From Constructivism to Present Day

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A movement, more powerful than a chain of drake low loaders, with roots in Russia, Constructivism, was initially an architectural and art movement. It resisted the concept of art for arts’ sake along with the conventional bourgeois type of society to which that preceding artwork was catered. Rather it preferred art for a practice geared towards societal change or which could serve a social function. Created after World War I, the motion sought to induce people to reconstruct society in a Utopian version instead of the one which had contributed to this war.

The expression construction artwork was initially coined by Kasmir Malevich with regard to this job of Aleksander Rodchenko. Graphic Design from the constructivism movement ranged from the creation of merchandise packaging to logos, posters, book covers, and ads. Rodchenko’s picture design functions became an inspiration to a lot of individuals in the western world such as Jan Tschichold along with the design theme of the constructivists remains borrowed, and stolen, much of graphic design now. The movement of Constructivism opened up the door by the construction industry for art for a home extension, therefore interior design.


Key Characteristics of Constructivism Art:
– Constructivism has three elements – abstraction, functionalism, and utilitarianism. It focused on the building of the art rather than what it was made up of, which distinguished the movement by the standard art at the time. Constructivism art was devoted to modernity.
– It tried to reach universal form by consisting of both two-and-three-dimensional art forms. It consisted of topics that were often geometric, minimal, experimental, and seldom psychological. Constructivist artwork was usually broken down to its basic elements. This art form simplified everything about the basic level.
– New media was used in the production of artworks. Industrial materials like glass, steel, and plastic have been used in the artwork creation.
-This artwork would unite distinct sans serif fonts because of their visual properties and their meanings. Colours used in the artwork would be easy, flat, and symbolic. A white space was a part of the plan. Rather than hand-drawn illustrations, the photo-montage technique was often used.

The notion of Constructivism nursed the idea to increase mass production by the artists who researched decorative and applied arts. As a result, the Higher Art and Technical Studios trained its students in these art forms, which brought back the missing fascination with decoration of ceramics and fabric. Ilya Chashnik came up using unique ceramics which were composed of abstract two-dimensional types while Stepanova researched cloth design that had daring planes of colour and stroke components. El Lissitzky and Rodchenko received recognition for their works of graphic design and typography, which used bold colours and diagonal elements.

Art installations are becoming an increasing trend with the German city of Karlsruhe taking part in the phenomenon. In 2015, they staged a series of installations around the city which are themed around a different subject of interest: construction work.

The series is named The City Is a Star, and it concentrates on machines and materials of building work, a pointed out by Designboom. Karlsruhe, and its own regional ZKM Center for Art and Media, requested four artists to set up artwork that relates to building work across town, such as jobs by Hans Hollein and Tim Otto Roth.
But two of the four artists took the brief very literally. Austrian artist Erwin Wurm, whose piece, Truck, is literally a truck parked on a city road in Karlsruhe. Obviously, the body of the cargo curves upwards, which makes it seem like it has been stretched by a giant. Last week, the piece attracted a whole lot of attention on the web when outlets reported that a police officer had issued the truck a very real parking ticket (turns out it was later a prank ticket, as clarified by the town).

ZKM’s curators clarified that one often comes across pictures of an urban scenario where one is unsure as to if it emerged unintentionally or intentionally, whether it had been the consequence of accident or chance. Can it be thrown from the wall in a storm? Or is it among those automobiles of their future, which is ramped-up in inverse against the wall?

Another piece is from the Argentinian artist Leandro Erlich, who’s the master of eye-trolling. You have probably been exposed to Erlich’s earlier work, possibly his Swimming Pool installment, which lets you walk under a hyper-real fake pool, or Dalston House, a mirror installment with 2nd-storey additions which makes people feel as if they’re falling upwards.

Back in Karlsruhe, Erlich has set up a piece named Pulled From the Roots, a “home” that hangs from a genuine building crane on a genuine construction site in the city centre. It appears only real enough to deceive the eye until you see the “roots” dangling from the house’s base. The construction was made to appear like it belongs to some nearby set of homes, adding the emphasis of ‘pulled from the roots’.

It is an obvious ruse the moment you find the origins, naturally. It is more entertaining to imagine someone walking throughout town, perhaps late for work, viewing a home dangling from a crane from the corner of their eye and not observing the difference between a real or ‘art installed’ home.

