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Here are the things I searched for while creating my characters.

Andromeda

Dylan

Gael

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Visiting Inhotim was a life changing experience. It was more than I ever expected it to be. The space itself is breathtaking and surrounded by nature. In an arhitectural way of seeing things, the galleries where made in a way that they would blend with the nature and not  destroy it. Each gallery was different and game me a feeling that I was in different decade.And for me this is important, to respect the nature that was there before humans constructed something.
I even enjoyed works by artists that had a different path from mine, like Claudia Andujar that is a Photographer. Adriana Varejão.

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Gabriel Picolo, most known as just Picolo, is a Brazilian artist from Sao Paulo. His work received more recognition in 2013 with his project 356 Days of Doodles . He drew every single day That made him practice his "Lost skills" and that encouraged a lot of people around the world to follow his path.

After that he started doing his own stories such as Icarus and the Sun, that connected instantly with people and it is one of his most famous works. He also has a great passion about DC Comics, so he started drawing the Casual Teen Titans as a personal work, now in 2108 he works for DC Comics.

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This illustration is has predominantly warm colors; Red, Orange , Yellow and Brow. The artist has a good knowledge of how to use light and dark into his pieces and the color scheme is often determined and influenced by it. The light and dark aspect comes from the main characters, Icarus, that is illustrated as grey (in most of the illustrations) and Sun, that is the representation of the light and heat itself.

The way Picolo decided to make the page's layout is interesting due to the fact that in all of the three spaces he placed Icarus and Sun in a way that it forms an upside down triangle so our eyes are allured by it and consequently we pay attention to the page as a whole.

Bored Panda. 2018. The Forbidden Love Story By Gabriel Picolo | Bored Panda. [ONLINE] Available at: https://www.boredpanda.com/icarus-and-sun-love-story-gabriel-picolo/?utm_source=google&utm_medium=organic&utm_campaign=organic. [Accessed 14 September 2018].

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This page is a good example of how the artist uses colors to drive the readers attention to the characters

Gabriel Picolo, (2016), Nothing in Particular [ONLINE]. Available at: https://www.deviantart.com/picolo-kun/art/Nothing-In-Particular-610587495 [Accessed 6 September 2018].

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Audra Auclair is an artist that constantly inspires me to do my work. Her work has delicate lines and fluid movements but it is also strong in t't message and I think that it provokes some sort of feeling, and that is what attracts me towards her work.I believe that her mood in most of the works is sad and melancholic with smooth lines and harmonious colors.

She often talks and draws about her insecurities such as depression and anxiety, and I appreciate when artists are open with their personal struggles to the public that consuming their art.Her sketchbooks also inspire me to explore new things, even if I don't actually do it at the end, I always feel the need of doing it someday.

She often draws mystical creatures such as , demons witches and sue, it is a theme that I am fond of . Her way of balancing soft colorers that are associated with "lighter"things on drawings of dark subjects is something that I admire.

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I initially wrote the characters being someone that loved the ocean and the day light. I had no idea of the connection the name had in the Welsh Mythology> Turns out that it was a nice coincidence. Here it says that Dylan had a twin brother so he also represents the twin power. There is a part of the story that I want to alter, with is his death, in the mythological tale he is killed by is uncle, and there is not an uncle characters in my story.Theres also a note that says that he was supposed to be blonde and with fair skin, but I'm changing that because I think it would be better if he looked a little different

Andromeda Galaxy - Wikipedia. 2018. Andromeda Galaxy - Wikipedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/Andromeda_Galaxy. [Accessed 13 September 2018].

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Dylan ail Don ( Welsh pronunciation: [ˈdəlan ˈail ˈdɔn]) (also seen in other translated languages as Dylan Eil Ton (in Middle Welsh), Dylan O'Taine, Dylan ElTon, Dylan Aldon, and Dylan Ui Dan) is a character in the Welsh mythic Mabinogion tales, particularly in the fourth tale, "Math fab Mathonwy ".

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Lana del Rey has a cinematographic way of writing her music and also her visual identity changes over the years but it is always something that walks side to side with love and sadness.

She often talks about tragic love situations and she is not afraid to say that sometimes love can be abusive and toxic and you should walk away from it, or that if you want to stick with it is your  choice to take the pain and heartbreak that comes along with it.

Lana is very connected to poetry so her songs are full of beautiful delicate quotes.Her voice is like nothing that is on the radio in the past few decades. It feels like you are listening to a singer from the 50's, but over the course of her career she mixed her unique low register voice with topical characteristics of movies soundtracks, pop , R&B, rap and trap music.

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BELIEFS OF WORLD RELIGIONS ABOUT EVOLUTION. 2018. BELIEFS OF WORLD RELIGIONS ABOUT EVOLUTION. [ONLINE] Available at: http://www.religioustolerance.org/ev_denom2.htm. [Accessed 13 September 2018].

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Sponsored link.

Buddhism: This religion teaches a range of beliefs about origins:

That creation occurs repeatedly throughout time. At the beginning of each kalpa (cycle) land forms, in darkness, on the surface of the water. Spiritual beings who populated the universe in the previous kalpa are reborn; one of them takes the form of a man and starts the human race. Unhappiness and misery reigns. This is the interval that we are experiencing today. Eventually, the universe dissolves; all living creatures return to the soul life, and the cycle repeats.

Lama Shenpen Hookham of Buddhism Connect writes: "The Buddhist view is that everything emanates from the Primordial expanse of Openness Clarity Sensitivity and is illusionlike- never really coming into existence, but the illusion is created by infinite intricate connections that are not anywhere and not in time. Time and space are part of the illusion that is emanating from that Primordial expanse - so it is all very mysterious. From the Buddhist perspective there is no problem with life on earth having evolved somehow - but evolution is not in itself a full story or full account of life on earth. It leaves quite basic questions left unanswered. In a way one might want to argue that Buddhism is closer to creationism because our world is created by awareness - the awareness of the beings that inhabit it. Evolution only gives a kind of history of how that illusion unfolds. 6

Christianity: Christians hold a variety of beliefs which are described elsewhere on this site.

Hinduism: There are a variety of Hindu creation stories.

One started with the sacrifice of the primal man, named Purusa. His body was the entire universe. The lower quarter of his body became the earth; the rest became the heavens. The various castes of humans came from parts of Purusa's body: his arms became the warriors; his legs the commoners, and his feet the serfs.

The Puranas, ancient Vedic books, states that universes form from the breath of the God Vishnu's breath. They last for the duration of one exhalation and inhalation. " With each breath, countless universes emanate from Vishnu in seedlike forms that expand. Then Vishnu multiplies Himself in as many forms as there are universes and enters into each universe." 1

Islam: At least in the West, some Muslims allow for belief in theistic evolution. Iqbal Hossain, president of the Islamic Society of Greater Salt Lake said: " If you believe in God and in the Qur'an, you have to believe that everything that was in the universe was created by God. "If there was an evolutionary process, that process was created and put in place by God." However, others totally attack evolution.2

Jainism: There is no creator. " The doctrine that the world was created is ill-advised and should be rejected." They feel that no single being exists who could create the world. Besides, they argue, how could an immaterial god create a material earth? " Uncreated and indestructible, it [the universe] endures under the compulsion of its own nature, divided into three sections - hell, earth and heaven." 3

Judaism: Jews mirror Christians in their belief about evolution and creationism. Orthodox Jews generally reject evolution. Rabbi Benny Zippel of Bais Menachem Orthodox congregation in Salt Lake City said that they do " not believe in or accept the theory of evolution. When God created the world in six days of creation, it was a mature world and mature creatures." 9 Conservative and reform Judaism generally reject creationism. Saul Korewa, a teacher at the Utah School of Jewish Studies commented: " You would certainly find many rabbinic authorities who teach that the biblical story of creation is a blueprint for what evolution describes in that it moves from less advanced organisms. I don't think that mainstream Judaism has a big problem reconciling science and religion." 4

Sikhism: The Real Sikhism web site states: Sikhs believe that God created the whole universe. Earth while being in the universe is a creation of God and all the life on earth is a creation of God. It does not matter to a Sikh whether earth was created in seven days or it evolved in 4 billion years. If the earth was created then God created the earth and if the earth was evolved then God created the evolution of the earth. In addition, Guru Granth Sahib (The Holy Scripture of Sikhs) states remarkable information about the universe, galaxies, stars, planets and the moons. None of the information written in the scripture contradicts with the scientific facts. Furthermore, nothing in Guru Granth Sahib can be disproved with the help of science. However, scientific facts support the teachings of Guru Granth Sahib.5

References used for the above essay:

The following information sources were used to prepare and update the above essay. The hyperlinks are not necessarily still active today.

1. "Vaishnava Philosophy," at: http://www.iskcon.org/main/twohk/philo/roots/nature.htm

2. Harun Yahya, "Books of science-related topics," at: http://www.harunyahya.com

3. B.C. Sproul, "Primal Myths: Creation Myths Around the World," Harper Collins, San Francisco, CA, (1979), Page 192 to 194.Read reviews or order this book Quoting W. Theodore de Bary, Ed, "Sources of Indian Tradition"

4. Peggy Fletcher Stack, "Creationism sparks debate within many denominations," Salt Lake Tribune, 1999-OCT-23

5. "Do Sikhs believe in creation or evolution?, Real Sikhism, at: http://www.realsikhism.com/

6. henpen Hookham, "Evolution or Creation?," Buddhism Connect, 2005-SEP-15, at: http://www.buddhism-connect.org/

Site navigation Originally published on 1995-NOV-3.
Copyright ©1995 to 2005 by Ontario Consultants on Religious Tolerance
Most recent update: 2005-SEP-15
Author: B.A. Robinson

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BELIEFS OF WORLD RELIGIONS ABOUT EVOLUTION

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Sponsored link. Buddhism: This religion teaches a range of beliefs about origins: That creation occurs repeatedly throughout time. At the beginning of each kalpa (cycle) land forms, in darkness, on the surface of the water. Spiritual beings who populated the universe in the previous kalpa are reborn; one of them takes the form of a man and starts the human race.

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https://www.rentcafe.com/blog/rental-market/brooklyn-ny-wealthy-renters/

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In this interview I learned how Picolo's routine is as freelance illustrator. And how to manage personal and professional work.

ICONIC Network. (2018). Gabriel Picolo, Desenhista - ICONICast 47. [Online Video]. 17 January 2018. Available from: https://www.youtube.com/watch?v=2aRijkJlMXQ. [Accessed: 7 September 2018].

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Gabriel Picolo, Desenhista - ICONICast 47

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It is believed that it from the void there was nothing and that and that heat condensed and a big explosin was cause.

Nathional Geographic. 2018. Origins of the Universe. [ONLINE] Available at: https://www.nationalgeographic.com/science/space/universe/origins-of-the-universe/. [Accessed 27 September 2018].

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The best-supported theory of our universe's origin centers on an event known as the big bang. This theory was born of the observation that other galaxies are moving away from our own at great speed in all directions, as if they had all been propelled by an ancient explosive force.

A Belgian priest named Georges Lemaître first suggested the big bang theory in the 1920s, when he theorized that the universe began from a single primordial atom. The idea received major boosts from Edwin Hubble's observations that galaxies are speeding away from us in all directions, as well as from the 1960s discovery of cosmic microwave radiation-interpreted as echoes of the big bang-by Arno Penzias and Robert Wilson.

Further work has helped clarify the big bang's tempo. Here's the theory: In the first 10^-43 seconds of its existence, the universe was very compact, less than a million billion billionth the size of a single atom. It's thought that at such an incomprehensibly dense, energetic state, the four fundamental forces-gravity, electromagnetism, and the strong and weak nuclear forces-were forged into a single force, but our current theories haven't yet figured out how a single, unified force would work. To pull this off, we'd need to know how gravity works on the subatomic scale, but we currently don't.

It's also thought that the extremely close quarters allowed the universe's very first particles to mix, mingle, and settle into roughly the same temperature. Then, in an unimaginably small fraction of a second, all that matter and energy expanded outward more or less evenly, with tiny variations provided by fluctuations on the quantum scale. That model of breakneck expansion, called inflation, may explain why the universe has such an even temperature and distribution of matter.

After inflation, the universe continued to expand but at a much slower rate. It's still unclear what exactly powered inflation.

Aftermath of cosmic inflation

As time passed and matter cooled, more diverse kinds of particles began to form, and they eventually condensed into the stars and galaxies of our present universe.

By the time the universe was a billionth of a second old, the universe had cooled down enough for the four fundamental forces to separate from one another. The universe's fundamental particles also formed. It was still so hot, though, that these particles hadn't yet assembled into many of the subatomic particles we have today, such as the proton. As the universe kept expanding, this piping-hot primordial soup-called the quark-gluon plasma-continued to cool. Some particle colliders, such as CERN's Large Hadron Collider, are powerful enough to re-create the quark-gluon plasma.

Radiation in the early universe was so intense that colliding photons could form pairs of particles made of matter and antimatter, which is like regular matter in every way except with the opposite electrical charge. It's thought that the early universe contained equal amounts of matter and antimatter. But as the universe cooled, photons no longer packed enough punch to make matter-antimatter pairs. So like an extreme game of musical chairs, many particles of matter and antimatter paired off and annihilated one another.

Somehow, some excess matter survived-and it's now the stuff that people, planets, and galaxies are made of. Our existence is a clear sign that the laws of nature treat matter and antimatter slightly differently. Researchers have experimentally observed this rule imbalance, called CP violation, in action. Physicists are still trying to figure out exactly how matter won out in the early universe.

Building atoms

Within the universe's first second, it was cool enough for the remaining matter to coalesce into protons and neutrons, the familiar particles that make up atoms' nuclei. And after the first three minutes, the protons and neutrons had assembled into hydrogen and helium nuclei. By mass, hydrogen was 75 percent of the early universe's matter, and helium was 25 percent. The abundance of helium is a key prediction of big bang theory, and it's been confirmed by scientific observations.

Despite having atomic nuclei, the young universe was still too hot for electrons to settle in around them to form stable atoms. The universe's matter remained an electrically charged fog that was so dense, light had a hard time bouncing its way through. It would take another 380,000 years or so for the universe to cool down enough for neutral atoms to form-a pivotal moment called recombination. The cooler universe made it transparent for the first time, which let the photons rattling around within it finally zip through unimpeded.

We still see this primordial afterglow today as cosmic microwave background radiation, which is found throughout the universe. The radiation is similar to that used to transmit TV signals via antennae. But it is the oldest radiation known and may hold many secrets about the universe's earliest moments.

From the first stars to today

There wasn't a single star in the universe until about 180 million years after the big bang. It took that long for gravity to gather clouds of hydrogen and forge them into stars. Many physicists think that vast clouds of dark matter, a still-unknown material that outweighs visible matter by more than five to one, provided a gravitational scaffold for the first galaxies and stars.

Once the universe's first stars ignited, the light they unleashed packed enough punch to once again strip electrons from neutral atoms, a key chapter of the universe called reionization. In February 2018, an Australian team announced that they may have detected signs of this "cosmic dawn." By 400 million years after the big bang, the first galaxies were born. In the billions of years since, stars, galaxies, and clusters of galaxies have formed and re-formed-eventually yielding our home galaxy, the Milky Way, and our cosmic home, the solar system.

Even now the universe is expanding, and to astronomers' surprise, the pace of expansion is accelerating. It's thought that this acceleration is driven by a force that repels gravity called dark energy. We still don't know what dark energy is, but it's thought that it makes up 68 percent of the universe's total matter and energy. Dark matter makes up another 27 percent. In essence, all the matter you've ever seen-from your first love to the stars overhead-makes up less than five percent of the universe.

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The best-supported theory of our universe's origin centers on an event known as the big bang. This theory was born of the observation that other galaxies are moving away from our own at great speed in all directions, as if they had all been propelled by an ancient explosive force.

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According to Hindu creationism all species on earth including humans have "devolved" or come down from a high state of pure consciousness. Hindu creationists claim that species of plants and animals are material forms adopted by pure consciousness which live an endless cycle of births and rebirths.

