#no other medium is as good at condensing a piece of media into a solid brick and hitting you over the head

[dragon-wisteria]

amvs & animatics are the most powerful form of fan-content by the way. if you even care.

[moonshotpods]

Moonshot Network is opening for YOUR podcast pitches this Friday! But who even ARE we? What does that mean? How do you even send a pitch????

Good news: we’ve made this handy slideshow in order to answer all those questions, and also questions you didn’t even know you had! It’s a condensed version of our official pitch guide, to save you the trouble of clicking through to the GDoc link! You can also find the full plain text below the cut here.

What is Moonshot and why should I pitch you my podcast, anyway?

WHO WE ARE

Moonshot is a podcast network built on creative collaborations and far-out ideas. Some of our work includes: podcast seasons recorded in 24 hours, a dunk tank fundraiser stream, amateur Pokemon competitions, fanfiction actual plays, and deep media analysis of things like Saw, Christmas music, Harlequin romance novels, and the Halo 3 alternate reality game.

Our primary goal  is to be a home for out-there ideas, shorter and seasonal projects, and experiments in the podcast medium that might not fit in anywhere else. We aim to provide the enthusiasm, the structure, and support for our members to work on their dream projects.

Our second goal is giving first-time and early-career creators the tools they need for a successful start. We feel strongly that podcasting should not be a gatekept medium, and aim to support new creators with the funding and guidance to make their show a success.

WHAT WE HOST

Here are some examples of shows currently on our network:

ARGonauts Podcast: Andrew and Marn do deep dives into the niche world of alternate reality games and the people who create them.

Riley Hopkins and Their Amazing Friends: Short-form actual play series and one-offs that focus on transformative fanwork and crossovers of established shows/franchises/characters.

I’ll Be Pod For Castmas: A seasonal podcast released in July and December where Juliet and Katherine pick a piece of holiday pop culture and discuss it through the lens of a piece of topical classic literature.

After School Anime Club: Max, Max, and Stevie take a nostalgia trip back to the anime of their youth, and play game shows about it along the way.

The Podcast Mines: There But For The Grace Of Pod Go We: Riley and Andrew pitch each other podcasts, talk about the medium of podcasting, and sometimes do neither of those things.

WHAT WE OFFER

We offer network members a lot of perks, including:

Coverage of hosting costs, plus access to Pinecast's advanced analytics

A pre-existing community of fans and listeners to introduce your show to

Collaborative network shows with monthly spots for guest hosts

Other podcasters to talk shop and collaborate with in our creators-only Discord

Assets for streaming, a Twitch channel, and (time permitting) a stream producer

Subscriptions to Soundstripe (royalty-free music ) and Otter.ai (transcription services)

Optional participation in large group charity livestreams

OKAY...HOW DO I PITCH?

If you’re a creator looking to pitch us on a not-yet-published show, send us:

A strong pitch of your idea - what the base premise of the show is, an introduction to the regular hosts, what topics you hope to cover, and anything else that feels relevant. For audio dramas, feel free to send us an outline of the plot alongside the basic pitch!

A recorded and edited pilot episode.

OPTIONAL: More sample episodes, if you’ve already recorded them.

OPTIONAL: More scripted episodes, if you’re making an audio drama.

Examples of your past audio work. If you don’t have any, don’t worry! As long as your pitch is solid, you don’t need to have prior experience.

If you’re a creator looking to pitch an ongoing/established show, you’ll need:

A link to your feed.

Links to 3-5 episodes that exemplify what your show is about, and what it sounds like at its best.

If you’re a creator that has a pitch that is outside of these two options:

3-5 episodes in some format.

A solid pitch for why we should take on your show!

Please send these things to MoonshotNetwork@gmail.com with the subject line PITCH: [Your Podcast Name Here]. The body of your email should include a brief introduction of yourself, your podcast, and any cohosts; followed by links to the above requested content.

If you’re a new creator and have any sort of roadmap for your show, including an outline (for fiction shows) or a list of content you’re going to cover in future episodes (for nonfiction), we’d love to see those too! Please also include links to your and your cohosts’ social media.

Our inbox opens for pitches on November 25th! We hope to see you there!

[hecallsmehischild]

Recent Media Consumed

Games

The First Tree. So, I’ve concluded that this game is not for me, but that doesn’t mean it’s bad. If anything, I’ve found it at the wrong time in my life. This is clearly a game meant to help people process grief, and I might recommend that anyone who is going through grief and loss give it a try. It might help.

Portal 2: Co-op version. SO. I can’t believe neither of us realized this… but around the same time, my husband and I realized that for years we’d both “figured we’d never get to play the co-op version of Portal 2.” HAHAHAH. We kind of sat there, stunned for a moment, and immediately dove in. MUCH FUN. And sometimes Glados has different dialogue for each player, trying to pit us against each other. Lovely extension of the game.

Books

The Housing Boom and Bust by Thomas Sowell. This was one where I didn’t understand everything, but the parts that I understood helped clarify a lot. My parents were one of the couples suckered by an institution that knew how to take advantage of the loopholes and risky creative home re-financing procedures described by Sowell. I have hazy memories of the situation because I didn’t care for finances and didn’t understand what was happening. I appreciated how Sowell tackled the failings of both political parties in this whole debacle, and the way he describes it, it stretches backwards and forwards and I can see the pattern and it is dismal and depressing. At the same time, very useful to know. It’s fairly readable and on the shorter side of his works. Very useful read.

Nutcracker and Mouse King/The Tale of the Nutcracker by E.T.A. Hoffmann/Alexandre Dumas. These two versions of the Nutcracker fairytale were paired in a Penguins Classic volume, along with a helpful introductory. I have to say that, though Hoffman’s is the original, I understand Dumas’ version far more easily. Maybe it’s a translation issue or maybe it really is a drastic difference in writing. Either way, it was interesting to read the roots of the George Ballanchine ballet I grew up watching, and getting a heavy dose of “author’s intent” lecture in the introduction.

Clara & The Nutcracker by T.K. Merchant (Jessica Kalei Sheffield). I was pointed in the direction of this story that someone had written as a follow-up to the Nutcracker story. First, I had to read the original Nutcracker story (as seen in the previous point) and then I read through this. I have mixed feelings. On the one hand, I feel this story could have benefitted from more editing work. On the other hand, I have bittersweet pangs of jealousy reading what is clearly a published (and legal) fanfiction. It’s a good story with a solid core that (IMO) just needs some more spit and polish.

