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Issue 1 • Year 1 January 2012


What is this? Follow us in this incredible adventure

Ivy Maverick Uncommon Interviews

Queen of Fashion

Marie Antoniette

How she give herself autonomy and force

Editorial A new way to talk about fashion, meanings and history of this incredible and unknow big world Why a new magazine? Becouse everybody love to learn and discover new worlds, and one of these


worlds is the fashion world. it history, the discoveries

What mean moda? Why do we use so often this world? How many times we have ask ourself this? The term fashion derives from the latin ‘modus’, which means: way, rule, regulation, time, melody, rhythm, tone, moderation, like, discretion. The term fashion shows for the first time, in its present meaning, in the Treaty The hackney-coach, or the dress fashionably, of ‘Abbot Augustine Lampugnani, published in 1645. Fashions may vary considerably within a society according to age, social class, generation, occupation, and geography as well as over time. If, for example, an older person dresses according to the fashion of young people, he or she may look ridiculous in the eyes of both young and older people. The terms fashionista and fashion victim refer to someone who slavishly follows current fashions. Fashion victim is a term claimed to have been coined by Oscar de la Renta that is used to identify a person who is unable to identify commonly recognized boundaries of style.

Ramses Meredith/ President


Issue 1 • Year 1 January 2012

Editorial Board Chairman: Ramses Meredith General Manager: Alon Alphaville Director: Roby Gartner Research Editor: Kiana Lexenstar Assistant Director and Projects: Kiana Lexenstar Editors: Roby Gartner Columnist: Ramses Meredith Contributors: Kiana Lexenstar, Roby Gartner, Alon Alphaville, Ramses Meredith Advertising Sales Alon Alphaville @Dominus SIM

Content Issue 1 • Year 1 January 2012

Cover Story Marie Antoniette


As Queen of France, Marie Antoinette attracted enough public loathing to ensure the French monarchy’s downfall




Meanings and styles



Ivy Maverick: Shapes designers and not only


Content Issue 1 • Year 1 January 2012


11 15


Boots for winter



Jewels made with wood


Black is back

Et Cetera...



Discover underwater reefs



How to play with DOF

Footwears Trekking boots: so easy to resize

Egoisme did it again with the new idea of resize for this boots


hen you need to look aggressive and you want a sport wear but still elegant we will suggest you these boots, high detailed textures and two different options: with and without resize system, so you can avoid scripts lag from your avatar. Wear these boots with jeans or leather pants to have your look everytime trendy and sexy!

Alone with leopard on your boots Trendy and casual at same time


any times we have the need to find the right shoe for each situation, in this case these wonderful shoes fit perfect the aggressive look. Leopard heel and leather shoe to create a strong effect, trendy and casual but also perfect for leather and party look.

Elise: Black leather and strings

The special edition of L&B ankle and knee version.


o you think it is just a boot, but it is an importance accessory, it give a strong shape to your avatar, giving you a touch of dominance. Yes dominance! Everybody like to enter in a room and shock everybody, so don’t wait to have this precious boot in your inventory! What you need now is a good whip in theme and maybe a leather outfit! fit perfect in dark red tones, black leather and blue.


Accessory ((Crystal line)) Jewelry

Amazing creations for women and not only


e and my friends are use to look for the best accessories to fit our style. Sometimes I like to walk in new jewelry stores and find new creations to add to my outfits, and this month i am proud to introduce RENA, a great jewelry designer, she is fromJapan, and her taste in design and textures is incredible, creations that really make you being unique in your style and fit every gender!

Croce e delizia unisex Mandala dreams


nother incredible jewelry designer is Mandala, inspired by his dreams he create such amazing accessories for men and women. Today we show the cross necklace, aggressive like sensual, a provocative necklace, seductive to wear with a simply white shirt and black pants, will enhance your face and your strong soul. The level of details is amazing and i am even more amazed by these Japanese designers, very professional, they care about details, to give us pieces of art!


his necklace fit perfect with open shirts or , for men, with naked torso, giving a rough touch for your fashion style. But you can wear also with a coat or just over a shirt. Simply but sensual!

