This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping
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Snoop, on the left, is four years old and a seasoned studio dog. Calvin, on the right, is nine months and still learning the ropes. They’re both schnoodles and very good boys. Wellness, as an interior design trend, has been on the rise: more and more, people want their homes to feel like an oasis of domestic calm, or a spa-like sanctuary. “Homeowners are increasingly searching for designs and products that will promote good health and an overall sense of well-being,” a recent report from the American Society of Interior Designers found, noting an increased interest in “places where they can relax and restore from the increased stresses of everyday life.” So Barbara Sallick’s new book with Rizzoli, The Ultimate Bath, comes at an opportune time within the interiors zeitgeist. A chronicle of luxuriously elegant sinks, tubs, showers, mirrors, and more, it’s an ode to the most private room in one’s house—and proves that the relative seclusion of the bathroom doesn’t mean you can’t be original when it comes to design. There’s a gilded powder room by Ken Fulk, a marble sink set upon a Gucci Heron wallpaper, and bathtubs with views of desert cacti. “There is a difference—a notable one—between a bath that fulfills all of your basic needs and one that provides a heightened, indelible experience,” Sallick, the co-founder of Waterworks, writes. “Elevating the everyday on this level asks for nothing short of another way of seeing.”
I buy watercolors in tubes and squeeze them into these little palettes for ease of use and organization. I love Daniel Smith and Case for Making, but I’m actually brand agnostic—just color obsessed. Photographed by Shana TrajanoskaI bought this antique Dutch colonial cabinet from Michael Trapp to store all my art supplies. The faux marbleized table is a rickety old thing from Montage in Millerton, New York. I get a lot of amusement from the visual pun on the wall of the silver fox and the fox. The latter is papier-mâché from John Derian, a gift from my husband. The portrait I found at auction on the Cape. It’s pastel and allegedly 18th century. You’ll see this powder-wigged, floppy-collared gentleman popping up in my paintings from time to time.
I make a few different kinds of paintings: portraits, water paintings, and flower paintings. My latest show, currently at the Brooklyn homewares store The Primary Essentials, is a series of flower paintings made using pottery and textiles borrowed from the shop and incredible blooms procured from nearby florists Grdn and Saffron. I think of these paintings as portraits with nonhuman subjects: Flowers are idiosyncratic and individualistic, and they sit still longer than people, which is a bit of a bonus. (I first started painting them after writing about the wonderful flower painter Jane Freilicher several years ago and then in earnest during the pandemic, when access to new faces for my ongoing portrait series suddenly became limited.) But these paintings, which I often make using bits of flea-market transferware and old studio ceramics, are also an exploration of my slightly mystical interest in objects, my belief that things carry the imprint of their makers or former owners. I’ve referred before to the flower paintings as feeling like little seances or psychic tea parties, and I hope they convey some of that sense of supernatural communion. It feels very right to make them in a space where I’ve assembled all my own sacred talismans—objects, to be clear, that I fully plan to haunt long after they’ve passed from my possession.Painting is a solitary pursuit, and the wall behind me is a genuinely comforting reminder of all the people I know and respect in the world outside my studio. (Look closely, and you’ll see several of my former colleagues at Vogue.) The smaller portraits are part of my ongoing and hopefully self-explanatory series The Everyone I Know Project. The mix changes all the time: I adhere things to the wall using magnetic stickers and magnets, so it’s easy to move them around.
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