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Tag Benjamin Benschneider
06-12-2021
Washington State University Everett designed by SRG Partnership
Multidisciplinary studio SRG Partnership designed the first building on the new WSU Everett campus. The institution significantly expands access to post-secondary education in North Puget Sound, with a building awarded LEED-Gold environmental certification.
30-11-2021
Graham Baba Architects for the Lino Tagliapietra Glass Studio
The American Graham Bab architecture studio has transformed a historic pre-existing building in Seattle, an old auction house, into the showroom for the well-known glass artist Lino Tagliapietra. A recovery intervention that emphasises the materiality of architecture, in a balanced dialogue with the glass art.
10-04-2020
Marion Weiss and Michael Manfredi are the 2020 recipients of the Thomas Jefferson Foundation Medal in Architecture
On April 13, 2020, architects Marion Weiss and Michael Manfredi, founders of the WEISS/MANFREDI Architecture/Landscape/Urbanism architecture firm, considered as one of the "emerging players" in North America’s landscape of architectural firms, will be awarded the Thomas Jefferson Foundation Medal in Architecture. The prestigious award was established in 1966 and over the years, important masters of architecture and internationally renowned architects have been awarded the Medals, including: Mies van der Rohe, Alvar Aalto, Marcel Breuer, Kenzo Tange, Robert Venturi, Leon Krier, Fumihiko Maki, Aldo Rossi and more recently Lord Richard Rogers, Glen Murcutt, Peter Zumthor, Zaha Hadid, Yvonne Farrell/Shelley McNamara and more.
17-10-2018
Olson Kundig: Jim Olson’s personal refuge in Longbranch
Jim Olson is an architect who grew up near Seattle, where his studio Olson Kundig is now based, who has a particular interest in the history of his family. The family’s cabin in Longbranch has been transformed over the years to offer a comfortable retreat far removed from the noise and bustle of the city
08-05-2018
Applied recycling with Scavenger Studio by Olson Kundig
Scavenger Studio is a small, 64-square-metre house in woodlands not far from Seattle, in the Puget Sound region, and it was built from material that the architect Les Eerkes for Olson Kundig scavenged from nearby homes slated for demolition.
29-06-2017
Redesigning existing building: Manson Barn by SkB Architects
Seattle-based SkB Architects have turned what started as a simple barn on agricultural land in Washington state into a conversion and innovation project with a contemporary, multifunctional take.
19-10-2016
Olson Kundig, Studhorse rural retreat, Methow Valley (USA)
Studhorse holiday home designed by Seattle studio Olson Kundig is located in Methow Valley, in Washington state. Olson Kundig’s Studhorse is a hymn to landscape, considered not just as a view but as a part of the rituals of everyday living.
31-08-2015
Port Ludlow Residence by Finne Architects
Port Ludlow Residence is a modern compact house of 230 square metres built on the wooded waterfront of the Puget Sound, near Seattle in the state of Washington, USA. The design, directed by architect Nils Finne, has a large glass and aluminium veranda which looks onto the water.
31-07-2015
The winners of the AIA National Healthcare Design Awards program
The American Institute of Architects (AIA) Academy of Architecture for Health (AAH) showcases the importance of healthcare building design.
2. 1
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Fietje F@ctory
Step into the world of Fietje F@ctory
Welcome to Fietje Factory
Step into a world where creativity knows no boundaries and discover unique and captivating pieces that will ignite your imagination.
About Me
Creating 3D Collages & Assemblage
I love vintage and old photos, with my crush for good quotes & poetry I blend everything together in my artworks to create something new. It started for me in January 2023 when I created a personal birthday gift for an artistic friend of mine. She encouraged me to go further on this path and combine my love of old photos, vintage, poetry,history and quotes into something new with a female touch.
With my passion for assemblages and 3D- collages inspired by Joseph Cornell, I try to infuses each piece with a touch of humor and thought-provoking elements.
My art lessons more than 30 years ago in Germany came handy.
Explore the captivating world of
Fietje F@ctory and get ready to be amazed.
Latest Releases from Fietje F@ctory
"The new collection"
Who needs Tinder when you can go shopping for your new boyfriend?
Funny 3D-shadowbox with depth and ready to impress.
"Look into my eyes"
I bet you looked somewhere else first :-)
3D-shadowbox, framed and ready to hang.
The text can be adapted to DE/FR/NL/EN if wished.
This assemblage is inspired by my passion for vintage & travelling. On the bottom you will find mini-collages in encaustic technique.
stay up to date and follow me on my instagram account
Be amazed !!!
5 x anders (Group)
Koetshuis Baron Casiers - Waregem (BE)
1st - 31st of January 2024
Vernissage 13.01.2024 19-22.00
More info
Cultuurhuis De Keizer - Lichtervelde (BE)
De wonderlijke wereld (Solo)
23.02 - 05.03.2024
Follow your dream
What's going on
Exciting media coverage of my artistic journey.
Created the artwork for the "affiche" of the theaterplay "Tailleur pour dames" for the group "De Snuifdoos" (BE)
Created the artworks for the cover and CD-booklet for Wendrson, a German/Swabian rock band
Follow this link for more exiting news about the album cover
Get in Touch
Reach out to me to connect or with any queries!
or send me an email if you have a special request ;-)
Follow me
Connect with me on social media for updates!
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ALCOHOL INK ART by Lucie Anderson
Lucie Anderson is a full-time artist based in Napier, NZ, who specialises in working with alcohol-based inks. Her creative process involves exploring the flow and uniqueness of these inks, resulting in a one-of-a-kind and stunning artwork.
My Original Paintings are framed and ready to hang!
Sort by topic ....
Mix and Match
Purchase any 3 or more artworks in one order and receive a 5% discount off the total price. T & C applies
Commissions are Welcomed
If you see something that captures your imagination and you would like me to tailor a piece to your personal taste or colour theme, let's have a chat and hopefully I can bring your wishes to reality.
Contact Lucie
My Ink Art - My Joy
Lucie Anderson - maker and creator of Limitless Abstracts
Hello! I'm Lucie Anderson, a Taradale (Napier) based artist. I've been surrounded by art and craft my whole life. My family had a stationery/ art shop at home so I was always in the midst of creativity, I loved playing with all the different colour paints and crayons. After finishing Art School in Belgium, there has barely been a time in my life that I’d not had an art or craft project on the go. I lived for 20 years in the beautiful Dunedin surroundings and moved to sunny Napier (Hawke’s Bay) in 2015.
More recently, I decided to explore my own process and techniques with alcohol ink art. As a result of that exploration, I've been able to create beautiful pieces of artwork with vibrant colours mixed with gold/ silver metallics that have become popular among my peers and customers alike. With my current artwork, I'm continuing to expand upon this process and techniques as well as exploring new ones when curiosity strikes me!
Alcohol ink art refers to both the painting medium and the fluid painting technique. I control the flow of the liquid ink on a non-porous surface with airbrush and air wave techniques to create for you a unique painting. It is recommended to display the painting out of direct sunlight to preserve the colours. I have applied a UV protector but note that my art is not sealed and hence should be kept behind glass.
Intro to Alcohol Ink Art Workshop - 10 Ways
Unleash your creativity with our intro workshop to alcohol ink art! Learn 10 different ways to use alcohol ink and create beautiful art, with this hands-on, small group (1-2 people) workshop. Our fun and informative class will teach you the basics you need to make stunning pieces of art. Sign up today for an unforgettable learning experience!
All materials provided and a piece of your own art to take home.
Workshop: 1 hour teaching the different ways while you practice with me followed by 1-1.5 hours creating your own piece of art while I will act as your personal guide.
Cost: $250 per person
Enquire Now
NEW! Beginner's Kit!
Order Now via Enquiry Form
Let's keep in touch!
Subscribe to my art newsletter for the latest updates.
Contact Us
Limitless Abstracts
Taradale, Napier, New Zealand
Social Media
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Call 2020 | IONNYK – photographic art, digital, black & white (INT) - logo
Call 2020 | IONNYK – photographic art, digital, black & white (INT)
In partnership with the European Pepinieres of Creation, IONNYK is launching its first call for participation aimed at contemporary visual artists around photographic art, digital black & white.
IONNYK is the world’s first connected and wireless digital art frame developed on electronic paper technology (patented). It is a new medium of art, culture and design, at the service of artists and their works. IONNYK is associated with a whole new ecosystem bringing together a community of artists to offer their works through a subscription or in limited edition Black & White digital format to our Art and Design enthusiast clients.
IONNYK responds to a hitherto unmet market need, namely an innovative connected and digital art framework emphasizing Art and Design and not technology as such.
This call is for contemporary photographic and digital artists. As the IONNYK catalog is varied, participants have the opportunity to offer any form of Black & White Art, static or Smart Art, a new way for artists to express themselves.
> € 1500 to be divided between three laureats
> The opportunity, without limit of winners, to join the IONNYK artists catalog allowing artists to generate income.
Any contemporary artist without restriction.
Copyrights & Usage Rights:
During the call for projects, it is very possible that commercial contracts and assignments of rights will be discussed with artists who are already considered eligible to join the IONNYK catalogs without meaning that these contacted artists will be the laureats of the rewards
Black and White
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Fablab Amsterdam is open to the public every Thursday afternoon (12:00-17:00).
Please note that due to corona crisis Fablab has stopped doing open days since the beginning of March 2020. As the Fablab is currently in use by Fab Academy we will not have open days until further notice. Please keep an eye on us as we'll announce when the Fablab is re-opening to the public again.
During the open Thursdays we explain how the machines work, what you can make with them and what the philosophy is behind the maker movement and digital fabrication. At Fablab Amsterdam we are always looking for critical makers with interesting projects. We are happy to answer any questions or help you find your way in the Amsterdam maker scene, as there is a growing number of so-called 'Maakplaatsen' at the public libraries (OBA) in the city where you can make things with digital fabrication.
Entrance to the Fablab on Thursday is free (reservations are not necessary). The open day is held very week, except national holidays and the annual holiday periods (July/August and Christmas). Please bear in mind that the size of our Fablab does not make it suitable for group visits.
Fablab Amsterdam is situated on the first floor of the Waag monument in Amsterdam.
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Horiyoshi - Tattoowise
Japanese Horiyoshi Tattoo Japanese Horiyoshi Tattoo
horiyoshi japanese tattoo image
Japanese Horiyoshi Tattoo
Japanese Horiyoshi Tattoo Japanese Horiyoshi Tattoo
horiyoshi i
Japanese Horiyoshi Tattoo
giancarlo india 1997 yashica
horiyoshi iii design
india 1997 yashica t5
rug1 back and shoulder
back and shoulder pieces
500c/m | 80mm
horiyoshi designs tattoos
500c/m | 80mm f2.8 CZ Planar T* | VC400
links Dragon on my
horiyoshi dragon
Dragon on my back, done by Horiyoshi the 3rd
Mark's Calf Another night in
horiyoshi iii
Another night in the shop.
Horiyoshi III and my crazy ass Brother Horitaka made
horiyoshi iii gallery
Brother Horitaka made this day happen. Up in Sensei Horioshi III's OG private studio...thanks Taki, you are a hero.
Bob Osborn, myself and my Knuckle Bob was known
horiyoshi iii tattoo gallery
Bob was known as "OZ" for many years. He published BMX Action, Freestylin', and Homeboy magazines among others. He is the father of RL Osborn, and the great Windy Osborn as well. To have him photograph my bike and I was a really big honor. He drove all the way out from Montana to spend two days of intense work to make it happen. Watch DicE magazine for the upcoming spread we did. This was inside the pro studio we used for part of the shoot. It was raining SHEETS outside, and the ride was SOOO sketchy on I-80 with jockey shift and cowboy boots...hahahahaaa!!!
500c/m | 80mm
tatuagens horiyoshi
500c/m | 80mm f2.8 CZ Planar T* | T-Max 400 + 2 selecting the design for one's back could well be the second most important decision the client makes, surpassed only by the selection of the tattoo master.. www.facebook.com/horikuni
rechts right dragon, also
horiyoshi dragon tattoo
right dragon, also by Horiyoshi
Road Cult This was the
horiyoshi iii tattoo photo
This was the set-up for a shoot for an upcoming TV show
Mark's calf Mark is a
samurai horiyoshi
Mark is a good buddy, and we started this piece about three or so years back. We are both so busy, that it took this long to finally get the las session in last night. Just a nice, traditional Japanese samurai piece. Just freestyled the background behind some Horiyoshi III based figures.
Shading of kimono 6th session, 28
tattoo horiyoshi
6th session, 28 Nov 08
Good Luck This is the
horiyoshi iii photo
This is the center of Mark's calf piece...asymetrically placed, but the center! : ) It's of course a great symbol of protection and good luck in Japanese folk tradition to this day.
Three random tattoo ideas
shark attack ambigram
This is the finished version of the Shark Attack Ambigram after scanning in, cleaning up, vector-tracing, and an effects treatment. Information about custom Ambigrams can be found on my website.
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The Foolproof Way to Craft an Iconic Logo Design
A creative logo design tends to imprint itself within the consciousness at the very first glance. We are talking about the kind of bewitching logo design that makes the competitors hanker after, and the designers wish they had designed one just like it! This is the type of design that, although, looks simple but underlies days of work, efforts, and creativity, which pushes it towards a raw edge of ingenuity and artistry that compares to none. At this point, brand strategies come to play!
It is a Brand Strategy that provides a map thatgives birth to iconic logo designs that can stamp themselves to the mind of the viewer. Generally, a strategy provides the blueprints which revolve around collaborations between clients and designers, the execution of the plan, and the contingencies involved. These strategies are a crucial part of logo designing as they work as a compass that points towards the goal and help you reach your destination. Without a solid brief and planned idea, you are bound to fall back.
There are no shortcuts to a unique logo design!
Quality requires hard work and round-the-clock efforts. You have to put in maximum efforts in each step of the process to get the best results. A design brief helps the logo designers understand the components that are critical to your design needs like the type of the organization, their positioning, their competition, mission, and values, who they are, and, most importantly, what they stand for.
If you figure out what makes the business different from its competition, half your work is done! The competitive edge that a company has helps you uniquely position the brand in the marketplace. You owe it to your clients and to your design portfolio, to follow a thorough logo design process so that when you can complete the project, you create the logo design of their dreams.Let’s talk about the nitty-gritty of the process now.
Iconic Logo Design
Before starting working on your logo design, you need to know all the specifics; what does the company do? Who are their customers? Who is the competition? What are their values, and where do they stand? When you get the answers to such questions, you can design a logo that not only fits perfectly but encompasses the entirety of the brand image. Do your research and find out everything you possibly can about the company to ensure that you hit around the bullseye and achieve your target successfully.
While insight relies on how much information you gather, intuition is something that you develop with time as you create more and more logo designs. A good logo always has a meaning behind it, a message that it conveys to its audience. If you take a closer and goodlook at some of the world’s most successful brands, you will find that they all express their brand idea and show their personality using their logo designs.
But how do you achieve this meaning?
The best possible way to achieve meaning is to start with systematic, creative thinking. Extracting concepts and ideas from different logo designs, mapping out the various details like symbols, icons, and establishing a visual language will enable you to create a theme for your logo design.
Don’t merely draw – CONCEPTUALIZE AND DESIGN.
Human brains are hardwired in a way that processes shapes before words and color. This works as an advantage for the logo designers as using and creating the right symbol will boost the business and may take it to a point where the logo itself will be enough to recognize the brand.
You need a fundamental knowledge of human behavior to create something that is impactful and has a powerful influence on the target audience. The importance of the shape, the colors,and the fonts used in a logo design all symbolize the brand image and are of crucial importance.
Iconic Logo Design
After you are done researching the company, the fun part of the job begins! This step involves building your concepts and generating ideas for top logo design. You have to let your mind run free and jot down the ideas on a piece of paper as you allow the inspiration to flow. This is the time to develop theright blend of graphics that shape up your plans perfectly.
By creating multiple concepts, you allow yourself to have a bunch of options as you try to encapsulate the complex and diverse nature of an entire business into a small, unique logo design which will be used in a mountain ofareas and circumstances. Be sure to create concepts that are consistent with one another. Too much diversity in your ideas will not only confuse you but willperplex your client as well.
When you create a concept, as yourself, if the logo design resonates with your client’s brand and values, think about how the design ideas and concepts that you have created will perform in different areas. A good logo design is always of a flexible nature; it can look good in tall and skinny places, in color and in black and white, in shadowy areas and up high, stitched on clothes, or printed on balloons.
Creating some rough mock-ups at this stage will help you createthe logo design of your dreams.Mock-ups lend a helping hand to not you and your client to conjure up an image and envision the potential of your logo design ideas that go beyond a single image on the computer screen or a piece of paper.
Iconic Logo Design
Take a deep breath, step back from your work station, and relax. After investing hours of your time, energy, efforts, and creativity, it is time for you to take a breather and relax your mind for a bit. Taking a break will help your brain recharge and give it time to start anew and fresh.
If you have come up with a bunch of logo design concepts, shortlist your ideas by focusing on the stronger ones, and discarding the ones you find weak.Analyze your concepts, be your critic, and make changes accordingly. After you are delighted with your work, try to get feedback from your colleagues and friends and possibly from your client to gain some fresh insights.
Keep an open mind, be tolerant, and experiment with different ideas that you get, step out of your comfort zone and your preferred tastes and prioritize the requirements set by your client.
Once you make all the necessary changes, after the feedback, finalize your designs and prepare to present your ideas formally to your client. Try to keep the amount of logo designs to as minimum as possible. Present your ideas by explaining them thoroughly and with confidence.
When push comes to shove, there is no sure-fire, concrete way to come up with an iconic logo design every time. But you can try your best by tailoring your process to best suit the goals of the project, all the while blending in your ideas to give it the creative edge it requires.
Iconic Logo Design
Follow the work process, tailor it according to your needs, get feedback, and put in the work, and you are on your way to crafting the perfect logo design!
Want more logo design tips? Learn all the tips and tricks about logo designing here.
Have some tips? Comment below and let us know, we would love to hear from you!
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Charlotte Higgins
The fourth plinth: message in a bottle
It doesn't move, or sing, or perform: it's Yinka Shonibare's ship in a bottle for Trafalgar Square
Yinka Shonibare's Nelson's Ship in a Bottle
An artistic victory ...? Yinka Shonibare's Ship in a Bottle. Photograph: Dan Kitwood/Getty Images
I don't think I've ever witnessed the unveiling of a Trafalgar Square fourth plinth commission in such propitious meteorological circumstances. For Antony Gormley's One and Other it was chilly and blustery; for Marc Quinn's Alison Lapper Pregnant, sheets and sheets of rain. I can't quite remember what it was like for Thomas Schütte's Model for a Hotel (significant?). But today, the sun beat down on the crowd gathered to see the launch of Yinka Shonibare's replica of the HMS Victory.
Maybe the languid heat of it all made the atmosphere just a little subdued; maybe it was because the ship-in-a-bottle didn't dance or sing or perform comic tricks like the interactive One and Other – but the atmosphere seemed a little subdued this morning. Maybe, in fact, we are now immune to the visual shock of contemporary art on this most rigorously 19th century of squares. (Here's the answer to the usual quiz question, by the way, that asks whom the other statues in the square honour: General Sir Charles James Napier is in the southwest of the square, Major General Sir Henry Havelock in the southeast and George IV in the northeast.)
Adrian Searle has given his measured view; for me, what I like about Shonibare's ship in a bottle is that it causes us to pay attention to the original reason for this square's existence: Admiral Lord Nelson, who presides over the square from such a height, can now gaze down on a replica of his flagship, the ship on which he lost his life at the Battle of Trafalgar in 1805. For me, whatever the merits or demerits of Shonibare's sculpture, the work makes me look at a familiar place differently, to think of the reason this patch of London is as it is.
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Queer X Design: 50 Years of Signs, Symbols, Banners, Logos, and Graphic Art of LGBTQ (Hardcover)
Queer X Design: 50 Years of Signs, Symbols, Banners, Logos, and Graphic Art of LGBTQ Cover Image
On Our Shelves Now
6 on hand, as of Oct 20 9:15pm
(46 LGBT)
The first-ever illustrated history of the iconic designs, symbols, and graphic art representing more than 5 decades of LGBTQ pride and activism.
Beginning with pre-liberation and the years before the Stonewall uprising, spanning across the 1970s and 1980s and through to the new millennium, Queer X Design celebrates the inventive and subversive designs that have powered the resilient and ever-evolving LGBTQ movement.
The diversity and inclusivity of these pages is as inspiring as it is important, both in terms of the objects represented as well as in the array of creators; from buttons worn to protest Anita Bryant, to the original 'The Future is Female' and 'Lavender Menace' t-shirt; from the logos of Pleasure Chest and GLAAD, to the poster for Cheryl Dunye's queer classic The Watermelon Woman; from Gilbert Baker's iconic rainbow flag, to the quite laments of the AIDS quilt and the impassioned rage conveyed in ACT-UP and Gran Fury ephemera.
More than just an accessible history book, Queer X Design tells the story of queerness as something intangible, uplifting, and indestructible. Found among these pages is sorrow, loss, and struggle; an affective selection that queer designers and artists harnessed to bring about political and societal change. But here is also: joy, hope, love, and the enduring fight for free expression and representation. Queer X Design is the potent, inspiring, and colorful visual history of activism and pride.
About the Author
Andy Campbell, PhD, is an art historian, critic, and curator. With more than a decade of experience in higher education and museum institutions, Campbell's projects focus on the juncture of identity-based political movement, visual culture, and art's histories. He is currently Assistant Professor of Critical Studies at USC-Roski School of Art and Design.
Praise For…
"Sometimes, a rebellion begins with a rebrand. In Queer X Design, the professor Andy Campbell weaves a telling visual tapestry of an emerging L.G.B.T.Q. language and identity."—The New York Times
"A beautifully bound, well-researched book that draws a lineage of LGBTQ designs richer than a thousand rainbow Ralph Lauren polos. Campbell's book details an uncut LGBTQ artistry, spanning digital, print, paint, and even ink n' skin work (check out the Phil Sparrow's Tattoo Flash for that good stuff) -- tracing back to the days of pre-liberation and upward into the 21st century."—The Austin Chronicle
"An entertaining, insightful, beautifully illustrated book that explains and celebrates the role of LGBTQ graphic design, and designers, since the Stonewall uprising in 1969 -- a sort of history of LGBTQ life and activism told through our symbols... [Campbell's] writing is insightful and entertaining and always interesting."—A&U Magazine
"A pretty comprehensive illustrated history of the gay rights movement and how it's changed over the years.... Discover the stories behind some of the most memorable symbols of the past five decades."—HeSaid Magazine
"[Queer X Design] is an anthology of our trek from invisibility into Pride and beyond. It's a fascinating record that contains images that also predate the Stonewall rebellion by more than a quarter century... Between the covers of Queer X Design, you'll find photos that delight, artwork that seethes with rage, and images that have united the LGBTQ community in victories and setbacks throughout the struggle for equality."—Metrosource
"An empowering visual history of the iconic symbols and designs that defined many eras of the LGBTQ movement."—The Globe and Mail
"Queer X Design highlights and celebrates the many inventive and subversive designs that have helped drive the LGBTQ movement over the years...it's an inspiring and colourful visual history of design harnessed to bring about political and societal change."—CreativeBloq
Product Details
ISBN: 9780762467853
ISBN-10: 0762467851
Publisher: Black Dog & Leventhal
Publication Date: May 7th, 2019
Pages: 256
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From left: Irina Baranova, Alicia Markova and Nora Kaye posed in one of Jacob's Pillow's original farm buildings. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
These Vintage 1941 Photos Show Rustic Life at Jacob's Pillow, and the Star Dancers Who Saved It
This year, the Jacob's Pillow Dance Festival in Becket, Massachusetts, is celebrating its 85th season. Over the years, some of the world's greatest dancers of the 20th and 21st century have performed here. But without the help of two of Britain's biggest ballet stars during World War II, the festival might not have survived at all.
Founded by modern dance pioneer Ted Shawn, the "Pillow," as it's come to be known, had been home to his company of Men Dancers since the early 1930s. By 1940, due in part to the outbreak of World War II, his company had disbanded, leaving Shawn deeply in debt and eager to realize his assets.
In 1941, British ballet stars Alicia Markova and Anton Dolin leased the property, with the help of benefactor Reginald Wright. There they established The International Dance Festival, a school and summer residency for Ballet Theatre (now American Ballet Theatre). Many of the participating dancers, including Markova, had just left the Ballet Russes de Monte Carlo for Ballet Theatre, and the residency was a way of keeping them together. The dancers were not paid, so many survived on $10 a week in unemployment benefits, contributing $1.00 a day towards food and lodging.
That summer the Pillow saw some of the era's greatest ballet stars, as well as choreographers like Agnes de Mille, Bronislava Nijinska and Antony Tudor. The event provided much needed publicity for the Pillow and following year the Jacob's Pillow Dance Festival, under Shawn's direction, began to flourish.
Here are some photographic gems from the Jacob's Pillow Archives surrounding the summer of 1941.
Markova (center) with Irina Baranova and Nora Kaye. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
Alicia Markova (b.1910 – d.2004)
Markova was responsible for organizing all the meals at the Pillow on the tight budget of $10 a week. "The feeding of the five thousand – nearly produced nervous collapse," Markova recalled in her memoir. Meals were eaten in the stone dining room, which is still where artists, students, staff and interns eat today.
There was no running water at the Pillow in the early 1940s – I love the thought of these glamorous ballerinas effectively "camping out" in the woods of Massachusetts. According to Markova's biographer Tina Sutton, before coming to the Pillow Markova consulted a New York camping shop and bought a portable zip-up rubber bath, which she used in her room!
This wonderful clip shows Markova performing the Sugar Plum Fairy Variation on the outside stage in 1941.
https://danceinteractive.jacobspillow.org/alicia-markova/sugar-plum-fairy-variation-nutcracker/
Dolin (center) with Irina Baranova and Alicia Markova seated on the steps of the original farmhouse. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
Anton Dolin (b.1904 – d. 1983)
Dolin ran the school that summer and classes were held outside on the Tea Garden stage. Dolin later described Jacob's Pillow as "a summer of heart-aches, bills, work, lessons, rehearsals and headaches."
Despite wartime and gas rationing, people flocked to the festival for the weekend performances, much to Dolin's delight.
Baranova posed in the Tea Garden. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
Irina Baronova (b.1919 – d. 2008)
One of George Balanchine's famed "baby ballerinas," Irina Baronova also joined the residency. She lodged at local woman, Ruth Derby's, farmhouse – a short walk from the Pillow. This house is now owned by the festival and continues to house artists today.
Baronova recalled that "Mother Derby was quite a character – she reminded me of those cozy-looking grannies in children's books. She fed as well and we abided by her strict rules."
Billy Skipper (right) and Frederic Franklin hand-washing their clothes under the water pump.. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
Frederic Franklin (b. 1914 – d. 2013)
Freddie Franklin also came to visit his many friends at the Pillow that summer. This wonderful picture shows him and dancer Billy Skipper washing out their tights under the pump in the service yard!
Franklin would return to the Pillow as a performer with his long-term dance partner Alexandra Danilova in 1946, 1948 and 1952.
This wonderful clip is from their 1948 appearance. At a talk in 2006, Franklin explained that he and Danilova are not wearing the actual costumes from Gaîté Parisienne, as the Ballets Russes de Monte Carlo wouldn't allow them to borrow them.
https://danceinteractive.jacobspillow.org/alexandra-danilova-frederic-franklin/gaite-parisienne/
The archives at Jacob's Pillow have extensive records surrounding all performances at the Pillow past and present. The catalogue can viewed here. You can also see video clips from the collection here.
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Our Team
Ucon Architects encourage a commitment to design excellence by recognizing talent and diligence.
We are a practice that values and respects our staff, fellow consultants and our clients and the shared expertise we all provide.
Ucon architects provides a working environment that fulfills aspiration, enhances knowledge and skills, and continuously builds a culture
of excellence.
Our team brings vision and creative excellence to projects to create rich and meaningful places, inclusive and diverse spaces and enduring solutions.
We have successfully delivered a range of projects from thoughtful open space initiatives and interactive public spaces to major infrastructure works.
As well as providing all of the urban design and landscape architecture services.
Nikos Papadopoulos – Architect
Charlie Kotsampasis – Architect
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Tags: Delhi College of Art, College of Art, Institute of Fine Art
Art is reflection of the society.
Since time immemorial, people have captured the various moments of glory and pride in different art forms prevalent in our society. Indian society is amongst the most ancient civilizations of the world, and one can well witness the transitions and evolution of India society in paintings, drawings, and all other pieces of art. Ranging from common person to some of the most known names in the history of Indian fine art, all have made great attempt to portray all good and evils of the society. Somehow, with the formal establishment of institutes of fine art, these art works always bear a constant motto to deliver a message to the society to build a better society and contribute to effective and efficient community development.
A college of art or an institute of fine art should have a sense of social responsibility and they truly serve to a certain extent. When someone spends some time with a painting, few natural questions arise -
“Who has made this, and why?”
“What is the artist trying to say?”, and more importantly,
“How does this piece of work make me feel?”
Students initially may join an institute of fine art or search for a reputed college of art to satisfy his urge to learn the various minutes of art, but gradually and naturally, his work starts addressing to the above queries. This seems obvious and clearly apparent, and at times one may find nothing new in this. However, the question here is; “is every piece of art able to speak to the society?” “Does every painter cater to some fraction in community development?”
In this earnest attempt, Delhi Collage of Art, one of the whistle blowers among modern colleges of art in Delhi, has been steadily excelling towards show casing the traditional values of Indian society and the evolutionary journey of community development through Art in India. Encouraging numerous individuals from all the nooks and corners of the country, DCA (Delhi Collage of Art) is offering an open platform for everyone to live up to their dreams.
As an institute of fine art, students of this art academy are trained not only to master the techniques of the trade, but they also naturally inculcate in themselves the proficiency how their effort works for better community development.
Here at DCA, social address and community development through teaching fine art are above the syllabus and curriculum. Undoubtedly, the best, this Delhi College of art is a bit different place for all likeminded art enthusiasts.
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Glen Berry
has been a member since May 2008 and goes by GlenVision.
I am a photographer from Huntington, West Virginia. I have a wide range of artistic interests, and I hope to share some of those through JPG Magazine.
Find me at: http://glenvision.com
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This person hasn't contributed any stories yet.
Enter "Panorama"!
Q: I am really into my wildlife photography but cannot afford a super zoom lens, I have a 300mm and am considering a teleconvertor. Has anybody had a experience with these and would you recommend them?
A: Do you know?
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Unique Australian design. Three words that can be packed with meaning, or simply used as a marketing slogan. In the case of Jardan, it’s very much the former. Beginning life as an upholstery business in 1987, the company has grown to become one of Australia’s most innovative furniture producers. It’s also one of a small handful that continue to make their products locally, combining modern manufacturing techniques with handcrafting methods that celebrate the nature of local timber.
“We try and push boundaries with materials as well as design,” says Jardan’s head designer, Tom Shaw. “We have a Melbourne-based design team that can really connect with local culture and understand what our customers want. A lot of design comes from overseas, so what we’re offering is quite unique because they don’t have the same lifestyle we do.”
As Shaw explains, the philosophy extends to materials. “We like to use Australian timber because it gives the furniture a story and really ingrains Australia’s history into the product.”
We’re chatting in Jardan’s Melbourne showroom with Shaw and co-owner Nick Garnham, who had been working as a furniture maker at Jardan for several years before taking over the company in 1997 with his brother and father. At that time, Jardan hadn’t yet created a real identity.
In the past 18 years, Jardan has become a completely different company to that of its first decade. Some changes are obvious – the aesthetic and quality of the end product, the attention to detail and the growth in staff from eight to around 100 – and some are less so. An avid surfer who spends as many weekends as he can out of the city and in the ocean, it was important to Garnham that his business didn’t just pay lip service to conservation and sustainability. With its focus on local manufacturing and materials, sourcing ethically and minimising waste, in 2014 Jardan was awarded Australia’s highest environmental rating and is now an accredited carbon-neutral organisation.
“It’s always been important for us to have a low environmental impact,” Garnham says. “It’s a big feature we’ve been building on for the past 10 years. We have an ethical responsibility to look after the planet.”
Beyond this responsibility, Garnham is enthusiastic about supporting Australia’s next generation of designers. As part of the Mercedes-Benz Design Award by Broadsheet, Jardan are giving an emerging Australian designer the opportunity to manufacture their own piece of furniture, to be launched and sold within the Jardan range.
“We’re excited to be partnered with a company like Mercedes-Benz, which is at the forefront of design,” Garnham says. “We’re really looking forward to unearthing new Aussie talent and engaging with the young design community.”
As pioneers in the design field, both Garnham and Shaw will be looking for a design that will be comfortable in any Australian home. They also emphasise the importance of original, creative concepts that will excite them and potential customers.
“We want to see something that excites us, something that’s original, engages with new concepts and that even challenges us by using unusual materials or design techniques,” Shaw says. “We always ask that of our own designers. That really drives us in terms of technology and pushes our design to new levels. Each piece should feel as though it’s been designed with love and that it could bring integrity to someone’s life and home.”
Jardan is partnering with the Mercedes-Benz Design Awards by Broadsheet to give one Australian the chance to bring a product to life with the company. Entries are now closed and the finalist have been announced. The winning submission will be announced on September 17.
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Writings / tag / leigh
About a year ago, as a form of therapy really, that I launched my Facebook page as a complement to my website. I've long been a photographer but I'd never really pushed it at people so I decided to be a bit more "in people's faces" with it. As they say in the movies... it's been emotional!
I really have to thank the band of faithful followers and friends who have encouraged me to push my work out there. Without that encouragement I wouldn't be writing this today.
I also need to thank the people who have allowed me to take their picture, either of them or their families! That said I'm reasonably sure they're all happy with the pictures they got in return!
It's hard to believe that in such a relatively short period of time the page has over 70 "likes". That means at least 40 odd people I don't know have looked at and liked my images! The truly amazing thing is that I've not really pushed myself so the growth is all "organic". I am trying to change that this year
I'm still slightly surprised when I think that people have paid me money for my work and paid me to take their picture! I find it truly humbling to be honest but yes, it's also very cool.
I hope that people continue to enjoy my work and that new people find and enjoy it. There's quite a big moment looming on the horizon and I make no apologies for mentioning (yet again) that I will be showing work over the second May bank holiday at the Mentmore Art Show. Looking at photographic images on the web is all very well but if you really want to enjoy an image then you need to see a print. If that print is mounted and framed all the better.
There's a tendency for some people to be slightly dismissive of photography these days , people don't always appreciate the artistry that goes into conceiving and executing a photographic project. Photographers don't produce these pictures by accident, we see what we want, we figure out how to achieve it and we shoot it and we often put as much thought into how we present it as we do shooting it.
I'm going to finish this blog with a big "Thank you" to the people who had enough faith to entrust me with their likeness... First up is "Simon's Gang" you could consider this my first ever "commercial shoot"
Old Skool!Of course the smiles do spoil the mean and moody look
Next up we've got the simply gorgeous "Pippa" who along with her mum became the first shoot for someone I didn't actually know beforehand!
Dolly 1Dolly is her favourite toy but I'm afraid to say she really didn't get a look in!
I can't say thank you to anyone without saying thank you to "Leigh". Approached by a complete stranger, totally out of the blue who handed her his card and said "Let me take your picture", she was apparently unfazed because she emailed me a few days later and we arranged her first shoot! I've "shot" her a number of times now in various guises and styles. I'm not sure if she realises just what a big help she's been to me in allowing me to practice technique, try out ideas and generally just get out and about with my camera. It's an image from her very first shoot (not just with me either!) that adorns my "hire me" page.
Oh really?!?She's in her element now, relaxed and confident.
These people should all take a bow.
Next stop for me (and Danbo!) will be New York, New Jersey and Philadelphia! It's a hard life eh?
Thanks for reading (and supporting me)
17th April 2017
August comes to an end. All things considered I don't think we can complain too much about the weather, certainly not compared to the washout that was July. Photographically speaking, it's been a very interesting month and as summer slides into autumn I can't help but look forward to the golds and browns that it signifies.
Oh really?!?She's in her element now, relaxed and confident.
I took pictures of Leigh and partner Gideon, a set of pictures I'm very pleased with. They were very well received and that's quite gratifying to be honest. Thinking about it now, I can't believe how I ended up taking her picture. I think I touched on it briefly but to add more flesh to the bones (as it were) I was at a recent event where I was promised "Comic Book Heroes and Villains" but the reality was somewhat lacking. I was sitting on a wall eating an ice cream trying to figure out what I could do for the rest of the day when Leigh and a group of friends walked past. I caught a snatch of conversation..."blah blah.. shoot on Friday.... blah blah" and my plan was formed, I'd ask this girl if she'd like to have her picture taken. With far more confidence than I felt I walked up to her, introduced myself, gave her my card and asked her to have a think about it. She dropped me a line a couple of weeks later and well the rest as they say, is history. Both Leigh and I want to do more pictures so stay tuned.
Time to go...I was using a wide angled lens for this shot, I love the slightly distorted perspective to the image, the flash has given a really nice washed out feel to the foreground and the setting sun in the background adds a splash of colour.
I also took a run out to Rutland Waters. I'd never been before but I'd heard about this church that was half submerged and wanted to go and take pictures of it. To be fair I think me and a million other 'togs have all taken pictures of it but so what? It's a great subject!
View from the southShot from the end of the "Rutland Belle" pier.. fairly sure that I was breaking all kinds of rules; no life vest!
This weekend I found myself at the Imperial War Museum Duxford. I've been many times and I never get tired of the place there's always something going on.
Monkeying aroundthree... er ... "wise".. monkeys?
We went this time because it offered the chance to get "up close and personal" with a Lancaster bomber, I got some great pictures from angles that you wouldn't normally be able to see and excitingly, I was able to go aboard the aircraft and take shots inside. They'll be in a forthcoming update. As a bit of a bonus, we were treated to the sight of the B-17 "Sally B" coming home from Bournemouth, we watched her land and then taxi past us no more than 25 yards away. Fabulous!
Thanks for reading.
22 August 2016
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Music Mutes Photos Trombone
Last weekend, Erin Lesser, Matt Marks and I played for Art Trek Plus at the Metropolitan Museum of Art. Our participation was part of Alarm Will Sound’s residency at the museum. For Art Trek we performed works for children, ages 5-12, and spoke about their relationship with visual art. The presentation also included an interactive activity: the participants improvised sounds with Matt, drew landscapes with Erin and created their own abstract works with me.
I performed Scelsi’s Tre Pezzi, not something someone would traditionally perform for that age group. I ran it by my daughter beforehand, figuring if a three year-old could handle it this group should be OK. It went over well at home and at the museum. I performed in Gallery 911 in front of two works by Burgoyne Diller, one in gray, the other in black and white and punctuated with primary colors; both using, primarily, rectangles to create form on the square canvas.
I related the simplicity in the gray scale piece to the first part of the Scelsi: the music gains its shape from the repetition of an A flat (and eventual explosion to an E flat), the painting’s form comes from repeated rectangles. I related the second part of the Scelsi to the other work by Diller. There’s still repetition in the music (this time centered around an A) but in a more dramatic fashion and with the added “color” of the mute. The relation to the Diller is not one-to-one but there are still some similarities. For the final part of the Scelsi we had the participants create their own image. Most everyone took theirs with them, though I did find this one left behind:
New Music Mute Problems
I had a particularly unusual mute issue. I enlisted my daughter’s help to solve it.
Advice Mutes
Mute Care
This past week I performed the second movement of the Castérède Sonatine. While preparing I came across an issue: my new cup mute didn’t “have” a low G. The issue being that in the final, muted section of the movement, there’s a scalar passage that goes down to that note. So, I did what trombonists have been doing for decades, I drilled a hole in the mute. I think I picked up the skill from David Waters at Rice University but I know I had seen it around for a long time before then. I remember wondering why others had done it. There are a lot of techniques we pick up through the years without having been formally “taught.” Here are a few tips for taking care of mutes that generally fall in that category.
Mute Response Issue
I’ll start with the response predicament. I spoke to Dr. Hans Pfister, a physics professor at Dickinson College, about why it happens. From what I can tell it has a lot to do with (P=P(t)=P_0*sin(omega*t)). Which to me means “????” (Actually, through the power of Google I learned that is the Acoustic Wave Equation and I believe Dr. Pfister is saying something along the lines of “the closed space in the mute doesn’t allow the acoustic wave to fully form; putting a hole in the mute gives more space for the air molecules to move and allows the wave to form. This is why the problem doesn’t exist in the upper register, the smaller waves have enough room.”) There are two questions that come to mind: 1) Why doesn’t Humes & Berg just make the mute with a hole in it? My best guess: it does change the sound slightly. And 2) Why use the mute if it has the problem? To which I answer: I like the sound.
I put together a video demonstrating the problem and the solution:
Cork Replacement
As things would have it, my good buddy Mike Selover borrowed that same mute just a day before my performance and managed to break one of the corks.
What to do? In this case the solution was pretty easy. Since I still had the bit of cork that was missing all I had to do was glue it back into place. I’ve heard of people using everything from a hot glue gun to epoxy. Loctite has worked for me in the past so I went that route.
If I didn’t have the cork there are a couple options: replacement corks from Ferree’s or the mute manufacturer (which can sometimes be difficult to track down), buy a piece of cork board and cut out a piece to size (pricier but you’ll have cork for a few years worth of repairs), weather stripping (I’ve seen people use this in the past with various results though I’ve never tried it myself), or an old mouse pad (I’ve heard of people using this but again, have never tried it). The weather stripping and mouse pad apparently have the benefit of super-friction but using them also makes it more difficult to take the mute out (so I hear).
Mute Won’t Fit
Changing the cork size will affect the fit of the mute and sometimes the sound. If the corks are too big you’ll want to file them down. You’ll need a file that’s not too rough and preferably flat, though my guess is you can probably make most anything work with enough patience. Here’s what I use:
I have an Ion Balu wooden straight mute that came with pretty large corks. So large, in fact, that the mute wouldn’t fit properly. The corks are also interesting because they are in three sections. The outer layer appears to be stitched on:
With just a little filing I got them down to a good size. The mute now fits and sounds pretty good.
If the corks were too small? I’d try either layering cork until I get to the right size or remove the current corks and replace with larger ones.
Individual Mute Bags
I’ve probably taken mute care too far with this… I’ve made bags for my mutes to save them from bumping into one another and getting scratched up when traveling. It’s completely a cosmetic thing but hey, I don’t want them all to end up like this:
That’s why they have these:
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A Look Around The Barton Project.