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It is interesting that for the Norse Mythology, in the begining there was only the Void. And after that two lands where created, and a lake that would go until the bottom of the void and freeze it's waters. It is different from the biblical version, which says that each day God created something different, in the course of seven days. And also in the Norse belief there was no god at the very begining.

The Life Guide. (2018). Norse Mythology Explained in 15 Minutes. [Online Video]. 10 May 2018. Available from: https://www.youtube.com/watch?v=2oxzmJPoRu8. [Accessed: 13 September 2018].

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This piece is beautiful because I can feel the expression in the girl's eyes. And the baby demons on her shoulders

"This is done with watercolour, gouache and polychromos pencil."
Audra Auclair

Audra Auclair. 2018. Audra Auclair. [ONLINE] Available at: https://www.audraauclair.com/2018/1/19/xmqjocida6x0qm9giknk0a7r6o4xvm. [Accessed 14 September 2018].

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Audra Auclair (2017). Release. [image] Available at: https://www.instagram.com/p/BW0OGdYFEGl/?taken-by=audraauclair [Accessed 26 Oct. 2018].

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What I find interesting about this picture is that the artist allows us to be part of her creative process showing us how she creates this painting and with this statement I mean that she shares not only the piece but also a glimpse of where she works, and the environment where the artist places herself is important for their art.Audra often says how she enjoys working outside her home and observe nature around her, but she mostly draws/ paints at home.

This picture also caught my attention because we can see the colors she chose for this piece next to the canvas and I have noticed that mint green and pink are colors that she often uses and I associate them to her now.

The texture of the brush is visible, as the colors are soft and harmonious with each other, it makes the painting look fresh.

Audra Auclair (2017). Rue. [image] Available at: https://www.instagram.com/p/BVS1ihylJCr/?taken-by=audraauclair [Accessed 26 Oct. 2018].

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🕷🌸Audra Auclair🌸🕷 (@audraauclair) * Fotos e vídeos do Instagram

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446.3 mil seguidores, 581 seguindo, 1,370 publicações - Veja as fotos e vídeos do Instagram de 🕷🌸Audra Auclair🌸🕷 (@audraauclair)

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Shiva - Wikipedia. 2018. Shiva - Wikipedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/Shiva#Forms_and_depictions. [Accessed 14 September 2018].

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The iconographical attributes of Shiva are the serpent named Vasuki around his neck, the adorning crescent moon, the holy river Ganga flowing from his matted hair, the closed third eye on his forehead, the trishula or trident, as his weapon, and the damaru drum. He is usually worshipped in the aniconic form of Lingam.

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This is the god Shiva in his Male form associated with the destruction of the universe. I think it is interesting that a god can both create and destroy an entire universe. It is an interesting duality that is present in other mythologies and stories in our present time that keep repeating this theme.

Dharma Wiki. 2018. Shiva | Dharma Wiki | FANDOM powered by Wikia. [ONLINE] Available at: http://dharma.wikia.com/wiki/Shiva. [Accessed 14 September 2018].

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This interview was interesting for mostly one reason; Audra has an Youtube Channel where SHE decides what to share or not about her work, process and life. This time however, she was interviewed by another

Art Side of Art. (2017). FAKE IT TILL YOU MAKE IT -WITH AUDRA AUCLAIR (EP.25). [Online Video]. 9 October 2017. Available from: https://www.youtube.com/watch?v=ZPaZcIAkPqQ&t=1727s. [Accessed: 14 September 2018].

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FAKE IT TILL YOU MAKE IT -WITH AUDRA AUCLAIR (EP.25)

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I always felt interested about greek mythology. And oddly enough, my name has a lot to do with greek mythology and one of the most important figures, Gaia.

Gaia apparently was the first thing to appear on the universe because before that there was only Chaos.

So SHE generated 17 children. And I think it is amazing that she is represented by a woman. So god is a woman and she thad the power to create herself and other creatures after her.

She appeared out of the Chaos.

Greek mythology - Wikipedia. 2018. Greek mythology - Wikipedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/Greek_mythology#Origins_of_the_world_and_the_gods. [Accessed 14 September 2018].

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Gaia - Wikipedia. 2018. Gaia - Wikipedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/Gaia. [Accessed 14 September 2018].

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Gaia

Primordial goddess and personification of the Earth

Member of the Primordial Gods

Other names

Ge

Greek

Γαῖα, Γῆ

Abode
Earth

Planet
Earth

Parents

None ( Hesiod)[1]

Consort

Uranus, Pontus, Aether and Tartarus

Offspring

Uranus, Pontus, the Ourea, the Hecatonchires, the Cyclopes, the Titans, the Gigantes, Nereus, Thaumus, Phorcys, Ceto, Eurybia, Aergia, Typhon, Python, and Antaeus

Roman equivalent
Terra

Hinduism equivalent
Bhumi

In Greek mythology, Gaia (; from Ancient Greek a poetical form of Γῆ Gē, "land" or "earth"), also spelled Gaea , is the personification of the Earth and one of the Greek primordial deities. Gaia is the ancestral mother-sometimes parthenogenic-of all life. She is the mother of Uranus (the sky), from whose sexual union she bore the Titans (themselves parents of many of the Olympian gods), the Cyclopes, and the Giants; as well as of Pontus (the sea), from whose union she bore the primordial sea gods. Her equivalent in the Roman pantheon was Terra.

Birth of Gaia, Uranus, and the Titans

Hesiod's tells how, after Chaos, "wide-bosomed" Gaia (Earth) arose to be the everlasting seat of the immortals who possess Olympus above. And after Gaia came "dim Tartarus in the depth of the wide-pathed Earth", and next Eros the god of love. Hesiod goes on to say that Gaia brought forth her equal Uranus (Heaven, Sky) to "cover her on every side". Gaia also bore the Ourea (Mountains), and Pontus (Sea), "without sweet union of love" (i.e., with no father).

Afterwards with Uranus, her son, she gave birth to the Titans, as Hesiod tells it:

She lay with Heaven and bore deep-swirling Oceanus, Coeus and Crius and Hyperion and Iapetus, Theia and Rhea, Themis, and Mnemosyne and gold-crowned Phoebe and lovely Tethys. After them was born Cronos ( Cronus) the wily, youngest and most terrible of her children, and he hated his lusty sire.

Other offspring and the castration of Uranus

According to Hesiod, Gaia conceived further offspring with her son, Uranus, first the giant one-eyed Cyclopes: Brontes ("Thunder"), Steropes ("Lightning"), and Arges ("Bright"); then the Hecatonchires: Cottus, Briareos, and Gyges, each with a hundred arms and fifty heads. As each of the Cyclopes and Hecatonchires were born, Uranus hid them in a secret place within Gaia, causing her great pain. So Gaia devised a plan. She created a grey flint (or adamantine) sickle. And Cronus used the sickle to castrate his father Uranus as he approached his mother, Gaia, to have sex with her. From Uranus' spilled blood, Gaia produced the Erinyes, the Giants, and the Meliae (ash-tree nymphs). From the testicles of Uranus in the sea came forth Aphrodite.

By her son, Pontus, Gaia bore the sea-deities Nereus, Thaumas, Phorcys, Ceto, and Eurybia.

Titanomachy

Because Cronus had learned from Gaia and Uranus that he was destined to be overthrown by one of his children, he swallowed each of the children born to him by his Titan older sister, Rhea. But when Rhea was pregnant with her youngest child, Zeus, she sought help from Gaia and Uranus. When Zeus was born, Rhea gave Cronus a stone wrapped in swaddling-clothes in his place, which Cronus swallowed, and Gaia took the child into her care.

With the help of Gaia's advice, Zeus defeated the Titans. But afterwards, Gaia, in union with Tartarus, bore the youngest of her sons Typhon, who would be the last challenge to the authority of Zeus.

According to Hyginus, Terra (Earth/Gaia), along with Caelus (Sky) and Mare (Sea), were the children of Aether and Dies ( Hemera/Day). According to the mythographer Apollodorus, Gaia and Tartarus were the parents of Echidna.

The god Hephaestus once attempted to rape Athena, but she pushed him away, causing him to ejaculate on her thigh. Athena wiped off the semen and threw it on the ground, which impregnated Gaia. Gaia then gave birth to Erichthonius of Athens, whom Athena adopted as her own child.

Nonnus describes a similar myth, in which Aphrodite fled from her lustful father Zeus, who was infatuated with her. As Zeus was unable to catch Aphrodite, he gave up and dropped his semen on the ground, which impregnated Gaia. This resulted in the birth of the Cyprian Centaurs.

Gaia resented the way Zeus had treated her children, the Titans, so she brought forth the Gigantes to fight Zeus. It was prophesied that the Gigantes, who were born from Uranus's blood, could not be killed by the gods alone, but they could be killed with the help of a mortal. Hearing this, Gaia sought for a certain plant that would protect the Gigantes even from mortals. Before Gaia or anyone else could get it, Zeus forbade Eos (Dawn), Selene (Moon) and Helios (Sun) to shine, harvested all of the plant himself, and had Athena summon the mortal Heracles, who assisted the Olympians in defeating the Gigantes.

According to Hesiod, in his lost poem Astronomia, Orion, while hunting with Artemis and her mother Leto, claimed that he would kill every animal on earth. Gaia, angered by his boasting, sent a giant scorpion to kill him, and after his death, he and the scorpion were placed among the stars by Zeus. According to Ovid, Gaia for some reason sent the scorpion to kill Leto instead, and Orion was killed trying to protect her.

When Boreas, the god of the north wind, killed Pitys, an Oread nymph, for rejecting his advances and preferring Pan over him, Gaia pitied the dead girl and transformed her into a pine tree.

Zeus hid Elara, one of his lovers, from Hera by stowing her under the earth. His son by Elara, the giant Tityos, is therefore sometimes said to be a son of Gaia, the earth goddess.

Gaia also made Aristaeus immortal.

In classical art Gaia was represented in one of two ways. In Athenian vase painting she was shown as a matronly woman only half risen from the earth, often in the act of handing the baby Erichthonius, a future king of Athens, to Athena to foster. In mosaic representations, she appears as a woman reclining upon the earth surrounded by a host of Carpi, infant gods of the fruits of the earth.[citation needed ]

Gaia was worshiped under the epithet "Anesidora", which means "giver of gifts". Other epithets were Calligeneia, Eurusternos, and Pandôros.

In ancient times, Gaia was mainly worshiped alongside Demeter and as a part of the cult of Demeter and does not seem to have had a separate cult. Being a chthonic deity, black animals were sacrificed to her:

[Sacrifices to the gods as witnesses of an oath:] Bring two lambs : let one be white and the other black for Gaia (Earth) and Helios (Sun). [N.B. Chthonic Gaia receives a black animal, celestial Helios a white one.]

Gaia is believed by some sources to be the original deity behind the Oracle at Delphi. It was thus said: "That word spoken from tree-clad mother Gaia's (Earth's) navel-stone [Delphoi]." Depending on the source, Gaia passed her powers on to Poseidon, Apollo, or Themis. Pausanias wrote:

Many and different are the stories told about Delphi, and even more so about the oracle of Apollo. For they say that in the earliest times the oracular seat belonged to Earth, who appointed as prophetess at it Daphnis, one of the nymphs of the mountain. There is extant among the Greeks an hexameter poem, the name of which is Eumolpia, and it is assigned to Musaeus, son of Antiophemus. In it the poet states that the oracle belonged to Poseidon and Earth in common; that Earth gave her oracles herself, but Poseidon used Pyrcon as his mouthpiece in giving responses. The verses are these: "Forthwith the voice of the Earth-goddess uttered a wise word, And with her Pyrcon, servant of the renowned Earth-shaker." They say that afterwards Earth gave her share to Themis, who gave it to Apollo as a gift. It is said that he gave to Poseidon Calaureia, that lies off Troezen, in exchange for his oracle.

Apollo is the best-known as the oracle power behind Delphi, long established by the time of Homer, having killed Gaia's child Python there and usurped the chthonic power. Hera punished Apollo for this by sending him to King Admetus as a shepherd for nine years.[citation needed ] Gaia or Ge had at least three sanctuaries in Greece which were mentioned by Pausanias. There was a temple of Ge Eurusternos on the Crathis near Aegae in Achaia with "a very ancient statue":

It is a journey of about thirty stades [from the stream of Krathis (Crathis) near the ruins of Aigai (Aegae) in Akhaia] to what is called the Gaion (Gaeum), a sanctuary of Ge (Earth) surnamed Eurysternos (Broad-bossomed), whose wooden image is one of the very oldest. The woman who from time to time is priestess henceforth remains chaste and before her election must not have had intercourse with more than one man. The test applied is drinking bull's blood. Any woman who may chance not to speak the truth is immediately punished as a result of this test. If several women compete for the priesthood, lots are cast for the honor.

Pausanias also mention the sanctuary of Ge Gasepton in Sparta, and a sanctuary of Ge Kourotrophe (Nurse of the Young) at Athens. Aside from her temples, Gaia had altars as well as sacred spaces in the sanctuaries of other gods. Close to the sanctuary of Eileithyia in Tegea was an altar of Ge; Phlya and Myrrhinos had an altar to Ge under the name Thea Megale (Great goddess); as well as Olympia which additionally, similar to Delphi, also said to have had an oracle to Gaia:

On what is called the Gaion (Gaeum, Sanctuary of Ge) [at Olympia] is an altar of Ge (Earth); it too is of ashes. In more ancient days they say that there was an oracle also of Ge (Earth) in this place. On what is called the Stomion (Mouth) the altar to Themis has been built.

Her statues were naturally to be found in the temples of Demeter, such as the Temple of Demeter in Achaia: "They [the Patraians of Akhaia (Achaea)] have also a grove by the sea, affording in summer weather very agreeable walks and a pleasant means generally of passing the time. In this grove are also two temples of divinities, one of Apollon, the other of Aphrodite . . . Next to the grove is a sanctuary of Demeter; she and her daughter [Persephone] are standing, but the image of Ge (Earth) is seated." The Temple of Zeus Olympios in Athens reportedly had an enclosure of Ge Olympia:

[Within the sanctuary of Zeus Olympios in the lower town of Athens:] Within the precincts are antiquities: a bronze Zeus, a temple of Kronos (Cronus) and Rhea and an enclosure of Ge (Earth) surnamed Olympia. Here the floor opens to the width of a cubit, and they say that along this bed flowed off the water after the deluge that occurred in the time of Deukalion, and into it they cast every year wheat mixed with honey . . . The ancient sanctuary of Zeus Olympios the Athenians say was built by Deukalion (Deucalion), and they cite as evidence that Deukalion lived at Athens a grave which is not far from the present temple.

In Athens, there was a statue of Gaia on the Acropolis depicting her beseeching Zeus for rain as well as an image of her close to the court of the Areopagos in Athens, alongside the statues of Plouton and Hermes, "by which sacrifice those who have received an acquittal on the Areopagos".

Some modern sources, such as Mellaart, Gimbutas, and Walker, claim that Gaia as Mother Earth is a later form of a pre-Indo-European Great Mother, venerated in Neolithic times. Her existence is a speculation and controversial in the academic community. Some modern mythographers, including Kerenyi, Ruck, and Staples, interpret the goddesses Demeter the "mother", Persephone the "daughter", and Hecate the "crone", as aspects of a former great goddess identified by some[who? ] as Rhea or as Gaia herself. In Crete, a goddess was worshiped as Potnia Theron (the "Mistress of the Animals") or simply Potnia ("Mistress"), speculated[by whom? ] as Rhea or Gaia; the title was later applied in Greek texts to Artemis. The mother goddess Cybele from Anatolia (modern Turkey) was partly identified by the Greeks with Gaia, but more so with Rhea.

Beliefs and worship amongst neopagans regarding Gaia vary, ranging from the belief that Gaia is the Earth to the belief that she is the spiritual embodiment of the earth or the goddess of the Earth.