History of Basketball Uniform Design

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It is amazing how things have changed in a turn of a century, and how all of us have evolved from conventional notions of lifestyle to living a new, intelligently enhanced modern age of better living. From tech, politics, style to the quality of culture, there is practically no area that has not been influenced by the trends and transformation of the previous one hundred years. Besides everything else, as each decade gave way to another one down the line, basketball uniforms have changed from their humble cloth beginnings to high tech sublimated basketball uniforms, and have been altered through the many decades of basketball history. In this article, we are going to enjoy the roller coaster ride of trends and transformations that took place and transcended the relaxation of this game played at the basketball court through the years.

The world of basketball game has revolved around the changes as much as its uniform is concerned. We have noticed dramatic transformations and styles within the basketball industry. Changes such as custom made basketball hoodies, custom made uniforms, differences in hemlines, length of shorts, the addition of accessories, enhanced footwear, and headbands all have dramatically changed over the years of basketball history. All of them have contributed to giving the game an excess coolness, comfort and look and how it has to be played. The style ride of basketball has ever kept bringing excellent improvements to the uniforms worn for the match. As the time progressed, so did the designs, lengths, and shapes of the attire to be able to reflect both convenience and style. Basketball uniforms have gone through an amazing transition, which involves signature clothing, to baggy outfits and many more, all designed with a feeling of relaxation and functionality.

Throughout the 1970’s was the largest change in basketball history. Basketball uniforms observed bigger transformations as players were ready to expect more. With enthusiastically supported hairstyles and well-visible makeup, 1980’s brought riveting color schemes. But through the most aspects of the ’70s and early 90’s, tight-fitting features of jerseys and shorts did not undergo much of a shift. Larry Bird, a star player, had set the standard earlier, but Michael Jordan was decided to change the definition of sportswear. Sports period of the ’70s and ’80s were enriched with classic tendencies including headbands and legwarmers. Besides its aesthetic significance, they also played a thermal science helping regulate the body temperature and enhancing the performance of athletes throughout the demanding game in the courtroom. Headbands and wristbands were believed to be essential to prevent perspiration from trickling into the eyes. In a way, changes and tendencies then had something to do with scientific reasons and thoughtful concerns.

In retrospect, we have seen how Football uniforms have changed and established new standards and trends. This suggests that new trends will incessantly evolve. For more than ten years, loose and baggy uniforms, and hoodies have almost gained the attention required to be a major aspect for any sports player. The main reason for this is how it enables generous room and relaxation players will need to jump and dash as they play basketball. Shoes are no exception in this and have undergone mad experimentation. The advent of leather and other modern-day substances still continue to update the tendencies; nonetheless, classic style baggy clothes are here to stay as we could see.

Sportswear outfit manufacturers now a day create custom designs and experiment with unique ideas that may lead them to amazing design. They invest their creative efforts to be able to enhance convenience, performance and comfort, which athletes want during their match, and we have reached this far in basketball uniforms trends, by proving the many uniforms, and giving uniform options to each players wants and needs.

History of Interior Design

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Credit for the arrival of interior design is most often given to the Ancient Egyptians, who decorated their humble mud huts with easy furniture enriched by animal skins or fabrics, in addition to murals, sculptures, and antiques that were painted. Gorgeous gold ornaments found in Egyptian tombs (like that of King Tutankhamen) revealed the importance of more lavish decoration for wealthier and strong Egyptians.

The Roman and Greek civilizations built upon the Egyptian art of Interior decorating and accessorizing. Both cultures celebrated civic pride through their development of domed-roof public buildings. In the house, elaborate Greek wood furniture had ivory and silver ornamentation. The Romans put special emphasis on blending beauty and relaxation, and house interiors reflected wealth and standing. Roman furniture made from wood, stone, or bronze was emphasized by cushions and tapestries. Both the Romans and Greeks used vases, mosaic floors, and wall paintings or frescoes to decorate inside spaces.

By this period of grandeur and ornamentation, there was a surprising Movement to austerity, caused by the constant wars of Medieval Europe and the growth of the Christian church. The Dark Ages were a period of somber wood paneling, minimal furniture, and stone-slab flooring. Even the wealthier people of the time, who included decorative touches such as wall fabrics and rock carvings, stuck to muted colours and simple textiles. Coming out of the Dark Ages, Europeans once more introduced colour and Ornamentation to their houses. From the 12th century, the most creative Gothic style was noted for its use of open interiors and windows to capture natural lighting.

