The first Pic of the Week winner the year 2017 goes to these kids in Texas, Queensland, who perfectly illustrate the joy of eating ice-cream in the summertime in Australia.
Photograph by ABC Open contributor therealdeal_photography.
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.
“Little Kids and Their Big Dogs” is a heartwarming photography project by Andy Seliverstoff that focuses on the unbreakable bond between little children and their supersized dogs.
The photographer, 58, spent four months taking thousands of pictures in St Petersburg before compiling a book from the hundred best images.
Andy has been a photographer for years but he’s only recently started to take it seriously.
He has a particular fondness for dogs, Great Danes especially, although his canine subjects also include Briads, Newfoundlands, and Black Russian Terriers.
“I always take plenty of time with the dog who’s in front of my camera so I get to know the personality of my dog model the best I can,” writes the photographer on his website.
“The personality and the character is unique for every individual dog.
The human aspects we often recognize in our dogs are, among other things, what makes us feel so close to them.
See more dogs and kids via Little Kids And Their Big Dogs | Bored Panda
Photo: The kids from “South Park” capture Eric (A Tooth Fairy) Cartman.
We have long traditions about the importance of proper tooth disposal, and of course equally ancient traditions about fairies. But the two didn’t get together for quite a while.
There’s a tradition from 18th century France of a “tooth mouse,” likely based on a fairy tale, La Bonne Petite Souris, in which a fairy changes into a mouse (or perhaps the other way around) to help the good queen defeat the evil king.
The mouse hides under a pillow to taunt the king, and punishes him by knocking out all his teeth. Perhaps this was the origin of the tooth fairy, but no one knows for sure.
The tooth fairy as we now know her didn’t make an appearance until the early 1900s, as a generalized “good fairy” with a professional specialization. The child loses a baby tooth, which is put under the pillow at night, and the tooth fairy exchanges it for a present, usually money but sometimes candy. Exchanges of this sort are common in many rites of passage (like an exchange of rings at a wedding, say).
The tooth fairy grew slowly in popularity over the next few decades.
The Tooth Fairy, a three-act playlet for children by Esther Watkins Arnold, was published in 1927.
Lee Rogow’s story “The Tooth Fairy” appeared in 1949 and seems to be the first children’s story written about the tooth fairy. She became widely popular from the 1950s onward, with a veritable eruption of children’s books, cartoons, jokes, etc., including more focus on children’s dental hygiene. Parents cheerfully bought into the idea and the tooth fairy became part of family life.
The 1980s saw the commercialization and merchandising of the tooth fairy, with special pillows, dolls, banks, etc.
What does the tooth fairy do with all those teeth? There’s no consensus.
Terry Pratchett in Hogfather suggests they’re just collected, neatly labeled and filed away in a museum-like castle.
Pratchett also suggests that the tooth fairy’s business involves intricate record-keeping and accounting, and says she “carries pliers – if she can’t make change, she has to take an extra tooth on account.” I think I’d just as soon not explain that part to kids.
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.”