Published on 22nd January 2014
There is a belief that in architecture and interior design everything should flow. For most, the idea of fluidity and cohesion comes from a consistency of styles; you wouldn’t, for instance, augment a pretty Georgian manor house with a cubist concrete extension. However, sometimes diversity has a magnetism all of its own and it is when people are prepared to experiment in a measured way that great architecture is born.
traditional conservatory by Apropos
It is safe to say that there was nothing unusual about the Barton Project. A well-proportioned redbrick detached house on the Isle of Wight, the building served its owners well, but they had always felt that the property was lacking in light. With small standard windows and a set of sliding doors providing the only apertures, the interior felt dim and stuffy, despite being generously sized. With a wish to enhance their home with a more open-plan feeling, the family turned to Apropos and a redesign mission commenced.
Lean to glass and aluminium extension by Apropos.
The owners of the Barton Project had a clear idea of what they wanted; a traditional style conservatory to the side of their home and a large glazed kitchen and utility extension, which would span the entire back length of the building, allowing light to penetrate deep into the ground floor. The Apropos designer worked closely with the Bartons, using their ideas and adding to them, creating two distinct additions to the house which don’t just boost the functionality of the property, but also the appearance and the atmosphere.
Traditional Conservatory Interior by Apropos
While the traditional side conservatory employs a colour-matched brick base, allowing all sides of the structure to be utilised, the kitchen/utility lean-to takes a different path. Still delivering the light-filled space desired by the Project’s owners, the design has been bettered by the addition of five and ten-leaf Aprofold doors, which fold and slide to the side, allowing the back of the house to be completely opened.
Kitchen Extension by Apropos
Both Apropos structures have been rendered in Pilkington Activ Clear self-cleaning glass and slate powder-coated aluminium, which unite the disparate designs, giving the building the aesthetic interconnectivity that is so much desired. They also feature automatic ventilation, which ensures that the rooms maintain a comfortable temperature throughout the year.
Kitchen Extension by Apropos
Before the addition of the Apropos extensions, the Barton Project was a perfectly pleasant and serviceable home. Now, it is a home to be envied. The kitchen and utility lean-to has become a ‘family meeting ground,’ an attractive, airy and bright home hub. Conversely, the side conservatory is used as a glazed snug; a place to relax, switch off and be content. Together, the existing house and Apropos extensions make a statement; architectural flow can be found in many ways, but the most important thing is to have home that gives you the space you want and need.
If you would like to order your free copy of Apropos’ brand new 2014 brochure please click here or call us on 0161 342 8200. To book a complimentary design consultation with our highly regarded design team please click here.
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©2019 Apropos Conservatories Ltd
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Review: Field Notes Unexposed
The new Field Notes edition, Unexposed, has been exposed. Like Shelterwood before, this edition elicits both love AND hate from fans. The edition arrives within a black envelope so that you cannot see what covers you are getting. The editions are packaged somewhat randomly, so you have no guarantee of getting all 6 colors in your packages. To me this is a very interesting way of randomizing the packages. This has also led to frustration among collectors and subscribers. In some cases people have only received 3 of the 6 colors and are trading with other collectors and fans to get all 6 colors.I was one of the fortunate people who received all 6 colors in my subscription package. But I liked them so much I traded off my sealed Arts and Sciences edition to get another 3-pack. I received 3 more of my favorite colors and another black envelope.
Let’s get to the nitty gritty of this, the review. The colors are neon, eye searing neon with a near opposite color logo. I love these colors. They go very well with my Ticonderoga Neon pencils or Neon Wopexen. They bring me back to back-to-school shopping in 1989 or 1990 where neon ruled the world in pencils and pens. My love of these colors is pure thrown back, sort of like my total enjoyment of the new Trapper KeeperThe covers and interior feature the same soft touch printing as the Drink Local series, Which up until these was my favorite edition. The soft touch just feels really neat. When thinking I can rub the covers between my thumb and fore finger. The texture is just fantastic. I read more than one complaint about these colors being “not professional.” I use my FN as catch alls and journal, and now during my internship and a place to take quick client notes. Are they professional enough for me to take into staff meetings? I don’t know, but I’m also secure enough that if someone were to comment on the color to be able to say, “I know! Isn’t it AWESOME!?!”Inside is what FN calls “reticle graph.” Before I had received my books I had to look this up. Instead of dots for dot graph they have replaced them with little plus signs (+). One could think of these like sights or unfinished graph. They are printed in light gray. I wasn’t sure if I’d like these, but so far I really really like them. I might even prefer them to regular graph. I do like dot graph a little more but these are fun. The paper itself is regular FN paper. It’s not fountain pen friendly but great with pencils, gel ink, and roller ball pens. Another complaint I’ve read about is that people really really hate the near color opposite* printing on the inside color. It really does make the interior stuff hard to read. I find it impossible to look at and read the interior of the green covered notebook. The neon green on neon orange is impossible for my eyes to makes sense of. If I squint I can read it but it’s hard. I don’t mind since all of the FN stuff stays the same from book to book. I know where to write my name. I also found that once I wrote my info into the various sections in black ink it broke up the field of neon and I was much more able to read the neon-on-neon printing.The envelopes that houses the notebooks as they are shipped to you are a flat black. As soon as you remove the shrink wrap the envelope starts to show finger prints. The envelopes aren’t super sturdy but they are neat and a great way to store 3 FN in a bag or backpack.Overall, this is a great edition from Field Notes. Great colors, great “soft-touch” covers, awesome reticle graph grid inside, and your typical fun FN uses inside. This will be one of the few that I stock up on and keep a few extras in my stationary boxes.
*They aren’t true color opposites! The opposite of red is green, blue is orange and purple is yellow. These are one step away from the true color opposite of the color. This does fun things to our color perception as our eyes try to makes sense of these colors together.
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Inciting operational innovation
In the world of small practice, if you want a bigger slice then you better be prepared to fight for it – enter unrealistically lean fee structures and late night work stints. But what if architects could actually grow the cake? This was the timely question posed by Maria Smith, the curator of this year’s RIBA Guerrilla Tactics conference, at the RIBA in London on 8 November.
Timely because in an era of disruptive technologies and an increasingly efficient development machine that has all but marginalised design, the metaphorical architectural cake is shrinking. We must act fast, in order that as one of the panellists in the Construction Zoo session, John Boxall, Partner at Jackson Coles, ominously put it: architects ‘don’t become the Kodaks of this world’.
Better get thinking then, which is exactly what the interactive format and real-time themed conference intended us to do. Innovatively set within a framework surprisingly borrowed from the CASS Business School at City University of London (yes, you read right) and the research being done there by Professor Stefan Haefliger, the day-long event set out to encourage a more analytical, business-savvy and experimental approach through an understanding of how the traditional ‘solutions based’ model in architectural practice is only one way of doing things (product, match-making and multi-sided business models exist as alternatives).
An inspiring keynote lecture by David Marks of Marks Barfield Architects demonstrated through an insightful and frank account of the practice’s phenomenal success – first with the London Eye and now with the recent BAi360 viewing tower in Brighton – the value of entrepreneurialism in the discipline; a panel discussion looked at different business models operating in the construction industry; and a series of case studies from the coal face of innovative architectural business models provided a tantalising glimpse at the landscape of possibilities when architects begin to innovate at an operational level. Of particular note were Carl Turner’s re-imagination of the shipping container and mixed-use developments with a wider social benefit; and Orkidstudio’s work, which demonstrated how charitable construction work might become sustainable.
During the final part of the day, Daisy Froud chaired the Super Model challenge, commendably dissolving the ordinary didactic format of a conference into a workshop, which asked the audience to collaboratively come up with their own solutions. This leap of faith into the participatory paid off beautifully, as the subsequent exhibition of posters demonstrated. (The posters were pinned up on exhibition stands in the Jarvis Foyer for delegates to view and vote on.) Ideas ranging from 3G Trees to the up-ending of existing development practices with a Section 601 Agreement emerged on large white sheets of paper seemingly from nowhere.
On top of the sheer range of creativity, it was the candidness and generosity of the speakers that really stood out. There was a confidential air to the presentations – as if you were looking through someone’s desk drawers – such as the account given by Nigel Ostime of how the legal agreements for Rational House had fallen short or Claire Bennie’s advice about how to gain access to local authorities.
The conference was a wake-up call to the fact that though we live in an era of business innovation, in which we are seeing the world tipped on its head, as we buy, communicate, learn and experience in radical new ways, architects have been tentative to join the party. As the many inspiring examples on show throughout the day demonstrated, we need to limber up. The second part of the challenge for me, however, relates to how architecture can do this in a critical way. Socially irresponsible and corporate examples such as AirBnB and Uber that regularly came up are a reminder that in the face of endless possibility, the architecture industry also needs to remain grounded. What is lost when architecture becomes a product? Do match-making services centralise economic power? Is efficiency always a good thing? One thing is for sure, as Maria Smith has wryly observed, there are interesting times afoot.
Text by Georgie Day, FACtotum.
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Logo: American Artist Chloe Dee Noble
CHINA 2003 International Sculpture Invitational
Art is for Everyone
and art is in everything
(the journey of creating a sculpture)
A paper written by California painter and sculptor
Chloe Dee Noble
Presented to
Sculptors and Essay Invitational
China Changchun International Sculpture
Conference 2003
as an accompaniment to bronze sculpture
"Beautiful Dreamer"
This paper translated from Braille and English into
Chinese, French and Russian
for the Selection Committee,
State Ministry of Culture,
Changchun Municipal People's Government,
China National Guiding Committee for Urban Sculpture Construction,
with the theme of "Friendship, Peace and Spring"
taking place September 6 thru 8, 2003
Changchun, China
Braille transcription provided by Shirley, Blind & Visually Impaired Center of Monterey County, California.
All rights reserved, copyright 2003
Image: Beautiful Dreamer, bronze sculpture
Art is for Everyone
and art is in everything
(the journey of creating a sculpture)
Chloe Dee Noble
All my life I had been a practicing artist - painter and sculptor, with studios in northern and southern California. I became blind in 1996 when a brown recluse spider bit me on the tip of my nose in the middle of the night as I lay sleeping in my bed. My life changed. It became dark and I became very sad.
Suddenly, I was pulled from the full, energetic life of a person who created art on a daily basis to a withdrawn, sad person who was in constant pain -- emotionally and physically -- every day. My coping skills were minimal.
As soon as I recovered somewhat from physical complications -- the spider's venom is designed to shut down your body's organs -- I started to explore my options for living.
Someone told me about the Center for the Blind and Visually Impaired in Pacific Grove. Several times I called to make an appointment -- but always cancelled. To actually GO would be admitting that I was really BLIND. Somehow, I felt if I didn't acknowledge it, I would wake up one morning fully recovered.
Eventually I went to the Uveitis Clinic at the Proctor Foundation, which is the Eye Research Center for University of California San Francisco. Patients with serious eye problems go there from all over the world. Proctor Foundation is an amazing place. I learned I was not the only person with a problem and compared to many my problems were few.
My spirit began to adjust to this new way of life and I was ready to visit the Blind Center in Pacific Grove.
The first day I met a volunteer named Victoria. Victoria is of Russian descent. That day she shared the experience of her most recent vacation -- riding across the Alaska tundra in a dog sled. I was amazed.
Later that evening, I began to visualize this beautiful dog sled making its way thru the icy cold as it cut a path over snow covered hills -- thru the tall pines. Soon I began to sculpt this vision in my mind and it became a sculpture I plan to cast in acrylic that is clear as ice.
In Braille class several weeks later I learned that Janet -- my instructor -- had lost all of her vision about ten years ago. She returned to school to get a masters degree and work with the blind. In the meantime, she pursued another longtime passion -- that of being a CLOWN. She attended Professional Clown School in Minnesota, graduated and became Monterey Peninsula's "Mop Top".
Janet helped me enroll in several classes at the Blind Center. We met with counselors in an effort to design a program specifically for my needs but my biggest heartbreak was my inability to paint. "Your creativity will find it's way back to you", Janet frequently encourged. She was right.
After attending Proctor Center, San Francisco for several months, special friendships with other patients developed. We got to visit each other in the reception room while waiting our turn to see the doctors. We talked about many things but mostly food and shared recipes.
One day at the clinic, I was anxious to see Tom, another patient I had met. We always had the same appointment date and he was bringing a special recipe. After a long wait I realized Tom was not there. Afraid he was missing his appointment I asked where he was.
"Chloe, he died", the receptionist said.
"Why?". I asked, "What happened to him?"
"He had AIDS. Tom died of AIDS last week. I'm sorry you lost your friend", was the gentle answer.
My heart broke, "I didn't know that."
"Yes", she said, "Many of these beautiful young men in the waiting room have AIDS -- that's why they lose their sight".
I was in total shock. I cried all the way home I din't mean to -- I just couldn't help it.
It was then that I began to wonder if this life journey was leading me to discover some special meaning. Perhaps I was to do something for people with AIDS. What would that be? What could I do?
My art studio had a lot of clay. My Muse led me to unwrap it and put it on the sculpture table. I was overcome with sadness of losing my friend and slowly the clay was transformed into the almost life-size bust of a sleeping man. He had the most beautiful, peaceful face and rested comfortably in a reclining position.
As I sat at the table a magnificent current of energy burned its way from my grieving heart directly thru my fingertips.
When the sculpture was finished, I took the clay to the Monterey Sculpture Center, a wonderful place where I had created sculptures in the past. They made a mold, then it was cast into bronze. The sculpture is 15" x 17" x 9" including the black polished granite base. "Beautiful Dreamer" comes in two finishes. One polished gold, the other brushed silver, both have purple dreadlocks and are mounted on polished black granite.
I designed it to wear a diamond stud earring. The matching earring comes on a Braille Romance Card for the recipient to wear, in memory of a loved one or simply as a prayer for healing. Thru auction, it has become an instrument to raise funds for AIDS research and to benefit the Blind. It will raise more than one million dollars for these two causes, and has touched the hearts of many.
Art is certainly for everyone! And art is in everythng. Many blind people have touched the sculpture to discover it's beauty. Parents who have lost their beautiful children have the sculpture and they wear the matching earring. It brings comfort and joy knowing their purchase dollars are helping others.
During 2001, the sculpture was nominated for the prestigious "Make A Difference Day" Award, an annual day celebrating an occurrence - an event - or a happening - that benefits others. Make A Difference Day is co-sponsored by the Points of Light Foundation, founded in 1990 by President George Bush, Mr. Paul Newman and USA Today Magazine.
Art is for eveyone and in everything because it is all around us, all the time. God is the most magnificient artist. A brief stroll thru a flower garden reveals this each time you smell the delicate fragrance, see the bright colors and sculpted free-form stems as they sway in gentle breeze. Look at the hillsides along the highway as you go for a drive in springtime and witness baby calves standing near their mothers or see lakes being visited by baby ducks.
Everything, everyone, every moment is magnificient unto itself. Life is full of miracles. Miracles are art. Life is art.
You may say, "Yes, but that is such a sad story."
True. But one filled with HOPE and FAITH and LONGING.
to find the answers.
FAITH to keep going.
LONGING to capture art in the spirit so it can nurture the soul.
There really is a reason for everything. There is a time and purpose for everything. When we are unable to see the reason, we have to trust ourselves and our higher power.
This life experience has taught me that the need for love, respect and human dignity never changes.
Whenever I create art, I totally lose myself and at the very same time -- I totally find myself.
ART in the form of personal expression brings each of us to the depths of our innermost selves where we are allowed to tap this energy and bring it forth. It may then be presented as a gift to the hearts and minds of others -- to bless their lives and our own.
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Water Stains on the Wall by Cloud Gate Dance Theatre of Taiwan
Cloud Gate Dance Theatre of Taiwan returns to Brooklyn Academy of Music (BAM) with Water Stains on the Wall, a metaphorically rich continuation of artistic director Lin Hwai-min’s choreographic exploration of the beauty and aesthetics of calligraphy.
Projections of continuously shifting cloud shapes—reminiscent of flowing ink—transform a tilted white platform into a giant sheet of rice paper. All movement is at once filigreed and rooted, reflecting the virtuosity of chi kung, internal martial arts, modern dance, and meditation. The dancers seem to hover as they jump and spin, embodying the calligraphic potential of clouds, slithering snakes, and water stains on the wall.
Lin Hwai-min, choreographer and artistic director of Cloud Gate Dance Theatre of Taiwan, studied Chinese opera movement in his native Taiwan, modern dance in New York, creative writing in Iowa, and classical court dance in Japan and Korea. In 1973, Lin founded the first contemporary dance company in any Chinese-speaking region, naming it after the oldest known dance in China—Cloud Gate, a ritual dance created some 5,000 years ago. Trained in tai chi tao yin—an ancient form of chi kung, modern dance, ballet, meditation and calligraphy—Cloud Gate Dance Theatre of Taiwan’s arresting style has elicited widespread praise, with Dance Europe noting: “No company in the world dances like Cloud Gate.”
For his artistic achievements, Lin was named one of the Ten Outstanding Young Persons in the World in 1983 by Jaycees International, and received a Lifetime Achievement Award from the Department of Culture of New York City in 1996, an Honorary Award of Fellowship by the Hong Kong Academy of Performing Arts in 1997, the Ramon Magsaysay Award (“the Nobel Prize of Asia”) and an Honorary Doctorate from National Chung Cheng University of Taiwan in 1999. Furthermore, he was selected as the “Choreographer of the 20th Century” by dance Europe magazine, nominated for the “Best Director Award” by Nyon Biannual Festival, and was chosen to be one of the “Personalities of the Year” along with Merce Cunningham, Jirí Kylián, Pina Bausch and William Forsythe, by Ballet International magazine in 2000.
He was celebrated by the Time magazine as one of the “Asia’s Heroes” in 2005, and honored by the International Society of Performing Arts (ISPA) with the “Distinguished Artist Award” in 2006.
First Wife of Taiwan with Lin Hwai-Ming
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China's porcelain capital establishes art zone for young artists
Take me away, mom
Animals on the Road
• “Water Margin” on eggs
• Cat the occupier
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• Cuddle up together, battling against blizzard
• Sunshine in the life
• http://english.dbw.cn 2016-12-12 15:07:33
Ceramic works sold at the fair at the Taoxichuan cultural park [Photo: Global Times]
Made from components mixed with traditional porcelain clay, a 3D printed replica Sphinx was on sale in a workshop in Taoxichuan, a renovated culture park in the porcelain capital of China - Jingdezhen, East China's Jiangxi Province.
Far faster than traditional handcraft techniques, the statue only took five hours to make, while simpler articles may need only three hours. The process is also far less complicated. Even non-professionals can make their own items with the technology.
These types of workshops and studios, owned by domestic and foreign artists and designers, are common in Taoxichuan, previously the site of 10 thriving ceramic factories built 60 years ago. However, after drastic drops in profits during the 1990s, employees were laid off as the plants shut down.
Staying vintage
In 2014, the factories were renovated into shops and galleries as part of a project to turn the area into an art zone.
"When the renovation project began, we decided to reserve the area's old buildings and articles as much as we could. They bore witness to and present what happened in the past," Xiong Honghua - deputy general manager of the Jingdezhen Ceramic Culture Tourism Group, a state-owned enterprise and developer of Taoxichuan - told the Global Times on Tuesday.
This past can be seen everywhere in the art zone. At the entrance to the zone, a cafe has been set up in a factory. One of the cafe's red brick walls is still painted with a slogan from the 1960s: "Hold high the banner of Mao Zedong Thought."
Apart from old buildings, new uses have been found for old infrastructure, such as pipes that have been turned into chairs and an engine that has been converted into a reception desk in the exhibition center.
A chimney with a painted slogan that reads "Every Communist Party member should know the saying 'Political power grows out of the barrel of a gun'" also attracts many visitors.
In the zone
To give young artists a chance to show off their works, an art fair is held at Taoxichuan every Saturday. Around 500 booths are available for artists to present and sell their art. As of November, more than 3,000 artists had applied for booths since the weekly fair opened in April.
Xia Yiqun, a 22-year-old senior studying sculpture at the Jingdezhen Ceramic Institute (JCI), is among the many artists looking for opportunities at the fair.
"I was one of the first to come to the fair. This is the place where my career and dreams began," Xia told the Global Times on December 6.
After presenting their works to the fair organizer, young art students and artists are assigned a booth for an entire month. While artistic talent helps an artist get in the door, their dedication is what keeps them at the fair. If an artist misses a fair without reason, they will be fined 50 yuan ($7), while two absences disqualify them from getting a booth at the fair.
"For a craftsman, if your works are not good enough or you are not taking your work seriously, then you will find yourself going out of business," said Xia.
According to the sellers at the fair, operating an outdoor booth at Taoxichuan is no simple task. You run the risk of others plagiarizing your work, face increased competition and have to deal with unexpected situations such as rainy weather.
"It rained almost every Saturday night during April and May, but it was worth all the trouble when visitors carrying umbrellas came and asked about my work," said Xia.
Creating a brand
While Taoxichuan is not the only place that holds weekly fairs in Jingdezhen, it is one of the most attractive for young artists.
"Unlike the other places that charge around 50 yuan a day, we don't have to pay to present our work at Taoxichuan. That means a lot for young artists just starting out," one artist at the fair told the Global Times. This sentiment was echoed by many of the artists at the fair.
"The visitors come from different cultures and backgrounds and the art atmosphere far outweighs the commercial feeling," Li Junlong, a 27-year-old businessmen at the fair, told the Global Times on Tuesday.
Li graduated from Nanyang Institute of Technology, a university in Central China's Henan Province, in 2013. He is just one of many who have come to Taoxichuan from other areas of China.
They call themselves jingpiao, or "Jingdezhen drifters," people who came to Jingdezhen to fulfill their dreams of being an artist.
Apart from the pure art atmosphere, Taoxichuan is a major cultural project supported by the local government. Over 450 million yuan has been invested in Taoxichuan so far, turning it into an art community bustling with workshops, cultural centers, galleries, restaurants and hotels."The government has made Taoxichuan the city's brand, and this brings in high quality clients and artists," said Li.
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Author： Source：CRI Editor：Yang Fan
share: 0
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Valley View: Opioids as a community crisis, part two
'Nothing to see here' protest painted over mural on East Allentown business
Emily Opilo
Contact ReporterOf The Morning Call
“Nothing to see here” painted in protest on East Allentown business
Geoff DiVittorio has a little something to say to the east Allentown neighbors who complained about his graffiti-style murals.
"Nothing to see here."
As in no controversial art to see beneath the newly scrawled message on the wall of East Side Tattoo. DiVittorio painted those words on top of an existing mural on the exterior of his Union Boulevard shop after he and several other business owners were accused of creating a negative environment in the neighborhood with their wall art.
"[It] was more or less just as polite of a smack in the face as I could come up with," DiVittorio said. "I definitely feel insulted."
DiVittorio decided to take a stand following controversy that began in March when a local laundromat owner complained about several graffiti-like murals in the East Allentown neighborhood. Members of the East Allentown Rittersville Neighborhood Association took the complaints to City Council, handing members of the board photos of DiVittorio's business and of nearby Dell Motors, both of which have exterior murals.
The neighborhood association argued that the murals suggested a "neighborhood that should be avoided, particularly after dark." DiVittorio's murals, painted in a traditional graffiti style, have bubble letters made to look like dripping paint. Dell Motors' were painted in the style of Japanese anime. One depicts a stylized engine with arms holding two wrenches.
City Managing director Francis Dougherty told council members the murals, commissioned on private property by each property's owner, don't violate city ordinance.
The city solicitor's office is researching legal options to deal with the murals, a spokesman has said. East Side neighbors asked for stricter controls of public art, arguing that Allentown should have a mural arts program similar to one in Philadelphia to give neighbors more input into what is painted on buildings.
DiVittorio, 28, a tattoo artist since 2007, said he's heard no complaints about the new message on the side of his building, but almost no one complained to him about the previous mural either. He blamed a small group of neighbors for escalating the situation without talking to business owners first.
"I'm not here to rouse and rabble, but I'm here to make it known that there is a difference between what I'm doing and vandalism," DiVittorio said.
"The culture behind graffiti is deep," DiVittorio said. "It's definitely based on that rebellious nature, but it's come a long way. Some of the best-paid artists in the world right now are graffiti muralists."
Dave Schell, secretary of the neighborhood association, said several locals noticed the new message at East Side Tattoo, but the group isn't taking an official position on it.
"I don't know if that was a subtle message that we're being a bunch of Philistines, but whatever," Schell said. "As long as he's not painting anything obscene on his wall."
eopilo@mcall.com
Twitter @emilyopilo
610-820-6522
Copyright © 2018, The Morning Call
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Lee, Andrew Hickinbottom (3D) Tank Girl, Pedro Conti (2D)
View Full Version : Grand Space Opera 3D Entry: Richard Hagen
10-27-2004, 06:29 PM
Richard Hagen has entered the Grand Space Opera 3D.
10-27-2004, 06:41 PM
http://www.cgnetworks.com/challenge/entries/7/4881/4881_1098902471_medium.jpg (http://www.cgnetworks.com/challenge/entries/7/4881/4881_1098902471_large.jpg)
A concept sketch to kick off my entry into this contest. A quick sketch and hastily colored in Photoshop, this is meant as a guide for me to ponder on the eventual course this image will take.
I am aiming for the more standard sci-fi images I have seen from such 1970's icons as Angus McKie and Ralph McQuarrie, but with my own quirky sensibility mixed in.
What you see here is one of Verinsonia's colossal "Tree Cities", a hub of commerce, habitation and energy. Being evolved from birds, the creatures known as Verins have adapted an aesthetic from what they evolved from. A love of trees, insects, natural forms. Yet, being evolved, and through interaction with other Sapien-type species, their overall aesthetic has also evolved over the centuries into what you see before you.
My desire for this image is to convey a sense of immense scale. I hope to be able to include vast amounts of details and make it somewhat more colorful and "realistic" than what you see here.
10-27-2004, 09:28 PM
looks interesting.....hehe are they turtle people?
10-28-2004, 10:20 PM
alright man lets see more, the idea could be verry cool. i think i can imagine what you are trying to get at and it could be alot of fun, i dont see that from the concept that much tough, besides the tree. anyway i dont like comenting much when the concept is just developing cuz you probably know everything im telling you and whats wrong with it, so i'll check back later, keep up the work man.
10-28-2004, 10:49 PM
Hi Richard,
Definitely looking a huge scale tree.
Building the Verinsonia's "Tree Cities" with proper detais it will lok very nice.
take care with the background. Maybe more ships, planets?
Keeping one eye fixed on your thread.
Good luck!!
10-28-2004, 11:49 PM
Totally agree with the scale... I think it's crucial for this challenge, so you have your point. I like the giant tree sketch.
10-29-2004, 05:00 PM
thank you all for the positive and uplifting replies! I am going to post some revisions and new ideas soon, but right now I've been waylaid with sudden urgencies in other areas, and which are slowing down the rate at which I want to complete this project.
Having looked at some old books of mine such as "Spaceships 2100AD", "Tour Of the Universe", and other sundry titles, I see that the one thing these sorts of pictures have going for them is the sense of size, mystery, and futuristic weirdness that we all expect from "pictures of the future". Since I'm aiming to do this in 3D, I will be able to duplicate the one city (once complete) and try for a sense of a lot of these massive structures. And yes, something in the sky - a planet or a moon or three.
I truly appreciate your comments, I hope I can live up to them :-)
10-29-2004, 11:46 PM
http://www.cgnetworks.com/challenge/entries/7/4881/4881_1099093586_medium.jpg (http://www.cgnetworks.com/challenge/entries/7/4881/4881_1099093586_large.jpg)
A quick modeling test. I suppose this could be called a Concept Sketch too, at this stage. A quick, textureless radiosity render to serve as a further proof of concept, is all this really is.
It's rather easy to give up seeing the masterworks on display here, but I shall not get discouraged! Thanks everyone for the positive words!
CGTalk Moderation
01-19-2006, 05:00 PM
This thread has been automatically closed as it remained inactive for 12 months. If you wish to continue the discussion, please create a new thread in the appropriate forum.
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BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Playwrights Guild of Canada - ECPv4.9.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Playwrights Guild of Canada X-ORIGINAL-URL:https://playwrightsguild.ca X-WR-CALDESC:Events for Playwrights Guild of Canada BEGIN:VEVENT DTSTART;TZID=America/Toronto:20190515T200000 DTEND;TZID=America/Toronto:20190515T220000 DTSTAMP:20190524T013529 CREATED:20190408T181530Z LAST-MODIFIED:20190408T195113Z UID:52946-1557950400-1557957600@playwrightsguild.ca SUMMARY:Lo (or Dear Mr. Wells) by Rose Napoli DESCRIPTION:Laura\, now a grown woman of 25\, has written a revealing memoir about the time she was an underage student experiencing a sexual and intellectual awakening in the thrall of her former English teacher\, Mr. Wells. This gripping two-hander rewinds the clock by ten years\, and explores the truth of what happened behind closed classroom doors. The script of the play is available at CPO. \nBuy Tickets. \n\n\n\n\nPlaywright: Rose Napoli \n\n\n\n\n\n\nCast\nErica Anderson: Laura\nGeoff McBride: Alan \nCreative Team\nLaurie Champagne: Stage Manager\nEric Coates: Director\nSeth Gerry: Lighting Designer\nJason Hopkins: Apprentice Stage Manager\nVanessa Imeson: Costume Designer\nVenessa Lachance: Sound Designer\nMegan Piercey Monafu: Intimacy Coach\nBrian Smith: Set and Props Designer \n\n\n\n\n \n URL:https://playwrightsguild.ca/event/lo-or-dear-mr-wells-by-rose-napoli/2019-05-15/ LOCATION:Irving Greenberg Theatre\, 300-1227 Wellington St. W.\, Ottawa\, Ontario\, K1Y 0G7\, Canada CATEGORIES:Professional Production ATTACH;FMTTYPE=image/png:https://playwrightsguild.ca/wp-content/uploads/2019/04/2019-04-08-LO.png END:VEVENT END:VCALENDAR
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Glow, Calgary Downtown Winter Light Festival
Members of the public line up to view Light Shower, one of the exhibits mounted as part of Glow, Downtown Winter Light Festival, in Calgary on Feb. 20, 2017.
If you’d told me 10 years ago Calgarians would willingly line up more than half-an-hour to experience a shower of light, I wouldn’t have believed you — and I would have been wrong.
There I was, just one of hundreds (maybe even thousands?) of people who patiently queued up this past weekend to experience a piece of modern art called Light Shower, part of Glow: Downtown Winter Light Festival, an interactive, multi-disciplinary, multi-location display of modern art in Calgary.
You often hear complaints about public art being inaccessible, both figuratively and literally, but from what I witnessed this weekend, it can safely be said Glow was just the opposite. While not every piece was a smashing success, people seemed to keep an open mind about what they were seeing, based on fragments of conversations overheard as I wandered from installation to installation.
On top of it all, it was awesome to see so many people — including families with young children — out enjoying our downtown core well into the evening.
With hope, this event will make a comeback for many years to come … and given Glow’s apparent success, perhaps now’s the time to introduce more of such events, to breathe some life into Calgary central business district outside business hours.
Glow, Calgary Downtown Winter Light Festival
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The Artists Representing Puerto Rico After Hurricane Maria
Artists occupied an abandoned mall in downtown Miami to showcase their work and highlight the plight of Puerto Rico.
Jan 18 2018, 2:30pm
Photos by On the Real Film
Six months before Hurricane Maria wreaked havoc in the Caribbean, a group of Puerto Rican artists were invited to participate in a residency program in Miami by local art organizations. The artists were offered abandoned storefronts-turned-studios at a historic downtown mall, where they’d exhibit their work during Miami Art Week in December to engage an art world that often overlooks the island territory. When Maria struck and knocked the entire island offline, Puerto Rico was suddenly on everyone’s radar. And the residency, Focus on Puerto Rico, became more vital and more timely than ever.
Half the artists in residence were stranded on the island without power or even a plane ticket as the program was set to begin. Those already on the mainland were glued to the news. All of them were thrust into a role they hadn’t anticipated—to be a voice for Puerto Rico in the wake of a disaster that may have left more than 1,000 people dead and half the island offline for nearly ten weeks.
The entrance to the historic 777 International Mall, where the artists have their studios during the Focus on Puerto Rico residency. Photo by On the Real Film
But from isolation to governmental incompetence, the hurricane only heightened the daily struggles faced by many Puerto Ricans, particularly the poor. According to many of the artists, in response to the government’s fumbling recovery efforts, exhibiting in Miami felt like a political act.
Here they tell us how Hurricane Maria changed their lives and affected the work they exhibited at Miami’s 777 International Mall during their Focus on Puerto Rico residency.
Andria Morales
Andria Morales stands in her temporary studio during the Focus on Puerto Rico residency. Photo by On the Real Film
Blank Check. Photo by On the Real Film
When the residency began, it was full of contradictions. On one hand, the MANA Convention Center in Wynwood had been converted into a disaster relief zone, processing hundreds, if not thousands of packages to ship to Puerto Rico. On the other hand, the majority of my fellow artists in residence were stranded on the island.
During the first weeks of the residency, those of us who arrived impressed upon staff the need for tools, additional supplies specific to each artist, and ground transportation in Miami. As we pushed against "the budget" to advocate for our needs, I couldn't help notice the parallel with Trump's comment that Puerto Rico had thrown the US budget “out of whack." Unlike the president however, the program directors answered all of our requests with a "yes." To commemorate their generosity, I fabricated a giant blank check made out to Focus on Puerto Rico in the form of a limited edition beach towel.
Rafael Vargas Bernard
Rafael Vargas Bernard poses in front of his sculpture, Tenemos sed, ¿Where did our presupuesto nacional go? Photo by On the Real Film
Tenemos sed, ¿Where did our presupuesto nacional go? Photo by On the Real Film
Hurricane Maria made things clear. There’s rampant corruption in the Puerto Rican government, abandonment of infrastructure in the service of private interests, and the poor conditions of being a colony of the United States. It forced Puerto Rican citizens to work together to overcome the aftermath of the hurricane, and to realize that the federal and local government had no intention, or were incapable of resolving the immediate emergency.
The sculpture titled Tenemos sed, ¿Where did our presupuesto nacional go? alludes to seeping water, a common experience in homes after Maria. The water flows down the wall, into a sink, and is cycled back up the wall through tubing. There is a constant loss of water resulting in a watermark around the sink that represents how public funds disappear, seep through government agencies, and are misappropriated in the maintenance of public infrastructure, resulting in a lack of running and drinking water.
Elizabeth Robles
Elizabeth Robles stands in front of her wall-art, Maria Reveals Us. Photo by On the Real Film
Presence (front), Coexist (left), Maria Reveals Us (right). Photo by On the Real Film
Maria showed how difficult it is to live in Puerto Rico. Our struggle wasn’t just because of Maria—it existed before. Maria accelerated things and really showed how people are living on the island.
It wasn’t easy to leave Puerto Rico, to leave my family, to come here and do art. But for me that is a very political act—to do art in a moment like this. It was a moment that I couldn’t be silent. It was a moment to tell people what’s happening in Puerto Rico. The residency gave me the opportunity to show others and talk to them about our living conditions, how we are struggling to survive, and how brave we are.
I did a performance in the poor neighborhoods behind Wynwood. I painted the cracks in the sidewalk and sprayed them with graffiti. The cracks showed me where to paint. Everybody who lives there walks that sidewalk every day, and I went there to walk it, too. Sometimes just to wake up and walk is a political act.
Matotumba (Collective)
The eight-person art collective Matotumba pose in their Dystrópical installation. Photo by On the Real Film
Dystrópical, Matotumba. Photo by On the Real Film
Our proposal satirized the sociopolitical and economic crisis of a fictional future wasteland on the dystopian tropical island of Puerto Rico. It’s an alternate reality where everything is artificial, and the only thing that prevails is plastic. The only other real thing we have left is our culture and traditions.
All of the sudden, after Maria, what we had conceptualized as a work of fiction became almost a reality. We found ourselves in a sort of dystopia. The total collapse on the systematic infrastructure of our country was something that anyone could see coming from miles away, but we never expected it to happen this soon.
We brought the dystopia with us. We created our own little dystopian world inside the abandoned mall full of rubble in Downtown Miami.
Yiyo Tirado
Yiyo Tirado stands outside the abandoned storefront turned studio where he presented his piece, Caribbean Blues. Photo by On the Real Film
Caribbean Blues. Photo by On the Real Film
I have been working for two years with Caribbean landscapes and how governments sell it as a tax haven. After the hurricane, I continued working with that landscape, but now I talk about the landscape that the hurricane left as a “replacement landscape." I named the work Caribbean Blues.
It consists of an installation in several visual languages that range from art object to sculpture to intervention. It takes into account the historical, socioeconomic, and political status of Puerto Rico after the storm, such as our dependence on fossil fuels and the impossibility of economic development for an island whose political system is at a precipice due to corruption.
Daniel Bejar
Daniel Bejar’s work appropriates and revises political imagery. Photo by Daniel Bejar
Rec-elections (Let's make America great again, Isabel González). Photo by On the Real Film
My experience with Hurricane Maria came only through news reports, images, and videos of the aftermath and response that were circulating online. I had family that had to leave the island, but thankfully no one was seriously injured.
The work was a continuation of my project Rec-elections, which considers and critiques the weaponization of nostalgia and the American myth deployed within presidential campaign advertising.
I appropriate historical presidential campaign posters and slogans and re-insert them back into the current political landscape. A few of the works from the project touch on the political relationship between the United States federal government and the unincorporated territory of Puerto Rico.
Ulrik López
Ulrik López stands with his piece, Poem for a Mountain. Photo by On the Real Film
Steep Hill (top right), Prolonged Mountain (bottom right), Poem for a Mountain (middle). Photo by On the Real Film
I’ve been based in Mexico City for almost three years, so I wasn’t present on the island during Maria’s passing. But I have been followed by natural disasters for the last couple of months. I was able to avoid Hurricane Irma passing Miami while I was there for an exhibition, just to return to Mexico City for the first strong earthquake. That was followed a few weeks later by the devastating September 19 earthquake. The next day Maria passed through Puerto Rico.
So basically both of my hometowns were hit by disasters at the same time. After these continuous natural disasters, which appeared to be drawn to me, the residency seemed like a good opportunity to concentrate on my work. These events haven’t really affected my work on a direct level, but it has made it more evident to myself and others, especially those who are in Puerto Rico, of some grave flaws in our government structure and its shameful colonial status.
Poncili Creación (Efraín and Pablo Del Hierro)
Poncili Creación create interactive sculptures of makeshift mythologies for the digital age. Photo by On the Real Film
La Protectora. Photo by On the Real Film
We were in France and couldn’t go back to Puerto Rico before the hurricane. Then, the week after the hurricane, we were told the building where we had our workshop was sold, and we needed to take all our stuff out in ten days. We lost almost everything, all the materials we’d collected for two years.
Our work flirts with and embraces late stage capitalism in an ironic way. One of our works is called Telefonitos or Little Phones. It’s an approach to smartphones and a meditation on how we’ve been using phones to become cyborgs and enhance our abilities, and how people have become obsessed with their phones.
We’ve created various models of phone covers with different perspectives, but they all point to the obsession we have with our phones but also their necessity. The phone was the tool during and after the hurricane that allowed people to communicate. Even without light, people could contact the exterior world. The cellphone obsession is something that needs to be taken with care, but it’s still a tool that helps in a particular situation, like this natural disaster.
The Focus on Puerto Rico residency ran from September to December 2017. The residency was a partnership between Clocktower, MECA International Art Fair, and Mana Contemporary Miami.
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Tuesday, 27 November 2012
Design friends and how to get them to get you places!
Last week I had my interview at the South Australia College of the Arts, for a Diploma in Costume for Performance.
A friend of my who is an architect offered to help me re-do my portfolio, real design student style
Cover of my portfolio, laser cut heading and all bound and then stiched with a baseball stitch
After explain to him I currently had a larger than A2 portfolio, he offered to assist me in redoing it on the computer using illustrator and photoshop.
It took a while (well not as long as it take to glue and make an A2 one look pretty). And the end results were pretty awesome.
It also meant I got to learn about some programms I haven't ever used before
We had to include some mood boards in our portfolios (kinda strange I thoguht), these two are my 'Embellishment & Craftsmanship' and 'Fantasy & Costume' boards.
What I had never really though about before when it came to my portfolio was that, did it ever say in the criteria you had to have all your design process documented as well? No....I did just assume you needed to put that in there. Which is annoying.
But this portfolio is just images of the completed projects. Which I actually really like. I mean I clearly made them, and if I am showing you my portfolio I am going to explain to you how and why.
The Flower Maiden
He helped set up templates for the project pages, and for the mood board pages, so everything in the portfolio flows seemlessly and is totally awesomely formatted.
I had my interview with two ladies, and it was the most relaxed interview for a course I have ever been too. I have done 3 fashion interviews and an interview for a textiles course, and they were all kinda horrific experiences. This one was so great they told me to come back next year and they wanted to keep my portfolio to show!
So here's a couple of pages, my favorite ones. Me thinks everyone should hook themselves up with a computer based design friend. They prove oh so handy!
Lolita Inspired
Oh and the best bit, because he teaches at the uni here, we went to the workroom and used the printing, and laser cutter. My friend who studies there says she has to pay $2 min for laser cutting....
Turning Japanese, Akihabara Majokko Princess and Misato Katsuragi
My Ruffles Logo Laser cut into the back cover :)
So in conclusion, next year I will be moving to RADELAIDE! yay!! I go to Melbourne to leave for Japan next friday, and in the mean time I'm working EVERY day. So it's kinda making packing, both boxes, and bags, a little difficult! Still have to find a removalist....eeeep!!
Hope all your holiday plans are coming along dandy =^__^=
1. Holy wow all of this is fantastic, congratulations!! What a crazy exciting time for you, AND you're going to Japan. I love that country very much we had the best holiday there last year! Enjoy x
1. thank you lovely Lonnie! Enjoy your holiday peroid :)
Thank you for reading and sharing your thoughts = ^ _ ^ =
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LC #42 Pipers Alley
View Full Version : OBJ Transform faces from quad to triangles
10-18-2010, 07:24 AM
Hello, i'm new here. I have a question, maybe someone can help me with that.
I have a .OBJ file with faces defined in this way (4vertices):
f 1400/1704/10324 1417/1705/10352 1451/1749/10400 1447/1744/10394
f 1387/1665/10301 1363/1638/10247 1452/1750/10402 1449/1747/10396
I need this OBJ file only with three vertices:
f 1400/1704/10324 1417/1705/10352 1451/1749/10400
You know if with blender, maya, 3dmax or something i can transform the obj fie in this way?
If there is no application, you can tell me the pattern or something to modify it?
Thanks you!!!
Mr. D
10-18-2010, 11:23 PM
If you can get the obj file loaded in max or maya(most likely Blender also) you should be able to save\export it back out as another .obj file, just be sure to specify triangles not quads on save\export.
wondering what program created this file. mostly in a .obj file you see something like a list of lines like
v 2309 3423 5456 6789 3445 -2334 2365 2333 -1111 4356 2134 4567
and below that those lines one like this
f 8 2 5 4
v means vertex positions
f means a face made up in this case from these 4 vertices (usually building in a couter clockwise direction, causing the normal to face towards you).
good luck
Mr. D
CGTalk Moderation
10-18-2010, 11:23 PM
This thread has been automatically closed as it remained inactive for 12 months. If you wish to continue the discussion, please create a new thread in the appropriate forum.