The mythological name was revived in 1979 by James Lovelock, in Gaia: A New Look at Life on Earth; his Gaia hypothesis was supported by Lynn Margulis. The hypothesis proposes that living organisms and inorganic material are part of a dynamical system that shapes the Earth's biosphere, and maintains the Earth as a fit environment for life. In some Gaia theory approaches, the Earth itself is viewed as an organism with self-regulatory functions. Further books by Lovelock and others popularized the Gaia Hypothesis, which was embraced to some extent by New Age environmentalists as part of the heightened awareness of environmental concerns of the 1990s.

Gaia is the personification of the Earth, and these are her offspring as related in various myths. Some are related consistently, some are mentioned only in minor variants of myths, and others are related in variants that are considered to reflect a confusion of the subject or association.

List notes:

Apollodorus, Apollodorus, The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1921. Online version at the Perseus Digital Library.

Burkert, Walter, Greek Religion, Harvard University Press, 1985. ISBN 0-674-36281-0. Internet Archive.

Caldwell, Richard, Hesiod's Theogony, Focus Publishing/R. Pullins Company (June 1, 1987). ISBN 978-0-941051-00-2.

Diels, Hermann A., Die Fragmente der Vorsokratiker, Volume II, Berlin, Weidmann, 1912. Internet Archive.

Dionysius of Halicarnassus. Roman Antiquities, Volume I: Books 1-2, translated by Earnest Cary. Loeb Classical Library No. 319. Cambridge, Massachusetts, Harvard University Press, 1937. Online version at Harvard University Press. Online version by Bill Thayer. Online version at ToposText.

Fontenrose, Joseph, Python: A Study of Delphic Myth and its Origins, Berkeley: University of California Press, 1959; reprint 1980.

Fowler, R. L. (2013), Early Greek Mythography: Volume 2: Commentary, Oxford University Press, 2013. ISBN 978-0198147411.

Gantz, Timothy, Early Greek Myth: A Guide to Literary and Artistic Sources, Johns Hopkins University Press, 1996, Two volumes: ISBN 978-0-8018-5360-9 (Vol. 1), ISBN 978-0-8018-5362-3 (Vol. 2).

Hard, Robin (2004), The Routledge Handbook of Greek Mythology: Based on H.J. Rose's "Handbook of Greek Mythology", Psychology Press, 2004, ISBN 9780415186360. Google Books.

Hard, Robin (2015), Eratosthenes and Hyginus: Constellation Myths, With Aratus's Phaenomena, Oxford University Press, 2015. ISBN 978-0-19-871698-3. Google Books.

Hesiod, Theogony from The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library. Greek text available from the same website.

Homer, The Iliad with an English Translation by A.T. Murray, PhD in two volumes. Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd. 1924. Online version at the Perseus Digital Library.

Homer. Homeri Opera in five volumes. Oxford, Oxford University Press. 1920. Greek text available at the Perseus Digital Library.

Hyginus, Gaius Julius, De Astronomica, in The Myths of Hyginus, edited and translated by Mary A. Grant, Lawrence: University of Kansas Press, 1960. Online version at ToposText.

Hyginus, Gaius Julius, in Apollodorus' Library and Hyginus' Fabulae: Two Handbooks of Greek Mythology, Translated, with Introductions by R. Scott Smith and Stephen M. Trzaskoma, Hackett Publishing Company, 2007. ISBN 978-0-87220-821-6.

Kerenyi, Karl, The Gods of the Greeks, Thames and Hudson, London, 1951.

Olivieri, Alexander, Pseudo-Eratosthenis: Catasterismi, Bibliotheca Teubneriana, Leipzig, Teubner, 1897. Internet Archive.

Ovid, Ovid's Fasti: With an English translation by Sir James George Frazer, London: W. Heinemann LTD; Cambridge, Massachusetts, Harvard University Press, 1959. Internet Archive.

The Oxford Classical Dictionary, second edition, Hammond, N.G.L. and Howard Hayes Scullard (editors), Oxford University Press, 1992. ISBN 0-19-869117-3.

Pausanias, Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. Online version at the Perseus Digital Library

Pausanias, Graeciae Descriptio. 3 vols. Leipzig, Teubner. 1903. Greek text available at the Perseus Digital Library.

Pindar, Odes translated by Diane Arnson Svarlien. 1990. Online version at the Perseus Digital Library.

Pindar, The Odes of Pindar including the Principal Fragments with an Introduction and an English Translation by Sir John Sandys, Litt.D., FBA. Cambridge, MA., Harvard University Press; London, William Heinemann Ltd. 1937. Greek text available at the Perseus Digital Library.

Ruck, Carl A.P. and Danny Staples, The World of Classical Myth, 1994.

Smith, William; Dictionary of Greek and Roman Biography and Mythology, London (1873). "Gaea"

Tripp, Edward, Crowell's Handbook of Classical Mythology, Thomas Y. Crowell Co; First edition (June 1970). ISBN 069022608X.

Virgil, The Aeneid: Translated by John Dryden, Penguin Classics; New Ed edition (October 1, 1997). ISBN 0140446273. Online version at the Perseus Digital Library.

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Gaia Primordial goddess and personification of the Earth Member of the Primordial Gods Other names Ge Greek Γαῖα, Γῆ Abode Earth Planet Earth Parents None ( Hesiod)[1] Consort Uranus, Pontus, Aether and Tartarus Offspring Uranus, Pontus, the Ourea, the Hecatonchires, the Cyclopes, the Titans, the Gigantes, Nereus, Thaumus, Phorcys, Ceto, Eurybia, Aergia, Typhon, Python, and Antaeus Roman equivalent Terra Hinduism equivalent Bhumi In Greek mythology, Gaia (; from Ancient Greek a poetical form of Γῆ Gē, "land" or "earth"), also spelled Gaea , is the personification of the Earth and one of the Greek primordial deities.

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Jean Micheal Basquiat was an American artist of the city of New York. He is relevant to me for various reasons, being one, I didn't like his art for a long time. I came across his work a few years ago and I was confused on why people would call his doodles Art. I thought his work wasn't art at all because it looked "ugly" and "childish" on the way he drew things. But now I understand the importance of his work.He experimented and did only what he wanted to do, there was no right or wrong.He was free.

Anthony Haden-Guest (1988). Burning Out. [image] Available at: https://www.vanityfair.com/news/1988/11/jean-michel-basquiat [Accessed 30 Sep. 2018].

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I've stumbled across this artist on Pinterest. I usually find a lot of references there, and Anthony Cudhaly' s work caught my attention. His technique allows us to see the brushstrokes and how all of them form the human face (in this specific painting). The emotion is also clear.This technique reminds me of the impressionists. There is sadness in his work but also a touch of peacefulness that makes the paintings have a calm feeling filled with angst

Anthony Cudahy, (2018), Unknown [ONLINE]. Available at: http://www.artnau.com/2013/05/anthony-cudahy/ [Accessed 10 September 2018].

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Yayoi Kusama's work is bold and out there. I think there is beauty in the way she represents obssession with round shapes  and powerful colors. The color red is always present on her work.

Her mental condition could have been a factor that would hold her back but instead of caving in she made art out of it.

The Asahi Shimbun (2018). Matsumoto hosts world’s biggest Yayoi Kusama exhibition ever. [image] Available at: http://www.asahi.com/ajw/articles/AJ201804090001.html [Accessed 30 Sep. 2018].

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I was impressed by Ackermann's work due to the colors and the way his work reminds me of something psychedelic.His paintings are full of informations and distorted objects that escape from reality and the strict rules of perspective and perfectionism.

cube, W. (2018). White Cube - Artists - Franz Ackermann. [online] Whitecube.com. Available at: http://whitecube.com/artists/artist/franz_ackermann [Accessed 16 Nov. 2018].

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ANDUJAR, C. (1971-1972) sé
rie Catrimani. [photography]
Inhothim, Brumadinho

http://www.inhotim.org.br/blog/inhotim-inaugura-galeria-claudia-andujar/

Inhotim. 2015. Galeria Claudia Andujar. [ONLINE] Available at: http://www.inhotim.org.br/blog/inhotim-inaugura-galeria-claudia-andujar/. [Accessed 16 November 201

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I came across this character while remembering about movies that could inspire my comic and I had completely forgot about her. I like the way she is presented in this movie, there is a sensual aspect about her that makes her interesting and charming somehow.I think that even if she is evil there's a part of me that likes her. I re watched  the movie and she is still my favorite character from the movie. She is a complex character, and it is unforfortunate that the movie never had a sequel due to low feedback from the public

Sinbad: Legend of the Seven Seas. (2003). [film] Directed by T. Johnsons and P. Gilmore. United States: DreamWorks Animation.

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Inhotim, Galeria Claudia Andujar 2018

ANDUJAR, C. (1971-1972) sé
rie Catrimani. [photography]
Inhothim, Brumadinho

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Wikipedia The Free Encyclopedia. (2018). Andromeda (mythology). [online] Available at: https://en.wikipedia.org/wiki/Andromeda_(mythology) [Accessed 17 Oct. 2018].

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In Greek mythology, Andromeda (; Greek: Ἀνδρομέδα, Androméda or Ἀνδρομέδη, Andromédē) is the daughter of the Aethiopian king Cepheus and his wife Cassiopeia. When Cassiopeia's hubris leads her to boast that Andromeda is more beautiful than the Nereids, Poseidon sends the sea monster Cetus to ravage Andromeda as divine punishment.

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I chose this image because this painting was always present in the begining of my teenage years. It was one of my first references to pop art.

And I like the sad expression that is very present present in my work nowadays. I like the expressiveness in her eyes and of the bright colors that is a contrast with the sadness.

Roy Lichtenstein, (2018), Hopeless [ONLINE]. Available at: https://www.google.com.br/search?q=roy+lichtenstein&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiRyv3G4N7eAhVJC5AKHX7zBLAQ_AUIDigB&biw=1280&bih=721#imgrc=9B3XOnmgEkhJzM:[Accessed 24 September 2018].

Lichtenstein, R. (1963). Hopeless. [Oil and acrylic paint on canvas] Switzerland: Kunstmuseum Basel.

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ANDUJAR, C. (1971-1972) sé
rie Catrimani. [photography]
Inhothim, Brumadinho

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Chiara Bautista is an internet artist, well known for he stories full of emotion, sadness and meaning. Her stories talk about many things, such as dreams, love  and death. It's delicate aspect has gathered fans all over the world. I couldn't find much about her, I can't even tell for sure where she comes from, I'm guessing she is from Latin America or Spain. I tried to find pictures of her also but there is none on the internet.I admire her art, because it is delicate and I relate to it, I like sad stories, but also, her storytelling is very complex. To understand the whole story you need to see all of the drawings, and this is an interesting thing to do as an illustrator. UPDATE: Later I found this rare interview with her and she said that she is Mexican.

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Dexter, K. (2017). Chiara Bautista: Drawing with Stardust | Beautiful Bizarre Magazine. [online] Beautiful Bizarre Magazine. Available at: https://beautifulbizarre.net/2017/06/24/chiara-bautista-drawing-with-stardust/ [Accessed 25 Oct. 2018].

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We featured an interview with Chiara Bautista in 2014, but who could help wanting to write about such a talented artist again and perhaps share some of her new works or some you may not have seen to date. I could get lost in Chiara's work for hours, the detail in the lines and complexity of the tales are playful and meaningful. Her illustrations transform into impressive and delicate images, even the ones relying on death as their subject are still dreamlike and luminous, each with their own magical touch. Chiara talks to the unseen, expressing unspoken words onto the page and lets music and literature influence her pieces. The energy in her illustrations is almost palpable, perhaps the attraction lies in these hidden musings, these unspoken words have been translated divinely and once we see the images it re-connects us back to our own love, loss and need to express something that doesn't contain words.

There is a warm, velvety invitation into her world. I can lose myself in the images, seeking out a new dimension, catching a glimpse of something I had missed earlier. Chiara's work really is awe-inspiring. I'm still confronted by images I have never seen before, just to realize they are part of Chiara's body of work. There is a devotion there, to produce so many stunning pieces, yet not revealing everything, perhaps this is the secret, that they find you at the right time. The same way that they fall into her world, they seek their way back out at just the right time.

Follow Chiara: Web | Facebook

art art magazine Australian Art Magazine beautifulbizarremagazine Chiara Baustista contemporary art drawing illustration illustrations new contemporary art stars surreal wolf women

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Chiara Bautista: Drawing with Stardust | Beautiful Bizarre Magazine

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We featured an interview with Chiara Bautista in 2014, but who could help wanting to write about such a talented artist again and perhaps share some of her new works or some you may not have seen to date.

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Lana Del Rey's eyes give me a nostalgic and sad feeling, so, when I was creating the character I immediately thought of her. This picture in specific is what I wanted to add on Andromeda. These big sad eyes, that can make you feel exactly what she is feeling, that is important for a character.The eyes tell so much.

C Magazine (2018). A picture of Lana Del Rey ( portrait). [image] Available at: https://magazinec.com/fashion/siren-song [Accessed 25 Oct. 2018].

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I usually draw women with long and wavy hair. And I had drawn her already and found this picture  and it looked a lot like what I had drawn. Art Nouveau has inspired me, it is a style that I liked but never knew the actual name.

Blogspot (2013). Art Nouveau Style. [image] Available at: http://art-nouveau-style.blogspot.com/ [Accessed 25 Oct. 2018].

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Gori, J. (2014). Chiara Bautista, Love Songs on Paper - Interview. [online] Beautiful Bizarre Magazine. Available at: https://beautifulbizarre.net/2014/06/23/chiara-bautista-love-sings-paper-interview/ [Accessed 26 Oct. 2018].

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For years, details on artist Chiara Bautista, a.k.a Milk have been leaked in dribs and drabs and her interviews are not legion. But she exceptionally accepted to answer some questions for beautiful.bizarre...

But first, let's introduce her and her amazing art.

At 38 years old, Chiara Bautista is one of the most fascinating artist that has ever been revealed by the Internet. What fascinates is of course her work first, from sketches to digital art and painting, with recognizable gracious lines and elements that connect her to pop surrealism and graphic novels. Indeed every piece of Chiara's work is inhabited by mysterious and poetic creatures borrowed from fairy tales and released into the modern world. But it's her story that makes Chiara's work unique and spellbinding. Not especially her life's bio, a bachelor's degree in Graphic design and a long career as an illustrator for the Arizona Daily Star, in her home of Tucson, USA. No, it's her out-of-this-world, romantic relationship with her muse, nicknamed Ilka, met online and never in real life (as far as we know). The art of Chiara is a real conversation with her muse that we are able to witness, without having the keys of understanding, we are still caught up in all its magic and romance. No need to add more. The artwork and Chiara's answers will give you a special insight into this enigmatic and fascinating artist.
Where do you find the inspiration for all the lovely creatures that inhabit your drawings (the wolf, mermaids, teddy bears, skeleton birds, etc) ?
The characters and their ongoing stories are made as gifts for people I love. They are usually born from conversations, most of them from a single sentence said at the right time.

There are some references to religion and martyrs in your art : is it an inspiration, and what meaning do you see behind it ?
I'm Mexican, born and raised in México, and religion is a big part of my culture. Religious icons are found and seen everywhere, not only in churches, so I grew up with that imagery as part of the background. The meaning I see in it, varies, and the only thing that never changes is that I've always thought they are very beautiful.

You often depict love stories with a sweet melancholy and irony : do you believe in love ?
Of course I believe in love. I'm in love. And even when I'm not in love, I still believe in it.
Do you think that pain is more beautiful to draw than happiness ?
I think everything can be beautiful if presented the right way. It's all about perspective. You know what they say... for every downside, there's an upside.
Music is really present in your artworks : how much is it important when you are working ?

Have you ever considered doing comics or books ? What are your projects ?
I love all kinds of music, I listen to music all the time. Not as much lately due to headphones being banned at work, but hey, I can always sing while I draw. I don't need music to work, but working is definitely a lot more enjoyable with music.
Your drawings are often used for tattoos : what do you think of it ? Are you connected with tattoo art?
I have a lot of projects and never enough time to work on all of them. On top of my list, comics and graphic novels are something I'd like to try but I'd have to learn and practice a lot first. Telling a story frame by frame requires a lot more than just being able to draw. My admiration goes to all comic artists out there.

