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Cute Chibi Mythical Beasts & Magical Creatures: Learn to Draw 75 Enchanting Creatures

為了解決Phoenix Creator的問題，作者Im, Phoebe 這樣論述：

Create your own chibi world with fun and adorable step-by-step drawing exercises, including over 60 fantasy creatures and characters featuring different accessories, clothing, facial expressions, and poses.These fantasy creatures and animals will make you squeal with delight! Chibi is Japanese sl

ang for ＂short,＂ and the characters in Cute Chibi Mythical Beasts & Magical Monsters live up to this description with their cute roly-poly bodies that make them extremely lovable and huggable. Phoebe Im, creator of Bobblejot, has a cute and easy drawing style that is made accessible through this

how-to book for artists of all levels. Cute Chibi Mythical Beasts & Magical Monsters features easy-to-follow instructions to help you enjoy the world of chibi, incorporating dynamic expressions and poses to challenge your skills. Along with the step-by-step instructions, there are inspiration p

ages with fun accessories and clothing, facial expressions, and different poses as well as a digital workshop to guide you on how to make quick drawings on your phone or tablet. Learn how to draw these fantasy creatures in cute chibi style: GnomeTrollMermaidFairyGolemCyclops Big FootUnicorn Dragons

(various species)VampireZombieChimeraPegasusPhoenixLoch Ness MonsterGriffonCerberusSphinxWerewolf Practice and expand your drawing skills as you create adorable chibi beasts and creatures with this fun and accessible book.

Phoenix Creator進入發燒排行的影片

The Existence and Sustainability of Humans and the Earth, an Ecological Re-reading and Re-visioning of Isaiah 24 and 65: 17-19

為了解決Phoenix Creator的問題，作者Robin John 這樣論述：

ABSTRACTThis research analyzes the ecological re-reading and re-visioning of ecologicalhermeneutics based on modern civic sense. Ecology is one of the sensational global issues inpresent and future. Prophetic missions and ministries in Israel’s prophets focus on the religious,political and social s

ectors. However, human life and nature are interconnected; therefore, theprophet Isaiah is very vigilant about maintaining the equilibrium of nature. Isaiah was one ofthe prominent prophets in the 8th century BCE and was aware of the disaster that would faceIsrael’s society and the world. Therefore,

the Prophet understands that the stability and integrityof the earth are essential factors for humankind’s survival.Biblical interpretation is a general consideration of any reading of the Scriptures.Biblical interpretation is a rewriting activity that considers ancient Scripture in light of thehum

an reader’s context. Therefore, an environmental interpretation must consciously establisha connection between the Bible description and the pressing environmental questions of ourpresent context. Such an approach requires a paradigmatic shift. Ecology and ecosystemsdevelop themselves as a bona fide

hermeneutical lens for reading the Scriptures, enablinginterpretation to inform the practice best.The prophecies in Isaiah 24, 65: 17-19 are predictions that bring every reader to a deeperunderstanding of the sustainable world order. The book of Prophecy accurately states thathuman intervention cha

nged the earth’s stability and equilibrium. In the context of Isaiah’sprophecy, when it comes to the current environmental problems of the earth’s existence, it canbe seen that the earth’s existence is entirely in danger. According to this study, what can besuggested as a solution are sustainable ed

ucation and the sustainable development of suitablealternatives to overcome the existential crisis for the earth.Humans can find sustainable development a new way to not exploit the earth and theplanet’s elements. So, the fundamental component of any development is non-exploitation. Itis advisable t

o look for ways to reduce the risk of earth’s destruction while adopting methodsto further human development.Keywords- Ecology, Environmental Crises, Isaiah 24, 65: 17-19, Eco-theologyEcological hermeneutics, Modern Civic Sense, Human Existence, Sustainable Development.

Black Panther

為了解決Phoenix Creator的問題，作者McGregor, Don,Buckler, Rich,Graham, Billy 這樣論述：

A regular contributor to Marvel’s letter columns as a teen, Don McGregor broke into comics writing short stories for Warren’s Publishing black-and-white magazines Creepy, Eerie, and Vampirella. Making the jump to Mar­vel Comics as a writer-editor in the mid-1970s, he combined a penchant for densely

descriptive prose captions and character- riven narrative with the excitement of super hero drama on the first solo series devoted to the ad­ventures of the Black Panther. His groundbreaking run brought a new so­cial relevance to the series, and McGregor’s vision of T’Challa, his people, and the nat