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$1 Cut Files
Sometimes, you just need a simple design for your crafting creations. These designs fill that need. Some of my designs are more elaborate than others. These are simple but beautiful designs. I'll frequently add designs to this section. You might even find the previous week's flash freebie moved here.
1 product
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Design Feature
The top 20 graphic design trends of 2012
Generative type
Craig Ward
Graphic Design Trends: The Bulk of Reality by Craig Ward
The rise and rise of generative art – particularly tools such as Processing – has spread to typography, with new abstract letterforms being created in an organic (yet still wholly digital) way. Although manipulating the code can control various factors, the randomness of the final output can also have a similarly raw, unique appeal to handcrafted work. New York-based typographic illustrator and designer Craig Ward has produced various generative art experiments, with often-unexpected results.
Silhouetted shapes
Daniel Carlsten and Jonas Jansson
Graphic Design Trends: Acne packaging by Daniel Carlsten and Jonas Jansson
Taking cues from street signs and other simple graphic systems that rely on basic shapes, designers are working with silhouette-like patterns and stark black-and-white palettes, playing with positive and negative space with striking consequences. Swedish art director Daniel Carlsten adopted this style for a packaging brief for fashion brand Acne, combining shapes into a series of patterns that are greater than the sum of their parts.
Feminine elegance
Ruiz and company
Graphic Design Trends: Gemma by Ruiz and company
Continuing the trend for clean, simple design that’s free from fussy embellishments, this particular aesthetic brings an elegant, feminine touch to the table. Combining subtle textures with soft, pastel colour palettes, the resulting design work exudes quiet confidence without the need to shout. Bold photography is juxtaposed with blocks of dusky pink, pale aqua and pigeon grey for a feeling of calm, often combined with Didot-inspired fonts for that extra touch of sophistication.
Three-dimensional effects
Schaffter Sahil
Graphic Design Trends: Vila Bernasconi Apparition by Schaffter Sahil
3D is the talk of the movie industry, and the distinctive aesthetic is fast spreading into graphic design work as well – with RGB layering, stereoscopic techniques and various 3D-inspired print effects shaping a unique middle ground between digital and analogue. Swiss design studio Schaffter Sahli, for instance, used an eye-catching 3D optical effect on a poster to promote Villa Bernasconi arts centre – while other projects take this a step further, requiring 3D glasses to fully appreciate them.
Rough sketches
Demian Conrad
Graphic Design Trends: Brand Identity for Almighty by Demian Conrad
Instead of making use of clean photography, polished illustration and crisp typography, some designers prefer a more rough-and-ready, spontaneous approach, utilising basic sketching techniques to explore the diversity, depth and personality of particular brands. Blending traditional ink, paper and pencil skills with modern production methods, the resulting designs are quick to produce and can exude a certain carefree charm. The process isn’t always simple, however: Demian Conrad’s branding for Almighty, for instance, makes use of the Japanese art of Suminagashi marbling.
So bad, it's good
Travis Stearns
Graphic Design Trends: Flyer by Travis Stearns
There’s a strong design movement to celebrate glitches, failures, errors and mistakes – deliberately encouraging them to take place for aesthetic reasons in many cases. Where once designers would avoid them like the plague, tools such as WordArt and ClipArt are enjoying an unlikely resurgence in work that’s intentionally chaotic and confusing. This trend is driven partly by nostalgia, and partly by the influx of amateur Photoshop users who no longer see bevels, drop shadows and rainbow gradients as cardinal sins.
Shake and distort
Graphic Design Trends: Agda Extra Bold Extended by Toko
This belief in the value of mistakes as part of the creative process has had a particular impact on the use of typography. Harking back to the pre-digital days when mistakes were regularly made in the printing process – particularly in DIY cut-and-paste zines – this trend explores the unique effects that resulted, including jumbled, stretched, distorted and often illegible text, to the chagrin of dyed-in-the-wool type traditionalists and advocates of the pure Swiss style.
Crack the code
Graphic Design Trends: TEMAConsults by HORT
Designers are also breaking up individual words in a design in order to construct simple codes or puzzles – splitting, cutting, inverting or removing elements. Seen primarily on corporate identity and packaging work, type is often aligned along horizontal, vertical or diagonal grid lines, further emphasising the ‘wordsearch’ feel. Hort’s work for TEMAConsults, for instance, varies the branding across its many applications – placing letters randomly on different surfaces so the logo is never displayed in the same way twice.
Brutally simple packaging
Graphic Design Trends: Caravan Drinks by Inhousedesign
Weary of too much choice on the shelves, many consumers are turning to packaging that cuts through the noise with simple, black-and-white communication that combine bold type with plenty of white space – the IKEA approach made famous by Stockholm Design Lab. The implication is that the product is of sufficient quality to speak for itself, without the need for ornamentation to sell it too hard. It’s minimalism at its most brutal, but effective.
Didot typography
Graphic Design Trends: Kilsgaard Eyewear by DesignUnit
Named after the French family of type-designers and printers who created it, Didot is an elegant neoclassical typeface that was popular in the late 18th century – and is enjoying another revival, having been last popular in the New York design scene in the 60s and 70s. Best-known for the strong contrast between stroke weights, and especially their ultra-thin hairlines, Didot fonts are most effective used at large display sizes.
Words: Nick Carson
For a more in-depth exploration of the aesthetic movements that are pushing clients' buttons, check out the regular Trend Report in Computer Arts Collection, compiled by pro trend forecasting agency FranklinTill
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September 23, 2023
Illinois most recent state to identify inside structure as distinctive profession
Illinois has grow to be the latest condition with legislation to fortify the inside design and style sector with the passage of Residence Monthly bill 4715, which was signed into legislation by Governor J.B. Pritzker on June 10.
The legislation expands the scope of interior style and design with permitting privileges for inside designers to stamp and seal plans, so defining interior designers as professionals who defend and advance occupant health and fitness security in their work, the Global Interior Style and design Association (IIDA) explained. The new legislation acknowledges the substantial education and knowledge of interior designers regarding safety alternatives in the built natural environment, like ADA-welcoming attributes and hearth basic safety codes.
The American Modern society of Inside Designers, the IIDA and the Council for Inside Layout Qualification have been functioning alongside one another to go these legal guidelines state by condition. Very last thirty day period, the IIDA spoke with sister publication Designers Currently about why this type of laws is important and how it elevates and innovations the career.
These laws aid inside designers who have passed the national NCIDQ exam, and frequently are doing work in code-impacted environments, mainly professional areas this sort of as libraries, airports, hospitals and blended-use structures.
“Interior designers are highly proficient specialists who will have to have significant qualifications to pursue a career in the field,” mentioned Condition Consultant Margaret Croke, who released and sponsored the invoice in Illinois’ Household of Representatives. “This monthly bill will enable designers to stamp their very own style and design strategies for non-structural development, removing an pointless barrier for people in the industry. Inside design is a customarily woman-dominated industry, and I’m very pleased to lead initiatives to simplicity the worries they experience.”
“Interior designers carry an extensive overall body of knowledge, expertise, and care to their occupation, and this legislation reaffirms their impressive qualifications,” reported ASID CEO Gary Wheeler, FASID. “We are grateful to the condition of Illinois for recognizing the profession’s benefit and empowering designers to be legitimate custodians of well being and protection in the created environment. ASID is fully commited to advocating for our members, the profession and the public as we carry on to lead the national motion all over follow legal rights.”
Illinois is the 2nd condition to move laws of this mother nature this year, pursuing Wisconsin in March. Because 2021, ASID, IIDA and CIDQ have also secured legislative victories in North Carolina and Oklahoma and enhanced distinctive experienced recognition in states like Utah and Virginia.
The invoice may well be viewed in its entirety.
Linked content material:
Which condition will be the subsequent to pass legislation strengthening the inside design sector?
New Wisconsin bill strengthens interior style and design job
New North Carolina regulation to bolster inside style occupation with voluntary point out registry
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Posts Tagged ‘art’
I was talking to an old friend this weekend about the meaning of life. You know, the way you do. It wasn’t even ridiculously late at night, and we didn’t take the morbid side path that’s usually an option in such conversations. The next day I happened to read Theodora Goss’s “Feeling Alive,” and so here we are, delving back into one of my favorite topics.
One of Dora’s main points is that there is the Frankl theory about meaning (projects, connections with people, and attitude) and then there is the Campbell theory that it’s more important to have the feeling of being alive than to know the meaning of life. (Does this make anyone else think of Sondheim’s song “Being Alive?”)
While there is an overlap between these two, many of the little things in life that I appreciate so much fall into the “Feeling Alive” category. Feeling alive can be a very physical experience, even hedonistic, whether we’re talking about having an amazing foodie experience or jumping out of an airplane or traveling around the world. Waking up after a good night’s sleep, sitting in the sun, hiking in the hills: all of these experiences remind me that I’m alive.
Photo Credit: Spencer Finnley via Compfight cc
And then there’s art, which in my experience falls squarely into both categories. Because art makes me feel more alive AND it is often through art (both creating and appreciating) that I find my own meaning. And I think those things that do fall into both categories have particular resonance for many of us.
What I don’t think is that every category like this is going to have the same resonance for everyone. And I also reject the notion that there is only way to find meaning for all of us. Finding meaning through art isn’t going to be right for everyone. Finding meaning through having kids and raising a family isn’t going to be right for everyone. Finding meaning through saving lives isn’t going to be right for everyone. (For example, I am sadly way too squeamish to ever have made it through medical school.)
But when we find something (whatever that something is) that works concurrently to make us discover our meaning and feel more alive in the process, then we’re onto something important.
I feel lucky because from a young age I realized art and meaning were intimately connected for me. For a long time I envied other people who had practical aspirations and knew what career they were going to pursue, especially when the career in question had a relatively straightforward path to success. Art isn’t like that. Art isn’t usually straightforward, and art is never a sure thing. But art has always been my personal pathway to fulfillment, and now I realize how precious that really is.
I’m saying art instead of writing because I was a musician before I started writing seriously, and my connection to my music felt much the same. I had a short period of time in my 20s in which I wasn’t engaged in any art whatsoever, and even though I’ve lived through much harder times, that period of time stands out in my memory for its relative bleakness. I realize now that is because that has been the only time I’ve been without much connection to meaning. I just kind of did things to do them, with most of the passion leached from them. Without my meaning, I also felt less alive overall. It was an eye-opening experience for me, and one I’m not eager to repeat.
What did I learn from it? That art makes me happy to wake up in the morning. Art inspires me and challenges me and keeps me from getting bored. As long as my relationship with art continues, I have meaning built into my life. It is a very intimate experience, one that both encompasses outside influences and all the people I’ve met and one that excludes them because the art goes on with or without them.
Which do you think is more important: finding meaning in life or feeling alive? Or are they linked, as they are for me?
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Why I Need Beauty
Ever since Rahul wrote about beauty and how we don’t have the language to discuss it, I’ve been wanting to write about beauty. But it turns out he’s right, and it’s surprisingly difficult to talk about. For starters, beauty is measured so subjectively, and then I’m not used to saying anything about it except for, “Oh, isn’t that beautiful?” Which does not a blog post make.
But what I can talk about is what beauty means to me personally. Lately I’ve been thinking a lot of beauty as it pertains to my home, and how critical it is for my well-being to have some beauty in my surroundings. I felt silly about this too, I think because this is not something we normally talk about. This is not something I feel like I ought to expect or prioritize. Square footage or number and type of outlets or layout, no problem. But beauty? I feel spoiled for even considering it.
But as I thought about it more, I realized every place I’ve lived has had its beautiful aspects that I have loved. Most often, it’s about the trees. Redwoods grew right outside my windows in Santa Cruz, which I loved so much that whenever I’ve had the chance to live near redwoods, I’ve taken it. Another place had a beautiful bay window in the front, as well as this pleasant curving opening between the kitchen and the living room. One place had beautiful cherry flooring that shone in the sunlight. And another had quaint lace curtains that hung in the windows.
So in my recent search, I rejected place after place. They all had many additional problems, but the main problem as far as I was concerned was that they lacked beauty. There were no trees to love. They were dark, grimy, not cared for. They were in neighborhoods with chain link fences around each yard, or they smelled strange and I left with a sore throat, or they were in sterile communities where I wouldn’t feel happy walking Nala. After I left, I wasn’t thinking about this or that piece of beauty that had caught my imagination. Instead I was worrying about crime rates and how much water and garbage would cost and if I could impose enough of my personality on the place in spite of itself that I could be happy there.
Until I found my new place. Its main feature of beauty is a very tall window that pours light throughout the space. I fell in love with the sun, and that was that. I knew I could turn the place into a home.
What beauty means to me. Photo by Amy Sundberg.
What beauty means to me. Photo by Amy Sundberg.
Why does beauty matter so much? Whenever I witness beauty, I feel an easing in my chest. When I’m happy, beauty adds to my sense of appreciation, and when I’m sad, beauty reminds me that all is not lost. The world cannot be a truly desolate place for me when I’ve just seen a hummingbird zoom by or watched the clouds being perfectly reflected on a still lake surface or looked at my copy of Leonardo da Vinci’s “Head of a Woman.” It is why, last year when I was under so much stress, I instinctively went to my study and stared out at the tree outside, the piece of beauty that had persuaded me to choose to live here.
Beauty reminds me that there is more than whatever is going on for me in this moment.
Of course, there’s a lot more to beauty than what I’ve said so far. But this is, at least, a beginning.
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I’ve been somewhat injured the last week or two, so I’ve had some extra time on my hands. So I decided to poke around Kickstarter and see some of the awesome projects artists have in the works.
In case anyone doesn’t know, Kickstarter is a funding platform in which artists put up projects and how much funding they wish to receive, and then their fans and the interested public can pledge money towards those projects, usually for nifty rewards like art, books, tickets to live performances and screenings, etc.
What’s exciting about Kickstarter is it gives artists a viable alternative to get their amazing work out into the world while getting paid for it. Many creative projects require money up front in order to become realities, and Kickstarter allows the artist to get paid directly from their fans instead of finding corporate backing. It definitely works best when an artist already has an established fan base who can both support them financially and spread the word. For writers, a successful Kickstarter mimics the advance system of traditional publishing while allowing the writer to retain complete creative control. Which is all-around awesome sauce.
Here are some of the Kickstarters I decided to back last week:
Tropes vs. Women in Video Games, by Anita Sarkeesian
I’ve been watching all of Anita’s videos ever since she explained to me, complete with relevant examples, what the Bechdel test was. Now she’s taking on the portrayal of women in video games with a lengthy new series. I couldn’t resist backing this project, because this video series NEEDS to exist.
Fireside Magazine Issue Two, by Brian White
This looks like a promising new fiction magazine, with a lot of speculative heavy hitters in the line-up for the next couple of issues. But really I was sold by the opportunity to be drawn by my friend Galen Dara, who is an amazingly talented artist.
Amanda Palmer: the New Record, Art Book, and Tour, by Amanda Palmer
Amanda Palmer is in the process of revolutionizing the way musicians can interact with their fanbase and make a living while doing awesome things. How could I not want to be a part of this? Also, art books are cool.
Crossed Genres Publications, by Bart Lieb
I have a special place in my heart for Crossed Genres. While they weren’t my first sale, they were the first publication who ran one of my stories. Their Kickstarter has been so successful, they are now going to bring the magazine back (it folded recently), and they also have a few very interesting anthologies scheduled for publication in 2013.
I’m Fine, Thanks, by Crank Tank Studios
To make this independent documentary, the filmmakers toured the country and conducted lots of interviews. Their topic? Complacency and the pull to follow a pre-approved script instead of creating your own unique and individual path through life. Can you think of any subject of a documentary that fits in more with the spirit of this blog? Because I can’t. I am so excited a movie like this exists, and I can’t wait to watch it.
I can’t cover all the worthy Kickstarter projects out there in one blog post, so please help me out. What projects have you supported recently? What other cool things are artists out there doing?
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Tell Me If This Is Art
In our discussion about what it means to be an artist, the question of the definition of art came up more than once. This issue–what exactly IS art?–has been the subject of all kinds of learned debate, study, essays and books. So why not tackle it in a single blog post? The things I do for my readers! (Not that I’m complaining–it gives me the perfect excuse to use this image I found the other day.)
Hmm... is this art?
So what are some factors we can consider?
1. Exposure/size of audience: Has nothing to do with whether something is art. Pop/rock musicians and TV shows reach an audience of millions, whereas new classical music works are sometimes lucky to break into the thousands. We can get into an argument about low vs. high art, but let’s not.
2. Opinions of the experts: Have been proven wrong in the past, and are likely to again in the future. Critical acclaim is great, but who among us hasn’t read the rejection letters from expert editors regarding books that later became classics?
3. The Ka-ching! factor: Has nothing to do with whether something is art. Some people make a lot of money from art they create…and some people really don’t. Take Vincent Van Gogh from Tuesday’s post. He made hardly any money from his art, and is anybody really going to argue with me that Starry Night is not art? Anyone?
4. Skill: So maybe most of us agree that Starry Night is art. But what about that novel you trunked? What about your kid’s crayon drawing of the family that she spent several days on, but that consists of stick figures? What about your first musical performance, when you cracked on that high note? What about that song that consists of three chords? Is that song art if it has a catchy melody as well? What if it has especially original lyrics? What if it’s a parody of another popular song? Yeah, this category is tricky.
5. Artistic freedom: How much control over the work of art does the artist have, and does this affect its classification as art or not-art? For example, is graphic design to a client’s specifications art? What about animating someone else’s graphics/story? (Is that any different from a singer or actor interpreting a song or script? If so, how?) What about a tie-in novel with pre-existing characters and a pre-approved plot? How about if an opera company commissions you to compose an opera? That’s definitely art, right? So how is it different from any of the above scenarios? (I’d argue that in this case, the composer retains most of the artistic vision for the project. But what about portraiture?)
6. Intent: The idea that art can be defined by the intent of its creator. So if I put my dog’s paws into paint and let her walk around a blank canvas, she is not an artist. Maybe I am though, if I had the idea of making art based on this plan. If I’m singing in the shower and not thinking about it, that’s not art, but if I’m performing in front of a room of my students, perhaps it is. What about when I’m practicing that performance by myself? This is the broadest definition of art, and the one I resonate with the most, as a teacher as well as an artist. Were my singing and piano students not artists because they hadn’t achieved mastery yet? No, but I’d argue that some of them were perhaps not artists because they didn’t understand or care about what they were doing (and therefore lacked artistic intent).
7. Art is in the eye of the beholder. In which case it is inherently defined by those experiencing it as opposed to those creating it. Although do you experience it while creating it? What about afterwards?
I know, I’m asking a lot more questions than I’m answering. I’m hoping some of you will be moved to comment and tell me your opinions about the questions I’ve raised. So let me leave you with one final question:
A few years ago, in a sublime and slightly insane act, I decided to create a mosaic as part of the decorations for a Greek/Norse Gods & Goddesses party I was throwing. I don’t know anything about mosaics. I’ve seen a few in Portugal, but that’s about it. So I bought some materials and a book telling me how to do it, and I got to work. I spent hours and hours on this piece. In the middle, I got RSI in my hand from squeezing the glue container (I kid you not) so I had to recruit my husband to squeeze the glue while I painstakingly placed each tile. Here is the finished result:
As I said, I know next to nothing about mosaics, and this was my first attempt and therefore most likely a flawed and amateurish effort. The skill wasn’t there, the money certainly wasn’t, and everyone was so involved in other aspects of the party that they hardly noticed the mosaic (ah, party planning 101). I did, however, have complete artistic freedom and an intention to create art. So my question is, is this mosaic art? Or not art?
I can’t wait to hear your thoughts!
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Sometimes when we are on the road to excellence, we get a little tired. We wish we were already there. We wish the road had a literal signpost saying “You have made it, and you can officially stop worrying and consider yourself to be awesome.” We wonder if we should have chosen something easier to do with our time. And we think that maybe there is a magic bullet, something we can do that will–Bibbidi bobbidi boo!–make us more amazing.
Let me make this part of the road simpler for you.
There are no short cuts. There are no magic bullets. There are no sure things. There are no easy paths. So if you want something quick and easy, excellence isn’t the end goal for you.
Photo by Trey Ratcliff
Sure, there are activities beyond diligent practice you can do that will help you progress. In writing, these include attending workshops, reading slush, seeking out critique experiences, reading craft books like The 10% Solution, etc. In singing, these include participating in master classes and workshops, auditioning, obtaining performance opportunities (however humble), studying with different teachers, etc. But none of these methods are foolproof, and not all of them will pan out.
Take the various Clarion workshops, for example. Working professional writers often cite their Clarion experience as being pivotal in their development as writers. These are the stories about Clarion that we hear most often. But then there are the writers like Alexandra MacKenzie, who took ten years after the workshop to be ready to learn from one of her instructors. Because you can’t always control the timing of these sorts of things. And there are also the Clarion attendees who stopped writing altogether; these are the ones we hear about the least, and yet they assuredly exist. Why? Because no way of leveling up is foolproof. No way of advancing works for every single person.
The path to excellence doesn’t often go flat like a plateau only to suddenly rocket steeply upwards into awesomeness. It is a gradual process, a long slow incline upwards. As Seth Godin says, it is a series of hills, one after another. Those who continue to improve keep choosing new hills to climb that are just on the edge of their abilities.
Sometimes the path feels like a flat-line that suddenly springs up, but this is an illusion. I saw it all the time with my students in voice lessons. They would work steadily and gradually improve, so gradually that they didn’t even notice it happening. They would struggle with a concept and it wouldn’t quite be clicking, and they’d get frustrated and discouraged. At this stage in the process, it was my job as the teacher to keep pushing them, keep encouraging them, keep them singing even if they were ready to throw in the towel. And then inevitably, they’d finally understand. Their bodies would finally coordinate correctly, the muscle memory would finally develop, the ideas we were talking about would finally make actual instead of theoretical sense. And they’d experience a leap in ability. A leap that was really a slow mounting of ability all along.
That leap in ability is just around the corner for all of us. If we practice diligently and intelligently (directed practice as opposed to blind repetition), we are pushing ourselves forward along the path. The leap may come next week or it may come next year. It may come after we take a month-long break or it may come after a few weeks of intense practice. We don’t know when it will come. Excellence requires us to have the faith to sustain us while we work.
We must believe the leap will come. But it won’t come because of magic. It will come because of our own hard work.
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I’m writing this up in my hotel room at the SCBWI conference. I just heard an amazing keynote speech by Bruce Coville, who was in part saying what I said in my blog post last week about influence and never knowing how your actions will affect others. Only he said it in a more articulate and developed way and threw in several musical theater references for good measure.
He also gave many tips for writers, and something he said jarred a useful insight loose in my brain. He talked about the importance of art, craft, and business sense. All in one speech. I’ve been thinking about each of these subjects a great deal, and you’ve seen some of the results of that thinking here on this blog. But the speech gave me some much needed cohesion.
Sometimes I feel like art has become something of a dirty word among many writers. If we’re serious about writing (and oh, are we ever serious), then we discuss craft a great deal. Sometimes we even bite the bullet and talk about business and the industry in ways that are more thoughtful than reactionary and more intelligent than just following the herd. (Sometimes we freak out instead.) We can be inspirational within certain boundaries. But art. Yes, art is a loaded word.
When we hear others speak about art, perhaps we imagine the dilettante artist who never actually writes anything. Or perhaps we think about those who start with a message and try to slap their audience in the face with it. Or perhaps we think of something inaccessible, like the serialist movement in music that I was talking about on Tuesday. The starving artist comes to mind, the irresponsible flake who needs to be talked down from the ledge by the long-suffering editor, the tortured soul who has a room filled with crumpled pieces of paper (see the recent movie Limitless, in which the writer portrayed has nothing to do with reality whatsoever).
And yet, this is not how art needs to be, and this is not how we must define ourselves as artists. Art doesn’t have to mean any of these things. Instead, it is an essential leg in the tripod of the writer.
Here’s how the system works: A good grasp of craft means that we produce sellable and marketable works, which helps our business. It also means that we have the tools at our disposable to create art that works, that really does evoke emotion and help us see the world differently. Craft is essential.
A good grasp of business means that we can get our work out into the world. This facilitates its purpose as art to communicate. It’s also always nice to avoid being screwed and to get paid for our work, which helps us continue both our craft and our art.
An acceptance of our work as art keeps us inspired. It encourages us to keep improving our craft so that we can achieve more through our words, and it challenges us to learn the business side so that we can achieve greater impact.
Lose touch with the business aspect and we cannot support ourselves or get our work out into the world. Lose touch with the craft aspect and we cannot write well enough to be effective. Lose touch with our work as art and we flirt with a sense of futility and forget to take risks.
I tend to neglect the art aspect that reminds me of my purpose and pour all my energy into craft and business. This choice, I tell myself, makes me a serious writer.
But I am wrong. My best work doesn’t happen when I only have two of my cornerstones. It takes place when I remember all three and dare to write bigger. It takes place when I accept that I am a businesswoman, a craftsperson, AND an artist.
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I’ve spent a lot of time thinking about art: how art can be defined, what its possible purposes are, what I am trying to accomplish personally as an artist. This exploration began many years ago when I was a student musician: a singer, a songwriter, and a composer.
In my music program, we spent a year on music theory that looks beyond the standard Western tonal palette. Our curriculum began with late 19th century composers like Wagner and Debussy, which I very much enjoyed studying, and then progressed to atonalism, serialism, and other 20th century classical music (including John Cage, Philip Glass, etc.). We also spent a quarter studying 20th century music history.
After I finished this course of study, I went on to take a few composition classes and seminars and began to consider more seriously the question of why. Why do so many cultures include music as an integral component? Why do so many of us like to listen to and/or produce music? What was I trying to achieve with the music I was writing?
The answer, I decided at the time (and it still holds true for me), is communication. Music is a way of communicating to others; of evoking a response, often emotional; of taking something we’re familiar with and translating it into something new, or of exposing us to something new that is outside our own frame of reference. Music can tell a story, something that happens especially frequently in vocal music (my other focus at school) but can also happen in purely instrumental music (listen to Berlioz’s Symphonie Fantastique for an excellent example of programme music). Music can make us feel a certain way: when I’m watching a suspenseful TV show, it’s often the music that makes me jumpy before anything has even happened on-screen. Music can share universal experiences or distill unique experiences in a way that are more relatable. One of the reasons I adore musical theater as much as I do is because it combines the dramatic potentials of theater with the emotional resonance of music, while remaining accessible to a more general audience than opera often does.
Unfortunately a lot of the music composed in academia, the new Classical music of the 20th century, didn’t seem to me to be very accessible at all. In fact, at the time it baffled me because the goal of communication often seemed very absent from it. Indeed, serialism in particular seemed like a game played with numbers that had very little to do with actual sounds at all. I realize now that I wasn’t seeing the complete picture; I believe even the most experimental pieces were trying to communicate. The problem, for me, was that they were communicating with only a select group of people who were educated enough in music to be able to understand them. I was in that group, yes, but what about everyone else? Imagine the equivalent of throwing out an old common language and writing in a new language; you will only be able to communicate with the select group also versed in the new language. So what we are talking about then is the question of audience. If art is communication, then considering a given piece of art’s intended audience becomes very important.
I also approach writing as art, and therefore as an act of communication. But in pursuing that line of thinking, I realized there are many forms that written art can take. We have the obvious: novels, short stories, plays, poems. But we also have the slightly less obvious (at least to me): letters, blogs, Google+/Twitter/Facebook. Am I saying everyone’s Facebook account is art? I’m not sure if I’d go quite that far (although feel free to make a case for it in the comments). I’m saying it can be art; it has the potential to be art. I’ve certainly created art through letters/emails, in which I create an idea, a vision of who I am and what my life story is. And then on the flip side there are the banal and mundane emails that are just a recital of facts or a quick way to make plans.
I’m in love with this great art project, in which a photographer traveled around the country taking photos of people’s refrigerators. I think about this project all the time because I am just blown away by the coolness of it, showing the stories of these random people through one photo. To me, this is art—it turns my assumptions around, it evokes emotion in me, it causes me to see the world around me in a different way.
So then is this blog art? It certainly tries to do those same things. Some of you will think I’m being pretentious by labeling my blog as art, but isn’t it interesting to think about? I like to think of each essay being a small piece of a greater mosaic—I wonder what it will look like when it is complete. I wonder what picture I will have created. I get excited just thinking about it.
What is art? Is it in the eye of the beholder, the creator, or both? Is it about intention or execution? What does art mean to you?
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Jan. 28, 7:30p. Featuring Mundo Juillert. Part of the American Jazz Initiative. $15 at the door. The Scullery, 150 Las Vegas Blvd. N.,
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La Concha
In Las Vegas, pioneering black architect Paul Revere Williams challenged established thinking and challenged himself
African-American architect Paul Revere Williams achieved international success in a profession that had very few black practitioners. Known for his restraint and elegance, he made a name for himself designing Colonial and Tudor-revival Hollywood mansions for well-known celebrities such as Frank Sinatra and Desi Arnaz. He also collaborated on a wide range of public and private projects ranging from hotels, restaurants, housing tracts and municipal buildings.
But it was in Las Vegas that he was able to let loose, relatively speaking. Indeed, what’s less known about Paul Revere Williams is that he designed a number of Las Vegas buildings, housing tracts — and even a futuristic monorail that was never built.
Williams was born in Los Angeles’ garment district in 1894. His parents died when he was four, and he and his older brother were raised by separate foster families. His childhood was a relatively happy one. Williams has stated that he doesn’t recall experiencing racism until high school, when he expressed a wish to become an architect. He was soundly discouraged by his teachers.
In 1912, Williams graduated from the famed Polytechnic High School in L.A. He then began methodically making the rounds of architectural firms seeking work. He promptly found it, and advanced quickly. He secured a position with a landscape architect, Wilbur D. Cook, Jr. After that, he
worked at a number of important Los Angeles architectural firms. At the same time, he enrolled in engineering courses at the University of Southern California.
Williams went to work for architect John C. Austin in 1921 and ended up heading the drafting department with a staff of 20. In 1921 Williams passed the Architecture Licensing Exam and opened his own office, while still working for Austin until 1924. They were later to collaborate on a number of important buildings.
Early on, Williams set the credo that would direct his life. In his July, 1937 essay in American Magazine, “I Am a Negro,” Williams stated, “If I allow the fact that I am a Negro to checkmate my will to do, now, I will inevitably form the habit of being defeated.”
Williams’ talent was fueled by an extraordinary capacity for work. One of his own anecdotes, frequently related in essays and articles, describes how he prepared a design for automobile magnate E.L. Cord in 24 hours, where other architects had asked for three weeks. He got the job. Williams forged ahead of his competition, even with the challenge of being a black man in a nearly all-white profession, by taking on an enormous number of projects and by doing them faster, better and with more value for the dollar.
Williams’ handful of Las Vegas projects, spanning from the 1940s to the 1960s, provides a telling window into his long international career as an award-winning architect. His completed Las Vegas projects included two housing tracts, a horse race park, a hotel, two motels and the Guardian Angel Cathedral on the Las Vegas Strip.
Williams’ first project in Las Vegas began in what later became the City of Henderson, just south of Las Vegas, when he designed a housing tract for African-American workers at the Basic Magnesium Incorporated (BMI) defense plant. Called Carver Park, the tract provided simple and affordable homes for hundreds of African-American families who had been recruited from the Deep South to work in the factory making lightweight airplane parts.
[HEAR MORE: Design experts discuss the cultural impact of the neon sign on “KNPR’s State of Nevada.”]
The selection of Williams for the Carver Park project was probably based partly on his having designed one of the first public housing projects in the country, Pueblo del Rio in Los Angeles. He also served from 1933 to 1941 on the Los Angeles Housing Commission, and was appointed in 1933 to the National Board of Municipal Housing. These experiences served him well when he designed Carver Park, which opened in October 1943.
Williams made good on his concerns for working-class blacks when he signed on as the architect for Berkley Square in West Las Vegas. This project addressed the deplorable living conditions on Las Vegas’ West Side. After the war, hundreds of blacks stayed on and found other work. Lack of housing, however, was a problem. The 1955 Berkley Square subdivision, now listed on the National Register of Historic Places, provided a turning point in providing decent housing in West Las Vegas.
By that time, Williams was also involved in designing a small hotel on the Strip, the Royal Nevada, with California architect John Replogle. (He was also the architect, with Arthur Froehlich, for the short-lived Las Vegas Race Track in the early ’50s.) The year the Royal Nevada opened, 1955, was not a good one for new hotels, with the Moulin Rouge opening and closing within several months and the Stardust construction delayed due to the untimely demise of its owner, gambler Tony Cornero, who died at a Desert Inn craps table. In 1958, the Stardust construction was completed and the hotel opened, in the process swallowing up the ill-fated Royal Nevada Hotel for use as the Stardust’s convention center.
Paul Revere Williams
Business as unusual
Williams’ next Las Vegas project would prove to be memorable. In 1959, Los Angeles real estate developer M.K. Doumani purchased a parcel just south of the Riviera with 960 feet of Strip frontage. Doumani and his two sons, Edward and Fred, decided to develop the property themselves. It took two years to secure the financing, hire an architect and build what would become one of the most recognizable and unusual structures on the Strip, the La Concha Motel.
After hiring Paul Revere Williams, Ed Doumani met with him in his Los Angeles office. Doumani described Paul Williams as very well-dressed, wearing a three-piece suit. The Doumanis explained that they wanted something unusual and eye-catching, but left it up to the architect to decide on the direction and the theme.
“I sat across his desk from him while he drew a sketch—backwards and upside down,” Doumani has said. The three flowing arches of the conch shell took shape.
The La Concha has been referred to as Googie architecture, a sub-category of Mid-Century Modern that celebrates pop culture and Space-age design with swooping, exuberant lines. Williams was not known for his Googie-style designs; however, his later work included several more subdued Mid-Century Modern buildings. The La Concha — something of an anomaly for Williams — still shows his characteristic love of curves and graceful, flowing lines.
The La Concha’s engineering is one-of-a-kind, not easily replicable today. The lobby’s exterior structure is a web of reinforced steel in the shape of the shell, covered with concrete. The motel section was a more conventional two-story rectangle of 100 rooms but, with its dramatic façade, the whole complex made a memorable impact on tourists driving from Los Angeles.
The La Concha blended high design and hands-on construction, with the two Doumani sons helping to build the interior block walls. The Doumani family described how, to save money, they shopped at a local hardware store for off-the-shelf dropped light fixtures for the nine bays in the lobby. Yet they spared no expense in other areas. They built a huge, towering neon sign whose base was the distinctive stylized La Concha logo. That sign has been restored and is on display in the Neon Museum Boneyard, where the restored La Concha now serves as the lobby.
Shell game
By the year 2000, with the building boom exploding, the Doumani family planned to build a non-gaming luxury residential hotel on the property. At the same time, they were reluctant to demolish their legacy, the La Concha. They looked for an appropriate steward for their treasured building. (The hotel was never built; ultimately, the family sold the property to another developer.)
The Neon Museum was just then embarking on a major long-term fundraising campaign to build a permanent visitors’ center that would lead into its outdoor display of unrestored signs, known as the Neon Boneyard. The Museum had been operating from a borrowed office, with visitation by appointment only. It needed an on-site visitors’ center to make the signs available to visitors on a full-time basis.
The project was an ideal marriage of history, architecture and artifact. Historic preservationists, especially fans of Mid-Century Modern — locally and from around the country — lent their support for saving the La Concha. Fans of historic Las Vegas neon signs voiced their support from around the world.
In 2005, the Doumani family agreed to donate the building to the Neon Museum. After determining there was no route to transport the 28-foot tall lobby without hitting the freeway overpass, a feasibility study conducted by structural engineer Melvyn Green determined that the building could be successfully … cut apart and put back together?
Yes. Although the project was risky, it was given the go-ahead. Over the next two years the needed funds were raised, primarily from federal, state and local grants. The City of Las Vegas provided land under a long-term lease for the La Concha. The City had previously received federal funding to build an adjacent “Neon Park,” which would provide an attractive and secure block wall fence to encircle the entire Neon Museum campus of park, Boneyard and Visitors’ Center.
In December 2006, while onlookers from the Neon Museum held their breath, the first cut was made into the concrete-covered spider-web of rebar. Fortunately, the building didn’t crumble and the contractor proceeded to slice it into eight pieces. The La Concha Lobby was then moved on flatbed trucks to the site next to the Neon Boneyard. When the Museum, working with the City of Las Vegas, finally obtained enough grant funding, the shell was reassembled in 2008. The final phase of the project broke ground in fall 2011.
Legacy by design
Williams, who died in 1980, completed two more Las Vegas projects, the El Morocco Motel, also for the Doumani family, and the Guardian Angel Cathedral, which still stands on the Strip, before he retired from practice in 1973. Over the course of his 50-year career, he designed thousands of important buildings and contributed to many more. His career had great value, and even more when considering his struggles in that era as a black man in a mostly white field. Williams’ work is now celebrated at the University of Memphis in Tennessee, which has set up a permanent online archive called the Paul R. Williams Project, in partnership with the American Institute for Architects. (www.paulrwilliamsproject.org.)
Ironically, Williams may end up being known for a building that wasn’t the most representative of his lifetime of work. The La Concha Motel was a project that Paul R. Williams must have had some fun with, although he may not have thought of it as one of his more significant. But when millions of people get a chance to see the building restored and functioning as the Neon Museum’s Visitors’ Center, Paul Williams’ name will live on as the man who designed it.
Dorothy Wright has been active in historic preservation in Las Vegas since the late 1970s. During her 22 years with Clark County’s Cultural Division, she worked on a number of preservation projects, including writing the successful National Register nomination for the Welcome to Fabulous Las Vegas sign. She is currently the Chair of the City of Las Vegas Historic Preservation Commission, and has been a Neon Museum board member since 2003. She co-authored a recent book published by the Neon Museum, “Spectacular: The History of Las Vegas Neon
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Monthly Archives: August 2010
I’ve started watching “The Day The Universe Changed” in 10 minute bites on youtube.
I love this contemporary review from the Sydney Morning Herald:
This series, in which he verbally dances through the earth-shattering events in history is, quite simply, exciting. Like an intravenous slug of ice-cold Akvavit, he provokes shivers of shock and pleasure. His mix of cleverness, egotism, fun, imagination and accessibility is similar to the television styles of Robert Hughes or J.K.Galbraith, except that Burke is also naughty — like a mischievous elf.
Mind-Gangster # 1.
“‘Beauty pierces through like that ray through the clouds,” Orolo continued. “Your eye is drawn to where it touches something that is capable of reflecting it. But your mind knows that the light does not originate from the mountains and the towers. You mind knows that something is shining in from another world. Don’t listen to those who say it’s in the eye of the beholder.'”
“In our buildings and music, beauty was always present even if I didn’t notice. Orolo was onto something; when I saw any of those kinds of beauty I knew I was alive, and not just in the sense that when I hit my thumb with a hammer I knew I was alive, but rather in the sense that I was partaking of something – something was passing through me that it was in my nature to be a part of.”
Anathem, Neal Stephenson, p 114
A bit of a whinge this.
The Design Council is running a design competition for the 2012 London Olympic torch. Exciting! They have a nice page on their website that tells you exactly how exciting it is, and that all you need to do is go to the “CompeteFor” website and register your interest. Of course, we’d love a crack at it.
This is where the trouble begins.
CompeteFor is that kind of website, that you probably have to deal with every day in a big company intranet, or in local government – where almost no concession to the user is made. It’s impossible to navigate, you can’t find the correct entry for the Torch competition – or if you find anything, you’re made entirely unsure that it’s the right thing. It certainly doesn’t sound like the language used on the Design Council page.
And this is what’s disappointing.
You kind of *expect* things like CompeteFor to be that way. We’ve all banged our heads against such screens for years. But I don’t expect for the Design Council to settle for it.
I want some help, guidance or more direct linking. A bit of the ‘service-design’ thinking that they’ve been advocating for years – even if as a triage-like overlay of links and ‘walk-through’ language on their site before they dump you into CompeteFor.
I phoned the Design Council – and spoke to a helpful chap who promised he would find someone to phone me back. In the mean time I have left the comment below on their site.
The deadline is 20th August. Let’s see if I can figure it out before they do.
Hello. The Competefor web service seems to be some kind of initiative test that you’ve devised in order to weed out those without olympic levels of perseverance! It’s not possible from the home page of the service to find easily where the design competition should be registered for, and the registration process for the service itself is quite onerous.
Searching for “torch” leads to three duplicate records for what appears to be an engineering and manufacturing contract, with no validation of whether it is associated with the process you are facilitating or indeed which of the three (if any) should be responded to.
I’d appreciate any help you could give me tracking down how to register interest before the deadline, or indeed if the Design Council could provide a better advertisement for itself by performing some service-design triage on ‘competefor’?
Hurrah! The Design Council responded (only a couple of hours after posting this, good work!)
Hello Matt,
Thank you for your email and for your suggestions.
The Design Council is helping the London Organising Committee of the Olympic Games promote the opportunity for designers, engineers and manufacturers to get involved in creating the Olympic Torches for the relay. We are not receiving and assessing entries directly and thus haven’t had the chance to make any impact on the CompeteFor website!
Once you’re on the CompeteFor site, you have to register your details for all LOCOG opportunities. Since you have already done that, you should be able to logon and search for opportunity number #11411323, which is the unique reference number for the Olympic Torch design project. That should provide you with more details of the project and allow you to express your interest in becoming the designer of the torch, and to share your relevant experience. I hope that works for you! If not, CompeteFor has a helpdesk number which should be able to explain their site better than I can! It’s number is 0845 2177804.
Best regards,
Tess Raine
In Adam’s post on reinventing cars, I had a little brainblip when I read the sentence:
“Bolt-on kits. Adaptive reuse. Provisional and experimental rezoning.”
I read it as something like Rezoning. Something like ‘reasoning’, but heavily-accented with the future.
Then again as Rezoning. Rezzing-up. Evoking the photon-lathing of Tron, or the synaesthesia-landscapes of Rez itself.
Of course, Adam actually means Rezoning. As in re-zoning what areas of cities are designated to be used for in urban plans.
Sometimes it’s nice to trip up on a word and see where you stumble.
Calaveras Big Trees State Park
Many have done this already. Here’s 5 of mine (sort-of). Bit of a scratchpad as don’t have much time for writing in length these days. Half-formed thoughts. But that’s the point. Right? No?
Oh well.
