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This is one of those columns I dread writing. Dave Stevens, one of our industry's brightest stars, died in March. Dave was a very special talent, but what's more important, he was a very special person. As an illustrator and writer, he created one of comics' great characters, The Rocketeer, a series that spawned a movie as well as renewed interest in '50s pinup queen Bettie Page. Dave was a private person who chose not to share his illness with the public, and, as a result, his death came as a shock to many. Sadly, this meant that he did not get a chance to see the degree to which he was loved by his friends and fans. Blessed with movie-star looks, Dave was a perfectionist in both his appearance and his work. Professionally, he refused to compromise his art, taking painstaking care in the creation of each painting or comics page. This was an approach that certainly cost him a fortune in potential fees and commissions, considerations which, to Dave, were secondary to the work itself.
Dave went to Madison High School here in Portland. It was during this time that I first stumbled into him at a local comics shop, Old Weird Herald's. He had been commissioned to re-create a Bernie Wrightson Swamp Thing cover. Though based on an existing work, that one painting made it clear that Dave was going to be a major talent. As the years passed, I was lucky enough to become one of his publishers, as well as one of his friends. All of us who knew him will miss him dearly. Our only consolation is that he will live on in the work he left behind.
Goodbye, Dave. You are truly one of the greats.
Mike Richardson
Dark Horse Comics
Censorship in Indiana?
PUBLISHERS WEEKLY put the spotlight on a new law in Indiana that could have a chilling effect on literary expression of erotica or sensuality of any kind.
If you're reading this blog, chances are you have an appreciation for "cheesecake", at the very least, and are able to understand that a book with some photos of Bettie (or paintings by Olivia, Jim Silke, etc.), don't belong ghettoized in "adult" bookstores. Well, in Indiana, to buy LET THEM EAT CHEESECAKE: THE ART OF OLIVIA at a Barnes and Noble, the bookstore will need to register with the state government!
Alison Morris, blogger on PW, explains:
One of the big topics in the bookselling world recently has been the news that the state of Indiana has put a new law on the books that will require any businesses that sell "sexually explicit material" to register with the state government. To quote from PW's article on this subject, "'Sexually explicit material' is defined as any product that is 'harmful to minors' under existing law. There is a $250 registration fee. Failure to register is a misdemeanor."
Indiana booksellers...are concerned that the state's vague definitions of "sexually explicit material" could get them into trouble for selling books on health and human sexuality, many titles considered classic literature, and who-knows-how-many young adult novels.
...How many art books can you think of that DON'T contain nudity? Or, to play the opposite end of the age spectrum, how many potty training books avoid images of naked toddlers?
...The American Booksellers Foundation for Free Expression has condemed the law on grounds that it is a violation of Indiana booksellers' (and customers') First Amendment rights and therefore unconstitutional. They are considering filing a legal challenge to the law.
The Bettie Page Blog would appreciate a "scene report" from Indiana. We'll help raise hell any way we can.
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Version 33 (modified by jero321, 11 years ago) ( diff )
This blueprint is based on the need to manage multiple types of information about buildings pre- and post-event. This blueprint is based largely on Gavin Treadgold's experiences with post-earthquake building damage assessment following the Canterbury Earthquake Sequence that started on 4 September 2010, and included the 22 February 2011 aftershock that killed 185 people, as well as the June 13 2011 aftershock that caused considerable more damage to the built environment.
The broad concept of the Building Information System is to provide an overview page for each building. The page will contain a header with key information about the building e.g. name, current status, type of construction, number of floors, type of occupany, primary contact, a small embedded map, and a small embedded photo to set the context.
The rest of the page would be similar to a blog, or social media wall, whereby there a log entries with the newest at the top. These log entries can conceivably be quite diverse forms of information. Early on in response, it may be as simple as adding a note e.g. media reports that a building has partially collapsed, later followed by photos, and eventually by various and multiple forms of building assessment. Each building would require various forms of media to be uploaded ranging from photos (some geotagged) to documents (e.g. scanned pdfs of survey forms, and engineering firm technical reports).
The concept is meant to be fairly similar to Facebook, but the focus is on buildings - effectively creating a wall or page for each building, and allowing all the relevant people and organisations to follow that particular building.
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For Olympic Games, London dreams of a Cloud castle
The Cloud, an ambitious structure planned for 2012 Olympics, has airy spheres, spiral walkways, data projection.
In this artist’s conception of the Cloud, visitors walk – and cyclists ride – up spiral ramps. Real-time information about the 2012 Games will be projected onto the spheres – if the project gets off the ground.
View Caption
A group of architects, artists, and other big thinkers are certain that they don’t have their heads in a cloud as they plan what could be the most startling structure to emerge from the London Olympic Games of 2012.
Called simply “the Cloud,” the monument would consist of two slender towers rising hundreds of feet into the air. Atop the twin spires float digital displays and viewing platforms for the public, who would climb up by foot or bicycle using spiral ramps wrapped around one of the towers. The summit would also feature giant inflated plastic spheres, some of which visitors could enter. Real-time information about the Games and the surroundings would be displayed by Google.
In an emerging century with more and more online experience, the Cloud aims to form a connection from the virtual world to the real world, “from the world of bits to the physical world, the world of atoms,” says Carlo Ratti, head of the SENSEable Cities Laboratory at the Massachusetts Institute of Technology in Cambridge, Mass., and a member of the international team working on the project. Other players include Arup, the architectural firm that designed the Sydney Opera House. Umberto Eco, the Italian philosopher and popular novelist, is serving as an adviser.
Recommended: Could you pass a US citizenship test?
The Cloud team wants both the finished product, and the way it is conceived and financed, to be revolutionary. While traditional monuments emphasize their grandeur and permanence by expressing a sense of mass and weight, the Cloud “upturns the monumental tradition” with its airy, almost ephemeral design, says Sarah Goldhagen, architecture critic for The New Republic.
“I think the idea is incredibly cool,” she says. Ms. Goldhagen, who also edits an academic journal on modern architecture, is one of three experts the Monitor asked to look at the plans for the Cloud, which are posted online at raisethecloud.org.
The Cloud is designed to be “carbon neutral,” creating the energy it needs to operate from the use of regenerative brakes (similar to those used on hybrid cars). While visitors put in the initial effort by climbing the monument, the Cloud scheme then produces electricity as an elevator lowers visitors back to the ground. Solar panels will also generate electricity.
An Internet-based effort
The design team, which has met only once, last summer, includes members in Britain, Germany, Italy, Australia, and the United States. It mostly works over the Internet with little formal structure, though Professor Ratti at MIT is acting as a coordinator.
The project is among a handful being considered by London Mayor Boris Johnson to become an official part of the London Games.
But even if the Cloud isn’t chosen by the mayor, its designers plan to find an appropriate venue in London in which to build it in time for the Games. “We can build our CLOUD with £5 million [$8 million] or £50 million,” says Ratti on the group’s website. “The flexibility of the structural system will allow us to tune the size of the CLOUD to the level of funding that is reached.”
The group will raise funds via the Internet using social-media sites such as Facebook and Twitter.
“[W]e would like the Cloud to become a symbol of global ownership built through a bottom-up fundraising effort,” Ratti says on the website, akin to the effort used by President Obama’s campaign to collect a large number of small donations online.
The idea of a cloud also evokes “cloud computing,” the concept of storing, manipulating, and sharing data online rather than in an individual computer. Ratti also uses the high-tech buzzword “crowdsourcing” to indicate how he expects a wide number of people to contribute thinking and funding to the effort.
Google says it will supply content for the Cloud’s digital displays, using Google Trends, Google Maps, and its social-networking feature Google Latitude. “For instance, we could provide a custom feed of (aggregated and anonymous) searches made by Londoners during the Olympics to give a real time ‘barometer’ of the city’s interests and mood,” reads a statement from the search-engine giant. In addition, Google promises free advertising for the project through its website and YouTube, including fundraising efforts.
Google’s feeds, Ratti says, could provide information to viewers near the Cloud about “energy use, spectator numbers, decibel levels, medal updates, transport patterns, mobile phone activity, Internet traffic, and [more].”
The shape of the Could evokes the elongated triangle of the Eiffel Tower standing on its head, something its designers see as itself a metaphor. While that 19th-century monument was a groundbreaking homage to the age of steel and heavy industry at the time, the Cloud involves “a lighter process that produces reams of data rather than plumes of smoke,” writes Dan Hill, a team member and consultant at Arup, on the website.
Could the Cloud become a seminal example of 21st-century architecture? “I very much hope so. I mean, I can’t think of a precedent like it,” says team member Alex Haw, a London-based artist who trained as an architect. He contrasts the Cloud to the London Eye, the giant observation wheel that opened on the banks of the River Thames in 2000 as part of the millennium celebration. The operators of the Eye claim it is now London’s most popular paid tourist attraction.
“The Eye is almost an 18th-century phenomenon, really, a 19th-century structure,” Mr. Haw says. “It’s an incredibly old-fashioned idea, a Ferris wheel.... We hope the Cloud will be a good example of something that could replace it.”
The chief challenges ahead, Haw says, are finding a large donor, whose commitment would then attract smaller donations, and looking for an appropriate building site.
Best use of resources?
Experts contacted by the Monitor remain intrigued by the Cloud, while expressing some reservations. “The real test will be whether the carbon footprint of this large-scale design will fulfill the original intentions,” says Mikyoung Kim, an environmental artist, urban designer, and professor at the Rhode Island School of Design in Providence, in an e-mail. “I look forward to seeing ... this design concept come to fruition and only then can an assessment about its innovation be understood.”
Peter Bohlin, a partner at Bohlin Cywinski Jackson in Wilkes-Barre, Pa., questions whether physical projects on this scale are appropriate given the world’s economic predicament. “One wonders if one can do many of these things in a more modest way that is more resource sensitive, and be more touching in the process,” says Mr. Bohlin, who was honored by the American Institute of Architects with its Gold Medal, the profession’s highest individual honor, in December. “I don’t know, but certainly these are questions.”
Bohlin adds that he doesn’t mean to sound negative. It’s “a wonderful, extraordinary challenge and one that interests me ... greatly,” he says. But in trying to employ cutting-edge technologies, the Cloud may confront long-range problems. “You can very easily be trapped in those technologies” after hitting unforeseen complications, he says.
“The Cloud is quite ethereal,” he says. “It’s really an interesting challenge how to make ephemeral things out of real materials.... It is hard to make dreams out of physical things.”
Some of the technologies may not work as expected, The New Republic’s Goldhagen points out. Each of them “has to pan out in the way they say it will in order for this monument to have the kind of effect that they are hoping it will,” she says. “We all should wish them absolutely the best and cross our fingers that they’re going to be able to [get it built].... These people are very cutting-edge engineers, so maybe they’re going to be able to pull it off.”
Team member Ratti, for one, says he’s optimistic that when the Olympics open in 2012 the Cloud will be a technological marvel floating overhead – and for a long time to come. “Hopefully, like the London Eye, it will stay forever,” he says.
[Editor's note: The original version of this article misstated the Cloud's Web address. It's raisethecloud.org.]
Share this story:
We want to hear, did we miss an angle we should have covered? Should we come back to this topic? Or just give us a rating for this story. We want to hear from you.
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Enter the largest outdoor art gallery on Earth - the Inside Australia exhibit created by world-renowned artist Antony Gormley. Here, stretching across 10 square kilometres, a collection of 51 individually cast black chromium steel sculptures stand against the dramatic backdrop of Lake Ballard's white salt plain.
Day tours from Kalgoorlie regularly visit the art installation, or you can drive there in 45 minutes from Menzies, or in one hour and 45 minutes from Kalgoorlie.
Each sculpture represents one of the local residents of Menzies. For a fantastic overview, climb the hill and see the sculptures disappearing into the distance, each connected by the footprints of visitors.
The Inside Australia exhibit forms part of the self-drive Golden Quest Discovery Trail, which takes in eerie gold rush ghost towns, historical gold mining sites and the former home of US President Herbert Hoover in Gwalia.
The best times to visit are early morning or late afternoon, when the sculptures' shadows stretch across the lake. Allow at least two hours, but it will take considerably longer to view all 51 sculptures as they are spaced 500 metres apart. Always walk with a friend and carry water as the heat can be extreme during summer.
• Family Friendly
• Picnic Area
• Public Toilet
• Caravan / Camper Trailer / Campervan Sites / Campsites
• Art & Culture
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New York Design Center | 200 Lexington Avenue | Suite 1006 | New York, N.Y. 10016 | P. 212-696-0080 | F. 212-696-4248 | Email: info@renaissancecarpet.com
Major Modern Renaissance
By Lissa Wyman, as seen on www.rugnews.com, Jan. 5, 2010.
NEW YORK -- Renaissance Carpet & Tapestries is expanding into the domain of contemporary design with the introduction of the Renaissance Modern collection.
Renaissance is initially showcasing approximately 50 designs in its new Modern collection. The rugs are made in Nepal in combinations of wool, silk and soy protein fiber using Tibetan weave construction. Both stock and custom colors, shapes and sizes will be available.
The company is also offering an extensive repertoire of hand made artwork in new Contemporary designs for custom orders, as well as some new designs inspired by archives of French textiles from Art Nouveau and Art Moderne periods of the 1920's and 1930's.
Long known as a resource for opulent Aubussons, Savonneries and Tapestries in addition to Persian, Indian & Chinese designs, the company is now making a major commitment to the luxury market for modern design.
"Because Renaissance Modern is a completely new endeavor for us, we also explored new approaches for sourcing designs," said Soleimani.
"We were looking for fresh ideas that were urban and sophisticated, so we sought out young edgy urban artists who had no preconceived ideas about what a rug should be."
The Renaissance Modern Collection will begin to be introduced during the Atlanta International Rug Market, said Soleimani.
"We are making a commitment to the contemporary business and this is just the beginning of a program we hope will become a major growth area for us," he explained.
" In the future, we hope to broaden the scope of this category with new price points and designs. We also think it provides new opportunities for us in the hospitality field as well as new alliances with luxury contemporary furniture makers."
Soleimani stressed that the company's long-standing partnerships in core products will not change. "The Modern Collection represents expansion into new territory while we continue our long-standing commitment to traditional designs and weaves," he said.
Winner Best Contemporary
As seen on www.ruginsider.com, Jan. 5, 2010.
Renaissance Carpet & Tapestries is proud to announce the bestowment of 'Americas Magnificent Carpet Award' for the 2010 Best Contemporary carpet. this award was presented at The AmericasMart show sponsored by Architectural Digest.
The winning carpet is part of our new Modern Collection from Nepal. This collection marries hip and edgy designs from urban artists with stunning colors and luminescent patterns of highest quality wools, 100-knot construction, and soy-silk protein.
The use of soy-silk protein allows a smoothness and shimmer as luminescnt as silk while simultaneously being a green, environmentally friendly fiber, composed of 100% naturally biodegradable material with no need for petrochemicals.
A Royal Seal of Approval
As seen on www.hali.com
In 1989, Renaissance Carpet & Tapestries embarked on an ambitious mission to revive the old art of French carpet and tapestry weaving. With M. Philippe Hecquet, the last great artist and manufacturer from Aubusson in France, and his assistants, Renaissance have achieved an internationally acclaimed standard of perfection and authenticity.
Today the Savonnerie and Aubusson carpets recreated by Renaissance decorate museums, palaces, châteux and prestigious homes worldwide, among them the Appartement des Gardes Francaises in the Château de Versailles, and the Albertina Museum in Vienna.
These carpets, originally created for the Kings of France, are now enjoyed by the wider public.
These carpets commissioned by French kings from their own workshops based at an abandoned soap factory outside Paris (hence the name Savonnerie), decorated the grand galleries of the Louvre from the 17th century, and their luxuriousness and fine weave have never been surpassed. Inspired by this tradition, Renaissance was the first to recreate carpets in the style of Louis XIV rugs ordered for the decoration of the Louvre, a task from which many companies would wisely have hidden. But Renaissance has achieved the depth of colour and perfect rendering required to create this masterly ornamentation. It is a rarely seen three-dimensionality that makes it hard to believe that the scenes you are viewing are not a painting or sculpture. The complexity, realism and sophistication of the central panel are beautifully balanced by the extraordinary abundant floral scrolls and acanthus swags in the corners of the field. It is a rug of kings.
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Art News: Why Can't Slim Aarons Get Any Respect?
By David Schonauer Wednesday October 12, 2016
Slim Aarons, who would have turned 100 this month, was the peerless chronicler of the wealthy at home and at play through the 1950s, ’60s and ’70s. His finely composed images of jet setters, socialites and celebrities, shot primarily for Town & Country magazine, offer unique view of society’s upper strata and a world of glamour that was coming to an end. A selection of his work is featured in the new book Slim Aarons: Women (Abrams), while New York City’s Staley-Wise Gallery celebrates Aarons's career with an exhibition opening on October 27 and running through November 26.
Meanwhile, Patricia Bosworth, author of an acclaimed biography of Diane Arbus, has penned a tribute to Aarons in the October issue of Town & Country. Aarons, she notes, roamed the world to photograph the rich and privileged in their “hitherto impenetrable enclaves” in places like Newport, Rhode Island and Capri. In doing so, Bosworth declares, he was a first-hand witness to the merging of society and celebrity — an “electric, uneasy mix,” she notes, that “currently flashes across our television screens, the covers of our magazines, and the feeds of our social media accounts.”
Why then, she asks, can't Aarons get any respect from the art world?
“For all the interest in his subject matter and, increasingly, in his life, there hasn't been a serious critical or scholarly assessment of Aarons's work,” writes Bosworth.
Aarons, who died in 2006, did not spring from the wealthy class. Born George Allen Aarons, he grew up in Manhattan and at 18 enlisted in the US Army. He ended up in the press corp, starting in the darkroom. He later served as a combat photographer in World War II, stationed in North Africa and Rome.
“Rome was really his favorite spot,” noted Aarons’s daughter Mary recently at the Huffington Post. “At one point he also went to London and Paris, and then all throughout Europe. His letters remind me very much of that film The English Patient. The soldiers were in some beautiful places, but some pretty horrid things were going on around them.”
After the war he moved to California and became a celebrity photographer, shooting for Life, Town & Country, Holiday and other magazines. “My father became familiar with being a sort of a well traveled, cultured guy,” notes Mary Aarons. “He had access to the best of the best. He was exposed to a lifestyle, and he realized there was a world beyond New York City and the Northeast.”
“[H]e was a classic outsider looking in, and as such he idealized the rich,” notes the Staley-Wise Gallery. “The women are beautiful and exquisitely dressed, the men handsome and poised.”
The new book focuses on the women — including Audrey Hepburn, Jackie Kennedy, Diana Vreeland, and Marilyn Monroe — whose elegance, charm, and glamour animated his work.
Why have his photographs remains so popular? “I think the mis en place and settings just look good,” says Mary Aarons. “The color looks good and the people look good. For the most part the pictures don’t look dated. The era he shot in is popular once again. He photographed people when they were looking their best.”
Photographer Bruce Weber told Bosworth that Aarons “really changed the way we looked at old-school elegance and gave it its own vocabulary.” Photographer Douglas Friedman added, "Slim was an anthropologist with his camera. He documented an entire era.”
If that is the case, wonders Bosworth, why aren't his photos in more private collections or museums?
One possible answer offered by an art expert is that Aarons's original collectors were his subjects — and they have aged out of the market. Bosworth doesn’t buy it. “I would say it's because his work is too popular and commercial, a turnoff for most museum curators,” she writes. “This would explain why there are no Aarons images hanging at MoMA or the International Center for Photography.”
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The series ‘Kynö’ presents documentary photos in symbiosis with fine art, which results in material that emphasises everything inherent to the island of Kihnu – patterns and beautiful colours as the result of human activity, on one hand, and pristine nature on the other.
Kihnu (formerly called Kynö), the largest island in the Gulf of Riga, is on the UNESCO list of Masterpieces of the Oral and Intangible Heritage of Humanity. The documentary exhibition project studies the role of calico clothes in everyday attire, which has never been recorded like this before. The landscapes that have been added to the portraits make it possible to view two essential facets of Kihnu life at the same time: its people (the torchbearers of tradition) and its nature (the living environment in which traditions are placed, as well as people’s livelihood). Juxtaposition with the island’s nature creates a visual story, a combination whose parts support one another but also emphasise polarity, where calico fabrics appear as the chorus.
All of the portraits were taken outdoors in natural light, using medium-format film camera and 120mm film.
The exhibition Kynö/Kihnu about Kihnu island's community has been on display at the following venues:
2019 European Art Centre, Bialystok, Poland
2018 Rathausgalerie, Greifswald, Germany
2017 Kihnu museum, Kihnu island, Estonia
Information about artist:
Birgit Püve (born 7 November 1978) is an Estonian photographer and photo artist. A former journalist and editor, Püve concentrates on landscapes, but also portrait photography and the presentation of human nature, focusing on memory and identity. Birgit Püve's work has been shown in exhibitions in Estonia, Latvia, Russia, France, UK, United States, Canada, Austria, Germany, Poland, winning several reputable awards.
December 2, 2021
Venture Café Warsaw Foundation Partners
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Ürün bilgisine atla
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Bauhaus - Sutterlin Badeherstrasse (1923)
Bauhaus Exhibition Poster from 1923. The Bauhaus was a German art school operating from 1919 to 1933, combining crafts and fine arts.
You can like other Bauhaus posters like Less Is MoreBauhaus Double Eye, and Bauhaus Ausstellung if you like the Bauhaus Exhibition poster.
Size ☞Poster Boyutları
Normal fiyat 230.00TL
Normal fiyat İndirimli fiyat 230.00TL
İndirim Tükendi
Product Description
Modern wall posters are all over your home whenever you want!
- Printed on 300 gr matt coated paper.
- The design is surrounded by a white border.
- Ships within 48 hours.
- Packaged and sent in a durable tube.
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220701 ARCH 211 (permalink)
Order Instructions:
To order this photo, send Craig Chandler an email and include the text '220701 ARCH 211'.
Lloyd “Bud” Shenefelt, Assistant Professor of Architecture, critiques a hanging design by first year masters student Abie harder of Asheville, North Carolina in the d.Make summer class. The class is re-imagining the Haymarket gallery alley. July 1, 2022. Photo by Craig Chandler / University Communication.
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Jaqui Seerman updates interiors of LA bank building to create Hotel Per La
A new hotel occupies 1920s financial institution headquarters in Downtown LA, where by Jaqui Seerman refreshed community spaces to contain a botanical-themed lounge and a mirror-lined arched gallery.
Lodge For each La is housed in the neoclassical Giannini Making, constructed in 1922 as the headquarters for the Bank of Italy, and requires the position of the NoMad Los Angeles which closed its doors in March 2021.
Resort For every La replaces the Nomad Los Angeles in the 1920s bank headquarters
Its 10,000 sq. feet (930 sq. metres) of public and occasion areas have been refreshed by regional inside designer Jaqui Seerman, who used the 12-storey property’s Italian link to inform her updates.
“A nod to the building’s storied commencing as a lender for the persons, the ‘Per La’ title interprets to ‘for the’ in Italian,” mentioned the lodge.
“[The bank’s] founder, Amadeo Pietro Giannini, thought in the dignity and qualities of those people commonly missed, signifying the hotel’s inclusive spirit and identify, basically indicating ‘for Los Angeles, and persons like you’.”
A mirror-lined arched gallery
A mirror-lined arched gallery opens into the primary foyer
Demarcated by a pale blue awning, the hotel’s entrance has been relocated from 7th Road to Olive Street, leaving the doric columns throughout the grand facade totally seen.
Via the doorways, attendees locate themselves in a double-peak lounge stuffed with vegetation and cozy chairs protected in botanical patterns.
The custom entrance desk is by Voila Resourceful Studio and the hand-painted tapestry at the rear of is by Jessalyn Brooks
An arched gallery lined with mirrors sales opportunities to the lobby, located in what was at the time the principal banking hall.
In the reception location, a tailor made-made curved plaster front desk affected by linen material was created by Voila Imaginative Studio, even though a hand-painted tapestry that hangs in the niches behind was developed by LA muralist Jessalyn Brooks.
Purple games room
A purple game titles home attributes commissioned artwork and furniture from neighborhood artisans
A rich purple lounge characteristics a new sport cupboard, as effectively as commissioned artwork and home furnishings sourced from community artisans.
