關於 felt sheet art ，我們在網路上蒐集到這些相關的討論、資訊與評價

【 旅行遇到鋼琴 / When you find a piano in Macedonia 】

有時候會很羨慕演奏可以隨身攜帶的樂器的朋友，尤其是盒子硬殼又可以輕易塞進包包或是座艙置物櫃的樂器。去年有帶旅行吉他，但今年出國前猶豫了好一陣子，還打了電話問了好幾家廉航他們帶樂器的規定，畢竟許多航空公司對於帶著樂器旅行的規範真的很不友善 :( ... 最後為了提高機動性，還是決定不帶了（而且後來很慶幸自己這麼做。）
Sometimes I am really jealous of friends who play instruments that are easy to #travel around with, especially when it's has a hard case and is small enough to just throw it into your backpack or overhead bin. I brought a travel #guitar last year to #Europe, but I really thought through it and called several budget airlines to check their luggage regulation before I took off this year. I wasn't too surprised that almost all of them are not too instrument-friendly :( I decided not to bring my guitar with me at the end, and I am glad I made that call.

前幾天在有親密恐懼症的墨西哥女孩臉書上發現這個小錄影 <3 這是我到馬其頓的第三天，我們兩個人整天待在廚房兼交誼廳兼餐廳的起居空間各自做各自的事、偶爾聊天、吃零食。她工作，我一邊看著地圖發愣在想下一站要去哪！而且這時已經快一個月沒碰琴了，所以也花了一個下午彈琴，覺得舒暢啊～
Few days ago I found this video on the Facebook wall of this Mexican girl I met in Ohrid. This was my 3rd day in Macedonia. We sat in the kitchen all day long minding our own business while having some occasional snack and chat. She was working, and I was staring at the map wondering which country I should go next! It was already a month since I've touched the piano at the time, so I also spent the entire afternoon playing the piano, and it felt really great!

感謝有iPad還有imslp.org的存在，我一連彈了舒曼幻想即興曲第一樂章、拉赫曼尼諾夫改編Kreisler的愛之悲，還有德布西的兩首華麗曲跟月光（果然芭樂歌就是受青睞）但她最喜歡我隨便亂彈的即興了，所以錄了一小段 :D 琴聲音悶悶的觸鍵反應也很慢，但這時還計較什麼呢（喜）
Thanks to iPad and imslp.org, I found sheet music online and played the first movement of Schumann Fantasy in C, Kreisler-Rachmaninoff Liebesleid, in addition to the popular 2 Arabesques and Clair de Lune by Debussy. However, I think she liked my improvisation the most. The sound of the piano was quite muffled, and the key reaction were not spectacular, but I am certainly not complaining!

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旅行・INSTAGRAM @joannamiko
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heart emoticon Reminder: If you'd like to read my post firsthand, please remember to click on "liked" from the top of the page, and select "see first" smile emoticon Thank you!

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

マレーシアで書いた曲、集めた現地の音と映像で、Music Videoを作りました！
Song, sounds, and videos written and taken in MALAYSIA!!

舞台裏動画 / Behind the scenes of this video ▶︎ https://youtu.be/k2Y1jbdcWY0

Loveは目に見えないけど、見えないからこそあらゆる壁を超えていく

9.11の時、3.11の時、他にも世界のどこかで混乱が起きた時や、そしてまさに今、世界中が危機に陥っている時。
過去と未来に連鎖する憎しみや怒りが渦巻く一方で、悲しみに寄り添う祈りが国や人種、言語宗教関係なく世界中から集まることにいつも希望を感じるんです。
国のトップ同士が責任をなすりつけ合っていても、憎しみを掘り返して争いを正当化しても、人と人が想い合うことだけは誰にも何にも止められないですよね。
77億分の1でも、愛をもって他人のために祈る人がいる限りは憎しみにこの世界が支配されることはないなと、日本含め訪れた色々な国のみんなと声を重ねて感じました。
そして音楽は本当にあらゆる壁を超えるということ！

そんなことを去年ライブをしたマレーシアで、滞在中に現地の音を使いながら曲にしたのが「Love」です。こんな状況だけど、この曲を聴いて元気になったり少しでも希望を持てたりしたらいいなと思ってリリースしました。
配信リリースもしてますが（https://linkco.re/0Ftr3g1N
コード譜、歌詞、ジャケ写、カラオケ音源と一緒に楽曲の無料ダウンロードもできますので
https://www.dropbox.com/sh/d9bvdp6529v2ram/AAA_aaNhyuoKlGmsArj1wH1ja?dl=0