ion of Wakanda remains influential to this day. Concurrent with his work on the Panther, McGregor collaborated with artist P. Craig Russell on Killraven in Amazing Adventures a science-fiction romance about an earthbound hero’s struggles against Martian invaders. In this series, too, McGregor pushed

back against the presumptions of racism: Killraven featured mainstream comics’ first interracial kiss. His later works include the graphic novel and subsequent series Sabre (with artist Paul Gulacy) and Detectives Inc. (with Marshall Rogers and Gene Colan), both published by Eclipse, and a pair of

well- received noir detective miniseries, Nathaniel Dusk (also illustrated by Colan) for DC comics. The 1980s would also see McGregor return to Killraven and Black Panther; the former in a lushly illustrated graphic novel with P. Craig Russell, the latter following up storylines from Jungle Action i

n the Marvel Comics Presents anthology and a four-issue miniseries, Black Panther: Panther’s Prey. McGregor has also written the syndicated Zorro newspaper strip, and published the prose fictions Dragonflame & Other Bedtime Nightmares and The Variable Syndrome, among other works. Rich Buckler (1949-

2017) was a versatile artist who drew hundreds of pages for Marvel, DC, Archie, Warren, and others, during his long ca­reer. Among his most notable work for Marvel: In the 1970s he helped introduce Deathlok in the pages of Astonishing Tales; penciled several storylines in Peter Parker, the Spectacul

ar Spider-Man; and enjoyed runs on Fantastic Four, Thor, and other monthly titles, including the first solo series featuring the Black Panther. Buckler’s DC work includes Lois Lane, The Secret Society of Super-Villains, and World’s Finest, as well as the groundbreaking Superman vs. Shazam. Buckler w

as also editor of the short-lived Solson Publications and wrote two books on comic book art. Billy Graham (or the ＂Irreverent Billy Graham,＂ as he was known around the Marvel Bullpen, a play on the name of the popular evangelist) was one of the industry’s brightest young talents in the 1970s. He hon

ed a style born out of his love of fantasy stylists such as Frank Frazetta and Al Williamson and his adoration of comic art legend Jack Kirby. Like many young artists from the 1970s, Billy got his start on Warren’s line of black-and-white horror mags Creepy, Eerie, and Vampirella. Impressed by Graha

m’s all- round talent as an artist and storyteller, publisher James Warren made Graham art director for the Warren line, a position he held until he jumped over to Marvel Comics. The first book handed to him was Hero for Hire; he penciled, co-plotted, and/ or inked the first sixteen issues of Luke C

age’s title, Marvel’s first ongoing series following the solo adventures of a Black character. Joining Don McGregor on the Black Pan­ther in Jungle Action for his next assignment, Graham--the first Black creator to work on the character--would help to define the Wakandan warrior king for a generatio

n of readers. Graham later reunited with McGregor for the writer’s Eclipse series, Sabre, in the mid- 980s. His final comics work appeared in 1985’s Power Man and Iron Fist #114. Graham was also a playwright, theatrical set designer, stage and film actor, and commercial artist. He passed away in 199

7 at the age of sixty-one. Writer-editor Stan Lee (1922-2018) and artist Jack Kirby made comic book history in 1961 with The Fantastic Four #1. The success of its new style inspired Lee and his many collaborators to develop a number of super heroes, including, with Jack Kirby, the Incredible Hulk an

d the X-Men; with Steve Ditko, the Amazing Spider-Man and Doctor Strange; and with Bill Everett, Daredevil. Lee oversaw the adventures of these cre­ations for more than a decade before handing over the editorial reins at Marvel to others and focusing on developing Marvel’s properties in other media.

For the remainder of his long life, he continued to serve as a cre­ative figurehead at Marvel and as an ambassador for the comics medium as a whole. In his final years, Lee’s signature cameo appearances in Mar­vel’s films established him as one of the world’s most famous faces. Born Jacob Kurtzberg

in 1917 to Jewish-Austrian parents on New York’s Lower East Side, Jack Kirby came of age at the birth of the American comic book industry. Horrified by the rise of Nazism, Kirby co-created the patriotic hero Captain America with Joe Simon in 1940. Cap’s ex­ploits on the comic book page entertained

millions of American readers at home and inspired US troops fighting the enemy abroad. Kirby’s partner­ship with Simon continued throughout the 1940s and early ’50s; together, they produced comics in every popular genre, from Western to romance. In 1958, Kirby began his equally fruitful collaboratio

n with writer-editor Stan Lee, and in 1961 the two men co-created the foundational text of the modern Marvel Universe: The Fantastic Four. Over the next decade, Kirby and Lee would introduce a mind-boggling array of new characters-- including the Avengers, the Hulk, Thor, Iron Man, the Silver Surfer