*chronokit* watch perfectly in time!


en you wear a chronokit creation you will notice the difference bettwen ordinary accessories and this wonderful watch, plenty of details, realistic movements, everything perfect to match your style. Don’t need many words to describe a such raffinate accessory, it explain better than words. You can find many different accessories, perfect for any situation, to be everytime unique in your style. Chronokit design every detail, a perfect and professional 3D work, also the shadows and lights made in 3D give an extreme realism on such wonderful piece of jewelry.

Outfit Outfit number 1

Egoisme’s elegant “angels”

Egoisme’s Angels. Being different in style and show the aggressive soul, Elegant and simply, you will feel the incredible feeling of being a famous actress like in the telefilm Charlie’s angels. The new boot resize script allow you to choose how the boot have to resize: following the XYZ coords, great idea to fit every leg!! For who love being aggressive and stylish

Outfit number 2 Easy to wear

Different style. Sin created simply drapes shirts to use with pants, to be elegant and classy every moment of the day. The Mandala’s necklace and the military boots gives you an unique look. Sensual but trendy for each situation, if you love a young look this is for you. Don’t need to spend a lot to create your own style, and these wonderful light clothes are perfect for you and your style.


Queen of Fashion

Marie Antoniette How she give herself autonomy and force Caroline Weber, an associate professor of French at Barnard college, Columbia University, lives in New York City. Her book, Queen of Fashion, has received rave reviews from The New Yorker, The New York Review of Books, Entertainment Weekly and The New York Times Style Magazine. As Queen of France, Marie Antoinette attracted enough public loathing to ensure the French monarchy’s downfall. That loathing, as Caroline Weber points out in Queen of Fashion: What Marie Antoinette Wore to the Revolution, was largely focused on the queen’s clothes. After the royal family was imprisoned in 1792, a mob invaded the Tuileries—their palace in Paris—and made straight for the queen’s wardrobe, to festoon themselves in her rich garments and then rip into shreds whatever they didn’t take. Earlier, at Versailles, another mob had rushed to the queen’s dressing room just to smash all the mirrors, leaving the priceless furniture and paintings untouched.

This book’s theme is the way young Queen Marie Antoinette took up pointed, disturbing fashions to give herself a visible autonomy and personal force that tradition didn’t provide. Weber sees this as a deliberate strategy, although it makes more sense as an instinctive maneuver. French queens had no political role, could never inherit the throne or exercise royal power, and this future queen had arrived at Versailles politically ignorant and inept. She found the court riven with faction, she had few reliable supporters of her own, and her distant imperial mother’s advice soon proved useless. Marie Antoinette might well have felt that her personal style was all she could manipulate.

As the new wife of the crown prince, her one legitimate function was to produce offspring, but the young heir seemed unable to do his part at the beginning. She had her first child only after eight and a half fruitless years; and after four of them, the new queen began to focus her creative energy on clothes. She didn’t invent fashions. She promoted radical new ones through her public persona, in the modern, celebrity-culture way—and that’s why we like her today, instead of automatically despising her as the last century did. Sofia Coppola’s film reflects our present sympathy for an eager-to-please teenager’s fashion-addictive responses to unbearable demands, especially when cut off from family love—and we, of course, are safely cut off from the assumptions governing the upbringing of 18thcentury royal children. Marie Antoinette’s mother, Austrian Empress Maria Theresa, had destined her for this marriage from birth, grooming her appearance and behavior for all levels of French scrutiny. While commoners hailed her angelic blond looks as an augury of better times, the court delighted in her fine grasp of the French tongue, French manners, and Bourbon history. But the empress may have had an unsubtle sense of current French style. Paris had long since ruled European fashion, regularly sending elegant fashion dolls as models to foreign capitals, including the Vienna of Archduchess Marie Antoinette’s childhood. The little girl was always dressed accordingly. Weber describes a painting of an imperial family group showing the nonmarriageable oldest daughter plainly dressed, while the 7-year-old future dauphine and her toy fashion doll have on the same formal French dress with a train. The empress may not have realized that in teeming Paris, avant-garde fashion then went along with refined sexual license, class in-