たくさん聴いて、このMVも音源もぜひ広めてください！

曲もカラオケ音源も、愛のある使い方であれば自由に使用してもらって大丈夫です。
曲よかった！MVよかった！またみんな元気で会いたい！
と思ったらいいねと、コメントに想いの丈を残してもらえたら嬉しいです！

みなさん身体には気をつけて、元気でいてください。
Spread love!!　慶

Words, Music, Vocals：Kei Takebuchi https://twitter.com/keibambooty
Music, Video, Design：YAMO https://twitter.com/YAMO_wbsb

Patreon Producers: 96ra4suke, Alex, Atsuki Ishida, Chad Ko, Daisuke　Obata, David Johnston, Don Key, hina miyata, HIRO, hiroki a, Jun Oguma, Junichiro Shibano, JusonKhaw, Koiji_Izayoi, Maho Shibayama, maiko, Masaru Matsunaga, migihidari, Ming Ko, Naoya Tamura, nunono, Reg OKUMOTO Tadashi, Rintaro Ono, Ryo Nakayama, Shiho Fukushima, Shinsuke Toyoda, SUMIO ISHIZUKI, summerqm, Tai Hirose, Tetsu, tinoue, tomoaki kobayashi, Wai, Yosuke, Yui1111, yuuki sakata, Zengster, あかね, あべしげあき, えりっぺ, おとは, かがさとみ, かずえ, かんまほ, キンゼン チョウ, くろっぺ, たける, ためごり, どらけん, なおと, のっち, のり, みき, めりめろ, もえか, ゆきち*, ゆたまる, よ ま, らっきょう, わたなべ あこ, 葛谷　隆雄, 恵 高本, 慶ちゃん頑張れ, 弘亮 三橋, 冴織 笹沼, 松野 瞳, 大城 佳和子, 智之 小窪, 竹渕ひな, 長沼良和, 田中 愛咲, 膝 だでぃ, 末永愉恭, 有香里 正垣, 和也 大野

＜この映像は全て2020年2月までに撮ったものです＞


At times like this, I always feel relieved to see people pray for each other from all over the world, while some of us tend to choose hatred and anger.
Even if our leaders conflict and blame one another, or take control of our freedom, I believe that love can never be taken away by anyone.
Through singing with people in different countries last year, I felt that there never will be a day that hatred would conquer this world, as long as we each individuals love and care for each other... and that music absolutely has no boundaries of any kind!

Anyways, all those messages are wrapped up with love in this song, using many sounds we'd sampled during the stay in Malaysia.
We wished for this song to cheer you up and give you hope through the hard times, so we decided to share you the link where you can download the song, instrumental ver., lyrics, cover art, and music sheet of the song for free ▶︎ https://www.dropbox.com/sh/d9bvdp6529v2ram/AAA_aaNhyuoKlGmsArj1wH1ja?dl=0
Of course if you're willing to pay for the song, you can always download or stream from here ▶︎ https://linkco.re/0Ftr3g1N

Feel free to share the song and the music video to the ones you love!
Spread love!!

If you liked the song, the video, and wish for the day when we can all see each other again, give us a like and leave a comment!
Last but not least, please take good care of yourselves. Stay safe and happy.

Thank you!
Kei

【Stream and Download my songs!!】
IN THIS BLANKET ▶︎ https://linkco.re/y4z3tt5V
TORCH ▶︎ https://linkco.re/vYHNVsFs
LOVE ▶︎ https://linkco.re/0Ftr3g1N
　　　　Or download for free ▶︎ https://www.dropbox.com/sh/d9bvdp6529v2ram/AAA_aaNhyuoKlGmsArj1wH1ja?dl=0

MY MERCH ▶︎ https://keitakebuchi.booth.pm/

【竹渕慶 Kei Takebuchi】FOLLOW ME ON
Twitter ▶︎ https://twitter.com/keibambooty
Instagram ▶︎ https://www.instagram.com/keibamboo/
HP ▶︎ https://keitakebuchi.com/


【YAMO】 (クリエイティブパートナー/Creative Partner）
マレーシア滞在中につくった、現地での体験や音がつまったこの曲。家にこもりながらも音楽は作れるけど、この曲は海外を旅しないと生まれないものだったと思います。また世界中の人々が、安全に旅をして、音楽を楽しめる日まで。一緒に愛を拡げましょう。

We can create music at home, even through this quarantine time, but this kind of song cannot be created. It was written overseas with the inspiration we gained though our own eyes, sound arranged with many soundscapes of the place. Until the day we can all freely and safely travel and create abroad, spread love.


