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photo-painting from an old picture taken in Switzerland (2007) ...o como diría Ferran Adrià: "desestructuración de un paisaje suizo"


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♫♪ Music: "Sailing" by Cristopher Cross


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2012©jesuscm. All rights reserved.

Living / challenging simple dreamscapes of authentic creativity ~


Letting go / Dissolving transgenerational / cultural bonding syndromes of traumatic scripts, nightmares, fear & self-imposed guilt ~


Do have a most splendid week, dear friends focused on magic bokeh-details!


Almost "blind" colour coding exp in bright sunlight while crossing fields of spring ~


So, as a matter of fact, I indeed am "seeing" the photo right now, for the first time ! again ~ ;-)


of/ff shores & walls as bridges .....

Well I hope you all have been doing well. I've been lurking but mainly in the shadows for the last 4 weeks. My pup has had some serious medical problems involving multiple trips to Animal Emergency and the vet. She's better now but hopefully we don't have any flares. Cross my fingers!


I decided to revisit this panoramic (4 photos in portrait) because I was asked to for commercial purposes. I hope you like the new version, what do you think? Colors aren't so crazy. Originally taken last July. To look back to how I edited images just a year ago to how I process now, I can seriously say to myself - what the heck was I doing?1? I've learned a few tricks since ;)

Out painting alone trying out a new trick Dan Whitaker taught me at the LPWA BC meetup. Thanks Dan! Hope to see you at the next one.




In 1912, just three years after the manifesto was published, the Futurists exhibited in London for the first time. A hundred years later on September 27th, 2012, just three years after the creation of, the Graffuturists will exhibit for the first time in London at Blackall Studios.



At the core of both movements are the parallel ideals of “dynamism” and “progression.” Both of these keywords conjure a sense of action, motion and movement, wavering disturbances of change pulsing forward, like an electrocardiogram, along a historical continuum into the future. Marinetti extolled the virtues of a dynamic art form that was alive and motivated; Poesia, the founder of, has stated that the word Graffuturism was inspired by the desire to articulate a progressive impetus for graffiti.



Uplifting arms together in spirit, both these movements revel in the urban environment as a petri dish for the advancements and inventions of their age. Just as Futurism embraced the Industrial Age and its recently mechanized urban centers, Graffuturism embraces the Digital Age and its recently wired urban-global community. For the Futurists, the ideals of dynamism were expressed in images of their century’s new inventions, such as the motor car, the steam engine, the airplane, the telephone; whereas for the Graffuturists, the technological icons that are mythologized in their art and culture are the tools of their trade: spray paint, subway car, markers, rollers, freight trains, fire extinguishers, and so on. A different set of symbols for this century, but still imbued with the same semiotic impetus.



Because of the global composition of the group, the loosely-associated members are from disparate backgrounds, professions, and locations. They create in different styles and mediums, but for the majority of the artists involved in the group so far, their unifying influence is graffiti, their medium is painting, and their theme is abstraction. These artists aspire to a master’s level at their craft, which includes not only technical proficiency, but also historical research, theoretical readings, and possibly educational pursuits pertaining to their discipline. This kind of in-depth, well-rounded, self-cultivation has produced a community of artist’s with styles that are a refined visual poetry comprised of depth and complexity in content as well as technique.


The Graffuturists could be classified as a High Style New Millennium movement, consisting of a dialogue and cross-pollination between advanced graffiti and fine art techniques, practices and theory. Wildstyle Graffiti is combined with Abstract Expressionism, Geometric Abstraction, or another high style historical form. Then it is transposed through the artist’s unique vision and medium into a personal vocabulary of hybrid techniques, an experimental mix of the high and low, intellectual and visceral, the visionary and the primitive. Whereas the Street Art movement of the mid-2000s tended to focus on figurative stencils and silkscreens used for wheat-pastes, this group of artists on the whole is more concerned with the act of painting and its history, whether academic or street, oil paint or spray, fat cap or sable brush.


Just as Be-bop developed from jazz, Raw Magazine from Superman comics, and Wildstyle from Original Writing, Graffuturism progresses from graffiti, and then takes up the oily-rag torch to ignite the future.


Daniel Feral (Pantheon Projects / 12oz Prophet)


acrylic on canvass


Hello underground Australia! 4 months since an upload, shameful. Winter was coldly uninspiring this year so I planned a trip to the southern hemisphere and hooked up with the ever-awesome TigTab & Blacklodge to shoot some spectacular locations. Ultimate long distance collab which was a total blast :-) You guys were fantastic, thanks so much!