Event spaces assortment from a second-floor courtyard for private outdoor dinners, to more substantial spaces for up to 850 men and women.
Dining table in outdoor courtyard
A next-floor courtyard hosts non-public outside dinners
Dining options in the resort include For each L’Ora, which serves Italian delicacies and capabilities a mild colour palette across curvaceous structure components motivated by the early 2000s.
“The bar of the cafe functions as a spectacular centerpiece, with a tailor made-made marble prime in shades of green, gray, and white, and globe-shaped mild fixtures, although customized white plasterwork on the entrance of the bar presents a new perception of texture,” mentioned the lodge operators.
Adjacent to the cafe is a casual cafe modelled on a Venetian coffee store, serving beverages, pastries and treats.
On the rooftop, Bar Clara gives cocktails for poolside lounging and hosts are living performances with the LA skyline as a backdrop.
Guest room
Visitor rooms are adorned to echo the ornate blue and gold ceiling in foyer
The 241 guest rooms and suites have retained substantially of the aesthetic created by French architect Jacques Garcia for the NoMad, referencing the restored gold and blue ceiling in the foyer.
Downtown LA, the city’s most walkable neighbourhood, has expert a cultural renaissance above the past decade.
The hotel occupies the neoclassical Giannini Building
The hotel occupies the neoclassical Giannini Constructing in Downtown LA
The space is now home to numerous design and style-forward resorts including Kelly Wearstler’s Suitable – which was just named hotel and limited-keep inside of the year at the 2022 Dezeen Awards – a Soho House, and an Ace Resort.
For each La is the hottest resort in the US to open up in a transformed bank building, adhering to the likes of The Durham in North Carolina and The Quoin in Wilmington, Delaware.
The pictures is by The Ingalls.
Next Post
10 small bedroom decor ideas to get the most out of your bedroom
Not blessed with the largest of bedrooms? Not a trouble! You can continue to decorate a modest bed room to make it a winner in the design and style stakes, with good smaller bed room decor tips. From clever storage to realistic layouts and assertion pieces, there are plenty of […]
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Scandinavian interior: 10 calm living rooms
Functional and relaxed Scandinavian interiors are a solution for all times. Natural materials, elegant accessories and muted colors encourage relaxation and pleasant communication.
1. Norm Architects: house as part of the landscape
The Archipelago House project by Danish studio Norm Architects combines Scandinavian building traditions and Japanese craftsmanship. The facades of the house are covered with pine boards; wood also dominates inside. Contrasting with it is a modern self-leveling floor, the surface of which resembles stone in texture and color. The main living space is a two-height open space divided by a kitchen island. On one side there is a living room with a stunning view of the rocky hill with all its crevices and colorful mosses. On the other hand, the dining room opens onto an open terrace and in warm weather can be connected to it through sliding doors. The house is a container of natural materials and neutral colors, an extension of the natural landscape. Comparing interiors and landscapes, it is interesting to observe how the shades of rocks, moss, and dry grass seep into the living room, dining room, and kitchen.
2. Andreas Martin-Löf: apartments in laboratories
Andreas Martin-Löf Arkitekter has transformed the former laboratories of the 1896 Stockholm Pharmaceutical Institute into bright apartments with historical details. In the center of each apartment is a combined kitchen-dining-living space under a spectacular vaulted ceiling. Translucent curtains on thin black metal curtain rods provide an abundance of natural light without drawing attention away from the original windows. The palette was chosen to match the facade of the building – it is neutral light, with a wooden door, black awning and stair railings. Hence the shades of ivory and black marble, complemented by snow-white and graphic black details. The strict palette is softened by wooden furniture, enhancing the resemblance to old laboratories. The decor includes custom mirrors designed by Andreas Martin-Löf and lamps reminiscent of Bunsen burners.
3. Lotta Agaton: apartment in muted colors
The model Scandinavian interior Terra, created by the Danish gallery New Works in collaboration with the famous and successful stylist Lotta Agaton, and Lotta Agaton Interiors, arose as a reaction to the lockdown. A Scandinavian interior in the bustling center of Copenhagen is designed to provide an escape from the worries of the world around you, providing comfort and stimulation at the same time. To achieve the right balance between relaxation and energy, Lotta Agaton chose muted tones and warm textures. Soft shades of dusty olive and soothing gray combine with natural oak, textured wool and fluted glass to create a look that harmoniously unites people, objects and the environment.
. Norm Architects: artistic mix
Created by Norm Architects in collaboration with Dux and Menu, the installation, titled “The Sculptor’s House”, is a subtle mix of contemporary Scandinavian design. An apartment in the center of Stockholm has become an artistic haven and meeting place for the artistic public. In the four rooms, in addition to recognizable pieces of furniture and lamps, you can see tactile sculptures by the British Nicholas Sharey, functional ceramic objects by Sofia Tufvasson and Atelier Armand, monoliths from Östersjösten limestone and marble and plaster skirting boards from St. Leo. The space has a clear geometry and is composed of modernist lines that blend perfectly with the classic details of the building.
5. TypeO: a hotel for a break from people
Micha van Dinther and Magnus Wittbjer, founders of design and content agency TypeO, opened a one-room hotel in Skåne, Sweden. TypeO Loft is located in a separate part of the traditional 1842 stone manor house where the founding couple live and work. Space of 50 sq. meters includes a living area and a specially commissioned Nordiska Kök kitchen, followed by a cozy bedroom and bathroom. Every element of the space was designed to showcase the landscape and encourage guests to slow down and enjoy a relaxing break. The interiors have been carefully designed to create a relaxed atmosphere. Clean lines and functional pieces reign here, many of which, from a vintage Togo sofa from Ligne Roset to tableware from Studio Vit, are available for purchase.
6. Tommy Rand: Architect’s House
Danish architect and developer Tommy Rand built a two-story house for himself and his family on the outskirts of the town of Aarhus in Denmark. The interior is based on the contrast of two primary colors: gray, like poured concrete or Norwegian slate (walls and floors), and golden brown (wooden elements). The best embodiment of this contrast is the spiral staircase, whose curved, sculptural form stands in stark contrast to the surrounding concrete walls. This contrast is not just decorative – it draws attention to the complexity of the design. The combination of concrete and wood gives the house a fresh and soft feel. The layout is determined by the volume of the building. On the ground floors there is a living room, kitchen and dining room, as well as a staircase, garage, two children’s bedrooms, an office and a bathroom.
7. Joanna Lavén and David Wahlgren: House of Designers
Joanna Laven, renowned Swedish stylist and designer, and her partner David Wahlgren created their family home, Villa F, near Stockholm. In the setting, the authors moved away from the Scandinavian cliché, which implies light wood and whitewashed surfaces. The house is filled with furnishings in deeper tones, with dark teak in the cabinets, doors, radiator screens, space dividers, balustrades and other details. Most of the parquet, the masonry of which is known in Scandinavia as “Dutch”, remained from the previous owners. New parquet has appeared in some areas. Wallpaper was abandoned in favor of paint. Joanna Laven’s signature style, in which there is an obvious penchant for combining furniture from different periods and styles, is also evident in her own residence: here you can see objects from the middle of the last century, and works of recent years.
8. Mar Plus Ask: apartment instead of supermarket
It’s hard to imagine that this aesthetically minimalist apartment in Berlin’s Kreuzberg was a regular Schlecker supermarket before it became the studio home of the architectural duo Mar Plus Ask. The interior exhibits Mediterranean and Scandinavian influences in the form of smooth plaster walls, three-meter-high oak window frames, and bespoke furniture including a log dining table. The spacious space, located in a 1900 building, has four-meter-high ceilings, poured concrete floors, and a private courtyard garden.
9. Home Studios: apartment for a family with children
Brooklyn-based Home Studios, a studio led by Oliver Haslegrave, has created stylish interiors in Manhattan. The family’s New York apartment is located in a building in NoHo, a historic neighborhood in Lower Manhattan, between the East and Greenwich Villages. The house uses a wide range of materials, but at the same time, it looks like a single whole. From neutral wall tones in living rooms to accent tiles in bathrooms, soft minimalism serves as the perfect backdrop for an art collection and contemporary design. The star of the show is Farrow & Ball’s Pointing paint – a white paint with a subtle reddish tint, complementing other colors – cream, copper, and sandy brown – chosen for their soft quality – all of which work together to increase warmth.
. Daytrip Studio: home in shades of beige
Daytrip Studio renovated the Victorian townhouse Powerscroft Road II in Clapton, east London, creating an interior with a calm, elegant ambience. Flooded with soft light, the home has been redesigned to reflect the distinctive characteristics of the original structure. The designers note that the basement has been transformed to “create a spacious and bright lower kitchen and living area with a continuous polished concrete floor that flows effortlessly into the garden space.” The main color in the interior was beige and its shades. Warm, tactile materials are used throughout the home—Douglas fir wood, honed marble, lime-clad walls, and light-colored powder-coated metal. The designers explain that “the artful continuity of materials and finishes allows old and new to flow into each other.”
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194th RSA Annual Exhibition
In February 2020 the Royal Scottish Academy (of Art and Architecture) ran their pre-selection process for the 194th Annual Exhibition. The two pieces of work that Hoskins Architects had submitted were selected to progress. The process of curating and installing the exhibition was then completely disrupted by the Coronavirus pandemic; the introduction of lockdown measures meant the Academy had to move to an online platform. The work below formed part of the online exhibition, which ran from early April until the end of May.
'Building On'
For our studio, making meaningful projects always begins with a deep understanding of what came before; of what—physically, historically, culturally—we are building on.
(1/2) Aberdeen Art Gallery
Aberdeen Art Gallery occupies a building complex designed and substantially extended between 1873 and 1926 by A. Marshall Mackenzie. By 2009 the complex no longer met the demands of the institution or did justice to the extraordinary collection. A rigorous process of research clarified the relative significance of the parts of the A-Listed complex. It offered new insights into the original architectural intentions, the historical context for the incremental alterations, and extensions to the complex over time. This allowed a clear view of the various compromises and detrimental impacts accumulated over a century of ad hoc modification and refurbishment and helped crystallise a strategy with two main threads: one of careful repair, and the other of bold addition.
Image Key:
(above text) Artistic rendered section by Chloe Fawcett, Architect
Entrance elevation showing new rooftop extension
Central sculpture court; new extension & rooflight above
Front range cafe space with entrance beyond
Sculpture court study model
(2/2) Weltmuseum Wien
Weltmusuem Wien is an ethnographic museum housed in the Hofburg Palace in Vienna. The core of the collection traces back to the purchase of a part of the Captain James Cook collection for the Imperial Natural History Cabinet. A layout diagram for an 1885 display case was found in the museum archive. It suggests the rich and challenging curatorial context for an ethnographic museum reflecting at once on the artefacts themselves, the history of their collection, and the history of their interpretation in the charged context of the Imperial Hofburg Palace. Our work there between 2013 and 2017 was focused on improving visitor facilities, a new shop, education and temporary exhibition spaces, and the complete renewal of the exhibition design.
Image Key:
(above text) Sketch of Exhibition case c.a.1885
Entrance elevation showing new multifunctional cube
First Vestibule; newly designed reception area
New museum shop integrated within Columned Hall
Hoskins Architects' project team enjoying the museum on completion
05 June, 2020
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w/k - Zwischen Wissenschaft & Kunst
Press "Enter" to skip to content
Articles by Artists
Here you can find all articles that are assigned to the category Articles by Artists.
Palaeontological Art
Many of Hugo Boguslawski's artistic works have a connection to biology, which is related to his biology studies. The preoccupation with fossilized organisms plays a central role.
Word Art: A New Art Form
In his 'Word Art' project, Ralf Borlinghaus is interested in taking up the original connection between the written and the pictorial and reinterpreting it.
Marine Debris
Text: Swaantje Güntzel | Section: Articles by artists My work focuses on mankind’s dysfunctional relationship to nature. Through a process of observing our everyday behaviour towards nature, dissociating it from its context…
malatsion: Laboratory Fantasies
malatsion: "Science has influenced quite a few of my works as a source of inspiration. You can classify these works as science-related art. Right after my switch to the academy, my interest in science was for a while pushed into the background. It was only in 2008 that it re-emerged. Science is for me above all a source of images which helps me create installation works that remind their viewers of places such as the laboratory or of scientific methods such as the experiment."
Anna Lena Grau: Gespinste – InterweavingsMarcus Ahlers: System and Synergy
According to the terminology of the online journal, I am on the border between science and art: on one hand I am a working artist, and on the other, active in the sciences as a participant in a master’s program. I would like to describe the stages of development leading to this state.
Anna Lena Grau: Recodings
These exhibitions have taken place every two years on the premises of the Anatomical Institute. Amongst the invited guests were physicians who actively pursue art and artists with an active interest in medicine. The self-taught in the field of art encountered the self-taught in the field of medicine. On these occasions, ambitious dilettantes came face to face with professionals, each party certainly fostering a sense of discomfort in the other.
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Latinx Leaders
Artist and Activist
Fabian Echavarri's drawings spread awareness about transgender issues.
Fabian Echavarri (photo by Alex Rosa for OutSmart magazine)
Fabian Echavarri knew he wanted to be an artist since he was 4 years old. As a child, he would draw for hours on the large blank art canvases his mother bought him, rather than playing outside or watching cartoons.
“Art is important for me because it helps me to relax and get my feelings and thoughts out of my brain,” says Echavarri, a Latino autistic trans man.
His most recent artwork is inspired by his experiences and identities, and he uses it to bring awareness to issues that the trans community faces.
In 2019, he created a piece titled Deadgendering, which features a young trans man with blue skin surrounded by pink speech bubbles that misgender and disrespect him. The artwork was based on his experiences while coming out in high school. Although he asked his teachers to call him Fabian and refer to him with he/him pronouns, many of them failed to do so—leading students to do the same.
Pain and Hope (2017) by Fabian Echavarri won first place in the Amigas y Amigos de Otros Lados art contest.
“When people accidentally misgender and deadname [me], I feel like I’m getting stabbed by a knife,” he says.
He’s also made artwork inspired by his experience with starting hormone therapy. His 2019 drawing Testosterone Cypionate illustrates the first time he injected testosterone into his body, and the joy he felt after that.
“The testosterone helped me reduce my gender dysphoria,” he explains. “It was like liberating myself. Finally, I can be normal and just like another guy in life.”
Echavarri’s passionate artwork has been recognized by several art competitions. When he was 12 years old, he won fourth place in an art contest in Mexico called Imaginantes. He also won first place in the 2017 Amigas y Amigos de Otros Lados art competition in Mexico with work that captured what it’s like to immigrate to another country in search of a better life and opportunity—which mirrors his own journey to Texas.
His artwork has appeared in several venues throughout Houston, including a showcase at the Hardy & Nance Studios. He also presented artwork at the 2018 Chocolate And Art Show Houston, hosted by photographer Libertad Betancourt, who is Echavarri’s mother.
“When Fabian is in an exhibition, people love his art. I’m not talking like a mom; I’m talking in general,” Betancourt says. “I’m so proud of him!”
At that 2018 show, visitors would almost press their noses against Echavarri’s pieces to take in all of the detail and color.
Sylvia Rivera (July 2, 2019) by Fabian Echavarri
Echavarri supports the trans community not only through his art, but also by volunteering at local trans organizations such as Organización Latina de Trans en Texas (OLTT). The non-profit educates and provides health services, legal advice, community, and resources to trans folks—everything from food to emergency funding. Echavarri became aware of OLTT after the group’s founder, Ana Andrea Molina, helped him correct his gender and name marker on government ID documents.
“She saved my life,” he says.
OLTT’s founder also helped create the Chicos Trans Masculinos Oltt Houston support group for Latino trans men like Echavarri. The group has given him the space to talk about issues that matter to him, such as immigration, sex work, sexual health, gender dysphoria, mental illness caused by transphobia, and more. Sometimes, he creates artwork based on their group-meeting discussions.
Echavarri plans to feature more body diversity in his upcoming artwork, as well as create more black-and-white pieces inspired by his dreams. He also encourages other artists to express themselves based on their own experiences. “Don’t copy the drawings from other people,” he says. “Just be yourself!”
Follow Fabian Echavarri on YouTube and DeviantArt (at Fabian Artist), on Instagram (at fabian.artist and fabianechech19), and on Facebook (at Artist Fabi).
This article appears in the September 2021 edition of OutSmart magazine.
Lillian Hoang is a staff reporter for OutSmart Magazine. She graduated from the University of Houston with a degree in journalism and minor in Asian American studies. She works as a College of Education communication assistant and hopes to become an editor-in-chief.
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Price on application
This object is eligible for a Certificate of BADA Provenance
18th century.
Length: 34 cm.
Edmond de Goncourt collection, Paris, no. 482
M. Hajek collection, Biarritz
Clyde Engle collection, Lake Forest IL.
Sydney L. Moss Ltd, Odd Men Out: Unique works by individualist Japanese artists, London, 1998, p106, no. 32.
A rare roiro (black lacquer) fue (end-blown flute), finely decorated in various tones of gold hiramakie (lacquer decoration in low relief) with clematis flowers on a scrolling vine, all on a natural bamboo section hollowed and pierced with five finger holes.
Length: 34 cm
Open Monday to Friday 10:00 -17:30; other times by appointment
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Biography - Jeremy J. Nelson
At a young age of 9, Jeremy first discovered his passion for photography. This realization came when snapping his first pictures from his grandmother's Polaroid camera which with only 10 shots per Polaroid pack had proven to not be enough to satisfy the desire to create imagery. It has now been a life's journey to explore the world through this medium.
After attending Brooks Institute of Photography, Jeremy set his sights on New York to embark on his journey as a photographer.
Since 2003, Jeremy has developed into his own and has already gained experience and respect in the photography field working alongside such names as Annie Leibovitz, Mark Seliger and Steven Klein, as well as other respected photographers.
Armed with passion, innovative talent and a drive for perfection, Jeremy's multi-faceted approach to photography give's him the innate ability to translate ideas into concrete imagery. With his camera always in hand he is looking to what new experiences the future holds.
©1982-2015 All Rights Reserved.
Built with Indexhibit
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Poznejte nás blíže
O nás
About Us
The SMETANAQ house at No. 4 Smetanovo nábřeží is a place at which people come together who have a shared interest in art, culture and design.
On the third floor of the house is the SMETANAQ GALLERY, a setting for exhibition openings, lectures, workshops, fashion shows and press conferences.
Below are to be found young designers involved in various disciplines who produce and exhibit their works under one roof. Their studios are housed on the second floor, which is called “BOTTEGA” after the Italian model.
On the left side of the first floor of the house is the DEELIVE DESIGN STORE, which offers the work of some of the best of young Czech fashion and interior designers, including our own in-house designers from the Bottega project.
It is not only lovers of art and design who are invited to visit the SMETANAQ CAFE & BISTRO. For inspiration and new ideas, you are welcome to come with friends or meet with our designers. The café on the first floor serves quality coffee and excellent desserts. You can also have breakfast or spend the afternoon enjoying one of the most beautiful views of the Vltava River, the Prague Castle and the Petřín Hill.
The classical-style townhouse flats were built on the right bank of the Vltava River between the years 1846 and 1847 to a design by the architect Bernhard Grueber. At that time, the waterfront had a natural character with grassy, sandy banks gently sloping to the river. The riverbanks were punctuated by the homes of fishermen – one could see the nets put out to dry and the floating logs stacked on the river bank. In place of the present-day building was the ferryman’s lodge bearing the postal address No. 334. The same postal number was later transferred to the new house and has been preserved to this day. The house on the southern side has a trapezium-shaped ground plan owing to its bordering on a large natural cutting in the river bank in earlier times. The cutting provided a natural dock for the local brickworks and later disappeared after adjustments to the waterfront. Today the Lažanský Palace stands in its place, along with the AMU Film and Television Faculty.
The building was originally conceived as an apartment house. During the course of the 20th century, it was reconstructed several times and turned into an office building. Previous owners of the house include V. J. Rott, the Prague Steamer Company and the Czech Air Traffic Control Authority. Zdeněk Sklenář’s famous gallery was among the tenants.
In 2013, the building was damaged by a huge explosion on Divadelní Street. The blast destroyed the load-bearing masonry and part of the ceiling on the ground floor of the Divadelní Street wing collapsed. The original owner made the house safe and secure through expensive repairs and then sold it. At present the part of the house on Smetanovo nábřeží has been completely reconstructed; the part on Divadelní Street remains inaccessible and it is still unclear when it will be possible to make full use of it.
During the reconstruction, we dealt with the insensitive interventions of previous decades. We removed all the plasterboard on the ceilings and walls to reveal the beautiful palatial features of the original Burgher house. At the same time, we uncovered remnants of the original paint, which we later incorporated into the overall interior design. The author of the reconstruction of the main premises of the house is the Qarta architectural bureau. Petr Hák's studio created the interior of the Deelive Design Store, while all the furniture in SmetanaQ Bottega and SmetanaQ Gallery projects is the work of the Kovopo studio. The lighting features in the building are from the Czech glass factory Bomma; in the lobby, there are beautiful chandeliers from the PRECIOSA glass factory. The neon signs were created by the Davis & Miller studio.
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Expo Milano 2015: AGC glass embodies the themes of sustainability and innovation for the Belgian pavilion
As a partner in the Belgian participation at the Universal Exhibition in Milan (1), AGC Glass Europe is supplying high-performance glass for the Belgian pavillion (2) with improved thermal insulation, solar protection and energy generation, not to mention decoration, security and hygiene.
As well as marking the Belgian identity of the pavilion, the AGC glass embodies the themes of environmental sustainability and technological innovation that underlie its design.Belgian Pavilion @ Expo Milano 2015 - www.expomilano2015.beGlass for energy controlIn response to the general theme of the Expo, namely food (1) , the first part of the pavilion symbolically represents the very elongated shape of the traditional Belgian farm.The cladding consists of coated glass(3) (Stopray Smart) which provides not only solar protection but also higher thermal insulation(4). The roof is covered with BIPV(5) laminated photovoltaic glass which filters the light while supplying electricity for the pavilion. This glass incorporates either crystalline photovoltaic cells (SunEwat XL glazing) or an organic film which produces electricity. The latter product, currently under development, is a joint project by AGC Glass Europe and Heliatek.
Belgian Pavilion @ Expo Milano 2015 - www.expomilano2015.be
Glass for decoration and health
Inside the farm, the path of the future with its moving light display plunges us into an underground space which opens onto the food supply of tomorrow. Visitors go back up via a majestic staircase flooded with overhead light. The staircase is bordered by a balustrade of extra-clear laminated glass (Planibel Clearvision) offering excellent light transmission and colour rendering. The same laminated extra-clear glass is used for the steps, but with an opaque white film.
The visitor then enters the second part of the pavilion, symbolising the urban layout of the future on a reduced scale, made up of a city centre and surrounding neighbourhoods separated by green re-entrants that act as the lungs of the city. At last the visitor arrives at the centre of this city, filled with Belgian flavours, with an atrium roofed by a geodesic dome covered in equal amounts by SunEwat XL and Stopray Smart glass. The latter type of glass is also used for the roofs and facades of the small wooden pavilions representing the neighbourhoods. Finally, the atrium has an open space for culinary experiences with anti-bacterial partitions in clear Planibel AB glass or white Lacobel AB painted glass capable of eliminating 99.9% of all bacteria on the glass surface.
In this way AGC Glass Europe demonstrates that its range of advanced glass solutions lies at the heart of a sustainable, innovative architectural solution.
(1) Expo Milano 2015 is being held from 1 May to 31 October 2015 on the theme of “Feeding the Planet, Energy for Life”: www.expo2015.org.
(2) Winning design by Patrick Genard & Asociados/Marc Belderbos for the Besix/Vanhout consortium: www.expomilano2015.be.
(3) Thin layers of metal oxides deposited on the glass, invisible to the naked eye, give improved thermal insulation and/or solar protection.
(4) Glazing with a thermal insulation coefficient of 1.1 W/(m².K). It is also highly selective, letting through 51% of visible light but only 33% of the sun’s heat radiation.
(5) Building Integrated Photovoltaics: photovoltaic system that forms part of the building itself, generating electricity while also playing a structural role.
AGC Glass Europe, a European leader in flat glassExpo Milano 2015: AGC glass embodies the themes of sustainability and innovation for the Belgian pavilion glassonweb.com
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Are Tattoos Illegal? What You Need to Know Before Travelling
The tattoo industry is no longer as bad as it seemed before. In fact, there are countries that don’t consider tattoos taboo anymore. However, if you are a frequent traveler, you should keep in mind that there are still areas in the world that don’t accept tattoos.