12 Rules for Life by Jordan Peterson. At this point I’ve seen enough of his lectures that I’m starting to get a real feel for what he says and believes in general. That being said, this was still a very polished and condensed version of it, and well worth reading. I think I was dragged into an alley and MUGGED by his chapter about friendship. It was a big, “Ow. But. True,” feel. Some of his chapters are straightforward and concrete and some are more abstracted, so this book ranges from chapter to chapter in terms of ease in reading comprehension. This book is geared more toward chaotic type people like me. Now I’m curious what he has to say to the more orderly type people. *eyes the other book*

A Conflict of Visions by Thomas Sowell. This was interesting. It was probably medium difficulty to read because it did deal with abstract concepts but grounded them pretty thoroughly in examples and historical references. Though it’s likely clear which vision Sowell ascribes more to, this work (as far as I can tell) is an academic look at the roots, paths, strengths, and weaknesses of the political divide. I think this is a good “bridging the gap” book because it does attempt to thoroughly lay out why each side is self consistent in its beliefs and behaviors. I think it is a read that leads to deeper understanding of both sides.

The Quest for Cosmic Justice by Thomas Sowell. This is a collection of essays that overlaps other works of his (Intellectuals and Society, A Conflict of Visions, etc) but focuses on this one aspect. It is definitely not unbiased, but it’s very readable.

Movies

Loving Vincent. I’d heard about this movie, off and on, for a long time. Is it too low of a pun to say, “This movie is art”? I mean… this movie is animation… but with HAND PAINTED OILS. In the style of Van Gogh. How even??? And the dialogue is pretty good, too. There’s a lot of emotion conveyed in this film, both through the visuals and story of it all. And the flashback scenes are, sometimes, nearly photorealistic in their style. I also love how you have to piece together who Vincent was through many different peoples’ memories of him, not all flattering. It is a painful movie to watch, and ends with the iconic song dedicated to Vincent. This is quality cinema.

Missing Link. I really shouldn’t have put watching this off for so long. Laika studio’s stop motion gets smoother EVERY. FRIGGIN. FILM. Gosh… I have to believe some of these shots were just them showing off, seriously. Once you are looking for it, you can see some scenes that are just there because they’re impressive under the circumstances of it being STOP. MOTION. But they’re done well enough that they don’t detract even a tiny bit from the quality of the film (as opposed to situations where I’ve seen some films do 3D effects very intrusively). So, all that said, I didn’t enjoy the story as much. Cardboard villainy isn’t as fun for me as it used to be, so my enjoyment of the story isn’t as high as for other Laika films, but it's good for one watch through.

[michaelandy101-blog]

The 5 Kinds of Digital Marketing Collateral You Should Be Creating

New Post has been published on https://tiptopreview.com/the-5-kinds-of-digital-marketing-collateral-you-should-be-creating/

The 5 Kinds of Digital Marketing Collateral You Should Be Creating

It goes without saying, but your marketing materials shouldn’t be limited to conventional outbound advertisements — particularly if your business is B2B. Sure, capturing attention is part of the battle, but what happens when a prospect visits your website and sees nothing but some product descriptions and a pricing page?

There has to be more there. You need to have some material to show that you can walk the walk. One kind of content that helps get you there is known as marketing collateral, and it can come in a variety of shapes and sizes.

Here, we’ll get a more in-depth understanding of the concept and go over the five most important marketing collateral formats you can use to help establish legitimacy and supplement your sales efforts.

What is marketing collateral?

Marketing collateral is media or marketing materials that are typically more informative than conventional advertisements. The medium is generally designed to project authority, establish legitimacy, and build trust with prospects to closely supplement sales efforts.

At its core, marketing collateral is a way to let prospects know that you know what you’re talking about. It’s not supposed to be as flashy as conventional advertisements. In creating marketing collateral, your first priority generally isn’t to capture attention — it’s to retain and enhance it.

In most cases, the prospects who are looking at your marketing collateral are curious about your company, but they might not be intimately familiar with you or your offering. Well-crafted marketing collateral can put them at ease. It can help build the kind of trust necessary to start and sustain a customer relationship.

Marketing collateral tends to be educational in some capacity. When done right, the informative nature of the format lets you separate yourself from the competition by letting you showcase an extensive understanding of your industry that others in your space might not be projecting.

If all of your marketing materials are solely dedicated to talking up your product or service, you’re selling yourself short. When prospects are deciding to buy, they’re not just considering what’s for sale — they’re considering your company as a whole.

They want to know they’ll be taken care of by a competent, capable, knowledgeable organization that they can rely on to address any issues and concerns they might have as they arise. Creating thoughtful marketing collateral is one way to help that cause.

Types of Digital Collateral

Blog Posts

Ebooks

Case Studies

Testimonials

White Papers

1. Blog Posts

Producing good marketing collateral is often a matter of consistently providing value to your audience. One of the better forums to create and promote the kind of material that does that on an ongoing basis is a well-maintained company blog.

It allows you constantly to supplement your sales efforts with helpful insight and audience engagement — driving traffic to your website and generating leads through actionable advice, expertise, and entertainment.

Like any other kind of effective marketing collateral, good blog posts can project authority in your industry. You want to show you’re staying abreast of industry trends and understand the nuances of your space — constantly churning out high-quality, helpful content can help that cause and put your prospects at ease.

2. Ebooks

Ebooks are similar to blog posts in that they should project industry authority through engagement, but they tend to be longer, more in-depth, and less snackable than typical blog content. This type of marketing collateral generally attracts prospects with a vested interest in your industry. Here are some examples from HubSpot.

Image Source: HubSpot

In some ways, an Ebook could be likened to an extended blog post or a few blog posts strung together. Like blog content, an Ebook generally contains accessible language and directly actionable advice.

In many cases, Ebooks are downloadable and can only be accessed in exchange for a prospect’s contact information — making them a powerful vehicle for lead generation.

No matter where your company stands, you likely have the resources and knowhow to channel your industry-specific knowledge into a thoughtful Ebook. Remember, your marketing collateral should be designed to build trust with prospects and customers.

If you can put out Ebooks to reliably bolster their knowledge of your industry, you can convince them they’re in good hands when they buy your product or service.

3. Case Studies

Case studies are offering-specific documents that detail how specific customers saw success as a result of leveraging your product or service. This format is different from the previous two in that it’s never product-agnostic. Here’s an example from HubSpot:

Image Source: HubSpot

Every case study is made in collaboration with a satisfied customer. It’s a form of cross-promotion that shows what your product or service is like in practice — a roadmap that lets prospects imagine what you could do for their business.

Like almost every other example on this list, case studies are educational. They provide a more thorough explanation of how your product or service works through an active example. It’s also another avenue for building trust.