, and the X-Men. Kirby’s groundbreaking work with Lee formed the foundation of the Marvel Universe. In the early 1970s, Kirby moved to DC Comics, where he created his interconnected Fourth World series, as well as freestanding titles such as The Demon. He returned to Marvel in 1975, writing and illu

s­trating The Black Panther and Captain America and introducing series such as Devil Dinosaur and the Eternals. Kirby died in 1994. Today, he is gener­ally regarded as one of the most important and influential creators in the history of American comics. His work has inspired multiple generations of

writers, artists, designers, and filmmakers, who continue to explore his vast universe of concepts and characters. He was an inaugural inductee into the Eisner Hall of Fame in 1987. Nnedi Okorafor is a Nigerian American author of African-based sci­ence fiction, fantasy, and magical realism for child

ren and adults. Her works include Who Fears Death (currently in development at HBO into a TV series), the Binti novella trilogy, The Book of Phoenix, the Akata books, and Lagoon. She is the winner of Hugo, Nebula, World Fantasy, Locus, and Lodestar Awards, an Eisner Award nominee, and her debut nove

l Zahrah the Windseeker won the prestigious Wole Soyinka Prize for Literature. Nnedi has also written comics for Marvel, including Black Panther: Long Live the King and Wakanda Forever (featuring the Dora Milaje) and the Shuri series. Her science fiction comic series LaGuardia (from Dark Horse) is a

n Eisner and Hugo Award winner, and her memoir, Broken Places & Outer Spaces, is a Locus Award nominee. Nnedi holds two MAs (literature and journalism) and a PhD (literature). Qiana J. Whitted is a professor of English and African American Studies at the University of South Carolina. She is the auth

or of the Eisner Award- inning book EC Comics: Race, Shock, and Social Protest and co-editor of the collection Comics and the U.S. South. She is also the ed­itor of Inks: The Journal of the Comics Studies Society and chair of the International Comic Arts Forum. Ben Saunders is a professor of English

at the University of Oregon. He is the author of Desiring Donne: Poetry, Sexuality, Interpretation and Do the Gods Wear Capes?: Spirituality, Fantasy, and Superheroes, as well as numerous critical essays on subjects ranging from the writings of Shakespeare to the recordings of Little Richard. He ha

s also curated sev­eral museum exhibitions of comics art, including the record-breaking multimedia touring show Marvel: Universe of Super Heroes-- retro­spective exploring the artistic and cultural impact of Marvel Comics from 1939 to the present.

從研究和實踐的角度檢查LINE應用中貼圖的情感表達

為了解決Phoenix Creator的問題，作者陳勇康 這樣論述：

在當代的通訊科技中，人們不再只透過面對面交流。如智慧型手機、互聯網等介面，讓人們能在遠距離的狀態下交流。許多人通過即時消息傳遞應用程式和社交媒體將科技作為相互交流的主要渠道。但是，通過發簡短文字來進行交流無法確切地表達實際的感受與情緒。因此，貼圖的誕生是為了來傳達溝通者的情緒。本研究選擇了三種研究方法：探索性研究 、描述性研究和實際實務操作，並附上書面和藝術作品集。本文將透過文獻探討，分析貼圖現況以及實際貼圖產出過程來研究本主題。此外，目標族群針對年齡在25 - 34歲之間的泰國人，因為該人群是當前使用社交媒體的主要用戶。這項研究旨在通過LINE應用程式研究情感表達、LINE貼圖與插圖，分析

貼圖如何在LINE應用程式中傳達溝通者們的情感。在實踐部分，將基於研究結果創造幾組貼圖，它們比市場上現有的貼圖具有更獨特的特徵和良好的品質，並檢視目前現有的貼圖和本研究創造的貼圖之間的區別。研究總結如下，藉由 86位泰國人和3位泰國LINE貼圖創作者的回應，通過選擇符合貼圖角色情緒的顏色和線條、規劃人物風格，製作既能吸引下載者又能匹配發送者需求的情感貼圖，進而讓貼圖角色本身更加有趣。 此外，通過對比發現，貼圖角色的獨特性和風格對於吸引使用者下載貼圖來表達情感有著巨大的影響。最後，研究人員希望此研究可以成為製作 LINE 貼圖的指南，使貼圖形象化，並滿足泰國用戶表達情感的需求，也可以幫助企業製作

引人注目的貼圖來吸引消費者。