Tattoos are widely accepted in the Western world and European countries. However, having tattoos in some states and countries under the Islamic Law like Saudi Arabia, Afghanistan, and the United Arab Emirates can put you at risk of getting shamed, penalized, and jailed.
Planning a trip but unsure whether tattoos are legal there? Don’t worry! We’ve rounded up a quick list of the countries where tattoos are illegal and what designs to avoid.
Quick Navigation
Countries Where Tattoos are Limited or Strictly Forbidden
1. Iran
2. South Korea
3. North Korea
4. Thailand
Tattoo Designs that Could Cause Serious Trouble
Religious Symbols
Nazi Symbols
Face Tattoos
Tips to Avoid Trouble
Do Some Research
Avoid Getting a Controversial Tattoo
Wear Clothes that Hide Your Tattoos
Consider Getting Your Tattoo Removed
Countries Where Tattoos are Limited or Strictly Forbidden
Countries-Where-Tattoos-are-Limited-or-Strictly-Forbidden
adrian cabello
Tattoos and body art have gained immense popularity worldwide for the past few decades. What used to be rebellious and vulgar, is now viewed as a form of self-expression in this generation.
To give you an idea of how much the tattoo industry has grown, approximately 30-40% of Americans are inked. Pre-pandemic, tattoo conventions had hundreds of attendees including tattoo artists and audiences.
However, there are still several countries that find tattoos culturally inappropriate or blasphemous. Few of these have specific laws that make it completely forbidden. Take a look at the list below:
1. Iran
Tattoo and body art procedures are illegal in Iran under the Islamic Law and Sharia Law. According to them, having tattoos is sinful because it is mostly performed among organized crime groups and non-Muslims. Plus, they insist that getting a tattoo is highly dangerous to one’s health.
Being a tattooed person in Iran is not a fun experience. When caught with visible tattoos, you could get arrested, fined, and kept in prison for longer than necessary. Even worse, Iranians like to parade arrested people in public to shame them.
Interestingly, the tattoo industry in Iran has not completely shut down because of its high demand among young people. In fact, Iranian tattoo artists have an underground tattoo community where tattoo shops and body piercing studios are kept out of the public’s judging eyes.
Other Muslim countries where tattoos are illegal under such laws include:
• United Arab Emirates
• Saudi Arabia
2. South Korea
Unexpectedly, South Korea is not a big fan of tattoo artists and body art. Although it is not banned outright in the country, South Korea has pretty severe tattoo laws.
For instance, one public health law in 1992 states that only a licensed physician can perform body art procedures to ensure ‘safe practices’.
South-Korea-Tattoo-Laws
That’s right. If you want to get tattooed in South Korea legally, you’ll need to visit a hospital instead of a tattoo shop. Although it doesn’t make any sense, attempts to overturn this law are repeatedly shut down. Hence, tattoo artists are forced to operate secretly.
It’s easier to find a skilled South Korean tattoo artist through social media. Most tattoo shops don’t set up signages, so unless you know the exact address then you’ll definitely miss these gems. In Hongdae for instance, there are a lot of tattoo parlors hidden in plain sight.
Having visible tattoos isn’t much of an issue in South Korea, but it could attract a lot of dirty looks from local people. But if you’re planning on becoming a licensed tattoo artist in the country, then we suggest you think twice.
On the brighter side, South Korean artists and celebrities such as HyunA and Jay Park have been open to having tattoos in hopes to eliminate the stigma. So let’s hope to see some law changes in the future!
3. North Korea
In North Korea, the North Korean Communist Party runs the game. They regulate tattoo designs as they see fit and can ban religious symbols, rebellious signs, etc. They’ve even banned something as trivial as the word ‘love’ at one point!
What they do encourage though are tattoos that express love and dedication towards their leader, the Party, and North Korea.
4. Thailand
In Thailand, having religious tattoos is illegal. Most especially, having a tattooed image of Buddha’s head. A law passed in 2011 recognized this act as an insult to Buddhists, regardless if you’ve done it as a sign of faith. It’s mostly the same case in other Buudhist-dominated countries like Sri Lanka.
Basically, it’s similar to how Muslim countries ban tattoos under the Islam or Sharia Law. So if you’re a liberated Buddhist with a tattoo of Buddha’s head on your back, then you might want to keep them hidden under your clothes during your Thailand or Sri Lanka trip.
Tattoo Designs that Could Cause Serious Trouble
One crucial part about getting a tattoo is making sure that you won’t regret choosing that design in the future.
For instance, a sleeve tattoo of your ex’s face, or a mistranslated Chinese character that meant nothing close to what you thought it was. Not only is that extremely embarrassing, but also a huge waste of money and space.
Tattoo-Designs-that-Could-Cause-Serious-Trouble
Now there are certain tattoos that will bring you something way worse than shame. Being careless about your new tattoo could get you caught up in tattoo laws and jailed.
The government might misjudge you as a member of an organized crime group, and worse, you might even get deported for it.
Here are some types of body art designs that you’ll want to avoid:
• Religious Symbols
Religious iconography is strictly forbidden in some countries. Most especially, in Muslim or Buddhist countries as they view this as immense disrespect to their religion. Hence, you might encounter a few body art practitioners refusing to do religious tattoos or suggesting a different design.
• Nazi Symbols
Another controversial tattoo that is inappropriate to have are Nazi or White Pride tattoos. Getting inked with these designs glorifies the Nazi regime and all the traumatic events that occurred in the past. These designs are illegal in Germany, France, and Slovakia despite them being generally accepting of tattoos.
• Face Tattoos
Although these won’t cause as much trouble as the previous two, face tattoos are also banned in some states like Georgia. According to their law, it is illegal to get tattoos around the eye socket, regardless if it is a cosmetic tattoo.
Tips to Avoid Trouble
You won’t lose anything from being kind. If you want your first tattoo to be a memorable one, then it’s best to do some research before getting inked. Some designs might look cool, but you won’t want to risk offending anyone.
It’s the same case if you’re planning to go on a trip to tattoo-sensitive places like Sri Lanka or Iran. Getting stares from local people is certainly bearable. However, you might end up in jail or deported because of certain tattoo laws.
Tips-to-Avoid-Tattoo-Trouble
So if you already have an existing tattoo that might seem offensive to certain cultures or groups, then it might be best to keep it hidden to avoid unnecessary issues.
Here are some tips for tattooed travelers who plan to visit the aforementioned countries:
• Do Some Research
Study the tattoo laws in the country you’re traveling to. Be familiar with what’s tolerable to them and which designs are taboo. You may also want to dive into their views on other types of body art as well, such as body piercing and cosmetic tattoo.
• Avoid Getting a Controversial Tattoo
If you’re still planning on getting a tattoo then we suggest getting a tattoo that won’t offend any culture or religion. As mentioned earlier, some countries have state law that bans certain types of tattoos like religious images, cosmetic tattoos close to the eye, and Nazi symbols. So you’ll want to avoid these if you travel a lot!
• Wear Clothes that Hide Your Tattoos
Unlike when you’re in New York, you can’t keep your existing tattoos and body art out and proud in these countries unless you want to be sentenced to a class B misdemeanor case. Hence, as a tattooed traveler, it would be best to wear clothes that keep your tattoos out of sight for the meantime.
• Consider Getting Your Tattoo Removed
Now if you’re planning to migrate to a country where tattooing is illegal, then you might want to consider tattoo laser removal. Tattoo laws aren’t very friendly although most of these claim to be for environmental control. Thus, being tattooed in these countries might affect your relationship, career, and overall living conditions.
It might be a shame, but definitely better than the consequences!
tattoo-conclusion
Tattoo is both an art and a responsibility. We can’t expect everyone to conform to our beliefs especially if we are just visitors in their country. The world is a diverse place and if we want to be respected, then we should do the same.
So if you plan to fly to a different country as a tattooed traveler, then take some time to sit and see if there are tattoo restrictions there.
If not, you’re lucky! But if they do, then it’s best to be open-minded and keep your art hidden for the meantime. As we said, you’ll never lose anything from being kind and sensitive.
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61: Ernesto Moncada
When we last put the spotlight on 100 creative forces in Phoenix, it was no secret there were more than 100 individuals who were making waves in the local arts community. So as we count down to our annual Best of Phoenix issue, we're profiling 100 more. Welcome (back) to 100 Creatives
61: Ernesto Moncada
Ernesto Moncada
Ernesto Moncada wears a (very large) number of hats.
He was born in Mexico City and has been living and working and living in downtown Phoenix since 2001. He's the published author of "Cayendo" (a novel, 1999), "Siete Pares de Ojos" (short stories, 2000) and "Posias Malias" (poetry, 2011); a spoken word poet and cartoonist; an actor (as seen in the New Carpa productions The Eagle & the Serpent and American Pastorela) and a stand-up comedian.
Moncada hosts (either by himself or as "Ernasty") the variety show "Firestage" (now at Aside of Heart), the talk show "Grand Ave Live!" (at the Trunk Space) and other events like burlesque reviews and open mics. He's a funding member, playwright, and director of the experimental theatre company Arcana Collective (as seen in the 4th Annual Phoenix Fringe Festival with "Panic Opera Sacraments" and the monthly Space 55 show "Arcana Cabaret"), and member of the improvisational theatre troupes The Empty Frames Experiment (with The Torch Theatre alumni) and Los Subtítulos (as seen in the 10th and 11th Phoenix Improv Festivals).
And when he has a spare moment (or two), he is a student adviser for an online graphic design college.
Arcana Collective
Arcana Collective
courtesy of Ernesto Moncada
I came to Phoenix . . . in late 2000, with a working visa and a job as a magazine editor for TVyMás, an all-Spanish entertainment weekly, after visiting the city for shopping and rock concerts many times before, like a typical Mexican living in Sonora usually does. The publishing office was in the heart of downtown Phoenix and I moved next door to it, setting my entire Arizona existence to the only place in the Valley that resembles Mexico City in more than a couple of ways.
I make art because . . . I grew up in an artistic environment, with parents that were both the only artists in their respective families (my father a writer, my mother a painter). I grew up with art-making as an almost instinctual reaction to the experience of living and learning, whether that was enjoyable or upsetting. Being alive and imaginative has always seemed like enough reason to sit down and write or draw, or to get up in front of people and tell a dirty joke or the biggest lie you can think of. Also, and I say this as a naturally shy asthmatic geek, entertaining those around does wonders for your social life. Producing art is the best way to connect with the world around you.
I'm most productive when . . . I'm the busiest. Maybe I'm guilty of that Mexican cliche about procrastinating until the last minute, you might blame it on my graphic design background, but I definitely work better and faster with specific deadlines than with open-ended projects. And because I work two jobs, one full and one part time, I've trained myself to feel inspired anytime and anywhere I might have time to develop an idea. This way, a long train commute, waiting for an appointment or being stranded somewhere become priceless chances to learn some lines, to edit a script or to sketch a scene or wardrobe possibilities. I do like the fact that there is no room for boredom in my schedule.
My inspiration wall is . . . inside my heart and mind, full of people I love and respect (some are family, others I know personally as friends, many I will never be able to talk to); cluttered with artistic expressions of diverse sources and quality (from super-hero comics and subversive novels to impressionistic reproductions, masks and percussion instruments); with a loud and assertive constant-changing soundtrack; including friendly dogs that seem to be smiling all the time, nature in all its sad and violent wonder and the glorious chaos of urban landscapes; I suppose a big chunk of it is dedicated to the romantic notion that epiphanies might be right around the corner, no matter how unlikely that is.
Grand Avenue Live
Grand Avenue Live
courtesy of Ernesto Moncada
I've learned the most from . . . observing the world from as many different perspectives as possible and accumulating experiences as they were collector's items, but I'd be lying if I didn't give kudos to practice, rehearsal, studying, workshops, teachers, fellow conspirators, research, madness, abstraction, and good ol' chance and circumstance. Still, the nerd in me wants to be definitive and say: "Love and books", while my internal bastard replies angrily: "Parties and travels". I'm lucky that contradicting oneself can be a great learning tool if paying enough attention.
Good work should always . . . raise some kind of reaction from the audience (even if it's negative and tries really hard to be positive), it should aim to be timeless and constructive and not topical and destructive, and above all, it must be done with passion and humility. I personally believe no good work can spring from greed, selfishness or revenge. Alejandro Jodorowsky says that "any art that does not heal is not art" and I agree in the sense that artwork functions best when it tries to right a wrong, or address a situation that must be changed for the benefit of the many.
The Phoenix creative scene could always use . . . more resources, of course; spaces, funds and infrastructure, what every art community can't ever get enough of. Support can come in small doses but things continue to roll somehow. However, outside of budgets and properties, Phoenix artists would benefit with more open, productive criticism among us, and a receptive attitude towards improving and evolving. We have to eradicate self-congratulatory tendencies and stop ego masturbation; celebrating stagnated ideas and worshiping the tired knack of complaining without action, is a true waste of time, money and talent
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Posted by: Julie Duell | March 20, 2008
Hello everyone & welcome! I would like to start with a short summary about the paints & other pigment based materials we use as artists:-
They are all pretty much created from the same sources of powdered pigment. Some colours are derived directly from nature and others are produced synthetically. When the powdered pigments are mixed with various additives, the following are then created – the binders lending differing qualities as under:-
OIL PAINTS: As the name implies, pigments are already mixed with oil (usually Linseed) in the tube, which makes for slow drying & easier blending. Cleanup with turps or preferably an odourless solvent. Can be used straight from the tube (impasto) or thinly for underpainting or glazing. Usually used over canvas or board prepared with an acrylic or gesso undercoat. Retouch varnish may be used to even out the shine when finished. All other varnishes should not be applied until the paint has cured (around 6 months). Oils pretty much maintain their mixed colour once dry, unlike water based paints which tend to dry darker or lighter than when wet.
WATER SOLUBLE OILS: Inter-mixable with traditional oils, water cleanup if used alone, otherwise turps or odourless solvent.
OIL STICKS: contain waxes which bind the stick together. Slow drying, they allow hand use as well as brushing once applied. Solvents are the same as for oil paint.
ALKYD OILS: oil paints with the addition of a resin to speed up drying. Inter-mixable with traditional oils. Handy to include if you are working to a deadline in drying time.
ACRYLICS: contain an emulsion creating a non-soluble waterproof surface when dry. Can be used thinly diluted with water or other mediums for that purpose or used straight from the tube without dilution. Texture pastes can be added for impasto. Water cleanup. Can be used on non oily surfaces from paper to board & canvas.
GOAUCHE OR POSTER PAINT: contain a binder which remains water soluble when dry. Pigments used are generally of a coarser quality than watercolours and are therefore more opaque, especially pastel shades which are achieved by mixes that include white. Can be wetted again for further blending. Framing is usually as for watercolours.
WATERCOLOURS: Top quality watercolours are derived from the most finely ground pigments and purists do not use white, but rather allow the luminosity of the paper to shine through, representing the lighter tones. They are created by the addition of special water soluble gums. Used on specially prepared W/C paper available in smooth, medium or rough textures. Only heavy papers do not require stretching. (See Post on Watercolour) Framing is usually behind glass with a matt board to prevent the work touching the glass.
WATERCOLOUR PENCILS: allow for line drawing, shading or wetting up into ‘paint’.
PASTELS: Here the pigments have been moulded into sticks using distilled water and a minimum of binders. Some are wrapped in waxed paper to prevent breakage. They come in square & round sticks + in pencil form. Usually used on tinted pastel paper which has a texture (or “tooth”) to hold the dry granules of pigment. Spray fixatives prevent rubbing, but tend to darken the pastelwork. Framing is behind glass with a matt board to prevent the work from touching the glass.
INKS: come in waterproof and non-waterproof. Very fine pigments are used and good quality inks can provide glowing luminosity over white, which can be increased by adding layers when using waterproof varieties. Can be used with brushes, sponges etc. and also loaded into special fountain type pens for various thickness of line. Nibs need to be cleaned frequently.
NOTE: Tony and I often begin by establishing an “underpainting” in acrylics and then finish in oils – giving us “the best of both mediums”. Remember you can put oil over acrylic but it is not recommended the other way around because the oil can resist the water based paint over it and it can pull away rather than adhere. Most canvas boards and stretched canvasses are already undercoated in acrylic, so you may be painting oil over water based paint anyway.
Because the awareness of dark against light (tonal values) is so very important, it is wise to limit the amount of colours used until you feel in full control of tone. Here are 2 monotone ranges by way of example:
Monotone colour range 2
Monotone colour range
Here then are some demonstration charts for you … all mixed from the 3 primary colours RED, YELLOW & BLUE(+ WHITE, WHICH WE DON’T CALL A COLOUR).
These three primary colours cannot be mixed so you need to have these ready made in order to begin. They are needed to create ALL the other colours!
Lets begin with a very basic colour wheel mixed by my grand-daughter, Julia, showing primary and secondary colours..she used a painting knife, wiping it clean with a paper towel in between each mix. Mixing with a brush is messier and it is therefore harder to keep the tints clean.
Next, we made together another wheel, this time mixing some in-between TERTIARY colours as shown.
Here is a demonstration to show you how to mix a basic Colour Wheel:
Next is a demonstration showing the mixing of complementary (or opposite) colours on the wheel. Even if all you need to know is how to find – for example – the shadow colour on a red apple (by mixing a little of the opposite colour on the wheel, being green, into the red) this demonstration is of value.
The next chart shows each of the opposite pairs on the above wheels mixed gradually one into the other, then lightened with white for lighter tints. This shows more possibilities than just the single range in the outside ring above right. Remember all these are still from just the three primaries RED, YELLOW & BLUE + white. Isn’t it wonderful? What a beautiful range of colours and tints they give!
Of course the end result varies depending on which red, yellow & blue you started with!
The trick to getting a good purple range is to use a red and a blue that have no yellow content within them. If a hint of yellow is in there the result will be more browns than purples.
If you are starting out in painting and wish to develop a feel for colour harmony, delicate mixing and tonal values (darks to lights) it is a good idea to try a few paintings using just one row from the above chart. Here are some examples…(the first, red-orange to blue-green, which is the range most used in landscapes). You will need a good sized palette and a mixing knife (the ones with the raised handles are best to keep your knuckles out of the paint!)
The cityscape below I based on a RED TO GREEN mix – but instead of lightening with just white, each was lightened with lemon yellow plus white for a golden look. This is a great way to avoid “chalkiness” in a painting. This painting is executed with a painting knife rather than a brush, for texture. I just love the buttery texture of the paint used undiluted this way!
Now a complete change of colour scheme…beautiful and unusual for evening landscapes or seascapes…
When Tony and I were lucky enough to enjoy a trip to the UK and Europe, we travelled most of it by train, armed with sketch books. Once home I did this little painting of the picturesque lane in Venice where our apartment was, using the colour range shown…
Whilst the above formulas work, there are many occasions when we don’t have a lot of time for mixing colours OR we may be using water-soluble fast-dry paints and need to work quickly. So…. here is a
QUICK-FIX MIX METHOD:
Using this “Mother Colour” method of mixing leads you to creating what we call the more subtle “EARTH COLOURS” whereas colour wheel methods tend to result in brighter ‘SPECTRUM COLOURS”.
In commercially available oil paint ranges EARTH COLOURS are readily available in tubes and are very convenient if you enjoy landscape painting in particular, to save you mixing time. Some are derived from the ochres found in the earth and rocks, whilst others are synthetic. Below are some earth colours from the Art Spectrum range of oils. They all have four asterisks **** which means they are highly resistant to fading. (Try to avoid anything labelled ** or *** as they are not as permanent). Some of the earth colours shown are opaque (dense with pigment) and cover well, whilst others are semi-transparent or very transparent. The more transparent paints are very glowy over a white background and are also useful for glazing (see separate post on “MISTING AND GLAZING SECRETS”.
If you choose water-based paint such as acrylic or poster colour, you may find that your colours will begin to dry on the palette before you can use them. To avoid this, mix in a shallow plastic lidded box (I use a file case) and spray your palette with a little water occasionally to keep the paint from drying. Whenever you aren’t using the paint, close the lid to keep moist. There are also commercial liquid retarders which slow the drying of acrylics. With oil paints you won’t have that problem so much as they are slower drying but it still helps to exclude air from your palette when not in use.
Hint: Be generous with your initial amounts of the primary colours – remember they have to go a long way to create all the others – and you will need on average twice as much of the yellow as the other two.
You will find my favourite PORTRAIT MIX under the PORTRAIT PAINTING post.
Finally, I just want to point out the importance of TONE in painting. TONE MEANS DEGREES OF LIGHT TO DARK and is by far the strongest means of creating good compositions. We have 3 main ways of contrasting in painting:
Here is what I mean by tone below. You can see it clearly goes from light to dark when you look at the black and white range but it takes a more practised eye to see degrees of tone when you look at colour, especially when they are next to others out of sequence…
It is very important to keep control of tones when you are painting and very easy to lose that control when you use colour. It is just something to be aware of.
Good luck and happy mixing!!! I hope you have found this post helpful.
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1. best site I have seen yet. thanks
2. Hi i just want to know can you please just give me tips how to make colours like Fresh leafe and avo etc. I am just a person trying to help myself in my fabric painting. For example:
Yellow + Blue = green. Some of those kind of tips please.
Your work and paintings look exellant.
3. Hello Sonja,
Happy to try to help. Mixing from primary colours (red, yellow and blue) varies with WHICH red, yellow and blue you start with and then there are hundreds of tints achieved by the amount of white added or the amount you dilute the mix. The purest mixing comes from:
1. a red which has no yellow in it to start with (Called different names in different brands of paint – e.g. Rose madder, Magenta, Crimson)
2. a yellow which has no red in it to start with (a Lemon yellow) and
3. a blue without any red or yellow in it (French ultramarine).
Fabric colours might be called different names. If you have a colour printer, you could look at the colours used in the inks to get an idea of what the 3 primary colours should look like – otherwise go to an art shop and get a colour sheet showing the oil colours, which will have the colour names I have used above.
If you are not using black and want to mix dark colours from your primaries, you will need a darker red (crimson) and a darker blue (Ultramarine).
Your purest greens will come from a lemon yellow with Cyan blue (Coerulean is another name for it) – once again, look at the colour printer blue ink and try to match that.
Then you can lighten with white or in fabric paint, dilute with clear to make it lighter (if you are working on white fabric). If using coloured fabric, lighten with white.
If you want your green to be more like an olive green (as in Australian gum trees for example), you add varying SMALL amounts of red to the yellow/blue mix until you get the colour you want.
If you want a darker green, then you will need to use a darker blue to start with, such as Ultramarine.
Remember that all greens need a VERY small amount of blue in relation to the big amount of yellow, so add the blue to the yellow GRADUALLY. (that way you can always add more a bit at a time until you find the colour you are after.)
Good luck! Julie
4. PS to above reply: Sonja if you look at Julia’s colour wheel at the beginning of this Post you will get an idea of the red, yellow and blue needed to mix just about all greens you would want.
5. Hello, I need your help:
1. I want to draw picture using poster colour on a piece of plywood (medium brownish colour plywood with wooden texture), do I need to paint white colour first to hide the brownish textured colour before I paint with other colours? Or just directly paint the colours I want, without put white first?
2. What is the ratio of poster colour & water should I mix?
Thank you very much for your favor.
6. Greetings Husein…
Re your enquiry re using poster colour on plywood…I am not an expert, but am happy to share what experience I have.
I would suggest that you would need to first paint the ply with flat white water-based undercoat -otherwise the colours may not be as bright because of the paint sinking into the wood.If the plywood has a varnish of any kind on it already, it may not take
water based paint -in which case you would need to use oil base paint. However if it is plain untreated ply
water based paint should take to it OK.
In my experience in Australia, poster paints have been pretty much superseded by acrylics, which are much more permanent because they are waterproof when dry – whereas the poster paints I have used are not. Therefore acrylic paint would be my preference to use on plywood. However if you still choose or need to use poster paint, I suggest using a minimum amount of water with it.
You have not mentioned if your poster paint is in dry pan
form or in tubes -also different brands vary. The principle is the same though – using just enough water to make the paint fluid enough to spread will give the best coverage. Kind regards, Julie Duell
7. This is a really interesting blog post,I have added your blog to my favourites I really like it,keep up the good work!