• “Internet of things” ubicomp as a ‘lost future’ vs a world of glowing rectangles. This is a big deal for me a (and our little company) as I/we have been thinking about the former for years now, and believe that being in the world is a net Good Thing – and will win out. At the moment it seems like most of us (myself included) are voting with out feet for a world where our attention is consumed by glowing rectangles that live in our pockets, on our laps, in our houses and increasingly on the facades of our towns and cities. The seemingly-manifest-destiny of manufacturing and sourcing economics plays a huge role here – unseen and perhaps un-engaged with by most interaction designers. The world-factory is tooled for glowing rectangles of Cupertino’s design for quite some years. Aaaand of course our sociotechnical futures aren’t ever so neat – a gestalt of the two will probably emerge. At least until we hit Peak Indium. Which leads me to…
• Going beyond PeakX: as a way of thinking = throw up hands and say hey-ho, that’s that then, isn’t everything complicated and terrible! Aren’t we wicked! There’s nothing to be done. How about ‘precious X’? ‘Resilient X’? ‘Chronodynamic design’ was something prententious that I wrote down a while back on a post-it, suggesting a Loewy-esque aesthetic celebration of an object’s resilience through time. Although at first blush, this might just be vernacular design – it might have legs as a more spectacular-vernacular. The High-Viridian Aesthetic. Moving beyond “Resource Constraints = design”, to source of ornament, cultural-invention, semantic-wealth. Charles & Ray Eames’s definition of the act of design still rings like a bell: do the best, for the most, with the least. Rhys, Raph and others work on Homegrown remains inspiring. I like Adaptive Path’s (at least that’s where I heard it first) conceit of ‘constraint-storming‘. Of course, most of the 1st-world isn’t even thinking about PeakX yet, and we don’t feel the pinch until we feel the pinch, so yeah. Anyway. I probably need to re-read “In The Bubble”, and wear a “John Thackara Was Right” (hair)t-shirt…
• SpaceTime as a design material. Slow/long services. Still not done anything with it. Want to. Maybe/probably in an app context.
• The boiling frog of population shock. More is different. Older is different. We don’t seem to get that. Many of our western/northern cultural tropes/beliefs/ways-of-living are based in the 18/19th century when world population was below 1 billion. We still believe it’s like in Britain, and it’ll kill us. Y’know – village green romanticism. We’re probably going to plateau at 10 billion in a couple of decades. We need a way to discuss the bigger/different crew of SpaceShipEarth without it sounding sinister. Permafutures not middle-class, ‘organic’, austerity-nostalgia that will only work for a less-crowded planet. I think it’s kind of exciting. 10 billion minds.
• The longish-now of me. This is a bit self-centred to say the least. I’m going to be 40 soon. I find myself thinking about how to become a sustainable/resilient 50 year old. That is – well – 50 might be halfway through. Hell, it might be a third of the way through my life… I’ve been very lucky for the past 20 years. What the hell am I going to do with all that time? How am I going to pay my way? How do I stay involved and useful? More making? More teaching? Maybe.
If I could cheat and have six things I’m thinking about I’d say turning tablet computers into The Primer. But, then, I’m always thinking about the Primer, and Maneki Neko. So they don’t count.
Also, I just finished Anathem and it blew my mind. Between it, “Galileo’s Dream” and Ted Chiang’s “Story of your life” there’s something brewing I’m a bit scared to think about to hard in case I end up rocking and drooling. So. Yeah. A mess of things.
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Mouse handling posters
To support the adoption of non-aversive methods for picking up mice, we have produced an A2-sized poster for display in animal facilities and laboratories. The poster is available in English, French or German, for delivery to facilities anywhere in the world for free. When requesting copies, please provide a full postal address and the number of posters required.
To request copies in English, please email enquiries@nc3rs.org.uk
To request copies in French or German, please email chantal.britt[at]swiss3rcc.org
Please note, the image below is included to demonstrate the content of the posters and should not be used for in-house printing. It is important that the photos are clear and of adequate size to make them useful to people using the new handling techniques. We are happy to post as many posters as needed to units worldwide to ensure the posters displayed are of high resolution and properly sized.
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What if I don’t like your design?
Published by Nela Dunato on at 04:00 in Branding, Graphic design
In over a decade of my design career, no one has ever asked me this question. Yet, I know it must be the #1 question going through my clients’ minds when we set out to work together.
How do I know that? Because some of them admit it after we’ve successfully wrapped up our project:
“I was a bit scared because I didn’t know what to expect, but it turned out amazing!”
“I had no idea how you would turn my vague guidance into this.”
I understand how scary it is to order something before you have any idea what it might end up looking. I feel this way every time I walk into a hairdresser’s salon. What if she doesn’t understand what I want? What if I walk out with a little boy’s haircut, and have to fix it by myself?
Luckily, I’ve spent years perfecting my process to make sure that my clients get exactly what they need, and not only feel pleased, but amazed with the results I provide. Here's what I learned, and how you can make sure you get exactly what you need as a client in your collaborations with designers.
What if I don't like your design?
What “good design” means
While loving your design is an awesome side-effect, it’s not the most important thing. The reason we’re creating a design is to attract your ideal clients, and they’re the ones who need to get it.
Sometimes as small business owners we share a lot of common ground with our clients, so it’s natural that if we like something, they will like it as well. But ultimately, it’s about getting into your ideal client’s head and creating something that will be appealing and easy to use for them.
I know how difficult it is for business owners to “give up their baby” to a professional. You’ve been building this brand since day one, and no one else in the world knows about it as much as you do. You have very valuable insights about your business.
On the other hand, designers have the knowledge of design theory, buyer psychology, technology and a ton of practical experience with projects very similar to yours.
By combining their superpowers, business owners and designers are able to create a visually appealing, relatable and long-lasting brand that will stand out from the competition – but only if they are both allowed to reign their respective zone of genius.
Meddling with design choices because of personal preferences is a recipe for failure, not to mention wasting the money you invested. If you think you could do it better yourself, why hire a designer in the first place?
The purpose of a design is to attract your ideal clients, and they’re the ones who need to get it.
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You do, however, have a choice
I’m not telling you to give up all control over your brand to the first person who comes along. Your responsibility is choosing a design professional who gets you and your business, and who is capable of creating designs that appeal to you.
Once you find a designer you feel you can trust, it will be easier to hand over some of the responsibilities to them, and allow them do the best work they can.
Here’s how to do that.
1. Hire designers who are capable of creating things you like
Let’s go back to that hair salon story a bit. The first hair salon I visited in my life was recommended by my mom. I went there a few times, but I wasn’t happy – the last time I ended up with the aforementioned little boy’s haircut, instead of spiky punk rock teenage girl’s haircut. It was disappointing, and I never went back.
Last year I wanted to cut my hair short again, and I was looking for recommendations. One of my best friends found a great salon where she was getting these cool, feminine asymmetrical cuts, and suggested we go there together. That was the first time that I walked out of the salon happy with my hair. I’ve finally found someone I can trust.
The problem with my first experience was that it was my mom’s hairdresser. No offense to moms out there, but a 20 year age difference is significant when it comes to fashion. My current hairdresser was recommended by a friend my age, with a reasonably similar fashion sense. She was able to do things I consider cool, not my mom.
What does this have to do with design?
Design is supposed to be an objective problem solving process, and that's what we all aim to do – but being a professional doesn't mean we can check our humanity at the door. Each designer has a unique perspective through which we see the world, and two designers might create radically different solutions for the same problem, both equally valid.
I'm sure another designer would take the Savarakatini logo design process in a completely different direction, but the client chose me, so she ended up with a logo that has a tail.
Savarakatini hand-lettered logo design
The best judge of designer's style is their portfolio. If you like what they did for other people, you'll like what they do for you.
Don't hire someone just because you like them as a person, if you're not sure they can do the job right. Forcing a designer to adopt a style they aren’t very good at will be frustrating for both parties.
Don't hire someone just because you like them as a person, if you're not sure they can do the job right.
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2. Focus on your ideal client
The main task of your brand is to get the attention and trust of your right people. It doesn't matter what your mom thinks, unless your mom is your target audience. It doesn't matter what your best friend thinks, unless she's in your target audience.
Not everyone will like your logo/website/book cover, and that's OK – as long as the people your stuff is intended for, do.
The secondary task of your brand is to turn off the people who would hate your stuff anyway. If someone isn't a good fit for your product or service, you need to let them know well in advance, so they don't waste their time and money.
The aforementioned Savarakatini logo is not meant for grannies. It's not meant for children. It's not meant for Stepford wives or truck drivers. It's intended for strong, entrepreneurial women who appreciate a quirky sense of humor and want to have more fun in their business.
If your brand is polarizing, ie. people either have a strong positive reaction or a strong negative reaction, that's a good sign. It means it has character.
The secondary task of your brand is to turn off the people who would hate your stuff anyway.
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3. The more information you provide, the better your design will be
In the beginning of the project, I send my clients a project questionnaire where they supply information about their business, their project, target audience and goals. My questionnaires are pretty lengthy (15-20 pages), and for a very good reason.
When I deliver the results, my clients say things like:
“This is exactly what I had in mind!”
or more often:
“I would never even think of this, but it’s so on target!”
It’s like I read their minds – except I don’t. I read their responses to my questionnaire, and think about the design problem from multiple points of view – theirs, their clients’ and my own.
Incomplete information means the design will not hit every intended goal. That's why it's important to be honest, and share what you really mean, not what you think you want. It's not even funny how many times clients have requested a “simple and minimal” design, and then weren't happy because it lacked the frills. Don't ask for minimal if it's not what you really want!
4. Provide visual examples
When I go to a hairdresser, I print out a bunch of pictures that show what I like, and tell her to do what she thinks would work best for my hair texture and the shape of my face – because that’s her job. Trying to describe what I like in words is much more difficult.
Business owners often use words like “simple” and “minimal” without knowing what they mean in a visual sense. It’s then the designer's job to decipher those terms and turn them into symbols, colors and composition.
If we’re on the same page regarding the word “simple”, it will be fine. The problem arises when you mean one thing, and I mean another. To prevent miscommunication, provide visual examples of what these qualities mean for you. These examples may be websites, ads, magazines, Pinterest moodboards, etc.
The purpose of visual examples is not to create a design that looks just like them – it’s to clarify what kind of stylistic direction you’re looking for.
If you tell me you like “simple”, that doesn’t mean anything. If you tell me you like the Apple, Nike and Twitter logos, that means something – in this case, a solid-color symbol with a unique and immediately recognizable shape, even when the name of the company is not present.
Minimize the risk and get the best from hiring a designer
Paying for custom design is frightening, because you never know what you’re going to get. To make sure that you get what you need, follow these steps:
1. Screen designer portfolios and make sure they display the ability to do the kind of work you’d want them to do for you
2. Focus on attracting your ideal clients and gaining their trust, not your own need to be impressed
3. Provide detailed information about your business, project, target audience and goals
4. Provide visual examples when describing the desired qualities of your brand (such as “elegant”, “minimal”, “professional”)
How to get the best from hiring a designer
Because I follow this process, I’m able to get my designs right with minimal revisions, and my clients feel like I truly understand them.
A big part of the responsibility for your project’s success is in the hands of your designer – but you’re the one who needs to choose the right professional to work with. I hope this guide will help you in making the right choice.
If you’re currently on the lookout for a designer to collaborate with, check out my portfolio. If you dig the style of work I do, I’d love to talk to you about your project.
Nela Dunato
About Nela Dunato
Artist, brand designer, teacher, and writer. Author of the book “The Human Centered Brand”. Owner of a boutique branding & design consultancy that helps experienced service-based businesses impress their dream clients.
On this blog I write about art, design, creativity, business, productivity and marketing, and share my creative process and tips. Read more about me...
Your comments
• Caileigh | Odds + Ends Creative
Caileigh | Odds + Ends Creative
2016-04-15 at 21:28
GIRL! This is an epic post. Totally agree with all of your points here and it reminded me what I need to emphasize to my clients before we begin their project. :)
2016-04-16 at 10:18
Thank you, Caileigh! :)
Yes, that's crucial, because they might have gotten a different impression online, or they just have no idea what to expect.
I've put all of this in my documents that I send them before we sign the contract, so they can decide if my approach is right for them.
• Jack Ryan
Jack Ryan
2019-06-21 at 19:54
Great post!
As a self-taught designer, I'd my share of clients and employers who think my designs are great and a couple of bosses who rip apart my designs (funny thing is, those bosses are that kind of people who demand a kids product logo to have a bleached light color that not even contrast with the background...)
2019-06-26 at 10:59
Thank you, Jack!
Yeah, most of us need to go through that kind of trial by fire in our early career :) I hope you no longer have to work with folks like that. It's so demotivating when a boss or a client forces your hand to design something so obviously poor quality and nothing you say or do changes their mind.
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Can You Add Your Own Elements To Kittl – Easy To Use Design Platforms
I develop AI graphics for my layouts. Can You Add Your Own Elements To Kittl…
I have actually been extremely impressed easily of use and the high quality and precision of the graphics developed through the AI engine. I’ve tried a couple of other programs, yet I’ve found to be the very best one in terms of both accuracy and minimum learning curve.
You can transform the sort of texts and include wonderful effects. Stripey ones, detailed ones. You can change the colours of the outline. We perhaps we want it red. So you can simply have a have fun with that. I rather like this one in fact. And you can use the left-hand panel to include some components to it. So there’s all sort of elements here at badges panels elements or you can type in something like reach for instance, and you’re going to get some reach stuff. So we go out wave to our design. This is pretty awful, of course. And now, since we have actually included the wave in, we can alter the colours to kind of match the wave, clicking the colour and the same.
and i got ta state guys i assume e’s better than them [Music] i have actually been utilizing e a lot lately to style and i’ve been comparing it to apps like adobe photoshop and and i think this requires to be stated that i do not use products i do not such as whether it’s a physical product a web site whatever it might be i need to like it and i have to stand behind it or i won’t touch it all right so with that being said i intend to go into why i think e defeats adobe photoshop and in a lot of locations and why i assume most developers that are simply starting out should make use of kittle first if you men watched my last e video you saw that i created a couple of tee shirt layouts making use of the on the internet browser-based style devices that e offers and they were truly easy to use which’s when i began to compare different design tools to see which one really is the best for majority of designers that are simply starting so
at once i assume e is best for beginners if you are somebody that does not have a great deal of time to design and you need premium quality styles and you don’t have a lot of time to learn a program like photoshop that’s where e beats out numerous others so much competition because of its ease of use and it’s a plethora of choices design templates to pick from whether it’s a logo design a tee shirt style merch style in general they have everything on this easy to use system and their site is so straightforward that i believe that it’s most likely the most convenient to enter and that’s where it’s tough to beat like with photoshop you it’s an actually big program there’s a lot of different bells and whistles so many various devices that you have to learn and there’s additionally concealed points in photoshop that aren’t immediately clear if you’re someone like me that’s been utilizing adobe photoshop for like over 12 years then yeah of course i’m gon na recognize more things than the average joe that’s just been using photoshop for allow’s claim a year or 2 years
or even 3 years but um that’s the issue with photoshop is it’s it’s obtained a truly high understanding contour and if you do not have the time to discover it the possibilities are you’re mosting likely to have problem with your creativity currently your goal should constantly be to produce and let your creativity run wild so when you have a program holding you back it most definitely deters that creative process and that leads me to contrasting kittle versus because photoshop is obviously not as very easy as those 2 best i think we could all settle on that so when you contrast to e or e to you start to look at the interface right and i assume that that’s something you need to provide for example on the e internet site they have all the classifications noted above in this actually simple fashion so you got logos t-shirt designs posters and all that things and it’s so simple to simply uh siphon via all the various style themes that get on there that are created by the neighborhood which is extraordinary and in a similar way has stuff like that too however it’s not immediately provide that they supply tee layout themes and logo layouts you have to certainly dig a little deeper and i’m not claiming that is difficult to use since it truly is however i most definitely assume e takes the w right here with logo design designers and people that wish to make merch due to the fact that once again they have classifications right in front of your face for that and i assume that if you are a novice wanting to just begin dabbling in layout
Canva vs Can You Add Your Own Elements To Kittl vs Photoshop
Let’s do away with that black and allow’s make it a pale blue. There you go. That’s nice. Right. I can transform the spacing which kind of thing. Or we can place everything on one line– let me do facility and middle once again. There are even some appearances so we can add some textures to it. We possibly desire it on a brick wall.
10 Advice if you use to design for your business then you’re going to enjoy these 10 canva suggestions and tricks that I have actually learned over the last few years utilizing them that you require to recognize and I can guarantee if you stay till the end that you will certainly find out a minimum of one new thing because there are many excellent suggestions in this video and if you haven’t attempted yet I do have a totally free 30-day test for their Pro account down in the summary listed below so let’s Dive Right In with my initial idea if you have actually ever before been looking through the
graphics on and often they are editable scalable Graphics or svgs and you’ll know that by when you click the graphic you’ll see these various shade alternatives here at the top and you can enter below and transform the shades of the graphics extremely promptly and conveniently yet you’ll locate other Graphics where there’s no shade options and you can not.
alter the shade of them however they do not rather fit what you need well there is an application right here on that particular can aid you with that said so click the graphic and select edit photo and below you’ll come down to effects and scroll over to duotone so this can permit you to do a couple of different things you can change it to these various shades here but then you can really transform it to whatever shade you desire so allow’s say I simply wanted these to be little black stars I simply alter both of these to Black and now I have actually got them in a different color than b.
Currently there’s a brick wall. We can alter the background colour so you can see the actual brick wall better. Or we can remove the background, structure, whatever.
Okay. So I’m going to get rid of the history by simply clicking on delete. And currently it’s back to what it was.
Colour Palettes & Naming Designs in Kittl.
We can alter the whole project colours down here near the bottom (right) also. We can possibly make them darker or lighter once we prepare to download it. I would certainly call it. So allow’s call it. Tee shirts you shirt. Um, let’s do this and. Using it for print as needed, two things. I would certainly advise. Top, we’re going to transform our actual canvas to 4,500 by 5,400, which is sort of an industry requirement. Thanks to Merch by Amazon. I’m just going to make it a lot larger and a bit smaller sized now and ensure that it’s. And currently I’m also, when I most likely to download and install, I wish to ensure I eliminate the grey background because I want it to be able to go on any kind of colour, however one method to check how it’s mosting likely to view any type of colours, click on the history colour and relocate around.And then you can see what it’s going to resemble on various colours. White and black typically is a hero. So yeah, I do not truly like that grey font outline. So allow’s make it to. The blue, or I do not recognize, also a yellow, something various to include a little of comparison to it. Since I prepare.
allow’s state I’m working with this style right here that I made say extremely lively instructor if I intend to view as I’m mid developing this what it would certainly resemble in a mock-up typically you ‘d need to go conserve this as a PNG re-upload it to and afterwards publish it onto your mock-up but one easy hack for you is you can really highlight every little thing within the style and do.
copy and paste I have a Mac so I do command C yet you could do manage C if you have a Windows computer and then you come by to a mock-up that you have open and paste it which for me I do regulate V and now we can click this team switch so it doesn’t obtain divided and size it onto our mock-up in simply a couple of secs so this really can save you a great deal of time we’ll simply decrease our transparency to give it an extra sensible appearance and afterwards in simply seconds we can see exactly how this would certainly view a mock-up and we can also just proceed and save it right from here the third hack I have for you is how to warp text within this made use of to be something if you wanted to develop that retro wavy font or warp your text into a various shape that you would certainly require to go off of to some other design software program to do but recently had an update that you can do this right within the.
apps so initially you’ll need to drop to the apps section below on canva and key in typecraft and afterwards you’ll see an option pop-up below that you can click this and this is where you’ll actually develop and edit the graphic so let’s state you understand you wanted it to state educator right here you’ll pick the font now the font choices in right here are rather restricted not every single typeface that you have actually ever downloaded is mosting likely to turn up in here but there are great deals of really adorable choices that you can select from and you can additionally transform the shades of your picture by coming in below and you can make it with various other shade that you ‘d like and if you want it to match the colors of the design you’re already dealing with you can duplicate and paste among those hex codes to be the exact very same shades.
truly amazing library of design templates to pick from um i think it’s the convenience of use and if you are a beginner beginning now or possibly you simply began last year and you’re making and you simply wish to make awesome things and you do not want to consider you know what buttons to press to do what i believe kittle’s going to be your friend people moving forward so keeping that all being stated if you’re wishing to start designing or have you been developing and you have actually been struggling to learn various programs i think you need to continue to find out all these various other programs.
Once you have picked a design template or started from scratch, it’s time to tailor your design utilizing modifying tools. This is where the magic occurs. straightforward interface allows you to quickly manipulate your layout elements and make them precisely how you want. Can You Add Your Own Elements To Kittl
With Kittl, you can resize and reposition images, include filters, readjust colors, and much more. The modifying tools are designed to be user-friendly and available, also for those who are new to graphic layout. You don’t require to be an expert designer to develop a stunning t-shirt design with.
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6/30/11
journal page: play list
Today's prompt from Natty is to create the perfect Road Trip Play List. I'm generally a quiet music kinda gal, but when I get dozey in a car, these will always wake me up and get fingers tappin' on the steering wheel. I used someone's idea of a folded element and made a mini card for my list.....card closed:
The background is stamped with silver ink, paint spatters, sheet music, a snippet of map, a Panama stamp and some felt letters. The card top and bottom were cut to follow the shape of the doodle.
Open the card and here's my list...... This was a fun prompt and is sure to have all sorts of creative interpretations which you can see at the flickr group.
6/27/11
Summer of Color: Pink
Twinkle Twinkle is sponsoring a Summer of Color and each week participants create art in any media they like, using the prompt color - this week: pink. It's not a color I usually paint or create with, but then as I was working on this photo, I realized it was all in pink!
Using Elements brushes and textures and my photos, I created an homage to peonies! Be sure to join in the fun and/or see other artist's work at Twinkle Twinkle.
6/26/11
journal page: friends
Today I went with simple..... This morning I found myself thinking about friends, activities coming up, etc. and felt compelled to use that for my theme. The simple process was using pieces from a sewing pattern, a little stamping, scrapbooking paper cut with edg scissors, and the edges cut from a wedding menu. Also used the opportunity to practice a new alpha - this one's easy & adaptable.... Quick and easy, but I think graphically pleasing.
You can see more journal pages at InTheSun flickr group and follow prompts at In The Sun Course.
6/25/11
journal page: tangles
I sure don't know what's so addicting about Zentangles - some of them take a fair amount of concentration and detail; but they're quite relaxing.....I find time just zooms by while I'm playing with pen and paper.
Since InTheSun doesn't offer prompts on the weekend and I don't want to lose my momentum, I looked up a couple of new patterns and played with tangles. Want to try? The official site is Zentangle.com or just google it - there are lots of blogs out there with inspirational ideas and how-tos.
6/24/11
journal page: summer
Today's prompt was Summer Traditions - we don't really have any. So I just played on my page and it ended up being bright, colorful, busy and totally fun - kinda like summer!
I used a quilt illustration from a book as my background, added some bling ribbon, textured rice paper, some acrylic paint, stenciling, a little doodling, Natty's black scratches idea and voila - something new. Be sure to visit In The Sun Online Course flickr group to see even more journal ideas or better yet, join in.
6/23/11
journal page: wish list
In The Sun art journal prompt for today was to make a Summer Wish List and then use junk mail window envelopes on the page. I used 3 envelopes - it's fun to have something showing through the window w/o having to create the window myself. I finished the page using no paint this time, but did fall back on my Inktense pencils, some photos from books, a letter stamp from Malaysia, some scrapbook paper scraps and, of course, some doodling.
My wish list is: weekend getaway, visit CS in Chelan, try new creative projects, take a class, and spend more time w/ the boys (the grown boys have a hard time fitting us in during the summer) :)
sun theme
I found Inspiration Avenue and her weekly challenge - a broad theme to create any type of art. OMG, do I really have time/interest to participate in yet ANOTHER challenge? It seems so. At least sometimes.....
We were at Alki Beach in Seattle (this statue is on the beach) on the first sunny evening in months and I actually caught a photo of the elusive sun. I love playing with sun flare! Oh yeah, the prompt was "SUN". If you'd like to see what others did for this prompt, or play along yourself, visit Inspiration Ave.
6/21/11
summer journal: stay cool & wedding day
Catching up a little since we had company all weekend - today's prompt "fave ways to stay cool" and mine is to drink - Diet Pepsi or Long Island Ice Tea. And lots of it :) The technique prompt was to use splotches and spatters, which I love to use, so that was easy. Cut the glass shape from a magazine ad, a little scrapbook paper and stamping, and it was good to go.
Saturday was the wedding day of my best friend's son, so I had to journal that, right? Purple for the wedding color, lace for wedding dress (though hers wasn't vintage like my lace), a little bling (a piece from an earring) all says wedding. But my boys were clear with me - I won't be mother of the groom any time soon :)
You can see more journal pages at the flickr group.
summer journal: take a vacation video
This was a really fun prompt - Natty posted a music video titled Take A Vacation for inspiration. The graphic, colorful and 60's style was fun and full of lots of ideas. I took the repeating image, different color approach to my fingernail polish while drinking a glass of tea.
As for the vacation theme, the song immediately reminded me of our trip to Tahiti, so I used trusty PSE to drop in the Tahiti beach behind my toes that are actually on my deck here at home! Add in a little Inktense pencil work, a beachball (also from the video), some bubble wrap stamping, a little hunk of lime netting, and a summer trip feels imminent.
Visit other journalers at the flickr group - there's great work being done! Visit Natty's site to sign up and follow along with the prompts.
summer of color: green
Kristin at Twinkle Twinkle is sponsoring week 2 of the Summer in Color prompts and this week is all about green. I worked on my WIP collage.
It's a 9x12 canvas with acrylic paints/drips, all sorts of specialty papers (I love that white leaf patterned paper - it's sheer in the leaves!), magazine and book photos/text, a stamp, stenciling, and then for dimension I added a stick wrapped with jewelry wire and leaf from the park (had a heck of a time gluing that sucker down!).
The message is "Nature does not hurry yet everything is accomplished. - LaoTzu"
There are so many inspiring, fun and interesting people participating - it's worth your time to browse through everyone's blogs. Start at Kristin's site.... Twinkle Twinkle.
6/17/11
summer journal: summer makes me feel..
Playing catch up ... yesterday's prompt was "Summer Makes Me Feel" and after much thought, I came up with very conflicting ideas: I feel lazy - but I want to go places; I want to be outside - but it's rainy a lot; I feel a lack of direction/focus - but I want to create. Then as I mulled further, I realized every summer what I really feel is ............... the urge to travel. We miss our "big" trips and eagerly await the day we can take an international trip again! Til then, I'll journal about it! :)
No prompt today, so I thought I should relate what's going on. T&C are staying with us for a couple days as they prepare for B's wedding (tomorrow!). The rehearsal dinner is tonight, then we all go celebrate as the youngest of the four boys takes the plunge first. L's color is purple, thus the purple ribbon and tissue layers; roses for the traditional wedding flower (though I doubt that's what she'll have). It's so much fun to be here to celebrate with T&C as one of our babies moves to the next phase of his life!
PPF street scene
I painted this from a photo I took in Ronda, Spain while on vacation. It's really my first serious effort at capturing multiple buildings and using shadows effectively. The tree on the right definitely needs work, but I'm pleased with the way the town looks. I love the way watercolors blend and run together to make such soft color transitions!
You can see lots of talented and creative art shared today at Paint Party Friday so click here and check 'em out!
6/15/11
summer journal: summer dates
A quick page for today's prompt of fun summer dates to look forward to and use an unusual shape for the journaling. I made a kite from scrapbook paper and listed my dates as dinner at Salty's (for our anniversary), picnic at the beach, visit Freeway park, yard sales and disc golf with the boys. It's all on a quick watercolor sketch. The ribbon goes through the paper and attaches to the vacation tag in a pocket on the other side.
Now, it's off to whittle down my list of errands. If you want to see more great journaling from Kristin's prompts, visit InTheSun group on flickr.
6/14/11
summer journal: movies
Today's InTheSun prompt is "Summer Movies" so I experimented with the stretched out writing as my base background listing movies I knew were coming out this summer. It was harder than I expected to remember to s-t-r-e-t-c-h the spacing!
Then I layered on some tissue paper, scrapbook paper, stamping, stenciling, and the dark gray squares are door screen netting and finally I spritzed acrylic paint and let it drip. This all allowed me to practice my lettering some more and I loved using the screening and drips. Will play with that more...
6/13/11
digital art
I'm playing around with textures on a couple of flower photos I took last week. Both pictures are using Skeletal Mess textures (on flickr). It's amazing what some opacity changes, erasing, etc can accomplish - and lots of time....it takes me lots of experimenting to arrive at something pretty.
summer journal: dream vacation
Today's prompt from InTheSun is: DREAM VACATION
We have several so trying to figure out how to show it took a little thought. I borrowed the idea of making a photo become a pocket from one of the other InTheSun ladies (forget who) and used my pic of a sunrise as the dominant color. The map and ship are from a cruise brochure, a little bubble wrap stamping, some jigsaw puzzle pieces and last but not least Summerfest cut from a beer box! A bit of ribbon attaches my dream list including some of the places we can't wait to visit!
You can visit the flickr group to see lots of other talented people share their art journal pages.
6/12/11
summer journal: tangles
There were no weekend prompts for In the Sun, so I just played with ideas.
Above is an exploration of the letter T - the journaling says since letters are so cool and iconic, it might be a fun series to explore in collage...
This journaling is easier to read - it reflects my new addiction to zentangles. I happened upon a site in my random art wanderings and was intrigued. As I found more and more, I had to try it and now I have started a whole separate sketchbook with my tangles!
6/10/11
summer journal: alter ego
This prompt was hard for me - ALTER EGO. Mulled it over most of the day and kept coming back to a black and white split scheme (for a dark alter ego?). The difficulty came in how to portray me - my AE - when I can't really draw.... So of course the first skill my alter ego would have is the ability to draw!
Not totally satisfied with this one - it's hard to read and kinda plain but everything I thought of to add detracted from my need for black/white, so I finally made myself stop. I needed to take more time to develop the title - it's totally boring.....
PPF is all in blue
This is the photo that starts it all............
If you'll remember, last week I posted an abstraction I'd started working from this gear photo. I redid it this week with another focus - even more abstraction and using lots more blues - I tried to use every blue on my palette plus blending them together. This is actually my second attempt - the first had .... "issues". It still feels incomplete somehow but I'm not sure what's missing - I'll have to let it settle awhile I guess.
Above, first abstract, still pretty literal...
This week's interpretation in blue...I used cobalt, ultramarine, pthalo blue, antwerp, and cerulean blues with a touch of the orange and rust in the original photo.
This painting in mostly blues was done from a photo I took from a cruise ship of the rock of Gibraltar at sunrise. I painted it a few months ago but it fit the blue theme of the week and I'm generally pleased with how it turned out....
Visit the Paint Party Friday group for a wide range of subjects painted by talented folks and Summer of Color with Kristin at Twinkle Twinkle (this week's color is blue...)
summer journal: fill summer with....
Today's prompt for In The Sun summer journaling project is: "I want my summer to be full of..." my brain immediately went to activities to fill my days. When I added the friends and family "flowers" the tree branches took on a life of their own and became the connector between all the elements - interesting how something will just take over.... You can join the online "class" at In The Sun and also join/follow the flickr group to see what others are up to.
6/8/11
summer journal: tissue technique
Today's journal prompt was about working with layering tissue paper to add to a collage. I've used it before because I love the wrinkly texture it can add. Here you can see my teal paper tore, but I like it even more that way! Add some sheet music, a little stamping, doodling, and practice with a lettering style. The photo is one I took of an iris then played with in Elements.... overall, a summery page using a favorite technique.
6/7/11
summer journal: self portrait & cover
My intro page to the journal - a touch of watercolor, collage and some lettering practice....
Day 2 in my summer art journaling project. The prompt was Self Portrait, so I used these shots I'd done for my 365 project a few weeks ago. I think I caught most of my moods and my journaling covers many of what I think are my most important traits. Watercolor, photography, and simple outlining used.
6/6/11
rainbow summer
"Beginning today - and every Monday throughout the event - we will focus on and create art based upon the beautiful, bold and luscious colors of the rainbow. We will work in our preferred medium exploring color and share what we produce. The purpose of the event is to immerse ourselves into the world of color: playing, experimenting and learning from one another throughout the lazy days of summer." Twinkle, Twinkle is sponsoring this fun project and you might want to check it out because she's also having giveaways each week for participants. If you're creating anyway and happen to be working in her color of the week, then it's easy to share on her site.
My two preferred mediums at the moment are watercolor and collage so I'm looking forward to participating whenever I can....probably in one of those mediums. Though I've been known to make a few greeting cards and take a photo or two.....
The first color is blue, to be finished by June 12......see you there?
6/2/11
Abstract Cogs
In this experiment I was working from a photo of a rusty gear (I love rusty photos!) and seeing if I could come up with something sort of abstract feeling (meaning unidentifiable) based roughly on the photo. I think it needs a little work, but it's an interesting start.
I'm playing with the Paint Party ladies again today, so be sure and visit their sites to see some truly talented artists.
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Dancer 3 Cabinet
Elegance is the distinctive trait of this collection of wood and glass cabinets that combine a refined mono-chrome or black & white lacquer finish with the candor of the transparent or smoked glass surfaces of the doors, sides and inside shelves. With their sinuous, slim shape, further accentuated by their deep-black color, these “dancers” are designed to fit seamlessly in even very different environments.
Available in single or double colour lacquering (like photo) in colours: deep black, pure white, cream, warm grey, fango.
cm 80 x 30 x 100h
High gloss colours
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This is an all original Steinway Model F in excellent condition for it's age. The same level of quality goes into the craftsmanship of the Steinway uprights as the grands. Steinway consoles are some of the best in the world known for their consistency of performance and tone. This Model has a very warm full bodied tone in the low end for it's size. Contact us to schedule a private appointment or for more information about this beautiful piano.
Steinway F Console SN 464146 1979
8.990,00$Precio
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London SE1 community website
South Bank’s Hayward Gallery and IBM building ‘listed’ by Lambeth Council
London SE1 website team
The Shell Centre, the Hayward Gallery and the IBM Building are among more than a dozen buildings in the Waterloo area to be included on Lambeth Council's new list of buildings and local architectural or historic interest.
IBM building
Denys Lasdun's IBM building has been listed by Lambeth Council
On Monday night Lambeth Council's ruling Labour cabinet approved the creation of a new 'local list' of significant buildings that aren't protected by the national statutory listed buildings provision but still have a particular historic or architectural importance.
Many councils maintain a so-called 'local list' of notable buildings, although there is no requirement for authorities to do so.
Inclusion on a local list doesn't confer any legal protection from demolition but does raise awareness of important aspects of local history which might otherwise be overlooked.
The initial selection of buildings to be listed has been compiled from the existing Lambeth conservation areas.
Buildings on the Lambeth list include Denys Lasdun's IBM building on the South Bank, which forms an ensemble with the nationally listed National Theatre designed by the same architect.
The IBM building is owned by Lord Sugar's Amsprop company and has featured in The Apprentice.
Likewise the Queen Elizabeth Hall and Hayward Gallery have been included on the local list whereas their older and more distinguished neighbour, the Royal Festival Hall, is protected at national level.
Other notable SE1 inclusions on the borough-wide list include the old Dover Castle Hotel at the corner of Westminster Bridge Road and Lower Marsh, which is currently the subject of an application for the creation of a new supermarket and apart-hotel.
Also on the local list is the Waterloo Action Centre in Baylis Road.
Anyone can propose a building for local listing. Submissions should be made to Lambeth Council's conservation officers with a clear statement explaining why the building or structure should be considered. Lambeth's cabinet will review the list in 2011.
Owners and occupiers will be able to appeal against the inclusion of their premises on the local list.
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24Jan/19
Print on Demand
You may want to consider this relatively new way of getting paid for your artwork.
Pixels.com is one of the distribution channels. This is the way they describe what they offer:
Welcome to the largest, fastest-growing art and photography community in the world. Pixels is the premier online marketplace for buying and selling original art, prints, home decor, apparel, and more. With just a few clicks, you can open an account, upload your images, select the products that you want to sell, set your prices, and begin selling your art to the millions of buyers all over the world.
It can be very appealing since it is not necessary to concern yourself with packaging, insuring and shipping the artwork.
FineArtAmerica has another site like this where you can offer all sorts of products, even coffee mugs, each of which uses images of you art.
You upload photos, set the markup and they do the rest!
These make fabulous gifts. Take a peek at pixels.com/art/karlene+ellsworth
21Jan/19
sm brass pot and apples
Brass Pot and Apples
Good morning!
It’s another beautiful day. The sun is shining through my windows and onto the simple study I completed last evening.
This one is done completely with a palette knife. You’ll see the style is very different from most of my still life. Give me some feedback on what you think.
SM Brass Pot and Apples
Brass Pot and Apples
Price $99oil on canvas panel
8×10 inches
19Jan/19
c851c fullsizeoutput 1023
Autumn Joys
This is the first work from 2019 that I’ve added to this blog.
I’m busily trying to get the set up the way I’d like to interact with a blog myself.
Let me know how this looks to you.
A questions I often get asked is: How does your painting help?
This is my answer:
I paint to ease the pain of living with a spouse suffering from Alzheimer’s dementia.
These colors help me to see the joys in the small things, like the colors of Autumn
SM Autumn Joys
Autumn JoysPrice = $99 Oil on Canvas panel
8×10 inches
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Cordwell Lane
Peek into the past
An intensive restoration of a historical cliffside cottage showcases and celebrates the beauty inherent in ancient and new construction techniques.
Photo courtesy Trevor Mein
Gabrielle Chariton
Captain James Kelly, born in Parramatta, NSW in 1791, was one of the early colony’s leading mariners. In 1815, the sea adventurer circumnavigated Van Diemen’s Land (Tasmania) and in 1818, he became the first European to settle on Bruny Island – a wild, windswept landmass located off the south-eastern coast of Tasmania – after the Colonial Administration awarded him a 100-acre land grant.
Some years later, perhaps in the 1830s, Captain Kelly built a weatherboard cottage on the northernmost point of his land holdings: at the edge of an ocean-front cliff flanked by two pristine sandy coves, overlooking the Southern Ocean.
The cottage – which we now know as ‘Captain Kelly’s Cottage’ – is one of the oldest standing examples of Australian colonial architecture – a style characterised by its simplicity.
‘There’s no ornamentation, no decoration, no extraneous detailing,’ explains Scott Cordwell, co-owner of Tasmanian building firm and HIA member Cordwell Lane.
‘By necessity, everything was built for purpose, fashioned out of the material that was available at the time’ – which, in the case of Captain Kelly’s Cottage, was timber, pit-sawn on-site; convict-made bricks; and small panes of glass brought over from England.
However, by the 2000s, the cottage was dilapidated and time-worn, its colonial charm buried beneath decades’ worth of unsympathetic, crudely-constructed additions and alterations. Fortunate, then, that the building’s current custodian, Melbourne architect John Wardle, was intent on uncovering its hidden stories, and respectfully re-instating its integrity and functionality as a home and as a piece of architecture.
Cordwell Lane
Captain Kelly's Cottage
Photo courtesy Trevor Mein
Cordwell Lane - living room
The living room insertion was constructed almost entirely from Tasmanian oak
Photo courtesy Trevor Mein
‘I think the principal aim [for owner and architect John] was very much to capture the informality of the built technique, to explore how the cottage was put together, and to really to bed down the detail of the construction in a historical manner,’ Scott Cordwell explains.
Cordwell Lane was engaged to oversee this highly sensitive project, which essentially involved restoring the two discrete structures of the original house – the veranda-fronted cottage which consisted of four rooms and a bathing area; and the detached kitchen – and constructing a contemporary living space ‘insertion’ to bind the structure into a seamless whole.
The first stage of the complex 18-month build was to strip the away all the ugly additions to reveal the home’s beautiful ‘bones’. The unusual construction techniques that Scott and his team uncovered describe a different era: mortice and tenon jointing in the framework; used in the absence of nails and screws by men who were trained to build ships rather than houses. The historical ‘nogged’ brickwork walls, where the wall is framed in timber and bricks laid between the studs in the cavity, ready to take a coat of limewash. The weatherboard cladding, split from trees felled on surrounding land.
‘We actually dismantled it, brick by brick, stick by stick, and totally rebuilt the whole thing from the ground up’
These old sections of the home were carefully and faithfully restored.
‘We actually dismantled it, brick by brick, stick by stick, and totally rebuilt the whole thing from the ground up. Where the timber was past its use-by date – and most of it was – we replaced it with new Tasmanian oak, to match the existing oak,’ Scott says.
‘Where we had weatherboards that needed replacement, we had new boards milled on the same profile as the existing ones at a local sawmill.
‘We removed 70 per cent of the brickwork and cleaned it up and the re-laid it, using the same technique bricklayers used back in those days and the same sand and cement mortar, no plasticisers.
‘The owner was fascinated by the provenance of the bricks, which were locally made on the island. So he didn’t want to cover that back up.’ Instead, the walls in the kitchen are left unlined; the aesthetic of the space is defined by their reddish hue and charmingly uneven construction.
These little windows into the past are everywhere: sections of timber wall panelling are scrubbed bare; a square of original, miraculously preserved wallpaper (which is actually newspaper) still adorns a bedroom wall; an exposed door jamb reveals the old joinery methods.
Cordwell Lane
The finished home, transitioning seamlessly between centuries, is a true celebration of the built form, past and present
Photo courtesy Trevor Mein
Cordwell Lane
Sections of timber wall panelling are scrubbed bare
Photo courtesy Trevor Mein
Scott says that while they ‘meddled’ very little with the original construction, modern-day necessities such as insulation and electrical wiring were incorporated.
‘We didn’t want to impose anything over the top of [the original structure] in a way that you can see it’s been interfered with. But there is a disguised overlay in there of modern building compliance.’
Bridging the divide between the bedroom and kitchen areas is the new living space; an unapologetically contemporary structure clad in spotted gum and capped by a dramatic, angled roofline that sweeps up and away from the veranda. Extensive areas of double glazing bring the spectacular water views inside.
Harmony between old and new is achieved by the overarching design principle: the visual focus of the interiors is the materials themselves – structure and decoration are one and the same.
The living room insertion, Scott says, was constructed almost entirely from Tasmanian oak, which lines the ceiling, the walls and the floors. Detailing and texture are introduced by way of intricate joinery techniques.
‘Where the timber was past its use-by date ... we replaced it with new Tasmanian oak’
‘The walls are lined in segments, so every board is cut into small lengths and then put in with the junction between all the boards set out in a grid pattern, so it’s got a lot of geometric set-out to add visual interest … the small lengths are no greater than 900mm long,’ Scott explains. ‘It was very labour-intensive.’
This incredibly well-researched, painstakingly executed renovation project has attracted a multitude of industry accolades. In May, it won the 2018 HIA Australian Renovation/Addition Project award, and more recently, it was selected as one of the 20 winners of the Royal Institute of British Architects (RIBA) Awards for International Excellence 2018.
The finished home, transitioning seamlessly between centuries, is a true celebration of the built form, past and present – and, ultimately, was an incredibly rewarding project to work on.
