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História del diseño VOLA
História del diseño VOLA
Danish Design Arne Jacobsen
When Arne Jacobsen died in the spring of 1971, the first stage of the Nationalbank building had just been completed. During his long career, Arne Jacobsen designed some of the finest buildings and industrial products of the 20th century, leaving a life’s work that ensured him a distinguished place in international architectural history and making him one of the few Danes known by a wide circle of people throughout the modern world.
As a recently trained, very young architect, he introduced himself to the public at a building exhibition in Copenhagen with a project entitled ’The House of the Future’, which featured motorboat access in the basement, a garage at ground level and a helicopter pad on the roof.
The House of the Future was international functionalism’s first appearance in Denmark, a futuristic proposal as to how the new technological tools could shape a new architecture. Based on simple geometric forms, the house, which was built in full scale for the exhibition, expressed the design idiom that would later become so characteristic of Jacobsen.
In his building designs, Jacobsen was originally influenced by Danish neoclassicism, but he quickly turned to European functionalism, just as he understood how to adopt various international architectural trends throughout the century and adapt them to his own personal style. It has been said that Jacobsen was international in a Danish way and Danish in an international way.
His production was prodigious, and there cannot be many areas that he did not turn his hand to. His works range from several waterfront housing complexes, theatres, sports halls for swimming, riding and tennis, schools and other institutions for children, hotels, central banks and town halls, administrative buildings, factories and laboratories, blocks of flats, row houses and single family houses. All designed with attention to detail and respect for a good solution, and often incorporating innovations that advanced the field of architecture.
Jacobsen is one of the Danish architects with numerous buildings abroad. For example, St. Catherine’s College in Oxford, England. In Hamburg, Germany, his works include the HEW administration buildings and headquarters and a school. Also in Germany are his holiday centre on the island of Fehmarn including accommodations and a swimming hall, the Town Hall in Mainz and the minimalist foyer addition to the theatre in the Baroque gardens in Herrenhausen in Hannover. These buildings helped promote Jacobsen’s international reputation.
Arne Jacobsen’s goal was totality. As an architect, he wanted to have total control of a project and nothing was to be left to chance. Thus he was obligated to deal with the details of his buildings. This led to the design of a series of products of such high quality that although they were developed in conjunction with specific building projects, they had such universal application that they could become part of standard production. Jacobsen’s designs comprise a wide assortment of items such as furniture, textiles, lighting fixtures, door handles, cutlery, stainless steel tableware, glassware, clocks, water taps and accessories. Many of these products have achieved the status of international classics and have certainly helped Jacobsen’s rise to dizzying heights on the international firmament.
Through his work, Arne Jacobsen left his mark on generations of architects and thus helped build a special Scandinavian architectural tradition that is characterized by exemplary thoroughness from the general to the very specific. Very few Danes have achieved the broad international fame of Arne Jacobsen, who today stands for some of the best works produced in the 20th century, with an inherent quality that has ensured their sustainability into the new millennium.
VOLA - a design icon born in 1968
VOLA belongs to the generation of design icons from the Golden Age of Danish Design.
The first VOLA taps and mixers were designed in 1968 by the Danish architect and designer Arne Jacobsen who designed, among other things, the famous Egg and Swan chairs.
The first VOLA mixers were designed for the National Bank of Denmark. The collaboration between Arne Jacobsen and VOLA A/S started when the owner of VOLA A/S, Verner Overgaard contacted Arne Jacobsen and introduced his proposal for a new type of wall-mounted mixer. He imagined a design where all the mechanical parts of the mixer are hidden leaving only the spout and handle seen by the user. At this time this was a completely new concept, but Jacobsen realized that this idea combined with his functionalistic approach to design could be developed. With that basic principle in mind, the simple and concise VOLA design we know today was conceived. By 1974, VOLA had already been selected for the design collection of MOMA in New York and has since gone on to win many design awards world wide. VOLA can also be found in many prestigious buildings such as the new German Reichstag in Berlin, the Scottish Parliament in Edinburgh, the Concertgebouw in Amsterdam and various art museums and luxurious hotels throughout the world.
Originality and authenticity
“Design classics are the proof of lasting values of good design” says VOLA Managing Director Carsten Overgaard who together with Sales Director Poul Overgaard share responsibility for the company’s current success. Much of this success is contributed to the extensive product development and the more strategic approach to sales since taking control of the company in 1988.
In this world of constant change, with products being declared ‘out of date’ soon after their launch, we need more than ever unique design icons, with originality and authenticity, which will continue to fascinate future generations.
Subsequently, VOLA A/S has expanded from being a small local company to becoming an
international group of sales companies situated in 8 countries. The entire production of VOLA taps and mixers takes place in Denmark, which is quite extraordinary within the sanitary industry as many taps are now manufactured in China and the Far East. “Keeping everything under one roof allows us to control all aspects of production and maintain our commitment to quality” says Carsten Overgaard, which in turn helps to secure a healthy work environment and a conscious use of natural resources.
In 2007, VOLA was presented with the ‘GOOD DESIGN Award’ by The Chicago Athenaeum Museum of Design and Architecture, for its free-standing bath filler, FS1 which was designed in close collaboration between VOLA A/S and the design office of the architectural firm of Aarhus Arkitekterne A/S.
As one of Scandinavia’s leading tap manufacturers, VOLA design principles are firmly rooted within the company culture. Each small detail, during design and development, is scrutinized by the product committee ensuring that every new item that leaves the factory holds part of a long and proven design heritage. At VOLA we are proud of our history. Proud of what the VOLA design has stood for and will continue to stand for, well into the future.
Today we not only wish to supply the product, but to also give the customer a complete service throughout the whole purchasing and installation process. To achieve this, VOLA A/S has built a new academy where selected plumbers are taught how to correctly install and maintain VOLA products. But, it’s not only the plumbers who will benefit, employees from the many international sales subsidiaries, as well as sales and manufacturing staff from the factory are also able to update their skills and knowledge – “we never stop learning”, says Director Carsten Overgaard. It is also our intention that the academy should become a meeting place for Danish and international architects who through lecture, may offer interesting insights into new trends within architecture and design.
Individuality a core value
During the 1960s, Arne Jacobsen strived to ‘clean-up’ the aesthetic chaos found in most bathrooms of the day caused by the various functional fittings and devices. At the time the bath room was a functional room so in a way Arne Jacobsen introduced design to the bathroom area. He considered designing a modular system which would include all the parts necessary to cover all bathroom requirements. Over the years this system has been developed to enable the designer to create individual and unique combinations using handles, spouts, cover plates and accessories, greatly increasing the benefits in using VOLA. Further benefits include water saving aerators and flow restrictors which have become just as important today as looks and usability.
The VOLA range is available in brushed stainless steel, high polished chrome, brushed chrome, natural brass and 14 bright colours.
Wellness and aesthetics
Although aesthetics has always been a major consideration when creating the timeless VOLA design, VOLA has now also taken steps to include the ideal of ‘wellness’ in the development of new products. Up to now, interior designers have been given countless possibilities to create unique and individual VOLA design solutions due to the versatility of the product. This has been augmented even further with the introduction of the VOLA 3-way shower diverter, enabling the user to switch between various combinations of head and body jet functions, thus obtaining a unique shower experience, a ‘wellness’ experience.
Aesthetics, wellness and individuality all describe the virtues of a modern bathroom. A new trend however, is to combine the bathroom and bedroom into one room. In these cases, the bath tub often takes pride and place, often with a view to the outside. The new VOLA FS1 bath filler has been designed for just such an environment, standing elegantly in the room as if like a sculpture, adding to the overall ambience of the room. So after 40 years, VOLA design icons are still being born with new ones on the way. Each one promising to add beauty to our homes.
In 2009 VOLA presented the new FS2 mixer and FS3 shower as an evolution of its Free-standing family – the new interpretation of the VOLA Classic style and concept, designed especially for the modern bathroom.
VOLA FS2 is a mixer for freestanding washbasin. The exceptionally tall, slender spout frees up ample space avoiding overexposure of a single item in the interior design. The ergonomic lever handle features the iconic and particularly striking VOLA classic design. Its upright design gives the fittings a very slim and elegant energy adding to the beauty of any freestanding washbasin.
The new freestanding shower system FS3 with thermostat embodies the VOLA character in its purest form; concise, slender, sculptured design. It is distinguished by its modern and geometrical shape, which is sure to inspire all purist VOLA followers In its function the new FS3 mimics natural rain fall but unlike nature, the intensity and temperature of the curtains of water can be easily adjusted.
Like the FS1, the new products were designed by Link Arkitektur. All fittings come either in chrome, brushed chrome or brushed stainless steel. With their new FS family products VOLA conceives the modern bathroom as an active spa and a new path into the wellness world.
VOLA is taking further steps along this path. VOLA continues to extend its reputation for international design. In 2009 the company introduced a completely new concept of personalised design options for towel warming for the functional yet stylish bathroom.
In place of the more common radiator-style towel warmer, VOLA launched its built-in modular heated towel rail for individual design solutions, a modular system of bars that could be positioned according to customer requirements.
In line with the VOLA trademark style, the new towel warmer is a built-in unit where all the technical units are hidden behind the wall. It is designed as a flexible system of bars which can be combined in number and location as to fit any given interior design or tiles arrangement. This concept allows maximum freedom and provides a perfect design solution for any modern bathroom.
Each built-in unit is produced according the wishes of each single customer and shipped from the VOLA factory in Denmark within few days. So once again VOLA is taking the lead when it comes to integrating design and function with production and logistics.
The VOLA towel warmer is designed by Aarhus Arkitekterne A/S. The VOLA towel warmer won the GOOD DESIGN Award 2009 presented by The Chicago Athenaeum: Museum of Design and Architecture and was nominated for the German Designpreis 2011.
The VOLA towel warmer comes in high polished chrome, brushed chrome and brushed stainless steel
Round Series introduced 2011
– new modular design concept for a waste-bin and paper tissue holder by VOLA
The first products in the new Round Series, a bathroom waste bin and paper tissue dispenser, are designed for the bathrooms of prestigious houses and luxury apartments and can also be specified for washrooms in hotels, restaurants, office buildings and cultural destinations such as galleries, museums and theatres.
With its new modular design concept of a built-in waste-bin and paper tissue holder VOLA offers new creative possibilities to work with space and materials in the bathroom.
By combining the texture and colour of the wall and the choice of finish of the outer rings and colour of the front plate the architect or interior designer can create individual and extraordinary design solutions.
The Round Series is designed by aarhus arkitekterne A/S. When they were designing the VOLA Academy Link Arkitektur were asked to design a new series of free-standing mixers as well as a new towel warmer. For the VOLA Academy Link Arkitektur also developed an interior design concept for the display of VOLA products that is used in the VOLA showrooms in Amsterdam, Copenhagen, London, Vienna, Munich - and Brussels to be opened in May. This is an example of a “Gesamtkunstwerk” – of a holistic approach to architecture and design where the various disciplines are integrated to form a unified whole.
Pht Nationalbanken
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Garsington’s Douglas Boyd on Strauss and Skating Rinks
So noted the New Yorker’s Alex Ross (in The Rest is Noise
), adding, ‘It is at once touching and unsettling to picture Strauss
immersed in artifice of Capriccio in the early months of 1941 when
German forces were gearing up for the invasion of Russia and Heydrich’s Einsatzgruppen were set to slaughter Jews and Slaves in their
wake. Touching, because one can sense Strauss’s need to disappear into a
realm of tones. Unsettling, because his work was so at odds with the
surrounding reality’.
Garsington Opera’s Artistic Director, Douglas Boyd, would beg to differ. When we met this time
last year
, he was busy rehearsing for the revival John Cox’s production of
Le nozze di Figaro
which he himself was to conduct, but he was also eagerly looking ahead to
the following year’s festival season which would bring the opportunity to
conduct his first Strauss opera,
directed by Tim Albery – a co-production with Santa Fe Opera.
Douglas Boyd, Artistic Director of Garsington Opera.
Rehearsals are now underway, and Boyd rejects the notion that Capriccio indicates Strauss’s ‘indifference’ to the world. I
suggest that it’s an opera in which ‘nothing happens’: the the Countess Madeleine
is asked to settle a dispute between her brother, the composer Flamand, the
poet Olivier, and the theatrical impresario La Roche, over the relative
status of music and words – and, after two-and-a-half hours of philosophy
and art, she is no closer to making her mind up about aesthetic matters
than she is to deciding upon the rival romantic merits of the poet and
But, Boyd explains, Capriccio – the idea for which originated in
Stefan Zweig’s research, in the British Library, into the controversy about
Gluck’s reforms in the eighteenth century, and Zweig’s particular interest
in Abbate Casti’s libretto for Pergolesi’s Prima la musica e poi la parole – is so much more than simply an addition
to the canon of operas about opera. Far from being ‘apolitical’, Capriccio is Strauss’s response to a world which in 1942 seemed to
be on the verge of apocalypse. The question that the opera asks – which is
most important, words or music? – is far from trivial; rather, it is an
assertion of essential human values at a time when humanity was
tearing itself apart. When I note that James Sohre, reviewing
Sante Fe’s 2016 production
during the last US presidential campaign, had remarked that ‘with all the
bombast […] rattling in our heads, with invectives being exchanged and
measured discussion all but absent, how utterly lovely to retreat and relax
into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio’, Boyd smiles: “Yes, ‘Words, or music?’ is not a question
one can imagine Trump asking.” We need to ask ourselves, “What do Flamand,
Olivier and La Roche symbolise or represent?”
Sam Furness (Flamand).
Built originally by founder John O. Crosby in 1957 on a former guest-ranch
seven miles north of the city, with its panoramic views of the Jemez
Mountains to the west and the Sangre de Cristo Mountains to the east, the
Sante Fe Theatre – described by The New Yorker as ‘a miracle in
the desert’ and, according to The Washington Post, a ‘shining
white cloud in the red hills’ – may seem to have little in common with
Robin Snell’s ‘floating’, kabuki-inspired Pavilion on the Getty family’s
Wormsley Estate. But, as Boyd explains, both theatres are closely connected
to their surrounding landscapes: at Sante Fe, the West-facing audience can
witness the New Mexico landscape and sunsets which are visible when no
backdrops are used; at Garsington, the setting and twilight so often become
part of the performance. As I noted of last year’s production of
: ‘[Designer Nicky Shaw] presents us with a night-blue observatory panorama
of pendulous orbs amid zodiacal light and nebulae. The splintered
chandeliers are replaced by gleaming globes. It’s a hypnotically beautiful
vista, and as the real night descends around the Garsington pavilion one
can almost hear the cosmic harmony.’
Tobias Hoheisel’s set for this Capriccio was designed with both
venues in mind. Director Tim Albery has transferred the opera from the late
eighteenth-century to the years just after the opera’s composition, but the
1950s locale incorporates an echo of that earlier world and in so doing
neatly sustains the meta-theatrical dimension of Strauss’s opera. Taking
his cue from the migration of so many artists and intellectuals from
Austria and Germany during the 1930s and ’40s, Albery has imagined a
post-modern house whose aristocratic owner welcomes these emigres and
provides a ‘refuge’ within which artistic relationships can be formed and
creativity can be nurtured. Indulging her passion for all things
eighteenth-century, the Countess has built a replica drawing-room in which
the evening’s conversations, deliberations and entertainments unfold.
Boyd is relishing the new ‘discoveries’ which Strauss’s score continually
affords, as he finds new ‘layers’ in the orchestration and explores the way
the music meticulously and miraculously ‘paints’ the words and action on
stage. The opera is essentially a conversation piece – we have to wait a
long time for the final twenty minutes of glorious Straussian arioso, but
it’s worth waiting for, adds Boyd – and one of the challenges is to ensure
that the dialogue appears spontaneous and natural, as if it were a spoken
play; it’s all in the score but it’s tricky balancing the rigour of
rehearsed details with the freedom required in the execution.
I comment that the cast of Capriccio, indeed of all of
Garsington’s 2018 productions, comprises a good balance of young and more
experienced singers. Alongside Miah Persson’s Countess, Andrew Shore will
sing La Roche and William Dazeley is the Count, while Gavan Ring as the
poet Olivier will contest for the Countess’s love and preferment with Sam
Furness’s composer, Flamand. Boyd aims to welcome strong, international
casts who are committed to performing at Garsington – he’s not interested
in ‘big names’ who are flown in because it looks good on the headed paper –
and he warmly and strongly praises the invaluable contribution made by
Garsington’s Director of Artistic Administration Laura Canning, in her work
with production teams, principal singers, chorus and orchestras.
Louise Alder (Pamina).
To my query whether co-productions will become a familiar feature of future
Garsington seasons, Boyd comments that there may be further co-productions
– there can of course be cost benefits – but that co-productions need to be
mutually advantageous to both partners. He will return to Santa Fe in the
autumn for discussions with Robert Meya, who will take up his post as SFO’s
General Director in October, and Alexander Neef, recently installed as the
company’s first Artistic Director, about possible future collaborations,
but there are no definite plans.
In the meantime, there are three other new productions at Garsington this
summer. To start the season, director/designer Netia Jones and conductor
Cristian Curnyn make their Garsington debuts with
Die Zauberflˆte
. Boyd has previously worked with Jones – she added visuals which reacted
in ‘real-time’ to a performance of Verkl‰rte Nacht by the
Manchester Camerata in 2011, for example – and the marvellous light and
transparency of the elevated Pavilion will surely inspire Jones’s visual
imagination as she explores the magic and enchantment of Mozart’s
singspiel. Two young singers return to Garsington in the principal roles:
Cardiff Singer of the World prize-winner Louise Alder (Ilia,Idomeneo, 2016) and Jonathan McGovern (PellÈas, PellÈas et MÈlisande, 2017) sing Pamina and Papageno, while tenor
Benjamin Hulett makes his Garsington debut as Tamino.
Garsington is committed to developing engagement with opera among new
audiences and this year The Magic Flute project will see vocal
director Lea Cornthwaite and director Hazel Gould create a 30-minute piece
based on The Magic Flute for Garsington’s Adult Company in
partnership with the C&C Choir, a choir of residents from sheltered
accommodation in North London run by C&C Housing. The piece will be
performed on the main stage at Wormsley on 3rd August.
Mid-way through the season, Bruno Ravella returns to Garsington, along with
designer Giles Cadle, following his esteemed 2015 production of Strauss’s
to direct a new production of Verdi’s
which will be conducted by Richard Farnes, winner of the 2017 Royal
Philharmonic Society Conductor of the Year Award. Henry Waddington is the
eponymous knight, Mary Dunleavy and Richard Burkhard sing the roles of
Alice Ford and her jealous, raging husband, while Victoria Simmonds and
Soraya Mafi appear as Meg Page and Nannetta respectively.
Soraya Mafi (Nannetta).
Boyd speaks energetically and with passion and commitment about all three
above-mentioned operas, but it is the fourth of Garsington’s 2018
productions which seems to ignite his greatest zeal and intensity.
The Skating Rink
is a newly commissioned opera by British composer David Sawer, with a
libretto – based on the short novel by Chilean author Roberto BolaÒo – by
award-winning playwright Rory Mullarkey. The story is gripping, blending
murder, lust and corruption with a touch of the surreal. Obsessed with a
beautiful young skating champion, Nuria, Enric determines to build her an
ice-rink in a deserted mansion near a Spanish sea-side town, and resort to
underhand means. An eclectic cast of characters encircle the voyeuristic
Enric, and as he watches Nuria spin ever-faster arabesques, so the web
tightens on his secrets. A recent play-through with the cover singers has
stirred Boyd’s excitement and anticipation for this new opera, the music of
which he says is just as mesmerising as the drama which it so perfectly
David Sawer, composer, and Rory Mullarkey, librettist.
Garry Walker (The Cunning Little Vixen, 2014) returns to
conduct The Skating Rink, with director and designer Stewart Laing
making his Garsington debut. The first night will be the occasion of
another debut, too: Garsington’s first world premiere. It is obviously
enormously important to Boyd that we should have faith in modern-day
composers and that while, undoubtedly, there are risks in commissioning new
work, its essential that alongside superb productions of established work,
Garsington enables the creation of new work for new audiences. “It’s the
future, and it’s our legacy.”
Claire Seymour
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tranzit.ro/ bucurești/ cluj/ iași/ sibiu/
When Magical Thinking Is Not Enough, but It’s All You’ve Got for the Moment
A sort of summing-up of the year 2017 for tranzit.ro/ București
Text Information/
Picture Gallery/
2017 was a year that we developed under the sign of magical thinking. It ain’t over till it’s over, nu mor caii când vor câinii, che sera sera, were some of the words that kept coming back in our conversations. Rumours circulated and reproduced as fake news, because it’s easier to listen to a piece of bad news than to ask how it can be prevented. It was proven once again that sticking together and trusting what we were doing are good strategies, functioning on long term. Well, as long as it’s possible in a political and economic situation in which internally only petty interests are prioritized, and externally you are always caught in the same colonial relations. We cannot close this year without pointing to a few moments that were situated against the logic of obedience – towards fate, towards bad news, towards the complicated agendas of those who apparently ensure your survival.
There were the months during which we prepared the exhibition The Veil of Peace and the weeks when it was open, an exhibition in which we talked about the daily peace, solidarity, diversity, joy and bread.
Then there was the enthusiasm of imagining other types of art collections are possible, in which the producers are the collectors, thus being the direct beneficiaries of their own work.
And there was also the apparently minor moment of a school exercise of the students from the Architecture University, concluded with an exhibition that presented us with a possible future, different from the one we are confronted with every day.
Through all these projects we refused a precarious present, dominated by uncertainty, frustration, individualism and lack of horizon, taking refuge in an optimist, collective and public imaginary – which has actually already been partially realized in the recent past, and in more functional contexts, it is part of reality.
It was also a year that WOULDN’T HAVE BEEN POSSIBLE without the involvement, commitment, support, trust, work or kindness of some people to whom we are profoundly grateful: Edi Constantin, Athena Dumitriu, Valentin Florian Niculae, Simion Constantin, membrii Grădinii Tranzit, Cristina Zanfirescu, Mădălin Geană, Dan Perjovschi, Iulia Popovici, Marian Ivan, Vlad Basalici, Alexandra Pirici, Tim Nădășan, Marius Babias, Vasile Leac, Bogdan Stănescu, Anca Benera and Arnold Estefan, Vilmos Koter, Daria Ghiu, Irina Bucan, Anna Smolak, Roxana Gibescu, Jimena Mendoza, Ștefan Ghenciulescu; without the collaboration and exchange of ideas and projects with: Ovidiu Țichindeleanu, Igor Mocanu, Vlad Morariu, Judit Angel (tranzit.sk), Frantisek Zachoval (Czech Centre Bucharest), Dana Andrei and Sorin Popescu (Corner. Football + society), Claudiu Cobilanschi; without the participation of the artists (and not only artists) with whom we worked this year, for exhibitions, presentations and other events: Nicoleta Esinencu, Katharina Koch, h.arta, Christiane Erharter, Ana Bazac, Nicolae Zamfir, Pavel Brăila, Mihaela Ioana Georgescu, Charles Esche, Anetta Mona Chişa & Lucia Tkáčová, Simona & Ramona, Metehan Özkan, Yuri Leiderman, Crina Mureșanu, Sașa-Liviu Stoianovici, Dan Mihălțianu, Monotremu, Olivia Mihălțianu and Stoyan Dechev, and others.
The most special thanks are going to Heide Wihrheim, who did for us more than we even know.
Not least, we thank to our tranzit .ro colleagues, Andi Gavril, Livia Pancu, Attila Tordai, Lia Perjovschi, Cosmin Grădinariu, as well as to the tranzit.org colleagues, with whom we went through several moments on the edge. So that the exhibition we are closing the year with, Shadoof (i.e. balance, water level, divide, indecision, swing, danger, edge) of the artist Kiki Mihuță, comes in the same spirit of magical thinking, to underline our own questions about the balance between one’s personal weights and the public responsibility, between firmness and frailty, between anchoring and rise.
We are waiting for you next year too at tranzit.ro/ București, on 44 Gazelei Str., maybe with less magic and more pragmatism, but still with the open gate and hearts.
Raluca Voinea and Iuliana Dumitru
Cats in the Tranzit Garden. Photo: Valentin Florian Niculae
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Vancouver Island
Community & Evolution
A letter from Emrys Damon Miller, new Vancouver Island President (June 2015).
dear GDC Vancouver Island community,
I look forward to serving the local graphic design community as the new President of GDC Vancouver Island.
To introduce myself, I founded (in 1999) and run Rocketday Arts, a small boutique communications studio in Victoria, which focusses on projects for social and environmental health. Since 2003, I've been a Professional Member (CGD) of the Graphic Designers of Canada. I've also loved being a part of the international graphic design community, having participated in ICOGRADA World Congresses (Nagoya & Havana) and Design Weeks (Seattle & Vancouver), Design Thinkers (Toronto), Mexico Poster Biennial (Morelia), and the 99U conferences (NYC). I live by the ocean with my wife (another communications professional), twin 12-year-old daughters, a dog and a cat.
My primary interests at the GDC are (1) camaraderie and (2) what good we can achieve as a community. By "camaraderie", I mean events and activities that bring members of the graphic design community together, for the sharing of knowledge, for potential collaborations, and for friendship. By "what good", I mean "what good" we can do specifically for the graphic design industry, as together we can promote excellence and ethics in our craft, we can excite the business community in graphic design's strategic value, and we can excite the public in graphic design's cultural value. But I also mean "what good" we can do for society in general, as we are the most prolific image makers in today's culture, co-creating the websites, posters, signs, magazines and other media that make up the environment of everyone's day-to-day life. We have a part of play in shaping culture, and should do so with intention and inspiration.
I hope to work not only with the GDC Vancouver Island members, but in collaboration with the expanded graphic design communities locally, such as Renegades, State + Story, Nanaimo Design Nerds, Pecha Kucha and Thinklandia, as well as our local design schools.
For providing the foundation we inherit today, I want to particularly thank Aaron Heppell, the most recent Past President; the many, many local graphic designers who have served on our Board in the past; and Carrie-Anne, Jesse, Leah, Patrice and Simon for their support on the Board today.
The GDC Vancouver Island has a strong base of professional members, we have generous sponsors, and many volunteers.
We had an excellent year last year, with the national launch of the new GDC brand, and with several local activities and events (such as hosting Robert L Peters for a presentation, the Creative Blender multi-community mixer, and the Girlhood poster design jam at the Art Gallery of Greater Victoria).
In the upcoming seasons, we are working to host a 99U LOCAL event in September, an extension of the respected 99U conference in NYC, which aims to help creative people (designers, artists and entrepreneurs) execute their ideas. We are also hoping to host Robert Bringhurst, author of the authoritative Elements of Typographic Style, for an event in November. We have many other items on our wish list (such as another session of the local graphic design "Rock Awards"), which we'll explore as capacity permits.
The GDC Vancouver Island is evolving. We are, in essence, a registered non-profit organization devoted to Vancouver Island's graphic design community. If you're a part of local graphic design, we are YOUR organization — and you can help us evolve and bring relevant activities of real value.
Please consider joining the GDC membership (if you're not already a member), joining our GDC Vancouver Island Board, or volunteering within our various activities and events. We'd love to have your help, your involvement and support in making this a richer and more active community. Reach me at president.vibc@gdc.net.
best regards,
Emrys Damon Miller
Graphic Designers of Canada, Vancouver Island Chapter
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zz Northeast Fiber Arts Center
Home > Class Schedule-
To register for any of these classes, you need to print the registration form and mail it in with a check or your VISfA/MC info for the amount of the instruction fee only. Materials fees will be collected at the time of class.
You may sign up at the store as well, but no sign up is taken over the phone as we require the filled out registration form.
If you are interested in a workshop here and don't live in the area (my felting classes have drawn participants from all over this country and Canada), ...
you can find a list of some hotels/accommodations here.
I have no vested interest in any of them, but offer them as a guide for some options to those that are close by. Of course you can also check airbnb, hotel.com, etc.
The store is about 4 miles from the Burlington airport (it is really small, but international and easy to get in and out of!). I can usually pick participants up and get them back there before and after a class so a car rental isn't necessary. And if you stay in one of the accommodations really nearby (Fairfield Inn, Marriot Suites, Catamoung B&B) I can also get you back and forth to class for.
In the past, some participants who wanted to see a bit of New England and have a car anyway, have found better airline deals by flying into either Albany NY (3 hours drive), Manchester NH (2.5 hour drive), and even Montreal Canada (1.5 hour drive).
Be sure to check out our Events page for other gatherings of interest
Workshops with Maria Friese
July 12th - 16th 2017!
Maria Friese comes from the South-west of France near Toulouse. Her studio is situated in view of the Pyrenees: inspiration which feeds her designs in felt. Maria pushes this organic medium to it's boundaries by calculating and creating geometrically accurate forms. Her monumental piece ‘Cycle’, a large wall hanging inspired by macro images of moss and seed capsules, won her the ‘Young Designer Contest 2013’ from the prestigious organisation Atelier d’Arts de France.
As an experienced textile designer Maria will guide participants in each workshop with her knowledge and experiences in the design process.
She will give you precious tips how to improve your felt work for creating firm and high quality felt art.
Poetic Surface Design - 2 day workshop, Sat and Sunday July 15 & 16, 2017 10 - 5
In this two day workshop you will explore possibilities of creating poetic surface design for accessories or wall art. You will get an insight into the basis of surface-design concerning contrasts, colours and positioning of motifs to obtain a balanced surface. By working out a small personal pattern collection you will explore different techniques to create motifs and reliefs by using templates, pre-felt, nuno techniques, felt-needles or embroidery.
Instruction fee: $250.00
Symmetrical Felt Vessels/3-D sculptures 3 day workshop, Wed - Friday July 12, 13 & 14th 2017 10 - 5
In this three day workshop for experienced feltmakers you will explore possibilities of creating symmetrical felt vessels/3-D sculptures with a poetic touch. You will learn how to develop your very own designs for individual 3d vessel forms without any seams through sketches and surface samples. Based on this you will calculate and work out your template which allows beautiful symmetrical forms.
Instruction fee : $400
Needle Felted Bookmarks with Neysa Russo - Sat Oct 14th 10 - 1
What better way to make the gift of a book really special for a friend, co-worker or family member this hoiday season than to include with it a beautifully needle felted bookmark!
The Icelanders have a XMAS tradition of gifting a book on XMAS eve and then after dinner they all snuggle down for a quiet evening of reading. I LOVE this tradition.....it takes the commercialism out of the holiday and is a way of sharing one of your favorite books with your friends and family. Adding a special book mark that you created adds an extra elegance to the gift too.
So join my niece, Neysa, and learn her approach to planning a design and choosing a color scheme as well as the technical aspects of needle felting a lovely bookmarks (a few design ideas are pictured but we'll have lots of other possible creative ideas here for you then, as well. From geometrics to florals....so many possibilities.
You'll have time during the morning to make 2 bookmakrs in class and you'll leave with the knowledge to make many more for the holidays. AND....you can then apply what you learned making these bookmarks to create larger pieces such as wall hangings, table runners, pillows, etc. on your own!
These bookmarks are pretty quick and easy to make, are gorgeous, and pretty inexpensive. You'd have no trouble knocking out a bunch before XMAS. In fact, you might find them addictive!
So come join Neysa for 3 hours of colorful fun and leave with new techniques in hand and inspired to do so much more.
Neysa will collect a $5 materials fee to cover needles and the foam base. I will have an assortment of colors from the "workshop bin of fibers" out for you to use for your designs....you will just need to purchase your pre-felt background (under $10).
Instruction fee : $45
Nota Bene: You must prepay to confirm your spot in a class. Fees paid to confirm a spot are NOT refundable if you, for any reason, cannot attend. If the class is cancelled by the teacher or store, then a full refund will be issued. Don't register unless you are sure you can participate, but don't delay since most classes fill quickly. In the event you sign up and can't make the class, you are welcome to send someone in your spot, but you are responsible for finding your replacement and making whatever financial arrangements between yourselves.
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Tag Archives: light
Hanabi Light, Creative Flower and Fire Style Lamp
In Japanese, Hanabi means “fireworks” and it is make up of the characters for “flower” and “fire”. The word “blooming” is the exact word to describe it.
hanabi-light
This creative lamp is designed by the Tokyo designer Oki Sato, who camp up with the extremely clever idea for the light. When the light is turned on, the bulb heats up and the petal-like strips will start to spread as though they are blooming. When the light is turned off, the light will close like a shamed flower.
The Hanabi light is very interesting, it is not complex. The light blooms just like a flower, it just utilizes the heat of the light bulb. But it is a clever idea and you cannot help loving it.
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Watch the Fourths, Fifths, Sixths: 8 online guitar lesson by Robbie Calvo from SoloCraft
The double-stop 4th ideas we are going to talk about in this segment are derived from the chord we are playing over (G) and also the G major Pentatonic scale shape at the 3rd fret. Watch the video to see where I am playing and to locate the hammer and pull off ideas I am incorporating into these 4th ideas. The phrasing is key to this sounding really cool. You have all heard this approach in many styles of music so it will be very familiar to you. The lick idea you are learning over the G chord at the 3rd fret can also be moved up to the 8th fret and played over the IV chord (C). Move the shape up to the 10th fret and play the same type of idea again but over the V chord (D). Ready to jam? Good, let's do it!
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ION S Series
ION S Series
Redefine what’s possible
A new chapter for adaptivity
In pursuit of unparalleled versatility, the ION S Series is designed to redefine spaces and elevate the atmosphere in every project it illuminates. Forging the next chapter of the award-winning ION Collection, the ION S continues the essence of universality with a seamless blend of form and function.
A lighting solution for every space
The ION Collection boasts exceptional versatility, presenting a cutting-edge lighting solution. Its outstanding adaptability, performance, function and beauty make it a one-stop lighting choice for every space.
• The ION Collection elevates gallery and museum spaces with unmatched aesthetics, precision, and adjustability. This highly adaptive solution inspires creativity and creates outstanding atmosphere for an immersive art experience.
• Captivate attention with a combination of ION R and ION S to evenly illuminate elongated surfaces like bottle shelves and bars, precisely highlight objects of interest, or imbue the space with a moody ambience.
• Whether cosily warm or dynamically cool hues, wallwashing or accent, the ION Collection enhances restaurant spaces with a blend of allure and elegance, guides visitors and connects the areas.
• With its high customisability, the ION Collection can cater to a wide range of lighting requirements, whether it is general or task lighting, indoor or outdoor, achieving diverse architectural scenarios and various styles in dynamic working environments.
• Available in a diverse range of models, the ION Collection can meet your home's general, accent and task lighting needs, ensuring optimal comfortable ambience while highlighting architectural features and objects of interest across different areas.
A universal solution
Available in 18,000+ customisations, the ION S Series can be configured to meet the aesthetic and lighting intents of any space. For track applications, the ION S Track Light is universally compatible across all track systems, ensuring seamless installation.
Application flexibility
Offers unparalleled beam angle accuracy and adjustability of 120° tilt and 355° rotation, the ION S is an all-in-one solution that brings your design to life.
Compact innovation
By strategically positioning the driver outside of the body, the ION S Series achieves a remarkable 20% size reduction while enhancing lighting output. This ensures both aesthetics and performance for your lighting and design needs.
Shaping brilliance
With framing, zoom and focus capabilities, the ION S Framer is an ideal solution for multiple occasions, from outlining artworks and highlighting displays with an impressive CRI 97+ to defining hospitality sections for an intimate experience.
A canvas of lighting possibilities
Precisely accentuate the outline of artworks and artefacts with endless framing possibilities created by the Framer Shutter.
Softens and blurs the framing edges of the lighting spread, directing flawlessly focused illumination on the objects of interest.
Accommodates diverse ceiling heights, providing crisp illumination for objects of various sizes from up to 8 metres away using a rotating ring.
Adds a unique touch of visual interest by projecting logos or scenic elements onto surfaces using the Gobo lens.
An option for every scene
With an extensive range of secondary optics and accessories, the series confidently fulfils an array of lighting needs across diverse settings. Explore the ION S's beam output options.
Redefining versatility
Configurable in a variety of models, accessories, sizes and power options, the ION S Series is crafted to meet any space's aesthetic requirements.
In hospitality spaces, the ION S Framer can be used to precisely illuminate dining areas without lighting hotspots, ensuring an exclusive ambience and a premium dining experience.
From open-plan offices to individual workstations, the ION S Wallwasher model can illuminate key work areas and cultivate a conducive work environment through uniform vertical lighting.
Offering unparalleled application flexibility and ultra-low glare, the ION S Track Light can tailor to diverse merchandising settings to showcase products without distraction.
The ION S Spotlight can enhance the depth and sophistication of your home by precisely accentuating objects of interest or architectural elements with its 120° tilt and 355° rotation.
Illuminating beyond boundaries
The ION S series, with remarkable modularity, is a dynamic and customisable lighting solution that amplifies illuminating potentials and intents.
• Textured Black/Black
• Textured Black/Gold
• Textured Black/Metallic
• Textured Black/White
• Textured White/Black
• Textured White/Gold
• Textured White/Metallic
• Textured White/White
Colour rendering index (CRI)
• 97+ (Framer)
Colour temperature
• 2700K-6500K
IP rating
• Up to 91lm/W (Track and Spotlight)
• Up to 44lm/W (Framer)
• Phase-cut
• Tempo Dim (Track only)
LED Lifetime
• >55,000h L90B10
Secondary Optics
• Honeycomb Louvre
• Linear Lens
• Softening Diffuser
Unified Glare Rating
• <10 (Framer)
• 5 Years
Compatible accessories
• Gobo Lens adaptor
Explore options
Get in touch
To request a product demonstration, a product sample or more information of the ION S Series, click the button below to find a Unios distributor nearest to you or contact us at sales@unios.com.
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Bishen Singh as a Young Man
India (Rajasthan, Uniara)
Not on view
This prince is formally presented in profile holding a flower and a sword. He stands silhouetted against a blue sky on a variegated field of grass and flowers. Animating this refined portrait are frolicking birds and a band of threatening rain clouds on the skyline. Artists in the small state of Uniara initially drew on the neighboring Bundi and Kota court styles, but by the end of the eighteenth century, when the state had become politically allied with Jaipur, this contact was reflected in their painting. The style of the turban and especially the diaphanous flared robe exemplify this artistic exchange with Jaipur.
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Fresh plans to redevelop Horsham restaurant site for housing
New plans to demolish a Smith and Western restaurant and replace it with flats have been submitted to Horsham District Council.
The application for a three-storey block of 22 flats, in North Parade, follows a similar plan for 23 flats, which was withdrawn last year.
In a letter to the planning department, RDJW Architects said: “Over the course of the pre-application process, the scheme has been redesigned to overcome the comments and concerns raised with the previous proposals.
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“We are confident that this scheme will bring a landmark and gateway property to this area of Horsham.”
The application adds: “To ensure no overlooking onto adjoining neighbours, the scheme has been sensitively designed to avoid habitable windows overlooking neighbouring properties. Elevationally, the proposals offer a streamline and elegant response to the busy North Parade.”
If approved, the development will be made up of 15 two-bedroom flats and seven one-bedroom flats.
The American-themed restaurant chain has put in an application to move into the former site of cookware retailer Steamer Trading in East Street.
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To view the applications, log on to public-access.horsham.gov.uk and search for DC/20/0614 and DC/20/0302
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Design Museum research finds “shocking” lack of women in design – Home Design Ideas
Just one in five designers in the UK are women, according to new research by the Design Museum.
The survey found that women make up just 22 per cent of the design workforce, even though seven out of 10 students taking design at A level are women.
“This uptake does not feed through to the design workforce where women continue to remain underrepresented,” the Design Museum said.
The percentage of women working in design has risen just four per cent since 2004 and women are under-represented in all design disciplines, including architecture, civil engineering, town planning, software design, fashion and product design.
“Failure to draw on all the talents out there”
The survey, conducted by the Office for National Statistics, was issued to coincide with the centenary of women being allowed to vote in UK elections.
The museum said the survey “reveals shocking gender imbalance in the design industry”.
“As we mark 100 years since the first UK general election in which a percentage of women were permitted to vote, these figures show just how far we have to go – in many spheres – in order to reach equality,” said Design Museum co-director Alice Black.
“The fact that the percentage of women working in the design workforce has remained virtually unchanged since 2004 shows a real failure to draw on all the talents out there, and promote inclusiveness in our industry.”
Women Design event at museum this week
Later this week the London museum hosts Women Design, a two-day programme of talks highlighting women in the industry.
In addition, the museum’s Designers in Residence programme, which starts on 8 December, will this year feature an all-female line up.
“We must take this moment to commit to work together to improve gender diversity in all sectors of the workforce,” said Black. “In the design industry, this means encouraging girls who take design-related subjects in schools to become product designers and civil engineers.”
Designers Hester Buck, Ella Bulley, Legrand Jäger and Helga Schmid will take part in the seven-month residency, which will explore the relationship between design and home.
Black said: “At the museum we are committed to finding new ways to make women more visible in the design industry and inspire change, and I am delighted that we have a cohort of talented women designers in the Designers in Residence project this year.”
“An impoverished future for design”
The Women Design talks take place on 7 and 8 December, and features architects Farshid Moussavi and Odile Decq, sociologist Saskia Sissen and graphic designers Marina Willer and Frith Kerr.
“While we might think that women’s voices are echoing around the world right now through the Time’s Up and #MeToo movements, in design publications, conferences, judging panels and other public realms, women designers tend to be outnumbered by their male counterparts,” said curator Libby Sellers, who is hosting Women Design.
“Whatever the rationale behind the gender bias, it has already eliminated or repressed an overwhelming majority of talent in the industry. To continue without championing a balance, would only encourage an impoverished future for design as a result,” she added.
“Perhaps, as we will do through Women Design, by highlighting some of the historical injustices and also seeking out and celebrating role models we might be able to create a discernible difference.”
Last year, Dezeen’s survey of the 100 biggest architecture firms in the world found a “quite shocking” lack of women in senior positions. Just one in 10 high-level staff were women, while only three of the 100 firms were headed by a woman.
Photograph of the Designers in Residence is by Felix Speller.
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west must lose “sense of superiority” – Home Design Ideas
Rem Koolhaas says the west is missing out on crucial conversations about architecture and urbanism because of a prejudice towards projects in authoritarian countries.
Dutch architect Koolhaas, who said he “believes deeply in democracy”, has warned that an automatically negative approach to work completed in China, Russia and the Arabic-speaking world is counter-productive.
“In China, there’s a very authoritarian regime that is doing wonderful things in many ways for its citizens,” said the OMA founder in a keynote speech at the World Architecture Festival on Friday.
“What preoccupies me is the only thing we can do is judge, and judge those developments entirely as negative,” he stated. “We are unable to be both critical and have sympathy.”
“There is too much moralism going on”
The architect, who is also a professor in architecture and urban design at Harvard University, called for western architects to adopt a more nuanced approach when looking at developments in countries with dictatorships.
“We are not active enough in undoing the sense of innate superiority that we have seen as our birthright,” he added. “Dialogue is clearly crucial. There is too much moralism going on that sabotages that.”
Rem Koolhaas at World Architecture Festival: CCTV Headquarters by OMA
“Chinese architecture will benefit” from CCTV building, says Rem Koolhaas
OMA has completed projects in all of the places Koolhaas mentions. Among them are the Garage Museum in Moscow, the CCTV Headquarters in Beijing and the Qatar National Library in Doha.