In the 15th and 16th centuries, the French Renaissance (rebirth) headed to a renewed focus on beauty and art in interior design. Architects created spaces with elaborate decorative elements like marble flooring, inlaid woodwork, paintings, and furniture made from the best woods. The best examples of Renaissance interior design are located in the royal palaces, villas, and chapels of Europe.

After the Renaissance, the elaborate Italian Baroque style became popular throughout Europe. As exemplified in the Palace of Versailles in France, Baroque made use of these interior design components as coloured marble, stained glass, painted ceilings, and twisted columns. From the mid-18th century, European interior designers started favouring the Rococo style, revealing special appreciation for Asian porcelain, flower designs, and furniture inlaid with elegant materials such as mother-of-pearl and tortoise shell. The late 18th century neo classical appearance, an offshoot of the classical style of early Rome, made significant use of bronze, silk, satin, and velvet.

In the early 1800s on, however, in Europe and America, a fad had also started towards more liberty and eclecticism in interior design. Over the following two centuries, a variety of innovative and contemporary interior design styles would come and enter vogue including Art Deco, Art Nouveau, the minimalist look, and the industrial Bauhaus style. Another 19th century fad was the popularisation of interior design. While once reserved for royal palaces or the houses of wealthy citizens, interior layout in the 1800s started to reach the masses.

From the 20th century, the near-universal existence of home appliances such as stoves, washing machines, televisions, and phones produced a brand new challenge for interior designers, who had to plan spaces not just for aesthetic purposes, but also for performance.

The field of interior design has come a long way in the brick and sand days of the early Egyptians. Designers now have access to both artificial and synthetic materials, and they are able to draw upon the consequences of previous generations, while also continually trying to create new design trends. Design layouts are constantly changing throughout the decades, with many world wide changing trends.

In The Future Skyscrapers Will Be Developed From Wood

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Several years ago, an uncommon request was made to the Vancouver planning commission. An architecture firm wished to construct an 18-story skyscraper from wood. In Canada, like most of the world, building codes limit wood structures to 4 stories, six at most. Brock Commons, which will house more than 400 University of British Columbia undergraduates beginning next Fall, is an order of magnitude larger than the majority of wood architecture, and currently the tallest wooden structure in the world.

It’s not likely to hold the record for long. The strategies utilized to construct Brock Commons– such as glue laminated lumber columns— are strong enough to support a high-rise building as tall as the Empire State Building according to recent price quotes, and a 24-story structure is currently underway in Vienna. Furthermore, architectural interest in this earliest of building products is surging globally, strengthened by environmental issues about the ecological effect of concrete and steel manufacturing.

An important new exhibition at the Martin-Gropius-Bau highlights the ecological benefits of structure in wood and also surveys the remarkable series of innovation in contemporary wood architecture. Lots of brand-new and imagined structures are displayed in stylish wood models and further elaborated in pictures and makings.

By numerous standards, Brock Commons is conservative. The designers went with a hybrid structure, with a concrete core for toughness, and abundant use of drywall as defense against fire. Neither of these concessions were strictly required. (For example, thick pieces of lumber naturally avoid fire from spreading by charring when exposed to flame.) The motivation for including conventionally contemporary products was mainly psychological: to assure planners and future residents that the building is safe.

Ultimately, these inhibitions will be overcome. Wood structures will emulate standard high-rise buildings with increasing fidelity, removing ever more steel and concrete. Yet the greater capacity is to develop entirely brand-new architectural types that make the most of wood by itself, resolving the qualities of timber products with innovative structural analysis and fabrication methods.

The Marin-Gropius-Bau exhibit consists of numerous examples of structures built on arboreal thinking. For instance, the Kaeng Krachan Elephant Park in Zurich is protected by an undulating wood shell that makes use of woodgrain to distribute force. The shape is partially notified by the products.

The notion of type following function is typically associated with Modernism, but in fact it’s as ancient as building. Slowly abandoned over centuries of decoration and ornamentation, it was recovered at the moment that the product compound of structure became fully artificial. With the return to wood in the age of structural engineering, Modernism can handle new vigor.

