【官網販售中】
· 若商品已於官網完售,門市即不會上架,若官網顯示商品尚有數量,營業時間內皆可到店舖試穿購買,謝謝。
-
@goopi.co
@goopimade
“TYPE-X” 3D L/S Pocket Tee
-
時間稍縱即逝
秋冬季度即將正式開展
而一直以來 孤僻最具代表性的產品
也迎來了 2021 全新版本的變革
“TYPE-X” 3D L/S Pocket Tee 秋冬搶先登場!
#改良領口提高舒適服貼感
採用更好的質感布料
MADE IN TAIWAN
以厚實、耐穿、不悶熱的紮實布料打造
單穿時時擁有更好的立體度及雙層口袋的收納空間
天氣轉涼時也能搭配短袖、襯衫
做出層次和達到保暖效果
定番款式不斷的進化
本作採用了寬鬆的版型設計
利用立體剪裁呈現出由後向前的包覆效果
圓弧型態的下襬具備些許前短後長的流線
而領口部分則是嶄新的羅紋
讓服貼的同時不會過緊且提升耐穿度
當然 我們也保留了雙層口袋的巧思
不光是置物時口袋的形狀不會輕易改變
由上至下置物的順手與直觀
以及魔鬼氈保護的側面口袋
都隱藏於立體口袋之下
微幅的改變和細節的再次雕琢 難以用文字敘述
額外的重點或許在於顏色的定染
今年度在成色飽和度下了許多功夫
投入的研發設計以及追求的品質
相信穿上後能感受到其中的不同
雖說是定番款式
但本次發售後 今年即不會再補貨
希望銷售的時間能拉長,讓喜歡的朋友們都買到
再次登場或許已是明年度
希望能夠成為你 #生活中的定番選擇
#本次的黑色部分採用新的織造定染技術
#將呈現更深邃且具有質感的成色
請務必感受 更高品質的秋冬衣著
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“TYPE-X” 3D L/S Pocket Tee
Color:L-Gray / Black / Cream / Iron
尺寸:1 / 2 / 3 / 4
1號 -前衣長74、後衣長77、肩寬51.5、胸寬57、袖長60.5、領寬14cm
2號 -前衣長76、後衣長79、肩寬53、胸寬59.5、袖長62、領寬14cm
3號 -前衣長78、後衣長81、肩寬54.5、胸寬62、袖長63.5、領寬15cm
4號 -前衣長80、後衣長83、肩寬56、胸寬64.5、袖長 65、領寬15cm
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售價:$1580
“ES-01” GM Tabi socks
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自襪款系列展開後
「Utility Socks」一直是GOOPiMADE 引以為傲的定番款式
將極好的質感與著用時的舒適度不斷提升
增加長度+新增細節 #但依舊堅持不提高售價
延續今年對於長度加長的調整
設定於腳踝之上我們更為滿意的位置
同時也能稍微放下製造堆積感 產生視覺層次
#Lycra®專利彈性纖維 避免襪款鬆垮
著用時的服貼效果十分出色
加上COOLMAX® 技術製成的織物吸濕排汗
在任何季節皆保有乾爽的足感體驗
刺繡Logo字樣的擺放是本次的心思之一
可根據鞋款的挑選 決定刺繡字樣的呈現方式
襪款後方的幾何圖像
以及底部的撞色拼接
均採用相近色系完成
仍舊極簡 卻帶有諸多細節
#首次採用GM字繡Logo
作為秋冬季度開展的拼圖之一
定番款式對於我們而言意義重大
更是無論四季均可著用的好物
MADE IN TAIWAN 的 #4色到著
面料使用「COOLMAX®」
COOLMAX® 技術製成的織物
將隨時不間斷地排走腳上的汗水
使穿戴者保持腳部乾爽舒適
同時帶有洗滌後快乾的特性
專利彈性纖維「Lycra®」
提供更佳的材料與市面上的橡膠絲
克服多次使用後容易造成脆化、鬆垮、不服貼等問題
「Melry®」-全名 Merly®Skinlife
國際品牌 Nylstar 所生產的專利纖維之一
由銀纖維紡製而成 擁有永久的抑菌效果
長時間保持皮膚的天然平衡 控制細菌繁殖
不易造成過敏、異味,提供更加舒適著用體驗
製作過程中染色階段採無水染進行染色
使產品不易脫色且有效減少環境污染
無偶氮染料證明:
偶氮染料在接觸身體後,會釋放致癌物質
本次所製作的襪款同步國際製程標準
染整中全程使用無偶氮染料
帥氣之餘 安全無慮
本次升級同樣與臺灣頂級製襪品牌
nozzlequiz_official / 後研 所共同監製完成
根據不同的襪款色系和細節做變換
讓每天都要穿的足履穿搭更有質感
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“ES-01” GM Tabi Socks
Black / Navy / Taupe Gray / Khaki
Material:45%COOLMAX®、35%COTTON、7%SKINLIFE®、10%NYLON、3%LYCRA®
尺寸:Free (Unisex)
售價:$490
#habitselect #habitselect中山 #goopi #goopimade
同時也有2部Youtube影片,追蹤數超過51萬的網紅ぐにすけちゃんねる,也在其Youtube影片中提到,提供:メガミヒストリア 今すぐDL :http://www.zlongame.co.jp/common/drct/gogjp.html?14 #メガヒス #メガミヒストリア 一緒なら、二倍強い!3D爽快バトルRPG『メガミヒストリア』 好評配信中!! 連続ログインで合計20連ガチャ券をプレゼント...
