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Η Αϊτή ήταν η πρώτη κρατική οντότητα που αναγνώρισε την Επανάσταση του ‘21 και το δικαίωμα των Ελλήνων για αυτοδιάθεση...

Η διπλωματική αντιπροσωπεία της Παλαιστίνης εκφράζει τη βαθύτατη εκτίμηση και ευγνωμοσύνη της σε όλους τους φίλους της στην Ελλάδα και τα παιδιά της Ελλάδας...

Οι Διαδρομές ψηφιοποιημένες! Όλοι οι συνεργάτες και φίλοι των Διαδρομών έλαβαν τον Μάρτιο ένα μεγάλο δώρο που τους γέμισε χαρά και ικανοποίηση: τους αναγγέλθηκε επίσημα και οριστικά το τέλος μιας πολύχρονης προσπάθειας ψηφιοποίησης των έντυπων τευχών του περιοδικού (1986-2009) και ανάρτησής τους στο διαδίκτυο. Έτσι, οι Διαδρομές θα ταξιδεύουν εφεξής μέσα στον χρόνο και θα προσφέρουν τις θέσεις και τις απόψεις τους σε μελετητές, ερευνητές, φοιτητές, εκπαιδευτικούς, γονείς κ.ά. Ιδού πώς αναγγέλθηκε το γεγονός από την καθηγήτρια του Πανεπιστημίου Θεσσαλίας κα Τασούλα Τσιλιμένη, η οποία είχε υπό την επίβλεψή της το όλο εγχείρημα: «Με χαρά σάς ενημερώνω ότι η Κατεύθυνση Λογοτεχνίας και Παιδικού Βιβλίου του Εργαστηρίου Λόγου και Πολιτισμού του Πανεπιστημίου Θεσσαλίας ολοκλήρωσε την ψηφιοποίηση του περιοδικού Διαδρομές, για την περίοδο που εκδιδόταν σε έντυπη μορφή. Είναι στη διάθεση κάθε ενδιαφερόμενου στην ηλεκτρονική διεύθυνση: http://languageculturelab.ece.uth.gr/anakoinwseis Η όλη προσπάθεια έγινε από τη μετ

How-to decide between interlocking concrete and asphalt. There's a reason why concrete knocks it out of the park.

Στις 27 Οκτωβρίου εκπνέει η προθεσμία υποβολής αιτήσεων συμμετοχής στον διαγωνισμό για την εισαγωγή 36 υποψηφίων ακολούθων πρεσβείας στη Διπλωματική Ακαδημία...

Διπλωματική εργασία - έρευνα για την κατάσταση των Ντόπιων Ποικιλιών στην Ελλάδα και στον κόσμο

Διπλωματική εγρήγορση και επιχειρησιακή κινητικότητα από την Αθήνα – Δεν εφησυχάζουν λεπτό οι Ένοπλες Δυνάμεις και προετοιμάζονται για «θερμό» επεισόδιο.

Πληθαίνουν οι ελληνικές ενέργειες για να ανακοπούν οι τουρκικές κινήσεις στη διπλωματική σκακιέρα με τα γεωπολιτικά πιόνια στα οποία η Άγκυρα έχει μετατρέψει πρ

Η απαγγελία ενός ποιήματος από τον πρόεδρο Ερντογάν στο Αζερμπαϊτζάν προκαλεί διπλωματική διένεξη ανάμεσα στις δύο χώρες

H ανησυχία του αρχηγού του ΣΥΡΙΖΑ μεγαλώνει, όσο υπάρχουν συμμαχικές αναφορές ίσων αποστάσεων