8. Could you send any hints for air brushing with water based paint some times it clogs what type of thinner can a person try to stop this !! HELP
• Hello Cecilia,
I have only airbrushed with water based inks on papers
and with water based fabric inks on tee shirts so my experience is limited
but I will give you what I can…
The thinner for water based paint is water.
Thinners for enamels are various solvents (as used in spraying cars, etc.)
However, if you thin your waterbased paint further than in its original
form, you
will also thin the pigmentation and reduce the amount of coverage when you
spray – so I wouldn’t recommend this unless you are
using old paints that have condensed. Are your paints designed for
I recall having clogging troubles early on and learned that I had to put the
brush into a tub of clean water and blow EVERY time I walked away,
even just for a cup of tea. If any paint partially dries in the airbrush it
want to accumulate and block – especially if using waterproof inks,
which become non water soluble when dry. Cleaning the nozzle regularly
is a nuisance, but has to be done I’m afraid.
Shaking the paint well before use and running it through a fine sieve to
remove any particles can help prevent clogging too of course.
Sorry I can’t be more specific. Airbrushing is for patient people isn’t it
as the fun spraying part lasts so little time compared to all the
and cleanup time. That’s why I gave it away in the end – that and the
noise of the little compressor, which I found offputting to creative
Good luck Cecilia – let’s know how you get on.
Best wishes, Julie
9. Hi there,
I was wondering if you knew of a way to teach pre school children to mix their own secondary colours? I am a teacher training student and would like to try something like that out with my nursery class…
• Hello Al – Please check the beginning of this Post No. 11 for a new addition covering your enquiry. Julie
10. Wow! That’s a fantastic and original idea. I really appreciate that and will try it out next week. Will let you know how it goes!
Thank you Julie!
11. If you ever want to see a reader’s feedback :) , I rate this post for four from five. Decent info, but I have to go to msn to find the missed bits. Thanks, anyway!
12. Sorry you have trouble viewing this post Pirsey – I can’t see how I can improve on that as the picture file sizes are quite small. It comes up quickly for me & others I know on Google. Thanks for letting me know though. Julie
13. Hi Julie,
Just to let you know it went perfectly! It also inspired me to do a few follow up sessions and demonstrations that also went well so thank you!
14. G’day from Northern Ireland
I’m just starting out with acrylic and was trying to use a brush to mix colours – messy and an overloaded brush. Will now go and buy a palette knife!
Great site which I intend to visit often. Thanks.
• Hi Gary, Yes definitely buy a mixing knife – one with a raised handle is handy to keep your knuckles out of the paint
while mixing. These are called “painting knives” rather than “palette knives”. Plastic ones are cheaper than metal & wood.
You will be able to mix cleanly, wiping the knife clean on a rag or tissue – then pick up the required amount of paint on the brush. Saves paint and much neater working method. Dont’ forget the golden rule of mixing – add darks to lights VERY gradually, then you can always add more as needed. Good luck! Julie
15. hello mam,
its faria .i am from bangladesh is in south asia .i saw ur website its really helped me to do work for my boutique.but mam i need to know which colour goes with what colour as example we know red & green goes nicely but some i am bit confused which colour match with purple. please if u let me know i will be greatful to u. bye
• Hello Faria, I am very glad my website has helped you. As to your question, if you want harmony in your colours choose the ones next to each other around the colour wheel. However if you want contrast, choose the opposite colours on the colour wheel. For instance: harmonious colours for purple are blue and red but the contrasting colour for purple is yellow (which is opposite purple on the colour wheel). When you say you like red and green together, this is probably because they are opposite one another on the colour wheel too. Apart from this guide, it really is a matter of personal taste. I hope this is helpful to you. Best wishes, Julie
16. What a great blog and your lesson on mixing colours for kids was great advice!
I bet you turned on a lot of kids to loving art using your approaches.
Thanks for setting this up!
• Wow! Thanks Tim. I hope you are right – nothing would please me more. I have also just put up a short animated story on colour mixing for kids – http://www.kidsfuncorner.com and open the “Stories” icon, then “The Rainbow Fairies”.
17. Hi,
I wasnt to do a painting with poster colors + acrylic. Please comment on with possibilities and tips.
• Hello Hermant – Both poster colours and acrylics are water based on and can be diluted with water + brush cleanup is with water. The difference is that acrylics have a binder mixed into the pigment which seals the paint so that it does not move again once dry.
Poster paints can be wetted up and made soluble again after they are dry. Because of this difference, acrylics can be laid down over one another without disturbing the layer beneath, whereas poster paints can be softened and blended by adding fresh paint or water to them after they have dried. Good luck.
18. Hello – I am new to painting and am really glad I found your site as it’s very informative. When you are using just one row of colours from the colour wheel as in Yarramalong Eucalypts, how do you decide which colour to put where, as these are not the actual colours you see in the scene. Thanks for you help.
• Hi John – Thank you for your comment & question. There is no set formula for choosing where colours go in your painting. This is where personal choice and preference come into play – so welcome to the world of the individual artist! One general guide that may help you though (in a landscape) is that warm colours tend to belong more in foreground and cool colours recede. This is because the atmosphere of air between us and the distance reduces the brightness in colours.
If you work in quick drying acrylics, you can easily try things out and paint over them until they please you. Good luck!
19. I was just writing my ‘Kids Creativity’ blog about mixing colours and found your article, I think it’s great so I’ve added a link at the end of my blog in case any older kids/parents want to know more. My blog is aimed at parents of pre-schoolers so the ideas are very simple! xx
http://www.faerieclareart.com/blog.php
• Hello Clare – Congratulations on your website – very interesting – and thank you for linking to this site. For young children, I have created an animated story about colour mixing which may interest you, called “THE RAINBOW FAIRIES”. It is on http://www.kidsfuncorner.com under the ‘STORIES’ icon. There are also lesson plans for colour mixing under ‘PAINT’ and ‘KINDY KIDS/ACTIVITIES’ icons. Colour mixing is such a magical experience isn’t it?
20. nice blog i need to make a gud painting out of poster paints but i mnot gud at painting at all wat shuld i do to make a nice painting pls tell thanks in advance
• Hi Robin – There is only way to learn to paint and that is by trying. Why not set up a bowl of colourful fruit on a table and have a go at painting it. Have fun!
21. My query is to do with landscape/seascape colours of Australia. I attend classes but when at home I always hit a brick wall when I come to wanting to mix colours for the Australian bush which is so different to that of Europe, and I have so far not been able to find instructions on line and nor have I found any books that cover the topics of Australian colours. When instructions are given,( as in how to make green for example) the actual yellows and blues are not given. Each make entirely different greens and depending on where on the canvas they are to go, may dictate whether the colours need to be warm or cool. I would find having this information at home extrememly helpful as l simply don’t progress at home. I am trying to paint fine day clouds at the moment but don’t know the colours I need to use other than white mixed with a red (but which red?) or blue (but which blue?) or yellow (but which yellow?)
• Hello Jenny – Thank you for your question re Australian colours in landscapes and seascapes. In order to help specifically I would need to know which paints you are using, because colours are named differently by various brands, especially in acrylic ranges. What I can say is that colours found in the Australian landscape are generally much more olive than those found in Europe. This means that there needs to be some red or orange added into the greens created by blues and yellows mixed together. There is no exact formula for sky, clouds, landscape or seascape colours because colours vary so much with the time of day and atmospheric conditions. May I suggest applying an overall colour mix wholistically to a painting rather than looking for a formula for say Please let me know which paints you are using and I will be happy to try to help further. – the shadows on clouds etc. as separate to other elements in the landscape. As for greens, one can achieve a range of subtle olive greens by mixing yellow with a tiny bit of black (instead of blue). Also whether you are working from life or your own reference of a place you know well. Close observation and plenty of practice mixing colours – warming and cooling them, lightening and darkening them – these are the keys to your success.
• Dear Julie,
The paints I use are a mix of Art Spectrum, Daler Rowney Georgian, a couple of Windsor and Newton’s Winton and a couple of Mont Marte, depending on where I am, prices and availability. If I can I try to buy Art Spectrum but I can’t afford the more expensive colours in this brand. I recently bought cadmium red in Georgian due to cost.
I am assuming by your comments above, that unlike the actual landscape, there are no specific colours for the clouds here in Australia, and that it is more to do with (as you have said), time and atmospheric conditions.
• Hi Jenny, Ah good – now that I know you are using oils I can indicate colour names as most oil manufacturers use the same names. You will find the earth colours very useful in Australian landscapes: Yellow ochre, Indian red, Burnt sienna, Raw sienna, Raw Umber & Madder brown. Blues: Coerulean blue, French Ultramarine & Cobalt. Avoid buying sap green as it may not be permanent (cracks when dry).
For an olive green range: Using Yellow ochre as a base, mix a little Cobalt blue and Indian red into it. Then add gradually more Cobalt to the mix alongside. Then alongside again, add a little more Indian red into it. Finally, lighten with white where needed. For a sunnier look, try lightening with lemon yellow + white. Remember you need at least 3 tones to make something look 3D – a dark, a medium and a light.
I seldom use any colour that is a mix of only 2 primaries (red/yellow/blue) – subtlety comes with mixing all three in various amounts, even if one is just the tiniest touch added into the other two. Using all 3 means you can play with warming or cooling the mix.
The colours in everything we see change with the light, time of day and weather conditions. When we paint, we take much more notice of these changes around us and these observations become an added joy in appreciating life. Good luck Jenny. I hope this is helpful. I am thinking of adding another post re Australian colours very soon so stay tuned. Julie
22. Hi! I saw you and your work only now. I’m delighted! God bless you forever more… Congratulations and thank you. (Of Brazil people) I think I will return here often. Bye!
• Thank you Clara! Happy painting! Julie
23. This is really helpful!! I am a beginner to painting, I can’t wait to start mixing! Thanks for this!
24. very helpful page… pls suggest way to reuse dried poster colors(mix with some oil etc.)
• You can simply mix your dried poster colours with water for use. Julie
25. Hi Julue,
Thank you for giving us so much of your wisdom from many years of painting.
I really appreciate your generosity and believe that what you have imparted will help me in my creative painting journey.
Bless you richly!
• Hello Trish, Lovely terminology “creative painting journey”. I wish you joyous challenges along the way and thank you very much for your comment. Julie
• Hello Fredrick, I suggest to start by looking at the category marked “Colour Mixing & Paints in General” on http://www.artintegrity.wordpress.com which should cover answers to your questions. You have to buy the primary colours (red, yellow & blue) as they cannot be mixed, then all other colours are created from them (+ black & white). The basic greens created by mixing yellow & blue can be made into olive greens by adding small amounts of red or orange to the mix. Enjoy.
27. Thank you so much Julie :-)). I’m a mom who has 2 month baby. While I am feeding her I read your website. You inspired me and teached me essential tips. You are awesome :-)))))))),
• Hi Maryanne,
I am so glad my website is helping you. When my children were small is the time I began to really get into art so I understand where you are at. The playpen became my ‘studio’ actually!! It looked pretty funny if someone came to the door and Mum is in the playpen while the children play outside of it. Good luck with your art & please feel free to send any images to me. I would love to know how you are going. Julie
28. awesome tutor!
29. I’m really grateful for the info you’ve provided! I have a much better understanding on colour mixing now. Thank you :)
• Very glad to be of help!
30. I am 92 young, and have started painting useing Mont Marte from Flash Harry shops. I find your articles very useful, and find from a distance my efforts are sort of. My difficulties are in painting over water colours, by water colours to right an error, especially in trees.. Thank you Julie. Joe.
• Hello Joe – Congratulations on your new art career! Glad to be of help. Enjoy!
31. Hi Julie, I’m Marietjie from South Africa. I also just stumble upon your website. FANTASTIC. I went for professional classes (still feel like a beginner) and also struggle with mixing and understanding color. In class we didn’t give chances to make any notes. Every time it is a case of mix a little of this and a little of that. I stopped going because its very expansive and at home I cannot seamed to help myself at home. I’ve marked at the top page to following to get emails but I don’t get the confirmation email.(marietjie.bekker@gmail.com) I also struggle to keep my interest to do some good painting. We lost our only child (son, 24) 2 years and 4 months ago in a tragic car accident. I struggle to get out of bed daily and since Monday decided to try and force myself to get up early and try and paint. But once I started to struggle with the mixing and color choice I just leave and return back to bed. I will deff will ask for more help in the future. Thanx VERY MUCH for now for every I could learn at your site. Love Marietjie
• I am so happy to be able to help you with colour Marietje.
Don’t forget that contrast in tone (light against dark) is the most powerful tool in painting, so if colour is a problem, just choose one colour plus black and white and try that for while. Later on, choose 2 colours plus black and white & so on. This way you will stay in control of the composition. Some expressive painting of how you feel can be very beneficial in dealing with emotions. I am here to help so don’t feel alone. Julie
• Wow..!! Finally got wonderful site.Thank you so…much for the information.
Will you please suggest how to start teaching kids colouring ? My kids know about colour wheel…but am confused how to use them in colouring..
Recently I bought 1 canvas..1st time am gng to start painting on canvas.so will you please tell me how to prepare base for painting? For the poster colours.Do I have to apply any primer or base?? Or shall I start direct using colour??
Pls..help me…
• Hello and thank you for your comment and questions. I suggest you just let kids experiment with colours and gravitate to their favourites. I have a childrens’ website which may be helpful http://www.kidsfuncorner.com
Re your canvas, most ready-made canvasses on stretcher frames are already primed with a white acrylic base.
If so this should be on the label. If the canvas is raw you will need to give it a coat of gesso before applying colour. I haven’t used poster colours on canvas myself, preferring acrylics because they are waterproof when dry. I’m no expert on poster colours except that I know they are suitable for works on paper and are similar to gouache (opaque watercolour). I guess the best way is the way I learned almost everything about art – just go ahead and try it! Enjoy!
32. Wow that was a good refresher. You have put in a lot of work!
• Yes a lot of work & it would all have been lost when my teaching charts got soaked in a roof leak. It was then that I decided to photograph them and put them on the web…so something good comes of everything! lol
33. Amazing site, thank you so much for the time it has taken you to help us all.
• It’s good to feel useful Patricia
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World-class elegance and liveability from Space Copenhagen
It’s not often you get to sit on chairs designed for the people behind Noma, voted for four years the world’s best restaurant. But with the new collection from Space Copenhagen, inspired by the chair they designed for Noma spin-off, Restaurant 108 in Copenhagen, you can have a slice of Noma for keeps.
Space Copenhagen
There’s a lounge chair, dining chair, side chair, dining table and coffee table all with that trademark beautiful finish redolent of relaxed high-end living. But these aren’t just furniture pieces to be admired from a distance. Design duo Signe Bindslev Henriksen and Peter Bundgaard Rützou are passionate about functional furniture, designed for comfort, living and fitting in with the realities of family life — this is elegance with liveability.
Introducing Slow
We caught up with Peter and Signe to find out more about them and the story behind their Slow Collection. Their inspiration is a mix of mid-century Danish and classic Japanese design. The collection is a tribute to heritage and craft, while remaining modern and comfortable. The wood is rich walnut and ash, and seating features thick leather to maximise comfort. The style throughout is understated luxury.
IDEALIST: Can you tell us about how you came to work on the Slow Collection that you’re launching today?
Signe: Peter and I have known each other for more than twenty years dating back to our time at the Danish Academy’s School of Architecture. Not long after finishing school we started our businesses and in a small city such as Copenhagen, we became each other’s best competitor very fast. So ten years ago we decided to join forces and here we are today. That’s a very short version of the past twenty years!
Peter: I think one of the things that stood out was that our focus was on something in Copenhagen and Scandinavia that nobody else really did. You had a lot of architecture companies but none of them were handling the intermediate scale between design and architecture. It was a very mutual passion of ours: the place where crafts, the detail, the presentation of the textures meet. It was something we had as a mutual interest and we bonded on that from the very beginning. It became the basis and the focus of our practice and I think we were about the first that really focused in this way and applied such thinking to hotels and restaurants. There was almost no competition at the time. And since we were friends as well it made sense to team up. We also appreciated each other’s opinions and the dynamics of the dialogue itself and I think we benefitted tremendously from the duality of being two sexes and you could say about our work that the aspect of contrast is very important.
IDEALIST: So, when we met downstairs just now, it was the first time you’d seen the new finished furniture collection together. Is that right?
Signe: Yes. But it’s very often like that. It’s a very exciting moment. We originally did these chairs for a restaurant in Copenhagen that opened last summer so this has been going on for a while. We started with the dining chair and that’s how many of our furniture products originate: from a project with a certain intention of a space or a collaboration with a client.
When you see the first prototype chairs, you then you need to go through all these different tests because one thing is the beauty of the details, but it is also about functionality. Given their slender form, we need to ensure they are sturdy enough to be sold in the market for commercial projects.
Peter: In the past, Milan was used to showcase prototypes, but increasingly designers are showing their finished work, so there is additional pressure to show pieces that are truly ready and not just aesthetically ready.
IDEALIST: And you were showing me downstairs how you have a range of different woods in a range of different colours. How do you decide the woods and stains to use and how does it all come together?
Signe: It’s very much the way we’ve always worked. I think many of our projects look very different but there’s one consistent thread — and that’s the passion for material. For as long as we can remember we’ve worked with different treatments, such as different types of woods and different stains, different smokes, different lacquers, different oils, different ways of actually showing the beauty of the wood. And that also goes for the metal. In the dining table, you saw how the metal is inserted into the table top: it’s a darkened metal in a certain colour and tone. All these kinds of things we’ve always been extremely fascinated about.
We feel there is a certain luxury in that slowness, that intimacy which is connected to the slowness of a wonderful meal or the slowness of a chair changing its character over the years.
Peter: We also tend to go quite soft in terms of colours. The Slow idea is translated into the materials and the way they appear is that they’re not aggressive. It should be that you don’t grow tired of the colours and design. There are a lot of colours used that are fashionable but will not endure. For that reason we very often go with natural colours, with the qualities that a certain wood has and then we then complement that with the darker finishes. When we go into the leathers, we have a tendency to go for the complementary blacks, the browns and the grays. A certain aspect of our look is being neutral and at the same time being fun. So, I think that’s something we tend to go back to over and over again. When you buy a piece like ours, our intention is you should actually keep it for a long time and it withstand the challenges of everyday life and the changing rooms and fashions, living a very long life.
IDEALIST: So, everything is also very liveable?
Signe: One of the reasons why the collection is called Slow is because everything seems to go so fast around us in the modern world. We feel there is a certain luxury in that slowness, that intimacy which is connected to the slowness of a wonderful meal or the slowness of a chair changing its character over the years. In a market where everything is substituted very fast, we feel that there is a certain beauty in investing in something and keeping it for a long time, so the collection is also about celebrating slow in many ways.
IDEALIST: It seems every season there’s a new Scandi word that we should live by. Last year it was hygge and now it’s lagom, we’re told. Is the vogue for these things just crazy to you, just silly?
Peter: I don’t think we relate to that in particular. We’re quite aware that the world is certainly interested in Scandinavia at the moment but you have to remember growing up there is different because it has been our reality which means we don’t consciously enforce the values that become vogueish: they are just unavoidable for us. They’re part of our way of thinking. I think we just basically come in with our background and a certain upbringing and then apply it with the curiosity that has to do with everything else. I think it’s the infusion or the confrontation with different cultures into a very set and sturdy and heavy Scandinavian background. That’s where we get the work from: it’s that dialogue between different cultures from overseas and our home.
IDEALIST: Is there one designed object to see and think ‘I wish I’d made that’?
Signe: I think that’s probably a very difficult question to answer but I think the answer is that there’s a lot. I think we find that there’s so much beautiful especially actually historic pieces out there and we actually talk a lot about that when we look back at our Scandinavian heritage but also in general: there’s a lot of modern heritage furniture that was extremely daring.
There was something very playful about many of these iconic pieces but we are always relaxed about the origin of designs: we don’t see ourselves as Scandi, for instance. For us, coming from a small country we’ve always travelled abroad and all the pieces that you see now and also in our past are inspired by Africa or Japan or American industrial design, for example. We’ve always been influenced by different cultures and we still feel that’s a very important value: to take inspiration and curiosity instead of looking back at history. It’s about being open to the world and being constantly curious about what’s going on.
IDEALIST: You’re not going to name one favourite, are you?
Peter: No, but I think it’s because the whole idea of favourites is questionable. Even within your own range, your mood changes It’s not just about saying what I like, it’s just saying that the complexity is exactly what makes it worthwhile.
It also means that there’s a multitude of things that I might find fascinating but they do different things for me and I can’t compare them. There is something about Japanese design and architecture that works amazingly when you’re Scandinavian because there is a mirror effect but there is also that curiosity around difference. There is recognition somehow because we’ve seen it but then they do it so differently so there’s also that curiosity and that’s very interesting because you certainly find yourself into this kind of momentum where you’re both looking but you’re also thinking and that’s very stimulating.
IDEALIST: Both traditions have a really strong respect for natural materials and craftsmanship.
Signe: Yes, definitely and very often when we go to Japan we see they definitely have the feel and attraction to Danish design and they see that Danish furniture works very well within their very traditional buildings. But the funny thing is that many Danish designers were originally inspired by everything in Japan, so there is a dialogue somehow which has become a part of our mutual history. And there is a certain slowness, a certain filtering of detailing and very subtle ornamenting. So we have that, we share that belief or passion in these two very different countries.
Peter: What we hope for example with a chair is that once somebody acquires it it should be open for whatever happens to it and the life of the chair actually contributes to its beauty — that small dent that somebody makes, that stain that becomes part of it — and all of a sudden out of thirty years that chair has not only survived, it has history and at that point something amazing happens. That’s also what we feel when we visit classic cities such as here in Italy. There is an abundance of life and history in Italy: cities that show the traces of time and all of the life that’s been lived within them and that’s just something beautiful you cannot beat.
To find out more
You can see Space Copenhagen’s range, from design and furniture to architecture and interiors here.
You may also like
Photos are (c) and courtesy Joachim Wichmann (portrait and restaurant 108) and Slow collection by Space Copenhagen for Stellar Works.
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Thursday, July 18, 2024
Constructions of Thin Air at the Corn Exchange Newbury
On Thursday 1 February, acclaimed contemporary dance and physical theatre company Tilted Productions will present their new work,Constructions of Thin Air at the Corn Exchange Newbury.
Performed by, and created in collaboration with an intergenerational cast of nine performers, ranging in age from early 20s to 60s,Constructions of Thin Air merges contemporary dance and performance art to create a highly original piece of work.
One of the cast is Newbury born and bred George Miles. Originally a play worker and punk band member, George started dancing to help him manage a long-term autoimmune illness. After taking dance therapy classes for a number of years, George got involved with Tilted Productions as a community participant before joining the company as a professional dancer in 2016. “Through dance, I had found a way to reconnect with my body in a positive way” he says.
Constructions of Thin Air is George’s first stage performance with Tilted, having previously toured an outdoor piece with the company.
In turn both moving and poignantly absurd, Constructions of Thin Air, which has been choreographed by Tilted’s Artistic Director, Maresa von Stockert, reflects the company’s continued interest in universal human themes, such as migration, belonging and identity.
von Stockert is known for creating illusionary worlds that are inspired by, and comment on, social, environmental and political observations. Real life issues are dissected, explored and taken into the realm of the surreal, with thought provoking consequences.
Constructions of Thin Air has evolved from the company’s acclaimed site-specific outdoor promenade performance BELONGING(s), which toured the UK & Europe in 2015 – 17, and was performed at the Corn Exchange’s 101 Outdoor Arts Creation Space on Greenham Business Park last summer, alongside vignettes performed by local volunteer dancers. The outdoor piece focused on the integration of locality, and used local communities, architecture and landscapes as inspiration.
Constructions of Thin Air will take place at the Corn Exchange, Newbury on Thursday 1 February, 7.45pm. Tickets £15 (£13 concessions, £8 under-25s). Age guide 8+. To book tickets please visit www.cornexchangenew.com or call the Box Office on 0845 5218 218 (calls cost 2p per minute plus your telephone company’s access charge).
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is the West's foremost bookseller specializing in the Art of East Asia,
South East Asia and Central Asia.
