Credit: www.sothink.com

As for me, I feel not only sad, but also empty! It is a big lost for such an innovation pioneer has left us forever. I still remember some of this famous saying, “Design is not just what it looks like and feels like. Design is how it works.”, “Innovation distinguishes between a leader and a follower”. Those are precious treasure to us, especially youngsters, no matter you just want to earn your bread or create your own business! To Apple, it has lost a visionary and creative genius as described on its web site. To us, it’s a great loss to the whole human beings since we lost a good example we should learn from. Learn from his spirit and his attitude. So I made a logo above to mourn him.

All around world, there are lots of people have comprised art work to memorize him as well. I have collected some through web to share with you!

Credit: http://www.cnbeta.com

This idea of incorporating Steve Jobs’ silhouette into the bite of the Apple logo, symbolizing both Jobs’ departure and lingering presence at the core of the company, was released by nineteen-year-old Jonathan Mak, a student at Hong Kong’s Polytechnic University School of Design. However, it has since emerged that an almost identical logo was designed by Chris Thornley for Creative Review earlier this year.

Credit: http://media.egotvonline.com

A paper-cut portrait based on Steve Jobs in Jinan, Shandong province, China. He is very famous with Chinese people as well, iPhone and iPad serial won lots of Chinese fans. Paper-cut is a traditional Chinese art, so Chinese people use their traditional art style to express their regret to his leaving. Paint it in Chinese red to show their deep feelings to him.

Credit: http://www.telegraph.co.uk/

Bluewater Productions and Paperless Publishing have decided to publish a comic book biography of Steve Jobs. It will be available as an e-book this week on the NOOK and Kindle. The 32-page issue is drawn by Chris Schmidt (with cover art supplied by DC artist Joe Phillips). The standard edition will be available in comic shops, bookstores and online retailers including Amazon from October 27.

Credit: http://media.egotvonline.com

Here’s mosaic created by Charis Tsevis, using images of iPhones, MacBooks and iPads, as well as various types of Apple software. It illustrates that Steve Jobs is actually godfather of Apple, this innovation sprit creates lots of marvelous products, which simply human life from work to entertainment aspects!

Credit: http://media.egotvonline.com

This is a screen shot for 3D-printed Steve Jobs bust, which is a tangible Steve Jobs bust, produced with a 3D printer from virtual 3D data by Sevensheaven. The little statue is for sale in its relevant online shop as well. The design expresses an image of an amazing pioneer who leads digital industry by putting famous robot on his shoulder, like Wall-E.

Credit: http://www.telegraph.co.uk/

Tom Gaffney, 21, carved a portrait of Steve Jobs into an apple, before laying his tribute outside the Apple store in Birmingham. Tom, from Burton, Staffordshire, worked into the early hours on his tribute. He said: “I’m a big fan of his work. He’s a genius and an influence to so many people.”

Credit: http://www.flickr.com/

Abstracted painting of Steve Jobs created by Alfredo Caceres. It shows us an image of an old man with kind face, focused on the apple in his hand, illustrating that Apple is the one he had devoted his whole life energy into.

Credit: http://www.flickr.com/

STEVE JOBS UPLOAD created by Fragadesenho. “Steve’s brilliance, passion and energy were the source of countless innovations that enrich and improve all of our lives,” the company said. “The world is immeasurably better because of Steve.”

Credit: http://www.flickr.com/

Steve Jobs Tribute Art Coffee Painting, designed by DirceuVeiga, it’s creative with strong visual appeal, making me think of Steve Jobs even when drinking a cup of coffee.

Credit: http://www.flickr.com/

A painting with paper cut collected through web. It expresses an image of Steve Jobs believed in Buddhism, which shows peoples’ sincere wish that Steve Jobs will enjoy a peaceful life in heaven again!

Credit: http://www.flickr.com/

A puppet art work of Steve Jobs, wearing a black T-shirt with a white Apple logo on this chest, lays down on a keyboard at leisure. He is indeed Apple godfather, and makes great contribution to communication industry.

Credit: http://cghub.com/

RIP Steve Jobs by ArtDisaster. Lots of Apple logos draw the outline of Steve Jobs’ face. It contains three colors of black, white and grey to make up the whole image, which builds solemn and grieved atmosphere, illustrates that his leaving is a big lost to all human being.