If you can point to reputable customers who are willing to vouch for your business in extensive detail, you can bolster your company’s reputation as a solid, knowledgeable organization with a product or service that delivers results.

4. Testimonials

Testimonials are essentially condensed, snackable case studies. Many — if not most — prospects don’t have the time or interest to delve into a full-on case study. If you want to reach them, you’re going to have to provide quick-hitting content that they can glance over passively. Testimonials can do just that.

Here’s an example of one from HubSpot:

Image Source: HubSpot

This testimonial follows the format’s best practice. It’s visually engaging, clearly establishes who provided the quote, and references specific benefits — a solid example of an appropriately informative, easily digestible piece of marketing collateral. Ultimately, a good testimonial helps project the company’s legitimacy while inspiring potential customers to further explore the product it’s promoting.

5. White Papers

A white paper is a persuasive, authoritative, in-depth report on a specific topic. Generally, one of these documents will raise a problem and present a solution to it.

It’s typically more technical and less accessible than an Ebook. It’s meant to draw a crowd more intimately involved with or interested in your industry — an audience that might naturally run into the issue at the core of the document.

White papers shouldn’t be product pitches. It’s best practice to keep them objective and educational. That being said, the topics you choose need to be relevant to your company or space.

This kind of collateral also needs to be thoroughly researched, thoughtfully formatted, polished, and written in a serious tone. That means no flashy language or cute gimmicks. Here are some examples of topics from HubSpot’s Not Another State of Marketing Report.

Image Source: HubSpot

As I keep mentioning, every format listed in this article is tailored to project authority to some extent — the white paper is the purest example of that trend. It’s a technical document that’s meant to demonstrate technical knowledge to a crowd with technical prowess.

Well-crafted marketing collateral can give you a leg up on your competition. Not only is it an excellent vehicle for lead generation, but it can also offer your business an element of authority and trustworthiness to make potential customers more comfortable and inclined to buy from you. If your company isn’t producing it, consider trying out one of the formats listed above.

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[bestflyerprinting]

Printing vinyl stickers & the difference between vinyl stickers and decals

Whether it’s vinyl stickers for your car bumper or just a simple paper sticker for a name tag. There is a lot to consider when looking at all the options. Often it can get confusing especially when ordering online and sometimes the finished product isn’t quite what you envisioned in the first place. Hopefully, this article managers to bring to light all the “need to know” when it comes to the sticker game.

Medium/Type of stickers:

Stickers come in many types with several different mediums, surfaces, and finishes which creates many permutations of the simple sticker. The different stickers also have a need for different methods of application. Often people, companies, and charities will use these methods to portray their brand in a certain way. This is where the design element of these stickers becomes an important piece of the puzzle. The design process is often the beginning of the timeline for stickers and is therefore crucial to understand.

Paper labels

Firstly, you need to consider is which sticker medium or type you want to select. Proper type is essential when trying to get the most out of your stickers. Stickers are commonly printed on either paper or vinyl. Knowing the differences between these two will help ensure you get the results you desire.

These are the most straightforward to achieve and the most cost-efficient stickers. Paper labels are perfect for labelling plastic sleeves, glass jars or food packages and many more instances. The only issue when considering these labels is that they are not water- or weatherproof and should be considered for indoor use only. The labels are quick to fade and tear, so short term use is optimal for these stickers

If you need water-resistant stickers, look for matte label paper and make sure that pigment ink is being used on a pigment ink printer and not a dye-ink printer. Pigment ink is widely known for its archival properties. Other weatherproof options are vinyl stickers or decals.

Vinyl Stickers versus Vinyl Decals

You may believe that vinyl stickers and vinyl decals are pretty much the same things. Well, that’s probably because they are. Yet there are some differences, and it is important to know them when deciding whether to purchase between the two. Which surface you are sticking on, and the purpose of sticking are also key factors to consider.

It mostly depends on the final product. To put it simply, if you’re looking for a simple monotone (one colour) design, then a decal is what you want. However, if you’re wanting something that is detailed and with a selection of colours, then it’s a vinyl sticker.

Allow our list below to elaborate on the differences which should clarify any confusion.

Vinyl Decals:

What it looks like: Monotone in colour, usually smaller and less intricate.

Machinery: The vinyl cutter is connected to a computer that allows it to read the vector design files. The cutter uses a single, small blade to cut into the vinyl. The big roll of vinyl is moved back and forth as the blade cuts into the material. Most importantly, the blade only cuts deep enough to slice through the vinyl material, not the backing paper it is stuck to.

Process: After the vinyl sheeting is machine-cut, weeding is done by hand to remove all excess vinyl that isn’t part of the design (the more intricate the design, the longer the weeding takes) and finally, the decal gets a layer of adhesive tape so it can be transferred to a service area.

Vinyl Stickers:

What it looks like: Colourful and more complicated.

Machinery: Each of these vinyl stickers are printed onto vinyl using a wide-format printer. This process uses special repositionable vinyl for stickers because it is much easier to apply and remove than other stickers while benefiting from all the long-lasting properties of vinyl. This is particularly important for wall stickers when you don’t want to damage your wall upon removal.

Process: Shapes are manually or machine-cut out of the printed vinyl wherever necessary to create the design. The entire sticker is cut out of the vinyl sheet.

Essentially, the difference between vinyl stickers and decals lies in vinyl printing and cutting methods. Your choice of decal or sticker from Asset Print depends largely on the intricacy and colour tones of the design. While we may not have plotters and professional vinyl weeders at all our stores to produce vinyl decals, we do have vinyl sheets and printers that are capable of materialising any vinyl sticker design.

In cases where the design is too intricate, although monochromatic, a vinyl decal is not the correct choice when choosing between the two. We produce them as stickers that are printed onto transparent vinyl. The result is a product that looks a lot like a decal but has all the properties of a vinyl sticker.

Often you will hear the term die-cut stickers. This process or cut is implemented once the stickers have been printed, and the same machine cuts contours out of the machine. This process is similar to the decal process, but the difference is that it cuts all the way through the sheet which the stickers lie on. This creates a die-cut sticker that can be taken out of the roll of vinyl. (This is perfect for stickers that will be given out in singular portions.

Applications for Vinyl

Vinyl stickers for Cars or Vehicles

Waterproof stickers are the best choice on farm and construction machinery, delivery vans, trucks, trailers, and other vehicles. Therefore a vinyl sticker or decal should be the appropriate choice in the matter, as they are waterproof and weatherproof.

Stickers on Boats, marine equipment, and similar surfaces

An obvious choice, Vinyl. Stickers for boats and marine equipment should be waterproof. This goes for the interior of the boat as well. Even if the stickers aren’t immersed, they are often exposed to air which is thick with mist or water precipitation.