The architect says the CCTV Headquarters is a good example of how architecture can benefit from broader international engagement.
The twisted skyscraper, which forms a technically impressive loop, was only achievable because the design process mandated over six meetings with 150 of China’s top engineers, said Koolhaas.
Architecture can “intervene to defend values”
The building proved controversial – OMA sustained criticism both from the west for working with the Chinese government, and then from within China when president Xi Jinping called for an end to “weird architecture”.
But the collaborative effort created a shift in the conversation, said Koolhaas.
“One of the effects of CCTV is that China you can now do more experimental structural things,” said Koolhaas.
“[Architects] can intervene in a way that modifies maybe slightly or defends certain values,” he added.
“Once we have a crisis, we have an alibi not to deal with it”
Western democracy itself is under threat from within, said the architect, due to a pervasive lack of “imagination” to engage with current issues or think critically about them.
“If you now listen to American businessmen in Silicon Valley, that conviction that democracy may be a form of inconvenience and that other regimes are more pertinent seems to be widespread,” he said. “I feel that a society like ours is unbelievably passive in indulging that kind of reading.”
Koolhaas takes particular issue with the destructive language favoured by tech companies. For instance Facebook, which has come under the spotlight for the potential impact its platform may have had on elections in the US and UK, used to operate under the motto “move fast and break things”.
“I’ve been for a long time also very surprised that the word disruptive, disruption, has such a magical appeal, because I find it in the context a rather off-putting word,” he said.
He claimed that, while business leaders undermine democracy, there is a growing complacency on issues such as identity, immigration and the refugee crisis. Even the word crisis has become problematic, he said.
“We call everything a crisis and, once we have a crisis, we have an alibi not to deal with it,” said Koolhaas.
“It’s deeply depressing or sad that there is not more energy emanating from… the classes in the countries that are in as frankly privileged a position as we are,” he added.
The Netherlands is now “absolutely hostile”
He bemoaned that the Netherlands, a country that was once “totally open” has in just three years become an “absolutely hostile environment”.
“It seems like the last energy we are ready to spend is to retain our own privileges.”
The keynote speech took place on the final day of the World Architecture Festival 2018, held in Amsterdam from 28 to 30 November.
Other speakers included David Adjaye, who spoke out against the corrupting force of money in architecture and urged architects to “push justice into the equation” when designing for cities.
Main image courtesy of WAF.
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Madeline Gannon’s Manus robots move together like a pack of animals – Home Design Ideas
Robots are programmed with traits such as impatience and confidence in an installation by designer Madeline Gannon, whose work explores the potential for humans and machines to live harmoniously.
Gannon – who last year charmed visitors to the London Design Museum with Mimus, an industrial robot that played with passers-by like it was a 1200-kilogram puppy – worked with 10 robots for the new installation, titled Manus.
This time the machines, standard ABB IRB1200 -5/0.9 industrial robot arms, act like pack animals. Lined up in a row and controlled by one central “brain”, they move as people walk in front of them, each robot with its own idiosyncrasies.
Madeline Gannon's Manus robot installation at the World Economic Forum in China
Gannon programmed robots with traits such as impatience and confidence in her installation
“The robots in Manus don’t look like and they don’t act like us – but they can still connect with us in meaningful ways,” said Gannon, who has a PhD in computational design from Carnegie Mellon University and co-heads the independent research studio Atonaton.
“Subtle things like their posture, their motion or even the sound of their motor can all be harnessed to build a body language that can better communicate with the people around them,” she explains in a video.
“When a group of robots are imbued with these behaviours, they begin to feel less like manufacturing equipment and more like a pack of mechanical creatures, each with their own personality and quirks.”
Madeline Gannon's Manus robot installation at the World Economic Forum in China
The robots move as people walk in front of them, each with its own idiosyncrasies but controlled by one central “brain”
One of the reasons Gannon’s robots appear to move so naturally is that their actions are not directly programmed; instead, they follow the motion of a simulation that is triggered by the positioning of the people in front of them.
Twelve depth sensors at the base of the installation track a 1.5-metre area around the work, in particular focusing on people’s hands and feet.
Slight differences in the robots’ programming gives each one a different “personality”, so they respond to people in varying ways.
“Some have ‘less patience’ so they are more likely to move towards a new person more often,” Gannon told Dezeen. “Others have more ‘confidence’ so they are more likely to approach closer and from above a person’s head.”
“These subtle behavioural differences help push these machines away from their normal mode of operation – at 100 per cent choreographed coordination — to misbehave a bit and move more like a pack – a group of individuals all responding to the same external stimuli.”
Madeline Gannon's Manus robot installation at the World Economic Forum in China
Slight differences in the robots’ programming gives each one a different “personality”, so they respond to people in varying ways – some have less patience while others have more affection
The kinds of movements the robots produce give viewers an insight into what they’ll do next. For instance, when a robot notices a new point of interest, it will look towards it before moving.
Other movements inspire affection – an example is that the robots will never hold a pose too long before shifting their weight. The implication is that they’re tired or uncomfortable, although in reality they could hold a still, outstretched position all day.
One of the observations Gannon makes about her animalistic industrial robots is that people seem to warm to them quickly, without the “Uncanny Valley” effect that makes humanoid robots seem creepy.
She sees this as a useful lesson for designers and engineers in the robotics field.
Madeline Gannon's Manus robot installation at the World Economic Forum in China
Gannon observed that people seem to warm to the industrial robots quickly without the “Uncanny Valley” effect that makes humanoid robots seem creepy
“As designers and architects, we are trained with a hypersensitivity to how people move through space,” Gannon told Dezeen. “So we intrinsically understand and believe in the power of environments, and the people in those environments, to shape our behaviours. But this is not the approach that most roboticists and engineers take, which, due to their own disciplinary training, tends to be more robo-centric.”
“I see a great potential, and a need, for architects and designers to contribute their specialised spatial knowledge to the field of robotics, especially as these intelligent, autonomous machines are becoming more normal inhabitants of our built environments.”
Manus was commissioned by the World Economic Forum and displayed at its 2018 Annual Meeting of New Champions in Tianjin, China in September.
The psychology of robot-human bonding is an area of active research, with Cornell University engineers making a robot that gets goosebumps to communicate its “feelings” and BMW working on ways to increase people’s trust of self-driving vehicles.
Autonomous car designers also want the vehicles to communicate easily with pedestrians. This concern led Jaguar Land Rover to recently test a car with eyes.
Gannon wrote on the topic of human-robot coexistence in a column for Dezeen.
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3 Common Mistakes to Avoid With Your Home Insurance – Interior Home Design
Home insurance policies are a topic familiar to every homeowner. Homeowners insurance protects, what is for most of us, your greatest financial asset. That makes it a big piece of homeownership and a very important topic to discuss.
So, let’s explore the question, “what is home insurance?” To start, it is a type of insurance in which the insured and the insurer enter into a contractual agreement. The contract protects the homeowner in the event of property damage and other unexpected events.
Home Insurance What You Need to Know
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Sounds easy, doesn’t it? However, there are some common mistakes that unknowing people make when they purchase their homeowner’s insurance. Here is a handy list of mistakes to avoid before you sign on the dotted line.
Home Insurance • 3 Mistakes to Avoid
Buy the Policy with the Least Expensive Premium!
This is the most common mistake. A policy with the least expensive premium is not necessarily the right one for you. In addition, these low-budget policies often fall short when it comes time to submit a claim for coverage.
Home Insurance Agent Meet Face to Face
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If you really want to save costs on insurance, speak with a qualified insurance agent to ensure you get the right coverage for the right price. You might contact them online or face to face but be sure to get more details before you push the submit button on a website.
I Don’t Understand Cash Value vs. Replacement Cost.
The difference between “cash value” and “replacement cost” is a big deal when it comes time to submit a claim. Cash value is the value of the item when it was new minus any depreciation that has occurred since you purchased it. Replacement cost, on the other hand, is what it costs to replace the item with a “new” item of equal value at the time of loss or damage. A cash value policy costs less which makes it easy to fall into the trap of the lower premium. However, with the cash value option, you clearly won’t be able to replace what you lost.
Why Buy All My Policies with One Company?
Remember to check for bundle pricing. Most insurance companies offer discounts for bundles of insurance that may include health, travel, life, business, auto, recreational vehicle, homeowner, condo, mobile and manufactured, earthquake, flood, and others. This is a great way to get coverage at a discount for all the valuable assets in your life.
Home Insurance Bundle Your Policies
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Airbnb’s Backyard initiative to roll out house designs in 2019 – Home Design Ideas
Airbnb has announced a major move into the architecture and construction industry, with plans to release a new housing prototype late next year.
The house designs are being developed as part of Airbnb‘s Backyard initiative, which is spearheaded by the company’s offshoot design studio Samara, launched in 2016.
As revealed by Airbnb co-founder Joe Gebbia, the project will see the company devise a new way to design, build and share homes suited to contemporary lifestyles.
Airbnb's Samara launches Backyard initiative
The first prototype for Airbnb’s Backyard initiative will be revealed next year
“With Backyard, we’re using the same lens through which Airbnb was envisioned – the potential of space – and applying it more broadly to architecture and construction,” said Gebbia in a project statement.
Gebbia, who originally trained as a designer, initiated the company’s venture into building design when he realised that many Airbnb hosts were modifying their homes in anticipation of guests, finding many residences unsuitable.
Backyard designs will draw on Airbnb sharing model
“We began with a simple question,” said Gebbia. “What does a home that is designed and built for sharing actually look and feel like? The answer is not simple at all.”
Set to reveal its first prototype late next year, Samara is working on schemes to will draw on the Airbnb model of home sharing to include architectural features designed for this goal, but also respond to a number of issues that “quickly emerged” on further investigation, such as keeping up with the changing needs of residents and “the rate at which the world changes”.
http://www.dezeen.com/
The project is being led by Samara – the design studio Airbnb launched in 2016
“Simply put, nothing addressed long-term adaptability from a systemic perspective,” Backyard project lead Fedor Novikov said. “The only way to close the gap was to work from first principles and imagine entirely new approaches for building homes.”
Research includes investigations new manufacturing techniques, such as prefabrication, smart home technologies and eco-friendly materials, to address the current issues within the building industry, including “a tremendous amount of waste”.
Housing prototype to counter “outdated and wasteful” construction industry
“In the US alone, we’re starting construction on an average of 3,300 new homes every day,” said Gebbia. “For us, this goes beyond a business opportunity. It’s a social responsibility.”
“The way buildings are made is outdated and generates a tremendous amount of waste,” he added. “In order to meet the demands of the future, whether it be climate displacement or rural-urban migration, the home needs to evolve, to think forward.”
http://www.dezeen.com/
Gebbia, pictured, intends the project to disrupt the architecture and construction industry
Gebbia graduated from the Rhode Island School of Design (RISD) with a dual degree in Graphic and Industrial Design, before co-founding Airbnb with fellow design graduate Brian Chesky, and Nathan Blecharczyk, in 2008. The company has since caused a major disruption to the hotel industry.
Airbnb launched the Samara arm eight years later to focus on projects including architecture, service design and software engineering. It kicked off with a prototype house designed and built for Kenya Hara’s House Vision exhibition, featuring a community centre on its ground floor and traveller accommodation in its gabled roof.
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Snøhetta updates proposal for Philip Johnson’s AT&T Building – Home Design Ideas
Snøhetta has revealed an updated proposal for the overhaul of Philip Johnson’s AT&T Building, after a major backlash against its initial scheme resulted in the postmodern tower gaining landmark status.
Johnson‘s postmodern AT&T Building was awarded landmark status earlier this year, sending Snøhetta’s controversial renovation plans for the Midtown Manhattan skyscraper back to the drawing board.
Since the landmarking, the architecture firm has worked on revising the scheme to meet approval from New York’s Landmarks Preservation Commission (LPC).
Revealed 4 December 2018, the updated design scraps the original proposal to replace part of the masonry building with large expanses of glass, which triggered the outcry in the architecture industry, and instead aims to “preserve and revitalise” Johnson’s existing design.
550 Madison proposal by Snøhetta
Image courtesy of LMNB and Snøhetta
“We’re leaving the bulk of the building alone,” Snøhetta co-founder Craig Dykers told a group of journalists during a presentation of the design on 29 November 2018. “We’re not changing the iconic identity, and the pediment that everyone is familiar with will stay the same.”
“We think it will be transformative without stepping on the toes of the people who think there are important components we need to respect,” he added.
Snøhetta has now proposed restoring and sprucing up the existing brickwork, and offered a more subtle approach towards the masonry Madison Avenue facade, and the gridded glasswork that fills the main arched opening at the centre of the building.
The six 60-foot-high (18-metre-high) openings running along the front will be stripped of the black-painted glass, which has filled the openings since Gwathmey Siegel Kaufman made updates to the building in the 1990s.
550 Madison proposal by Snøhetta
Image courtesy of Moare and Snøhetta
As Johnson originally designed these to be open, Snøhetta would fill the openings with slender mullions to make them as transparent as possible. Other amends to the ground-level areas, which will be occupied by shops, include pushing out the external wall that runs down the shorter sides to meet street level.
Snøhetta’s project involves updating the empty retail level and the office spaces in the 647-foot (197-metre) tower – also previously known as the Sony Tower, but now named 550 Madison.
In order to accommodate the growth of occupation – expected to rise from 800 to 3,000 – existing elevators in the multi-tenant building would be replaced with larger ones. These would be rotated to create a window to the patio at the rear of the building, so that it can be viewed from the street.
This intervention forms part of Snøhetta’s plans to turn this glazed atrium into a large new garden, which it bills as the “biggest outdoor space in Midtown” that would be free for the public, complementing the nearby small Paley Park.
“We really pushed hard to make a public space that is unlike any other space in the city,” said Dykers, who hopes the new feature will help swing opinion during the LPC review.
550 Madison proposal by Snøhetta
Image courtesy of Moare and Snøhetta
To achieve this move, the firm plans to rip out the curved glass shell currently covering the space and annex buildings to create more room. A new white steel cover would be added in, featuring an “airplane wing-link shape” that parts in two just off-centre.
A series of areas would be located across the patio, marked by patterns on the flooring, which Snøhetta designed to draw on the circle motif often found in Johnson’s designs.
Among these different areas are a hearth, which will be heated in the winter, a “living room”, and a “water wall” to control the acoustics in the space. Seating would also vary, with some fixed and others movable.
Vegetation, including 42 new trees, would fill the space covering over the car park entrance and truck dock, to form a buffer along the rear wall. It is hoped that this will form a welcome habitat for wildlife living in and around the nearby Central Park.
Other updates to the 34-storey tower would include bolstering its environmental factors to meet LEED certification.
Johnson and partner John Burgee completed 550 Madison in 1984 for American communications giant AT&T, and the building is recognisable for its reddish brickwork and “Chippendale” roof line. It is regarded as the first skyscraper in the controversial postmodern style, which emerged in the late 1970s as an ideological reaction against the utopian ideals of modernism, and often splits opinion.
http://www.dezeen.com/
Snøhetta revised the scheme after the original proposal was nixed when the postmodern tower gained landmark status earlier this year
Dykers admits that he wasn’t surprised by the major backlash Snøhetta faced following the unveiling of the first proposal last year. The outcry included protests and the move to landmark the building, which was publicly backed by architects Norman Foster and Robert A M Stern, and critics including Olly WainwrightAlice RawsthornAlan G Brake and Alexandra Lange.
“It’s a volatile design,” said Dykers. “Philip Johnson’s work was always volatile.”
“We knew that was going to happen,” he added. “We weren’t afraid of that.”
Speaking to Dezeen last year, Foster said said although he didn’t particularly like “cartoonish” postmodernism, some of its buildings are worth saving – a sentiment that Dykers agrees with.
“I always say just because you have an aesthetic direction, that doesn’t mean you shouldn’t just tear down the building,” he said. “In this time, architects need to respect things even if they don’t always agree with them aesthetically.”
“You shouldn’t just be tearing down buildings because it’s not the style now, so find the best way to improve it.”
Featured image is courtesy of LMNB and Snøhetta.
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“My 3D printer will be printing my barf bag” – Home Design Ideas
In this week’s comments update, readers are debating the need for faux-meat foods, following the unveiling of a 3D-printed vegan steak.
Meaty discussion: the “world’s first” 3D-printed meat-free steak, designed by Italian bioengineer Giuseppe Scionti from Spanish startup Novameat, has caused controversy among readers.
“You should worship plants. Your existence came from and depends on them,” commented DanD, in favour of the creation.
“What I like about plant-based meat substitutes getting closer to the look and feel of the real meat, is that it could encourage more meat eaters to question whether they really need an animal to live a miserable life in captivity,” countered Gavin.
Nicole D disagreed though: “I stopped eating meat because I don’t want to look at a piece of cow. I do not need my plant proteins to look like this, I much prefer them looking like plants.”
“I can’t wait to tuck in!” joked Alan Smith. “Just as soon as I print out my knife and fork. And while I’m eating, my 3D printer will be printing my barf bag.”
This reader had an important question:
What do you think of the “steak”? Join the discussion ›
House of the Year 2018: Lochside House by HaysomWardMiller Architects
Less is more: not everyone agrees that Lochside House, a cottage designed by Haysom Ward Millar Architects, should have been crowned RIBA House of the Year 2018.
“No character whatsoever. Good for a Christmas card though,” argued Ted.
Dcbzyxkji went on: “It’s ‘breathtaking’ only because I was so bored by it, I forgot to breathe.”
Ragedrooster felt differently though, saying: “What, no curves? Not designed by a starchitect? It fits the environment without distracting from it. It displays a huge amount of restraint and attention to detail and function.”
“A worthy winner! A lovely, sensible, off-grid house in harmony with a stunning location. Much better than last year’s monstrosity,” concluded Mark.
Another house should have scooped the prize, according to one reader:
Was Lochside House the rightful winner? Join the discussion ›
Oakland A stadium by BIG
Game plan: BIG has released visuals for a new baseball stadium in Oakland, California, as well as separate masterplans to redevelop the city’s Coliseum sports ground. Some readers think it’s all a game though.
“When you’ve given up on credible design you resort to gimmicks, BIG gimmicks,” laughed Jb.
Miles Teg shared the sentiment: “This is too big even for BIG. This is just overkill.”
“Got a BIG ugly stadium concept? Put a park on it!” added Orangeeli.
Benny was equally disappointed, saying: “Wow, what a rehashed mashup of old BIG ideas with a ball park clumsily inserted. Fail. Oaktown deserves better.”
This reader had a different observation:
What do you think of the plans? Join the discussion ›
House of the Flying Beds by Al Borde
Bedknobs and broomsticks: readers agree that The House of the Flying Beds in La Esperanza, Ecuador, is unusual. But some are concerned for resident’s safety, while others dispute the house’s name.
“In a word: quirky,” said Benny.
Eric continued: “Pretty cool concept. Though I imagine the sleeping pods might feel a tad claustrophobic given their apparent lack of windows.”
“I’d like to see a photograph of one of these flying beds,” said Jdjorden sarcastically.
“Building regulation’s wet dream!” exclaimed British Card.
Meanwhile, this commenter was preoccupied by a different feature:
Do you fancy sleeping in a flying bed? Join the discussion ›
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Fikra Graphic Design Biennial “sets a precedent” for adaptive reuse in UAE – Home Design Ideas
The inaugural Fikra Graphic Design Biennial, in the UAE emirate of Sharjah, shows how the region can rethink its approach to adaptive reuse of buildings.
The first of its kind in the region, the month-long biennial has highlighted the wealth of graphic design talent in the Middle East region.
At the same time, installed in the city’s former Bank of Sharjah building, it has also thrown the issue of regeneration in the UAE into the spotlight.
The dilapidated 1970s building and its neighbours – considered by many to be important examples of Arab modernism – are due to be demolished next year to make way for a new restoration project that promises to bring back the city’s historic quarter.
However, according to the biennial’s organisers, authorities could be reconsidering their plans for the building’s future following the exhibition’s success.
“Biennial has set a precedent”
“The significance of doing something like this is that it’s an eye opener,” said Tarik Al Zaharna, the architect that led the transformation of the old bank.
“The biennial has set a precedent,” he told Dezeen. “I had a conversation with someone who said ‘we have empty buildings that we don’t know what to do with’ and this is really interesting for us.”
“For architects elsewhere, it seems obvious to reuse them, but for people here, that’s just not how they think. They’ve never been trained to think that way, as they have plenty of land and permission to build.”
Fikra Graphic Design Biennial 2018 is set inside a former bank
The inaugural Fikra Graphic Design Biennial took place in the former Bank of Sharjah building
The inaugural Fikra Graphic Design Biennial, which took place throughout November, was organised by Salem and Maryam Al-Qassimi, founders of Dubai-based graphic design studio and education platform Fikra, alongside art directors Emily Smith, Na Kim and Prem Krishnamurthy.
They chose to hold the event in the bank building, after discovering it among a cluster of derelict buildings on the city’s waterfront. The modernist building stood out, with its sand-coloured facade and tiers of curving balconies decorated with a swooping serpent-like graphic, added by street artist eL in 2015.
Al Zaharna’s Dubai-based practice T.ZED Architects was charged with transforming the building into an exhibition venue, with restrooms, a bar and a working lift.
“No one thinks about reusing a building”
According to the architect, this type of commission is rare in the UAE. Unlike in Europe, where refurbishing, re-appropriating or reconstructing parts of a building is commonplace and often necessary due to a shortage of land, here land is plentiful and planning for new buildings is easily granted.
“Dubai is a place where anything can happen and that’s great for us, but no one ever really thinks about reusing a building,” he said.
“Typically, the way that architecture and spaces are approached here is that if you need a new space or you need an architecture to host something you create it – you build it from scratch,” he explained.
Yet Sharjah, located just an hour’s drive away, offers many opportunities for adaptive reuse.
Fikra Graphic Design Biennial 2018 is set inside a former bank
The dilapidated 1970s building and its neighbours are considered to be important examples of Arab modernism
Although the bank had been derelict for some time, it was still in a useable condition.
“The bank building still had an office fit-out and looked as if everyone had left overnight,” said Al Zaharna. “You could switch on the AC and it worked, the phone still had a tone. There were office objects and artefacts, servers – everything had been left in place after the financial crisis eight years ago.”
Refurb creates chance to showcase both old and new
Jana Shamseddine of T.ZED Architects, who was appointed lead architect on the project, ensured that much of the office furniture and fit-out, including the original safes, were retained. In places, the nostalgic interior corresponds with the the graphics being exhibited, including the early work of Sharjah-born, self-taught designer Hisham Al Madhloum who designed the first logo for Sharjah TV.
In the space of just two months, the team were able to transform the interior into a flexible exhibition space that blended original features with new interventions – something that would never have been achieved in a new project.
Fikra Graphic Design Biennial 2018 is set inside a former bank
The interior was transformed into a flexible exhibition space that blended original features with new interventions
For example, the stone entrance counter on the marble-lined ground floor was protected and exhibited behind plexiglass. In other places, patches of original tiles and wallpaper were preserved.
“It took 15 days to strip out the whole building – it was a fast-track demolishing process,” said Shamseddine. “We were making decisions on what to keep and what to dispose on site. For instance we had a shaft that we weren’t sure was structural or not and therefore if it could be removed until the last minute. The coordination was on a daily basis.”
Sharjah’s buildings reflect important era for UAE
The exhibition was imagined as a fictional Ministry of Graphic Design, made up of six tongue-in-cheek departments with names such as The Department of Graphic Optimism and The Department of Mapping Margins.
The departments were not only a humorous nod to the country’s real life governmental departments – the UAE has ministers of state for happiness and an Office of the Future – but also the building’s own administrative past as a bank.
Within these departments, spread across five of the building’s levels, the exhibition showcased the work of over 40 designers from 20 countries.
Although each floor had its own distinct character, the first floor was where most of the building’s original finishes and fittings were left visible.
Here, the biennial’s archival display showcased a series of cutting-edge magazines that were produced in the 1970s, demonstrating how progressive the city was during this era. All of the titles were eventually banned in the 1980s.
Fikra Graphic Design Biennial 2018 is set inside a former bank
The exhibition was imagined as a fictional Ministry of Graphic Design, made up of six tongue-in-cheek departments
According to Shamseddine, both the exhibition and its contents have highlighted how much heritage there is in Sharjah to preserve.
“These buildings are from the 1970s and they reflect a very important era in the UAE, when these buildings were in Sharjah, Dubai didn’t even exist, they predate almost every building in Dubai, so it’s quite significant,” she explained.
“Sharjah was the hotspot that everyone would go to in the ’70s and ’80s before Dubai became what it is now. Everyone was there. So to completely eradicate that from the history is unfortunate.”
“An eye opener” for developers and local authorities
Shamseddine believes that the bank and its neighbours, which surround a square currently being used as a parking lot, could all be replanned and rejuvenated, to turn the area into a vibrant cultural hub.
“Bank of Sharjah is one example but if you look around the city there are endless typologies that are abandoned now, but if they are used they can activate all of the areas around them and draw people to that part of the city,” she said. “Even now with the Fikra Biennial, it is drawing people to an area of the city where no one would typically go.”
Fikra Graphic Design Biennial 2018 is set inside a former bank
One display showcased cutting-edge magazines from the 1970s, demonstrating how progressive the city was during this era
The local authorities haven’t failed to notice, said Shamseddine.
“The authorities gave us this building to do with as we wish, as it was going to be demolished anyway, but since they’ve seen what we’ve achieved, they are rethinking whether it should be demolished or not,” she explained.
“The project has opened the eyes of the authorities and developers as to how these spaces can be reused directly. They see the opportunity that comes out of these spaces where maybe, just because they saw it in a very different context before, they couldn’t tell that there is so much opportunity within these sites.”
Change in mindset needed for architects in UAE
The biggest challenge now, according Al Zaharna, is finding other architects willing or able to work on these types of projects. There are currently no local architects specialising in restoration because there is no demand for it.
“We have tens of thousands of new units being developed every year as the plan to develop and to grow the city of Dubai and Sharjah. But very few people are actually willing to take the time to refurbish and look at successful buildings that have been in place for the longest time,” he said.
“They are not necessarily bad buildings, they are just old. It’s more complex and more costly but all it takes is a little bit of thinking and a lot of work. The culture we have here in terms of approaching architecture is very different.”
“Developers might think, we can’t restore this building because there aren’t any architects to help us do that,” he said.
Fikra Graphic Design Biennial 2018 is set inside a former bank
Authorities could be reconsidering their plans for the area’s future, following the exhibition’s success
The Fikra Graphic Design Biennial was on show from 9 to 30 November.
Also unveiled in November was the Jameel Arts Centre, located in the neighbouring emirate of Dubai. Designed by London firm Serie Architects, the “very un-Dubai” building is one of the first independent not-for-profit contemporary arts institutions in the city.
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Camille Walala completes Salt of Palmar hotel in Mauritius – Home Design Ideas
Sea blues, sunny yellows and bold monochromatic stripes appear throughout this boutique hotel, designed by artist Camille Walala to complement to the landscape of Mauritius.
The Salt of Palmar hotel occupies a riad-style building on the east coast of the far-flung island. It contains 59 guest suites, a restaurant and a spa, all of which Camille Walala has decked out in tropical hues and graphic prints.
It is the first in a series of Salt-brand hotels that resort group Lux plans to open in the coming months, and will soon be joined by outposts in Turkey and China.
Salt of Palmar hotel, Mauritius, by Camille Walala
The brand’s brief to Walala was to “weave strands of distinctly Mauritian aesthetic into the fabric of the interior” of Salt of Palmar, to encourage guests to form an affinity with the destination.
This led Walala and art director Julia Jomaa, her long-term collaborator, to develop a colour scheme that directly relates to Mauritius, including both its man-made structures and natural terrain.
Salt of Palmar hotel, Mauritius, by Camille Walala
“I was blown away with how many vibrant and bold colours you find around the island,” explained Walala.
“From the emerald green of the plants to the ever-changing colours of the sky, I wanted to marry these warm and natural tones to my signature pop colours.”
Interiors of SALT of Palmar hotel, Mauritius, by Camille Walala
The building’s exterior, which was originally burnt orange, in now a lighter peachy shade, emulating the pastel facades of typical Mauritian homes.
Meanwhile the outdoor daybeds, chairs, and cushions have are upholstered in shades of cobalt blue and turquoise to mimic the hue of the Indian Ocean.
Interiors of SALT of Palmar hotel, Mauritius, by Camille Walala
At several points Walala has also introduced her signature monochromatic graphics, previously seen on projects like her inflatable London Design Festival installation in 2017.
It features on the sunshine-yellow walls of communal lounge areas and parasols by the pool, as well as the tiled underside of water features.
This is echoed by a series of striated partition walls made from thin beams of timber, which can be seen in the hotel’s dining area and bedrooms.
Interiors of SALT of Palmar hotel, Mauritius, by Camille Walala
Walala also called on the help of local creatives that specialise in crafts such as pottery and basket weaving to produce pieces of decor like circular pendant lamps.
“What was different for me this time is the sheer quantity of things to take into consideration when designing; not only do colours and pattern have to complement each other, but fabrics, textures, surfaces, light, functionality and moods are also critically important to consider,” she explained.
Interiors of SALT of Palmar hotel, Mauritius, by Camille Walala
Other large-scale projects that Walala has turned her hand to include a colourful mural on the facade of a 40-metre-high building in Brooklyn and a colourful labyrinth inside London’s Now Gallery.
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Grafeoiphobia by Geoffrey Pascal is a furniture collection based on beds – Home Design Ideas
Geoffrey Pascal has created a collection of office furniture that responds to the growing number of people working at home in their beds.
The three pieces in Pascal‘s Grafeiphobia: Unexpected Office collection are each based on the frame of a basic, slatted wooden bed. Different adaptations and foam upholstery allow the user to work in positions that emulate being in bed but also support the body in NASA’s Neutral Body Position.
Developed to promote health in astronauts in zero-gravity, the Neutral Body Position spreads the user’s weight over multiple points across the body. This contrasts with the typical seated desk position, which concentrates force downwards on the lower back.
Grafeoiphobia by Geoffrey Pascal is a furniture collection based on beds
The three pieces are each based on the frame of a basic, slatted wooden bed
Pascal began working on the idea during his studies at Design Academy Eindhoven after analysing his own difficulties working at a desk and after reading about a growing number of people that are working at home in their beds.
The name Grefeiophobia relates to a fear of desks.
“When I am working behind a desk sitting on chair, I always have the feeling of being forced to work, that I have to get it done. I feel stress and pressure, which doesn’t make me more productive, it is rather the opposite,” explained Pascal.
“I decided to experiment on myself and to work in bed everyday,” he told Dezeen. “And it is true that when lying down in bed your relation with work changes, you have more comfort, the aspect of time changes too, you become less stressed and more focused.”
Geoffrey Pascal's Grafeiphobia office furniture collection imitates being in bed
Different adaptations and foam upholstery allow the user to work in positions that emulate being in bed but also support the body
Pascal also researched the negative aspects of working in bed.
“Staying there the entire day isn’t so good,” he said. “It is not recommended to mix sleeping and working environment and also in terms of hygiene it is not so nice. I decide to extract the positive elements from working in bed and try to reapply them elsewhere.”
The designer used various densities of foam, provided by Recticel, a company that specialises in mattresses, to experiment with different positions that are common when lying in bed.
The three pieces in his collection could be used in a traditional office environment as well as by home workers.
Grafeoiphobia by Geoffrey Pascal is a furniture collection based on beds
The Basic Besk was inspired by sitting in bed with a laptop on the lap
The Basic Besk was inspired by sitting in bed with a laptop on the lap. It consists of three modules – a three-part back rest, a seat and a foot rest, which also doubles as a small storage box. A small rectangle cushion, a large rectangle cushion and a round bolster provide the back support.
The separate pieces mean the design can be adjusted for people of different heights and with different leg lengths. Pascal recommends this furniture for long tasks of up to three hours.
The Triclinium Gum is based on a side-lying position, with a sloping frame supporting a mattress and an additional cushion for placing between the legs for comfort.
Further cushions can be added using straps to allow the furniture to be used in different ways and a complimentary design called Popsicle can be used as a laptop stand or standing support. This design is intended for tasks that take between five and 30 minutes.
Grafeoiphobia by Geoffrey Pascal is a furniture collection based on beds
The Triclinium Gum is based on a side-lying position
Finally, The Flying Man is based on lying on the front and consists of three pieces – one for the lower legs, one for the torso and a laptop desk that has a reversible top so it can also be used as an upholstered stool.
The leg and chest support can also be used as a more conventions seat and desk. This design is for tasks of up to one hour, and for the end of the day when workers feel more tired, according to Pascal.
“What is important is the idea of movement, to go from one furniture to another, not to stay static and to find the right pieces according to the job that need to be done,” said the designer.
“By doing so the worker isn’t getting as tired and bored as if he would have stay on a chair. He can work for a longer time but in more welcoming, playful and comfortable environment.”
The dome-shaped and flat cushions on the pieces are upholstered in vibrant colours and with two types of fabric by manufacturer Febrik.
Geoffrey Pascal's Grafeiphobia office furniture collection imitates being in bed
The Flying Man is based on lying on the front
Grafeiophobia was on display at the Design Academy Eindhoven Graduate Show 2018 during Dutch Design Week in October, alongside other graduate projects including a portable yellow toilet for women.
It is one of many projects exploring the death of the desk, in response to the growing number of nomadic workers, changing expectations from employees and recent evidence that extended periods of sitting can be unhealthy.
At this year’s Orgatec furniture fair, Edward Barber and Jay Osgerby unveiled a modular seating system that doubles as a workstation, while Swedish company Blå Station launched seating that can be customised with surfaces and power points.
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12/10/2016 13:17 pm ET
Tim Wimborne / Reuters
It??s not just the view of the sky from one location, but is instead a 360 panoramic view of the sky taken by trekking 60,000 miles across the western United States and South Africa starting in March 2010. A product intended for pro use should at least come with lens profiles for popular Nikon (and Canon) lenses allowing the easy removal of lens distortions and chromatic aberration. And as we lose teachers, the cap on class sizes is lifted – so even more crowded classrooms to look forward to.
We sincerely welcome you to choose our products, choose our service, we believe it is a very correct choice. MalfleurJanuary 1st, 2016 14:40 Chris Morriss and Baron There is nothing wrong in a reduction in the population per se, although I would like to think that a healthy society would be able to use its inventiveness to adjust the world's present population to the more than sufficient land mass. Sculpt' workouts are designed to be short and intense ways to finish the regular program workouts by adding on a few extra minutes at the end.
??Currently I provide graphics for 7 different so at anytime that includes a set of event flier, dvd cover and match graphics for each. ??Millions of pounds of London solar installs cancelled following FiT cuts' news Solarcentury picks up international award for Sunstation news Is the tide turning for the energy lobby. The book helped to make Hoggart's name he was appointed Professor of English at the University of Birmingham in 1962 and two years later, established the Centre for Contemporary Cultural Studies.
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Andi Meier / The Washington Post
With the new year approaching, The Washington Post asked Andi Meier to create the cover page which features the important moments of 2016. "The Worst Year in Washington" is illustrated entirely in clay by the german artist. Thanks for this wonderful collaboration!
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Andi Meier / Les Producteurs de lait du Québec
Ad campaign for Les Producteurs de lait du Québec (Milk Producers of Quebec) created by Andi Meier with LG2 agency of Montreal.
Andi Meier / Creative capsule
Here is our tenth CREATIVE CAPSULE. This month, we invite you to meet Andi Meier, our young and smiling German artist working with some Plasticine. He shows a lot of creativity, his compositions are more and more complex and his universe is unique. Big marks and famous magazines appeal to him and the results are magnificent. Décrouvrez down here his interview and also some photos of him in the work in its studio. To work with Andi is a charm!
Describe your creative lab in a few words?
Messy, but there are unicorns flying around.
In two sentences, how would you describe your work technique?
Everything is modulated in clay, photographed and arranged on computer.
What is the project of which you are most proud of?
One of the projects I am really proud of are the illustrations for “The Washington Post”.
What are your favourite colors to create?
I prefer bright pastellic colours.
Why did you become an artist?
I wanted to become famous and rich.
In four words, how would you describe your style of illustration?
Colourful, happy, hand-crafted, ironic
What is the project of your dreams?
To make my own illustrated-book.
What does a typical day in the life of Andi looks like?
-Option 1: standing up at 7, taking a shower, riding on my bike to my office, creating the whole day amazing new clay-illustrations, going to the gym, meeting friends and go to bed.
-Option 2: snoozing about 2-3 hours, standing up at whenever, riding with my bike to my office, watching the whole day you-tube-videos, riding home, go to sleep.
What inspires you?
There are many things in everyday life, which are really inspiring. But I especially like watching tourists making selfies – a perfect inspiration for character-design. But of course the internet is also pretty helpful.
What is your favourite blog or website?
Globally, I like to surf on Instagram and Pinterest... no favorite !
Andi Meier / TNTmag / France
Clay illustration made by Andi Meier for the TNTmag cover.
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Kees van Dongen: raw, wild, graceful and with a mild appearance
What a head! Skip his early work and quickly move on to the exhibition’s second room Kees van Dongen, the road to success and start with Self portrait (1909). He was then 32 years old and painted himself red and his lips, painted in a dozen broad lines, even redder. Powerful dark eyes take in the world self-consciously. The young man who left the Rotterdam suburb of Delfshaven for Paris about ten years earlier has become one of the most important painters of his time.
Kees van Dongen painted in Montmartre in the Le Bateau-Lavoir studio building. Picasso arranged it for him. His girlfriend Fernande Olivier modeled for him. Van Dongen was friends with Georges Braque, exhibited with the avant-garde and enjoyed the Parisian (night) life. He was one of the first to paint portraits in strong electric light (the power came from the Folies Bergère theatre). As he went out, he drew dancers and other ladies, later painted them and went out into the countryside to make landscapes.
Van Dongen painted in a post-impressionist style, influenced by the analytical vision of the Cubists and the clear use of color by the Fauvists. His Parisian landscapes caught the attention of dealers and art lovers. Like his scenes from cafes and dance halls. Even before he came to Paris, Van Dongen had a kind of journalistic eye for situations and regularly published drawings in newspapers and magazines.
This visual talent is evident in his paintings of women. As in the canvas painted in 1902-1903 with many gray tones Woman fastens her petticoat. In it he convincingly depicted how she stands slightly bent with one leg on a low table while struggling to tie something behind her back. Five years later, he paints one woman after another: broad lines, strong colors, hard contours, big eyes and captivating poses.
Edge of kitsch
In the 1910s, after traveling to Spain and Morocco, he added decorative elements to his still rather wild style. Look, for example, at the colorful floral motifs on the naked woman’s cloak Tableau (1913) and on the Spanish woman’s dress up The finger to the cheek (1910), a masterpiece from the Boijmans Museum. There, Van Dongen balances gracefully on the edge of kitsch, because with the big eyes and folded fan, it briefly resembles one of the paintings you can score in any thrift store.
Van Dongen is now in his mid-thirties and a successful artist and wealthy individual. He has outgrown the shabby studios of Montmartre and lives in ever-improving Parisian neighborhoods. He organizes parties – masquerade balls, dances to jazz music – for his increasingly extensive circle of friends (including Mondrian). Not only artists come, but also bankers, directors, politicians and trendsetters such as the couturier Paul Poiret and the poet Countess Anna de Noailles. In photos of parties in his studio, his favorite paintings hang close together on the wall, like the huge, sliding one Spotted horse (1895-1907) and the boxer Jack Johnson (1914) full length nude with walking stick and top hat in hand.
Kees van Dongen might have entered the books as the Dutch avant-garde that dropped out of Cubism, but must be mentioned in the same breath as the other important artists of the early twentieth century. There was even a time when they talked about the big three: Picasso, Matisse, Van Dongen. But he chose his own path, somewhere between Picasso and Matisse, and without their relentless desire for innovation.
life size women
The extensive exhibition in the Singer Laren – 70 paintings as well as drawings, graphic work and ceramics – concludes with a room with his two most beautiful portraits of women: Anna de Noailles (1931) from the Stedelijk Museum and Madame Jasmey (1920) by the Center Pompidou, both life-size. By the end of the 1920s, the road to success was complete and Kees van Dongen was no longer an avant-garde painter, but the elegance and joie de vivre of these portraits is unmatched.
He will do many more of these kinds of paintings and it has not done his name any good in art circles (‘society painter’). That’s why nobody thinks of Kees van Dongen as one of the big three anymore. Often not even one of the great Dutch painters. He himself saw it differently: if Rembrandt had now lived in Paris, Van Dongen wrote in 1927, if he had seen the women and the cars, ‘he would have avoided his shadows, his half-light, he would not have noticed it. of the Bible.” Conclusion: Rembrandt would have painted like Van Dongen.
The portraits of Anna de Noailles and Jasmey look like glossy pictures from five meters, posing best with their jewelry and big eyes (he made them bigger than their mouths). If you stand right in front of the canvas, you see beautifully clean and rough painting. The countess’s pearl necklace, which she has wrapped around her black glove, is a close-up series of fat blobs of paint, her long dress consists of crude streaks of paint, and the couch is no more than a hasty suggestion at this distance. Jasmey’s red painted fingernails are like a dangerous wild claw up close.
Raw, wild, graceful and yet advantageously captured with a gentle gaze – no wonder that the beau monde queued up until Van Dongen’s death in 1968 for a wide-eyed portrait of Kees from Delfshaven.
See an overview of our visual art reviews
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MERANO Church of St. Nicholas
MERANO Church of St. Nicholas van Melanie Viola
Materiaal, afmeting en opties aanpassen.
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• MERANO Church of St. Nicholas van Melanie Viola thumbnail
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Werkcode: 246909
MERANO Church of St. Nicholas van Melanie Viola
Koop dit werk op canvas, aluminium, Xpozer, (ingelijste) fotoprint of behang, op maat geprint in Fine-Art kwaliteit.
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MERANO Church of St. Nicholas van Melanie Viola
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Merano is situated in lovely South Tyrol, surrounded by huge mountains. It is characterized by the mediterranean atmosphere, healthy air, and historic old town. The Tappeiner Trail is surrounded by sub tropical flora and offers impressive views of old town as well as fascinating views to the huge mountains. This is the Church of St. Nicholas which was first mentioned in 1220
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Tom Sachs Tom Sachs Tom Sachs
The Quarter Screw
"The Quarter Screw is capital (the quarter) fused to labor (the screwdriver) with (as always) capital at the head and labor getting the shaft. But that doesn’t change the fact that it is also a tool, an object designed - explicitly - for the manipulation of Phillips-head screws."
This screwdriver is a #2 Phillips-head bit (the most useful) welded to a U.S. quarter. An optional red leather string is included.
2 notes
1. eckooo reblogged this from secondhalf
2. secondhalf posted this
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Bram Levinson
Start Your Next Chapter Now Weekend Workshop Aug 11-12
For the vast majority of my career, I have worked on projects and endeavors on my own because I a) felt that what I wanted to convey was deeply personal and had to be expressed as my unique expression, and b) needed to feel a deep connection with whoever I collaborated with, because without it, I would lose connection to the inspiration that motivated me to share my offerings initially. I can count on one hand the people I have collaborated with over the past ten years, and it has been a while since the last time. I’m happy to announce that it will happen again in a few months!
