#fragment deisgn

[gioxy3ron]

Here we are are with Peach and along with her, a bunch of information about my AU🌟

[ironclark]

Heartless Cards - Enter the Gungeon SHADLET: When the Gundead falls into darkness, the shadows take over. The Shadlet is a small Bullet Kin designed to be extremely similiar to the base Bullet Kin seen in Enter the Gungeon, with heavy inspirations from the Shadow Heartless. The name is simply a combination of Shadow and Bullet. AMMO ANTHEM: Sing the song of Guns reloading! The Ammo Anthem is the Darkness in a Gun Conjurer, designed after the musical themed magic Heartless with implementations of the Conjurer's robes. The name comes from Ammunition and Anthem. FRAGGER: The Fragger is an explosive Heartless that has one goal: To blow up. It is designed after grenades of course. taking ques from the Pinhead Gundead and the Minute Bomb Heartless.. The name comes from the nick name for Fragmentation Grenades, or Frags. GUN CALIBUR: The Gun Calibur is a fusion of the Gun Nut Gundead and the Armored Knight Heartless. The name is a double pun: The calibur of bullet and the famous Excalibur sword! TANKYU: The Tankyu is a more custom Heartless, with inspiration from the Hot Rod type. Designed after a Tank, this small bit of Darkness packs a powerful punch! The name is a bastardization of "Thank you". MAD GUN AND THE CHAMBERED: The custom Heartless boss, the Mad Gun and the Chambered! This dual Heartless is deisgned to be a weapon wielded by the High Dragun. Shooting out the Chambered as bullets to hit their targets! The Chambered are then designed to return to the Gun! Also, the Mad Gun is can fire without a wielder! Once the Dragun is defeated, you still have to contend with the trigger happy Mad Gun!! That is it for the Enter the Gungeon Heartless! This is a bit new to me, so please let me know if you want to see more! And Stay Tuned for the next one!

[meitukong]

歡迎在留言板交流互動

聯名款，代表著限量與新鮮元素。它，蘊含著每一個品牌帶著其獨特的風格與另一個品牌風格之間的融合與碰撞，在融合的過程中展現出新的生命力，從而衍生出新的作品。每一次聯名都讓人無限期待！但是在這個品牌之間互動頻繁，動不動就聯名合作的時代，會有哪些聯名的作品最讓人留下深刻印象呢？接下來就讓我們一起來盤點一下2017年火爆的各路聯名款鞋子吧。

第一款：耐克/Nike Hyperdunk x OFF WHITE OW 聯名

采用了該系列鞋款一貫的設計風格，幾乎純白的鞋款上點綴了黑色和橙/紅色，以此構成配色主題，“FOAM”字樣出現在中底側面，鞋舌處的倒Nike Swoosh也頗值得玩味，最為顯眼的莫過於Flyknit鞋面上增加的綁帶設計——我們有理由相信其靈感源於Sock Dart，其半透明的視覺效果用以呼應主題——「GHOSTING( 重影)」

第二款：耐克/ NikeLab Air Presto Mid x ACRONYM®

由德國時尚單位 ACRONYM® 攜手著名藝術家 Kostas Seremetis 與 Nike 聯合打造的 ACRONYM® x NikeLab Air Presto Mid 近期引起了鞋迷們的強烈關注。本次三方聯名以 Air Presto 為藍本，融入 ACRONYM® 獨具匠心的機能設定，為這雙經典鞋款註入了全新活力。

第三款：彪馬/PUMA x HAN KJØBENHAVN 聯名款

PUMA攜手HAN KJØBENHAVN為經典鞋型註入當代風格，將運動與時尚以多種材質進行無縫融合。創意總監Jannik通過為這款聯名鞋款打造獨特的縫線設計重塑經典鞋型，使其呈現煥然一新的感覺。運用經典鞋款Clyde，高檔皮革鞋面以手工縫制的方式與鞋底結合，突出了精巧的斯堪的納維亞風。此次Clyde聯名鞋款的設計著重突出精致簡約的風格，PUMA x HAN KJØBENHAVN聯名字樣僅在鞋側處可見，充分表現北歐經典設計。