‘It was very satisfying to see the old structures come back to life again,’ Scott says. ‘And I’ve got a team of young carpenters who would never have had the opportunity to do something like that, so within that there’s a lot of satisfaction.’
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Frequently asked questions
If I’m available then I will treat it like a normal booking and be happy to pay off some bills!
Let me know the date you are getting married and I’ll let you know if I am available.
To secure your wedding date I ask 25% of the total amount owed.
The remaining 75% is due no later than 30 days prior to your wedding date.
It usually takes me between 2-3 weeks to edit a wedding, once done I’ll deliver them to you via USB.
None, unless you wish to purchase a second photographer, prints, or an album, there are no extra costs.
My main areas of coverage are Lancashire, Cumbria and Cheshire. If you’d like to hire me to photograph your wedding elsewhere, get in touch to discuss the logistics.
Other Questions:
The amount is fixed to whatever my pricing was at the time of booking, don’t worry.
Part of my service is culling through hundreds of images and taking out duplicates and technically incorrect images. I don’t usually include blurry photos unless they elicit a positive response or there are no alternatives.
I usually deliver around 400 images for a full day, and 200 for half-day weddings. That number could be much higher, it depends what happens on the day.
Yes, if you like we can do a practice shoot before the big day (within 15 miles of Southport).
I don’t really have a number for this, but generally 25 edited images are typical for a 1hr pre-shoot. The amount of photos really depends on what happens on the day.
Of course, I would be honored if you used my images for your save the date cards.
People have many definitions for it, ultimately it is a marketing word. For me it stands for natural, candid and unobtrusive.
No problem, I don’t use flash during the ceremony as it can be distracting.
Yes, every photograph you receive will have been inspected and edited individually. I correct white-balance, exposure, crop and apply my signature toning.
Yes, I will always be there, sometimes with an assistant or second photographer if you have requested one.
That is ultimately up to you, but I would recommend at least half an hour.
Again, this is up to you, sometimes it is easier to get the family photos done early, that way you get to enjoy cocktail hour uninterrupted.
I don’t mind at all, as long as they don’t obstruct me in an obvious way, it should be fine, the more the merrier!
I think it would be nice to have a ceremony where nobody had their iPhone out, but its not realistic.
I usually try to get all my editing done within 3 weeks post wedding.
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Architect Nabs 10K SF at 55 Broad Street
Curtis + Ginsberg Architects will move its offices to 10,307 square feet in the Rudin family’s 55 Broad Street, Commercial Observer has learned.
The architecture firm signed a 10-year lease to take part of the eighth floor of the 30-story building between Beaver Street and Exchange Place, according to a spokeswoman for the landlord. Asking rent was $48 per square foot.
SEE ALSO: Elevator Maintenance Firm, CRE Workflow Provider Nab Space at 1450 Broadway
Curtis + Ginsberg, which designed the Beach Green Dunes apartment buildings in Far Rockaway, Queens, and the Haven Green senior living complex in Nolita, currently has space at 299 Broadway and plans to move into its new digs at the end of the year.
Wharton Property AdvisorsRuth Colp-Haber represented the tenant in the deal while Kevin Daly of Rudin Management Company handled it in-house for the landlord.
“Curtis + Ginsberg has done extremely well over the years and it’s wonderful to see that in a small business,” Colp-Haber said. “They got a very good deal at 55 Broad Street and they’re very excited to be working with the Rudin team.”
Aside from the architect, the Rudin family also inked a deal with online gambling company Unibet Interactive, according to the Rudin spokeswoman.
The Malta-based Unibet signed a three-year lease for 5,940 square feet on part of the 13th floor of 55 Broad Street to open up its first location in the United States, the spokeswoman said. Asking rent was $52 per square foot.
Rudin Management’s Daly represented the landlord in-house while Cushman & Wakefield‘s Michael Baraldi and Lexie Perticone brokered it for Unibet. A C&W spokeswoman did not respond to a request for comment.
The deals come after Rudin recently completed a renovation of the nearly 50-year-old building’s lobby which added new turnstiles, seating, a reception desk and terrazzo floors, according to the landlord.
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Driven by their traditional and conceptual study of glassblowing and art, Chris Bogle and Shelby Kaye work with handblown and recycled glass.
Chris Bogle is originally from Chandler, AZ and Shelby Kaye is from Oklahoma City, OK. The two both left their hometowns to study art and glass. Chris moved to Tennessee and Shelby moved to New York City.
The two met while studying glass in Washington at Pilchuck Glass School. As the two grew as friends and fellow curious artists their work and paths began to overlap.
Winter of 2014, Chris Bogle graduated from the Appalachian Center for Craft with a degree in Glassblowing, and Shelby Kaye graduated from New York University with a degree in Sculpture. Upon finishing school, Chris left Tennessee and moved out east to work at Wheaton Arts in New Jersey. Shelby Kaye stayed in New York City to work as a teacher’s assistant at Urban Glass. As the two now lived closer, they began collaborating on patterned graphic glasses.
After tiring of the East coast grind, the two decided to pick up and hit the open road.Their adventures on the open road led them all around and somehow always circling back to the Southwest.
The couple now lives in Santa Fe, New Mexico where they have two beautiful children and they plan to continue to grow their lives and business.
Chris Bogle and Shelby Kaye founded Broken Arrow Glass on Feburary 1st, 2016
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Alexander May
Verging on a Response (Conversation Everything)
November 21 - January 2, 2010
THE COMPANY is pleased to announce the launch of a three-part exhibition series with Alexander May beginning November 2009. Verging on a Response (Conversation Everything) is the first installment of this three-year experiment. The impetus for the curatorial exercise came out of dialogue between The Company’s Anat Ebgi, who is a recent alumnus of Bard Center for Curatorial Studies program, and May as he embarked on a 3 year MFA program at Bard’s Milton Avery Graduate School of the Arts. The Company saw this as an opportunity to track an artist as he completes each summer of this MFA program, and to closely examine the process of “mastery.”
The Company acts as an extended studio, a stage for thoughtful readjusting and experimenting, as well a platform for discussion. The summer at Bard gets replayed in Los Angeles and becomes a dramatization of studio practice. May states: “there is a connection and disconnection between the two summer months upstate and the redirection, the actual studio time and the dramatization of that time.” A floor installed in the gallery’s main space and annex garage levels this distinction.
The sculptures featured in Verging on a Response (Conversation Everything) include a couch, originally in May’s studio, being held down by a concrete slab. The heaviness of the concrete calcifies this “conversational weight” in an attempt to entomb ideas floating in the air. Additionally, a stack of mirrors, the measurements of which correlate exactly to those of The Company’s ceiling, suggests the interest in demarcating or barricading the intangible. The floor, provided by the artist, unites these abstract ideas. May states: “Notes on a stage, the floor is uniting space, a temporary unity when things can exist together for an amount of time holding ideas together and keeping the conversation going…” The Company becomes a holding place for this recurring conversation, a literal bookmark.
Alexander May was born in Maryland in 1983, but spent his first nine years in Spanish-speaking countries. He developed a facility with materials at a young age by rummaging through vast textiles markets. Moving almost every two years, May's exposure to varied landscapes fueled his acute sensitivity to space. After graduating from The School of the Art Institute of Chicago with a BFA in fiber material studies in 2006, he moved to Los Angeles. Fascinated by the checkered history of design, May pairs his minimalist aesthetic with an acute sensitivity to found objects. Informed by his studio practice as a sculptor, he gravitates towards objects that redirect the purity of an original form. May recently performed See Saw (I consider you, consider me), at LA><Art in Los Angeles. By physically editing the sightline of the audience using a wall that divided the room in two, May balanced on a plank of wood supported by a solid plaster cylinder. The goal of the action was to dislodge a 19” x 19” cube from the gallery wall. He is currently a candidate in the MFA program at Bard College. May divides his time between Los Angeles and New York.
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Behind the Scenes: Painting with fabric
Each time one of her four children “graduated” from sixth grade, my mom made him or her a quilt made from four-by-four-inch squares of denim. I love mine for two main reasons.
One: what a mom thing to do. I’ll forever be her stubborn second-born, who regularly has food in her hair.
Two: Most of the denim came from jeans worn by family members, many while working on their farms. A retired great uncle cut the squares for Mom to then sew. There’s so much familial love sewn into my quilt, it protects me from more than just the cold.
Fabric can tell stories of love and hard work, status and struggle, identity and community.
“I grew up in the era of hip-hop, break-dancing and graffiti,” said artist Don “Doncee” Coulter. “We wanted a unique look that you couldn’t find at the mall so we created it.”
Gutting jean jackets and styling his own clothes eventually led him to study painting. Today, Coulter makes artworks completely out of fabric. They’re so detailed, and the shading and layering are so smart, from far way they look like paintings.
Coulter starts with a sketch of a scene. He breaks down each image into different shapes and planes and transfers them to fabric. His only cutting tool is an X-Acto knife.
The fabric, which can be leather, denim, suede, grill covers or even Gucci bags, is from his closet, thrift stores and generous friends. A company that makes furniture for corporate clients once gave him a trash bag full of leftover leather.
What results are incredibly rich and bright scenes of musicians, landscapes and city life.
“Where I’m From,” for example, is Coulter’s re-imagining of a street he grew up near, drumming with urban life. Even if home looks nothing like this to you (hello, Mantey family dairy farm), the universality of the medium and Coulter’s finesse will remind you of something close to it.
See details of Coulter’s work on Jackie’s Instagram: @JackieMantey.
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Press | Product design
by KG in product design
Personenvervoer Magazine | Ebusco 3.0 wins prestigious Red Dot Design Award in the Product Design category
Ebusco has won the Red Dot award in the Product Design category with the Ebusco 3.0. "We are very proud of this prestigious design award. It is, again, a huge recognition for our 3.0 bus," says the bus manufacturer from Deurne.
The Red Dot Design Award is one of the world's largest design competitions. The Red Dot label has become one of the most sought-after labels for good design internationally. All entries are judged by the international jury. "Thanks to the collaboration with partner KesselsGranger DesignWorks, who has worked with Ebusco since the beginning, we have been able to design this bus in such a way that it stands out from all the others."
KesselsGranger DesignWorks was also extremely pleased with the prize: "Receiving the Red Dot Award for the design of the Ebusco 3.0 is a wonderful achievement for all involved. We are honored and proud to work closely with Ebusco, at the forefront of innovation, with a team of specialists in business, design, engineering and manufacturing, to create state-of-the-art mobility that contributes to a better living environment."
The design of the bus is aimed at more comfort with a spacious and luxurious interior and is therefore designed to give drivers and passengers the best possible travel experience. The completely flat floor provides more freedom of movement and the possibility to maximize the window size. This, in combination with an optional panoramic skylight, significantly increases natural light. The body of the bus is made of lightweight composite material. This has many technical advantages, but also has a special effect on the interior of the bus. The composite beams have been left untreated so that the woven carbon fibers can be seen inside the bus.
In addition to comfort, safety also plays a major role in the design of the bus. For that reason, the exterior mirrors have been replaced by cameras to increase the safety and aerodynamics of the bus. The Ebusco 3.0 is not only a feast for the eyes, but also a pleasure to drive. A combination that, according to Ebusco, is crucial within the bus market.
With its advanced lightweight construction, the exterior design called for a pure and unique aesthetic. The shape of the body is determined by the curvature of the carbon fiber spaceframe which, in addition to the increased strength, results in elegantly curvaceous flanks.
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C of I senior exhibition connects art and experience
Philip Morrow
C of I senior exhibition connects art and experience
CREATED Apr. 16, 2013
The College of Idaho is featuring “Experiential Continuum,” an exhibition of work by the 14 graduating art majors of 2013. The show opens with a reception from 4:30pm to 7:30pm April 26 and runs through May 18 at the recently renovated Rosenthal Gallery of Art inside Blatchley Hall on the C of I campus in Caldwell. Admission is free and open to the public between 10 a.m. and 5 p.m. on weekdays or noon and 5 p.m. on Saturdays.
“Experiential Continuum” includes work by Krysti Garcia, Reinaldo Gil, Renee Howells, Chelsea Larsen, Tracey LeGore, Stacy Lewman, Jenette Noe, Kier Padilla, Allison Parrish, Jordyn Price, Kerstin Stokes, Kare Tonning, Laura Wallace and Eddy Walsh. The featured artists originate from diverse backgrounds ranging from agricultural Idaho to Latin America, and their choices of medium and subject matter are just as broad, incorporating memories of home, ideas from photographs and knowledge the artists have gained through their studies at The College of Idaho.
“We are drawing from memories of our pasts, our college experiences and things that have inspired us,” said Stokes, an art and history double major from Boise.
The title of the exhibition reflects John Dewey’s theory “that every experience takes up something from those experiences that have gone before and modifies in some way the quality of those experiences that occur later.” Each C of I artist is showing how he or she has been shaped by the experiential continuum of life through the creative process of art. Lewman uses photos taken where she grew up, breaks them apart and places them on pieces of wood. Howells’ piece “Moments of Impact” uses drawn hands of various sizes to denote significant moments in her life. Gil built a cardboard replica of a “rancho,” or poor house in the slums of Venezuela, and integrated the sounds of the barrio, words and lyrics of traditional songs and distinguishing smells that show the audience his homeland.
“The idea is that none of us are blank slates to be written upon,” said Noe, an aspiring art teacher from Parma. “Instead, we are constantly shaped by our prior experiences, and these influence our future thoughts and actions. I am seeking to capture my experiences of growing up in the country, in an agricultural community, and translate that into artwork.”
For more information – or to schedule an evening or weekend viewing at the Rosenthal Gallery – please contact C of I art professor Garth Claassen at (208) 459-5321 or gclaassen@collegeofidaho.edu.
(photo courtesy: http://www.collegeofidaho.edu)
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Is the Five Second Rule real?
Paul Dawson, a professor of Food Science at Clemson University, investigated the history of the "Five Second Rule" and ran experiments to see how much bacteria actually transfers from the floor onto dropped food. Read the rest
Art exhibition about urban legends
"Hearsay: Artists Reveal Urban Legends" is a new group exhibition at California State University, Fullerton's Begovich Gallery where artists were asked to create pieces about modern day myths that resonate with them in some personal way. More than three dozen artists participated including Boing Boing favorites like Ransom & Mitchell, Jeffrey Vallance, Robert Williams, and Victoria Reynolds. Above, Chris Farling's "Sewer Gator." Below, Lew Delport's "The Goatman" and Ransom & Mitchell's "Teke Teke." (Thanks, Bob Pescovitz!) Read the rest
Medieval folk didn't drink alcohol to avoid dirty water
A well-established myth debunked. [via MeFi]Gaming urban legends
Jonathan Kaulay collects ten of the best. [via Alan White]
In 2005, an unopened copy of the self-deleting game surfaced on Ebay where it was promptly bought for $733,000 by a man from Japan named Yamamoto Ryuichi. Ryichi had planned to document his play through of the game on YouTube. The only video Ryuchi posted was of him staring at his computer screen and crying.
Read the rest
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Cypress Trees Near Point Lobos, 1924
Percy Gray (American, 1869-1952)
Cypress Trees Near Point Lobos, 1924
Watercolor on paper on cardboard
15 5/8 in. x 19 5/8 in. (39.69 cm x 49.85 cm)
Crocker Art Museum Purchase
• Like many of his early 20th-century contemporaries, Percy Gray revered nature and its positive influence, clung to a belief in the virtues of the past, and was intent on maintaining a simple life in the midst of a complex age. For Gray, these ideals were exemplified by the Native Americans he painted, the principles of the American Arts and Crafts movement that he contributed to, and by his own desire to preserve Cali fornia’s natural beauty, both in reality and in his art. Gray did not begin his career by painting the landscapes for which he later became known. After his initial study at the California School of Design in San Francisco, he put his skills to work as an illustrator. In 1895 he moved to New York and pursued the same line of work while continuing his art training at the Art Students League and with William Merritt Chase. He stayed in the city for the next eleven years. In New York, Gray began a series of portraits depicting Native American leaders and chiefs. He eventually produced more than twenty such portraits, the majority of which were completed after he returned to California. Most were watercolors on paper; only one, which is in the Crocker collection and shown here, was on porcelain. Gray began producing his mature work in the early 1910s when the Arts and Crafts movement was at its height. By this time, he had become almost exclusively a landscape painter. He painted most often in watercolor, but sometimes worked in oil, here on an unusual, trapezoidal canvas (opposite page). He painted selectively, stating that it was hard to find trees— eucalyptus in particular—with enough poetry to translate into painting.1 Gray was careful about the times of day he chose to approach his subjects, and he combined the poetic realities he found with his own carefully structured compositions, evanescent approach to atmosphere, and expressive color.
1. E. Van Lier Ribbink, “Gray Walks Miles to Get Atmosphere,” San Francisco Examiner, 30 May 1920.
Hours | Directions
216 O Street
Sacramento, CA 95814
cam@crockerartmuseum.org
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The Backyard, New Delhi
Category: Hospitality
Location: New Delhi
Area: 3710 sq.ft
Client: Relief India Hospitality Solutions Pvt. Ltd.
Year: 2015
Innovate- through adaptation I Redefining the old to create a new identity
Go Local I Work within the eco-system to generate economics; Reuse & Recycle- From Objects to Spaces
As the name suggests, it is a unique café space that transforms the mood and endows the visitor with a feeling of being in the backyard. Creating an oasis in the middle of the chaotic street, the intent was to exploit the views, whilst crafting a restaurant space.
The terrace revolves around a central pergola which has layers of fittings and innovative lighting fixtures hanging gently from it. A layer of loose gravel on the floor of the terrace provides the feeling of being outdoors. The bar on one corner has sufficient open space for movemnt.
To capture the essence of backyard, the furniture is created out of crates and barrels and the stools are made out of industrial metal, and reclaimed wood
The lower floor with wooden flooring has a central long bar and serves an exemplary example of amalgamation of exterior landscape with the interiors by means of large glass windows.
The chairs and tables on the lower floor are designed to be at adjustable heights, thereby redefining the look and purpose of the space by transforming it from a seating space to a standing one. The plants and trees outside are lit up to create an ambience, and transform the space into a party place, while being relaxed and casual.
The strategically, asymmetrically placed antique mirrors on the exposed ceilings craft a myriad of reflections creating a dynamism that adds drama to the interiors. A white brick wall with lighting fixtures breaks the monotony of the monochromatic color palette.
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as individual as you are
Members: LOG IN
Lee O'Keefe About
Although I work in various media for a variety of artistic experiences, my main mode of expression has been watercolor. I interpret something that catches my eye, such as an interesting shadow or pattern of sunlight, a difficult aspect or a challenging subject. A painting usually starts with a problem to solve. Can I paint that? Will it be unique? Will it be worthwhile? The concept is 99% of the work and is the most difficult part of the process. The actual painting, once the idea has been thought out, is easy. Because the original paintings take so painstakingly long to complete, I only have prints available for sell of my work. Add Comment
It is necessary to begin again after losing most of my work in the 2007 Malibu Fire. There is no way to replace what is gone. I can only hope to do my best work going forward. My heart goes out to all artist. Art is a tough road. It is a well worn path. Crowded with those who have tried and are trying still. It is easy to lose your courage. To stop. However, art is what make are journey worth while and I cannot continue without attempting to create what my minds eye sees.
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Royal Academy
35 results
Francis Bacon in his early twenties photo by Francis Julian Gutmann, Courtesy MB Art Collection
Extraordinary, ground-breaking, devastating. Decadent, verbally vicious, and a loyal and generous friend. He was the toast of the art world and maker (...)
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Patrick MacDowell: he devoted himself mainly to sculpting portrait busts and what art historians refer to as “ideal subjects”
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There are many ways in which David Hockney is a prescient genius, but how could he have predicted lockdown? Hockney has been mainly famous for his por(...)
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Oliver Peyton’s new venture, the Exit Here funeral home
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Confusion over trying to guess where Brexit is likely to dump us all serves to undermine the UK’s ability to attract talent. File photograph: Steve Parsons/PA Wire
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90a588d1-ad86-414a-9fca-23373247e74e
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top of page
• Kim Rix
Could gem painting be your new hobby?
Updated: Dec 11, 2022
On one of my trips last year to Mogok, Myanmar, I had the opportunity to sit and watch a gem-painting being made.
I appreciate good art, but I’m not someone who goes to art museums or would even consider picking up a paint brush. This was fascinating though, and I spent a few hours watching the artist meticulously use ground-up gemstones to create the face of Buddha, bringing the gem painting to life with each brush stroke.
A few weeks ago I was in Vietnam, researching a future gem tour. Once again, I found myself mesmerised by the locals making gem paintings. I began to wonder whether it was something I myself could do as a hobby.
I sat and watched again and I noticed a few significant differences between the gem paintings in Mogok and the gem-paintings in Luc Yen.
In Mogok, the gem paintings are made on whiteboard or wood, about 3-4 mm thick. The artist begins by carefully drawing the outlines of the piece on the board. These outlines are then filled in with gemstone powder—some very fine, like sand, and some coarser, like breadcrumbs. The Mogok style of gem-art uses a combination gemstone powder with brush painting.
In Luc Yen, the gem painting hub of northern Vietnam, the paintings are very different from those created in Mogok. Luc Yen gem artists place transparent acrylic plastic sheets (2-3mm thick) over a picture, so that the artist can follow the exact outlines and colours.
Different textures of gemstones go into a Luc Yen gem painting, including shards of marble and glass-sharp slivers of rose quartz. The artists skilfully make flower petals, by dousing a teaspoon of gemstone powder in glue and peeling the dried ‘petal’ off its backing paper. I also saw virtually no brush painting in Luc Yen, though I’m sure it’s used for faces and very fine details.
Finally, when the finished painting is dry, the artists apply a white decal to the back of the acrylic.
Though, the Luc Yen paintings are just as skilful and elaborate as the Mogok gem paintings, the Luc Yen style seemed to me a little easier for a beginner to achieve a good result. I couldn’t resist having a go!
Creating my own gem painting felt a bit like being at playschool, but the experience was also weirdly meditative. It took me about four hours, though I must admit I cheated a little! Running short of time, I went ‘off piste’ and added my own cheeky touch.
I’m reasonably pleased with the result. When the current lockdown of the Covid-19 crisis comes to an end, I shall go and get it framed.
I enjoyed it so much that I wanted to share the fun with others. 5 kilos of gemstones came back with me from Vietnam and I’m currently taking orders for gemstone painting kits. It could be the perfect way to take your mind off the stresses of everyday life!
Whether you would like to receive a gem painting kit, or order a bespoke framed gemstone portrait by the skilled gem artists in my contacts list, get in touch.
Kim Rix GG GIA
Gemstone Detective
Be sure. Be smart. Buy with confidence
61 views0 comments
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Three decades of dedication: Paula Panczenko, visionary leader of Tandem Press for over 30 years, retires
By Kari Dickinson
Paula Panczenko, who for over 30 years led UW–Madison’s Tandem Press, retired this summer.
“Paula has been an extraordinary leader of Tandem Press,” said Diana Hess, former dean of the School of Education. “She is a true expert and also a wonderful collaborator with artists, her colleagues, students in the School of Education and across UW–Madison, and many stakeholders near and far. Her commitment to supporting artists to create outstanding work is widely recognized and lauded.”
Panczenko joined Tandem Press in 1989 as co-director, and became the director in 1994. Under her leadership, it has grown to become one of the leading fine art presses in the United States. Since its founding in 1987 by UW–Madison faculty member William (Bill) Weege, Tandem Press has hosted over 100 artists in its studio and printed and published over 1,000 editions and monoprints.
Reflecting on what makes Tandem unique, Panczenko explained that it places artists at the center.
“Our focus here is that if the artist wants to create something, and it’s complicated, give them the time — don’t rush people out the door. We need to recognize that this whole enterprise is a creative process, and it takes time.”
This approach has brought many American artists to Tandem. “In the last several years, we’ve managed to attract the ‘crème de la crème’ of artists, which has been amazing,” Panczenko said.
Panczenko spearheaded Tandem’s move to its current location at 1743 Commercial Ave. in 2013, and helped expand its footprint in 2017 with the addition of a formal gallery space and regular exhibition programming.
“Paula has transformed Tandem into a hub of cultural activity, a site for new reflections, and a singular destination for the artist’s ideas to take form and be repurposed for the common good,” said Faisal Abdu’Allah, the Chazen Family Distinguished Chair in Art and associate dean of the arts in the School of Education.
Tandem Press is also an important educational entity that’s affiliated with the School of Education’s Art Department. Students employed at Tandem Press complement their coursework with practical hands-on experience, gaining unparalleled insight into the professional art world by working as assistants to printers and curators. This affiliation is a leading reason why the Art Department’s Printmaking program is consistently ranked No. 1 in the nation.
Geha new director of Tandem Press
Katie Geha, a writer, curator, and art historian, started as the new director of the Tandem Press on Aug. 5. Geha comes from the University of Georgia’s Lamar Dodd School of Art in Athens, Georgia, where she had been the director and chief curator of galleries, including the university’s downtown gallery space, The Athenaeum.
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4th Line Theatre brochures
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4th Line Theatre
Season brochure, annual fundraising campaigns, etc.
4th Line Theatre since was Big Sky Design’s first client. I’ve been working with them pretty much since their inception and it’s a relationship that has grown stronger over the years. The growth of 4th Line has been amazing to witness in the 25+ years since Robert Winslow began the theatre company in the barn on his family property south of Millbrook, Ontario.
Essential to that success are the brochures 4th Line produces each year to promote their upcoming season and to solicit support between seasons. Big Sky has designed these brochures from their inception. The season brochure outlines the performances for the upcoming year and incorporates a tear-out ticket order form, while the individual giving brochure offers a breakdown on how donations help the theatre company maintain and grow their unique brand of summer theatre.
Print Design
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Artist's description:
The lighting of Harrods on Brompton Road is one of the iconic views of central London and the view that always excited me as a child when coming into London. This painting is large and the paint has been applied thickly using both linseed oil and an impasto medium. I only use Michael Harding paints and a lot of (very expensive!) cadmium yellow was used in this piece. The painting is unframed although I could arrange for it to be framed. I would recommend a thick chunky black frame.
Materials used:
Oil paint on linen canvas
Brompton Road, Knightsbridge (2014)
Free shipping
• Artwork description
• Returns and refunds
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• Artist Reviews (5)
This artwork is sold by Katharine Rowe from United Kingdom
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Excellent - Five stars - Trustpilot
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Edit ModuleShow Tags
Sep 29, 201708:00 AM
Ça C'est Bon
The official blog of Acadiana Profile, offering up a heaping helping of fun from around the region.
St. Blanc Creative
St. Mary Parish woman provides quiet escape for locals
all photos by anna st. blanc
While working on her own blog, 29-year-old Anna St. Blanc stumbled upon a well-known calligrapher on Instagram and after scrolling through her designs, she became hooked.
“The lady I found was named Heather and she had collaborated with May Designs for a Modern Calligraphy Workbook, so I bought the book and kit and the rest was history,” says St. Blanc. “Well, sort of, the book had four sentence long instructions on how to do calligraphy, so needless to say I spent lots of hours practicing and nearly quit more times than I can count.”
A bride-to-be gave St. Blanc the chance to write envelopes for her wedding, but four years later and about half a million envelopes after, her calligraphy business is thriving.
St. Blanc is based in St. Mary Parish, but through her site, she offers calligraphy for envelopes, wedding invitations, special event spots, wedding signage, custom return address stamps, leads calligraphy workshops, and has recently ventured into the world of photography.
St. Blanc was hesitant to launch calligraphy classes in her area until her friends’ promptings and a poll on social media revealed the desire was present for the class to be given.
“Friends and brides kept mentioning to me that they wanted to learn calligraphy, but I always told them that I'd be a terrible teacher.,” says St. Blanc. “After getting another request earlier this year, I put out a little ‘test’ on social media and to my surprise, lots of people wanted a class in the Lafayette area.”
After doing a test run at her house with some close friends St. Blanc sold the workshop out within two months.
“Each class was a gamble to me," says St. Blanc. "I would think ‘Maybe I’ll do one more, they certainly won't fill up another class. I'm not really a great teacher.’ I think people keep showing up for the self-deprecating humor, but that's ok with me.”
For St. Blanc, the biggest advantage her workshops offer are the ability to receive personalized instruction that doesn’t come from a book or YouTube.
“When I started in calligraphy, there were no human to human resources for me to learn from,” says St. Blanc. “My four-sentence instruction manual was frustrating and I would have killed for that human connection. I wanted someone to show me, to place my hand the right way and tell me what I was doing wrong. I am not the best calligrapher in the area, but everyone needs a starting place and I hope that I can be that for others.”
Each workshop teaches the beginnings of pointed pen Modern Calligraphy.
“We don't follow many rules, because those are no fun,” says St. Blanc. “We start with drills and roll our way through all the letters of the alphabet. I talk a lot about how this trade is very time consuming, requires patience and practice. I believe beautiful things take time.”
While she knows perfection is impossible on the first go-round, St. Blanc aims to guide students through the process so they can leave with the skill they need to improve.
“Each person's experience is unique and one by one, students have ‘ah-ha’ moments,” says St. Blanc. “The group becomes a family quickly and rejoices with each other's small victories. I'd hate to say you will walk away with a masterpiece, because you won't, but I hope to give students the tools they need to get their goals accomplished.”
Calligraphy provides a peaceful escape for both St. Blanc and her students.
“You must be quiet and focused,” says St. Blanc. “After a few hours, people get into a Zen that happens as they sit and focus on the thick and thin strokes of a pointed pen. It's an eye-opening moment for lots of people. Providing an escape for people from their busy lives gives me so much joy.”
St. Blanc has workshops coming up in Lafayette and Baton Rouge, and soon her site will feature a "Christmas Shop," where visitors can order personalized ornaments and other Christmas goodies.
For more information about her services or upcoming workshops, visit stblanccreative.com.
Upcoming Events
The Arts & Humanities Council of SWLA is excited to announce that Gallery Promenade will return on Friday, Sept. 29, 5-9 p.m, for the city’s sesquicentennial year celebration.
This driving tour features a diverse group of homegrown artworks on display throughout the Lake Area, and celebrates the art spaces, galleries, and museums that work year-round to provide cultural resources, exhibits, and opportunities for both artists and residents.
For one evening, participating art spaces will open their doors to showcase current and one-night-only exhibits, performances, live music, and culinary delights.
Full list of exhibits and venues available at www.artscouncilswla.org
For details, call the Arts Council of SWLA at (337) 439-2787.
Come out to for the opening reception for artists, Bonnie Camos and Louise Guidry at Achilles Print Studio.
Get ready for Symphony In The Sky, an evening under the stars, benefiting Acadiana Symphony Orchestra and Conservatory of Music
Your ticket gets you to the top of the Vermillion Street Parking Garage in Downtown Lafayette.
Come enjoy the best view of Lafayette, treat your taste buds to the most delectable artisan pizza, complimentary wine and beer, and listen to our amazing Acadiana Symphony Orchestra musicians paired with THE best local vocalists, as they take the Beatles to a whole new level!
Symphony in the Sky, with Diamonds.
Attire: Casual Chic
Cash cocktail bar will also be available for all of our non-wine and beer friends.
Crystal is not just an ice show, it’s the very first experience on ice from Cirque du Soleil. Watch world-class ice skaters and acrobats claim their new frozen playground with speed and fluidity as they challenge the laws of gravity with never-before-seen acrobatics. A new kind of performance as Cirque du Soleil meets the ice to defy all expectations.
Thursday, Oct. 5, come out to Walnut Grove Lake Charles for the newest concert series in the Lake Area.
Music by TK Hulin, GG Shin, Steve Adams, The Band Smoke and New Natives Brass Band. Local brews, food trucks, and more will be present.
Groovin' is a free event, so bring your chair or blanket and enjoy the family fun.
Sip & Stroll requires you to purchase tickets, 21 and older only.
No Ice Chests.
Add your comment:
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Ça C'est Bon
The official blog of Acadiana Profile, offering up a heaping helping of fun from around the region.
Ashley Hinson is a writer with a concentration in music, arts and culture. She is most interested in understanding how artists think and create, and what inspires their work. Having written across several parishes in Acadiana, she is deeply familiar with its ins and outs, its highways and dancehalls.
Hinson graduated from the University of Louisiana at Lafayette in 2015 with a Bachelor’s in English. Her work has been published by regional newspapers and magazines as well as The Associated Press. She is also in school for nursing at Louisiana State University at Eunice.
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025bf4b4-dd4d-4e60-be16-381f5251ba9d
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Partly Cloudy
High 53° / Low 38°
High 59° / Low 37°
Visual Arts
Longtime Dayton area abstract painter Elizabeth (Beth) Hertz stands next to “Blue Riser,” a work she has loaned to the Friends Care Community for its new rehabilitation wing. Beth is a resident of the FCC Assisted Living Center. (Photo by Diane Chiddister)
Longtime Dayton area abstract painter Elizabeth (Beth) Hertz stands next to “Blue Riser,” a work she has loaned to the Friends Care Community for its new rehabilitation wing. Beth is a resident of the FCC Assisted Living Center. (Photo by Diane Chiddister)
A painter seeks to lift spirits
This is the second in a periodic series of profiles of residents of Friends Care Community.
Friends Care Community is home to many elders with interesting and singular histories. But it would be hard to find someone with a more unique story than that of Elizabeth (Beth) Hertz, a painter well known in the Dayton area for more than four decades. Having lived in Yellow Springs off and on over those years, Hertz now resides in the FCC Assisted Living center, where the walls of her room, not surprisingly, show off what’s likely the center’s most sophisticated art collection.
Most prominent are prints by Hertz’s beloved teacher William Zorach, a well-known painter and sculptor described as “one of the premiere artists to introduce European modernist style” to this country when he arrived from his native Lithuania in the early part of the 20th century. Zorach was teaching at the Art Students League in New York City when Hertz studied with him as a young woman. The older artist and his family took a shine to the young painter from Iowa, and they remained lifelong friends, Hertz said.
Her mainly large canvases seem to shimmer with the tension created between a painting’s deep colors and its organic or linear shapes.
Hertz, 90, never wavered from abstraction, a style she adopted in the 1940s and continued until she stopped painting a few years ago.
“Someone who’s trying to explore a certain aspect of things stays with it as long as it’s rewarding,” she said in a recent interview. “I felt I was getting a good result on the canvas.”
Others agreed. Dayton art critic Jud Yalkut cited Hertz’s “spiritual abstractions” as among the highlights of the decade in a Dayton City Paper article he wrote about the area arts scene in 2010. Yalkut was referencing Hertz’s work in a four-woman 2010 exhibit at the Dayton Visual Arts Center.
And Yellow Springers can see Hertz’s work when the FCC’s new rehabilitation wing opens soon. With walls decorated by mainly local art, Hertz has contributed a large abstract, “Blue Riser.”
“I was looking for a bouyant feeling,” Hertz told a visitor recently while looking at “Blue Riser.” “It’s about sustaining life.”
The paintings’s predominant blues are unusual for Hertz, who usually chose rich yellows, reds and orange. But this painting called for a softer palette, she said.
“Sometimes a painting seemed to paint itself,” she said. “Like this one.”
Color never lost its power over her, according to Hertz, who had started out as a sculptor.
“But I soon found out about the magic of color. It opened my eyes.”
She started a painting with “a vague idea of a feeling I wanted to convey,” Hertz said, stating those feelings were mainly positive ones. “I wanted to lift the spirits, not depress them.”
A lifetime spent creating abstract paintings was an unlikely future for the young woman from the rural Iowa town who attended Iowa State University in the late 1930’s. There she met her future husband, Ray, a chemical engineer who, because he couldn’t find a job in engineering, took a graduate fellowship in bacteriology. Beth, a home economics major, was working her way through school — funded by FDR’s National Youth Association, or NYA— in that department, where she met her future husband.
When this country geared up to enter World War II, Ray was sent to New York University for training in aeronautical engineering. From there the Air Force sent him to Newfoundland to help maintain planes there, then to flying school. He then became a pilot flying B17s stationed in England, where he ended up as a command pilot responsible for more than 100 planes flying sorties over Germany, and sometimes flying them himself. It was a dangerous assignment, and Beth sometimes worried.
But she was also experiencing the life of a young painter deep into the New York City art scene, which she had entered when her husband was sent to NYU. It was a heady time to be in the city, she said, and aside from worries about her husband, she became deeply immersed in the artist’s life.
“There were all the galleries, the museums, the Met,” she said. “I didn’t want to miss a good show. And I could do it all on foot.”
When she became pregnant, Hertz went home to her family in Iowa. Her husband then came home from the war and the couple, with their first son, lived for the first time in Yellow Springs, renting space in the home of the local sculptor Amos Massolini.
After the war, Ray Hertz became interested in nuclear engineering, and worked in Portsmouth, Ohio, before returning to the area to work at the Mound nuclear facility in Miamisburg. There, he received a patent for his discovery of polonium, an element that helped to put a satellite into orbit. The couple, now with two boys, first lived in Kettering and then moved back to the village, this time to Mercer Court.
As her boys grew, Beth Hertz took what time she could find to paint. After the boys left home, she was able to paint on a daily basis. When the couple moved back to Yellow Springs to the FCC Independent Living units about a decade ago, she kept a studio on Herman Street, to which she walked most days. Many of Hertz’s paintings remain in the studio.
But in recent years, as walking became more difficult, and her husband’s ill health required her presence, Beth Hertz gradually gave up painting. Ray Hertz died last winter, and since that time Beth has lived in an Assisted Living apartment.
She misses her husband greatly, Hertz said, describing her marriage as a happy one between two independent spirits.
“I was self sufficient in my field, and he was too,” she said.
Her sons live on either coast, with one in Oregon and the other in the Washington, D.C. area, so she doesn’t see them often, and at her age, she’s lost many friends. But Hertz treasures the old friendships she maintains, including with artist Winnie Fiedler, who lives in Kettering.
While she no longer paints, Beth Hertz still loves talking about painting. Recently, she went through a box with dozens of prints of paintings she had completed from the early 60s to 2003. While she was sorry that the colors, due to the printing process, were sometimes not true, Hertz had no trouble remembering each one, and the process of its creation.
“When I see them, I get the feeling I had when I was painting it,” she said.
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Roxanne Daner Bio, Age, Height, Education, Hobbies, Parents, Husband, Career, Salary and Net worth
Roxanne Daner Biography And Wiki
Roxanne Daner, a skilled designer and illustrator, has established herself in the creative industry. Based in Los Angeles, she is a co-founder of Ludlow Kingsley, a design firm, where she serves as the Creative Director, focusing on crafting visual stories and developing engaging designs.
As of now, Roxanne Daner’s exact age is not specified, but it is understood that she is in her 30s as of 2024.
Height and Weight
Roxanne Daner, the skilled artist and designer, is 5 feet 10 inches tall (178 cm) and weighs about 55 kg (121 lbs).
Daner earned a Bachelor’s Degree in Fine Arts from The Corcoran College of Art and Design, located in Washington, D.C. Her artistic path includes computer-based creative endeavors like graphic design, web design, and illustration. As a co-founder and creative director at Ludlow Kingsley, she continues to influence the design industry.
Daner’s passion for graphic design drives her creativity, blending aesthetics, typography, and visual storytelling to convey impactful messages through her designs. Whether creating branding, posters, or digital graphics, she brings her unique touch to every project.
Illustration is another outlet for Daner’s artistic expression, capturing emotions, narratives, and whimsical moments in her work. From children’s books to editorial illustrations, she imbues each piece with her distinctive style.
Roxanne Daner Parents
Roxanne Daner is the daughter of Earl Goldberg, who is of Ashkenazi Jewish descent, and Donna, a non-practicing Roman Catholic with a blend of Mexican, Irish, French, and German heritage. She was born in Los Angeles, California.
Husband and Marriage
Roxanne and Adam got married on Halloween in 2014. They have faced difficulties together, including a heartbreaking miscarriage in 2012.
Despite their loss, Roxanne and Adam are now happy parents of two sons named Bud and Sonny.
Roxanne Daner works as a designer and illustrator in Los Angeles, co-founding the creative branding agency Ludlow Kingsley, where she holds the role of Creative Director1. She is married to actor Adam Goldberg, with the couple tying the knot on Halloween in 2014. They faced a heartbreaking miscarriage in 2012 but have since welcomed two sons, Bud and Sonny, into their family.
Net worth
As of June 2024, Roxanne Daner is believed to have a net worth of about $1.5 million.
Social Media
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f575f504-d60d-4a29-ab21-9fe655f44ffb
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Proville Mediatheque / TANK Architectes
1253032655-tank-architectes-mediatheque-proville-01
Architects: TANK Architectes / Olivier Camus & Lydéric Veauvy
Location: Proville, France
Client: City Hall of Proville
Architect Chief of Project: Mathieu Berteloot
Site area: 531 sqm
Constructed area: 610 sqm + 90 sqm of terrace
Project year:2008
1253032661-tank-architectes-mediatheque-proville-02 1253032663-tank-architectes-mediatheque-proville-04c 1253032672-tank-architectes-mediatheque-proville-06 1253032681-tank-architectes-mediatheque-proville-20
The new mediatheque of Proville has to open onto the village and become a place of exchange and culture, a public library and a surprising and enthusiastic place inviting everyone to the pleasure of reading.
situation plan
situation plan
Create a contemporary architecture dealing with the environment and the existing elements. The new spaces created are offering changing atmospheres and lighting effects due to large surfaces of glass and different partitions, patios and nice places where to take time to read, views on the church tower and the trees around. Over roofs and terraces have been thought in which turns grey with the years.
1253032679-tank-architectes-mediatheque-proville-19
The balance between town and nature’s reached with an environmental approach: large picture windows to take advantage of the natural supplies of heat, and respiring partitions with systematic outside thermic insulation.
Cite: "Proville Mediatheque / TANK Architectes" 20 Sep 2009. ArchDaily. Accessed 30 Sep 2014. <http://www.archdaily.com/?p=35260>
1. Thumb up Thumb down -1
I don’t see how this is interesting beyond its envelope…
How is it a mediatheque beyond a couple of lounge chairs, some freestanding bookstacks and maybe a bank of free to use computers? : A typically boring library experience. Wrapperitecture.
Share your thoughts
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Digital Creator In Bearskin Lake
Hey Folks. Laine from Digital Creator Sioux Lookout here!
I recently travelled to Bearskin Lake First Nation to do digital photography workshops with the gr 7 and 8’s at Michikan Lake School. This trip was made possible through a partnership with Kwayaciiwin Education Resource Centre’s “Specialist in the Classroom” Project. The intention of this project is to leave students with skills, knowledge, and understanding relating to the “Specialist’s” field of work or interest. This opportunity allowed me to share technical skills with the students as well as encourage them to explore creativity through technology.
Bearskin Lake is a community of 500 people located 400km north of Sioux Lookout. The community is accessible year-round by air and seasonally through winter roads. Travelling with a fellow Kwayaciiwin Specialist Migwin Orzechowska (videographer/jewellery maker), we loaded up our collective gear and left Sioux Lookout on a small 20 seater plane with a quick stop over in Sachigo Lake and then on to Bearskin.
