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An American Painter: Miyoko Ito
For a long time, Miyoko Ito was essentially obscure outside of Chicago. She painted theoretical works with hints of Surrealism and Cubism during the 1960s and 70s. At that point, New York was accepting Pop Art, and a significant number of Ito's counterparts in Chicago had joined together under the insurance of the Hyde Park Art Center. Ito stood somewhat separated from these different developments, rather making her own visual language with deviation and reminiscent structures. The little girl of a Japanese settler, Ito was brought into the world in Berkeley, California, in 1918. At five years old, her family moved to Yokohama, Japan. Only one day later, the Great Kanto Earthquake and coming about tidal wave hit Japan. With a loss of life of just about 150,000, it was the most noticeably awful cataclysmic event in Japan to that point. This occasion was critical in Ito's life, a second she later connected to her set of experiences of mental meltdowns and psychological wellness issues. She discovered comfort in the craftsmanship classes of her Japanese elementary school. "Each time I have an issue, I go further and more profound into painting," she later clarified in a meeting. "I have no spot to take myself aside from painting." Ito painted theoretical works with hints of Surrealism and Cubism during the 1960s and 70s. To see auctions of paintings of such painters and artists visit auction calendar of auction daily. Ito got back to the United States after only a couple long stretches of living in Japan. She went to the University of California, Berkeley, during the last part of the 1930s, where she met individual craftsmen Worth Ryder, John Haley, and Erle Loran. Miyoko Ito artist additionally met her future spouse there. It was during her senior year that President Franklin Roosevelt set up Japanese internment camps through Executive Order 9066. She had to rush her arrangements for union with stay with her significant other while detained. In spite of the fact that she escaped the camp a couple of months after the fact in the wake of taking on a post-graduate program in Massachusetts, she would stay quiet about her encounters for a long time later. "It's been a best way to live for my entire life," she said. "What's more, it has been [for] a long time. “Eventually getting comfortable Chicago after World War II, Ito put off her composition profession while bringing up her youngsters. By the 1960s, be that as it may, she was at long last ready to seek after her work. Her shading range utilized delicate oranges and reds, which she matched with engineering structures and mathematical shapes. The UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) would later offer an independent introduction of her work in 2017, remarking on Ito's extension among deliberation and unmistakable structures: "While references to scene painting are obvious, Ito's work compellingly recommends a more profound commitment with mental conditions… photos of a psyche attempting to get itself." She was before long settled in the Chicago craftsmanship local area, regularly interfacing with the Chicago Imagists. Nonetheless, Ito kept to her own style of Surrealism and reflection rather than their more metaphorical methodology. Her artworks incorporate recommendations of windows and openings, frequently with a solitary biomorphic structure in the forefront. Despite the fact that she was addressed by the Phyllis Kind Gallery in both Chicago and New York, her impact remained nearby for quite a long time. In 1978, only five years before her demise, Ito's display ran a show of Miyoko Ito paintings in New York. Peter Frank, composing for ART news, covered his disclosure of the Chicago craftsman: "Ito is an expert of extreme however dazzlingly tweaked shading… This is an optical sorcery, disallowing strangely the rise of unmistakable reality." All the more as of late, Ito has been rediscovered by the workmanship world. Rahm Emanuel, the city hall leader of Chicago from 2011 to 2019, enlivened his office with Ito's Chiffonier to help neighborhood workmanship history. Large numbers of her old associates and companions have additionally moved consideration back to her work, provoking a 2018 show in New York's Artists Space. Ito has additionally drawn expanded consideration at sell off. Hindman, a Chicago-based sales management firm, has offered a few of her works in the course of the most recent couple of years, bringing costs somewhere in the range of $15,000 and $28,000. In December of 2019, two of Ito's pieces sold in close progression. Her Sea Crest painting held her overall closeout record when it sold for $143,750. Minutes after the fact, that record was broken by the following part, named Sea Changes. It understood $212,500 against a presale gauge of $15,000 – $25,000. The piece saw 40 offers prior to setting the craftsman's present record. Hindman's Senior Specialist of Post War and Contemporary Art, Zack Wirsum, delivered an articulation about the sale's prosperity: "We are happy to proceed to assemble and pace the market for our old neighborhood saints… We have each sign that this is substantially more than a second." Accessible in the impending deal is a 1976 oil painting by Ito, named Irrigation. This piece was made in milder shades of yellow and orange, highlighted with stripes of light blue. Three bent structures peak at the highest point of the work of art, which is partitioned across the middle by a rust-shaded line. It was sourced from the Phyllis Kind Gallery and displayed at the University of Chicago's survey of her work in 1980. This part has a presale gauge of $40,000 – $60,000, with offers beginning at $20,000. Three different works by Ito will be introduced too. Media Source: Auctiondaily.