termingling, and free political talk, whereas fashion at Versailles remained chiefly an important aspect of court etiquette. Marie Antoinette’s first experience of the difference occurred halfway through her journey from home, at the ceremony called remise, or handover. In a small pavilion situated between French and Austrian soil, a troupe of French ladies stripped the girl naked, while French and Austrian diplomats watched. Then they replaced every atom of the Paris-inspired finery she had worn out of Austria with similar garments and adornments made in France, symbolically transforming her from an Austrian imperial archduchess into a French royal princess with completely new allegiances. The dauphine found that her court duties demanded unfashionably heavy dresses supported by old-style, extra-long, extra-rigid corsets, accompanied by thick rouge and stiff curls. These items were ritually applied every day by a phalanx of noblewomen, while lesser court ladies watched; and, at night, the whole process was reversed. She rebelled, soon a n d per-

Queen of Fashion

manently, risking her mother’s anger, the court’s disfavor, eventually the people’s scorn, and her own neck. Once queen, she steadily ordered the newest looks from Rose Bertin, the leading Paris couturiere—among them the provocative “robe a la polonaise,” with its bosom-enhancing bodice and its billowy, ankle-baring skirts, the whole crowned by a “pouf,” a 3-foot mountain of powdered hair decked with plumes, veils, and other objects arranged as saucy references to current events. All this and more she wore at court and in town, with swiftly

contagious effect; and Bertin became known as the Minister of Fashion. Marie Antoinette was not a beauty (she had the Habsburg jaw); but she was an enchantress, effortlessly wearing the wildest fashions with the utter conviction of a star. The fashion she followed was moreover the new commercial mode of the larger society, not the old hermetic style of courtiers using their rich garb to reflect the Sun King’s glory. It was soon obvious that her expensive modern glamour was enhancing only herself, not the monarchy. It hadn’t occurred to Maria Theresa that by training her pliable daughter from age 3 to sit, stand, walk, and bow gracefully—and dance divinely—wearing tight stays, long trains, and wide skirts with all eyes upon her, she was giving her the tools of self-creation and self-possession wholly in terms of striking costume and polished movement, as if preparing her for professional ballet or competitive ice-skating. Weber convincingly suggests that Marie Antoinette felt those tools being stripped from her at the remise and the dressing and undressing ceremonies at court; and that she exerted herself to get them back. She began clothing and wielding her body to attract the forms of respect she understood: wonder and delight, shock and awe, the sincere flattery of imitation. Her skimpy moral education had left her unprepared for contempt and disgust. As we all know, she met with both. The dauphine’s sartorial boldness emerged early, and drew swift disapproval. She went riding astride with her husband’s grandfather, the libertine Louis XV, wearing a man-tailored habit with breeches; and she even wore the shocking outfit for an equestrian portrait, modeled on one of Louis XIV. After that, the flavor of forbidden sexual adventure, and of poaching on royal male preserves, tainted her reputation and never disappeared. Later she flouted court etiquette when she drove off her noble dressers, sacrilegiously inviting plebeian Bertin (even plebeian Leonard, the chic male hairdresser) daily into her private apartments to clothe, coif, and advise her behind closed doors. This was even more unseemly because the one court lady for

whom ultra-chic fashion was appropriate was the king’s mistress—a post then vacant—whereas the queen was expected to look like the king’s dutiful First Subject, not his costly Favorite Object. Still later, she offended French patriots when she adopted Anglophile fashions and spent her time with congenial foreign nobility. At the Petit Trianon—a small palace with its own grounds that served as Marie Antoinette’s personal retreat—she introduced thin muslin chemises with sashes, linen caps, or straw hats above lightly powdered fluffy hair, no jewelry. This casual look, worn by countless European ladies, seemed shameless on the French queen, who (naturally) had her portrait painted in it. Her little palace was closed to the public, and her total privacy there (conspiratorial? sexual?) made a scandal of the queen’s flimsy foreign clothes and foreign friends.