第四款：耐克Nike與加拿大潮牌Reigning Champ聯合推出AirForce1空軍一號

加拿大街頭潮牌Reigning Champ首次與Nike聯名打造的Air Force 1，鞋子整體以 Reigning Champ 風格的簡約灰色調貫穿，側後方印有RC品牌獨特的Logo配有 3M 反光，整鞋采用極具質感的麂皮材料，

第五款：阿迪達斯/OFF-WHITE × Adidas Originals NMD City Sock

該款聯名款在adidas Originals NMD輪廓上，設計拉鏈閉合模式賦予白色 Primeknit 織物鞋面當中，OFF-WHITE 標志LOGO腰帶分別設計在鞋舌與鞋領，而鞋面上采用透明分別註入三杠LOG與OFF-WHITE標志塑料吊牌，增加品牌聯名的專屬特性。

第六款：喬丹/Kaws X Air Jordan IV 聯名款

很多人說這雙鞋子的設計太過於簡單了，但是每個人的品味都不一樣吧。圖案，象��性的logo，夜光鞋底都讓鞋子增加了與眾不同的感受。重點的是，球鞋將Nike Air 字樣，換成了XX Air。這是典型的Kaws風格。當一切的元素結合在一起，是什麼讓這雙球鞋變成為經典的作品，是Jordan Brand選擇了一雙最好的款式之一，讓這雙鞋子變得更加的藝術，更有故事性。

第七款：喬丹一代/ Fragment Deisgn x Air Jordan 1 聯名

這雙鞋給人一種明明很熟悉但又無限新鮮感的特別感受。經典的AJ1三色以簡潔的方式搭配，鞋身以白色為背景，鞋頭采用黑色打造，後跟和鞋幫則包裹深藍色，經典的閃電 Logo 則體現了它的專屬聯名身份。

第八款：巴黎世家/Supreme x Balenciaga 聯名款

一般來說聯名款會拿點與眾不同或者吸引人眼球的東西來，感覺這款合作款是滿滿的敷衍，貼上個標簽就算聯名款了。

第九款：萬斯/VANS Authentic/Oldskool Platform

風靡全球的Platform鞋型 加上松糕底增高,復古帆布外形 ，極適合夏秋交叉之際使用 ， 既體驗了經典美式復古，又不隨波逐流 和路人他款區分，又有這增高的效果。

第十款：阿迪達斯/NEIGHBORHOOD X adidas Originals NMD R1 戰無不勝

日本街頭潮流品牌 NEIGHBORHOOD 與 adidas Originals 這對好基友，素來保持著良好的合作關系，而早前曝光的那雙牙齒細節 NMD R1 還為得到官方正式發布，知名爆料團體 Yeezy Mafia 就又釋出一款全新配色的 NMD 聯名鞋款，再次讓我們感受到被這兩大劇透支配的恐懼！鞋款依然沿襲 NMD R1 鞋型，配色采用 NBHD 獨步天下的黑白雙色營造，鞋側三線以黑色虎紋點綴。後跟虎頭與 “福” 字格外醒目，鞋提和鞋墊上刻畫的 “紀念續福” 與 “Invicible” （無敵） 字樣也彰顯出 NBHD 一貫的暗黑氣質。

[italianbark]

The Dutch Design Week is the largest design event of North Europe and I went there in Eindhoven for the second year in a row, thanks to a contact with DDW Press office who helped me in the trip.

This time I understood why I love the Dutch Design Week so much. It is a design event without all those frills of the various design weeks, starting from the Milan one . In Eindhoven there is nothing fashion and no ages. Just people of all (and say, all) ages enjoying a cultural event , starting from children and ending with elderlies…and a massive admount of nice cafes, cute corners, places where to eat something. Nobody in a rush here.

In the Dutch Design Week design is culture, history, is helping the environment and the society, before then selling products.  It’s research on materials and on fundations, more than on appearance.

That’s why my second article from the DDW focuses on new studies and innovations on materials. Take note!

.

[ITA]

La Dutch Design Week è l’evento più grande di design del Nord Europa e per il secondo anno mi sono recata ad Eindhoven, grazie a un contatto con l’ufficio stampa che mi ha sopportata nella trasferta.

