Crystal Tumblers and Decanters Glint in the Sun in Photorealistic Embroideries by Lucy Simpson

All images © Peacocks and Pinecones, shared with permission

Reflecting her interest in drawing and photorealism, Lucy Simpson of Peacocks and Pinecones embroiders the glinting edges of glass and metallic objects in painstaking detail. Each piece is composed by directly observing decorative items like crystal tumblers and decanters, with some of the larger compositions taking upwards of 200 hours to complete. “It’s a slow process, and as a person who isn’t naturally patient, it’s a real endurance test for me,” she says. “I feel a real sense of accomplishment when I finish a piece.”

Simpson’s interest in needlework goes back to childhood and spending time with her grandmother, from whom she learned some basic skills at an early age. Fast forward to around five years ago when the artist had just given birth to her third child, and she took up cross-stitching from patterns as a way to relax. “I had been diagnosed with postnatal depression and anxiety, and my sister bought me my first kit to try and take my mind off things,” she says. “I loved how I had to completely focus on what I was doing, which left no room for intrusive thoughts. After a while, I decided I wanted to stitch my own designs and came across an embroidery style called thread painting and decided to have a go myself.”

 

First, Simpson began experimenting with rendering metallic objects, enjoying how single strands in a specific color could evoke a realistic depiction of light glinting off of an edge or seam. She spent time honing her craft on subjects like birds and animals because the stitches lent themselves naturally to the lines of fur and feather, but during the pandemic when she was spending extra time at home, she began to yearn for something more difficult.

“I think the biggest challenge using thread to depict glass is stitching the illusion of transparency,” she says. “I love the intricacies of cut glass and the way it distorts the liquid and makes light bounce around.” Typically working on a neutral background, Simpson sometimes incorporates patterns like gingham or polka dots, and she is constantly experimenting with new ways of realistically translating light and color, one stitch at a time.

Simpson occasionally takes commissions, and you can follow Peacocks and Pinecones on Instagram for updates.

 

     

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Virginia Mori Twists Everyday Anxieties into Dreamlike Illustrations

All images © Virginia Mori, shared with permission

Through pen and ink renderings, Virginia Mori continues her elegant and surreal interpretations of the prosaic. The Italian illustrator and animator (previously) gravitates toward the everyday and turns moments of relative simplicity into strange otherworldly scenes. Plucking a book off of a shelf reveals a figure lurking behind the volumes, for example, while an enormous detached head plummets to the earth where a team awaits with a cushion for a safe landing. Often featuring minimal palettes of pastel colors, the introspective works meld relatable feelings of anxiety, hesitation, and fear with dreamlike inventions.

Currently, Mori has works on view in a group exhibition through May 7 at the Seoul Museum and is preparing for another opening in September at Jiro Miura Gallery in Tokyo. Shop prints of her illustrations at Librera di Fursaglia and stay-hop, which also sells t-shirts, cards, and her latest book Feeling Bed. You can follow her projects and collaborations on Instagram.

 

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How many legs does an octopus have?

An octopus has eight legs, which is where its name comes from ("octo" meaning eight in Greek). These legs are actually called arms, and they are lined with two rows of suction cups that the octopus uses to grip and manipulate objects. Additionally, the arms are extremely flexible and can be used for a variety of purposes, such as hunting, crawling, and defending against predators.

how to bathe a puppy

Bathing a puppy can be a fun and bonding experience for both you and your furry friend. Here are some steps to follow when bathing your puppy:

1. Choose the right time: Pick a time when your puppy is calm and relaxed. Avoid bathing your puppy when he or she is overly excited or anxious.

2. Gather supplies: You will need dog shampoo, towels, a washcloth, and a brush.

3. Prepare the bath area: Fill a bathtub or basin with warm water. Make sure the water is not too hot or too cold. Place a towel on the bottom of the tub or basin to prevent slipping.

4. Wet your puppy: Use a cup or handheld showerhead to wet your puppy's fur thoroughly. Be careful not to get water in their ears.

5. Apply shampoo: Apply a small amount of dog shampoo to your puppy's fur, starting at the neck and working your way down. Be sure to avoid getting shampoo in your puppy's eyes and mouth.

6. Rinse thoroughly: Rinse your puppy thoroughly with warm water, making sure to remove all the shampoo from their fur.

7. Dry your puppy: Use a towel to gently dry your puppy, and then use a brush to remove any tangles or mats.

8. Reward your puppy: Give your puppy a treat and some extra cuddles to reinforce the positive experience.

Remember, puppies have delicate skin, so avoid using human shampoo or harsh chemicals that can irritate their skin. It's also important to not bathe your puppy too often as it can strip their skin of natural oils. Once a month is usually sufficient, but consult with your veterinarian for their recommendations.