安野光雅 文・絵 はじめてであうすうがくの絵本セット
クレヨンハウスで見つけた「これは絶対よさそう」という匂いがプンプンしてくる本。 私自身が子供の頃に同じく安野さんの『あいうえおの本』で育ったこともあり、このイラストと世界観には思い入れがあるのです。トリックアート的な側面もあったり、ディティールがすごく凝ってたり、どのページも情報量が多くてずっと楽しめるんですよね。かわいさやカラフルさが目立つ幼児書の中で、なかなか独特なテイストだと思います。 今回の目的は友達のお子さん(二歳)への誕生日プレゼントだったので対象年齢的には早すぎるのですが、お父さんの方はこういうのが好きなのでご家族で喜んでもらえるのではないかと思い候補に。ただ、3巻セットなのになぜか1巻目の在庫がないという憂き目にあってしまい、今回は見送りました。来年でも再来年でもまだ間に合うからまあいいか。 しかもこれ、各国語(台湾・イタリア・アメリカ・フランス・タイ)で発売されてるんですね。これは表紙だけですが、フランスとタイがほぼ同じ、台湾とイタリアは日本と同じ、アメリカはシンプルな感じ。中身は同じなんでしょうか。機会があったら見比べてみたいです。 第1巻《なかまはずれ》《ふしぎなのり》《じゅんばん》《せいくらべ》 第2巻《ふしぎなきかい》《くらべてかんがえる》《てんてん…》《かずのだんご》《みずをかぞえる》 第3巻《まほうのくすり》《きれいなさんかく》《まよいみち》《ひだりとみぎ》 こちらのブログにもう少し内容の写真が。書かれてる情報によると、今3冊だけど昔は10冊だったそうです。みっちり。大人が見ても面白そうだし、自分用に買おうかな…今からでもやりなおせるだろうか^^; 福音館書店 はじめてであうすうがくの絵本 全3巻セット 4800円+税 対象年齢は読み聞かせするなら4歳から、自分で読むなら低学年から、だそうです。
An Indian-American artist: Zarina Hashmi
Zarina Hashmi, an Indian-American craftsman referred to expertly as 'Zarina,' spent a lifetime in brevity. Brought into the world in Aligarh, India, Zarina regularly went all throughout the planet, settling and resettling in Bangkok, Tokyo, Delhi, Paris, Los Angeles, and New York. Her craft connected essentially with the Minimalist development, utilizing woodblock prints of crosshatched lines and unidentified shapes. Continuously, however, Zarina returned again to the physical and enthusiastic characteristics of a home. Zarina's adolescence rotated around her family's home in Aligarh, a space that would move her for quite a long time to come. At ten years of age, Zarina encountered the Partition of India that split the previous British settlement into present-day India and Pakistan. However her family was briefly uprooted by the change, they before long got back to a level of dependability on the Indian side of the boundary. In any case, the Partition left an enduring effect, one that craftsmanship pundit Holland Cotter recommends "set her free from her underlying foundations and frequented her life and work." It was not until her mid-20s that Zarina artist started fostering her imaginative style and subjects. She acquired a degree in math, joined a flying club, and figured out how to see the value in city engineering from the stature of the mists. These encounters drew her toward Minimalism, then, at that point in its post-war early stages. Zarina took in printmaking methods from Stanley William Hayter in Paris and Toshi Yoshida in Tokyo while going with her ambassador spouse. Zarina started investigating the limit of printmaking, fostering her particular style in the wake of getting comfortable New York in the last part of the 1970s. She made prints with bits of driftwood, made three-dimensional models with the mash of her paper, and utilized her specialty to investigate subjects of confinement, movement, and home. Zarina additionally started breaking into a creative development that had recently been overwhelmed by men. Named House with Four Walls, each print was pushed on carefully assembled Nepalese paper and matched with lines of text. They recount a story that runs corresponding to Zarina's life: "Far away was a house with four dividers… On long Summer evenings, everybody dozed/One night we heard the owl in the trees/The one-looked at servant said/We would need to move far away." Each print coordinates with the expressions of the story, beginning with four unevenly-lined dividers that continuously merge into a dissonance of circles. The series was finished during a residency at the Women's Studio Workshop in New York. It is offered with a gauge of USD 12,000 – $18,000. Zarina art is available for sale online. In spite of her continuous moves and inevitable foundation in the New York workmanship