Food packaging

Food packaging for refrigeration, vinyls are the way to go. Condensation is common in food packaging. Regular stickers will lose quality in very damp areas, which could lead to the possibility of your products being unfit to sell. A small difference in choice of stickers could lead you to a big save in packaging costs.

Design Tips

Software Color match.

CMYK is the most commonly used form of colour combination for home printing or digital printing. This process involves layering color ink in dots, which will lead to a recreation of the digital version. CMYK colour matching will give you good, close and accurate result for a reasonable price. A second option for vinyl stickers is the implementation of Pantone color. Pantone is a superior option for total color correctness and consistency, especially for stickers that involve a large area of solid color. Yet these are harder to achieve and would increase the price compared to the use of CYMK values for colours.

Choosing the right colors.

Lighter color values don’t always work well with the CMYK process. In many instances, colors on the lightest 10 percent of the spectrum don’t translate at all. All this means is that your sticker’s subtle yellow or pink coloring can look white to the casual observer — a look that can wash out your design. Similarly, designs that incorporate a lot of blacks will vary in effect depending on what color balances in the design make up the black tone.In other words, the colors on your screen that combine to create your black tone will determine which black and color ink ratios are on the page.

Detail versus simplicity

Although a detailed design always holds merit, when coming to stickers sometimes (or mostly) a simple design will work better in terms of colour and end result. Super detailed versions will often lead to costly outcomes that do not always work out. The cut will be difficult to achieve as well as the stickering process. Normally bold and simple stickers are visually more effective (normally) and much better in terms of cost.

Why Stickers?

A Physical Form of Social Media

Promotional stickers are just physical versions of how people interact over social media. People were ‘liking’, posting, pinning, tagging and starting conversations with stickers long before the Internet. Designed and distributed properly they continually generate low-cost exposure, impressions, and word of mouth marketing, much like how visual elements work on social media.

Stickers are perfect for your brand exposure (logo Stickers)

Online marketing is highly effective yet it is difficult to achieve due to the vast competition currently. Ad blindness is becoming a thing, therefore it is important to create brand exposure in different, non-digital forms of avenue.

Promotional logo stickers is that they help you stand out from the crowd. Your logo appearing in different and unusual places (car bumpers and laptop covers) will have little competition as well as a unique way of exposing your brand.

A“Gift”

Quality stickers have a higher perceived value than other promotional mediums (business cards, brochures, flyers, etc.). They are viewed more as a gift than “advertising”. People enjoy collecting stickers and sticking them on their own materials. People feel like they customising what they have, whether it be their laptop, car bumper or even wall – people enjoy applying their own personal touch to make their “things different” compared to everyone else.

Place and Promote

Place and Promote Promotional stickers, of course, are not always a gift product. They are also an inexpensive way to brand products, packaging, signage and service equipment. You can’t always rely on others to become advocates sharing your message and product, but you can do it yourself in a tasteful and effective manner wherever possible.

Micro Marketing/Identity Development

Because of the succinct nature of a promotional sticker, the process of development and design can help clarify and focus other marketing efforts (logo, website, advertisements, business cards, headlines, press releases, etc.). The same core questions need to be asked and analyzed:

Who do I want to talk to (who is my market)?

Where am I going to find them? How do I get in touch?

What are their (what do they want / need) interests?

What is my unique (identity) offer, message and/or story?

How do I communicate my message/identity to my market and prospects cleanly, simply, graphically and quickly?

Complement and Enhance Other Marketing Efforts

In addition to branding and exposure-enhancing campaigns, stickers can be leveraged in other ways to enhance and strengthen promotional programs. Opinions and discussions can be promoted online in social media to reach fans and consumers. Stickers can strengthen communities and awareness of a message. Cooperative campaigns with others can reduce costs and increase distribution and impressions. Successful or interesting sticker campaigns can generate excellent PR.

Sell as A Profitable Product

Promotional stickers can also become effective objects themselves if they are done correctly. A brand name, slogan or image can become a product that’s sticky. If you have retail options, a specific approach to a particular market, or fans and supporters, you could build a sticker with a perceived value sufficient to warrant people willing to show it off and pay for the privilege. Just make sure that the sticker suits the individual needs and preferences of the consumer, not just your own needs for marketing/branding.

To sum up, advertising is about relationships; connecting to people who will benefit and are willing to support you what makes you unique and important. Stickers can be used to reinforce the connection in several ways and promote the spread of the term. That’s sticker marketing–using one of the lowest-cost, maximum exposure marketing tools available to communicate and reinforce. But note that sticker marketing, like any form of marketing or advertisement, requires proper planning, design, and execution to optimize its effectiveness.

Article from: https://thedigitalprintshop.blogspot.com/2020/08/printing-vinyl-stickers-difference.html

[promomagazine]

Pello Irazu: Panorama

•    Dates: March 10–June 25, 2017 •    Curator: Lucía Agirre

 Pello Irazu is a key figure in the renewal of contemporary Basque and Spanish sculpture. Over the course of three decades, he has forged a solid career by fusing the broadest possible spectrum of sculpture with photography, drawing, and mural painting.

Regardless of the discipline he uses, Irazu's work exhaustively explores the problems that arise in the multiple relations between our bodies, objects, images, and spaces.

The installation design hinges on a conceptual and physical device invented by the artist, which incorporates some of the most significant milestones and masterpieces of his career.

 The Guggenheim Museum Bilbao is pleased to present Pello Irazu: Panorama , which examines the thirty-year track record of one of the foremost renovators of contemporary Basque and Spanish sculpture. As the title suggests, more than the backward glance which any retrospective entails, this show is a multi-directional vision where time wrinkles and folds in space, offering a kind of panoramic landscape.  

The exhibition, featuring over one hundred works, hinges on a conceptual and physical device invented by the artist himself that incorporates some of the most significant milestones and masterpieces of his career. The aim is to create a kind of simultaneous perspective where past and future are reunited and refreshed in a continuous present. In the Museum, the walls of Gallery 105 help create an enveloping atmosphere that draws viewers to experience the work, making them part of it and inviting them to reflect on the language of sculpture. 

A key figure on the contemporary art scene, Pello Irazu has forged a consistent body of work since the 1980s, alternating between broad-spectrum sculpture—from small-format three-dimensional creations to massive installations and hybrid objects—and photographs, drawings and mural paintings. In every medium he uses, Irazu's oeuvre exhaustively explores the problems that arise in the multiple relations between our bodies, objects, images, and spaces. 

