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A painting created on ProCreate based on the cells theme
The cell image of sketch is used to express the life experience of people living in their own cells. It is a semi-open life, living in its own walls and also interacting with the outside world.
I'm quite satisfied with the tone of this painting. However, because it is created electronically, the texture of the color block is relatively stiff, and the theme character design is not as delicate as the cell design and lacks power. Need a special outline, or special color, special texture, to improve the presence of the visual center.

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The whole thing looks really good
In fact, geometric patterns are also very good texture
It can be used in future texture test

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This sketch makes me find that low-saturation gray and black and color lines and color blocks match well
Can be used in future paintings

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I really like Bill's style, very black painting. And it embodies a scene very close to life and work.
The whole sketch looks like a very relaxed painting. Although many parts are very general and abstract, some parts are very simple. But you don't think it's crude painting, or vulgar content. Rather, they want people to sit and think and appreciate.

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I also tried to collect materials I was interested in and collage them together through unrelated combinations
I think it dose have some visual power, but it's really not good work
The message is fragmented and non-narrative.
Next time when I make collage, I should think more about what the final content is conveyed by the combination of different materials, rather than just for beautiful visual expression

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A colorful and strong Sketch
Like this kind of cross-professional but not far-off research, we should learn to extract advantages from others' works and think about them, and then bring this idea into our own work practice

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This sketch is very much like a complete work, with a consistent tone and treatment style, and it is not too finished
I was satisfied because there was a rhythm to the characters

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Colours and shapes like unexpected harmony on one page sketch
Despite the bright colors, it has a retro feel
The likelihood is because the feeling of refrain not only comes from match color, the fine line that is furniture also can behave the style that restore ancient ways.
Form also plays an important role in the composition of different styles

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This sketch is mostly the same color, because the flowers in the reference are actually the same color.
Actually, there are some limitations on color. But the subject is plant painting, and plant painting exists to represent these paintings
In fact, I used the method of deconstruction to make this sketch. If I can do better, I should deconstruct these drawing methods or printing methods. Because the previous illustration spread is mostly used in the relatively old printing way. This is the part that I later reflected that research can be improved

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This sketch actually has a lot of bad work
But after repeated attempts and combination, the output of more satisfactory works
Bad work itself may also be called material. Can be developed in the future

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I love this sketch
Because it does a variety of experiments, and the overall message is accurate and relaxed

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Pilgrim badges are decorations worn by some of those who undertake a Christian pilgrimage to a place considered holy by the Church. They became very popular among Catholics in the later medieval period. Typically made of lead alloy, they were sold as souvenirs at sites of Christian pilgrimage and bear imagery relating to the saint venerated there. The production of pilgrim badges flourished in the Middle Ages in Europe, particularly in the 14th and 15th centuries, but declined after the Protestant Reformation of the mid-16th century. Tens of thousands have been found since the mid-19th century, predominantly in rivers. Together they form the largest corpus of medieval art objects to survive to us today.

Pilgrimage sites housed a saint's relics: sometimes the whole body, sometimes a body part or significant object owned or touched by the saint. For example, St Thomas Becket was martyred at Canterbury Cathedral in England in 1170 and his body remained there, becoming the epicentre of an enormously popular cult. In 1220 it was translated into a costly shrine. The pilgrim souvenirs associated with his cult have a particularly diverse array of imagery, including that of his shrine, his head reliquary and scenes from his life. Other major sites that produced badges were Santiago de Compostela, Cologne, Our Lady of Rocamadour and Jerusalem. Their badges bore images that were iconic and easily recognisable, such as the scallop shell, the Adoration of the Magi, the St Peter or the Jerusalem Cross. Shrines to the Virgin were common all over Christendom, as are badges associable with her.[1] They often show her holding the Infant Christ, or represent the first letter of her name.

The practice is continued by some today. For example, knights and dames of the Equestrian Order of the Holy Sepulchre receive a pilgrim badge when they travel to the Holy Land.

Various cultural practices converged to bring about the pilgrim badge. Pilgrims had long sought natural souvenirs from their destination to commemorate their trip and bring home some of the site's sanctity. The earliest and still iconic pilgrim 'badge' was the scallop shell worn by pilgrims to the shrine of Santiago de Compostela. Along with badges, vendors at holy sites sold ampullae, small, tin vessels designed to carry holy water or oil from the site. The later metal examples derive from clay ampullae sold from the Early Middle Ages to pilgrims to the Holy Land and other sites in North Africa and the Middle East. These often bore images from the saint's life. The main vessel of the early ampullae from the shrine of St Thomas Becket is often textured to appear like a scallop shell, showing how flat, wearable signs and ampullae came to be conflated in the medieval imagination. Badges and ampullae were worn while travelling and allowed others to identify the wearer as a pilgrim and the saint they were visiting. They showed the wearer's special relationship with the saint and could be called upon in times of crisis. Badges were an artistically legible and affordable accessory for the ordinary medieval pilgrim to wear.

Pilgrim badges were cheaply mass-produced in bronze, cuttle-bone or limestone moulds or, less frequently, by die-stamping.[2] Their easy reproducibility and modest media meant that everyone could afford them. British pilgrim badges often have an integral pin and clasp on the reverse whereas continental European badges more usually have sewing loops, but this is not a hard and fast rule. Pilgrims wore badges on their outer clothing and hats or around the neck to show where they had been on pilgrimage. Some were designed to be fixed to the top of pilgrim staffs.[3] Freshly cast, lead alloy is shiny and bright but it tarnishes rapidly.

To make thin, lead alloy badges, makers would have to create a eutectic alloy. Only at a specific ratio would lead and tin cast thin enough to make the most of the cheapest metal. The quality of pilgrim badges varied considerably, with some being naive and crudely made and others displaying great craftsmanship and skill. Ampullae, vessels for holy water or oil, were harder to make than badges, necessitating a process called slush casting. Much rarer examples were made in precious metals for the wealthy; these have mostly been recycled for their valuable materials over the centuries.

By the later Middle Ages, thin, precious metal badges were being produced that were perfectly designed for being sewn into books. Manuscripts survive with badges still in them, or imprints on the pages where they once were.[4] It is often possible to identify the shrine from the imprint. As artists became increasingly fascinated by illusionism or the trompe l'oeil technique, representations of pilgrim badges painted into the margins of prayer books appear.[5]

The most popular shrines sold over 100,000 badges a year, making pilgrim badges the first mass-produced tourist souvenir. In 1520, the church at Regensbury sold over 120,000 badges to medieval pilgrims, after a drastic shortage the previous year.

Today, most pilgrim badges are recovered in or near rivers. Lynn Museum in Norfolk has a large collection of medieval badges that were collected in the 19th century by children, whom the local antiquarian would pay for their finds.[6][7] It has been suggested that this is because medieval pilgrims believed that the badges would bring good luck if they were thrown into water, however that theory is now contested. Many of the pilgrim badges in the collection of Salisbury Museum were found when the town's medieval sewers were excavated. This, among other evidence, suggests they were eventually just thrown away.

A scallop shell symbol is used to mark the route of the Camino de Santiago, whilst the practice of collecting and wearing a shell continues.

Pilgrims walking with Student Cross wear a red fabric cross, along with carrying a wooden one.

Studying the imagery of pilgrim badges quickly leads to an ability to identify the shrine or saint associated with them. For example, St Thomas of Canterbury is often shown being martyred by one of a group of four knights. The iconography of the scallop shell associated with pilgrimages along the Way of St James to the shrine of Saint James at Santiago de Compostela in modern Spain derived from shells collected by pilgrims on the beach. The relic of St John the Baptist's head, which was famously venerated at Amiens, is shown as a face on a plate. The images are frequently related to iconographic types found on monumental artwork, showing how mobile iconographies were across media and social spheres.

Badges were made in the Middle Ages for purposes beyond pilgrim souvenirs; livery badges were presented to employees and allies by great figures, and became highly controversial in the decades leading to the Wars of the Roses. Some political badges have survived, including a fine one for the Black Prince. Other badges, with motifs such as lovers' tokens and mini brooches, were perhaps a form of cheap jewelry. Erotic badges showing winged phalluses or vulvas dressed as pilgrims are prolific, although their cultural significance is still debated.[8] Gazing at a collection of pilgrim souvenirs and medieval badges is to gain an insight into the visual world of medieval Christendom.

In England the tradition of making and wearing pilgrim badges died out in the early 16th century as pilgrimage initially declined in popularity and was then banned completely as the country became Anglican during the English Reformation, when pilgrimage became regarded as a superstition and idolatrous; this halt on the practice was only temporary, as the practice of Christian pilgrimage once again became popular among Anglicans. The tradition continued in Catholic Europe, in some cases to the present day. Those of other branches of Christianity, such as Lutherans and the Reformed, also continue the practice of Christian pilgrimage, going to places such as the Holy Land, Iona Abbey, and Taizé.

B. Spencer, Pilgrim Souvenirs and Secular Badges, Medieval Finds from Excavations in London, (London, Stationery Office, 1998)

A. Jeffs, 'One Object: Pilgrim Souvenir, Hood of Cherries', in, British Art Studies, Issue 6 (2017)

A. Jeffs, 'One Object: Pilgrim Souvenir, Ampulla of Thomas Becket', in, British Art Studies, Issue 6 (2017)

A. Jeffs, 'Tourist Trinkets: the Medieval Pilgrim Souvenir' in History Today (2017)

J. Lee, 'Searching for Signs: Pilgrims' Identity and Experience made visible in the Miracula Sancti Thomae Cantuariensis', In: Sarah Blick and Laura Deborah Gelfand, eds, Push me, pull you. Imaginative, emotional, physical, and spatial interaction in late medieval and Renaissance art, Leiden, 2011, 473-491

D. Webb, Pilgrimage in Medieval England (2007)

H.J.E. van Beuningen & A.M. Koldeweij, Heilig en Profaan: 1000 laatmiddeleeuwse insignes uit de collectie H.J.E. van Beuningen, Rotterdam Papers 8. (Cothen, 1993); see also vols 2 and 3 of this series and read English summaries of the articles via this link:[9]

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Pilgrim badges are decorations worn by some of those who undertake a Christian pilgrimage to a place considered holy by the Church. They became very popular among Catholics in the later medieval period. Typically made of lead alloy, they were sold as souvenirs at sites of Christian pilgrimage and bear imagery relating to the saint venerated there.

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This is a relatively simple Sketch
One of the features of Postman Park is that underneath the park is actually a cemetery.
The name and appearance give no indication that many bodies were buried here
But I really don't have any more ideas on this subject, so Sketch is very superficial

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I designed the cell

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Louise's representative work is the image of a spider, and The image of a spider also appears in Cells
So I tried to make a spider with a watercolor pen

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I drew cells in different shapes with markers and colorful pencils.
Although we think a lot of time itself is open, but there is no denying the fact that we would be their comfort zone and territory, although we will try many new things in life, will move or travel, but we are more inclined to live in their familiar or their own environment, with activity cage package yourself.

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This depicts a corner of my room
Since coming to The UK, I have lived alone and rarely went out
I feel like my room is my cell

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'Cell (Eyes and Mirrors)', Louise Bourgeois, 1989-93 | Tate

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Cell (Eyes and Mirrors) is one of a series of installations which Bourgeois began making in 1989. The Cells are typically constructed from a mixture of such salvaged architectural materials as old doors, windows and wire mesh combined with found objects and sculptural fragments. This Cell has the structure of a cube. The ceiling and two of the walls are made of woven iron mesh joined by iron bars which are hinged in places. The other two walls consist of iron rods welded in a grid holding large square panes of glass so that they resemble oversize windows. Several spaces in the grid are empty of glass. A large round mirror is attached to a hinged circular panel cut out of the centre of the ceiling. The panel rotates to reflect different aspects of the interior.

A large pair of eyes, comprising two polished, black marble eyeballs, stares blankly out of a lump of rough, greyish stone mounted on two sections of steel girder in the centre of the Cell. This sculpture is a later version of a work Bourgeois made in 1984 titled Nature Study (Velvet Eyes)(Collection Galerie Lelong, Zurich). The artist has subsequently developed several versions of eyes carved in marble. As a result of their elemental materials, simple form and large scale, the eyes convey a sense of monumental force, both inviting and repelling the viewer's gaze. They are surrounded by mirrors of various sizes. Several small mirrors hang off the mesh wall behind them. A large oval-shaped mirror and a small round mirror mounted on tall, old fashioned wood and metal stands are positioned on either side of the eyes. A square mirror is propped on the floor. Breast-like bulges, carved out of the back of the unpolished marble in which the eyes are embedded, are visible through reflection in one of the mirrors. These suggest that the eyes represent a female subject.