Paros Musings 2017 Pt 2
I’ve always known there was something bigger than what I had been exposed to that was waiting for me, ever since I was young. It was because of that knowing that conventional education did very little for me and seemingly asked everything of me.
The Way Forward
I have been relatively quiet about the US elections over the past couple of years. I have chosen not to contribute to the vibrations of chaos this archaic system of “politics” has instigated. This morning I have no choice but to speak.
Loss Lessons
With the passings of some of modern culture’s most influential and prolific artists like David Bowie and Prince, I’ve had some students asking me what I believe is going on and how to deal with such immeasurable losses. I do my best to see the symbolic meaning behind literal events. I also spend a large […]
Of This, I Am Sure
Three and a half years ago I woke up from having a dream while visiting my extended family in England and immediately wrote down the its contents because I knew it was somehow necessary. I then wrote about it in the blog post Repairing My Cabin, but, in a nutshell, I felt that, through the dream, I had been called to India by a sadhu or guru there waiting for me (visit the post from 2013 to read the details of the dream).
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Skill Builder: 4 Useful Metal-Working Techniques
CNC & Machining Craft & Design Metalworking Workshop
This project was commissioned to me by a local wedding decorator. My goal was to create a lightweight, portable, wrought iron sign that was elegant and complemented the wedding theme.
Here are 4 methods used in this video. It may take some practice, but ultimately, the final product is worth it.
1. The Tiger Twist
2. The Halo
3. The Bird Cage
4. The Logo
I would have to say one of the most difficult things in this project was matching the font that is specific to the company’s logo.
If I was to change or do anything different I would experiment with some brighter, more vibrant colors as it is difficult to make out some of the finer details due to the lightweight materials.
Discuss this article with the rest of the community on our Discord server!
I have been designing and making custom decor, furniture, signs and other Iron/wood works for over 10 years. After many years of developing my skills in fabricating, metallurgy and many other mediums I became a Journeyman.
View more articles by Luc St Pierre
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DigiPen Europe-Bilbao’s art and animation faculty instructors are experienced artists, educators, and industry veterans who share from their knowledge and experience in the world of professional films, games, and more.
Department Faculty
Asier Azkarraga
Asier Azkarraga studied anthropology and animation in Spain. For 23 years, he has worked in the 2D and 3D film industry in four European countries (Spain, United Kingdom, France, and Germany), specializing as a director of animation and animator.
Azkarraga served as animator on a several animation productions, including features films (such as the 2005 film Gisaku), animated series, and TV spots for brands like Kellogg’s, Cola Cao, and the NBA, among others. Azkarraga teaches classes on 2D animation and projects, backgrounds, animal anatomy, and communication.
Carlos Varela
Carlos Varela received a BS in Computer Science from the Deusto University. In 1985, he worked on the very first animation feature film produced in the Basque Country. Since then, he has been devoted to animation in all formats: film, television, advertisements, video games, and web. Varela has worked for a number of leading entertainment media companies, including Warner, Universal, BBC, RAI, Globomedia, and others. He has also served as designer and director on animated TV series, directed four feature films, and served as assistant director on another four.
Varela has received two GOYA awards from the Spanish Film Academy and has been a finalist several other times. Recently, one of the feature films he worked on as creative designer and director won two awards at the Houston Film Festival — Best Animated Feature film and Best Applied Technological Innovation in Animation — for his use of Flash animation software in a theatrical film.
Varela’s expertise resides in character design and storyboarding, and he has also been an animation director and collaborated as a screenwriter. He has several years’ experience in teaching subjects related to animation and video game production.
Currently, Varela teaches animal biology, character design, storyboarding, layouts, and backgrounds at DigiPen Institute of Technology Europe-Bilbao. He is also the main instructor in the animation projects.
Christian Semczuk
Christian Semczuk has more than 20 years of experience working in the video game and film industries. He started out his career developing projects involving information architecture before leaping into video games, working at companies like Hammer Technologies and Dinamic Multimedia. With more than 12 titles published, he specialized in animation. He was involved in the film industry, where he took part in the highly-acclaimed film Las Aventuras de Tadeo Jones. He also had the chance to work in the simulation industry at Indra, where he created two strategic simulators for the European Community and another one for Civil Engineering (EMT).
Currently, he teaches courses in 3D animation (ANI300, ANI350, and ANI399) and portfolio building (ART450) and contributes to the creation of the students’ demo reels. He also co-teaches the junior and senior projects (PRJ350 and PRJ450). Enthusiastic and always striving to build rapport with his students, Semczuk follows a philosophy of “teaching to learn” from others.
Gorka Unanue
Gorka Unanue Lasala received his BS in Computer Science from the University of Deusto, Bilbao, where he worked as a teaching assistant of Photoshop and 3D Studio for two years. He then went on to receive a master’s degree in video game creation in Barcelona, where his team won the Artfutura 2009 Prize for Best Game.
Unanue has worked as a 3D modeler at Ubisoft Barcelona, where he helped create Wii and PC games, as well as at a number of serious game companies in the Basque Country. He currently serves as an art instructor at DigiPen Institute of Technology Europe-Bilbao, where he introduces students to the 3D art world and helps them build a solid foundation in the fine arts.
In addition to his career as 3D modeler and animator, Unanue is an enthusiast of animal biology and especially extinct species.
Javier Martín
Javier Martín studied fine arts and architecture in Spain. For 18 years, he has worked in the 2D animation industry in five European countries (Spain, Germany, Denmark, the United Kingdom, and France) specializing as feature film animator. Martín served as Animation Director on El Cid, as well as an animator on Asterix and the Vikings and The Illusionist. Currently, Martín teaches life drawing and human anatomy at DigiPen Institute of Technology Europe-Bilbao.
Jorge Fernandez
Music and Sound Director
Jorge Fernandez began his studies at the Universidad de Bellas Artes de La Plata, where he studied musical composition while performing with many diverse musical groups. His main focus was piano, and in 1978 he created the group “Busqueda” (with Tomy Loidi, Daniel Carrizo, Alfredo Muñoz, and Adrian Mercado), which went on to record original music with CBS Buenos Aires.
In 1984, Fernandez relocated to Marbella, Spain, where he began collaborating with such artists as Shirley Bassey, Elkin Martin, Bertin Osborne, and Starlight Orchestra. In 1988, Fernandez moved to England, where he produced original music for “Not Normal” with Adam Baker while also producing and creating many styles of contemporary music. In the 1990s, Fernandez worked on the Costa del Sol with many prominent artists, including George Duke, Kool & the Gang, and Illusion.
Currently, Fernandez is part of the duo Visage, which entertains in many hotels and clubs along the Costa del Sol. His main focus and passion this year is the preparation of new original material. Since 2007, Fernandez has been performing at the famous Hotel Puente Romano.
Mikel Rueda
Mikel Rueda received his bachelor’s in audiovisual communication studies from the UN University in 2002 and his master’s in filmmaking at the New York Film Academy in 2007.
Mikel has written and directed two feature films: Izarren argia (Estrellas que alcanzar), which was a finalist in the New Directors category at the San Sebastien International Film Festival in 2010, and A Escondidas, which received support from both the Ministry of Culture’s Screenplay Development and Project Development programs, as well as the European Commission’s MEDIA program. He is currently writing his third feature, El año que calló el muro.
Mikel has worked as a scriptwriter and director on a number of award-winning short films, including El Carrito, In the Laundry, Present Perfect, Cuando Corres, and Agua. He has also worked as an editor and scriptwriter for RNE, TVE, and EITB, where he served as the producer of “Vaya Semanita,” one of the most successful shows on Basque television.
Sergio Martínez
After receiving a BS in Computer Science and working as a software developer for several years, Sergio Martínez graduated with a focus in fine arts at the University of the Basque Country and completed his animation studies at the University of the West of England in Bristol, UK.
Martínez has a broad experience as a cartoonist and portrait artist and has previously taught drawing and painting at a fine arts academy in Bilbao. His specialties include audio-visuals and multimedia productions, Flash, and stop-motion animation.
In addition to winning awards, his personal work has been exhibited and screened in several festivals and exhibitions. In the UK he collaborated on the stop-motion animation Gulp by Aardman Studios, which entered in the Guinness Book of Records as “The World’s Largest Animation.” Back in Spain, he has worked on television in the Department of Motion Graphics at EiTB, Euskal Irrati Telebista and created puppet animations for advertising.
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Friday, July 19, 2019
One Hundred Days
Mobile Photography
One hundred days in the Hundred Acre Wood, or at least it felt like it. Because...
The rain, rain, rain
Came down, down, down
In rushing, rising riv'lets
'Til the river crept out of its bed...
The rain came down often in those one hundred days.
On April 2, I began #the100dayproject for the fourth time, determined to finish it for only the second time. Two other years where aborted attempts. What is the #the100dayproject? It is committing to 100 days of daily creating. You get to choose what you want to create.
Collage, watercolor, and acrylic paint
I set one and only one constraint for myself I was going to do all my creating on 5" X 7" pieces of art paper that I would binder together into a journal at the end of the 100 days. This lasted until Day 22. We were on vacation for the week. I was fully prepared with plenty of blank 5" X 7" pages to create on. But once surrounded by the beauty of the north country, I was inspired to reconnect with my love of mobile photography and the amazing editing/creating apps that I had at my fingertips.
Mobile Photography
At first I thought; "Oh, I will just print those out in 5 X 7 size and I can still add them into the journal." This lasted until Day 50, when I much preferred the square crop of my photograph to the vertical 5 X 7 shape, and that was the end of the #5X7artjournalpage 100 day project.
Mobile Photography
I could have quit there. I had made it half way, which is further than I have gone the last three years. But I was also half way through, I couldn't give up, it would feel like I was abandoning all the work I had done already. Plus, it was about darn time that I finished something! So, I readjusted my focus and renamed my project - #100daysoffreedomtolearn. This renaming opened up a whole new world of possibilities for me, I was excited about the project again.
Mobile Photography - iColorama
It was around this time that I was also reading the book Refuse to Choose. This book opened my eyes to the fact that I am probably a Cyclical Scanner. What is a Cyclical Scanner you ask. Here is the book's definition:
"If I ask you what your interests are and you have no trouble doing it, you're probably a Cyclical Scanner. You know all the things you love to do most. Your list may have only a few items on it, or it may have 20, but it isn't endless. You know what you love, and you usually return to each activity over and over again."
There are three subcategories of Cyclical Scanners - the Double Agent, the Sybil, and the Plate Spinner.
I am a Sybil. "If you're a typical Sybil, you're usually surrounded by lots of "creative clutter." Sybil types can't always find their materials, because they have so many projects going on at the same time they can't keep track of them. All the same, most Sybil Scanner have very little tolerance for chaos and have bursts of organizing energy they find very satisfying. But order never lasts for long because when the creative urge comes, there is no patience for putting things away."
That's me in a nutshell.
My list of things I love:
• Film making
• Being outside
• Hands-on art
The hands-on art is still all over the place. I love art supplies, and trying new things, but haven't quite settled on what "the" thing is yet. My other subjects are more clear yet there are still a million different paths to explore within them.
Pastel Painting
The big takeaway that I got from the book is that no matter what type of Scanner you are, you need to occasionally finish projects to feel productive, and joy-filled. So I set about finishing the 100 day project, to have that feeling of accomplishment and not failure. Also, since the beginning of June, I have been giving myself the freedom to explore whatever I want each week, but the goal is at the end of the week I have one finished project. A sense of accomplishment and something tangible from the week of exploration. It feels good to finish.
Mobile Photography
So I made it through the one hundred days, explored many paths within the hundred acre wood, and I have to say I came out into the daylight stronger because of it.
Sunday, July 7, 2019
Window Reflecting
The joy is coming back. Each time I load my backpack with a camera and a couple lens. Each time I arrive at a destination and haul my tripod out of the car. Each time I cross another item off the Summer Photography Scavenger List. Each time I complete another lesson in the book Shooting with Soul. Each time I come home with at least a couple photographs I want to print, frame and hang. I feel happy.
The dry spell lasted way too long. September until May only a handful of photos taken with my dslr. Hopefully that never happens again.
The latest lesson I completed in Shooting with Soul was: Exercise 27: Window Shopping
My husband had to go up north for a couple days for a conference and it worked for me to go along. I made arrangements with our daughter to stay at our house to take care of Atticus. She told me long before I got Atticus that she would be happy to watch him when we went away. I was cashing in on that promise.
I had one full day of wandering and shooting to myself. I prayed for no rain, but packed the umbrella just in case. The town we were staying near had the cutest shops, so it was the perfect place to complete the Window Shopping lesson.
I am not much of a shopper, but I do love windows, reflections, and wandering
I arrived in town a good hour before the shops opened. I wanted shots of the windows, not a bunch of summertime people. The objective was to find windows with interesting stories about their products, their audience, their location, or the season. Notice how the elements inside the windows, as well as those reflected on them, can be incorporated into your photos to create compelling images.
You could choose to include your reflection into the composition or not. Needless to say, I LOVE self-portrait window reflections.
Sunday, June 30, 2019
June has seen record rainfall amounts. Last Sunday was the first time we have turned on our air-conditioning all season. I was still wearing my winter coat in May. Needless to say, it has been a very cold, wet spring here in Michigan. It is no wonder my mojo for photography has been almost non-existent.
One morning, after taking the puppy for a walk in the rain -- in Michigan you need really good rain gear -- I dried him off the best I could and stuck him in his crate. I had had enough. I packed my golf umbrella, bought when my husband and I photographed covered bridges a couple of years ago, we never needed it then. I also made sure I had a regular size umbrella. I had two in the car. I wasn't sure how windy it would be where I was going. In a strong wind, the golf umbrella could have turned me into Mary Poppins real quick.
I drove to a place where I knew the landscape would be lush and magical due to the overcast skies and light rain. Also with the rain, I knew it wouldn't be busy. I was also hopeful to cross a couple things off the list for the Summer Photography Scavenger Hunt. This place had a ladder, or more accurately a fire escape, but hey, close enough. Also I adore old historical buildings, and if anything was going to get me back in the mood to photograph it would be this place.
Felt Mansion, built 1925-1928 by Dorr Felt for his wife Agnes. You can read more of the history here if you are interested. The saddest part to me is that six weeks after they settled in the house in the summer of 1928, Agnes passed away, and Dorr only lived a year and a half after that. What a love story. If you are ever in West Michigan I would highly recommend a visit. Come on a day when you can tour the inside as well.
It has been a while since my last visit. I don't remember these lights. There are also two permanently erected event tents now as well. The estate is a very popular wedding venue in the summer.
The rain had mostly let up by this time, so I started down the meandering path to the carriage house. This place has some great windows, both the house and the carriage house. I seem to be drawn to window reflections this summer. Well, really all the time, but it has intensified this summer, probably due to all the gray, overcast days.
Just past the carriage house, I noticed a new sign pointing to a trail I had not explored before. It was interesting, as I started down that unexplored trail I felt the weight of these past months of bad weather, puppy training, and lack of photography inspiration lift off of me. I felt light, happy and filled with curiosity. As I rounded a bend in the trail, I saw this shed and knew it was the light that had pulled me down that path.
Sometimes when you feel the least inspired is when you have to be brave, put on your rain boots, grab an umbrella or two, and go on an adventure. You never know what could be waiting for you.
Sunday, June 23, 2019
Looking for a Message
I was never one of those soccer moms sitting around the coffee shop on a Wednesday morning with a group of other moms, all of us in running shorts and ponytails. Talking about how overbooked our kids are for the summer. Instead, I use to be a lone photographer/writer who sat at a table nearby soaking up their conversation like a sponge.
On this day, I may be sitting at a table nearby, but I am only half interested in their conversation. I am busy reviewing the images I have taken so far for the morning with my camera.
For my outing this week - Exercise No. 26 from the book Shooting with Soul - A Message from the Universe. I am searching for a message from someone, anyone.
• Photographing messages from the universe is a simple and soulful process. First and foremost, you need to slow down enough to notice what the universe has to offer you.
The universe is saying it is raining, go sit in the coffee shop and have a snack. Forced slow down.
• Once something catches your eye and touches your heart, pay attention to how the light looks in that environment. Make sure that the message is clear and not obscured by shadows or glare.
No worries there since it is gray and overcast, not a chance of a shadow or a glare.
• Eliminate any clutter from the frame that might interfere with the main interest of your shot and focal point -- then shoot away.
I don't like cluttery frames, so I will be good there.
On the practical side, this should be an easy exercise. I love words. I love typography. But I don't put a lot of stock in messages from the universe. But yet, I do believe that nothing happens "out of the blue". Maybe that is my way of being comfortable with messages from the universe.
Insight from this lesson
I loved doing this lesson, compared to the first one, while I was doing it. But I find in my contentment with the lesson it is harder to shape fresh insights about photography and about myself. Apparently, I need frustration and angst to write a good story.
Sunday, June 16, 2019
A Walk in the Park
It was a risk. Going some place I have only been to once before. The mission - to evaluate emotions surrounding photography. Turns out unfamiliarity and lack of emotional attachment were essential to an honest evaluation.
A friend and I are working through some exercises in the book Shooting with Soul. We are both in need of a photographic kick-in-the-butt. She had recently purchased the slightly used book. I had the book on my photography bookshelf, the tassel of a bookmark protruding from a third of the way through. These kinds of exercises are better when done together.
Since it is Summer in both Michigan and Maine, we wanted to take advantage of the season. We started at Chapter 4 - Wanderings: Taking the Scenic Route.
The first exercise we are doing is No. 25 - A Walk in Nature.
It has been a while since I have taken my DSLR on a walk. There was some relearning to do. How do I change the Drive again? Oh yah, that button on top that says Drive. Since doing my Meadow Project the last two summers I prefer to use my tripod for nature shots. No, I don't enjoy carrying it, but I know I am a better photographer when I use it. I slow down. Something that is terribly hard for me.
For this walk in nature, I was suppose to photograph with a meditative state of mind. I will be honest. I will probably never get to that state of mind. I can't even get there in Restorative Yoga when I am lying on my back, eyes closed, listening to atomspheric cello music, covered by a cozy blanket. Within me lies a slight skeptical edge towards everything.
"Notice the harmony in all the shapes, colors, and textures and how the sun shines through the trees. Let your intuition guide you. Notice your emotions as you go and think about how you might want to express those feelings in your photos."
I was thinking about what to make for supper.
My personality type is more post-event reflective. I see the potential in my photographs when I process them. That is when the story that lies within them is revealed.
If you had asked me that morning in the park - I would have said I hate photography. The bugs, the mud, carrying the tripod, nothing inspiring to photograph. Now, as I sit at the computer processing these images, listening to atmospheric cello music, and writing this story - I will say I love photography.
For those participating in the Summer Photography Scavenger Hunt, please remember to tag your photos #sharewhereyoulive2019 both on Instagram and on Facebook. You can follow the hashtag on IG and I can locate your photos on FB via the hashtag. I want to see what you all are doing. Plus I love to post your photos from the week on my Facebook Page - Twisted Road Studio
Sunday, June 9, 2019
En Plein Air
Last weekend my daughter and I attended an En Plein Air workshop. To be specific an Outdoor Pastel Bootcamp at our local botanic park. Five hours of drawing with chalk pastels.
I signed us up for the workshop back in February after the great success of our two hour acrylic workshop held by our County Park system. I was so excited to continue to try new mediums. Two hours of acrylic painting had passed in a flash, so I figured five hours would be a comfortable, enjoyable amount.
But now it was the beginning of June, the Farmers Market was happening, the weekly Chef Series was happening. I was missing all of that to go sit on a little blue stool for five hours. And I am not a sit still kind of gal. Plus I have only used pastels in my art journal and mixed media pieces as little color accents, not drawing a whole landscape scene with them. My drawing skills are still on the Kindergarten level.
Still I had signed us up and paid the money, we were going to go. There is nothing like plunking down some cash to motivate the hesitant.
Until a couple of years ago, I had never even heard of plein air painting. But doing some research, I discovered it became popular in the the mid-1800's when artists became inspired to paint outdoor scenes in natural light instead of in the studio recalling from memory and charcoal sketches. The invention of paint in tubes and the box easel also contributed to the popularity.
We began the workshop with some instruction in the classroom. Perfect. A table and a chair with a back. That lasted for a half hour or so. Then it was time to gather our blue folding stools, our drawing boards, paper and box of pastels and set off outside.
We set up in the Japanese Garden, my favorite, after the Michigan Farm Garden. If I had to sit here for four hours at least the view was mesmerizing. Our instructor gave us a demonstration of sketching and drawing a scene with the pastels, so we would have some clue as to what we were doing. That blissfully took up another twenty minutes or so. Then it was time for us to start. I positioned my stool so I was looking directly at the bridge, arranged my supplies, secured my paper, whipped out my iPhone to take some "sketches", discovered the grid app to lay over photos in the App store, applied the grid to my favorite "sketch". I was ready to begin.
My daughter, meanwhile, had taken her stool and moved as far away as possible from me, knowing I would be a pain in the arse, talking all the time instead of taking the drawing seriously.
I had just gotten the lid of my box of pastels when I felt the first rain drops. The instructor quickly came around and reassured us that the light shower would be over shortly. We could get our umbrellas out, or move our supplies to the covered area by the tea house. I quickly carried my supplies over to the covered area. The rain didn't lessen. We decided to take our scheduled break a little early and go to the cafe for lunch.
While in the glass windowed cafe, it was clear the rain wasn't going to go away. The classroom assistant had had the foresight to gather everybody's supplies and transport them back to the indoor classroom.
Back to that lovely table and chair with a back. I had my "sketches". I was ready to work. And there were only 2-1/2 hours left to endure. My poor daughter though was stuck with me again.
Artwork: Mallory Huizenga
I had to endure my own hardship with my daughter, that being that she is very talented, and makes others wonder where she gets her talent from - certainly not her mother. Some of us are just more naturally gifted than others.
Artwork: Sarah Huizenga
Truthfully though, I had a great time, and learned a lot, including some patience. While my creation was no masterpiece, it wasn't half bad, thanks to the instructor's help. What I really enjoyed about pastels and what may encourage me to continue on, is that they felt like abstract drawing with color. I liked using my hands and fingers instead of a paint brush. Having handy wet and dry paper towels nearby, or a classroom sink are the perfect way to limit the messy feeling.
I have been working on another piece at home. Carving out a half hour between breakfast and our morning walk to work on art. This is the result of four mornings of work. I worked on this in thirds, starting at the top, with each third I grew more confident in my ability. I am going to call this one done. I could keep worrying it to death, but I think it would be better to take my growing confidence and move on to a new piece. Thank you to Carola Bartz for the original inspirational photograph. I had initially planned to use the photograph for a watercolor paining, but that only got half finished. This is complete. It feels really good to finish!
Sunday, June 2, 2019
Share Where You Live Scavenger Hunt
What place do you know the best? Your home town right? Or you should at least, you live there. But when was the last time you got in the car and went for a simple drive? Just an hour or two driving around to all your favorite haunts. Or even better yet, parking the car and walking the main street of your town and venturing off into a neighborhood or two. It is more likely one day when you are driving from work to a doctor appt. you see a new building and think, "when did they put that up?" Surprise, it has been there for two years already.
Too many of us sit inside the safety of our four walls and never even explore our own yard, let alone our neighborhood. Do you know the name of your neighbors three houses each way of yours? I don't.
I know the usual excuses. They are mine too... I'm busy. I'm tired. My _______ hurts?
The beginning of May was the first time I used my big camera since January. How did that happen? Didn't I just do a 365 day photography project last year? Yes I did! My excuse. I have been busy. I have been training a puppy almost non-stop since December. Trying to make sure I don't fail with this dog where I failed with previous dogs. No pulling on the leash when we walk, loving to ride in the car, not being anxious when we go new places. But I think it is time for him to see the inside of his crate a bit more, and I need to get out with my camera again. I have a feeling he might grow up to be an even better dog without my training him every second. He might actually have a chance to miss me, and they say absence makes the heart grow fonder.
In that spirit, I am going to do a Summer Photography Scavenger Hunt. I love summer projects and this one seems to be calling me this year. Random enough that I am not stuck in one technique or subject, but with a real opportunity for growth in my skills while having fun at the same time. I am also hopeful it will give me some material for blog posts because training your dog all the time really limits what you can write about.
I am also hopeful to meet some new people and strengthen my small talk skills while getting to know the people in my town, or the people that are visiting my town. I might even learn my neighbors' names in the process.
I want to contribute something to the world, and the only way to do that is to get out in it.
I am including the Scavenger Hunt I will be using this summer. I would love for you to join me. Take a picture with your phone, your big camera, just take a mental photo, whatever works for you. But also share it - if you use to write a blog - revive it - show and tell us about where you live. If you love Instagram share it there, or if Facebook is your thing share it there. I think the sharing is important. I know I am curious about you and where you live and others probably are too. You never know what connections can be made through the simple act of sharing.
It is worth noting, when you are out hunting, how the experience makes you feel. Do you feel excited, joyful, anxious? It might even be good to keep a small notebook with you so you can jot down some thoughts. I have mine tucked into my bag.
My plan is to start today, Sunday, June 2, and finish on Labor Day, September 2. I don't know about you, but, I work better with a deadline.
Instagram Hashtag will be #sharewhereyoulive2019
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393b3c31-1f96-4403-a0c3-61cfa931b8ff
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• Inducted in 1978
• Born August 18, 1880
• Died November 9, 1964
Thomas M. Cleland
Thomas Maitland Cleland was among the first practitioners of the new profession of art directing. A complete art director, he was a well-developed artist, typographer, editor and printer who designed whole pages and whole booklets. His advertisements and marketing booklets for Locomobile and Cadillac automobiles are typical of his elegant and enduring work.
While those less specialized times required great versatility of every art director, Cleland was unusual among them. His personal papers are replete with correspondence and articles that picture him as a painstaking designer, artist and craftsman, whose knowledge of his several disciplines was encyclopedic.
Born in Brooklyn in 1880, Thomas Cleland set his career course at the age of fifteen when he enrolled in a course in applied ornament at The Artist-Artisan Institute of New York. While still a young man, he “owned and operated three different picayune printing plants, all of them notable as exceptionally unprofitable enterprises.” However, he credited these experiences with teaching him his expert knowledge of the printing trades.
One of Cleland’s talents was type designing. He created Della Robbia, still in common use, in 1903. He designed ATF Garamond with M.F. Benton in 1917. A superb illustrator as well, Cleland expended extraordinary effort in pursuit of perfection, once spending six years to design and illustrate one book.
In 1907-08, as the art director of McClure’s Magazine, Cleland completely redesigned the periodical. Later, he was retained byFortune Magazine to design the magazine and to act as its art director. The cover of Fortune’s first issue, February 1930, is still cited as a masterpiece of classical design. In 1937, Cleland planned a new typographic style for Newsweek and later designed the newspaper PM, probably the first time a complete newspaper was ever truly designed.
Cleland was not easy to work with. His knowledge of the printing and typography trades enabled him to give detailed instruction to printers on how to do their jobs, and his insistence on perfection made meeting deadlines an uncertain task. Publisher George Macy wrote to Cleland in 1942, “The history books will, of course, refer to you as a sensitive and conscientious artist, and those adjectives will look wonderful after you and I have departed this earth. But just think how much simpler your life would be, not only your life in the past, but your life in the future, if you were a trifle less sensitive and a trifle less conscientious.”
From the beginning, Cleland’s work was recognized for its excellence and precision, and he received many honors both formal and informal. The American Institute of Graphic Arts, The Art Directors Club and the Harvard Business School, among others, recognized his work, and his design of PM earned him the Ayer Award.
And he was a writer of no mean talent. His critical comments about trends, which he saw as diminishing his craft, were made less biting by his wit and self-deprecating good humor.
Cleland’s attitude toward art and technology might make him an expensive anomaly in today’s world of business art, but his contributions to the art direction of his time were unsurpassed and will remain as a tribute to a consummate and complete art director.
Please note: Content of biography is presented here as it was published in 1978.
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New 'Geometric Eye' Sculpture an Academic Collaboration
In celebration of the arts, the 'Geometric Eye,' public art in the form of sculpture was recently installed in Westhaver Park, outside of the Curry College Student Center. 'Geometric Eye' is a stainless steel and granite sculpture designed to reflect light, and may look different each time a viewer looks at it.
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a538b22f-b4e5-45d8-aac4-b228aa39c746
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Readers may be aware of the recent media attention the ‘Z Ward’ building at Glenside Hospital has received. The sale of the complex to Beach Energy has caused curiosity about its future – particularly in regards to how its historical significance will be preserved.Z-ward plans
In response to the public interest State Records released a range of plans of the building on its Flickr page. The plans were drawn by W. Pett and Son Contractors and signed off by the Commissioner for Public Works in 1884. Of interest, W. Pett and Son are the same contractors which drew up the plans for Adelaide Arcade, and others.
On first glance, the plans of the once-called ‘L Ward’ appear innocent, beautiful and inviting. The watercolours have that tendency to draw you in. You notice that the architect of the envisioned building has produced an awe-inspiring level of detail in the way of carefully sketched bricks, girders and frames.
It is easy to forget the afflicted history of the building at this point.
Looking more closely, it is easy to notice the features of the building which allowed for strict control over the patients in the ward. A ha-ha wall measuring 16 feet high from inside the grounds. Cement walls. The iron bars of the wicket gate. Cells no bigger than a modern-day bedroom which held multiple inmates.
Wider reading of the reports of the conditions and events which took place complete the picture. This was not the restful palace to which one would wish to be confined. James Black wrote to the Daily Herald (17/08/1918) about how ‘ashamed’ the South Australian public would be to see the conditions under which inmates lived. In 1933, Richard Blight mysteriously died from a small wound in his chest while being held in a cell. The death of Blight remains a mystery today.
The plans of the Z Ward provide a clear picture of what many members of the public hope will be retained when Beach Energy utilises the site.
Copies of the plans of the Z Ward are available for viewing on our Flickr page.
The original plans may be found in the following series:Parkside Lunatic Asylum poster
• GRG38/64 Plans of government buildings - Colonial Architect's Department and successors.
Further records on the construction work of the Z Ward may be found in the following series:
• GRS/4418 Specifications and contracts, numerical series - Engineer and Architect's Department and successors.
Further information on the night tours at the Z Ward may be found on the Heritage Watch website.
First published in March 2015
Note on the author: A recent convert to the wonderful world of bicycles, Adam the Archivist also has a personal interest in the practical power of archival records and information to enhance the lives of citizens. You will find Adam working with senior school students on their Research Projects during 2015, facilitating their learning and development through tours and workshops.
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Updated 7.4.2022
University campus at Černá Louka
Finished project
University of Ostrava complex will create new facilities for a sports and behavioural health centre and a new building for the Faculty of Fine Arts and Music
The University of Ostrava is building a new multifunctional campus at the Černá Louka (Black Meadow) site, next to the Antonín Dvořák Theatre. The new campus will serve not only students, but also the general public. The City of Ostrava has made a generous contribution to support the new campus, and it is also implementing its own projects as part of the development. When complete, the campus will completely revitalize the Černá Louka quarter, transforming it into an attractive destination which will represent a major boost to the city centre as a whole. This ambitious project represents a milestone in the development of both the university and the city.
Construction work at the future campus is continuing, with a consortium of two companies (the Ostrava branch of IMOS Brno and the Třinec-based building contractor Beskydské stavební) having won the tender.
The City of Ostrava donated land worth around 42 million CZK to the University of Ostrava as the site of the campus, which is in a highly lucrative and attractive city centre location. The City will also pay for the construction of an underground parking garage with 155 spaces, which will be used not only by the University, but also by the general public. The garage will be located under the building of the University’s sports and behavioural health centre. The City has also provided pre-financing for the project documentation and other related costs.
Another contribution by the City has been the relocation of the Černá Louka tram terminus and the Miniuni tourist attraction. Demolition work at the former terminus (behind the Antonín Dvořák Theatre) was completed in January 2020; trams will now terminate at the Hranečník terminus or the tram depot in Přívoz for a temporary period until a new city centre terminus is built near the Silesian Ostrava castle (project documentation is currently being compiled). The nearby “Výstaviště” tram stop will remain in use in both directions.
Miniuni (a popular family tourist attraction featuring miniature outdoor replicas of some of the world’s most iconic buildings) will be relocated to a site near the Silesian Ostrava castle. The new site offers space for 15 of the original 30 replicas, which will undergo a complete restoration before being installed in their new home; a further 5 replicas will be added at a later date. The relocated Miniuni will also feature a restorers’ workshop, new seating areas and other visitor facilities.
The City is currently planning wide-ranging changes in the transport infrastructure serving this part of the city centre. The goal is to create efficient connections between important institutions in the area, enabling the remaining vacant sites to be built up while also continuing to implement significant improvements to the quality of public spaces. Major changes await the transport corridor running along the left bank of the Ostravice River, which will separate the new university campus from the waterfront. An architectural study has been commissioned by the City of Ostrava, and documentation is currently being drawn up for the necessary land use decision. The alterations will include traffic calming measures and the creation of zones for cyclists and pedestrians. The new route will no longer act as a physical barrier between the sports, recreation and cultural complex at the University campus and the waterfront – instead it will create a natural point of connection between these two zones, generating new opportunities for people to enjoy the beauty of the riverside area.
Video from the construction process (source: Beskydská stavební, a.s.)
… previous information on the project
• Art and design cluster plus a new building for sport, health and technology
A project for the cluster and the proposed new building has been compiled and was submitted to the Ministry of Education in June 2019. The project will be funded via EU programmes, which have provided the University with more than 1 billion CZK from the Operational Programme Research, Development and Education (specifically the call channelling funds to structurally disadvantaged regions in order to assist their further development). The funding requires just 5% of the total project costs to be paid from the applicant’s own resources.
• University of Ostrava approaches major architects from the region
As part of the project to create a new university sports centre, the University of Ostrava’s Department of Architecture contacted its sister institution the VŠB-Technical University, which has close links to the architect Roman Kuba from the Simona studio. For the exterior of the new art and design cluster building at the Faculty of Fine Arts and Music, the University contacted the renowned Kopřivnice-based architect Kamil Mrva – who is also closely associated with the region, being especially well-known for his buildings in the Beskydy mountains. The plans for the major new sports centre are being coordinated by the Department of Human Movement Studies at the Faculty of Education; the Department will be based at the centre. All the facilities to be built at the new complex will be fully open for the general public to use.
• Top-class modern facilities will help boost University’s prestige
The University of Ostrava’s new sport, health and technology complex will provide premises for the Department of Human Movement Studies. It will also include an indoor sports hall. Modern facilities built to an excellent standard play an important role in attracting talented young sports stars who have the potential to strengthen the region’s reputation as a hotbed of sport – as well as stemming the flow of young people away from the region. The outdoor parts of the complex will also be able to serve as venues for various cultural and community events.
The new building for the art and design cluster will incorporate facilities for the music section and the design section of the University’s Faculty of Fine Arts and Music; their current facilities are entirely unsuitable for purpose. The project will create a new digital technology and design centre, a multimedia teaching suite, over 40 specialist teaching and rehearsal rooms, facilities for the opera studio, an auditorium for concerts, audio production and post-production equipment, and a specialist lab and teaching studio for music therapy. The building will also provide premises for the University’s DesignLab (exhibition spaces for international events) and its MusicLab (a chamber music venue that will likewise cater for an international public).
The construction of these two new university buildings is one of the largest investments of its type in the history of Czech higher education. The project will be financed from EU funding via the Operational Programme Research, Development and Education, which was launched in 2017 by the Czech Education Ministry. The Ministry has invested 720 million CZK, and the City of Ostrava is contributing over 156 million CZK. The Moravian-Silesian Region has contributed 14 million CZK for the preparation of project documentation, and the University of Ostrava itself has invested 4 million CZK.
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create a powerpoint
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Connaught Place
A visit to the Connaught Place market in central delhi- a relic of the colonial era
The Britishers were a bunch of aristocrats who liked to splurge resources of the Golden Bird in an extravagant form. The luxurious shopping complex known as Connaught Place is one such example.
A photo walk was planned to visit Connaught Place. Few of my friends accompanied me for it, and the basic aim was to understand the importance of this historic market and its relevance to this date. On the day of the photo walk we all rendezvoused at Rajiv Chowk metro station for a pleasant evening that followed.
Our group ready to rediscover Connaught Place
On reaching the surface from underground station you have some part of the arcade in front of you. With its tall white pillars and circular buildings the feeling of aristocracy surrounds you as you take a step in one of the most expensive markets in the world.
There is no place quite like CP anywhere in the world for its combination of sheer architectural splendour and an increasingly egalitarian shopping experience.
The Connaught Place is one of the major highlights of New Delhi, conceived and built by the British architects Edwin Lutyens and Herbert Baker.
A splendid side view of the white colonnades
A glance of the market
Connaught Place, named after the Duke of Connaught after he visited Delhi in 1921, is a 1,100-foot diameter circus “with pure white colonnades, palladian archways, rounded pillars and symmetrical two-storeyed buildings”, in the words of veteran architect-town planner A.K. Jain in his 2010 book ‘Lutyens’ Delhi’. Modelled after the Royal Crescent of Bath, with its imposing Georgian architecture, Connaught Place is a shopping arcade built as two concentric circles.
A column depicting Georgian architecture beautifully lit up
The Indian flag proudly fluttering in the central park of the arcade
Noted conservation architect and town planner, AGK Menon told PTI that the place maybe a market, but it is also an “iconic city landmark” and in many ways linked with the history of New Delhi. After the British capital was shifted here from Calcutta in 1911, the building was designed by Robert Tor Russell, who also built the Parliament House. It was completed in 1933.
Connaught Place, Inner Circle and Middle Circle is also home to several old famous restaurants, and old film theatres. Plaza and Odeon are located on radial roads, while Regal and Rivoli are on the Outer Circle.
The famous Plaza film theatre
Wengers the famous Swiss bakery since 1926
The Embassy Restaurant which was established an year after independence, in 1948
The Statesman house in the backdrop which is located in the outer circle of CP
The recent decision by the NDMC to make CP a car free zone is a welcome news from the heritage perspective as people would now be able to admire the architectural grandeur of this iconic building complex, which is obscured by huge number of cars and vehicles on a daily basis.
This walk enabled us to look into the architectural beauty of the 20th century modern India and the wonderful culture and heritage imbibed in the shopping arcad
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Marsh Awards 2018
On Wednesday 14 November the eighth annual Marsh Awards for Excellence in Gallery Education celebrated the hard work and dedication of colleagues working within the sector of gallery, museum and visual arts education. The Awards are funded by the Marsh Christian Trust and run by Engage, the support and advocacy organisation for gallery education, whose mission is to increase access to the visual arts.
This year six individuals received awards, presented by Professor Rod Bugg, Ambassador for the Marsh Christian Trust and former chair of Engage, during the annual Engage Conference in Manchester
This is the eighth year that Engage has celebrated the achievements of colleagues through the Marsh Awards for Excellence in Gallery Education. There was a very high quality of nominations for individuals from the UK and internationally, at all stages of their careers, freelancers, employees and volunteers. We are delighted to work with the Marsh Christian Trust to mark the vital work of colleagues in visual arts education.
This year’s recipients are: Taneesha Ahmed, Bethany Mitchell, Marco Peri, Hannah Pillai, Grace Todd and Jude Wood
Image (left to right): Marco Peri, Jude Wood, Grace Todd, Hannah Pillai, Bethany Mitchell, Taneesha Ahmed. Photo: David Lindsay.
Taneesha Ahmed, Participation Producer, The Tetley, Leeds
With ten years’ experience working in the arts across the UK, Taneesha joined the Tetley in early 2018. Previously Education Officer at the Grundy Art Gallery in Blackpool, she was solely responsible for all education and outreach work with children, families, schools and adults with protected characteristics. Her accomplishments there included the coordination of a place-based curriculum programme for schools, Writing with Light, which saw 237 Key Stage 2 pupils visit the gallery and the installation of the venue’s biggest ever schools’ exhibition of artwork by 300 pupils. Since joining the Tetley Taneesha has developed a new project with Karachi Biennale to make a collaborative film with schools in Leeds and Pakistan, collectively imagining libraries of the future. The project culminated in a celebration and showcase of the children’s work, opened by the Biennale’s curator in September 2018.
In nominating Taneesha, Bryony Bond, Artistic Director at the Tetley highlighted her creativity, sensitivity and commitment:
Taneesha has made a major impact in making our programming more inclusive. For example, we offer a free programme of training for emerging artists in how to deliver workshops. Previously the uptake has been graduating art students, but this year Taneesha worked incredibly hard to recruit the most diverse group we’ve ever had, engaging practitioners from less formal backgrounds. Her dedication doesn’t stop at recruitment—she continues to support these trainee educators with pastoral and professional guidance well beyond her official remit.
Taneesha intends to use her Award towards a place on Engage’s Extend Leadership Programme, and to help her to further research disparity within the arts sector and how she might create a longitudinal positive impact.
Bethany Mitchell, Curator of Inclusion, MK Gallery
Bethany’s career in participation began nine years ago and has seen her work extensively in artist facilitator and programming roles contributing to the development of learning programmes at Firstsite, Kettle’s Yard, Turner Contemporary, Modern Art Oxford and most recently MK Gallery. A focus on forward-thinking programming, democratic approaches and inclusivity, driven by play-based inquiry and people-centred facilitation thread through all she does. Her most notable achievements at MK Gallery include Green Town Group, a project exploring the green spaces of Milton Keynes; Start the Art: Out & About, an offsite early years programme to support the integration of a new community, and Family-in-Residence, MK Gallery’s unique invitation to family groups to collaborate with artists to engage their communities. Most recently Bethany has successfully launched Art & Us, a new weekly programme of family sessions for children with complex needs.
Bethany was nominated by Victoria Mayes, Head of Learning at MK Gallery.
Bethany’s innovative thinking majorly influences the programme as a whole. Her authenticity of engagement and ability to bridge all kinds of social gaps between artists and audiences means she is a highly regarded member of the team.
Victoria included a quote from a parent who is taking part in Bethany’s Art & Us programme:
These sessions are making a massive positive influence in both X and X’s life, they live for Sunday and their art club. I just wanted to let you know so you can see what a difference you are making to SEN children’s lives, self-worth and confidence.
Bethany would like to use her Award to undertake a research trip to Sweden, to visit the Reggio Emilia Institutet in Stockholm, and the Byggleskplatsen ‘Building Playgroud’ in Biskopsgården.
would like to use her Award to undertake a research trip to Sweden, to visit the Reggio Emilia Institutet in Stockholm, and the Byggleskplatsen ‘Building Playgroud’ in Biskopsgården.
Marco Peri, Freelance Art Museum Educator & Researcher, Cagliari, Italy
An art historian, museum educator and researcher, Marco works with museum projects that aim to create a more effective connection between the public and contemporary art. He designs educational formats including ‘per_formative’ guided tours, museum experiences and workshops that encourage the active participation of the public through the involvement of emotional and imaginative resources. Marco’s work, in constant update and research, focuses on the experimentation of interdisciplinary activities, between art and education. He designs and develops educational paths for museums and advanced training courses for art professionals and teachers. Marco regularly collaborates with museums, festivals, institutions and associations to create and develop cultural programs and innovative teaching techniques.