Credit: http://lucilleumali.blogspot.com/

An image that demonstrates a diligent Steve Jobs founded. Steve Jobs was going back to his usual work as Apple’s CEO after he had liver transplant, while holding his Apple like glasses and the other hand touching his tummy.

Credit: http://www.myapplespace.com/

Some kind of comic painting shows us Steve Jobs at work. With help of Mac, iPad and iPhone, he should design and create more amazing communication tools for us. I personally wish the “Top Secret” refers to the design idea of iPhone 6 or 7.

Steve Jobs’ physical body has left us, but his spiritual idea and his marvelous accomplishment will live with us forever. We will never forget him. As for my logo introduced, and if you would like to know how to make it, please kindly check here!

Click Image for Larger View

Research by Online Dating University and AllFacebook.com

Source

If you search the net you will find a big range of interactive and graphical maps. These infographic maps clearly illustrate the topic in a very simple manner. Here is a collection of superb and excellent examples of infographic maps for your inspiration. by

1. by rosefirerising

2. by JewelInfo4u.com

3. by guidafonseca

4. by novichkov.net

5. by Applied Works

6. by HAROLDCABEZAS

7. by gobankingrates

8. by Willy D

9. by tomzazueta

10. by rickylinndesign

11. by edmerritt

12. by janet@work

13. by chris_blow

14. by HubSpot

15. by dougbelshaw

16. by Paul Weston Sketchbook

17. by warfaceuk

18. by Callum James

19. by twoeyes

20. by zeligg23

21. by epoca.com.br

22. by Gabriel Gianordoli

23. by Marco Vergotti

24. by Ciaran Hughes Infographics

25. by Plantronics PR

26. by Cubit Planning

27. by r-idz

28. by prymus

29. by cwaddell

30. by SonyEurope

31. by columnfive

32. by GrifficalMythical

33. by Gerson Mora

34. by State

35. by Id-Lab

36. by Michael Anderson’s

37. by mint.com

38. by BROKE GRAD

39. by Randy Krum

40. by coastal and marine sciences

41. by princeton

42. by HR management

43. by cdevers.posterous.com

44. by CATHERINE

45. by visualoop tumblr

46. by bikeleague

47. by Bas van den Beld

48. by Jon Sorensen

49. by rudilouw

50. by latoya

Research and design by Credit Score Blog for Focus.com.

Source: Focus and The Credit Score Blog

If you remember back to the first post we mentioned how designers are responsible for knowing the way that every principle applied or broken, every element that is included, and the very nature of the work itself, all speak to the viewers. They convey underlying themes or messages across by the way they have been used in the work. Or even in the ways that the elements and principles that are present work together to get our points across visually. The first post further showed us that the idea of what you don’t say can often speak louder than what you do say, even in design.

Take Two

In part two, however, we are going to bring our focus into the more tangible realm to get this post going. While the Principles can be considered largely theoretical or abstract in their applications, the elements are the more physical pieces that comprise the whole. This also tends to mean that the meanings attached to them tend to be more simplistic, and less interpretive than the principles. This makes the elements a bit more approachable for some designers. Given that the talking points they tend to convey are a bit more straightforward.

Once we have sufficiently covered the elements, then we will move into the final areas of this discussion, the overall Abstract and Concrete sections. For whether your design tends more towards the abstract or the concrete also speaks to the viewer in the end. So there are numerous considerations that need to be made when you are setting up your piece. The layout of the elements, and their interactions are somewhat second nature to some designers, but even the best of us can overlook some of the talking points inadvertently created in our work. Hopefully this post will help connect some of those proverbial dots.

The Elements

Now most designers are familiar with the various element types that are used in design work. But given the simple nature of some of these elements, there are those in the design field who undervalue them when it comes to the visual grammar. They see the inherent communicative properties of certain elements like Shapes and Colors, but then turn a blind eye to the others. As if they play little to no part in weaving this web of visual communication. But they couldn’t be further from the truth.

Points

Points are one of the smallest of the design elements, and consequently are often completely discounted as no real place in this communication. But Points not only can convey a nice array of ideas on their own, and are essentially the building blocks of other elements too. Dots, consequently, which are how we tend to view points, are simply points of focused attention. Proving that even the smallest details can be visually important to this conversation that we are crafting between the design and the viewers.