The many mirrors create a profusion of reflections and altered perspectives which disrupt any sense of direct perception the eyes would seem to propose. Enclosed within the cage-like structure, the eyes are themselves trapped in a space which offers them for viewing by other eyes - those of the viewer. Bourgeois has stated:

The subject of pain is the business I am in. To give meaning and shape to
frustration and suffering ... The Cells represent different types of pain: the
physical, the emotional and psychological, and the mental and intellectual. When
does the emotional become physical? When does the physical become emotional:
It's a circle going around and around. Pain can begin at any point and turn in any
direction.
(Quoted in The Secret of the Cells, p.81.)

Bourgeois's Cells are enclosures from which the viewer is usually excluded physically, but which he or she is invited to penetrate visually. The need and desire to look and the ambiguities inherent in both positions of the one looking and the one being looked at are familiar themes for Bourgeois. Similarly, spaces or forms which provide shelter but also possible entrapment have been present in her work since the 1960s. Toilette and Woman in Bathtub (Tate and ) are two prints in Bourgeois's Autobiographical Series (1994) depicting voyeurism by another and also of the self. For Bourgeois, mirrors provide a concrete representation of the challenging dynamics involved in looking. She has commented: 'reality changes with each new angle. Mirrors can be seen as a vanity, but that is not all their meaning. The act of looking into a mirror is really about having the courage it takes to look at yourself and really face yourself.' (Quoted in The Locus of Memory, p.50.)

Further reading:
Rainer Crone, Petrus Graf Schaesberg, Louise Bourgeois: the Secret of the Cells, Prestel, Munich 1998, p.160, reproduced (colour) p.118
Louise Bourgeois: Recent Works, Musée d'art contemporain de Bordeaux, Bordeaux 1998
Charlotta Kotick, Terrie Sultan, Christian Leigh, Louise Bourgeois: The Locus of Memory, Works 1982-1993, The Brooklyn Museum, New York 1994, pp.26, 49, reproduced p.124

Elizabeth Manchester
July 2001/September 2003
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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'Cell (Eyes and Mirrors)', Louise Bourgeois, 1989-93 | Tate

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'Cell (Eyes and Mirrors)', Louise Bourgeois, 1989-93

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Because the original work was collage, and I chose to draw with a brush
So I think black and white works best, it's kind of broken, like graphic design

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mark pen

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Acrylic paint

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The Radical Quilting of Rosie Lee Tompkins (Published 2020)

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The Radical Quilting of Rosie Lee Tompkins (Published 2020)

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A triumphal retrospective at the Berkeley Art Museum confirms her standing as one of the great American artists — transcending craft, challenging painting and reshaping the canon.

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I think it gets the point. I like that face

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I think it gets the point. I like that face

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Buy flannelette at school ➕ paper cut ➕ black card

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Buy flannelette at school ➕ paper cut ➕ black card

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I reconstructed the living environment and appearance of the thylacine
Special furry materials were used to represent his fur, green paper cuts were used as leaves, and soft pastel was used to paint the surrounding leaves
This composition is very simple, but I think it is vivid and gives people a clean and comfortable feeling

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I think the fate of thylacine has become fragmented due to the change of environment, so I tore up some pieces of newspaper to express the feeling of fragmentation

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The thylacine ( THY-lə-seen, or THY-lə-syne, also ) ( Thylacinus cynocephalus) is an extinct carnivorous marsupial that was native to the Australian mainland and the islands of Tasmania and New Guinea. It was the largest known carnivorous marsupial in the world prior to its extinction, evolving about 2 million years ago. The last known live animal was captured in 1930 in Tasmania. It is commonly known as the Tasmanian tiger (because of its striped lower back) or the Tasmanian wolf (because of its canid-like characteristics). On the Australian mainland, it has been referred as the Nannup tiger. Various Aboriginal Tasmanian names have been recorded, such as coorinna, kanunnah, cab-berr-one-nen-er, loarinna, laoonana, can-nen-ner and lagunta, while kaparunin is used in the constructed language of Palawa kani.

The thylacine was relatively shy and nocturnal, with the general appearance of a medium-to-large-size canid, except for its stiff tail and abdominal pouch similar to that of a kangaroo. Because of convergent evolution, it displayed an anatomy and adaptations similar to the tiger ( Panthera tigris) and wolf ( Canis lupus) of the Northern Hemisphere, such as dark transverse stripes that radiated from the top of its back, and a skull shape extremely similar to those of canids, despite being unrelated. The thylacine was a formidable apex predator, though exactly how large its prey animals were is disputed. Its closest living relatives are the Tasmanian devil and the numbat. The thylacine was one of only two marsupials known to have a pouch in both sexes: the other (still extant) species is the water opossum from Central and South America. The pouch of the male thylacine served as a protective sheath, covering the external reproductive organs.

The thylacine had become locally extinct on both New Guinea and the Australian mainland before British settlement of the continent, but its last stronghold was on the island of Tasmania, along with several other endemic species, including the Tasmanian devil. Intensive hunting encouraged by bounties is generally blamed for its extinction, but other contributing factors may have been disease, the introduction of dogs, and human encroachment into its habitat.

Numerous examples of thylacine engravings and rock art have been found, dating back to at least 1000 BC. Petroglyph images of the thylacine can be found at the Dampier Rock Art Precinct, on the Burrup Peninsula in Western Australia.

By the time the first European explorers arrived, the animal was already extinct in mainland Australia and New Guinea, and rare in Tasmania. Europeans may have encountered it in Tasmania as far back as 1642, when Abel Tasman first arrived in Tasmania. His shore party reported seeing the footprints of "wild beasts having claws like a Tyger". Marc-Joseph Marion du Fresne, arriving with the Mascarin in 1772, reported seeing a "tiger cat". Positive identification of the thylacine as the animal encountered cannot be made from this report, since the tiger quoll ( Dasyurus maculatus) is similarly described.

The first definitive encounter was by French explorers on 13 May 1792, as noted by the naturalist Jacques Labillardière, in his journal from the expedition led by D'Entrecasteaux. In 1805, William Paterson, the Lieutenant Governor of Tasmania, sent a detailed description for publication in the Sydney Gazette. He also sent a description of the thylacine in a letter to Joseph Banks, dated 30 March 1805.

The first detailed scientific description was made by Tasmania's Deputy Surveyor-General, George Harris, in 1808, five years after first European settlement of the island. Harris originally placed the thylacine in the genus , which had been created by Linnaeus for the American opossums, describing it as Didelphis cynocephala, the "dog-headed opossum". Recognition that the Australian marsupials were fundamentally different from the known mammal genera led to the establishment of the modern classification scheme, and in 1796, Geoffroy Saint-Hilaire created the genus where he placed the thylacine in 1810. To resolve the mixture of Greek and Latin nomenclature, the species name was altered to cynocephalus. In 1824, it was separated out into its own genus, Thylacinus, by Temminck. The common name derives directly from the genus name, originally from the Greek θύλακος ( thýlakos), meaning "pouch" or "sack".

The modern thylacine probably appeared about 2 million years ago, during the Early Pleistocene. Specimens from the Pliocene-aged Chinchilla Fauna, described as Thylacinus rostralis by Charles De Vis in 1894, have in the past been suggested to represent Thylacinus cynocephalus, but have been shown to either have been curatorial errors, or ambiguous in their specific attribution. The family Thylacinidae includes at least 12 species in eight genera, and appears around the late Oligocene with the small, plesiomorphic Badjcinus turnbulli. Early thylacinids were quoll-sized, well under 10 kg (22 lb), and probably ate insects and small reptiles and mammals, although signs of an increasingly-carnivorous diet can be seen as early as the early Miocene in Wabulacinus. Members of the genus Thylacinus are notable for a dramatic increase in both the expression of carnivorous dental traits and in size, with the largest species, Thylacinus potens and Thylacinus megiriani both approaching the size of a wolf. In Late Pleistocene and early Holocene times, the modern thylacine was widespread (although never numerous) throughout Australia and New Guinea.

A classic example of convergent evolution, the thylacine showed many similarities to the members of the dog family, Canidae, of the Northern Hemisphere: sharp teeth, powerful jaws, raised heels, and the same general body form. Since the thylacine filled the same ecological niche in Australia and New Guinea as canids did elsewhere, it developed many of the same features. Despite this, as a marsupial, it is unrelated to any of the Northern Hemisphere placental mammal predators.

They are easy to tell from a true dog because of the stripes on the back but the skeleton is harder to distinguish. Zoology students at Oxford had to identify 100 zoological specimens as part of the final exam. Word soon got around that, if ever a 'dog' skull was given, it was safe to identify it as Thylacinus on the grounds that anything as obvious as a dog skull had to be a catch. Then one year the examiners, to their credit, double bluffed and put in a real dog skull. The easiest way to tell the difference is by the two prominent holes in the palate bone, which are characteristic of marsupials generally.

The thylacine is a basal member of the Dasyuromorphia, along with numbats, dunnarts, wambengers, and quolls. The cladogram follows:

The only recorded species of Thylacinus, a genus that superficially resembles the dogs and foxes of the family Canidae, the animal was a predatory marsupial that existed on mainland Australia during the Holocene epoch and observed by Europeans on the island of Tasmania; the species is known as the Tasmanian tiger for the striped markings of the pelage. Descriptions of the thylacine come from preserved specimens, fossil records, skins and skeletal remains, and black and white photographs and film of the animal both in captivity and from the field. The thylacine resembled a large, short-haired dog with a stiff tail which smoothly extended from the body in a way similar to that of a kangaroo. The mature thylacine ranged from 100 to 130 cm (39 to 51 in) long, plus a tail of around 50 to 65 cm (20 to 26 in). Adults stood about 60 cm (24 in) at the shoulder and on average weighed 12 to 22 kg (26 to 49 lb), though they could range anywhere from 8 to 30 kg (18 to 66 lb). There was slight sexual dimorphism with the males being larger than females on average. Males weighed in at around 19.7 kilograms (43 lb), and females weighed in at around 13.7 kilograms (30 lb). The skull is noted to be highly convergent on those of canids, most closely remembling that of the red fox.

Thylacines, uniquely for marsupials, have largely cartilaginous epipubic bones with a highly reduced osseous element. This has been once considered a synapomorphy with sparassodonts, though it is now thought that both groups reduced their epipubics independently. Its yellow-brown coat featured 15 to 20 distinctive dark stripes across its back, rump and the base of its tail, which earned the animal the nickname "tiger". The stripes were more pronounced in younger specimens, fading as the animal got older. One of the stripes extended down the outside of the rear thigh. Its body hair was dense and soft, up to 15 mm (0.6 in) in length. Colouration varied from light fawn to a dark brown; the belly was cream-coloured.

Its rounded, erect ears were about 8 cm (3.1 in) long and covered with short fur. The early scientific studies suggested it possessed an acute sense of smell which enabled it to track prey, but analysis of its brain structure revealed that its olfactory bulbs were not well developed. It is likely to have relied on sight and sound when hunting instead.

The thylacine was able to open its jaws to an unusual extent: up to 80 degrees. This capability can be seen in part in David Fleay's short black-and-white film sequence of a captive thylacine from 1933. The jaws were muscular, and had 46 teeth, but studies show the thylacine jaw was too weak to kill sheep. The tail vertebrae were fused to a degree, with resulting restriction of full tail movement. Fusion may have occurred as the animal reached full maturity. The tail tapered towards the tip. In juveniles, the tip of the tail had a ridge. The female thylacine had a pouch with four teats, but unlike many other marsupials, the pouch opened to the rear of its body. Males had a scrotal pouch, unique amongst the Australian marsupials, into which they could withdraw their scrotal sac for protection.

Thylacine footprints could be distinguished from other native or introduced animals; unlike foxes, cats, dogs, wombats, or Tasmanian devils, thylacines had a very large rear pad and four obvious front pads, arranged in almost a straight line. The hindfeet were similar to the forefeet but had four digits rather than five. Their claws were non-retractable. More detail can be seen in a cast taken from a freshly dead thylacine. The cast shows the plantar pad in more detail and shows that the plantar pad is tri-lobal in that it exhibits three distinctive lobes. It is a single plantar pad divided by three deep grooves. The distinctive plantar pad shape along with the asymmetrical nature of the foot makes it quite different from animals such as dogs or foxes. This cast dates back to the early 1930s and is part of the Museum of Victoria's thylacine collection.

The thylacine was noted as having a stiff and somewhat awkward gait, making it unable to run at high speed. It could also perform a bipedal hop, in a fashion similar to a kangaroo-demonstrated at various times by captive specimens. Guiler speculates that this was used as an accelerated form of motion when the animal became alarmed. The animal was also able to balance on its hind legs and stand upright for brief periods.