The backbone of this retrospective is a large corridor that cuts diagonally through the center of the space and divides it into different areas which are organized in a circular fashion. This layout proposes a complex spatial experience, where visitors will be free to choose between several more or less linear routes at any point along the way. The central corridor contains a chronological survey of Irazu's most important works on paper as well as a mural painted for the occasion that illustrates the evolution of his drawings, collages, and paintings, while the peripheral areas house his sculptures and photographs. 

This artist's oeuvre runs the entire gamut of sizes—from diminutive sketches to large-format works—, and media—from pencil and watercolor to wallpaper, adhesive tape, and all sorts of prints—. The exhibition also allows visitors to discover different forms of artistic expression: figurative, geometric, documentary, gestural, etc.  

TOUR THROUGH THE EXHIBITION 1984–89 Early years   The tour begins with photographic records of Irazu's first ephemeral experiences in the mid-1980s that would lead to the creation of his first steel piece, whose physical forcefulness is permanently questioned by the partial use of paint. These years witnessed the rise of what contemporary critics began calling "New Basque Sculpture", in which artists like Pello Irazu, Txomin Badiola, Angel Bados, María Luisa Fernández, and Juan Luis Moraza rejected local sculptural tradition and began to reconsider the work of Jorge Oteiza from more contemporary perspectives like Minimalism, Post-Minimalism and Conceptual Art. 

In this early stage, Irazu established some of the parameters that would remain constant throughout his career, such as limiting the size of a work according to his own physical possibilities so that the piece would act as a condenser of a performative act, or dealing with his growing proximity to Minimalism and Oteiza, always from a heterodox position.   During these years, Pello Irazu produced works of an intense material density, like Gante (1988), which create a spatial discontinuity wherever they are inserted. Little by little, color began infiltrating his work in thick coats of oil paint, as we see in The Land that Sleeps (La tierra que duerme , 1986), or more industrial spray paints. In the artist's words, "In both cases and with nuances, a contradiction is created between the optical (the eye) and the haptic or tactile, with their different spatialities." 

Around this time, Irazu began working with media like drawing but maintained the characteristics of the sculptural genre. His drawings and paintings, developed alongside works in other media, were not conceived as sketches or designs for sculptures he intended to make but as independent creations. In 1989 Irazu produced his first mural painting, Corridor (Corredor ), at Galería Joan Prats in Barcelona, transferring ideas developed in drawing to situations closer to real space. With his pictorial, sculptural, or photographic wall interventions, the arrangement of his sculptures in space, and the fragmentation of that space, Irazu gradually altered the viewer's perception in the course of the itinerary.  

1990–98 New Objects — The Domestic After a brief time in London, in 1989 Irazu moved to New York and entered a phase which, for the artist, was marked by the idea of externality, "for the important thing is not just the distance placed between you and what you leave behind, but the fact that you become something external to yourself". This decade is represented by works made of lighter, more readily available industrial materials like plywood or plastic, with expressive treatments and constant allusions to the domestic space. He created pieces that play with architectural references which disappear as mere constructions yet retain symbols of those references, such as brick or dialogue with household objects.  

In this period of his career, he deconstructed objects to reassemble them in a disjointed fashion, creating a sense of defamiliarization with regard to the meaning of everyday objects and materials. In works like Unknown (1994) and After Pris (1997), Irazu revealed the tension between public and private. That tension is multiplied in photographs like White St. (1992) and Switch (1997), images of private creative processes destined for a public relation with other works by the artist, treating spaces and walls like trompe l'oeils or open windows onto an action performed in a private setting. "The domestic and familiar is rendered uncanny by a process of defamiliarization." He also managed to convey this unsettling sensation in works like The Good Teacher (On the table being itself a piece of wood) (1993) and The Bride (You will be whatever you want) (1993), where the artist intervened in the pedestals, the flamboyantly patterned fabrics that dress up the works, or the titles themselves.   

In his drawings and paintings from this decade, Irazu applied basic colors to found pieces of printed paper or wallpaper which served as a continuous or reactive point of departure for his work. During this phase, he added new layers to his drawings using materials like adhesive tape, as in The Wound 5 (1998), allowing him not only to design an alternative pattern but also to link diverse materials. 

1999–Present In the year 2000, back in Bilbao, Irazu embarked on a new phase in which his works questioned the signs that surround us, using forms that were suggestive to spectators yet far removed from their habitual points of reference to create mixed feelings of familiarity, ambiguity, and strangeness. Irazu appropriated the space, combining mural painting with three-dimensional materials and sliding along the blurred boundaries of conventional artistic categories. We see this in Acrobat (2000), where the mural painting fractures the wall which the sculpture seals.  Another important piece is Life Forms 304 , in the Guggenheim Museum Bilbao Collection, a work originally created for Gallery 304 and now adapted to this new setting. The pentagram-like mural painting that surrounds the viewer modifies our perception of the space and its architecture as well as our relationship with the constructed object. The work resembles an unstable, impassable shelter in which color is combined with different ordinary materials like adhesive tape and plywood. We get the impression that we are seeing a deconstruction prior to reconstruction, the reused detritus of previously inhabited architectures or spaces. Drawing on this and other similar works from the period, Irazu produced sculptures like Fold 04 (Pliegue 04 , 2005), which he calls "drawings in three dimensions", based on the idea of "taking a drawing, cutting it, creasing it, folding it and placing it in space, but in a real way".  

In works on paper like Johntrash (Juanbasura , 2003), the forms are quite simple, and through the layering of different transparent volumes and materials we can make out everyday objects such as bags or familiar faces from art history. 

The final areas house Irazu's most recent works, which challenge the idea of representation in sculpture through reproductive processes such as plaster, aluminum, bronze, and steel casting or photography. In works like Noli me tangere (Mistrust) [Noli me tangere (La desconfianza) , 2009], whose title alludes to the biblical episode, frequently depicted in art history, where Jesus Christ appears to Mary Magdalene after the resurrection, Irazu created pieces of cast aluminum that visually resemble other materials like cardboard and assembles them with screws, making it difficult to tell the real and represented materials apart. In the artist's words, "The way they are articulated has more to do with the idea of accumulation than with the notion of assemblage." In Annunciation (Anunciación , 2014)—another major theme in art history, the depiction of which played a central role in the development of pictorial perspective—serial photographs reproduce the artist's immediate surroundings (the studio and production processes), which are gradually modified by paint rather like a trompe l'oeil , thus exploring the relationship between representation, materiality, and ornament. 

In a nod to the idea of "eternal recurrence" and the circularity of all artwork, the exhibition ends where it began, with photographs and metal sculptures reminiscent of those with which the show opened.  