Wood pays for brand-new restrictions. Those restraints will lead to brand-new types of charm.

Black Fashion History Brought to Life

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Black fashion matters. That is the overarching thesis of the Museum at FIT’s exhibit, Black Designer, co-curated by Ariele Elia, an assistant manager of outfits and fabrics at the Museum at FIT who likewise curated Faking It in 2014 and her co-curator, Elizabeth Method, a curatorial assistant at the museum who worked on Global Fashion Capitals in 2015. The exhibit, featuring 75 ensembles by 60 designers shows that even as they share an identity, black designers are barely monolithic. And that’s exactly what makes their contributions and affect so essential. “We truly wished to commemorate that and show where a great deal of the concepts we see on runways today, originated from,” explained Elia.

Culture and history are frequently seen directly, with contributions from minorities neglected. Style has always dealt with diversity and black designers as a whole have failed to attain recognition for their impact, as evidenced by the closing of the Harlem Black Style Museum in 2007. French haute couture, the ultimate symbol of white Western design, is generally thought about the standard-bearer of taste and craft. It is only recently that this snobbery has moved, with innovation and social media enabling the increasing democratization of style.

In 1953, when the fashion industry was, in practice, segregated, Ann Lowe, developed Jacqueline Kennedy’s wedding event gown and bridal party gowns, of which must be perfect for the complementary wedding reception. But 10 days prior to the wedding, a pipeline burst in her workroom. Lowe worked overtime, providing the dresses on schedule, calmly swallowing the commission loss. Jon Weston, a FIT grad, dealt with discrimination from the fashion industry throughout the 1960s. But in the 1970s, after the Civil liberty Motion, mindsets towards black designers changed, allowing Weston to open a Seventh Avenue studio.

But while the 1970s was a good time for black designers, the sinuously sexy clothes produced by Stephen Burrows and Scott Barrie were disregarded, since they were black. Despite these designers having a hard time, they ultimately influenced and changed the fashion business, “By their very presence,” stated Andre Leon Talley, who helped with the exhibition. “When they were acknowledged, and recognized, they had a minute and ran with it, like they were running for the Olympic gold medals. I believe that when they had chances to be on a phase, they took advantage and they quietly transformed style.”

There are some really amazing pieces placed throughout the exhibit. Mimi Plange’s pastel pink leather dress, whose curvilinear quilted texture shows the ancient African tradition of scarification is of specific note. Or the Ann Lowe dress worn by Jackie Kennedy on her wedding. In Australia, by note of such iconic works, venues such as the Yarra Valley wedding venues are crucial to one’s wedding day wardrobe. As one traverses through the nine thematic elements consisting of “Burglarizing the Industry,” analyzing the struggles of Seventh Avenue designers as they challenged discrimination; through “The Increase of the Black Designer,” putting a spotlight on designers like Stephen Burrows whose body-conscious styles were celebrated by the fashion press of the 1970s; through “Black Designs,” commemorating the designs who helped shaped the looks of charm; through “Menswear,” where black designers assisted to redefine masculinity; the breadth of imagination unfolds.

From strenuous adherence to couture strategies, like with the black beaded dress of Eric Gaskins who trained with Givenchy and operated in the French couture custom, to remarkable adjustments with fabric, pushing the boundaries of exactly what fashion can be, as with Andre Walker’s abstracted khaki fit– each piece mentions emphatically the depth and vibrancy black designers bring to the fashion industry.

Unlike other style exhibitions, this one draws a lot from pop culture references, with Kim Kardashian included plainly. Street culture is pointed out, as is advocacy, and those elements assist to ground the exhibition. It’s more than simply a style exhibition, it’s a work of social commentary. As this exhibit so wonderfully shows, diversity does not remove another individual’s chance, rather, it enhances the whole enterprise. Ideally, both fashion and society as a whole, can benefit from the vision of the curators.