blican tricolor cockades with modishly simple tricolor outfits. But the queen’s cockade was Bourbon white, her rich new dresses were purple and gold, and she got out her diamonds. Everyone could see that Marie Antoinette had no politics, only blind faith in royal privilege. Her fate, more firmly than the accommodating king’s, was sealed when the Bastille fell. Weber occasionally makes too much of Marie Antoinette’s power. She repeatedly notes that the

Most shocking in Queen Marie Antoinette was her extravagance, well-documented in the yearly records of her clothing expenses, in dressmakers’ accounts, and in memoirs saying that the queen wore nothing twice. Worse was the expensive toy farm she built at the Petit Trianon, complete with livestock and crops, where her friends played at being milkmaids and shepherdesses. It’s still considered her chief crime, but the queen had no sense of its effect. The French treasury was depleted, the deficit increasing, the people protesting against unbearable taxes and shortages, but Marie Antoinette, never taught to consider the people’s troubles, had no clue. While fashion plates wore her face, pamphlets and pornography made her a monster—dissolute Messalina, lesbian predator, traitorous conspirator, snake-haired Medusa, harpy with claws, vampire in foreign muslin spending state millions to mock local rustics, wasting pounds of flour on her hair while the people starved for bread. Once angelic, Marie Antoinette was now plotting with hostile powers, including Lucifer, to undermine the well-being of France. And when the Revolution exploded and prevailed, she instinctively abandoned new trends. Nervous burghers and nobles, even the king, sported Repu-

modest “Republican” dresses worn by most women in the early 1790s resembled those Marie Antoinette had introduced as avant-garde among aristocrats in the early 1780s, as though the queen personally influenced even the fashion of her enemies. She forgets that fashion runs under its own power, compelled toward desirable new forms. In fact, thin white chemises came into fashion everywhere in Europe around 1780 and stayed for nearly 40 years, no matter who was attaching what significance to them. This probably had more to do with the inven-


Queen of Fashion

tion of chlorine bleach in 1774 than with anyone’s fashion influence. But Weber is certainly right to emphasize the queen’s undeniable gifts when describing her solitary imprisonment after the king’s execution. Visible to curious onlookers, Marie Antoinette wore her one increasingly stained and frayed black mourning ensemble day and night for two long months, even though her daughter had sent her some other clothes. At her trial, its tattered blackness aroused considerable sympathy, and she was forbidden to wear it to her execution—no public mourning for the tyrant. So, chalk-pale Marie Antoinette rode to her death wearing a brand-new white chemise she had secretly saved, a pretty white fichu around her shoulders, and a pleated white cap on her prematurely white hair (she was two weeks short of 38), while thousands of dazzled citizens watched in stunned silence. The queen showed her unquenchable talent for inspired public display in all her last costumes, a sign of her true self-possession.test test Weber is a serious historian, and nearly every sentence of her account is footnoted to one of her many sources, some not tapped before, some conflicting, as she explains. Her writing about the period is succinct and detailed, but what’s most welcome is her use of her own feeling for clothes and their importance. This popular subject has been trivially belabored by numerous cultural-studies academics with no personal stake in dress history or in actual garments. It’s refreshing to find solid interpretive work and historical responsibility in an impassioned book on clothing’s power over perception and self-perception. Sofia Coppola’s film makes deft cinematic use of this material, though it leaves out Rose Bertin. Coppola instead conveys Marie Antoinette’s fashion appetite as an unappeasable lust for fabulous shoes and fabulous sweets, both shown perpetually being reached for and consumed with great speed to a musical beat, along with endless champagne being poured and swilled. This strikes a sharply modern chord, and Caroline Weber herself, in a recent New York Times op-ed piece, has approved its warning note.