My wife got me the 1970 and '71 NYAD Annuals for Christmas and that lead me to ask Murray Tinkelman to clarify a few things about trends in illustration and graphic design at the time. Earlier this week Murray explained how Pushpin Studios influenced the industry during that period. Then we discussed how Herb Lubalin and other designers put greater emphasis on typography as a key component of the early '70s design aesthetic. Today we discuss the emergence of a "new reality" in illustration in the same time period... ~ Leif Peng LP: This series of ads I posted in yesterday's part of the discussion, the ads for the Audi Fox, those were done by two artists named Don Wheland and Jerry Cosgrove. These ads were art directed by a guy named Helmut Krone... have you ever heard of him? MT: Yes I have. As a matter of fact my high school illustration teacher was a dear friend of Helmut Krone (Murray chuckles) and in 1951, when I graduated high school, my teacher told me to look him up, show him my portfolio. Here I am, like, a seventeen-year-old kid (he chuckles again) making an appointment with Helmut Krone. He was a huge figure in art direction. LP: Well, when I look at that series of ads - of course, they're all absolutely brilliantly designed - I see a couple of interesting things that really epitomize (for me anyway) the look of the '70s: one, that really prominent use of typography... MT: Right... LP: ... the other is that very realistic art treatment. LP: This morning I sent you an email with a bunch of images attached by different illustrators from the early '70s. (Below, Bill Nelson, 1976) (Below, Jerome Podwil, 1973) (Below, Alex Gnidziejko, 1974) (Below, Doug Johnson, 1972) (Below, Roy Carruthers, 1972) LP: There seems to have emerged at that time, a return to realism, but it isn't the kind of painterly realism that illustrators used in the '50s, or the kind of high-energy, 'action-y' realism you saw illustrators using in the '60s, with textured gessoed board and streaky acrylic washes. This is a realism that seems very... precise... very controlled. MT: I'm looking at the list again... Jerome Podwil, Roy Carruthers, Doug Johnson, Bill Nelson - really talented people you've got here on the list. It IS the '70s and I could easily use these examples and construct a lecture about illustration in the '70s. But the thing is, this could be likened to the story of the blind men and the elephant - you know that story? LP: Yeah, absolutely. MT: You can find what you want to find or you can hone in on a characteristic and it might take on more significance -- (Below, Roy Carruthers, 1974) LP: Yeah, I do get what you're saying. This niche we're discussing isn't all-encompassing of the '70s; it's just one aspect of what was happening. MT: Right. To me the '70s has a look that was actually three different looks: precision was certainly one of them, but you also had the rediscovery of the airbrush and that whole west coast movement by people like Charles White III and some other really brilliant airbrush people. (Below, Charles White III, 1972) MT: And then another really very strong style of that time was the montage, which was initially most prominently used in things like movie posters where they'd give you the whole movie in one picture. And there was a very strong convention about how to do montages. (Below, Bob Peak, Camelot movie poster art, 1967) MT: The other look of the '70s was a kind of rediscovery of surrealism. (Below, Robert Giusti, 1972) MT: So you had people like Bob Giusti, Roy Carruthers, Gil Stone and many other really good artists doing their version of 'neo-surrealism'. (Below, Gil Stone, 1973) MT: Incidentally, Gil Stone was a friend of mine and I always said he was the result of a shotgun marriage between Magritte and Giacometti. (We chuckle) (Below, Gil Stone, year and publication unknown) MT: Gil got a scholarship out of art school and went to Florence. And I think - and this is just my opinion - but, his elongated style? I think that came from his trip to Florence where he was working with the Mannerists, who elongated everything. When you see a slide of a Mannerist painting next to a Gil Stone, you see that relationship so strongly. (Above and below, Gil Stone, year and publication unknown) MT: So anyway, those three 'looks' really equal the '70s, for my money. And then there's another sort of ironic twist: Mark English, Bob Peak - they were not really as prominent as they'd been the previous decade, but they were working that montage routine very, very well. (Below, Mark English, Redbook magazine, November 1972) MT: Nobody ever did montage better than Mark English. I think he was the best montage person, ever. (Below, Mark English, year unknown) MT: Did I just muddy the waters there? LP: No, not at all. In fact, I think you've helped clarify a few things for me and that's why I appreciate getting your thoughts on this. Because the thing is, despite the fact that your work is linear and more typically black and white, I connect you to this 1970s look as well; this idea of precision and realism (or surrealism to a certain degree). You know, I was looking through your book again this morning, and looking at the kind of pieces you were doing for the New York Times Op-Ed section. (Below, Murray Tinkelman, NY Times Op-Ed page, 1972) LP: You made a transition from your 1960s John Alcorn-influenced