Hand lettering – Letras Enredadas http://letrasenredadas.com/ Fri, 30 Apr 2021 02:52:10 +0000 en-US hourly 1 https://wordpress.org/?v=5.7.1 https://letrasenredadas.com/wp-content/uploads/2021/04/cropped-icon-32x32.png Hand lettering – Letras Enredadas http://letrasenredadas.com/ 32 32 The 10 Most Creative Opening Credits in Movies, Ranked https://letrasenredadas.com/the-10-most-creative-opening-credits-in-movies-ranked/ https://letrasenredadas.com/the-10-most-creative-opening-credits-in-movies-ranked/#respond Fri, 30 Apr 2021 02:00:00 +0000 https://letrasenredadas.com/the-10-most-creative-opening-credits-in-movies-ranked/

For most films, the opening credits only go through the movements; they’re just something that needs to happen at first, and they’re usually hooked up to a bunch of shots or just thrown on a black and white screen.

RELATED: Deadpool & 9 Other Movies That Barely Escaped Development Hell

However, some filmmakers like to get creative with them, molding the names of actors and crews around flashy edits, atmospheric stills, or jokes that are just plain fun like anything in the movie itself. Many of these opening credits have become iconic, but some are still largely overlooked due to the fact that they are foreign language films, even though they are just as creative as the more well-known intros.

ten Run Lola Run (1998)

Opening Credits Run Lola Run

The people who worked on Running Lola Run could be too much creative, because there are so many different ideas thrown in one opening sequence. The movie portrays Lola in three alternate realities as she has 20 minutes to collect money to save her boyfriend’s life in each of them, and there are so many surreal images in the opening titles.

There are so many different art styles in the sequence, from the animated clay-like clock and time-lapse imagery of passers-by, to Lola walking through a dreamy hallway while hitting the credit titles. It gets the viewers adrenaline pumping and prepares them for the short but sweet German language film.

9 The Naked Gun (1988)

Opening credits of The Naked Gun

All of the best comedy movies use every shot, and that’s exactly what The naked gun does, and it arguably does it better than any other comedy. There are a lot of different visual jokes in one scene, but what’s most iconic about the movie is its opening credits.

With a camera mounted on the roof of a police car right behind a sliding police siren, the audience is taken on a journey to wild places. The car loses control, heads for the sidewalk, then a car wash, then inside a mansion, and even on a roller coaster. It’s just ridiculous, but still hilarious, and while a remake has been in development for years, we can’t imagine this sequence any other way.

8 Raging Bull (1980)

Angry bull has perhaps the most classic opening credits scenes in movie history. The incredible classic song “Intermezzo” by Pietro Mascagni, the black and white cinematography and the presence of Robert De Niro amount to one of the most breathtaking shots ever made.

RELATED: The 10 Best Robert De Niro Movies, According To Rotten Tomatoes

The intro shows Jake (De Niro) training in the corner of the ring as the title appears in blood red font, and it foreshadows the entire movie, as the biggest fight he’s had is with himself. . The black and white makes it look so crisp, which is ironic considering the film wasn’t always going to be black and white, but this decision was made so that the film could stand out from the crowd. Rocky.

7 The Girl with the Dragon Tattoo (2011)

The girl with the generic opening dragon tattoo

David Fincher is the king of gothic cinema, and he peaked with the dark and mentally exhausting crime thriller The girl with the dragon tattoo. In the opening sequence, an exhilarating cover of Karen O’s Led Zeppelin’s “The Immigrant Song” features absurd visuals of a girl made up and drowned in a mysterious metallic-looking liquid. Violence, technology, and sex all come into play during the cacophonous streak, which are all themes of the film, and it captures the tone of the film perfectly.

6 Fargo (1996)

Fargo Opening Credits

As Angry bull, the sequence of opening credits in Fargo is more atmospheric than anything, and it really gives the audience a sense of seclusion in the city of Fargo with its snowstorms, given that it’s a brutal winter movie.

RELATED: The Coen Brothers: Their 5 Best Comedies & 5 Best Dramas, Ranked

At first it looks like a blank white screen with black credits, that is, until the headlights of a car in the distance shine on snowy roads. The haunting violin-led score only adds to the strength of the three-minute still shot.

5 Dr Strangelove (1964)

Dr Strangelove opening credits

The opening credits of Dr Strangelove were edited together by Pablo Ferro, and it bears his handwritten signature. This may sound familiar to viewers, as calligraphy has been requested by so many other filmmakers and has featured in many other films since, including Stop making sense and American heart. Not only that, but the lettering appears in front of a refueled B-52, which was apparently chosen because of the way it sounds strangely sexual.

4 Enter the Void (2009)

Enter the opening credits of Void

Few people have seen Step into the void, the experimental foreign-language film by controversial director Gasper Noe, but it features special effects from the guys who worked on The matrix and takes place in a Tokyo bathed in neon lights. And the jarring opening credits set the scene perfectly.

The opening sequence is like an adrenaline rush, as the names of the cast, production crew, and production companies pass in milliseconds, and colors and fonts change just as quickly. It’s a show, and when LFO’s intense techno track “Freak” turns halfway, it prepares viewers for a hallucinogenic, dreamlike journey of a movie.

3 Catch Me If You Can (2002)

Catch Me If You Can minimalist animation featuring the chase between Abagnale and the FBI agent

Being one of the best cat and mouse movies ever made, the opening of Catch Me If You Can play almost the entire movie in minutes with stick figures. The art style is wonderful, as the colors change to match the globetrotter backdrops seen in the movie, and, paired with one of John Williams’ most underrated scores, which is almost jazzy, it’s a work of art.

The style should even be a movie itself, and even Spielberg himself must have liked it, as he replicated the opening titles in The Adventures of Tintin nine years later.

2 Deadpool (2016)

Be as fourth breaking the wall as dead Pool is that the credits say it as it is. Instead of saying “with Ryan Reynolds” he says “with the perfect idiot of God”, and it’s apparently written by “the real heroes”, which has surely received applause from all the writers who have seen it. for the first time, as they notoriously don’t. get the credit they deserve. The joke was continued in the second movie, and with Deadpool 3 finally in development, it’ll likely be done again.

1 Do the Right Thing (1989)


Do the right thing was Spike Lee’s escape movie for many reasons. It had a strong message, fun characters, and a vibrant color scheme, and the opening credit streak sets the mood perfectly. It almost sounds like a fan-made music video of Rosie Perez being shot dancing to Public Enemy’s “Fight The Power” in front of different sets in New York City. The song and the dance are in front of you, and that’s part of what makes it the best Spike Lee movie.