Migwin and I were met at the airport by Principal Jason Singh, and driven to our lodging for the next few days at the Bearskin Lake Band Office. We dropped off our gear and headed over to the school to say hi to 7/8 teacher Amy Schwindt and her class. Before leaving, Amy brought me to the staff room to show a large black hard case with 8 GoPros still in the boxes, and another box full of various mounts. In the moment, we decided to slightly pivot the workshop I had originally planned to include the GoPros. The DSLR workshop I had planned would be compressed in order to allow more time for the students to learn and explore the technology that was already in their school, and that they could use after I was gone – unlike the DSLR’s that would be going back with me.
The DSLR portion of the workshop started with an intro to some camera mechanics and how shutter speed, aperture, and light sensitivity work together to produce a desired result. We experimented with changing these settings under different conditions and comparing the results. A fun way we illustrated this was through light painting which produced some really cool results! Here’s some light painting by Abby, Cyris, Ahab, Colby and Anthony
We ventured outside in the afternoon to give outdoor photography a try. The students took some great photos at the beach of the landscape, some vegetation and each other. Photos by Annika, Karlene, Ashton, Phoenix, Larissa and Praylene.
The second day was dedicated to GoPros. We headed down the road and through the bush to a spot called “big rock”. The students experimented with taking videos the whole time, using a few of the different mounts provided in the box. We stopped at the Tarzan swing, which they normally use to swing off of in the winter when there’s a lot more snow. But what a great opportunity to take some sweet actions shots with the GoPro.
Here I am, flying through the air on the tarzan swing
I’d like to thank the Students at Michikan Lake School Teacher Amy Schwindt, Principal Jason Singh and the school administration for a great workshop. Can’t wait to come back!
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Swiss wants yodelling, watchmaking on Unesco heritage list
[GENEVA] Switzerland announced on Wednesday it would like the Alpine country's deep-seated traditions such as yodelling and precision watchmaking to be inscribed on a United Nations global heritage list.
The Swiss government said it planned from 2015 to submit a dozen candidates for listing by Unesco, the world body's cultural arm.
Unesco, better known for registering historic buildings or natural sites, also lists what are considered key parts of the globe's "intangible heritage".
In addition to yodelling and watchmaking, the Swiss want Unesco to list the country's tradition of graphic and typographic design - epitomised by the Helvetica font.
Also in the running are the Alpine livestock season, marked by ceremonies in which herders take their animals to and from the mountains, as well as the Easter processions in the town of Mendrisio, and the Winemakers' Festival in the Lake Geneva city of Vevey, held every 20 years.
Switzerland ratified a Unesco cultural heritage convention in 2008, after carrying out a wide-ranging inventory of its traditions, which has since been shaved down to a dozen by a group of experts.
BT is now on Telegram!
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By A Web Design
Home Back Issues 2005 The Plan 12 Two houses in Spain
| Fran Silvestre Navarro |
Two houses in Spain
| Godella | Spain |
042-9 Two houses by Valencia architect Francisco Silvestre Navarro in different geographical locations: one in the mountainous region of Ayora in the hinterland of Valencia, the other in Godella near the Mediterranean coast. Both these large detached family homes are very explicit architectural statements about how space may be defined and how an architecture may relate to the environment. Both are striking buildings that elicit reflection. The geometries are uncompromising: seemingly simple linear volumes where efficient spatial use goes hand in hand with a formal rigueur. Backed up against a sheer cliff under a castle, the house in Ayora is set amongst traditional buildings and the rocky terrain. The frontage giving onto the road makes no attempt to blend with its neighbours. Neither material nor form makes any concessions to the historical site. The building fits like a wedge into the natural incline, its limestone plastered walls dazzling in the light. The three storeys are placed one on top of the other in slight skewed fashion. They expand upward to the top floor where the living area broadens out to include the master bedroom, study, living and kitchen. Here an imposing glazed wall opens out onto a large terrace enclosed by bare walls beyond which rise the jagged rocks of the surrounding landscape. The style is one of tightly controlled restraint. A compact volume, it combines sharp edges, right angles and oblique lines. Everything seems poised between introversion and extroversion, between thick imposing walls and openings giving glimpses of the natural landscape beyond. The sides of the house open onto the outside through glazed lights that, however, become practically assimilated into the walls when the sliding blinds are pulled across. A second-level recessed loggia on the façade facing the road allows light to penetrate into the interior. The single ramp staircase between the floors is a pivotal feature. Its sculptured geometry stands out to great effect in the zenithal light streaming from the narrow skylight down to the first level. The main entrance is on this level in keeping with the natural slope of the terrain, along with two further bedrooms. Services and plant, garage and cellar are on the ground floor. Casa del Atrio is located amidst a patchwork of allotments comprising the Godella urban estate. Set on a square site, this L-shaped building has two storeys. On the ground floor are garage, service room and laundry, gym, and a south-facing library and study whose glazed outside wall looks out onto a covered patio. On the upper floor, the two L-shaped volumes with full-height glazed walls enclose a wide patio and long swimming pool. On the north side are the dining room, entrance and a living room giving on to a covered terrace. The night area comprising two separate units and the master bedroom is on the east side. The distinctive feature of the architecture is its emphasis of the horizontal. Horizontal lines run into one another; the interiors flow onto the patios through a delicate diaphragm of floor-to-ceiling glazing highlighted by the light reflections coming off the water.
Francesco Pagliari
abbonamenti-4
The Plan archive
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How many design categories are there and what is the “composition” of contemporary Lithuanian design? Does the Lithuanian design identity exist and if so, what is it like? What is the best form of design education in Lithuania? Representatives of the Lithuanian Design Forum and the design sector raise and try to answer such and even more complicated questions in the latest project “Design Documentary – Short Stories on Contemporary Lithuanian Design”.
LRT Mediateka|“Design Documentary – Short Stories on Contemporary Lithuanian Design”
According to the Lithuanian Design Forum team, this project is designed to document contemporary design, using the normally closed doors of designers’ creative kitchens. In the documentary, representatives of Lithuanian design and various studios are sharing the creative process, experience, thoughts on the Lithuanian design sector, key challenges, and inspiration for the younger generation. The main aim is that the totality of these videos would reveal the culture of contemporary Lithuanian design and become valuable documentation of the creative heritage of the time and a rich source for the formation of the concept of national design identity and further research in this field.
The design documentary, about the distinguished designers, consists of 10 short-meter episodes that are complemented by a separate, introductory, video. In the latter, the representatives of the design sector talk about the identity of Lithuanian design, the necessary changes in order to unite the design sector and at the same time develop a common design policy.
“Such an initiative aims to present the ideas of Lithuanian designers, their maturity, as well as to expand the understanding of design. – says Gabija Vanagė, Executive Director of the Lithuanian Design Forum. – Today’s concept of design has expanded considerably: from product, fashion and interior design to the design of social services, moving graphics, user experience (UX) design, which is more visible to the modern generation. The speed of innovation forces us to adapt in a variety of areas, and it is designers who are at the forefront of creating and promoting the latest solutions. They are the first to contribute to the ideology and practice of sustainability that is needed today, and their ideas, in the daily life of society and in business, enable them to choose greener and more sustainable solutions to problems. Lithuania can be truly proud of the works of Lithuanian design creators, their ideas, which are interesting in the context of new European and world design trends and thus glorify the name of Lithuania. Therefore, in this documentary cycle we try to contribute to the glorification of the name of Lithuanian design creators ”.
Julius Bučelis, a representative of the product’s industrial design who has filmed the documentary, considers that “the biggest benefit of this type of project is the dissemination of the design profession to the society itself. Design is a very broad field with many different branches of design. What about the different approaches of designers to work … Even designers themselves are constantly changing the boundaries of their professional responsibilities. Therefore, I think it is important for people to get to know and criticize the work of designers, because it is the designers who are responsible for how things work, how they look and what they are made of. And I, personally, will be very interested to see the problems faced by designers in various fields. ”
“This project immortalizes contemporary Lithuanian design, attitude of creators’ and their experiences. The project – like a capsule of time – not only shows what is important today but also documents the challenges and joys of designers, which we will be able to remember and analyze after many years. – says Gintarė Černiauskaitė, a designer of products and their systems, who was filmed in the project in terms of concept design. Therefore, these short films provide an opportunity to see the life of designers up close, to recognize the differences and opportunities of individual design areas and to assess how design is beneficial for Lithuania. ”
Jonas Liugaila (designer, Critical design agency), who agreed to take part in the project, says that “when most people think of the user experience as an artificial, man-made environment, including various products and services, when most brand identities start, values, ending with visual identities interpreting values will be consistent, then I will understand the two most important things in the field of design. First, that the potential of the design was recognized and it was adequately recruited. Second, it is equally important that designers are able to deliver what the design has promised. So far there is a room for improvement. It is these two target audiences that I think will serve the content of the design documentary. It will help some to recognize the design and the added value it creates, while others will broaden the horizons of design and the perception of possibilities. ”
138 – this is the amount of questions that were asked during the filming of the documentary. “Coordinating the entire documentary project was one huge challenge! How to fit contemporary Lithuanian design and the whole universe of its fields into the documentary of 11 short metro (up to 10 min.) episodes? Imagine how hot discussions arise when you start considering what and how to film, what (enduring) questions to ask …, – says the project coordinator, documentary director and art critic Aistė M. Grajauskaitė. – I am glad that even such a complex and difficult-to-cover topic as the identity of Lithuanian design has managed to be considered extremely organically. And while we still can’t find a common answer – who or what our identity is – this documentary reveals fantastically possible synonyms and not only raises this rather professional question to the public, but also breaks the long-standing silence about design identity and self-awareness.”
In the ideas of the Lithuanian Design Forum team, which has implemented the project “Design Documentaries – Short Stories on Contemporary Lithuanian Design”, many more notions are dedicated to the presentation of Lithuanian design creators and their concepts. An even wider circle of design representatives, art critics and critics is expected to cover even more topics. The creative team of the project hopes that this, the first cycle of documentaries on Lithuanian design, will become a popular and high-quality tool for the dissemination of Lithuanian design in Lithuania and abroad, revealing the most important creative processes of designers from different fields.
Contents of “Design Documentary – Short Stories on Contemporary Lithuanian Design”:
Identity of Lithuanian design – Simonas Tarvydas, Jokūbas Jurgelis, Povilas Daugis, Ugnė Balčiūnaitė, Marija Puipaitė, Jonas Liugaila, Tomas Bartninkas, Justina Muralytė-Kozlovė, Ignas Kozlovas, Evelina Kudabaitė, Julius Bučelis, Gerda Liudavičiūtė
Furniture and lighting – Simonas Tarvydas (sustainable design studio “Indi”).
Interior – Jokūbas Jurgelis (architectural studio “2xj”) and Povilas Žakauskas and Povilas Daugis (architectural studio “Heima”).
Concept – Gintarė Černiauskaitė (design studio “Creatus”).
Fashion design – Agnė Kuzmickaitė and Morta Nakaitė.
Publication – Ugnė Balčiūnaitė; Drasida Žemaitė and Adelė Galdikaitė (publishing house “Tvi tylos”), Viktorija Urbonaitė, Viktorija Aprimaitė, Lina Vyšniauskaitė.
Fashion accessories – Marija Puipaitė and Gerda Liudinavičiūtė (jewelry studio “Celsius273”).
Service and social design – Jonas Liugaila and Deividas Juozulynas (strategic design agency “Critical”).
Design of industrial and interior products – Julius Bučelis and Evelina Kudabaitė.
Visual identity – Tomas Bartninkas (creative agency “Truth.”), Ignas Kozlovas and Justina Muralytė-Kozlovė (design agency “Folk”).
Moving graphic design – Otilija Morozaitė and Dovilė Macijauskaitė.
Project creative team: Gabija Vanagė (project manager), Aistė M. Grajauskaitė (director and project coordinator), Gediminas Struckas (producer), Mikas Zabulionis (cameraman and video director; post-production), Simona Žutautaitė (photographer), Aušra Jankauskaitė (translator), Lina Šiškutė (visual identity), Gabrielė Balčiūnaitė (communication coordinator and designer on social network).
The project is funded by Lithuanian Culture Council.
Project initiator and implementer: Lithuanian Design Forum.
Main information sponsor: LRT.
Lead partner: public institution “Meno genas” (VoxArt – current art platform).
Other project partners: portals “Interjeras.lt” and “Pilotas.lt“; magazines “Centras” and “Literatūra ir menas“.
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Thursday, June 30, 2022
How To Draw A City Skyline
You May Be Interested
How To Make City Skyline Silhouettes
How to draw a panoramic city skyline or cityscape with buildings
Whether you are creating a backdrop for a stage production, want to add an urban vibe to your home decor, or are painting a mural or an artwork on canvas, you can easily create a city skyline silhouette. Paint it directly onto a wall or canvas, or, for a large-scale, temporary effect, paint your skyline on a large sheet of cotton fabric. Decide if you want to create a generic city skyline or recreate a skyline such as that of Manhattan, including iconic silhouettes such as the Chrysler Building and Empire State Building, or Seattle, including its famous Space Needle.
Use Your Palette Knife To Paint The City Skyline
Once we have the sky laid down on the canvas lets go ahead and add our buildings in next.
We will work on filling in the sky between the buildings after this. I didnt want to lose my lines I had drawn out for the skyline.
To fill in the buildings was a bit challenging on this small of a canvas with the pointed palette knife.
First I mixed my Ivory Black with the Liquitex Ceramic Stucco paste. I wanted it to be pretty dark so I made sure to mix more paint into it then I did with some of the other mixes.
If youre following along with just your acrylic paint, since we are going for a bit of a textured look here just be sure to lay it on thick enough. My mix is a bit thicker with the stucco but when I loaded it on my knife I had to be careful about loading just a bit at the tip of the blade.
As long as you keep your paint at the tip of your palette knife you should have a decent amount of control allowing you to stay within the lines.
Since Im working with the stucco, it may begin to dry a bit more quickly than plain acrylic paint but I would still recommend going in and adding the little dots of yellow light to the building while it is still wet.
I did this right away after making each building.
The yellow was my primary yellow mixed with a bit of titanium white. Which, now that I think of it, wasnt in the original list of colors.
Do you see now what Im talking about how other colors find their way into the mix sometimes?!?
Watch All Skylines With Their Drawing Tutorials
I have made some video tutorials on how to draw skyline on Youtube, which you can refer to and can draw them easily within few minutes. Skyline drawing can be done at the ease of your couch, or while traveling in a train/plane, relaxing on the bed as it does not need a huge art studio type of set-up. You just bring your favorite pen, paper, and let down your creativity flows with your favorite travel memories.
I hope you loved to know about some of the most beautiful and best skylines in the world with their interesting facts and where to get the best views of them. Also, you can draw them by simple drawing techniques and you can create your handmade travel journal, a travel diary, or travel scrapbook. I would also love to know your favorite skyline from this post or your previous travel visits.
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Cityscape Painting Space Needle
Paint your very own cityscape painting of the Seattle Space Needle.;
Learn the steps with this easy to follow tutorial for beginners that you can do right at home with acrylics paints on a canvas!
This is a great painting you can do for New Years Eve or the Fourth of July because of the fireworks.;
I just LOVE how the glowing blues look in this painting behind the buildings!
I have a similar tutorial of a generic cityscape painting. Basically, I changed the colors from all purples to blues and added The Space Needle.;
You can see the full tutorial original version here with more specific details on how to do this painting.
Keep reading below to find out what colors I used and design alterations I did for the Blue Space Needle Version.;
Enjoy and happy painting!!
Cityscape Drawings With Color
How to draw a City Skyline (New York)
There are many different ways to add color to your cityscape drawings. Today youll learn how to use markers to add color to your drawings.
Begin by filling in your building with your lightest colors In this example thats yellow and lime green. You can follow this process with any color scheme that you choose.
Next, add in your two darkest colors. For this example thats green and a darker green.
Fill in the rest of your cityscape drawing using the same colors. Blend your markers for a smooth gradation of color.
Follow the same steps to add color to your sky. You can use whatever colors you think will look good.
Finish your drawing by using a white Gelly Roll pen to add some windows and stars.
Also Check: How To Draw A Ice Cream Truck
Fill Out The Sky Between The Buildings
At this point in the painting, Im beginning to question the textured approach. Im definitely going to want to do another one of these city skylines later in a nontextured style.
For this step, we need to fill in the sky between the buildings. Since this is my first time doing a painting of this sort of style and subject matter, Im left questioning if there was a better way to do this.
While I like some of the swooping textures in the wide open sky, filling in the smaller parts between the buildings left much smaller texture details that arent as cool looking as the textures in the open sky.
The other challenge here is getting the colors right so they mesh with the sky above the buildings.
While we begin to stray from the colors depicted in the main skyline reference, it is a necessary evil to get the blend anywhere close to looking like it belongs.
You have to be careful to mix your colors right so it doesnt look like there is this blob of different colored material between the buildings and the open sky.
In my example, I wanted to try and make the sky brighter as that is how the gradient goes in the picture but a light blue mixed with the pink rose paint was the best way to get a color that actually went with what I have on the canvas already.
To apply it, we need to again work very carefully by loading the paint at the very tip of our pointed palette knife. I likely will need to come back in with some more black to touch up some of the buildings where I messed up.
How To Draw A Cityscape
wikiHow is a wiki, similar to Wikipedia, which means that many of our articles are co-written by multiple authors. To create this article, 17 people, some anonymous, worked to edit and improve it over time. This article has been viewed 128,902 times.
Drawing a whole cityscape sounds difficult, right? It’s actually very simple–follow these four steps to make a realistic cityscape of your own.
Read Also: Skull No Jaw Drawing
How To Draw A City
Click HERE to save the tutorial to Pinterest!
“Just listen to the music of the traffic in the city, Linger on the sidewalk where the neon signs are pretty.” -;Petula Clark, “Downtown”
Big, bustling;cities;have become a part of the global culture. Some cities are iconic. Paris is known as the City of Love; Tokyo is often called the Neon City. Other famous metropolises include London, New York, San Francisco, and Sydney. The buildings and landmarks of each city – such as the;Eiffel Tower, the Golden Gate bridge, and the Statue of Liberty – are widely recognizable, giving to each a unique personal identity.
Scroll down for a downloadable PDF of this tutorial.
Culturally, cities have represented both good and evil in religious works, such as in the Bible. They have been the subject of written stories and in movies. One example of the city in film is that of Metropolis , based on a futuristic dystopian novel.
The cityscape is a popular image in art, especially photography. City landscapes at night are especially lauded, the city lights sparkling against a bedarkened sky. Many photographers use long exposures to capture “rivers” of vehicle headlights. Bokeh effects, or softening of light rings, are also used. Before the advent of photography, cityscapes were recorded in paintings.
If you liked this tutorial, see also the following drawing guides: Eiffel Tower, Cartoon Castle, and Cartoon House.
Top Tips For Cityscape Drawing
How to draw a panoramic city skyline or cityscape with buildings
Cityscapes have caught the eye of many artists over the years. The awe-inspiring, towering skylines have even made some cityscapes, like New York and Shanghai, iconic. With all their intricacies, it takes a mathematical approach and precise line-work to create a good cityscape drawing. To help you on your way, here are 10 of our top tips for creating your own city skyline artwork.
1. Choose the Right Materials
Cityscape drawing requires precision and detail, so choose materials that allow you to create clean line work. Some tools and materials you might like to try include fine tip markers, ballpoint pens, technical pens, dipper pens, pencils with hard leads and watercolour pencils for adding colour to your masterpiece.
2. Understand Perspective
Example of one point perspective.
There are three main types of perspective and an understanding of them is crucial for cityscape drawing. Perspective allows you to create three-dimensional shapes and scenes on a two-dimensional surface. Learning how to draw perspective is an in depth topic, but weâve outlined the 3 main types below to get you started.
One Point Perspective
One point perspective shows how things appear to get smaller as they get further away. In this type of lineal perspective, the object converges towards a single âvanishing pointâ on the horizon line. This is often used when youâre looking at the front of a building, or looking at something long thatâs vanishing into the distance .
Two Point Perspective
Read Also: How To Draw Iron Man Full Body
Cityscape Drawings Challenge For Beginners
If you want to get good at drawing cityscapes or anything else, the best thing to do is a 7 day drawing challenge. Youll be amazed by how quickly you can improve your drawing skills. There are many other benefits as well.
There are a lot of different ways you can make your cityscape drawings. Do a challenge and see how many different ideas you can come up with. Youll develop your style in the process, and you might even have some fun!
Study Your Subject And Get References
The first step of my painting process, once I decide what I want to paint of course, is to gather up some references.
I generally and creating boards on the subject Im seeking to paint. In this case, I created this skyline painting board where I collected both paintings of cityscapes and pictures.
As we browse around at what other artists have done we may see a number of style variations to choose from.
Pretty much every subject matter has some variation in the ways we can choose to create it. There is so much art out there just try to find examples of things that appeal to you.
I collected this collage of example pictures of city skyline paintings that I liked for one reason or another.
I made this collage when I posted it for my Instagram audience to help participate in the painting process by asking for any input on which style to try to do.
I almost had to make an executive decision but at the last second I did have a new friend come along to make a suggestion. They nominated trying to emulate the style of the Oil Painting by Enxo Zhou.
So that is part of what we are aiming at here. Were looking to go for a bit of a textured abstract sort of styled painting.If you want to take part in the next step by step,
Doing things like this is one great reason to build an audience on Instagram. Plus, its always good to engage with your audience too!
Read Also: How To Draw A Picture Of A Horse
You Can Draw This Sunset City Skyline
Want to use the exact same colors as Im using? Get the SUNSET CITY SKYLINE color palette. Dont forget to set your canvas to sRGB IEC61966-2.1, you can only change the color profile when making a new custom canvas in the Gallery. You can just click the + sign and then that little folder with a + on it next to New canvas. The canvas dimensions for this Procreate tutorial are 2300 x 3000 px.
I will walk you through the steps of drawing this skyline in Procreate. You can draw this sunset city skyline using free brushes only! Ill guide you through all the steps in this how to draw a landscape tutorial and remember, if things are going too fast, just pause the video and take your time. During this tutorial I will show you how you can make use of special brushes, the selection tool, layer masks and more!
Did you see the amazing work that my Patrons made? If you want to follow more in depth tutorials as well, then consider joining me at Patreon.
Copyright notice: My tutorials are meant for practice purposes, feel free to share your results on social media and tag me. You are not allowed to use direct copies of my artwork for commercial purposes, like selling prints. You should create your own original artworks. Of course you can use my tutorials as a base/start though.
Draw Out Your City Skyline On Your Canvas
City Skyline at Night Acrylic Painting Tutorial For Beginners
To help us make sure we get something that resembles our skyline here lets go ahead and draw it out on the cavnas.
We basically just want to sketch out some light lines to help guidewhere our buildings will be going.
We dont have to add a lot of details as we will be doing that in our painting process.
This is more for proper placement and sizing than anything else. This way we can fill in the sky using our palette knife while leaving plenty of space for the darker colors towards the bottom half of the canvas.
Up until now, I have always just painted everything onto the canvas. This is likely because I started with a lot of abstract works where we are just throwing painting down and then painting over it.
This isnt the first painting where I have drawn things out on the canvas beforehand but it isnt something I typically do.
Perhaps as I pursue painting more complicated and foreign things I will need to do this more. Who knows, maybe I find other benefits to doing it that will reinforce me drawing out every painting.
One thing is certain, it always helps to draw sketches of your subject matter BEFORE you are even ready to start your painting or even sketching it out on the canvas.
Building up your visual library of that subject matter will always help.
Now lets see what we can do with this palette knife!
Don’t Miss: Spiderweb Drawing
Basic Things To Remember While Drawing Or Sketching A Skyline
• Keep the outline of unique buildings in your mind.
• You dont have to create intricate designs of the buildings as the skyline is generally the outline of a cityscape. As the outline of a city depicts the whole characteristics of a city.
• For every city drawing, pick some unique buildings or structures of the city and then club them together in one drawing. For eg. Eiffel Tower for Paris, Burj Khalifa / Burj Al Arab for Dubai, Statue of Liberty for NYC.
• The outline is drawn rugged and irregular, by taking care of not making the buildings of the same size and shape. All buildings should look distinct and special.
• After this just addition of trees, sun, moon, birds, waves of sea or river, clouds, bridges give more depth to your skyline drawing.
• All vertical lines should be drawn parallel.
• Show windows by vertical or horizontal dashes , domes by semi-circles, water by wavy lines, and top of buildings by triangle or antennas.
• Shading plays an important role in the skyline. Sides of building in 2D drawing or layered drawings should be shaded by diagonal lines.
• If you want to give depth to a building or structure, draw a similar line nearer to it, but shorter than the mainline.
What Is A Cityscape Drawing
Simply put, its an artistic representation of an urban landscape. It can be realistic, stylized, or even abstract. Youre the artist and youre free to draw your cityscape in whatever way you feel moved to create it.
If youre drawing a city with an easily recognizable building you should try to include that in your cityscape drawing. There are so many interesting opportunities for this type of artwork.
And they are quick and easy to make which means you can do a variety of different drawings. A great way to develop your style is with a 7 day drawing challenge. Download your free guide to get started today.
* Some of the links in this post may be affiliate links. This means I receive small commissions for purchases made through these links at no extra cost to you.
Read Also: How To Draw 3d Block Letters
How To Draw Cityscapes
Creating cityscape drawings is really easy to do. And there are a lot of options for including them in your work.
Whether youre into graffiti drawing, artist trading cards, or drawing just for fun. These types of skyline drawings will come in handy.
Today youll learn how to make 2D and 3D variations of cityscapes. And youll see some examples of how to include it in your artwork.
More articles
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Letter from Vincent van Gogh to Theo van Gogh
Arles, 9 April 1888
Relevant paintings:
"Pink Peach Tree in Blossom (Reminiscence of Mauve)," Vincent van Gogh
"The White Orchard," Vincent van Gogh
"Langlois Bridge at Arles with Women Washing," Vincent van Gogh
Highlighting health - fatigue - Turn off highlighting
My dear Theo,
Thank you for your letter and the 100-franc note it contained. I have sent you sketches of the paintings destined for Holland. Of course the painted studies are more brilliant in colour. I'm once again hard at it, still orchards in blossom.
I have another orchard, as good as the pink peach trees, apricot trees of a very pale pink. At the moment I am working on some plum trees, yellowish-white, with thousands of black branches. I am using a tremendous lot of colours and canvases, but all the same I hope it isn't a waste of money.
Out of 4 canvases, perhaps one at the most will make a painting, like the one for Tersteeg or Mauve; but the studies, I hope, will come in useful for exchanges.
When can I send you anything? I have a great mind to do a second version like Tersteeg's, because it is better than the Asnières studies.
Yesterday I saw another bull fight, where 5 men worked the bull with darts and cockades. One toreador crushed a ball in jumping the barricade. He was a blonde man with grey eyes and lots of sang-froid; people said he'll be ill long enough. He was dressed in sky blue and gold, just like the little horseman in our Monticelli, the 3 figures in a wood. The arenas are a fine sight when there's sunshine and a crowd.
Bravo for Pissarro, I think he is right. I hope he will make an exchange with us one day.
And the same for Seurat. It would be a good thing to have a painted study of his.
Well, I'm working hard, hoping that we can do something with things of this kind.
This month will be a hard time for both you and me, but if you can manage it, it will be to our advantage to make the most we can of the orchards in bloom. I am well started now, and I think I must have ten more, the same subject. You know I am changeable in my work, and this craze for painting orchards will not last for ever. After this it may be the arenas. Then I must do a tremendous lot of drawing, because I want to make some drawings in the manner of Japanese prints. There is nothing like striking while the iron is hot.
I shall be all in when the orchards are over, for they are size 25 and 30 and 20 canvases. We should not have too many of them, even if I could knock off twice as many. It seems to me that this may really break the ice in Holland. Mauve's death was a terrible blow to me. You will see that the pink peach trees were painted with a certain passion.
I must also have a starry night with cypresses, or perhaps above all, a field of ripe corn; there are some wonderful nights here. I am in a continual fever of work.
I'm very curious to know what the result will be at the end of a year.
If there should happen to be a month or a fortnight when you were hard pressed, let me know and I will set to work on some drawings, which will cost us less. I mean, you must not put yourself out unnecessarily, there is so much to do here, all sorts of studies, not the way it is in Paris, where you can't sit down wherever you want.
If you can finance a rather heavy month, so much the better, since orchards in bloom are the kind of thing one has some chance of selling or exchanging.
But it occurred to me that you have to pay your rent, so you must tell me if things are too steep.
I am still going about with the Danish painter all the time, but he is going home soon. He's an intelligent boy, and all right as far as fidelity and manners go, but his painting is still rather spineless. You will probably see him when he passes through Paris.
You did well to go to see Bernard. If he goes to serve in Algiers, who knows but that I might go there too to keep him company.
Is it really over at last, this winter in Paris? I think what Kahn said is very true, that I have not sufficiently considered values, but they'll be saying very different things in a little while - and no less true.
It isn't possible to get values and colour.
Th. Rousseau did it better than anyone else, and with the mixing of his colours, the darkening caused by time has increased and his pictures are now unrecognizable.
You can't be at the pole and the equator at the same time.
You must choose your own line, as I hope to do, and it will probably be colour. Good-bye for the present. A handshake to you, Koning and the comrades.
At this time, Vincent was 35 year old
Vincent van Gogh. Letter to Theo van Gogh. Written 9 April 1888 in Arles. Translated by Mrs. Johanna van Gogh-Bonger, edited by Robert Harrison, number 474.
URL: https://www.webexhibits.org/vangogh/letter/18/474.htm.
This letter may be freely used, in accordance with the terms of this site.
» Home < Previous Next >
or find:
webexhibits.org/vangogh/ Credits & feedback
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Free for educational use
Tommy McRae & Mickey of Ulladulla
Video clip synopsis – Working at the end of the 19th century, Aboriginal artists Tommy McRae and Mickey of Ulladulla drew the world around them with an extraordinary vitality and sensitivity to detail.
Year of production - 2006
Duration - 5min 0sec
Tags - Aboriginal art, art, artists, Betty Churcher, colonisation, Indigenous Australia, see all tags
play Warning - Aboriginal and Torres Strait Islander viewers should exercise caution when watching this program as it may contain images of deceased persons.
Tommy McRae & Mickey of Ulladulla
How to Download the Video Clip
To download a free copy of this Video Clip choose from the options below. These require the free Quicktime Player.
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Additional help.
About the Video Clip
Tommy McRae & Mickey of Ulladulla is an episode of the series Hidden Treasures (15 × 5 mins) produced in 2006.
The National Gallery of Australia has more than 100,000 works in its collection—an extraordinary reservoir of creative vision and cultural history, from decorative arts to photography and sculpture.
Yet on a visit to the gallery, you’ll see only the tip of this iceberg. Carefully stored away are the things that can’t be placed on permanent display.
These unseen gems include works of exquisite fragility, from brilliant hand-painted fabrics to delicate works on paper. From Australia, the Americas, Africa, Asia, Europe, the Middle East and Oceania, there are masks and carvings, lithographs and linocuts, set designs and stage costumes, sketchpads and handprinted books, marionettes and maquettes, teapots and textiles, and much, much more.
Now in this series of micro-docs, former director of the gallery Betty Churcher presents an insider’s guide to some of these 'hidden treasures’.
In the entertaining, accessible style for which she is renowned, Betty Churcher takes us behind the scenes, sharing with us her passion and insights. From her unique vantage point, she makes intriguing connections between a range of different objects and artists, linking them to the stories that surround them.
These are fascinating tales—about the works themselves, the people who created them and the challenge of preserving them—and a tantalising look at some of the ideas and influences that have shaped modern art across the globe.
A Film Australia National Interest Program in association with Early Works. Produced with the assistance of the Australian Broadcasting Corporation.
Full program credits
Curriculum Focus
Students will:
• discuss and reflect upon the importance and relevance of Indigenous Australian artists
• individually prepare and write an imaginative short fiction story
• work in pairs to present a researched poster display
• contribute to a group project to be presented orally, with visual aids.
Reading Standard: students read, view, analyse and discuss a wide range of informative and persuasive texts and identify the multiple purposes for which texts are created. They compare and contrast the typical features of particular texts and synthesise information from different texts to draw conclusions.
Writing Standard: students write sustained and cohesive narratives that experiment with different techniques and show attention to chronology, characterisation, consistent point of view and development of a resolution. They compose a range of other texts, such as feature articles, webpages and workplace texts. They proofread and edit their own writing for accuracy, consistency and clarity.
Speaking and Listening Standard: students compare ideas, build on others’ ideas, provide and justify other points of view, and reach conclusions that take account of aspects of an issue. They draw on a range of strategies to listen to and present spoken texts, complex issues or information imaginatively to interest an audience.
The activities in this digital resource are relevant to the Interdisciplinary Learning strands of Level 6 Communications (Listening, Viewing and Responding standard; Presenting standard), and Thinking Processes (Reasoning, Processing and Inquiry standard; Creativity standard).
The activities are also relevant to the Physical, Personal and Social Learning strand of Level 6 Interpersonal Development (Building Social Relationships standard; Working in Teams standard), and Personal Learning (The Individual Learner standard; Managing Personal Learning standard).
This material is an extract. Teachers and Students should consult the Victoria Curriculum and Assessment Authority website for more information.
Background Information
When Aboriginal artist Tommy McRae died in 1901, he was a man of substance in the region of Corowa and Wahgunyah on the Murray River—known as an upright character, a teetotaller and an astute financier, selling his drawings for cash.
Tommy McRae was born before his people were displaced by colonisation, and he was keen to show the newcomers his ancient culture. He drew with pen and ink on paper and sketchbooks bought at the local newsagent in Corowa, and he always began by first drawing the ground on which his figures would stand and his trees would grow. He worked up from the feet with astonishing accuracy, keeping each figure in his mind’s eye as an entirety, even when clustered. There were no generalisations—each leaf or clan marking is clearly delineated—and never a misplaced line or a correction.
Mickey of Ulladulla was a contemporary of Tommy McRae but we know little about him beyond the fact that he walked with the aid of two sticks. And that he always showed himself in his works wearing western clothes—a long coat and hat.
He drew with pencils and watercolours, and his skill lay in his depictions of the natural world of the rich coastline of Ulladulla, south of Sydney, which was then a quiet backwater, and in the beautifully precise drawings of the animals and fish that he hunted.
Both artists show the amazing adaptability of Aboriginal artists who had only recently been displaced. When these talented artists wanted to communicate with drawn images they did so with a sensitivity to detail that sets them apart.
Classroom Activities
1. After viewing the video about Tommy McRae and Mickey of Ulladulla in class, discuss then write answers to the following:
1. Describe in your own words the scene in one of the paintings created by Tommy McRae, as shown in the video. Does the scene present a particular viewpoint?
2. Describe the range of scenes depicted in the large painting by Mickey of Ulladulla, shown in the video. Define the kind of human lifestyle and culture the painting depicts.
3. Comment on whether the two artists are presenting any observation or opinion, in their paintings, about the effect of European colonisation on their way of life.
2. In pairs research either the Yorta Yorta people of the Corowa district, or the Budawang people of the general Ulladulla region, and present a poster display about their history, art and culture, showing the ways they may have adapted and been affected by the spread of European colonisation.
3. Discuss the range of possibilities in class, then plan, draft, write, edit and proofread a short fiction story of about 500–600 words based on any of the images depicted in the paintings shown in the video.
4. In groups research and prepare a project on an aspect of Indigenous Australian art that may be presented orally to the class, using visual aids such as photographs or computer website pages where appropriate. Topics may be from the following, or decided in consultation with your teacher:
• traditional art movements and styles from specific regions or Indigenous communities
• modern Indigenous urban art (e.g. political expression and commentary)
• the work of specific, contemporary Indigenous artists (e.g. Patricia Piccinini, Tracey Moffatt)
• past and present exploitation of Indigenous artists
• specialist galleries dealing in Indigenous art.
Further Resources
Tommy McRae and Mickey of Ulladulla – 1
Tommy McRae and Mickey of Ulladulla – 2
Tommy McRae
Mickey of Ulladulla
Budawang people of Ulladulla region
Yorta Yorta people of Corowa district
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Into The Fire
Project info
Photographer Cam Neville’s dedication to his documentary subjects can appear slightly fanatical at times.
Given that he has spent the majority of the last four years as an active member of the “Firies” in the local volunteer brigade near his Queensland home and has been at more fires than you have had hot dinners, it is not surprising that his portfolio of work and “fire’ stories reflect this.
Neville once said he had been “singed” in a close call and on a number of occasions also mentioned that he had copped “a lung full of smoke” which would take a while to clear.
What is surprising is that given the inherent danger of what he photographs that his images of the activities of his “brigade brothers” and himself have such a romantic vision, the subjects of his photos are both phlegmatic and poetic. The huge flames surrounding them seem to be part of the cinematic dream of Mervyn LeRoy’s “Wizard of Oz”… courage though it seems, is not something lacking in the hearts of those in these pictures.
Tiny figures in blood orange colours hang their hands casually off their hips as swirls of angry orange clouds break against the cobalt blue skies above them, blackened tunnels of flame shaped like the genteel leafy bowers from such English period dramas as “Pride and Predjudice” are really the hell mouths of the burning Australian environment.
Neville’s take on the destructive force of fire in the wilderness of the Australian bush is both beautiful and intriguing, there is not only a guilelessness and naivety but also true compassion about Neville’s work.
Neville’s photographs are not the sensationalized, overdramatic news frames that feed the daily media psyche but rather a serious documentary look from the inside.
Written by Lisa Hogben Photojournalist June 2015.
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These items are not for sale and the descriptions, images and prices are for reference purposes only.
A Royal Worcester twin handled vase, 'Wading Stork' by Walter Powell, 1912, of squat form with looped handles, painted to both sides, model no 2021, height 14 cm high
A Royal Worcester reticulated vase, 'Desert Storks' by Powell, 1912, of cylindrical form on three scroll feet, model no G42, 15 cm
A Royal Worcester J. Hadley ewer, 'Wading Stork' by Powell, 1905, with shaped lip and scrolling handle, painted profusely, model no 242B, 29 cm high
A Royal Worcester milk jug painted with a goldfinch by William Powell, barrel shape, signed, green mark, c.1929. Height 9.5 cm
Royal Worcester plate hand painted with flamingo, signed W Powell, 23 cm dia (slight scratch to glaze at feet of flamingo)
Royal Worcester signed W. Powell jardiniere hand painted with water bird design, raised decoration to body and pierced upper rim, circa 1911, 17.5 cm high approx
Royal Worcester handpainted egg cup decorated with a kookaburra, signed W.Powell, circa 1914, height 4.5 cm approx
Set of six Royal Worcester demitasse cups and saucers, heavily gilded and painted with fruit, signed by Moseley, Bee, Everett and Powell
A Royal Worcester 'Crane' porcelain vases by Walter Powell, dated 1905, of baluster twin handled form with bud and acanthus capped handles, raised from circular stepped foot, the body painted with cranes in a marsh landscape, marks in green, shape 248B, 29
A Royal Worcester 'Crane' porcelain vase and cover by Walter Powell, dated 1908, of baluster twin handled form the shoulder mounted with dragon and scroll handles below pierced cover, painted with crane by a marshland lake, signed W.Powell, green mark, sha
A fine pair of Royal Worcester 'Stork' porcelain vases by Walter Powell, dated 1909-1910, of slender ovoid form with mask and laurel moulded handles, raised from square and circular gilded stepped foot, each body richly painted with storks in a desert oasi
Royal Worcester porcelain bird vase painted by W.Powell, early 20th century. 35.5 cm
Royal Worcester / Hadley vase & cover ovoid body continually painted with crane & landscape, signed 'W. Powell', 34 cm height
Royal Worcester egg cup signed Powell, hand painted kookaburra and wattle decoration
Royal Worcester 10 pcs part tea set depicting, birds, each piece is hand painted with a naturalistic bird, scene and signed by the artist, two artists, H Powell and E. Townsend, the set comprises of three cups, three saucers and four side plates. Diameter
A Royal Worcester Hadley Ware vase by William Powell 1905 the twin handled tear-drop shaped pedestal vase with moulded decoration, gilded and painted with a crane in a forest lake setting, 26 cm high. Painted signature, printed factory marks
A Royal Worcester mask jug by William Powell, circa 1912 the ewer form vessel painted and gilt with storks in an exotic palm fringed landscape, with a loop handle terminating in a satyr mask, puce printed factory mark and signed H. Powell 28 cm high
A Royal Worcester pedestal vase, the ovoid body painted with 'Storks in Oasis' on duck egg blue ground signed W. Powell, spreading circular pedestal base, broken and pinned, trumpet form top and angular handles, gilt enrichments, printed marks c.1913. Heig
A Royal Worcester pedestal ewer, baluster form, the ovoid body painted with 'Storks in Oasis' on duck-egg blue ground signed Powell, the scroll handle with mask detail to body, ornate gilt enrichments, printed marks for 1913. Height 24 cm
Royal Worcester porcelain plate painted William Powell, scene of flamingoes on a lake with acid etched border, puce factory mark 1912 signed W. Powell 23 cm wide
A Royal Worcester pin dish and cover painted William Powell 1934. Diameter 6.5 cm
An elegant Royal Worcester ewer painted with swans, circa 1912, signed William Powell, the small teardrop shaped jug beautifully decorated with a flock of swans in flight and rising to a corinthian styled spout linking to the high scrolled handle which ter
Hadley Royal Worcester urn oval body on pedestal foot painted with Heron signed W Powell. Height 32 cm (repair to rim)
A Royal Worcester cup and saucer blue tit painted Powell and Royal Worcester cup and saucer. Shape 1933.
Royal Worcester hand painted vase with pansy decoration, designed W. Powell and date code for 1904
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9 Fulfilling Ways to Make Money as a 3D Artist
CG Director Author Alex by Alex ⋮ ⋮ 21 comments
CGDirector is Reader-supported. When you buy through our links, we may earn an affiliate commission.
How do you want to make money as a 3D Artist? Shouldn’t we all be able to create what we can do best, are passionate about and especially what fulfills us and gives us purpose in life?
I used to have so much fun creating my own 3D projects in school or at home. Now that I am employed, it just seems like I have to adjust my work to where the money lies.
Do you adjust to the industry, look for jobs and create whatever a client wishes and wants to spend money for?
Shouldn’t it be the other way around, that you create what you are passionate about and the right customers will come to you?
Creative Jobs, especially in the 3D industry, that let you create entire worlds and stories digitally, sound like jobs that should fulfill you to the core!
3D shouldn’t be just for paying the bills.
It is for telling stories, building audiences and sharing a common vision.
The 3D Artists dilemma
Today, everyone wants to pay less, the value of your 3D skills seems to have plummeted and the global competition can be excruciating.
Customers are satisfied with less than your best and settle for good-enough. So how can we, as 3D Artists, make a living and feel fulfilled in this kind of environment?