Visual Comunication

Novel Experimetal in French means front guard, advance guard, or vanguard. People often use the term in French The origin of the application of this French term to art can be fixed at May 17, 1863, the opening of the Salon des Refusés in Paris, organised by painters whose work was rejected for the annual Paris Salon of officially sanctioned academic art. Salons des Refusés were held in 1874, 1875, and 1886.

and English to refer to people or works that

refer to the promotion of radical social reforms, are experimental or novel, particularly with the aims of its various movements presented respect to art, culture, and politics. According in public declarations called manifestos. Over to its champions, the avant-garde pushes the time, avant-garde became associated with boundaries of what is accepted as the norm movements concerned with art for art’s sake, within definitions of art/culture/reality. focusing primarily on expanding the frontiers of aesthetic experience, rather than with wider social reform. In our context the avantgarde will cover the The vanguard, a small troop of highly skilled sol- avantgarde’ist movements of the early 20th century diers, explores the terrain ahead of a large advancing that specifically focused on visual communication army and plots a course for the army to follow. This design and/or implemented it as a modus operandi. concept is applied to the work done by small bands of intellectuals and artists as they open pathways Constructivism was an artistic and architectural through new cultural or political terrain for socie- movement in Russia from 1914 onward, and a term ty to follow. Due to implied meanings stemming often used in modern art today, which dismissed from the military terminology, some people feel the “pure” art in favour of art used as an instrument avant-garde implies elitism, especially when used for social purposes, namely, the construction of the to describe cultural movements. The term may also socialist system. The term Construction Art was

first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko in 1917. Constructivism first appears as a positive term in Naum Gabo’s Realistic Manifesto of 1920. Kazimir Malevich also worked in the constructivist style, though he is better known for his earlier suprematism and ran his own competing group in Vitebsk. The movement was an important influence on new graphic design techniques championed by El Lissitzky. As a part of the early Soviet youth movement, the constructivists took an artistic outlook aimed to encompass cognitive, material activity, and the whole of spirituality of mankind. The artists tried to create art that would take the viewer out of the traditional setting and make them an active viewer of the artwork. Most of the designs were a fusion of art and political commitment, and reflected the revolutionary times. El Lissitzky. Lazar Markovich Lissitzky (1890 – 1941), better known as El Lissitzky, was a Russian artist, designer, photographer, teacher, typographer, and architect. He was one of the most important figures of the Russian avant garde, helping develop suprematism with his friend and mentor, Kazimir Malevich. Lissitzky’s entire career was laced with the belief that the artist could be an agent for change. 4 A Jew, he began his career illustrating Yiddish children’s books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and had just repealed its anti-semitic laws. Starting at the age of 15, he began teaching; a duty he would stay with for the vast majority of his life. Over the years, he taught in a variety of positions, schools, and artistic mediums, spreading and exchanging ideas at a rapid pace. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador in Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to the fields of typography, exhibition design, photomontage, and book design, producing critically respected works

and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last known works — a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. Alexander Rodchenko (1891 - 1956), was one of the most versatile Constructivist artist/designers to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles - usually high above or below - to shock the viewer and to postpone recognition. He wrote: “One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again.” Futurism. The Futurists explored every medium of art, including painting, sculpture, poetry, theatre, music, architecture and even gastronomy. The Italian poet Filippo Tommaso Marinetti was the first among them to produce a manifesto of their artistic philosophy in his Manifesto of Futurism (1909), first released in Milan and published in the French paper Le Figaro (February 20). Marinetti summed up the major principles of the Futurists, including a passionate loathing of ideas from the past, especially political and artistic traditions. He and others also espoused a love of speed, technology and violence. The car, the plane, the industrial town were all legendary for the Futurists, because they represented the technological triumph of man over nature. Marinetti’s impassioned polemic immediately attracted the support of the young Milanese painters —Boccioni, Carrà, and Russolo—who wanted to extend Marinetti’s ideas to the visual arts (Russolo was also a composer, and introduced Futurist ideas into his compositions). The painters Balla and Severini met Marinetti in 1910 and together these artists represented Futurism’s first phase. Futurism influenced many other twentieth century art movements, including Art Deco, Constructivism, Surrealism and Dada. Futurism as a coherent and