NEXT: 10 Best Movies That Break The Fourth Wall (According To IMDb)

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The 350-year-old civil war circle found in the south of the island https://letrasenredadas.com/the-350-year-old-civil-war-circle-found-in-the-south-of-the-island/ https://letrasenredadas.com/the-350-year-old-civil-war-circle-found-in-the-south-of-the-island/#respond Wed, 28 Apr 2021 19:01:37 +0000 https://letrasenredadas.com/the-350-year-old-civil-war-circle-found-in-the-south-of-the-island/

A 350-year-old gold ring discovered in the south of the island has just been declared a treasure in an investigation earlier this week.

He was discovered in a field by metal detector Lee Morgan, of Peel and owner of Morgan’s Pies bakery.

Curator of Archeology at Manx National Heritage [MNH] Allison Fox said it’s rare to find high-quality English Civil War-era artifacts on the island, and something like this has never been found here before.

Some of the rare artifacts in the Manx Museum from this period include a bonnet believed to belong to Illiam Dhone and coins that were found by a detective in a hand-woven purse.

The ring, dated to the mid to late 1600s, measures 21.5mm in diameter, in gold, with a 12mm diameter crystal stone, overlying the gold lettering of the initial capital letters J (or I) and D.

Each shoulder of the ring is adorned with an engraving of a leaf inlaid with black enamel.

MNH believes the initials might refer to James Stanley, 7th Earl of Derby Lord of Man, as he later adopted the signature “J Derby”.

Ms Fox said the ring would likely have been made in memory of him, not for him.

This is because it is in the style of a Stuart period ‘mourning ring’, sometimes given out at funerals to commemorate the deceased, usually including their initials.

Ms Fox continued: ‘The ring is small and quite delicate in shape, but of high quality and intact.

“The quality suggests that it was made for or on behalf of a person of high rank.

“ It is unlikely that we can establish for sure who owned the ring or to whom it commemorated, but it is possible that it was associated with the Stanley family, formerly Lords of Man. ”

Ms Fox added that it was unusual for such rings found here to be intact with the stone attached, and the fact that the crystal remained embedded in this ring shows how well made it is.

She said the ring is “the first of its kind” to be found “on the island, and that” even without any association with the Stanley, it is a truly special find. ”

The ring was easily dated as the style is very specific to the late mid-1600s, with similar examples having been found in the UK.

The style is also indicative of political allegiance, being generally associated with the royalist cause of the English Civil War, which James Stanley supported – it was executed by parliamentarians in 1651.

MNH also consulted with Derby family experts in the UK, who were ‘very happy’ to agree that there might be a possible association with the ring.

Ms Fox also said she hoped publicity for the discovery could attract attention that could link the ring to the Stanley family with more certainty, if more information came to light.

It is not known if it would be worn by a man or a woman, but could fit a man’s pinky finger.

When Investigative Coroner Jayne Hughes determined the ring to be treasure, the two main criteria were its age (with an object having to be at least 300 years or older to be considered treasure) and for the ring to be made of at least 10% precious metal.

Ms Fox said MNH also highlighted the potential connection to James Stanley, who she said was taken into consideration by the investigation, but that age and precious metal content would have been enough on their own to make the decision.

There are now plans to send the ring to the UK for review by the Treasure Valuation Board, an independent group that meets at the British Museum and provides advice on antiques.

When discoveries of archaeological objects are made on the island, there is a legal obligation to declare them to the national heritage of Manx.

If the artifacts fall into the categories of the Treasure Act 2017 (which includes being so closely linked to Manx’s history and national life that their loss would be a calamity and / or be of exceptional importance to the study of any branch of manx (learning or historical) art, the discovery must also be reported to the inquest coroner.

If the find is declared a treasure, a financial reward is usually paid to the researcher and landowner by the government.

The appraisal off the island will allow them to receive the equivalent market value of the treasure.

The exact location of the find in the south of the island will remain a closely guarded secret to protect the integrity of the site, but MNH has been able to confirm that no artifacts from this period have ever been found in this area.

The memorial ring is the third discovery of Mr. Morgan’s treasure on the island.

In 2013, he discovered a treasure trove of silver coins dating from around 1320 AD, and in 2019, he discovered a silver bar dating from between 950 and 1075 AD.

Mr Morgan began metal detecting in 2008, having been introduced to the hobby by his father when he was young.

He told us that on his first trip to St John’s he found a sixpence Elizabeth I coin which he said “ brought me back [to the hobby]”.

Mr Morgan had researched the ring himself and came to the same conclusion about its age as MNH.

He added that his interest in history was “ born out of metal detecting, once you find these artifacts I think in some ways it’s your job to work on. [roughly] what are they.’

“If you don’t know what you find you have to either come here or do the research yourself, and I find that very interesting.

“And if I know I’ve found something interesting, I know it should be reported.”

He said some of his favorite finds were not treasures and included a Bronze Age ax and a 15th century silver ring which he described as less spectacular than this treasure ring, but also in fantastic condition.

He donated the ax, but kept the ring.

Mr. Morgan could also tell us that he had found a Viking ingot nearby in the same field as the ring.

Asked about his reaction to his discovery, he said: ‘We spend 99.9% of the time digging scrap metal, you’re pretty much a scrap dealer.

“But while 1%, sometimes you will find something, but this ring was an exception.

The find was unexpected, having first picked up a signal from a piece of lead, before taking two steps and picking up the signal from the ring before digging it into a small hole. MNH is looking to display the ring for the Manx Museum’s reopening this Saturday.

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Paul Ogburn | Death notice | argusobserver.com https://letrasenredadas.com/paul-ogburn-death-notice-argusobserver-com/ https://letrasenredadas.com/paul-ogburn-death-notice-argusobserver-com/#respond Wed, 28 Apr 2021 17:54:00 +0000 https://letrasenredadas.com/paul-ogburn-death-notice-argusobserver-com/

Nov 13, 1928 – Apr 23, 2021

Paul passed away on Friday April 23, 2021 with his family and friends. A screening will take place from 4 p.m. to 6 p.m. on Sunday, May 2 at Christian Life Fellowship in Ontario. Services will take place at 11 a.m. on Monday, May 3 at Christian Life Fellowship. Interment with Service Distinction will follow at 2:00 p.m. at Riverside Cemetery, Payette. Services are under the direction of the Shaffer-Jensen Memorial Chapel, Payette. Condolences can be sent to the Paul family at www.shafferjensen.com.

Paul was born on November 13, 1928 in Goteboe, Oklahoma. Her parents were Jordan and Betty Ogburn. He was the 11th of 12 children. He was happy his parents didn’t stop at 10.

