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The Boy Who Grew Flowers is a children's picture book written by Jennifer Wojtowicz and illustrated by Steve Adams. Wojtowicz has stated that she was inspired to write the book due to her relationship with her autistic brother. [1] The book has been adapted into a stage play. [2]
A sign at a park featuring Irasutoya illustrations. In addition to typical clip art topics, unusual occupations such as nosmiologists, airport bird patrollers, and foresters are depicted, as are special machines like miso soup dispensers, centrifuges, transmission electron microscopes, obscure musical instruments (didgeridoo, zampoña, cor anglais), dinosaurs and other ancient creatures such ...
Flowers are also dried, freeze dried and pressed in order to create permanent, three-dimensional pieces of floral art. Flowers within art are also representative of the female genitalia, [132] as seen in the works of artists such as Georgia O'Keeffe, Imogen Cunningham, Veronica Ruiz de Velasco, and Judy Chicago, and in fact in Asian and western ...
Language of flowers – cryptological communication through the use or arrangement of flowers; Hanakotoba, also known as 花言葉 – Japanese form of the language of flowers; List of national flowers – flowers that represent specific geographic areas
Oshibana (押し花) is the art of using pressed flowers and other botanical materials to create an entire picture from these natural elements. [1] Such pressed flower art consists of drying flower petals and leaves in a flower press to flatten them, exclude light and press out moisture. These elements are then used to "paint" an artistic ...
[4] [13] Carlston was drawn to the idea because he had noticed a demographic trend of births among Broderbund staff jumping to 15 a year, suggesting a "demand for software to help small children learn". [16] Living Books married this demographic trend to new CD-ROM technology that Schlichting was interested in. [16] [4] Baker was put in charge ...
Hope for the Flowers is an allegorical novel by Trina Paulus. It was first published in 1972 and reflects the idealism of the counterculture of the period. Often categorized as a children's novel , it is a fable "partly about life, partly about revolution and lots about hope – for adults and others including caterpillars who can read".
Illustration from Floral Poetry and the Language of Flowers (1877). According to Jayne Alcock, grounds and gardens supervisor at the Walled Gardens of Cannington, the renewed Victorian era interest in the language of flowers finds its roots in Ottoman Turkey, specifically the court in Constantinople [1] and an obsession it held with tulips during the first half of the 18th century.