I find very flattering that people like my work that much and I think it's really sweet that they find a personal connection to the characters and their stories. As for myself, my only connection to tattoo art are the pictures people share with me when they get my illustrations tattooed on them, and the huge respect I have for tattoo artists.

art artist Artist Muse Chiara Bautista digital art exclusive fairy tales illustration illustrator Interview painting pop surrealism religion sketches tattoos

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Chiara Bautista, Love Songs on Paper - Interview

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For years, details on artist Chiara Bautista, a.k.a Milk have been leaked in dribs and drabs and her interviews are not legion. But she exceptionally accepted to answer some questions for beautiful.bizarre... But first, let's introduce her and her amazing art.

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I saved this illustration because it spoke to me in a way. I think that this illustration because it is so beautiful.The color scheme is cool but at the same time the way Chiara played with the galaxy texture on the wolf gave it a more of a fantastic view to the piece. The only two characters present in this illustration are placed place in the page where they can be the main focus.

Imgur (2016). From the Art of Chiara Bautista. [image] Available at: https://imgur.com/gallery/bX0KE/comment/569731309 [Accessed 26 Oct. 2018].

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http://www.basquiat.com/artist.htm

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I chose the nankin technique because it is challenging and there is a stigma and fear of artist around using quill pens for line art or art in general. It is a hard tool to deal with

Mostly because you need to have a good control of your hands while drawing, and also firm pulse.

Secondly, using nankin can be quite messy, and if you don't take care with it things can get complicated and stain things you don't want to.

So, both the pen, and the Ink are complicated, but I believe it is all a matter of practice and patience. I am not a master of using quill pens, but I know that I am conscious about certain risks and wins.

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I chose the Van Gogh watercolor set because unlike my Sakura set, this one has lighter colors that aren't as pigmented as the sakura ones. Which makes the process of watering the ink easier, it is not so strong.

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Tested my gouache and it has a thick consistency and is perfect for full coverage of mistakes and strong colors in general

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https://www.youtube.com/watch?v=XoCszVNvqEY

Sarah Johnson - Pugdemonium. (2018). How To Ice Dye | Fabric Dye Techniques | Summer Crafts. [Online Video]. 15 July 2017. Available from: https://www.youtube.com/watch?v=XoCszVNvqEY. [Accessed: 5 November 2018].

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Someone referenced this website to me a long time ago and thought that I should check it out. And did, and is nice to see color palettes made by other people that can hopefully help me with my work

https://color.adobe.com/pt/explore/?filter=most-popular&time=month

Color.adobe.com. (2018). Adobe Color CC. [online] Available at: https://color.adobe.com/pt/explore/?filter=most-popular&time=month [Accessed 5 Nov. 2018].

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Ferrara, G. (2018). TRAGICAL DIVINE, a playlist by Gaia Ferrara on Spotify. [online] Spotify. Available at: https://open.spotify.com/user/gaiapilon/playlist/7lhrst0njtRbe0eFj9RiRy?si=lNvBnhqPTp2TMFh1DsoyZQ [Accessed 13 Nov. 2018].

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A playlist featuring Radiohead, Spoon, Billie Marten, and others

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I instantly thought of The Moirai when I was creating Gael, because of the string of life and destiny.

En.wikipedia.org. (2018). Moirai. [online] Available at: https://en.wikipedia.org/wiki/Moirai [Accessed 13 Nov. 2018].

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In the Homeric poems Moira or Aisa, is related with the limit and end of life, and Zeus appears as the guider of destiny. In the of Hesiod, the three Moirai are personified, daughters of Nyx and are acting over the gods.

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This program was an important tool for me while doing the cover art for the comic.

Adobe. 2018. Adobe Illustrator CC. [ONLINE] Available at: https://www.adobe.com/br/products/illustrator.html?gclid=CjwKCAiAuMTfBRAcEiwAV4SDkXZt1MRuUnuicSArkFEHj6aciKHDMKyFCoYcsXKpo5wNBOuAlwamHRoCwJYQAvD_BwE&sdid=KQPNX&mv=search&ef_id=CjwKCAiAuMTfBRAcEiwAV4SDkXZt1MRuUnuicSArkFEHj6aciKHDMKyFCoYcsXKpo5wNBOuAlwamHRoCwJYQAvD_BwE:G:s&s_kwcid=AL!3085!3!301784431329!e!!g!!illustrator. [Accessed 9 November 2018].

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"Blue Color Meaning– The color of trust. Blue, the shade of the sea and the sky, is thought to induce calm and convey tranquillity, serenity and peace. The popular color instils confidence and inspires feelings of trust, loyalty, integrity and responsibility.  Cool blue is conservative and can also be perceived as aloof. Blue tends to suppress the appetite – there are not many foods associated with blue in nature."

Graf1x.com. (2018). Color Meaning and Psychology of Red, Blue, Green, Yellow, Orange, Pink and Violet colors. – graf1x.com. [online] Available at: https://graf1x.com/color-psychology-emotion-meaning-poster/ [Accessed 7 Oct. 2018].

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Red to me represent passion but also and anxiety and anger. I associate red with Gael's character the most. Thats why he is Red.

https://graf1x.com/color-psychology-emotion-meaning-poster/

Graf1x.com. (2018). Color Meaning and Psychology of Red, Blue, Green, Yellow, Orange, Pink and Violet colors. – graf1x.com. [online] Available at: https://graf1x.com/color-psychology-emotion-meaning-poster/ [Accessed 7 Oct. 2018].

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https://graf1x.com/color-psychology-emotion-meaning-poster/

Graf1x.com. (2018). Color Meaning and Psychology of Red, Blue, Green, Yellow, Orange, Pink and Violet colors. – graf1x.com. [online] Available at: https://graf1x.com/color-psychology-emotion-meaning-poster/ [Accessed 16 Nov. 2018].

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https://graf1x.com/color-psychology-emotion-meaning-poster/

Graf1x.com. (2018). Color Meaning and Psychology of Red, Blue, Green, Yellow, Orange, Pink and Violet colors. – graf1x.com. [online] Available at: https://graf1x.com/color-psychology-emotion-meaning-poster/ [Accessed 16 Nov. 2018].

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Graf1x.com. (2018). Color Meaning and Psychology of Red, Blue, Green, Yellow, Orange, Pink and Violet colors. – graf1x.com. [online] Available at: https://graf1x.com/color-psychology-emotion-meaning-poster/ [Accessed 16 Nov. 2018].

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It is interesting that there are there four types of love y the opinion of C.S Lewis. The love of friendship, between lovers

http://www.logicallyfaithful.com/cs-lewiss-the-four-loves-a-humble-review/

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This is and example of loose drawing that I like, with also warm colors that  make the drawing look fuller.

Scheinberger, F. (2011). Wasserfarbe für Gestalter. Verlag Herman Schmidt.

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Scheinberger, F. (2011). Wasserfarbe für Gestalter. Verlag Herman Schmidt.

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I made this research because I know my point of view about Love in our society, and I thought it was time to ask other people about their opinions on it. So I created this simple questionnaire of 7 questions and sent it to friends outside the art community and friends that are in the art community and I got to some interesting results

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Perguntinhas que estou recolhendo para o meu trabalho que fala sobre relações humanas.

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1. Do you believe in love? (romantically speaking)

2. If the answers was yes, do you think that this subject in our days is banalized ?

3. In your opinion, the field of entertainment overly approaches the subject ?

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ILLUSTRATORS:
- Gabriel Picolo
- Audra Auclair
- Chiara Bautista
- Fran Meneses

FINE ARTS:
-Jean Michel Basquiat
- Yayoi Kusama
- Franz Ackermann

PAINTERS:
- Anthony Cudahy
- Roy Lichtenstein

DESIGNERS:
- Paula Scher

PHOTOGRAPHERS:
- Claudia Andujar

MUSICIANS: (MUSIC COLLUMN )
- Lana Del Rey

Fashion:
- Jean- Paul Gaultier

NOTE:
There is also reference to writters and philosofers in a separate collumn.

These notes about topics are from my personal opinion and analysis.

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Book of Genesis - Wikipedia. 2018. Book of Genesis - Wikipedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/Book_of_Genesis. [Accessed 13 September 2018]

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The Book of Genesis is the first book of the Hebrew Bible and the Christian Old Testament. Its Hebrew name is the same as its first word, Bereshit ("In the beginning"). Genesis is an account of the creation of the world, the early history of humanity, and of Israel's ancestors and the origins of the Jewish people.

Tradition credits Moses as the author of Genesis, as well as the books of Exodus, Leviticus, Numbers and most of Deuteronomy, but modern scholars, especially from the 19th century onward, see them as being written hundreds of years after Moses is supposed to have lived, in the 6th and 5th centuries BC. Based on scientific interpretation of archaeological, genetic, and linguistic evidence, most scholars consider Genesis to be primarily mythological rather than historical.

It is divisible into two parts, the primeval history (chapters 1-11) and the ancestral history (chapters 12-50). The primeval history sets out the author's concepts of the nature of the deity and of humankind's relationship with its maker: God creates a world which is good and fit for mankind, but when man corrupts it with sin God decides to destroy his creation, sparing only the righteous Noah and his family to re-establish the relationship between man and God. The ancestral history (chapters 12-50) tells of the prehistory of Israel, God's chosen people. At God's command, Noah's descendant Abraham journeys from his birthplace (described as Ur of the Chaldeans and whose identification with Sumerian Ur is tentative in modern scholarship) into the God-given land of Canaan, where he dwells as a sojourner, as does his son Isaac and his grandson Jacob. Jacob's name is changed to "Israel", and through the agency of his son Joseph, the children of Israel descend into Egypt, 70 people in all with their households and God promises them a future of greatness. Genesis ends with Israel in Egypt, ready for the coming of Moses and the Exodus. The narrative is punctuated by a series of covenants with God, successively narrowing in scope from all mankind (the covenant with Noah) to a special relationship with one people alone (Abraham and his descendants through Isaac and Jacob).

In Judaism, the theological importance of Genesis centres on the covenants linking God to his chosen people and the people to the Promised Land. Christianity has interpreted Genesis as the prefiguration of certain cardinal Christian beliefs, primarily the need for salvation (the hope or assurance of all Christians) and the redemptive act of Christ on the Cross as the fulfilment of covenant promises as the Son of God.

Genesis takes its Hebrew title from the first word of the first sentence, Bereshit, meaning " In [the] beginning [of]". In the Greek Septuagint it was called Genesis, from the phrase "the generations of heaven and earth".

For much of the 20th century most scholars agreed that the five books of the Pentateuch-Genesis, Exodus, Leviticus, Numbers and Deuteronomy-came from four sources, the Yahwist, the Elohist, the Deuteronomist and the Priestly source, each telling the same basic story, and joined together by various editors. Since the 1970s there has been a revolution leading scholars to view the Elohist source as no more than a variation on the Yahwist, and the Priestly source as a body of revisions and expansions to the Yahwist (or "non-Priestly") material. (The Deuteronomistic source does not appear in Genesis.)

Scholars use examples of repeated and duplicate stories to identify separate sources. In Genesis, these include three different accounts of a patriarch claiming that his wife was his sister, the two creation stories, and the two versions of Abraham sending Hagar and Ishmael into the desert.

This leaves the question of when these works were created. Scholars in the first half of the 20th century concluded that the Yahwist is a product of the monarchic period, specifically at the court of Solomon, 10th century BC, and the Priestly work in the middle of the 5th century BC (with claims that the author is Ezra), but more recent thinking is that the Yahwist is from either just before or during the Babylonian captivity of the 6th century BC, and the Priestly final edition was made late in the Exilic period or soon after.

As for why the book was created, a theory which has gained considerable interest, although still controversial, is "Persian imperial authorisation." This proposes that the Persians of the Achaemenid Empire, after their conquest of Babylon in 539 BC agreed to grant Jerusalem a large measure of local autonomy within the empire but required the local authorities to produce a single law code accepted by the entire community. The two powerful groups making up the community-the priestly families who controlled the Second Temple and who traced their origin to Moses and the wilderness wanderings, and the major landowning families who made up the "elders" and who traced their own origins to Abraham, who had "given" them the land-were in conflict over many issues, and each had its own "history of origins", but the Persian promise of greatly increased local autonomy for all provided a powerful incentive to cooperate in producing a single text.

Genesis is an example of a creation myth, a type of literature telling of the first appearance of humans, the stories of ancestors and heroes, and the origins of culture, cities and so forth. The most notable examples are found in the work of Greek historians of the 6th century BC: their intention was to connect notable families of their own day to a distant and heroic past, and in doing so they did not distinguish between myth, legend, and facts. Professor Jean-Louis Ska of the Pontifical Biblical Institute calls the basic rule of the antiquarian historian the "law of conservation": everything old is valuable, nothing is eliminated. Ska also points out the purpose behind such antiquarian histories: antiquity is needed to prove the worth of Israel's traditions to the nations (the neighbours of the Jews in early Persian Palestine), and to reconcile and unite the various factions within Israel itself.

There are four major textual witnesses to the book: the Masoretic Text, the Samaritan Pentateuch, the Septuagint, and fragments of Genesis found at Qumran. The Qumran group provides the oldest manuscripts but covers only a small proportion of the book; in general, the Masoretic Text is well preserved and reliable, but there are many individual instances where the other versions preserve a superior reading.

Genesis appears to be structured around the recurring phrase elleh toledot, meaning "these are the generations," with the first use of the phrase referring to the "generations of heaven and earth" and the remainder marking individuals-Noah, the "sons of Noah", Shem, etc., down to Jacob. The formula, occurring eleven times in the book of Genesis, delineating its sections and shaping its structure, serves as a heading which marks a transition to a new subject:

Genesis 1:1 (narrative) In the beginning

Genesis 2:4 (narrative) Toledot of Heaven and Earth

Genesis 5:1 (genealogy) Toledot of Adam

Genesis 6:9 (narrative) Toledot of Noah

Genesis 10:1 (genealogy) Toledot of Shem, Ham, and Japheth

Genesis 11:10 (genealogy) Toledot of Shem

Genesis 11:27 (narrative) Toledot of Terach

Genesis 25:12 (genealogy) Toledot of Ishmael

Genesis 25:19 (narrative) Toledot of Isaac

Genesis 36:1 & 36:9 (genealogy) Toledot of Esau

It is not clear, however, what this meant to the original authors, and most modern commentators divide it into two parts based on the subject matter, a "primeval history" (chapters 1-11) and a "patriarchal history" (chapters 12-50). While the first is far shorter than the second, it sets out the basic themes and provides an interpretive key for understanding the entire book. The "primeval history" has a symmetrical structure hinging on chapters 6-9, the flood story, with the events before the flood mirrored by the events after; the "ancestral history" is structured around the three patriarchs Abraham, Jacob and Joseph. (The stories of Isaac do not make up a coherent cycle of stories and function as a bridge between the cycles of Abraham and Jacob.)

There are two distinct versions of God's creation of the world in Genesis. God creates the world in six days and consecrates the seventh as a day of rest (which would then be known as Sabbath in Jewish culture). God creates the first humans, Adam and Eve, and all the animals in the Garden of Eden but instructs them not to eat the fruit of the tree of knowledge of good and evil. They promise not to, but a talking serpent, portrayed as a deceptive creature or trickster, convinces Eve to eat the fruit against God's wishes, and she convinces Adam, whereupon God throws them out and curses both of them - Adam was cursed with getting what he needs only by sweat and work, and Eve to giving birth in pain. This is interpreted by Christians as the fall of humanity. Eve bears two sons, Cain and Abel. Cain works in the garden, and Abel works with meat; they both offer offerings to God one day, and Cain kills Abel after God liked Abel's offering more than Cain's. God then curses Cain. Eve bears another son, Seth, to take Abel's place.