New List 207site updated: 31 August 2023
including special sections on
The Art of Carving and
with the usual Selection of Our Stock and
Featured in our previous list 205: Japanese painted albums from the collection of Julia Parker Wightman
CLICK HERE to load author/title links for the entire current list into the sidebar on the left;
HERE for the list’s new items, in the sidebar; and
PDF HERE to load — in a separate window for viewing or downloading — a pdf of List 207.
to our renovated web site. This is the first step toward a major reconfiguration of our online services – granting, in the fullness of time, complete access to our stock on-offer, and providing online ordering and payment.
The previous update of the site introduced a 'back' button (top-left after your first click), requested by some customers.
We no longer publish and send out printed lists. Pdf versions, however, will be generated directly from our database of over 55,000 book records.
The underlying structure of our site remains more or less the same and is still somewhat eccentric in its design and functionality. Now it has a modern ‘front end’ that should adapt and respond to a wide variety of devices and browsers. The site provides speedy access to details for all the books that have been included in our last four lists, and for many more books from our special topic sections going back many years.
Site search is also back. Please search keywords from titles and authors in the search box above and click ‘Search’ for a details of what is possible.
Regeneration and Ming Dynasty Colour-Printed Erotica
We are pleased and excited to be able to offer our customers two major new publications which have been produced under the auspices of our founder, Christer von der Burg. Regeneration was item 26/METP02 in our List 202, and Ming Dynasty Colour-Printed Erotica is item 17/VDBMD1 in the List 203. The linked images immediately below will take you to pdf versions of leaflets detailing these two magnificent, limited-edition publications.
We look forward to your orders.
In our area of expertise we stock antiquarian, new and secondhand books, and other documentation, in any language. Since we like to keep abreast of our field and because we are constantly buying high quality, scholarly libraries, we also have a strong stock of area and cultural studies titles for the region. We work mainly by mail order. You are welcome to our London offices, but are advised to make an appointment.
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Summertime Senior Sessions | New England Senior Photographer
This summer has been a whirlwind as I’ve had the honor of photographing so many beautiful seniors all over New England. From New Hampshire to Maine to Massachusetts, I’ve been lucky enough to capture the unique personalities and styles of these incredible young adults during their summertime senior sessions as they prepare to close one chapter and embark on another.
There’s something so magical about summer and a lot of my seniors wanted to embrace the carefree, sunny vibe of summer in their sessions. What better way to do that than by heading to the beach or a gorgeous garden full of flowers? Whether it was the golden hour glow along the coastline, or the vibrant, blooming summer flowers in a garden, each location provided the perfect backdrop for these seniors to shine.
Summertime Senior Sessions
Even though I revisited some of the same locations this year, I’ve been reminded again and again of how every session is truly unique. Each senior brought their own personality and style to the shoot, making every session feel fresh and distinct. It’s incredible to see how a similar backdrop can transform based on the energy, outfits, and vibes that each senior brings – no two sessions are ever the same!
Also, I have to give a special shoutout to my seniors for their incredible sense of style! From chic, laid-back looks, to flowy summer dresses, to elegant, classy looks, my seniors truly brought their A-game when it came to fashion. Each and every one of them put together the best outfits for their shoot that added an extra layer of beauty and individuality to their portraits. I even had a few dancers and athletes and we were able to incorporate this into their session by showing off their moves or including a piece of sports equipment, which I always love doing!
As the summer winds down and we head into fall, I’m already looking forward to upcoming senior sessions and the new faces I’ll get to meet this year. There’s something so special about this time in a young person’s life, and I’m beyond grateful to be able to capture these moments for them.
Thank you to all the amazing seniors I’ve worked with — you’ve truly made my summer unforgettable!
Please contact me today to learn more about my senior portrait photography! I can’t wait to hear from you!
View more portrait photography resources and stunning senior sessions on the blog!
Bedford Village Commons Grad Session
Glamorous Prom-Themed Photoshoot | ACP Senior Spokesmodel Team
New Hampshire Fall Senior Sessions
Southern New Hampshire Seniors | Summer Senior Sessions
Summer Styled Shoot | 2024 Acp Senior Spokesmodel Team
August 23, 2024
August 23, 2024
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Gridding a Picture... Make Any Image Bigger, Smaller, or Copy It.
About: I have always like building... now I have the skills and equipment to do some really cool stuff.
Gridding an image has been around for hundreds of years. You can use gridding to make an image bigger, smaller or the same size (copy it). Gridding is a mathmatical process but don't let that scare you... it's easy.
I am going to give you the basics and with some practice you can do some amazing drawings.
Below is an image one of my middle school students did of me.
Teacher Notes
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Step 1: Getting Started
There are lots of ways to do this... but the basic idea is to draw what is in one square... in another square.
Here is what you will need:
Picture or printed image. (For this we will use an 8"x10" printed image)
Big piece of paper (for this it's 18"x24")
Straight edge (long ruler or stick or yard stick)
Start by gridding you 8"x10" image.
1. Starting in the corner of the image and moving across the top, side, bottom and other side make a mark every 1".
2. Your marks on the top and bottom of the image should line up. Same with the sides
Step 2: Drawing the Grid
Using your ruler draw a line connecting the top and bottom marks.. one at a time. They should be parallel.
Do the same thing from side to side.
This will create a 1" grid over your image
Step 3: Letters and Numbers
Now you are going to add letters, across the top of your image.
And numbers down the side.
Note: that "1" & "A" are the same square!
Step 4: Grid the Big Paper...
Now you are going to do the same thing you just did... only bigger.
On your big piece of paper, starting in the corner, make a mark every 2" across the top, down the side, across the bottom and up the last side.
Using the straight edge, stick or yard stick to connect the makrs from the top and bottom.
Connect the marks from the sides with the ruler.
All your lines should be parallel.
*(It's the same as the little paper.... your just doing 2" grid rather than 1" grid)
ABC's & 123's... Across the top of your big paper put a letter in each box...
Down the side put a number in each box. "1" & "A" are in the same box.
When you are done you will have a big paper with a 2" grid.
Step 5: One Square at a Time...
Now you are going to draw one square at a time.. that's the trick. Anyone can do this and it turns out really cool.
Start in square 1A.. whatever is in that square draw it in square 1A on the big paper...
Then move to square 1B... 1C... one square at a time.
The trick is to draw in the big square... whatever is in the same little square... one at a time.
I am currently working on this drawing and will post the images when I am done.
*(I have included some presentations that I have made that might help)
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12 Discussions
ronald.ferreira.39
1 year ago
even though all rulers are 1inch width apart the wooden ones have a coper edge on top that bends on the ends away from the middle which is why grids are crooked
Nelson NoelP
3 years ago
And also to the picture
Nelson NoelP
3 years ago
And also to the picture
Nelson NoelP
3 years ago
How can i draw grid lines on a A3 size paper?
ronald.ferreira.39
3 years ago
i saw a photo of you drawing a grid the beginning inch is not at the edge of the paper .
3 years ago
How can I grid this on a 20 by 28 paper
1 reply
Reply 3 years ago
Make a mark down each edge of the paper... every inch. Draw straight lines connecting the marks. Then do it on top and bottom, connect lines. It's all about the squares. Dosn't matter how big or small as long as you have the same number of squares on the drawing paper and the picture.
Practice. Make a mark every inch down each end of the paper. Connect the marks and draw the line with a ruler. It takes practice.
3 years ago
My grids on the two papers don't match up????
Make one mark every inch across the top starting in the corner. Then do the same thing across the bottom. Then each side. Connect the marks and your lines should be straight.
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Edward Jean Steichen
(redirected from Edward Steichen)
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Synonyms for Edward Jean Steichen
United States photographer who pioneered artistic photography (1879-1973)
References in periodicals archive ?
Edward Steichen photographed above the deck of USS Lexington (CV 16) in November 1943.
There's a lot about Thornton Wilder that's interesting, and Niven, esteemed for her biographies of Carl Sandburg and Edward Steichen, has done a masterful job of research and compilation.
The famed museum was preparing for an exhibition by pioneering early 20th century photographers Alfred Stieglitz, Edward Steichen and Paul Strand.
When Sandburg married Lilian Steichen, he gained Edward Steichen, the famed photographer, as a brother-in-law.
They wanted me to consider a collaboration with the Department of Photographs and an exhibition of the work of Alfred Stieglitz, Edward Steichen and Paul Strand".
A major attraction of these two art images libraries is that fine art and photographic images of known artists like van Gogh, Picasso, Max Ernst, Frida Kahlo, Edward Steichen, Man Ray, etc.
Perhaps in part because of their famous subjects, photographers started to be seen as great artists, as expressionist painters in black and white, and it's their names we remember: Alfred Stieglitz, Edward Steichen, Imogen Cunningham, Charles Sheeler.
But its legendary photo director, Edward Steichen, would only glance at the portraits and snort, "I don't hear the music.
T]he railroads are being used by the military--I only know that war is inevitable now," the American photographer Edward Steichen wrote to his friend Alfred Stieglitz in New York in one of his letters now stored in the Steichen Archive of the Beinecke Library at Yale University.
The exhibition at the National Arts Club focuses on works by Stieglitz and Edward Steichen, the two men most responsible for introducing modern art to America, and Paul Strand.
The first image, Music Hall, Madison (1943-1944), with its blackened branches, bare in winter mist, and reflections on wet pavement, recalls the works of Edward Steichen, Szarkowski's predecessor at MOMA.
Even though Hodges meticulously researched and noted her encounters and friendships with the famous: Edward Steichen, Paul Robeson, Gregory Peck, Orson Wells, Edith Head, Anthony Quinn, Laurence Olivier and Charles Loughton, to mention but a few, I was hungry for more of the "zeitgeist of her times.
The appeal by Duchamp led to a court case where the list of witnesses reads like a Who's Who of the international art world - Edward Steichen, Ezra Pound and Jacob Epstein took the stand.
He also came to admire the work of such photographers as Walker Evans, Edward Steichen and Man Ray, although his own photographic style became very different from theirs.
Huene, who had learned from the master Edward Steichen, introduced Horst to painterly influences like Van Dyck, Vermeer, and Ingres as well as the reality-manipulating surrealists, many of whom shared Paris as their home.
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Yuken Teruya
Profile | Artworks | Exhibitions | Network | Reviews | Comments
20110203162723-teruya-beforespray_low
20120418061957-nomcatalogue-3
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Crossword Word Search Worksheet
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The Seven Elements of Art
A type of line that runs up and down the page (top to bottom).
Surface quality that can be seen or felt.
The number of Elements of Art
Light reflected off of an object. Hint: This element is affected by hue, value, and intensity.
A mark that spans the distance between two points.
The type of art that has form and depth - such as a sculpture.
The area inside of a shape.
A type of shape which is unique and unlike other shapes, often these shapes are found in nature.
A type of shape which is common and uniform, such as a circle, square, or triangle.
The seven essential building blocks of art.
The area outside and around a shape.
The type of art that is flat- like a drawing or a painting.
A type of line that runs across a page at an angle, often from corner to corner.
A type of line that runs across a page side to side. Hint: like a sunset over the ocean.
The lightness or the darkness of a color.
The area around, above, and within an object or shape. Hint: There are two kinds, positive and negative.
A three dimensional shape with depth.
A closed line which defines a two dimensional space. Hint: This is the 2D version of a 'Form'
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How To Watercolor An Amaryllis Flower | Cecilie Okada Design
How To Watercolor An Amaryllis Flower
How To Watercolor An Amaryllis Flower
Sharing is caring!
The sparkly red Amaryllis flower is a reminder that Christmas is not far off. However, the striped petals present a particular challenge for the artist. If you want to learn how to watercolor this flower, keep reading. I will show you how, but as usual, I add colored pencils and white gouache to achieve a realistic look.
Amaryllis belongs to a Greek legend, symbolizing pride, determination, and beauty. It takes determination to learn something new, pride is earned when the task is accomplished and the result is beautiful…
You can download the outline drawing for this tutorial for free in One Tree Art Club. If you are already a member, check my latest newsletter for download info
Let’s dive in. The reference photo is from Pixabay.
Amaryllis reference photo
Step 1
Wet the flower within the boundaries of the outline. Dab some green mixed with ochre in the center of the flower and let it spread out. Soak up excess spreading with a watercolor sponge. Let it dry. You can use a hairdryer to speed things up.
First watercolor down, amaryllis flower.
Step 2
Paint part of the top of the petal with crimson red. Dry your brush and carefully drag paint down towards the center, creating stripes. Don’t fuss, just do this in a free manner. The direction you move the brush is what matters.
Painting the fist red stripes, amaryllis flower.
Step 3
Repeat step 2 on all the petals. Add some more wet, red color including darker red. Sponge each petal to dilute color edges and stripes a bit. Then, moving from the center outwards, use a paper towel or sponge to remove red so that you have a white star going out from the center. Fortify the center with some darker green.
Watercolor the first red layer. Amaryllis.
Step 4
Now you will make the white star really white. Add white gouache to your palette. If you have an old brush where the hairs are slightly parted, use it for this step. You can also part the hairs of a good brush with your fingers. Keeping the brush dry, pick up white paint and paint away from the center of the flower, creating loose dry stripes.
Painting the white star within the amaryllis with gouache.
Download free line art & more
Step 5
Redraw the outline with a sepia-colored pencil. With a dark red pencil, draw stripes freely. Here you draw in in the opposite direction, namely from the edge of the petals towards the white part. Look at the reference photo to mimic the curving of the stripes. This is what will give the petals volume.
Drawing with colored pencils. Watercolor amaryllis.
Step 6
With an ample amount of crimson red pigment on your brush, paint the outer part of the petals again. Move your brush from the rim of each petal toward the white. You are fortifying stripes and the 3D effect of the petals.
Adding red watercolor to the amaryllis.
Step 7
Last but not least, touch up the green and slightly yellow center of the flower. Touch up the outline again with the sepia-colored pencil. Paint around the outline of the flower with white gouache to mop up stray red paint and pencil marks.
Touching up with colored pencils. Amaryllis watercolor flower.
The amaryllis flower is done!
How to Watercolor an Amaryllis Flower
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Peter Olsen - Artist
About Peter Olsen
Learn more about Peter Olsen from Oakland Park, FL - United States.
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Artist Statement – Peter Erling Olsen
‘Artist Statement’ seems like a misnomer….perhaps Artist’s Struggle is more realistic because every artist I’ve personally met as well as the great masters of past have struggled in their art. And I am no different. Classical training, the enriching art environment of New York City, versatility as a muralist plus a good work ethic kept me from being homeless but still I struggled finding the ‘ME’ quotient in my art, something that satisfied yet challenged me. And then a little book with an outer space cover design changed all that in 1974.
Thumbing through the book, a subtitle and its subsequent paragraph lit up my imagination as never before. I hungered to put the book down and paint what I had read...and I did – a large canvas with an angelic, commanding central figure. I was invigorated! As I read the next chapter, I easily visualized its text and excitedly began the second canvas – two impoverished looking figures possessing mysterious powers set in a surrealistic background. I was energized! I realized that by painting the narrative, or story, I was doing something completely different and I liked it! It felt right! It felt satisfying yet definitely challenging! However, discovering that an ancient and revered book was the source of this apocalyptic text created a new challenge. I needed to keep it authentic and stay true to its narrative. Much research would be required and this was at a time when there was no internet! Books, libraries and patient librarians became my stalwart sources for the planned five ‘or so’ canvasses. The paintings were received by all with “oohs and aahs”, lithographs were published and sold. They were labeled by art reviewers as surrealism, symbolic realism, even fantasy art. My plan was to do these five paintings and then move on to a different project, but what happened next would change my entire career as a fine artist.
One day while in my studio I felt a desire to pray about the direction of my art. During that prayer, I realized that I would not be moving on to another project after the five canvasses. I would continue visually portraying this sacred text of the Bible’s Book of Revelation until I had painted all of its twenty-two chapters. And…I would not sell them. WHAT???? Isn’t that why artists paint? How will I sustain a family, myself, not to mention the art? Answers to those questions were not known, yet I began this journey to paint all twenty-two chapters of Revelation with some chapters having multiple paintings. AND I DID IT!! Along the way, I taught art and received commissions for murals, paintings, and sculptures.
Were there struggles? Oh yes -- balancing time!! – time for family, the project, and the art that would support the project…staying true to the narrative… struggling to portray horrific scenes and figures in a palatable way. One particular serious struggle was cancer – colon cancer, the silent killer. My blood count had dropped to 5 before it was detected. But thanks to my amazing team of doctors, my family, friends, students and ministers who prayed vigilantly, I survived and THRIVED. Interestingly, during this cancer odyssey, while undergoing chemo after surgery, I painted what has been called one of the greatest paintings of the collection, “The Museum of Mankind”.
Despite any struggle, the blessings have been greater -- my faith, my family, my students, and my art. In addition to the oil paintings, the ‘project’ has now grown to include over 450 teaching illustrations of each of the 404 verses of Revelation plus collage illustrations, mixed media paintings, and works in wood. There are over 1,000 artworks on Revelation and correlating verses from the Old and New Testament.
Almost 40 years ago, I began this journey and have kept the collection intact. The paintings have been exhibited at museums, art centers, churches, schools, and private showings. Students, teachers and ministers throughout the world have used the imagery in slide or teaching presentations. Going forward, we are now open to exploring new dimensions for the paintings, including inquiries from interested collectors. We’re also excited that technology now enables us to provide you with giclees, prints, cards, and more of artwork based on a most intriguing, inspiring book of the Bible that exhorts us to read it, hear it, and remember it and that we will blessed. Thank you!
Peter Olsen joined Fine Art America on April 18th, 2012.
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Isa loves typefaces like most women love shoes and never, ever says no to chocolate.
ISA MOHTAJ received her Bachelor of Design degree from the University of Florida.
She began her career with the John Harland Company in Atlanta and held several senior positions at notable agencies such as Austin Kelley and Warren Clark & Graham before starting her own studio in 1994. Her impressive work has earned her numerous awards from such well-known shows as Show South, the CLIOs, the Addy Awards and Print Excellence Awards.
Isa’s fascination with printed material began at a young age—her mom would often find her in the pantry surrounded by colorful registration marks she had carefully cut from food packaging. She enjoys the challenge of design, discovering and learning about her clients, their competition and trends in the marketplace.
When she’s not designing or doing mom-things, you’ll find her browsing antique stores, planning her next interior, dancing or tending to her peonies.
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CSUN’s Student Rec Center Receives Award for its Design
With its sleek facade, environmentally friendly design and state-of-the-art equipment, its no wonder the Student Recreation Center (SRC) at California State University, Northridge was honored with a Design and Vision Award by the American Institute of Architects (AIA) San Diego.
Student working out in CSUN’s Student Recreation Center. Photo by Lee Choo.
The awards honoree reception was held last month at the Energy Innovations Center in San Diego, CA.
“I was thrilled to hear that the SRC won this outstanding award,” said Jimmy Francis, interim associate director of the SRC. “Architectural design firm LPA, Inc.; the project team from CSUN; and the USU did an amazing job balancing function, form and sustainability in the design and construction of the facility.”
The SRC received two citations awards, which recognize distinctive aspects or elements of a design that demonstrate noteworthy architectural skill or vision. One award was in the regular-built category, which is a competition among all of the entries that were submitted, and the other was in the Committee on the Environment San Diego category, which recognizes the beauty of sustainable architecture that integrates with the physical and cultural environment.
Katelyn Sellers, a member services assistant at the SRC, was excited when she found out about the honors.
“I think it’s so great that the SRC won this award,” said Sellers. “It makes CSUN look amazing, especially because the SRC has made efforts to be environmentally friendly.”
Some of the SRC building features include the usage of solar tubes, waterless urinals and an efficient heating, ventilation and air conditioning system. Several sustainable features helped the facility achieve a LEED (Leadership in Energy and Environmental Design) Gold status, which is an international rating method that provides standards for environmentally conscious buildings and facilities.
“I have had a chance to visit numerous campus recreation facilities throughout my career,” said Francis. “The SRC ranks among the best in regards to interesting design features and green building initiatives.”
The SRC opened in spring 2012 as CSUN’s new exercise and leisure activities facility. Its purpose is to promote health and wellness along with being an environmentally friendly building. The SRC contains two activity courts for multiple sports, three different fitness zones equipped with a variety of equipment, an indoor jogging track and a rock climbing wall. An outdoor artificial turf field will open in January 2013.
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Mel Odom: Gorgeous!
only a few left!
Mel Odom — Gorgeous! presents a selection of paintings and drawings shaped by the American artist’s desire, a pageantry of bold, sensual figures and pop superstars cast in Odom’s trademark precision. ‘I drew who I wished I was’, he says, a transplant from the rural South enamoured with the shirtless ‘clones’ of New York’s Christopher Street. Edited by Luis Venegas in collaboration with Odom, this monograph spans the entirety of Odom’s career to date, charting the evolution from his early commissions for Time and Playboy to his most recent works.
Odom’s sensual images are accompanied by reflections from the artist himself taken from an interview between Odom and Venegas, a close conversation between friends that reads as a series of tender epiphanies. Memories of first love and acid-soaked discos are weighted by the loss of the AIDS crisis at its peak, a backdrop for Odom’s life in New York and a notable influence on his creations: ‘I thought I was … somehow living on borrowed time… That tends to make what you do with your time very important. I would do these drawings … and know that these were going to remain once I was gone. Once I was dead, this would be what people thought of me’.
Mel Odom — Gorgeous! faces this legacy with the artist’s insistence on pleasure, indulging in a lover’s touch, a porcelain brow, a celebrity’s glittery appeal. This monograph, which pairs the hardback design of a traditional artist’s book with the flair and attitude of a fanzine, is the first in a new series edited by the Spanish publisher Luis Venegas, originally featured in issue #18 of Apartamento magazine.
Pages: 96
Material: hardcover
ISBN: 9788409638987
Dimensions: 21 × 29 cm
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- Boushi (Hat) - Kaoru Saito - SAKURA FINE ART
- Boushi '75 (Tulip Hat) -
Kaoru Saito
Lovely etching print "Boushi '75" (Tulip Hat) is by Kaoru Saito. Very realistic and beautiful. The flower decoration on the hat is a very charming accent.
Technique: Mezzotint etching
Paper size: 13 and 3/4 inches by 16 and 3/4 inches (35 x 42.5 cm)
Image size: 8 and 1/2 inches by 10 and 1/2 inches (21.5 x 26.5 cm)
Sheet number: A. P
Date: 1975
Signed: Pencil signed by the artist
Condition: Excellent condition. Tape residue on the edge
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The Benefits of Culture Gift Certificate Discounts
Exploring Cultural Experiences
Culture gift certificates are a fantastic way to share the joy of art, music, theater, and more with friends and family. By offering discounts on these certificates, cultural institutions and businesses make it easier for individuals to experience the richness of local arts. Whether it’s a ticket to a concert, a workshop at an art studio, or a cooking class, these discounts can inspire recipients to engage with their community’s cultural offerings. Not only do they provide an opportunity to explore new interests, but they also encourage people to step out of their comfort zones and discover talents they may not have realized they possessed.
Fostering Community and Engagement
Discounted culture gift certificates also play a vital role in fostering community engagement. By making cultural experiences more accessible, they can attract a diverse audience and support local artists and venues. This can lead to increased attendance at events and classes, helping to sustain these institutions in challenging economic times. Additionally, when individuals use these certificates, they often bring friends and family along, amplifying the sense of community and shared experiences. Ultimately, culture gift certificate discounts not only promote personal enrichment but also strengthen the cultural fabric of a community, ensuring that the arts remain a vibrant and essential part of our lives. 컬쳐랜드할인
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Classrooms & Fine Arts Facility Enhancement
Programs and academic offerings are growing rapidly. Program expansion is limited by the current classroom space available. This can be addressed by:
• Adding a 7,000-square-foot wing with three additional classrooms and restrooms
• Providing new space dedicated to music instruction and performance to accommodate 135 students in the curricular music program (which would double its current space)
• Creating a multipurpose room, adding a much needed faculty/department meeting space for collaboration and training
• Creating a space for one-on-one tutoring and instruction
• Converting the current music room into a STEM lab
• Manage space in such a way that it allows for physical expansion of programs.
• Enhance ability to provide one-on-one instruction.
• Create dedicated space for STEM projects.
• Update fine arts education and performance space.
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Apps Uncovered 24 September 2017 RED
37239088641_01560a6cf7_k (2)
Selected by Trish Korous
Welcome to this week’s Apps Uncovered where we feature a range of iPhoneography talent and reveal the creativity and techniques behind each of the iPhone images featured.