His parents lived on a small farm, raising cattle, wheat and cotton for cash crops. Paul said he would be pulling 50 pounds of cotton a day by the age of four. So his father gave him a regular hand on the pitch at the age of five.

Paul graduated from Lake Valley High School as a class president and lettering in basketball and baseball, as well as a driving school bus.

Paul moved with his family to Ontario, Oregon, in the summer of 1948. His brother, Jason, operated the Eastside laundry and his parents helped out. Paul went to work at Tuttle Lumber Company where he made lifelong friends.

Paul was drafted into the Army in 1950. After a training camp in Louisiana, he was transported with his troops, 5,000 of his closest friends, by boat through the Panama Canal to Japan and into Korea. The winter of 1950-51 was freezing cold. After being released in 1953, he teamed up with his brother-in-law, Wilbur Johnson, and operated the J&O Richfield gas station in Ontario for two years.

Paul courted and married Lou Wauna Downey in 1954. In the spring of 1955, they moved to New Plymouth and began their farming career which spanned 50 years. They raised hay, wheat, corn and chickens for cash cultivation. Later, they started a dairy, raising sugar beets and sweet corn. Always in search of cash, Paul harvested sweet corn for the Idaho Canning Company and later American Fine Foods. Along the way, they raised four children: Paul Jr., Dave, Sandy and Bryan. As with any job, there have been good years and bad years. Paul has kept his strong work ethic and passed it on to his children and grandchildren. Hed says, if you don’t, it won’t.

In 2005, they sold the farm and moved to West Mountain in Cascade. They spent 10 wonderful years there and made many friends. After mom passed away, dad lived with son Bryan for three years before moving to Spring Creek Assisted Living in Fruitland last fall.

Dad passed away on a beautiful spring afternoon with his son, Paul Jr., Beverly and friends, sitting on a patio overlooking the farmland he loved so much. One minute here, the next, he’s gone. We should all be so lucky.

Dad is survived by his daughter, Sandy (Greg) Baskett; sons, Paul Jr. (Beverly), Dave (Charlotte) and Bryan (Jo); 12 grandchildren and 32 great-grandchildren: and one sister, Betty Johnson

To plant a tree in memory of Paul Ogburn as a living tribute, please visit Tribute shop.

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Comic book icon Barry Windsor-Smith returns with long-buried monsters https://letrasenredadas.com/comic-book-icon-barry-windsor-smith-returns-with-long-buried-monsters/ https://letrasenredadas.com/comic-book-icon-barry-windsor-smith-returns-with-long-buried-monsters/#respond Wed, 28 Apr 2021 17:00:00 +0000 https://letrasenredadas.com/comic-book-icon-barry-windsor-smith-returns-with-long-buried-monsters/

For decades Barry Windsor-Smith’s Monsters was an urban cartoon legend. Originally launched in 1984 as a The Incredible Hulk one-shot exploring Bruce Banner’s abusive childhood, the story was put aside because of the word “damn” then reused later in Bill Mantlo’s run in the series, infuriating Windsor-Smith. The cartoonist bought a revised and significantly expanded version of the book from different publishers – at one point it was going to be published by Vertigo – but Monsters never materialized beyond some works of art posted on the Windsor-Smith website. Then, last year, Fantagraphics announced that it would release the 360-page black-and-white graphic novel in 2021, Windsor-Smith’s first new work in 16 years.

Illustration from article titled A Comic Book Icon Returns With Monsters, Horror Story Superhero Editors Would Not Say

Picture: Fantagraphics

Monsters takes the seed of the painful upbringing of a terrifying character and turns it into a sprawling family drama about the horrors of war and its impact across generations. Bruce Banner is now Bobby Bailey, and his transformation into an unstoppable and disfigured bully is the end result of a tragedy that has unfolded since WWII. The book begins with the defining trauma of Bobby Bailey’s childhood, when his father, Tom, a newly returned WWII veteran, beats him within an inch of his life and permanently destroys his left eye. The short scene kicks off the narrative with suspense, mystery, and expressive horror that visually breaks from reality. As Janet Bailey walks away from her husband, cradling her bleeding son in her arms, the perspective and proportions of the surrounding environment begin to shift, creating a disorienting and nightmarish landscape where the gigantic Tom Bailey looms over his family.

Windsor-Smith is known for his meticulous inking and cross-hatching Monsters“World and characters remarkable dimension. His inks are mostly very tight and specific, but in the opening sequence the lines have a wild character that contributes to the chaos. Tom is drawn with a flurry of lines that gives his physical form an instability that reflects the madness that invades his mind. He is screaming in German and his word bubbles are filled with confusing text written in Fraktur, the typeface mainly used (and later banned) by the Nazis. This opening creates questions that history won’t return to for a while, and from there the action skips until 1964, when an adult Bobby Bailey enlists in the military and eventually becomes the test subject for Project: Prometheus, a Nazi super-soldier program pursued by the US government.

As impressive as the Windsor-Smith crosshatch is, it’s just as powerful when it minimizes line art. A three-panel sequence of a helicopter carrying Bobby Bailey is imbued with terror, thanks to the sea of ​​black swallowing the plane, drawn with just a few white lines as it disappears in the distance. Towards the end, Windsor-Smith refers to Andrew Wyeth Christina’s world for a moment of transcendence of a character, but he removes the details and only draws the outlines to underline the passage into another plane of consciousness.

Illustration from article titled A Comic Book Icon Returns With Monsters, Horror Story Superhero Editors Would Not Say

Picture: Fantagraphics

The first act of Monsters shares a lot with its creator’s most popular superhero work, Weapon X, another grotesque look at the government torturing an individual through experimentation. Originally published in 1991, Weapon X holds up well 30 years later, recounting how Wolverine obtained his adamantium skeleton through a fascinating mix of body horror and political commentary (with a touch of workplace comedy). Like Bobby Bailey, Logan is at the center of Weapon X, but that’s not the main character from the point of view. Instead, Windsor-Smith focuses on scientists who dehumanize their subject in order to turn it into the ultimate killing machine, examining the ethical compromises they make for their work and the emotional connections they make with their puppet. of meat. There is some very dark humor in the dynamics of the workplace, especially in the way the team engages with its sociopath leader, Dr. Abraham Cornelius.

Humiliation is a big part of the horror in both Weapon X and Monsters. Suffering in body and mind is not enough; the spirit must also be broken. In Weapon XCornelius needs to reinforce his superiority over his superhuman specimen, most pathetically in a scene where he pours coffee on the face of an unconscious Logan. Bobby Bailey’s humiliation at the hands of cruel Project Prometheus workers is the cover image of Monsters, a tight close-up of miserable Bobby with tears in his eyes and an American flag in his head. It’s a twisted version of an office prank, which deeply dehumanizes an innocent man who just wanted to serve his country.