Now taking a series of dots and linking them in a chain, so to speak, can draw our focus to a number of different things, communicating as we go. If they are encircling other elements, they can interpreted as somewhat binding or securing them. These points could also be indicating a sense of togetherness, in a sort of links in a chain type of way. Used to create a sense of depth or layering with transparency. But the most standard use of points to communicate to the viewer is as a another type of chain. A visual one that leads them from one element or section to the next. Drawing the eye and taking it where it needs to go in the design.

Lines

Another common element in design that perhaps does more talking with the viewer than it is given credit for, are Lines. This is perhaps another element whose basic nature often have its value in this visual conversation overlooked. Lines can be especially effective when working to establish tone throughout the design, which is where these elements do most of their talking. And given that the public has somewhat been conditioned throughout various areas our lives in regards to the meanings of lines, then their use should be almost second nature in our designs.

For instance, we tend to associate things being underlined as stressing that they are somewhat more significant than anything around it. The lines are meant to direct us, to lead us somewhere or indicate motion. And that is how they are used in design also. Like dots, the Line elements can also be used to lead the viewer through the piece. The use of grunge or distressed Lines, over clean and sharp Lines, is where they tend to speak loudly as to the tone of the design. So there are numerous ways that Line elements can communicate with the viewer.

Shapes

Earlier we mentioned Shapes being generally one of the more understood talking points of a design, as they are often recognizable symbols of some kind. This also means that for designers most of our guesswork when using them goes out the window, as there tends to be a solid idea or meaning attached to each one already. In fact it is often these meanings that tend to land particular Shapes in the mix. Because they are easily interpreted and understood by the average viewer.

Shapes tend to be one of the more concrete ways that designers tend to visually communicate, but there are instances where Shapes can be somewhat used in the abstract. For example, if you are using geometric shapes, that have little concrete meaning attached to them, you can create an abstract air of precision or even use them to foster a sense of mechanical inclination. Geometric Shapes, with their sharp corners and precise nature can also tend to bring to mind a mathematical or scientific atmosphere, and can be used with other elements to transfer that talking point to the audience.

Space

The next design element that we are going to be talking about is Space. Once again, we move into a more conceptual elemental area when dealing with this examination. For space can be used or interpreted in a couple of different ways, and as a result, can be used for various communicative purposes. Either through a more minimalist or a more maximized use of Space, or through what has been called the Illusion of Space.

The Illusion of Space refers to the use of space in design to create the illusion of three dimensional space in a two dimensional plane (i.e. our virtual or literal canvas). This can communicate a depth of the design to the viewer, giving it a more realistic feel. Or can at least communicate the idea of grounding the design in reality. Contextualizing the piece for the audience. Also, by using whitespace of a lack of it, you can also create some talking points that the viewer can take away from the piece. The more clutter, the more chaotic the takeaway. The more minimal, the calmer less urgent the piece speaks.

Color

Another element that we previously mentioned, whose importance as a fully functional part of this visual communication tends to be understood by most of the design community is Color. We will not spend much time on this element, as again, there are volumes of posts online that have stressed this elements role in design. But we felt that it would be amiss of us to not mention it in a post covering the transference talking points, as it ranks high on the list of vital elements in this conversation.

But we will note that Colors tend to be interpreted somewhat widely across the globe, so it is important to know where all this design will be connecting with viewers to choose the appropriate ones. For the most part, discerning color meanings is easy with a simple web search, and given the global nature of the web, it is usually a safe bet that web designs will have a global presence on some level. But knowing the specific area of the design’s target audience can allow for a more focused approach to your use of Colors, over a more generic one.

Texture

Another one of the more understood communicative design elements, which we see used quite frequently, is Texture. The online design communities fondness for this element can be read from the amount of resources dedicated to it. You only need take a quick glance around the web to see the vast number of textures that are available for designers to choose from. With the subtle addition of texture to even another element in the design, can completely alter the entire message of the piece.

Through even the slightest of modifications to the surface quality of a item, the once sharp, fresh feel can be aged and withered contextually, completely redirecting the talking points and their tones. So Texture can be an invaluable tool for designers crafting this kind of visual dialog through their work. Adding depth, and a richer sense of a tactile nature to the various accompanying design elements is the main use of this element. And with so many resources at our disposal, we can craft virtually any sort of message we want through the inclusion of a simple texture.

The Abstract

Now we move out of the design elements and into a section that we have touched on in regards to its attachment to certain principles or elements, but that has not been addressed as an overall design approach and what that conveys to the viewers. Just like in the art world, there are many working in the design waters who will opt for the more abstract themes. This way of communicating with the viewer is highly interpretive, and can therefore be tricky to use with a solid, clear message to convey.