The thylacine most likely preferred the dry eucalyptus forests, wetlands, and grasslands of mainland Australia. Indigenous Australian rock paintings indicate that the thylacine lived throughout mainland Australia and New Guinea. Proof of the animal's existence in mainland Australia came from a desiccated carcass that was discovered in a cave in the Nullarbor Plain in Western Australia in 1990; carbon dating revealed it to be around 3,300 years old. Recently examined fossilised footprints also suggest historical distribution of the species on Kangaroo Island.

In Tasmania it preferred the woodlands of the midlands and coastal heath, which eventually became the primary focus of British settlers seeking grazing land for their livestock. The striped pattern may have provided camouflage in woodland conditions, but it may have also served for identification purposes. The animal had a typical home range of between 40 and 80 km ² (15 and 31 sq mi). It appears to have kept to its home range without being territorial; groups too large to be a family unit were sometimes observed together.

Little is known about the behaviour of the thylacine. A few observations were made of the animal in captivity, but only limited, anecdotal evidence exists of the animal's behaviour in the wild. Most observations were made during the day, whereas the thylacine was naturally nocturnal. Those observations, made in the twentieth century, may have been atypical, as they were of a species already under the stresses that would soon lead to its extinction. Some behavioural characteristics have been extrapolated from the behaviour of its close relative, the Tasmanian devil.

The thylacine was a nocturnal and crepuscular hunter, spending the daylight hours in small caves or hollow tree trunks in a nest of twigs, bark, or fern fronds. It tended to retreat to the hills and forest for shelter during the day. and hunted in the open heath at night. Early observers noted that the animal was typically shy and secretive, with awareness of the presence of humans and generally avoiding contact, though it occasionally showed inquisitive traits. At the time, much stigma existed in regard to its "fierce" nature; this is likely to be due to its perceived threat to agriculture.

There is evidence for at least some year-round breeding (cull records show joeys discovered in the pouch at all times of the year), although the peak breeding season was in winter and spring. They would produce up to four joeys per litter (typically two or three), carrying the young in a pouch for up to three months and protecting them until they were at least half adult size. Early pouch young were hairless and blind, but they had their eyes open and were fully furred by the time they left the pouch. After leaving the pouch, and until they were developed enough to assist, the juveniles would remain in the lair while their mother hunted. Thylacines only once bred successfully in captivity, in Melbourne Zoo in 1899. Their life expectancy in the wild is estimated to have been 5 to 7 years, although captive specimens survived up to 9 years.

In 2018, Newton et al. collected and CT-scanned all known preserved thylacine pouch young specimens to digitally reconstruct its development throughout its entire window of growth in the mother's pouch. This study revealed new information on the biology of the thylacine, including the growth of its limbs and when it developed its 'dog-like' appearance. It was found that two of the thylacine young in the Tasmanian Museum and Art Gallery (TMAG) were misidentified and of another species, reducing the number of known pouch young specimens to 11 worldwide.

The thylacine was exclusively carnivorous. In captivity, thylacines had a clear preference for birds (particularly chickens). In the wild, large ground-dwelling birds (such as Tasmanian nativehens) may have been their primary prey, since they are documented to have hunted a wide range of them, and its comparatively moderate bite force was more suited to hollow avian bones. During its peak occupation of the mainland, such prey would have been bountiful, and studies of their Pliestocene habitat points to a more suitable diet consisting of a range of megapodes (such as the Giant malleefowl) ratites (such as the emu), and possibly dromornithids (most of which extinct prior to European settlement). At the time of European settlement, the Tasmanian emu, a subspecies believed to be smaller than mainland emus, was common ane widespread and Thylacines were known to prey on them and share the same habitat. Many early depictions of them hunting included emu. The large, flightless bird was hunted to extinction by humans within 30 years of European settlement. The extinction correlates with a rapid decline in thylacine numbers. Cassowary species of northern Australia and New Guinea coexisted with the Thylacine, but had developed strong defenses against predators; the emu on the other hand was more vulnerable to the Thylacine's adaptions including endurance hunting and bipedal hop. Dingoes, wild dogs and foxes have all been noted to hunt the emu on the mainland and killings of emus by dogs were noted in Tasmania. European settlers believed the thylacine to prey upon farmers' sheep and poultry. Throughout the 20th century, the thylacine was often characterised as primarily a blood drinker; according to Robert Paddle, the story's popularity seems to have originated from a single second-hand account heard by Geoffrey Smith (1881-1916) in a shepherd's hut.

There is some controversy over the preferred prey size of the thylacine. A 2011 study by the University of New South Wales using advanced computer modelling indicated that the thylacine had surprisingly feeble jaws. Animals usually take prey close to their own body size, but an adult thylacine of around 30 kilograms (66 lb) was found to be incapable of handling prey much larger than 5 kilograms (11 lb). Thus, some researchers believe thylacines only ate small animals such as bandicoots and possums, putting them into direct competition with the Tasmanian devil and the tiger quoll. Another study in 2020 produced similar results, after estimating the average thylacine weight as about 17 kilograms (37 lb) rather than 30 kilograms (66 lb), suggesting that the animal did indeed hunt much smaller prey.

Analysis of the skeletal frame and observations of the thylacine in captivity suggest the species were pursuit predators, singling out a prey item and pursuing them until the prey was exhausted. However, trappers reported it as an ambush predator. The animal may have hunted in small family groups, with the main group herding prey in the general direction of an individual waiting in ambush. Although the living grey wolf is widely seen as the thylacine's counterpart, the thylacine may have been more of an ambush predator as opposed to a pursuit predator. In fact, the predatory behaviour of the thylacine was probably closer to ambushing felids than to large pursuit canids. Its stomach was muscular, and could distend to allow the animal to eat large amounts of food at one time, probably an adaptation to compensate for long periods when hunting was unsuccessful and food scarce.

In captivity, thylacines were fed a wide variety of foods, including dead rabbits and wallabies as well as beef, mutton, horse, and occasionally poultry. There is a report of a captive thylacine which refused to eat dead wallaby flesh or to kill and eat a live wallaby offered to it, but "ultimately it was persuaded to eat by having the smell of blood from a freshly killed wallaby put before its nose."

In 2017, Berns and Ashwell published comparative cortical maps of thylacine and Tasmanian devil brains, showing that the thylacine had a larger, more modularised basal ganglion. The authors associated these differences with the thylacine's predatory lifestyle. The same year, White, Mitchell and Austin published a large-scale analysis of thylacine mitochondrial genomes, showing that they had split into Eastern and Western populations on the mainland prior to the Last Glacial Maximum and had low genetic diversity by the time of European arrival.

Australia lost more than 90% of its megafauna by around 40,000 years ago, with the notable exceptions of several kangaroo species and the thylacine. A 2010 paper examining this issue showed that humans were likely to be one of the major factors in the extinction of many species in Australia although the authors of the research warned that one-factor explanations might be oversimplistic. The thylacine itself likely neared extinction throughout most of its range in mainland Australia by about 2,000 years ago.

However, reliable accounts of thylacine survival in South Australia (though confined to the "thinly settled districts" and Flinders Ranges) and New South Wales ( Blue Mountains) exist from as late as the 1830s, from both indigenous and European sources.

A study proposes that the arrival of the dingoes may have led to the extinction of the Tasmanian devil, the thylacine, and the Tasmanian native hen in mainland Australia because the dingo might have competed with the thylacine and devil in preying on the native hen. However, the study also proposes that an increase in the human population that gathered pace around 4,000 years ago may have led to this.

However, a counter-argument is that the two species were not in direct competition with one another because the dingo primarily hunts during the day, whereas it is thought that the thylacine hunted mostly at night. Nonetheless, recent morphological examinations of dingo and thylacine skulls show that although the dingo had a weaker bite, its skull could resist greater stresses, allowing it to pull down larger prey than the thylacine. The thylacine was less versatile in its diet than the omnivorous dingo. Their ranges appear to have overlapped because thylacine subfossil remains have been discovered near those of dingoes. The adoption of the dingo as a hunting companion by the indigenous peoples would have put the thylacine under increased pressure.

Although the thylacine was extinct on mainland Australia, it survived into the 1930s on the island state of Tasmania. At the time of the first European settlement, the heaviest distributions were in the northeast, northwest and north-midland regions of the state. They were rarely sighted during this time but slowly began to be credited with numerous attacks on sheep. This led to the establishment of bounty schemes in an attempt to control their numbers. The Van Diemen's Land Company introduced bounties on the thylacine from as early as 1830, and between 1888 and 1909 the Tasmanian government paid £1 per head for dead adult thylacines and ten shillings for pups. In all, they paid out 2,184 bounties, but it is thought that many more thylacines were killed than were claimed for. Its extinction is popularly attributed to these relentless efforts by farmers and bounty hunters.

However, it is likely that multiple factors led to its decline and eventual extinction, including competition with wild dogs introduced by European settlers, erosion of its habitat, the concurrent extinction of prey species, and a distemper-like disease that affected many captive specimens at the time. A study from 2012 also found that were it not for an epidemiological influence, the extinction of thylacine would have been at best prevented, at worst postponed. "The chance of saving the species, through changing public opinion, and the re-establishment of captive breeding, could have been possible. But the marsupi-carnivore disease, with its dramatic effect on individual thylacine longevity and juvenile mortality, came far too soon, and spread far too quickly."

Whatever the reason, the animal had become extremely rare in the wild by the late 1920s. Despite the fact that the thylacine was believed by many to be responsible for attacks on sheep, in 1928 the Tasmanian Advisory Committee for Native Fauna recommended a reserve similar to the Savage River National Park to protect any remaining thylacines, with potential sites of suitable habitat including the Arthur- Pieman area of western Tasmania.

This 1921 photo by Henry Burrell of a thylacine with a chicken was widely distributed and may have helped secure the animal's reputation as a poultry thief. In fact the image is cropped to hide the fenced run and housing, and analysis by one researcher has concluded that this thylacine is a mounted specimen, posed for the camera. The photograph may even have involved photo manipulation.[A]

Wilf Batty with the last thylacine that was killed in the wild.

Thylacine (Tasmanian tiger) trap, intended for Mount Morriston, 1823, by Thomas Scott

The last captive thylacine, often referred to as Benjamin, lived at Hobart Zoo until its death on the night of September 6, 1936. Its source has long been disputed. Until recently, Elias Churchill was regularly quoted as being the captor, but there appears to be little evidence to support this claim. Two more recent candidates are far better placed evidentially as the probable source - the Kaine capture near Preolenna in 1931 and the Delphin capture near Waratah in 1930. The thylacine died on the night of 6-7 September 1936. It is believed to have died as the result of neglect-locked out of its sheltered sleeping quarters, it was exposed to a rare occurrence of extreme Tasmanian weather: extreme heat during the day and freezing temperatures at night. This thylacine features in the last known motion picture footage of a living specimen: 45 seconds of black-and-white footage showing the thylacine in its enclosure in a clip taken in 1933, by naturalist David Fleay. In the film footage, the thylacine is seen seated, walking around the perimeter of its enclosure, yawning, sniffing the air, scratching itself (in the same manner as a dog), and lying down. Fleay was bitten on the buttock whilst shooting the film. In 2021, a digitally colourised 80-second clip of Fleay's footage of Benjamin was released by the National Film and Sound Archive of Australia, to mark National Threatened Species Day. The digital colourisation process was completed by a Paris-based company, based on historic primary and secondary descriptions to ensure an as exact colour match as possible.

Frank Darby, who claimed to have been a keeper at Hobart Zoo, suggested Benjamin as having been the animal's pet name in a newspaper article of May 1968. No documentation exists to suggest that it ever had a pet name, and Alison Reid ( de facto curator at the zoo) and Michael Sharland (publicist for the zoo) denied that Frank Darby had ever worked at the zoo or that the name Benjamin was ever used for the animal. Darby also appears to be the source for the claim that the last thylacine was a male. Robert Paddle was unable to uncover any records of any Frank Darby having been employed by Beaumaris/Hobart Zoo during the time that Reid or her father was in charge and noted several inconsistencies in the story Darby told during his interview in 1968.

The sex of the last captive thylacine has been a point of debate since its death at the Beaumaris Zoo in Hobart, Tasmania. In 2011, a detailed examination of a single frame from the motion film footage confirmed that the thylacine was male. When frame III is enlarged the scrotum can be seen; and by enhancing the frame, the outline of the individual testes is discernable.

After the thylacine's death, the zoo expected that it would soon find a replacement, and "Benjamin"'s death was not reported on in the media at the time. Although there had been a conservation movement pressing for the thylacine's protection since 1901, driven in part by the increasing difficulty in obtaining specimens for overseas collections, political difficulties prevented any form of protection coming into force until 1936. Official protection of the species by the Tasmanian government was introduced on 10 July 1936, 59 days before the last known specimen died in captivity.