Should 3D Artists take on multiple jobs?
Learn more or different skills?
Be crushed and burn out because of too much low-quality, tedious work, and a 3D-Artists (or Game Designers) salary, that is usually much too low?
Should we give up our former hopes of starting a career in a creative industry that had the potential of making our dreams come true?
Let’s get into this in-depth and start off with some questions to ask ourselves before looking at how to make money with 3D:
Why are you a 3D Artist?
We love 3D.
We love creating new worlds and characters from a blank computer screen. We love to polish a rendering and try to get that leather material to look as realistic as possible.
We love making our Ideas come to life.
We want to make cars explode, dragons fly, heroes succeed, enemies surrender and render imagery adored by the world and never seen before.
Why are you a 3D Artist?
What is the Ultimate Goal of a 3D Artist?
We want to be remembered, be an authority in an area or a specific topic, be needed, liked, in an artistic or technical way and also as a person.
We want to visualize our thoughts, our emotions, want to feel like we have reached our goals, have overcome our old self and are progressing, growing beyond what we were able to do in the past.
We want to be fulfilled by what we are doing and find purpose in it.
We want to be unique and original and market our own vision and not others.
We want people to value what we do. There is no magic button that makes everything pretty and cool and stylish or produces a viral hit in seconds.
We know that, but do our potential customers and employers?
Make millions or be happy with enough?
What if you earned your first million. Would you just stop working and do nothing for the rest of your life? Shouldn’t you care more for the person you have become while making that first million, then for the money itself?
Let me tell you this:
The person that could make that first million will not stop working hard on improving and learning for the rest of his or her life.
If you really needed that million right now and your life depended on it, you would go out and make that million, no matter what it takes.
Maybe you’ll only really know you are in the right Industry and passionate about your projects after you are rich and still continue working on your 3d projects for yourself.
State of the 3D Industry
Globalization and Technology are transforming the 3D Industry. Simple grunt work can be done for a fraction of the former costs, by Artists in countries with low living-costs.
Technology is allowing us to automate tasks such as 3D Scanning and Motion Capturing to make it cheaper for studios to produce certain types of shots.
In this globalized Industry, competition is at an all-time high, and bidding wars on freelance platforms are ridiculous.
Some have suggested, in order to be able to compete in high-wage countries, you should shift your focus to learning how to bring the right people together to do the job, instead of doing all the grunt work yourself.
This means learning the business aspect of the 3D Industry in addition to your creative skills.
Fresh out of school or senior 3D Artist
As a long-time senior 3D Generalist in 3D Advertising Studios myself, this article is somewhat biased.
I have seen people come and go, worked on hundreds of projects in several Studios and am now aiming to help people in similar situations find their passion again.
If you are a recent graduate, let me just say, it is important to at least have worked in the actual 3D Industry for some time and learn valuable lessons, before diving into Self-Employment or similar business undertakings.
Let’s take a look at what common job types there are in the 3D Industry:
Common job types in the 3D Industry
OK, so let’s start with the obvious ones.
Full- or Part-Time Employed
You can work full- or part-time at a 3D Animation Studio, a VFX Shop, an Advertising Agency and the like. Depending on the size of the Company, it will prefer 3D Generalists of Specialists. Small shops prefer Generalists, large Studios tend to want specialists more.
You will have tasks assigned to you and will be managed by your superiors. You usually don’t have any client contact, unless you are in a small Studio that will trust you enough to handle client relationships.
Over-time is common to meet project deadlines, but income is steady and you usually don’t have to worry about finding new Projects to work on, since this is the Studios job.
Freelance too is very common. As a Freelancer, you usually use Hard- and Software of the Studio that is hiring you and you work on-site.
You have people managing you and you don’t get in touch with the client. Being a Freelance Specialist is usually higher in demand, since Studios have their own 3D Generalists and bring in Specialists to get specific tasks done they can’t do themselves.
Being a Freelancer usually is only possible in Areas, such as larger cities, with lots of relevant Companies that can book you, to be able to work without having to worry about your next pay check.
As a Freelancer, you will have to go find work yourself and have good relationships with the companies hiring you in order to have them book you multiple times and recommend you to others.
Business Owner / Solo-Preneur
Now, if you consider yourself a Freelancer but are working from home and not or seldom being managed by the companies Staff, then maybe you have to change your definition a bit because it looks as though you are a Business owner.
Of course, working for yourself is like working multiple jobs.
You will have to be the 3D Generalist, Animator, Director, Editor, Modeler and Sound-Designer all by yourself AND will have to market yourself, do the invoicing and accounting, go on sales calls, and keep all of your hard- & software running on your own. You are your own boss.
Sounds exciting, doesn’t it?
Automatic / Passive Income as a 3D Artist
So let me recap: We need money to work on our own projects. This is where automatic or passive income streams are great.
At least the Idea of it: You can work on your own passion projects while money is flowing in that pays the bills. Make your Art work for you just like your money could when it generates interest in the bank.
The Top 9 ways to making money as a 3D Artist (Apart from working as an employee at a studio)
Many of these I am currently trying myself. Some have already started to succeed, but at very low rates. I will update this Article as soon as I can say more certain which of these turn out to be the most lucrative.
1. Sell Tools and Plugins for 3d Softwares
Combine your skills. Being able to code in some of the Softwares scripting languages can greatly help you in not only making yourself much more valuable to any potential employer but also in earning some money on the side.
Writing and selling plugins and scripts for 3D Software is something you can do when you have coding skills and know what artists are looking for to make their lives easier.
Write scripts that optimize workflows, speed up repetitive tasks, enhance the software with additional features or optimize accessibility.
This can be as easy as scripting a button on top of the user interface of a command, that is usually hidden deep inside a menu.
You can code a plugin, that fixes missing texture paths at the click of a button, or automatically instantiates duplicate objects.
People who know their way around 3D and know how 3D Artists work from their own experience can add tremendous value to any 3D Team not only on terms of pipeline optimization.
Chances are, you have already coded some little helpers to make your own work more efficient. Share these and make them donation ware. If they are truly helpful you will be astonished at how grateful users are and what they are willing to pay.
Here are some pointers where you can start selling your Plugins and Scripts right now:
2. Make money with Material Packs
This is a no-brainer. There are always artists in need of materials they can just drop onto their objects, or use as a starting point for tweaking until it looks perfect.
There are so many different render engines and 3D Packages out today, that the need for specialized materials will stay on a high in the foreseeable future.
A new render-engine is being developed for cinema 4d? Go convert or create some materials, so they can be used in this new render-engine.
3D Material Pack
Image-Source: Motionworks.net
3. Make money selling Courses on Udemy
Selling Tutorials and Courses on popular learning-platforms can be extremely lucrative. Just take a look at some of these people who have sold a multitude of courses. That particular course has over 3000 enrollments, at 10$ a pop, that’s quite a sum.
As a 3D Artist, all you need is a Microphone and Cam some screen recording software and you are set.
Go do some market research to find areas people are interested in, make a plan, structure your tutorial and sign up as a content creator.
Image-Source: udemy
4. Make money with a 3D Printer
Ok, this is a big one. I am not talking about 3D printing your own money, but physical 3D Printed Products that solve problems.
Ever since 3D Printers have become affordable, the 3D Printing Industry has boomed. All you need are some 3D Modeling skills, a 3D Printing service or an own 3D Printer, and you can print products, 3D Characters, anything you can imagine, on your own.
You can basically found a startup, set up manufacturing from your home, launch an eCommerce Store and sell products that tackle other peoples major pain-points.
Making money from 3D Printing is as easy as never before.
3d Printing Makerbot
Image-Source: makerbot.com
5. Digital Prints and Posters
I am sure there is nothing you’d rather do than just render awesome Images all day long. So why not crank that resolution up a bit, make prints and sell them online?
You could be making some money on the side right now, with all those renderings gathering dust on your hard-drive.
6. Make Money 3D Modeling and selling 3D Models
If you had the chance to work at a studio, you will know that it is much cheaper for a studio to go buy some models off a 3D Model store, than to have employees spend lots of time modeling the models themselves.
If a studio needs a generic model, that doesn’t need a specific style, chances are very high, they will not think twice before investing a couple hundred bucks into buying 3D models.
The need for 3D Models is very high, though the market is quite saturated. You will have to top everyone by providing superior quality, some special software formats or additional features such as materials ready for specific render-engines to have a competing chance or pre-animated features.
As a 3D Artist, you probably have some models lying around on your computer, so why not try this and upload them for selling online?
It won’t cost you anything. Make Money with 3D Models on some of the following sites:
7. Make Money Online by Starting a 3D Blog and Website
Give back to the community. The 3D Industry is quite small and we have to care for one another. Share your knowledge and insight with the world and the favor will be returned sooner or later.
Start a blog on the side and write about what you have learned when working on your 3D Projects, what Problems you have encountered and how you have overcome them.
Let us know how passionate you are about your projects and connect with the 3D Industry through social networks and Industry gatherings such as the NAB, FMX or Siggraph, to name a few.
Take anything you have created in 3D, Materials, 3D Models or Plugins and make them available on your site. Give away some for free and make people want to come back for more.
If you run a popular site you will be able to make money through affiliate marketing and ads.
A nice thing about starting a Blog that you contribute to continually, is, that it is low risk, needs almost no funding and scales progressively. The more time you put in, the more you will get from it.
Compare this to, say, a mobile game dev, that needs 2 years of development and only in the end will you know if it was the right choice to spend 2 years on.
8. Create a Children’s Series for YouTube
Have you seen what gets a Billion views on YouTube lately? Children’s ABC nursery rhymes that run for a fair amount of time. Why? I can only imagine parents wanting some free time from their children and letting them sit in front of the TV to watch the same ABC children’s learning video over and over.
Now here’s the catch: I know you can do better. Given the quality of rendering, animation, even storytelling.
Theshigh in demand, will of course go a long way in increasing your income from these kinds of sites.
9 more ways of making money in the 3D Industry that didn’t make it on the Top List
• Sell T-Shirt Prints with your artwork
• Make an awesome Short Film and go get some Festival exposure or even Awards
• Research and wrap your head around making a viral hit with 3D animation
• Pitch a Project on Kickstarter and get funding
• Make awesome Art and get funded on Patreon
• Get funded by the government (I detest this, but it might be up your alley)
• Make an App/Game
• Render Product Packshots for Startups
• Make some 3D Clan-Logos and Advertise in the Gaming-Industry to get Customers
A thought on Risk-Taking
You want to make money with your 3D Skills and want to have freedom as to when, what and how you create it.
Let me say some words about effectively lowering the risk involved in failing at an advanced stage of your project:
Start small and fail often and as early as possible.
Let me give you an example:
Let’s say you know 3D and have some coding skills. You are ready to start developing a 3D Mobile game. You have big plans, are planning on launching a freemium game à la Clash Royale.
It is good you have some money saved up, so now you can create your game for a year and then make the big bucks.
Well after a year you have finished the game, good for you! But no one plays it, or even invests in any in-game purchases. Your savings are gone and you have an unsuccessful game.
You have worked an entire year and only now, that the game is finished, know that it has failed.
The Solution: Work on Projects that scale and get market feedback as early and often as possible.
Let me give you an example: You are starting a blog about 3D Printing.
Setting up the site takes you 1 day. You publish an Article. This article took you 2 days to write.
You let Google Index the article and wait for the first visitors to come to your site. After a couple of days, you will have your first visitors without spending an entire year’s worth of salary.
Sure it might not be worth as much as your failed game, but at least now you can analyze and adapt to market needs!
After your next article, you might double your monthly visitors. And so on. You have immediate direct feedback if the project you are working on is going to be a success, or if you have to adjust some aspects or start a different project altogether.
Longing for ultimate creative freedom.
The ultimate goal should be to cut out the middle man, cut out the distribution channels and sell yourself. You want creative freedom, you want to manage your own time, be able to work from wherever you are and create whatever your passion seeks.
You should market directly to your customers & fans and only create what really fulfills you.
I’ll just quote the Film LaLa Land here and say: “People love what other people are passionate about
The most fulfilling way of making money not only as a 3D Artist is to create something that you are passionate about and build a fanbase that likes what you are passionate about.
They will not demand a thing of you other than for you to live your passion and let them ride along.
Now go create and share!
How do you make money as a 3D Artist and are you fulfilled by it? Let me know in the comments.
Liked this Article? Support us by spreading the word :)
Alex from CGDirector - post author
Hi, I am Alex, a Freelance 3D Generalist, Motion Designer and Compositor.
I have built a multitude of Computers, Workstations and Renderfarms and love to optimize them as much as possible.
Feel free to comment and ask for suggestions on your PC-Build or 3D-related Problem, I'll do my best to help out!
Jonathan Lloyd
Hi Alex, thank you for the excellent post. I would like to add something new to the list if possible, https://cghero.com.
The site was created by former VP product of TurboSquid and aims to make it easier for 3D artists to make money doing what they love.
Hundreds of 3D projects have already been completed through the platform.
Thank you!
im just a beginer im 3D and learning by my self. I m also a character artist and a logo designer. My question is how to make our freelance gig work best so we can have more orders. How you did that to rank up your freelance gig.
I have just discover this amazing site, thank you for many questions answered!
Conrad Zajkowski
Hey Alex, fantastic article. Keep up the good work! I would love it if you checked out Renderhub.com and put them in among the sites in section 6. They have the best royalty rates among hosting sites and do a 80% to 20% percent split in the artists favor for each sale. Also no exclusivity deals!
Happy Holidays,
Conrad Zajkowski
Very helpful, Captured, exactly how i feel, and now i know what i need to do
Aurang Zeb (Az)
wow! Great tips Thank you for this post! It is helpful!
Jayant Dixit
Very Motivational…….Thank you
Thank you for this post! It is helpful!
This is an eye opener for me….Thank you for the Wisdom
Travis Lee Barker
Awesome article Alex. You provide some great out of the box thinking when it comes to 3d model uses. I’m a full-time digital sculptor and I’ve been looking for ways to make some passive income, possibly move to just my own projects here in the future. I’d love to share this article on my website(it’s nothing major just my personal website that I’m slowly working on for my digital sculpting work).
I really appreciate you about this information. I agree with your opinion.
Those are really realistic answer. Thank you
Hi , Im King , thanks for the post , it was really helpfull . Keep em comin
Daniel Beaudry
Thanks for this post Alex, I needed this!
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Print preview Close
Showing 17 results
Archival description
Soviet Union (former Nation)
Print preview View:
3 results with digital objects Show results with digital objects
Audio Discs
Series consists of audio recordings. The content of the recordings varies, from the National Hymn of the Union of Soviet Socialistic Republic International performed by the choir and orchestra of the Bolshoi Theatre, to the poem "Portrait of V.I.Lenin" by V. Mayakovski, narrated by Mikhail Astangov, to "Children's Favourite Songs" by various authors and singers.
Ephemera series
Series consists of sculptures and reliefs of Lenin, as well as a piece of marble from Lenin's mausoleum. Media include metal, wood, bronze, plaster, stone, plastic, glass, porcelain, and clay.
Flags series
Series consists of flags and banners, very similar in style, often awarded in competition and sometimes titled a flag.
Kiev-4
Item is a 35 mm rangefinder camera with a smaller and more sensitive exposure meter than the Kiev-3 and 3A. This was an imitation of the CONTAX II, it was built after the original tools had been removed from the Zeiss factory at Jena. The lens is a Jupiter-8M, f=2/50mm.
Leniniana Collection
• F 2008.005
• 1917-2003; predominant 1980-1990
The collection consists of more than 800 items featuring the image of Vladimir Ilych Lenin, the founder of the Soviet Union. There is a variety of media, including paper, textile, bronze, alloy, gold, clay, wood, porcelain, stone as well as books, posters, postcards, and 35mm black and white film. The collection was assembled between 1989 and 2003 in Moscow, Leningrad, Kiev, Vilnius and Kaliningrad. The items in the collection have been arranged in the following series: Documentary Films, Posters, Postcards, Books and Periodicals, Records, Pins, Bookplates, Paintings, Rugs and Embroidery, Postage Stamps, Notes, Coins and Commemorative Medals, Sculptures, Reliefs, Flags.
Pins series
Series consists of lapel pins, many used to designate membership in a club like the Little Octoberists or Young Pioneers. Many are duplicates.
Postage Stamps series
Series consists of several collections of postage stamps, usually held in albums or envelopes with stamps printed on them.
Posters series
Series is made up of large and small posters, all featuring rallying slogans for the Soviet Party, with such slogans as We Must Try to Raise the Party is Authority Higher, Higher and Higher,The Party Intellect, Glory and Conscience of Our Epoch, Listening to You Comrade. Most are illustrated with the face of Vladimir Illych Lenin. There is also a selection of citations issued by the Soviet Party and presented to individuals in honour of their work or military performance.
Scultpures and Reliefs series
Series consists of sculptures and reliefs of Lenin, as well as a piece of marble from Lenin's mausoleum. Media include metal, wood, bronze, plaster, stone, plastic, glass, porcelain, and clay.
Zenit EM
Item is a 35 mm single lens reflex camera with an uncoupled selenium meter and automatic diaphragm. This camera features a Petri f1.8/55 mm lens made in Japan.
Zenit-E
Item is a 35 mm cameras with 1/30 - 1/500 shutter speeds and a Helios 44 mm f2 lens. The camera has an uncoupled selenium meter and a match-needle on top housing. The match-needle was a system of exposure metering commonly used in the 1960's and 1970's. The system used small needles (similar to small watch hands) that lined up to indicate the level of exposure.
Zorki - 4
Item is a 35 mm camera with Cyrillic letters that resemble "Zopkuu" in Roman characters. The camera is attached to the leather case by a screw in the bottom. Zorki cameras are copies of Leica and other well-known 35 mm brands and particular model of Zorki features a self timer, an Industar-50 f3.5/50 mm lens, and a focal-plane shutter 1-1000. The Zorki - 4 is the most common Zorki, with more than 1.7 million made.
envelopes with illustrations and comemorative postage stamps
various envelopes bearing illustratioins and Russian text, most including postage stamp and cancellation stamp. The cancellation stamps' designs honour congresses of the CPSU and anniversaries The envelops are not addressed. Some Ukrainian is written on an envelope in addition to Russian. It is a Ukrainian Communist Party Congress envelope.
red and white stamp folder
Red and white cardboard folder, the cover of which bears the image of Lenin and a stamp-shaped title area. Inside, the spine is reinforced with fabric, and the inside of the covers have plastic strips to hold postage stamps in place. The folder contains 15 Soviet postage stamps, mainly depicting Lenin in their imagery. Some stamps are Madagascan, Afghan, Soviet, Kampuchean and Ethiopian.
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Cultural buildings are civic buildings such as libraries, schools, auditoriums, and government offices that may benefit people and their communities via healthy design and shared use. Cultural and historical sites provide a sense of place while also encouraging community pride and tourism. A cultural building, which is often known as a cultural center, a non-profit organization, building, or complex dedicated to the promotion of culture and the arts.
Guangzhou Opera Building
Guangzhou Opera House is a modern cultural center in Guangzhou, China. The city is the largest metropolis and capital of Guangdong province. Zaha Hadid Architects designed the Guangzhou Opera House. The modern auditorium, which is located on the banks of the Pearl River, has a colossal design.
After the Shanghai Grand Theatre and Beijing’s National Theatre, it is China’s third-largest performing arts center. The opera house complex is located in Haixinsha Square, at the foot of the Zhujiang New Town towers. It is an important aspect of Guangzhou’s cultural growth. It sped up the construction of the Guangdong Provincial Museum, library, and archive in the neighborhood.
Photo Source: Guangzhou Opera House / Zaha Hadid Architects | ArchDaily
Experimental Media and Performance Art Centre
The Experimental Media and Performing Arts Center (EMPAC) is a hub of technological and artistic innovation, as well as a highly functional performance space by Grimshaw Architects.
The 200,000-square-foot facility, which sits on a steep hillside overlooking the Hudson River, expands the Rensselaer campus westward. It has five diverse performance settings, serving the university, the region, and the international arts community: a 1,200-seat concert hall, a 400-seat theater, a black box studio, a white box studio, and a dance studio.
Grimshaw has created a multi-functional, multi-layered structure that allows for simultaneous performances and other activities without noise interference. The design combines sustainable, low-energy design and was developed in compliance with Grimshaw’s environmental management system.
Centre Pompidou-Metz
Shigeru Ban designed the Centre Pompidou-Metz, a modern and contemporary arts museum in Metz, the capital of the Lorraine region of France.
Many works of art from the French National Museum of Modern Art, which houses the most comprehensive modern European art collection of the twentieth and twenty-first centuries, are temporarily or permanently displayed in this museum, which is part of the Centre Pompidou-Metz. The Centre Pompidou-Metz, which spans 5,000 square meters and houses three galleries, a theater, and an auditorium, is France’s largest exhibition building outside of Paris.
NK’MIP Desert Cultural Centre
The NK’MIP Desert Culture Centre is a cultural interpretative center in Osoyoos, British Columbia, Canada, owned and run by the Osoyoos Indian Band. It is located roughly 3 km north of the Canada–United States border. It is located on the brink of one of Canada’s most threatened ecosystems, the northernmost point of the Great American Desert, which stretches southward to Mexico’s Sonoran Desert.
The Centre’s aim is to showcase the Okanagan Desert and the Okanagan people’s culture, as well as to support desert wildlife protection. The project includes a landscaping company, an indigenous plant nursery, a website creation company, and a community arts and crafts market.
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Digital Environmental Campaign
Dan Constantinou
Fin London
Paul Denchfield
James Buck
Paul Denchfield
Dan Constantinou
Red Epic Helium 8k
Avid Media Composer
Fin was commissioned to produce an environmental awareness campaign film highlighting the effects of Global Warming, Non-Sustainable Travel, Over-Tourism and the effects of these issues on poorer global communities.
The production also had the challenge of meeting advanced technical criteria (Fin’s speciality), with a delivery spec at full 8k and a narrow aspect ratio. The film was to be shown at a global conference on a custom built 27 metre screen while being broadcast in standard HD by regional broadcasters around the globe, with BBC Worldwide picking up the mantle for the UK and Europe.
Fin’s creative team worked together with the client to create the campaign message and creative concept which moved into production within a 6-week window. The film’s deadline was the start of April, but to make the most of the weather conditions in Iceland, we held back filming to the last week in March, giving us a tight 1 week post production window. Due to the extensive Pre-Viz work produced in pre-production, the client was happy for us to delay the shoot to get the best possible filming conditions.
The creative concept planned for us to film across the stunning vistas of Iceland within a 4 day period, with lots of remote locations to climb to and changeable weather conditions by the hour. We needed to find the right tool which allowed us to be as flexible as possible, both on the shoot and back in the edit. Fin has been shooting and editing 4k for over 6 months with a series of successful productions already under our belt, so we were confident we could handle such a challenge once we had completed a series of camera tests.
After a short testing period and edit trials, we decided to use the new Red Epic Helium which was able to shoot 8k at 60fps and produced a file structure which was already used and tested in our post-production workflow. It just so happened that we had already put in an order for this camera a couple of months before to add to the Fin production equipment but due to lead times, we were still waiting for ours to arrive. Many thanks to Brownian Motion in Pinewood studios for leading us theirs.
Shooting with a ratio of 6.91:1 all footage was captured using an Arri Master Prime 14mm to get ultra-wide zero distortion images at full 8K. Fin’s “High Altitude Recording Platform” (H.A.R.P) aerial drone was also utilised to capture some of the mountain peak scenes.
The final film was edited within Avid Media Composer with our Baselight grading system doing the final colour timing passes. The sequence was then exported as a .dpx sequence and encoded into a Prores format for the projection systems.
1/8
Behind the scenes in Iceland
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Michael Oh Featured in Modern Luxury Interiors’ Design Mavericks
We’re honored to have Michael Oh, President of TSP Smart Spaces featured in the most recent issue of Modern Luxury Interiors Boston in their Design Mavericks section. Design Mavericks highlights different leaders in residential and commercial design throughout the Boston area.
From the article: “We bring two unique things to every project,” says Michael Oh, TSP president and founder. “A focus on design integration that ensures our technology solutions never take away from the vision of the architect and designers. And having the fastest, most reliable network with built-in cybersecurity from day one.”
This article highlights how Michael and TSP Smart Spaces are bringing smart home automation to residential homes. It also shows our commitment to smart space design, installation, and smart home support.
Read the full article here
Contact us today to begin your smart journey.
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The artistic enamel is one of the most ancient technologies of metal decoration. As early as ancient times enamel was used as decoration of gold, silver and copper articles. Enamel was always as expensive as jewels, and sometimes it was even more beautiful. Not only the enamel beauty influanced its price, which always was very high. Enamel masters kept the technique of this art in secret and handed on the knowledge only to their apprentices. There are various enamel techniques: cloisonne, champleve, stained glass enamel, enamel on reliefs, etc. At present finift is a name of one particular technique which is enamel painting. The word finift remained also in the name of the vernacular art which appeared as early as 200 years ago in Rostov Velikii, Yaroslavskaya region.
Enamel Portrait MiniatureEnamel Portrait Miniature by Julia Kuzhim
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Sunday, April 14
3 Essential Design Trends, October 2018
This month’s trends have something in common: You’ve probably seen all of these ideas before, maybe just presented in a slightly different way. Designers are returning to dark backgrounds, large headers and cards to encourage engagement, and get users interested in content on the screen.
Here’s what’s trending in design this month:
1. Dark Backgrounds
It seems like designers were focusing on light, white minimal styles for a long time, but that era is starting to end. Dark backgrounds are making a comeback in a big way.
Dark backgrounds provide a design opportunity quite different from white
Maybe it’s the idea that cooler weather is coming. (Many of these dark backgrounds do have a cool feel.) Or maybe it’s just a shift in order to try something different. (Dark backgrounds provide a design opportunity quite different from white.)
Either way, it’s a trend that needs to stick around for a while.
Dark backgrounds can be used in so many different ways – and each presents an opportunity to create something in an entirely different way.
• Black, flat background: A simple black background creates a wide open canvas. Denys Loveiko uses a black background to set the tone for animated elements and clean white typography. It’s sharp and easy to engage with.
• Dark color background: Atlanta Brewing Co. uses a dark background with blue tones to emphasize its brand color and highlight the bright product designs. What’s nice about a dark color is that it is a little softer than a flat black background.
• Dark color overlay background: While much of this trend does focus on single color backgrounds, an image overlay is just as effective. Here the dark background provides an opportunity to meet the men who are the subjects of the website but with room to feature elements such as text, a logo and call to action.
2. Heavy White Headers
While some designers are going all in with dark backgrounds, there’s still a lot of white space trending. Heavy white headers are replacing all white designs though.
This trend is exemplified by almost oversized headers that take up nearly half of the first screen, followed by other elements with more color, images or video.
a great way to create a minimal style and use high-value imagery at the same time
It’s a great way to create a minimal style and use high-value imagery at the same time. The white space does a great job of creating an easy first impression that gives room to branding and key messaging, while there’s something a little more engaging to look at beyond the initial glimpse.
This design style encourages scrolling. Most of these designs split the screen in such a way that the users sees the heavy white header and a portion of the next level of content at the same time.
Each of the examples below uses this technique in a slightly different way:
• Anchour uses a heavy white header that encompasses about two-thirds of the screen with a significant text block. What’s important to note is the use of the graphic to point users up to the information above. This key directional helps ensure that website visitors look at the headline and text first, then scroll.
• Ascend uses a half screen of white space to tell you what they do with two calls to action (based on which part of the audience you are from). Below is a full-screen video that shows the school in action. It’s a fun way to tell the story without overwhelming users with too much information at once.
• 45royale takes another approach with a heavy white header followed by image tiles on a white background. The header still contains a logo, navigation and text block that highlights why users have come to the website. The text block at the top is oversized and has plenty of room around it, so that it’s easy to focus on.
3. New Application for Cards
Card-style interfaces got a lot of attention as Material Design was beginning to take off but kind of fell of the radar for a while. Cards are returning to projects again, but not in the use-them-for-the-whole-design kind of way. These cards are somewhat smaller and designed for specific interactions.
What’s nice about cards is that they do a good job of directing users to do something. When designed well, a card almost demands that the user click or tap it, making them a great tool to convert CTAs or aid navigation.
• Manhattan Miami uses cards as calls to action for different types of users. The homepage features three cards, each with an action for a different segment of the audience. They are simple but attention grabbing because of the layered effect from the background.
• Day of the Dead uses mini cards throughout the design to direct attention (note the arrow on the orange card to the links to the right of it) and provide additional information. Each tiny card includes a hover animation that further encourages clicks.
• Malka uses cards in a different way altogether. The four cards at the bottom of the screen are actually navigation elements. The card that relates to the video reel that’s actually playing pops up a little higher and turns yellow. Users can also change cards (and video on the screen) by moving to the appropriate card.
I love new takes on classic design elements. That’s what this month’s design trends captures. And any of these techniques is pretty easy to incorporate into projects (always a bonus).
Source: Webdesignerdepot.com
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Everything posted by macdoodle
1. Balloons As Sphere Molds
This was done upside down on a party store small punching bag balanced on -a glass? (i think it was) . the trick for me was to support the item and watch all as it dries to the point i could turn it over. The balloon loses air and changes the balancing act as it is drying. A higher quality ballon or punching bag may hold the air better. but the clay is shrinking on it so exterting some force on the air nside the balloon. Hope this gives you ideas.
2. Shinsha Glaze
to confuse you some more- read this . http://digitalfire.com/4sight/education/copper_red_glazes_115.html
3. What Makes A Good Mizusashi Good?
havent been on forum for awhile - saw these beautiful shapes had to look into it. I would NOT use the traditional urushi as even dry, it could cause an allergic reaction. http://en.wikipedia.org/wiki/Toxicodendron_vernicifluum
4. What Is The Best Way To Use Oxides?
this is a fast shot of a tester i used various oxides mixed with water brushed on - then green celdon over all - to cone10.
5. August 9, 2013, 1:20 pm 58 Comments What Inspired You to Work in the Visual Arts? By THE NEW YORK TIMES This summer, The New York Times is publishing essays by its critics about the moments or works that prompted them to write about the arts, along with stories from readers about their own epiphanies. Previously we heard from readers who work in television, classical music, dance, pop music and video games. Next week, Holland Cotter will write about what set him on the path toward becoming an art critic for The Times. We want to hear from visual arts professionals about what inspired their careers. Whether you’re a painter, a sculptor, a gallery owner, a curator, an art teacher, an administrator for an arts organization, a museum security guard or any other professional in the visual arts, we want to hear about the works of art or related experiences that led you to dedicate yourself to the field. Please submit a comment below describing what you do and how an experience in the arts led you to your career. Keep submissions under 250 words. We will present some of your stories alongside Mr. Cotter’s essay. We look forward to reading about your artistic inspirations. http://artsbeat.blogs.nytimes.com/2013/08/09/what-inspired-you-to-work-in-the-visual-arts/?smid=tw-nytimes
6. Glazing over clear?
yes,but ..... i had to do it to figure out when it was and was not worth the effort. I have this piece that was ugly now after a lot of effort - it is super ugly! :Psrc="http://ceramicartsdaily.org/community/public/style_emoticons/default/tongue.gif"> - I keep it to remind me.
7. Glazing over clear?
"p.s. as regards to the Randy Au reference ... there is a HUGE difference between multiple glazing and firings that are done on purpose and those that are done to try to fix or hide stuff. " Chris, VERY TRUE: but , if anyone does, he knows what can be done and not .... and about all the temperatures .
8. Glazing over clear?
Ask Randy Au , he does beautiful multi fired works - http://flyingcupclay.blogspot.com/
9. VERY Smart to plan ahead !! Plan for the worst then hope for the best. If i lived in tornado or hurricane country - I'd have big heavy bins of some sort or surround the chemicals with cheap cement blocks -on the bottom floor, in an outside shed (maybe dig the ground a bit lower inside the shed ) or use a basement if there is one- take the chemicals out only when in use or store small amounts for one or 2 uses out of the bins. also consider the possibility of flooding with storms. Earthquake strapping, meuseum putty and cabinet locks are a good first step. We "only" worry about earthquakes out here. Sturdy plastic containers do the trick in cabinets shelves that are made earthquake proof . Then it's the finished works that are of the most concern.. Earthquake proofing might actually benefit you too. google "earthquake preparedness" http://lafd.org/eqbook.pdf http://www.earthquak.../bookcases.html http://www.safe-t-pr...s-shelf-barrier Happy Reading!
10. Firing a Piece too large for an kiln
Sounds like a good reason to have a bonfire with friends . http://groups.csail.mit.edu/mac/users/adams/Pottery/pit.html
11. Convince me...
Got a local school or community center even a day care center you can donate the recyclable clay to? Maybe head over there once in a while and help kids learn about making things with clay?
12. will this be a good start? http://www.kentpotters.co.uk/glaze_db/glaze_db.html for temps its easy to convert - here is one site- http://www.albireo.ch/temperatureconverter/
13. Happy reading -and working it out! If you use Firefox - https://support.mozilla.org/en-US/kb/adobe-flash-plugin-has-crashed or use http://mzl.la/LIoF7y Next to the picture and word Firefox adjust for your operating system if needed.
14. besides watching the free excerpts shown below the for purchase CDs and books Support your local library. They have tons of info they bought so you can access it for free. I have very limited income, so I like to take books out and see if they are something I'd want to refer back to before I buy them.
15. from a back issue - http://ceramicartsdaily.org/bookstore/what-if-explorations-with-texture-and-soft-slabs/
16. Wind n Wing Make sure to show us what you make!
17. Newbie Looking for advice...
" ok- so I just got off the phone with my pottery teacher at the museum. He said it sounds like the sculpting clay is stoneware and I thought it was earthenware the whole time. Obviously It is still over fired, so I am going to see if the glaze sticks to it before i attempt to fire it. Luckily for me, the museum is going to cancel art classes and might be willing to sell me some proper clay! That would be a major break! At least i made a good mistake, if it had been earthenware my kiln would likely be a huge mess. " If the glaze won't stick via dipping - try heating each piece on a hot plate and then painting the glazes on with a brush. Also Beware of clay that says cone 5-10 that is too wide a range to be accurate. See if you can call and find out where it really vitrifies if you intend to use it for functional pieces. This chart may help get you more familiar with firing ranges- [PDF] Firing Temperatures - Bellevue College bellevuecollege.edu/artshum/materials/art/.../FiringTemperatures.pdfFile Format: PDF/Adobe Acrobat - Quick View
18. photgraphing pottery
http://jeradhillphoto.com/diy-lightbox-for-product-photography - if you want that look
19. Ishihaze glaze recipe
looks like it's in part - in the clay. Ishihaze. A "stone explosion." Before firing, many of the impurities of the clay are removed. But some potters like rougher clay, and leave in small stones that sometimes burst out on the surface during firing - called ishihaze. Often found on Bizen and other yakishime (high-fired unglazed stonewares). http://www.e-yakimono.net/guide/html/techniques.html
20. here are 2 potential contacts- http://www.crestedbuttepottery.com/mica-clay-vessels.html http://pasquals.com/The_Gallery/Mica_Clay_Cookware/index.html
21. flasks.JPG
22. Deepwater Rescue
23. Are you using your wood carving tools in clay? PS: despite what it says, I'm just beginner who asks far too many questions and does almost everything in violation of all the rules , just to see what will happen -and if you really can't. :)
24. Oh,the rules, the rules... The classroom rules are often said as the only way when what is meant is this is the way its done to accommodate lots of students and to get all work done together at a firing schedule and method the instructor has chosen for safest for the kilns and most consistent +/or fastest results. Classroom firing schedules are often higher at bisque to create sturdier pieces and often faster to cone 10 but it seems the faster firing schedule creates more slump, limiting form. (Is this true?). On a low/mid fire clay too- I'd look for one that is more porous at the final cone temp if I wanted to bisque higher and fire down. (Makes sense to me anyway, can any one confirm or debate that ?) Seems it's important also to note that every clay is different. It seems to me that, in general, clays that are still porous after the recommended final glaze firing temp can be bisqued higher and still accept color readily. Bisque lower it's more fragile, but more porous. Bisque higher if you need it to be more sturdy. Bisque all the same if you want to minimize glaze issues and prefer more standard, consistent results for functional pieces. Since some people fire many times to get specail effects and good separation of details or color, or to use various chemicals, and many glazes can work over a range of cones, the school rules we all learn to bisque to this temp, glaze and fire to this temp, are not really written in stone. I have seen some beautiful work (Andy Au, retired from Cal State Fullerton, is one who does this. See minute 807 to start- pieces are far more detailed in person- ) where multiple firings are used to add more types of glaze/color. Gold, mother of pearl and other special finishes are added after one or many low, mid or high firings, and done at approx cone 020-018. The choice of clays, the choice of glazes or other chemicals , and time and temps and type of firings all combine for success or failure of a piece. That's a lot of variables- so it's easier to begin with more simple classroom rules that remove several of them, but it would be nice to learn from the beginning that they are "classroom rules", not hard and fast rules. Who said this? The only stupid question is the one left unasked.
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About the Artist
In Kabbalistic tradition, the Breaking of the Vessels , or Shevirat ha-Kelim refers to a moment in Creation where the pure light of the Infinite overcomes the ability of primordial matter to contain its overwhelming power. Our current material universe is composed of the broken shards, or kelippot, of this event. In this context the primary spiritual goal in our plane of existence is to conduct the process of Tikkun Olam, meaning repair, or healing, of the universe….or reuniting the broken shards.
I feel every act of artistic creation is a participation in tikkun olam. As artists we strive to gather the kelippot: joys, sorrows, pleasures, pain, wonders, terrors, fears and courage. We seek to garner light, dark, color, sound, scents, elements, molecules and atoms. We mold, mix, manipulate, manhandle and massage the shards, recombining them into a new & unique manifestation of our vision. And if we are lucky enough for that vision to have an audience we not only participate in our own elevation and healing, we also have the chance to elevate, repair and inspire another.
An animal lover and a mother of four, I have engaged with a variety of art forms since childhood, including theater arts, visual art, jewelry making, sculpture and stained glass. All along the way as my passion for the arts grew and developed so did my passion for teaching and sharing the wonders I was finding with others.
Some of my fondest memories are of observing one of my greatest inspirations: my grandfather, a portrait artist, as he painted. Following his lead, I discovered a passion and talent for portrait painting and have been studying and developing skills and techniques to capture the inner light and spirit of the moment.
My fine art fused glass practice developed in parallel, evolving from roots in stained glass and jewelry making to advanced kiln-fused and torch-fired methods for manipulating hot glass. As I continue to explore this ancient medium and its infinite modern applications I experience both literal and metaphoric expressions of Shevirat ha-Kelim & participation in tikkun olam
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Uncovering Katerina Goltzwart’s Legacy Through Art
In art and literature circles alike, few names generate as much intrigue and admiration as Katerina Goltzwart does. An intriguing figure, her contributions spanned various mediums leaving an indelible mark upon contemporary culture – this blog endeavors to understand Goltzwart’s life, works, as well as any impact she had had.
Early Life and Background
Katerina Goltzwart was born in a German small town during the late 19th century. As soon as she could walk, Goltzwart showed an enthusiasm for art that was nurtured by both of her art-loving parents – who both encouraged Goltzwart’s explorations in these artistic mediums through painting, writing and even poetry in her unique style! From an early age she developed her love of creativity by exploring multiple art forms including painting and poetry writing in particular – which allowed her to express herself creatively at every opportunity available!
Artistic Journey of Katerina Goltzwart
Katerina Goltzwart’s artistic journey began when she relocated to Berlin for studies at the Academy of Fine Arts. Here she became exposed to different artistic movements and styles which would later influence her own work – her early paintings being marked by strong color-and-form combinations often depicting everyday scenes with touches of surrealism.
Her unique style quickly gained recognition, and she soon established herself as a star figure on Berlin’s art scene. Goltzwart’s works from this period are widely celebrated for their vibrant use of color as well as their ability to capture human experience through expressionistic depictions.
Literary Contributions
Katerina Goltzwart was not only renowned as an accomplished painter; she was also an award-winning author renowned for exploring human emotion through literature. Her novels and collections of short stories garnered great critical acclaim from critics worldwide.
One of her signature works, “Echoes of Silence,” is a novel which delves deeply into human relationships and life’s pursuit of meaning. Critical acclaim was lavished upon this work for its beautiful prose and insightful observations that established Goltzwart as an award-winning writer.
Influence and Legacy
Katerina Goltzwart was an artist of enormous influence who served as an example to contemporary artists and writers who sought her guidance when merging multiple artistic expressions into her pieces, creating innovative expressions with emotional depth that were still studied decades after her passing. Her legacy continues to resonate today as many writers and contemporary artists cite her works for inspiration.
Goltzwart’s legacy can also be seen through her many exhibitions and retrospectives held to honor her. These events have introduced Goltzwart’s work to new generations of art enthusiasts and scholars while helping preserve her contributions to the arts.
Notable Works by Katerina Goltzwart
“Whispers of the Past” (1901)
An anthology of short stories which explore memories and sentimentality through poetic language and deeply personal reflections. This work became her legacy.
“Reflections in Blue” (1905)
These paintings depicting different moods of the sea are widely celebrated for their use of colors to invoke feelings of tranquility and contemplation.
“Echoes of Silence” (1910)
Goltzwart is widely recognized for exploring human existence through its characters’ lives and exploring existential issues – making this classic of modern literature.
Frequently Asked Questions
Q1. Who Is Katerina Goltzwart?
Katerina Goltzwart is an acclaimed artist and writer known for fusing surrealism with everyday themes into both her paintings and literary works.
Q2: Which are some notable works by Katerina Goltzwart?
She has produced numerous influential works such as “Whispers of the Past: Short Story Collection,” “Reflections in Blue Painting Series” and “Echoes of Silence Novel.”
Q3: How has Katerina Goltzwart made an impactful contribution to contemporary art and literature?
Goltzwart’s groundbreaking approach to merging various forms of artistic expression has inspired numerous contemporary artists and writers, who continue to praise her works for their emotional depth and originality.
Q4: Where can I view Katerina Goltzwart’s works?
Katerina Goltzwart’s works can be seen around the world at museums and galleries as well as retrospectives or exhibits dedicated to her contributions to arts.
Katerina Goltzwart remains an icon in art and literature. Her talent at capturing human experience through painting and writing left an indelible mark on our collective creative community, inspiring future generations to push artistic expression further than ever. We continue to discover and revere her works today – thus keeping her legacy alive!
For further insights into Katerina Goltzwart, you may wish to visit museums like the National Gallery which often showcase her works and host exhibitions dedicated to her legacy.
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Eclectic collection of Ancient and Modern Art
Peter van Os: 'I am originally a 3rd generation dealer and appraiser in Ancient Art. I learned the trade in practice from my father and uncle, who worked together for many years at the Bakkerstraat location in Arnhem.
I started collecting Modern Art at a young age. Both my father and my uncle were not interested in that. When I took over the Art Dealership in the early 1980s, combining antiques and modern art was not really appreciated.
