studying them in the wild so discover more and know more about them! They can be the key of our own survivence in the future years to come.

 If I give my work to a dedicated scientist and he or she conclusively prove that the enteroctopus dofleini is intelligent enough to do what I say, then my theories will have official validation! And hopefully this will bring conscience to people about them and they will stop treating them like shit! And they will start treating them more ethically and humanly as possible.

Before I die I would like to see that! Even if I don’t get the credit for my scientific work.

As for my artistic career goes, well..I arrived here, no?

I think I'll have to just keep going, and trying my best to gain a place on the artistic field. And keep moving forward...

I think I might not be successful in animation...but for the comics and graphic art part I think I can still do a great job!

Sorry I talked a lot, I have the impression I shouldn't have, hehe But see it this way, I think it's been a while I needed to write this to organize my ideas and know what I can do in this moment to make my better, and moving forward. And hopefully it will work and you will never see me  writing this much about my personal life again hehe.

I have an advice for all you folks. If you dream of something, go for it! No matter how difficult or scary it is, don't be a coward like I was for a while, and pursuit your dreams since the beginning. Don’t let anybody make choices for you.

Believe me, it’s less harder than it sounds. And in my experience, at the end of the day, you will only regret of what you didn’t do when you had the chance.

[greysnutrition]

Mirror circular studio light

#MIRROR CIRCULAR STUDIO LIGHT SERIES#

The same procedure can be used for the case of left-circularly polarized light incident on a mirror. modern bathroom mirrors, while Access Lighting and Artcraft. Cabinets Kitchen Planning & Remodeling Service. Bathroom Fixtures, Cabinets & Accessories Shower Doors & Enclosures (4) More Info. Adjustable Angles: LED lighting mirror can be rotated 360 degrees. It provides bright light & the bulbs wont burn out.

#MIRROR CIRCULAR STUDIO LIGHT SERIES#

Offering a contemporary look to round out your design, the Aria, Bela, and Eyla combine modern radius corners with sleek frosted light patterns to create a series of on-trend lighted mirrors with unmistakable panache. Default Distance Rating Name (A - Z) Ad Kohler Walk-In Tub. Lighted Vanity Makeup Mirror: This battery-operated double-sided lighted makeup mirror uses an energy-saving lifetime LED bulb that is 70 more energy efficient compared to a Incandescent mirror. These are the same upto a minus sign they are both the Jones vector for left-circularly polarized light. SONNEMAN Lighting (1) Studio M (1) Ships to Canada Yes. Our Radius Mirror Collection corners the market on style. Crafted of metal, this mirror strikes a round silhouette. To supplement the other answers, I'd like to add a note about how this emerges mathematically using notation and conventions from Jones calculus.įor a polarized (linear or circular) ray of light propagating along the $+z$ axis, the electric field can be written as the real part of oscillating complex phases: $$egin$ respectively. Instantly open up any space in your home with this minimalist wall-mounted mirror.

[outhenticvalleypress]

- Vaso - refrattario foggiatura a " lucignolo " o " colombino " ( coroplastica ) . decoro a ingobbio . . . . #ceramics #conteporaryart #myart #artwork #artinresidence #fineart #artgallery #artcraft #studio #merzbau

[imagesinbloom]

The Old ArtCraft Building

Today is a free day in Meet the Maker March challenge, so we wanted to share a bit more about the building we make our studio in. Located on Superior avenue between East 25 Street and East 26 Street is a stately 1910 brick warehouse and garment factory

Today is a free day in Meet the Maker March challenge, so we wanted to share a bit more about the building we make our studio in. Located on Superior avenue between East 25 Street and East 26 Street is a stately 1910 brick warehouse and former garment factory. In fact all of the buildings from East 20th to the I90 bridge were once a beehive of clothing production. Our building is 7 stories, and…

[adrian-paul-botta]

When Griffith returned to Los Angeles from the opening of hearts of the world he began directing his own Artcraft films. While he retained ownership of Hearts, the other films he made went to Paramount under the separation agreement at the end of the contract with Zukor. Because of the deterioration of the original negatives that were placed in Paramount’s vaults, only two of these films are known to exist today. At the same time that Griffith directed the Artcraft films he contracted with Artcraft to produce a series of comedies starring Dorothy Gish (wearing the same black wig she had worn in Hearts of the World) and work was begun on the series after the star completed a sensational personal-appearance tour with hearts of the world. Griffith spent more money on these comedies than he did on the films he was directing, but he declined to have his name attached to the series. The directors included Elmer Clifton, Chet Withey, F. Richard Jones, and Dorothy Gish’s sister Lillian, who directed remodeling her husband all by herself at the half-completed Mamaroneck studios while Griffith was off getting lost in southern waters. The co-star in the later films of the series was James Rennie, who became Dorothy Gish’s husband.