After many generations of Adam have passed from the lines of Cain and Seth, the world becomes corrupted by human sin and Nephilim, and God wants to wipe out humanity for their wickedness. However, Noah is the only good human; so first, he instructs the righteous Noah and his family to build an ark and put examples of all the animals on it, seven pairs of every clean animal and one pair of every unclean. Then God sends a great flood to wipe out the rest of the world. When the waters recede, God promises he will never destroy the world with water again, making a rainbow as a symbol of his promise. God sees mankind cooperating to build a great tower city, the Tower of Babel, and divides humanity with many languages and sets them apart with confusion.

From a long family tree down from Noah to a man named Abram, God instructs the man Abram to travel from his home in Mesopotamia to the land of Canaan. There, God makes a promise to Abram, promising that his descendants shall be as numerous as the stars, but that people will suffer oppression in a foreign land for four hundred years, after which they will inherit the land "from the river of Egypt to the great river, the river Euphrates". Abram's name is changed to 'Abraham' (father of many) and that of his wife Sarai to Sarah (princess), and God says that all males should be circumcised as a sign of his promise to Abraham. Due to her old age, Sarah tells Abraham to take her Egyptian handmaiden, Hagar, as a second wife (to bear a child). Through Hagar, Abraham fathers Ishmael.

God then plans to destroy the cities of Sodom and Gomorrah for the sins of their people. Abraham protests but fails to get God to agree not to destroy the cities (his reasoning being that everybody there is evil, except for Abraham's nephew Lot). Angels save Abraham's nephew Lot (who was living there at the same time) and his family, but his wife looks back on the destruction, (even though God commanded not to) and turns into a pillar of salt for going against his word. Lot's daughters, concerned that they are fugitives who will never find husbands, get Lot drunk so they can become pregnant by him, and give birth to the ancestors of the Moabites and Ammonites.

Abraham and Sarah go to the Philistine town of Gerar, pretending to be brother and sister (they are half-siblings). The King of Gerar takes Sarah for his wife, but God warns him to return her (because she's really Abraham's wife), and he obeys. God sends Sarah a son and tells her she should name him Isaac; through him will be the establishment of the covenant (promise). Sarah then drives Ishmael and his mother Hagar out into the wilderness (because Ishmael is not her real son and Hagar is a slave), but God saves them and promises to make Ishmael a great nation.

Then, God tests Abraham by demanding that he sacrifice Isaac. As Abraham is about to lay the knife upon his son, God restrains him, promising him numberless descendants (again). On the death of Sarah, Abraham purchases Machpelah (believed to be modern Hebron) for a family tomb and sends his servant to Mesopotamia to find among his relations a wife for Isaac; after proving herself worthy, Rebekah becomes Isaac's betrothed. Keturah, Abraham's other wife, births more children, among whose descendants are the Midianites. Abraham dies at a prosperous old age and his family lays him to rest in Hebron (Machpelah).

Isaac's wife Rebecca gives birth to the twins Esau (meaning velvet), father of the Edomites, and Jacob (meaning supplanter or follower). Esau was a couple of seconds older as he had come out of the womb first, and was going to become the heir; however, through carelessness, he sold his birthright to Jacob for a bowl of stew. His mother, Rebecca, ensures Jacob rightly gains his father's blessing as the firstborn son and inheritor. At 77 years of age, Jacob leaves his parents and later seeks a wife and meets Rachel at a well. He goes to her father, his uncle, where he works for a total of 14 years to earn his wives, Rachel and Leah. Jacob's name is changed to 'Israel', and by his wives and their handmaidens he has twelve sons, the ancestors of the twelve tribes of the children of Israel, and a daughter, Dinah.

Joseph, Jacob's favourite son of the twelve, makes his brothers jealous (especially because of special gifts Jacob gave him) and because of that jealousy they sell Joseph into slavery in Egypt. Joseph endures many trials including being innocently sentenced to jail but he stays faithful to God. After several years, he prospers there after the pharaoh of Egypt asks him to interpret a dream he had about an upcoming famine, which Joseph does through God. He is then made second in command of Egypt by the grateful pharaoh, and later on, he is reunited with his father and brothers, who fail to recognize him and plead for food. After much manipulation to see if they still hate him, Joseph reveals himself, forgives them for their actions, and lets them and their households into Egypt, where Pharaoh assigns to them the land of Goshen. Jacob calls his sons to his bedside and reveals their future before he dies. Joseph lives to old age and tells his brothers that if God leads them out of the country, then they should take his bones with them.

Promises to the ancestors

In 1978 David Clines published his influential The Theme of the Pentateuch - influential because he was one of the first to take up the question of the theme of the entire five books. Clines' conclusion was that the overall theme is "the partial fulfilment - which implies also the partial nonfulfillment - of the promise to or blessing of the Patriarchs". (By calling the fulfilment "partial" Clines was drawing attention to the fact that at the end of Deuteronomy the people are still outside Canaan.)

The patriarchs, or ancestors, are Abraham, Isaac and Jacob, with their wives (Joseph is normally excluded). Since the name YHWH had not been revealed to them, they worshipped El in his various manifestations. (It is, however, worth noting that in the Jahwist source, the patriarchs refer to deity by the name YHWH, for example in Genesis 15.) Through the patriarchs, God announces the election of Israel, that is, he chooses Israel to be his special people and commits himself to their future. God tells the patriarchs that he will be faithful to their descendants (i.e. to Israel), and Israel is expected to have faith in God and his promise. ("Faith" in the context of Genesis and the Hebrew Bible means an agreement to the promissory relationship, not a body of a belief.)

The promise itself has three parts: offspring, blessings, and land. The fulfilment of the promise to each patriarch depends on having a male heir, and the story is constantly complicated by the fact that each prospective mother - Sarah, Rebekah and Rachel - is barren. The ancestors, however, retain their faith in God and God in each case gives a son - in Jacob's case, twelve sons, the foundation of the chosen Israelites. Each succeeding generation of the three promises attains a more rich fulfilment, until through Joseph "all the world" attains salvation from famine, and by bringing the children of Israel down to Egypt he becomes the means through which the promise can be fulfilled.

God's chosen people

Scholars generally agree that the theme of divine promise unites the patriarchal cycles, but many would dispute the efficacy of trying to examine Genesis' theology by pursuing a single overarching theme, instead citing as more productive the analysis of the Abraham cycle, the Jacob cycle, and the Joseph cycle, and the Yahwist and Priestly sources. The problem lies in finding a way to unite the patriarchal theme of the divine promise to the stories of Genesis 1-11 (the primeval history) with their theme of God's forgiveness in the face of man's evil nature. One solution is to see the patriarchal stories as resulting from God's decision not to remain alienated from mankind: God creates the world and mankind, mankind rebels, and God "elects" (chooses) Abraham.

To this basic plot (which comes from the Yahwist) the Priestly source has added a series of covenants dividing history into stages, each with its own distinctive "sign". The first covenant is between God and all living creatures, and is marked by the sign of the rainbow; the second is with the descendants of Abraham ( Ishmaelites and others as well as Israelites), and its sign is circumcision; and the last, which does not appear until the Book of Exodus, is with Israel alone, and its sign is Sabbath. A great leader mediates each covenant ( Noah, Abraham, Moses), and at each stage God progressively reveals himself by his name ( Elohim with Noah, El Shaddai with Abraham, Yahweh with Moses).

Judaism's weekly Torah portions in the Book of Genesis

It is a custom among religious Jewish communities for a weekly Torah portion, popularly referred to as a , to be read during Jewish prayer services on Saturdays, Mondays and Thursdays. The full name, Hebrew: פָּרָשַׁת הַשָּׁבוּעַ‎ Parashat ha-Shavua, is popularly abbreviated to parashah (also parshah or parsha), and is also known as a (or Sedra ).

The parashah is a section of the Torah (Five Books of Moses) used in Jewish liturgy during a particular week. There are 54 weekly parshas, or parashiyot in Hebrew, and the full cycle is read over the course of one Jewish year.

The first 12 of the 54 come from the Book of Genesis, and they are:

1. Chapters 1 - 6 (verses 1-8) Parashat Bereshit

2. Chap. 6 (v. 9 ff) - 11 Parashat Noach

3. Chap. 12 - 17 Parashat Lekh Lekha

4. Chap. 18 - 22 Parashat Vayera

5. Chap. 23 - 25 (v. 1-18) Parashat Chayyei Sarah

6. Chap. 25 (v. 19 ff) - 28 (v. 1-9) Parashat Toledot

7. Chap. 28 (v. 10 ff) - 32 (v. 1-3) Parashat Vayetzei

8. Chap. 32 (v. 4 ff) - 36 Parashat Vayishlach

9. Chap. 37 - 40 Parashat Vayeshev

10. Chap. 41 - 44 (v. 1-17) Parashat Miketz

11. Chap. 44 (v. 18 ff) - 47 (v. 1-27) Parashat Vayigash

12. Chap. 47 (v. 28 ff) - 50 Parashat Vayechi

1. ^ Lawrence Boadt; Richard J. Clifford; Daniel J. Harrington (2012). Reading the Old Testament: An Introduction. Paulist Press.

2. Hendel, R. S. (1992). "Genesis, Book of". In D. N. Freedman (Ed.), ^ The Anchor Yale Bible Dictionary (Vol. 2, p. 933). New York: Doubleday

3. Joel S. Baden,^ The Book of Exodus: A Biography, Princeton University Press 2019 ISBN 978-0-691-18927-7 p.14. Speaking of the disunity of the Pentateuch, Baden writes: 'Two creation-stories of Genesis 1 and 2 provide the opening salvo. It is impossible to read them as a single unified narrative, as they disagree on almost every point, from the nature of the pre-creation world to the order of creation to the length of time creation took.'

4. ^ John J Collins (2007), A Short Introduction to the Hebrew Bible, Fortress Press, p. 47

5. Hendel, R. S. (1992). "Genesis, Book of". In D. N. Freedman (Ed.), ^ The Anchor Yale Bible Dictionary (Vol. 2, p. 935). New York: Doubleday

Brueggemann, Walter (1986). Genesis. Interpretation: A Bible Commentary for Teaching and Preaching. Atlanta: John Knox Press. ISBN 0-8042-3101-X.

De La Torre, Miguel (2011). Genesis. Belief: A Theological Commentary on the Bible. Westminster John Knox Press.

Fretheim, Terence E. "The Book of Genesis." In The New Interpreter's Bible. Edited by Leander E. Keck, vol. 1, pp. 319-674. Nashville: Abingdon Press, 1994. ISBN 0-687-27814-7.

Hirsch, Samson Raphael. The Pentateuch: Genesis. Translated by Isaac Levy. Judaica Press, 2nd edition 1999. ISBN 0-910818-12-6. Originally published as Der Pentateuch uebersetzt und erklaert Frankfurt, 1867-1878.

Kass, Leon R. The Beginning of Wisdom: Reading Genesis. New York: Free Press, 2003. ISBN 0-7432-4299-8.

Plaut, Gunther. The Torah: A Modern Commentary (1981), ISBN 0-8074-0055-6

Sacks, Robert D (1990). A Commentary on the Book of Genesis. Edwin Mellen.

Sarna, Nahum M. The JPS Torah Commentary: Genesis: The Traditional Hebrew Text with the New JPS Translation. Philadelphia: Jewish Publication Society, 1989. ISBN 0-8276-0326-6.

Speiser, E.A. Genesis: Introduction, Translation, and Notes. New York: Anchor Bible, 1964. ISBN 0-385-00854-6.

Whybray, R.N (2001). "Genesis". In John Barton (ed.). Oxford Bible Commentary. Oxford University Press. ISBN 9780198755005.

Campbell, Antony F; O'Brien, Mark A (1993). Sources of the Pentateuch: Texts, Introductions, Annotations. Fortress Press. ISBN 9781451413670.

Clines, David A (1997). The Theme of the Pentateuch. Sheffield Academic Press. ISBN 9780567431967.

Davies, G.I (1998). "Introduction to the Pentateuch". In John Barton (ed.). Oxford Bible Commentary. Oxford University Press. ISBN 9780198755005.

Hendel, Ronald (2012). The Book of "Genesis": A Biography (Lives of Great Religious Books). Princeton University Press. ISBN 9780691140124.

Levin, Christoph L (2005). The Old Testament: A Brief Introduction. Princeton University Press. ISBN 9780691113944.

Newman, Murray L. (1999). Genesis (PDF). Forward Movement Publications, Cincinnati, OH. Archived from the original (PDF) on 2013-05-20.

Book of Genesis Hebrew Transliteration

Book of Genesis illustrated

Genesis Reading Room (Tyndale Seminary): online commentaries and monographs on Genesis.

Bereshit with commentary in Hebrew

בראשית Bereishit - Genesis (Hebrew - English at Mechon-Mamre.org)

Genesis at Mechon-Mamre (Jewish Publication Society translation)

01 Genesis public domain audiobook at LibriVox Various versions

Genesis (The Living Torah) Rabbi Aryeh Kaplan's translation and commentary at Ort.org

Genesis (Judaica Press) at Chabad.org

Young's Literal Translation (YLT)

New International Version (NIV)

Revised Standard Version (RSV)

Westminster-Leningrad codex

Aleppo Codex

Book of Genesis in Bible Book

Genesis in Hebrew, Aramaic, Syriac, Greek, Latin, and English - The critical text of the Book of Genesis in Hebrew with ancient versions (Masoretic, Samaritan Pentateuch, Samaritan Targum, Targum Onkelos, Peshitta, Septuagint, Vetus Latina, Vulgate, Aquila, Symmachus, and Theodotion) and English translation for each version in parallel.

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The Book of Genesis is the first book of the Hebrew Bible and the Christian Old Testament. Its Hebrew name is the same as its first word, Bereshit ("In the beginning"). Genesis is an account of the creation of the world, the early history of humanity, and of Israel's ancestors and the origins of the Jewish people.

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- BIBLIC
- NORSE
- HINDU
- GREEK
- SCIENTIFIC

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Mic Network (2018). The Disregarded Consequences of Gentrification in This New York City Neighborhood. [image] Available at: https://mic.com/articles/126193/the-disregarded-consequences-of-gentrification-in-this-new-york-city-neighborhood#.G4RTAqhZz [Accessed 31 Oct. 2018].

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Paula Scher is an American Graphic Designer/Illustrator. I got to know her work while watching the Netflix series Abstract. And her way of thinking about maps and lettering, which is something that I like myself.The way she is always paying attention to the letters all around the city and how to incorporate features of the city into her work.
I also admire the way she is respected by all of the art community and how she has changed graphic design forever.And also what she represents for women.

Pentagram. (2018). Paula Scher — Pentagram. [online] Available at: https://www.pentagram.com/about/paula-scher [Accessed 16 Oct. 2018].

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Paula Scher is one of the most influential graphic designers in the world. Described as the "master conjurer of the instantly familiar," Scher straddles the line between pop culture and fine art in her work. Iconic, smart, and accessible, her images have entered into the American vernacular.

Scher has been a partner in the New York office of Pentagram since 1991. She began her career as an art director in the 1970s and early 80s, when her eclectic approach to typography became highly influential. In the mid-1990s her landmark identity for The Public Theater fused high and low into a wholly new symbology for cultural institutions, and her recent architectural collaborations have re-imagined the urban landscape as a dynamic environment of dimensional graphic design. Her graphic identities for Citibank and Tiffany & Co. have become case studies for the contemporary regeneration of American brands.

Scher has developed identity and branding systems, promotional materials, environmental graphics, packaging and publication designs for a broad range of clients that includes, among others, Bloomberg, Microsoft, Adobe, Bausch + Lomb, Coca-Cola, Shake Shack, Perry Ellis, the Walt Disney Company, the Museum of Modern Art, the Sundance Institute, the High Line, Jazz at Lincoln Center, the Metropolitan Opera, the New York City Ballet, the New York Philharmonic, the New Jersey Performing Arts Center, the New 42nd Street, the New York Botanical Garden, the United States Holocaust Memorial Museum, the Philadelphia Museum of Art, the Robin Hood Foundation, and the New York City Department of Parks and Recreation. In 1996 Scher's widely imitated identity for The Public Theater won the coveted Beacon Award for integrated corporate design strategy. She has served on the board of directors of The Public Theater, and is a frequent design contributor to The New York Times, GQ and other publications. She served on the Public Design Commission of the City of New York from 2006 to 2015.