This time around, I am featuring the colour RED. On Flickr, I have several galleries, and I collect the works simply by an either dominant or highlighted colour. Not any particular topic or style, simply colour. I feel it gives one a different way of looking at a particular work.
Included in this week’s top talented iPhone artists and photographers are the following: Sergiy Beliayev, Kate Zari Roberts, Tomaso Belloni, Karen Alexrad, Rosa Perry, Dieuwke Geervliet, Kent DuFault, Jive Thunders, Roccantica, Gabriele Rodriquez, and Clint Cline.
If you’d like a chance to be featured in this weekly showcase, please remember to include your apps and backstories with your photos. Thank you, as always for submitting your amazing work. For a chance to be featured, please join our Flickr group.
Thank you all for contributing your wonderful images and we look forward to discovering the stories and techniques behind them. If you have any questions regarding this feature, please email Nicki at nicki@iPhoneographyCentral.com
•Red umbrellaApps used: Taken with iPhone 7 plus, edited in Color Accent (desaturation of all except that red umbrella) Hipstamatic Tachman lens, Aristotle film, no flash, and “cooking” the final result with number of sliders. Backstory: Since that time I have gone crazy about photography. I have i started to look at the sky, and around, and up, and down, and whatever, so when I saw that woman with a red umbrella on the dark rainy street, I just pressed the button, because the scenery seemed just perfect for me then! Art Walk Longmont
Apps used: Hipstamatic image using Jane, Ina’s 1982, and Cadet Blue Gel
Backstory: I had just learned that morning of this combo by Lori Hillsberg and when I came across this scene, I knew the combo would be perfect. There were a group of ballerinas posing on the street during Longmont’s Artwalk. A group of painters, photographers and sculptors stood around this scene creating their pieces. I was lucky enough to have stumbled upon this!
Not a chanceApps used: iPhone 7plus default camera and edited in Snapseed. Backstory: Walking down the streets of San Sebastian de la Gomera, in the Canary Islands, one can see very colorful houses. This particular boundary between two of them caught my attention. It would make a great abstract composition, providing a piece of window is included to give some context. Choices
Apps used: iPhone 7plus default camera and edited in Snapseed.
Backstory: A small square on the side of a church in San Sebastian de La Gomera, in the Canary Islands. A pattern of squares on the floor, three doors with a step threshold or three low windows? Either way, they seem to ask for a choice. Certainly they screamed at me to photograph them. The different floor on the right and the bumpy corner were obvious choices to me.
Red & GoldApps used: Hipstamatic with Sergio lens, Maximus LXIX film, and Triple Crown flash. Backstory: I took this photo with the iPhone 7 at the Berlin Art Week (Berliner Liste) exhibit at the old Post station (Postbahnhof). I had taken a number of photos in black and white, but when I was leaving I noticed the golden evening light. This Hipstamatic combination emphasized the yellows, added a glow to the reds, and blurred the edges, enhancing my first impression. Even the simplest things can be beautiful.
Apps used: iPhone 7 Plus using macro setting on Camera+ Ztylus Macro lens and polished off in Snapseed.
Backstory: Thatch grass and a tiny winged insect. Exploring macro and it’s amazing what you can find in the tiny world.
365/262 Joy … #joy_draikiApps used: Taken with iphone7+ and processed with snapseed, repix, mextures, stackables, and vsco Seoul at night.
Apps used: Taken with an iPhone 6+ and processed in Snapseed
Backstory: On my first visit to South Korea, I became mesmerized by this amazing country. I created this image while doing some night time street photography in the Myeongdong shopping district.
Steampunk MemoriesApps used: I used Hipstamatic (I simply love it!) Backstory: There is no big story behind. It’s my romantic view on a pre-apocalyptic world, my passion to shoot for a lifetime!!! Meanwhile at home...
Apps used: iPhone 6 and worked with the Instagram’s filter XPro-II.
Backstory: This was taken while the local cattle breeders were celebrating the end of the summer work. They had just rounded up their livestock under a heavy rain and brought them back to the stables. Now it’s time to chill, dry up, and blow off a little steam before returning to the winter routine. I liked the tones given by the combination of smoke, overhead heaters’ light and the blue of the dimming light of the day through a plastic window pane.
Meanwhile at home...Apps Used: iPhone 6 and worked with the Instagram’s filter XPro-II. Backstory: A group of children are playing with a parachute under the guidance of a circus school teacher. I tried to catch the atmosphere of joy through the movement. Nothing Hill Gate
Apps Used: iPhone 6s and made with Repix
Walking through a dream #joy_draiki
Apps Used: Shot on iPhone7+. Processed with imageblender, snapseed leonardo, repix, mextures, foodie
Apps Used: Hipstamatic, TV Scanlines, Defqt, SketchBook, iColorama, Glaze, Superimpose
Backstory: This image was created when Hurricane Irma was 100 miles south of our location. We still had power but night had set in when the winds would eventually reach 95 mph, tearing a 40-ft awning from our building around 1 a.m. There is a kind of beauty witnessing the power of nature, coequal with the terror it wears on its massive shoulders. This work tries to capture the enormity of Irma’s strength.
Related posts
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Quick Answer: What’S The Most Expensive Painting In The World?
What are the 10 most expensive paintings in the world?
The 10 Most Expensive Paintings In The WorldMona Lisa – Leonardo da Vinci.
Interchange – Willem de Kooning.
Nafea Faa Ipoipo (When Will You Marry?) …
The Card Players — Paul Cézanne.
Number 17A – Jackson Pollock.
Portrait of Marten Soolmans and Portrait of Oopjen Coppit — Rembrandt.
Les Femmes D’Alger (Version ‘O’) — Pablo Picasso.More items….
What are the 3 most expensive paintings ever sold?
Below is a list of the most expensive paintings sold, adjusted for inflation, and their year of purchase.$453 million for Salvator Mundi (Savior of the World), attributed to Leonardo da Vinci (2017)$312 million for Interchange by Willem de Kooning (2015)$274 million for The Card Players by Paul Cézanne (2011)More items…•
Who owns the most expensive painting in the world?
The painting, Leonardo da Vinci’s Salvator Mundi (Savior of the World), went for $450 million to Saudi Prince Bader bin Abdullah bin Mohammed bin Farhan al-Saud, an ally of the Crown Prince Mohammed bin Salman.
Can I buy the Mona Lisa?
Truly priceless, the painting cannot be bought or sold according to French heritage law. As part of the Louvre collection, “Mona Lisa” belongs to the public, and by popular agreement, their hearts belong to her.
Who owns Mona Lisa?
It had been believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. It was acquired by King Francis I of France and is now the property of the French Republic itself, on permanent display at the Louvre, Paris since 1797.
What famous paintings are missing?
Here is a list of the most famous missing paintings in the world.Poppy Flowers | Vincent Van Gogh. … The Concert | Johannes Vermeer. … The Storm on the Sea of Galilee | Rembrandt van Rijn. … Nativity with St. … The Just Judges | Jan van Eyck. … Portrait of a Young Man | Raphael.
Who threw acid on the Mona Lisa?
Ugo Ungaza Villegas9. The Mona Lisa has been attacked! If you look closely at the subject’s left elbow, you might notice the damage done by Ugo Ungaza Villegas, a Bolivian who chucked a rock at the portrait in 1956. A few months before, another art attacker pitched acid at the painting, which hit the lower section.
How much is the Mona Lisa worth today 2020?
Today, in 2020, the Mona Lisa is believed to be worth more than $ 860 million, taking into consideration the inflation. Leonardo Da Vinci painted the Mona Lisa between 1503 and 1506 AD.
How did Mona Lisa died?
Francesco and Lisa del Giocondo placed their ldest daughter in this cloister at age 12. She died, perhaps of plague or another infectious illness, at age 19.
How old is Mona Lisa?
517c. 1503Mona Lisa/Age
Who killed Mona Lisa?
Death. In one account, Francesco died in the plague of 1538. Lisa fell ill and was taken by her daughter Ludovica to the convent of Sant’Orsola, where she died on 15 July 1542, at the age of 63.
Is Mona Lisa dead?
Deceased (1479–1542)Lisa del Giocondo/Living or Deceased
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One of the best Moscow venues - Gostiny Dvor - invites authors from Russia and foreign countries to take part in the all Russian Competition of Modern art "Talent of Russia" and the "Golden Hands of Russia" fair.
Registration deadline: September 14, 2020
Dates: October 1-4, 2020.
Address: Moscow, Gostiny Dvor, Ilinka street, 4.
Opening hours: 11:00-20:00
What can be represented in the Gostiny Dvor: all Russian Competition of Modern art "Talent of Russia" involves art objects of fine and decorative art - paintings, graphics, sculptures, pastels, watercolors, photographs, textiles, arts and crafts in modern directions - modern and traditional. The main feature - all the works presented must have a high aesthetic value and the value of a perfect art sample!
"Talent of Russia" includes the following sections:
1) Competition and exhibition program: "TALENT OF RUSSIA" All Russian Modern Art Competition
Forms of participation in the competition: In person (originals and giclee) and In absentia (photocopies).
2) Fair program: "Talent of Russia / Golden Hands of Russia" Exhibition-Fair
Forms of participation in the fair: In person (works of art can only be originals and giclee; the author or representative administers his stand or window)
All competition participants automatically become the art fair participants as well (the author marks the price of his artwork in the label!) However, if the author, collective or firm wishes to present a collection of their works only at the fair, it is possible to do so by booking an additional area equipped with racks, tables and/or displays.
The following materials are sent to the organizing committee by e-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.
1) Participation in the competition-exhibition-fair "Talent of Russia":
a) participant application (download, fill in and send in Word or PDF format)
b) labels for each competitive work (download, fill out and send in Word or PDF format);
c) a photograph of the author with a size of at least 3x4 cm .;
d) photographs of competitive works (not less than 200 dpi, not more than 15 Mb);
e) a copy of the registration fee payment (go to the "Partcipation fee" section)
f) for full-time participants: transfer card (download in Word, PDF)
2) Participation in the fair program "Golden Hands of Russia":
a) copy of payment of the entrance fee (go to the section "Participation fee")
b) documents for participation in the fair (go to the section "Documents for the fair")
After sending registration materials to the organizing committee and return confirmation, participants bring their works to the exhibition on April 1, 2020, from 14:00 to 16:00
In person artwork should be prepared for exhibiting on vertical stands:
a) have hooks, hinges or eyelets for hanging
b) have a rigid base (passe-partout, frame, subframe, etc.)
c) have labels (in the lower right corner, on the front side)
d) together with the art object provided for the exhibition, the applicant submits a "Card / deed of transfer", which will be the basis for the subsequent issuance of competitive works, at the end of the exhibition. At the end of the exhibition, original art objects are returned on the closing day according to the "Card / deed of transfer".
After registration via the Internet, the organizing committee prints the files sent to the competition and places the photocopies in the art book, which is on display during the exhibition. The size of the printed pictures is A3 (297x420 mm). One file must contain one competition entry. At the end of the exhibition, the organizing committee sends diplomas to the participant or winner by e-mail.
The author independently decides in which competition and nomination his work will be presented. The organizing committee conducts a preview of the works according to the sent photos. All works registered within the specified terms and confirmed by the organizing committee are displayed at the exhibition and participate in the competition program, except for:
a) works that violate the social norms adopted in the Russian Federation
b) political topics
c) works that offend religious feelings and personality
D) conceptual and non-high level works
The decision of the Organizing Committee on the above exceptions shall not be subject to final discussion.
Participation in the competition program: IN PERSON AND IN ABSENTIA
In person and In absentia participants have equal rights. All participants – in person and in absentia – first send to the organizing committee (by e-mail This email address is being protected from spambots. You need JavaScript enabled to view it.) the registration kit (application form, labels, photos of works, photos of the author). After confirmation by the organizing committee, in person works are handed over to the exhibition within the specified period. With absentee participation, the contestant sends photo images to the organizing committee in electronic form. The organizing committee prints files, draws up in the form of an art book, which is placed at the exhibition.
An Expert Council (jury) is formed to evaluate the entries. The Expert Council includes the following professional groups: a) members of art unions and associations; b) representatives of specialized media; c) representatives of production companies; d) art critics. The Expert Council includes an assessment both in the exposition (full-time jury) and in electronic form (in absentia jury). The work of the Expert Council (jury) includes the assessment of art objects submitted to the competition according to a 10-point system. The scores are summed and the average arithmetic score is determined.
Masters and artists of all directions of fine and decorative-applied and fine arts, as well as art historians, patrons and everyone wishing to take part or visit the exhibition and its programs are invited to participate.
Go to the “2018 Expert Council”
The 2019 Expert Council is currently being formed.
Organizers of the competition, exhibitions, fairs:
Creative Union of Artists of Decorative and Applied Arts,
Eurasian Art Union,
LLC Expo Service.
Competition "Talent of Russia" is held with the creative support of the Russian branch of the World Fund of Art.
The exhibition "Golden Hands of Russia" was supported by: Ministry of Industry and Trade of the Russian Federation, Ministry of Finance of the Russian Federation, Gokhran of the Russian Federation, All-Russian Museum of Decorative, Applied and Folk Art, Federal Budget Institution "Museum of GEMFLOWERS", The Almanac of Jewel & Travel, Guild of gunsmiths masters, Association "Guild of Jewelers of Russia", GBUK MO "Museum of Folk Art Crafts" (Fedoskino), Art Deco Museum (ART DECO), World Fund of Arts, Eurasian Art Union.
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Product Design Portfolio, Hand Tools
Hand Tools
Redefining a brand of fastening tools
Design of a New Product Platform for a family of hand tools by an Industrial Designer
A highlighted project by our Industrial Designer, the project sponsor needed a refreshing new visual brand language to match their newly engineered intellectual property. The first item of this series would define the aesthetics and usability of the rest of the collection.
This project highlights the need for careful design attention to maintain brand strength while exploring and executing a new and exciting visual language and color, finish, material strategy. The importance of communicating the value of the new integrated technology for driving a 1″ nail with a hand powered staple gun is evident by the carefully detailed work performed by the Industrial Designer.
Concept Development
Concept sketching and concept cad development early in the initial phases help to establish the target specifications for the new product platform. The Industrial designer is a crucial design leader throughout the process of developing a new platform.
Design Integration
Adapting design CAD and design intent to the concurrent development teams focused on sourcing and manufacturing issues is an effort in design management and requires well developed communication skills between the industrial designer and the engineering team.
Brand Stewardship
The Industrial Designer establishes the Visual Brand Language and defines the application of such standards throughout the life of the new product platform and works with marketing professionals to create a VBL rulebook for the product and platform’s lifespan.
The Industrial Designer and the engineering team are organized in this case as parallel path development teams. Lines of communication are open, but the human factors, CMF, aesthetics, ergonomics, look and feel are designed by the industrial designer to effectively to the needs of the user and adapt to business objectives and clearly defined specifications.
Principal Design approaches every project methodically, and each stage of the process is an opportunity to realign the strategy to the objectives. The success of our product design process for product development depends on a purposeful, user-centered design approach. The Industrial Designer effortlessly employs design methodologies that are effective at generating or discovering opportunity for adding value, and reducing risk at later stages like manufacturing and marketing. The Industrial Designer balances exploration with execution. Our creative strategy is divergent to leverage resources and discovery, and convergent to select for the best opportunities.
6070 Godwin Blvd. Suffolk, VA 23432
designer@principaldesign.com
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Taking back Corona/Crown
Artword travels through streets of Boston
Holly Camero
hcamero@wickedlocal.com
Jerry Beck, left, director of ArtSpace, and Coraly Rivera, artistic director of the Revolving Museum, put the finishing touches on the 'Corona/Crown Project.'
[Courtesy photo]
Jerry Beck, director of ArtSpace and a team from the Revolving Museum are hitting the road and taking Corona/Crown with them, bringing it to communities that have been hard-hit by the coronavirus. Stops planned for this week include the Massachusetts State House and Boston City Hall; then the artwork will travel along the streets of South End, Back Bay, Fenway and Mission Hill before heading to the Longwood medical area and Brookline and finishing up in Allston and Brighton.
The traveling artwork, called “The Corona/Crown Project,” is anchored by a 10-foot sculptured head covered with a face mask and topped with a bejeweled crown.
A second art mobile features short, bilingual poems of hope, fear and loss, and dozens of community-sourced artworks called “Cure-Cells,” that represent anti-viruses. More than 100 artists, young people and community members, from across the country, contributed poems and artwork.
Coraly Rivera, artistic director of the Revolving Museum, is hoping the project – a month in the making -- will change the way people think of corona.
Corona in Spanish means crowning or rewarding someone, and Rivera was bothered to think that the word will forever be associated with a pandemic and death.
So she came up with the idea of creating the art mobiles to promote safety and honor essential workers who “are worthy of praise” and reward.
“We are taking the word back. We want to make a statement that it is important for the safety of the community and the state to wear masks to protect yourself and to protect others from yourself. We want to spread the word that we want to collaborate with the efforts [while] recognizing the people that are at the front of this war,” Rivera said.
The project is bilingual because many of the hardest-hit neighborhoods have been neighborhoods of color and Latino and Spanish speaking, Beck said.
“It is important to reach those communities and reiterate the message of staying safe,” he said.
The art mobiles, which, for the moment, are parked in front of ArtSpace at 53 Summer St., will start out on May 5, driven by Beck and Rivera, and head down Route 2 into Boston. Beck said they do not plan to stop, but will drive slowly enough so people can watch and read the short poems.
“We don’t want to cause any problem with social distancing,” he said.
He anticipates they will take the art on the road two to three days a week, for the next three months.
“Why stay home when we can reach thousands of people just driving by,” Beck said.
The Corona/Crown Project will eventually head to Greater Boston, Essex and Worcester counties, traveling through neighborhoods where people can see it from windows or outside at a safe distance. It will pass by places where people line up for groceries and other essentials, and traditional and makeshift hospitals.
Poems on the truck are large enough to read from a distance, and a positive message will also be written on top of the truck so people in hospital rooms or high-rise apartments can see it from above.
“A lot of our stops are just to give a strong appreciation, love and thanks for all the health workers that are risking their lives and patients that are fighting for their lives,” Beck said.
The project is another way to connect the arts to the community.
“We want to emphasize that arts and creativity can help your mindset, and how we can support each other with that creative effort,” Rivera said. “This whole thing has been a collaboration from a distance; everybody has put a little something into this.”
Locations and routes will be tracked on Twitter at @CoronaCrownArt and using the hashtag #CoronaCrownArt.
ArtSpace goes digital
ArtSpace is bringing art to the community in other ways, too.
Before ArtSpace closed its doors because of the pandemic, there was a new show in the west gallery called “Out of the Box,” in which several artists were given a box of random items and challenged to create a piece of art.
Artist Andrew Child said he went to the opening reception and had been looking forward to the closing reception where artists discuss their pieces.
The closing reception was cancelled and since they could no longer meet in person, he set up a “zoom” call with the artists and invited the public to join.
“It was pretty popular,” he said.
Since then, he has been organizing informal talks every Saturday, from 2 to 4 p.m.
So far they have “met” artists and discussed the bee meadow behind ArtSpace and have more in the works.
For a schedule of virtual talks visit facebook.com/ArtSpaceMaynardGalleryandStudios/.
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5 Graphic Design Trends for 2020!
Updated: Jan 2
With a new decade creeping around the corner here are some new design trends!
As with every year we see new styles come and go and sometime even come back again. Here are 5 graphic design trends we predict we will be seeing more of in 2020.
1. 3D depth and realism
The 3D trend reached its peak in 2019 but it certainly won’t be fading away anytime soon. Thanks to the development of modern technology and software capabilities it looks like 2020 will be another big year of amazing 3D graphics.
2. Line art
Line art is a bold, simplified illustration style which is great for conveying concepts and ideas. It helps to keep compositions looking clean, elegant, and unobtrusive. This style really lends itself to information graphics and can help businesses illustrate there process in a clean and simplified way.
3. Vintage badges
Vintage logos / marks are all the rage at the moment! You can see them being used in apparel and packaging everywhere. This style helps to create a modern but nostalgic feel allowing consumers to feel as if they are buying into an established brand.
4. Patterns & textures
Patterns and textures appeared to disappear the last couple of years but now seem to be on the rise again! With a lot more brands wanting a more earthy organic look. We can again expect textures to be the norm.
5. Liquify
The liquify effect is nothing new in the design world, but we’re seeing the style being used in more creative and abstract way. The style is becoming very popular across advertising especially in the music industry. The effect is not only being used on photos but also typography.
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Yann Arthus-Bertrand Biography Yann Arthus-Bertrand was born in Paris on March 13, 1946 in a renowned jewellers’ family founded by Claude Arthus-Bertrand and Michel-Ange Marion. His sister Catherine is one of his closest collaborators. He’s been interested in nature and wildlife from an early age. He became a director assistant when he was 17 in 1963, then actor in movies. He played alongside famous actors such as Michèle Morgan in ‘Dis moi qui tuer’ (1965) by Etienne Perier and in ‘OSS 117 prend des vacances’ by Pierre Kalfon (1970).
He gave up the movie industry in 1967 to run the Château de Saint Augustin wildlife park in Château sur Allier (centre of France). He then left the country with his wife Anne when he was 30 (1976) to live in Kenya in the Massai Mara national park. He lived amongst the Massai tribe for 3 years to study the behaviour of a lions’ family and took daily pictures of them during those years.
He thus discovered a new passion for photography and the beauty of landscapes when observed from above in hot air balloons. He understood the power of a picture and how to communicate using this means. He came back to France in 1981, published a photographs book ‘Lions’ in 1983, and became an international journalist, reporter and photographer specialised in documentaries on sports, wildlife and aerial photography for French magazines such as Paris Match and Geo. He photographed ten Paris-Dakar rallies.
Every year he published a book on Rolland Garros, the tennis French open. He also took pictures every year at the Paris International Agricultural Show, and of Dian Fossey and gorillas in Rwanda. He founded the Altitude Agency in 1991, which was the world’s first press agency and images bank specialised in aerial photography (500,000 pictures taken in more than 100 countries by more than 100 photographers).
In 1994 Arthus-Bertrand started a thorough study on the state of the Earth sponsored by UNESCO. Therefore he made a picture inventory of the world’s most beautiful landscapes taken from helicopters and balloons. The book from this project, Earth from Above (‘la Terre vue du ciel’) sold over 3 million copies and was translated into 24 languages.
In 2000, his “Earth from Above” free exhibition was set up on numerous big posters on the gates of Jardins du Luxembourg in Paris. It then travelled worldwide from Lyon to Montreal, to 110 cities and was visited by 120 million people.
On July 1, 2005, he founded the international environmental organisation GoodPlanet, and set up the program Action Carbone to offset his own greenhouse gas emissions generated by his helicopter transports. Since then this program has evolved to help people and companies to reduce and offset their climate impact by funding projects on renewable energies, energy efficiency and reforestation.
Since then, the organisation has been involved in several projects: * School posters: posters are distributed for free in every French school on a different environmental theme each year (sustainable development in 2006, biodiversity in 2007 and energy in 2008). * 6 billion Others: a video exhibition took place in early 2009 at the Grand Palais in Paris. Over 5,000 videos were shown.
They were recorded around the globe showing women and men talking about universal themes such as happiness, sorrow, life, death, love, hatred and so on. * Alive: a photographs exhibition that travels around the world with a text display describing the impact of man on the environment * Good Planet Info: international news website on the environment * Good Planet Junior: some holiday trips in protected areas offered to children to teach them how to preserve the environment * Good Planet Conso: a non profit website to help people adopting a more environmentally-friendly way of life Yann Arthus-Bertrand was made a Knight of the Legion d’Honneur (national order of the legion of honour) and a Knight of the Ordre du Mérite Agricole (national order of agricultural merit).
He was also made Officer of the Ordre National du Mérite (national order of merit) by President Nicolas Sarkozy in June 2008. Moreover he was elected alongside Lucien Clergue at the Académie des Beaux Arts (academy of fine arts). In 2006, he launched a series of documentaries called Vu du ciel (‘seen from above’) for the French public channels. The 5th episode was aired in December 2007 and was about agriculture.