In a later period, eclectic collecting became a trend. In my current Art Dealership in Oirschot, antiques and modern and contemporary art can be seen.
I have been working with contemporary artists for years. The collaboration is of course based on good agreements and mutual trust. But initially the condition is that I am moved by the art!
Recently, at the Affordable Art Fair in Brussels, I was surprised and touched by the impressive paintings of the Apeldoorn artist Rep Ringel.
An artist of our times, with a clear vision about his work. A collection of paintings by Rep Ringel can now be seen in our gallery in Oirschot.
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Home | Experience the Arts | Events | Yvette Drury Dubinsky: Traveling
« All Events
• This event has passed.
May 16 @ 11:00 am - 5:00 pm
Yvette Drury Dubinsky: Traveling
Meditating on the passage of time, the show presents work that is a result of the inevitable interplay between an artist’s solitary workings in her studio and those of a turmoiled outside world. Many works in the exhibition—including several paintings on handmade paper and repurposed medicine and art supply boxes—are small and portable, made between 2021 and Spring, 2023 at points during the pandemic when travel to visit family was possible but meant a lack of studio. Earlier works, 2021 and 2022 memorialize the rapid changes and prolonged grief of the last several years, layering words that became newly charged—sourdough and shelter—with the names of those who succumbed to the virus in the early stages of the pandemic in 2020.
While serious in subject matter, Dubinsky’s work is also intuitive and playful—a metaphor for a multifaceted life. The medicine boxes, for example, while chosen for their idiosyncratic shapes when deconstructed and made supports for painting, are also a byproduct of the increased use of over-the-counter medications by an aging artist. On these informal surfaces, Dubinsky layers wildly colorful and sometimes repellant mixes of gesso, ink, pencil, crayon, and gouache, employing an experimental blend of painting and printmaking techniques.
The largest work in this exhibition, a monotype titled Anguish (2022), was begun to augment a series of smaller individual works already in progress when Ukraine was invaded by Russia in February 2022 and left much of the world stunned, horrified, and immobilized. Working in her studio as the violence in Eastern Europe escalated, Dubinsky found herself assembling a new work in reaction to the conflict, its resulting migrations, and thinking of her mother.
May 16
11:00 am - 5:00 pm
Event Website:
http://brunodavidgallery.com
Bruno David Gallery
7513 Forsyth Boulevard
St. Louis, MO 63105 United States
(314) 696-2377
Venue Website:
View Venue Website
Bruno David Gallery
info@brunodavidgallery.com
Organizer Website:
View Organizer Website
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Angélica Arbulú Spanish / Mexican, b. 1973
Through her fieldwork, Angélica has experienced first-hand the inequalities and uniqueness of our world, using her camera as a tool to make sense of her encounters. Her images are full of curiosity and compassion.
Spaniard born in Mexico, Angelica has lived on all four continents and is considered a cultural mix. Her quest is to capture the essence of the mundane. To make the ordinary seem unique.
"This is Angelica's strength, capturing people and places and making everyday life look beautiful and exotic. (Emma Fordham, artist) She sees photography as just the first step in the process, "sculpting" the image through the editing process to enhance its essence.
I focuse on people and on documenting everyday rituals that often go unnoticed. My choice of subjects is strongly influenced by my female experience and a conscious approach to everyday life.
With her photography she seeks to capture the essence of the mundane, to make the ordinary seem unique and the unique seem familiar. Her strength is capturing people and places, making the everyday seem beautiful and exotic.
A Spaniard, born in Mexico daughter of Peruvians, Angélica has lived on four continents and considers herself a cultural mix.
Angélica is a clinical psychologist with a Master's degree in International Relations from John Hopkins University. For the past 20 years she has worked in the humanitarian development sector. After a brief stint in the private sector as a strategy analyst and six years at the UN, she works as an independent consultant on humanitarian and development programmes, with a focus on gender and vulnerable populations. Her clients include UN agencies, governments and foundations.
Photography has been her passion from an early age. He began studying photography in 1990 in Madrid. Although primarily self-taught, he has taken workshops with Chien-Chi Chang, Magnum, Ron Haviv and Tito Herrera. And he was fortunate enough to be mentored by the late Tim Hetherington (Magnum), winner of the World Press Photo award.
Art Fairs
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Rendering Reality: Pushing The Boundaries Of Art
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Ana Nospal
Some critics argue that photography shouldn’t be considered “art” because it is merely a mechanical record of an event. However, the way that a photograph is taken often leaves an authorial signature, a sign that something more than direct representation is going on. Photorealism, similarly, has often been dismissed as a mere copy of photographs, but this argument might be missing the same point.
Photorealism Revisited, currently on display at the Oklahoma City Museum of Art presents 63 paintings from the 1960s artistic movement that defied the traditional definition of artistic expression through explicitly realistic interpretations of photographs. The museum further embraced modern technology as part of the exhibition last month by inviting one of the artists, Robert Neffson, to participate in a chat via Skype.
Neffson’s paintings have been recognized and exhibited worldwide. He explains that in his work, he combines many different photos together, sometimes from drastically different times, to create a deceptively simple, hyper-real aesthetic.
“My process is very conventional and traditional.” said Neffson. “It’s basically paint and the brushes. The biggest misconception is that I take one photograph and just copy it and render it. And what is part of it is real fun is putting this thing together from hundreds of photographs."
oil painting
Credit Courtesy International Arts
Robert Neffson, "57th Street", 2011, oil on linen, Bernarducci.Meisel.Gallery, New York
Photorealism, as an American art movement, began in the 1960s. New York City gallery owner Louis K. Meisel coined the phrase to describe a group of artists who favored the new type of expression. Artists like Robert Neffson, Tom Blackwell, and Charles Bell attempted to reproduce what the camera recorded. OKCMOA Associate Curator Jenifer Klos says the painters used a 35mm camera to capture images, and then transferred them to a work surface so the viewer would understand it as an objective, identifiable art.
Klos explains how artists within this movement often relied on technology not only for recording a reference image, but for the physical process of creating the final works. Pointing to an enormous painting of a baby chick.
“This painting is by Peter Maier, called "Chick". We are looking in a baby chick that is painted on black aluminum panel… he used a very special paint created by DuPont. Peter Maier works for General Motors and design an automobile, so he is familiar with industrial materials and also the smooth surface of cars and the way that the paint apply to the cars, and very thin layers to appear very smooth. Now, if you do get closer you can decipher some small brushstroke that you can see with a human eye. But some of these are so detailed they truly do appear as photographs.”
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Credit Ana Nospal
Associate Curator at the OKCMOA Jennifer Klos stands next to "Chick" a photorealistic painting by Peter Maier.
The combination of vehicles, urban landscape, and the almost-photographic quality of the paintings perfectly portrays everyday environments, but captured with the skill and emotion required for fine art. Klos says some modern critics of the movement think this type of art now seems incomprehensible in our digital world.
“They have been just using photography to help then capture the detail and sometimes details the human eye cannot even decipher. And what you could see is that they are so detailed almost hyper-real that you think that the whole image is under magnifying glass.”
For artists like Robert Neffson, the painting and their brushes are the love of their life.
“Assembling, constructing this image that I have really in my mind, the rendering is not the biggest thing, what most people think." Neffson explained. "Everybody does it differently. Some people use airbrush. I never do that, because I really like, you know, just the gesture of moving my hand around and touching the painting I think it keeps it very much alive…”
“Photorealism Revisited” will remain on display until April 21, 2013.
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Email Address:Saliera Salt Cellar by Thomas Feichtner for Jarosinski & Vaugoin
For more than 150 years, the longstanding silver manufactory of Jarosinski & Vaugoin has been producing high-quality silver objects. At the beginning of the 20th century, the manufactory–founded in 1847 by Carl Vaugoin, who specialized in heavy, handmade cutlery–relocated to Zieglergasse in Vienna’s 7th district, just a few minutes’ walk from Feichtner’s current studio. Today, Jean-Paul Vaugoin represents the sixth generation of his family to continue the tradition of this renowned business. For their collaboration, Feichtner took inspiration from Jarosinski & Vaugoin’s history: during the late 1960s, the silver manufactory produced several replicas of the legendary Saliera by Benvenuto Cellini, of which one was presented by the Republic of Austria to Queen Elizabeth II as an official gift on the occasion of her state visit in 1969. The manufactory’s current collaboration with Feichtner has given rise to a series of silver spice containers that are gold-plated on the inside. The salt cellar can be tilted to remove salt through an opening with two fingers in order to sprinkle it. In this way, Feichtner gets the salt cellar’s users to playfully but consciously approach the concept underlying an object that sees little use today, rather than just to casually shake on salt. “I didn’t want to design a second Saliera–instead, I wanted to come up with a new take on its approach to salt,” says Thomas Feichtner of his design. “Saliera” will be first shown on the occasion of the opening of the Vienna Design Week 2013.
Saliera Salt Cellar, by Thomas Feichtner, for Jarosinski & Vaugoin
Meltdown Pendant Lamp by Johan Lindstén for Cappellini
Meltdown is an interpretation and attempt to make something beautiful from the disastrous nuclear accident in Fukushima. Would an actual meltdown occur and what would the impact be? The disaster is reflected in the lamps where the process already begun and the bulb are about to melt through the last defense of the glass.
Meltdown Pendant Lamp, by Johan Lindstén, for Cappellini
The Washington Collection by David Adjaye for Knoll
The Washington Collection for Knoll, David Adjaye’s first collection of furniture, transforms his architectural and sculptural vision into accessible objects for the home and office. The collection consists of two cantilevered side chairs, a club chair, an ottoman, a side table and a monumental coffee table. David Adjaye said, “Knoll approaches furniture as making connections between people and how they work and live their daily lives. This project has been an exhilarating and collaborative experience – an unexpected balancing act between the design and engineering processes. My original idea of what this furniture should be was continuously refined and transformed throughout.”
Commenting on Adjaye’s work, Knoll design director Benjamin Pardo said, “David is doing really innovative and important architectural projects, and what really interested us was to see that work on an entirely new scale.” Adjaye’s limited edition cast bronze coffee table reflects this cross-over. The sculptural table with a clear glass top is constructed from four cast bronze panels, and four connecting plates. The roughhewn exterior contrasts the highly reflective, hand polished interior surface. To mark our 75th anniversary the bronze coffee table is limited to an edition of 75.
The Washington Collection, by David Adjaye, for Knoll
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London, United Kingdom
Brock House, The Office Group
USM provided the Haller system for The Office Group’s new workspace in Brock House, London. Brock House was first the site of a church and then home to the Philharmonic Hall, hosting jazz concerts in the early 1900s. In the 1930s the building reopened as a cinema and later as an automotive showroom.
The history of the building is reflected in the design created by London-based Soda Architects. Inspired by the history, the design nods to the golden age of movies and car design through hints of chrome across the eight floors.
“Brock House presented the design team with an exciting opportunity to do something unexpected”, comments Nasim Köerting, Head of Design at TOG.
“With the building’s eclectic history as an orchestra house, grand cinema and automotive showroom, we had an abundance of inspiration on our doorstep – but it was important that the combination of these influences worked seamlessly to create an unusually peaceful space in the bustling heart of the city.”
The USM Haller system cleverly divides the ground floor and provides storage whilst maintaining a classic look. The steel blue Haller system is subtle and not overbearing. TOG have placed gaps between the storage and shelves allowing light to spill through and illuminate the rest of the ground floor whilst ensuring the street is semi-visible. The metallic structure of the Haller system complements the shiny surfaces present throughout the space in the tables and chair, whilst hinting at vintage cars which is part of the building’s heritage.
“Brock House is an island of calm, enabling members to come together to collaborate and co-create.”
If you want to purchase a USM Haller piece yourself design it now in our online configurator, or find your local sales partner here.
Discover more: Brock House | TOG
Photographer: Ben Anders
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Response 7: Publication Launch Event
Book Now
Immerse yourself in a world of artistic exploration at this publication launch event organised by Nottingham Trent University Students who have been collaborating with Nottingham Contemporary over a 10-week period to produce Response: Issue 7.
Inspired by the two current compelling exhibitions: Exposure by Paul Mpagi Sepuya and Again by Dora Budor in the Nottingham Contemporary galleries, Response 7 delves into themes of intimacy, exposure, materiality, deconstruction, and space, offering a multi-faceted exploration through a diverse range of artistic mediums.
Set amidst the inspiring surroundings of Blend at Contemporary, receive your complimentary copy of Response 7. Enjoy live poetry readings, engage with our interactive activity with mirrors to take away, meet the creative team, and receive a complimentary drink on arrival*.
*Complimentary soft and alcoholic drinks will be subject to availability.
About the event
This event is free to attend.
Booking in advance is requested.
Suitable for general adult audiences.
Children under 18 must be accompanied by an adult.
There will be photography and filming at this event.
The bar will be open to purchase cold drinks.
This event is inclusive for wheelchair users; our building is wheelchair accessible with lift access to all floors, and accessible and changing places toilets on the same level as the cafe.
This event is held in our cafe, Blend at Contemporary.
BSL interpretation is provided at this event.
Seating is provided.
At times throughout the event, light-levels will be lowered.
Ear defenders and communication cards are available to borrow from reception.
Find information about getting here, our building access and facilities by clicking here.
We welcome all visitors. We want our activities to be accessible and inclusive for everyone. If you have questions or specific access requirements, please get in touch so that we can support you. Contact us by emailing info@nottinghamcontemporary.org or phoning 0115 948 9750 or coming into our building.
Cookie Consent
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Gary Simmons
Screaming into the Ether
Metro Pictures
519 W 24th Street
Open by appointment
New York
Jul 7th 2020 — Sep 12th 2020
Find out more | Schedule a visit | Viewing Room
Active since the late 1980s, Gary Simmons has built an internationally-recognized and critically-lauded practice that takes to task the insidious ways in which American culture propagates racial stereotypes. For the 20 new paintings on view in “Screaming into the Ether,” the New York-born, Los Angeles-based artist resurrected the main cartoon characters from Looney Tunes’ “Bosko” series, which aired in the 1930s: Bosko, his “Little Sister,” and Honey, his girlfriend. The trio’s appearance and mannerisms, flagrantly drawing on the tradition of minstrel shows, reduced Black people to caricatures. After the civil rights movement, in 1969 the franchise resurfaced internally at United Artists, which had acquired the Warner Bros. archive from around the “Bosko” era, and ultimately included it among the ‘Censored Eleven,’ a now-infamous collection of animated features deemed too racially offensive for public release.
To revive the stars of “Bosko”—that is, on his terms—Simmons initially captured each cartoon’s historically-accurate likeness in oil paint before enacting his signature “erasure” technique across the canvases—a process of gently blurring the images with his hands. The aftermath reveals the characters as eerie, spectral-like shadows of their former, Looney Tunes-designed selves; with this, the smudged tracks of pigment made by Simmons’s physical “erasure” gestures materialize around the figures like electrically-charged auras. As it were, these unsettling results manifest an apt visual metaphor for the ways that racist artifacts can linger on in collective imagination, memories, and culture.
Gary Simmons, Screaming Into The Ether, 2020. Oil and cold wax on canvas, 96 1/4 x 72 1/4 inches.
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Cultura Circular: Sustainable Arts Festivals Exchange Programme is Back
An exchange programme for Caribbean and Latin American Festivals
‘Cultura Circular’ (Circular Culture) is back with its third cohort, in partnership with British Council Americas. The programme runs from September 2024 to April 2025 supporting arts festivals across Latin America and the Caribbean across a wide variety of art-forms from film to performance to literature.
For Cultura Circular, Julie’s Bicycle and guest speakers will be sharing learnings around sustainable good practice and the festivals will also exchange knowledge between themselves in networking sessions. This year the programme has expanded again, from 38 festivals across 8 countries, to 40 festivals across 10 countries! We welcome festivals from Chile and Jamaica joining the programme this year, alongside countries already involved, Argentina, Brazil, Colombia, Cuba, Mexico, Peru, Trinidad & Tobago and Venezuela.
Similarly to previous years, this year’s programme will be delivered in two courses of online training and knowledge exchange sessions, including individual mentoring sessions with the Julie’s Bicycle team and a networking session to enable collaboration and partnership development between the festivals. A new addition to the programme this year is the creation of a podcast. This will include team members from festivals involved in the Cultura Circular programme discussing their festivals’ sustainability actions and learnings from the programme.
Working across multiple countries and such a wide variety of art forms enables us to provide great impact and support to drive real change across the sector.
Who is participating this year?
The festivals involved in the Cultura Circular programme cover a wide variety of artistic disciplines; music, cinema, animation, videography, photography, performing arts, visual arts, literature and design.
Argentina: Festival Internacional de Cine de Derechos Humanos (FICDH); Festival Arte x igual; Fiesta Federal de las Orquestas Infantiles y Juveniles de Argentina; Festival Guateque Soundz; ANIMA2024 – XIV Festival Internacional de Animación de Córdoba.
Brazil: CoMA e Latinidades; Meeting Of Favela 2024; Kino Beat; Feira Preta; Baguncinha, o Festival; Se Rasgum; Favela Sounds.
Chile: Ventana Sur 2025; Fluvial
Colombia: Petronio Power en Alianza con el Festival de Música del Pacífico “Petronio Álvarez” y El Centro 312 de La Universidad Icesi; La Movida FIAC; Festival Internacional de Cine Golfo de Morrosquillo (FICGO); Festival De Arte Urbano De Mujeres IBANASCA; Festival Afrodiáspora: la Nación del Ritmo 2024; Encuentro Internacional de Artes y culturas digitales – MASS 2025
Cuba: International Environmental Film Festival “Isla Verde”; Eyeife Woman Festival
Jamaica: Calabash 2025; GROUNDWORK; The Shotlist
México: Luciérnagas para la Paz 2025; Festival Internacional Cervantino; Muestra de Cine de la Mixteca; What Design Can Do México GNP; Festival Internacional de Cine en Guadalajara
Perú: Mi Primer Festival; 10 Años; Ipanamu: Festival de Arte (SOS)tenible; Festival Internacional De Cine De Montaña – INKAFEST; Conciencia & Soundsystem
Trinidad and Tobago: Welcome to Freetown; Siparia Cousoumeh Festival
Venezuela: Festival: ¿Qué significa ser caraqueño?; Festival Ascenso de Fotos y Videos de Aventura; Festival Círculo Escénico
What did we learn from previous iterations?
The previous two years of Cultura Circular have provided valuable support to 71 festivals across Latin America and the Caribbean. 30% of the festivals reported involvement in cultural and climate action groups before the programme and 60% of festivals reported having a dedicated team for developing and coordinating environmental action.
After completing the programme, most festivals reported that our training was ‘excellent’ for giving them knowledge and understanding to improve their confidence to act on sustainability and climate change. In particular, the festivals appreciated the opportunity to network, develop conversations, and share learnings with other organisations participating in the programme. Many have set up Whatsapp groups following the networking sessions to be able to continue these conversations outside of the programme.
Initial conversations were held from the collaboration of organisations within this programme to set up Music Declares Emergency Brazil.
Examples of action that festivals are taking:
“We were frustrated that the city’s rubbish trucks deposited the waste we had separated at source in a single container. This encouraged us to work with contractors and suppliers who compost and recycle. Now, the city council offers separate collection services, which shows that the festival was the driving force for change in the region.”
“At our festival in Brazil we’ve set up a vegan food area where they don’t use any plastic other than single-use plastic, and before that, they do an awareness campaign for people to bring their own glasses (not glass) through social media to have more direct contact with the public.”
“We’re thinking about the start and finish times of our festival so that people can use public transport more safely and consequently avoid the increase in private transport.”
Considerations were taken around differences between the available systems in each country, such as the availability of clean drinking water and recycling systems. Participants were encouraged to be aware of what was immediately possible for them to take action and also explore areas where they may have more influence, for example, with local authorities to support the development of more robust recycling systems. In some countries, Festivals use cooperatives of recyclers to collect the waste; in others, they have been at the forefront of conversations and new agreements with drink suppliers to reduce packaging and reuse cups, and in most cases this requires the support of urban infrastructure innovation with city government.
To find out more about the Cultura Circular programme in previous years, read this blog by our Creative Green Programme Lead, Graciela Melitsko Thornton, written after the last cohort completed the programme.
We are delighted to see participants developing leadership skills and feeling empowered to upscale their projects and further develop their sustainable practice. As seen in the mentoring sessions, participants were open to exploring themes that they haven’t addressed before, such as calculating the carbon footprint, reviewing new arrangements for waste management, reducing the use of plastic and single-use materials, increasing vegetarian food offers, incorporating sustainable design from the planning stage, among others. Some festivals are already thinking of piloting ideas in their next edition. How to communicate the festival’s ambition and initiatives and engage with audiences is another crucial area many want to continue exploring.
We look forward to sharing reflections and practical examples of action from the festivals in our upcoming podcast – join our mailing list to make sure you don’t miss out.
Images from La Bienal de Música Córdoba
Relevant resources:
Future Festival Tools
Towards Zero Waste Festivals
JB Festival Resources
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Andrew Hutchinson
Antique Corkscrews
Click to enlarge
Price: POA
Medium: Acrylic
Size without frame: 14x10 in
Yorkshire wildlife painter and illustrator. Considered one of the best wildlife illustrators of his time. His clients include Land Rover, Barclays Bank, New York Botanical Gardens, Automobile Association. Dorling Kindersley Publishing, Royal Canin and the Duke of Edinburgh. Best known for his highly detailed and accurate images.
He was born in North Yorkshire in 1961. On leaving school he studied graphics and illustration for three years before going on to work as an archaeological illustrator.
In 1991, he & his wife Louise moved to the Highlands of Scotland where he had always found inspiration in the beauty of the Cairngorms. After ten years, the family moved back to Yorkshire to a country home where otters, badgers, foxes and a variety of wildlife are virtually on the doorstep.
He has exhibited among the world’s top wildlife artists in the USA since 1994.
Enquire about this piece
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Next lesson playing in 5 seconds
2.2 Brush Efficiency and the Layers Panel
In this lesson, we’ll cover our second tip for how to conquer brush efficiency. Memorize essential keyboard shortcuts related to the brush tool. Then, learn more about painting with the Layers panel for an improved workflow.
Related Links
2.2 Brush Efficiency and the Layers Panel
Hello everyone and welcome back to this course. In our second tip we'll learn how to make the most out of our preset brushes for efficient, no hassle illustrations and designs. Let's begin with keyboard shortcuts. Keyboard shortcuts are sometimes put on the back burner, although they're essential for helping you work faster in Photoshop. So memorize these keyboard shortcuts to help you create stronger, faster work with the brush tool. First, the letter B on your keyboard, selects the brush tool. Access the brush panel for more customization by hitting F5 on your keyboard, or by going to Window>Brushes. To change the brush size, hit the left or right square brackets to increase or decrease the size of this tool. When changing these options, hold down on the key for a seamless change or hit it just a few times to get the size you need. Similarly, you can also change the brush hardness with the left or right curly brackets. See the difference? Luckily, these options are also accessible by right clicking your canvas or selecting the drop down option while the brush tool is selected. Slide these options back and forth to get the settings you need. Creating digital illustrations often mean you have to know other tools too. In this case, the eye dropper tool is very helpful for color sampling. It automatically sets the sampled color as the new foreground or active color. So to access this option, make sure the brush tool is selected, then hold the Alt key. Click down over the color you need to add that color as your new foreground color. Then begin painting with it. Pretty helpful, right? If you have any problems with these keyboard shortcuts, you do have the ability to change them in the software preferences. I wouldn't recommend this however, as most tutorials will be dependent on the preset options currently available. For more help with brush efficiency, let's learn how it relates to the Layers panel. There are many misconceptions about digital art that I'd like to alleviate. One of them is whether or not you should paint on just one layer. And the only benefit I see with it is that it may help with file size. Otherwise, forcing yourself to paint on one layer is unnecessary and can hold back your learning experience. So instead, get into the habit of freely experimenting. Whenever you're unsure of painting a new detail simply create a new layer. Use this layer to test out the shading, lighting and colors of your work then decide if you like it. If you do, keep working on the layer or feel free to merge it with others to save file size. But if you don't, then delete the layer and create a new one to experiment again. I've had paintings that were 50 layers long and 250 layers long. But neither is a reflection of quality but more so how much I just decided to tinker or mess with the painting until it was finished. Another great thing about the layers panel is that you can use the brush tool to help in other art and design related projects. Add a simple layer mask to your images for instance to remove the backgrounds for non destructive editing. Learn more about this type of editing in my course, how to create a double exposure effect in Photoshop. Simply use a hard round brush with crisp clean edges to paint black onto the mask to remove the background completely. It's super simple and effective. I hope these initial tips will help you go far with brush efficiency. Let's move on to the next lesson in this course, where we'll learn a little more about pen pressure.
Back to the top
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Photo Notes A place to talk about making images.
February 24, 2010
Doing Business
Filed under: Commercial Photography,Photography Communication — John Siskin @ 6:26 pm
Mickey Mouse
I am often asked about the business of photography: how to get clients and how to charge clients and what to give clients. I can’t answer all these questions at once, but I did want to say some things about rights. I am not a lawyer, and these are only my opinions, but they are based on my experience. The thing I have to do first is to say some things about my clients. I work for businesses. The work I do is generally used for one of two reasons, either documentation or promotion. Of course a documentation shot is unlikely to be modified, because that might interfere with the use of the shot. I did macro shots of spark plugs for general motors because they needed to discuss the color of the deposits. They wouldn’t change those. I expect that a shot used for advertising or marketing will be optimized for the intended market. That is the client’s purpose for the shot.
The client has paid me to deliver a product. If they choose to modify the product, generally that is their business. So if I do a shot of a bank’s board of directors and the banks wants to swap one director for another I can’t stop them from doing that. The shot doesn’t reflect on me, as I am not credited in an annual report. So if the shot looks poorly it is not my problem. If the client paid the bill, if the client didn’t pay the bill that is a problem.
Indian Mortorcycle
I do have some concerns about what happens to my shots after I finish them. My largest concern is that a shot done for a contractor or an architect will be sold to a sub-contractor. I feel that I should be paid extra for this, because in cases like this my image is not being used to market a product, but has become the product. I try to approach situations like this in a reasonable manner, so it generally works out.
Finally there are times that images are stolen. A shot of mine was given to a major photography source book for a contest. They used the image on an in house comp that was later put on the web. I brought this to the publisher’s attention and was properly compensated. In a less pleasant situation some of my work, given to a stock agency, has been used multiple times on the web. I have never been compensated for this, and the stock agency is no longer located in the U.S. And so it goes.
I recognize that the situation is different when you work with individuals and families. Still, if a family commissions you to make an image, that will be part of the families archive, don’t they have some rights to that image? If they want their children and grand children to see them in a certain way, I think that should be available to them.
Martini, Rocks
I think that the real problem with all of this is the photographer’s income. Many photographers, especially portrait and wedding photographers, do not charge enough when they shoot. They give a cheap price for the shoot, and expect to make extra money on the prints or post work. Clearly, in an environment where perfect copies of digital files are very easy, it is difficult to protect this part of your income. Simply put I do not calculate into my original price any money from print or other post sales. I charge enough money to do the shoot, and charge that for the shoot. So it does not bother me to give a client full size files of an image they purchased. They can’t steal something that they have paid for. If you don’t charge enough for the shoot, and have a high charge for prints, you put yourself in a dangerous position.
As a commercial and advertising photographer I try to build relationships with my client, not maximize the profit from a single job. So I have one client that I have done more than 18 jobs for so far this year. No portrait or wedding client will give you that much work. While I understand that a portrait and wedding photographer may feel that she/he must maximize the profit from any single job, I try to maximize the profit over the long term. This also gives me security that the client will come back.
Regardless of what you do remember that you work for a client providing them with a custom product that they commission. It is always important to respect their ownership of the product that they paid for.
As always, I hope you will check out my classes at BetterPhoto.com:
An Introduction to Photographic Lighting
Portrait Lighting on Location and in the Studio
Business to Business: Commercial Photography
Once again, I’ve added images I like, commercial and peal
Thanks, John Siskin
Violin & Flowers
February 10, 2010
Buying Camera Gear
Filed under: Photographic Equipment — John Siskin @ 1:36 am
Shot For Aids Walk, Los Angeles
One of my first big opportunities in photography was selling cameras at a store in Santa Barbara: Russ’ Camera. Russ Eckerstrom took a risk on me and I hope I gave him good service. I learned a lot there, not just about photography. I leaned about buying and selling and serving customers: the kinds of things that have been important in my business as a photographer. The store is still in business up in Santa Barbara.
When I came back to Los Angeles and started my business I needed suppliers that were local and would carry the products I had to have. I was in a camera store every couple of days looking for film, Polaroid or chemicals. I dealt with a lot of stores that provided these products, but often the service was bad. Too often the sales people felt they needed to tell me they could do my job. I don’t like spending my money and having some guy behind the counter feel he needs to compete with me. Of course there were a few great sales people over the years, but they mostly left camera sales.
What I learned at Russ’ and saw in many stores is that camera sales is a tough business. I’ve seen a lot of stores die in the last few years, so I know this is especially true after digital. The mark-up on gear is low, the market competitive. It used to be that a lot of money was earned on photofinishing, but this too has taken a big hit. I particularly miss the stores that have a lot of junk; I do a lot with junk. You might check out my article on building cameras.
Congressman Waxmand shot for Aids Walk, Los Angeles
I want to recommend that you do business with Calumet Photographic. I have been buying stuff from them since about 1984. I used to pour over their catalog, and I learned a lot from that book. For me, a great supplier has the little things that make everything else work. I remember needing several 40.5mm to 52 mm step up rings: Calumet had them, in stock. When I need a camera battery or a gel for my lights I can get it at Calumet. When they opened a store in Hollywood, there was only one problem for me; it wasn’t in the San Fernando Valley. I can go in their store and actually see the products. The sales people treat me like I might know something. I have dealt with many big stores including a couple of the stores in New York. I don’t look forward to buying from them again. But I do hope to do more business with Calumet. I should also say that every employee I have dealt with at Calumet has been knowledgeable, which is good, and a nice person, which is better
Calumet is now associated with this site. I am very happy about this. If you would like to support this blog please visit Calumet through the link on this page. If you think I am being unreasonably nice I suggest you visit some large camera stores in Los Angeles and New York.
As always, I hope you will check out my classes at BetterPhoto.com:
An Introduction to Photographic Lighting
Portrait Lighting on Location and in the Studio
Business to Business: Commercial Photography
The pictures this time are just a few I like. They are linked to my site
Thanks, John
Shot with my 4X5 fisheye camera.
February 1, 2010
A New Tool For Lighting Space
Filed under: Architectural Lighting,Lighting Technique — John Siskin @ 8:25 pm
Modified Umbrella
If your goal is to light a human face you are talking about controlling light on about one square foot of surface area, if you are lighting head to toe, or even a small group, you are not talking about that much area. When you are trying to light a room you may be talking about thousands of cubic feet of space. The problems are not unrelated, but the solutions are going to be very different.
One of the most important tools in lighting people or product is the large light source. If you have a light source that is very large, and close to the subject, you can create soft shadowless light. The light seems to come from many directions, like the light on an overcast day. Of course this is because the light does come from every point on the surface of the light source, whether the light source is an umbrella, soft box or light panel. So lighting with a large light source can be relatively simple, since the position of the light is not as critical as with a small light source. As the subject gets bigger you need an increasingly large light source to accomplish the same thing. If you light a motorcycle (http://www.youtube.com/watch?v=pqEfShhW5pA) a large light source might be about 20X9 feet. But if you are lighting a room a large light source would need to be approximately as big as the room.
Since I haven’t seen a lot of soft boxes you could live in, or an umbrella that could keep the entire Mormon Tabernacle Choir dry in a rainstorm, I think that the only way to achieve a large light source in an architectural setting is to bounce the light off a wall or ceiling. This will work quite well if the surface you bounce off is white or close to white. The other concern, with the ceiling, is to keep light off, or nearly off, any part of the ceiling that is in your shot. I suppose you could bounce light off a large piece of seamless paper if your walls or ceilings weren’t white, but that sounds like it might be difficult to set-up. You could also repaint the room, but I don’t think that this solution is very practical. A bounce light will also cause reflections, but reflections from large light sources are not as bright as those from small light sources.
Recently I saw the way one of my students used an umbrella on a room shot. She pointed a shoot through umbrella at the ceiling. There was light all over the room and the ceiling from just one light. Of course there was not as much light as one would like bouncing off the ceiling, because the light had to go through the umbrella. I wondered what it would look like if you could bounce light off the ceiling and get light from the side of an umbrella. So I modified a white umbrella, by putting a hole in the center. I had to sew around the edges of the hole. The hard light went through the center of the umbrella and the umbrella diffused the light on all sides. This is a 360º light, so you get bounce fill from all over the room. The light worked wonderfully well. I have attached a before and after photo.
Without the new light
With the modified umbrella!
Of course I had to see what would happen with a portrait. The results on this test were less wonderful. The light needs to be place precisely, because it works as a hard light. In addition, since there is more hard light than soft light, the result is not really flattering to all subjects. Still the catch lights looked very fine.
Catchlights from the modified umbrella
I have a picture on page 58 of the New Yorker this week, I hope you’ll check it out. I also hope you will also check out my classes at BetterPhoto.com:
An Introduction to Photographic Lighting
Portrait Lighting on Location and in the Studio
Business to Business: Commercial Photography
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Gothic architecture
The interior of Reims Cathedral
Gothic architecture — the period of development of Western European and Central European architecture, appropriate Mature and late middle Ages (late twelfth to early sixteenth century). Gothic architecture replaced the Romanesque architecture of the era and in turn gave way to the architecture of the Renaissance period .
The content
In the second half of the tenth century came to an end the debilitating forces of Europe it is time for military confrontation with the Normans and the Magyars. France resumed the construction of abbeys and monasteries, serving in the main centers of knowledge and education.
Romanesque and Gothic architecture was impossible without architectural predecessors ‘ experience and their accumulated mathematical knowledge. The geometrical proportions prevailed thanks to the authority of scholars of Arabic Spain and of the ancient mathematicians, whose works are actively translated in medieval France. The geometry of the imaginations of medieval artists as a universal means of understanding and modelling the universe.
For the construction of the majestic Gothic Cathedral was required prospected deposits of stone, sand, lime, timber (wood) and the presence of lead. plates which covered the long goticheskaya. All of these conditions coincided in France, Spain, UK, Czech Republic, Italy.
The tree was not good for the gigantic structures, and the frequent fires limited the use of this material. The stone is preferred when creating sacral buildings, castles and feudal fortresses. Sources of white stone had served in France near Tour career. how a stone and carved detail was carried into Picardy. Artois. Champagne and even to England.
The construction was impossible without the proper equipment — steel tools, saws, blocks, large wooden wheels for the delivery of construction materials to a considerable height. The widespread use of these wheels and other engineering devices recorded in portrait miniatures, the paintings of Jan van Eyck and Pieter Brueghel the elder. Broken and accidentally saved the wheels of the time were Museum exhibits.
Dark Shelter
The hunchback of Notre Dame (Notre Dame) (FR. Notre Dame de Paris) — the geographical and spiritual "heart" of Paris, located in the Western part of the île de La…
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What could be more exciting than exploring the world
What could be more exciting than exploring the world: to gradually discover new countries, their culture, manners and customs, to admire the beauty of nature or just relax on the…
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Stonehenge, etc
Stonehenge and other megaliths, menhirs, dolmens, cromlechs Dolmen monuments. The mysterious megaliths of Britain, Ireland, the Mediterranean, Northern Europe and the Far East. No written sources, only a strange laconic…
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9c6c960c-c3cd-4e72-9ae5-40b02976bcda
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Mostrando 64 resultados
Descripción archivística
Sports, recreation and leisure
Imprimir vista previa Ver :
37 resultados con objetos digitales Muestra los resultados con objetos digitales
Northern Alberta Institute of Technology collection
• CA EDM MS-4
• 1969 - [ca. 1970]
The collection consists of records created or collected by various departments of the Northern Alberta Institute of Technology.
The textual records include reports prepared by students enrolled in the Architecture Department in conjunction with the English Department and created in 1969. Each report contains technical and historical information on a different building of architectural significance in Edmonton. There are 28 reports in total and include commercial, educational, religious, public and industrial buildings.
The photographs include the Edmonton Monarchs hockey teams [ca. 1960 and 1970].
Northern Alberta Institute of Technology
Resultados 61 a 64 de 64
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4f5a9cde-ed86-4168-860b-952ab676c5fe
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Ask Alexandra – January 2007
Question #1:
I have just finished watching ‘Who Killed the Electric Car’… I cried. I really did. I am so beside myself at the absolute insanity that is going on in our government and the auto industry. In an attempt not to rant (which I do from time to time…) I applaud you for your protest at the GM plant. I was so charged when I saw you sitting in that car and I got butterflies in my stomach knowing that someone was taking a stand and attempting to make a difference. I guess I would just like to know how to get involved most effectively. The environment is so important to me (in my daily life and the work I do as an architect) and I just don’t seem to ever feel like my efforts are going far enough to see change. Please let me know your thoughts. I appreciate you reading this and taking the time to think about it. Please don’t give up the fight. We need strong, independent thinkers who are willing to stand up for what is right out at the forefront.
Thanks for what you are doing.
Thomas Crowley
Dear Thomas,
I was thrilled to get your letter and to hear about your concern for the environment. You ask how you can get involved more effectively, and I say through the work you do every day, as an architect. There is sooooo much that can be done to make buildings more efficient! Buildings are a main contributor to global warming by generating 30% of the US CO2 emissions. The construction and maintenance of buildings are responsible for 40% of the energy use in the United States and 30% of wood and raw materials use. ( www.globalgreen.org/greenbuilding). You could be a true pioneer by designing buildings made of recycled materials and that use as little energy and water as possible. Buildings that make the most of natural light and that need little air conditioning or heating actually get more productivity from the people who work in them. Your clients could save money in the long run, be positive role models, and help the planet. I took a tour of the Natural Resources Defense Council building in Santa Monica, California (http://www.fscus.org/green_building/2006_case_studies/entry_5.php), the second most efficient building in the world (the first one is in India, I think) and the things we can do to improve how we design and build buildings are just incredible! So many brilliant ideas and options ( http://www.nrdc.org/buildinggreen ) Green building is a very new field, and you would be a pioneer.
I look forward to hearing from you how you decide to make a difference in 2007 and beyond!
Question #2:
I’m a long fan of yours since I first watched Paper Dolls and I always enjoyed watching your performance on Baywatch. Now that you’ve achieved so much on acting, have you ever thought about producing or directing movies and TV shows in the future? I think you can express your ideas, emotions and environmental activism through these forms of art.
Dear Brent,
I have always admired actresses who produce or direct. There are not enough female directors or producers out there! Although I did produce 2 educational films on overpopulation and overconsumption (Jampacked and Cost of Cool), I have never been interested in directing. I am currently working turning a book into a film, a true story that definitely embodies a lot of my values but is also a incredible tale. My true love remains acting, but it is also exciting to be able to have more control which is what happens when you produce a project.
Thank you for following my career all these years! I have 5 movies coming out in 2007, and I hope you enjoy them.
Question #3:
What do you feel you have done in your entire life that is the most accomplished thing you have done…Maybe not finshed or completely but the most accomplished YOU feel you have ever done that has made you proud of who you are?
Dear AJ,
The first thing that has made the most difference in my life is that I was able to overcome my long struggle with bulimia. I am now 15 years free from the overpowering need to binge on food and throw up. Being addicted is akin to hell, and if I still had that demon to live with every day I could not have found the happiness that I have today. The second thing is being with Ian, my husband. I believe that one’s choice of life partner is the most important external factor in one’s quality of life. He gives me happiness and joy every day, and he says I do the same for him. Being married to him is “the most important external factor in one’s quality of life” but I believe what truly is a measure of our happiness is what is internal, our personal peace and sense of purpose. This is inside each of us and not so much dictated by what we have or what we do, who we are with, what we look like etc. Which is why I mentioned overcoming bulimia first: without the work I did on my inner self, I would not have been able to overcome bulimia, and without overcoming bulimia I would not have been able to love someone else as fully as I do Ian. When I was a teenager, I didn’t understand the maxim that you have to love yourself to be able to love others, but now I understand. To love yourself is not conceited: it is an acceptance of who you are, a forgiveness of your flaws, and a celebration of your strengths without putting anyone else down.
Both of these things will never be completely completely accomplished: every day I try to be a better partner to Ian and every day I see in different ways my demon trying to come out. But I find joy in the journey of trying to be a better person!
Comments are closed.
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211adcde-7a1d-4a59-a4c6-901f1b5a7a91
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Literary Snapshots
These photogs run from the border of reality
With just one glance, great photography has the power to transport you to other locations and times. You lose yourself in aquamarine skies, emerald oceans, and cobblestone paths, and imagine -- even if for a moment -- you are somewhere other than your chaotic world. In “The Borders between Dreams and Reality,” documentary photographers Claudia Katz and Jen Sens present 40 original works with excerpts from literary masters in the genre of Magical Realism. “These are all documentary photos, but what happens in reality is often fantastic,” says Sens.
The women became friends while attending grad school in Gainesville. “Our work is really similar,” says Sens. “We got together and started looking through our images ... and while we were trying to describe our images, we started to think about [literary passages].” Accompanying Sens’s photo of a male swimming beneath the surface of South Africa’s olive green waters is a quote from “Dialogue with the Mirror” in Collected Stories by Gabriel García Márquez: “His body, sunk in the water of dreams, could move, live, evolve toward other forms of existence....” Sip on sangria as you lose your grip on reality today from 4:00 to 8:00 at the Miami Center for the Photographic Arts at Borders Fine Art Picture Framing. Call 305-649-0324, or visit www.dreamsandreality.com.
March 11-April 15
My Voice Nation Help
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Elizabeth Gallón Droste
(Bogota, Colombia, 1991) Multimodal ~ artistic researcher. She approaches relational more-than-human ontologies in landscapes in crisis, focusing on actions and potentialities of re-existence, through experiences, daily practices, memories, and affections. She is part of several networks and projects (Sinfonía Trópico, Klima/Krisis/Klitoris, entre moléculas) that revolve around art, science, and technology, approaching the collective and attentive listening of entanglements through sensorial~relational attunements, in key of other possible worlds. She holds an M.A. in Interdisciplinary Latin American Studies from the Freie Universität Berlin and a B.A. in Culture and Media Studies from the Bauhaus University in Weimar. She is currently a PhD candidate in anthropology at the International Graduate School 'Temporalities of the Future' at the Freie Universität Berlin, where she is navigating the process of voicing~listening to rivers. Among herr most recent processes and group exhibitions are: Navigating the Patchy Anthropocene (Ars Electronica, 2022); Imagine the Ocean Dry as Lavender (TBA21 academy, 2022); composting slow violence (documenta 15, 2022); The Driving Factor (ngbka, 2022).
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