Visual Comunication

organized artistic movement is now regarded as extinct, having died out in the 1944 with the death of his leader Marinetti, and Futurism was, like science fiction, in part overtaken by ‘the future’. Nonetheless the ideals of futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant’Elia in Blade Runner. Echoes of Marinetti’s thought, especially his “dreamt-of metallization of the human body”, are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the “Tetsuo” (lit. “Ironman”) films. Dada or Dadaism is a cultural movement that began in neutral Zürich, Switzerland, during World War I and peaked from 1916 to 1920. The movement primarily involved visual arts, literature (poetry, art manifestoes, art theory), theatre, and graphic design, which concentrated its anti war politic through a rejection of the prevailing standards in art through anti-art cultural works. According to its proponents, Dada was not art — it was “anti-art”. Dada sought to fight art with art. For everything that art stood for, Dada was to represent the opposite. Where art was concerned with aesthetics, Dada ignored aesthetics. If art were to have at least an implicit or latent message, Dada strove to have no meaning — interpretation of Dada is dependent entirely on the viewer. If art is to appeal to sensibilities, Dada is to offend. It is perhaps then ironic that Dada became an influential movement in modern art. Dada became a commentary on order and the carnage they believed it wreaked. Through this rejection of traditional culture and aesthetics they hoped to destroy traditional culture and aesthetics. Art historians have described Dada as being, in large part, “in reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide.”Years later, Dada artists described the movement as “a phenomenon

bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path. [It was] a systematic work of destruction and demoralization...In the end it became nothing but an act of sacrilege.” Reason and logic had led people into the horrors of war; the only route to salvation was to reject logic and embrace anarchy and the irrational. Bauhaus is the common term for the Staatliches Bauhaus, an art and architecture school in Germany that operated from 1919 to 1933 and briefly in the United States from 1937-1938 and for the approach to design that it developed and taught. The most natural meaning for its name (related to the German verb for “build”) is Architecture House. Bauhaus style became one of the most influential currents in Modernist architecture. The foundation of the Bauhaus occurred at a time of crisis and turmoil in Europe as a whole and particularly in Germany. Its establishment resulted from a confluence of a diverse set of political, social, educational and artistic shifts in the first two decades of the twentieth century. Art nouveau had broken the preoccupation with revivalist historical styles that had characterised the 19th century. In the first decade of the new century however, the movement was receiving criticism; impelled by rationalist ideas requiring practical justification for formal effects. Nonetheless, the movement had opened up a language of abstraction which was to have a profound importance during the 20th century. One of the main objectives of the Bauhaus was to unify art, craft, and technology. The machine was considered a positive element, and therefore industrial and product design were important components. Vorkurs (“initial course”) was taught; this is the modern day Basic Design course that has become one of the key foundational courses offered in architectural schools across the globe. There was no teaching of history in the school because everything was supposed to be designed and created according to first principles rather than by following precedent.

The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States and Israel in the decades following its demise, as many of the artists involved fled or were exiled by the Nazi regime. Both Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split in 1941. The Harvard School was enormously influential in the late 1940s and early 1950s, producing such students as Philip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph, among many others. Herbert Bayer (19001985) was an Austrian graphic designer, painter, photographer, and architect. In the spirit of clean simplification, Bayer developed a crisp visual style and adopted an alllowercase and sans serif typeface for all Bauhaus publications. Bayer is also credited with designing the custom geometric sans-serif font, universal. In 1928, Bayer left the Bauhaus to become art director of Vogue magazine’s Berlin office. Ten years later, he settled in New York City where he had a long and distinguished career in nearly every aspect of the graphic arts. László Moholy-Nagy (1895 – 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism. He was a strong advocate of the integration of technology and industry into the arts. In 1923, he replaced Johannes Itten as the instructor of the preliminary course at the Bauhaus. This effectively marked the end of the school’s expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artist and Moholy-Nagy was no exception. Throughout his career he became proficient and innovative in the fields of photography, typography, sculpture, painting, and industrial design. One of his main focuses was on photography. He coined the term “the New Vision”, for his belief that photography could create a whole new way of seeing the outside world