In 2006 he published Algeria from above which he considers as one of his best works so far. This book offers a brand new view on this country. In April 2007 he started directing a movie firstly called Boomerang. He later changed the title into Home. The movie is produced by Luc Besson and financed by the PPR group (a French multinational company).
Yann Arthus-Bertrand intends to show the state of our planet and the challenges humanity faces. Home will be released worldwide on June 5th 2009. It will be shown across the globe in cinemas, television, DVDs and in streaming on the internet (Arthus-Bertrand gave up his author’s rights). The emissions of greenhouse gases produced by the movie’s shooting were offset through Yann Arthus-Bertrand’s organisation GoodPlanet and its ‘Action Carbone’ program.
On March 19, 2008, he was given the Georges Pompidou Award which rewards a cultural personality each year (2006: painter Pierre Soulages, 2005: orchestra conductor William Christie). A few schools have been named after Yann Arthus-Bertrand (primary schools of Cysoing, Noviant-aux-prés, Carentoir and Villaines sous bois, nursery schools of Cairanne and Saint-Aignan de Cramesnil as well as the Radinghem high school specialised in agriculture).
He stated that it was one of the greatest honours he could receive. In 2008, he launched the project called 6 billion others. It is a video exhibition of people across the world answering the same questions.
On April 22, 2009 he was officially designated as the United Nations Environment Program Goodwill Ambassador (UNEP) and received the ‘Earth Champion’ award for his commitment towards the environment and his work on public environmental awareness.
Filmography * 1965 : Dis-moi qui tuer by Étienne Périer : Galland
* 1970 : OSS 117 prend des vacances by Pierre Kalfon : Yann
* 2009 : Home
* Yann Arthus-Bertrand official website
* GoodPlanet organisation website
* The HOME movie official website
Yann Arthus-Bertrand displays his three most recent projects on humanity and our habitat — stunning aerial photographs in his series “The Earth From Above,” personal interviews from around the globe featured in his web project “6 billion Others,” and his soon-to-be-released movie, “Home,” which documents human impact on the environment through breathtaking video.
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Petition Closed
Petitioning Manager, Temescal Business Improvement District Darlene Drapkin
Obelisk Installation Halted/Meet with Neighbors
(based on blog post by Suzanne L'Heureux at http://www.loakal.com
The Temescal Telegraph Business Improvement District (TTBID) has designed and is in the process of implementing a huge gateway sign/sculpture for the Temescal Neighborhood. Slated to be installed on the site of the drive-through coffee shop at 52nd and Shattuck, so as to be visible to those entering and exiting the freeway or driving under the overpass there, the sign will be a 20 foot obelisk in bright colors. There was no competetive process for selecting the artist and the community was not involved in any stage of the design process.
Please sign the petition if you think the planned, pictured obelisk is not the right fit for the Temescal neighborhood.
We believe:
this project will add visual clutter to an already crowded intersection
we don't need more things in that area that say "Temescal" on it (the neighborhood speaks for itself)
the design does not accurately reflect the neighborhood
the obelisk will clash with the beautiful, existing Temescal Flows Mural by Alan de Leon
there should have been an open, public community process for selecting an artist/design for such a large, identifying project for the neighborhood.
Instead of adding visual clutter, how about a magnificent tree as it would add beauty and oxygen which we desperately need. Please join us in asking the TTBID to halt the implementation of this sculpture completely - or, at the very least to sit down with a group of qualified stakeholders to discuss how it might be edited to better integrate with the neighborhood.
This petition was delivered to:
• Manager, Temescal Business Improvement District
Darlene Drapkin
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Nyege Nyege Music Festival listed among the World’s 300 best festivals in 2017
The Nyege Nyege Festival that often takes place in September along the great River Nile at Nile Discovery Beach was voted and listed among the World’s 300 best festivals. According to Everfest, every November fest300 staff remove 30 festivals from the list and they ask the International festival community to vote on 30 new festivals for the next year.
Screenshot of the African Festivals from EverFest
Nyege Nyege is a noun that literally means ‘the feeling of an uncontrollable urge to move, or dance.’ Often referred to as the festival where nature meets music, and diversity of culture, religion, and whatnot, Nyege Nyege music festival has managed to attract a number of people from allover the world for the love of music, adventure, and socializing.
Great Performances! Photo by; Gilbert Frank Daniels
The festival started in 2015, and last year was an even more epic 3 Music and arts vacation. The festival is a 3 day gate away from the hustle and bustle of town to the Nile Discovery Beach in Jinja just along the World’s greatest and longest river- River Nile.
DJs at Nyege Nyege Festival. Internet Photo
Different countries often send their music legends to represent contemporary African Music such as; kuduros, kwaito, Afro house, hiplife, Tuareg rock, cosmic synths from Niger, Arab tech, Morrocan bass, zouk bass, soukous, balani, funana, and swhaili trap and Tigrinian blues among other genres.
“Nyege Nyege takes it’s inspiration from the legendary World Festival of the Black Arts’ that took place in Dakar Senegal in 1966. An extended invitation from Uganda to the world.”- Website
Nyege Nyege often showcases the connections between Africa and the rest of the world Afro Diaspora with Cumbia from South America, vodou jazz from Haiti and underground hip hop from America, cosmic synths from Niger, and other music fusions synonymous with the African ear.
Unruly #NuNairobi at Nyege Nyege Festival 2016
The Live music is often complemented with acts from some of the best DJ’s in the World and from different parts of the World leaving revelers dancing to the best of African beats rhyming to the flow of the great Nile. Last year, the festival lined up over 200 artistes from around the world and the 24/7 music presentations, DJ mixes, and instrumentation left people yearning for more- We guess this is what made the festival get listed.
Crowds at Nyege Nyege. Photo: Chimplyf
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An Interview with Mugabi: An Artist Who Makes Sculptures out of Clay
You might have probably seen or come across the exquisite work of Ugandan artist Cornelius Mugabi during the #DrawingWhileBlack challenge.
Mugabi represents a section of talents artists that you rarely see. Being a sculptor, this is a field that has few players making it a unique one. We start down with him to learn a little more about his creative process and working life and we bring you the conversation.
Tell us about your background. Where did your life as an artist begin?
My mother is a visual artist but has not made art in two decades. I used to watch her paint in 1994-1995. I spent most of my childhood drawing movie characters. My favorite characters were Jesus and Michael Jackson. I did not do art in O’ Level but did it in A’ Level. My best art papers were human figure and imaginative composition. In high school, my friends paid me to make their portraits. I did not do Fine Art at University. I am a self-taught sculptor.
How and when did you adopt your particular style and medium?
I got the idea to do sculpting in 2008 during my S6 vacation but never pursued it. In 2009, the euphoria from Michael Jackson’s death made me revisit the idea to sculpt. Between 2010 and 2013, I tried out different material such as paper Mache but never got what I had in mind. In 2014, I zeroed in on clay as the medium. I adopted my style in October 2015.
Mugabi is a self taught Sculptor who “who meets new people through art”
There are thousands of accomplished artists in Uganda. What does it take to develop your particular if not unique niche in that world?
It takes a lot of exposure to different styles and art forms. It requires patience since there is no formula in choosing what you enjoy doing. The more practice and exposure, the easier it is to understand yourself which in turn makes your niche unique.
What is there to gain by making sculptures?
I get to meet people to share my gift.
When did you make your first sculpture?
I made my first sculpture in November 2014.
His sculpture of actress Lupita Nyong’o
What artists inspire your work and style?
Adam Reeder, Tip Toland, Amelia Rowcroft and Stuart Williamson.
What obstacles do you face in making and exhibiting your work?
Portraiture in clay takes more time to make which means you cannot come up with a standard timeframe. Planning is affected from the business point of view. I need to setup a permanent physical gallery to showcase my work.
What are your favorite sculptures you have made?
Amama Mbabazi and Paul Kagame sculptures are my favorite.
He considers his sculpture of Rwanda’s president H.E Paul Kagame as one of his best
What do you hope is your legacy as an artist?
I hope my legacy will be that my work transcended art forms which means inspiring creatives in music, fashion, poetry.
What motivates you as an artist?
Seeing how far I have come in terms of skill and being aware that I have a long way to go.
What is your dream project?
I have many including working on a movie set. My time is yet to come.
What can we expect to see from you in the future?
Expect a never before seen gallery which will be a must visit for international and local tourists. A school will be setup to teach anyone interested especially the youth.
What advise can you give to beginning artists?
Expose yourself to the best work. Do not undersell your work if it’s great.
Like this story or have something to share? Write to us: info@thisisuganda.org, or connect with us on Facebook and Twitter.
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How This Man’s Striking Photography is Making Bobi Wine an Internet Sensation
By Paul Ampurire
On April 26 this year, one of Uganda’s most popular musicians openly declared his intentions to venture into politics, an announcement that sent a mix of waves across the country. Bobi Wine who had for long used his music to advocate for social justice, democracy and transparency in the political leadership was now taking these issues to the Parliament as a legislator.
One can not scrutinize the popularity of Bobi Wine’s month long campaign (and him becoming a Member of Parliament) without appreciating the role played by social media. Everyday, social media was awash with photos and videos of crowds at his rallies, enthusiastic supporters doing the most craziest things, his door to door campaigns and his adored wife Barbie who stood by him all the while.
But hidden beneath the surface, were anonymous faces that played an equally if not more significant part in turning the election (and status) in Bobi’s favor.
One of these faces was (and remains) Andrew Natumanya, commonly named ‘Tabz’ who kept the lens on the events that characterized the month long campaign trail and Bobi Wine’s political figure today as his official photographer.
Bobi Wine (L) poses with his official photographer Andrew Natumanya alias Tabz (R) (Photo Credit: Tabz)
The Story of Andrew Natumanya
A naughty Andrew while in Primary Two (P.2) one day defied school regulations and brought hard corn to class.
The teacher caught him crunching on the corn and asked what he had been eating, Andrew said he was eating tabs (tablets). The teacher searched his bag only for the corn to spill on the floor attracting an outburst of laughter from his classmates. Andrew had got a new name for himself – Tabz.
When I sat down with 24-year-old Tabz, a student of law at Makerere University recently to get a sense of his relationship with Bobi and his reflections of the campaign, I asked him how he ended up into photography.
“I did Law to please my parents and to award their efforts. They did all they could do to educate the four of us (him and his siblings). So I struggled hard to reward their efforts,” he tells me.
During his time at Makerere University, Tabz had focused more through the camera lens than he had focused on acquainting himself with court cases and law related literature. Suffice to say, photography is also a gene he inherited from his father who too had passion for it.
Growing up, Tabz would borrow cameras from friends and take photos and in the process, the interest grew. Then, he began trying more angles and people loved his work.
An election campaign at the university was the propelling point in his pursuit to grow his skill in photography. When his friend Andrew Mujinya chose to contest for Guild Presidency at Makerere University, Tabz was responsible for handling social media for the campaign, so, later he realized they needed photography.
All this while, he had been using borrowed cameras until he finally realized he needed to buy his own camera. And when he put the request to his sister and mother three years ago, they supported him to purchase one at Ush 2.2 million.
“Before I knew it, I was lost in photography more than what I was studying,” Tabz says.
And Kampala being the buzz of activity that it is, Tabz found a window of opportunity in the regular protests, concerts, parties and other events to take photos and share them on social media. To this day, he makes time and sets off on foot around the city to take random shots. You never know where you will land a captivating shot.
Away from the one off photography gigs, Tabz, did media work with Uganda Police, a job that later put him in the middle of some political controversy. On August 10 2016, a day that the Inspector General of Police (IGP) was expected to appear before the Makindye court over allegations of police brutality, Tabz was present to take photos as his work demanded.
When chaos broke out between protesters supporting the IGP and those against, one of the local televisions singled out Tabz and reported that he was among those instigating violence.
“They alleged that I was there to cause commotion, which wasn’t the case. They quickly judged on plain sight. I was only doing media which had nothing to do with Police operations. I don’t like that they’ve never come out to apologize,” in a disgruntled tone, he tells me. That day has stuck with him to date.
He says this incident cast him in bad light especially in the eyes of his friends. But at the same time, it inspired him to work hard to challenge the image the media had portrayed of him.
This aside, his challenges have been; access restrictions by some government organs especially security agencies and limitations in photography equipment due to insufficient funds.
Working with Bobi Wine
Bobi Wine waves to a crowd of onlookers during his political campaigns. (Photo by Tabz)
“He’s been a friend of mine for a long time. I liked his music like anyone else, then I started paying keen attention to his lyrics and it appeared as though he was singing about my life.” he answers when I ask how he got to work with Bobi.
Tabz never could have predicted that at one point, he would be a close associate to his icon (Bobi Wine) let alone become his official photographer. Every person has an encounter with luck that turns their life around, never to be the same again. For Tabz, this was the day he took his very first photo at Bobi Wine’s political campaign.
As the campaign gathered momentum, he secured a leave from his Police work to concentrate on his friend’s political bid in Kyadondo East.
“When you have a friend and they have a wedding, you would have something to contribute. When Bobi Wine was campaigning, I was working for Police. I asked and they granted me leave.” Andrew explains.
He recalls calling Bobi Wine three days into the campaign. “I asked him ‘Bobi, where are you?’ He told me he was already in the campaign and asked me to join in.”
“He didn’t know I would come with my camera because he hadn’t really picked interest in my photography. I spent the entire day taking pictures. But my relationship with him helped me. He quickly became my model and it was easy when I asked him to pose for the camera,” Tabz narrates.
It did not take me time to get a sense of the strong rapport that the two (Bobi Wine and his photographer) have built. Our interview is interrupted by a phone call and Tabz is speaking to Bobi Wine about a request by one of the television stations seeking the MP to appear on a political show later in the week. From the tone of their interaction, you can tell that Tabz is much more to Bobi Wine than just a photographer. Sometimes he offers advice and Bobi Wine heeds to it.
Bobi Wine addressing hundreds of people at one of his campaign rallies. (Photo by Tabz)
In the campaign, after a long day’s work, Tabz would take the photos to Bobi Wine, but it took a while for him (Bobi), he says, to believe it was him taking the photos. As opposed to what many may think – that Bobi Wine’s social media accounts are ran by handlers, Tabz tells me “He [Bobi] personally chooses which photos to post and posts them.”
He chose to resign his job at Police because he realized “that there was a lot of untold stories to Uganda.”
What stands out in his recollection of the time he spent with Bobi Wine pursuing political support is how hectic the daily campaign program got, not only for Bobi but everybody on the campaign team. Their daily routine began as early as 5am before setting out on a door to door campaign where Bobi Wine solicited support from individual households and later climaxed with a rally at 4pm.
“Everyday started with small pockets of people but numbers gradually grew into crowds of people and a lengthy motorcade. You never knew where people came from,” Tabz recounts.
Bobi Wine (in dotted maroon necktie) greets excited roadside vendors at Lukaya along the Kampala – Masaka highway. (Photo by Tabz)
“There’s a day we met a certain man who had a truck. He had doubts that Bobi Wine was part of the procession. He couldn’t believe us until we showed Bobi to him. He surrendered the truck to us for free for the campaign,” he says.
Whereas the gazetted time to end campaigns was 6pm, Tabz’s work was only halfway by this time. It is about the same time that he sat down and began sorting through the photos he had captured the entire day before submitting them to Bobi Wine. He prides in the fact that his work always ended up being posted on Bobi wine’s social platforms even when there were numerous other photographers trailing the campaign.
Amid the busy schedule, limited rest time and negotiating edgy angles to get the perfect shots, Tabz remembers the hardworking nature of Bobi Wine’s wife, Barbra Kyagulanyi (Barbie). “The inner circle of the campaign team comprised of at least 20 people. But Barbie woke up early and prepared breakfast for us all by herself,” he says.
Barbie Kyagulanyi, wife to Bobi Wine having a light moment with the daughter Suubi Nakayi (Photo by Tabz)
I asked him where he strikes the balance between doing his work while ensuring he doesn’t invade Bobi Wine and his family’s private space. At first he laughs it off, before saying; “What are private moments? Bobi Wine no longer has a private life because he is a public figure. There’s not a time when his home is not occupied by over 20 people.”
“You’ve seen photos of him and his daughter which has been trending of late.”
But he quickly adds; “I am an adult and I know what is fit for public consumption and what should be restricted.”
Different people understand Bobi Wine differently. But for someone who has been quite close to Bobi since he joined politics, Tabz describes him as one who is “always ready to stand for the truth even when he stands alone”.
The famous photo when Bobi Wine was blocked at Entebbe
The famous photo that attracted lots of credit online. Police pickups block Bobi Wine’s car in Entebbe as he raises a Ugandan flag and the constitution. (Photo Credit: Tabz)
September 22 was not the best day for Bobi Wine but it is certainly a day that Tabz might live to recall for all the good reasons. The day his photo became an internet sensation, attracting lots of credit on social platforms. Bobi Wine had just landed at Entebbe International Airport from the U.S and on his way to Kampala, police blocked him and demanded that he goes to the police station to record a statement.
It is in that chaos that Tabz took a photo of Bobi Wine with head protruding the roof of his SUV, both arms raised – holding the Uganda flag in his right hand and the constitution booklet in the left hand. Two police pickups stood in front of his car while a few people surrounded Bobi Wine’s car.
The photo, tweeted by Bobi Wine on the very day with a caption “Wake up Uganda” has so far been retweeted close to 1,000 times and attracted close to 2,000 likes. It is among Bobi Wines most engaging and shared photos on Twitter.
“We were coming from the airport, the Police blocked us. When this happened, in a short time, people started converging and the place became full,” Tabz narrates to me.
He adds; “We were there for about an hour. But when I looked at the way the police trucks were packed, I wondered how I could shoot the entire scene. I went behind the trucks and I took the shot.”
“But it was on time because Police had put barricades trying to stop him but on his part, he was arguing ‘I am Ugandan and I am defending my constitution’ (raising a flag in one hand and the constitution in another). But he did it for a few seconds and I captured the moment.”
Responding to the praises that the Entebbe photo has attracted on social media, he tells me it makes him feel “energized” and “challenged” at the same time.
Tabz says he has tried to learn from photographers that are better than him. He is inspired by well timed shots. “Someone takes a picture of a lion jumping on a kob. The lion won’t do it four times for you to get the best shot. So photography is like life. Once a moment is gone, you can never get it,” says Tabz.
I ask Tabz whether it’s true that photographers must think ahead of events or whether some shots just come out of mere luck.
“There’s no shot that comes out of luck. There has to be effort to have your output. If you are going to the field and you want to be comfortable and smart, you won’t get the best work out of you.”
His magic trick is keeping his eye on the lens.
The risk of working with Bobi Wine
Police officers block the road to Nagalama police station. One of the photos taken by Tabz before his equipment was confiscated by security agents
When I rang Tabz to schedule an interview, he didn’t hesitate to it. Part of the reason was that given his work in the context of Uganda’s politics, he wasn’t sure where tomorrow would land him. In other words the stakes are high and the risks involve being arrested.
But he is not scared by any of this.
“I am not intimidated. Freedom and positive change never come on a silver platter,” he replies when I asked whether he is not afraid.
“I am 24 years old and am very sure that H.E Yoweri Museveni won’t be alive n the next 20 years whether he likes it or not. Will I still be jailed? All I know, history will remember me for having fought using what I know best. I know they will confiscate my camera but we shall overcome.”
People like Tabz who are in circles of vocal and provocative opposition politicians are not the most secure people especially in Uganda. In fact, recently, after the infamous brawl in Parliament, his equipment was confiscated by security operatives for no clear reason.
He trailed Bobi Wine the day he got arrested from Parliament to Nagalama several miles outside Kampala. Tabz had been taking photos and making Twitter updates all through the way. But he later noticed a certain Prado with private number plates with UPDF officers was following them.
“The Prado by passed us and parked. Then another vehicle came following and officers rounded us up. My bag was taken and my friend was arrested”. His bag contained two phones, pairs of lenses, cables, a power bank among other things.
“When I went to pick them, they chased me away and threatened to detain me,” he tells me.
“I gave up. I can’t start fighting the entire army of police who are armed. I can’t even challenge them in court. So, i have no option, I will work hard, save more and hope that God will provide.”
He suspects that the entire team working with Bobi Wine is being spied on by security agents who will stop at nothing to break the spirit. “Even when I buy other lenses, I know they will come and get them but that is the oppression we live in.”
Police officers blocking the road with barricades to prevent Bobi Wine from proceeding from Entebbe to Kampala (Photo by Tabz)
Photography in era of social media
With the fast rise of the internet age, many photographers are increasingly establishing a footprint on social media as a way of showcasing their work and pushing their brands. For some, the results have been positive.
Tabz says social media is by far the biggest tool of branding and advertisement. “When you write something in the newspapers or television, but it is difficult to retrieve it as opposed to if someone had it on their phone. Internet does not forget.”
“I value social media a lot,” he says.
The impact of Tabz’s photos has been that their reach on social media has attracted wide attention to the growing political influence that Bobi Wine has had in Uganda in his few months as an MP. So, while Bobi might take all the credit for his people centric political ideals, but the magnitude in which social media has scored extra points for him can’t be underestimated. And Tabz is at the centre of this.
Lately, his posts especially on Twitter are consistently tilting towards photojournalism. If anything were to happen to Bobi Wine, Tabz, is likely to be the first person to break the news. And he has built credible trust given his work with Bobi. Whether Bobi has been arrested, holding a music show, at home interacting with guests or in Namboole stadium cheering the national soccer team, Tabz will feed live updates or post the happenings later through his social media.
Soldiers saluting Bobi Wine and claims that he met with President Museveni
There were recent claims making rounds on social media that Bobi Wine met with President Yoweri Museveni, after photos emerged showing soldiers saluting him during the night. I jokingly asked Tabz whether he has photos of the alleged meeting in his archives.
“This is either a plan by the government to spread propaganda to tarnish Bobi Wine’s name or the opposition trying to stay on top of the news,” Tabz comments.
“Those pictures were taken in Budaka. We came from a concert in Kyotera and drove through Kampala. Why would people allow to be confused? We have cameras and photographic evidence of where we were and what time.”
Tabz reveals to me that there are various other photos of soldiers, policemen and prisons personnel in different places saluting Bobi Wine but which he feels there’s no cause for Bobi Wine to explain himself.
The writer, Paul Ampurire (R) and Tabz (L) chatting moments after the interview
Photography as a career?
“I told you I did Law to reward the efforts of my parents. They will be rewarded by a transcript (academic document). Once they finally get the transcript, to well with the Law. I must go for where my passion is. How many lawyers do we have and how many photographers do we have?” he says.
But beyond still photography, Tabz also films videos including documentaries and TV commercials.
Tabz says his transition to photojournalism is driven by the realization that “from photography, is a lot of information I could give to the public”
Some of his mentors including the NBS TV CEO Kin Karisa have also wooed him into weaving a career in journalism and he is beginning to.
He intends to “put out fire with fire” by building himself as an investigative journalist.
Some of his career destinations include working with local media like NBS TV as well as international media organizations like Aljazeera, AFP and the BBC.
But first, he says he needs to build up his skill set.
To his fellow millenials, Tabz says they should learn not to despise jobs.
Like this story or have something to share? Write to us: info@thisisuganda.org, or connect with us on Facebook and Twitter.
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In Conversation with Kalule, A visual Artist Linking Youth with their Role Models through Art
Meet Emmanuel Sekitto Kalule, one of the founders and Team Leader of Faces Up Uganda – a youth led organization that is linking young people with role models for inspiration and support.
Emmanuel who holds a bachelor’s degree in Industrial and Fine Art from Makerere University, practices art as an activist platform and most of his works act as a voice to the voiceless within various communities.
Speaking about his journey to This Is Uganda team, he says “I Initiated Faces Up Uganda in 2015, during my second year at the art school at Makerere university. The organization fully and publicly got started on January 27th 2016 as I launched our first project called Faces up art campaign.” Emmanuel remembers. “Having studied art at the university, I came to realize how powerful art is as a tool to transform other people’s lives because I learned what true art is and how it can be applied.” He says.
Faces Up Uganda is becoming one of the inspiring platforms for young people
On coming up with the Faces Up Uganda idea
When we are growing up we look to our role models for inspiration and use this as a blueprint for how we should behave when we’re older. This is likely a survival function designed to help us to mimic the traits of those successful members of our society and thereby help us to be successful too. This is what Emanuel is doing.
