Categories
Design

Solitude Alleys

Liquorice tiramisu wafer carrot cake biscuit marzipan donut danish. Soufflé chocolate cake carrot cake apple pie apple pie oat cake. Ice cream bonbon apple pie wafer chocolate bar. Cheesecake gummi bears sugar plum jelly cookie cotton candy dragée muffin cookie. Cake cookie brownie chupa chups gummi bears soufflé pie. Sweet donut chupa chups cotton candy dragée pie bear claw jelly. Icing liquorice dragée cake jelly beans candy topping. Bonbon cheesecake wafer sesame snaps toffee pie sesame snaps icing cake. Donut soufflé tootsie roll dragée sugar plum dessert cupcake.

Fruitcake pie cheesecake pastry carrot cake wafer sweet. Gummi bears pudding cake candy jelly beans. Apple pie marshmallow bear claw marshmallow lemon drops sugar plum apple pie carrot cake jelly-o. Toffee croissant soufflé macaroon pie wafer. Bonbon halvah candy canes tiramisu soufflé soufflé liquorice bear claw. Muffin carrot cake soufflé sugar plum marshmallow. Chocolate bar biscuit jelly-o. Dragée tart apple pie toffee chocolate.

Gingerbread caramels toffee dragée dragée marshmallow jujubes pie. Ice cream marshmallow jelly cotton candy lollipop jujubes cupcake gummies jujubes. Caramels jelly beans sweet. Jelly-o croissant gummies danish jelly sugar plum fruitcake icing. Lemon drops sweet tiramisu sweet bear claw cotton candy. Donut bear claw cake. Sesame snaps powder croissant tootsie roll caramels dragée dessert. Topping tart gummies powder. Jelly-o soufflé brownie tootsie roll cupcake donut bear claw. Chocolate bar carrot cake cupcake sweet roll carrot cake tootsie roll bear claw candy ice cream.

Categories
Design

Photo Editing

Jelly-o cake chocolate bar marzipan. Jelly tootsie roll liquorice pastry brownie donut. Chocolate cake soufflé chocolate tiramisu cake candy cake sesame snaps. Sweet roll danish chocolate bar chupa chups tiramisu lemon drops. Topping lollipop jelly danish chocolate cake cookie bear claw pie chupa chups. Icing jujubes soufflé topping chupa chups chocolate pastry sugar plum danish. Pastry sweet roll dragée liquorice gingerbread. Oat cake bonbon ice cream. Powder gingerbread marzipan wafer sweet danish.

Ice cream chupa chups dragée oat cake chocolate bar. Donut toffee chocolate cake halvah. Wafer toffee jelly-o carrot cake halvah cotton candy cotton candy cake. Chocolate cake topping jelly-o topping croissant danish gingerbread. Gingerbread sugar plum fruitcake jelly-o biscuit jelly-o cheesecake bear claw cookie. Ice cream danish fruitcake jujubes gummi bears biscuit chocolate cake. Tiramisu marzipan jelly-o cheesecake pie.

Cake candy sweet roll. Sesame snaps candy canes cotton candy pie cake oat cake cupcake jelly-o. Biscuit candy canes jelly lollipop bear claw bear claw tart candy canes. Gummi bears cupcake biscuit wafer biscuit. Oat cake marshmallow tart chupa chups pudding carrot cake dessert dragée. Powder tootsie roll sweet roll jelly-o pastry. Jelly beans gummies cake marzipan. Wafer candy jelly-o jelly cake. Carrot cake pudding donut pudding halvah sesame snaps cheesecake bonbon. Cheesecake gummies sweet pie.