「3d material free」的推薦目錄:
- 關於3d material free 在 HABIT select Facebook 的最佳解答
- 關於3d material free 在 Facebook 的最讚貼文
- 關於3d material free 在 VOP Facebook 的最佳貼文
- 關於3d material free 在 ぐにすけちゃんねる Youtube 的最佳貼文
- 關於3d material free 在 MakeLearningFun Youtube 的最佳貼文
- 關於3d material free 在 Top 6 Websites for FREE Textures and Materials (PBR) 的評價
- 關於3d material free 在 Grey Granite Rockface PBR Material - Pinterest 的評價
3d material free 在 Facebook 的最讚貼文
🌻On a 🍨 hunt for the cutest cafe with my 3 little sunshines!
Who’s more cute 😋 the bear behind me or in front of me 🤓 #answerproperlyhor #mamabearisfierce haha 😂 #joking
All 4 of us are dressed in @jumpeatcry newest launch! Totally love the cooling material, pockets on my dress and extremely vibrant Color for the new year 😍 Noah spilled some chocolate on his top, went home to wash it easily with water #heng
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👉🏻another 10% off at @reverie.belle using caps RUBY10
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3d material free 在 VOP Facebook 的最佳貼文
新刊預覽 👀⚡️⚡️⚡️
Voices of Photography 攝影之聲
Issue 29 : #被攝影史──成為影像的台灣
History of the Photographed:
Taiwan as an Image
延續我們對於攝影史的關注,本期審視屬於我們自身的攝影經驗──被攝影的歷史。從台灣的殖民史出發,自十九世紀中葉以降歷經的人類學調查採集、二十世紀初隘勇線推進下的暴力顯影,到帝國博覽會裡的「台灣」意象與人種展示──這是一段最為系統性地將台灣影像化的初始時期。我們如何成為被攝影的對象?如何化為一具科學標本和一幅想像圖騰?如何在視覺上被納編(或排除)於國族與文化的整頓編程,並糾結至今?此一影像的潛歷史──被攝影的歷史──是我們返視「攝影史」的一處起點。
藉此,本期試圖反詰「歷史」,思考致使我們「成為影像」、「進入攝影史」的支配與佈局,嘗試突破以往「攝影(者)的歷史」框架,開啟我們的「被攝影(者)的歷史」覺察,或許將能發現對我們而言更為重要的攝影的歷史遺產,生成屬於我們的另翼影像史觀。
專題中收錄的影像與文論,標記了我們在「被攝影」的歷史經驗裡的複雜和衝突──我們從已故人類學者胡家瑜對早年台灣人類學田野調查至戰後發展的介紹專論開始,探看影像採集的知識化歷程及當代意涵;黃翰荻追尋日本人類學者鳥居龍藏與森丑之助在殖民年代的台灣原住民族群踏查足印,細述二人巨大的歷史身影;高俊宏在總督府「理蕃時期」的諸多「討伐」寫真帖中,重新諦視「歸順者」肖像裡的幽微目光;瓦歷斯.諾幹以解/反殖民書寫,展現自身與族人生命經驗裡實切的影像歷史感知;松田京子則以東京拓殖博覽會中對殖民地的活人陳列展演,析解形塑「台灣」的視覺策略。
本期Artist’s Showcase單元,我們與藝術家葉偉立進行長篇訪談,呈現他這些年來以行動介入所構成的獨特影像場域,記錄其未曾間斷的勞作沉思。而在影像論述單元,本期新闢由影像研究者李立鈞執筆的科學攝影專欄,揭示平時隱沒在科學實踐中的「影像問題」,首篇從圖繪細菌與拍攝細菌在十九世紀引發的論爭談起,一探科學家對於攝影「客觀性」的認知辯證。謝佩君接續前期對於影像/視覺理論的引介,深入闡論歐美學界近年如何反駁過去以視覺機具作為現代性發展的線性觀點。黎健強探究香港攝影源流的連載系列,揭載「作為影像的香港」在1850年代末首次出現於可供西方觀眾賞玩的遠東立體照片。此外本期亦特邀黃建宏撰文紀念近期辭世的法國哲學家貝拿爾.斯蒂格勒,記述其影像哲理綿延的技術與時間之論。
在本期出版(焦頭爛額)之際,也正是《攝影之聲》邁入第十年的開端,回想起來真是一段不可思議的旅程。感謝所有的讀者共同撐起這份小刊,也要再次感謝參與《攝影之聲》、支持我們的朋友與工作伙伴,給予我們面對艱困的勇氣,繼續在蜿蜒的道路上行進。
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購書 Order | http://bit.ly/vop-29
台灣讀者免運費優惠中!