style, which was a cartoonier style, to a more realistic look at that same early '70s time period that I see in all these pieces, whether they're done in airbrush, or paint brush. The thing that is entirely absent in all of this work is the looseness, the sort of wild abandon, the splashing of paint that happened a decade or so earlier as a result of, I don't know - the influence of Abstract Expressionism, maybe? So my question, I guess, is what compelled all of you guys to undertake this return to realism, to a very precise sort of realism, in the early 1970s? MT: That is a great question and I'm not sure my answer is going to fit neatly into it. When I started with the decorative style it started with Lorraine Fox and then moved up through the Pushpin people - and I loved it and I still do - but my change to the more realistic was not an aesthetic choice. It was a subject matter choice. There came a point, I guess it was around 1970, when I became less interested in technique, in style and in art, if you will, and I became much more interested in subject matter. (Below, Murray Tinkelman, from 'Alistare Owl' by Herbert A Kenny, 1972) MT: I was, like everybody else, very enthusiastic about materials: "Let's paint it with chicken fat on waxed paper and bake it in the oven." (laughter) But very quickly, around 1970, I became less interested in how I did it and much more interested in what I did. So current news topics... the op-ed pieces... I just felt, personally - and it was very personal - that it was more appropriate to draw these visuals in a more realistic way. (Below, Murray Tinkelman, NY Times Op-Ed page, 1974) MT: So the pen-and-ink crosshatch became a good vocabulary to describe the subject that I was dealing with. If we're talking about world hunger, for instance, the style of Lorraine Fox or John Alcorn really doesn't make much sense, does it? LP: No it doesn't. LP: So tell me if I'm completely off base about this; if the '60s saw the emergence of this wide variety of decorative stylized work that didn't really even reference the realism of the '50s, do you think that the '70s saw the beginning of an emphasis on 'concept'? MT: Oh yes. LP: Ok. Because I'm looking at all these illustrations for magazine covers and articles on a variety of social and political issues... (Below, Roy Carruthers, early 1970s) ... and I'm seeing a variety of techniques, all of which reference a kind of realism or surrealism... (Below, Jerome Podwil, 1973) ... but what I'm really looking at, what I'm really seeing now that you've pointed it out, is concept. Conceptual illustration. (Below, Alex Gnidziejko, year unknown) MT: Yes. the term 'conceptual illustration' has always amused me in a way. Because 'conceptual art' in the gallery world was completely different than what art directors would call conceptual illustration. In the gallery world, conceptual art would be covering a gallery floor with two inches of dirt. And that was the show. And what the illustration word considered conceptual art was "How many ways can we rip off a Magritte." (Leif laughs) And you can quote me on that because, really, that's it. (Below, Robert Giusti, early 1970s) LP: Well, sure, I mean look at the example I sent you by Robert Giusti; the Time magazine cover... in a different time and place, no one would doubt that Magritte might have done that piece. MT: Exactly. And by the way, Bob Giusti is a very nice person and very accessible. I just had him as a guest speaker for my Hartford group last summer. Really a dear, sweet guy - if you ever want to speak to him... LP: Sure! I'll tuck that away until you prod me a little more about it. MT: (chuckles) Ok. LP: Now, with the decline in illustration for advertising purposes, it seems to me that what emerged in it's place is a lot more of an emphasis on using illustration for these op-ed and socio-political issues. Is that something you would agree with? MT: Yes. Sure. LP: Ok. So do you think that's why we see so much of this kind of work being done at the time by a whole variety of artists? Was that basically where you guys could get the work, because I presume there just wasn't nearly as much work available in advertising. MT: That's true. And the advertising was being done by illustrators that came from more traditional roots. Somebody like Bob Peak evolved through the style, the look, the approach of traditional illustration. For example; Austin Briggs. You don't have to stretch that far to go from Austin Briggs to Bob Peak, or Austin Briggs to Bernie Fuchs. Bernie's breakthroughs were in technique, in style, in quality... but not in any kind of conceptual way. (Below, Bernie Fuchs advertising art, 1982) LP: Right. So then returning to the group of illustrators we've been discussing, you see the sort of common theme I'm talking about? I again, I feel you need to be included in that. MT: Yeah, I think I fit there. * Murray Tinkelman has won Gold Medals from The Society of Illustrators, The New York Art Directors Club and The Society of Publication Designers. He has over 200 Awards of Merit from The Society of Illustrators. Murray is the director of Hartford Art School’s limited-residency Master of Fine Arts in Illustration program. * Many thanks to Tony Gleeson for providing the scans of the Audi Fox ad series and many other scans in today's post, and to Matt Dicke for the use of his Bernie Fuchs scan.