A thylacine was reportedly shot and photographed at Mawbanna in 1938. A 1957 sighting from a helicopter could not be confirmed on the ground. An animal killed in Sandy Cape at night in 1961 was tentatively identified as a thylacine. The results of subsequent searches indicated a strong possibility of the survival of the species in Tasmania into the 1960s. Searches by Dr. Eric Guiler and David Fleay in the northwest of Tasmania found footprints and scats that may have belonged to the animal, heard vocalisations matching the description of those of the thylacine, and collected anecdotal evidence from people reported having sighted the animal.

Despite the searches, no conclusive evidence was found to point to its continued existence in the wild. Between 1967 and 1973, zoologist Jeremy Griffith and dairy farmer James Malley conducted what is regarded as the most intensive search ever carried out, including exhaustive surveys along Tasmania's west coast, installation of automatic camera stations, prompt investigations of claimed sightings, and in 1972 the creation of the Thylacine Expeditionary Research Team with Dr. Bob Brown, which concluded without finding any evidence of the thylacine's existence.

The thylacine held the status of endangered species until the 1980s. International standards at the time stated that an animal could not be declared extinct until 50 years had passed without a confirmed record. Since no definitive proof of the thylacine's existence in the wild had been obtained for more than 50 years, it met that official criterion and was declared extinct by the International Union for Conservation of Nature in 1982 and by the Tasmanian government in 1986. The species was removed from Appendix I of the Convention on International Trade in Endangered Species of Wild Fauna and Flora ( CITES) in 2013.

In 1982, a researcher with the Tasmania Parks and Wildlife Service, Hans Naarding, observed what he believed to be a thylacine for three minutes during the night at a site near Arthur River in northwestern Tasmania. The sighting led to an extensive year-long government-funded search. In 1985, Aboriginal tracker Kevin Cameron produced five photographs which appear to show a digging thylacine, which he stated he took in Western Australia.

In January 1995, a Parks and Wildlife officer reported observing a thylacine in the Pyengana region of northeastern Tasmania in the early hours of the morning. Later searches revealed no trace of the animal. In 1997, it was reported that locals and missionaries near Mount Carstensz in Western New Guinea had sighted thylacines. The locals had apparently known about them for many years but had not made an official report. In February 2005 Klaus Emmerichs, a German tourist, claimed to have taken digital photographs of a thylacine he saw near the Lake St Clair National Park, but the authenticity of the photographs has not been established. The photos were published in April 2006, fourteen months after the sighting. The photographs, which showed only the back of the animal, were said by those who studied them to be inconclusive as evidence of the thylacine's continued existence.

In light of two detailed sightings around 1983 from the remote Cape York Peninsula of mainland Australia, scientists led by Bill Laurance announced plans in 2017 to survey the area for thylacines using camera traps.

According to the Department of Primary Industries, Parks, Water and Environment, there have been eight unconfirmed thylacine sighting reports between 2016 and 2019, with the latest unconfirmed visual sighting on 25 February 2018.

Since the disappearance and effective extinction of the thylacine, speculation and searches for a living specimen have become a topic of interest to some members of the cryptozoology subculture. The search for the animal has been the subject of books and articles, with many reported sightings that are largely regarded as dubious. According to writer Errol Fuller, the most likely record of the species persistence was proposed by Athol Douglas in the journal Cryptozoology, where Douglas challenges the carbon dating of the specimen found at Mundrabilla in South Australia as 4,500 years old; Douglas proposed instead that the well-preserved thylacine carcass was several months old when discovered. The dating of the specimen has not been reassessed.

A preliminary 2021 study published by Brook et al.. compiles many of the alleged sightings of thylacines in Tasmania throughout the 20th century and claims that contrary to beliefs that thylacines went extinct in the 1930s, the Tasmanian thylacine may have actually lasted throughout the 20th century with a window of extinction between the 1980s and the present day, with the likely extinction date being between the late 1990s and early 2000s. The study claims that the reason behind the apparent lack of confirmed sightings during this wide and relatively recent time range is the lack of wide deployment of camera traps (which have been used to rediscover other elusive carnivores, such as the Zanzibar leopard) in Tasmania until the early 21st century, by which time the thylacine would be extinct or very nearly so. This study has not yet been peer-reviewed.

In 1983, the American media mogul Ted Turner offered a $100,000 reward for proof of the continued existence of the thylacine. A letter sent in response to an inquiry by a thylacine-searcher, Murray McAllister in 2000, indicated that the reward had been withdrawn. In March 2005, Australian news magazine The Bulletin, as part of its 125th anniversary celebrations, offered a $1.25 million reward for the safe capture of a live thylacine. When the offer closed at the end of June 2005, no one had produced any evidence of the animal's existence. An offer of $1.75 million has subsequently been offered by a Tasmanian tour operator, Stewart Malcolm. Trapping is illegal under the terms of the thylacine's protection, so any reward made for its capture is invalid, since a trapping license would not be issued.

The Australian Museum in Sydney began a cloning project in 1999. The goal was to use genetic material from specimens taken and preserved in the early 20th century to clone new individuals and restore the species from extinction. Several molecular biologists have dismissed the project as a public relations stunt and its chief proponent, Mike Archer, received a 2002 nomination for the Australian Skeptics Bent Spoon Award for "the perpetrator of the most preposterous piece of paranormal or pseudo-scientific piffle."

In late 2002, the researchers had some success as they were able to extract replicable DNA from the specimens. On 15 February 2005, the museum announced that it was stopping the project after tests showed the DNA retrieved from the specimens had been too badly degraded to be usable. In May 2005, Archer, the University of New South Wales Dean of Science at the time, former director of the Australian Museum and evolutionary biologist, announced that the project was being restarted by a group of interested universities and a research institute.

In 2008, researchers Andrew J. Pask and Marilyn B. Renfree from the University of Melbourne and Richard R. Behringer from the University of Texas at Austin reported that they managed to restore functionality of a gene Col2A1 enhancer obtained from 100-year-old ethanol-fixed thylacine tissues from museum collections. The genetic material was found working in transgenic mice. The research enhanced hopes of eventually restoring the population of thylacines. That same year, another group of researchers successfully sequenced the complete thylacine mitochondrial genome from two museum specimens. Their success suggests that it may be feasible to sequence the complete thylacine nuclear genome from museum specimens. Their results were published in the journal Genome Research in 2009.

Mike Archer reported about the possibilities of resurrecting the thylacine and the gastric-brooding frog at TED2013. Stewart Brand spoke at TED2013 about the ethics and possibilities of de-extinction, and made reference to thylacine in his talk. A draft genome sequence of the thylacine was produced by Feigin et al. (2017) using the DNA extracted from an ethanol-preserved pouch young specimen provided by Museums Victoria. The neonatal development of the thylacine was also reconstructed from preserved pouch young specimens from several museum collections. Researchers used the genome to study aspects of the thylacine's evolution and natural history, including the genetic basis of its convergence with canids, clarifying its evolutionary relationships with other marsupials and examining changes in its population size over time. The genomic basis of the convergent evolution between the thylacine and grey wolf was further investigated in 2019, with researchers identifying many non-coding genomic regions displaying accelerated rates of evolution, a test for genetic regions evolving under Positive Selection. In 2021, researchers further identified a link between the convergent skull shapes of the thylacine and wolf, and the previously identified genetic candidates. It was reported that specific groups of skull bones, which develop from a common population of stem cells called Neural crest cells, showed strong similarity between the thylacine and wolf and corresponded with the underlying convergent genetic candidates which influence these cells during development.

Research into thylacines relies heavily on specimens held in museums and other institutions across the world. The number and distribution of these specimens has been recorded in the International Thylacine Specimen Database.

The best known illustrations of Thylacinus cynocephalus were those in Gould's The Mammals of Australia (1845-63), often copied since its publication and the most frequently reproduced, and given further exposure by Cascade Brewery's appropriation for its label in 1987. The government of Tasmania published a monochromatic reproduction of the same image in 1934, the author Louisa Anne Meredith also copied it for Tasmanian Friends and Foes (1881).

The thylacine has been used extensively as a symbol of Tasmania. The animal is featured on the official Tasmanian coat of arms. It is used in the official logos for the Tasmanian government and the City of Launceston. It is also used on the University of Tasmania's ceremonial mace and the badge of the submarine HMAS Dechaineux. Since 1998, it has been prominently displayed on Tasmanian vehicle number plates.

The plight of the thylacine was featured in a campaign for The Wilderness Society entitled We used to hunt thylacines. In video games, boomerang-wielding Ty the Tasmanian Tiger is the star of his own trilogy. Tiny Tiger, a villain in the popular Crash Bandicoot video game series is a mutated thylacine. Characters in the early 1990s cartoon included the neurotic Wendell T. Wolf, the last surviving Tasmanian wolf. is a children's book based on an Aboriginal myth about how the thylacine got its stripes. The thylacine character Rolf is featured in the extinction musical Rockford's Rock Opera. The thylacine is the mascot for the Tasmanian cricket team, and has appeared in postage stamps from Australia, Equatorial Guinea, and Micronesia.

is a novel by Julia Leigh about an Australian hunter who sets out to find the last thylacine. The novel has been adapted into a 2011 film by the same name, starring Willem Dafoe.

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43. ^ "Amendments to Appendices I and II of the Convention" (PDF). Convention on International Trade in Endangered Species of Wild Fauna and Flora. 19 April 2013. Archived (PDF) from the original on 22 July 2015.

44. ^ Dalton, Jane. "The last Tasmanian tiger is thought to have died more than 80 years ago. But 8 recent sightings suggest the creature may not be gone". Business Insider.

45. ^ Loxton, Daniel and Donald Prothero. Abominable Science!: Origins of the Yeti, Nessie, and Other Famous Cryptids, p. 323 & 327. Columbia University Press. ISBN 978-0-231-15321-8

46. ^ Brook, Barry W.; Sleightholme, Stephen R.; Campbell, Cameron R.; Jarić, Ivan; Buettel, Jessie C. (19 January 2021). "Extinction of the Thylacine". bioRxiv: 2021.01.18.427214. doi:10.1101/2021.01.18.427214. S2CID 231714223.

47. ^ Smith, Deborah (17 February 2005). "Tassie tiger cloning 'pie-in-the-sky science'". The Sydney Morning Herald. Archived from the original on 24 March 2006.

48. ^ Sanderson, Katharine (20 May 2008). "Tasmanian tiger gene lives again". Nature News. doi:10.1038/news.2008.841.

49. Brand, Stewart (February 2013). ^ "Stewart Brand: The dawn of de-extinction. Are you ready?" Archived 4 October 2013 at the Wayback Machine. ted.com.

50. ^ Newton, Axel H.; Spoutil, Frantisek; Prochazka, Jan; Black, Jay R.; Medlock, Kathryn; Paddle, Robert N.; Knitlova, Marketa; Hipsley, Christy A.; Pask, Andrew J. (February 2018). "Letting the 'cat' out of the bag: pouch young development of the extinct Tasmanian tiger revealed by X-ray computed tomography". Royal Society Open Science. 5 (2): 171914. Bibcode:2018RSOS....571914N. doi:10.1098/rsos.171914. ISSN 2054-5703. PMC . PMID 29515893.

51. Rehberg, C. (2017) ^ Photomicrographs of thylacine hair Archived 14 January 2018 at the Wayback Machine. http://www.wherelightmeetsdark.com.au Archived 14 January 2018 at the Wayback Machine.

52. Rehberg, C. (2018) ^ Infrared flash camera trap photography of a thylacine taxidermy Archived 14 January 2018 at the Wayback Machine. http://www.wherelightmeetsdark.com.au Archived 14 January 2018 at the Wayback Machine.

53. ^ Stephens, Matthew; Williams, Robyn (13 June 2004). "John Gould's place in Australian culture". Ockham's Razor. Australian Broadcasting Corporation. Archived from the original on 5 February 2010.

Bailey, C. (2013) Shadow of the Thylacine. Five mile press. ISBN 978-1-74346-485-4

Freeman, Carol (2014). Paper Tiger: How Pictures Shaped the Thylacine (illustrated ed.). Hobart, Tasmania: Forty South Publishing. ISBN 978-0992279172.

Guiler, E. (1985) Thylacine: The Tragedy of the Tasmanian Tiger. Oxford University Press. ISBN 978-0-19-554603-3

Guiler, E. & Godard, P. (1998) Tasmanian Tiger: A Lesson to Be Learnt. Abrolhos Publishing. ISBN 978-0-9585791-0-0

Guiler, E. R. (1961a). "Breeding season of the thylacine". Journal of Mammalogy. 42 (3): 396-397. doi:10.2307/1377040. JSTOR 1377040.