In general terms, when designers choose an abstract approach it immediately tells the viewer one majorly important detail about the piece. It essentially tells the viewer that whatever meaning they get from the piece, they are going to have to work for. This can be just as big a turnoff to some as it can be a draw to others. Many viewers like the journey aspect of having to uncover the message behind a well designed piece. Though admittedly, others do not. And clients are not always the biggest fans either. They want the message to be clearly conveyed, and they want little to no room for interpretation. Or as they more than likely view it, misinterpretation.

And to be sure, the misinterpretation fear is not unfounded. If you are working with abstract themes, imagery, etc, then we cannot always guarantee that the interpreted outcome is going to be the one we necessarily desire. What it says to us, may not be what it says to others. For this reason, most clients and projects demand a more concrete approach.

The Concrete

Which brings us to the last section in this two part discussion of the graphic design rules of engagement. The Concrete. With design, this tends to be the more prominent path that is walked, mainly for the reasons described in the last part of the Abstract talk. Most clients and messages tend to be served better, by working with more recognizable themes that they themselves can identify with. Which is what we tend to mean when we talk about the Concrete. This is an easy to understand, more straightforward approach, with little guesswork involved for the viewer.

The benefits of using this approach are fairly easy to grasp without us laying them out for you, but we will briefly indulge. Just like with the Abstract, this approach immediately speaks to the viewer. It lets them know that there is a clear message waiting for them inside. Using more concrete elements, also allows a connectability with the design that many users cannot get with an Abstract one. And naturally, given that the overall design is filled with recognizable elements, the door is open so much wider for your message. Not to mention the many ways in which you have to be able to convey said message that you could not with the Abstract approach.

That is a Wrap

That wraps up this second half, and the discussion overall. Well, at least from our side. Now we once again, turn this conversation over to you and the comment section to expand on or disagree with, or to simply add you own two cents to. What areas of the rules of engagement do you feel should have gotten more coverage? Or less? Let us know below.

Generally these rules govern when, where, and how these groups engage their enemy or the public. Under the design umbrella, the definition does not vary much (aside from the enemy bit). The design ROE basically applies to the various elements of the piece and principles applied that communicate to the viewer. These are the points within your design that talk to the public, transferring the message of the design, or our transference talking points. So the ROE are important to understand for any designer, and knowing the underlying principles behind them, that govern them, can help as you move to create your latest design. Especially those who are wanting their design work to remain competitive in this globally growing market.

This is not to say that these rules of engagement vary depending on the size of market you are wanting to appeal to, but being aware of what parts of your design are communicating with its viewer, and what they are saying does change. Different cultures and peoples all interpret various symbols and objects based on their own experiences and environments, so the wider the reach of our design the more we have to consider the multiple interpretations that can be derived from the various design elements. Again, the interpretations may vary, but the ideas behind the presentation do not. So knowing which of these inclusions are communicative, is important for you to be able to identify before you begin.

The Basic Idea

We all know that design, by its very nature, is highly engaging. As the designer you need to be sure you are aware of every aspect of the work that is speaking to your audience so you can effectively steer everything that it is saying. If elements get added merely for appearance or balance without any consideration for what, if anything, it communicates, you can essentially contradict and work against the other elements in your design. This is where the rules of engagement fully come into play. Through this inspection of the various components of this visual grammar you can craft a completely collaborative message for the viewer.

If a picture speaks a thousand words, then surely a design can communicate just as many through the multitude of approaches offered to the comm-savvy designer. So take a look below for a little insight behind the proverbial scenes at all the areas of a design that speak out to the public, and the discussion of the principles that are driving them. Hopefully it can help clear up a few of the rules for you, or at least help you get a firmer grasp on this idea.

The Basic Visual Breakdown

The way visual communication breaks down in design is essentially into the following categories: The Principles, The Elements, The Abstract, and The Concrete. Or at least that is the way it breaks down in these posts. Those are the four main areas to consider when you are building this visual dialog via your work. Not only do these communicative design inclusions interact with your audience, but they also interact with each other in order to achieve the full message you are hoping to visually dictate.