Marco was nominated by a number of colleagues, including Valerio Rocco Orlando, an artist who emphasised Marco’s authentic dedication and ability to engage participants:
His role as a freelancer gave him the opportunity to question art institutions from a different perspective. I believe this approach can be inspiring not only for the audience and the educators but also for the artists and the curators.
Alexis Sornin, Head of Education at the Punta della Dogana, Palazzo Grassi in Venice also underlined Marco’s dedication and capacity “to engage with a large and varied group of museum professionals and by his passion to mediate art to the public.”
Marco intends to use his Award to study museum education in the U.K., with a particular focus on accessibility and inclusivity issues.
Hannah Pillai, Learning and Outreach Assistant, Attenborough Arts Centre
A practising artist, educator and producer, Hannah’s journey through gallery education started at the age of 17, when she joined Leicester City Gallery’s youth panel, facilitating children’s workshops and working on festivals across the city. She went on to run workshops at Manchester Museum whilst at university, and after graduation worked on Journeys Festival International with the Leicester-based company ArtReach. This experience led her to co-found the participatory research project ‘Untitled Play’, which invited young artists to become co-producers and ‘take over’ a space, creating evolving and interactive installations. It was through this work that she was invited by Engage to present at the InSea Regional Conference in Vienna in 2016. Since then Hannah has collaboratively developed ARTonomy Projects, a series of innovative and playful art workshops aimed at empowering children to become autonomous artists. Hannah is also part of the learning team at Attenborough Arts Centre, coordinating school visits to the gallery and the Young Ambassador programme
Hannah was nominated by Louise Kay, Inclusive Youth Arts Coordinator at Attenborough Arts Centre.
Hannah has single-handedly developed our first Young Ambassador programme, recruiting young people from across the city and providing them with high quality arts experiences. The Young Ambassadors have curated two exhibitions in the gallery, hosted movie nights to complement the themes of exhibitions, taken trips to other venues and assisted with exhibition launch nights. Hannah has managed all of this on her own, built great relationships with the young people and their parents and is committed to the development of the group.
Hannah plans to use her Award to attend Foundation Makaton training, develop her knowledge of how to produce projects involving young people and undertake a workshop in writing grant applications.
Grace Todd, Senior Learning Officer, National Museum Cardiff, part of Amgueddfa Cymru – National Museum Wales
Grace has more than 15 years’ experience in developing and delivering exciting and innovative learning programmes, initially as a secondary school science teacher and latterly as a museum educator. She joined Amgueddfa Cymru in 2007 and has embraced opportunities to combine these interests, to bring arts and science together in creative ways. In 2013 she authored Albie the Adventurer, a children’s book about dinosaurs, which inspired the museum’s most popular early years workshop. Currently responsible for leading the museum’s informal learning and community engagement offer, Grace champions socially-just museum practice and relishes the opportunity to devise programmes for a broad range of audiences.
This was underlined in her nomination for the Award by Eleri Wyn Evans, Head of Learning and Interpretation at Amgueddfa Cymru-National Museum Wales.
Grace believes that access to culture is a right and that museums can change lives by reducing inequality in cultural participation. To this end, throughout her career she has worked intensely with community groups to improve economic, physical and social wellbeing through the museum’s programmes. Her dedication to providing meaningful participation opportunities has been epitomised through her work with Wallich, a homeless charity, with whom Grace worked to produce an exhibition of contemporary art, entitled ‘Who Decides’. This has been a radically different exhibition for Amgueddfa Cymru which has challenged our internal decision-making processes and created institutional change. This is creating a wider impact on the sector as she actively shares her learning and experience with others.
Grace would like to ensure that ‘Who Decides’ can continue to inspire and empower colleagues across Amgueddfa Cymru to respond to the social needs of a broad community. To that end she would like to use her Award to shadow colleagues at the Museum of Homelessness, and mima, Middlesbrough Institute of Modern Art, two organisations for whom socially-engaged participatory practice is at the heart of their values.
Jude Wood, Freelance Artist, Denbighshire, Wales
Jude is a self-taught artist, who started her creative journey as a graphic designer, before changing direction through her experience in working for South Wales Intercultural Community Arts. She realised just how much she enjoyed sharing the creative process with others, regardless of age, ability or background, and since 1997 has been designing and delivering innovative art projects across Wales in locations as varied as castles, terraced streets, abandoned chapels, theatres, classrooms and the occasional mountain top. After a period of ill health in 2012 Jude’s focus has centred on health and wellbeing and the way in which art and self-expression can be employed as a powerful therapeutic tool.
Jude was nominated by Sian Fitzgerald, Community Arts Officer at Denbighshire County Council, who drew attention to a recent project (Arts Together) Jude has led to engage parents and their children in the visual arts, in partnership with Family Link Officers from the Education Service, the Arts Service and Betsi Cadwaladr University Health Board and funded by the Arts Council of Wales.
Arts Together supported teamwork, confidence building, problem sharing/solving and encouraged bonding between parents and their children. Many of those involved had never taken part in an arts project before or engaged in any creativity with their children. The project has since been developed and run again with schools and communities in Denbigh and Rhyl. Jude showed tremendous patience, understanding, humour and dedication in making sure that everyone have the opportunity to participate in visual arts activity and gain all the positive outcomes from doing so.
Jude plans to use her Award to undertake specialist training in attachment theory and play therapy to enhance her skills and enable her to further support the parents and young children she works with.
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Stephen Wilson Studio
Queen, A Day at the Races
Sale price$1,000.00
Embroidery stitched directly through a vinyl record sleeve.
12x12x2 inches, framed in acrylic.
Queen’s album, A Day at the Races, was released following their hugely successful, A Night at the Opera. Both of those albums featured slightly different crests designed by the band, one on a black background and one on white. I had been debating which one to create first. However, a commission solved the dilemma for me and the work for A Day at the Races was begun. I started by creating a wallpaper background that consisted of geometric lines and crowns. I stitched the crowns in tonal black yarn to create a tufted raised effect. I then stitched the elaborate crest, which consists of lions, fairies, a crab and a phoenix as a patch. The crest alone has over 75,000 hand placed stitches in it. The crest and typography were mounted onto the album last.
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ወደ ይዘት ዝለል
Kalpulli Yaocenoxtli, a traditional Mexica-Nahua (Aztec) cultural group. Photo credit: Kimani Beard
5 ደቂቃ ተነቧል
McKnight Celebrates Culture Bearers in Third-Quarter Grantmaking
Partnership with Indigenous Roots Expands Foundation’s Artist Fellowships Program
The McKnight Foundation and the Indigenous Roots Cultural Arts Center of St. Paul will begin taking submissions in October for the three new $25,000 Fellowships for Culture Bearers as part of the McKnight Artist Fellowships program.
These annual fellowships are part of McKnight’s third-quarter 2021 grantmaking, in which the board awarded 131 grants totaling $24.1 million. Of that sum, $6.3 million went to support grantees in the Arts & Culture program, such as Indigenous Roots, with a focus on catalyzing the creativity, power, and leadership of artists and culture bearers. The full list of approved grants is available in our የውሂብ ጎታዎችን ይሰጣል.
“Indigenous Roots brings deep connections with diverse communities, ancestral practices, and cultural arts. This new collaboration and the launch of the Fellowships for Culture Bearers will celebrate and elevate the vital work that culture bearers do for people and planet.”
The new fellowships will support three culture bearers who practice sacred and healing lifeways and share cultural art practices across generations. Fellows will participate in a cohort and community circle that will allow them to deepen their learning with mentors and share their work more broadly. Indigenous Roots anticipates announcing the first three honored recipients in March 2022.
“Indigenous Roots brings deep connections with diverse communities, ancestral practices, and cultural arts,” said Tonya Allen, president of the Foundation. “This new collaboration and the launch of the Fellowships for Culture Bearers will celebrate and elevate the vital work that culture bearers do for people and planet.”
“The culture bearers fellowships are a confluence of dreams come to fruition!” said Mary Anne Quiroz, co-founder and co-director of Indigenous Roots. “The McKnight Foundation has been a vital partner in Indigenous Roots’ development, and the launch of the Fellowships for Culture Bearers builds on the trust that we have already established.”
More About Culture Bearers:
Culture bearer fellows will practice creatively as healers, storytellers, dancers (ancestral to hip-hop), makers (instruments, print, textiles, mixed media), drummers, and preservers of languages. Differing from individual artistic practice, culture bearing is understood to be a full-life tradition, an approach to life and cultural expression that includes the intergenerational transmission of learning and preservation of ancestral knowledge.
McKnight's recent addition of culture bearers to the Arts & Culture program goal acknowledges that we provide support to creative leaders in Minnesota from cultures that don’t use the word artist (such as Native American and Hmong), as well as those who center the transmission and preservation of cultural lifeways.
A Warm Welcome to Indigenous Roots
The McKnight Foundation is excited to welcome Indigenous Roots into the community of McKnight Artist Fellowship partners. Indigenous Roots offers culturally relevant programming, workshops, trainings, and gatherings to advance wellness, promote indigenous and ancestral knowledge, develop youth leadership, and catalyze social change through cultural arts and activism.
Founded in 2017, Indigenous Roots is an incubator and co-working space based in St. Paul that provides accessible convening spaces, artist studios, and a community art gallery. It also provides organizational and business support for a coalition of artists and cultural groups that are dedicated to building, supporting, and cultivating opportunities for Native, Black, Brown, and Indigenous peoples.
In January 2021, continuing the expansion of the McKnight Artist Fellowships program, McKnight reached out to Indigenous Roots to explore the development of new fellowships intended to support artists committed to preserving and advancing traditional creative practices in Minnesota. In the spring, Indigenous Roots met with culture bearers and community members to design the new fellowships and consolidated their input in a proposal to McKnight. In August, the McKnight board approved the funding for the new Fellowships for Culture Bearers. Submission opportunities for these fellowships will go live in October 2021. Information sessions and additional assistance will be available starting in October and continue through the submission deadline in December 2021.
McKnight Artist Fellowships Program Completes Final Phase of Expansion
McKnight Artist Fellowships catalyze the creativity, leadership, and power of Minnesota’s artists and culture bearers. Over the past five years, the McKnight Foundation has added nearly $1 million in annual support for the McKnight Artist Fellowships program. This expansion has broadened the program’s scope; launched dedicated fellowships for printmakers, community-engaged artists, fiber artists, book artists, and culture bearers; added six new fellowships partners; and created new residency opportunities for all McKnight fellows. With the launch of the Fellowships for Culture Bearers this fall, the McKnight Artist Fellowships program will annually fund 47 fellowships of $25,000 each, all in unrestricted support, for artists and culture bearers throughout Minnesota.
እዚህ ጠቅ ያድርጉ for more information on Indigenous Roots and እዚህ for information on McKnight Artist Fellowships.
Our Growing Team
This month, we welcomed Ben Passer, senior program officer on the Midwest Climate & Energy team, and Dominic McQuerry, a joint program officer working with the Vibrant & Equitable Communities and Midwest Climate & Energy programs to the McKnight team.
We’re also looking for a new International Program Officer and two Vibrant & Equitable Communities Program Officers. እዚህ ጠቅ ያድርጉ to view the job postings.
ርዕስ Arts & Culture
September 2021
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Everyday Kitchen
Love what you eat.
Creating elevated restaurant branding, brand identity, brand messaging, and experience branding for a whole new concept.
Our client asked us to help develop a new three-meal, polished casual restaurant concept from the ground up. The concept needed to have a distinctive brand and personality, but be flexible enough to take on the local community character, chef’s voice, and local flavors of whatever market it entered across the Midwest.
Chef-curated
Partnering with a New York-based restaurant consultant, we developed an elevated American grill concept anchored in local ingredients and a spitfire grill that would serve as any location’s “hearth,” creating warmth, good feelings, and a sense of locality from welcome to table. The name, Everyday Kitchen, was designed to evoke that familial community welcome as well as designate the any-daypart appeal of the concept.
We developed the brand identity, name, positioning, menu suite, table scape, uniform design, environmental design (in partnership with two interior design firms), signage and wayfinding, and marketing materials. We also art-directed the photography and established the overall look, tone, and voice of the brand.
Opened in the heat of the COVID pandemic in June 2020, Everyday Kitchen Madison has become an award-winning pillar of excellence, deliciousness, and warmth in the highly competitive food & beverage town of Madison, WI.
“Cheryl and her team at SIGNAL make brand work actionable and useful — far beyond the marketing function often associated with branding. SIGNAL’s rigor in research and ability to define a brand through their unique platform format — which then serves as a cohesive filter for experiential, operational, and financial decisions — has proven an effective tool and ‘North Star’ to our restaurant work and the development of the project overall.”
Julia Heyer
Heyer Performance
Principal Restaurant Consultant
Visual vocabulary that brings the brand story to life.
We enlisted Louisville poster artist Brad Vetter to create a poster and graphic system that would celebrate the restaurant’s local purveyors as sourcing “rock stars” and to create a visual vocabulary that imbued the brand promise, “Love What You Eat,” with creative expression and emotional heft.
Photo style that celebrates local ingredients.
We partnered with regional food & beverage photographer Sarah Jane Webb and food stylist Sara Rounsavall to showcase food that was beautiful yet approachable, featuring ingredients that were prepared and plated with appreciation, care, and love.
Brand expression designed to stretch.
We created a dynamic visual system that could simultaneously reinforce the Everyday Kitchen brand consistently to build equity while allowing for campaign, cafe, and local customization for additional locations.
Ready to get started?
Let’s build a brand people love.
Click here to schedule your FREE 45-minute strategy session today.
Global B2B Price Optimization Technology
Building a new brand positioning, brand identity, and brand culture to transform a legacy SAP partner into a game-changing global leader.
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© 2023 by Prickles & Co. Proudly created with Wix.com
I was in our little town one summer day and happened upon these poppies growing in a streetside garden. Their very kind owner seemed quite delighted when she found me painting them and she made sure to give me some seeds. This watercolor measures 15" x 10" and is unframed.
Vibrant and Poppy
4th Biennial Wings & Water Show
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HTC One M8 colors
The new HTC One — aka the M8 — comes in not one, not two, but three colors. (And two finishes, actually.) A couple may look familiar, and the third looks pretty stunning.
And, of course, they've all got flouncy names. Consider: Amber Gold, Glacial Silver, and Gunmetal Gray. Otherwise known as gold, silver and gray.
The gold's actually more of a champagne-like color. It's quite subtle, and quite nice. The silver is nearly identical (if not spot-on) to the 2013 HTC One. Both have the same finish as the previous iteration, with just a tad of texture to it.
VPN Deals: Lifetime license for $16, monthly plans at $1 & more
The Gunmetal Gray is the outlier here. It's done up in a brushed-metal finish that looks quite nice — it's our favorite, if only because it's a little different. But it's also a bit glossy. Not to the point that fingerprints are an issue, but it tends to be a little slick in the hand. It looks great, but we prefer the touch of the gold and silver models.
Have a gander at the gallery.
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Tuesday, September 27, 2011
SUMMATIVE Project: Make Your Own Greek Tragedy Theater II
Students will use elements of the Greek Theater (esp. tragedy) to write, rehearse, and perform an adapted work. Students will understand the theatrical format, practices, and traditions associated with this historical period.
Project Description:
• Each group will write, rehearse, and perform a play according to the traditional Greek tragedy format. Groups must choose a familiar story from history or from fiction to dramatize.
(Although of course real tragedy always ends unhappily, it is not so easy to find familiar stories in this day and age that don't have happy endings, so you are not required to give your play a "tragic" ending.)
• Everyone in the group will be an actor. You may have as many characters as you want, as long as you never have more of them onstage at one time than you have members in your group.
• The "audience" will serve as chorus. You must make time to type up JUST the cues and chorus parts on ONE or TWO pages. We will use the document camera to project the lines for the audience to read, so please make the font large (14-20pt) and dark (bold).
(You must be sure that the lines for the chorus are presented clearly so that the "audience" will be able to "perform" them without rehearsal.)
• Your group will make all necessary masks for your characters. We won't worry about masks for the chorus, but be sure the text tells us who the chorus is supposed to represent (elders, citizens, members of the court, etc.)
(Masks can be made of all sorts of materials: paper plates, cardstock, construction paper… The sky’s the limit. I’ll have SOME materials for you to use, but be thinking about what you can reuse or recycle to make a good mask.)
• Scripts must be in proper format. (See Script Format below.)
• You will not be required to memorize your lines, but you ARE expected to know them without staring at the script.
• You are not required to use props or scenery, but if you want to do so, you will need to make or find what is necessary.
• At the completion of the project you will hand in your script, and your grade will be based both on the script and the performance.
Name ____________________________________________________ Class Period __________
Please fill in the due dates accordingly in the chart below.
Greek Theater notes and history (In journal)
Script outline approved.
Script rough draft approved.
Submit script final draft for approval.
Masks due.
Final rehearsal.
Script format:
Attached is an example of acceptable script format. Scripts must be TYPED in 10-12 font.
No more than 1” margins, please. Please remember to give your script a title!
I will grade the group as a whole and you will also receive an individual grade for participation (10 points per day) based on my observations. The group performance rubric is below. Please hand this sheet in BEFORE your performance!
Script Format
Script is not formatted properly. Script is not titled.
Script is titled, but not formatted properly.
Script was missing two elements of format (title, font, margins, or correct layout).
Script was missing one element of format.
Script format was correct.
Structure of Greek Theater
Script is missing four or more elements of structure or sequence.
Script is missing three elements of structure or sequence.
Script is missing two elements of structure or sequence.
Script is missing one element of structure or sequence.
Script includes all elements of structure or sequence.
Students did not rehearse.
Group rehearsals were always unproductive or argumentative.
Group rehearsals were often unproductive or argumentative.
Group rehearsals were mostly on task, and students collaborated.
Group rehearsals were always on task and students collaborated.
Students did not perform their script.
Performance was poorly staged, did not include masks, and the audience had difficulty hearing.
Performance was staged poorly, did not include masks, OR the audience had difficulty hearing.
Performance was staged well, masks were adequate, and the audience could hear almost always.
Performance was staged well, masks neat and given thought, and the audience could always hear.
Total points earned: ________ x 5 = ________/100
Greek Tragedy Play Structure:
A Refresher in Different Terms
Hint: Split your story into AT LEAST 3 parts (beginning, middle, and end).
Characters speak, perhaps directly to the audience. Tell us what the play is going to be about, and what you think we will learn from it.
Chorus, in unison, tells us what has happened before the beginning of the action of the play. They should also tell us who they are. (In a real Greek play, the chorus would "enter" here, but since the "audience" is serving as chorus, we'll just assume that part. But if you want, you can have them say something about "entering.") If you want, you can have the chorus speak in verse. It is often unnatural at first to write in verse, but it could become wonderfully creative.
Episode 1
Characters, in masks, of course, act out the beginning of the action of the play. Remember that characters in Greek Tragedy tend to talk a lot about decision making and moral choices what should I do? Am I doing the right thing? etc. Remember that anything violent should take place off-stage, with a character or "messenger" entering to tell us what happened.
Choral Ode 1
Chorus speaks about something connected with the theme of the story, but not necessarily about the story itself. Or, if you prefer, you may use a popular song or poem here, that you think expresses the mood or theme at this point in the play. If you use a poem, the "audience" will read it in unison. If you use a popular song, you may simply play it on the stereo at this point. (In a real Greek Tragedy the chorus would probably also "dance" at this point. You can't expect the audience to do this, since they won't have rehearsed, but if you want, you can have the members of your group perform the movements of the chorus while the "audience" reads or the song plays. This is NOT, however, required.).
Episode 2
Characters act out the next part of the story.
Choral Ode 2
(See Choral Ode 1)
(If necessary, you may add more Episodes and Odes here.)
Final Episode
Characters act out the end of the story.
As or after the characters leave, the chorus tells us what we have lea
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Artists to paint Sidney’s streets
Plein Air Paint Out hits the streets of Sidney this weekend
Artist Matt Haider catches attention during the annual Plein Air Paint Out in Sidney by holding up his old 45 record. Haider claims peering through the holes in the record allows him to see the true colours.
Bring your creativity, art supplies and an easel, and head to Sidney for the 10th annual Plein Air Paint Out on Saturday, Aug. 4.
Artists will line the streets of Beacon Avenue and the Sidney waterfront to paint the scenery around them.
“The object of painting outdoors is not to paint a photographic painting and it has to be something that they’re looking at as a scene,” said Odette LaRoche, organizer of the Paint Out.
The goal of the event is to capture the light and the mood of the day and express it on a canvas, she added.
“Is it misty? Is it rainy? Is it morning? Is it night? Is it sunset? They have to capture that and express their feeling in the painting.”
Now celebrating its 10th anniversary, the Paint Out draws between 45 and 60 artists annually. Emerging and professional artists come from all over Greater Victoria, as well as Nanaimo, Qualicum and Vancouver. In the past, artists have come from Calgary, San Diego and Toronto.
The annual gathering allows artists to come together, show off their expertise and display how plein air painting is done.
Painting can be a solitary activity, LaRoche said.
“When [artists] have a gathering like this … they get a chance to rub elbows together and share stories and paint together,” LaRoche said.
LaRoche remembers participating in the first Paint Out 10 years ago. She took over as organizer of the event in 2003.
“It was the first time I had ever painted outdoors and I was shaking in my boots,” she recalled. “It was pouring rain and I had my back to the wall, just hoping I don’t get drowned.
“I didn’t know what I was doing, but I won second place, so I started to take it more seriously.”
LaRoche’s advice to painters is to get their painting down quickly and then concentrate on details.
“But always be very careful with the lighting, the direction of the lighting and how clear the weather is [in the painting],” she said.
Jurors of the Paint Out include LaRoche and Comox-based artist Grant Fuller.
LaRoche and Fuller will pick the top three works based on the artists’ knowledge and use of their chosen tools, composition, mark making and most of all, whether they had fun and were able to capture the feel of the day.
“Just get comfortable and relax and have a good time,” she said.
All artists are welcome to participate in the event, taking place along Beacon Avenue, at the Beacon Park bandstand and along the waterfront. Members of the public are invited to observe the artists at work, from 9 a.m. to 1 p.m. Awards will be given out to artists at 2:30 p.m. The public may also cast votes for their favourite painting.
The paintings will be on display at Beacon Park until 4 p.m., before moving to the Mary Winspear Centre, where they will be shown and available for purchase until Aug. 22.
For more information about the event or to register as an artist, see www.odettelarochegallery.com, or call 250-655-8278.
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RH 42 Sedan
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This elegant 42 footer Lobster has one master and one guest cabin. Her bathroom has an electric WC and separate shower area. She has a very spacious layout, which is rare among the yachts of her class. The saloon can incorporate up to five people very comfortably around the table and offer pleasing time with its state of art audio-visual systems.
Fully equipped dashboard and cockpit area accommodates the helmsman offering a wide range visibility both in sitting and stand-up positions. Her functional kitchen with microwave oven and stove top aspirator offers true pleasure and comfort.
rh 42 sedan
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skip to main content
USC Digital Creative Lab Case Study
Video Length - 3:16
The University of Southern California (USC) in Los Angeles wanted to create a space to provide students and staff with commercial-grade, interactive multimedia technology that would unleash creative energy and enable students to evolve artistically, create professional quality videos and absolutely intimidate the competition, so they dominate in E-sports events. The USC Digital Creative Lab covers a portion of one of the University’s libraries. This technology hub was initially conceived as an E-sports arena where the E-sports teams could not only practice, but also host tournaments, but it soon became the signature space for all things digital. At its heart is a 165-inch diagonal direct-view LED video wall from Sharp positioned at the front of the main room to serve as a focal point for the entire space. During tournaments, vivid, crystal-clear game play and highlights are displayed larger-than-life on the video wall so no one misses a second of the action. During school hours, the hybrid space is used as a classroom. It has 26 stations for students and professors to have the luxury of using the video wall with their lectures. The USC Digital Creative Lab is a magnificent hybrid space unlike anything seen at any other university. It serves as a classroom, an art studio, a professional video production house and an arena worthy of the fiercest E-sports competitions on earth.
Video Transcription
Arial video of the college campus.
The University of Southern California in Los Angeles set out to create a space to provide students and staff with COMMERCIAL-GRADE, INTERACTIVE MULTI-MEDIA TECHNOLOGY that would unleash CREATIVE ENERGY of their students.
The goal was to enable students to EVOLVE ARTISTICALLY, CREATE PROFESSIONAL QUALITY VIDEOS and absolutely intimidate the competition, so they DOMINATE IN ESPORTS EVENTS.
Joe Way, PhD (Director, Learning Environments):
The digital Creative Lab fits into the overall strategy of USC because we knew our students needed a space to allow their discipline to come to life. It started as just an Esports arena, an opportunity to give some gaming to our students. But we really quickly recognized that it touched so many other disciplines, not just the gaming students, but those from computer science, those from film, live production, music production and digital creation could all come together and collaborate in one location. And that's how this came about.
Multiple students sitting at computer stations in a computer lab.
Hunter Stacey (AV/IT Projects Facilitator):
With this space. We incorporated things such as video production, video creation, podcast and 3D printing, as well as NFTS.
Video technology lab with multiple screens. A room with students and podcast equipment. Several 3-D printers. Several NFTs.
Raj Singh (Head of Learning, Technologies Design and Engineering):
An NFT. What it stands for is non fungible token. Pretty much it's a representation. It's a virtual representation of artwork and that cannot be replicated or sold without the consent of the artist or the person who created it.
Lex Evans (CX Designer, Learning Environments):
We put ourselves in the shoes of our customers AKA, the students. When walking into the space, the solution is to have the best quality digital signage.
Raj Singh:
So all these things when we are looking at the key thing that we wanted to do was understand how can we partner with a company that can bring that vision to life. So, in our gaming lab, we wanted to kind of signature statement piece and that's where we looked at Sharp NEC and to see what they can do to partner with us in providing a direct view LED. So we wanted a very seamless like background where colors were expressed correctly, where gaming and different events that happen could be shown in proper manner. And given the justice that it deserves. Same thing applies to displays and conference monitors that we have. Those we also are using Sharp NEC products as well for that.
A gaming lab with a large wall sized NEC display. Gaming and computer labs with multiple displays.
Chi Hang Lo (AV/IT, Solutions Architect):
USC we standardize Sharp NEC product as our display and monitor solutions. So when we architect this space, we, we need a solution can help us to display all the creative content.
Joe Way:
We knew that we wanted not just a wow factor but high quality throughout the entire space.
Lex Evans:
So we've specifically designed the digital Creative Lab to be an evergreen space. This means it's a living breathing space that will evolve with the technology.
Chi Hang Lo:
But you know, technology goes too quick, right? So I expect that in a couple of years, we will resort to greater LED technology again because we're not only looking at what we have right now, we're also looking at how to respond to, to the educational need. That's this very unique for, for the university architect to design the technology.
Students working on video equipment with LED monitors.
Joe Way:
I'm very excited to see where the space could be in five years. We've created a place for our students to come, be creative and allow them to drive the vision as new technologies develop, we'll continue to introduce them as they see fit.
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Apart from a short break here and there, I’ve been a member of a couple of camera clubs for over 15 years and I’ve been a visitor to more clubs than I can count.
Camera clubs vary widely in their approach to photography. Some take the ‘hobby’ very seriously indeed whilst others have a more ‘relaxed’ attitude.
However, all clubs have one thing in common and that is a monthly competition. To that end, the club’s management committee select a monthly subject to fit within a particular photographic genre, for example, Monochrome, Landscape, Open( where anything goes), Portrait, Abstract, Creative or Set Subject.
It’s accepted practise that clubs arrange for a photographic judge accredited by the State Camera Club Association to attend the competitions and judge the entries. However, in country areas this is not always possible as there is generally an attendance fee, accommodation and travel expenses associated with having a qualified judge from out of town. Additionally not too many judges are prepared to leave the metropolitan area. It goes without saying that local accredited judges are rare on the ground.
The end result is that many country competitions are judged by painters, sculptors, general artists and people whose occupation is in the field of the arts generally, for example, local art galleries, museums, TAFE institutions and Universities.
There is a major benefit in not using judges from outside the general field of photography. The most significant benefit is that they are not tangled up with the so called rules of photography that theoretically determine what makes a great photograph.
For example, one painter often asked to judge inverts every image on display before commencing her judging. Her rationale is that by doing so she can more easily evaluate the photographers’ understanding of composition.
Often straight horizons, the rule of thirds, balanced lighting and tonal ranges are ignored and as a result, award winners are chosen on their artistic merit and not on their pure technical excelence. That certainly is a positive for club competitions.
In all my years around the clubs, I’ve rarely heard any disparaging remarks about non technical judging. I can’t say the same about the so called professional judges.
That brings me back to the ‘relaxed’ attitude of some clubs. That doesn’t mean that their members aren’t ‘professional’ in their approach to the photographic craft, far from it. It means that all who exhibit in the monthly competitions are on an equal footing.
My local camera club falls comfortably into the ‘relaxed’ attitude category. However, every photographer in the club produces top quality images that would easily equal any work exhibitied at the more ‘serious’ clubs.
These days, exhibited digital images are either projected onto a screen or printed, matted and hung for display. It’s rare for traditional wet darkroom prints to be exhibited as a two year limit from the date the image was made is strictly applied.
As I pointed out in the header, joining your local camera club can be a lot of fun and provides a great opportunity to improve your photography skills.
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The 14th ICIF is being held at the Shenzhen Convention and Exhibition Center from May 10th to 14th.
Apart from the main venue of the Shenzhen Convention and Exhibition Center, this year’s ICIF is also in the OCT Creative Culture Park, Shekou Internet Valley, Shenzhen University City Creative Park, Yachang (Shenzhen) Art Center, Global Digital and Shenzhen Design Industrial Park.
Branch venues have been set up in creative parks and other places to launch massive cultural activities and offer a cultural feast for the participating delegations from all parts of the country and for Shenzhen’s citizens.
In order to welcome the Wenbo Fair, Shenzhen Nanshan District will be the theme of “Creative Nanshan, Cultural Future – Striving for a National Cultural and Technological Innovation”, focusing on creative design, animation games, digital media, and film and television. Tourism and other key industries will integrate cultural and scientific technology.
Located in the University Town of Nanshan District, Jardin Orange Artist Residency, as a member of the creative cultural industry in Shenzhen, will hold the “Messy vs. Perfect: Finding the Balance” flash art exhibition at Shekou Net Valley on May 11th to present Rebecca O’Brien’s black and white ink canvases.
This art exhibition will be the first time that the American artist Rebecca O’Brien displays her artwork in Shekou and it is a perfect tribute to the local community who encouraged her to bravely pursue her artistic dream two years ago.
The “Creatively Thinking Towards the Future” design contest has begun. Since yesterday, May 10th, 8 graffiti artists arrived at the residency to prepare for the final presentation of their sculptures on the 11th. The competition will be held also at Shekou Net Valley near the exhibition.
We will look forward seeing the final designs. Do you want to see 8 art spray bottle sculptures of different styles? You can take a photo with them from the 12th to the 15th in Shekou E-cool area.
Introducing the participating artists
中国艺术家 – Rainbo
Rainbo, born in Hunan, lives in Hong Kong as a full-time artist engaged in street graffiti, oil painting, fashion toys, sculpture, ceramics, graphic design, and more. When she was young, she dreamed of walking to the horizon. Now she will devote herself to China Women’s Graffiti Team, called “China Graffiti Girls”, and is one of the founders of After workshop.
Her first personal exhibition was held at the Part-of Gallery in Wan Chai, Hong Kong in 2011. In the same year, at the Hong Kong Animation Festival, she won the Hong Kong-type toy model creation as the season runner-up.
中国艺术家 – 4get
Artist 4get from Hong Kong combines many years of creative experience to create a unique urban art style. For 4get, imagination has no boundaries or limitations. Whether it is a cartoon print on a T-shirt or a wall painting creation on a staircase, it consistently conveys his philosophy of life and his personality. At the same time, he is also very good at geometry, conceptual design.
中国艺术家 – WHYYY
In 2001, WHYYY began using spray cans for creating his art. “Fortune cloud” is the theme for WHYYY’s work. He combines traditional culture and a new wave graffiti style as a breakthrough with spray paint. He applies the concept and techniques from graffiti and adds a creative font and shape to it. His writing is always extending outwards, which reflects the rhythmical or metrical structure within it. From different perspectives, WHYYY’s work could be viewed as hypostatic or delusional; it could be two-dimensional or three-dimensional.
匈牙利艺术家 – Aron Friedrich
Born in Hungary, Aron was a professional fencer for 25 years. After his career ended, he became a three-weapon fencing coach. After fencing, he then created LePopp brand. This name comes from pop art, using daily life symbols in an artistic way. He has now for years liked to discover new materials and to mix them in different kind of platforms. Always creating useful products and what people can use in their daily life. He especially likes to work with geometric forms, also abstract art. His works are always colorful and very unique.
英国艺术家 – Andy C
Andy (CiSTM) is an artist from the UK. He studied 2D animation at University which furthered his style in graffiti. A 3-year arts tutor in the UK as well as a popular mural painter for businesses and bars. He moved to China after covering all he could at home. He has been an art teacher and artist in Shenzhen for the last 3 years, painting many walls as well as a month-long residency at the Jardin Orange Residency in Shenzhen.
He has won a street battle in collaboration with MissionHills and Jardin Orange and came runner-up in the Sofunland Street Art completion last summer. Has been invited to many graffiti jams in China including Shenzhen, Changsha, Dongguan, Kaiping, Zhuhai, Dapeng and Guangzhou.
澳洲艺术家 – YOWZA
Yowza gradually developed his own style from the deconstruction of the techniques of flower depiction in the digital punk art and Chinese traditional gongbi painting. He has written many works during his travels to Asia and Europe. He currently has a studio named “Dirty Hands” in the outskirts of Shenzhen, where he has also become an art center for local and international artists. Yowza is also the main founder of the Metropolitan Serpents project and is promoting cross-cultural activities in Australia and other parts of the world.
厄瓜多尔艺术家 – Andres Silva
Andres is an Ecuadorian Visual Artist graduated in the Pontifical Catholic University of Ecuador, Andres has had several collective exhibitions including two solo exhibitions in +Arte Gallery and a private exhibition organized by the curator Maria Ozcoide.
Currently, Andres is working in street art with his latest project called “Presencia” searching to influence the daily environment with a childlike imagination. This project has taken place in several locations in Hong Kong, Shenzhen and Kathmandu using painting and drawing as one of his main techniques.
中国艺术家 – 徐洋 XuYang
XuYang was born in 1990 and comes from the Guizhou Province (a mountainous province in southwest China). When he began his graffiti art in 2012, he considered it under the influence of architectural thinking. He saw art as a sort of construction process trying all sorts of “building materials” (elements/tools) in order to arrange visual elements and ‘pieces’ into a new, interesting combination within a set visual space.
When he began to focus more on his artistic vision in 2014, his images began to emphasize the importance of eco-diversity on our planet.
As the venue of the current ICIF, Yachang (Shenzhen) Art Center has been hosting ICIF activities for four consecutive years. At this ICIF, it has brought together top art resources and focused on the theme of “Combining the power of science and technology and transmitting the beauty of art”.
The series of cultural activities are colorful, with the advanced expert lectures and very popular art exhibitions. (Jardin Orange will present some unique art gifts designed using some of its resident artist’s designs in the VIP area of the Art Center.)
Do you like creative art gifts? The Jardin Orange has a painted car at the Shekou library full of them. All the art gifts are here. Come and take some home!
https://v.qq.com/x/page/y1339dg916w.html
“Let original art beautify life.”
If you know someone who would be interested to be a resident artist, please forward on our Jardin Orange Wechat Page to them!
联系我们 Contact Us ：
中国深圳市南山区塘兴路集悦城B区22栋
B22, SoFun Land, Tangxing Rd, Nanshan District, Shenzhen, China.
(+86) 755 8600 8690
info@jardinorange.com
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Neon Lit
Minted on Mar 21, 2021
Created by
It was a rainy night in Yeongdeungpo, Seoul, South Korea. But I was out and about with my friend who is in the photo. There was actually a typhoon but we were really excited about shooting portraits in the rain. We then came across this neon lit alley and we both thought it was really beautiful. She posed for me, and I took the picture. It looks like something from out of a video game, the way the reflection fall off of her.
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‘Disappearance of the Word, Appearance’ of the World at the Union
January 11th, 2018
Photo of Tbd. Dance Collective courtesy of The Union for Contemporary Art
Omaha, NE—This Friday, The Union for Contemporary Art will open their next exhibition, Disappearance of the word, Appearance of the world, a collection of paintings by Chicago based artist Caroline Kent. Inspired by language and translation, Kent sets abstract figures in darkness on the canvas.
“I asked myself the question: if abstract painting is a kind of language, what potentially can that language say?” Kent said. “I think that became a driving force trying to figure out what is the alphabet then consist of of the language that I’m creating—this kind of index of form—so I’ve been producing work honing in on the language that I’m creating through abstraction.”
Kent’s fascination with language and representation began as a teenager growing up in Sterling, Illinois, experiencing the world through foreign language films.
“And I watched a lot of these films with my eyes wide open just taking in the sounds of foreign languages, the moving images, the images of the different environments, different contexts, some of the narratives, storyline. They were so intriguing for me, and I think that was a key moment to perceiving the world in this really unique way.”
She would recall this experience again while living in Romania, learning the language and reading life like a narrative on screen.
“I think that what I found was one of the questions I had early on when I would watch these foreign language film was: there’s always a group of people that speak the language that’s in the film. I happen to be on the outside. That’s why it’s called the Foreign Language Film section for me, but you go to another country and they have foreign language films, probably in English, so I felt like as an outsider. I was always on the outside of language, the language of the film, and so what first appealed to me about abstract painting was that there wasn’t a literal translation for what I was looking at. They weren’t representational identifiable images, but I was still intrigued by the power and the present a lot of the images held for me and I realized that abstract painting could be kind of a way to level the audience to where nobody is privy to the language that is spoken. Everybody’s on the outside but it’s a great space to be in on the outside because the meaning is it that in the same way.”
On opening night, Kent’s work will be accompanied by dance from Tbd. Dance Collective. When choreographing the performance, co-director of Tbd. and program coordinator at the Union Kat Fackler responded directly to Kent’s abstract language on the canvas.
“When I look at her work and I look at the shapes and the symbols,” Fackler said, “I see movement, I see arms and legs and shapes that the human body can make. I see a conversation. I see language. Movement, specifically choreographed movement, has always seemed like a language to me. It’s like an agreed upon set of gestures that mean something to the mover, and each gesture within a phrase indicates what’s going to be next within that phrase to the dancer, so it’s kind of like this language that the dancers are all in on together.”
Taking place on the gallery floor, Tbd.’s performance might engage viewers differently than a routine on stage.
“Definitely space is taken into consideration. If you’re making work for a gallery space, it’s going to look different than a stage, so you have to think about what the actual shape of the space is and where people will be and how they’ll interact with it since you’ll kind of be on the same plane. You won’t be on a stage where people can look up at you, so you have to think about making this performance right next to people.”
Disappearance of the word, Appearance of the world will open at the Union for Contemporary Art this Friday, Jan. 12th at 6:00pm and remain on view until February 24th. Tbd. Dance collective will perform twice on opening night at 7:00pm and 8:00pm. There will be an artist talk on Saturday the 13th at 2:00pm. For more information, visit u-ca.org.
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Dean Bauche: 'Not just putting art up on the wall'
It's been three years since local artist Dean Bauche retired from his position as director of galleries for the City of North Battleford, but he's not done working yet.
Bauche is looking forward to his first show in North Battleford in years. He sees his "retirement" as more of a transition from administration - which he enjoyed - back to consulting, painting and teaching - which excites him. He's been preparing a major exhibition that will be seen at the Chapel Gallery in October.
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"I haven't shown in North Battleford for years," says Bauche, an award-winning artist, curator, educator and adjudicator.
Although people had spoken to him about doing a show during the time he was heading up the City's galleries department, he says, "I was the director for 22 years and for that reason you're cautious that you don't use your position for your personal interests."
Besides, he says, he wouldn't have had the time to put a show like this together during those years. Even after retirement it's been a challenge, he says, as there are always other things going on that steal him away from his studios. Bauche has two studios, one in his Battleford home and the other at Brady Coulee in the Cypress Hills, between which he and his wife Barb split their year.
The show he's building up to will be a milestone for Bauche.
"A lot of times when we see artists have a show, we never think about the fact they are actually working on it for years."
It's something that is worked up to and anticipated, he says.
"These are major events in artist's lives, and a lot of us take that kind of thing for granted," says Bauche. "I think it's incumbent on us as artists to say that's how important these things are."
It's not just putting art up on the wall, he explains, it's an opportunity for dialogue with ethe public and an opportunity to show what the artist has been doing over the last number of years, because a show is more often than not several years in the making. The working title for Bauche's show is Visual Tension - Recent Work by Dean Bauche. Some of the pieces go back at least five years, he says.
"But in the continuum of things, that's recent work. None of it has been exhibited in a public exhibition."
A number of the pieces planned for the show are ones he has already sold, so he will be bringing them back for the exhibition.
Most are substantial in size, as well, including some heavy pieces of copper weaving, an art form that has found its way into his retinue of creative endeavours.
Bauche is perhaps best known for his portraiture, and when the exhibition opens viewers will see he is moving his portrait pieces in a new direction. Bauche describes it as the bringing in of broken elements, or what he calls fragmentation. An artist who actively pursues relationships with other artists as a way to grow and create, he looks to Manitou Beach artist Darrell Baschuk (see inset) as having been an influence in his new direction.
"Fragmentation is incongruent but gives permission to the viewer to make up more information," says Bauche. "I've always liked work to give me license to look at it in my own way and focus on what I want to."
He says his role as a mentor to other artists also helped him solidify where he next wanted to go with his own art.
Last year and the year before, Bauche traveled back and forth to Flin Flon, Man. for a residency mentoring artists at the Northern Visual Arts Centre, or NorVA, an artists' collective, gallery and community arts space.
While working with the artists there, he began to build heavier design and more visual impact into the representational work he was doing. His portraits were moving away from being reliant on the representational element in the piece as the singular focus.
"I've always believed that shouldn't be the case, but my work with NorVA pushed me into developing a strong sense of design to allow the design element to carry as much weight as the portrait," says Bauche.
It will be at NorVA that Bauche's new show will debut. It will be on exhibit in Flin Flon for September, then move to the Chapel Gallery in North Battleford for the month of October and part of November. There are other exhibitions planned, but not yet finalized.
Most of Bauche's portraits are done from photographs. He says it can be an imposition to ask people to pose live because it can be a demanding process that has to begin with finding a level of comfort between subject and artists. He usually works live only with friends and family. Fellow portrait artist from his hometown of Eastend, Bronwyn Schuster, has posed live for him because, as he says, she understands the process.
"Portrait people kind of hang out together because we're the only people that understand us," he laughs.
Not all his portraits are of people he knows well, however.
The portrait in the photograph accompanying this story is of a young Australian girl he chanced to meet on a ferry going to Haida Gwaii (formerly Queen Charlotte Islands). He noticed her watching as he drew portraits of children on the ferry and handed them out, so he asked if he could take her photograph.
