Cartoon Style Adalah

Menggambarlah bukan utk bikin gambar yg jelas, gambar yg bagus, gambar yg rapi.

Ke depannya, akan dishare hasil gambar Picasso style yang telah dipelajari selama Pandemi. 😂

Type of two-dimensional visual art

A cartoon is a type of visual art that is typically drawn, frequently animated, in an unrealistic or semi-realistic style. The specific meaning has evolved, but the modern usage usually refers to either: an image or series of images intended for satire, caricature, or humor; or a motion picture that relies on a sequence of illustrations for its animation. Someone who creates cartoons in the first sense is called a cartoonist,[1] and in the second sense they are usually called an animator.

The concept originated in the Middle Ages, and first described a preparatory drawing for a piece of art, such as a painting, fresco, tapestry, or stained glass window. In the 19th century, beginning in Punch magazine in 1843, cartoon came to refer – ironically at first – to humorous artworks in magazines and newspapers. Then it also was used for political cartoons and comic strips. When the medium developed, in the early 20th century, it began to refer to animated films that resembled print cartoons.[2]

A cartoon (from Italian: cartone and Dutch: karton—words describing strong, heavy paper or pasteboard and cognates for carton) is a full-size drawing made on sturdy paper as a design or modello for a painting, stained glass, or tapestry. Cartoons were typically used in the production of frescoes, to accurately link the component parts of the composition when painted on damp plaster over a series of days (giornate). In media such as stained tapestry or stained glass, the cartoon was handed over by the artist to the skilled craftsmen who produced the final work.

Such cartoons often have pinpricks along the outlines of the design so that a bag of soot patted or "pounced" over a cartoon, held against the wall, would leave black dots on the plaster ("pouncing"). Cartoons by painters, such as the Raphael Cartoons in London, Francisco Goya's tapestry cartoons, and examples by Leonardo da Vinci, are highly prized in their own right. Tapestry cartoons, usually colored, could be placed behind the loom, where the weaver would replicate the design. As tapestries are worked from behind, a mirror could be placed behind the loom to allow the weaver to see their work; in such cases the cartoon was placed behind the weaver.[2]

In print media, a cartoon is a drawing or series of drawings, usually humorous in intent. This usage dates from 1843, when Punch magazine applied the term to satirical drawings in its pages,[5] particularly sketches by John Leech. The first of these parodied the preparatory cartoons for grand historical frescoes in the then-new Palace of Westminster in London.[7]

Sir John Tenniel—illustrator of Alice's Adventures in Wonderland—joined Punch in 1850, and over 50 years contributed over two thousand cartoons.[8]

Cartoons can be divided into gag cartoons, which include editorial cartoons, and comic strips.

Modern single-panel gag cartoons, found in magazines, generally consist of a single drawing with a typeset caption positioned beneath, or, less often, a speech balloon. Newspaper syndicates have also distributed single-panel gag cartoons by Mel Calman, Bill Holman, Gary Larson, George Lichty, Fred Neher and others. Many consider New Yorker cartoonist Peter Arno the father of the modern gag cartoon (as did Arno himself).[10] The roster of magazine gag cartoonists includes Charles Addams, Charles Barsotti, and Chon Day.

Bill Hoest, Jerry Marcus, and Virgil Partch began as magazine gag cartoonists and moved to syndicated comic strips. Richard Thompson illustrated numerous feature articles in The Washington Post before creating his Cul de Sac comic strip. The sports section of newspapers usually featured cartoons, sometimes including syndicated features such as Chester "Chet" Brown's All in Sport.

Editorial cartoons are found almost exclusively in news publications and news websites. Although they also employ humor, they are more serious in tone, commonly using irony or satire. The art usually acts as a visual metaphor to illustrate a point of view on current social or political topics. Editorial cartoons often include speech balloons and sometimes use multiple panels. Editorial cartoonists of note include Herblock, David Low, Jeff MacNelly, Mike Peters, and Gerald Scarfe.[2]

Comic strips, also known as cartoon strips in the United Kingdom, are found daily in newspapers worldwide, and are usually a short series of cartoon illustrations in sequence. In the United States, they are not commonly called "cartoons" themselves, but rather "comics" or "funnies". Nonetheless, the creators of comic strips—as well as comic books and graphic novels—are usually referred to as "cartoonists". Although humor is the most prevalent subject matter, adventure and drama are also represented in this medium. Some noteworthy cartoonists of humorous comic strips are Scott Adams, Charles Schulz, E. C. Segar, Mort Walker and Bill Watterson.[2]

Political cartoons are like illustrated editorials that serve visual commentaries on political events. They offer subtle criticism which are cleverly quoted with humour and satire to the extent that the criticized does not get embittered.