During the course of her career Scher has been the recipient of hundreds of industry honors and awards. In 1998 she was named to the Art Directors Club Hall of Fame, and in 2000 she received the Chrysler Award for Innovation in Design. She has served on the national board of the American Institute of Graphic Arts (AIGA) and was president of its New York Chapter from 1998 to 2000. In 2001 she was awarded the profession's highest honor, the AIGA Medal, in recognition of her distinguished achievements and contributions to the field, and in 2006 she was awarded the Type Directors Club Medal, the first woman to receive the prize. In 2012 she was honored with the Philadelphia Museum of Art's Design Collab Award, in 2013 she received the National Design Award for Communication Design, presented by the Cooper-Hewitt, Smithsonian Design Museum, in 2019 she was named a SEGD Fellow, in 2021 she was honored with the title Royal Designer for Industry (RDI), and in 2022 she received the D&AD Special President's Award. Scher has been a member of the Alliance Graphique Internationale (AGI) since 1993 and served as its president from 2009 to 2012.

Her work has been exhibited all over the world and is represented in the permanent collections of the Museum of Modern Art and the Cooper-Hewitt National Design Museum in New York, the Library of Congress in Washington, D.C., the Philadelphia Museum of Art, the Denver Art Museum, the Victoria and Albert Museum, London, the Museum für Gestaltung Zürich, and the Bibliothèque nationale de France and the Centre Georges Pompidou in Paris.

Scher holds a BFA from the Tyler School of Art and honorary doctorates from the Corcoran College of Art and Design, the Maryland Institute College of Art, Moore College of Art and Design, and Columbus College of Art and Design. Her teaching career includes over two decades at the School of Visual Arts, along with positions at the Cooper Union, Yale University and the Tyler School of Art. She is the author of Make It Bigger (2002), MAPS (2011) and 25 Years at the Public: A Love Story (2020), all published by Princeton Architectural Press, and the subject of Paula Scher: Works (2017), edited by Tony Brook and Adrian Shaughnessy and published by Unit Editions. Scher is featured in "Abstract: The Art of Design," the Netflix documentary series about leading figures in design and architecture.

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Paula Scher is one of the most influential graphic designers in the world. Described as the "master conjurer of the instantly familiar," Scher straddles the lin...

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This tutorial showed me some new skills on photoshop. A tool that I am familiarized but have so much too learn still. It mostly talked about easy ways of doing a sharp drawing  with a scanned drawing opened on photoshop and how to go from there. Even if I haven't used much digital tools so far, this was a good video to have in store whenever I need it.

Cartooning for Kids I How to Draw. (2016). How to Color like a Pro - Amazing Photoshop Tutorial. [Online Video]. 22 June 2016. Available from: https://www.youtube.com/watch?v=XEIvXMg94sw. [Accessed: 13 September 2018].

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How to Color like a Pro- Amazing Adobe Photoshop Tutorial

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Supplier where I bought my fabric for the cover of the book.

R. João Cachoeira, 432 - Vila Nova Conceição, São Paulo

Tecelagem Cinerama. (2018). Home - Tecelagem Cinerama. [online] Available at: https://cinerama.com.br/ [Accessed 7 Nov. 2018].

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Com mais de 50 anos de experiência, buscamos oferecer a nossos clientes os melhores produtos do mercado. Para isso estamos continuamente estudando tendências e materiais que transformamos em itens exclusivos e de qualidade garantida.

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Dye for the fabric.

514, R. Fradique Coutinho - Pinheiros, São Paulo - SP

Zuzaarmarinhos.com.br. (2018). zuzaarmarinhos.com.br. [online] Available at: http://www.zuzaarmarinhos.com.br/?caf&skrghlp=SvsyCbVUfnKvI%2BWiP7YrIF92qV1t0vikFi%2BD8Ju2abXCKjLvvk%2FixDwVnp7n6nQe&query=Zuza&afdToken=3B1g0DqPFM6_rEwu0fXXvn-eyZdb7bUDrB-3NmhPDWgyr_H3TOBeVLS-nR17Ly6Z-GXv5A0COKics_EpoKtIPtWz9kvpUr38Iqsxz5QBES2D&pcsa=false [Accessed 6 Nov. 2018].

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R. Casa do Ator, 65 - Vila Olimpia, São Paulo - SP,

papelariauniversitaria.com.br. (2018). [online] Available at: https://www.papelariauniversitaria.com.br/?gclid=CjwKCAiA8rnfBRB3EiwAhrhBGrsczabqvy0a34awx6OjF7ONj8gnzG5s-9DeCA5Cq4lYTxWWaJkKxxoCdFgQAvD_BwE [Accessed 16 Nov. 2018].

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Especializada em materiais técnicos e artísticos, oferecendo também ampla linha de escritório, informática e escolar.

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Alameda Itu, 1012 - Jardins, São Paulo - SP

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A maior e mais completa loja de materiais artísticos do Brasil. Mais de 6 mil itens em até 5x sem juros.

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Sinbad
Abstratct

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Audra frequently did tutorials on her YouTube channel, and I would  watch them even if it was about something that I wouldn't use.
This video however, was very interesting for me for various reasons
Audra Auclair. (2018). Colouring Line Art in Photoshop Tutorial. [Online Video]. 25 July 2015. Available from: https://www.youtube.com/watch?v=Q27nm8oCbiQ. [Accessed: 10 September 2018].

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Colouring Line Art in Photoshop Tutorial

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While watching this episode I felt to humbled by her work and her way of thinking about graphic design. I keep on revisiting this episode over and over again whenever I feel that I need of some sort of inspiration this is one of the episodes to go.This episode is important to me because I admire the art of Graphic Design.All episodes are inspiring and made me look at art differently.With more of an open mind than I was before

Abstract: The Art of Design. (2018). [film] Directed by S. Dadich. United States: Netflix.

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This artist is inspiring to me because she explains things in a calm way so anyone can understand, I also think that her style is delicate and fool of expression

Sara Tepes. (2017). How I Paint Skin Tones. [Online Video]. 17 September 2017. Available from: https://www.youtube.com/watch?v=eVIf_eoY6gs. [Accessed: 10 September 2018].

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Wasserfarbe für Gestalter.  Aquarela para Urban Sketchers 

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Wasserfarbe für Gestalter.  Aquarela para Urban Sketchers 

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Found this book at a bookstore et the beginning of 2018. Flipped through it and was impressed. This book gives tips step by step on how to work with watercolors while making urban sketches.I've found this book helpful for numerous reasons, it taught to loose my stroke while drawing, specially while drawing urban scenarios.
The books talks about watercolor but tells things that even for someone who had used watercolors in their life like me, didn't pay attention. Things like Pigment, what composes the inks we use. The connection between colors. One that caught my attention was the relation between Red and Purple, which are two colors that I used a lot during the coloring process of my comic. ( More about these colors pigment origins in the Colors Column ).
I find colors easy to match and blend. I don't struggle whenever mixing colors for my pieces but this book opened my horizons to what they represent and what is associated to them.
It taught me about choices and how I am the one that calls the shots on my work and showed me that my struggles, like choosing the color of my character's shirt is a universal struggle to most artists, the way the piece will go depends on my choices.
Another interesting point I need to mention is about the way we work with the concept of duality on a daily basis, how we automatically feel that, if something goes in a different way that we had expected it is "wrong" when in fact it isn't.
The concept of what is right or wrong in a drawing is something we set to ourselves inside our heads.

Scheinberger, F. (2011). Wasserfarbe für Gestalter. Verlag Herman Schmidt.

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Finally found a video that talks about the method that I've been using but never found an actual video of someone talking about it.
I've been using this technique a lot through all the comic.

Shane Patrick White. (2018). THE PROCESS: Ink Style #01 Cross-Hatchling (narrated). [Online Video]. 27 September 2016. Available from: https://www.youtube.com/watch?v=Pa6ft3yHmvk&t=436s. [Accessed: 25 October 2018].

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THE PROCESS:  Ink Style #01 Cross-Hatchling (narrated)

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Found a picture of this Chinese model Kim Sang Woo and he is exacly like I had imagined

Tumblr, (2018), Unknown [ONLINE]. Available at: https://78.media.tumblr.com/756c7b9bcdb1cb8d680e91c048f92537/tumblr_n3oek24Aus1qc62x6o2_500.png[Accessed 18 October 2018].

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here is the website I used also when creating Gaels features.

The Vandalist, (2018), STYLE ICON: Sang Woo Kim aka Franco [ONLINE]. Available at: https://thevandallist.com/style-icon-sang-woo-kim-aka-franco/ [Accessed 18 October 2018].

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STYLE ICON: Sang Woo Kim aka Franco, from London, U.K. Works at Why Not Models and Select Model Management Official Studies BA Hons Fine Art at Goldsmiths, University of London Webisite

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This all of Lana's songs, I like of almost 90% of them mostly because of the richness of her lyrical content that relates a lot on references from the late 50's and 70's and of her life experiences.

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Lana Del Rey, Category: Artist, Albums: Lust For Life, Honeymoon, Ultraviolence (Deluxe), Ultraviolence, Born To Die - The Paradise Edition, Singles: Venice Bitch, Mariners Apartment Complex, You Must Love Me (From "Evita"), God Save Our Young Blood (with Lana Del Rey), Summer Bummer (Clams Casino Remix), Top Tracks: Young And Beautiful, Mariners Apartment Complex, Summertime Sadness (Lana Del Rey Vs.

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Vogue. 2018. Spring 2007 Couture Jean Paul Gaultier. [ONLINE] Available at: https://www.vogue.com/fashion-shows/spring-2007-couture/jean-paul-gaultier/slideshow/collection#14. [Accessed 17 September 2018].

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The couture faithful at Jean Paul Gaultier may not have literally expected a full religious experience, but that's what they got, complete with a large puff of incense and a visitation by the saints. From first to last, every model wore a halo. Their faces were painted like plaster statues, their garb inspired by the vernacular devotional art found in local churches throughout the Catholic world.

Was it an outrage? Well, not really. Gaultier has treated religion in some very provocative ways, not the least of which was, way back, a tableau of the crucified Christ. But this time, the tone, if not precisely reverential, wasn't calculated to mock. Instead, his ingenious skews on church iconography seemed gently appreciative of its capacity for shining beauty.

Not that he wasn't witty about it. What looked like monastic hoods and nunlike wimples were, in fact, integral stoles that spiraled from the back of a chic black dress or a pair of pants (revealing some sexy slices of skin on the way). Lace and crochet-work commonly used to decorate shrines were remade into formfitting gowns. And the colors-faded pinks, cobwebby gray, and Madonna blue-were lifted from hand-tinted holy cards and stained glass.

Result? Shorn of the odd bleeding Sacred Heart and communion chalice appliqué, there's plenty in this collection that qualifies as Jean Paul Gaultier couture at its best.

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Jean Paul Gaultier Spring 2007 Couture Fashion Show

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The couture faithful at Jean Paul Gaultier may not have literally expected a full religious experience, but that's what they got, complete with a large puff of incense and a visitation by the saints. From first to last, every model wore a halo.

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This runway show by jean-Paul Gaultier had a certain impact on me due to the collection being related to the catholic/divine. I like the way that such strict and traditional conservative narratives are used for art and made in a way that makes you think differently about it. The details, the presence of gold are just breathtaking. The makeup is also a big aspect to this whole collection, because the make up is like a painting so the way the eyes are contoured to be more dramatic or bigger gives a dramatic tone to the model and consequently the outfit, it makes the message of the designer even more clear, everything talks together and it is cohesive

I think that it is a risky choice but at the same time it was made in good taste and while developing the character Andromeda I thought about this runway show. And I couldn't believe it was a runway from 2007, because it look so topical.

i Dest. (2018). Jean Paul Gaultier Haute Couture Spring Summer 2007. [Online Video]. 9 April 2017. Available from: https://www.youtube.com/watch?v=HweekwrzIxQ. [Accessed: 19 November 2018].

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Jean Paul Gaultier Haute Couture Spring Summer 2007

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The use of materials is interesting as well. There is a lot of information going on. There is the head piece that presents this metallic effect. Not quite sure if it is made out of iron or metal, but it looks like it on account of this shiny finishing.

There is also the use of delicate thin feathers that make the illusion of an aura, consequently the feeling of a holy presence.

https://br.pinterest.com/pin/540502392776838928/

Jean-Paul Gaultier, (2007), none [ONLINE]. Available at: https://br.pinterest.com/pin/540502392776838928/ [Accessed 19 November 2018].

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These extensions are delicate and gory at the same time and somehow this picture has inspired me to draw hands in more dynamic ways.

https://br.pinterest.com/pin/697495061014961430/

unknown, (2007), none [ONLINE]. Available at: https://br.pinterest.com/pin/697495061014961430/[Accessed 19 November 2018].

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This was the first picture I saw of the stained hands in black and this influenced me while drawing. But mine doesn't have alteration on the hands, it is just the black stains

https://i.pinimg.com/originals/d2/8e/7a/d28e7a55c33018c6edbc53cb37ab7dc4.jpg

unknown, (2018), none [ONLINE]. Available at: https://i.pinimg.com/originals/d2/8e/7a/d28e7a55c33018c6edbc53cb37ab7dc4.jpg [Accessed 19 November 2018].

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My character Andromeda is not a a personification of the Andromeda galaxy.I just borrowed her name for the character. The story about the galaxy is also different

Andromeda Galaxy - Wikipedia. 2018. Andromeda Galaxy - Wikipedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/Andromeda_Galaxy. [Accessed 14 September 2018].

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Andromeda Galaxy

Pronunciation

Constellation
Andromeda

Right ascension

00 h 42 m 44.3 s [1]

Declination

+41° 16′ 9″[1]

Redshift

z = −0.001004 (minus sign indicates blueshift)[1]

Heliocentric radial velocity

−301 ± 1 km/s[2]

Distance

765 kpc (2.50 Mly)[3]

Apparent magnitude (V)

3.44[4][5]

Absolute magnitude (V)

−21.5[a][6]

Type

SA(s)b[1]

Mass

(1.5±0.5)×10 ¹² [7] M☉

Number of stars

~1 trillion (10 ¹²)[10]

Size

46.56 kpc (152,000 ly)
(diameter; D₂₅ isophote)[1][8][b]

Apparent size (V)

3.167° × 1°[1]

M31, NGC 224, UGC 454, PGC 2557, 2C 56 (Core),[1] CGCG 535-17, MCG +07-02-016, IRAS 00400+4059, 2MASX J00424433+4116074, GC 116, h 50, Bode 3, Flamsteed 58, Hevelius 32, Ha 3.3, IRC +40013

The Andromeda Galaxy is a barred spiral galaxy and is the nearest major galaxy to the Milky Way. It was originally named the Andromeda Nebula and is cataloged as Messier 31, M31, and NGC 224. Andromeda has a D₂₅ isophotal diameter of about 46.56 kiloparsecs (152,000 light-years) and is approximately 765 kpc (2.5 million light-years) from Earth. The galaxy's name stems from the area of Earth's sky in which it appears, the constellation of Andromeda, which itself is named after the princess who was the wife of Perseus in Greek mythology.

The virial mass of the Andromeda Galaxy is of the same order of magnitude as that of the Milky Way, at 1 trillion solar masses (2.0×10 ⁴² kilograms). The mass of either galaxy is difficult to estimate with any accuracy, but it was long thought that the Andromeda Galaxy was more massive than the Milky Way by a margin of some 25% to 50%. This has been called into question by early 21st-century studies indicating a possibly lower mass for the Andromeda Galaxy and a higher mass for the Milky Way. The Andromeda Galaxy has a diameter of about 46.56 kpc (152,000 ly), making it the largest member of the Local Group of galaxies in terms of extension.

The Milky Way and Andromeda galaxies are expected to collide in around 4-5 billion years, merging to potentially form a giant elliptical galaxy or a large lenticular galaxy.