Guiler, E. R. (1961b). "The former distribution and decline of the Thylacine". Australian Journal of Science. 23 (7): 207-210.

Heath, A. R. (2014) Thylacine: Confirming Tasmanian Tigers Still Live. Vivid Publishing. ISBN 9781925209402.

Leigh, J. (1999) The Hunter. Faber and Faber. ISBN 9780571200191.

Lord, C. (1927). "Existing Tasmanian marsupials". Papers and Proceedings of the Royal Society of Tasmania. Royal Society of Tasmania. 61: 17-24.

Lowry, D. C. (1967) "Discovery of a Thylacine (Tasmanian Tiger) Carcase in a Cave near Eucla, Western Australia". Helictite.

Owen, David (2003). Thylacine: the Tragic Tale of the Tasmanian Tiger. Allen & Unwin. ISBN 978-1-86508-758-0. Archived from the original on 1 April 2012.

Pearce, R (1976). "Thylacines in Tasmania". Australian Mammal Society Bulletin. 3: 58.

Sleightholme, S. & Ayliffe, N. (2005) International Thylacine Specimen Database. CD-Rom. Master Copy: Zoological Society, London

Smith, S. J. (1980) "The Tasmanian Tiger - 1980. A report on an investigation of the current status of thylacine Thylacinus cynocephalus, funded by the World Wildlife Fund Australia". Hobart: National Parks and Wildlife Service, Tasmania.

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The thylacine ( THY-lə-seen , or THY-lə-syne , also ) ( Thylacinus cynocephalus) is an extinct carnivorous marsupial that was native to the Australian mainland and the islands of Tasmania and New Guinea. It was the largest known carnivorous marsupial in the world prior to its extinction, evolving about 2 million years ago.

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This is sketch done with Procreate
Paint plants with airbrush texture to show some realistic plants. There is a sense of pattern

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This sketch is the scene of China trade that I painted with ProCreate
It shows respect and appreciation for each other's culture, art and life in a polite way.

I still like this picture. I think the texture enriches the details. But as a real piece, the composition can be much richer

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A small doodle drawn with a watercolor pen
Bright colors and geometric shapes gave a lot of inspiration
This unpainted geometric line and color block combination works well

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Because the design of Memphis is very futuristic and visual impact, I choose several materials with completely different texture styles to collage, so as to achieve similar visual effects.
The overall shape is very relaxed and I like this Sketch

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A huge haul of Memphis design is up for auction at Wright - The Spaces

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Postmodernism fans take note: one of the biggest Memphis Group collections is going under the hammer at Wright this week, headlined by a cache of Sottsass pieces.

There are more than 100 objects in the Dennis Zanone Collection lot, many of which were shown at The Dixon Museum in Memphis in 2014. Memphis enthusiasts can browse pieces large and small, choosing from jewellery and tableware as well as furniture, which Zazone - a photographer - has collected for decades. (Art News did an interview with him back in 2015 about his 'obsession' with the maligned design movement.}

The collection includes almost 50 objects by Ettore Sottsass - who founded the Memphis Group in 1980 - including his Tahiti table lamp, which starts at $1,000. Other members of the collective are also represented, including Nathalie du Pasquier's leopard print Onion Bowl and Marco Zanini's Morgana necklace, and Martine Bedin's Super Lamp.

Lot 111. Max bookcase by Ettore Sottsass, estimate $10,000-15,000

Lot 120. Casablanca cabinet by Ettore Sottsass, estimate: $6,000-8,000

Photographer Rob Low captures London's eccentric Postmodern landmarks

Lot 138. Malabar cabinet by Ettore Sottsass, estimate: $5,000-7,000

Lot 131. Ginza Robot cabinet by Masanori Umeda, estimate: $6,000-8,000

There's even a set of 12 brightly coloured, bold printed Memphis shirts on offer. Lots in the postmodernism auction start from $50 for a pair of Sottsass Tahiti earring, with larger pieces estimated from $10,000 and above. The Zazone Collection goes under the hammer on 3 October, at 12 pm CT.

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A huge haul of Memphis design is up for auction at Wright - The Spaces

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Postmodernism fans take note: one of the biggest Memphis Group collections is going under the hammer at Wright this week, headlined by a cache of Sottsass pieces. There are more than 100 objects in the Dennis Zanone Collection lot, many of which were shown at The Dixon Museum in Memphis in 2014.

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Described by one critic as "a shotgun wedding between Bauhaus and Fisher-Price", the Memphis design aesthetic embodies the 1980s in so many ways: colourful, kitsch and garish. In recent years it's come back into fashion in a big way, so what can we learn from this major design trend?

Simple geometric shapes; flat colours combined in bold, contrasting palettes; stylised graphic patterns defined by black-and-white stripes and abstract squiggles - these are the ingredients of Memphis-inspired design, fuelled by influences from earlier movements such as Pop Art and Art Deco.

How the Memphis Group began

The Memphis Group was a collaborative design group founded by Italian designer Ettore Sottsass, with its roots in furniture design - it made its influential debut at the Milan furniture fair in 1981. But it was relatively short-lived as an actual collective, closing down after just six years.

Memphis Group products were never intended to be timeless, or to have mainstream appeal. They were a statement; a protest against the neutral, understated and functional Modernism that preceded them. Here was a passionate movement driven by form, not function - designed to provoke an emotional response.

Not all those responses were positive. Memphis Group products were much-derided by critics at the time for being ugly, expensive and impractical. Many assumed the movement was a brief flash in the pan. Few would have predicted its ultimate cultural impact, or the revival of the aesthetic three decades on.

The modern Memphis design trend

After the collective shut down, many of its members continued practicing individually. Sottsass himself was a successful postmodernist architect, and it was only after his death in 2007 that interest in the Memphis design aesthetic was re-awakened in a big way.

The trend has been accelerating ever since. Many of the examples featured below are from the last five years, and some of them see original Memphis Group members returning to form.

Contemporary creatives are also putting a fresh spin on the Memphis design aesthetic, such as London-based French designer Camille Walala, who graduated from the University of Brighton in 2009.

While the patterns and shapes are familiar, in the modern revival bold primary colours are supplemented by mellow teals and soft pinks, blended with greys as well as the trademark stark black-and-white. Refined production methods and more high-end materials have also increased the quality of the products themselves - but the retro appeal and rebellious spirit remains strong.

Read on to discover 10 standout examples of the Memphis design aesthetic...

01. Ettore Sottsass' Carlton

The original Memphis Group created a wide range of bizarre creations that won celebrity fans from Karl Lagerfeld to David Bowie. The Ashoka lamp is one of them - but arguably the most iconic of all, and therefore the perfect start to this list, is Ettore Sottsass' Carlton.

Built from sections of laminated MDF, the Carlton could be seen as a bookcase, a room divider or a dresser - or all three - but like many of the Memphis Group's creations, it seems equally comfortable as a modern art installation.

Designed in 1981, it can be found in design museums around the world, and in fact it's still available for purchase from the Memphis Group website - for the princely sum of €13,200.40 (around $16,154 or £11,636).

Even if you could afford one, you'd need a substantial living room to house it, as the Carlton is enormous - almost two metres square. It's also the perfect checklist for the Memphis style: a bold colour palette, strong, stark lines, and a geometric structure: its various partitions, voids and shelves are based around a system of equilateral triangles.

02. The original 1995 Apple Watch

Most people would argue the Apple Watch was released in 2015, and they'd be right. But the high-end glossy touchscreen smart watch wasn't technically Apple's first attempt: 20 years earlier, it had a Memphis-inspired predecessor.

Part of a marketing drive, the quartz-faced, analogue timepiece was never actually sold as a standalone item, but offered as a freebie if you upgraded to Mac System 7.5.

Long before the modern-day Memphis revival, this watch kept the aesthetic alive in the mid-90s with a bold, simple design based on geometric shapes, bold primary colours, and a delightfully playful squiggle for a second-hand.

03. Christian Dior's 2011 fall collection

After Sottsass' death, interest in the Memphis style began to grow. It influenced high fashion houses Missoni, Karl Lagerfeld and Christian Dior, and the latter's 2011 collection helped kick-start the modern movement in earnest.

Bold, graphic black-and-white stripes and crazy-paving-style graphics; vibrant contrasting palettes, and patterns defined by simple shapes and squiggles; and pure, chunky geometric shapes worn as headgear combined to make the catwalk show a must-have checklist of Memphis inspiration.

And once Katy Perry donned one of the collection's utterly unmissable outfits at the MTV Video Music Awards later that year, there was no going back: Memphis was firmly on the world's radar.

04. Nathalie Du Pasquier's Tapigri rug

Two years after Christian Dior wowed the fashion world, Memphis-inspired patterns and designs were everywhere at Milan Design Week 2013. Original Memphis Group member Nathalie Du Pasquier applied her distinctive graphic patterns to a rug produced by La Chance, revealed at the show.

Like a visual crib-sheet of Memphis motifs, Du Pasquier's Tapigri rug features simple 3D silhouettes of cubes, decorated by rough monochrome patterns, on a background of overlapping dark blue squares and circles - with a bright primary-yellow trim. The same design is also available in black, white and grey for a more Art Deco vibe.

05. Nathalie Du Pasquier's American Apparel 2014 collection

The following year, Nathalie Du Pasquier took Memphis firmly into the mainstream when she collaborated with American Apparel on an extensive Memphis-inspired clothing range. Also in 2014, Sofia Coppola confessed to W magazine that she'd been obsessed with Memphis since childhood.

Featuring her trademark pared-back geometric shapes and colourful, graphic prints, Du Pasquier's 43-piece American Apparel collection - commissioned by creative director Iris Alonzo - spanned womenswear, menswear and accessories.

Her range included monochrome grid patterns at varying scales, overlaid by squiggly shapes and textured circular motifs, with the classic Memphis primary colours softened in a muted palette of lemon yellow, teal, lilac and soft pink.

06. Camille Walala's Dream Come True Building

By 2015, the baton had passed to a new generation of Memphis-inspired designers. One of the foremost modern proponents of the style, 2009 graduate Camille Walala brought the spirit of the Memphis Group to the heart of Shoreditch by emblazoning her unmistakable style onto a five-storey building on Great Eastern Street: the Dream Come True Building.

Now an East London icon, the mural features many of the key components of the Memphis style: black-and-white stripes and speckled patterns; thick, bold black linework; simple geometric shapes and a vibrant colour palette that sits teal and lilac alongside the primary-colour staples.

Later that year, Walala also took over Islington-based design store Aria with an extensive new range of Memphis-style products as part of London Design Week - encompassing furniture, ceramics, prints, shelving and more. Teal and soft pink featured prominently in the installation, as well as panels of monochrome grids and stripes.

07. Kartell's flagship store tribute

Italian furniture and homewares brand Kartell staged its own tribute to the Memphis design aesthetic in 2015 by finally releasing a range of products that Ettore Sottsass - then in his late 80s - had originally designed for it in 2004.

Innovations in materials and production methods in that intervening decade finally made some of Sottsass' more ambitious visions possible, and the range totally dominated the Kartell store, which was decorated with sharp zigzags, triangles, dots, speckles and criss-cross patterns in bold shades of orange, teal, yellow and magenta - a modern twist on the Memphis vibe.

08. Alessandro Mendini's Supreme skateboards

Nathalie Du Pasquier wasn't the only original Memphis Group member to enjoy a resurgence as part of the modern Memphis movement. In 2016, her fellow collaborator Alessandro Mendini was commissioned by streetwear brand Supreme to design a set of skateboards in the Memphis style.

It put the Memphis movement on something of a design pedestal, as previous Supreme collaborations from the world of design included Peter Saville's album art for Joy Division, Roy Lichtenstein's pop art comics, and Damien Hirst's signature dotilism.

Best known for his radical furniture design and striking, brightly-coloured architecture, Mendini's skate deck designs put a modern twist on the Memphis style, overlaying abstract shapes, squiggles and lines and adding a splash of cyan to the well-established combo of pale pink, teal and orange.

09. Auction of David Bowie's Memphis collection

2016 was a year seemingly cursed by high-profile celebrity deaths, including the inimitable David Bowie - who, it transpired, was a hugely prolific collector of Memphis Group artefacts, having accumulated over 400 of them since meeting Sottsass during his heyday in the 1980s.

Bowie's extensive art collection was auctioned at Sotheby's over three days, raising £1.4 million.