There is one person haunted by these events: Sergeant Elias McFarland, the man who recruited Bobby and who is now tormented with guilt, and who has his own bizarre past with the Bailey family. The influence of superheroes is strongest at the start of Monsters, and Elias’ mission to save Bobby unfolds in an exhilarating car chase that leads to a devastating shootout. Dramatic sound effects punctuate key moments in the action, and the shootout is a showcase of the lettering’s impact on storytelling, with the thickness of the line, the shape of the letters, and the placement of the balloons working together to create a feeling of total chaos.

Illustration from article titled A Comic Book Icon Returns With Monsters, Horror Story Superhero Editors Would Not Say

Picture: Fantagraphics

There are supernatural elements to Monsters, but they are more Stephen King than Stan Lee. The story shares some important similarities with The brilliant: a malicious supernatural influence on a father that forces him to terrorize his wife and son; a boy with extraordinary power; a black male character with “sight” who comes to the aid of the boy and suffers the consequences. But the broader themes, plot structure, and distinctive characters make Monsters his own beast. This is a story about how war corrupts individuals and institutions, exploring the idea through the eyes of a morally conflicted Black Army sergeant and a housewife whose life crumbles when her husband returns from overseas.

Elias’ relationship with his wife and children is as important as Bobby’s transformation into Monsters‘first act, and as Bobby is maimed, Elias’s guilt has a greater impact on his home life. His wife, Bess, finds it hard to believe in Bobby’s supernatural gifts, and as Elias becomes more and more obsessed with Bobby, Bess becomes increasingly concerned about her husband’s sanity. The family dynamic here is strained, but it’s rooted in affection and empathy. Elias and Bess communicate with each other, and even when they don’t like what the other person is saying, they are always ready to listen and respond honestly in the hopes of finding a solution that will allay both of their fears. This is in stark contrast to Janet Bailey’s relationship with her husband, who responds to one of her anxieties with aggressiveness and animosity, refusing to share in the trauma that plagues their marriage.

The biggest piece of Monsters focuses on Janet, presented with a mix of traditional comic book pages and handwritten journal entries accompanied by illustrations. Journal entries enrich the emotional content in many ways, starting with creating an intimacy between Janet and the reader as they access her inner life. Seeing her handwriting – and the places where she starts a thought and then crosses it out – brings Janet’s character even more life and spontaneity, which makes her domestic situation all the more devastating. She’s a woman desperate to understand why her husband became a different man after the war, and she constantly rationalizes his dangerous behavior. Janet doesn’t know what happened to Tom overseas to turn him into a violent alcoholic, and her story ends before she even learns the truth, although she gets a taste of it when she does. touches her husband’s haunted Nazi pistol.

Illustration from article titled A Comic Book Icon Returns With Monsters, Horror Story Superhero Editors Would Not Say

Picture: Fantagraphics

Monsters has some frantic action and a lot of atmospheric horror, but the majority of the book is domestic and professional situations, highlighting Windsor-Smith’s skill at playing characters. The emotional beats are exceptionally clear, and he pays close attention to the different ways people feel pain, internalize it, and release it. It brings vitality to these characters and conversations, and by withholding information, the script creates a sense of intrigue that drives momentum forward when there isn’t much of a show. The book’s timeline pulls back, ultimately filling most of the blanks when it lands in Schongau, Germany to reveal what happened to Tom Bailey and his fellow soldiers at the end of World War II.

All the main characters of Monsters are interrelated more deeply than they know, and the script actively engages with the idea of ​​fate rather than coincidence. These lives are connected like spokes on the wheel of fate, and as the story unfolds it reveals the full shape of that wheel and where it is going. The lampshade may not work for some disbelieving readers, but it’s heartwarming to think that in a world full of seemingly random suffering, there is a grand design that puts people where they need to be to help those in need. need.

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How to set up a 1970s motorhome and travel across the country https://letrasenredadas.com/how-to-set-up-a-1970s-motorhome-and-travel-across-the-country/ https://letrasenredadas.com/how-to-set-up-a-1970s-motorhome-and-travel-across-the-country/#respond Wed, 28 Apr 2021 12:06:54 +0000 https://letrasenredadas.com/how-to-set-up-a-1970s-motorhome-and-travel-across-the-country/

My husband, Marc, and I decided we should live in an Airstream trailer with the same kind of rush that someone would choose what kind of take out after a long day at work. Or someone at a craft store who decides to try hand lettering as a hobby before quickly giving it up. I now think back to the

the swiftness of that decision with awe as I have since spent weeks pondering clothing purchases and months deciding if linen sheets would really make me as happy as the targeted ads say. Yes, I would love them, but would I love them at $ 300?

I didn’t go into the decision to buy an Airstream and renovate it so carefully. In fact, I jumped fully at the choice with what can only be described as the unmistakable naivety of most newbie renovators. It will be quick. It will be affordable. We would stay within budget. These things would ultimately be wrong. It turns out that the renovation of an Airstream is also moving unbearably slowly. It’s fast on Instagram, slow in reality, and often makes you want to scream. I didn’t know this when I saw Airstream as a couple on Pinterest. I’ve seen photos of simple, clean, minimalist white interiors. I saw the long bench that served as a sofa and a small desk where the wife wrote and the husband drew. I saw the preserved 1970s floral wallpaper that was faded but still groovy. I read the couple’s story. They both worked. They were tired of pouring money into expensive rentals. They wanted to save more but couldn’t. They were us and we were them. We would do something similar, I thought.

“Some days it was like we were at the limit of our potential… Other times it was like we bonded with the Titanic.

Our Airstream is a 1973 Ambassador model. From tongue to bumper, it’s 29 feet long with sharply curved walls and approximately 188 square feet of living space. From my desk I can access the fridge, the stove, the recycling bag we keep by the door and the sofa. Our bed is stacked above the drawers; we have a full kitchen and bathroom. Really, there is everything we need in this micro-space. We spent two and a half years renovating it. First, in a parking lot in Burlington, NC, outside my husband’s job and finally with us living inside with everything still incomplete. When we bought the Airstream for $ 600 after tripping over it and languishing on the side of the road, we stripped it all away. By wearing full PPE for weeks that made us look like marshmallows, we removed the molding insulation, leftover tenant scraps and old appliances. We found a plastic dog with peeling paint and kept it. We tore everything up until the inside looked like a rib cage and we had to step on the metal bars like balance beams. Some days we felt like we were at the limit of our potential. As if we could squint and see it. Other times it felt like we bonded with the Titanic – big, clunky, expensive, not well thought out, and ultimately doomed.