Για «διπλωματική απρέπεια» κατηγόρησε τον Έλληνα ΥΠΕΞ ο εκπρόσωπος του κυβερνώντος κόμματος, ΑΚΡ, Ομέρ Τσελίκ, σε προκλητικές δηλώσεις στον απόηχο της συνέντευξ

Διπλωματική πρωτοβουλία στο Νίγηρα αναλαμβάνει η CEDEAO

➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵ Material Gráfico para tus historias ➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵➵

Μετά τη διπλωματική κρίση που προκάλεσε με τη Λιβύη, η Τουρκία υπαγορεύοντας επί της ουσίας την ανακοίνωση και το διάβημα της κυβέρνησης της Τρίπολης προς την...

ویلا چیست؟ ساخت ویلا در حالت کلی دارای پروسه طولانی و زمانبری می باشد که دارای مراحل مختلفی است. در این مقاله قصد داریم به بررسی کامل مراحل ساخت یک ویلا (اجرای ویلا) بپردازیم پس با ما همراه باشید.در حالت کلی ویلا به بنایی اطلاق می گردد که

طراحی ویلا | طراحی و ساخت ویلا | ساخت ویلا | ساخت ویلا مدرن | ساخت ویلا کلاسیک | ساخت ویلا سنتی | طراحی ویلا مدرن | طراحی ویلا کلاسیک

We take a look at the world's most beautiful and iconic pools. Warning: you'll want to take a dive in!

Πολιτική, διπλωματική αναφορά; "Κείμενο προς ... εσωτερική ενημέρωση"; Δελτίο - αναφορά σε ...ντόπιους ή ξένους "εντολείς-παραγγελιοδότες" με "πληροφοριοδότη-παραγγελιοδόχο" έναν πρώην δημοσιογράφο- ανώτερο δημόσιο υπάλληλο; Ή απλώς μια δημοσιογραφική έρευνα;

Σε διπλωματικό φιάσκο εξελλίσσεται η απόφαση του Κυριάκου Μητσοτάκη να προβεί μονομερώς σε κυρώσεις κατά της Ρωσίας αλλά και να εμπλακεί στην Ουκρανική κρίση στέλνοντας όπλα. Οι οικονομικές συνέπειες στην Ελλάδα είναι άμεσες με την Ρωσία να καταργεί τα τουριστικά πακέτα προς χώρες που επέβαλαν κυρώσεις, δηλαδή η Ελλάδα θα χάσει περίπου 800εκ έως 1 [more...]

Η υπόθεση είχε προκαλέσει σκάνδαλο και διπλωματική κρίση την εποχή που η Ρώμη απέλασε δυο ρώσους διπλωμάτες,

Explore mpt.1607's 28734 photos on Flickr!

On a rocky hillside in Serifos, Greece, architecture studio Sinas Architects has designed ‘Xerolithi House’, a summer residence which follows the traditional style and building...

Ashley Blanton is an Asheville, North Carolina-based artist who creates mixed media works on paper that depict psychological landscapes and the liminal spaces between internal and external experiences. Ashley is inspired by natural cycles — growth and decay, descent and emergence, isolation and connection — and how these processes are mirrored within transformative human experiences of trauma, loss, grief, and healing.