With an apparent magnitude of 3.4, the Andromeda Galaxy is among the brightest of the Messier objects, and is visible to the naked eye from Earth on moonless nights, even when viewed from areas with moderate light pollution.

The Andromeda Galaxy is visible to the naked eye in dark skies. Around the year 964 CE, the Persian astronomer Abd al-Rahman al-Sufi was the first to formally describe the Andromeda Galaxy. He referred to it in his Book of Fixed Stars as a "nebulous smear" or "small cloud".

Star charts of that period labeled it as the Little Cloud. In 1612, the German astronomer Simon Marius gave an early description of the Andromeda Galaxy based on telescopic observations. Pierre Louis Maupertuis conjectured in 1745 that the blurry spot was an island universe. In 1764, Charles Messier cataloged Andromeda as object M31 and incorrectly credited Marius as the discoverer despite its being visible to the naked eye. In 1785, the astronomer William Herschel noted a faint reddish hue in the core region of Andromeda. He believed Andromeda to be the nearest of all the "great nebulae", and based on the color and magnitude of the nebula, he incorrectly guessed that it was no more than 2,000 times the distance of Sirius, or roughly 18,000 ly (5.5 kpc).

In 1850, William Parsons, 3rd Earl of Rosse made the first drawing of Andromeda's spiral structure.[better source needed ]

In 1864, William Huggins noted that the spectrum of Andromeda differed from that of a gaseous nebula. The spectrum of Andromeda displays a continuum of frequencies, superimposed with dark absorption lines that help identify the chemical composition of an object. Andromeda's spectrum is very similar to the spectra of individual stars, and from this, it was deduced that Andromeda has a stellar nature. In 1885, a supernova (known as S Andromedae) was seen in Andromeda, the first and so far only one observed in that galaxy. At the time it was called "Nova 1885"-the difference between " novae" in the modern sense and supernovae was not yet known. Andromeda was considered to be a nearby object, and it was not realized that the "nova" was much brighter than ordinary novae.[citation needed ]

The earliest known photograph of the Great Andromeda "Nebula" (with M110 to the upper right), by Isaac Roberts (29 December 1888)

In 1888, Isaac Roberts took one of the first photographs of Andromeda, which was still commonly thought to be a nebula within our galaxy. Roberts mistook Andromeda and similar "spiral nebulae" as star systems being formed.

In 1912, Vesto Slipher used spectroscopy to measure the radial velocity of Andromeda with respect to the Solar System -the largest velocity yet measured, at 300 km/s (190 mi/s).

"Island universes" hypothesis

Location of the Andromeda Galaxy (M31) in the Andromeda constellation

As early as 1755 the German philosopher Immanuel Kant proposed the hypothesis that the Milky Way is only one of many galaxies, in his book Universal Natural History and Theory of the Heavens. Arguing that a structure like the Milky Way would look like a circular nebula viewed from above and like an elliptical if viewed from an angle, he concluded that the observed elliptical nebulae like Andromeda, which could not be explained otherwise at the time, were indeed galaxies similar to the Milky Way, not a nebula, like how Andromeda was commonly thought of.

In 1917, Heber Curtis observed a nova within Andromeda. Searching the photographic record, 11 more novae were discovered. Curtis noticed that these novae were, on average, 10 magnitudes fainter than those that occurred elsewhere in the sky. As a result, he was able to come up with a distance estimate of 500,000 ly (3.2×10 ¹⁰ AU). Although this estimate is about fivefold lower than the best estimates now available, it was the first known estimate of the distance to Andromeda that was correct to the order of magnitude (i.e. which was correct to within a factor of ten of current high-accuracy estimates, which place the distance around 2.5 million light-years). Curtis became a proponent of the so-called "island universes" hypothesis: that spiral nebulae were actually independent galaxies.

In 1920, the Great Debate between Harlow Shapley and Curtis took place concerning the nature of the Milky Way, spiral nebulae, and the dimensions of the universe. To support his claim of the Great Andromeda Nebula being, in fact, an external galaxy, Curtis also noted the appearance of dark lanes within Andromeda which resembled the dust clouds in our own galaxy, as well as historical observations of Andromeda Galaxy's significant Doppler shift. In 1922 Ernst Öpik presented a method to estimate the distance of Andromeda using the measured velocities of its stars. His result placed the Andromeda Nebula far outside our galaxy at a distance of about 450 kpc (1,500 kly). Edwin Hubble settled the debate in 1925 when he identified extragalactic Cepheid variable stars for the first time on astronomical photos of Andromeda. These were made using the 100-inch (2.5 m) Hooker telescope, and they enabled the distance of the Great Andromeda Nebula to be determined. His measurement demonstrated conclusively that this feature was not a cluster of stars and gas within our own galaxy, but an entirely separate galaxy located a significant distance from the Milky Way.

In 1943, Walter Baade was the first person to resolve stars in the central region of the Andromeda Galaxy. Baade identified two distinct populations of stars based on their metallicity, naming the young, high-velocity stars in the disk Type I and the older, red stars in the bulge Type II.This nomenclature was subsequently adopted for stars within the Milky Way, and elsewhere. (The existence of two distinct populations had been noted earlier by Jan Oort.) Baade also discovered that there were two types of Cepheid variable stars, which resulted in a doubling of the distance estimate to Andromeda, as well as the remainder of the universe.

In 1950, radio emission from the Andromeda Galaxy was detected by Hanbury Brown and Cyril Hazard at Jodrell Bank Observatory. The first radio maps of the galaxy were made in the 1950s by John Baldwin and collaborators at the Cambridge Radio Astronomy Group. The core of the Andromeda Galaxy is called 2C 56 in the 2C radio astronomy catalog. In 2009, an occurrence of microlensing -a phenomenon caused by the deflection of light by a massive object-may have led to the first discovery of a planet in the Andromeda Galaxy.

Observations of linearly polarized radio emission with the Westerbork Synthesis Radio Telescope, the Effelsberg 100-m Radio Telescope, and the Very Large Array revealed ordered magnetic fields aligned along the "10-kpc ring" of gas and star formation.

The estimated distance of the Andromeda Galaxy from our own was doubled in 1953 when it was discovered that there is another, dimmer type of Cepheid variable star. In the 1990s, measurements of both standard red giants as well as red clump stars from the satellite measurements were used to calibrate the Cepheid distances.

Processed image of the Andromeda Galaxy, with enhancement of H-alpha to highlight its star-forming regions

A major merger occurred 2 to 3 billion years ago at the Andromeda location, involving two galaxies with a mass ratio of approximately 4.

Discovery of a recent merger in the Andromeda galaxy was firstly based on interpreting its anomalous age-velocity dispersion relation, as well as the fact that 2 billion years ago, star formation throughout Andromeda's disk was much more active than today.

Modeling of this violent collision shows that it has formed most of the galaxy's (metal-rich) galactic halo, including the Giant Stream, and also the extended thick disk, the young age thin disk, including the static 10 kpc ring. During this epoch, its rate of star formation would have been very high, to the point of becoming a luminous infrared galaxy for roughly 100 million years. Modeling also recovers the bulge profile, the large bar, and the overall halo density profile.

Andromeda and the Triangulum Galaxy (M33) might have had a very close passage 2-4 billion years ago, but it seems unlikely from the last measurements from the Hubble Space Telescope.

Illustration showing both the size of each galaxy and the distance between the two galaxies, to scale

At least four distinct techniques have been used to estimate distances from Earth to the Andromeda Galaxy. In 2003, using the infrared surface brightness fluctuations (I-SBF) and adjusting for the new period-luminosity value and a metallicity correction of −0.2 mag dex −1 in (O/H), an estimate of 2.57 ± 0.06 million light-years (1.625×10 ¹¹ ± 3.8×10 ⁹ astronomical units) was derived. A 2004 Cepheid variable method estimated the distance to be 2.51 ± 0.13 million light-years (770 ± 40 kpc).

In 2005, an eclipsing binary star was discovered in the Andromeda Galaxy. The binary is two hot blue stars of types O and B. By studying the eclipses of the stars, astronomers were able to measure their sizes. Knowing the sizes and temperatures of the stars, they were able to measure their absolute magnitude. When the visual and absolute magnitudes are known, the distance to the star can be calculated. The stars lie at a distance of 2.52 ⁶ ± 0.14 ⁶ ly (1.594×10 ¹¹ ± 8.9×10 ⁹ AU) and the whole Andromeda Galaxy at about 2.5 ⁶ ly (1.6×10 ¹¹ AU). This new value is in excellent agreement with the previous, independent Cepheid-based distance value. The TRGB method was also used in 2005 giving a distance of 2.56 ⁶ ± 0.08 ⁶ ly (1.619×10 ¹¹ ± 5.1×10 ⁹ AU). Averaged together, these distance estimates give a value of 2.54 ⁶ ± 0.11 ⁶ ly (1.606×10 ¹¹ ± 7.0×10 ⁹ AU).

Giant halo around Andromeda Galaxy[52]

Until 2018, mass estimates for the Andromeda Galaxy's halo (including dark matter) gave a value of approximately 1.5×10 , compared to 8×10 M☉ for the Milky Way. This contradicted even earlier measurements that seemed to indicate that the Andromeda Galaxy and Milky Way are almost equal in mass. In 2018, the earlier measurements for equality of mass was re-established by radio results as approximately 8×10 M☉. In 2006, the Andromeda Galaxy's spheroid was determined to have a higher stellar density than that of the Milky Way, and its galactic stellar disk was estimated at twice the diameter of that of the Milky Way. The total mass of the Andromeda Galaxy is estimated to be between 8×10 M☉ and 1.1×10 M☉. The stellar mass of M31 is 10-15×10 M☉, with 30% of that mass in the central bulge, 56% in the disk, and the remaining 14% in the stellar halo. The radio results (similar mass to the Milky Way Galaxy) should be taken as likeliest as of 2018, although clearly, this matter is still under active investigation by several research groups worldwide.

As of 2019, current calculations based on escape velocity and dynamical mass measurements put the Andromeda Galaxy at 0.8×10 M☉, which is only half of the Milky Way's newer mass, calculated in 2019 at 1.5×10 M☉.

The Andromeda Galaxy is surrounded by a massive halo of hot gas that is estimated to contain half the mass of the stars in the galaxy. The nearly invisible halo stretches about a million light-years from its host galaxy, halfway to our Milky Way Galaxy. Simulations of galaxies indicate the halo formed at the same time as the Andromeda Galaxy. The halo is enriched in elements heavier than hydrogen and helium, formed from supernovae, and its properties are those expected for a galaxy that lies in the "green valley" of the Galaxy color-magnitude diagram (see below). Supernovae erupt in the Andromeda Galaxy's star-filled disk and eject these heavier elements into space. Over the Andromeda Galaxy's lifetime, nearly half of the heavy elements made by its stars have been ejected far beyond the galaxy's 200,000-light-year-diameter stellar disk.

Compared to the Milky Way, the Andromeda Galaxy appears to have predominantly older stars with ages >7×10 years.[clarification needed ] The estimated luminosity of the Andromeda Galaxy, ~2.6×10 , is about 25% higher than that of our own galaxy. However, the galaxy has a high inclination as seen from Earth, and its interstellar dust absorbs an unknown amount of light, so it is difficult to estimate its actual brightness and other authors have given other values for the luminosity of the Andromeda Galaxy (some authors even propose it is the second-brightest galaxy within a radius of 10 megaparsecs of the Milky Way, after the Sombrero Galaxy, with an absolute magnitude of around −22.21 or close).

An estimation done with the help of Spitzer Space Telescope published in 2010 suggests an absolute magnitude (in the blue) of −20.89 (that with a color index of +0.63 translates to an absolute visual magnitude of −21.52, compared to −20.9 for the Milky Way), and a total luminosity in that wavelength of 3.64×10 L☉.

The rate of star formation in the Milky Way is much higher, with the Andromeda Galaxy producing only about one solar mass per year compared to 3-5 solar masses for the Milky Way. The rate of novae in the Milky Way is also double that of the Andromeda Galaxy. This suggests that the latter once experienced a great star formation phase, but is now in a relative state of quiescence, whereas the Milky Way is experiencing more active star formation. Should this continue, the luminosity of the Milky Way may eventually overtake that of the Andromeda Galaxy.

According to recent studies, the Andromeda Galaxy lies in what is known in the galaxy color-magnitude diagram as the "green valley", a region populated by galaxies like the Milky Way in transition from the "blue cloud" (galaxies actively forming new stars) to the "red sequence" (galaxies that lack star formation). Star formation activity in green valley galaxies is slowing as they run out of star-forming gas in the interstellar medium. In simulated galaxies with similar properties to the Andromeda Galaxy, star formation is expected to extinguish within about five billion years, even accounting for the expected, short-term increase in the rate of star formation due to the collision between the Andromeda Galaxy and the Milky Way.

A narrated tour of the Andromeda Galaxy, made by NASA's Swift satellite team

Based on its appearance in visible light, the Andromeda Galaxy is classified as an SA(s)b galaxy in the de Vaucouleurs-Sandage extended classification system of spiral galaxies. However, infrared data from the 2MASS survey and the Spitzer Space Telescope showed that Andromeda is actually a barred spiral galaxy, like the Milky Way, with Andromeda's bar major axis oriented 55 degrees anti-clockwise from the disc major axis.

There are various methods used in astronomy in defining the size of a galaxy, and each method can yield different results concerning one another. The most commonly employed is the D ₂₅ standard, the isophote where the photometric brightness of a galaxy in the B-band (445 nm wavelength of light, in the blue part of the visible spectrum) reaches 25 mag/arcsec ². The Third Reference Catalogue of Bright Galaxies (RC3) used this standard for Andromeda in 1991, yielding an isophotal diameter of 46.56 kiloparsecs (152,000 light-years) at a distance of 2.5 million light-years. An earlier estimate from 1981 gave a diameter for Andromeda at 54 kiloparsecs (176,000 light-years).

A study in 2005 by the Keck telescopes shows the existence of a tenuous sprinkle of stars, or galactic halo, extending outward from the galaxy. The stars in this halo behave differently from the ones in Andromeda's main galactic disc, where they show rather disorganized orbital motions as opposed to the stars in the main disc having more orderly orbits and uniform velocities of 200 km/s. This diffuse halo extends outwards away from Andromeda's main disc with the diameter of 67.45 kiloparsecs (220,000 light-years).

The galaxy is inclined an estimated 77° relative to Earth (where an angle of 90° would be edge-on). Analysis of the cross-sectional shape of the galaxy appears to demonstrate a pronounced, S-shaped warp, rather than just a flat disk. A possible cause of such a warp could be gravitational interaction with the satellite galaxies near the Andromeda Galaxy. The Galaxy M33 could be responsible for some warp in Andromeda's arms, though more precise distances and radial velocities are required.

Spectroscopic studies have provided detailed measurements of the rotational velocity of the Andromeda Galaxy as a function of radial distance from the core. The rotational velocity has a maximum value of 225 km/s (140 mi/s) at 1,300 ly (82,000,000 AU) from the core, and it has its minimum possibly as low as 50 km/s (31 mi/s) at 7,000 ly (440,000,000 AU) from the core. Further out, rotational velocity rises out to a radius of 33,000 ly (2.1×10 ⁹ AU), where it reaches a peak of 250 km/s (160 mi/s). The velocities slowly decline beyond that distance, dropping to around 200 km/s (120 mi/s) at 80,000 ly (5.1×10 ⁹ AU). These velocity measurements imply a concentrated mass of about 6×10 in the nucleus. The total mass of the galaxy increases linearly out to 45,000 ly (2.8×10 ⁹ AU), then more slowly beyond that radius.