A Short History Lesson On The Italian High Heel Industry

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womens shoes

 

The history of womens heels being high-end goes back to 3500 B.C. when the upper-class women used crudely developed heels. In ancient Greece and Rome, platform shoes were shoes with high wood or cork soles that were popular among actors who would use shoes of different heights to suggest differing social status or value of characters. As the history of shoes, with differing heights has developed, designer womens boots and heels, or the best of the very best in shoes, have stayed a considerable status sign in our society. So much so, the term “well-heeled” ended up being associated with luxurious wealth.

womens shoesItaly was and is the epicenter for designer shoes. 1533 in Florence, Italy saw the very first women’s heel designed to extend the legs. They were most especially worn by Italian-born Catherine d’Medici for her wedding event, at age 14, to make her appear two inches taller. In current times, Italy has became an institution for  sensational looks, fantastic quality, and beautiful craftsmanship and hosts many designer shoe brands. For the most ‘well heeled’ it is natural to select an Italian brand like Ferragamo, Prada, Gucci, Tods, Guiseppe Zanotti, or Dolce and Gabanna. Despite the fact that numerous womens shoes designers are not Italian, like Jimmy Choo or Christian Louboutin, their shoes factories are in Italy.

No other shoe has actually gestured toward leisure, sexuality, and elegance as much as the high-heeled designer shoe. Is it any marvel ladies will invest pails of money on a pair of shoes, specifically a high heeled shoe? Last year alone (2008),  females in the United States spent more than $5 billion on shoes online. Here’s how that breaks down by inches: 0–.5 inch heel– $986 million,.5– 1.5-inch hell– $1 billion, 1.5– 3-inch heel– $1.6 billion, and over 3-inch heel– $1.5 billion. These figures are understandable when the typical expense for designer shoes is around $700 and can exceed well beyond $2,000. As society changes and evolves, the designer high heel appears to remain; synonymous with enhancements of stature, status, and allure.

New Gallery Hits London

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crating and packing

The exhibition display plinths gallery was set for its grand opening on Friday, 12 February 2016, joining the group of galleries in the art scene in London. However, people ask just what is it that sets this gallery apart from the rest? In fact, it is the focus on limited edition works of art and the uniqueness by leading and world renowned artists. Instead of showing off the artworks in a traditional gallery setting, the use of display plinths creates a different and more of a domestic and home-like feeling to the viewer, holding the piece of artwork slanted on a warm angle, positioning pieces up like womens high heels. This gives compliments the artwork, giving a touch of reality due to its enhancement in setting. Here, we will discover more about these kinds of galleries using a popular gallery as an example, Plinth.

What does the ‘Plinth’ gallery mainly focus on?

The main kinds of art pieces Plinth is mostly interested in are the limited edition artworks. We strive to make contemporary art very affordable to the public, which is the embedded nature of these limited editions. We have now enabled people from the wider community to have access to world famous artists works of art for only a fraction of the price of the original. Plinth strives to blur the conscious line between the aesthetics and functionality, and art and design – the majority of the products that we offer are designed to be shown off inside a domestic setting, not your typical gallery setting.

How did Plinth decide what their specialty was going to be, and what is the unique selling point?

The team first had to align all of its products with the businesses manifesto, and that is when the question arose of where we planned on showing off the pieces of artwork. These kinds of works are more suited to the living room kind of setting – being propped on the mantelpiece or coffee table, not in a white gallery where it wouldn’t have the maximum impact. The issue was solved when the team visited an old 1710 Georgian townhouse, located in the center of London. Many of the quirky characteristics of this house still remain to this day and is what we have tied into our gallery. Plinth’s gallery is something out of the ordinary, with some describing it as an ‘artist’s salon’. The team has sourced all kinds of quirky furniture settings including opened shipping crates strategically placed in corners, in the attempt to create that similarity to the old Georgian house. Many of the vintage shop fittings have been sourced from all around London, and the best thing is that everything that you see in the building is for sale, benefiting our designers and suppliers.

7 Adorable Plus Size Lingerie Sets For Valentine’s Day

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For many young adults, their very first memories of Valentine’s Day would most likely be of deciding what paper card to sent to a crush of yours in the early years of primary school. As a young one, every kid in school would have had a valentine, but when you grow up it becomes more complicated. Choosing what to wear for your valentine could be a very hard decision, including deciding what to wear in the bedroom like those fancy womens shoes, yes I am talking about plus size lingerie.

 

Many ladies who are plus size, say they don’t usually think too much into wearing lacy lingerie, but more and more women these days are starting to rethink their decision, realising that there so much more to choose from these days with very nice looking womens knitwear. There are now many varieties in trendy plus size dresses, corsets, caged bras and even comfortable oversized shirts. Here is a great selection of plus sized Valentine’s Day clothing that may get your senses tingling.