It was funny, he said, because she wanted to fix her hair first - she'd been wrapped up in a blanket, sleeping, during the trip. He told her she was fine the way she was.
"I came away and knew there was a painting there," says Bauche. "She has such an intense power with her eyes, and the thing about it is I don't even know her name."
In order not to lose what he sees in a subject in real life, he uses a high dynamic range photographic process.
"It's really quite wonderful," says Bauche. "I actually teach courses [on HDR] because there is so much richness you need to get and build on with the human figure."
Bauche says, if you are painting live, it's all there. But if you only take a snapshot, you leave three quarters behind.
"I'm really into technology," he says. "I really see it as my sketchpad."
Many of Bauche's pieces are designed, at least initially, on his iMac. Once his photo files are on his computer, he begins to play, as in "what kind of dance do I want with this."
He may have a piece's colour preliminaries on the computer, then, as with all things, he says, it will begin to tell him what it wants to be.
"It becomes intuitive," he says. "If you are too anal trying to keep it exacting, it looks that way. All of us struggle for spontaneity, we want it to feel natural, that's the challenge."
In addition to his trademark portraits, some of which he is still working on, the show will also include about 30 encaustic pieces he has been preparing over the summer.
"Encaustics are another kind of universe unto themselves," says Bauche. "Like copper, it's not as exacting a process. You can interpret things a little more loosely."
Encaustic is a process of adding wax or resin to a photograph, painting or drawing, building up layers, often over-painting and adding more. One of the pieces he will be showing is encaustic on a photograph of two ravens taken by one of the artists he mentored in Flin Flon.
He feels fortunate to be connected with so many other artists through mentoring and teaching, perhaps inheriting that aspect from his parents, who were both teachers, as was his grandmother. His father was also a respected artist.
"I'm always seeing the value of other artist's work and the excitement it brings, and every so often you get to collaborate."
Some of his collaborations are even with his children. He and his wife raised five kids, two girls and three boys, all of them artistically and/or musically talented, and now have three grandchildren.
He says computer technology has changed the landscape of how artists express their creativity, including exploring digital sound and music.
"In some ways I am very lucky because I do that as well through my art, so I am related to it. I am not a Luddite and disconnected," he laughs.
Bauche's studio is brimming with work that looks like it could be finished, but might not be. When it is, it usually tells him.
"If it's not signed, it's not done," he laughs.
It's normal for him to be working on many pieces at one time.
"One piece takes so much energy you can't keep giving it, you have to move away and work on something else.
That's why he enjoys working with other artists.
"They know the process."
Bauche also likes mentoring and encouraging emerging artists. The annual retreat he holds in the Cypress Hills is heavily committed to making young emerging artists, he says.
"The range of artists who turn out is quite remarkable," he says.
The retreat attracts about 30 artists from across western Canada, including playwrights, poets and visual artists, and about half of them are typically under 30 years old, says Bauche.
The retreat is held at the Bauche's summer home. There are three houses on the property, plus lots of room for tenting, and there is an artist's studio on the property as well.
Bauche sees their discovery of the property one day while on their annual holiday to the Cypress Hills as meant to be.
"I was born down in Eastend and my wife and I always went down there every year even when raising our kids. We always had this incredible love for the hills."
Bauche grew up finding dinosaur bones in the ditches and soaking up the ancient mystery of the area now famous for the discovery of Scotty, the T-Rex. However, he laughs, "Almost ironically, my wife loves the hills even more than I do in the sense that she's so deeply committed to them."
They always wanted to buy a place in the Cypress Hills eventually.
They actually found a property in Brady Coulee that had been developed by a man whose wife had been a visual artist. There was a working studio already on the property.
"Life is strange," says Bauche. "How does that happen?"
They will now be living six months in Battleford and six months in the Cypress Hills.
People are affected by living in the closed spaces of towns and cities, says Bauche. On their Cypress Hills property, they are always out and about. The house itself has verandahs on three sides so they are more in touch with the day.
"Although I'm not a landscape artist per se, those elements come strongly through my work," says Bauche.
This summer, Bauche will be working with fellow Saskatchewan artist Darrell Baschuk to create a mural for Prince Edward Island's celebration of the 150th anniversary of the Charlottetown Conference. The mural will be titled Saskatchewan on the Waterfront.
"The idea right now is to create this large expansive landscape with thunderous clouds and on the horizon see this sea-going vessel pulled by four horses," says Bauche.
The ancestors of almost everyone of European descent in Saskatchewan today found their way here by sea-going vessel, says Bauche.
"It's part of Saskatchewan's legacy, whether we acknowledge it or not."
Bauche says this province shares a legacy with the maritime provinces, whose shores were touched first by almost all the people who emigrated to Saskatchewan,
"The mural is intended to be provocative that way and to speak about history and to challenge some of its ideas - and in the end it's intended to be a bit of a metaphor because all of us, in our own lives and our own ways, build boats to return home."
Bauche says the work he calls his Boat Series is done with this idea always in the back of his head.
"That's what we're doing in our lives, because we know, in a sense, like Tom did, we really don't belong here," says Bauche. "We are just temporary here."
The Tom he speaks of is Tom Sukanen, a Finnish immigrant who died at Saskatchewan Hospital North Battleford, institutionalized after trying to build a sea-going boat to return to his homeland. If you haven't heard this remarkable story, visit www.sukanenmuseum.ca/tomi/tomi2.html.
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Photo Composition: The Secrets of a Good Shot
According to the plot idea, the photo composition of the frame is the compilation of a single whole from separate parts. The purpose of such a construction is to create, taking into account the foundations of the composition, a harmonious, complete image that will interest the viewer, will not leave him indifferent.
How to Compose Your Photos Correctly?
The main task of photo composition is to create a plot and convey its meaning to the viewer. The result depends on the location of the central units, on the correct construction, color and texture characteristics, lighting, angles, geometric conditions, and other factors.
There is no such single composition rule that will ensure the success of a photo since everything is interconnected, balanced, and the approach must necessarily be creative.
3 Main Points to Compose Your Shot Correctly
• find something unusual, interesting;
• competently create a frame – arrange all the elements in the places necessary in this composition;
• wait for the situation when a connection is made between all participants in the plot. If the composition is built correctly, then we already get artistic photography.
14 Photo Composition Techniques
The photo’s composition is formed in such a way to indicate the essential part of the image. This is achieved by positioning the main subject in the picture and using the background correctly, the height of the apparatus, focus, etc. The photographer makes the audience view the main character of the composition first of all.
1. Selecting the Main Object
The composition consists of one primary and several secondary parts. The main thing must be highlighted so that your idea is clear. This can be done in various ways:
• dimensions – to show it as the most significant part of the plot;
• creating a fuzzy, blurry background;
• the play of color – to highlight the main thing with brighter tones;
• using different lighting – the background is darker; the main object is lighter;
• uniqueness – the main thing should be sharply different from other parts of the composition;
• and, of course, to remove from the frame everything unnecessary that interferes with the viewer’s perception of the plot idea.
2. The Scale of The Plan
There are four types.
General Plan – A large fragment of the territory is covered. The faces are small; the details are not visible.
Mid-Shot – The surrounding persons or objects are an essential part of the plot; details are visible at the central object.
Close-Up – Here the main object can be seen; there is no environment.
Extra Close-Up – Focuses on details that expressively characterize the main idea (for example, on the eyes, lips).
3. The Rule of Thirds and The Golden Ratio
The rule of thirds is the basic rule for capturing interesting, dynamic images. The frame is conditionally divided by two horizontal and two vertical lines into nine parts. The visual centers are at the points of intersection. From these positions, viewers usually begin to get acquainted with the photo.
At these points and on the lines themselves, it is recommended to place the image’s main subject. As a result, a more attractive, harmonious frame is obtained, as in this photo – the sand vortex column is located along the left vertical line.
For novice photographers, this rule may seem unnecessary. They place the main subject in the center of the frame, and the photos are less exciting and dynamic.
To ensure the importance of this rule, you can experiment: take two images – the same shot, but in two versions: with the location of the main character in the center of the composition and the same photo – but with the hero in the recommended points. You will visually see how these frames will differ in perception.
In the example above, you can see that the left vertical line runs in the center of the face – the photo looks harmonious.
A rule similar in meaning is the “golden ratio.”
The aspect ratio here is: side B is 0.618 from side A. To simplify, the frame is divided into eight parts horizontally and vertically. Here the dots are 3/8 and 5/8 from the edges. Photos that follow these rules look easy and exciting.
4. Symmetry Rule
Symmetry is the easiest way to create balance in a composition. In nature, it is observed, for example, in frames with a mirror image, as in the photo above. Such compositions evoke feelings of stability, peace, and reliability.
However, there is no complete symmetry in nature. For example, the face of a person in front, the person’s figure is not symmetrical. Strive for absolute symmetry in the frame is not worth it. Even in nature, nothing is perfect.
5. Depth of Field
It must be in the sharpness range to highlight the central part, and the background and other details must be blurred. A sense of depth in the composition is created. It does not matter at all whether the key figure is in the foreground or the background. You can read more about the depth of field in another article.
6. Free Space in The Frame
When creating a composition, you must leave enough space between the main component of the plot and the edge of the frame.
Such objects look good – it is more convenient to look at them without being distracted by secondary details, making the plot more dynamic.
7. Shoot Pose
The objects in the frame have so-called visual, or visual, weight. This means that each subject has its own “load”, which must be taken into account to balance them in the frame. There are different techniques for this:
• with the help of gestures – if the model moves with the right hand, then we balance it with a similar movement with the left hand or foot;
• with the help of objects – an object is placed in the other half – a counterweight. An example is in the image above;
• even with a glance, you can balance, giving him a free place: for an evil, furious look, you need much more space than for a calm one;
• colors weigh differently: bright colors are heavier than dark colors.
If you successfully balance the weight of the objects in the photo, it will be harmonious and complete.
8. Patterns and Texture
A pattern is a lot of repeating pieces. When building a composition, applying this rule can produce interesting effects. They work with texture with light – play with shadows – sometimes unexpectedly surprising results are obtained.
9. Leading Lines
Lines are various – straight, curved, diagonal, electric wires, roads, the horizon. The direction of the lines has a different emotional color: the horizontal lines are calmer than the vertical ones, the lines running diagonally from the left to the bottom bear tension, and the opposite ones are peaceful. It can also be items lined up in a row. Images with diagonal lines look more dynamic than horizontal ones.
10. Simplicity
Try to remove unnecessary clutter to build better the background for the main subject in the frame. When the image is open, it is easy to see it.
11. Odd Object Rule
It is believed that it is an odd number of more easily perceived objects with the eyes, and with an even number, the viewer cannot decide which one to stop at. But this rule can be violated, for example, if there are only two models.
12. Rhythms
These are geometrically similar shapes, colors, lines, benches in the park, sleepers on rails, lanterns along the road. A sufficient number of them – 3, if more, then the rhythm more actively affects the audience’s perception. The rhythm is interrupted when color, size, location, etc., change.
13. Shooting Point
They choose to calculate the main idea of the composition: from a portrait to a large group of people; or considering the background: sea or birch grove; from a bird’s eye view or the ground, at eye level.
14. Framing
There are many times when you can create a frame from surrounding objects. Objects that serve as frames in life will help you with this: window frames, street spans, the space between the columns, winter landscapes, where trees, their branches bend under the weight of snow in an arc, and many objects found in the environment.
You may also like to read: Rules of Composition: 11 Best Compositional Rules in Photography
You can always work according to the rules and violate the rules to implement your ideas. Still, to break it, it is recommended to study them first because artistic photography is luck and talent and knowledge of the rules. Every photographer strives to take not just create pictures but with a twist. Maybe you will get a world masterpiece.
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Did I Choose Art or Did It Choose Me?
Big Little DrawingThe Dilemma Behind the Demonstration
Demo Abstract Image
Left: Painting at demo end, Right: Same painting after an hour alone with it the studio.
I demonstrated my approach to abstract painting for a local art group, Alliance of California Artists yesterday. I enjoy providing art demonstrations of any kind and find verbalizing the steps I take, teaches me a lot about myself and my dance with the canvas. It was a good, attentive group, they asked questions, when they had them and I did my best to answer, throughout the length of the session.
I believe in demos. It’s fascinating to see how other artists work and how they solve the same challenges we all face in every painting session, but are we truly witnessing how the demonstrating artist works. In the 2-3 hrs. usually available for a demo, it’s unlikely we’re getting anything but an abbreviated/abridged version of the artist’s approach. I know that’s true with my demos, anyway.
On average, it takes me 30-40 hrs. to complete a painting. So when I’m demonstrating my process over 2 or 3 hrs. I have to strip a tremendous amount out my normal process, if I’m to give the audience even a hint of what my creation of a painting looks like. It’s a race, from start to finish, to accomplish all you can, before the ending buzzer sounds.
On top of that, anyone who’s read, Betty Edward’s, “Drawing On the Right Side of Your Brain,” knows you can’t communicate with an audience (a left brain function) and paint in the zone (a right brain function) at the same time. So, during a demo the individual demonstrating is jumping in and out of both left and right brain hemispheres. He or she never remains deep in the creative zone for any length of time during a demonstration, so normal problem solving is handicapped. They’re making quick, snap choices, rather than the slow introspective decisions arrived at alone in the studio.
I’ve tried a few thing to get around these time challenges, but I’m not sure they’re effective. I’ve shown up with my preliminary drawing already down on the canvas, but this takes away the opportunity for viewers to watch how I proceed through a drawing. I’ve even pre-finished multiple canvas at different stages of development, like your typical cooking show does. I’d begin a drawing before the eyes of the audience, then pull a canvas with the drawing already completed from under the table. I’d then start execution of my turp wash underpainting on this drawing, before revealing a canvas with a finished underpainting on it, leaving the lions share of the demonstration to be my blocking in color and detailing approaches. I’m not sure this is what the viewers had come to see.
I’ve come to the conclusion that it’s best to start with a blank canvas and perform the whole process, albeit a truncated version, before the eyes of the audience. I’m often disappointed in the product of the session, but I’ve given the viewers at least a glimpse into my overall approach to problem solving. And isn’t that why they invited me there in the first place?
How to Properly Hinge Artwork
Complete Hinges Photo
When I was a kid and I finished a piece of artwork I felt warranted a mat and frame, I cut the mat, grabbed my roll of masking tape and tapped the piece into the mat. When a dark stain began to appear, years later, where tape touched art, I suspected I was doing something wrong.
Since those early days, I’ve learned about pH acid levels in papers, mat and mounting boards and the proper way to mount an artwork. Hinging is used to properly attach original art to acid free mounting boards in a manner that does no harm to the artwork and provides a weak link, should the work ever be mishandled. The concept is that the hinge, not the artwork will tear from the mounting, if the artwork is abused.
Wheat Starch PhotoThe hinges should be made of Japanese paper (rice paper or mulberry paper). If you take your original art to a framer to be hinged, matted and framed and they want to use something other than Japanese paper for the hinges, find another framer. It’s that important! The hinges need to be attached to the artwork and mounting board using neutral pH Wheat Starch paste. Both the paper and wheat starch can be purchased at your art supply store. The wheat starch is turned into a paste, by adding distilled water and heating it in a double boiler or microwave oven (my preferred method). Instructions on accomplishing this are on the package. Wait until all your other materials are prepared and ready, before making the wheat starch paste or it can harden before you’re ready to apply it.
Wheat Starch Paste Photo
Wheat starch paste
You want to tear, not cut out, your hinges from the sheets of Japanese paper. Sharp, straight, uniform edges are more likely to telegraph through the artwork you’re hinging, than the organic, feathered torn edges will. The tearing and feathering is easily achieved. Wet a small, thin paint brush with water. Draw you tear line on the Japanese paper with the wet brush and pull the paper apart along the wet tear line.
Hinge Tear Photo
You’re going to create a “T” or cross, made up of two, overlapping strips of the Japanese paper for each hinge. A minimum of two hinges, across the top of your artwork, are necessary, but I like to add a third along one side of my art, for more stability, in case someone carries it sideways.
Hinges on Artwork Photo
Glue half of each hinge to the back of the artwork.
Apply 1/4″ of the wheat starch paste to one end of half of your paper strips. Allow the paste to dry a bit, so it’s not sloppy wet and glue these hinges to the back of your artwork, leaving the long dry portion of the hinge protruding. Set the artwork, with attached paper strips, aside to dry. Because the paste is moist when you attach the strips to your artwork, I don’t like to use hinges on artwork created on thin paper, like normal weight pastel paper or drawing paper. I don’t want to take a chance on the artwork buckling where the hinge attaches, due to the moisture and, with thin paper, I’m also concerned about the paper hinge strip telegraphing through. In these cases, I avoid paper hinges and use archival corners instead (see my post Special Framing for Soft Pastels for an image of an archival corner).
Mat Mounting Board Photo
Hinge the mounting board to the mat with archival tape.
Proper archival mounting of your artwork requires you to hinge the art to an acid free mounting board, not the mat. You want to set up mounting board and mat as a hinged sandwich for your artwork. Butt top edges of mounting board and mat and attach them together with a hinge made with a piece of archival, acid free tape.
Weighting the Art Photo
Align art in the window & add a weight.
Slip your artwork, with the paper hinge strips attached, into the mat-mounting board sandwich and properly align the image in the mat window. You’ll need to place a weight on the artwork, to hold it in place, while you flip up the mat out of the way and paste down the final strips of paper, to complete your hinges. I’ve found a heavy old-fashioned glass to be a great weight. Be sure to place a piece of paper (I’ve used tracing paper here) beneath your weight to prevent it from marring your artwork.
Using your wheat starch paste once again, paste down the final paper strips to make the “T’s” and complete your hinges. Allow this paste to dry and you’re ready to close the mat-mounting board sandwich and install the assembly in your frame.
T-Hinges Photo
Rest easy in knowing you’ve done all you could to provide a professional, museum quality, safe, acid free, archival home for you valuable piece of art!
Framed Artwork Photo
Say What You Think!
Painting Boop Photo
Photograph © 2016 Vicki Thomas
I’ve been teaching a lot lately, both to adults and, as a Teaching Artist, to kids in school. Having been creating art, in one form or another, since I was a tiny lad, I perform a lot of procedures, make a lot of decisions on auto-pilot, almost unconsciously, when at the easel. Many of these decisions involve critical creative fundamentals. Fundamentals I should be sharing with those in my classes. I’ve found these automatically performed functions to be the most difficult to relay to students. Not because they’re difficult to explain, but because, when I’m in the zone painting, I’m unaware that I’m even performing many of them.
So, I’ve made a conscious effort to make myself aware of every step that occurs, while I’m painting. To write them down, as they occur, for later communication to those in my workshops or classes. I’ve also found that talking through the process with other creative friends, verbalizing procedures, brings these buried faceted automatics out into the light. These conversations also reveal differences in how others works, providing me with even more information to share. If out of the blue, I begin a conversation with you about paint application or simplification of forms, let me apologize in advance, know the annoyance is serving a good cause!
Lifting procedures up onto the surface has been like a trip down memory lane. “When did I pick that up, who taught me that?” It’s a realization of how very many great teachers I’ve had, how many truly accomplished artists I’ve worked beside, how much information has been passed along. I’ve been extremely fortunate! It’s important to reveal and write all this stuff down, then pay it forward!
As Seen On TV
Jon Gnagy Photo
Jon Gnagy, host of “Learn to Draw.”
As far back as I can remember, I’ve considered myself an artist. This is likely because, from the age of 5 or 6, I was treated like an artist. My mother and her father, my grandfather, are/were both creative individuals, so I’m sure they were pleased I showed an interest and encouraged it.
I’ve learned, over time, that in addition to my love of art, from my mother I inherited a unique energy. I fall asleep at night (I actually resent having to sleep, at all), thinking about what I’m going to accomplish the next day and hop out of bed, the next morning, chaffing at the bit to get started. I continue driving forward until it’s, once again, time for bed. I thought everyone functioned like this, until many others pointed out to me that this was not, in fact, the case!
Oswald Cartoon Image
Oswald silent animated short.
I’m of that first television generation. To my recollection, there was always a television in our house. I took full advantage of that. My inherited energy prompted me to jump out of bed, early in the morning, on weekends and during vacations from school, long before anyone else in the house was awake. I’d immediately switch on the TV to a test pattern. Trying to be patient, I’d fidget through the farm report (first program broadcast in the morning), waiting for the old silent black and white animated shorts to begin. I’d watch, learn and dream about creating animation myself, someday.
Saturdays were different, than other days off, however. On Saturdays the National Broadcasting Network presented “Learn to Draw,” hosted by Jon Gnagy, as part of their early morning line-up.
http://https://youtu.be/7YIRcQVkTOw
Long before Bob Ross (Bob was likely sitting in front of the TV in his PJ’s, as well), Mr. Gnagy would host on-air draw-alongs, guiding us through the creation of elaborate compositions, utilizing simple geometric shapes: the ball, the cone, the cylinder and cube. Later I’d learn that this was not actually a Jon Gnagy original discovery, but was instead promoted by Modern Art giant, Paul Cézanne.
Gnagy Kits Photo
Jon Gnagy “Learn to Draw” kits.
Under Mr. Gnagy’s tutelage, I created snowy landscapes, asian seascapes, farm scenes, still lifes, you name it. Beginning in 1947 (before I was born, I must add), over time, his show grew in popularity, prompting the retail release of Jon Gnagy Art Studio Kits, sold in toy store. I was the recipient of many of these kits, as family friends and relatives saw them as perfect gifts for a young artist.
I don’t know what it was that made me think about Mr. Gnagy, lately, but something led me to search him out on the Internet. I learned that while Mr. Gnagy is long gone (he passed away in 1981), his studio kits are still alive and available thanks to the Martin F. Weber Company.
Warhol Self Portrait Image
Andy Warhol’s Self Portrait
My research has also informed me that I was not alone in my devotion to the Learn to Draw program. I found this quote from Pop Art giant, Andy Warhol, “I watched his show every week and I bought all his books.”
I wonder how many other artist, famous or infamous, spread out their drawing materials on the floor in front of the TV set and, along with me, spent a half hour of their Saturday mornings following the goateed instructor’s lead.
Why Art School?
Chouinard Facade Photo
Chouinard Art Institute (Early CalArts)
Is an art school education really necessary for those that intend to make creating art their profession? Can’t you just learn everything you need to know about art, on your own, through practice? What do you actually gain from a formal art school education?
Drawing Class Photo
Chouinard Drawing Class
We’ve all run into self-taught artists in our lives with incredible abilities. Which begs the question, do you really need a formal and generally expensive, art school education to create great art? The answer, I believe, is no, but let’s discuss why I still recommend an art school education to anyone seriously interested in becoming a professional artist.
Contemporary Drawing Class Photo
Contemporary CalArts Drawing ClassPaint Sink PhotoSo, get an art school education if you can, but don’t despair if it isn’t in the cards. With proper dedication and exposure, you can get there on your own, the journey is just a significantly longer one.
Au Revoir, Dear Friend
Photo of Dennis Lewis
Dennis Lewis, at home at his easel.
Old friends are the most valuable friends. They know your true name. That is, they know who you really are, stripped away of any accomplishments or well developed facades. They befriended the lump of clay in its raw, unrefined state. A life barometer, their praise, criticism and most of all continued friendship, slices through the layers to the man or woman behind the curtain. They are a cornerstone in the foundation of your life.
I lost one of these dear, stabilizing friends this week. Dennis Lewis, master painter, teacher, lecturer and most beautiful of human beings, husband to designer, Sheryl Lewis and 3 wonderful, creative children, Christopher, Nathanial and Christina. He left us after a brave multi-year battle with cancer.
Rose of Sharon Image
“Rose of Sharon,” by Dennis Lewis. Featuring his beautiful wife, Sheryl.
Dennis and I met our first week at Chouinard Art Institute. I was sitting on the sidewalk, out in front of the school, during a break between classes. My back against the wall, staring at the ground, this was the first time I’d ever begun a school year without knowing anyone else attending. I heard, “Hey, man,” and looked up to find Dennis starring down at me. “This your first week here?” I responded that it was and he said he thought so, he’d seen me in his life drawing class. He explained it was his first week, too. We were both 18 years old, at the time, and this was the beginning of what became a 50 year long friendship. This was Dennis’ way, reaching out to anyone he encountered who seemed lonely, confused or needed help in some way. He had the biggest heart and kindest manner of anyone I’ve ever encountered. And he was so humble. He was one of the most talented individuals I knew in art school and that talent skyrocketed throughout his life. He’s responsible for the design of album covers for many of the movers and shakers in the recording industry, countless movie posters and several of his commissioned paintings hang on the walls of the Pentagon. Yet, he was constantly seeking out strangers of talent and asking them to show him how they did what they did, expanding his learning, only sharing his own work with them, if they asked. As a result of this, he could number many notables in art, as his friends.
Hair Image
“Hair,” by Dennis Lewis. A challenge to his son, can you grow an afro as big as mine, in the day?
I’ve been fortunate, in that Dennis and I have often lived in close proximity to each other. Many of the positions I’ve held have been packaged with the responsibility to recruit others, for assistance in realizing accomplishment of creative projects. Dennis never refused my requests for help, allowing us the joy of working together many times in our careers. He even packed up his family and moved from L.A. to the Sierra Nevada foothills to help me build a creative organization for a pioneering company, in the early days of computer game development, Sierra Online. I say joy, because Dennis is a hilarious guy. He tells a story like no one else. Anyone who ever attended one of his demos, can attest to this. They were not a demo you wanted to attend with a full bladder!
To some degree our lives traveled along similar paths. At 5 or 6 years of age, we both decided we’d be artists, after receiving praise from our mothers, for something we’d created. We both entered and graduated from the same art school in the same period and chose identical areas of study while students there. For most of our adult lives we earned our daily bread as commercial artists and recently, at the same time, without consulting each other, both decided to pursue fine art full time. Identically, we fell in love with the Sierras, during our time at Sierra Online and settled here.
Our being located near each other, in pursuit of fine art, has allowed us to paint and draw together on a regular bases, both in the studio and out in the pastoral locals Yosemite and the surrounding mountains offer. A tremendous gift, recent years with my good friend and creative sounding board. With his passing, I’m out of balance. On some level, I was painting for Dennis. His absence has left a tremendous void in the lives of all that knew and loved him and to know Dennis, was to love him.
Au Revoir, Bud, please keep a place for me on whichever plain or in whichever dimension you settle!
Learning to Love What you Hate!
Cy Twombly Painting
“Untitled (Bolsena),” Cy Twombly
We all carry prejudice. Life experience teaches us what we like, as well as what we don’t like, so much. You probably have a favorite color. Prefer salty snacks over sugary ones, or vice versa. Maybe you like snug fitting clothes or want your garments to hang looser…no problem!
Basquiat Painting
“Untitled,” Jean-Michel Basquiate
I do feel prejudice can become a huge problem, if you’re an artist. I have artist friends who dismiss entire schools of art or bodies of work, because they don’t like that kind of thing, or worse, believe it falls below the bar they’ve arbitrarily set for what IS or IS NOT art. Here’s a rude awakening to any of you out there that find yourself in one of these camps, IT’S ALL ART! Yes, it’s all art, but within each art genre there is GOOD and there is BAD art! No one gains anything from BAD art, unless it’s a reminder to avoid going in that direction, but if you write-off GOOD art, of any school or collection, because it’s foreign to you or not your thing, you do yourself a disservice, turning your back on available knowledge: concepts, techniques, solutions, etc., that could inspire new directions in your own work.
Rauschenberg Assemblage
“Monogram,” Robert Rauschenberg
Ridding yourself of bias takes a change of mind and heart, but it’s worth it. I’ve considered myself an artist, since I was a little kid and I’ll admit, by the time I walked through the doors of art school, I’d built up quite a library of art prejudice. There was more I disliked, than I liked in contemporary fine art. But art school was a wonderful, true education for me. Here I could no longer choose what it was in art I would focus my attentions on. For the next four years my professors were going to make those choices, enlightening me to what was important in art and explaining why that was so. As if a blindfold had been removed from eyes, suddenly I saw how all the pieces fit together in the timeline jigsaw puzzle that is the history of art. I had a new library of concepts and solutions to draw from (excuse the pun) that helped resolve problems in my own personal work. With understanding and appreciation came a new appetite, there is now so much more visual information for me to digest, in art museums and the world at large.
Les Demoiselles Painting
“Les Demoiselles d’Avignon,” Pablo Picasso
As artists, we can’t afford the personal likes and dislikes in art that the rest of the population holds. We must keep our minds open and approach each new visual stimulus free of preconceived ideas, absorbing whatever it has to share with us. You don’t have to drop everything and register for art school to open your mind. The Internet has made gaining knowledge about subjects we don’t understand easy and instantaneous. The best place to start is with the art you like the least.
In time you’ll be harvesting information from Banksy as well as Caravaggio!
Judgement Call
Judging Photo
Among the many things discussed this weekend with 3 artist friends, during our 8 hour round trip journey to the San Francisco Bay area, was judging in art competitions. We belong to a local chapter of a San Francisco based art organization and had volunteered to transport our member paintings up and back from the annual exhibit held at our headquarters gallery.
We’re, all four, often asked to judge various competitions or to be involved with the selection of judges. I, personally, believe in a 3 judge system. Having a single judge, I feel, is unfair to the entrants, as it’s very one-sided, reflecting the nonobjective personal tastes and opinions of a single individual. While having two judges is a little better, with the decision making a bit more objective, the decision weighting is now just 50/50 and the two judges decisions can cancel each other out. A piece that one judge loves, can be knocked out of prize competition because the other judge doesn’t agree. With 3 judges, prize winning works are selected through majority decisions, each single judges judgement call is tempered by the judgement of the other two. I feel so strongly about the fairness of the 3 judge system, that I consider this in deciding whether or not to participate in a competition.
Ribbons PhotoAnother central topic surrounding our competition judging discussion was the importance of who the selected judges are: their background and expertise. Organizations have a lot of tasks on their plate when putting together an exhibit or competition and too often judge selection it made quickly, without adequate consideration, in an effort to mark the task done and move on to one of the other items on the list. The problem is compounded if you’re making the selection for an organization who offers competitions annually or even more frequently. In attempts to avoid using the same qualified judges too often, it’s easy to relax standards a bit, in the name of adding variety to the judging panel. Don’t do it! Who is selected to judge the competition is the single most import decision made in an art competition. Unqualified judges make for unfair, competitor head-scratching decisions.
Selecting judges with expertise specific to the flavor of your competition is another important consideration. If you’re mounting a representational art only competition, you don’t want to bring in judges known for their fantastic abstract work. If you’re including an abstraction category in your competition, you don’t want to only invite hardcore realists to do your judging.
While a lot of this is just common sense, when the calls for entry have gone out and you’re under the gun to get everything done before the posted show opening night date, it’s easy to use up the time necessary to consider and vet appropriate judges. You owe it to yourself, organization and competitors to never let that happen.
Little Known Facts About van Gogh
Self Portrait Image
“Self Portrait,” Vincent van Gogh
Vincent van Gogh’s work spoke to me at a young age (6 or 7) and I’ve continued the conversation with this very special Dutch artist my entire life. I first discovered his work in a Child Craft encyclopedia, one of the volumes in the full set my parents had purchased to support the new family they’d begun. It was the first of many books in which I’d learn about his tortured life and magnificent product over the years. With each tome new pieces were added to the complicated picture puzzle of his life.
Vincent never showed any special affinity, interest or talent as an artist before he decided he wanted to be one at age 28. 9 years later, at age 37, he was dead. Over just 9 years he’d taught himself, first to draw (2 years), then to paint, producing 2,100 works of art and establishing himself as one of the most influential artists in Western Art. Not so much a little known fact as a phenomenon often overlooked.
While it appeared the older Vincent was taking great advantage of his younger brother Theo, in actuality it was a business arrangement. While Theo was supplying the funds that enabled Vincent to paint, all the paintings belonged to Theo and Vincent shipped them off to his brother, as soon as they were dry enough to travel.
Vincent was a kind, compassionate individual, in the extreme. In his earlier attempted vocation, as a missionary in Belgium, he ruined his own health, first giving away all his food and most of his clothing to the poor miners there and then sleeping on a bed of straw on the floor, after he’d torn all his bedding into bandages for the treatment of those injured in the mines. Uncomfortably with his sacrifices, the church asked his family to bring him home.
Sudden Shower Image
“Sudden Shower over Shin‑Ohashi Bridge and Atake,” by Hiroshige
Later, when he was painting in Arles and would pick up funds wired to him from Theo, he’d often arrive home from the post with just pennies in his pockets, having given the bulk of his newly received funds to the poor and homeless he met on the street.
From Hiroshige Image
Van Gogh’s copy of the Hiroshige print.
Van Gogh was heavily influenced by Japan’s reopening of trade with the West after 200 years of isolationism. There was such an insurgence of Japanese objects in Europe, that Japanese prints were found, wrapped around ceramic objects, used as packing. Van Gogh’s work began to include outlines, an element missing from Western painting for centuries, but a primary element in Japanese prints. His areas of color were greatly flattened. And something I’d never noticed, prior to recently reading a van Gogh biography translated from Dutch, Vincent eliminated shadows from his paintings. Shadows do not exist in Japanese prints.
Bedroom Image
“Bedroom at Arles”
Even his migration to the south of France, his attempt to begin an artist’s colony there, was, in his words in a letter to his brother Theo, the seeds of a “new Japan,” as he understood it. His “Bedroom at Arles” a depiction of his new monastic Japanese dwelling place.
Contrary to common belief, Vincent’s work was gaining notoriety during his lifetime and he was offered multiple shows in Paris. Unfortunately, he inflicted a great dilemma upon himself. On one hand he was desperate for financial success, to remove himself as financial burden from Theo, but afraid that the same success would ruin him as a painter. Afraid that popular paintings would dissuade him from experimentation and encourage him to repaint the same paintings over and over again.
Tough case!
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Fine Art
Contemporary Arts Center votes to dissolve after 25 years
The “Eco Logic” CAC group exhibit curated by Jevijoe Vitug Sunday, Feb. 9, 2014.
Photo: Yasmina Chavez
After 25 years in the Las Vegas community, the Contemporary Arts Center is shutting down operations. The board members will file to dissolve its nonprofit status on April 5, and the 25th Annual Juried Show, open April 3-25 at CAC’s temporary location inside Alios at 1217 S. Main Street, will be its final show.
"The writing has been on the walls since we moved out of the Arts Factory and nobody stepped up," says Michele Quinn, board co-president, referring to the organization’s move out of its longtime space in the Arts Factory and into Todd VonBastiaans' Alios lighting consulting business. VonBastiaans had donated the space, which was designed as a gallery operation prior to his moving in.
Quinn and Aurore Giguet joined the board a year ago and aimed to raise large-scale funding for the CAC, but the money was not coming in.
"Our last fundraiser was a very targeted private event," she says, adding that they sought $10,000 apiece from 10 people. "The feeling I got was, 'We don't want to be your only donor.' They're looking at other nonprofits that have staff and support systems. We're being weighed against the other nonprofits. From a donor perspective and from family foundations, we were too high of a risk."
Additionally, she says, when it was announced that the co-presidents would be stepping down, nobody came forward to replace them.
The decision to shut down was made at the March 19 board meeting, with six members voting to dissolve the organization and two members voting to go into dormancy. Dormancy still requires a board.
"We keep chasing our tails. It's the same story," Quinn says. "We didn't have the Hot Hot Haute [fundraiser], but that takes time and energy, and $10,000, which is about what it brings in, isn't going to save us."
The organization began in 1989 as a collective, then named the Contemporary Arts Collective, and was a member-based, volunteer organization that exhibited works of its members, as well as other shows. It has struggled over the decades with funding and operations. New boards and new volunteers came forward and tried to remedy the problem, but the CAC has always operated on a shoestring basis.
A John Wayne Gacy exhibit in August 2011, held by Wes Myles, the organization’s biggest benefactor (who often paid the group's rent to keep it in his building) caused some of its members to step away from the organization due to the controversy from the late serial killer's artwork.
When the CAC ran into financial trouble at its location at Holsum Lofts, Myles stepped up to bring the CAC back to the Arts Factory and paid its rent. Many artists and arts supporters have volunteered at the organization, working full-time to keep it running.
The decision to dissolve might come as no surprise to those familiar with the group in recent months. The board held an open community meeting December 18 to discuss its future. Options on the table included running the CAC as a pop-up gallery space. Former board members suggested it return to its early mission as a collective—with an army of volunteers running the group—and not as a gallery. But even as a collective, the organization struggled over the past decade. Gallery hours were hit and miss, there was internal infighting and there was no record keeping of previous donors.
The effort to dissolve comes at a time when the CAC has been presenting some of its strongest programming—a mix of exhibits featuring artists from Las Vegas and other cities.
Quinn says the process has been frustrating. Efforts such as the Life Cube raised $15,000, and the for-profit Huntridge project raised $207,000, but the CAC, acting as a longtime nonprofit focused on contemporary art, was unable to get community members to donate $25 for a base membership, despite interest from the community in its shows.
"It's strictly financial," Quinn says. "When we joined, there was less than $1,500 in the bank. Grants take a year and a half to come through. Maybe the community isn't asking for this right now."
"We have given this everything we have," Giguet said via release, "but there's a time when you have to step back and examine when the support isn't there. Despite the valiant fundraising efforts of our team, we've come to the conclusion that the funding is no longer there to support this organization."
Brian Paco Alvarez, who served as CAC vice president for a few years and served on the board for eight years, says he’s “in shock” over the news. The CAC has been in worse positions, but it's always been sustained. Always someone stepped up to the plate.
"We painted the walls, we cleaned the floors, we hung the art. Anybody who's anybody in the arts in this community did their time at the CAC. It's the rite of passage in the arts in this community. It was never perfect. It was a working board. We did what we had to do to keep the organization going."
Artist Diane Bush, who has served on the board and been involved with the CAC for several years, says she's not surprised by the news and that running the organization is full-time job. "Michele and Aurore gave it a good try, but unless it is your primary passion in life, it's a hard organization to keep strong. When the CAC started out it was practically the only game in town and was vital to the community. Now that many other opportunities exist, the loss of the CAC is not earthshaking, just sad. Blackbird Studios has filled the CAC mission to some extent, in its outreach to community artists, though the mission to commit to cutting edge contemporary art is not the same. We now have Emergency Arts, and a wide variety of Main Street shops who partner with artists on First Friday. The Arts Factory remains, Art Square is a wonderful space, so Las Vegas will survive, even if the CAC does not."
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Kristen Peterson
Kristen Peterson joined the Las Vegas Sun in 1998 as a general assignment reporter. In 2003, she turned her focus ...
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Spirit Level at Gladstone Gallery
Walking into the Spirit Level, on view through April 21, at Gladstone Gallery’s 24th Street branch, one passes through a hallway of Ann Craven’s large, dark paintings with taffy-colored off-white holes in the middle. The floor is lined with Latifa Echakhch’s “Frames”: rectangular rugs with the centers removed, so that only thin edges and fringes remain. The pairing sets the tone for the exhibition, and it’s testament to Ugo Rondinone’s curatorial dexterity: the simple combination evokes prayer, death, infinite, cycles, and detritus which inevitably fills up empty space. - Read more from Whitney Kimball after the jump!
Anne Craven | Moon, 2012. oil on linen, 72 x 72 inches.
Photo courtesy of Gladstone Gallery
In the following room, Sarah Lucas’s four-foot-tall penises, which appear to be doused with Pepto Bismal, stand matter-of-factly in the middle of the gallery, as though they mysteriously sprouted up overnight. They’re ultimate gauge of potency, and they’re melting like popsicles.
Sarah Lucas | Oboddaddy 1, 2, and 3. 2010, plaster, rubber, wire mesh, fibreglass armature, Approx. 44 3/4 x 14 3/4 x 10 3/4 inches. Photo courtesy of Gladstone Gallery
In the next room, decrepit reclining nudes by Hans Josephsohn are brass, but they look like dull, dried mud. The figures, pocked by fingermarks, lie on their sides, on dirtied pedestals which look like victims of a basement flood. Pyramids of canvas, in a natural dye palette, hang on the walls with circular patches sewn on, by Alan Shields. The back wall contains a mural-sized suite of Amy Granat’s photograms of flowers; this room in particular might elsewhere verge on decorative cliché, but here imparts a genuinely sacred significance.
Beyond that, on a wall leading into the far space, is Kim Jones’s “Mop 3”-- a mop head unwrapped and tacked to the wall so that it resembles a human scalp. The mop head is some sort of synthetic or animal hair; the skin of the scalp is painted yellow, pink, and blue, and resembles a brainy sinew. Its presence is least explainable, but in the context of the surrounding works, its bizarre treatment, and the allusion to peeling open a skull, feels like a revelation.
Kim Jones | Mop 3, 2009, mixed media, 24.5 x 18 x 1.875 inches
Photo Courtesy Pierogi Gallery
Andrew Lord’s series of hand-textured ceramic vessels are the next item one sees in the next room. Women’s heads open up to the sky, with braided handles folding in toward the skull. In one elevated platter, a small figure wades onto the plate, clutching onto a handle as though it’s a swimming pool handlebar. Like the hole in the head, the platter’s surface becomes an entrance into another realm.
The 21st street space feels much more like a garage, where things have been left to rot. In the entrance of the 21st space, where the show continues, are paintings of what look like primitive mummy dieties by Hans Schärer. Here are several variations, in off-whites, blacks, and dirty, natural hues, all with pebbles for teeth. The paint is caked and cracking, as though the process of applying it were excruciating. On one of their mouths, nails are tacked in a circle around the lips.
Install shot | Photo courtesy of Gladstone Gallery
Most of the work in the 21st street space is much larger- like Peter Buggenhout’s looming, 13-foot-tall, dust-covered sculptures, which look as though a tornado has swept up shanties and locomotives, and those wreckages calcified, and wore down to their frames. Sam Gilliam’s “Wall Cascade” and “Close to Trees”- two 19-foot-long, multi-colored swaths of fabric hang down from the ceiling, the size of small waterfalls- the material looks as though enormous vacuum cleaner bags had been emptied and hung to air out.
In the far corner of the gallery is a chair and bucket for Kim Jones’s “Mudman.” Since the 1970s, Jones’s shamanistic “alter ego” Mudman has appeared in a nylon mask, a web of sticks, and coated himself with mud from a bucket- a response, some have indicated, to his own experience in the Vietnam War.
The upstairs gallery is absurd pain-- photographs by Vienna actionist Rudolf Schwarzkogler-- depict bandaged and bloodied bodies, along with Al Hansen’s cigarette-butt Venus torsos on panels.
Ugo Rondinone, who injects mundane subjects with the utmost significance (scholars’ rocks, olive trees, lumpy, oafish heads, and phrases like “Hell, Yes” and “Dog Days Are Over”) is similarly uplifting mundane-looking work. The 21st street half is a bleak and uncompromising aura of death, and the other feels like an answer: cognitive openings, passageways, and unlikely wonders. Is Rondinone playing God here? Definitely. But if he’s enforcing anything, it’s only a lesson on what art can do.
Whitney Kimball is a New York-based painter and art writer.