Questa volta ho capito perché la Dutch Design Week mi piace così tanto. E’ un evento di design senza i fronzoli mondani delle varie deisgn week, a cominciare da quella di Milano (che certo, resta sempre la numero uno, eh). In pratica a Eindhoven non ci sono mode, non ci sono età. Solamente persone di tutte (e dico, tutte) le età che partecipano ad un evento culturale. Ci sono ovunque caffé e angoli super cosy in cui bere un caffè, un tè caldo e un dolce, e la gente non va di fretta.

Alla  Dutch Design Week il design è cultura, è storia del design, è studio, è mezzo per aiutare l’ambiente. E’ ricerca su materiali e principi, prima ancora che sull’aspetto delle cose.

Per questo oggi vi propongo una carrellata di novità proprio sul tema materiali e sostenibilità. enjoy!

.

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10 new Materials from the Dutch Design Week 2017

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1# STUDIO Mieke Meijer | Formworks

Slipcasting is a technique for the production of ceramics. A liquid clay body slip is poured into plaster moulds and allowed to form a layer, the cast, on the inside walls of the mould. Studio Mieke Meijer constructed moulds from plasterboard, by doing so the object texture appears that reminds of board-formed concrete walls.

[symple_divider style=”dashed” margin_top=”20″ margin_bottom=”20″] #2 Jessica den Hartog | Recolored

The industry recycles the plastic HDPE to the color gray, a neutral color,and to very limiting color. This work is a study around the possibilities of recycled plastic, originating from experiments with material, color and technique. The research serves as a library of colors and materials in a never ending process to recycle plastic.

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#3 Firewall | Bekkering Adams 

‘Firewall’ combines the already known characteristics of concrete with the new possibilities of 3D-concrete printing. The concrete material is naturally strong, has a great freedom and by its mass a large accumulation capacity. With the 3D-concrete printing an even greater freedom of form can be achieved.

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#4 Happy Concrete |  Iwan Pol

Why concrete has to be gray? Pol experimented with different pigments and various casting techniques, from latex sheets to silicone molds, to create a new look for the concrete.

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#5 Bottle Brick | Lou Van Reemst

Currently 2% of the incoming volume of waste glass is used for the creation of the bottle-up products. For the other 98% the bottle | brick could be a great solution. Lou’s results have shown positive results on the creation of an ASR immune building block that withholds 35% aggregate replacement with waste glass cullet. Fragments can also be incorporated in another material, the Trending Terrazzo.

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#6 WATERSCHATTEN | Studio Nienke Hoogvliet

Nienke Hoogvliet developed a series of objects created with reclaimed and recycled toilet paper. The project was developed in partnership with the Dutch Water Authorities, which has been experimenting with recovering energy and raw materials from waste water: used toilet paper can be collected from the water rather than being burned, as it was in the past. They estimates that 180,000 tonnes of toilet paper is flushed down Dutch toilets each year.

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#7 Air Ink printed scarves | Kelly Gijsen

Kelly Gijsen created scarfs printed with a special ink made of air pollution. The Graviky Labs – an Indian startup  made by students – captured pollution into high grade inks called “Air ink”: AIR-INK is the first ink made entirely out of air pollution.

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#8 Marble Salts | Roxane Lahidji

With ‘Marbled Salts’, the DAE graduate Roxane Lahidji reinvented salt as a sustainable design material. She makes use of its unique physical properties as a self-binding composite to create a set of tables and stools. She mixed salt with tree resin, giving it shape and strength and creating with it a set of tables and stools.

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#9 Oesterplat | Marjolein Stappers

Marjolein Stappers , a DAE graduate, investigated how oysters shells can be reused after thrown away as garbage and she came up with the idea for Oesterplat. The result is an elegant tile collection made of concrete, marble and oyster shells.

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#10 Lithoplast | Shahar Livne

Shahar Livne, a DAE graduate, created a clay-like material using discarded plastic: she layered the plastic with minestone and marble dust, two byproducts from the coal mining and stone masonry industries, which are usually discarded.