that the human eye could not. His theory of art and teaching was summed up in the book The New Vision, from Material to Architecture. De Stijl also known as neoplasticism, was a Dutch artistic movement, founded in 1917. In a narrower sense, the term De Stijl is used to refer to a body of work created by a group of Dutch artists, from 1917 to 1931. De Stijl is also the name of a journal which was published by the painter and critic Theo van Doesburg, propagating the group’s theories. Next to Van Doesburg, the group’s principal members were the painters Piet Mondrian and Bart van der Leck, and the architects Gerrit Rietveld and J.J.P. Oud. The artistic philosophy that formed a basis for the group’s work is known as neoplasticism — the new plastic art. Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour — they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white. Paul Schuitema (1897 - 1973 ) was a Dutch graphic artist. He also designed furniture and expositions and worked as photographer, film director, painter and teacher for publicity design at the Royal Academy of Art in The Hague. Schuitema studied at the Academie voor Beeldende Kunsten in Rotterdam. In the 1920s, he began to work on graphic design,[1] applying the principles of De Stijl and constructivism to commercial advertising. Along with Gerard Kiljan and his famous colleague Piet Zwart, he followed ideas pioneered in the Soviet Union by El Lissitzky and Rodchenko, in Poland by Henryk Berlewi and in Germany by Kurt Schwitters. During his employment at the NV Maatschappij Van Berkel Patent scale company in Rotterdam, Schuitema gained recognition for his original designs of stationery and publicity material, often using only the colors black, red and white and bold sans serif fonts. From 1926 on, he started working with photomontages, becoming one of the pioneers of this technique in the field of industrial design. Even though he was a convinced socialist and often designed leftist publications directed at industrial workers, Schuitema also worked for major companies, such as Philips.



Ivy Ma

Shape and m Scrivi qui una piccola intro al personaggio. Non direi di farla troppo lungua una cosa del gere va bene. Lendam, nonem re ex eos mos ut fac. Scrivi qui una piccola intro al personaggio. Non direi di farla troppo lungua una cosa del gere va bene. Ramses Meredith: Ivy Maverick, a well know name in Second Life, a big group, a shape designer, but what people don’t know is your emotional part, the charity work you do everymoment in SL involving people, the costant help you give to everybody. seem like you are a “mommy” is it? - winks Ivy Maverick: Laughing) Ramses, thank you for having me here today. I love to help people, especially my friends. Charity work in sl is new for me, for a long time I was not sure if it was necessary and had a lot of concerns about people taking advantage. Now I can see how


designer much more much SL can help people in RL who have never even heard of this crazy world. Ramses Meredith: So, tell us, tell our readers, is it SL just a game for you or do you think second life can be a way to create more things that reflect in RL also? Ivy Maverick: both worlds are the same for me. I came into sl at a very difficult time in my life... I made friends here who helped me more than they know. As far as reflection I moved this year in my RL and Moving sims in SL. I am very much the same person just sexier and can do the splits while dancing in here:D Ramses Meredith smiles: you are very involved in both worlds as i know, and you have a great knowhow on your side that help you a lot. Do you think there is something you like to change if you had the magic rod?



Ivy Maverick: I’d change a lot I am pretty controlling that way and “mothering” but i have learned that those challenges make us stronger. If I could change one thing, I wish my iphone app would let me send notices. Ramses Meredith: So, you like challenges? Do you think constructive challenges can be good for people, for brands? Ivy Maverick: of course and even negative challenges can be constructive. We are here to learn and grow.. always getting positive feedback doesn’t help us stop and look objectively and make change Ramses Meredith: We saw in these years many fights, many brands closing, what you will say about this and what you can suggest to our readers? Ivy Maverick: Fighting will happen, and when its directed at yourself its hard NOT to defend, but its MUCH harder to sit back and and let the drama makers around you have their say and for you to say nothing. I find that Secondlife Mirrors Real life this way. I see many business closing in rl and here and its sad. I hate to see my friends leave here. To the readers I say, if you like a brand support them. Ramses Meredith: We are at end of this interessing interview where we discover the true Ivy Maverick, the woman behind the avatar, do you like to say something about you or about a topic you like? Ivy Maverick: i’d like to say to the women of Sl Womenstuff hunt is starting Feb 3rd its going to be so exciting! Also if you like the work that our teams does and would like to pay the kindness of our designers forward support them and give at our “feed a smile” Kiosk 100L feeds a child a warm meal, ty! Ramses Meredith: thank you very mcuh for your interview Ivy, I am sure our readerss will be pleased to know more about you and support this great charity campaign! Ivy Maverick: and Ramses thank you for supporting us too, its nice to see your soft side :)