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Another Angle Entirely
Kegan Fisher and Liz Kinnmark are Design Glut. Design Glut is a webzine, and also a blog, and a Twitter feed, and a design studio. (Sometimes Design Glut also turns itself into a band called Made of Titanium, with Kinnmark on the synthesizer and Fisher on harp.) All of this goes down in Bushwick, which seems pretty much right, and it started two years ago, when Pratt classmates Kinnmark and Fisher shared a table at the International Contemporary Furniture Fair (ICFF). Kinnmark’s ICFF contribution was “egg pants,” which are basically holders for soft-boiled eggs that make it look like your breakfast is wearing trousers. Fisher had a dream about ceramic tiles with half a teacup on them, so she woke up and made them, and that was what she brought. The response to these objects was positive, and Kinnmark and Fisher decided to go into business together, and also for a while to be roommates (Fisher now lives with her husband in Manhattan). They came up with a sort of manifesto, promising to only produce things they consider “good” and useful and, by their calculations, responsible.
“Coming right out of school, we saw a market that was oversaturated with brightly colored things and shiny objects and new lines created just to meet seasonal deadlines,” Fisher says. “And we realized it was our responsibility to not do that.”
So with the confidence of youth, they set out to make products that are “conceptual, relevant, or functional” (Fisher) or products that “start conversation” (Kinnmark). So far, that’s taken the form of necklaces based on crude-oil drums—“That talks about value,” Kinnmark explains—and a men’s hankie embroidered with the vertiginous line of the Dow Jones Industrial Average. “We come up with tons of ideas,” Fisher says, “but they’re maybe not the best thing for the marketplace. So we don’t produce them!”
They do, however, produce quite a bit: those hankies, those egg pants, those teacup tiles. And sometimes, even, they leave their manifesto behind. “I have a weakness,” says Fisher, “for beautiful objects. I can’t help it. When I see something gorgeous, I fall in love. I do.”
Liz Kinnmark’s Bedroom
“The whole idea for this room came from the fact that the wall is built on an angle in order to accommodate a window. So I just mirrored that angle in paint and went from there.”
All photographs by Dean Kaufman
The paintings
are by Fisher. “I like things that are large, bright, and geometrically driven. I use color to alter perspective.” The rug is layers of trimmed Ikea bath mats. That’s Fisher’s harp.
The View
Dining Area
Kinnmark’s teacup tiles, called “Hookmakers,” meet a table from Craigslist and chairs from Ikea.
Turquoise Wall With Tables
“I bought the counting machine just because I liked the color of the buttons,” says Kinnmark. “And the tables are Design Glut”a Kegan-inspired design.”
Another Angle Entirely
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The Lowdown – Dragos Paunescu
Dragos Paunescu is the subject of this week’s Lowdown. AI
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A few weeks back I wrote about an incredibly important play that is on the horizon right here in Airdrie and within that column I shared that sixty different roles will be played by ten actors; this week I have the total pleasure of sharing one of them here with you. At just 18 years, Dragos Paunescu displays the sort of professionalism you don’t always see, even with the most seasoned of veterans. As I’ve shared previously my road has entailed a variety of encounters from the absolute greenhorn to a few of our worlds greatest talents and as I cautioned Dragos, some of them will break your heart with their candor while others, like himself show the world just how incredible a job his family did bringing him up.
I first caught sight of Dragos in the Acting for Film course he and I share. Taught weekly right here in Airdrie by none other than Marty Antonini, Dragos has found his way to the front of the class every week with his determination. He comes by it very casually but you can see the drive in his effort week in and out. Where guys like me struggle I’ve found simply watching him and a few others in class is like having a teacher’s assistant present. As he carves his own self into every line presented to him you can tell there is a happy medium where technique and natural ability collide. It’s no wonder The Nose Creek Players think so much of him.
“The first time I worked with Nose Creek I came in late to Ann of Green Gables” and everyone there really helped my get where I needed to be. I couldn’t believe how really nice everyone was, their support really made an impact”.
And that’s where things are at with Dragos. The impact of the Laramie Project has clearly had a profound effect on this man. He sees the value of telling this story while still processing, like the rest of us, just how our world still deals with this level of hate and discontent for another person.
“One of the challenges for me has been learning the 10 different roles. Remembering the lines, the emotion and the importance of knowing the bios of these people and to be honest it’s been really hard for me to articulate the impact that Laramie has had on me”.
Dragos shared with me how much he appreciated his family, “mom and dad have both really supported me in all of this” which I personally applaud. It’s not every day that a young person immersed in arts is completely championed by their own people. I can relate to this first hand, as many other artists can too. My mother always believed I could do something with my stand up, however my recollection of the rest of my family isn’t entirely so supportive and as long as we continue to put more value in our vicarious agendas over whom people are born to be this may very well always be the elephant present at many dinner tables in our world.
As previously discussed, not every kid wants to play sports. And I know the people of our city are screaming for more growth however it is my view that this growth needs to be built on the keystones of true inclusivity and that includes support to both art and sport; these are the stages where children learn to be well shaped adults who understand that life is a process. Teach the kids the value of each and the structure of their respective businesses and we stand a chance at leading not only our province but perhaps, dare to dream, our entire country where whole communities are truly concerned. The potential of our future is in the here and now.
The path is bright for Dragos as he prepares to venture off this new year to Vancouver where he has been accepted into Vancouver Film School. Another piece of his life where mom knew best, “my mom was the one who sent me the info that VFS was in Calgary auditioning and because of that, I checked it out”.
At first Dragos found himself on a wait list and with two days to go he received a call that he was to prepare for a dramatic and comedic monologue. He nailed it, which to me at this point is really no surprise.
With eleven days to go until The Laramie Project opens young Dragos is calm. He’s ready. You can see it in his eyes. And even though he’s fully occupied by this impending success he manages himself with grace and appreciation. He shared how it really started with an acting class taught by Airdrie’s Kim Cheel and went on to say how much he was inspired by her teachings. He continued to speak about his appreciation for The Nose Creek Players and also Torchlight Theatre and their gracious team. You can tell while on the cusp of the coming weeks that Dragos Paunescu is very grateful for everyone who has helped along the way.
You can see Dragos live in The Laramie Project right here in Airdrie November 15, 16 and 17. To buy tickets visit nosecreekplayers.com today. You can also visit Lowing Media on Facebook and enter to win a pair!
Thank you again for your support of Arts and Culture in Airdrie, for reading the Airdrie Echo and following Lowing Media online. And remember to visit lowingmedia.com today and sign up for our mailing list! T.
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`School of the ecstatic.' Devotional, emotional life and music of MessiaenRecommended: Could you pass a US citizenship test?
This is an important book, especially for Messiaen devotees. It is highly technical, not an ``easy read,'' by any stretch. It is not a biography as such, but a monograph addressing practically every movement of every work of Messiaen's, from the standpoint of his exotic modes of melodic scale and rhythm, and his concepts of duration, all tied to his deeply felt, if freewheelingly applied, pantheism and Roman Catholic mysticism.
Griffiths's graceful writing takes full account of Messiaen's commitment to the fusion of European musical method and Oriental concept. Messiaen constitutes a fairly important chapter in the history of the West's preoccupation with the East, and the book's raison is a frank and detailed look at the composer's principle of ``permanence rather than progression.'' It may be a moot point, whether that is a concept successfully translatable into sound. (Wouldn't the music of the spheres, so aime d-at in works like ``La Transfiguration de Notre-Seigneur J'esus-Christ,'' be rather more of a grand silence, literally taken?) Nevertheless, Griffiths also takes pains to point out that Messiaen's influence on modern composers has been at least as widespread in its own way as that of any other major modern master -- Stravinsky, Debussy, Schoenberg, and Hindemith included.
Among the things of general biographical interest is the mention of Messiaen's slightly slipshod early training. It is a recurring factor in the lives of pioneering types that naive, self-educative beginnings set the stage for a habit of placing high premiums on freedom and antidogma. Much in the current Minimalism madness is actually traceable to Messiaen's work in the '30s and '40s, but his sensitivity to form and tradition, even while discarding them, certainly runs much deeper than in a good many la tter-day Minimalists.
Griffiths is definitely sympathetic to Messiaen's other-world ethic, but ``The Music of Time'' is one of the most evenhanded works of advocacy around -- surprisingly so for him. In his study of the gestalt Messiaen, he is correct about so much of what he asserts and defends -- and of one thing in particular: that Messiaen must ultimately be judged not merely on the ``composer aesthetic'' side of his output, but also on the basis of his religiosity and its contribution to the piety of the world. For thos e up to investigating all that, this book will surely be a central tool.
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Dancing with Fire
I really got into the orange red colors and started doing layers of 3 inch squares of all sorts of fabrics. It just grew and grew into a doorway. All three panels can be taken apart to make three separate works of art that can hang individually. Here are pictures of both front and back sides which are done in different techniques with different designs and images.
Dancing with Fire life-sized doorway front
layers of fabrics
Dancing with Fire doorway back view
This entry was posted in Uncategorized. Bookmark the permalink.
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Monday, April 25th 7:30pm
(Reception 7-7:30pm)
Free and open to the public.
Please register on event@viatraffic.org
Location: Traffic - Download Map
talk-by-david-melville
Mustapha Benfodil, "Maportaliche/It Has No Importance," 2011
A talk on censorship and controversy in contemporary art, discussing “The Persekian Affair,” blasphemy, public order and artists’ moral rights. Solicitor and Legal Consultant David Melville raises the question, “How should the State reconcile the right to freedom of expression and creativity with “public order” and the preservation of a society’s moral compass?”
In light of the recent events surrounding the dismissal of Sharjah Art Foundation Director Jack Persekian and the censorship of artworks in the 10th edition of the Sharjah Biennial, Solicitor and Legal Consultant David Melville looks at the issue of censorship and controversy in this context and beyond. The basis of the talk comes from Melville’s concern with the founding elements behind the ‘Persekian petition’ - namely the idea that the removal of Persekian is somehow a form of denying the cultural shifts that are happening in the region. In reality, it is more about setting boundaries - a theme between artists and the State for centuries, and the importance of operating in a dialogue rather than as between contesting parties.
About David Melville
David Melville is a Solicitor and Legal Consultant whose interest in the Arts, Public Affairs and Art Law stem from his knowledge of Intellectual Property Rights, particularly those relating to emerging Digital Media and Copyright, and the way those rights affect the art market, artists and galleries. With over 30 years of experience in the legal field, Melville has held a number of leading positions including that of ‘UK Legal Director for Amazon,’ where he managed the UK legal department of the world’s largest on-line retailer. He was involved in balancing the requirement to remove offensive and illegal content with the need to maintain freedom of expression. Melville has been in Dubai since 2008 and presently works as a Legal Consultant with Jafar Alwan Al Jaziri Advocates and Legal Consultants in Dubai, specializing in IP related issues and the Arts.
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Five compete for Uphams art display commission
“Our deciding criterion is not looking at a particular proposal for art installation, but rather at experience in engaging the community,” said Harry Smith, director of sustainable economic development at the DSNI. “Their projects must include young people, merchants, people for whom English isn’t their first language – those who are usually left out of the planning.”
The finalists are Cedric Douglass of Mattapan, Mags Harries and Lajos Heder of Cambridge, Waqas Jawaid of Dorchester with a team of two, Laurence Pierce of Dorchester and two colleagues, and Katarzyna Balug of Cambridge.
Waqas Jawaid, a new resident of Dorchester and recent graduate of the Harvard Graduate School of Design in Architecture, is working with classmate Quardean Lewis-Allen of Cambridge and Jonathan Crisman, who is currently in San Francisco.
The three architects have not worked together before, but are excited to collaborate for this contest. Their idea is to create a café storefront and art studio in a warehouse area that will be called Art Lab and will provide apprenticeship and internship opportunities in the community. “As architects, we think a lot about how a public space functions, and we ask, ‘How does it activate a city?’ Jawaid said.
Jawaid and his team have been working with the Strand Theatre to develop their idea.
Freelance graphic designer and artist Cedric Douglas of Mattapan is developing a project around the theme of “Up,” which he says represents how Uphams Corner is a modern, 21st-century neighborhood. “Uphams Corner is the new art district of Boston,” he said. Douglas has been working with Design Studios for Social Intervention’s “Making Planning Processes Public” project.
His plan is to drive a mobile art truck around the community as a way to get residents involved in his project and to recruit “smart, dedicated youth” to help him conceptualize his final product.
Katarzyna Balug of Cambridge is also looking to recruit youth for her art installation by creating a storefront that will serve as a free public space where open mic nights, fireside chats, and community events will be held. She plans to use these community events as a way to generate ideas for her art installation. “I’m resisting putting my physical initial ideas on the table because I want the people I work with to respond to the challenge and for the community to take ownership over the installation,” she said.
Residents of Uphams Corner are encouraged to attend community meetings to provide feedback and select the winner. The meetings are scheduled for Fri., Jan. 17, at noon at the Mattapan Branch of the Boston Public Library, 1350 Blue Hill Ave; Tues., Jan. 21, 5:30 p.m. at the Design Studio for Social Intervention, 1946 Washington St., 2nd floor, Roxbury; Thurs., Jan. 23, 6 p.m., at the Dorchester Arts Collaborative, Erick Jean Center for the Arts, 157A Washington St., Dorchester.
Read more about the Uphams Corner ArtPlace project here.
Subscribe to the Dorchester Reporter
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Best Ceiling Wallpaper Ideas. How to Wallpaper your Ceiling Like A Pro
Photo of author
Written By Jim J Neal
Noe DeWittWallpaper can be a wonderful (and often overlooked!) design element. Design elements that instantly add color, personality and art to your space. Many of us are afraid that too much color or pattern might overwhelm in these ultra-bright white spaces.
This isn’t an unfounded fear. The wrong wallpaper in the wrong place can make you feel like you are transported back in time. There are many options for wallpaper design. Another creative idea you may not have thought of? It can be mounted on your ceiling.
Martyn Lawrence Bullard.Tim Street Porter. You’ve likely seen ceilings painted in a different color than white. But have you ever seen the impact a bright pattern on a ceiling? Two ceiling designers shared their top tips and tricks with us.
Why you should wallpaper a ceiling
Lori Paranjape, a Nashville-based wallpaper designer, says that wallpaper can transform spaces more effectively than paint. Pranjape added a bold leopard print wallpaper (Schumacher’s Iconic Leopard Ink) to the ceiling of the study. This allowed Pranjape to inject personality and color into the space without affecting the all-white theme throughout the house. She says, “The ceiling was our opportunity to be bold and brave without becoming a distraction for other spaces.”
Design by Studio DB.Matthew Williams She explains that ceilings are often a very clean canvas for patterns.
Nadia Subaran of Aidan Design in Maryland, was inspired to wallpaper the ceiling of her kitchen-adjacent pantry’s ceiling with wallpaper. Farrow and Ball’s Ranelagh wallpaper was perfect for this small space with tall cabinets, many doors and a window. Another beautiful space is the archway at the entrance, which can be used as a wallpaper moment from floor-to-ceiling.
Design by GRT Architects.Nicole Franzen”Architecturally, it works best to have nice clean ceiling geometries:(square, rectangle, etc. Subaran says that it is important to have clean ceiling geometries (square, rectangle, etc. .).”). Subaran’s firm focuses on kitchens, as well as the accompanying serving pantries and dining areas. She says that kitchens are often too complex to be wallpapered. You can “offer an unexpected and special detail by adding a splash of color and pattern to adjoining rooms,” Subaran says. It’s also a great way for formal details to be added.
How to install wallpaper on a ceiling
Peter MurdockAfter you have decided to wallpaper, you need to narrow down your choices. Subaran says that choosing wallpaper is like selecting the right jewelry to go with an outfit. How do you ensure that you choose the right wallpaper?
Paranjape says that her best way to choose the right wallpaper for a space is to first determine why she wants it. Is it adding vibrancy and color to the space? Are you adding texture or an unexpected whimsical moment? Or a surprising, whimsical moment?
Once you have a clear idea of the type and color of the paper you want, there are some other things that you should consider. This includes the direction in which you will run it. Subaran says that if a room is long and narrow we prefer to run a pattern perpendicularly or choose a pattern with no clear direction. “We don’t want to reinforce the bowling alley feeling.”
Ngoc Minh NgoIf your ceiling doesn’t already have crown molding, it is a great method to create a defined ceiling and separate it from the walls. Subaran suggests that a second-story room with slanted ceilings could be made more interesting by wallpapering the ceiling and walls in the same paper. This will create unity.
Paranjape recommends calling the professionals when it comes time to install. She says that wallpaper got a bad rap because of the way it was installed and how badly it was taken down. (Oh, and here’s our wallpaper removal guide, in case you need any assistance.
There are many removable and self-adhesive wallpaper options available that can be easily removed and left behind if you don’t want to do it yourself. Check out our top picks:
Red Zebra WallpaperScalamandrehomedepot.com $5.00
Artemis WallpaperHouse Of Hackney X William Morrisanthropologie.com $298.00
Femme WallpaperDrop it MODERNwestelm.com $180.00
Quillspoonflower.com and Starry Night SkyLathe $2,021.00
Scenic Tree Toile Removeable Wallpaper Samplepotterybarn.com $10.00
Dock Stripe WallpaperSerena & Lilyserenaandlily.com $118.00
Lily Removable WallpaperUrban Outfittersurbanoutfitters.com $59.00
Cloud Print WallpaperWest Elmwestelm.com $150.00
Did you miss our previous article…
https://tophouseimprovement.com/decor/jean-paul-gaultier-gives-his-spin-to-the-instafamous-mah-jong-sofa/
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623 Collins Street obtains permit approval
22 May 2024
Posted byBy
Together with Sterling Global, Carr is thrilled to obtain permit approval on our tower project at 623 Collins Street.
623 Collins Street looks to its historic surroundings for its architectural inspiration, seeking to engage with the existing site, its context and character to create new and meaningful places that enhance these past identities in a contemporary way.
With strong support from the City of Melbourne and the Department of Planning, the scheme was approved without any change to the design. This major development positioned at the corner of Collins and Spencer Streets is in dialogue with its past while also speaking to its future as one of Melbourne’s new gateways to the city.
On the milestone achievement, Managing Director Chris McCue shares, “The successful permit approval is a testament to our joint vision with Sterling Global, the consultant team and a strong strategy led application with Urbis and Lovell Chen to revitalise the western end of Collins Street with a contemporary, multi-discipline response. With a limited number of residential and mixed use developments approved and underway, 623 Collins Street signifies Carr’s commitment to rejuvenating Melbourne’s CBD.”
Learn more about our architecture and interior design response here.
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Complete News World
It’s supposed to be in front of New York’s Lincoln Center in Summer Park
A synthetic turf will be placed between the Metropolitan Opera, City Ballet and Philharmoniker Auditorium. (Photo: Mimi Lynn; Timothy Leung)
A kind of park will be built around the fountain in the plaza in front of Lincoln Center in New York this summer.
The venue announced Tuesday (local time) that a synthetic turf will be placed between the Metropolitan Opera, the New York City Ballet and the performance hall of the New York Philharmonic Orchestra.
There should always be outdoor events – but also books to borrow as well as snacks and drinks every day between May and September. “I wanted to create a place where you could lie on a grassy hill and read a book all afternoon,” said artist Mimi Lyn, who created the composition for the Lincoln Center. “I hope the raised turf surface looks like an embrace and sprawl at the same time, and will rethink this place as a place of social infrastructure.”
Due to the Corona pandemic, the opera and performance halls of the ballet troupe and the Philharmonic Orchestra are currently closed; No opening is planned before the end of the year. At least small events can now happen overseas.
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The content of the calligraphy bears the inscription
Raghba Desire
Djamal Beauty
Hurriyya Freedom
I chose to illustrate the three notions, integrating them into a logo shape with two even sides (a classical theme in Arabic Calligraphy called "mirroring" that Sufi brotherhoods used in their illustrations and where script is duplicated to create a balanced effect that aims at better transcendence of meaning and form. I used both ink and acrylic on waxed lokta paper. I alternated different pigments that I mixed with acrylic on parts of the script.
Koosai Kedri
Kedri grew up in a Muslim Family and lived his childhood in a Jewish District in the south of Tunisia. He integrated both cultures from early age and evolved in an environment inhabited by peers from both religions. Scribes fascinated him as they performed their daily writing on cardboard and wood in mosques as well as in the Jewish temple.
It became very urgent for Kedri to express the desire to see both cultures at work together, just as they did under Moorish rule in Spain. This is to a certain degree the way he found to sublimate his frustration with the difficult reality in the Middle East between the Israelis and the Palestinians. There is much in common between these two cultures at loggerheads. Kedri firmly believes that there is hope for peace and understanding between Arabic and Jewish cultures that are often presented as contrastive and fatally opposed and he strive to bring about the lexical as well as scriptural similarities that exist in both scripts. Kedri’s latest works tend to bring along Hebrew and Arabic together on the same material. This is an attempt to show the similarities and discrepancies inherent in each one of us and to invite the spectator to reflect on them.
Kedri’s style is Kufi and Nastaaliq, Arabic free style with the Hebrew Rashi, Siddur and cursive, using the techniques of oil on canvas, ink and mostly Lokta or Nepal paper, mixed media on different sizes and formats.
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Book Worm – a short comic
artwork, comics, cosmic horror, creative writing, horror, Imagination, literature, monsters, sci-fi, weird fiction, weird...
Book Worm, page one/Kevin Hurtack 2022
Book Worm, page two/Kevin Hurtack 2022
Book Worm, page three/Kevin Hurtack 2022
Book Worm, page 4/Kevin Hurtack 2022
Book Worm, page five/Kevin Hurtack 2022
Book Worm, page six/Kevin Hurtack 2022
Book Worm is a short one-shot comic of the Weird Fiction genre. The idea came about from the fact that my wife is constantly ordering household goods via Amazon or elsewhere and we have packages showing up at odd moments of the day, and occasionally the waning hours of the early morning/night. It is also came about from my reading history of weird fiction and episodes of Twilight Zone and such.
My intentions are to build up a short collection of short comics all set within the same ‘world’ and then take on a longer format, probably a two-shot comic of about 40+ pages within the same ‘world’. Doing shorter comics like this not only helps me develop world-building ideas, but also the process of laying out a page and etc that goes into a comic.
I’ve started another that’ll be added to this collection, but with three young kids at home my supposed free time is quite limited to the early morning on weekends.
All of the art and lettering was drawn the old fashioned way. The only digital work was some tidying up of stray pencil lines and such.
Champion of Gaia
artwork, fantasy, Imagination, monsters
Champion of Gaia, 2022 Kevin Hurtack
Daylight Won’t Save You Now, Fool!(new art).
artwork, horror, Imagination, monsters, Sketchbook, weird...
Experiment with Japanese watercolor, Dr. Ph Martin watercolor and India ink/pen.
The creature was primarily done in this Japanese watercolor that is called something like shadow set. The colors are black with a tint of color which creates a subdued hue depending on the ratio of water used. The Dr Ph Martin watercolor is super pigmented to create some vibrant hues even when diluting with water.
Using color was an interesting challenge. The limited pallet was on purpose. I did this on heavy weight paper, it worked out well even when I dumped watercolor on it to excess.
I like the contrast between the watercolor and also the idea that this abomination is out in broad daylight rather than waiting for night. I think it makes it more terrifying and bizarre.
The Point of No Return
The Point Of No Return, pens, brush, and inks. 8/2022
Everytime I close my eyes (I see your face)
artwork, cosmic horror, horror, Imagination, monsters, Sketchbook, weird...
Everytime I close my eyes (I see your face).
Gray Matter?
artwork, Sketchbook
I picked up a pack of Sakura Micron’s new Light Gray & Cool Gray fineliner. Still playing around but I like the effect created by overlaying the darker gray over the light gray in particular. Adding details this way along with black line work could be fun.
Codex Umbra, My sketchbook tour
artwork, monsters, Sketchbook, Uncategorized, weird..., zombies
Here’s a short video sketchbook tour of my current one. I liked how it turned out and will do another video or more later in the year as I add more drawing to the book. Enjoy and thank you for checking out.
Sunday Sketch Day: Respect Yr Elder (5/27/22)
artwork, Sketchbook, weird...
I never liked drawing with graphite pencils, mainly because the end results were this God awful grays and they tended to smudge and they had a glossy sheen.
Then I found these Mars Lumograph black pencils that are a mix of graphite and charcoal. No glossy, darker, but still messy. Rather like them. Still not a fan of blending and shading the traditional way.
Still, interesting experimentation.
Sunday Sketch Day 5/22/22
artwork, weird...
A few sketches from this past week ...
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Chicago, That Toddlin' Town
By jessicalgianna | May 5, 2019
North America > United States > Illinois > Chicago
Frank Sinatra said it best! I have always dreamt of going to Chicago since I was a little girl, and that dream finally came true!
Little Ole Me at Wrigley Field
Little Ole Me at Wrigley Field
I flew into O'Hare and headed straight to the Museum of Contemporary Art in the heart of Chicago! I read so many reviews online about the MCA and it certainly did not disappoint. It was a really quirky museum with some amazing features like hanging plants in the lounge area. They also had floor to ceiling glass so the natural light came in which is so refreshing to see. I am so used to going to New York City museums but there was something really special about the MCA. They had an incredible photography retrospective of Laurie Simmons and I have always dreamt of seeing her work in person. Studying photography in undergrad, I have always looked at her work online but to see the prints and props in person made the experience that much more special. I remember sitting in one of the galleries and just thinking how lucky I was to have this experience of being here (in the MCA)! If you are in Chicago... you have got to go! That night, I had the chance to go to a board game cafe called Bonus Round Game Cafe and it was so much fun! I had the chance to play a game that hasn't even hit the market yet and the people there were so kind! I also had the chance to go to a Cubs and White Sox game and it was so much fun! I also did a riverboat architecture tour which was definitely one of the major highlights... seeing all the architecture with the sun setting over the city. Beyond breathtaking! Then... the holy grail of museums!
MCA Chicago
MCA Chicago
The Art Institute of Chicago! I have ALWAYS dreamt of going to that museum and seeing the best collection of art in the world and I nearly cried walking up to it! I can't write a small description because it won't do it justice... more to come!
Chicago Illinois United States North America Art Art Gallery
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Written by jessicalgianna
Hi everyone, I am a New York City Freelance Photographer from Staten Island, New York! I started my journey with photography when I was a freshman at Drew University. I took photography simply as a general education course and found my true passion in life! I then moved onto darkroom photography and found my niche! There was something so therapeutic about running the chemicals and truly being involved in the complete execution of my photographs. One of the best feelings in the world was seeing my photograph come to life through the use of different chemicals and processes! [what a time to be alive :)] There was something so spontaneous yet so... Read moreOVID-19 Information & Resources
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Opemipo Aikomo
My name is Opemipo and I’m from Lagos, Nigeria. I’m a self-taught, multi-disciplinary designer. I make software, films, games and mixed experiences.
I've worked at Paystack since 2015 and designed/built what are now daily utilities for millions of people on the continent. I lead the design team and try to keep everyone happy, productive and fulfilled.
I also run a community studio called wuruwuru. We consult and make passion projects for independent creators. So far we've produced seven projects including two animated shorts and a physical board game.
I like to write. I’ve kept a blog since 2011 and publish consistently about my work and life. I also used to be active on Twitter, and some people know me as fathermerry because of this.
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Vietnam’s water lilies make Monet proud at int’l aerial photo contest
By Vi Vu July 6, 2017 | 11:39 pm PT
The "Waterlily" photo posted on the International Drone Photography Contest website.
The award-winning photo captures a woman harvesting water lilies in a pond in the Mekong Delta.
What could be more beautiful than pinkish blossoms and green leaves floating in a tranquil pond? Possibly a picture of the scene captured from above.
A flycam shot of a woman harvesting water lilies in a pond in the Mekong Delta in southern Vietnam has been named among the top winners at the fourth annual International Drone Photography Contest.
The photo, submitted by a Vietnamese author nicknamed helios1412, won second prize in the People category, which was judged by a panel of experts that included the deputy director and photo editors from National Geographic.
Water lilies are an iconic symbol in the delta, but only blossom during the rainy season. Their stalks are edible and can be eaten raw with either fermented paste or braised sauce, or dunked into sour soup or hotpot.
The wild flower captivates many photographers.
This year, the drone contest received thousands of entries from around the world all competing in the Nature, People, Urban and Creativity categories.
Other winning photos included an ice formation in East Greenland, lavender fields in Provence, urban Madrid and cleaners hanging on ropes outside a skyscraper in Moscow.
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Archive for Tillicum Bridge
Anna the Almaziful: Remembering Anna Valentina Murch (1949-2014)
Posted in FRIENDS, Life and What about It with tags , , , , , on December 31, 2014 by Louise Steinman
img453 On Friday nights, the Sabbath prayer that my husband and I recite is from James Joyce’s Finnegan’s Wake. We light the candles and chant: “In the name of Anna the Almazifull, the Everliving, the bringer of plurabilities…” and as we praise Anna’s “haloed eve,” I think of my beautiful friend, Anna Valentina Murch, who died this year. It’s been nine months; I’m having a hard time believing she’s gone.
She was lovely, my friend. Playful. An artist through and through. Anna’s house on the peak of San Francisco’s Bernal Hill, shared with her husband and collaborator – Doug Hollis– was full of candles and mirrors, living room windows open to the glittering city below. Anna loved light and shadows; harnessed them to great effect in her installations for museums and public spaces over the last decades. Her lighting design for Portland’s new Tillicum Bridge (with Doug) completed after her death, casts jewel-colored beams of light above into the night sky and below, onto the surface of the Willamette River.
16543200-mmmain Anna and I held an Old Country in common; though hers was probably more Nabokov’s White Russia and mine hewed more to the shtetles that Isaac Babel described in his diary. Her mother’s family was from St. Petersburg, and fled to Shanghai after the Revolution (when my grandparents emigrated to the Lower East Side). During the second World War, Anna’s father—a British naval officer—was stationed in Shanghai, and fell in love and then married Anna’s mother—a beautiful red-haired Russian actress.
Her mother, Valentina, played a role in the 1948 film of Anna Karenina, and, like the romantic title character, eschewed the maternal role. Anna was packed off to a strict English boarding school at the age of three. Her liberation came in her twenties, art school and graduate work in lighting and architecture in London. Her adventurous spirit brought her to the U.S, to San Francisco.
Her first art works as a newcomer to the American West in 1976 were in the desert. She planted glass rods in the shifting gypsum sands of White Sands, New Mexico, a test missile site. Where did one space begin and other end? How could beauty co-exist with destruction? Light with dark? The presence of geological shiftings and fault lines in her adopted land, both geological and psychological, engendered a series of “volcanica” installations, red neon illuminating black coal. Anna always wanted to know, wanted us to wonder, what lay underneath the surface of things?
“I want things to unfold slowly,” Anna once said of her installations. “Often my things are quiet and simple enough that it takes time—a kind of slow overlapping—before people feel it.” She wanted to make time palpable. In her installation, “Voyages” at the San Francisco Museum of Modern Art, you entered a small room, crunching underfoot stones washed smooth from years of river time. You could feel time in your feet.
From early childhood, she was fascinated by ruins and abandoned buildings, old barns in the Devon countryside she knew well, stone houses in north England, bombed out residences in London. Who had lived there? What secrets and memories had been shared in what were now the empty shells of dwellings? The remnants of a structure often provided the basis for an imagined archeology. She was also consistently fascinated with psychological thresholds, boundaries, and what it was that empowered people to cross over them.
She built her “Staged Garden,” on the crumbling concrete foundations of an abandoned lot in downtown San Francisco. At night, the installation was entirely transformed by gelled theater lights, hidden in the long grass, which illuminated the stage and left long low shadows. A “stage door” lit by blue neon—though sealed– beckoned from a niche of weathered bricks. To explore the piece as a spectator, you became a performer. And part of the performance was the sight of bejeweled opera patrons promenading past the empty ghost stage on their way the San Francisco Opera House two blocks away.
Anna loved dressing up, giving dinner parties, inviting friends for Twelfth Night with the house glittering with candles and redolent with savory aromas from their kitchen. She adored hats, silver sandals, a jacket with a good cut. Even when she had to wear a wig, she did it with style. annahat2 She was explicit as to what I meant to her as a friend. We talked about artist- husbands and the demands of our jobs (she was a much-loved professor of art at Mills College for two decades), about balancing our responsibilities while trying to do our own creative work.
On our last visit, in January, we took a slow walk around Bernal Hill, leaving “the boys” as we called them, to their own pace. We sat on a bench and looked out over the city. She told me she knew she didn’t have much time. I wanted to push it away, to say that wasn’t so, but I couldn’t. it was likely true. She still had good days, like the previous week, which ended with Anna and Doug strolling arm in arm on the sand, tide lapping around their bare feet, in Pacifica. I reached them by cell, their voices were happy,light. They’d made it to the beach without having to walk down steps. Doug said they would go there again, it was so easy.
“Space is our friend, but time has death in it,” the poet Gaston Bachelard has written. Perhaps the fact that much of Anna’s art was a meditation on time helped her cross the threshold from this world with what appeared as equanimity. She told me she was not afraid of death, and I believed her. The more time you spend in a space, she once said, the more choices you have in what you see and how you see it. She had bravely struggled with, lived with breast cancer for years. She worked in the garden and together with Doug on their collaborative public art projects almost to the last day. She spoke on the phone to old friends here and in England. As Doug said, “She used her time very wisely.”
On that day in January, our last visit, in the late afternoon, the four of us brought deck chairs up to the garden, leaning back to catch the last rays of winter sun, clocks of our life spans ticking. Anna shoulder to shoulder with Lloyd to the right; Doug next to me on the left end. It was a sweet and unburdened hour, four friends talking quietly or sitting in companionable silence as we might have on a trip together to Yosemite or Joshua Tree. We left in early evening, so that Anna could get some nourishment, so that we could drive across the Bay Bridge and relieve the babysitter at our nephew’s house. We said goodbye with such tenderness, pushing hard against the thought that this could be the last time we’d see each other face to face in this world.
In the name of Anna, the Almaziful, The Everliving,
The bringer of plurabilities
Haloed be her eve!
Her sing time sung,
her rill be run, unhemmed,
as it is uneven. img452 [top photo: Anna, SF, wearing Jim Pomeroy’s shell earphones… they really work!]
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Touchy-feely toasters
A new book argues that products should be designed around their users' emotions.
Martyn Perks
Designers and scientists are eager to place emotions at the centre of products and computing. International conferences organise around incorporating emotion into all aspects of design (1). Academics are devoted to researching ‘funology’ – ‘a body of knowledge about fun’: building enjoyment into our lives through design (2).
Scientists are developing systems that can respond to your emotional state, sensing when you are agitated and offering you a proverbial cup of tea, by calming you down, or slowing the speed of your computer game. The premise of the project – called Humaine, and funded from an £6million European Union (EU) grant – is that without our emotions, people can’t function or operate – as one scientist puts it, ‘we cannot act without our feelings being switched on’ (3). This talk of automated emotional intervention conjures up nightmarish visions, of machines interfering in our inner lives.
Computer counselling might be a little far off for now. But a new book by one of the world’s leading experts on ensuring that design is usable argues that in the future, we should judge successful design not just in terms of how it functions but also in terms of the emotions it evokes in us – and even the emotions it evokes in the products themselves. In Emotional Design: Why we love (or hate) everyday things, Don Norman asks: ‘Will my toaster ever get better, making toast the way I prefer, unless it has some pride? Machines will not be smart and sensible until they have both intelligence and emotions. Emotions enable us to translate intelligence into action.’ (4) Imagine it: burnt toast again. ‘Bad toaster! I’m going to package you up and send you to the counsellor straight away.’
Norman’s book is the widely anticipated sequel to his bestseller The Design of Everyday Things, first published in 1988, in which Norman ably captured a rational, human-centred approach to solving design problems. However, his latest effort seems to offer the opposite approach: arguing that designers should become more preoccupied with our emotions, and the subconscious and irrational side to our behaviour. The premise of Emotional Design is that ‘the emotional side of design may be more critical to a product’s success than its practical elements’ (5). Norman is correct here only if we lower our creative ambition. Without pushing for innovation in design, the designer must try to create an appeal in other ways. One of those ways, as Norman eulogises, is emotional appeal – which in itself is not a bad thing, but could easily become a substitute for good design.
And if designers can’t come to terms with innovation, the likelihood is that this will trickle down in terms of how they view the needs of the end-user or customer. As we know, people are certainly complex, and difficult to predict. But now, more than ever, we need to respect people as capable of complexity, intelligence and rationality. Designing around emotional appeal can mean that harder problems that need solving are neglected.
Back in the late 1990s, Norman was among a small coterie of experts, including Jakob Nielsen, who railed against unusable products. They promoted human-centred design (HCD) – a methodology that places people at the centre of the design process, which is focused first and foremost on the end-user or customer’s needs, rather than the needs of the producer. At a time when the internet was still in its infancy, these experts aimed much of their fire at bad product and software design, which in their eyes had disregarded the end user.
The much-quoted example of a mismatch of design versus the user is the videocassette recorder (VCR), which some people found almost impossible to programme. However, users’ desire to video their favourite programmes or play movies meant that they learnt to overcome bad design – managing to work the machine, while disregarding complex features.
During the dotcom boom and bust, Norman’s views found many followers – not only among designers, but also among their clients. With hindsight, the bursting of the internet bubble had more to do with badly thought-out business-models, than with hard-to-use interfaces. The movement that Norman helped to create has become more vocal over time – but this is as much to do with the weakness in business innovation as it is with the strength of new products that involve the customer in the design process. The outcome has been that clients are prepared to listen more to the ideas of customers and their advocates, than to promote their own ideas.
The call for emotional design is a further extension of HCD, but it comes with many more problems. For a start, eulogising the customer’s subjective needs doesn’t necessarily equal good design, which also requires a top-down systematic vision. In addition, designing around people’s emotions can easily lead us to view people as needy, weak and emotionally dependent – and, as a consequence, less able to get what they want from products. Designing emotional fulfilment into products reinforces a view of people as vulnerable and in need of support.
In The Design of Everyday Things, Norman called for designers to solve problems from a user-centred perspective, which he termed ‘behavioural design’. Now he argues that in order for products to work, designers must deal with two more aspects of design – the visceral and the reflective. ‘Each of the three levels of design – visceral, behavioural, and reflective – plays its part in shaping your experience. Each is as important as the others, but each requires a different approach by the designer.’ (6)
The visceral is to Norman ‘all about immediate emotional impact. It has to feel good, look good’ (7). And ‘reflective’ is the meaning a consumer invests in the product, or what the product advertises about the consumer. There is nothing new here for many designers. Good design has always been about innovation in function, as well as creating an ephemeral appeal in a product’s unique aesthetic quality. There are many other factors that come into play here – brand, marketing, cost, notions of quality, and the ever-changing cultural perception of a product.
What is new is the aim to mould people and design around emotions. Interviewed in the Guardian recently, Norman said: ‘We now know how to make products that work fine; how do we make products that make you smile?’ (8) There are numerous examples of this: cars with smiley faces, and products with curves rather than sharp edges. Just take a look at the remodelled BMW Mini when it whizzes past – its design is a sentimental reflection of the Mini’s past with comforting curves, and its front resembles a smiling face. The Mini has proved a popular success, along with other products such as the Apple iPod music player – and the ‘reflective’ aspect of these designs undoubtedly contributes to their popularity. But when Norman continues to explain the need for emotion in the future of computing and technology, he offers a more degraded sense of what technology can offer us.
Norman predicts that the future of computing and robotics is emotional: ‘Future machines will need emotions for the same reason people do: the human emotional system plays an essential role in survival, social interaction and cooperation, and learning. Machines will need a form of emotion – machine emotion – when they face the same conditions, when they must operate continuously without any assistance from people in the complex, ever-changing world where new situations continually arise…. [T]hey won’t be human emotions, mind you, but rather emotions that fit the needs of the machines themselves.’ (9) Even so, Norman’s vision here is that technology is supportive of our needs, instead of performing tasks that are out of the realm of human ability.
When we encounter these labour-saving robots in the home, he argues, they will comfort us: ‘they will need to display their emotions, to have something analogous to facial expressions and body language.’ (10)
Norman reminds us that in 2001: A Space Odyssey, HAL – the artificially intelligent computer controlling the spaceship – went wrong, and used its emotions to protect itself from the advances of Dave Bowman. Of course, in the end Bowman got the better of HAL, and turned it off. But Norman’s point is that with the future trends of integrated-location-base devices, network-aware devices and appliances, the computers of the future actually need emotions to protect themselves from themselves – and also from us.
But contrary to Norman’s thesis, what is needed now is a stronger sense of ourselves as rational beings. In The Design of Everyday Things, Norman argued for a more rational focusing upon people’s needs. Today, his calls for emotionalism negate much of his earlier work. Great technology does not need to console us, or calm us down – it should offer a lot more, by helping to transform our lives.
Norman is right that great design is about letting the user customise a product or service for his or her own ends. However, the focus on emotions implicitly assumes that people are too weak to comprehend what is important for them, and need instead to be cajoled or comforted. In Norman’s vision, the designer will have a bigger role – but not in transforming society, just in counselling the people within it.
Martyn Perks is a user experience consultant, and a writer and speaker on design, IT and business. See his website
(1) Conference on Design and Emotion 2004
(2) Enjoyment and fun, on the York Usability Research website
(3) Machine rage is dead…long live emotional computing, Robin McKie, Observer, 11 April 2004
(4) Emotional Design: Why We Love (or Hate) Everyday Things, Donald Norman, Basic Books, 2004 (buy this book from Amazon (UK) or Amazon (USA))
(5) Emotional Design: Why We Love (or Hate) Everyday Things, Donald Norman, Basic Books, 2004, p5 (buy this book from Amazon (UK) or Amazon (USA))
(6) Emotional Design: Why We Love (or Hate) Everyday Things, Donald Norman, Basic Books, 2004, p65 (buy this book from Amazon (UK) or Amazon (USA))
(7) Emotional Design: Why We Love (or Hate) Everyday Things, Donald Norman, Basic Books, 2004, p69 (buy this book from Amazon (UK) or Amazon (USA))
(8) Emotional about design, Jack Schofield, Guardian, 11 March 2004
(9) Emotional Design: Why We Love (or Hate) Everyday Things, Donald Norman, Basic Books, 2004, p162 (buy this book from Amazon (UK) or Amazon (USA))
(10) Emotional Design: Why We Love (or Hate) Everyday Things, Donald Norman, Basic Books, 2004, p163 (buy this book from Amazon (UK) or Amazon (USA)
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/images/uploads/galleries/backgrounds/tokicastle.jpg
This is your chance to make something that will be forever part of video-gaming history! We're organizing a Miiverse drawing contest, and the best news is that we'll place the winning drawings in Toki Tori 2!
Miiverse Drawing Contest
Since the release of Toki Tori 2 on the Wii U eShop, we’ve seen a huge number of really awesome drawings on Miiverse. It really surprises us that people are able to create such detailed and fine artwork with little more than a simple stylus and black and white ‘colors’. Some drawings must’ve taken hours to create, so we felt we had to come up with something to reward such amazing devotion.
While playing Toki Tori 2, some of you might have noticed there are hidden cave drawings. These drawings were most probably made by ancient Tori’s, thousands of years before our little hero Toki ever hatched from his eggshell. While looking at these drawings, we came up with this idea to turn Miiverse drawings into cave drawings!