One highlight was a lipstick-red Valentine typewriter by Sottsass - estimated at £300-500, sold for £47,500 - as well as an iconic Casablanca Sideboard from the original 1981 Memphis Group exhibition.

Boosted by Bowie's untouchable star status, this auction further cemented Memphis Group design in general, and Sottsass in particular, in the public consciousness.

10. Garage Italia Customs' Memphis-inspired BMWs

Which brings us to 2017, and after a journey that started as a relatively brief experimental movement within furniture design, the Memphis design trend has weaved its way through haute couture fashion, textiles and mainstream apparel into murals, homewares, streetwear and pattern design.

Where next? A giant corporate superbrand, of course. BMW wanted a piece of the action, and brought in Garage Italia Customs to give two of its cars - an i3 and an i8 - Memphis Group makeovers just in time for Milan Design Week. The resulting paint jobs featured a patchwork of bright colours and bold patterns, continued inside the vehicle with patterned textiles.

Designed under the guidance of original Memphis Group member Michele de Lucchi, the paintwork comes complete with trademark monochrome stripes and grid pattern, the well-established yellow, teal and orange colour palette, and distinctive Memphis-style geometric shapes that are carefully adapted to the contours of the vehicle.
You might also like these:

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Described by one critic as "a shotgun wedding between Bauhaus and Fisher-Price", the Memphis design aesthetic embodies the 1980s in so many ways: colourful, kitsch and garish. In recent years it's come back into fashion in a big way, so what can we learn from this major design trend?

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A collection of objects by The Memphis Group

Memphis Group furniture featured within a living room space

The Memphis Group, also known as Memphis Milano, was an Italian design and architecture group founded by Ettore Sottsass. It was active from 1980 to 1987. The group designed postmodern furniture, lighting, fabrics, carpets, ceramics, glass and metal objects.

The Memphis group's work often incorporated plastic laminate and terrazzo materials and was characterized by ephemeral design featuring colorful and abstract decoration as well as asymmetrical shapes, sometimes arbitrarily alluding to exotic or earlier styles and designs.

Memphis was born on the evening of December 11, 1980, when Sottsass invited a group of young designers and architects to discuss the future of design. Together, they wanted to change the concept of what design had been focused on, which had been Modernism and aimed to do so by creating and forming a new design collective. After their initial meeting, the group went away to brainstorm different ideas and concepts, and three months later, came back together ready to share over a hundred drawings they had produced during that time.

The inspiration behind naming themselves "Memphis" came about during their first meeting when Bob Dylan's record " Stuck Inside of Mobile with the Memphis Blues Again" had been playing repeatedly in the background. For Sottsass, the name "Memphis" represented two things: a city in Tennessee, and ancient Egypt's capital city. The group of designers then went ahead and used the ambiguity behind the name "Memphis" to represent and symbolise their ambiguous design philosophies of furniture, objects and textiles. In Sottsass' case specifically, he showed great interest in the middle-class taste, the traditions of the Third World and the East, and unspoiled nature.

Sottsass left the group in 1985 to focus on his design and architecture firm, Sottsass Associati.

The group disbanded in 1987.

Carlton room divider by Ettore Sottsass for Memphis, 1981

Zojirushi Carafe

Memphis' colorful furniture has been described as "bizarre", "misunderstood", "loathed", and "a shotgun wedding between Bauhaus and Fisher-Price".

During their active years, the group designed a series of non-conformist furniture. One of their most popular and well-known designs is the "Carlton" Room Divider, a totemic pole incorporating a variety of bright colours, solid shapes and voids. The structure itself is constructed using cheap plastic laminates, though designed to be sold by a luxury market, and incorporates a series of equilateral triangles, both real and implied.

The mid-1980s to early 1990s design of furniture, architecture, household items, and clothes was heavily influenced by Memphis Design. Surfing, skateboarding, skiing and BMX companies were quick to adopt the aesthetic into their designs. Television shows such as showcased many architectural examples. Nickelodeon used the style as the basis for their Double Dare set design.

Memphis designs served as inspiration for the Christian Dior's Fall/Winter 2011-2012 haute couture collection fashion show, for the Winter 2015 Missoni collection,

Notable Memphis design collectors included fashion designer Karl Lagerfeld and musician David Bowie. After Bowie's death in 2016, part of his collection, including the pieces he owned from the Memphis Group, was auctioned off at a Sotheby's auction.

A "flat, geometric, figurative" illustration style "usually made up of solid colours", popular in the late 2010s, particularly with startups, was dubbed " Corporate Memphis" by Wired Magazine for its resemblance to Memphis designs.

Being the founder of the group, Ettore Sottsass became the leader of the Memphis Group and is now one of the most well known Italian post-War designers.

Martine Bedin, a French designer, was also a member of Memphis. She first joined the group when she was in her twenties and was deemed in charge of overlooking all Memphis lighting that was produced. Her father had been an engineer and she was also continuously 'playing with forbidden things', all of which contributed to her designated position. During her time in Memphis, Bedin designed and thought of numerous ideas. Her design of the Super lamp placed on wheels, first designed in 1978, supposedly represented, along with a group of other objects, 'friend-like' items. Bedin's lamp was later produced in an artisanal workshop, where all Memphis products were manufactured, and her first prototype is now featured in the Victoria & Albert Museum, in London, England.

Peter Shire, a sculptor, designer and potter originally from California, was another figure who formed the Memphis Group. He was first discovered thanks to Wet: The Magazine of Gourmet Bathing, a lifestyle publication on the west coast that Sottsass' partner on occasion would contribute to. In one article featuring Shire's teapots in 1977, he quoted "I'm not much of a tea-drinker [...] Actually my first impulse is to put Coke in teapots. I'm a big Coke drinker and I'd love to see Coke flowing out of the teapots and foaming on the ground." His unique approach and attitude later secured him a spot as a member of Memphis.

After Memphis' disbandment in 1987, members went their separate ways. Some like Nathalie Du Pasquier, a French-born ex-member of the group, have collaborated with brands and companies in recent years. In 2013, she and the Danish company HAY collaborated where she designed and created Memphis-esque patterned bags. She later on also collaborated with American Apparel, a Canadian-founded fashion company that moved to California, where she designed one of their collections.

The designs of the Memphis Group have acted as an inspiration to many other fashion companies, like Dior and Missoni, who both were inspired to design fashion collections based on Memphis' original work.

Memphis included contributions from many international architects and designers.

Notable members include:

Plaza dressing table and stool, by Michael Graves, 1981, painted wood, natural rosehips, mirrors and bulbs, Museum of Decorative Arts, Paris

Chair, by Michele de Lucchi, 1983, metal and wood with epoxy lacquer, and plastic, Museum of Decorative Arts, Paris

Carlton Bookcase, by Ettore Sottsass, 1981, wood veneer and plastic laminate, Museum of Decorative Arts, Paris

Radice, Barbara (1985). Memphis: Research, Experiences, Failures and Successes of New Design. New York: Rizzoli. ISBN 9780847805693

Sparke, Penny (1988). Italian Design: 1870 to the Present. London: Thames & Hudson. ISBN 0-500-23531-7

Horn, Richard (1985). Memphis: Objects, Furniture, and Patterns. New York: Wuarto Marketing. ISBN 0-89471-307-8

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The Memphis Group, also known as Memphis Milano, was an Italian design and architecture group founded by Ettore Sottsass. It was active from 1980 to 1987. The group designed postmodern furniture, lighting, fabrics, carpets, ceramics, glass and metal objects.

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This time I used collage scraps again, I quickly fell in love with scraps ➕soft Pastel this combination

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This time I used collage scraps again, I quickly fell in love with scraps ➕soft Pastel this combination

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I feel this artist's work is particularly suitable for paper cutting. But because of the previous several themes I made many paper-cuts, I used the black sponge padding in the goods to do the cutting this time

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Bill Traylor's Outsider Art Veers Into the Mainstream (Published 2019)

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A show at David Zwirner Gallery, with the William Louis-Dreyfus Foundation, argues for a more inclusive vision of American art.

The Alabama artist Bill Traylor in the 1940s, working under a shade tree in a Montgomery neighborhood. His figures and animals, sparely drawn, evoke weighty themes about the Jim Crow South. Credit... via the Alabama State Council on the Arts

The actress Julia Louis-Dreyfus remembers her father, William Louis-Dreyfus, swearing on the phone in the 1990s as he almost got outbid on a painting by Bill Traylor, the Alabama artist born into slavery who took up drawing around age 85.

"He amassed quite a number of them," she said of the works, which the artist made with scraps of cardboard as his canvas, using poster paint, charcoal and pencil. "He really likened Traylor to the greats - the Giacomettis, the Kandinskys."

Forty of those Traylors will go on view at the David Zwirner Gallery's Upper East Side space on Tuesday in an exhibition whose proceeds will mostly go toward the Harlem Children's Zone, a nonprofit organization that seeks to break the cycle of poverty for youngsters in Central Harlem through education.

The William Louis-Dreyfus Foundation, started by Mr. Louis-Dreyfus in 2013 with the fortune he made as a commodities trader, has sold Traylors at auction before. In January, " Woman Pointing at Man With Cane " went for a surprising $396,500 at Christie's, nearly 10 times its low estimate of $40,000 (those proceeds also went mostly to the Harlem charity).

But the foundation wanted to have this sale at Zwirner to reposition the artist, moving Traylor - who died in 1949 - from the somewhat limited categories of outsider, self-taught or folk art into the mainstream.

"We're hoping for the art market to see this as great contemporary art and not just as outsider art," said Jeffrey Gilman, president of the foundation. "Given Zwirner's position in the contemporary art market, we're hoping he can introduce this to a larger audience."

Bill Traylor, "Brown House With Multiple Figures and Birds" (1939-1942), poster paint and pencil on cardboard. Credit... Bill Traylor Family and The Artistry of Bill Traylor

"Green Man With Two Bottles" (1939-42), poster paint and pencil on cardboard. Credit... Bill Traylor Family and The Artistry of Bill Traylor

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Works by Traylor, from left: "Blue Construction With Black and Orange People and Dogs," "Black Dog With Bent Knee and Red Tongue," and "Brown Mule." being prepared for display in the Zwirner Gallery. Credit... Daniel Dorsa for The New York Times

That recontextualizing of Traylor is already underway, with museums all over the country aiming for a more inclusive view of America's visual culture and reviving neglected histories of many African-American artists who did not receive formal training.

Traylor was recently given a major retrospective - " Between Worlds: The Art of Bill Traylor " - at the Smithsonian American Art Museum, which closed in April. "He's not an important outsider artist," said Leslie Umberger, the Smithsonian curator who organized the show. "He's an important American artist."

Earlier this year, the Betty Cunningham gallery on the Lower East Side presented its second Traylor show. And at the Museum of Modern Art, which reopened to the public on Sunday after a substantial renovation and rehanging, there are now five Traylors on view.

Lucas Zwirner, thegallery's head of content, who selected the pieces in the Traylor show (priced between $60,000 and $500,000), said the renewed attention is long overdue. "When you look at those blues and the graphic qualities, that stuff just pops," he said. "It has gravitas, power, intensity and vision behind it."

The show includes prime examples of Traylor's signature style - elegantly spare, alternately buoyant and elegiac. Despite their stick-figure minimalism, the characters in his paintings and drawings have personality; his rabbits, birds and dogs seem to move through space.

"They're almost modern in composition," Ms. Louis-Dreyfus said, "and they have a joyfulness that reminds me of my father at his best."

Lucas Zwirner at the gallery in Manhattan surrounded by Traylor's work - men, dogs, owls, birds, lizards, spotted snakes and other figures. Credit... Daniel Dorsa for The New York Times

The artist's work is deepened by his singular history. After emancipation, Traylor spent much of his life as a sharecropper, and only started making art in his 80s, when he was living on the streets of Montgomery. His work was discovered in 1939 by another artist, Charles Shannon, who brought Traylor supplies.

Traylor made his art on the backs of candy packaging, discarded boxes and window advertisements. While his paintings and drawings often have a whimsical quality, they were informed by weighty themes like lynching, illiteracy and the Jim Crow South.

"It is the only existing body of work that has survived made by a person born enslaved," Ms. Umberger said. "So it really is a treasure trove of information from this person who was raised to believe he was not a legitimate part of American society, who in the last part of his life decides he's going to make this body of work that declares his self-worth and what he was witness to."

"He did not have a model for what he was doing," Ms. Umberger added. "He picked up a pencil and tried to figure out for himself what he was seeing."

Several critics have questioned the motivation behind theglamorous, almost heroic status accorded Traylor today by art dealers, curators and critics, which has fueled soaring prices at auction. While noting that Traylor's "drawn and painted subjects exude a remarkable exuberance," G. Roger Denson, writing in The Huffington Pos t in 2013, added, "We might also regard the same good humor as facilitating the conscience of the white liberal collectors in offering no threat of indictment for the social injustices being perpetuated on blacks."