The pictorial satire of William Hogarth is regarded as a precursor to the development of political cartoons in 18th century England. George Townshend produced some of the first overtly political cartoons and caricatures in the 1750s.[12] The medium began to develop in the latter part of the 18th century under the direction of its great exponents, James Gillray and Thomas Rowlandson, both from London. Gillray explored the use of the medium for lampooning and caricature, and has been referred to as the father of the political cartoon. By calling the king, prime ministers and generals to account for their behaviour, many of Gillray's satires were directed against George III, depicting him as a pretentious buffoon, while the bulk of his work was dedicated to ridiculing the ambitions of revolutionary France and Napoleon. George Cruikshank became the leading cartoonist in the period following Gillray, from 1815 until the 1840s. His career was renowned for his social caricatures of English life for popular publications.

By the mid 19th century, major political newspapers in many other countries featured cartoons commenting on the politics of the day. Thomas Nast, in New York City, showed how realistic German drawing techniques could redefine American cartooning. His 160 cartoons relentlessly pursued the criminal characteristic of the Tweed machine in New York City, and helped bring it down. Indeed, Tweed was arrested in Spain when police identified him from Nast's cartoons. In Britain, Sir John Tenniel was the toast of London. In France under the July Monarchy, Honoré Daumier took up the new genre of political and social caricature, most famously lampooning the rotund King Louis Philippe.

Political cartoons can be humorous or satirical, sometimes with piercing effect. The target of the humor may complain, but can seldom fight back. Lawsuits have been very rare; the first successful lawsuit against a cartoonist in over a century in Britain came in 1921, when J. H. Thomas, the leader of the National Union of Railwaymen (NUR), initiated libel proceedings against the magazine of the British Communist Party. Thomas claimed defamation in the form of cartoons and words depicting the events of "Black Friday", when he allegedly betrayed the locked-out Miners' Federation. To Thomas, the framing of his image by the far left threatened to grievously degrade his character in the popular imagination. Soviet-inspired communism was a new element in European politics, and cartoonists unrestrained by tradition tested the boundaries of libel law. Thomas won the lawsuit and restored his reputation.[17]

Cartoons such as xkcd have also found their place in the world of science, mathematics, and technology. For example, the cartoon Wonderlab looked at daily life in the chemistry lab. In the U.S., one well-known cartoonist for these fields is Sidney Harris. Many of Gary Larson's cartoons have a scientific flavor.

The first comic-strip cartoons were of a humorous tone.[18] Notable early humor comics include the Swiss comic-strip book Mr. Vieux Bois (1837), the British strip Ally Sloper (first appearing in 1867) and the American strip Yellow Kid (first appearing in 1895).

In the United States in the 1930s, books with cartoons were magazine-format "American comic books" with original material, or occasionally reprints of newspaper comic strips.[19]

In Britain in the 1930s, adventure comic magazines became quite popular, especially those published by DC Thomson; the publisher sent observers around the country to talk to boys and learn what they wanted to read about. The story line in magazines, comic books and cinema that most appealed to boys was the glamorous heroism of British soldiers fighting wars that were exciting and just.[20] DC Thomson issued the first The Dandy Comic in December 1937. It had a revolutionary design that broke away from the usual children's comics that were published broadsheet in size and not very colourful. Thomson capitalized on its success with a similar product The Beano in 1938.[21]

On some occasions, new gag cartoons have been created for book publication.

Because of the stylistic similarities between comic strips and early animated films, cartoon came to refer to animation, and the word cartoon is currently used in reference to both animated cartoons and gag cartoons. While animation designates any style of illustrated images seen in rapid succession to give the impression of movement, the word "cartoon" is most often used as a descriptor for television programs and short films aimed at children, possibly featuring anthropomorphized animals, superheroes, the adventures of child protagonists or related themes.

In the 1980s, cartoon was shortened to toon, referring to characters in animated productions. This term was popularized in 1988 by the combined live-action/animated film Who Framed Roger Rabbit, followed in 1990 by the animated TV series Tiny Toon Adventures.

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BlackBerry Style 9670 - Specifications

: 2.7 in, TFT, 360 x 400 pixels, 16 bit

: 2592 x 1944 pixels, 640 x 480 pixels

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CDMA2000 is a family of 3G standards for mobile networks based on CDMA and providing high-quality voice and broadband data services over wireless networks. Its advantages include stronger signal, fewer drop-offs and breakups, analog capabilities, very high spectral capacity, etc.

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The display resolution shows the number of pixels on the horizontal and vertical side of the screen. The higher the resolution is, the greater the detail of the displayed content.

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The rear cameras of mobile devices use mainly a LED flash. It may arrive in a single, dual- or multi-light setup and in different arrangements.

