Via
uispeccoll:

[Wish you were here] / by Emily Martin.  [Iowa City, Iowa : Naughty Dog Press, 1996]

Consists of 21 envelopes and 57 postcards commemorating the artist’s trip to Wales and mailed to Iowa City, Iowa. The postcards, numbered sequentially from 1 to 57, are distributed in groups of 3 in the envelopes, each set forming one continuous communication. Each envelope also contains some memento from the trip, e.g., an airline boarding pass, a hotel receipt, a parking ticket, etc. Postmarked chiefly from Cardiff, Wales, the envelopes are joined to each other by interlocking loops cut from their ends and hinged together by a series of red and yellow pencils.
N7433.4.M364 W5 1996 
Emily Martin teaches in the University of Iowa Center for the Book. ( uicb ).
uispeccoll:

[Wish you were here] / by Emily Martin.  [Iowa City, Iowa : Naughty Dog Press, 1996]

Consists of 21 envelopes and 57 postcards commemorating the artist’s trip to Wales and mailed to Iowa City, Iowa. The postcards, numbered sequentially from 1 to 57, are distributed in groups of 3 in the envelopes, each set forming one continuous communication. Each envelope also contains some memento from the trip, e.g., an airline boarding pass, a hotel receipt, a parking ticket, etc. Postmarked chiefly from Cardiff, Wales, the envelopes are joined to each other by interlocking loops cut from their ends and hinged together by a series of red and yellow pencils.
N7433.4.M364 W5 1996 
Emily Martin teaches in the University of Iowa Center for the Book. ( uicb ).
uispeccoll:

[Wish you were here] / by Emily Martin.  [Iowa City, Iowa : Naughty Dog Press, 1996]

Consists of 21 envelopes and 57 postcards commemorating the artist’s trip to Wales and mailed to Iowa City, Iowa. The postcards, numbered sequentially from 1 to 57, are distributed in groups of 3 in the envelopes, each set forming one continuous communication. Each envelope also contains some memento from the trip, e.g., an airline boarding pass, a hotel receipt, a parking ticket, etc. Postmarked chiefly from Cardiff, Wales, the envelopes are joined to each other by interlocking loops cut from their ends and hinged together by a series of red and yellow pencils.
N7433.4.M364 W5 1996 
Emily Martin teaches in the University of Iowa Center for the Book. ( uicb ).
uispeccoll:

[Wish you were here] / by Emily Martin.  [Iowa City, Iowa : Naughty Dog Press, 1996]

Consists of 21 envelopes and 57 postcards commemorating the artist’s trip to Wales and mailed to Iowa City, Iowa. The postcards, numbered sequentially from 1 to 57, are distributed in groups of 3 in the envelopes, each set forming one continuous communication. Each envelope also contains some memento from the trip, e.g., an airline boarding pass, a hotel receipt, a parking ticket, etc. Postmarked chiefly from Cardiff, Wales, the envelopes are joined to each other by interlocking loops cut from their ends and hinged together by a series of red and yellow pencils.
N7433.4.M364 W5 1996 
Emily Martin teaches in the University of Iowa Center for the Book. ( uicb ).
uispeccoll:

[Wish you were here] / by Emily Martin.  [Iowa City, Iowa : Naughty Dog Press, 1996]

Consists of 21 envelopes and 57 postcards commemorating the artist’s trip to Wales and mailed to Iowa City, Iowa. The postcards, numbered sequentially from 1 to 57, are distributed in groups of 3 in the envelopes, each set forming one continuous communication. Each envelope also contains some memento from the trip, e.g., an airline boarding pass, a hotel receipt, a parking ticket, etc. Postmarked chiefly from Cardiff, Wales, the envelopes are joined to each other by interlocking loops cut from their ends and hinged together by a series of red and yellow pencils.
N7433.4.M364 W5 1996 
Emily Martin teaches in the University of Iowa Center for the Book. ( uicb ).
uispeccoll:

[Wish you were here] / by Emily Martin.  [Iowa City, Iowa : Naughty Dog Press, 1996]

Consists of 21 envelopes and 57 postcards commemorating the artist’s trip to Wales and mailed to Iowa City, Iowa. The postcards, numbered sequentially from 1 to 57, are distributed in groups of 3 in the envelopes, each set forming one continuous communication. Each envelope also contains some memento from the trip, e.g., an airline boarding pass, a hotel receipt, a parking ticket, etc. Postmarked chiefly from Cardiff, Wales, the envelopes are joined to each other by interlocking loops cut from their ends and hinged together by a series of red and yellow pencils.
N7433.4.M364 W5 1996 
Emily Martin teaches in the University of Iowa Center for the Book. ( uicb ).