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As we continue on the topic of the history of photography, we turn to our own photography experiences in this issue – our history of being photographed. It takes root in Taiwan’s colonial history, from the collection of anthropological surveys in the 19th century, to the acts of violence at the defence lines as they pushed on during the Japanese colonial era in the early 20th century, as well as the exhibition of the “Taiwanese” imagery and ethnicity at various expositions held during the Japanese colonial rule. These form the beginnings of a systematic effort to visualize Taiwan. How did we become the photographed, a scientific specimen, a totemic image? How did we become visually part of (or excluded from) the rectification process of nationality and culture, that continues to trouble us till now? The veiled history of such an image – the history of being photographed – guides the beginning of our journey of looking back at the “history of photography”.
With this, we attempt to cross-examine “history” and think through the control and disposition that led us into “becoming an imagery” and “going into the history of photography”, hoping to break free from the existing framework of “the history of the photograph(er)” and enlighten our awareness of the “history of the photographed”. We reckon this could allow us to discover the historical heritage of photography that is even more important to us and generate our very own alternative view of the history of photography.
The collection of imagery and essays in this series marks the complexity and conflicts in our historical experience of “being photographed”. We begin with the late anthropologist Hu Chia-Yu’s field research of Taiwan’s anthropology from the early years to the post-war period as we explore the knowledge-based development and contemporary meaning of imagery collection. Huang Han-Di traces the footsteps of Japanese anthropologists Torii Ryuzo and Mori Ushinosuke in their study of the Taiwanese indigenous peoples in the colonial era, detailing the historical impact that they had. Kao Jun-Honn takes a second look at the faint gaze in the eyes of those who had pledged allegiance, as captured in the many portraits of the “submissives” kept at the Governor-General’s office during the Japanese rule. Walis Nokan expresses his and his fellow people’s real perception of the history of photography as they had experienced it in his de-/anti-colonization writings. Matsuda Kyoko analyses the visual strategy of shaping “Taiwan” through the living displays at the Tokyo Colonization Exposition of 1912.
In this issue’s “Artist’s Showcase”, we feature an in-depth interview with artist Yeh Wei-Li, showing our readers his unique field of imagery that extends from his art of intervention, a record of his neverending contemplation with regard to labor and art. Moving on to essays on visual imagery, we present a new scientific photography column by imagery researcher Lee Li-Chun, who unveils the “imagery problem” that underlies scientific practice, beginning with cognitive dialectics of “objectivity” of photography by scientists that stemmed from the debate sparked by illustrating and photographing bacteria in the 19th century. Hsieh Pei-Chun continues with her introduction to imagery/visual theory from an earlier issue, and explains in detail how Western academia has refuted the existing linear view of visual machinery as a modern development. Edwin K. Lai’s series on the origins and development of Hong Kong photography tells us about the first 3D photograph from the Far East that aimed to entertain a Western audience with “Hong Kong as an image” in the late 1850s. In addition, we specially invited Huang Chien-Hung to commemorate the French philosopher Bernard Stiegler, who had recently passed, and the continuous techniques and time that stems from his philosophy of imagery.
At the same time as we (run off our feet to) prepare for the publication of this issue, Voices of Photography is going into its 10th year, and what an incredible journey it has been. We sincerely thank all our readers for keeping us going, and express our heartfelt gratitude once again to all our friends and partners who have worked with us and given us the courage to overcome our difficulties to march on on this winding road.