The works in the Zwirner show were among the total of about 4,000 pieces in Mr. Louis-Dreyfus's collection, including works by the likes of Jean Dubuffet and Helen Frankenthaler, much of which is in a museum-quality converted electrical supply warehouse in Mount Kisco, N.Y., that is open to the public by appointment.

Mr. Louis-Dreyfus, who died at 84 in 2016, was the kind of collector who bought what he loved, rather than what the market or the art establishment deemed valuable, his daughter said.

"He did not approach art collecting like an asset," said Ms. Louis-Dreyfus, who in 2015 made a private documentary about her father and his collection. "His motive was looking for good art, period."

Julia Louis-Dreyfus, William Louis-Dreyfus and Geoffrey Canada, president of the Harlem Children's Zone, with a wall of Traylor works at the William Louis-Dreyfus Foundation's gallery in Mount Kisco, N.Y., in 2014. Credit... Brad Hall

Her father took a particular interest in self-taught artists who also included Thornton Dial, Nellie Mae Rowe and James Castle.

"He thought it was great art that was undiscovered and unappreciated," Mr. Gilman said.

Like many collectors of such work, Mr. Louis-Dreyfus eschewed the term "outsider art" as patronizing, his daughter said.

"It does have a pejorative connotation to it," said Ms. Louis-Dreyfus, who is best known for the television comedies "Veep" and "Seinfeld." "I'm very happy that this is moving the needle for Traylor."

In 2015, the foundation announced that proceeds from collection sales would be donated to the Harlem Children's Zone, an organization that inspired Mr. Louis-Dreyfus. "I'm an American patriot - I love this country - so I hate all its blemishes and the way it's treated the black man has been a huge blemish for hundreds of years which continues today," Mr. Louis-Dreyfus says in the documentary.

"There is something terribly natural, terribly right, about having the Bill Traylor collection turn into money for his progeny," he added, referring to the Zone's students. "I think he would have been - or he is - delighted about that. And I am, too."

Geoffrey Canada, the founder and president of the Zone, said the sale of Traylor's work seemed especially apt to help children in Harlem. "What could be more fitting than this work helping a generation of kids?" he said.

"It's incredible to try to imagine what this man had gone through, yet he still produced works of art that cry out about humanity and beauty and the promise of life," Mr. Canada added.

Ms. Louis-Dreyfus said she was proud of her father's decision to use his collection "to do good," describing it as "a full-circle moment."

"His whole life he was very upset about the social injustice in this country," she said, "so the fact that he's able to address it with this gift is a triumph for him."

"It's really an amazing move that he made at the end of his life," Ms. Louis-Dreyfus added. "It may be the best thing he ever did."

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Bill Traylor's Outsider Art Veers Into the Mainstream (Published 2019)

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A show at David Zwirner Gallery, with the William Louis-Dreyfus Foundation, argues for a more inclusive vision of American art. The actress Julia Louis-Dreyfus remembers her father, William Louis-Dreyfus, swearing on the phone in the 1990s as he almost got outbid on a painting by Bill Traylor, the Alabama artist born into slavery who took up drawing around age 85.

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Max's work has a strong sense of storytelling as well as absurdity. It's so illogical, but you can't help but wonder about the story behind this photo. It's atmospheric, like an illustration for a novel

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Max's works combine unrelated elements and have a sense of absurdity. But the conflict is consistent and conveys a strong emotion that makes the picture feel like a story.

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dada surreal salvador dali painting malwina chabocka collage art collage artists ernst paintings andré breton surrealist

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Soft pastel➕ Acrylic pigment ➕ color pencil

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Soft pastel➕ Acrylic pigment ➕ color pencil

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This picture has a great sense of atmosphere, probably because of the treatment of eyes and the use of soft pastel with a sense of light

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Because it is already a strong photographic work, in order to achieve good results in the second creation, you only need to add your own style
I also believe that drawing inspiration from other cross-major works is an effective way of Sketch. However, in order to avoid excessive intervention, we should not dig too deeply into the meta-work and add more of our own imagination

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He is really like painting, just follow the feeling of painting his photos, you can complete a painting
The overall color is yellow, and the skin is painted white, highlighting the huge colored nails, very focused work

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Strong colors and exaggerated and beautiful appearance are really the fashion that no one can beat
His presence is like the art itself

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I love the pouring paint and lip makeup

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rick owens alexander mcqueen fergus greer leigh glasses fashion sue tilley art michael alig london bowery club kid

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Leigh Bowery (26 March 1961 - 31 December 1994) was an Australian performance artist, club promoter, and fashion designer. Bowery was known for his flamboyant and outlandish costumes and makeup as well as his (sometimes controversial) performances.

Based in London for much of his adult life, he was a significant model and muse for the English painter Lucian Freud. Bowery's friend and fellow performer Boy George said he saw Bowery's outrageous performances a number of times, and that it "never ceased to impress or revolt".

Bowery was born and raised in Sunshine, a suburb of Melbourne, Australia. From an early age, he studied music, played piano, and went on to study fashion and design at RMIT for a year. He moved to London in 1980: 'I was so itchy to see new things and to see the world, that I just left', he said in 1987. There he became part of the New Romantic club scene. He worked in a clothing shop and appeared in commercials for Pepe jeans. He soon became an influential and lively figure in the underground clubs of London and New York, as well as in art and fashion circles. He attracted attention by wearing wildly outlandish and creative outfits that he made himself. He became friends and roommates with Guy Barnes (known as "Trojan") and David Walls. Bowery created costumes for them to wear, and the trio became known in the clubs as the Three Kings. In 2005 The National Portrait Gallery of Australia acquired a portrait of Bowery in his infamous fur coat by photographer David Gwinnutt. In 2007 The National Portrait Gallery, London purchased the David Gwinnutt portrait of Leigh Bowery and Trojan (Guy Barnes) which also appears in the Violette Editions book.

He was known as a club promoter, and created the club called Taboo, which began as an underground party, and then opened as a club in 1985. Taboo soon became "the place to be" with long queues for those waiting to get in. Drugs, particularly ecstasy, became a part of the dancing scene for the attendees. The club was known for defying sexual convention, for embracing " polysexualism", for creating a wild atmosphere and for playing unexpected song selections.

As a fashion designer, Bowery had several shows exhibiting his collections in London, New York and Tokyo. He has influenced several designers and artists, and was known for wildly creative costumes, makeup, wigs and headgear, all of which combined to be striking and often kitschy.

He also designed costumes for the Michael Clark Dance Company. When that company performed at the Brooklyn Academy of Music in 1987, Bowery won a Bessie Award for his work on No Fire Escape in Hell.

As a performance artist he enjoyed creating the costumes, and often shocking audiences. He first appeared at the Anthony D'Offay Gallery in London in 1988. In a signature performance, he would appear on stage in outlandish drag or other costume, looking huge. He would sing and dance about. Then suddenly, much to the audience's surprise, he would drop onto his back and simulate giving birth to a petite and naked young woman, who was his friend, assistant and later wife Nicola Bateman. She had been hidden for the first part of the performance by being strapped to Leigh's belly with her face in his crotch. Then she would slip out of her harness and appear to pop out of Bowery's belly along with a lot of stage blood and links of sausages, while Bowery wailed. Bowery would then bite off the umbilical cord and the two would take a bow. Boy George said he saw it a number of times, and that it "never ceased to impress or revolt".

Lucian Freud's model

In London in 1988, Bowery met the noted painter Lucian Freud in his club Taboo. They were introduced by a friend they had in common, the artist Cerith Wyn Evans. Freud had seen Bowery perform at Anthony d'Offay Gallery, in London. In Bowery's first public appearance in the context of fine art, Bowery posed behind a one-way mirror in the gallery dressed in the flamboyant costumes he was known for.

Bowery used his body and manipulation of his flesh to create personas. This involved almost masochistically taping his torso and piercing his cheeks with pins in order to hold masks, as well as wearing outlandish makeup. Freud said, "the way he edits his body is amazingly aware and amazingly abandoned". In return, Bowery said of Freud: "I love the psychological aspect of his work - in fact, I sometimes felt as if I had been undergoing psychoanalysis with him ... His work is full of tension. Like me, he is interested in the underbelly of things". Bowery posed for a number of large full-length paintings that are considered among Freud's best work. The paintings tend to exaggerate Bowery's 6-foot 3inch, and 17 stone physique to monumental proportions. The paintings had a strong impact as part of Freud's exhibition at the Metropolitan Museum of Art in 1994. Freud said he found him "perfectly beautiful", and commented, "His wonderfully buoyant bulk was an instrument I felt I could use, especially those extraordinary dancer's legs". Freud noted that Leigh by nature was a shy and gentle man, and his flamboyant persona was in part a form of self-defence.

Jonathan Jones, writing for The Guardian describes Freud's portrait, Leigh Bowery (seated):

Bowery is a character out of Renaissance art - perhaps Silenus, the companion of Dionysus. His flesh is a magnificent ruin, at once damaged and riotously alive. Who knew skin was so particoloured? To count the hues of even one of his feet is impossible: purple, grey, yellow, brown, the paint creamy, calloused, bulging. In a velvet chair tilted down towards us on the raked stage of the wooden studio floor, his mass looms up and dwarfs us. Walk close your eyes are probably the height of his penis. Bowery's violet-domed, wrinkly tube hangs between thighs marked with sinister spots or cuts his knees are massive. Bowery is a painted monument who quietly contemplates his existence inside this flesh.

In 1993, Bowery formed the Romo/art-pop band Minty with friend knitwear designer Richard Torry, Nicola Bateman, and Matthew Glammore.

In November 1994, Minty began a two-week-long show at London's Freedom Cafe, including audience member Alexander McQueen, but it was too much for Westminster City Council, who closed down the show after only one night. This was to be Bowery's last performance. The show was documented by photographer A.M. Hanson with imagery subsequently published in books about Bowery and McQueen. Minty was a financial loss and represented a low point in Bowery's colourful career. After his death, the band continued under the leadership of Bateman and Glammore up until the release of album Open Wide. This 1997 album was released on Candy Records and featured the singles "Useless Man" and "That's Nice". A spin-off band called The Offset later formed including artist Donald Urquhart.

In 2020, Open Wide was re-issued by Candy Records in association with The state51 Conspiracy, while "Useless Man" received a remix by Boy George and a new promo video directed by Torry and Glammore.

Although Bowery was known to be and always described himself as gay, he married his long-time female companion Nicola Bateman on 13 May 1994 in Tower Hamlets, London, in "a personal art performance". Although he had been HIV positive for six years, very few of those who knew him guessed that; he typically explained his public absence by saying he had gone to Papua New Guinea. His wife did not know that Bowery had the virus until he was admitted to hospital. He died seven months after his marriage, on New Year's Eve 1994 (the date has been disputed by his father, who says he actually died in the early hours of New Year's Day, 1995), from an AIDS-related illness at the Middlesex Hospital, Westminster, London, five weeks after his admission. Lucian Freud paid for Bowery's body to be repatriated to Australia.

Boy George was the creative force, the lyricist and performer in the musical , which was loosely based on Bowery's club. The musical was produced in 2002 on the West End in London, and then opened on Broadway. As a performer, Boy George played a character named "Leigh Bowery".

In an interview conducted by Mark Ronson for Interview Magazine Boy George said that Bowery would sometimes speak with a posh English accent, and one didn't always know if he was sincere or mocking: He seemed to be "in character" at all times. Bowery decorated his flat in a style that was similar to the way he dressed, with -themed wallpaper, mirrors and a large piano. He was a ringleader of misbehaviour, and with his club, he created a place where there were no rules. In the clubs at the peak of his fame, he would distort his body in various ways so that he would appear deformed, or pregnant or with breasts. Bowery once said, "Flesh is my most favourite fabric".

Bowery influenced other artists and designers including Meadham Kirchhoff, Alexander McQueen, Lucian Freud, Vivienne Westwood, Boy George, Antony and the Johnsons, Lady Gaga, John Galliano, Scissor Sisters, David LaChapelle, Lady Bunny, Acid Betty, Shea Couleé, plus numerous Nu-Rave bands and nightclubs in London and New York City.

Bowery was the main inspiration for the Tranimal drag movement, which emphasized an animalistic and post-modern take on drag.

The look of the character Vulva in the third episode of British TV comedy series was inspired by Leigh Bowery.

In Noel Fielding's Luxury Comedy series 2 episode 2, Noel is advised to give his fantasy block a physical/visual form. He describes it as ...rotund but kind of stylish, like a Leigh Bowery creation. Bowery had been an influence on Fielding's outlandish costume characters.