DIDAKTIKA If you want to learn more about the exhibition and the artist's work, we invite you to take a brief tour led by museum educators in our Express Tours. You can also discover the behind-the-scenes setup process and other curious facts through the Shared Reflections program, unique tours led by museum professionals and sponsored by Fundación Vizcaína Aguirre. 

Curatorial vision: March 22. With Lucía Agirre, Curator  Key concepts: March 29. With Marta Arzak, Education Deputy Director

Additionally, you will find more information about the artist and his working process on the exhibition minisite, specifically in the educational section Did You Know...?  

BIOGRAPHY 1963 Born on 26 October in Andoain, Gipuzkoa (Basque Country)  1981 Enrolls at the Faculty of Fine Arts of the University of the Basque Country/Euskal Herriko Unibertsitatea, where he graduates with a minor in sculpture in 1986.  1982 Receives a visual arts grant from the Spanish Ministry of Culture.  1983 Wins Third Prize in Sculpture at the 1983 Gure Artea competition.  Exhibits at the Sala de Cultura, an exhibition hall managed by the Caja de Ahorros Municipal in Bilbao.  1984 Takes First Prize in Sculpture at the 6th Visual Arts Biennial of Vitoria-Gasteiz.  1985 Wins an artistic production grant from the Provincial Council of Gipuzkoa.  Takes Third Prize in Sculpture at the 1985 Gure Artea competition.  Exhibits at Galería Windsor Kulturgintza, Bilbao.  1986 First solo show outside the Basque Country at Galería Fúcares, Almagro.  His work is included in the Muestra de arte joven at the Madrid Circle of Fine Arts.  1987 Wins First Prize in the sculpture category at Bizkaiko Artea.  Participates in the exhibition Dynamiques et interrogations at the Musée d'Art Moderne de la Ville de Paris.  Also appears in Una obra para el espacio at Canal de Isabel II in Madrid.  1988 Two one-man shows at Fundació Joan Miró, Barcelona, and Galería Soledad Lorenzo, Madrid. Participates in the 4th International Drawing Triennale at the Kunsthalle Nurnberg in Nuremberg, Germany, where he wins an award. That same year he wins the ICARO prize for most outstanding young Spanish artist.  Three Spanish Sculptors exhibition at the Donald Young Gallery, Chicago.  1989 Exhibits at Galería Joan Prats, Barcelona. Lives in London and exhibits with Txomin Badiola at Riverside Studios, London.  Chosen to participate in the 9th Salon of the XVI at the exhibition hall of La Fundació Caixa de Pensiones, Barcelona.  1990 Chosen to participate in the Aperto section of the 44th Venice Biennale. Thanks to a Fulbright scholarship from the Joint Spanish-American Committee, he moves to New York and remains there for the next eight years.  His work is included in Spanische Eisenskulptur , a show that tours to museums in the German cities of Mannheim, Bochum, and Berlin.  1991 First solo show in New York at the John Weber Gallery.  1992 The Museo de Artes Visuales Alejandro Otero, Caracas, holds an exhibition of his work.  Exhibits at Galería Soledad Lorenzo, Madrid.  Participates in the exhibition Pasajes in the Spanish Pavilion at Expo'92 Seville, and in Tropismes at Tecla Sala, L'Hospitalet, Barcelona.  1993 New exhibition at the John Weber Gallery, New York.  Participates in the exhibition Future Perfect , curated by Dan Cameron, at the Heiligenkreuzerhof, Vienna.  1994 Exhibits at the Palacete del Embarcadero, Santander, at Galería Joan Prats, Barcelona, at the Costas Grimaldis Gallery, Baltimore, and, under the title Real World , at Galería Soledad Lorenzo, Madrid.  1995 His show Habitat opens at the John Weber Gallery.  Exhibitions at Galería Fernando Latorre, Zaragoza, and Galería Manuel Ojeda, Las Palmas.  Leads an art workshop at the Madrid Circle of Fine Arts.  1996 His work is included in the show Abstract-Real at the MUMOK, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna.  1997 New exhibition at Galería Soledad Lorenzo, Madrid.  Also exhibits at Galería Lekune, Pamplona, and Espacio Caja de Burgos hosts an exhibition of his work.  

1998 Returns from New York and settles in Bilbao. His work appears in the shows El punto ciego.  Spanische Kunst der 90er at the Kunstraum Innsbruck, Austria, and Dibujos germinales at the Museo Nacional Centro de Arte Reina Sofía, Madrid.  Leads a workshop at the Arteleku contemporary art center in Donostia-San Sebastián.  Produces the sculpture that is selected to be the image of the Academy of Television Arts and Sciences Awards.  1999 Exhibits at the art gallery of the Málaga Architects' Association and in the show Daylight at Galería Soledad Lorenzo, Madrid.  2001 Presents the exhibition Life Forms 1ME9D at Galería Moisés Pérez de Albéniz, Pamplona. Participates in the show Gaur, hemen, orain at the Museo de Bellas Artes, Bilbao.  His work is featured in Deux millénaires d'histoire de l'Espagne. An 1000-An 2000. Musées Royaux d’Art et d’Histoire, Brussels.  2002 New exhibition of drawings, Mimendi 308 , at Galería Soledad Lorenzo, Madrid.  Participates in the exhibition Conceptes de l'espai at Fundació Joan Miró, Barcelona.  2003 Artium Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, hosts an exhibition of his recent work under the title Fragmentos y durmientes .  2004 Exhibition at Galería Soledad Lorenzo, Madrid, entitled Pliegues .  His work is included in the show Dispersions , held at the Bass Museum of Art, Miami.  2006 Holds the exhibitions Let It Bleed at Galería Moisés Pérez de Albéniz, Pamplona, and Todas las cosas—Pasión elemental—frutos extraños at Galería Carreras Múgica, Bilbao.  His work is included in the show Enlaces+Dos at the Museo Patio Herreriano de Arte Contemporáneo Español, Valladolid.  2007 His work is featured in the exhibition Incógnitas. Cartografías del arte contemporáneo en Euskadi , curated by Juan Luis Moraza, at the Guggenheim Museum Bilbao.  Participates in the 48th Oktobarski Salon in Belgrade.  2008 His exhibition Home opens at the Yancey Richardson Gallery, New York, and Galería Soledad Lorenzo presents the show Pello Irazu: Universo de suturas . 