Places Time to relax and dance with friends Gay Paradise Beach

Over 3 years. Yes this place is over 3 years old! A great place where to relax with friends, straigths and furries are welcome. A comfortable place full of palms, you can walk around or use a Quad or a jetsky to enjoy your time here. Dance zone and many little houses where... well you don’t want to know such details, better discover by yourself! Friendly people waiting you there, at TRUE BLUE sim, where you can meet new friends or maybe your soulmate!


Enjoy your second life Relaxing. This is my first think when i landed here at the Bonaire Club. I have look around then with my horse I have take a tour. wonderful places where to relax, maybe with your soulmate - winks- and where you can enjoy a true relaxing experience. These sims are full of water and you can rezz a boat and sail for a new adventure. You can find all you need: parks, sea, beach, rental houses and docks for your yacht! Don’t waste more time so, come and have a look at BONAIRE CLUB sim


How to ... Lens Blur with Alpha Channels

It’s an effect every photographer appreciates from time to time: showing a sharply focused subject against a blurry, out-of-focus background. Instead of playing with aperture settings, you can achieve similar results using Photoshop CS’s Lens Blur filter. Here’s how.


hen the subject of your photo is in sharp focus against a blurry background, the subject stands out, seeming to jump right at the viewer. Even if you didn’t shoot the image that way, you can get the same effect with Photoshop CS’s Lens Blur filter.


ompare these two images. Even at a very small size, it’s easy to see how even a little blurring helps separate the subject from the busy background.


he image on the left was shot at f/16 and the image on the right used an aperture of f/5.6. The difference between the aperture settings produces the difference in the “depth of field,” the distance from the lens that remains in focus.


n hotoshop, use the Blur> Lens Blur filter to accomplish the same effect. The key to Lens Blur is an alpha channel, a channel in the Channels palette that you use to control where and how strongly the filter will be applied. An alpha channel is, at its root, simply a saved selection. Where the channel is black, the image is protected from change and the filter won’t be applied. Where the alpha channel is white, the filter will be applied with whatever settings you choose. In areas of the image that are gray


How to ... in the alpha channel, the filter will be applied at a reduced strength. The lighter the gray, the stronger the filter. The darker the gray, the less change to the image.


hen creating an alpha channel to use with the Lens Blur filter, keep these rules in mind:

• The subject (the part of the image you want to remain sharp) should be painted black in the alpha channel. • Anything the same distance from the lens as the subject should also be painted black. • Whatever is farthest from the lens (or beyond a certain point of your choosing) should be white. • Areas between the black and white should generally be covered with a gradient. • Don’t forget areas between the subject and the lens! They should fade to blur as well.


n the sample image, we want the calf to be in sharp focus, with the background gradually blurring more and more into the distance.


n the Channels palette, I can click the New Channel button, which creates an alpha channel filled with black. By clicking in the “eyeball” column to the left of the RGB channel, I can see the image and a red overlay that represents the channel. Using the Eraser or the Brush tool with the foreground color set to white, I can paint over the areas where I want the filter to be applied.


r, as I prefer to do, I can Select All and delete in the Alpha channel, enabling me to paint with black over areas I want protected and using a

gradient to provide the fade-to-distance.


nce the alpha channel is ready, click on the RGB channel to make the image itself the subject of the filter. (Otherwise you apply the filter to the alpha channel rather than the photo.) Open the Lens Blur dialog box (Filter> Blur> Lens Blur), select your alpha channel in the Source pop-up menu, then adjust the Blur Focal Distance slider until you see the effect that you want in the Preview area.


hould you so desire, you can also simulate different lens iris configurations, adjust the brightness of specular highlights (pure white areas), and even add some noise.


ompare the before and after shots:

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