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More on Dutch Design Week 2017:

8 Design Finds from the Design Academy Graduation Show 2017

DUTCH DESIGN WEEK 2017 | 10 groundbreaking New Materials to help environment and design The Dutch Design Week is the largest design event of North Europe and I went there in Eindhoven for the second year in a row, thanks to a contact with DDW Press office who helped me in the trip.

[newyorktheater]

There are moments in the “Measure for Measure” by experimental theater company Elevator Repair Service at the Public that offer the purest Shakespeare on any New York stage; this occurs when they project the Bard’s words on the backdrop as the performers are reciting them. But even here, it’s only when an entire verse is projected, and scrolls up slowly, that there’s clarity. Most of the time, the projected words are scattered, fragmented, overly large, scrolling up at great speed, all of which renders the text unreadable.

The scrolling word play feels like a metaphor for this avant-garde production of Shakespeare’s last comedy as a whole: It’s hard to read. There are watchable moments, occasional visual appeal in the design, even some touching scenes. But it’s difficult to figure out – or appreciate — what director John Collins is up to.

This is the first time in the 26 years since Collins founded Elevator Repair Service (reportedly named after the occupation he was told to pursue by a vocational counselor) that the ensemble is staging a play by William Shakespeare. In a program note, Collins claims that “Measure for Measure,” with its mix of “tragedy and comedy, heartbreak and absurdity creates exactly the sort of environment in which we love to play.” On the other hand, he adds, “Shakespeare’s densely layered metaphors and dizzying grammatical constructions can’t possibly be thoroughly understood and processed in real-time by any but the Elizabethan scholar. But maybe that doesn’t matter.” What makes the play “timeless,” Collins writes, is the “music” of the sentences — not, in other words, their meaning.

To me, this “Measure for Measure” counts as a missed opportunity, given the play’s startling relevance in the age of Mike Pence and Harvey Weinstein. Yes,

even Elizabethan scholars label “Measure for Measure” one of Shakespeare’s problem plays, though not because of the language. It has an odd, convoluted plot, an ambiguous mix of moods and a troublesome resolution; it’s generally one of the playwright’s least performed works. But what an ensemble attuned to contemporary parallels could make of this play. The Duke of Vienna puts his deputy Angelo in charge, while the Duke pretends to leave town, but instead disguises himself as a friar to observe what happens in his “absence.” What happens is a crackdown on what Angelo sees as moral laxness. Angelo arrests Claudio because his fiancé Juliet is pregnant, and sentences Claudio to death. Claudio’s sister Isabella, a virtuous novice nun, appeals to Angelo for mercy. Angelo responds that he’ll show mercy if Isabella will sleep with him.

The Duke, as the friar, hatches a very odd plan to thwart Angelo.   All eventually ends weirdly, with the most inappropriate pairings in all of Shakespeare.

How Collins and his ensemble handle “Measure for Measure” will be familiar to those who have seen previous ERS productions. The design gimmick of the vertiginous text projections, for example, is similar to the company’s 2013 play “Arguendo,” which used as its script the transcript of a Supreme Court case about nude dancing. The odd, fast-then-slow, recitation of the script – as if the cast is reading the script from a teleprompter (which, reportedly ,they are) – brings to mind their 2010 breakout hit, “Gatz.” “Gatz” was a seven-hour verbatim reading of F. Scott Fitzgerald’s “The Great Gatsby” — all 47,000 or so words – with the cast portraying dual roles, both as office workers whose colleague was reading the book aloud, and as characters from the novel speaking the dialogue. As in that play, the set for “Measure for Measure” has no correlation to the settings or action – the ensemble sit around old wooden tables in a conference room, often talking to one another using the old-fashioned candlestick telephones

And there is a downtown quirkiness to this “Measure for Measure” that is present in most of ERS productions, though it was perhaps most pronounced in the notorious Fondly, Collette Richland. The cast is given to abrupt awkward goofiness that would feel like an American version of Monty Python if it were funnier.

Amid the slapstick and vaudevillian non-sequiturs, Rinne Groff as Isabella and Greig Sargeant as her condemned brother Claudio offer serious, moving performances that would not be out of place in a more conventional and accessible production.