Scroll down to read the contest rules!
[Update: June 12, 2013]
The winner of the first round is…. roll the drums…. Fredrik.W with cousin “Toki Torro”! Congrats! Cousin Torro will be forever part of Toki Tori 2!
The final Top 10 entries, including the winning entry: cousin “Toki Torro”
The Contest Rules
Obviously we can’t simply place each and every drawing in Toki Tori 2, so that’s why we’re having a contest to pick the winners.
Four winners!
In total we’ll pick four drawings, one per round. Each round will last a week and will cover a specific topic, for instance: “draw an old Toki Tori” or something similar. We will only accept drawings that are based on the weekly topic.
How do I enter?
Entering the contest is really easy. All you need to have is a Wii U and access to Miiverse. Go to the Toki Tori 2 community on Miiverse and make a drawing based on the weekly topic. After you finished your drawing, post it to Miiverse and reply to your own drawing with the following text:
It’s that simple! Our high-tech team of Miiverse scanning monkeys will automatically pick up your drawing and will add it to the list of entries:
http://2trib.es/tokitori2_drawing_contest
You can make as many drawings as you like! Your imagination is the only limiting factor!
How do I win?
Collect as many Yeahs as possible to make it to the Top 10. From this Top 10 will pick a winning drawing that will be added to the game. So even if you drawing skills aren’t perfect, you still have a chance to win!
Round 1 (now closed!)
Enough talking, let’s head to this week’s topic:
Toki Tori often wonders around in the forest all by himself. And quite honestly, he sometimes feels alone…
“Can you draw an imaginary friend for Toki Tori?”
Summing up
- Draw an imaginary friend for Toki Tori
- Post it on the Toki Tori 2 community on Miiverse
- Reply to your own drawing with the text: #contest
- Collect a LOT of Yeah’s for your drawing
We will announce the winner of the second round on June 12th, so be sure to post your drawing before that.
Please note: by entering this drawing contest, you are granting us (Two Tribes) a non-exclusive perpetual license to use, reproduce, alter and/or change your submitted contest artwork. Thou shalt not sue us! Also we reserve the right to refuse contest entries, for no specific reasons.
Two Tribes, Wednesday June 5 2013
Comments are welcome!
Login with facebook to comment
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At the World Urban Forum, where the sustainability challenge depends on modular buildings
The recent World Urban Forum, a UN-backed international conference, has been described as a celebration of urbanism in response to the biggest social and environmental issues of tomorrow. At the center of discussions was modular design, an architectural concept that’s also a question of engineering. It’s perfect timing, as manufacturers are ready and raring to go.
Modular Buildings, example of Kuala LumpurOn February 13th, the 164 countries who participated in the ninth session of the World Urban Forum (WUF) signed the Cities 2030 declaration, aiming to mark an operational step towards “sustainable cities”. By gathering together international backers and civil society actors, the WUF was particularly looking to bring the UN’s new urban agenda to life with a rather urbanist approach.
Hosting the event was Kuala Lumpur, a city that’s essentially shaped on urbanism and construction, providing the perfect example of a “sustainability challenge”. The Malaysian capital is looking to answer a dual problem: a high population density and excessive real estate prices in the city center. A ghost town come nightfall, commuters leave the city, creating traffic congestion, an increase in pollution and a population who hold little affection for the decaying urbanscape. To revitalize the city center’s housing and make it more affordable, the planned solution entails mobilizing under-used urban spaces, old commercial buildings and even car park spaces, to create small plots for accommodation. Basically, we’re talking about micro-housing. Aiming to create a village ambiance (or kampung, a feature important to Malaysian culture) amongst the skyscrapers, two prototypes of these purposely-slim homes were on show during the WUF. The designers behind the concept, that can be easily assembled and dissembled “like Lego pieces”, are even going to sleep in these “micro homes” themselves to road test them.
It’s a rather “interesting” concept, pokes one Malaysian magazine who points out that, due to their modularity, Kuala Lumpur’s micro-houses appear to be too expensive to be developed, even if costs could be reduced through wide-scale production. It’s just that prefab technologies appear to have reached maturity at the same time. First of all, from an industrial point of view, there’s the digitalization of (pre)fabrication techniques, robotics, lean manufacturing and modeling software that allow for pre-assembled parts delivered on site to be slotted into place. Then there’s the commercial maturity too… demand for modular housing is increasing throughout the world, up to the point that it’s going to “add to the revenue stream” of traditional builders.
From Kuala Lumpur to Toronto (where Google is leading its Quayside project for dynamic modular architecture) and beyond, such urban visions and experiments are certainly designed to envisage a desirable future, to land investment and position themselves as leaders of the market, or so The Atlantic recently expressed in their analysis. However, with modular building and construction software platforms, it announces the end of a linear approach to cities, one where engineers only intervene at the end of the chain. That’s in any case the view of digital construction players. Hand in hand with urbanism, does it really hold the key to a sustainable city? See you in 2020 in Dubai, at WUF 10 to find out!
What do we do?
The VINCI Group created Leonard to tackle the challenges posed by the transformation of regions and lifestyles. Our goal is to unite a community of key stakeholders in order to build the city of the future together.
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Resources > Mekong Cultural Hub
04 Jul 2019
Mekong Cultural Hub
Mekong Cultural Hub (MCH) offers personal and professional development opportunities for creative cultural practitioners in Cambodia, Lao PDR, Vietnam, Myanmar and Thailand and to build sustainable networks around Asia. Programmes will include workshops, exchange, training and networking.
MCH serves people who are working at the intersection of arts and society. Their mission is to empower diverse cultural practitioners to bring their visions for an inclusive, sustainable Mekong Region to life. Since 2018, they have connected more than 150 practitioners from the region for professional exchange, co-creation and collaboration. They initiate projects and work on collaborations all around Asia.
MCH addresses a systemic lack of connectivity among artists and cultural practitioners in Southeast Asia and the Mekong Region. After an initial mapping project, they identified that individual cultural practitioners, artists, and arts organizations in the Mekong Region share many of the same interests, priorities, challenges and constraints. These challenges range from a lack of resources, threats to sustainability and the environment, sensitive social and political contexts, limited access to in-country training and development, and few opportunities to exchange knowledge and collaborate with peers from neighboring countries.
MCH's aim is to develop and connect resources and experience from across the region, building bridges and creating spaces for reflection and innovation so emerging artists and arts leaders can collectively create, influence, and transform the contexts in which they are living and working.
MCH is a sister organisation of Cambodian Living Arts, which has been working in Cambodia since 1998, and has a mission to be a catalyst in a vibrant arts sector in Cambodia. Both MCH and CLA share the belief that arts are at the heart of a vital society, and this spirit is reflected throughout their programmes.
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This Photo Is Not Really What You Think It Is
We usually believe anything that we see. But everything we see may not be real or exist. There are illusions that trick the human eye into seeing something other than the real thing.
This particular picture is really interesting one. At first glance, you may think it is a picture of a guy. Now when you move down, you may see a figure what appears to be a woman sitting on a floor and putting her head on guy’s lap and both are in a compromising position.
It is perfectly alright if you see this because many people have found this picture of a couple in a compromising position. But in reality, there is nothing compromising about that picture. It is just a picture of a guy reading a book. The illustrator of this picture has created an illusion with a sizzling style.
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At the Dawn of a New Age: Early Twentieth-Century American Modernism
May 7, 2022–Feb 26, 2023
At the Dawn of a New Age: Early Twentieth-Century American Modernism showcases art produced between 1900 and 1930 by well-known American modernists and their now largely forgotten, but equally groundbreaking peers. Drawn primarily from the Whitney’s permanent collection, it provides new perspectives on the myriad ways American artists used nonrepresentational styles developed in Europe to express their subjective responses to the realities of the modern age.
America’s early modernists came of age during a time when the country’s predominant mood was one of youthful confidence. Racial violence and social and economic injustices existed, but so too did insurgency and social reform. American technological and engineering ingenuity had made the country the world’s largest industrial power at the same time that political Progressivism and cultural shifts such as women’s suffrage had upended bourgeois codes of respectability. The combination gave rise to an excitement about an era that critic Walter Lippmann characterized as “bursting with new ideas, new plans, and new hopes.”
Against this backdrop, large numbers of American artists embraced the new over the traditional and fixed by rejecting realistic depictions of the world in favor of art that prioritized emotional experience and harmonious design. The results were largely ignored by the Whitney Museum, whose loyalty was to the urban realists who formed the core of the Whitney Studio Club, out of which the Museum had grown. A handful of non-representational works were acquired when the museum was founded in 1930 and more were added in subsequent decades, but it was not until the mid-1970s that the museum vigorously began to acquire vanguard art made between 1900 and 1930. While extensive, these acquisitions largely excluded work by women and artists of color. The Whitney had already begun rectifying these biases, but in anticipation of the opening of At the Dawn, it added more works by these artists to the collection. The result is an exhibition that recasts the story of American art by celebrating the mood of optimistic excitement with which American artists embraced modern styles and illuminates the complexity and diversity that are at the heart of the American experience.
This exhibition is organized by Barbara Haskell, Curator.
Generous support for At the Dawn of a New Age: Early Twentieth-Century American Modernism is provided by the Barbara Haskell American Fellows Legacy Fund.
Significant support is provided by Amy and David Abrams; Laurie M. Tisch; and public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
Additional support is provided by Alturas Foundation, Cheryl and Blair Effron, Bernard Goldberg, the Judy and Stanley Katz Family Foundation, Michele Mirman, Garrett Moran and Mary Penniman Moran, Ted and Mary Jo Shen, Marica and Jan Vilcek, and Robin and Marc Wolpow.
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Aaron Douglas
Born 1899 in Topeka, KS
Died 1979 in Nashville, TN
Aaron Douglas moved to Harlem from the Midwest in 1925 and quickly became the most sought-after graphic artist of the Harlem Renaissance, designing covers for the two leading African American magazines and jackets for books by Black writers. The three woodcuts on view were based on gouaches he made to illustrate scenes from Eugene O’Neill’s The Emperor Jones, which had premiered in 1920 and was revived in 1925 with Douglas’s friend Paul Robeson—now well known for his acting, singing, and civil rights work, but then a newcomer—in that title role. The prints typify Douglas’s signature style: flat, abstracted silhouettes in black and white fashioned after Art Deco, folk art cutouts, and Egyptian tomb paintings. Simplified versions of these images accompanied Alain Locke’s 1926 article “The Negro and the American Stage” in Theater Arts Monthly as well as his 1927 book Plays of Negro Life.
Bravado, from Emperor Jones, 1926
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Audio guides
Hear directly from artists and curators on selected works from the exhibition.
View guide
Explore works from this exhibition
in the Whitney's collection
View 86 works
In the News
"We gain insight into the trailblazing careers of artists such as Henrietta Shore, Charles Duncan, Yun Gee, Manierre Dawson, Blanche Lazzell, Ben Benn, Isami Doi, and Albert Bloch, who have been left out of the leading narrative."—Forbes
"…una exposición que reformula la historia del arte estadounidense al recordar y celebrar el entusiasmo con el que los artistas de aquella época indagaron y adoptaron estilos modernos."—National Geographic Español
"…the show is a riot of colors, moods and styles, giving a sense of the heady experimentation at work as artists hewed out a distinctively American modernism."The Guardian
"…Pamela Colman Smith has been included in a new exhibition at the Whitney Museum of American Art in New York highlighting many underappreciated artists of early 20th-century American modernism in addition to famous names like Georgia O'Keeffe and Louise Nevelson."CNN Style
"You are there, immersed in peaks and valleys of an effervescent day and age."New Yorker
"…this show looks at some of the artistic roots of the contemporary moment through more than 60 works made from 1900 to 1930."—New York Times
-…the exhibition is an opportunity to reassess and expand not only the Whitney’s collection but its take on a pivotal era of American art."—Wall Street Journal
"Dominating the show as we round out our tour is the realization of the innovative spirit and ingenuity that pervaded America."—Art & Antiques Magazine
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Amulet of a son of Horus
332 B.C.E.–392 C.E.
Dallas Museum of Art
Dallas Museum of Art
In the ancient Egyptian world, amulets for good luck and protection were buried with the dead to ensure safe passage to the afterlife. These funerary amulets represent the four protective sons of Horus (the sun god): Hapy the baboon, the hawk Qebsenuet, the human Emsety, and the jackal Duamutef. Each of them oversaw one of the four different soft organs of the body, which were removed during the mummification process and then stored in coptic jars in the tomb. Flat and unembellished, the mummiform, shrouded figures are pierced at the head and ankle and would have been attached to a mummy's bead-net covering.
**Drawn from**
* Anne Bromberg, DMA unpublished material, Label text, Four Canopic Jars.
* Lawrence M. Berman, _Catalogue of Egyptian Art: The Cleveland Museum of Art,_ (Hudson Hills Press: New York), 1999, p. 379, cat. 287.
Show lessRead more
• Title: Amulet of a son of Horus
• Date Created: 332 B.C.E.–392 C.E.
• period: Graeco-Roman
• Physical Dimensions: 3 × 3/4 × 3/16 in. (7.62 × 1.91 × 0.48 cm)
• Type: Jewelry
• External Link: https://www.dma.org/object/artwork/4165470/
• Medium: Blue faience
Translate with Google
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When Nature Conspires Against Exercise
I am not great friends with exercise. The only way to make this activity more appealing is to combine it with interesting conversation and the bounty of flora and fauna at White Rock Lake down the street from my house. I walk with 3 artists I have known for years. We leave the house at 7am and walk for 3 miles. Most days nature conspires to make our walks fairly non-aerobic. Clouds, fog, wildlife, light, shadow, plant life all beg us to stop and photograph whatever amazing site is happening that morning. Between gasps of "look at those clouds" and "look at the light on that tree" and "will you take a picture of that, I forgot my phone" is all interspersed with conversation about politics, art, life, etc. It is one of the biggest luxuries in my life to have the flexibility in my schedule to start my day with that experience and come home to my studio inspired. There are souvenirs from my walks all over my studio walls. I reference them for texture, color, structure and relevance to whatever I'm designing at that moment. They're also my exercise trophies.
Photos by Sue Benner and Julie Cohn
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Aidan O'Brien with Dubai Duty Free Trophy
Siobhan Bulfin is an internationally recognised sculptor whose work is sought after by collectors in Europe, America, Asia and Australia with life sized commissions in Kuala Lumpur, Northern Ireland and Leopardstown racecourse. Her Largest scultpure is of three jumping horses at the HRI headquarters in the Curragh.
Life, Energy and Exhuberance are the hallmark of Siobhan's work and an intimate knowledge of anatomy.
Siobhan captures her subject in a way that is entirely unique.
Tel. 086 1209984
Email. [email protected]
Address. Corolanty, Shinrone, Birr, Co Offaly.
Siobhan's family
Siobhan Bulfin - Bronze Horses Ireland
George Webb
Her husband George Webb has always been the guiding eye and energy behind the sculpting from the very beginning. Infact it was his words of encouragement which led to the very first sculpture.
Now George's eye for conformation and a trainers familiarity with the tendons and bones of the leg make them perfect sculpting partners as he can do the legs.
A pivotal decision George made for the growing business was to build his own foundry and their son Fred who was doing his leaving cert at the time, learned to tig weld the bronze horses.
Fred welding George patinating HRI awards making cheltenham - sepia like
Dubai Duty Free
When the foundry was up and running well, a commission came in from Dubai Duty Free to make the trophies for the Irish Derby in the new grand stand at the Curragh racecource. They are very proud of the quality of bronze craftmanship and world recognized sculpture which the Bulfin Webb family can now offer.
Dubai Duty Free is an excellent example of a trophy line up for a grade 1 race with the name of the sponsor in a raised polished bronze plaque at the centre of the picture. This is media promotion at its best, eye catching sculpture which attracts photography with the sponsors name and logo underneath.
They are now taking commissions from companies and racing bodies worldwide who are involved in racing, polo or show jumping and want to capitalise on their generous sponorship investment with their name in cast bronze on the trophy.
To recieve your own unique trophy design contact Siobhan by phone or email.
The Making Of A Life-Sized Sculpture
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Collaboration Opportunities
Bring Your Program to YLCOTA
We’re always on the lookout for new and established programs to present to our students. Reach out to let us know whether you’d like to share your enrichment curriculum or professional services with YLCOTA. We welcome offers from programs that align with our mission.
Enrichment Programs
Arts Instruction
Including dance, media arts, music, theatre, and visual arts.
Culinary Arts
All areas, from preparation to plating and presentation.
Media Production
Covering the art of storytelling via audio & video.
Start your YLCOTA Experience
Whether your student is a talented starlet ready to shine or a creative dreamer looking to open doors, they’ll find their place at the Youth Life Center of the Arts. Schedule your Family Orientation visit today to get started.
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Birth Photography
AMAZING BEAUTIFUL HERMOSA BREATH TAKING
ANGEL BABY AMOR LOVE MOMMY
I am so glad I am spontaneous and on the go! I was scheduled take maternity photos of Ms. Ashley’s baby bump and this is her second pregnancy and child. So excitingly I agreed and was ready to go! Myself and Ashly’s mom spoke briefly of ideas of what they wanted, well waiting patiently on this ideas to be e mailed to me. They never came?
I had a feeling under the circumstances someone might be in labor. Sure enough the next morning I get contacted in regards that the shoot had to be cancelled. Bummer blessings!!!!!!! I presented the idea of birth photography and they agreed! I was packed up and ready to drive 2 hours away to Laurinburg, NC hospital.
Lets GO!
Epidural was administered. Two hours later I make to the hospital and the pushing shortly follows! This was the most fun photo-shoot I ever got to be a part of and feel bonded to this family forever. Thanks so much for letting me be a part of your amazing new day and to welcome little miss to the world!
Please contact me for your birth photoshoot! I do travel across the state and some parts of Virginia and South Carolina.
http://www.facebook.com/kelliemariephotog
About me
I started off in photography in 2002.
I got the idea to start my own business when I hired a local amateur small business owner to do my High School Senior Photos. She had a retro film camera, was cheap, and gave a mini album of my best 4×6’s prints. Coming from a small town with a lot of poverty she made good money for her prices.
I observed her and her routine and thought if she can do it so can I……..
After I moved away as a new military bride to Fort Campbell, KY I started to spread my wings. I took a cheap point and shoot camera and walked down the river walk offering free photos to people and mailed them their 4x6s.
I took one photo of my friend while she was pregnant and she mailed it to her husband in Iraq and it was history. People started asking who took this photo and then my name started to spread solely by word of mouth. That’s the best kind of advertising.
“It wont happen until you put yourself out there.”
I have always been the artsy type. So as for my style I have seen I have the ability to take on the clients or subjects style and capture that along with catching the natural beauty caught in the moment! I just don’t know how to explain it, but none of my photos are planned ahead of time. I never carry much equipment and use ISO and shutter speeds for light manipulation. I do however want to go to a class and learn more lighting techniques to further polish my art.
What do I love about photography? I love capturing memories that will last forever and I love the ones you can look on and it starts the movie in your head, and then a blissful smile falls on your lips! Happiness.
Please Follow Me on Face Book at
wwww.facebook.com/kelliemariephotog
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Unique number typography plays with negative space
Magazine illustrations can really make or break an article. Catching the reader's eye is imperative in its success and showcasing intense and unique illustrations alongside those all important words can make all the difference. When it comes to typography, you have to be even more inventive and this project is one of the most inspiring we've seen
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Barney is an artist, composer and sound designer, based in London. His work often involves designing systems as a compositional tool to interweave narrative, interaction and information into installations, sound design and music. Barney is often creating work around anthropology, ecosystems, well being and acoustic ecology. With a background in music and multichannel audio, he is passionate about how sound can be used to form experience from sonic weaponry to neuroscience.
Barney is currently a visiting lecturer at the Royal College of Art. He was as a sound designer for BAFTA-nominated short film (MY DAD'S NAME WAS HUW. HE WAS AN ALCOHOLIC POET) whilst also displaying his work in South Kiosk Gallery, The Royal Academy of Art and the Design Museum.
©2019 by My Site. Proudly created with Wix.com
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Want to be a full-time artist? Decatur wants you
Shelby Nower is an artist in her junior year of college, studying Drawing and Illustration at the Herron School of Art & Design at IUPUI in Indianapolis. But when she graduates next year, she’s not planning to jet off to the coast or even stay in Indiana’s largest city.
Instead, she’s moving to Decatur, Ind., a town of about 9,500 residents just southeast of Fort Wayne because that’s where she’s found the most attractive creative opportunities.
“Indianapolis is awesome, but it feels like there’s a ton going on in Decatur for artists,” Nower says. “And the opportunities are on the same level.”
Nower is a member artist at ACE 40.8.
A St. Louis native, Nower discovered that Decatur was a hidden gem for artists a few years ago when her family moved there, and she got plugged into the community. She landed an internship at Decatur’s ACE 40.8 gallery and art collective, where she now studies under professional artists and learns some tricks of the trade to make her craft into a full-time career.
While she’s home for summer break, her arms are covered with splotches of blue from her latest project for ACE: helping the Chicago-based sculptor Charles Yost paint a 14-foot piece of metal that will be soon installed as part of the popular Decatur Sculpture Tour.
It's opportunities like these that make the town unique for young artists, Nower explains.
Since the City launched its annual Sculpture Tour in 2012, it has been attracting some of the top metal and woodwork sculpture artists in the nation to display their creations in its downtown each summer.
Along with adding tourism and vibrancy to the area, the Tour has inspired local leaders and community members alike to start thinking about their city in a different way, says Melissa Norby, Director of Community Development for the City of Decatur.
“Now, the City is willing to embrace art and assist artists to help art entrepreneurship happen,” Norby explains.
The Unveiling Festival allows artists to reveal their sculptures to the public.
Project-by-project, Decatur is transforming itself into a statewide hub for creators, and rising artists like Nower are taking note. While doers and makers have long flocked to the nation’s creative meccas for opportunity and collaboration, Nower sees the benefits that an affordable, family-oriented community can have, too.
“Before now, I didn’t realize that there could be this big of an art scene in a small town,” Nower says. “When you think of art, you usually think of bigger cities. But Decatur has a lot of people who care about the arts and want to be involved with them. It brings everyone together, and it’s really cool.”
Cheri Scherry, a retired businesswoman-turned-community-advocate in Decatur, is one of such people championing the city’s growing art scene.
Cheri Scherry is a community advocate for art in Decatur.
Scherry has lived in Decatur her whole life, and today she uses her local knowledge and business acumen to run the town's Artisan Craft Market, which gives creators a way to earn a living off their crafts year-round. When she meets artists who are looking for opportunities, she helps them get plugged into the larger network of support in the city.
“That is the neat thing about being in a small town,” Scherry says. “We all know who’s here and who their grandparents are.”
A grandmother of young adults herself, she is personally invested in Decatur’s future and wants to see the momentum continue to attract and retain talent. Along with running the Market, she volunteers for the Decatur Sculpture Tour and raises funds to add permeant displays to the City’s growing collection of public art.
She also manages the City’s annual Plein Air Paint Out, which brings artists to the streets to do live public paintings.
A Plein Air artist paints live on Decatur's streets.
The Paint Out is how Scherry met Nower in 2016 and introduced her to other artists at ACE 40.8.
But this story is just one grassroots example of Decatur’s ability to connect artists with opportunities. You don’t have to look far for other ways the City itself is working to meet artists’ needs.
One of the ways the City of Decatur is supporting artists is through its 2nd Street Artist Lofts project at 116 N. 2nd St. downtown.
The Lofts are expected to be complete this fall inside a three-story former Music House. The first floor will be a spacious co-working space for artists that is open to public membership. The remaining two floors will be divided into 16 apartments and loft living spaces for creatives, including two ADA-friendly units on the ground level.
The first floor of the Artist Lofts will be a Creative Engagement Center.
Norby says four of these living spaces will be specially reserved for sculpture artists. This year, the Sculpture Tour begins with a festival on June 14th where a new round of sculptures will be unveiled. The City is hoping to attract some of these national artists to make Decatur their full-time residence.
“The artists with the Sculpture Tour are coming in and getting to know all of us in the community,” Norby says. “They’re a family that comes to town once a year, but now they’re starting to think: Is Decatur somewhere I want to locate and create my art?”
The City of Decatur is giving them more reasons to answer: Yes.
The 2nd Street Artist Lofts offer views of downtown Decatur.
The first floor of the Lofts, known as the Creative Engagement Center, is leased by the City, who recently hired University of Saint Francis student artist, Brielle Adams, to manage it. The Engagement Center will be a large, open co-working space with room for drawing, painting, collaborating, hosting presentations, and selling local art. The walls will be outfitted for gallery displays, and the main floor will be available to rent for events like weddings, too.
Even so, Norby says the City is paying special attention to when and how artists work and taking cues from them about how to operate the space.
“What we’ve learned about artists is that sometimes they like to work at 2 a.m., so if they want to come in here and make a mess at 2 a.m., we want to make this available to them,” she says. “We want to see how people use the space, and we’re going to figure it out as we go.”
The Artist Lofts have large windows and industrial features.
The 2nd Street Artist Lofts are one of the first living spaces specifically designed for artists in Indiana, says Gus Gutierrez Rojas, director of Communications and Marketing for Biggs Property Management, which is overseeing the redevelopment.
He notes that the building is being renovated with “artistically inspired innovation,” which entails a mindset of putting art and creativity first in the planning, preservation, and reuse of the building. This is evident in the Lofts’s design—from its authentic ceiling tiles to its exposed brick walls and its walnut-stained hardwood floors.
A loft living space at the Artist Lofts.
Even so, the living spaces will be priced for artist incomes, too, Norby explains. The project is not considered subsidized housing; however, rents will be affordable based on income, ranging from about $200-540 a month.
“My example is that if you are a first year out of college art teacher, you make enough money to live here,” she adds.
Exposed brick and open layouts are key features of the Artist Lofts's living spaces.
Norby says the City hopes that artists who live at the Lofts will eventually grow their influence and utilize other parts of downtown Decatur, as well, like the nearby Madison Street Plaza.
“Maybe the Plaza will be a place where they display their art or do their work,” Norby says. “We hope that artists feel like they can really use all of downtown.”
Madison Street Plaza is a new public space in downtown Decatur that hosts farmers markets and live music.
This mentality is already taking hold among artists at places like ACE 40.8 gallery and art collective down the street.
Growing up in Decatur, Greg Mendez, Shaun Schirack, and Shaun’s future wife, Nicole, used to ride their bikes past the old F. McConnell and Sons, Inc. tobacco store at 236 N. 2nd St.
The building, which was abandoned in the 1980s, stood empty for more than 30 years, as Mendez and Schirack built careers for themselves as artists.
A few years after college, Mendez began nationally touring his metalwork sculptures at events like the Sioux Falls Sculpture Walk in South Dakota, and he became the driving force to start Decatur’s Sculpture Tour in 2012.
Greg Mendez received a Key to the City of Decatur for his work starting the Sculpture Tour.
But after building up the Tour’s success for a few years, he and Schirack started noticing a gap in the City’s offerings for artists.
“When the Sculpture Tour and the arts started catching momentum, we thought a gallery would be a good thing for the community because there’s no place for local artists to display their work or congregate,” Mendez says.
Working with the Schiracks, he set out turn the old tobacco store and the warehouse behind it into what is now known as ACE 40.8. Open the front door on 2nd Street, and you’ll step into a space with exposed brick, hardwood floors and colorful pieces of art suspended from every surface. A little further in, and you’ll find sculptures made of metal, paper, or plastic peeking out of old elevator shafts or pits that were once used for conveyor belts.
Inside the Artisian Collective Enterprise 40.8 in the works in downtown Decatur.
ACE stands for Artist Collective Enterprise, Mendez explains, and the reason 40.8 is in the name is because that’s the latitude of the building, which also has significance.
“Our location has worked out really well for us,” Mendez says. “Professional sculptors all year-round are transferring their work from one place to another (in the Midwest), and being in Indiana, we’re at the crossroads of that.”
When national artists come to town for events like the Sculpture Tour, ACE 40.8 serves as a hub for them and their work. The warehouse behind it offers storage space for sculptures and large displays that are in the making.
But for locals, the gallery serves an important purpose, too. Along with art, it’s walls are lined with artist studios boxed off in plexiglass where creators like Nower come to collaborate as they dream up ideas or exhibit their work.
Shelby Nower hangs a piece of her original artwork at ACE 40.8.
Being a collaborative allows artists like Mendez and Schirack to mentor up-and-coming local creators.
“While we do have a lot of regional artists come through here, we’re really focused on helping give local artists a jumpstart in their career,” Mendez explains. “I’ve been doing my art professionally for over 10 years, and there’s all sorts of things you realize that you didn’t learn in art school, like how to market yourself, or how to sell art. I had a lot of older artists in the sculpture program help me out, and it’s taken years to figure things out. That’s what we’re doing for some of the younger artists here.”
As a result, students like Nower are reaping the benefits and refining their unique styles to add to the mix.
After all, when you get creative minds into a close-knit, community environment, there are more opportunities for ideas to sharpen one another, take careers to the next level, or beautify the area around them, Mendez explains.
Take the murals in the alley behind ACE 40.8, for example.
A mural by Greg Mendez's wife, Tiffany, in the alley at ACE 40.8 in Decatur.
When some of the national artists were in town for the Sculpture Tour last year, they got the idea to crack open some cans of spray paint and let their creativity run loose in whimsical depictions of everything from beach scenes to Nintendo characters on ACE 40.8’s side alley.
Now, the alley provides a colorful walkway from the Sculpture Tour on 2nd Street to the city’s new Sculpture Garden on the other side of the building.
It’s just another sign that Decatur is reaching that sweet spot for creatives, where the barriers to entry are low, the public support is high, and the spirit of collaboration makes the opportunities as endless as the imagination.
“The community has really embraced it and become involved,” Schirack says. “Without that, it doesn’t go anywhere.”
Read more articles by Kara Hackett.
Kara Hackett is a Fort Wayne native fascinated by what's next for northeast Indiana how it relates to other up-and-coming places around the world. After working briefly in New York City and Indianapolis, she moved back to her hometown where she has discovered interesting people, projects, and innovations shaping the future of this place—and has been writing about them ever since. Follow her on Twitter and Instagram @karahackett.
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Building Design and Drafting Specialists in Neutral Bay (2089)
the Lower North Shore, the Sydney Region, New South Wales (NSW)
Best match results for: CATEGORY = Building Design and Drafting Specialists + LOCATION = Neutral Bay (2089
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Open main menu
Henry John Klutho
Henry John Klutho (1873–1964) was an American architect known for his work in the "Prairie School" style. He helped in the reconstruction of Jacksonville, Florida after the Great Fire of 1901—the largest-ever urban fire in the Southeast—by designing many of the new buildings built after the disaster. This period lasted until the beginning of World War I. Several Jacksonville architects began their careers in the offices of Klutho's firm.
Henry John Klutho
Henry John Klutho, ca. early 1900s
Breese, Illinois
Jacksonville, Florida
BuildingsSt. James Building, Dyal-Upchurch Building, Old Jacksonville Free Public Library
Early lifeEdit
Klutho was born in Breese, Illinois, a small midwest town. He lived there until the age of 16, when he left for St. Louis, Missouri to study business. When he became interested in architecture, he moved to New York City to learn more, and became an architect.Edit
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Inside Redbubble
Redbubble Artist Simon Stålenhag’s Retro Sci-Fi Paintings Inspire Amazon Series Tales From the Loop
After binging Tiger King, you might be questioning what planet we are living on. Now that you’ve recovered from that experience, get ready to be transported to another alternate reality with the new Amazon series Tales From the Loop.
This show is unique because it is adapted from paintings in Simon Stålenhag’s narrative art book — also titled Tales From the Loop. Stålenhag is a Swedish painter whose deeply haunting and imaginative works depict robots, machines, and futuristic creatures set against rural Swedish landscapes.
In Tales From the Loop, people interact with a science fiction world as stories about finding connection and other universal human experiences unfold. Both the paintings and the TV series are a collision of futuristic technology and humanity, non-linear timelines, and 1980s nostalgia. It’s as if Tales From the Loop hails from the same family tree as Stranger Things, The Twilight Zone, and Black Mirror.
Earlier in his career, Stålenhag made his low-key apocalyptic sci-fi artwork available online. He started selling prints on Redbubble and created a kick-starter campaign to pull his works into two narrative art books: Tales From the Loop (2014) and Things From the Flood (2016), which inspired the Amazon series adaptation.
More recently he crowdfunded a role-playing board game entitled Tales From the Loop where fans try to survive above the underground particle collider known as “The Loop.” He then crowdfunded and published a third artbook The Electric State (2018). There’s really no telling how far Stålenhag’s work will go — perhaps we will see Loop-themed video games and theme park rides someday… assuming time is linear.
Stålenhag’s inspiring career serves as a reminder that your ideas and your art can spiral completely out of control — in a great way. Now that we know paintings can be brought to life on the big screen, we can approach making artwork with new inspiration. It might bring new dynamics into your next piece if you dive deeper into the storytelling aspect of your characters and their environments. Or maybe you already have a series of pieces with a common throughline that you can build a larger narrative around.
If you love Stålenhag’s retro-futuristic suburbia dystopia vibes as much as we do, order your prints on Redbubble now. After this series airs, getting your hands on his work might be as difficult as finding toilet paper in a pandemic. In the meantime, enjoy getting lost in a world of your own imagining. The possibilities are truly limitless.
Tales from the Loop premieres on Amazon Prime April 3rd.
All featured images designed and sold by Simon Stålenhag. Visit his Redbubble shop for more.
View additional posts by Taryn Smith
Taryn Smith
Taryn is a freelance writer, animal lover, and pilsner enthusiast based in Berkeley, CA. Connect with her at www.tarynshelby.com
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'Queen Conch' (left) and 'Ricardo' (right), Embroidery Series, 2015
Which themes most often play out in your work?
I try to make my work consistent with what’s happening within me and around me. In the first year, my collages were all over the place when it came to themes; they could be political or absolutely silly just for shits and giggles. But after a while this randomness began to disturb me so I started attending a class where we could discuss our portfolios and production. My latest pieces are about the family and what happens within that realm; things like identity construction, domestic life and sexuality.
The collages can be quite visually arresting and intense – there is so much going on! How does your work engage with ideas of chaos?
The whole process leading up to the construction of the collage is a series of choices and attempts to impose some sense of order on the chaos. That’s how the first series started, and The Pink Series, the second series I ever made, was a continuation of that effort – trying to work with less material in order to control the disorder that working through hundreds of cut-outs can create. I’m not particularly proud of this series as a whole and the themes are a bit all over the place, but making it was sort of liberating because I had never had allowed myself to approach pink before then and suddenly it was mine to do as I pleased with.
Your work often has a sexual element to it – explicit in the Penis series and implicit in the Trans series. How do you engage with ideas of the sexual?
There’s also the PSSY series, which was made as a response to the initial Penis series, the name isn’t great, but I couldn’t call it the vagina or the vulva series because it also deals with internal female reproductive organs and sometimes with no part of the female anatomy at all.
Actually, the trans series isn’t a series at all, those collages are what happens in between series – transitional periods – I had to shorten the name so it would fit on the website and I loved that it could be shortened to ‘trans p.’, because of the association with the trans community, but that was just a happy coincidence.
'Stop it!', About Silence, 2014
'Stop it!', About Silence, 2014
That’s interesting – I assumed it had sexual connotations. What do you think fascinates us about sex in art?
I can’t tell – I guess it’s just something we can relate to. You don’t have to be an ‘art person’ to have a reaction to an artwork where the subject is sexual, it’s something that’s instinctive within you.
Do you think images of sex organs can ever not be sexual?
They can be non-erotic, they can be symbolic, but they would probably still be sexual or have a sexual charge to them.
What was your inspiration for the Penis series?
Every once in a while I decide to do something with penises in my work and, mostly, this comes from a silly place. I just decide on a whim to do something related to penises. Afterwards I tend to make a serious effort to work on something related to the female reproductive system – and I love that. I wish the PSSY series had got as much attention as the Penis series, because the so much more work went into it.
I love the mixture of sinister, more violent, photographic imagery with technicolour, illustrated images – like in “Rio” or “Paris” in your Pink series What roles do ‘the serious’ and ‘the silly’ play within your work?
The silly and the beautiful aspects of my work are there for the single reason of turning whatever is being said into a more palatable thing, or to get the message into people’s houses or minds without there being an automatic rejection of the subject at hand. Although sometimes I feel I might overdo it, and less and less people actually get to see through that layer of the work into what’s being said. Like I’ve always had a feeling that the bright colour I use was distracting people away, to a certain level, from what was actually being said.
You’re now embroidering penises and vaginas – what motivated this decision? Does using a different medium change the way you feel about your work?
The embroideries started because of the silly decision to embroider a flying penis with a halo, which ended up turning into something bigger. For the penis I worked with no reference picture, just did it of the top of my head. After that, I thought it was only fair to work on a vulva, so I did, but for that I had to use a drawing from an encyclopaedia as a reference image. I felt it was kind of sad that I, as a woman, couldn’t make a visual representation of the vulva without a reference image. After I finished the penis and vulva I felt weird about only embroidering Caucasian sex organs.
When I decided to embroider a black penis there were no drawings in encyclopaedias, only photos and even though there were TONNES of photos and entire Tumblrs dedicated to it, photos don’t translate well into embroidery, drawings are better to map out the colours, so I had to piece different images together to get the final shape and colour scheme.
When it was time to embroider the black vulva things became impossible, it was so hard that before I finished it I embroidered an asshole and a precursory reproductive structure. Vulvas have far more complex thread colour schemes than penises. Everything is so delicate and it takes a lot of work on light/shadow to try to make a decent depiction of it. But the number of images available online was way smaller than of any of the other genitals I had embroidered. So the white and the black vulvas I embroidered are absolutely different in the worst sense possible, I couldn’t do better work because what is available won’t even allow me to piece together a believable black vulva.
The decision to pursue embroidery as a new medium came from the fact that my work has a pretty acid way of approaching domestic life. Because the technique still carries those long gone idyllic values of women sitting at home and making things for the home and the family, I can actually enjoy shattering them whenever people ask to see what I’m working on. This is something I couldn’t have with collage at all since the technique didn’t relate directly to the subject matter.
'Orange Sister', Penis Series, 2013
'Orange Sister', Penis Series, 2013
I love the way you play with medium and subject matter in that way. Who would you say most inspires you?
One artist I’m weirdly attracted to is Tracey Emin. Not necessarily because I love her work, but because of the subjects she works with and the techniques she allows herself to use.
In terms of inspiration, I’d have to say, Murakami’s ‘The Wind up Bird Chronicles’. If I’m ever able to accomplish mixing everyday life with dreamlike and mythological elements as he does I’ll be a happy rabbit.
What does feminism mean to you?
This is a tough one. I’ve been struggling with this subject for a while now. I have feminist activist friends and I know feminism is a whole universe I haven’t remotely explored yet and I don’t feel like I know enough to even risk answering this, but I think it’s a fight for women’s rights, for equality, for a relevant depiction of women in mainstream culture and an attempt to break the overbearing white cis straight male axis.
Words Madeleine Dunnigan
Ingrid’s work is part of the permanent collection at Rio’s Museum of Modern Art. Alongside this, she has been displayed at SESC Quitandinha and SESC Ramos, as well as X CASA and Comuna. She recently exhibited at Kunstraum Tapir in Berlin and has a forthcoming exhibition, Collage #1: Imprint – Ingrid Bittar & David Woodward, at SomoS in Berlin on 1 October 2015. You can find details of the event here. Please visit Ingrid Bittar's website for further examples of and more information on her work.
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Shooting Landscapes
Landscapes are beautiful scenes of nature that are pleasing to the eye. A landscape could be of a beautiful valley, beach, forest, snow clad mountain peaks, waterfall or even a garden or river with a beautiful city skyline in the backdrop. A common thread that binds it all is the fact that a landscape is a wide view and has a lot of things happening as compared to a portrait, product or food shot.
How do I shoot a landscape ?
First, you will need a landscape (obvious that). Based on what you choose to capture you will need to figure out an angle that suits you and the landscape best. Do not hesitate to innovate here !
Equipment: Camera with a wide angle lens and a tripod. (18-55 mm kit lens will do) Opitonal : ND filter.
• While shooting a landscape, zoom out to capture most of what you see with your eyes. In case there is a specific object that is of interest focus on the object so that it comes out the sharpest.
• While choosing the settings, choose an aperture value of f7 or higher (f9, f11, f16 etc). This reduces the aperture opening size to allow a small amount of light to pass through. The shutter speed will require to be lot lower than usual to compensate for the reduced amount of light entering the lens due to a smaller aperture.
• Ideally for hand held shots the shutter speed should not go below 1/50th of a second. A shot taken at a shutter speed below 1/50th of a second turns out to be blur due to shakes caused by shaky hands or trigger squeeze.
• If reducing the shutter speed to 1/50 produces dark shots, the best way to compensate for both aperture and shutter speed is raising the ISO. On a normal day my camera would be set at ISO 100 or 200. While shooting landscapes I would gladly bump it up to ISO 400.
Some Examples below: (hover your mouse over the images for shot details)
Shooting a Sunset :
Shooting sunsets is always an interesting thing. What helps making these shots attractive is the quality and quantity of light that is available during that time. The period 1-2 hours before sunset (or sunrise) is called “the golden hour”. The light and hue during that time is extremely conducive for photography. The only thing most photographers forget is that the light is steadily decreasing. The only way to get best shots of sunset is to flip ISO settings to Auto ISO.
Auto ISO ensures the best ISO settings are enabled to compensate light based on chosen Shutter Speed and Aperture.
Dreamy Sunset
If you wish to learn more about Landscape Photography or Basics of Photography, you can set up a One-On-One photography engagement session by clicking here
Feedback or queries are most welcome. You can reach Nishant by clicking here.
Happy Shooting !
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f8, I am ONLY going to shoot at f8
Bryan Peterson described f/8 to f/11 as the “who cares” apertures. In good light I’ll shoot a lot of stuff at that setting, ony stepping up or down for creative reasons – need more blur in the background? Open up to f/5.6 and further.
f/8 is quite often described as the “sweet spot” of lenses. It’s that setting where you’ll get the sharpest image. It’s not the same for every lens but it’s a good place to start!
This thread on the Canon forum covers these issues and more ..
• Moving up and down the aperture settings affects your shutter speed. Some people use f/8, 1/250s when it’s bright enough, only adjusting the ISO to maintain the correct exposure. That’s handy to avoid camera shake, and if things are really dark then sometimes you have to stop down to lower settings.
• Why does every shot have to be “tack sharp”? A little DOF can add a lot to a photo.
• I use f/22 on occasion for those deep images, but I should read up on the diffraction effects that has on light.
• Here’s a depth of field calculator.
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Belfast Telegraph
Last UDA mural removed
The last UDA mural was removed from north Belfast yesterday.
It was in the small Ballysillan community of Tyndale which has undergone a significant physical transformation in recent months.
Groundwork Northern Ireland have been working with Greater Ballysillan Community Residents Association (GBCRA) and North Belfast Community Development and Transition Group (NBCDTG) on the removal of the imposing paramilitary mural and other territorial markings in the area.