Given the depth of these four categories, and all of the weight of the overall discussion, the post has been broken up into two posts for the easiest digestibility for the readers. This initial installment will take a look at the seven design principles that tend to speak to your audience through your work, and some of the basic things that they communicate. In the follow-up post we will take a look at the remaining categories concerning The Elements, The Abstract and The Concrete.

The Principles

Now there are several principles of design that help to engage and speak to the viewer, and while there is some variation throughout the community on the principles themselves, their importance is pretty much agreed upon. The principles matter. Now their communication to the viewer comes from either acknowledging and following these principles, or by breaking away from any one principle to communicate a slightly different message to the audience. So the principles themselves speak to the viewer somewhat more passively if we follow them, and somewhat more actively if they are broken. Now as pointed out before, what interpretations will be taken away will vary based on the user, but there are some general constants that we can surmise will be spoken by the use of these various principles.

Variety

The first design principle that we are going to look at, is the principle of Variety. Now the meaning is fairly intuitive on this one, because it means just that, a variety. The addition of multiple design elements to provide your design with some variation is key for breaking up the monotony of the overall piece. If you have a design that uses the same elements throughout, things can tend to get a bit stale feeling for your audience.

Now by using the principle of variety you are communicating to the viewer a couple of different things. For one, you are expressing a desire to break up the monotony around you, as well as in the work, using your design to say this. It speaks of a sense of uniqueness to the audience. With this principle applied, you are also communicating an active state for the work. The variety helps indicate action, or a sense of motion against the stillness of the same. Breaking from this principle, and opting to use all of the same elements says just the opposite. It can add a stillness, a sense of calm.

Repetition

On the other end of the principle spectrum, far from the reaches of variety, is our next principle, the principle of repetition. Now this is not much of a mystery either, as we can already get a sense of this principle through the examination of its opposite. Repetition in this context is simply the application of the same design elements throughout the piece you are creating. Rather than breaking up monotony, using the principle of repetition actually combats a sense of randomness from filling your work.

Through the application of this principle, you are communicating an idea of holding in this atmosphere of inaction. Naturally this is a much more revealing principle when you consider what elements are being repeated, however just by looking at the principle itself, we again see an element of stillness being conveyed. That calming hold in the quiet reflection of the ideas we are getting through the work. And without this principle in place, we know from the above example where that can lead as far as talking to the viewer.

Harmony

The next principle that we are going to dissect a bit in our discussion here is the principle of harmony. Now harmony in your design can be achieved in a number of ways, usually through a delicate balance of variety over repetition. When you various elements but tie them together through some common trait, you are creating a harmony between the different pieces of the whole. Weaving them together by introducing some commonality, through either shapes, colors, functions, etc… can bring about this sense of design Harmony.

Now this is one principle that most do not tend to stray from, because this is usually a matter of visual comfort for the reader, but it does happen. Even if by accident. Though if you are trying to get to an uncomfortable place, if that is actually the talking point that you are trying to hit, then breaking from this principle can help you convey that sense to the user. An internal disquiet. Once again, through using this principle we find that calm once more. A sense of things all connecting and belonging can come across as well with this principle in practice.

Unity

The next design principle that we are going to cover is actually somewhat tied in to the principle we just left, and that is the principle of unity. Borrowing from its real world connotations, the principle of unity does not stray far from this context as it moves into design. It means simply that each element working in a design all feel like they belong there, creating a whole unit from its many pieces. Many attribute achieving this unity to working in balance when employing repetition, finding that harmony among the pieces.

Unity of design can bring in a warm feeling to your work, transferring that over to the audience, for generally, with a sense of togetherness comes warmth. Just the opposite can also come across to your viewers in the absence of this principle of unity. The user can sometimes feel a sense of cold isolation as the pieces no longer tie together and work as one. Or even a sense of disjointedness can be felt from the design, leaving the user with somewhat of a disconnected feeling.

Contrast

Working in quite the opposite tone as the last couple of principles that we have discussed, there is another principle that we can effectively implement when we strive more to make certain elements stand out rather than tie together, and that is the principle of contrast. This principle says that there should be a variety of elements employed to offer some visual hierarchy or steering for the user. With the different elements applied, we can find helpful ways to focus the users attention through this Contrast.

Just as the principle of variety can add a sense of activeness to your design, so can the principle of contrast. Motion can essentially be created through the contrasts that you implement, and that motion can communicate a lot of different active ideas to the viewer, depending on how you implement it with the various elements of your design. Once again, not adhering to this principle can instill that stale, monotonous feeling we have already discussed. Providing no direction, everything just sits, it does not lead the user anywhere.