The spiral arms of the Andromeda Galaxy are outlined by a series of HII regions, first studied in great detail by Walter Baade and described by him as resembling "beads on a string". His studies show two spiral arms that appear to be tightly wound, although they are more widely spaced than in our galaxy. His descriptions of the spiral structure, as each arm crosses the major axis of the Andromeda Galaxy, are as follows §pp1062§pp92:

Arms (N=cross M31's major axis at north, S=cross M31's major axis at south)

Distance from center (arcminutes) (N*/S*)

Distance from the center (kpc) (N*/S*)

Notes

Image of the Andromeda Galaxy taken by Spitzer in infrared, 24 micrometres (Credit: NASA/JPL-Caltech/Karl D. Gordon, University of Arizona)

Since the Andromeda Galaxy is seen close to edge-on, it is difficult to study its spiral structure. Rectified images of the galaxy seem to show a fairly normal spiral galaxy, exhibiting two continuous trailing arms that are separated from each other by a minimum of about 13,000 ly (820,000,000 AU) and that can be followed outward from a distance of roughly 1,600 ly (100,000,000 AU) from the core. Alternative spiral structures have been proposed such as a single spiral arm or a flocculent pattern of long, filamentary, and thick spiral arms.

The most likely cause of the distortions of the spiral pattern is thought to be interaction with galaxy satellites M32 and M110. This can be seen by the displacement of the neutral hydrogen clouds from the stars.

In 1998, images from the European Space Agency's Infrared Space Observatory demonstrated that the overall form of the Andromeda Galaxy may be transitioning into a ring galaxy. The gas and dust within the galaxy are generally formed into several overlapping rings, with a particularly prominent ring formed at a radius of 32,000 ly (9.8 kpc) from the core, nicknamed by some astronomers the ring of fire. This ring is hidden from visible light images of the galaxy because it is composed primarily of cold dust, and most of the star formation that is taking place in the Andromeda Galaxy is concentrated there.

Later studies with the help of the Spitzer Space Telescope showed how the Andromeda Galaxy's spiral structure in the infrared appears to be composed of two spiral arms that emerge from a central bar and continue beyond the large ring mentioned above. Those arms, however, are not continuous and have a segmented structure.

Close examination of the inner region of the Andromeda Galaxy with the same telescope also showed a smaller dust ring that is believed to have been caused by the interaction with M32 more than 200 million years ago. Simulations show that the smaller galaxy passed through the disk of the Andromeda Galaxy along the latter's polar axis. This collision stripped more than half the mass from the smaller M32 and created the ring structures in Andromeda. It is the co-existence of the long-known large ring-like feature in the gas of Messier 31, together with this newly discovered inner ring-like structure, offset from the barycenter, that suggested a nearly head-on collision with the satellite M32, a milder version of the Cartwheel encounter.

Studies of the extended halo of the Andromeda Galaxy show that it is roughly comparable to that of the Milky Way, with stars in the halo being generally " metal-poor", and increasingly so with greater distance. This evidence indicates that the two galaxies have followed similar evolutionary paths. They are likely to have accreted and assimilated about 100-200 low-mass galaxies during the past 12 billion years. The stars in the extended halos of the Andromeda Galaxy and the Milky Way may extend nearly one-third the distance separating the two galaxies.

Hubble image of the Andromeda Galaxy core showing possible double structure. NASA/ESA photo

The Andromeda Galaxy is known to harbor a dense and compact star cluster at its very center, similar to our own galaxy. A large telescope creates a visual impression of a star embedded in the more diffuse surrounding bulge. In 1991, the Hubble Space Telescope was used to image the Andromeda Galaxy's inner nucleus. The nucleus consists of two concentrations separated by 1.5 pc (4.9 ly). The brighter concentration, designated as P1, is offset from the center of the galaxy. The dimmer concentration, P2, falls at the true center of the galaxy and contains a black hole measured at 3-5 × 10 ⁷ M☉ in 1993, and at 1.1-2.3 × 10 ⁸ M☉ in 2005. The velocity dispersion of material around it is measured to be ≈ 160 km/s (100 mi/s).

It has been proposed that the observed double nucleus could be explained if P1 is the projection of a disk of stars in an eccentric orbit around the central black hole. The eccentricity is such that stars linger at the orbital apocenter, creating a concentration of stars. It has been postulated that such an eccentric disk could have been formed from the result of a previous black hole merger, where the release of gravitational waves could have "kicked" the stars into their current eccentric distribution. P2 also contains a compact disk of hot, spectral-class A stars. The A stars are not evident in redder filters, but in blue and ultraviolet light they dominate the nucleus, causing P2 to appear more prominent than P1.

While at the initial time of its discovery it was hypothesized that the brighter portion of the double nucleus is the remnant of a small galaxy "cannibalized" by the Andromeda Galaxy, this is no longer considered a viable explanation, largely because such a nucleus would have an exceedingly short lifetime due to tidal disruption by the central black hole. While this could be partially resolved if P1 had its own black hole to stabilize it, the distribution of stars in P1 does not suggest that there is a black hole at its center.

The Andromeda Galaxy in high-energy X-ray and ultraviolet light (released 5 January 2016)

Apparently, by late 1968, no X-rays had been detected from the Andromeda Galaxy. A balloon flight on 20 October 1970, set an upper limit for detectable hard X-rays from the Andromeda Galaxy. The Swift BAT all-sky survey successfully detected hard X-rays coming from a region centered 6 arcseconds away from the galaxy center. The emission above 25 keV was later found to be originating from a single source named 3XMM J004232.1+411314, and identified as a binary system where a compact object (a neutron star or a black hole) accretes matter from a star.

Multiple X-ray sources have since been detected in the Andromeda Galaxy, using observations from the European Space Agency's (ESA) XMM-Newton orbiting observatory. Robin Barnard et al. hypothesized that these are candidate black holes or neutron stars, which are heating the incoming gas to millions of kelvins and emitting X-rays. Neutron stars and black holes can be distinguished mainly by measuring their masses. An observation campaign of NuSTAR space mission identified 40 objects of this kind in the galaxy. In 2012, a microquasar, a radio burst emanating from a smaller black hole was detected in the Andromeda Galaxy. The progenitor black hole is located near the galactic center and has about 10 M☉. It was discovered through data collected by the European Space Agency's XMM-Newton probe and was subsequently observed by NASA's Swift Gamma-Ray Burst Mission and Chandra X-Ray Observatory, the Very Large Array, and the Very Long Baseline Array. The microquasar was the first observed within the Andromeda Galaxy and the first outside of the Milky Way Galaxy.

Star clusters in the Andromeda Galaxy[111]

There are approximately 460 globular clusters associated with the Andromeda Galaxy. The most massive of these clusters, identified as Mayall II, nicknamed Globular One, has a greater luminosity than any other known globular cluster in the Local Group of galaxies. It contains several million stars and is about twice as luminous as Omega Centauri, the brightest known globular cluster in the Milky Way. Globular One (or G1) has several stellar populations and a structure too massive for an ordinary globular. As a result, some consider G1 to be the remnant core of a dwarf galaxy that was consumed by Andromeda in the distant past. The globular with the greatest apparent brightness is G76 which is located in the southwest arm's eastern half. Another massive globular cluster, named 037-B327 and discovered in 2006 as is heavily reddened by the Andromeda Galaxy's interstellar dust, was thought to be more massive than G1 and the largest cluster of the Local Group; however, other studies have shown it is actually similar in properties to G1.

Unlike the globular clusters of the Milky Way, which show a relatively low age dispersion, Andromeda Galaxy's globular clusters have a much larger range of ages: from systems as old as the galaxy itself to much younger systems, with ages between a few hundred million years to five billion years.

In 2005, astronomers discovered a completely new type of star cluster in the Andromeda Galaxy. The new-found clusters contain hundreds of thousands of stars, a similar number of stars that can be found in globular clusters. What distinguishes them from the globular clusters is that they are much larger-several hundred light-years across-and hundreds of times less dense. The distances between the stars are, therefore, much greater within the newly discovered extended clusters.

The most massive globular cluster in the Andromeda Galaxy, B023-G078, likely has a central intermediate black hole of almost 100,000 solar masses.

PA-99-N2 was a microlensing event detected in the Andromeda Galaxy in 1999. One of the explanations for this is the gravitational lensing of a red giant by a star with a mass between 0.02 and 3.6 times that of the Sun, which suggested that the star is likely orbited by a planet. This possible exoplanet would have a mass 6.34 times that of Jupiter. If finally confirmed, it would be the first ever found extragalactic planet. However, anomalies in the event were later found.

The Andromeda Galaxy with satellite galaxies M32 (center left above the galactic nucleus) and M110 (center right below the galaxy)

Like the Milky Way, the Andromeda Galaxy has smaller satellite galaxies, consisting of over 20 known dwarf galaxies. The Andromeda Galaxy's dwarf galaxy population is very similar to the Milky Way's, but the galaxies are much more numerous. The best-known and most readily observed satellite galaxies are M32 and M110. Based on current evidence, it appears that M32 underwent a close encounter with the Andromeda Galaxy in the past. M32 may once have been a larger galaxy that had its stellar disk removed by M31 and underwent a sharp increase of star formation in the core region, which lasted until the relatively recent past.

M110 also appears to be interacting with the Andromeda Galaxy, and astronomers have found in the halo of the latter a stream of metal-rich stars that appear to have been stripped from these satellite galaxies. M110 does contain a dusty lane, which may indicate recent or ongoing star formation. M32 has a young stellar population as well.

The Triangulum Galaxy is a non-dwarf galaxy that lies 750,000 light years from Andromeda. It is currently unknown whether it is a satellite of Andromeda.

In 2006, it was discovered that nine of the satellite galaxies lie in a plane that intersects the core of the Andromeda Galaxy; they are not randomly arranged as would be expected from independent interactions. This may indicate a common tidal origin for the satellites.

Illustration of the collision path between the Milky Way and Andromeda galaxy

The Andromeda Galaxy is approaching the Milky Way at about 110 kilometres (68 miles) per second. It has been measured approaching relative to the Sun at around 300 km/s (190 mi/s) as the Sun orbits around the center of the galaxy at a speed of approximately 225 km/s (140 mi/s). This makes the Andromeda Galaxy one of about 100 observable blueshifted galaxies. Andromeda Galaxy's tangential or sideways velocity concerning the Milky Way is relatively much smaller than the approaching velocity and therefore it is expected to collide directly with the Milky Way in about 2.5-4 billion years. A likely outcome of the collision is that the galaxies will merge to form a giant elliptical galaxy or possibly large disc galaxy. Such events are frequent among the galaxies in galaxy groups. The fate of Earth and the Solar System in the event of a collision is currently unknown. Before the galaxies merge, there is a small chance that the Solar System could be ejected from the Milky Way or join the Andromeda Galaxy.

Superimposing picture showing sizes of the Moon and the Andromeda Galaxy as observed from Earth. Because the galaxy is not very bright from an amateur's point of view, its size is not evident.[132][133]

Under most viewing conditions, the Andromeda Galaxy is one of the most distant objects that can be seen with the naked eye ( M33 and M81 can be seen under very dark skies), due to its sheer size. The galaxy is commonly located in the sky about the constellations Cassiopeia and Pegasus. Andromeda is best seen during autumn nights in the Northern Hemisphere when it passes high overhead, reaching its highest point around midnight in October, and two hours earlier each successive month. In the early evening, it rises in the east in September and sets in the west in February. From the Southern Hemisphere the Andromeda Galaxy is visible between October and December, best viewed from as far north as possible. Binoculars can reveal some larger structures of the galaxy and its two brightest satellite galaxies, M32 and M110. An amateur telescope can reveal Andromeda's disk, some of its brightest globular clusters, dark dust lanes, and the large star cloud NGC 206.

StarDate: M31 Fact Sheet

Messier 31, SEDS Messier pages

Astronomy Picture of the Day

M31 and its central Nuclear Spiral

Amateur photography - M31

Globular Clusters in M31 at The Curdridge Observatory

First direct distance to Andromeda − Astronomy magazine article

Andromeda Galaxy at SolStation.com

Andromeda Galaxy at The Encyclopedia of Astrobiology, Astronomy, & Spaceflight

M31, the Andromeda Galaxy at NightSkyInfo.com

Than, Ker (23 January 2006). "Strange Setup: Andromeda's Satellite Galaxies All Lined Up". Space.com.

M31 (Apparent) Novae Page (IAU)

Multi-wavelength composite

Andromeda Project (crowd-source)

Gray, Meghan; Szymanek, Nik; Merrifield, Michael. "M31 - Andromeda Galaxy". Deep Sky Videos. Brady Haran.

Andromeda Galaxy (M31) at Constellation Guide

Hubble's High-Definition Panoramic View of the Andromeda Galaxy

Infrared-Radio Image of the Andromeda Galaxy (M31)

Creative Commons Astrophotography M31 Andromeda image download & processing guide

# data[].attributes.attachment_link.description
Andromeda Galaxy Pronunciation Constellation Andromeda Right ascension 00 h 42 m 44.3 s [1] Declination +41° 16′ 9″[1] Redshift z = −0.001004 (minus sign indicates blueshift)[1] Heliocentric radial velocity −301 ± 1 km/s[2] Distance 765 kpc (2.50 Mly)[3] Apparent magnitude (V) 3.44[4] [5] Absolute magnitude (V) −21.5[a] [6] Type SA(s)b[1]

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This image goes in a very similar way to my drawings, but, I was surprised to find it after I had already created my character

https://i.pinimg.com/originals/66/5b/11/665b11730e4e6576662b9f2c412e4edd.jpg

unknown, (2018), none [ONLINE]. Available at: https://i.pinimg.com/originals/66/5b/11/665b11730e4e6576662b9f2c412e4edd.jpg [Accessed 19 November 2018].

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Asap rocky is one of the faces that came to my mind when I was creating Dylan, mostly because of his smile that is very captivating and his hair.

https://www.billboard.com/articles/news/6524214/asap-rocky-tribeca-film-festival-talk

unknown, (2018), Asap Rocky [ONLINE]. Available at: https://www.billboard.com/articles/news/6524214/asap-rocky-tribeca-film-festival-talk [Accessed 19 November 2018].

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I had this idea of creating Dylan's brothers and I made this connection with the seven virtues, since they are mythical beings I think it would be interesting to add this type of association to their characters.

Seven virtues - Wikipedia. 2018. Seven virtues - Wikipedia. [ONLINE] Available at: https://en.wikipedia.org/wiki/Seven_virtues. [Accessed 13 September 2018].

https://en.wikipedia.org/wiki/Seven_virtues

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here is an example of the way I wanted Dylan's hair to look like.

https://www.trendhunter.com/trends/aap-rocky-fashion

Exit Magazine, (2015), Asap Rocky [ONLINE]. Available at: https://www.trendhunter.com/trends/aap-rocky-fashion [Accessed 19 November 2018].

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Paula Scher, (2010), Asap Rocky [ONLINE]. Available at: https://www.pentagram.com/news/paula-scher-maps [Accessed 13 November 2018].

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Publications - Oct 19, 2011

In the 1990s, Paula Scher began painting colorful typographic maps of the world, its continents, countries, islands, oceans, cities, streets and neighborhoods. The paintings are collected for the first time in Paula Scher: Maps.

MAPS presents 39 paintings, drawings, prints and environmental installations, including Scher's commission for New York City's Queens Metropolitan Campus. Many of Scher's original paintings are huge-as tall as 12 feet-and the book reproduces the works in full and in life-size details that reveal layers of hand-painted place names, information and cultural commentary. The book's jacket folds out into a 3' by 2' poster of a portion of World Trade, a painting from 2010.

The book opens with an essay by Scher about the influence of her father, a photogrammetic engineer who worked on aerial photography for the U.S. Geological Service in the 1950s and taught her that maps were never totally accurate. (The essay's title: "All Maps Lie.") Scher's father invented a measuring device called Stereo Templates that corrected lens distortions when aerial photography was enlarged for printed maps. Simon Winchester, author of The Map That Changed the World, contributes the book's foreword, about the charm of maps in the age of GPS.

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In the 1990s, Paula Scher began painting colorful typographic maps of the world, its continents, countries, islands, oceans, cities, streets and neighborhoods.

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https://www.pentagram.com/news/the-brownstone-1

Scher, P., 1973. The Brownstone. 1st ed. United States: Princeton Architectural Press.

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A children's book written by Paula Scher and illustrated by Stan Mack.