![]() Tidal Basin is the nation’s leading emergency management and disaster recovery consulting firm. ![]() Tidal Basin experts have worked in more than thirty-two states and extensively along the Gulf Coast, including Florida, Alabama, Mississippi, Louisiana, and Texas. Tidal Basin’s industry-leading professionals have extensive experience and a deep knowledge of FEMA individual assistance, public assistance, hazard mitigation assistance HUD/Community Development Block Grant (CDBG) DOT/FHWA/FTA USDA insurance and other programs and funding streams that help expedite recovery. Tidal Basin plans to grow the office to ultimately support 15-20 new employees.įrom terrorist attacks to hurricane relief, explosions to earthquakes, fires to floods, Tidal Basin has been helping clients prepare for and recover from natural and man-made disasters since 1985. This will include grant management support for FEMA Public Assistance and Hazard Mitigation Assistance, HUD Community Development Block Grant – Disaster Recovery (CDBG-DR) and Mitigation (CDBG-MIT), and other federal funding sources, including those made available by the Coronavirus Aid, Relief, and Economic Security (CARES) Act. The Tidal Basin team working out of the Orlando office will provide clients a full range of preparedness, resiliency, emergency management, mitigation, and disaster recovery services. ![]() “Opening a new office in Orlando reflects our deep roots in the state as well as our strong commitment to the entire region as we continue to grow our team there.” “As a leading emergency preparedness firm, we focus on staying ahead of the curve, making the critical investments necessary to have the right level of staff and the experienced talent in the right location to serve our customers most effectively,” said Tidal Basin Chief Operating Officer Mark Misczak. ALEXANDRIA, Va.-( BUSINESS WIRE)-Tidal Basin, LLC, a leading emergency management and disaster recovery consulting firm, is announcing the opening of a new office in Orlando, Florida, to enhance more than two decades of support for clients throughout Florida and across the Gulf Coast.
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![]() As best I can tell, the Krita brushes act more like regular digital art brushes with a few small tweaks. Their Thick Paint, Real Oil, and Real Watercolor brushes look and act like traditional media. While the gap is narrowing, Corel Painter is still probably one of the best pieces of software for replicating the look of traditional artwork. This is where the Corel Painter lines pull ahead in my opinion. Both programs have many people giving brushes away for free and (outside of Painter Essentials), you generally have the ability to build any brush you might buy as long as you learn how to adjust brush parameters. I don't know if there's a corresponding version of sold Krita brushes. Similarly, brush packs for Corel Painter retail for about $30 each (and are generally not available for Essentials). Getting the latest annual version of Corel Painter will set you back around $200, and the upgrades are about $99. Corel Painter Essentials costs about $40 minimum. This is an obvious one for a lot of people. I also have said that they have a blending brush better than clip, how much better? How about when you're ready, download a trial of Corel Painter and Clip Studio and try out the blending brush, then you'll see what I mean (Disclaimer: Corel has a lot of blending brush in the blending section, so try them all out and see what you like.I am more familiar with Corel Painter than with Krita, but I will give it a shot Expense They litteraly have brushes that can simulate watercolor like you would paint in real life (to a certain degree). Painter has better brushes and almost none of the other software comes close to how they can simulate traditional painting. There are a lot of things what one have that the other doesn't (at least you have to check on the latest version, as I haven't updated my Painter in 9 years) Clip has better Comic creating functions, Vector art, there's also option to create animation on the EX version. (Remember this is Painter, not Essential, you have to check what's the difference between them.) You can certainly import brushes into Painter & Clip and they also support importing Photoshop brushes as well. And they have more brushes oreinted towards that. You can certainly make a more clean digital art in Painter, but I just choose to do my lineart in Clip as that is what the software speacialise in, to ink manga/comics. I own both Clip and Painter, so I have best of both worlds. No I don't think you can delete one license and activate on another (at least to my knowledge), as I've said, I used Painter and not Essential so I don't know how less of a feature it is compare to Painter, but everyone has their biases on their favorite software, I can only give my experience. Post not showing up? The vile spambot has probably gobbled it up. Inspiration for artists struggling with sloppy/early work ![]() If you like this subreddit, you might also like Spam will be removed, including posts of the same art content across many subreddits without a reasonable attempt at engaging with the /r/learnart community. This includes videos and pages lacking clear instruction, speedpaints, timelapses, and anything with significant amounts of misinformation. ![]() Extremely long personal posts, questions requiring medical expertise, or anything that cannot be reasonably addressed by art learners about making art will be removed. Post multiple images as a gallery or as multiple links in one text post. Multiple posts made in a short time period will be removed as spam. Include your own work if you have a specific question so that you get clear feedback. 