Slowly we rebuilt the Airstream and moved in when it wasn’t quite finished but done enough that we couldn’t justify renting an apartment. The faces of the cabinets were not hung. For months we cooked on a hotplate that rested on a board where our oven would eventually live. Our clothes were stored in long Tupperware containers because we hadn’t built any drawers yet and there was a stack of tools where the sofa cushion should have been.

Designing the Airstream to be our home has been a long process and like most homeowners we are constantly finding new adjustments to be made as we live in our home, even three years later. Our bathroom, the most intensive part of our remodel, is a fiberglass wet tub so for weeks while we sculpted the curves it was Pepto Bismol pink. After living stationary for two and a half years in North Carolina, we decided to hit the road. We screwed baby locks on our cabinet doors and learned the importance of stabilizer bars for our truck. We took our Airstream to California with a few tweaks along the way. Our jobs have changed and the house we built years ago has had to adapt with us. In Texas, we ripped out the wine fridge for more storage. In Indiana, we swapped our dinette for a long desk that folded into a bookcase to have more room to work. We made a slight adjustment to where we store our cleaning supplies and hung up some artwork. We swapped out the RV toilet for a composting toilet and added solar capabilities.

It’s hard to know how much we spent on the renovations, but after a general estimate, we think $ 20,000 is a reasonable estimate. In the middle of the process, when we felt like we were losing money at Home Depot, we met via conference call with a financial advisor. She worked at a trendy financial consulting firm that shaped itself after a gym, called its employees “ trainers, ” and encouraged clients to be financially fit. “How much would it take to complete the Airstream?” She inquired. By that point we had completely emptied it and ended up with this shell that seemed more desperate than anything. Well, we couldn’t just say a number, we explained. It’s impossible, says Marc. Let’s just say a number and then if we go through that, we’re done, I argued. We both knew we wouldn’t. We offered up to $ 5,000 to our financial trainer. She smiled at us and within a few months we had completely passed that and reached the point of no return of the renovation.

Our home is now everything we wanted it to be, back in the days when we dreamed and didn’t understand what a real renovation would cost – be it our time, our money or our emotions. There are clean lines and deep curves. The bathroom reminds us of a trip we once took, where at the hotel you could look up and see the sky. We have vivid Bauhaus colors, pictures on the wall, and potential rent payments that got us back to school and taking greater risks. You shouldn’t have to live in a tin can to have affordable housing, but we do. We named our Airstream Walter and even though the views from our windows are constantly changing, we’re still at home.

Comment this story at backtalk@indyweek.com.

Support local independent journalism. Join the INDY press club to help us keep intrepid surveillance reports and essential artistic and cultural coverage viable in the Triangle.

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Leaving His Mark Local Artist, Sign Painter Leaves Legacy Across the County – The Interior Journal https://letrasenredadas.com/leaving-his-mark-local-artist-sign-painter-leaves-legacy-across-the-county-the-interior-journal/ https://letrasenredadas.com/leaving-his-mark-local-artist-sign-painter-leaves-legacy-across-the-county-the-interior-journal/#respond Wed, 28 Apr 2021 12:00:28 +0000 https://letrasenredadas.com/leaving-his-mark-local-artist-sign-painter-leaves-legacy-across-the-county-the-interior-journal/

STANFORD – For over 50 years John Arnett left his mark on Lincoln County in the form of signs – from storefronts to boats to work trucks – he made a lot of artwork in the city.

John, who died aged 71 in March, painted signs for local businesses for most of his life.

According to his wife, Carol Arnett, John had his hand in a bit of everything, and most of the panels and artwork in downtown Stanford were made by these hands.

“He did a lot of freelance writing, but he also had a shop downtown for a while,” Carol said. “He did a bit of everything. He did lettering on trucks, he did it on glass, he did it on the sides of buildings, he painted on boats. He also made art.

John opened his Arnett Signs business on Main Street in Stanford in 1991. It was featured in The Interior Journal with a photo of him putting the finishing touches on an oil painting.

According to the news archive, Arnett’s company specialized in “lettering and painting commercial signs on windows, vans or any other surface” and he also painted oil portraits and heritage images of houses.

“He painted signs in the county for about 50 years,” Carol said. “He moved here in 1971.”

John was even commissioned to do some historical reproduction work. In 2003, the First Southern National Bank hired him to reproduce a sign that once adorned the side of a building at the corner of Depot and Main streets in Stanford. He was hired to repaint “WH Higgins Groceries, Hardware & Buggies” on the building.

The Lincoln County Ready Mix sign was also her hands-on job, Carol said, along with many other commercial signs in Lincoln County.

“He designed the Alford Real Estate brands,” she says. “He also made the Hart Insurance sign. There are so many.

And there really is – John’s work has spread across the state to Carrollton, Somerset, Danville and across state lines to Cincinnati.

Carol maintains a portfolio of all of John’s work, which includes photos of various commissions, freelance jobs, freehand artwork, and even poetry.

“He also wrote poetry and he actually published poetry in a book about Greenup County, where he was born,” she said. “He also designed the cover of the book.”

The book is called “Greenup County, Kentucky; A historical reflection, ”she said, and was written by a friend of John’s who he went to school with there.

Whichever side of Main Street in Stanford you look at, John’s works can be seen. But Stanford isn’t the only city he’s shared his work with – Carol said John’s work has reached Germany, France and Jamaica.

He was meticulous, she said, and rarely made mistakes, which is why he was always sought after, even by young artists, many of whom John took under his wings to frame.

“He never disturbed the spectators,” Carol said. People often stopped to watch John work and admire his hand-held abilities, she said.

Carol said her husband suffered from Alzheimer’s disease later in life, but every time he walked down Main Street he showed his signs and remembered painting them.

“For a while he just went to see his family and when they bring him home he tells them on the way home, ‘This is one of my signs’ or’ I did this- there ‘and pointed them out all the time at home, ”she said.

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John Hassall: The pioneer of street art | Books | Entertainment https://letrasenredadas.com/john-hassall-the-pioneer-of-street-art-books-entertainment/ https://letrasenredadas.com/john-hassall-the-pioneer-of-street-art-books-entertainment/#respond Wed, 28 Apr 2021 11:52:00 +0000 https://letrasenredadas.com/john-hassall-the-pioneer-of-street-art-books-entertainment/

John Hassall was the ‘poster king’ (Image: University of Essex)

Many of his creations remain engraved in the public consciousness to this day. Its iconic 1908 image of a Jolly Fisherman dancing along the sands at Skegness in a cheerful good mood helped put the seaside town of Lincolnshire on the map. Its slogan, “Skegness is SO Bracing,” has encouraged tens of thousands of visitors to hop on the Great Northern Railway service for a special three-shillings fare from King’s Cross in London. In the days leading up to television, when the poster was king, advertisers found their way to his door because of how he could incorporate a story into his work.