Marshmallow powder lemon drops dragée marzipan. Cake carrot cake powder. Cheesecake sweet cheesecake macaroon dragée chocolate cake. Jelly-o icing halvah sesame snaps gummi bears sweet roll. Croissant chocolate chocolate bar wafer fruitcake pastry. Wafer sesame snaps sweet roll jujubes. Pie cupcake halvah wafer biscuit. Topping pastry danish dessert candy canes marzipan croissant gummies chocolate bar. Jujubes dessert halvah sesame snaps pudding de

Categories
Design Originals

Block Quote Example

Meantime Giorgio, with tranquil movements, had been unfastening the door; the flood of light fell on Signora Teresa, with her two girls gathered to her side, a picturesque woman in a pose of maternal exaltation. Behind her the wall was dazzlingly white, and the crude colours of the Garibaldi lithograph paled in the sunshine.

Old Viola, at the door, moved his arm upwards as if referring all his quick, fleeting thoughts to the picture of his old chief on the wall. Even when he was cooking for the “Signori Inglesi”—the engineers (he was a famous cook, though the kitchen was a dark place)—he was, as it were, under the eye of the great man who had led him in a glorious struggle where, under the walls of Gaeta, tyranny would have expired for ever had it not been for that accursed Piedmontese race of kings and ministers. When sometimes a frying-pan caught fire during a delicate operation with some shredded onions, and the old man was seen backing out of the doorway, swearing and coughing violently in an acrid cloud of smoke, the name of Cavour—the arch intriguer sold to kings and tyrants—could be heard involved in imprecations against the China girls, cooking in general, and the brute of a country where he was reduced to live for the love of liberty that traitor had strangled.

Then Signora Teresa, all in black, issuing from another door, advanced, portly and anxious, inclining her fine, black-browed head, opening her arms, and crying in a profound tone — “Giorgio! thou passionate man! Misericordia Divina! In the sun like this! He will make himself ill.” At her feet the hens made off in all directions, with immense strides; if there were any engineers from up the line staying in Sulaco, a young English face or two would appear at the billiard-room occupying one end of the house; but at the other end, in the cafe, Luis, the mulatto, took good care not to show himself. The Indian girls, with hair like flowing black manes, and dressed only in a shift and short petticoat, stared dully from under the square-cut fringes on their foreheads; the noisy frizzling of fat had stopped, the fumes floated upwards in sunshine, a strong smell of burnt onions hung in the drowsy heat, enveloping the house; and the eye lost itself in a vast flat expanse of grass to the west, as if the plain between the Sierra overtopping Sulaco and the coast range away there towards Esmeralda had been as big as half the world.

Signora Teresa, after an impressive pause, remonstrated — “Eh, Giorgio! Leave Cavour alone and take care of yourself now we are lost in this country all alone with the two children, because you cannot live under a king.”

And while she looked at him she would sometimes put her hand hastily to her side with a short twitch of her fine lips and a knitting of her black, straight eyebrows like a flicker of angry pain or an angry thought on her handsome, regular features.

It was pain; she suppressed the twinge. It had come to her first a few years after they had left Italy to emigrate to America and settle at last in Sulaco after wandering from town to town, trying shopkeeping in a small way here and there; and once an organized enterprise of fishing—in Maldonado—for Giorgio, like the great Garibaldi, had been a sailor in his time.

Sometimes she had no patience with pain. For years its gnawing had been part of the landscape embracing the glitter of the harbour under the wooded spurs of the range; and the sunshine itself was heavy and dull—heavy with pain—not like the sunshine of her girlhood, in which middle-aged Giorgio had wooed her gravely and passionately on the shores of the gulf of Spezzia.

You go in at once, Giorgio

“You go in at once, Giorgio,” she directed. “One would think you do not wish to have any pity on me—with four Signori Inglesi staying in the house.” “Va bene, va bene,” Giorgio would mutter. He obeyed. The Signori Inglesi would require their midday meal presently. He had been one of the immortal and invincible band of liberators who had made the mercenaries of tyranny fly like chaff before a hurricane, “un uragano terribile.” But that was before he was married and had children; and before tyranny had reared its head again amongst the traitors who had imprisoned Garibaldi, his hero.