His work appears in the exhibition Micro-narratives: tentation des petites réalités at the Musée d'art moderne de Saint-Étienne Métropole, Saint-Étienne, France.  2009 His work is exhibited in the show PhotoDimensional at the Museum of Contemporary Photography, Chicago.  Opens the exhibition Hondatu gabe bizi /Vivir sin destruir at Koldo Mitxelena Kulturunea, Donostia-San Sebastián.  2010 Galería Carreras Múgica, Bilbao, hosts a one-man show featuring the artist.  Participates in El retorno de lo imaginario. Realismos entre XIX y XXI at the Museo Nacional Centro de Arte Reina Sofía, Madrid.  2011 Galería Moisés Pérez de Albéniz, Pamplona, opens the exhibition (1x1) x1 .  Gallery Kit in St. Louis, Missouri, hosts a show entitled Pello Irazu: Isolation Room .  His work is included in the group exhibition Olor Color. Química, Arte y Pedagogía at Arts Santa Mònica, Barcelona, and the show Sin realidad no hay utopia at the Centro Andaluz de Arte Contemporáneo, Seville.  2012 Exhibits at the CAB – Centro de Arte Caja de Burgos under the title Una oportunidad cada día .  The installation Life Forms 304 , a site-specific work created for the Guggenheim Museum Bilbao, is exhibited at the institution as part of the show Arquitectura habitada .  2013 Exhibits at Galería Moisés Pérez de Albéniz, Madrid.   Participates in the exhibition Mínima resistencia. Entre el tardomodernismo y la globalización:  prácticas artísticas durante las décadas de los 80 y 90 at the Museo Nacional Centro de Arte Reina Sofía, Madrid.  2014 Presents his latest work at the Yancey Richardson Gallery, New York, in a show entitled Studio . His solo exhibition SiluetasMasasSombras PerfilesBultosEspectros LeyendasDesechosEspantos opens at Galería Carreras Múgica, Bilbao.   Participates in the show Haber hecho un lugar donde los artistas tengan derecho a equivocarse. Historias del Espai 10 y el Espai 13 de la Fundació Joan Miró at Fundació Joan Miró.   2015 Sala Alcalá 31, a gallery run by the Regional Government of Madrid, presents El muro incierto , featuring various installations made by the artist over more than two decades.   His work appears in the group show Suturak // Cerca a lo próximo , held at the Museo San Telmo in Donostia-San Sebastián in collaboration with Artium Centro-Museo Vasco de Arte Contemporáneo. His creations appear in the group exhibitions Made in Spain. Periplo por el arte español de hoy, at the CAC – Centro de Arte Contemporáneo, Málaga, and ExpoColección. El arte de los ochenta at the Museo Patio Herreriano de Arte Contemporáneo Español, Valladolid.   2016 The exhibition Itzalak opens at the Centro Cultural Contemporáneo Pelaires, Palma de Mallorca. Participates in alt-architecture at CaixaForum, Barcelona.  2017 Participates in the show (Ex)posiciones críticas. Discursos críticos en el arte español 1975–1995, organized by the CGAC in Santiago de Compostela. 

[airriflereviewslab]

Make Your Gunsafe Better With Accessories

Purchasing a gun safe in which to store your firearms is an excellent decision.  Like silent sentinels, gun safes are meant to provide two-fold protection: keeping your children or visiting youngsters safe from accidental harm, and making it difficult, if not impossible for your guns to be stolen during a break-in.  Once you have decided on the safe you want and have gotten it, you will probably want to upgrade it with accessories that will let you enjoy and use your safe even more.

Dehumidifiers

Where you live will have some bearing on how much moisture will accumulate in your gun safe.  Humid regions, naturally, are much more likely to suffer from this problem, but temperature variations can cause condensation anywhere.  No one wants their guns to rust because of moisture, and you can prevent this by using desiccants or electric dehumidifiers.  An electric dehumidifier is a rod that uses the hole present in most safes and will heat the inside air, causing moisture to rise.  Most gun safes have a ‘breathing hole’ that will allow the moist air to leave.  Desiccants are a non-electric solution and will simply absorb moisture from the air.  These can usually be renewed by heating them in the oven.

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Lighting Solutions

A large gun safe is something like a cavern, and unless your safe has already come with a lighting system, you might want to install one.  Although many gun safes offer this as an option when you order, it is also possible for you to install a lighting system yourself.  Keep in mind that in order for this option to work, you safe must have a predrilled hole through which to route the electric cord.

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Rifle Rods

If you have reached the limit of your storage space for your long guns, it is possible that rifle rods can allow you to fit a few more in.  Depending on your safe, it is often possible to add 30% to 50% more guns.  Rifle rods are plastic rods with a ‘hook’ Velcro button on top.  When you are using rifle rods, you will staple the ‘loop’ piece of Velcro fabric (you need a wooden shelf) to the bottom of your gun safe shelf.  After the rods have been inserted, it is only necessary to place the gun in the safe and extend the rod until the button touches the loop fabric – this will hold your gun upright without the need for a rack.

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Pistol Storage

Throwing pistols on a shelf can not only make it hard to find the firearm, but can also damage it.  Pistols can be stored safely and neatly in several ways.  Handgun hangers are devices that allow you to hang your pistols on the underside of a shelf, keeping them readily available as well as safer.  Another approach to pistol storage is a door organizer that has holders for pistols.  Many of these pistol storage organizers rely on Velcro holders for easy positioning.  There are also a variety of pistol racks that will fit onto gun safe shelves to keep your handguns neater and less likely to get scratched or dented.

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Miscellaneous Accessories

Jewelry boxes designed for installation under gun safe shelving will offer you a place for those special precious items, protecting them from damage and making it easy to locate them.  These drawers are available in a range of sizes and are a good place to also store passports and other important documents.

Many gun owners have found that pistol and gun socks will help keep their firearms in pristine condition while in the safe.  Not only do these socks protect guns from scratches and dings, most are impregnated with silicon so that they offer moisture protection as well.  Gun socks will generally fit over guns whether they have scopes or not.

When you are worried about the possible destruction of important papers or other media during a fire (most gun safes will reach an interior temperature of over 300 degrees F during a house fire), you may want to add a ‘cooler’ to your gun safe.  These are available in either a soft or hard form and will usually keep the contents up to 50 degrees F cooler than the surrounding air.

The post Make Your Gunsafe Better With Accessories appeared first on Air Rifle Reviews Lab.

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[foodtrails25-blog]

Aam ki Phirni or Mango Phirni flavourful and creamy mango rice pudding with sweet seasonal mangoes and soaked and ground rice. 