Despite the enduring fame of his images, his name has faded into obscurity. However, a brilliant new biography of Hassall by art historian Lucinda Gosling now aims to address this.

She explains: “When John Hassall started designing advertising posters at the end of the 19th century, he was absolutely at the forefront of a movement that was producing truly modern and revolutionary work.

“He created a quintessentially British poster style using firm outlines, bold flat color bands, minimal lettering and, perhaps most importantly, humor.

“Hassall was a natural prankster and a born storyteller, mischievously spinning a thread whenever there was an opportunity.

You can see all of this manifested in several of his posters. Rather than the fussy, overly detailed, text-rich posters of the upper Victorian period, Hassall instead sought to encapsulate the spirit of something in the most economical way possible. “

For Nestlé’s Milk, Hassall painted a sweet-faced girl picnicking on a hill while her family in the distance picked up a basket in an open-top car. On a crisp white blanket in front of the child is a box of Nestlé Swiss milk.


Some aspects of his work are anachronistic today, including this anti-suffragist illustration (Image: Getty)

In another piece of jewelry promoting shoe polish, Hassall recreated the story of the woman who lived in a shoe. Smiling children gaze out of the windows as their mothers shine the shoe house.

The caption reads: “You heard about the woman who lived in a shoe. Who had so many children that she didn’t know what to do. So she made them broth and gave them a kick. foot. Then shined his shoe with Day and Martin’s Blacking. “

While certainly not “awake” by today’s standards, it did bring some fun.

Gosling continues: “Hassall also understood some basic practicalities. The posters had to be seen from afar – especially in the foggy towns of Edwardian Britain, they were to immediately attract the attention of the man or woman in the room. street, but above all, they had to sell a product.

“He was an excellent draftsman and surprisingly quick worker, producing hundreds of poster designs for a range of clients, as well as magazine and book illustrations, postcard designs, nursery pictures and friezes. , fine art commissions and more.

“He wasn’t the only poster artist working at the time. There were his friends Dudley Hardy, Tom Browne, Cecil Aldin and Will True, but Hassall’s prolific production and countless successes catapulted him to the top of the game. tree and have earned him the nickname, “The Poster King.”


The Skegness Jolly Fisherman encouraged tens of thousands of visitors (Image: Unicorn Publishing)

Despite the humor inherent in his job, Hassall’s life contained more than its fair share of tragedy. Born in 1868, in Walmer, near Deal, Kent, he was only seven years old when his father, Royal Navy Officer Christopher Hassall, died at the age of 38 in an accident at sea who had left him in a wheelchair.

His mother Louisa remarried and Hassall and his brother Owen were sent to boarding school, first in Devon, then in Germany. Having twice failed to enter the Royal Military Academy at Sandhurst, John emigrated to Canada in 1889 to try his hand at farming.

After winning awards with drawings of landscapes he created for relaxation, one of his scenes from Canadian life was published in the British newspaper Daily Graphic.

This encouraged him to attend art school in Antwerp and later study in Paris with the famous painter William-Adolphe Bouguereau before returning to Britain.

Gosling explains: “At one point during his studies, Hassall met his classmate Isabella (Belle) Dingwall, from Helensburgh, Dunbartonshire, and fell in love.”

The couple moved to Notting Hill, west London, and developed a thriving studio, but tragedy struck again when Belle, then 34, died giving birth to the couple’s third child .

Hassall wrote in his diary: “Beautiful fallen ill, baby girl born around 2 am; died around 5 am Dr Blackes, 11 rue Wimpole”.

Three years later, Hassall remarried Constance Maud Brooke Webb and had a second family. Their son Christopher was an actor and poet and their granddaughter, Imogen Hassall, though dying barely 38, would become a renowned movie star in the sixties and seventies.

The depth and breadth of the artist’s output was astonishing, Gosling says.

“While many people will immediately recognize Hassall’s poster ‘Skegness is SO Bracing’, arguably his most famous creation, most will know little about the artist behind it, how versatile he was or just how versatile he was. it’s important in the poster’s story, ”she explains.

Tall, mustached and well dressed, he put on a dashing figure and his speeches were enjoyed at the Sketch Club, where members ate and ate while drawing. He was also popular at the Savage Club, where actors, composers, musicians and artists rubbed shoulders with royalty.

He seems to have objected to women getting the vote. In 1912 he designed two posters for the National League for the Opposition to Women’s Suffrage.


Hassall is believed to be against the vote for women (Image: Unicorn Publishing)

One of them showed a man returning home to find two children in rags crying, apparently because they missed their mother. It was called A Suffragette’s Home. It is not known whether this commission reflected his own views, Gosling says.

“There are aspects of his work that are, inevitably, anachronistic. Some of the characters he uses would no longer be acceptable in the advertising world – servants for example, old crones, or bums and down- and-outs, ”she adds.

“He was a product of his time – a child of the Imperial Age – and much of his work echoes the tastes, interests and aspirations of that time.”

Yet Gosling also found an article Hassall wrote for an Irish newspaper in which he said: “By 2008 electricity will have solved the problem of domestic work, the tides will provide us with electricity. Instead of having to work, clean and scrub, women will simply press an electric button.

“The result will be that the women will give all their time to cultivating the physique through games and athletics. A magnificent women’s race will be the result. That women are six feet tall, I am inclined to think. , will not be. at all exceptional for a hundred years. “


A popular poster for shining shoes (Image: Unicorn Publishing)

Bevis Hillier, Times columnist and art expert, said of him: “Hassall is, by anybody’s standards, a great artist. But he was a genius. Never really existed, that just happens. increase the attractiveness of his work. “

Hassall died at the age of 79 in 1948 but his work has survived him. Its iconic image of Skegness has been picked up and reimagined as a hallmark of city advertising to the present day, while the images, for Colman’s Mustard for example, remain instantly recognizable.

Even though the name of their creator has faded over time, Lucinda Gosling’s book is a timely and deserving tribute to her genius.

John Hassall: The Life and Art of the King of Lucinda Gosling’s posters (Unicorn Publishing Group, £ 30) is out now. For free UK delivery call Express Bookshop on 01872 562310 or order via expressbookshop.co. UK.

An exhibition on the life and work of Hassall will be held at the Heath Robinson Museum, Pinner, from May 22 to August 29.