Isabella’s pleas for grace and mercy and justice come the closest to evoking both emotionally and intellectually the main theme of “Measure for Measure” as revealed in the origin of its title, which comes from the Christian Bible: “Judge not, that you be not judged. For … the measure you give will be the measure you get.”

But such moments of provocative drama must compete with the broad theatricality of the ERS brand, which can be fun, but persists in this production for more than two hours without intermission, and mostly without letup.

Click on any photograph by Richard Termine to see it enlarged.

Rinne Groff

Maggie Hoffman and Greig Sargeant

Scott Shepherd as the Duke/Friar ,

Search Calendar Shows and Events Ticketing Info Programs Joe’s Pub at The Public Free Shakespeare in the Park Support Us Visit About Contact Us Press Photo recent_actorsOedipus El Rey – Production Photos Oedipus El Rey – Production Photos recent_actorsTiny Beautiful Things Encore – Production Photos Tiny Beautiful Things Encore – Production Photos recent_actorsOffice Hour – Rehearsal Photos Office Hour – Rehearsal Photos Measure for Measure – Production PhotosDownload Gallery as Zip File close Placeholder Mike Iveson, Susie Sokol, Lindsay Hockaday, and Scott Shepherd

Greig Sargeant as condemned Claudio

Rinne Groff (center) as Isabella

Pete Simpson

Scott Shepherd and Maggie Hoffman

    Measure for Measure Written by William Shakespeare Created and Performed by Elevator Repair Service Directed by John Collins

Set design by Jim Findlay,   costume design by Kaye Voyce, , lighting design by Mark Barton and Ryan Seelig, projection deisgn by Eva von Schweinitz, sound design by Gavin Price

Cast: Rinne Groff, Lindsay Hockaday, Maggie Hoffman, Mike Iveson, Vin Knight, April Matthis, Gavin Price, Greig Sargeant, Scott Shepherd, Pete Simpson, and Susie Sokol

Running time: 2 hours and 10 minutes, no intermission.

Tickets: $75 to $150. $45 for members. $20 lottery.

“Measure for Measure” is on stage at the Public through November 12, 2017.

Measure for Measure Review: A Shakespeare for the Age of Mike Pence and Harvey Weinstein, via Elevator Repair Service There are moments in the “Measure for Measure” by experimental theater company Elevator Repair Service at the Public that offer the purest Shakespeare on any New York stage; this occurs when they project the Bard’s words on the backdrop as the performers are reciting them.

[larryland]

by Gail M. Burns

Two first-year students at Princeton, Thomas Anthony (Joshua Boone) and Amber Cohen (Alexandra Socha). Thomas is black and a talented piano player. Amber is a white and Jewish, and a bundle of conflicting ambitions and desires. Both are eighteen. Legally, they are adults, but as we listen to the stories they tell in Anna Ziegler’s beautifully crafted Actually, now on the Nikos Stage at the Williamstown Theatre Festival, it is apparent that they are only on the very verge of adulthood, still teetering on the last crumbling precipice of their adolescence. So do we call them a man and a woman, or a boy and a girl? While the play deals with a very serious adult matter, I feel called to use the latter nomenclature.

The early weeks of college that they describe are both familiar – the sheer terror at being uprooted from the life you have known, the academic demands, the realization that this is your chance to remake yourself but you don’t know who you were, let alone who you might want to be – and shocking different to an old duffer like me – the expectation that you will drink heavily and engage in endless casual sex, even if that isn’t remotely who you are, and living in the endless fishbowl that is the current state of social media.

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Existing simultaneously with the expectation that you will be drink heavily AND be wildly sexually active is the hyper-vigilance surrounding issues of consent. If one or both parties are seriously intoxicated – and that is when most instances of rape and sexual assault occur – consent, or even consciousness, can be questionable, and memories of the event fragmented or non-existent.

Tom and Amber are very attracted to each other. Ziegler makes that clear and also the reasons why that is so. Based on that, their coming together should be the start of at least a life-long friendship if not a memorable fling or genuine romance. Instead, because of words, or the lack of them, they find themselves across the table from one another at a hearing to determine if Tom raped Amber. It isn’t even Christmas break of their freshman year.