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The all-time rarest version, of which just two copies are known to exist, is an April 1966 acetate containing alternate takes and mixes that was purchased at a New York sidewalk sale in 2002 for 75 cents - and eventually auctioned off for $25,200. ![]() (Anyone seeking more detailed info, knock yourself out.). the ones with his photo airbrushed out ("The Airbrushed Cover"). the ones with a sticker pasted over Emerson's photo after he sued ("The Lawsuit Cover"). ![]() the covers featuring a shirtless Warhol acolyte Eric Emerson in the background of the group photo on the back ("The Torso Cover"). Original U.K., Canadian and New Zealand editions that don't that doesn't even have a banana on the cover? Yup. The "Close Cut" 1972 edition with an alternate printing of the banana sticker, without the border? Over there. Promo copies - both the version with the yellow label and the much rarer, white-label edition? Natch. A first mono pressing, still in its shrink wrap? Check. They account for an estimated 1 percent of all copies manufactured in the U.S. He owns more than 800 of them – he's actually not sure exactly how many – which are neatly filed on shelves in his study. Yet the most atypical obsession of those five decades may be that of veteran music publicist and longtime Velvets fan Mark Satlof, who collects original pressings of the album. His collection of roughly 800 records features rare pressings, signed copies and a variety of alterations original owners made the the banana decal on the cover. Mark Satlof at his New York City home with his collection of Velvet Underground Records. Despite his solo success, The Velvets' catalog gradually slipped out of print over the next few years. But that certainly wasn't the only challenge to its commercial prospects the group's ensuing albums met an even more dismal commercial fate, and a disillusioned Reed left the band in August, 1970. This was due partially to a legally induced (more on that shortly) factory recall that removed the album from shelves just as its Warhol-driven publicity was peaking. Still, it was initially considered a commercial failure, selling approximately 60,000 copies in its first two years - not bad, but no More of The Monkees. (who covered three songs from the album in their early days) and alt-rock titan Beck (who covered the entire album with some friends in 2009). Ensuing generations of The Velvet Underground and Nico's spiritual progeny have included punk pioneer Patti Smith (who covered at least two Velvets songs in her early days), R.E.M. Upon his rise to fame five years later, Bowie paid back his vast Velvets influence by producing Reed's Transformer that album's single, "Walk on the Wild Side," jump-started the grumpy bard's solo career and remains his biggest-ever hit. Pitt returned to London with a test pressing of TheVelvet Underground and Nico that his young charge promptly appropriated in every sense of the word. Among the first was a young David Bowie, whose early manager Ken Pitt had art-world connections and met with Warhol and Reed at the former's famous studio The Factory during a November 1966 trip to New York. It has spawned multiple generations of obsessives and influencees. It's the first album to truly combine a novelist's gritty realism with equally confrontational rock music, yet it's also a fount of soft, vulnerable songs like "Femme Fatale" and "I'll Be Your Mirror" - songs that are all the more poignant because you can sense, somehow, that the sensitive soul who wrote them is also kind of an asshole.Ī detail of Satlof's collection of Velvet Underground records and ephemera. 13 on Rolling Stone's 2012 "500 Greatest Albums of All Time" tally. But the world eventually caught up with it, and for the past 30 years it's had perennial placement on best-ever lists, including No. ![]() 171 on Billboard's albums chart in December 1967. With a near-peerless collection of songs - nearly all written by frontman Lou Reed - and an iconic, banana-sticker cover designed by band benefactor Andy Warhol, this jarring and innovative collection was initially a cult success at best, with no hit singles and a "peak" of No. The Velvet Underground and Nico, released 50 years ago tomorrow (there is actually some disagreement on the exact date), is the definitive way-ahead-of-its-time album. This was Mark's first collected record, and it features a signature from Lou Reed. A record from Mark Satlof's collection of Velvet Underground records and ephemera. |
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