Paint Shop Pro Timemachine


Cross processing is a term which describes the procedure of deliberately processing photographic film in a wrong chemical solution.


The peeling paint, the arch and the colour were what drew me to this door in Kings Cross ...

Textures: T20, T27, T51 and T57 in my free texture set (Free Textures by TCP)

Cross Plains State Park, Wisconsin. The American Painted Lady has a range from the subarctic to Mexico and is capable of overwintering in the north. (National Audubon Society Field Guide to North American Butterflies) Such overwintering may be the reason that this butterfly looks rather tattered. I caught just a couple of glimpses of the underside of the wings which are beautifully-patterned colors!

Digital painting done with a graphics tablet and stylus.

Another capture at Brompton Cemetery in London. I liked the contrast of the cross in the sky symbolising faith and prominence for whoever cared to look. The stonework was just artistry in its own right.


There are four basic types of iconographic representations of the cross: the crux quadrata, or Greek cross, with four equal arms; the crux immissa, or Latin cross, whose base stem is longer than the other three arms; the crux commissa, in the form of the Greek letter tau, sometimes called St. Anthony’s cross; and crux decussata, named from the Roman decussis, or symbol of the numeral 10, also known as St. Andrew’s cross. Tradition favours the crux immissa as that on which Christ died, but some believe that it was a crux commissa. The many variations and ornamentations of processional, altar, and heraldic crosses, of carved and painted crosses in churches, graveyards, and elsewhere, are developments of these four types.

Easter painted eggs from the Romanian villages- A Very Happy Easter to All My Flickr Friends!

Paste fericit! Happy Easter! Joyeuses Paques! Frohe Ostern! Felices Pascuas! - Buona Pasqua! С Праздником Пасхи!


Easter eggs are special eggs that are often given to celebrate Easter.

The egg is a pagan symbol of the rebirth of the Earth in celebrations of spring and was adopted by early Christians as a symbol of the resurrection of Jesus


In the Orthodox and Eastern Catholic Churches, Easter eggs are dyed red to represent the blood of Christ, shed on the Cross, and the hard shell of the egg symbolized the sealed Tomb of Christ—the cracking of which symbolized his resurrection from the dead. Easter eggs are blessed by the priest at the end of the Paschal Vigil, and distributed to the faithful.


In the Romanian villages there is a special tradition in the decoration of Easter eggs, and some of them are really masterpieces


Many Thanks to the +5,360,000 visitors of my photographic stream


:copyright: Ioan C. Bacivarov


All the photos on this gallery are protected by the international laws of copyright and they are not for being used on any site, blog or forum, transmitted or manipulated without the explicit written permission of the author. Thank you in advance

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Filmswap with myself. Petri 'Micro Compact' vs expired Fuji Sensia 100iso slide film. Cross processed.



Camera Sigma DP1

Aperture: 8.0

Iso: 50

Exposure 15 sec.


Heavy tripod


The Best of Stevie Wonder || Stevie Wonder's Greatest Hits (Full Album)

The Lighthouse in Hirtshals.


As mentioned in picture no. 78 I find myself now at Hirtshals Lighthouse, located in northwestern Denmark. After I had been in a long time at the rocky beach below the lighthouse and took many pictures, I worked myself with difficulty up the steep slope up to the lighthouse, and of course I had to lose balance in the dark over some large rocks on the slope, so I lost my tea warm, as I put the camera outdoors when not in use. I did not Te heater, although I went back and looked for it.

But luckily there was little sunset mood yet, even though I went here in the night.

I thought it was desirable about. POV that I had gone a little further back, when I was photographing the lighthouse, but I could not because of some shrubbery.


Hirtshals lighthouse is a beacon of Hirtshals. It was built in 1863 in a late classical style with NS Nebelong as an architect and C. F. Grove as an engineer.

The boiler flame height is 57 meters, the tower is 35 meters high. Fyrtypen is anduvningsfyr. Fyrkarakteren are: fixed white light with a powerful flash every 30 second. There are 144 steps to the viewing balcony.

The system is composed of the lighthouse, two corridor buildings that connects fired the two salaried buildings, an outhouse (1863), a machine (1914) and a sirenehus (1958?). Buildings are painted white foundation wall. The tower stands on a granite pedestal, while the other buildings standing on black painted brick foundation. The two small corridor buildings appear listed in granite stone in the courtyard and concrete towards the sea.

The lighthouse is round and closing of a copper clad lantern. The tower is adorned by King Frederik 7.s monogram and the year of construction. Rota railing is new. Doors and windows are renewed. In the construction had fired fixed lens apparatus and rotary amplifier prisms. In 1914 the tower was converted solid pine with lights and kerosene glødenetbrænder. The lighthouse was electrified in 1939.