Alignment

The next principle that we are going to examine, also adds a sense of direction to your work when effectively applied, and that is the principle of alignment. Through this principle, everything is placed according to the connection it has with the other elements that interact with it. Again, there is a visual connection that is created via this Alignment which can held direct the viewer, sort of carrying their eye to the next important or connected element.

Now if you effectively apply this principle in your design projects, then you are actively communicating to the viewer that sense of order and connectedness that exists within your work. That idea of one thing leading to another, and taking the next step are easily transferred through these aligned talking points. Breaking from this principle, can say quite the opposite as would be expected. Once more bringing that disjointed feeling to the viewer as all of the connections between the elements are severed.

Proximity

The final principle that we are going to discuss engaging in our talking point dissection of the principles of design, is the principle of proximity. This is the principle that governs the elements in the design that are related, saying that they should all be grouped together in close proximity in the plane that contains the entire work. Be it a web page, physical page, or even something larger like a poster or billboard. Whatever the presentation, the principle dictates that these related elements should be close to one another.

From this principle we find again, a connectedness offered through its implementation. The proximity principle conveys that togetherness, but it also can hone in on that sense a little tighter, almost in a cliquish sort of way. Implying more of a group within the masses kind of feeling, a sense of family, rather than overall unity. Just as before, breaking this proximity can add to a conveyance of isolation, or in this case, as the items are all related, as sense of distance. Somewhat more of separation, than straight isolation.

To Be Continued…

That is all for part one of this two part post discussion of the design rules of engagement. Remember that though many of the principles can communicate similar ideas, knowing about each of them still offers us approaches for achieving these talking point transfers in more ways than one. Are there other principles that you feel should have been looked at in this transference talking points dialog? Or what would add to the points brought up, or for that matter, what do you disagree with about the points that were brought up? Use the comment section below to fill us in. Be sure that you check back to get the finishing touches on this examination of the proverbial ROE.

Checkout the Part 2

Here is the list of music wallpapers:

When it comes to candy, we just can’t get enough. So with Ernestine Ulmer’s saying in mind, I had to go and do a little digging about the best candy packaging I could find.

The great aspect of candy packaging, is the limitless options you are presented with. Due to the fun, colourful aspect of candy bars, you will often find many amazing, intelligent designs that capture the users imagination.

However, as with everything, there is also a very elegant, sophisticated avenue that some designers take.

Here is our favourite of the multitude of candy packaging design, that really blew us away. Just don’t blame me if you’re feeling hungry once you’re done.

1. Joy Chocolate

2. Eniem Sweets

3. Fling

4. Jacques Torres Chocolate

5. Young and Smylie

6. Ice Breakers

7. Route 29

8. Kellogs

9. Xoco

10. Euphoria Chocolate

11. Payard

12. Clear Spring

13. Charles Chocolate

14. Koko by Cadbury

15. Venco

16. Movenpick

17. Memo Bakery

18. Elite Dark

19. Royal Blance

20. Monster Candy

21. Kit-Kat Pure

22. Tubular Taffy

23. Simple Squares

24. Sweet

25. Yogueta

26. The It Bar

27. Swiss Army Knife

28. Shrup

29. Cornelli

30. Fresh & Easy

31. Pandora Bell

32. Magnum Gold

33. KLT Mooncakes

34. Tic Tac

35. Mallows

In this post i have compiled desktop wallpapers related to typography, nature, art, photography and abstract themes. This collection of 400 wallpapers is really awesome and free to download.

(Really) Stunning Desktop Wallpapers

40+ Awesome Typography Wallpapers, serious inspiration

35 Beautiful High Resolution WallPaper Collection

40+ Absolutely Stylish & Creative Hand-picked Wallpapers

35+ Colorful And Inspiring Examples Of High Definition Wallpapers

45 Beautiful Dual-Screen Wallpapers

20+ High Quality Color Spectrum and Rainbow Wallpapers

Top 10 high-res Wallpapers of Upcoming Games

60 Most Beautiful Apple (Mac OS X Leopard) Wallpapers

70 Beautiful Dual-Screen Desktop Wallpapers

20 Refreshing Nature Wallpapers

22 Amazing Animal Photographs for Your Desktop

However, as the years have passed on, a few people have taken graffiti to the next level. Taking it from something that people generally frown at, to something that makes people go WOW! Most people are even going as far as calling graffiti street art. The truth is, that there is a sense of beauty in a lot of the graffiti being created today. Beautiful portraits of people, or abstract art that makes you look twice. A graffiti artist is, essentially, a modern day artist, his choice of canvas is just different, unique and grabs the attention of a myriad of people.

