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A small-sized commitment of time is all you need to create these picture-perfect postcard quilts! Give, trade, or treasure these 4" x 6" mini-greetings--and make a one-of-a-kind quilt in an evening. Follow one step-by-step project to learn the technique; then get inspired by more than 85 creative variations, all shown in close-up photos Choose a novelty fabric to start; then learn to develop your own themes with photos of fabric and embellishment collections Embellish postcards with machine satin stitching, ribbons, yarns, buttons, beads, rubber stamps, costume jewelry--there's no limit to what you can use! Fabric postcards * Fiber postcards * Artist postcards * Trading cards
"Postcard-sized works of art, also known as Artist Mailing Cards, one of the latest ideas to emerge from the world of mixed media art"--Page 4 of cover.
A beautiful collection of private photographs and amusing commercial postcards from the turn of the last century that celebrate our love for man's best friend. While visiting postcard fairs and browsing their collections, Libby Hall, author of Prince and Other Dogs I and II, found herself won over by these cards. Wildly sentimental images that in a modern light might seem over the top-a dog crying real tears while thinking of his master fighting on the front lines during World War I, an Edwardian tea party given for a child's favorite pet, a canine family toasting their uncle's good health-suggest a genuine love and respect for the animals that were beginning to become a fixture of the modern nuclear family. For both collectors and general readers, Postcard Dogs will charm and amuse you with its odd yet heartfelt portraits, capturing the excitement and possibility of a society on the brink of profound change.
Franki Kohler teaches six different techniques for making mailable fabric postcards that are useful for greetings, invitations, announcements, and more.
Some people are lucky enough to own beautiful heirloom quilts that were passed down through the family. The rest of us have to be content with making those eye-popping quilts ourselves! Now we can, with this fantastic collection of nine authentic 1930s patterns made using reproduction fabric. The projects feature a range of skill levels and techniques and are ideal for showcasing your talent and your fabric collection.
Not so long ago, it was relatively easy to wake up overlooking Victoria Harbour in Hong Kong and go to sleep in the shadow of the Brooklyn Bridge; to travel from Venice to Istanbul in time for dinner. The international network of the art world, in particular, made it easy to slip through time and borders--with the right invitation and the right passport. You may never have been to Basel, Switzerland for the art fairs, but you might certainly feel as though you have, experiencing it exclusively through the spate of other people's images. Vik Muniz's series Postcards from Nowhere grapples with how, through photographs, we have come to "see" and understand distant yet iconic sites we may never actually view with our own eyes. "The images we hold in our heads are an assemblage," notes Muniz. "They are an amalgam of every image of those locations that we have ever seen." More critically, the series serves as an homage not just to the quasi-obsolete artifact of the picture postcard, but to a way of life that has now been put in sharp relief. Muniz's images--created out of collaged pieces of vintage postcards from the artist's personal collection--materialize the experience and longing of travel, triangulating between the traveler, a distant location, and the recipient who, increasingly, remains at home. Volume I presents thirty-two single postcards displaying each of the images in the series. Volume II presents a series of thirty-six postcards that, when assembled, can be viewed as a single, large-scale work of 30 x 40 inches. The process of assembling the larger, single image is akin to the original act of collage--or like that of assembling a mosaic crafted from disparate pieces that have traveled from afar, but when brought together, conjure something that is larger, more complete than any individual element could be on its own.
The first full-length study of a once revolutionary visual and linguistic medium Literature has “died” many times—this book tells the story of its death by postcard. Picturing the Postcard looks to this unlikely source to shed light on our collective, modern-day obsession with new media. The postcard, almost unimaginably now, produced at the end of the nineteenth century the same anxieties and hopes that many people think are unique to twenty-first-century social media such as Facebook or Twitter. It promised a newly connected social world accessible to all and threatened the breakdown of authentic social relations and even of language. Arguing that “new media” is as much a discursive object as a material one, and that it is always in dialogue with the media that came before it, Monica Cure reconstructs the postcard’s history through journals, legal documents, and sources from popular culture, analyzing the postcard’s representation in fiction by well-known writers such as E. M. Forster and Edith Wharton and by more obscure writers like Anne Sedgwick and Herbert Flowerdew. Writers deployed uproar over the new medium of the postcard by Anglo-American cultural critics to mirror anxieties about the changing nature of the literary marketplace, which included the new role of women in public life, the appeal of celebrity and the loss of privacy, an increasing dependence on new technologies, and the rise of mass media. Literature kept open the postcard’s possibilities and in the process reimagined what literature could be.
The emergence of artificial intelligence (AI) has ushered in a transformative wave, disrupting trends and reshaping the landscape of services marketing. As businesses grapple with the interplay between evolving consumer behaviors and the progression of AI, a critical need emerges for a guide to navigate this complex terrain. The stakes are high, and the challenges are multifaceted – from redefining customer experiences to addressing ethical considerations in the age of automation. In response to these pressing issues, AI Innovation in Services Marketing stands out as a source of insight, unraveling the complexity surrounding the integration of AI in services marketing. This book endeavors to equip readers with an understanding of how AI is not just a tool but a force driving profound transformation in services marketing. Through a lens focused on real-world examples and insightful case studies, it illuminates the impact of AI on productivity and customer experiences. Beyond the transformative power, the book grapples with the ethical considerations that arise in the wake of AI adoption in services marketing. It seeks to guide both academics and practitioners, offering a resource to harness AI strategically, optimize services, and maintain a competitive edge in the global market.
"It is a long-held truism that 'the camera does not lie'. Yet, as Mia Fineman argues in this illuminating volume, that statement contains its own share of untruth. While modern technological innovations, such as Adobe's Photoshop software, have accustomed viewers to more obvious levels of image manipulation, the practice of "doctoring" photographs has in fact existed since the medium was invented. In "Faking It", Fineman demonstrates that today's digitally manipulated images are part of a continuum that begins with the earliest years of photography, encompassing methods as diverse as overpainting, multiple exposure, negative retouching, combination printing, and photomontage. Among the book's revelations are previously unknown and never before published images that document the acts of manipulation behind two canonical works of modern photography: one blatantly fantastical (Yves Klein's "Leap into the Void" of 1960); the other a purportedly unadulterated record of a real place in time (Paul Strand's "City Hall Park" of 1915). Featuring 160 captivating pictures created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, "Faking It" provides an essential counterhistory of photography as an inspired blend of fabricated truths and artful falsehoods."--Publisher's website.