Ziegler begins at the start of that ill-fated evening, then loops back around to times before and after in an intricate but never confusing cats-cradle that allows Tom and Amber to tell their stories in great detail. Not just the story of them together, but the stories of how they became the people they were that night, and are on the day of the hearing.

A great deal is at stake for Tom, a first generation college student who has opened many doors for himself with his talent and intelligence, and also with his good looks and charm. A decision against him will mean the end of all that a Princeton degree would grant him in life. But at stake also is Tom and Amber as a couple, and the loss of what they both know could have been a life-changing relationship. Amber has almost nothing to lose at the hearing, but in a way she has already lost everything.

Socha and Boone are skilled actors and perfectly cast. Another important trope in Ziegler’s story is bodies, a point subtly enhanced by Paloma Young’s modest and versatile costume for each actor. At 18 our adult bodies are as new and perplexing as our roiling emotions, desires, and ambitions. Boone embodies both the physical strength and emotional tenderness of Tom, while Socha’s tiny frame twists into pretzels of insecurity. Under Lileana Blain-Cruz’ direction the technical weaknesses of this production are largely mitigated by the riveting performances and Ziegler’s incisive use of language.

Director Lileana Blain-Cruz.

Playwright Anna Ziegler.

In Adam Rigg’s set deisgn there is nothing on the stage but the actors and two chairs with bright red seats. There is some faux wood paneling along the back wall of the stage acting as a poor man’s stand in for the kind of somber academic spaces one finds at illustrious Ivy League colleges and universities. Although Williams is not Ivy League one wonders why the WTF didn’t ask permission of the college to stage this show in the authentic surroundings of Chapin Hall or Stetson.

The lack of genuine academic ambience leaves Ben Stanton’s lighting design to fill us in on the changing times and spaces of the stories. I confess that at times I thought I understood what the lighting changes were telling me, and other times I was hopelessly lost and decided to ignore them. The only clear signal was the deep red light that bathed the stage during moments of true passion.

There was background noise/music, and most of the time I was unclear whether it was intentional in Jane Shaw’s sound design, or if we were hearing ambient sound from the adjacent MainStage where the musical A Legendary Romance is on the boards.

While the extent of Tom and Amber’s onstage physical contact is a kiss, Ziegler’s script is appropriately graphic as these two young people speak about their bodies, their early sexual experiences, and the encounter under scrutiny. So this play is not for people who don’t enjoy hearing such details spoken out loud. There is also a generation gap here. Boomers, while we came of age at the height of the sexual revolution, don’t use the same language to talk about intimacy that millennials use. For this and many other reasons Actually will resonate strongly with young audiences, which is a wonderful thing.

There is already considerable buzz about this play generated by its May/June run at the Geffen Playhouse in Los Angeles, which is co-producing world premiere with the WTF, albeit with a different cast and director. Actually is already set for a New York run at the Manhattan Theatre Club’s Studio at Stage II, with previews beginning October 31, and opening night scheduled for November 14. Blain-Cruz will direct again at MTC, but no cast has been announced yet.

The Williamstown Theatre Festival production of Actually by Anna Ziegler, directed by Lileana Blain-Cruz runs August 9-20, 2017, on the Nikos Stage in the ’62 Center for Theatre and Dance, 1000 Main Street in Williamstown, MA. Production Stage Manager Dane Urban, set design by Adam Rigg, costume design by Paloma Young, lighting design by Ben Stanton, and sound design by Jane Shaw. CAST: Alexandra Socha as Amber Cohen, and Joshua Boone as Anthony Thomas. The show runs 90 minutes with no intermission.

Tickets may be purchased online, by phone, or in person at the Box Office located at the ‘62 Center for Theatre and Dance Box Office at 1000 Main St (Route 2), Williamstown, MA 01267, 413.458.3253.

REVIEW: “Actually” in Williamstown by Gail M. Burns Two first-year students at Princeton, Thomas Anthony (Joshua Boone) and Amber Cohen (Alexandra Socha).