.able Journal Publishes Research Through Images

François-Joseph Lapointe, “Microbiome Selfies” (2014-2020). Image courtesy of François-Joseph Lapointe

The complexity of the world today—with emergencies related to climate, health, migration, and more—demands that we bring together all the available tools and disciplines for reflection and action. How can knowledge be interwoven to expand our understanding of the world and broaden our imaginations, to look to the future on an international scale? “Research-creation,” or practice-based research, is a relatively recent field between theoretical and applied research associating experimental, exploratory, and critical approaches and practices while privileging sensorial experience. Through installations, dispositifs, and performances, new methodological tools are being created to access sources of shared knowledge and to explore contemporary transformations aesthetically.

How can we go beyond text in communicating these findings at the intersections of art, design, and science? The traditional methodologies and formats of journal articles are not always adapted to research that explores sensorial and singular forms.

.able Journal is the result of observing this limitation, reinventing the publication form by making research accessible through images. Free of charge and distributed on numerous platforms, media, and devices—including formats specifically adapted for social media—the journal gives immediate access to visual essays and creates multiple entry points for all to access research in the arts, design, and sciences. Centered on the visual, this system makes the text ancillary, overturning the traditional balance between text and image. .able’s publication modalities leverage and circumvent contemporary fragmented reading patterns, allowing transitions between different devices, beginning with smartphones.

 

A reader checks out “Yōkobo” by Dominique Deuff, Gentiane Venture, Isabelle Milleville, and Ioana Ocnarescu on .able. Image courtesy of Dominique Deuff

As a peer-reviewed journal, .able experiments with the potential of academic publishing, going beyond text-centric conventions to explore the many alternatives and opportunities that multimedia and multiple platforms offer. From the design of sustainable fashion or bioluminescent micro-architecture to the dynamics of bacterial contamination or the exploration of deep sleep, .able combines academic excellence, artistic rigor, and accessibility focused on exploring contemporary sociopolitical and environmental issues in images and putting these challenges into perspective. The journal offers a new space for interdisciplinary research to both the academic community and the wider public. With its radical approach, it aims to reinterpret the traditional publishing process.

Created at the initiative of La Chaire Arts & Sciences of the École Polytechnique, the École des Arts Décoratifs–PSL, and the Fondation Daniel et Nina Carasso, .able journal is published by Actar Publishers and supported by some 30 international academic partners brought together to publish innovative interdisciplinary research.

The free-of-charge, open-access journal is available now at able-journal.org and distributed on social media at @ablejournal.

 

A print.able issue, printed on demand. Image courtesy of Actar Publishers

Emile de Visscher & Ophélie Maurus, “Petrification.” Image courtesy of Ophélie Maurus

Peter Lunenfeld, Denise Gonzales Crisp, and the students of UCLA’s Design Futures 2021, “Solve for (x)Futurisms.” Image courtesy of UCLA | Albert Acosta, Zara Aiken, Helena Alcala, Nel Alpysbayeva, Sascha Barnes, and Natalia Beltran

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Where is the sense of smell located in the snake?

The sense of smell in snakes is located in the vomeronasal organ, also known as Jacobson's organ. This organ is located on the roof of the snake's mouth and is used to detect pheromones, which are chemical signals used by snakes to communicate with each other and to locate prey. When a snake flicks its tongue, it picks up scent particles from the environment, and these particles are then brought into the vomeronasal organ where they are analyzed. This sense of smell is critical for snakes, as they rely on it heavily to hunt and navigate their environment.

How does a frog breathe?

Frogs breathe through their skin and lungs. Unlike humans who only breathe through their lungs, frogs can also absorb oxygen through their skin, which is known as cutaneous respiration.

When a frog is in water, it absorbs oxygen through its skin by diffusion. When on land, the frog uses its lungs to breathe. During inhalation, the frog closes its nostrils and pushes air into its mouth using its throat muscles. The air then flows into the lungs, where oxygen is absorbed into the bloodstream and carbon dioxide is released through exhalation.

Some species of frogs have evolved special adaptations to survive in environments with low oxygen levels, such as developing large lungs or utilizing air pockets in their skin. Overall, the respiratory system of a frog is well adapted to its amphibious lifestyle.