Bowery was the subject of a contemporary dance, physical theatre and circus show in August 2018 at the Edinburgh fringe festival, put on by Australian choreographer Andy Howitt.

Leigh Bowery Verwandlungskünstler, editor Angela Stief, published by Piet Meyer Verlag, Vienna, (2015); ISBN 978-3-90579-931-6

Leigh Bowery Looks, by Leigh Bowery, Fergus Greer, published by Thames & Hudson Ltd; New Ed edition (2005); ISBN 0-500-28566-7

Leigh Bowery Looks by Leigh Bowery, Fergus Greer, published by Violette Editions (2006); ISBN 1-900-82827-8

Leigh Bowery, Violette Editions, London, (1998), ISBN 978-1-90082-804-8

All tracks are written by Minty.

All singles also included multiple remixes of the lead tracks.

Compilation album

The Offset Presents Minty - It's A Game - Part I (Poppy Records, POPPYCD6, 1997)

Hail the New Puritan (1985-6), Charles Atlas

Generations of Love (1990), Baillie Walsh for Boy George

Unfinished Sympathy (1991), Art Director for Massive Attack single

Teach (1992), Charles Atlas

A Smashing Night Out (1994), Matthew Glamorre

Death in Vegas (1994), Mark Hasler

Performance at Fort Asperen (1994)

Flour (single screen version) (1995), Angus Cook

U2: Popmart - Live from Mexico City (1997), Dancer during 'Lemon Mix'

Read Only Memory (estratto) (1998), John Maybury

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Leigh Bowery (26 March 1961 - 31 December 1994) was an Australian performance artist, club promoter, and fashion designer. Bowery was known for his flamboyant and outlandish costumes and makeup as well as his (sometimes controversial) performances. Based in London for much of his adult life, he was a significant model and muse for the English painter Lucian Freud.

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I used a more general and exaggerated drawing method in this one, changing the proportions and contours of the person
But I think this one has the most vivid, illustrative features

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The combination of yellow and gray is the color of 2021
I love this theme and the texture of the charcoal that I use. It had an  energy to sketch every character. It is not only the embodiment of the form, but also conveys the state of a character.
Let me realize that for people's painting, if you want to add vitality, sketch more, it will be a great help. Sketching gives the character a soul

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Very dynamic group photo
Excellent photos are really good for reference illustrations
Because the girls in the photos are full of life, they can draw dynamic illustrations

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These girls are really cool. These photos were taken in 1955. I don't think this is a female-friendly time. We have to admit, these girls dress like men, but to do a man's thing at that time was quite anti-bone, really brave and innovative. Like this photo, you need to bear a different sense of pressure than others to create a new fashion. The girls I see in the photos are not parodies of men, but rather have a sense of bringing out their potential

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The characteristic of this set of photographs is to show the girl's heroic spirit
This is best demonstrated by using arbitrary lines to create angular Outlines

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It was drawn in charcoal
Black charcoal is a good way to restore the relationship between black, white and gray, and helps to create loose outline

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"They Wore What They Wore": The Timeless Appeal of the Teddy Girls

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In 1950s London, the Teddy Girls ruled the streets. The subculture emerged from the wreckage of a ravaged capital, with teenage girls forming their own fashion-focused gangs in the post-war debris. Also known as the 'Bombsite Boudiccas', the Teddy Girls could be found in all corners of the city - from Bethnal Green and Canning Town, to Tottenham and North Kensington.

Like their male counterparts, the Teddy Boys, these young women fused beatnik rebellion with Edwardian opulence. Think ornate bonnets with scuffed denim; silk neckerchiefs with Marlboro Reds; beer bottles with cameo brooches. They were a teenage subculture who - much like London in the years after World War Two - were reimagining their past, while also envisioning a bolder future.

In January 1955, photographer and filmmaker Ken Russell began documenting the Teddy Girls. The result was a series of striking black and white portraits, taken all over London, that capture the subculture at its peak. And fortunately, for the first time ever, these photos have now been collected and published in Teddy Girls; a new release from Happy Dancer, an imprint set up by Conor Donlon of Donlon Books and designer Roland Brauchli in lockdown.

The publication book comes with an afterword from fashion historian Mairi Mackenzie, who dissects the Teddy Girls' legacy, as well as their enduring appeal. "I am always drawn to the glamour we find in everyday life, the pleasure that we take in dressing up and going out, and the role that clothing plays in society and culture," she tells AnOther.

For Mackenzie, the Teddy Girl style remains as compelling today as it did over half a century ago. "They look great," she says, simply. "I know that's an obvious and seemingly fatuous thing to say but, even though I am a fashion historian, I have no real interest in quantifying or trying to break down why someone looks good. For me, that kills the joy of their look stone-dead."

Instead, she believes that much of the magic lies not just in their sartorial choices, but in the attitude that powered them: "I'm going to quote Ken Russell here because he summed up what made the Teddy Girls so great, better than I ever could; ' ... they were proud. They knew their worth. They just wore what they wore.'"
Teddy Girls is published by Happy Dancer and available at Donlon Books.

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"They Wore What They Wore": The Timeless Appeal of the Teddy Girls

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In 1950s London, the Teddy Girls ruled the streets. The subculture emerged from the wreckage of a ravaged capital, with teenage girls forming their own fashion-focused gangs in the post-war debris. Also known as the 'Bombsite Boudiccas', the Teddy Girls could be found in all corners of the city - from Bethnal Green and Canning Town, to Tottenham and North Kensington.

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I think it's very retro and fashion. Because restoring ancient ways is also a kind of fashion

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Simplicity never goes out of fashion. Now when I look at the shape of this sofa, I still think it is very fashionable, probably because of the designer's advanced aesthetic

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Botanical drawings of Euphorbias - Google Search

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euphorbia hirta poinsettia euphorbia tirucalli euphorbia cyparissias euphorbia peplus euphorbia pulcherrima euphorbia milii euphorbia amygdaloides euphorbia helioscopia watercolor

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https://www.google.com.hk/search?q=1960%27s+European+Modernist+interiors+&tbm=isch&ved=2ahUKEwjj1o3Qgpj1AhVD0oUKHayLAYcQ2-cCegQIABAA&oq=1960%27s+European+Modernist+interiors+&gs_lcp=CgNpbWcQAzoECAAQEzoICAAQBxAeEBM6BQgAEIAEUP8bWKRpYLhzaABwAHgAgAE6iAGmD5IBAjQxmAEAoAEBqgELZ3dzLXdpei1pbWewAQDAAQE&sclient=img&ei=LzPUYaODDsOklwSsl4a4CA&client=safari#imgrc=fA564wxJ4_7oWM

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Through the way of paper cutting to represent those glass jars
It doesn't show the texture of the glass, but I think it's very lively and lovely

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It was the first time I used crayons to do a more complete drawing
Pastel drawings can also add detail
Adding detail to a crayon painting can enhance not just one part of the painting, but also the color of the collision. And although the color scheme is not an exact reproduction of real colors, it is the deliberate arrangement that adds interest

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It's a flower drawn in crayon
Normally, plant paintings are not recorded in this way
Because crayons do not control details well, they may impair the accuracy of the painting
But it's this sense of casualness that's so inspiring

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The rest of the paper cutting is also interesting. I overlapped the rest of the leaves and flowers and used yellow and green toner at the bottom. There is a sense of graphic design.

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This is a collage work, using colored paper and magazine text and acrylic paint
Because the plant painting will have some text instructions, I combined the two parts of text and painting through collage
I feel that the creativity is good, but the pace of performance is not very good, should incorporate more variety. For example, the shape and size of petals and leaves can also be changed into the inside pages of different kinds of books, and the texture collision can also occur in the text part, thus increasing the sense of layers

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This is a bird in perspective, painted in soft Pastel
It's cute.
I like this one
Maybe it can be born transparent. Why aren't our muscles bright red?
Maybe to have rougher skin to protect our bodies
Birds are covered with feathers to fly

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Crazy bird skeleton
I painted it combine a colorful spine and a flying skeleton
From his manner and color, I feel very lively tension

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Draw bird bones with more random lines
This is the best result so far
The lines are looser and smoother
Another factor may be familiarity with bird bones
The bird, on the other hand, was more relaxed and seemed to be about to take off. I even felt it was a giant animal

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Use rigid lines and geometric patterns to draw bird bones

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Bird bones drawn with dashed lines, a little stiff

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I used soft pastel  to paint a colorful spine
I love the form and color composition. And it really is a spine, and it looks like a different creature

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I used a watercolour pen to outline the curves to draw the skeleton of the bird

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https://www.google.com/search?q=bird+skeleton&tbm=isch&source=iu&ictx=1&vet=1&fir=9jYXu140D4qxMM%252CYCz23aVM4XTTyM%252C_%253B5q2cO3qIwr3DoM%252C2VyqpgmLXAkneM%252C_%253BTUoSmHJbzMHgSM%252Cu3YYi_0CzSuS1M%252C_%253B169B5PKNFPFxNM%252CycXITc-vgA9PKM%252C_%253BncGVYa8JhGsiwM%252CY-RBA1USKBVe4M%252C_%253BQay7uTYDsq1_uM%252CrW1-jIs4jVHUiM%252C_%253Bj1_jv4vktcdTwM%252Cu9PosPvKPPWVXM%252C_%253B2a2AaVpAux25mM%252CKrK-DCmVxD14FM%252C_%253B8wfi8qxC2qJmFM%252Cu3YYi_0CzSuS1M%252C_%253BeQrcTXyDOH7guM%252CugLRp4VnweUuJM%252C_%253Bo_pHr5dmSsg4-M%252CmvDapYZ9IM_n5M%252C_%253BqNOaEcGMC8_5gM%252CBV-QtqYOi3-5mM%252C_%253BQw48GlSwvk2U6M%252CaNKbhXd8dDDxGM%252C_%253BlOl3dfqVmwiDAM%252CGDBZbneixnbxiM%252C_%253BLK1PXVhJCGMy2M%252ClTw92KL1GkMRUM%252C_%253B_ZwCUx2lGXH6GM%252COshZVU_tLYYA9M%252C_&usg=AI4_-kTmonXf89cgEvh9J6GOINdsQ_h-QA&sa=X&ved=2ahUKEwjqsKL7mM31AhVXhlwKHYC5DLkQ9QF6BAgmEAE&biw=1366&bih=917&dpr=2#imgrc=ncGVYa8JhGsiwM

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Teeth, and the heavy jaws to support them, are gone. Wings and legs have the same basic parts as our own limbs, but highly modified. While we have 29 bones in our forelimb, the pigeon has 11.

In a bird skeleton, the equivalent of the 1st and 5th fingers are gone, and the 2nd is fused to the third. The phalanges of the 3rd and 4th digits hold the primary feathers.

Bird Skeleton Video Tutorial

The sternum, or breastbone, is highly modified in birds. Most birds have a keel-shaped sternum, which creates more surface area for the attachment of flight muscles.

Bones of the rib cage connect the back with the sternum. Each rib is connected to the adjoining ribs by a small bone, all together called the uncinate process. Only birds have this system, which provides additional support.

As an adaptation for flight, bird bones are extremely lightweight. Many bones have air spaces, and the longer limb bones are sometimes completely hollow. The hollow bones have an internal support system of struts.

Related Bird Anatomy Pages:

Along with bird skeleton, learn about other Bird Characteristics including:

Photo of Ruby-throated Hummingbird skeleton courtesy of Emily Mathews.

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Teeth, and the heavy jaws to support them, are gone. Wings and legs have the same basic parts as our own limbs, but highly modified. While we have 29 bones in our forelimb, the pigeon has 11. In a bird skeleton, the equivalent of the 1st and 5th fingers are gone, and the 2nd is fused to the third.

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flying labeled drawn cardinal dinosaur pelican human articulated sparrow raven

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Some possible ways to present things in the future
Not just using photos, but also possible virtual reality ways to show the full range of a plant's characteristics
Perhaps in the further future, both plants and creatures will no longer have the characteristics that might be perceived by the senses. It is possible that all biological plants will become codes, digital virtual beings

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I drew the reference directly in watercolor, so the shape is not quite right, but I think this picture has an unexpected rhythm

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https://www.123rf.com/photo_39436435_european-style-ornamental.html

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a picture of a European interior for a collage

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a picture of a European interior for a collage

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Since European design style was already full, I wanted to finish the collage by destroying deconstruction
Although I have done less, I am quite satisfied with the finished product. Similar to the last theme, the two styles of simplicity and complexity collide.
But I feel that I have lost the meaning of this work. The content expressed is vague, but the absence of meaning itself is also a kind of meaning