The single-storey staff housing covered by cement slate clad pitched roofs with dormers. The walls are divided by pilaster strips. The house to the north was intended lighthouse keeper and 1 assistant, while the house to the south was inhabited by 2 and 3 Assistant. North building midterfag is adorned by a recessed box that ends with a rundbueformet savstik.

Stitched and Painted Collage has seen many changes. One thing about painting--once you cover up a layer, it is gone. What you see on the surface is what you get. There is a finality about it that brooks no sentimental hankering for what you left behind.


At the next stage, a name for the painting emerged and that rectangular patch behind the flower became my focal point. It developed from an outlined area into a full fledged door.


The “last installment” became darker, figuratively and literally, and the flower took on a surprising importance. The cross, it seems to me, has to do with the biblical stories I read, as a young woman, of Christ in the garden, facing the certainty of a terrible death. In my painting, the flower is as tall as the cross, and I appreciate that because original blessing makes more sense to me than original sin. That circle up to the right of the door would not go away, despite many layers and choices as to what should be hidden. I think of it as a mandala, representing wholeness. After the door to the secret garden has been found, and opened, wholeness is possible. A sense of wholeness equals redemption in my thealogy (that is NOT a typo).


If you are viewing this piece, I'd love to hear your impressions and ideas. It helps me understand--my work, myself and you.


For me, that's what makes this work worthwhile.


To see former versions of this painting, see The Last Installment on Carol Wiebe Wonders Out Loud.


CWWOL 2011-05-25

one starry night in the Mojave Desert, CA

This is a Polaroid emulsion lift. The original photo was taken with a Agfa Viking and expired and cross processed Agfa Portrait 160. Then, I used a Daylab to transfer the image to Polaroid Type 669. The transfer is on thick card stock that I have painted with gouache. The dimensions for the paper are approx. 4.75" x 6.75". Signed and dated on the back.


This is available in my Etsy (link on my profile). Although I am still running my 50% off sale in my Etsy to help out with Suttree's ongoing vet bills, this is not eligible.

By Stoff _ If you wanna use or buy that image, or for more info just FlickrMail me ;)

this 15" X 24" Digital/Mixed Media painting has been donated to "Art 4 Japan" an effort by London based spirit painter Sophie Shapiro with assistance from the Red Cross. You can view other donated works at this link:

la_febbra style con anatra attraversante!!!!!!!!

Artwork painted on the risers of steps at Southern Cross Station. Unfortunately it seems to have had quite a short lifespan and last time I looked this nice artwork had been replaced by giant Coca-Cola advertisements.

Down by the Erne estuary there is a quiet bay where you will find the remains of an ancient place of pilgrimage. It is the site of a Cistercian monastery, long abandoned. There, a short distance from the monastery ruins you will find a rag tree, an altar, a holy well and the stone mounds where this cross is mounted.

It is an old place to take picture. Sometimes you just like to take a shot without any purpose.

Try and stop me

Try and save me


I want to fall...


Try and cross me

Take me, tease me


I want to fall


* its a shot of a painting i made :$ :P

* Happy Birthday MooooooooNY :D

oil sketch 12 by 13 , a two hour sketch[ sorry for the cross eyes again- I'll fix that

Norman's wonderful art here:


Juli Kay here:

A shot of the beach at Loe Bar in Cornwall as the sun sits balanced on the horizon. Sometimes, nature arranges itself into shapes and colours that seem like a painting. How can circumstance, cause and effect, arrange themselves into such an appealing display? As long as we don't take it for granted, then who cares.

I have posted a few shots from this location a few weeks back, and was going through some old images last night, when I came across this set. I blended the area around the sun only with another darker version of this shot, so that the sun didn't become too bright and eye catching. Otherwise the shot is pretty much as shot.

The weather has been so poor for so long that I just haven't had an opportunity to get out with the camera. This afternoon looks brighter and sunnier, with only the odd shower of rain. Hopefully I will get out for a few pictures.

I am still awaiting the results of the Digital Photographer of the Year results. They will be released on the 9th of December, next Wednesday. The commended images are up, but I don't feature there. Either does Chip Philips. We are either in the top 3 or won't get a mention again. A bit nail biting, but to be honest, I haven't got my hopes up. The competition is just too steep. Fingers crossed though.

10-22mm, polariser and Lee filters.


Exposure: 2.5

Aperture: f/13.0

Focal Length: 12 mm

ISO Speed: 100

Exposure Bias: +2/3 EV


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