and scholastic scenes, Zarina kept on returning to subjects of home and having a place in her work. She joined other contemporary craftsmen, like Mona Hatoum, in examining this misfortune. In a 2017 meeting with the Metropolitan Museum of Art, she thought about the job of misfortune in her life: "New York isn't my home, this is another person's home. I've lived here for a very long time yet my personality is essentially that of an outcast." Zarina Hashmi's Letters from Home 2004 Letters from Home series unites the individual and aggregate loss of home. A guide of Manhattan, the floor plan of a house, and strong dark lines overlay individual letters of misfortune composed by Zarina's sister. One Zarina Hashmi Letters from Home set arrived at GBP 50,000 (USD 64,800) at Christie's in 2014. The seven works, which opened the bartering, arrived at well past their high gauge of GBP 18,000 (USD 23,300). Costs for Zarina's craft have consistently move with the turn of the century, an example predictable with a developing worldwide appreciation for South Asian ladies specialists. A bunch of 22-karat gold leaf, paper, and ink pieces arrived at USD 53,625 at a 2014 Sotheby's sale only two years after its fruition. Late presentations at the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim, and the Whitney Museum of American Art likewise helped Zarina's standing somewhat recently of her life. Zarina died recently after a long sickness. The craftsman who consistently prized her own recollections is presently recalled by her companions, associates, and admirers. Dr. Mariah Lookman, a craftsman and South Asian workmanship student of history, reviewed a long and noteworthy evening of discussion. "As Zarina strolled us to the entryway in standard old-world design, we made due with the nearest expression we need to try not to bid farewell in India and Pakistan; phir milenge: we will meet once more." To know the schedules of auctions of artworks of such artists see the auction calendar of auctiondaily. Media Source: AuctionDaily
私は写真を撮るのが下手だ。せいぜいポケモンスナップで良い点数をとるのが限界である。 しかしこの写真家Steve McCurry氏が説明する「写真の基本構図」を頭に入れればもしかしていい写真が撮れるのではないだろうかと思えてきた。 この動画ではベーシックを教えてくれると共にその構図の参考となる素晴らしい写真を例に出してくれている。 めちゃくちゃ数が多く全てはここで紹介できないので少し紹介していこうと思う。 ① 9分割した時の交差点 どういうことかと言うと、写真をまず9分割する。 そしてその線が交差するところに目を引くポイントを置くのだ。 そのようにするとこんな写真が撮れる 確かにこのような構図の写真はよく見る。 ② 9分割した時の線に沿った写真を撮る どういうことかと言うと写真の中にある立体感を出すラインをこの線に合わせるのである。 この構図を取り入れた写真がこちら これは横だが、縦と合わせて色々な組み合わせが出来そうだ。 ③ 自然のラインで目線を集めろ! これはどういうことかと言うと世の中にはよく見ると色々な「線」がある。 その線の矛先を一箇所に集めよう! このようなことである。 この他にもたくさん紹介されているので是非写真を上手く撮りたい人は一番上の動画を見て欲しい。 見た感想としては「線」を意識することが大切なんだな、と感じた
http://eiga.com/news/20151030/8/2/2/ http://www.fashion-press.net/news/19892 「シザーハンズ」 「ナイトメア・ビフォア・クリスマス」 「フランケンウィニー」 などを手がけたあの奇才のナプキンアートが発売になる。 常にペンを持ち歩き、インスピレーションやアイディアが浮かんだ時にすぐにナプキンに記録をするというティム・バートン、この画集を見れば彼の脳内を見ているような感覚を得ることであろう。 12/4からヴィレッジヴァンガードにて発売されるので要チェックだ。 【書籍情報】 画集『ナプキンアート・オブ・ティム・バートン』(The Napkin Art of Tim Burton) 発売日:2015年12月4日(金) ※10月30日(金)より、一部店舗およびオンラインストアにて予約受付がスタート 価格:3,000円(税込) 販売店舗:ヴィレッジ・ヴァンガード独占販売(オンライン&店舗) アートワーク:ティム・バートン デザイン:ホリー・ケンフ 編集:ホリー・ケンフ、リア・ガロ サイズ:15.24cm × 15.24cm ページ数:140ページ(2ページの折り込み) <予約受付店舗> ■宮城 仙台ロフト ■東京 立川ルミネ、ブルービート、上野マルイ、新宿マルイアネックス、高円寺、渋谷宇田川、三軒茶屋、高田馬場、町田路面、自由が丘、お茶の水 ■神奈川 横浜ルミネ ■大阪 阪急三番街、アメリカ村 ■京都 京都西院 ■兵庫 三宮 ■広島 広島サンモール、イオンモール広島府中、フジグラン神辺、広島段原SC、イオンモール広島祇園、フジグラン東広島、フジグラン緑井、リム・ふくやま、ゆめタウンみゆき、ゆめタウン大竹、ゆめタウン呉 ■愛知 名古屋中央、刈谷、岡崎、瀬戸、イースト、高蔵寺 ■三重 松阪 ■岡山 イオン津山、イオンモール倉敷 ■鳥取 イオン米子駅前、イオン日吉津、イオン鳥取北、ゆめタウン出雲、イオン松江 ■山口 239おのだサンパーク、ゆめタウン宇部、ゆめタウン南岩国、ゆめシティ下関、イオンタウン防府(ほうふ) ■香川 高松アッシュ、イオン高松、イオン綾川、ゆめタウン高松、ゆめタウン丸亀 ■愛媛 イオンモール新居浜、エミフルMASAKI、パルティフジ衣山、フジグラン重信、フジグラン今治、イオンモール高知、フジグラン高知 ■徳島 フジグラン石井、フジグラン北島、ゆめタウン徳島、徳島クレメントプラザ ■福岡 FREAKS福岡パルコ