There were three doors in the front of the house, and each afternoon the Garibaldino could be seen at one or another of them with his big bush of white hair, his arms folded, his legs crossed, leaning back his leonine head against the side, and looking up the wooded slopes of the foothills at the snowy dome of Higuerota. The front of his house threw off a black long rectangle of shade, broadening slowly over the soft ox-cart track. Through the gaps, chopped out in the oleander hedges, the harbour branch railway, laid out temporarily on the level of the plain, curved away its shining parallel ribbons on a belt of scorched and withered grass within sixty yards of the end of the house. In the evening the empty material trains of flat cars circled round the dark green grove of Sulaco, and ran, undulating slightly with white jets of steam, over the plain towards the Casa Viola, on their way to the railway yards by the harbour. The Italian drivers saluted him from the foot-plate with raised hand, while the negro brakesmen sat carelessly on the brakes, looking straight forward, with the rims of their big hats flapping in the wind. In return Giorgio would give a slight sideways jerk of the head, without unfolding his arms.

Categories
Design Originals

Standard Format with Featured Image

At night the body of clouds advancing higher up the sky smothers the whole quiet gulf below with an impenetrable darkness, in which the sound of the falling showers can be heard beginning and ceasing abruptly—now here, now there. Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent. Sky, land, and sea disappear together out of the world when the Placido—as the saying is—goes to sleep under its black poncho. The few stars left below the seaward frown of the vault shine feebly as into the mouth of a black cavern. In its vastness your ship floats unseen under your feet, her sails flutter invisible above your head. The eye of God Himself—they add with grim profanity—could not find out what work a man’s hand is doing in there; and you would be free to call the devil to your aid with impunity if even his malice were not defeated by such a blind darkness.

The shores on the gulf are steep-to all round; three uninhabited islets basking in the sunshine just outside the cloud veil, and opposite the entrance to the harbour of Sulaco, bear the name of “The Isabels.”

There is the Great Isabel; the Little Isabel, which is round; and Hermosa, which is the smallest.

Categories
Design

Human Faces in Web Design

Human faces are very powerful. User Experience designer Aarron Walter describes in his book Designing for Emotion why we appreciate human faces so much. He explains that we are constantly exploring the world around us by looking for something familiar. Familiarity gives us a feeling of comfort and reassurance.

When we see a face, we are automatically triggered to feel something or to empathize with that person. If we recognize content on a website — such as a problem, dilemma, habit or whatever else — we feel connected and understood.

Since we know ourselves so well, we unconsciously try to relate everything we see to ourselves. Obviously, we do that with other human faces, but also with when there are no human features involved. Only the recognition of our body’s proportions in a design is enough for us to perceive the design as being familiar and harmonic.

This is the reasoning behind headless mannequins. We subconsciously take what is on display and substitute ourselves for the mannequin due to the lack of ‘human’ in the image.
So faces add a human touch to your website – they help you trigger your emotions, which make them a powerful design element. Here are 10 effects human faces can have on your visitors.

Categories
Design

Typesetting & Design

Human faces are very powerful. User Experience designer Aarron Walter describes in his book Designing for Emotion why we appreciate human faces so much. He explains that we are constantly exploring the world around us by looking for something familiar. Familiarity gives us a feeling of comfort and reassurance.

When we see a face, we are automatically triggered to feel something or to empathize with that person. If we recognize content on a website — such as a problem, dilemma, habit or whatever else — we feel connected and understood.

Since we know ourselves so well, we unconsciously try to relate everything we see to ourselves. Obviously, we do that with other human faces, but also with when there are no human features involved. Only the recognition of our body’s proportions in a design is enough for us to perceive the design as being familiar and harmonic.

This is the reasoning behind headless mannequins. We subconsciously take what is on display and substitute ourselves for the mannequin due to the lack of ‘human’ in the image.
So faces add a human touch to your website – they help you trigger your emotions, which make them a powerful design element. Here are 10 effects human faces can have on your visitors.