  Phirni is rice pudding that is made with soaked and ground rice, cooked in thickened milk with aromatic spices like cardamom and saffron. It is a very popular North Indian Dessert, and has lot of variations. India is a tropical country with long summer season. Chilled desserts like Rice Kheer, Kulfis, Phirni have been realised by people since ages. Phirini is served chilled and it makes it a perfect dessert especially for summers. One the variation is made with fresh seasonal mangoes. Mangoes are complementary with summer and people  make full use of mango season. Shakes, Icecreams, Kulfis, lot of other desserts and even curries. Mango Phirni is one such dessert where one can enjoy the phirni with fresh seasonal Mango taste.

Traditionally Phirni is served in small clay bowls also known as Deeya or small khulads. The significance of serving in the earthen bowls was keep the dessert cool as it is served chilled. Earthen bowls/pots absorb water/liquid and hence keep the food in it cool. Also, the earthy aroma of the clay infuses into the dessert and imparts it a rustic taste!! Earthen bowl that we used buy (in India) from the potter directly have such a earthy aroma that makes the taste of water or food cooked/served in it so heavenly !!

You can serve Phirni in any other dessert bowl also, if you do not have the earthen bowls.

We bought  2-3 cans of freshly arrived stock of canned Mango Puree at the Indian grocery store and I will be making our favourite mango desserts with it. Some of the desserts that are on the blog.. Aam Ras, Mango Mousse and Mango and Cardamom Cupcakes, will be adding more to the list in coming days.

Mangoes/ Canned Mango puree for Aam ki Phirni

For Mango Phirni we need sweet ripe mangoes. Alphonso/Kesar or even Dusherri varieties are preferably used for making desserts. I have made desserts with the above mentioned varieties. You can use any sweet variety available in your region.

Here I have used canned Mango Puree as here in US we do not get these varieties of mango. The mango variety available here as not that sweet to make Indian desserts. Though I recently heard about some variety available in August that is sweet enough to make Indian based desserts. Canned Alphonso Mango Puree is available in Indian Grocery stores and is good enough to make desserts.The only thing we have to take care is the amount of sugar added to it. Add sugar carefully since canned purees already have sugar content.

Making Phirni

Ingredients for making Mango Phirni..

Sweet Ripe Mangoes or canned Mango Puree, Rice( soaked and coarsely grind), milk, sugar and cardamom powder(optional). Many people like to adding kesar also, but I skip it  and also add very little cardamom powder, to keep the mango flavourful dominant. Also, many people add rice flour instead of ground rice, but I like it with coarsely ground rice as it adds some coarse texture to it.

Many people make it using condensed milk and also add khoya also for extra richness, that I will cover in other Phirni post.

Method

To make Phirni, wash rice in running water 2-3 times. Soak it for at least 1hr, and then grind it to a coarse paste with little water. Do not grind to very fine and smooth paste.

Meanwhile keep milk to boil for 10 minutes on low flame. Keep on stirring it. We do not need very thick milk like for when we make Kheer. The ground rice when added to boiling milk thickens it.

Add the ground rice to milk and stir it continuously, taking care that no lumps are formed and also the milk doesn’t burn at the bottom.

Add sugar and cardamom powder to it, and mix it nicely till it gets the desired consistency . It should be thick like rabri/flowing cake batter. Switch off the gas and let it cool.

Add the mango puree once it cools completely. Add puree and and whisk it nicely to mix the puree.

Pout in bowls in which you want to serve it, let it set in refrigerator and serve it chilled. You can top it with more fresh mango pieces or puree and garnish with pistachios.

Please Note..If you are using fresh mangoes, peel mangos and puree it to smooth and fine paste. 

Let’s see in detail how I make Aam Ki Phirni

Aam ki Phirini

Mango Phirni, delicious, creamy Indian dessert made with sweet mango puree and ground rice, cooked in milk and set in earthen bowls.

700 ml Whole Milk

1/4 Cup Basmati rice

1 Cup Mango Puree

Sugar(as required)

1/4 tsp Cardamom Powder

Finely sliced Pistachios and Edible Rose Petals (for garnish)

Mango Puree or Mango Slices (for garnish)

Wash rice in water and soak for at least one hour.

After the soaking time, drain water and grind rice coarsely, add little water if required.

If using fresh Mangoes, peel mangoes, take out the pulp and discard the seed. Puree it to a smooth paste.

Keep milk to boil on medium flame, in a heavy bottomed pan.

When milk comes to bli, lower the flame and cook for another 10 minutes.

After 10 minutes, add ground rice paste, and mix it thoroughly. Keep mixing it to avoid the lump formation.

Add sugar and cardamom powder and mix well.

When phirni thickens, switch off the flame. All this while take care the rice doesn't get burn at bottom and no lumps are formed.

Let it cool a bit ( it will start to thicken), add mango puree and mix well.

IF the lumps are formed with a hand blend , blend it for 1-2 minutes.

Transfer in bowls in which you want to serve.

Keep it refrigerator to chill till serving time.

Garnish with thinly sliced pistachios and you can also top it with some fresh Mango pieces or Mango puree when serving.

If using canned Mango Puree, add sugar carefully as canned purees have added sugar.

Always add puree after phirni cools down, else it will curdle.

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  Do make this delcious Phirni on your special occasions and serve it your guests, make for potluck parties or enjoy just like that with your family. Chilled Mango Phirni is surely going to be a hit among your loved ones.

Linking my Mango Phirni to my facebook group Foodie Monday Bloghop, where we are Celebrating Eid today. #198EidwithFoodies.

The festival of Eid is around the corner that marks the end of Holy Month of Ramzan. I have fond memories of Eid when we visited my best friend’s house to wish them. Aunty treated us with Kebabs, Seviyan(also popular as Sheer Khurma), Dahi Vada and Biryani!! It used to be such a royal treat!! Loved every bit of it and I still miss aunty’s Kebabs that she used to send for me in school tiffin also!! Other delicacies that are made during Eid are.. Phirni, halwa and other desserts, various curries, with breads like Naan, Sheermal, Roomali Roti and Naans.

Planning a festive party for your friends some of the vegetarian dishes from the blog ..

Zarda Rice, Chole Masala, Chana Dal and Yam Kebabas, Khoya Paneer, Whole Wheat Tawa Naan and Lucknowi Veg. Dum Biryani and many more..

Whenever you make it, do give me know your feedback.. I will be happy if you share the pics on my FB page or tag me on Instagram. You can also Pin the recipe for later use. A small appreciation from your side for my work!!

Join me in my Food Trails by following the blog and on my social media accounts. Click on the icons on the sidebar for joining in. If you like my work do share this with your loved ones.

Thanks for stopping by!! Keep coming back!!

Aam Ki Phirni Aam ki Phirni or Mango Phirni flavourful and creamy mango rice pudding with sweet seasonal mangoes and soaked and ground rice.