Traditional family photos are shiny, peaceful and nice to look at, but they rarely depict reality.
After another photoshoot of a family with little kids turned into total chaos, photographer Danielle Guenther decided she should try to depict what parents are really going through
After posting a few of these images on her website and Facebook, she quickly started getting requests from parents, asking to photoshoot their own chaos. “Parenthood is messy, but wow, the unflattering side can still be so beautiful,” – says Danielle, who is also a mom of a 5-year-old herself.
She urges to “capture the moment, because in the end, all we have are the memories…“
More info: danielleguentherphotography.com | Facebook
Rose O’Neill created the design for the original Kewpie Dolls in 1909.
The dolls were manufactured by George Borgfeldt and Co. in Germany, which began producing them in time for Christmas.
O’Neill took a personal interest in the dolls’ production from the start and made sure the dolls’ painters knew that the smallest Kewpie, only a couple of inches high, needed the most attention.
“She told the artists, ‘I want you to take the most care with the tiniest of the Kewpies because those will be the Kewpies that poor children can afford to buy,’
David O’Neill is Rose O’Neill’s great-nephew. He also is founder and owner of the Rose O’Neill Museum in Springfield.
He said his great-aunt’s direct involvement in the production of the dolls came after she disapproved of the manufacturer’s original product. He said O’Neill was traveling in Italy with her sister when she received a package containing a sample of the first run of dolls.
“She didn’t like it,” O’Neill said. “She said, ‘This is a travesty.’ “
He said those first dolls were made “the way a doll manufacturer would make them.” The eyes had pupils and eyelashes, but they did not look like her characters. He said Rose O’Neill told her sister there would not be any Kewpie dolls at all if they could not be produced any better.
She wrote that she traveled to Germany and made the manufacturer destroy the molds of the dolls that had been so far produced. The workers started over, and the result was the Kewpie that became a world icon.
Each smiling doll had eyes that look to one side (some dolls look left, some look right).
Other characteristics include a potbelly, tiny wings just behind the neck, a smile, dots for eyebrows, a topknot and a sticker label in the shape of a heart.
The dolls, which were made of an unglazed porcelain called bisque, were an immediate hit.
By 1913, the Kewpie craze swept across the globe, and soon a person could buy numerous products with the Kewpie name or image.
Among them were lamps, candleholders, radiator caps, ice cream makers, ice cream molds, inkwells, toothbrushes, cameras, dishes, jasperware and garters men wore to hold up their socks. There was even a Kewpie brand of toilet paper.
There were 17 factories in Germany alone and 30 altogether that produced Kewpie dolls and products to keep up with demand.
When World War I started, it became impractical to import dolls from Germany, and David O’Neill said American companies often refused to sell German-made products.
That meant factories in places such as England, France, Japan and the United States worked harder to keep up with demand.
The dolls even influenced fashion. O’Neill said many women in their teens began shaving their eyebrows into dots to imitate the Kewpie look.
With the dolls at their height of popularity, O’Neill often used Kewpies to promote awareness of issues important to her.
For instance, O’Neill supported women’s suffrage, so she produced Kewpie cartoons and posters promoting a woman’s right to vote.
Her opposition to prejudice came out in a 1912 storybook in which Kewpies come to befriend a black child who was forbidden to play with the other white children. Scott said the story could be seen as risky at that time.
“She got away with it because it wasn’t preachy,” Scott said. “It was the Kewpies.”
Dave Devries takes sketches of monsters drawn by children purely from their imagination and renders them realistically giving them a truly devilish look. His collection of drawings and paintings form a 48-page book “The Monster Engine”.
Devries would project a child’s drawing with an opaque projector, and then faithfully trace each line.
Applying a combination of logic and instinct, he then paint the image as realistically as he can using primarily acrylic, airbrush, and colored pencil.
Says Dave Devries:
It began at the Jersey Shore in 1998, where my niece Jessica often filled my sketchbook with doodles.
While I stared at them, I wondered if color, texture and shading could be applied for a 3D effect.
As a painter, I made cartoons look three dimensional every day for the likes of Marvel and DC comics, so why couldn’t I apply those same techniques to a kid’s drawing?
That was it… no research, no years of toil, just the curiosity of seeing Jessica’s drawings come to life.
Portland-based artist Maggie Rudy creates cute little rodents from wool and pipe cleaners, dresses them in fancy clothing and poses them in elaborate sets.
A collection of her creations, shot by photographer Bruce Wolf, became her first children’s picture book “The House that Mouse Built”, a story about a pair of mice who live in a fabulously turned-out loaf of bread.
Maggie Rudy inherited her artistic trait from her mother and grandmother, and had always enjoyed making and collecting things.
Smitten by an exhibit of E. J. Taylor’s dolls at the Brandywine Museum in Delaware in 1982, she started making dolls. For the next several years, Rudy made a number of commissioned portrait dolls, with polymer clay heads and jointed cloth bodies.
She made her first mice doll in 1992 as a gift for her son’s kindergarten friend who had a recurring dream about mice.
Soon she was helping kindergarten teachers and the kids make their own mice, a project that is now in its 17th year.
The idea for a picture book came during Christmas when she was making mouse photos for Christmas cards.