Twitter ▶︎ https://twitter.com/YAMO_wbsb
Instagram ▶︎ https://www.instagram.com/yamo_wabisabi/


【Other Recommended Videos】
Torch ▶︎ https://youtu.be/y9ltZL5osBI
In This Blanket ▶︎ https://youtu.be/s9MXv28fJsY
ASMR ▶︎ https://youtu.be/rJe4ebh2AFc
「天気の子」Mash Up ▶︎https://youtu.be/ZcT2UOmcwIo

オンラインコミュニティーPATREON ▶︎ https://www.patreon.com/KeiTakebuchiYAMO

'Cat King' Accessory
ガオーッ!? にゃんこが猛獣になる ”キャット・キング” アクセサリー


[Things to prepare]
・Faux fur ribbon
・Flat rubber
・Glue gun
・Felt sheet (Dark brow, Brown)

[Steps]
※Measure the neck and face size beforehand, adjust the length not to be tight leaving extra length.

1. Attach flat rubber to one end of the fur ribbon with a glue gun.
2. Apply glue with a glue gun on the flat rubber in between, and overlap the fur ribbon and form a loop.
3. Pull the flat rubber to loosen the ribbon. Fix the rubber with an appropriate length and cut the excess part.
4. Overlap the large and small felt sheets to create an ear shape and attach it to the fur ribbon.
5. Complete the ribbon by fixing it as loop with a glue gun.


いつも気ままに寝転がってるうちの子が、威風堂々とした百獣の王に?
ゴージャスなたてがみをイメージした猫ちゃん用アクセサリーです☆

【用意するもの】
・フェイクファーリボン
・平ゴム
・グルーガン
・フェルトシート　こげ茶　茶

【作り方】
※あらかじめ首や顔の寸法をはかって、猫ちゃんが苦しくないよう余裕を持たせて長さを調整して作ってください。
1. ファーリボンの一端に、グルーガンで平ゴムをつける。
2. 平ゴムを挟んでグルーガンでグルーを塗り、ファーリボンを重ねて輪っか状にする。
3. 平ゴムを引っ張り、リボンをゆるませる。適当な長さでゴムを固定し、余分な部分を切る。
4. 丸い大小のフェルトシートを重ねて耳の形を作り、ファーリボンに取り付ける。
5. リボンを輪にしてグルーガンで固定して完成。

Cute Bunny Easter Decoration
うさぎのおしりが超キュート！イースターインテリア♡

【Materials】
・ Acrylic yarn white
・ Pompom maker
・ Scissors
・ Brush for pets
・ Felt sheet pink, white
・ Glue gun
・ Decoration ball pink, white
・ Interior pot
・ Paper cushion
・ Artificial flowers
・ Easter egg figurines

【Steps】
1. Wrap white yarn sufficiently on a pompon maker to make pompom
2. Adjust the shape of the pompom, brush it with a pet brush and loosen it.
3. Add felt sheets and pink decoration balls with a glue gun and make feet. Glue the foot made with glue gun and the white decoration ball on the pompom.
4. Place the paper cushion, artificial flower, Easter egg and pompom in the interior pot and complete!


おしりだけ覗いているのがとってもキュート♡お部屋にあると癒されちゃうアイテムです♡


【用意するもの】
・アクリル毛糸　白
・ぽんぽんメーカー
・はさみ
・ペット用ブラシ
・フェルトシート　ピンク、白
・グルーガン
・デコレーションボール　ピンク、白
・インテリアポット
・ペーパークッション
・造花
・イースターエッグの置物

【作り方】
1. ぽんぽんメーカーに白い毛糸を十分にまきつけ、ぽんぽんを作る。
2. 作ったぽんぽんの形を整え、ペット用ブラシで梳いて毛糸をほぐす。
3. グルーガンでフェルトシートとピンクのデコレーションボールを付け、足を作る。グルーガンで作った足と白いデコレーションボールをぼんぼんに付ける。
4. インテリアポットにペーパークッションや造花、イースターエッグ、ぽんぽんを配置して完成!!