At some point, I think just after her first surgery, Geri's ophthalmologist mentioned the Anchor Center for Blind Children in Denver. He was thinking we could have her vision tested there in a method that would not require her to speak or otherwise provide feedback for a diagnosis. That way, we could get this girl some glasses and help her see a bit better sometime in the near future. I tucked that little piece of info away in my brain and moved on with the other bazillion medical requirements we were slogging through. Anchor Center at Night A bit later I finally researched the Anchor Center online and found out that they are SO MUCH MORE than eye exams. I immediately contacted them to find out what they could do for our little Geri. I was told that she is too old to enter the infant or toddler program, and that their preschool program is only available to children "graduating" from the toddler program, but that they didn't want to leave me high and dry so they would perform a functional vision assessment (FVA) on her and give me recommendations for things we can do to help her at home. I was elated that they wanted to help in what way they could, and jumped at the chance for the FVA because it would help me get Geri's IEP process started so we could get services from the school district. The "light walk" and "trail rail" help kids navigate Monday was the big FVA day, and it went about a bazillion times better than I'd hoped or dreamed. Geri was in a horrible mood, but the teacher of the visually impaired (TVI), Cathy, was very patient and persistent. She gave me all sorts of good information about visually impaired kiddos, and the reassurance was great. Lately, we've been getting a lot of diagnoses and medically stuff thrown our way. It was hitting me hard, and I wasn't sure why. After talking with Cathy I realized what was happening - all those test results were robbing me of my hope. It seemed that every day brought a new problem, a new hurdle, a new syndrome. When we had met Geri, I remember looking at Nick and saying "She's still in there. I know it. I can feel it. Her mind is intact." But getting all this bad news heaped on bad news was making me doubt. Was she really in there? Was she capable of learning? Of growing? Would she ever be able to have any level of independence or quality of life? Would the rest of us ever have any quality of life, or would we be caring for the same child until our dying day, bequeathing her to some other caregiver when we passed? Only a few nights ago, Nick and I wept together as he said to me "It's not going to get better. We were too late." Cathy said to me what no doctor would. Everyone else was so cautious, but she looked at me and said "Lauren, I don't think she's mentally disabled. Maybe a tiny bit, but not significantly. I see visually impaired kids all day. I also see kids who are visually and mentally impaired. What I'm seeing here is a visual impairment, not a mental one." I told her that our greatest hope is for her to someday reach even a partial level of independence, maybe to have a little apartment and a simple job and some assistance with her day-to-day, but it was starting to feel as if that wasn't going to happen. Cathy said, "I think that's the least you can expect for her." She explained that rocking is extremely common in visually impaired kids. Yeah, it's very common among institutionalized kiddos as well, but if her rocking doesn't go away it doesn't mean she's still coping. It might mean she's looking for sensory input that her eyes don't give. Visually impaired kids tend to use their parents as "puppets" in the way Geri does. They tend to mouth everything, often this behavior persists into adulthood (although it later becomes a private thing). It's a means of compensating for lost sensory input. Eating and swallowing problems are very common among the visually impaired, too. After the evaluation was almost entirely finished she said, "I know Geri is a bit old, technically, for the program but would you like to have her join our toddler group? We have room, and I think that Geri's development makes it a good fit. It's a parent-participation group, so you would be with her. We have sibling care, too, for Mera." I told her that I had been informed that Geri was too old for the program and she said "We're not bound by law. We can make exceptions." The gross motor room... sans play equipment. On the way out of the building their physical therapist stopped me and said "Hey, we're about to have a gross motor session but only one child is here. Would Geri be up to joining us?" She got a full half hour of PT, one-on-one with their PT assistant. On the way out, Cathy gave me an intake packet and told me that Geri could start the toddler group on Wednesday. I cried the whole way home. I wept with relief and joy. Finally, for the first time in months, I felt real hope. Someone believed my daughter has potential! Someone was trying to help! After three months of not being able to start therapies because of wait lists and insurance crap and missed scripts, she'd had her first PT session within just a couple of hours of walking in the doors of the Anchor Center. In that half hour, she pushed a toy shopping cart for the first time and learned to ride a spring horse all by herself. She walked back and forth between me and Meg, the PT assistant. Outside play area... not pictured is the "sensory garden" Today, we attended our first session of toddler time and it was great. Everyone was so nice. She got to go back to the gross motor room, and we got a repeat of the spring horse and the shopping cart. Their lead occupational therapist talked with me for about 15 minutes and gave me recommendations for home. She gave me the name of a private therapy group in the Springs who might be able to help us. We sang songs in circle and she LOVED it. She participated happily, clapping her hands and laughing. She had a great time with sensory toys at the literacy room, explored Braile writing, and had an absolute blast playing at the big light table in the light room. She also picked up an admirer. A little boy with Albinism was following her around the whole time, and his mom said he seemed quite taken with her! First day of school and she already has a boyfriend. It was great, for me, to be able to be in a group of parents with kids like mine. It gets really old having people stare at you in play areas (a tall 4-yr-old with bulging eyes who can't walk or talk draws attention, I have found). I could rant for days about how people feel the need to give me these condescending compliments about how "good I am with her." When the little kids stare, I don't mind. When they ask questions, I am very direct and honest with them because it helps them to be accepting if they have some chance to see kids that are different. But when the grownups ogle us and politely look away I get frustrated. Today, every kid was "different" and when the parents looked at me it was because they were reading my name tag. They wanted to welcome us, they were friendly, and they weren't casing my weird child as if she were some scientific oddity. We fit in, and it felt kinda nice. I am so excited for what the Anchor Center can do to help us. Already, they've given us hope. I'm looking at Geri and seeing potential again. I'm seeing a girl who WILL walk and talk and go to school and have friends and play. I can't even begin to relate how good that feels. It's worth the drive, that's for sure!

#weetjenog Wie kent hem nog.... of ik kan beter vragen wie kent hem niet? De discman waar je een cd in kon plaatsen en dan op zak meenemen. Nou ja op zak.... hij was nog behoorlijk groot. Maar je had altijd je lievelingsmuziek bij je, die je zelf ook kon opnemen.