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Wi-Fi communication between devices is realized via the IEEE 802.11 standards. Some devices have the possibility to serve as Wi-Fi Hotspots by providing internet access for other nearby devices. Wi-Fi Direct (Wi-Fi P2P) is another useful standard that allows devices to communicate with each other without the need for wireless access point (WAP).

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There are several USB connector types: the Standard one, the Mini and Micro connectors, On-The-Go connectors, etc. Type of the USB connector used by the device.

There are several versions of the Universal Serial Bus (USB) standard: USB 1.0 (1996), the USB 2.0 (2000), the USB 3.0 (2008), etc. With each following version the rate of data transfer is increased.

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The SAR body rating shows the maximum level of exposure to electromagnetic radiation when the device is positioned against the body at the hip. The highest SAR value of mobile devices allowed in the US is set to 1.6 W/kg per 1 g of tissue. It is specified by the FCC and the CTIA follows whether the mobile devices comply with this standard.

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BlackBerry Curve 3G 9300

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BlackBerry Curve 3G 9330

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BlackBerry Style 9670

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BlackBerry Style 9670

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BlackBerry Style 9670

Dimensions: 60 x 96 x 18.5 mmWeight: 131 gRAM: 512 MBStorage: 512 MBDisplay: 2.7 in, TFT, 360 x 400 pixels, 16 bitBattery: 1150 mAh, Li-IonOS: BlackBerry 6.0Camera: 2592 x 1944 pixels, 640 x 480 pixels

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Mainkan game dan dapatkan uang! üí∞Cartoon Tile: Puzzle Cash adalah permainan mencocokkan ubin tempat Anda bisa memenangkan uang tunai. Cocokkan ubin, kalahkan level, dan dapatkan hadiah. Nikmati teka-teki yang menantang otak dengan gameplay yang mengasyikkan.Fitur:üí° Gameplay Pertandingan Ubin Unik üí°Sentuhan baru pada permainan mencocokkan ubin.üß© Teka-teki Menantang üß©Uji keterampilan Anda dan dapatkan uang!Bergabunglah dalam Kegembiraan dan Menangkan Uang Tunai:Cartoon Tile: Puzzle Cash menawarkan hadiah nyata untuk bermain. Unduh sekarang dan mulai mencocokkan ubin untuk memenangkan uang tunai.Penafian:Untuk pemain berusia 18 tahun ke atas.Google bukan sponsor.Hubungi: [email protected]

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The Baroque is a highly ornate and elaborate style of architecture, art and design that flourished in Europe in the 17th and first half of the 18th century. Originating in Italy, its influence quickly spread across Europe and it became the first visual style to have a significant worldwide impact.

A defining characteristic of the Baroque style was the way in which the visual arts of painting, sculpture and architecture were brought together, into a complete whole, to convey a single message or meaning.

Baroque art and design addressed the viewer's senses directly, appealing to the emotions as well as the intellect. It reflected the hierarchical and patriarchal society of the time, developing through and being used by those in power – the church, absolute rulers and the aristocracy – to persuade as well as impress, to be both rich and meaningful. Compared to the control and carefully balanced proportions associated with the Renaissance, Baroque is known for its movement and drama.

Baroque's influence extended from Italy and France to the rest of Europe, and then travelled via European colonial initiatives, trade and missionary activity to Africa, Asia, and South and Central America. Its global spread saw Chinese carvers working in Indonesia, French silversmiths in Sweden and Italian hardstone specialists in France. Sculpture was sent from the Philippines to Mexico and Spain, whilst London-made chairs went all over Europe and across the Atlantic, and French royal workshops turned out luxury products that were both desired and imitated by fashionable society across Europe. However, as a style, Baroque also changed as it crossed the world, being adapted to new needs and local tastes, materials and contexts.

In China, the European pavilions were the grandest expressions of the Qing rulers' interest in the arts of Europe. These European-style palaces were part of the Yuanming Yuan or Old Summer Palace in Beijing, the Emperor Qianlong's summer residence. Designed by Jesuit priests, the pavilions – most of which were completed between 1756 and 1766 – were based on Baroque models and included grand fountains and statues. In the 1780s, a set of copperplate engravings depicting the European pavilions was commissioned. This album, a copy of which is in our collection, is an important visual record of the pavilions as they were destroyed by English and French troops in 1860.

An important feature of Baroque art and design is its use of human figures. Represented as allegorical, sacred or mythological, these figures helped turn the work into a drama to convey particular messages and to engage the emotions of the viewer. They have a sense of realistic immediacy, as if they had been stopped in mid-action. Facial expression, pose, gesture and drapery were all used to add dramatic details.