uispeccoll:

[Wish you were here] / by Emily Martin.  [Iowa City, Iowa : Naughty Dog Press, 1996]

Consists of 21 envelopes and 57 postcards commemorating the artist’s trip to Wales and mailed to Iowa City, Iowa. The postcards, numbered sequentially from 1 to 57, are distributed in groups of 3 in the envelopes, each set forming one continuous communication. Each envelope also contains some memento from the trip, e.g., an airline boarding pass, a hotel receipt, a parking ticket, etc. Postmarked chiefly from Cardiff, Wales, the envelopes are joined to each other by interlocking loops cut from their ends and hinged together by a series of red and yellow pencils.

N7433.4.M364 W5 1996 

Emily Martin teaches in the University of Iowa Center for the Book. ( uicb ).

elinsofia:

Ended the course in natural dyeing this week with an exhibition at the student gallery at Stenebyskolan. 
I have worked with screen printing and dyeing in combination. Trying out different combinations of colour, and how do combine them. I have mostly used blueberries, yellow onion skins and madder. 
elinsofia:

Ended the course in natural dyeing this week with an exhibition at the student gallery at Stenebyskolan. 
I have worked with screen printing and dyeing in combination. Trying out different combinations of colour, and how do combine them. I have mostly used blueberries, yellow onion skins and madder. 
elinsofia:

Ended the course in natural dyeing this week with an exhibition at the student gallery at Stenebyskolan. 
I have worked with screen printing and dyeing in combination. Trying out different combinations of colour, and how do combine them. I have mostly used blueberries, yellow onion skins and madder. 

elinsofia:

Ended the course in natural dyeing this week with an exhibition at the student gallery at Stenebyskolan

I have worked with screen printing and dyeing in combination. Trying out different combinations of colour, and how do combine them. I have mostly used blueberries, yellow onion skins and madder. 

newspaperblackout:

Newspaper Blackouts by Austin Kleon
Follow me on Twitter (@austinkleon) or Instagram for daily poems.
newspaperblackout:

Newspaper Blackouts by Austin Kleon
Follow me on Twitter (@austinkleon) or Instagram for daily poems.
newspaperblackout:

Newspaper Blackouts by Austin Kleon
Follow me on Twitter (@austinkleon) or Instagram for daily poems.
newspaperblackout:

Newspaper Blackouts by Austin Kleon
Follow me on Twitter (@austinkleon) or Instagram for daily poems.
newspaperblackout:

Newspaper Blackouts by Austin Kleon
Follow me on Twitter (@austinkleon) or Instagram for daily poems.
newspaperblackout:

Newspaper Blackouts by Austin Kleon
Follow me on Twitter (@austinkleon) or Instagram for daily poems.
newspaperblackout:

Newspaper Blackouts by Austin Kleon
Follow me on Twitter (@austinkleon) or Instagram for daily poems.
newspaperblackout:

Newspaper Blackouts by Austin Kleon
Follow me on Twitter (@austinkleon) or Instagram for daily poems.

newspaperblackout:

Newspaper Blackouts by Austin Kleon

Follow me on Twitter (@austinkleon) or Instagram for daily poems.

Via
Nikon D600

nkjpg:

dolce & gabbana 2014 spring 

michaelmoonsbookshop:

Cunning Cookery 1938

Late night bookmaking— party of 2

Via
mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.
mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.
mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.
mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.
mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.
mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.
mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.
mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.

mymodernmet:

Photographer Sophie Gamand's new series Flower Power portrays pit bulls in a softer, dreamier light to highlight their sweet nature.

cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 
My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.

cross-connect:

Matt Shlian is a Michigan-based artist who describes himself as a paper engineer; he uses his engineering skills to create kinetic sculpture from paper.

I cannot explain how I make my sculptures in a general sense- each one is different.  I don’t share my diagrams or cut patterns.  I learned by taking things apart, doing things the “wrong way” and being curious.  Getting something wrong is way more important to learning than copying something perfectly. 

My process is extremely varied from piece to piece.  Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I’ll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I’d say mystarting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
Via
bookriot:

Bookends, bookshelves, book pillows, and more in Book Fetish.
bookriot:

Bookends, bookshelves, book pillows, and more in Book Fetish.
bookriot:

Bookends, bookshelves, book pillows, and more in Book Fetish.
bookriot:

Bookends, bookshelves, book pillows, and more in Book Fetish.

bookriot:

Bookends, bookshelves, book pillows, and more in Book Fetish.