A representative of Greater Ballysillan Community Residents’ Group said:”It is our intention that this community garden and the new imagery that have been created will add value to the local area and assist in the development of a vibrant and cohesive community spirit.”
The Arts Council NI funded both a mural and sculpture based around the theme of reflection.
The mural was executed by artist Daniela Balmaverde, who worked closely with the P6 class from Ballysillan Primary School to finalise the design.
It provides a mystical interpretation of some of the historic aspects of the area, representing the flowing rivers that used to run through the locality and the volcanic past of the nearby Cavehill area.
Belfast Telegraph
From Belfast Telegraph
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We provide extensive control of your logo, in both light and dark mode, desktop and mobile. We support both an image logo and text or both.
# _data/site.yml
logo_text: "11ty Curate"
logo_image: assets/images/logo/logo.png
logo_image_mobile: assets/images/logo/logo-mobile.png
logo_image_invert: assets/images/logo/logo-invert.png
logo_image_invert_mobile: assets/images/logo/logo-invert-mobile.png
logo_image_desktop_height: "30px"
logo_image_desktop_width: "132px"
logo_image_mobile_height: "30px"
logo_image_mobile_width: "34px"
show_logo_image_on_mobile: true
show_logo_image_on_desktop: true
show_logo_text_on_mobile: false
show_logo_text_on_desktop: false
To update the logo, copy your logo files to the assets/images/logo folder. You can simply overwrite the existing files.
There are 4 logo variations for mobile and inverted (white) states.
• assets/images/logo/logo.png Desktop logo
• assets/images/logo/logo-mobile.png Mobile logo, typically the smaller icon version of your logo “the mark”
• assets/images/logo/logo-invert.png Desktop logo in white, for use when the header is transparent
• assets/images/logo/logo-invert-mobile.png Mobile logo in white
If you want to use different filenames for your logo you can update the path to the logos in the _data/site.yml. You can use .svg or other file extensions.
You can also use a text only logo, this is great for blogs and other personal sites that dont really have an official logo. Update the logo_text property and set show_logo_text_on_mobile: true or show_logo_text_on_desktop: true (or both!)
Image & Text
You can enable both image and text at the same time. And mix and match the combinations on mobile/desktop. I often like to have the image and text on desktop, and just the image (a square icon) on mobile.
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Why tuples use parentheses ()'s instead of something else like <>'s?
Alex Martelli aleaxit at yahoo.com
Fri Dec 31 01:09:13 CET 2004
Carl Banks <imbosol at aerojockey.com> wrote:
> Alex Martellix wrote:
> > I think a tiny minority of today's
> > architecture and sculpture can rightfully be compared with the
> > masterpieces of millennia past.
> Not that I disagree with your overall point, but I suspect a tiny
> minority of the architecture and sculpture from millenia past can be
> rightfully compared with the masterpieces of millenia past.
True. Most forgettable architecture has fortunately crumbled to
Still -- there's more of that from millennia past than one might think.
I was walking back from grocery shopping today (my daughter having
borrowed my car, I had to walk to the market and back), and I noticed a
new display in a familiar courtyard.
Finally, over 90 years after the original discoveries, they've built a
display showcase of the two major pre-Etruscan necropolises -- San
Vitale and Savena -- which were discovered before WW 1, when
urbanization was first done on the neighborhood I was born in, the same
place I currently live in.
About 3000 years ago, with little beyond dried mud (the Bologna region
was never rich in anything but clay, as building materials go -- and at
that time they didn't fire-bake clay into bricks, not regularly,
anyway), and wood long since rotten, some unknown, unsung architects put
together a small town for the dead, right below the sidewalks I thread
every day.
My breath was taken away by finally seeing some of their work on display
in its rightful place, my birthplace and residence, as opposed to the
museums (several blocks away) where it's generally gathering dust in.
Have you heard of Villanova, often named as the birthplace of Italian
civilization? That's about 15 km away, where I generally go for major
grocery shopping at a hypermarket when I _do_ have a car. San Vitale
and Savena were way older, more primitive, more essential -- no jewels
of gold and amber to gawp at, yet... the pre-Etruscans,
pre-Villanovians, still hadn't managed yet to get in gear with the
system of commerce and European- and Mediterranean-wide exhanges which
later made Etruria the beacon of arts and culture. Within the
constraints of a still rather poor material culture, the necropolises of
Savena and San Vitale nevertheless exhibit the kind of limpid, geometric
symmetry, spiritual balance, and minimalistic play of emptiness and
fullness, that _defines_ worthwhile architecture to my soul...
How many more jewels like this one are still buried under the soil of
Italy (to name just one place, albeit a rather fecund one for that kind
of thing)? Nobody knows -- basically, every time you're excavating
something, be it to lay foundations for a warehouse or whatever, among
your risks as a developer is that the first few shovelfuls will reveal
*yet one more* previously unsuspected architectural and archeological
treasure, so that your development will be blocked and stalled for
years, decades, while the duly appointed officials salvage all that's
there. Why, even when you're restoring an already well-known
architectural masterpiece from the Renaissance, you STILL risk finding a
well-preserved marble amphitheater from Roman times that the Renaissance
architects used as part of their _foundations_... happened downtown in
Bologna just over 10 years ago -- and Bologna was a somewhat marginal
provincial town 2000 or so years ago: just imagine what it must be like
as you move southwards through Tuscany towards the heart of Roman
culture in Lazio...! ((Being Italian, I tend to focus on the way things
are here -- but I heard the projects to restore the city walls in
Instambul, aka Bizantium, came upon exactly the same kinds of problems
over the last 20+ years... Italy certainly has no monopoly on having
layers upon layers upon layers of great architecture and civilization!))
> Then again, millenia past didn't have Frank Gehry (i.e., the Perl of
> modern architecture).
Uhm -- I count the Guggenheim Museum in Bilbao among the _successes_ of
modern architecture... yes, it IS rich and redundant and wild and self
complacent... it _should_ be, much like (say) the Pantheon or Saint
Peter's in Rome, or Saint Nicholas in Prague (and other masterpieces of
Flaming Baroque, "Il Barocco di fiamma")... not ALL great art is
minimalistic and spare and understated! _Some_ of the time, an artist
manages to overwhelm you with perfect mastery of overflowing richness...
like, say, Bach's Matthauspassion's richness, wrt the spareness his Art
of the Fugue... all I'm saying is that material or formal constraints
can HELP art, not that they're necessarily _indispensable_ to it...
More information about the Python-list mailing list
|
fcc793a3-2db0-4e7d-8295-596183dab1fb
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Vägutrustning och väginstallationer
Kommittébeteckning: SIS/TK 248 (Vägutrustning)
Källa: CEN
Svarsdatum: den 17 dec 2018
Se merSe mindre
This document specifies requirements for new traffic cones and new traffic cylinders with retroreflective properties.
This document specifies minimum essential visual and physical performance characteristics; test methods for determination of product performance and the means by which this performance may be communicated to the user and the public including safety enforcement agencies.
The document provides a series of categories or classes by which a traffic cone or traffic cylinder may be specified for use in different applications in accordance with best practice.
In the case of physical properties, performance levels and indicative tests are provided for cold weather, stability, and impact resistance when dropped. Requirements for visual recognition properties, colour, retro-reflectivity and luminance are provided.
Provision for identification and marking to declared levels of performance is provided.
There are other product shapes which perform similar functions. This document does not cover devices made in other shapes, or which do not meet the design requirements of this document.
|
4a657a9d-684c-45d2-939e-1f6511b04a33
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What to Know When Buying Limited Editions
I often get emails from clients each week asking me when I am going to bring back Maverick, Caesar, the Bully print, plus many more. These prints were limited editions, so this means I am unable to bring these prints back to sell again. I cannot change the edition number just to create more sales. (Although the amount of people who have asked to purchase these prints since selling out, I wish I could!)
Once they are sold out, they are sold out!
When you discover a print or photograph that you want to buy, the next step is to look at the artwork’s edition information. Some prints are marked as "Unlimited" or "Open" editions prints or some are marked as Limited editions. If it is an "Unlimited" edition, this means that it will never run or sell out, unless the artist such as myself decides to stop selling this particular print anymore.
Unlimited Edition print - Lake Tekapo
If the print is a limited edition print, this is a different story as there are only a limited amount of copies that can be sold. Here is some more information to help you understand the meaning and value of a limited edition print.
On each product page of my limited edition prints you will see the information relating to that limited edition print. Here you will find how many editions of this will be sold. For example, my "Bully" print, there were only 20 editions sold. My "Maverick" print I set the number to forty. Some artists set theirs at 100 or even 120 copies.
To distinguish between individual artworks in an edition, artists will label each piece with a distinct number—and you will often find this number published alongside the total edition size (e.g. 1/40 or 40/40). I will usually write the edition number on the bottom left hand corner of the photograph.
Once an edition number is set by the artist, they cannot (or should not) go back on their word, which is bad enough for the artists reputation on its own – it lowers the value of the pieces they have already sold.
Limited Edition - Wagyu Will
Pro tip: When I sell limited edition artworks for the first time, I often sell them in number order. If there is a lot of demand for the edition, or it is selling quickly, I may choose to raise the price of the remaining unsold works. In these cases, the print numbered 40/40 will be more expensive than the print numbered 1/40—simply because it was the last to be sold and in high demand.
Smaller Editions Are More Valuable
When edition sizes are small, the individual artworks in the edition become more rare—and this scarcity makes these pieces more desirable in the market. For example, a print from an edition of 40 will be more valuable than a similar work from an edition of 100.
Proofs Add to the Edition Size
Most limited editions will also include a small number of artist’s proofs, which are often listed as “AP” or “A/P” in the edition information.
Traditionally, artists kept these proofs for their personal collections—and artworks that belonged to the artists themselves will be more valuable in today’s market. I have not sold any of my artist proof's yet. Proofs are also highly desirable if they are in some way unique, such as those that feature notes from the artist.
Recent Work
Here is a recent Limited Editions added to my collection: "Hercules" limited to forty editions only.
Here are some previous Limited Edition Prints that have SOLD OUT.
Here are some limited editions that are currently SELLING OUT.
We Three Kings - Two Remaining.
Night Blooms - 10 Remaining.
So remember, if there is a limited edition print that you are interested in, don't leave it too long to purchase it as it my sell out. Once it sells out, it will not be available again, or if it is selling out, the price may increase.
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62904585-9176-4280-ae3c-9ce2c03c6f80
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by Jorge Chamorro Ortiz
men's black dress shoe mouth with teeth and tongue , This is very odd but very fun. The background color is nice and doesn't take away from the subject. I think the two images were combined very neatly.
collage art
Remembering that terror of being so exposed at the beach. feeling like everyone is there to stare at me. but I see now that they were mostly self absorbed.
Image + Silhouette via Nordstrom
I think that this image is very creative and interesting because the designer made it pop by using the outline of the person. I also really like how the silhouette of the girl in this image is a design and it makes her stand out.
by Franz Falckenhaus
Franz Falckenhaus
"Beach Kiss" by Merve Ozaslan
"Beach Kiss" by Merve Ozaslan I like this picture because it has three people whose clothes come together to make one picture and it has been colour popped to make it stand out more.
ironing the landscape - q-ta
Tokyo-based art director Sato Masahiro, more commonly known as Q-TA ( combines materials from vintage encyclopedias and magazines to create seamless, surreal collages.
by collageartbyjesse
Austerity CUT backs affect nature too as wildlife protection officers etc face drastic number reductions as are easy targets for cost savings 😞Jesse Treece
I think the concept is cool but isn't well executed. the Tabasco sauce looks like it's just floating and doesn't belong in the environment and the drop of it into the river is not convincing enough that it's coloring the river red
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Can we all agree that Inscape’s Alumni and former lecturer, Rudolph Jordaan is the hardest working person ever? Rudolph was recently announced as the winner of Win a Home season 3, he runs his own Interior Design Company and has started working for ARRCC as part of his Win a Home prize winnings. We caught up with Rudolph and he got to tell us about life since winning Win a Home, his passion for design and where he draws inspiration from.
Describe Rudolph in 3 words
Driven, Introspective, Realistic
When did you realise that design was your thing?
It might not actually be my thing but I’m passionate about it – All I recall was my epiphany in matric when I realised I could merge my secretive love for art with functional design aimed at improving lives of the disabled. At that stage I had no art or design background and it was only in my First year at Inscape that I gained enough confidence in my creative abilities.
How has life been like since winning season 3 of Win a Home?
MAAAAAD!!! I’ve had my own company now for 2 years but since the competition ended I was approached by a Hotel Group to do a refurb for 56 rooms for their Franschhoek Hotel for this season and had two celebrity clients amongst my other “normal” projects.I’m completing all of this outside of normal working hours as I started working for ARRCC (One of the Judges and designers of the Polo Village at Val de Vie) as part of my prize winnings.
Who/What did you draw inspiration from when completing your design challenges?
I really had to rely on my interpretation and sensitive skills when it came to the designs. It was a really tough brief because the design parameters was mostly set by our sponsors and their audiences: Caesarstone wanted to see innovation and optimal use of their product (being made in record times with zero room for error). Plascon wanted us to be daring with colour – contradictory to the monochrome schemes reminiscent of ARRCC and the classical estate living of Val de Vie. This then would have to show best value add for sponsors Private Property and Nedbank.Then it was also steered in the direction and style of my magazine mentor and readers of Real Estate Magazine and off course I had to appeal to the viewer votes of Afternoon Express and their social media feedback, so that they can envision living in my apartment.
Which challenge did you feel was your best?
Each and every one- I gave it my all and I am proud of how I managed to get everyone involved get it all done in time and to my standards.
Who would you say was your biggest competitor, Minenhle or Juane? Why?
It was a very close run in viewer choice votes throughout the competition but I knew when the judges would walk into my apartment they would see the finer details of quality workmanship, design considerations and valuable materiality. It was also very clear that my competitors designed for themselves and not a client, something I had a little bit more experience in. Juane had a clean style I admire and Minenhle had a quirky side that would brighten up your day.
One thing you will take from the Win a Home experience?
Your fate is always unknown. You just have to trust and deal with issues one at a time.
You were a lecturer at Inscape? For how long?
3.5 years and I’m very sad to have left my family at Inscape (PTA/JHB/DBN/CPT)
How was it like lecturing at Inscape?
At first daunting as I had older students in my Part Time Architectural draughting evening classes. No day was ever the same. No two designs were ever the same and each new lecturer was crazier than the last. To me lecturing was the perfect way of doing continuous professional development as the content of the courses changed and adapted extremely quickly. My students are now my design champions all over the world.
In terms of style, Drake or Kanye?
Kanye knows how to dress and that is as far as his style stretches.
List 5 tracks that reflect/ have contributed to your life journey
Aladdin – Whole new world
Journey – Don’t stop believing
Imagine Dragons – On top of the world
One Republic- Counting stars
One Republic- I lived
Your plans for the future?
The projects are lined up for 2017 but for now I’m planning a well-deserved (7day) break so that I can list my goals in silence.
Apply Now
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Yvette Bonner (Sarah), Roderick Williams (Aiden) [Photo by Hans van den Bogaard courtesy of De Nederlandse Opera]
17 May 2010
Michel van der Aa : After Life at the Barbican, London
“If you could take any one memory with you to eternity, which one would you choose?” In Michel van der Aa’s After Life several people meet in a waiting room.
Michael van der Aa: After Life
Roderick Williams: Aiden; Richard Stuart: Mr Walter; Yvette Bonner: Sarah; Margriet van Reisen: Ilona; Claron McFadden: Chief; Helena Rasker: Bryna Tessa; Juul; Flint; Bert: participants. Asko/Schoenberg. Otto Tausk: conductor. Michel van de Aa: director, video script. Robby Duiveman: costumes. Barbican Theatre, London, 15th May 2010.
Above: Yvette Bonner as Sarah and Roderick Williams as Aiden
All photos by Hans van den Bogaard courtesy of De Nederlandse Opera
They’ve just died, but they must examine their lives, and pick one memory to take with them before they can journey on. One memory to summarize a whole lifetime? It’s not easy. Effectively, they’re pondering what their lives might have meant. It’s a powerful psychological concept, strikingly adapted as theatre.
At the premiere in 2006, Shirley Apthorp in the Financial Times described the opera as “The Gesammstkunstwerk of the Future”. Michel van der Aa mixes live orchestra with electronica, live performers with ordinary people captured on film. That’s not specially innovative in itself, but van der Aa takes the concept further, blending art and reality. Singers and musicians perform a score, while ordinary people speak spontaneously. Van der Aa abandoned the idea of script altogether: people simply turned up at his studio, and talked spontaneously. Ordinary people, but extraordinary lives.
Perhaps that’s part of After Life’s message too. More emotionally articulate people have more insight into what makes them what they are, but even the most mundane life has meaning.. What of those who are blocked in some way ? Mr Walter ( Richard Suart) looks back on a “so-so job, a so-so marriage”, where nothing seems to have mattered either way. Ilana (Margreit van Reisen) has had such a horrible life she doesn’t want to remember anything. But in the Afterlife, you can’t move on unless you can deal with your past.
That’s why the staff in the “waiting room” help people reconstruct their lives and memories. Sometimes it isn’t the grand gestures that create the best memories, but simple things. like hugging a loved pet, or sitting on a park bench and feeling you belong. Aiden (Roderick Williams) reveals that the staff themselves are people who are blocked and can’t proceed until they, too, learn the meaning of their lives. Aiden helps Walter, but by helping Walter, he finds his own release. In this strange Limbo, the authority figure, The Chief (Claron McFadden) may in fact be the person most trapped. Maybe the secret to passage isn’t what memory you carry with you, but how much excess baggage you’re prepared to leave behind.
Michel van der Aa’s music may be avant garde, and extended by electronic effects, but it communicates well. Van der Aa wrote one of the study pieces for After Life for the famous Freiburg Baroque Orchestra, hence the harpsichord-led purity of line. As he says, the music “has two layers, a direct, physically dramatic layer and another with more depth, that is more conceptual”. The opera deals with very unusual ideas, so this interplay between clarity and mystery is fundamental.
al.18generale.gifClaron McFadden (Chief), Margriet van Reisen (Ilana), Yvette Bonner (Sarah), Helena Rasker (Bryna Pullman), Roderick Williams (Aiden)
The vocal lines sweep up and down the scale, even within phrases, but don’t sound unnatural. McFadden, who has few equals in modern music, and has created the wildest Harpies, sounds soft and lyrical, actually quite sweet. Williams proves why he’s one of the most sought after character baritones in his generation. He’s a wonderful, expressive actor who moves as well as he sings. Yvette Bonner as Sarah, the other member of staff, has good potential.
Michel van der Aa worked with Louis Andriessen (Writing to Vermeer) who promoted the idea of anti-orchestra back in the 1960’s. The idea of multi-media, conceptual theatre is fairly well established in Europe. The Queen of the Netherlands attended After Life at the highly prestigious Holland Festival. Holland’s famous for its liberal, open-minded attitudes, but After Life is so good that it can export, even to more buttoned down. British psyche. After all, every one of us will one day make that journey, whatever may be on the other side.
Congratulations to the Barbican for bringing it to London, just months after the recent revival (with revisions) . I was impressed by the way the Barbican marketed this opera, which might have been a hard sell, given that it’s so modern. They set up a mini website, inviting readers to send in their own ideas of what memory they’d take into the unknown. After Life is about ordinary people, so it’s a good idea that “ordinary people” participate. While it emphasizes “ordinary” life, this opera poses questions about life, identity and emotional dexterity that make it a challenge. What you get from it reflects what you put in. A bit like life itself.
Anne Ozorio
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How to Make Resin Art on a Canvas
Introduction: How to Make Resin Art on a Canvas
About: Hi Everyone, I'm Jeremy Hoffpauir. I love creating cool things. I love making old things look cool, I love making new things look old, I love making things that are unique, I love making things that inspire...
Hey Everyone, Jeremy Hoffpauir here. In this instructable, I show you how to make resin art on a canvas. I use multiple techniques to create cells and unique blending, which are both awesome resin art effects.
Materials I Used:
Gather Materials and Prepare Work Surface
As most of you know, I like working with Epoxy Resin. I had a small amount of material left over from my epoxy resin table project I completed last month, so I decided to make resin art on a canvas.
Step 1: Gather Materials & Prepare Work Surface
Epoxy Resin Work Surface
I receive a ton of questions about my epoxy resin work surface. So, I’ll take a quick minute to explain. In an effort to reduce the epoxy resin mess (run-off), I attached four 2×4’s to the underside of my outfeed table a few months ago. The 2×4’s suspend the work piece in the air. Additionally, I used 2×4’s around the table below the plywood top to create a tub. I sealed the underside of the table with silicone caulk to prevent leaking. Ultimately, the underside of the outfeed table is a tub which collects the epoxy as it runs off the work piece. The outfeed table is attached to my table saw with magnets. To use the table, I pull it away from the table saw and flip it over.
Step 2: Prepare Paint and Epoxy Resin
First, I added the white acrylic paint in a plastic cup. The acrylic paint will add color to the epoxy resin.
White was my base color, so I used a large measuring cup because I needed roughly 8 ounces. I mixed the other colors in a small plastic cup. I used roughly 1 tablespoon per 4 ounces of epoxy resin. Keep in mind, the amount of acrylic paint is not an exact science. One tablespoon per 4 ounces produced a nice color for me.
Next, I mixed 24 ounces (12 ounces of epoxy, 12 ounces of hardener) of epoxy resin.
Step 3: Mix Paint and Epoxy Resin
I mixed the 24 ounces epoxy resin by stirring gently with a mixing stick.
While stirring, the epoxy resin will get thick and cloudy. It will start to get easier to stir and become clear again after a few minutes of mixing. Next, I poured roughly 4 ounces in each small cup with acrylic paint. I poured 8 ounces into the large mixing cup with my base color, which is white. Then, I mixed the paint with the epoxy resin. It is important to make certain the paint is completely mixed with the resin.
Step 4: Pour Base Color
I poured the white epoxy resin on top of the canvas.
Next, I rubbed the white resin to ensure it completely covered the canvas. The base color is necessary for the ‘lacing effect’. The ‘lacing effect’ is achieved when a different color is poured on top of the white resin and heat is applied with a heat gun. More on this in a later step.
Step 5: Pour Colors
There is no right or wrong way to pour the colors on the canvas. I did not have a plan I just sort of went with it.
First, I poured the sand color. Next, I poured the gray and aqua colors. Then, I poured the blue color near the top of the canvas.
Step 6: Heat Gun to Merge Colors
I used a heat gun to merge the different colors by moving the resin with heat.
This creates unique resin art effects because the colors blend together. Additionally, the white (base) color becomes more visible.
Step 7: Make Resin Art Cells
The next 2 layers I poured were mixed with silicone oil.
I mixed 5 drops of silicone oil per 4 ounces of resin. This is not an exact measurement – this amount just seemed right to me. I mixed the silicone oil with the resin in the mixing cup. I’ve seen people drop dispersing agents directly on the resin, but that didn’t seem right to me. The silicone oil is a dispersing agent, which adds multiple effects to the art piece such as lacing and cells. I allowed the base layers to sit for 10 minutes before I applied the resin with silicone oil. First, I applied the aqua blue to the top of the canvas just above the blue layer. Then, I used my heat gun to work the resin into the other colors. I really started to make cool patterns.
Next, I applied the dark grey resin with silicon oil across the top. I decided to bring some of the dark grey into the middle of the art piece.
Step 8: Move Resin Art on Canvas
I should have realized the resin would congregate to the middle of the canvas because of it’s weight; however, I didn’t until it happened.
This turned out to be a good thing because it added to the unique patterns. I moved the resin around by lifting the canvas and tilting the canvas in different angles. Next, I moved the resin with the heat gun until the pattern looked good. I did this until I was happy with the patterns.
Step 9: Resin Art Effects
The silicone oil helped create awesome effects as you can see from these pictures.
I've read of people using denatured alcohol and other dispersion agents. I chose to use silicone oil because I thought it would create more interesting patterns.
Step 10: Final Thoughts
I hope this project provided you with some value because this is, and always will be, my ultimate goal.
Please consider subscribing to my YouTube channel and visiting my website for more projects and other fun stuff.
Feel free to contact me anytime if you have any questions. I'm happy to help!
Until next time – Imagine…Create…Share
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15 Discussions
This I so neat. I have everything but the silicon oil. However, I definitely am going to use an 8x10 canvas that I have on hand.
1 reply
Craft stores and online suppliers (Fire Mountain Gems; MicroMark) sell various formulations of resins/hardeners. Craft and art suppliers sell canvases. It looks to me that we're on our own to preventing spills!
Hi ! Would it be possible to replace acrylic paint with powder pigments? Thanks a lot for this step by step, I've been looking for a precise tuto for a looong time!
1 more answer
Hi, thank you very much. Yes, you can absolutely replace the acrylic paint with pigment powder. Pigment powder is a bit more expensive than paint, which is the reason why I did this project in acrylic paint. If you are interested, checkout my website or my other instructsbles for complete tutorials on how to mix resin with pigment powder and glow powder for a glow in the dark effect.
https://pahjodesigns.com
Hi there. I have a question ,so in the instructions you had mentioned 12 oz of epoxy to 12 oz of hardener. What is an hardener.?Love the art,planning to try resin art first time.
1 more answer
These terms are used very loosely and can be confusing, so kudos to you for asking this question. :)
Epoxy is the name of the mixture or the name of the type of resin. The epoxy comes in 2 parts (1 part resin and 1 part hardener). Hardeners are used to cure epoxy resins.
Question 2 months ago
Hi Jeremy. Love this piece. Several questions: What happens to the silicone oil? Does it dry completely? Do you cover your finished pieces with a clear protective coat of some kind? Do you ever come back with additional coats of resin after letting layers dry, to achieve a kind of 3D or gesso effect? Finally what about adding texture to a layer, with fibers, or crushed glass, glitter etc to one of the pours? any suggestions/comments will be greatly appreciated!
1 more answer
Hello, thank you for taking the time to read my post. I believe the silicone oil disperses the resin. I don’t believe it hardens; rather, it thins the resin - similar to thinning paint with paint thinner.
I don’t use protective coats on art pieces bc I usually don’t have a reason to do so. Resin cures very hard so it is somewhat protected out of the gate.
I use multiple layers at the same time to create multiple effects. I haven’t used additional layers after 1 layer cures.
I’ve used fire glass on a few of my river tables - check them out at https://pahjo.com
There are a few artists that I know of who create 3D effects. Take a look at https://tammymedskerstudio.com
Hope this helps!
Question 2 months ago
Hi. I'm about to try my first resin art. I'll do a small canvas to test the colours before moving on to a larger surface. If I use MDF board for the larger one so it doesn't pool in the middle, what should I paint the MDF with? Would white gesso work, or should I use something else?
1 more answer
Hello, I suggest using a paint and primer in 1 from Home Depot. White or grey are popular colors to paint the canvas with.
Hello, thank you very much. The canvas has a rough texture, so I didn't do anything to the canvas. As long as the surface isn't glossy and slick, epoxy resin will adhere to it.
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A visual and thermal comfort in only 1 second
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More information about the perfomances of this glass and its composition.
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s-ol boosted
3/6
The way this PCB turned out is just plain impressive to me.
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i've been working together with a friend and 3d artist (iljaburzev.com) for a little set of christmas-themed macropad renders, and I think he's been knocking it out of the park!
1/6
s-ol boosted
good time as any to say it here: yes, I'm available for online private teaching sessions. I've given training on Ableton Live, Maxmsp, modular synthesis, electronic music and sound design. DM me for details :) (boost welcome :) )
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(the top chamfer on pic 2 didn't come out quite like it should've, this is what it should convey:)
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don't know if i noticed and told you before or not, but the view from the House of Stairs thumbnail is literally my recurring childhood dream, only that i would be looking up (basically the animation playing backwards)
img.itch.zone/aW1hZ2UvMzQyMDYv
drawing a lot of half-edge mesh graphs and these half-arrow shapes keep getting stuck in my head.
I imagine this shape has been used as a logo before? I wanted to see it rendered nicely so I wrote some Logo again... after 10+ years?
setwidth 5
right 30
repeat 3 [
forward 100
right 120
forward 20
left 90
forward 10
left 90
forward 20
right 180
s-ol boosted
Working on my website/fs/CMS/SSG again, now moving the conversion "plugin" system to be part of the website content itself. It's a kind of self-hosting where I'm moving code from the traditional substrate (lua code as modules as files) into the new substrate itself (lua code as facets in fileders).
The benefit will be that soon I can separate the core from the content and plugins, so that I can put other content on it (like my fabacademy page) without any hacks.
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Merveilles is a community project aimed at the establishment of new ways of speaking, seeing and organizing information — A culture that seeks augmentation through the arts of engineering and design. A warm welcome to any like-minded people who feel these ideals resonate with them.
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ARTS >> Art
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Sui Dynasty tomb reveals ancient posthumous marriage culture
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Tokyo art exhibit invites theft
The Tokyo art exhibit opened to enthusiastic visitors, but many of those circulating weren't just there to soak in some culture - they were casing the joint for a midnight raid.
Source: AFP | 2020/7/13 16:38:40
US artist's holiday park sculpture fetches millions at auction
A huge sculpture by US artist Alexander Calder sold at auction in Paris on Wednesday for over 4.9 million euros ($5.5 million), auctioneers Artcurial said, after nearly six decades on display at a holiday park in southern France.
Source: AFP | 2020/7/9 17:48:41
Maritime firearm exhibition held in Shanghai
An exhibition featuring Chinese maritime firearms opened at the China Maritime Museum in Shanghai on Sunday.
Source: Xinhua | 2020/7/6 19:18:43
Family cemetery of ancient official excavated in Northwest China
Archaeologists in Northwest China's Shaanxi Province have unearthed a well-preserved, large family cemetery site of an ancient Chinese official from the Sui Dynasty (581-618), the provincial institute of archaeology said Friday.
Source: Xinhua | 2020/7/6 19:18:42
In Canada, art lovers head to drive-in for safe Van Gogh show
While some museums have had to cancel or postpone long-planned exhibits because of the coronavirus, organizers of a Van Gogh show in Toronto had a novel idea: offering art lovers a drive-in option.
Source: AFP | 2020/7/5 16:53:40
Auschwitz-Birkenau Museum reopens to visitors after lockdown measures lifted
The Auschwitz-Birkenau Museum reopened to the public on Wednesday after nearly four months under a coronavirus lockdown that forced it to appeal for funding as revenues from visitors dried up.
Source: AFP | 2020/7/2 16:38:40
Collector's family to get looted Pissarro after French ruling
France's top appeals court rejected Wednesday a bid by a US couple to win back a painting by Impressionist master Camille Pissarro which they acquired at auction but had been seized from a Jewish collector during World War II.
Source: AFP | 2020/7/2 15:33:41
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Operation Oneiroi
Project Pheme
Action Angelia
A Series of written and audio works on subjectivity and digital information flows.
A communal discussion group, meeting online to talk and share impressions about films, books, gossip or theoretical concepts. Each session has a preplanned topic, that the participants are invite to research, watch or engage with at any scale, so everyone is welcome.
An Anthology of Discussions, Interviews and Essays as Audio File or Written Text by external sources to create a better context and framework of the existing media landscape.
The creative deck in form of a PDF, filled with information, displayed in various forms and mediums, modelling the perceptions and tools of information today. The A/A Decks include all PDF publications created inlcuding the annual reports among others.
Text Selection Widget
© 2021 dieinternet.org
258 Cambridge Heath Road, E2 9DA, London, UK.
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Cosmic display comes to downtown
December 5, 2018
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Donald Lawrence's comet is not hanging above the TNRD Civic Building entrance just yet. This is a rendition of what the entrance will look like once the comet is in place at the end of January.
Donald Lawrence’s Comet MMXVIII was installed on the TNRD Civic Building in May of 2019, this story was written previous to its installation in December 2018.
Rarely do comets blaze across the night sky. A glimmering projectile in the distance brought to life when peering through a telescope.
Kamloops citizens don’t need to stare at the night sky to catch a glimpse of the cosmic snowball. A TRU professor constructed one of his own from recycled materials and in the new year, it will be permanently positioned above the entrance to the Thompson-Nicola Regional District (TNRD) Civic Building which houses the Kamloops Art Gallery and Library.
Donald Lawrence is the mastermind behind the Comet MMXVIII sculpture that will be brought to life when the sun goes down.
“For me, it goes back to a childhood fascination with astronomy. My brother gave me a telescope when I was 10 and I remember looking at a solar eclipse in the backyard with my dad through sheets of x-ray film,” said Lawrence, who remembers his first comet, Comet Bennett, in 1969.
One of the many drawings of comets that Lawrence studied before working on his sculpture.
Along with gazing into the night sky, Lawrence also grew in awe of comets after discovering them in books.
“I’ve always had an interest in astronomy,” said Lawrence. “I’ve had the materials for this project in my mind since being invited to create this work in the spring. I thought they would be a perfect fit for creating a self-illuminated sculpture of recycled materials.”
Constructed largely of recycled materials Lawrence, began creating his version of the comet back in the summer after receiving an invite to October’s Luminocity exhibition.
Luminocity is a biennial exhibition at locations downtown and at Riverside Park featuring video projects and other forms of intermedia art designed to brighten the night.
Lawrence used a galvanized wash tub from the 1930s, densely covered in bubble wrap as the nucleus for the comet, with roughly 80 fluorescent light tubes serving as the comet’s tail. The tubes are wrapped in tape to protect itself from the elements and are connected by lengths of waxed thread. LED lights suspended inside a collection of over-sized galvanized funnels made the comet come to life.
“I didn’t make the sculpture to try and look like a comet. Rather, it references the hundreds, or even thousands year-old tradition of the images of what the people imagined comets to look like,” said Lawrence.
Suspended between two trees with a system of ropes and pulleys during Luminocity, Kamloops Art Gallery curator, Charo Neville wanted to give the piece a longer lifespan than its two-week display.
A photo of Lawrence’s comet from the Luminocity exhibition that was held in October.
“It’s really stunning visually and very captivating when it’s lit up. It really feels like a comet has come down from the sky,” said Neville. “It was a beacon for that project in the park, so we struck up conversations with Donald about making it a permanent fixture because we didn’t want to see it get dissembled or sent off to storage.”
Lawrence graciously accepted and immediately began drawing up plans for a structure to hold his glowing comet. The apparatus will be constructed once Lawrence is finished with his classes in December and will prominently hang above the entrance towards the end of January
The irony of the sculpture’s new possibly permanent location is not lost on the professor.
“I learned about comets through books. I think that it will be pretty cool to see my comet above the entrance to an art gallery and a library where maybe future artists will be and maybe find inspiration for their projects further down the road,” he said. “It’s a very nice recognition.”
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Browse Majors & Minors
Just as the art of dance is so much more than body movement—involving expression of the heart, soul, mind and spirit—the dance program at Alma is so much more than just the art of dance.
Alma College offers a strong dance program in a liberal arts setting to provide a well-rounded education that prepares you for life both on and off the stage.
“I absolutely love that regardless of the career path I’m taking I can continue dancing throughout college.”
– Marianna Smith ’17
If you love to dance but don’t plan to major in it, we have room for you in our program, too! Dance courses are open to all Alma College students, regardless of their academic major. Technique classes benefit beginners and advanced students.
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nashville public art
Nashville murals, street art, graffiti, signs, sculptures and more
With a Capitol View
Graffiti Capitol street art mural Nashville
It’s been a while since I’ve put any “wild” graffiti on the blog, but this one caught my eye recently and I really like it. That skull in the middle of the tag is common in Nashville graffiti. A good example is the one featured in Staying power. This tag was surprisingly difficult to research because it lies in the midst of a massive development project, Capitol View. Capitol View lies on the north side of the part of Charlotte Avenue that was recently renamed Dr. Martin Luther King Jr. Boulevard, centered on 11th Avenue. When fully finished, it will take up six entire blocks running between MLK Blvd and Clinton Street three blocks north, while bordered by George L. Davis Blvd to the west and the railroad that roughly parallels 10th Avenue to the east. And about 10th Avenue – many of us have come to rely on Google Maps to stay up to date, but as of this writing it very much isn’t, (but it might be by the time you click that) and I could not make what I remember seeing jibe with the map. At one time, Gay Street crossed 10th Avenue and went under a railroad bridge to connect to a large, decrepit parking lot. That lot is now “Building E” of Capitol View and has a big sign on it that says “500,” as it’s official address is 500 11th Avenue. And the stretch of 10th that used to run between Nelson Merry Street and Lifeway Plaza? It’s been turned into an almost-finished park, that according to Capitol View’s Master Plan, will apparently be open to the public and linked to the greenway system. To get it, you have to go under the bridge, right where this graffiti is. Which means this graffiti probably counts as endangered art. Check it out soon.
UPDATED: This has been painted over.
Located just east of 500 11th Avenue. There is a driveway that runs between Lifeway Plaza and Nelson Merry and parallels the railroad, and the underpass where this is found is right in the middle of that stretch. There is an entrance to a parking garage right in front of it where you should able to park as a visitor for short periods of time.
A railroad runs through it
A national cemetery is not a place you expect to find much graffiti. Taggers are generally more respectful, and the public and grounds crew quite intolerant. But if a railroad runs through the cemetery, and there’s a bridge the railroad goes under, and that bridge is actually just off of the graveyard grounds, that’s a different story. Where Walton Lane sails over the railroad that splits the Nashville National Cemetary, all these conditions are met. The walls that support the bridge are fairly well covered. Some of the tags are quite familiar. “Mobe,” featured above, is the handle of an artist I’ve featured before, who does both commissioned and “volunteer” murals. The earliest date seems to be 2008, and it looks like some of these tags lie on top of others, so graffiti artists have been using this site for a while. It’s also, as you can see from the photos, used as a camp by homeless Nashvillians.
Located on the 100 block of Walton Lane under the railroad bridge, in the middle of the southern border of the National Cemetary, 1420 Gallatin Road South. Getting to this is tricky and bends the definition of public art. There is a spot about 50 feet north where the railroad track is level with the cemetery roads on either side. It is possible also to walk up to the west side and scramble up a “trail” to get to that area. The far eastern part, where the homeless camp is, requires either climbing up a four-foot wall, or walking down from Walton Lane. Trains do go through here, homeless sleep here, and the cemetery is right there, so be respectful and think carefully. Or maybe just look at my pictures.
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Under the bridge and dreaming
Graffiti tags street art NasvilleSometimes you’ve got to take a hike for art. I was driving north down 11th under Church Street when some color off to my right caught my eye. I could tell there was something interesting a few hundred feet away under the bridge, but it took me a while to find the path. Because these colorful tags require a walk down the tracks to get to, it was probably illegal, and it’s clearly a homeless hangout, but no art left behind means no art left behind! The side above is barely visible from 11th Avenue under Church, while the less colorful flip side below is probably visible from a very fenced-off lot on 10th, just north of where it goes under Church.
Located underneath Church Street between 10th and 11th Avenues, on the railroad tracks. To get close, park in the gravelly area off 11th just south of the Broadway bridge. You’ll find a large section of missing fence where you can get access to the tracks. Then walk north to the Church Street bridge. I do not recommend this, however. This is an active train yard, and though traffic is modest, it may constitute trespassing.
Graffiti tags street art Nashville
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Tag Archives: AdnateStreet Art notes January 2018
I had low expectations of the city’s first official street art precinct and they were met. The ‘official precinct’ was launched in December 2017. It is just a couple of murals by Adnate, Dvate, Fintan Magee, Rone and Sofles on walls in Lt. Bourke Street before it ends at Spencer Street. Several big heads and a big orange belly parrot.
Most murals in Melbourne serve the interests of property developers or local city councils; similar interests anyway. The realistic images are sentimental, superficial and a distraction from what is happening around the large wall. Murals are anti-graffiti, anti-street art management strategy… but enough about murals (or if you want to read more).
I am look for something else on the streets, something smaller. (The smallest piece perhaps…)
I find a stencil; perhaps, given the geometric lines in the body of scorpion, it is by Sunfigo. A cartoon face by Twobe and one by the internationally renown artist Lister, who blurs the rough line between contemporary art and street art.
An excellent piece and installation by Lov3 in Collingwood. Up-cycling three discarded mattress and using the quilting pattern as snake scales.
Silk Roy
Silk Roy
In Flinders Court I saw a recent piece by local Melbourne artist, Silk Roy. Silk Roy loves painting. Sure many artists love to paint, often painting the same thing over and over again, in that they enjoy that experience. However, Silk Roy’s art shows more than just enjoyment like the conservative mural painters but artistic risk taking, changing and developing. This is graffiti aware of contemporary painting. (Read an interview with Silk Roy on Invurt.) Silk Roy does paint big walls but I doubt that he will be painting a multi-story mural any time soon and that, for me, is a relief.Adnate, Bigger and Better in Hosier
Tuesday morning 8:30am and half-way up the spray paint encrusted Hosier Lane, amid a cluster of cameras, Mayor Robert Doyle is talking with street artist, Adnate about his almost completed mural. Adnate and Mayor Doyle are obviously enjoying their conversation and I can hear snatches of it amid the sound of the cameras.
“I love paint, I paint 7 days a week, 365 days a year…” Adnate explains to the Mayor. “You don’t want to become too attached to your work because then you don’t progress… Aerosol spray paint, the background is acrylic…dodgy paint roller… texture…”
It is the media preview of the still unfinished multi-story mural commissioned by Hosier Inc. and paid for through an arts grant from the City of Melbourne. The mural is the face of a a local aboriginal boy from Melbourne’s northern suburbs gazing towards Birrarung Marr.
Adnate has been up on a scaffold painting for three days and will be working up there again today. (See my post PaintUp!) Five years ago Adnate was just another graffiti painter doing pieces with the AWOL crew along the Upfield line. Then he started painting faces, not the unusual graffiti characters, not stars but the faces of children of indigenous peoples. Adnate is now represented by Metro Gallery.
Five years ago conservative politician and former State Opposition Leader Robert Doyle had just started his first term as Lord Mayor; he was elected on the 30 November 2008. He had come to the position with a conservative attitude to graffiti but Melbourne’s street art started to change his mind.
This is not just a story about a new mural in Melbourne but about people changing their minds and then changing the world around them. Part of it started in 2012 when the Melbourne City Council proposed CCTV cameras in Hosier Lane to reduce crime in the area. This proposal was successfully resisted by the street art community (see my posts To CCTV or Not CCTV 1 and 2). The City of Melbourne has since revised its policy on graffiti management and Hosier Inc. was formed. Hosier Inc is a community organisation of interested people formed not to manage the anarchic lane way but to provide a hub for communication about the lane. It hasn’t been the perfect solution, there are still problems in the lane, but has improved the lane and its street art.
Mayor Doyle and Adnate spoke to the media and the trio of television cameras. Mayor Doyle described the mural as an “important and large work, more permanent, not a forever work, but more permanent than the other art in the lane.” Change is constant in Hosier Lane; it was once part of the garment district, from 1936 to 1939 Melbourne’s Communist Party Headquarters was at 3 Hosier Lane. Now the lane is street art destination and tourist attraction.
Mayor Doyle departs, Adnate poses for a few more photographs and then gets back on the scaffolding to start another day painting%d bloggers like this:
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