A bust of King Charles II of England in our collection perfectly captures the drama of Baroque portraiture. Portrayed in an animated fashion, his head is turned to one side and an elaborate wig cascades down over his lace cravat and billowing drapery. Such grand Baroque images of monarchs and powerful aristocrats were more common in 17th-century France than in England but Charles had spent much of his youth in mainland Europe and favoured European artists. The bust is in the tradition of flamboyant and imposing portraits of monarchs, and would have unambiguously asserted the King's status.

The performance of architecture

Baroque buildings were also dynamic and dramatic, both using and breaking the rules of classical architecture. Inside, the architecture echoed theatrical techniques – painted ceilings made rooms appear as if they were open to the sky and hidden windows were used to illuminate domes and altars.

Again, the design was used to convey specific meanings and emotions. Papal Rome became a key site for religious Baroque architecture. An example of the Baroque's theatricality can be found in Gianlorenzo Bernini's (1598 – 1680) design for St Peter's Square. Its grand, imposing curved colonnades, centred on an obelisk, are used to both overwhelm the visitor and to bring them into the church's embrace.

Baroque architecture also shaped the way the public spaces of the city appeared. Public celebrations played an important role in the political life of a nation. Typically, such events took place out of doors and were elaborately designed spectacles. Urban squares such as Piazza Navona in Rome and Place Louis-le-Grand (now Place Vendôme) in Paris were the backdrop for firework displays, lavish theatrical performances and processions in elaborate and expensive costumes.

Imposing architecture was also used to reinforce the power of absolute rulers, such as with the Palace of Versailles, in France – the most imitated building of the 17th century. In 1717, the Swedish architect Nicodemus Tessin the Younger compiled a "treatise on the decoration of interiors, for all kinds of royal residences, and others of distinction in both town and country", based on his own travel notes. One of the most expensive, recent innovations he recorded was the presence of mirrors so large they covered entire walls. He also noted the use of glass over the chimneypiece in the King's Chamber at Versailles.

A fascination with physical materials was central to the Baroque style. Virtuoso art objects made of rare and precious materials had long been valued and kept in special rooms or cabinets, alongside natural history specimens, scientific instruments, books, documents and works of art. However, during the Baroque period, the birth of modern science and the opening up of the world beyond Europe brought an increasingly serious interest in the nature and meaning of these exotic materials. Rarities such as porcelain and lacquer from East Asia became fashionable and were imitated in Europe. New techniques, such as marquetry (the laying of veneers of differently coloured woods onto the surface of furniture), developed by French and Dutch cabinet-makers and learned from them elsewhere, were also developed.

The value attached to such materials can be seen in a porcelain cup from our collection. Made between 1630 and 1650 in China originally as a writing-brush jar, it later had extravagant silver-gilt mounts added in London, which transformed the brush jar into a luxurious, decorative two-handled cup and cover.

Representations of the natural world, as well as motifs derived from human and animal forms, were popular decorative features. The most widespread form of Baroque floral decoration was a running scroll, often combined with acanthus – a stylised version of a real plant of the same name. A late 17th-century tankard in our collection features lavish floral decoration. The leaves of the flowers have been turned into scrolling foliage, while the flowers themselves have striped petals, likely to represent a tulip, another key motif of Baroque art.

The auricular style, which featured soft, fleshy abstract shapes, also emerged in the early 17th century, creating an effect that was ambiguous, suggestive and bizarre. In fact, the term 'Baroque' was a later invention – 'bizarre' was one of the words used at the time for the style we associate as Baroque today.

The theatre was a setting for magnificent productions of drama, ballet and opera – a new art form at that time. With their ornate costumes, complex stage sets and ingenious machinery, these performances created wonder and awe. Theatre was popular both with the public and at court. Written by Jean-Baptiste Lully for the French court of Louis XIV (reigned 1643 – 1715), the opera Atys was such a favourite with the King that it became known as "The King's Opera". Our collection includes a pen and ink design for the costume of the character Hercules in Atys. He is shown in a ballet pose, wearing a Roman-style costume, and identified by his club and lion skin.

Theatre also played a role in the power struggles between European courts. Rulers vied to outdo each other in the magnificence of their productions. In France, theatre and opera also became a key element of Louis XIV's cultural policy, which was used to control the nobility and express his power and magnificence. In the early 18th century, the theatre building itself acquired new importance as proof of courtly, civic or technological power. The resulting new buildings across Europe established the theatre in the form we know today.

However, by the mid-18th century, the Baroque style seemed increasingly out of step with the mood of the time, which placed increasing emphasis on reason and scientific enquiry. Baroque was criticised as an "immoral" style and art and design turned away from its use of emotion, drama and illusion, returning to a simpler style inspired by classical antiquity. It was only in the late 19th century that the style began to be critically reappraised once more.