To honour the true graffiti artists, we have found a collection of some of the most stunning, creative graffiti pieces across the world, so join us in being wow-ed over and over again as we unveil our collection.

I have searched all over the net looking for the best eyecatching Bus Graphics Wraps and I was able to collect 40+ Amazing Bus Graphics Wraps with the help of my wife of course. Now take a look at these colorful images and I’m sure you’ll be amazed by the artistry in each Bus Graphic Wraps.

Heineken always refershing

Virgin Megastore State Bus Tour

Girls Gone Wild Cruising the long road

PlayBoy Energy Drink, Intensify, Revitalize and Excite

Jones Soda State Tour Bus

Jones Soda goes Pop?

Nugget Hotel & Casinos

Sick Puppies Rescue Bus

ESPN Sports Road Trip

Stop Global Warming College Tour Bus

Guitar Hero First Strike

American Heroes National Book Tour by Oliver North

Ace Hardware Dream Ace Tour Bus

Saturn Sky “Like Always, Like Never Before”

Lubavitchchabad On Wheels

Jack Daniels Classic on the Road

Burton Going Uptown

Corona De Mayo Bringing the Party to your State

Another View of Saturn Sky

Oasis Mobile blazing the states tour

Virgin Stock

Guitar Hero II

Soan City Water Park Free Bus Ride

Re Up Gang Records “Hell Hath no fury” Tour

Science going mobile with J. Craig Venter

Planet Asia Bus with the Black Magic

Chevy Silver Road, Riding in Comfort

The Charm is Coming

The Big X in Hurley

Hope Partlow State tour

Santa Barbara Zoo Bus Promo ride

BV Vineyard

Bricklayers Union going for the ride

Girls Gine Wild “Rocks America” Tour

Girls Gone Wild “Half Time” Show time

Girls Gone Wild Valentine State Tour

DFB Super Road Show

Virgin College Mega Tour

Wanta Fanta Time, Painting the Town Orange

Madden NFL Game, Promo Tour

Milk Bone Moment Tour

Today i have collected 26 amazing realistic 3d computer graphics. This list includes breathtaking realistic CG portraits, amazing CG compositions and realistic CG characters. I hope you will like and enjoy these and do share which one you like.

Frankenstein by Anto Juricic

Chimpanzee by Jacques Defontaine

Stairs by Sigurd Fernstrom

Robot – Octopus (a real fashion model with 3D FX) by Dominique Fraser

Rail haven by Marco Rolandi

Charging Kudu by Bill Melvin

DragONtFLY by Denis Tolkishevsky

Renovated Lobby by Olivier Campagne

Fisherman in Town by Suresh kumar

Night Rider by Hyun Hee Lee

NY City Appartment by Marc Gruber-Laux

Lady of Shalott by Yang Zhang

Experiment Chamber by Toni Bratincevic

Gangsta game character by Bernardo Barbi

Night Elf by Max Kor

Urban Environment by Stefan Morrell

Song Hye Kyo by Max Edwin Wahyudi

Mithra by Priymuk Sergey

Old Lamp by Zhelem Andrey

Moon Key by Olivier Ponsonnet

Siena by Jason Godbey

Driver 4 Character by Rich Wright

Composition by Juan Siquier

Sopron by Jason Godbey

The Monster by Rick Baker

Hue by Kim Hyong Jun

Nikolai Kvartnikov is an illustrator, photographer and digital artist behind Fiero Animals. I have no words to describe his work you can only judge it by seeing it. Here i have collected the awesome creations done by him.

Woman With Motobike

Lion & Zebra

Wolf & Hare

Jaguar & Monkey

Bomb

Keyboard Grenade

Play With Fire

Barbarian

Cosmo Woman

Under Water

Gamelang.tv

Redstorm

Go To Heaven

Road Queen

Go & UFO

Go Against The Machine

Subway

Boller-Room

Sea Devil

Go Night Guard

Date – Love Meet

Go & Song

Feel free to add your wallpapers or which inspired you the most in comments. I hope you will enjoy the post and will share it with others too by your favorite social network.

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