 

  1. When You Want To Feel And Look Like A Princess

 1.

Cassandra Pink Marabou Dressing Gown

Here we have started with a piece of clothing that makes a statement. This is a really nice dressing gown that can especially be used in the colder months of the year, wherever you reside in the world.

 

  1. If You Desire Nice Looking Underwear But Do Not Like The Underwire

 2.

Two Tone Bra Set

This red and black lace set is found attractive by many plus size women. Why? Because there is no underwire in it at all, which increases the total comfort of it and you can even buy some frilly womens boots to match. This is definitely a piece of clothing that is a must for Valentine’s Day.

 

  1. When You Want To Wear Flowers, Not Pick Them

 3.

Love Affair Unlined Underwire

This incredibly comfortable and very nicely designed bra set is very detailed and looks very nice with your favourite womens wedges. The way the base colours blend with the flower pattern makes this an irresistible piece of women’s plus size clothing for any plus size woman.

 

  1. Gender Neutral Comfort Anyone?

 4.

Tomboy Short

Every now and then you just want to wear something that is comfortable and don’t even care what it looks like, and in this case, even if they look like they belong to a male. These shorts are extremely comfortable and are also very stretchy. Sounds good, doesn’t it?

 

  1. Feeling Like A Ringleader?

 5.

Diamond Corset

This intriguing piece of clothing not only looks aesthetically pleasing to the eye, but it screams confidence. If you are after that boost of confidence and are after those feel good hormones, this is definitely a good choice. This outfit is that hot that you’ll be making your partner scream for the emergency lighting!

 

  1. Needing That 90’s Look?

 6.

Plus Size Satin Long Sleeve Top and Pyjama Set

You will find that silk and satin pyjamas would have been a desire of many women when they were younger. But don’t let the age factor be the deciding factor of whether you buy yourself a pair or not. Go for it! They look very trendy and if you grab some boots online or slippers it would look great!

 

  1. In Need of Something Soft In Your Life?

7.

Naturally Close Super Soft Velour Gown

Whether it is Valentine’s Day or staying over at a best friends house for a girls night in, this extremely soft gown is your new friend when you take your comfy womens playsuits off!

 

To read the original article, please click on the link below.

http://www.bustle.com/articles/139794-15-plus-size-lingerie-loungewear-items-you-need-for-every-kind-of-valentines-day

Packing Art Your Way

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I recently came across this article by Phillip Schubert about how people actually wrap and transport works of art and other precious artifacts, and thought this was a great read. I have always wondered what goes on behind the scenes of museum exhibitions network security and the processes the curators have to follow when it comes to keeping wok pieces safe. Hope you find this as insightful as I did. Enjoy…

 

DIY Wrapping and Packing Art for Storage or Transit

 museum-1461168-1280x960A question often asked, and which is not an infrequent subject of web searches is, “What is the best way to package art for storage or transport?” Of course, there really is no short answer, for the methods are almost as varied as the types of art objects made.The several altering methods for protecting art for storage or transit relies on factors such as the characteristics of the art piece, how long the piece will be stored and the way it will be transported method of transport. Ideally, you would hire a reputable company that deals exclusively with museum storage solutions and packing fine art. It might seem like an expensive solution, but it will be money well spent in terms of the amount of work it will save you. If you want to do it yourself, there really is no one-size-fits-all solution, but there are some general principles that can serve as a guide. At a bare minimum you will want your artwork to be protected from moisture, rough handling and acidic substances

 

