By Kimber McGray
This identify gains step by step directions for a hundred lovely card making tasks, ideal for even if you're crafting a last-minute birthday card or seeking to stretch your papercraft talents with an all-occasion 'anytime' card. With 50 simple playing cards and one other 50 playing cards with an interactive or dimensional function, there are many innovations regardless of how skilled you're or irrespective of how a lot time you might want to spend. step by step images may also help readers paintings via all of the tough bits to create really memorable playing cards with swivels, pop-ups, spinners, shakers, sliders and extra for birthdays, vacations, celebrations and no cause in any respect.
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Extra resources for 100 Fresh and Fun Handmade Cards: Easy-to-Follow Instructions for 50 New Designs and 50 Amazing Alternatives
97 T. Head, “Art and Artifice in Ottonian Trier,” Gesta 36 (1997): 65-82; H. Westermann-Angerhausen, “Spolie und Umfeld in Egberts Trier,” Zeitschrift für Kunstgeschichte 59: (1987) 305-36. 98 L. Douët-d’Arcq, Collection des sceaux. Archives de l’empire (Paris, 1868), 3:44-45, 147-48, 171; A. Coulon, Inventaire des sceaux de la Bourgogne (Paris, 1912), 228-29, 262-63. T. Clanchy, From Memory to Written Record, England 1066-1307 (London, 1979), 245; R. Maxwell, “Sealing Signs and the Art of Transcribing in the Vierzon Cartulary,” Art Bulletin 81 (1999): 590-93.
Johnson, “Corporality and Communication: The Gestural Revolution of Diderot, David, and The Oath of the Horatii,” Art Bulletin 71 (1989): 92-113. 8 M. Mauss, “Les techniques du corps,” Journal de psychologie normale et pathologique 39 (1935): 271-93. There is a vast literature on this point. See the pioneering work of R. , 1954); idem, Kinesics and Context: Essays on Body Motion Communication (Philadelphia, 1970). Recent studies include G. Aldrete, Gestures and Acclamations in Ancient Rome (Baltimore, 1999); S.
Jolly, Made in God’s Image? Eve and Adam in the Genesis Mosaics of San Marco, Venice (Berkeley, 1997), 43-58; J. Philips, Eve: The History of an Idea (San Francisco, 1984), 64. 50 These texts portray characters who vacillate before committing the first sin and discuss between themselves, as well as with Satan, the possible consequences of their actions. 51 The rotund forms of Eve’s breasts and buttocks echo that of the proffered forbidden fruit, deftly visualizing the ubiquitous conflation of the female body with sin.