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本期目錄 Contents
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文化調查、標本收藏與攝影
——十九世紀中葉起的台灣調查採集動力與歷史脈絡
Cultural Investigations, Material Collections and Photography:
Agencies and Historical Contexts in Taiwan Since the Mid 19th Century
#胡家瑜 Hu Chia-Yu
「空中鳥跡」與「依風彩畫」——寄鳥居龍藏與森丑之助
“The Trail of Birds in Flight” and “Paintings in the Wind”: A Letter to Torii Ryuzo and Mori Ushinosuke
#黃翰荻 Huang Han-Di
「不看」的能指——關於理蕃攝影中的「歸順者」之眼
The Significance of “Not Seeing”: On the Eyes of the “Submissives” in the Photography of the Aboriginal Taiwanese
#高俊宏 Kao Jun-Honn
關於日據時期老照片的解/反殖民書寫練習
Interpreting Old Photographs from the Japanese Occupation Period De-/Anti-Colonization Practice Writings
#瓦歷斯諾幹 Walis Nokan
人類的「展示」與殖民地再現——以1912年拓殖博覽會為中心
The “Exhibition” of Mankind and the Resurgence of Colonization: A Look at the Tokyo Colonial Exposition of 1912
#松田京子 Matsuda Kyoko
如何「做」視覺民族誌?——讀《學做視覺民族誌》
How to “do” a visual ethnography?: Understanding Doing Visual Ethnography
#顧錚 Gu Zheng
我們可以祛除帝國主義嗎?——《潛在的歷史》的指引
Can We Unlearn Imperialism?
Methods and Lessons from Potential History by Ariella Azoulay
史蒂芬.席海 #StephenSheehi
Artist’s Showcase: #葉偉立 Yeh Wei-Li
故事之野——訪葉偉立
A Field of Stories: Interview with Yeh Wei-Li
#李威儀 Lee Wei-I
「可怖的客觀性」——十九世紀的顯微攝影
“Dreadful Objectivity”: Photomicrography in the 19th Century
#李立鈞 Lee Li-Chun
偉大的否定——負影像史
The Great Disavowal: A Counter History of Image
#謝佩君 Hsieh Pei-Chun
追夢人的藥控——離散的「貝拿爾.斯蒂格勒」影像
Pharmakon by Dreamer: Discrete Image of Bernard Stiegler
#黃建宏 Huang Chien-Hung
浴火重生的香港攝影(上)——最早為香港留下照片的攝影師
Hong Kong Photography: Rising from the Ashes (I) – The Photographer Who Left Behind the First Images of Hong Kong
#黎健強 Edwin K. Lai
攝影書製作現場⑤ : 便利堂
Photobook Making Case Study #5: Benrido
#羅苓寧 Lo Ling-Ning
七等生 : 重回沙河
Qi Deng Sheng(1939-2020): A Return to Sand River
李威儀 Lee Wei-I
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一緒なら、二倍強い!3D爽快バトルRPG『メガミヒストリア』
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※この動画は「キャラ素材の規約」を守ってキャラ素材を使用しています
・規約について詳しくは→http://www.nicovideo.jp/watch/sm27609245
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3d material free 在 MakeLearningFun Youtube 的最佳貼文
In this video, we will play and teach the names of fruit and vegetable using Iwako Japanese Vegetable Eraser Set.
Toy information:
8 Fruit Iwako Japanese Erasers - Includes Banana, cherries, strawberry, pineapple, grapes, cantaloupe, peach and orange.
Super cute erasers are made with recyclable non-PVC material, lead and phthalate free. Can be taken apart and reassembled like a puzzle.
Iwako has been making erasers in Japan for over 40 years. Each eraser is designed and its mold made, by skilled craftsmen.
Every Iwako eraser is hand finished and assembled in Iwako' s factory in Japan.
Excess material from the molding process is recycled to make more erasers.
8 Iwako Japanese erasers
Vegetable Erasers - Includes 1 peas in pod, 1 tomato, 1 ear of corn, 1 mushroom 1 pumpkin, 1 onion, 1 carrot and 1 bamboo shoot
Super cute erasers are made with recyclable non-PVC material, lead and phthalate free
Can be taken apart and reassembled like a puzzle
Made in Japan
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google+....etc
Learn shapes playlist:
https://www.youtube.com/watch?v=zfMGbZYo1xw&list=PLDQjcD7DJPwkz11nuQJ6TNGGclAXUt4zu&index=5
Learn names of animal with sound playlist:
https://www.youtube.com/playlist?list=PLDQjcD7DJPwmpnepbnrgxL5TJY5NqIRJ4
Learn names of street vehicle and its sound playlist
https://www.youtube.com/playlist?list=PLDQjcD7DJPwkk7wqGzd0qV9XCc8PTndDM
Learn names of fruits and vegetables
https://www.youtube.com/playlist?list=PLDQjcD7DJPwkcfWoKnQXBvpvTriMF5L7i
Learn number and counting playlist:
https://www.youtube.com/playlist?list=PLDQjcD7DJPwk05uDW8MNPGdIrY8tHvNz5
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