Paintings

The best way to protect paintings is to make sure that none of the wrapping material touches the surface of the painting, and when they are hanging that the warehouse lighting is not too intense. This is crucial especially when the art piece contains a textured/delicate surface, a heavy impasto or the paint is still-tacky.
You can use broad strips of cardboard (preferably double-thick) to make a collar that surrounds the work and protects the face through an extension of the perimeter edges. Then wrap it with a high-grade polyethylene. As you would a Christmas gift, wrap it completely around, ensuring the face and back are covered so that you can then easily apply the tapings to the back. Use packing tape, but don’t overdo it. The idea is to allow air to pass through but also provide a barrier against moisture; don’t seal the overlapping edges of the plastic. A work that is completely sealed in can develop condensation as it passes through different environmental conditions.
If a painting has a practically flat face with a completely dry surface, the work can simply be wrapped in polyethylene as mentioned above. If you’re worried that the paint will become stuck to the plastic, consider creating a foam barrier between the work and the plastic by using a thin polypropylene foam. Though hard to find and not archival, a better solution is silicone paper. Remember not to use glassine or other paper types as they may stick to the surface. Additionally, if you substitute bubble wrap for polyethylene, you should certainly apply a barrier, and then cover in an outward fashion with bubbles–failing to do so may result in an embedded impression on the surface of the work.  Try not to use blanket or fabric wrappings as their fibres and textures can embed the paint, damaging the work.

Materials

pH neutral materials are best to apply, regardless of whether the artwork consists of foam, tape, cardboard or paper. This means they are neither acidic nor alkaline. This is especially important for wrapped works that will be stored for an extended period of time. At the very least, the first layer of protection, in closest proximity to the artwork, should be acid-free and inert (stable or not subject to changes in chemical composition over time). By doing so, a buffer is provided against potentially non-pH neutral packing elements. Considering this, the subsequent packing methods will adequately safeguard artworks for as long as the medium-term

Framed or mounted works

Avoid rotating or laying a piece down if the edges of the paper or other substrate is visible when the piece is framed or mounted –this may lead to damage of the mounts (hinges) that hold the piece in position. Always position it face up when wrapping, and always place it vertically in its preferred orientation

Packing

The best method to package artworks for transporting is in shipping crates. That’s a task for qualified professionals. Otherwise (and less desirably), small-medium sized works covered as mentioned above can be packed into properly sized containers or boxes. Place a thick layer of at least 4 centimetres (2 inches) of styrene or other sheet foam on the bottom. Alternatively, but less desirably you can use multiple layers of bubble wrap or crumpled paper. Works should be stood inside either vertically or horizontally, placed back-to-back and face-to-face whilst ensuring smaller works don’t press into larger ones. If the works don’t fit the box comfortably, cardboard and crumpled paper (or other void-fill) can be placed into the negative spaces. The idea is to prevent the works from moving in any direction inside the box. Close the box and tape it securely.
Wrapped artworks too big for containers must at the minimum be comprehensively covered in cardboard that is double-thickness  and securely taped.

History of L’Oreal 1909-1919

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Eugène Schueller graduated from France’s nationwide chemical engineering school Ecole Nationale Supérieure de Chimie de Paris in 1904 and went on to produce the business that will later end up being L’Oréal, Société Française des Teintures Inoffensives put Cheveux, on 30th July 1909.

As a young chemist in 1907, Schueller shows his skill for originality by producing his very first hair color solutions under the name Oréal, utilizing a mix of safe chemical substances. The dyes are an impressive advancement for the time, offering a refined variety of colors in contrast to other techniques available in the marketplace, which utilize henna or mineral salts which produced a brilliant, but rather synthetic appearance. Schueller declared a patent (n ° 383920) on 24th March 1908 for his new formulations.

With the war over, a brand-new age starts. All over the world, ladies are working, making money, growing more worried about their looks and looking for beauty therapy methods to avoid grey hairs from exposing their age as well as new makeup products to stop them looking their age. Oréal hair dyes are an excellent solution, even beyond the borders of France, breaking brand-new ground in Italy in 1910, Austria in 1911 and the Netherlands in 1913, even reaching as far afield as Canada, the UK, the United States, and Brazil

In 1909, Eugène Schueller, a young chemist with an entrepreneurial spirit, established the business that was to end up being the L’Oréal group. All of it started with among the very first hair dyes that he created, made and offered to Parisian hair stylists. With this, the creator of the group created the very first link in what is still the DNA of L’Oréal: research study and development in the service of beauty.

Through his determination and passion, Eugène Schueller prospers in persuading Paris hairstylist to utilize his dyes. Schueller is overflowing with concepts for the brand-new business and develops agents to offer his items throughout France. He likewise establishes a hair-coloring school on Rue du Louvre in Paris, which he personally manages, making use of a previous hairstylist from the Russian Court to show his ideas. He very quickly understood that his success is connected to that of hairstylist, he set out to create a unique relationship with the most influential stylist at the time, which grew more powerful every day.

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