Visit heathrobinsonmuseum.org for more details.

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Monotype sums up the creative trends we’re seeing this year – and nostalgia is important https://letrasenredadas.com/monotype-sums-up-the-creative-trends-were-seeing-this-year-and-nostalgia-is-important/ https://letrasenredadas.com/monotype-sums-up-the-creative-trends-were-seeing-this-year-and-nostalgia-is-important/#respond Wed, 28 Apr 2021 08:45:00 +0000 https://letrasenredadas.com/monotype-sums-up-the-creative-trends-were-seeing-this-year-and-nostalgia-is-important/

Generally speaking, the foundry says that “what emerges is a kind of struggle between our rapidly digitizing way of life and an equally strong desire for something tangible”. It plays out through the frontier push type on the one hand, which uses cutting edge technology to align and advance modern devices and platforms on the one hand. On the other, “a return to the familiar and comfortable letters of past decades”, as Monotype says, “driven by a desire for authentic connection in a world that we experience more and more through screens”.

The trends report is broken down into several key themes that Monotype has seen to be on the rise when it comes to typographic approaches and aesthetics or anticipate an increase this year and in the years to come. These themes include variable speed, tactile type, virtual is reality, culture of contrast and the hand was there. The latter is linked to the trend for hand-drawn lettering and wood-blocked textures – “type that evokes the nostalgia of your lunchtime stroll at the food market, hand-painted street-food signs and storefronts. mom-and-pop, reminders of the human experience that we covet so much back home, “says Monotype. The foundry adds:” In a fully digital world, it’s no surprise that people are looking for something new again. warm, familiar and human. “

Obviously, a key part of this trend is nostalgia – the idea of ​​humanity and comfort told through letters. We chatted with Phil Garnham, senior director of the creative type at Monotype, about the type’s nostalgia: why he’s so popular right now, brands capitalizing on and what exactly a “retro” type family is.

Dunkin ‘branding

There is so much nostalgia in the air. Why do you think it is?

It is certainly an interesting time for creatives. Zoom has pushed the Creative Day into increasingly focused time windows to “do” creation “hands-on”, and there is less social interaction within creative teams. Our domestic / professional life also straddles this border between on / off, rest / work; comfort meets deadlines. Could this lead to a fall-back mentality? I don’t really know, but the trends in brand typography seem a bit circular right now.

We have such a rich typographic heritage, and it has always been a source for new interpretations of type, re-modeling and revamping. Still, there’s certainly a feeling that brands think of the guy in a more directly nostalgic form. It could also be a step back from the ‘digital’ type geometric aesthetic that has dominated for nearly two decades.

Can you give us some recent examples of campaigns or brand identities?

The most remarkable example is obviously that of JKR Burger King name change, which has that ‘soft-serve’ aesthetic, but many others are moving in that direction … Fisher-Price, Mailchimp, Dunkin and Tentree also continue this trend towards the soft serifs of the 1920s. In the creative tech industries with brands like Twitch, Tweag, and Dreamhack, we see more of the 8-bit minimalism of the 1980s with “Blockheads” – it’s a type reminiscent of the ZX Sinclair and Atari era. Brands are now starting to harness the creative and practical benefits of variable font technology. This results in a type reminiscent of avant-garde wood typography, where a mixed-width type case has been slammed and inked. Paula Scher’s work for the Public Theater in New York in the 90s also revived this trend.

One-design trends

One-design trends

What type do you see, over and over again, following this theme?

Our recent type trends report really dug into what agencies are currently doing with type across all kinds of verticals and geographies. Before the report, we felt things were moving forward, but we really didn’t know how much. Our report highlights that brands today are seeking more distinction and authenticity in tone of voice than ever before. In a locked world, brands have limited exposure to rectangular devices, and many brands follow familiar patterns and themes.

Typing digitally is reading, and fonts are a big part of conveying the brand’s tone and creating that subliminal memorization. Brands know they have to brave to stand out, and our Trends Report highlights how brands seek to create more distinctive typography, and in doing so, imbue that sense of nostalgia. And maybe it only sounds nostalgic because of the context. We have cultivated our minds to accept the geometric sans as “digital”: we are not conditioned to read the serifs of the 1920s as “digital”. It doesn’t seem out of place, but that’s probably where its impact lies.

Do you see a wave of nostalgic families on Monotype?

The type determines the culture and the culture the type. Last year we published FS Rosa as a new take on what we anticipated as an emerging trend, and it’s certainly getting more and more popular. As a creative studio, we’ve certainly worked with brands that push more in this direction, bringing the legacy to life as new. It’s an exciting time to play around with notions of type and challenge on what’s okay with some big brands. We also want to create the typefaces that designers demand, the fonts that brands need to deliver on all fronts, so I would expect more creative work in this area over the next couple of years.

FisherPrice Documentation

FisherPrice Documentation

How do you think consumers and users will feel about this design trend?

The idea of ​​pure nostalgia isn’t really a trend for change, but it is a vehicle for empathy in a world that seeks familiarity and comfort during difficult times. As we optimistically prepare to pivot, reopen out of lockdown, that sense of familiarity will help stabilize, reassure, and provide a foundation of confidence as we move forward. I think most of us love retro themes as well, so there’s a lightness and airiness in this new approach to design, and that’s what the world needs right now.

What defines a retro-type family?

I guess it’s a classic face, that of a bygone era, wrapped in all the connotations of a cultural aesthetic. Familiar letters that draw you emotionally and say “do you remember that time?” As the trend develops, I’m really curious how we can redefine these faces now, either by modernizing the letters themselves or by using them.

FisherPrice Documentation

FisherPrice Documentation

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Hubert Clement Brabender https://letrasenredadas.com/hubert-clement-brabender/ https://letrasenredadas.com/hubert-clement-brabender/#respond Tue, 27 Apr 2021 17:36:00 +0000 https://letrasenredadas.com/hubert-clement-brabender/

Middleton – Hubert C. “Sonny” Brabender, 84, of Madison, died on Friday April 16, 2021 at Madison University Hospital of a severe stroke suffered on March 29.

He was born on May 16, 1936 in Madison, son of Hubert P. and Rosalia (Friedl) Brabender.

Hubert, better known as Herb, spent the first five years of his life in Madison with his parents, until he moved to the family farm in Ashton in 1941. He graduated from elementary school. Catholic Ashton St. Peter, then graduated from Middleton High School in 1955 after writing in baseball, basketball, football and track. Herb was a member of the 1954 Middleton High School basketball team that went to the state tournament. School principal Meyer often berated him, “If only you would work so hard for your academics.” During the summers, Herb played on the Ashton Catholic Youth Organization (CYO) baseball team and hung out with his pals, Joel Larson, Kenny Bram, Jim Shaksted and others, creating havoc and having fun. .

After graduating from high school, he served in the US Air Force for eight years and was a proud member of VFW Post No. 8483, Madison. During his years of service he spent time in Guam and was on duty during the Suez Canal Crisis in 1956. He claims he was shot at at the time – we are not sure, but that made a good story. He cheated death once when he was young, when runaway horses gave him a wild ride on a farm cart. He was saved when his front wheel hit a rock and brought him to safety, just before the cart’s tongue impaled on the side of the chicken coop. We know this story was true because there were witnesses.

He was also a proud teammate, with trucking routes through Arkansas, Oklahoma, and Wisconsin during his years on the job. Herb loved to work with wood, play cards, fish and spend time on the Brabender family farm. You can still find his initials written on the walls of the attic and etched in the concrete next to the barn.

Herb is survived by his sisters, Joyce A. (Joseph) Mulhern, Madison and Debra R. Tracy, Middleton; brothers, Earyl A. (Angie) Brabender, Madison, Wayne W. (Kirsten) Brabender, Middleton and Jerry B. (Susie) Brabender, Oregon; sons, Michael Lee Brabender, Little Rock, AR and Herbie Brabender, Guthrie, OK; daughters, Tracye (Tony) Wickliffe, Little Rock and Amber Brabender of Edmond, OK; stepdaughters, Cynthia, Tammie and Teresa; five grandchildren, Teresa, Jacob, Jarod, Irishman and Jordan; 13 nephews and nieces, and too many cousins ​​and friends to count.

His parents died before him; first wife, Bobbye Dean Hand; second wife, Betty Ann Curlee; special friend, Patricia J. Danielson; brother-in-law, Jeffrey L. Tracy; and his stepson, Billy Charles Martindale.

Many thanks to UW Hospital ICU and the other staff for their compassionate care and concern during Herb’s last trying days. He couldn’t have been in better hands.

Due to Covid concerns, a private family funeral will take place on Saturday, May 1, 2021 at St. Peter’s Catholic Cemetery, Ashton, just 800 meters from the family farm. A memorial service for Herb is scheduled for this summer.

Memorials can be donated in Herb’s name at Agrace Hospice Care, Madison, (www.agrace.org) or UW Carbon Cancer Center (www.cancer.wisc.edu).

Online condolences can be made at www.gundersonfh.com.

Gunderson West
Funeral and crematory care
7435 University Ave.
(608) 831-6761

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Irina Shayk wears $ 200 DMX tribute shirt ordered by Kanye West https://letrasenredadas.com/irina-shayk-wears-200-dmx-tribute-shirt-ordered-by-kanye-west/ https://letrasenredadas.com/irina-shayk-wears-200-dmx-tribute-shirt-ordered-by-kanye-west/#respond Mon, 26 Apr 2021 20:40:46 +0000 https://letrasenredadas.com/irina-shayk-wears-200-dmx-tribute-shirt-ordered-by-kanye-west/

Irina Shayk models a $ 200 DMX tribute shirt commissioned by Kanye West that raised $ 1 million for the late rapper’s family as she walks with her daughter

Irina Shayk used her unmistakable street style to pay tribute to the late rapper DMX on Monday in New York.

The supermodel, 35, wore a $ 200 t-shirt depicting the iconic rap star which was made thanks to a collaboration between luxury fashion house Balenciaga and rapper Kanye West to raise money for the family of DMX after his death earlier this month.

The catwalk queen was holding the hand of her daughter, four-year-old Lea Cooper.

Icon: Irina Shayk used her unmistakable street style to pay tribute to the late rapper DMX while she was with her daughter in New York

Cutie: Lea looked adorable in a blue dress with an orange tulle overlay, a fuzzy orange sweater and a puffy black jacket

A pop of color: She also wore silver boots and a black beanie topped with a brightly colored fur pom pom

Cutie: Lea, whom Irina shares with ex Bradley Cooper, 46, trotted alongside her mom, looking adorable in a blue dress with an orange tulle overlay, a fuzzy orange sweater and a puffed black jacket

The black, long-sleeved t-shirt acted as a dress for the Russian model, falling just above her thighs.

Like DMX, he has his arms crossed, his head tilted to the side.

Rays of light burst behind him. The portrait of the late rapper is flanked by a cross and topped with a lettering with the acronym “ RIP ”

According to the website of T-shirt, DMX birth and death dates are printed on the sleeves while “In Loving Memory” is printed on the back.

Tribute: Like DMX, he has his arms crossed with his head tilted to the side.  Rays of light burst behind him.  The portrait of the late rapper is flanked by a cross and topped with a lettering with the acronym `` RIP ''

Tribute: Like DMX, he has his arms crossed with his head tilted to the side. Rays of light burst behind him. The portrait of the late rapper is flanked by a cross and topped with a lettering with the acronym “ RIP ”

The $ 200 t-shirt was released by Balenciaga and Kanye’s brand Yeezy last weekend and immediately sold out, raising over $ 1 million for the DMX family.

Irina paired it with eye-catching black leather boots that showcased her long legs.

She accessorized two silver necklaces, one with a cross pendant and silver hoops.

The Sports Illustrated cover star protected her eyes with black sunglasses and wore a shiny black mask during the outing.

Good cause: The $ 200 t-shirt was released by Balenciaga and Kanye brand Yeezy last weekend and immediately sold out, raising over $ 1 million for the DMX family.

Good cause: The $ 200 t-shirt was released by Balenciaga and Kanye brand Yeezy last weekend and immediately sold out, raising over $ 1 million for the DMX family.

Stylish: Irina paired the t-shirt with eye-catching black leather thigh-high boots that showcased her long legs

Stylish: Irina paired the t-shirt with eye-catching black leather boots that showed off her long legs

Irina wore her long, loose brown hair around her shoulders and she carried a white purse with a wide silver chain strap over her shoulder.

The Queen of the Catwalks held her daughter’s white and pink rabbit-shaped canvas bag in her hand with a cup of coffee.

Lea, whom Irina shares with ex Bradley Cooper, 46, trotted alongside her mom, looking adorable in a blue dress with an orange tulle overlay, a fuzzy orange sweater and a puffy black jacket.

She also wore silver boots and a black beanie topped with a brightly colored fur pom pom.

Here it is!  The shirt was ordered by West, seen here with ex-wife Kim Kardashian in 2018

Here it is! The shirt was ordered by West, seen here with ex-wife Kim Kardashian in 2018


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