“I started up Faces Up Uganda to create a proper platform for mentorship for the young people and also link them to proper role models. Having grown up with a single mother after their separation when I was in primary two, I faced quite a lot of challenges especially lacked the parental guidance from my father and this was a challenge for me to find my true self as I grew up.Like most of young people be, I was a jack of all trades since I lacked a role model and a mentor who could guide me.” He remembers.
According to Emmanuel, majority of the multi-talented young people in Uganda lack opportunities that recognize and support their talents and above all help support their development. This is evident that many multi-talented young people here in Uganda don’t reach to their full potentials due to lack of mentor-ship and Creating a platform to help identify and develop talents.
It’s such challenges encountered he encountered at an early age and in his quest to find proper individuals who could help guide him, he landed on a few good ones and a lot of wrong ones who drained his energies as a young person to satisfy their needs and also as a source of free labor.
Faces Up Uganda team handing a portrait to Humphrey Nabimanya the Team leader & Founder of Reach A Hand Uganda
On how he overcame some of those challenges
“Research and reading was one of the ways I dealt with the unique technical challenges. Being a fresh graduate from university, I had no resources and capacities to continue with the great cause I had started. Therefore I had to educate myself so that to be in a better position in this competitive world.” Emmanuel says.
Understanding the dynamics within the art market also helped him come up with relevant art. This has made Faces Up Uganda remain creative so as to be on top of the game.
“You always need to stand out in whatever you do and that has always been on back of our minds as an organization.” He emphasizes.
But of of course team work comes first.
Team work, like the saying goes…”no man is an island” to be successful it is not a one man story. Faces Up Uganda has a team of multi-talented young people that are passionately committed to the mission and vision of the organization. This has helped the organization a lot in overcoming various technical problems and also leverage opportunity.
The role models that have been featured by Faces Up Uganda
By the time of writing this article, 50 portrait art works of public figures whom the young people look up to as role models have been featured. These include Hon.Rt. Hon Rebecca kadaga, Owekitiibwa. Charles Peter Mayiga, Miya Farouk , Onyango Denis, Angella Katatumba , Sylvia Owori , Hon.Bobi wine , Nabimanya Humphrey, Robert Kabushenga , D.j Shiru , Jamal Salim , Isaiah Katumwa among others. These art works were executed by a collective of five artist I.e Saekitto kalule Emmanuel , Byaruhanga Raymond, Kamanyire Osca , Arion Bonaface ,and Kalyemenya Douglas bush and exhibited at the prestigious award Makerere art gallery.
Some of the public figures that we look up to
Sustaining the idea
As a fundraising strategy, Faces Up sells customized organization items such as jumpers, T-shirts, bags, caps and art works to fund the various activities toward realizing its mission.
The team constantly gets offers from people. These offers turn up depending on the economic situation. Fortunately, the public is rapidly appreciating Faces Up Uanda items such as jumpers , T-shirts, bags and above all art works and they are learning to buy them and we believe they numbers are going to increase in the near future.
His advice to emerging Ugandan artists
“Artists need to first appreciate and value their own works before they put them to the public. How will someone else learn to appreciate your work if you yourself handle it as trash?” Emmanuel says.
Feel like you need some art?
Get in touch with Faces Up Uganda team in Lugala , Luya parish along Sentema road as you head to Masanafu or contact them on +256705859110 / +256773367093. If you’re on social media, find them on Facebook, Twitter and Instagram or visit their website www.facesup.org
Like this story or have something to share? Write to us: info@thisisuganda.org, or connect with us on Facebook and Twitter.
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Brainsport’s connection with the Hockey Sweater
Hockey and Saskatchewan are inseparable, Brian Michasiw of Brainsport Saskatoon showed us his backyard rink and shared some thoughts on The Hockey Sweater.
We are very pleased to have Brainsport as a sponsor for this one of a kind event, the FIRST ever musical performance of the Hockey Sweater in a rink!
Hear Hockey Night in Canada played, stand for O Canada, and enjoy Saskatoon’s Mayor Don Atchison reading the famous kids book with music by Saskatoon’s orchestra.
Then take to the ice with the Blades, tour the dressing rooms, play mini-sticks, and experience a once in a lifetime music meets sports experience!
Capriccio Espagnol and Rimsky-Korsakov
Many composers have been inspired by customs, melodies, and national or ethnic characteristics of countries other than their own. Outstanding examples include Tchaikovsky’s Capriccio Italien, Bruch’s Kol Nidrei, Dvorák’s “New World Symphony,” Elgar’s Alassio, Mendelssohn’s “Italian” Symphony, and the work heard here. Inspiration in this special compositional category comes to composers in many ways, such as personal travel, attending performances by visiting foreign artists, or research and study.
In the summer of 1887, Rimsky-Korsakov was visiting not Spain but Switzerland. Borodin had died in February and had left his opera Knyaz Igor (Prince Igor) uncompleted, and Rimsky-Korsakov undertook its completion. Rimsky-Korsakov had collected material that he originally planned to incorporate into a virtuoso violin fantasy on Spanish themes, but the final form of the work that emerged was that of a five-movement orchestral suite in which the movements are played without pause. The composer himself explained that the changes of timbres, the happy choice of melodic designs and figuration patterns that are precisely suited to each kind of instrument, the short virtuoso cadenzas for solo instruments, the rhythm of the percussion instruments, and so on, constitute in this piece the very essence of the composition. Although it is true that the work derives much of its effect from brilliant orchestration, the composer insisted that the piece is a “brilliant composition for orchestra,” not a “brilliantly-orchestrated composition.”
In the first movement in A major, an alborada (morning song), the full orchestra introduces the two principal themes. Violin arpeggios lead to the second movement, “Variations,” which is in the unrelated key of F major. The French horn announces the theme, and five short variations follow. A flute solo leads to a recall of the opening alborada, now transposed to B-flat major with different orchestration. The fourth movement, “Scene and Gypsy Song,” begins with a roll on the side drum. Five cadenzas are heard, followed by a harp glissando. The gypsy song, a seductive cantilena in the violins, grows in drama and intensity, and builds to a whirling climax. A rhythmic theme for trombones begins the final movement, Fandango Asturiano. Woodwinds present a second theme, and the music becomes extremely lively. The work concludes with a recall of the alborada theme.
© Ted Wilks
Rodrigo’s Concierto de Aranjuez
Blind from the age of three as a result of diphtheria, Joaquín Rodrigo studied composition in Valencia before moving to Paris in 1927 to study with Paul Dukas. While there, he met both his fellow countryman Manuel de Falla and the Turkish pianist Victoria Kamhi, who would become Señora Rodrigo. Joaquín and Victoria honeymooned in Spain but eventually returned to Paris, where during the bitterly cold winter of 1938-1939, with war looming, Victoria learned she was pregnant. Seven months into the pregnancy Victoria miscarried and was hospitalized for several days. During this time a family friend who was staying at their apartment observed that Joaquín spent entire nights sitting at the piano, playing a melody so sad that it gave her chills. Evoking the saeta, a song performed by women from their balconies during religious processions through the streets of Seville, this tune would form the basis for the slow movement of Rodrigo’s Concierto de Aranjuez.
Returning home to find an empty cradle still sitting in her apartment, Victoria was forced to sell her beloved piano to pay her medical bills. Not long afterward, Rodrigo received a letter from de Falla, offering him a teaching position in Madrid. Victoria and Joaquín quickly packed their entire belongings—including the completed manuscript for the Concierto de Aranjuezinto a pair of suitcases and left immediately. Two days after they crossed the border into Spain, World War II broke out.
Their fortunes improved in Madrid, where by November 1940 they celebrated the arrival of their first child and the successful premiere of the Concierto de Aranjuez, which before long would become not only Rodrigo’s best-known work but also the most famous guitar concerto ever written. Surrounding the central Adagio are two genteel courtly dances, the first in a characteristically Spanish meter that blurs the distinction between 6/8 and 3/4. Rodrigo wrote that the work takes its name “the famous royal residence on the banks of the Tajo, not far from Madrid and the Andalusian highway, and in its notes one may fancy seeing the ghost of Goya, held in thrall by melancholyin its themes there lingers the fragrance of magnolias, the singing of birds, and the gushing of fountains.”
Hockey Sweater in music
On March 15th the SSO takes to the ice with the Hockey Sweater – the classic children’s book, a staple of Canadian families, is now a new symphony show by Canadian composer Abigail Richardson.
Abigail was born in Oxford, England, and moved to Canada as a child. Ironically, she was diagnosed incurably deaf at 5. Upon moving to Calgary, however, her hearing was fully intact within months. Her music has been commissioned and performed by major orchestras, presenters, music festivals and broadcasters including the Festival Présences of Paris.
Abigail won first at the prestigious UNESCO International Rostrum of Composers and had broadcasts in 35 countries. She won the Karen Kieser Prize (CBC) and the Dora Mavor Moore Award for “Best New Opera”. Abigail has been Affiliate Composer with the Toronto Symphony Orchestra and now programs performances for their New Creations Festival. She wrote the wildly successful music for the classic Canadian story, “The Hockey Sweater” by Roch Carrier. It was the country’s first triple co-commission, by the TSO, National Arts Centre Orchestra, and the Calgary Philharmonic Orchestra. Within three seasons her piece has been performed by nearly every professional orchestra across the country, and has been experienced by more than sixty thousand audience members, often with Abigail hosting from the stage.
She recently finished a WWI memorial piece, “Song of the Poets”, with choir and orchestra for NACO’s UK tour. The work was co-commissioned by NACO, The World Remembers, CPO, and TBSO with many partner performances in Canada and Europe. Current projects include a complete family concert commissioned by the Calgary Philharmonic Orchestra and the Toronto Symphony Orchestra based around Dennis Lee’s “Alligator Pie”.
Abigail is currently Composer in Residence with the Hamilton Philharmonic Orchestra, serves as Artistic Director of the HPO’s What Next Festival, hosts community events, and teaches composition for U. of T.
SSO’s New Maestro to be announced on March 4th
A new era is about to begin.
A new conductor is an exciting time for any orchestra – no, actually, its an exciting time for the orchestra and their audience. And maybe even more exciting in today’s classical music climate.
I was in New York last week when the NY Philharmonic announced it would be looking for its next music director…and the excitement was palpable. And its not unique to New York – it seems that we are in a changing of the guard in orchestras. Over the course of the next few seasons, a large number of Canadian orchestras will be welcoming new conductors.
The SSO search was an incredibly fulfilling process. We took time to map out what the future of the SSO looks like – what kind of leader does the SSO need? what kind of leader can the SSO be in the community? what role and impact will the next conductor have on the local music scene? where do we want to go artistically?
We struck a committee – two board members, three principal musicians from the orchestra, and myself. We had 77 applicants from all over the globe. The committee whittled that down to a shortlist of 8. A truly exceptional shortlist; exceptional musicians and visionaries who are passionate about music and their art.
The interview process was among the most rewarding experiences of my professional life – asking these artists about their process, about their ideas, was the source of much inspiration and discussion for the committee.
This was not an easy decision – many long hours of thoughtful discussion took place. When the final meeting of the committee took place, I can say that we enthusiastically put forward a unanimous recommendation to the board.
The classical music world is presently at its most exciting, in my opinion. There is a wealth of young conductors and soloists who are entrepreneurial in their art form. Gone are the days when a conductor was a stoic figure on a very high podium – today’s conductors and soloists are out there trying to make their own artistic experiences and create new work for themselves and their friends – in fact, nearly all of our shortlist had at one point started their own orchestra.
The next generation of classical artists need to know more than how to make music. They need to understand the business of the arts, the finesse of budgeting, and the art of selling tickets. Programming is no longer about what a conductor wants to play, but rather what artistic statement the audience wants and needs. The way we create concerts has changed.
This new generation of music makers aren’t classical snobs – but they are passionately driven to make exceptional music and see high standards as a baseline. Today’s conductors don’t see classical music as the only path to musical enlightenment – the new generation of conductors are as comfortable at a jazz concert or playing on a Polaris prize winning album as they are on the podium.
Classical musicians love music in all its forms. Every classical musician I know, or have worked with, would list classical as only one of the many facets of their love. (Little known fact, I love rap).
I’m excited that Saskatoon is on the cusp of something great. A time to explore new things, new sounds, new skills – a chance to renew our passion about this orchestra.
The 16th conductor has big shoes to fill – I can say that next season’s programming is amongst the most exciting, unique, and imaginative that Saskatoon has ever seen. We’re setting a new soundtrack for our city.
We are about to announce a new maestro who has prairie ties and will call Saskatoon home. Excited yet?
See you at the symphony – and hopefully one of our big launches in March.
Introducing Lucas Waldin
lucaswalden-3
LUCAS WALDIN is a dynamic and versatile conductor with a blossoming international career. Combining a command of the standard repertoire with a flare for pops and a passion for education and outreach, he has appeared to great acclaim across Europe and North America.
Currently Artist-in-Residence and Community Ambassador with the Edmonton Symphony Orchestra, Lucas was named to the newly created position after three seasons as the orchestra’s Resident Conductor. The tailor made post will see him lead the ESO in nearly 20 concerts each season while focusing on establishing strong ties with the community through inventive outreach initiatives. He will also act as Director of the ESO’s new El Sistema inspired program, YONA – Sistema.
With over 100 appearances to date with the Edmonton Symphony, Lucas has collaborated with some of North America’s finest musicians including Jens Lindemann, Angela Cheng and Sergei Babayan, and conducted in Carnegie Hall during the ESO’s participation in the 2012 Spring for Music festival. An experienced conductor of pops and crossover, he has worked with a range of artists from Ben Folds to the Barenaked Ladies and has led numerous multimedia presentations such as Blue Planet Live and Disney in Concert.
Strongly dedicated to contemporary music, Lucas has focused on the work of Canadian composers. He has performed over 25 Canadian compositions including six world premiers, and has collaborated closely with composers such as John Estacio, Allan Gilliland, and Malcolm Forsyth. In recognition of his accomplishments, Lucas was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts.
Lucas studied conducting and flute at the Cleveland Institute of Music, and has conducted in master classes with Helmuth Rilling, Michael Tilson-Thomas, Colin Metters, Kenneth Kiesler and Bernard Haitink. Prior to his appointments with the Edmonton Symphony, he was twice a Discovery Series Conductor at the Oregon Bach Festival and Assistant Conductor of Cleveland’s contemporary orchestra, {RED}. He has conducted the Scottish Chamber Orchestra and the BBC Scottish Symphony as a participant of the St. Magnus Festival, and was invited to lead the Cleveland Orchestra, the Montreal Symphony Orchestra, and the Kansas City Symphony in rehearsal. In Europe, he has performed with orchestras including the Staatstheater Cottbus, Bachakademie Stuttgart, and the Jugendsinfonieorchester Kassel, while in Canada he has worked with the Kitchener-Waterloo Symphony, Orchestra London and the Toronto Symphony. Upcoming debuts include concerts with the National Arts Centre Orchestra and the Houston Symphony.
Hear him live with the SSO on February 28th – Espana!
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The state of the SSO
We’re at the half way point of the season – after my first year with the SSO, I want to take some time to take stock of things.
Over the course of the last 12 months we’ve made an exceptional amounts of changes at the SSO:
• We changed how we budget – long term budget development has allowed us to take a serious look at how the organization needs to plan for each concert, each decision, future growth, new programs, and assessing how our financials meet the musical needs of Saskatoon.
• We’ve drastically changed how we spend money – we’ve been strategically cutting expenses, but I’m proud to say that we can cut expenditures and still present incredible programming; and speaking of programming. No more over spending, those days are gone.
• We changed the way we program – we acknowledged the fact that our audiences deserve programming that fulfills their musical needs. Its not enough to just ‘put on a concert’, it has to be an artistic experience, an event that gives something to the audience.
• We implemented a strategic plan – it covers everything from a commitment to long term fiscal responsibility to improving performance quality
• We have been working on a development overhaul – until this past year, the SSO had a non-existent donor database. I’m excited to say that our new database is up and running – it will completely change the way we work with our supporters, and allow us to develop new initiatives.
• We are getting interactive – whether you’re experiencing the opportunity to sing in our new chorus, enjoying getting social with us online, or voting on the last performance of the year, we’re making huge strides involving patrons in the process
• We are enjoying the benefits of all of the above – each and every concert in the first half of the season saw a surplus. Its not only financially satisfying, its been wonderful to see such large audiences engaging in their orchestra!
• We’ve committed to creating artistic opportunities for Sask artists – how exciting it is that a kid can grow up in a farm in Saskatchewan, fall in love with music, get inspired by prairie skies, go off to find a career, and return to be celebrated by their own orchestra – that is one of the best parts of the whole year
• We have hired a new music director – 77 phenomenal candidates all boiled down to one. One exceptional musician. A visionary with big dreams whose commitment to defining a higher artistic standard will redefine the music scene. A conductor who is as comfortable on the Masters stage as they are biking to an indie concert.
These achievements are remarkable – its a testament of the leadership of the board, a hardworking staff, and most importantly musicians who showed us how beautifully they can play Mozart! Its owed in large part to our supporters…our stakeholders. The people who are not just enthusiastic about music, but are showing up to concerts and helping us rediscover what the orchestra means to Saskatoon and beyond.
So its time to tackle a hurdle. The SSO had too many years of not being fiscally responsible. It is truly the most frustrating part of my job – its a reality created before I got here and a mountain too big to move on my own. Its the deficit. Everyone tells me that no one likes to talk about a deficit, but when I joined the SSO I promised that I would be frank and honest about the organization…and its time to move ahead.
With the present state of the SSO, the organizational health we’re experiencing, we can actually deal with the deficit and stop the cycle. If we’re going to create a great orchestra that people across the country will take note of, we have to recover from the past and commit to the future.
By getting rid of the deficit the SSO can effectively invest in our community – facilitate long term planning for raises for the orchestra musicians, expand our educational programming, reach out to our surrounding communities, attract world renowned guest artists, create new projects that flex the artistic muscles of our arts scene. If we can achieve such great accomplishments in the last 12 months, just think of where we’re headed.
We have one last major step to take. And we’re about to take it.
See you at the symphony,
Mark Turner
Sibelius Symphony No 2 – hear the Northern Lights
Symphony No 2 in D Major, Opus 43 – 45 mins Jean Sibelius
1. Allegretto
2. Tempo Andante, ma rubato
3. Vivacissimo
4. Finale: Allegro moderato
Dedicated to Baron Axel Carpelan
In 1900, Baron Axel Carpelan wrote to Sibelius and, citing Italy’s positive effects on Tchaikovsky and Strauss, recommended that Sibelius travel there. Depressed by the death of his youngest daughter, Sibelius was helped immensely by his Italian journey. During his stay in Rapallo from February to May 1901, he was able to sketch what would become the second of his seven symphonies. Originally conceived as a four-movement orchestral fantasy, Symphony #2 was assigned a program by Sibelius’s friend, conductor Robert Kajanus.
Sibelius rejected any specific nationalistic or patriotic program assigned to his Symphony #2, although the Finnish character of the work is unquestionable. An ardent Finnish nationalist, Sibelius was a very individual composer. Although he lived well into the twentieth century, his music is not like that of Bartok or Hindemith; Sibelius was a Romanticist who composed in a late nineteenth-century style. However, following a concert of his music in Germany, Sibelius became an international figure and began to respond to currents in contemporary music. The five symphonies after Symphony #2 are marked by thinner orchestration and increased use of dissonance. However, despite his symphonic masterworks, Sibelius did not and could not speak the language of musical modernism. He published no music during the last 30 years of his life and none survives that period.
His musical aesthetic favors the sense-impressions of Symbolism and integration of thematic material, rather than tending to modernist abstraction. The Symbolist idea of tone-painting-–representing the physical world in music-–is apparently one that appealed to Sibelius. In Symphony #2, fjords, icy lakes, and cold wind are images that the listener can’t help experiencing. Kalevala, a Finnish folk-epic, had attracted Sibelius from his youth onwards. His translation of the Kalevala into music via tone-painting is, more than overt nationalism, what gives Symphony #2 its sense of local flavor. It accounts for the mystical and organic character of the music.
Premiered March 8, 1902, the symphony was an instant success. By 1940, Sibelius’s music was all the rage in America. By the time of his death in 1957, his music had all but disappeared. It was “rediscovered” in the 1970s and has remained in the repertoire until the present day.
Credit J Sundram
Pick our last symphony of the year
People's Choice 2015 Composers
For our closing performance of the 2014-2015 season we have decided to ask our wonderful patrons to select the symphony they would like to hear. We have narrowed the field to four: Mendelssohn’s Mediterranean-inspired “Italian” Symphony, Mozart’s tragic and emotional Symphony No. 40, the 14 year travail that was Brahms’s First Symphony and Beethoven’s revolutionary Symphony No. 3.
Below you can vote on which great symphonic work you would most like to hear.
Exploring Borealis
Credit: Mark Duffy
Credit: Mark Duffy
On January 24th, the SSO will bring the Northern Lights to the concert hall – John Estacio discusses his work Borealis.
The first time ever I experienced the glorious spectacle of the Aurora Borealis was a few short years ago when I arrived in Edmonton. Up until that moment I had to settle for textbook explanations and a geography teacher’s descriptions.
I had no idea what I was seeing when I first noticed the majestic curtains of swirling green light
in the sky one crisp October evening until a friend confirmed that it was indeed the Northern Lights. I was completely captivated and awestruck by the magical sight of dancing light; how could I not be inspired to compose a piece of music?! Having recently completed two serious compositions, it was the right time to revisit a style for unabashed lyrical melodies and joyous bright orchestral colours that Borealis would require.
The composition is written in two movements. The first movement is meant to be awe-invoking and attempts to capture the ethereal atmosphere of the lights of the northern skies; wide streams of bending, curving light that abruptly disappear and reappear. The ephemeral nature of these celestial happenings is represented by the sudden colourful outbursts followed by movements of near silence. The movement begins with the strings playing a major chord and then gradually glissing (bending the pitch) until they all arrive at a different chord; for me, this musical gesture captures the essence of bending curtains of light and serves as a recurring motive throughout this movement. A solo flute introduces fragments of a melody; this melody is not heard in its entirety until later in the piece when it is performed by a solo bassoon and then an English horn. The strings perform the melody and the composition swells to its climax featuring the brass and the sound splashes provided by the percussion. The movement concludes with a unique auditory effect in the percussion section that again attempts to convey the enchanting and magical quality of the borealis.
For the second movement, I wanted something that would be a formidable contrast to the subtle nature of the first movement, a celebrated dance of celestial light. The music for Scherzo (meaning “playful”) has more of a fervent and animated energy to it being inspired by the notion of dancing celestial lights (title changed to Wondrous Light, 2004). This movement is perhaps less of a literal musical representation of the borealis and is, instead, inspired by their energy and the speed at which the lights seem to zip through the evening skies. A nimble melody introduced by the oboe is developed intervallically and rhythmically throughout the composition. Sudden swells in volume accompanied by quick glissandos were inspired by the swirling curtains of green light which twist and turn and vanish suddenly in the night sky. Towards the conclusion of this movement the nimble theme is transformed into a noble melody performed as a traditional chorale by the trombones, and then repeated by the full orchestra. The conclusion of this piece attempts to capture the majesty of the borealis — they have graced our northern skies since time began and will continue to dance evermore.
John Estacio
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Posted by: Kathy Temean | March 31, 2018
Illustrator Saturday – Gillian Reid
Gillian is an illustrator/character designer from Belfast, UK currently living in Canada. She studied animation production at the Arts Institute at Bournemouth, England and have been working as a character designer since graduating in 2008. Her work has taken me across the globe working with cients including: Sony Pictures Animation, Aardman, Passion Pictures, Nexus Productions, Tiger Aspect.
Now, she is trying to break into children’s book illustration! So she says, “Any advice and tips would be more than welcomed!” When she is not drawing, you will find her parked in front of Netlix with knitting in my hands, oreos stuffed in her mouth and a cat or two on her lap!
Here is Gillian sharing her process:
Thought I’d show you how I take my sketchbook doodles through to a final digital illustration.
First I begin in my sketchbook, drawing random things, hoping something interesting will come out. It’s quickly turned to winter where I live and everyone is flooding the coffee shops in their winter wear for the holiday drinks!
Next, I take it into photoshop and work out some more details and plan the layout a little more.
After my rough, I go over it once more with more detail and make some tweaks.
I then do a very loose colour key to work out my palette (but I deleted that layer by accident!
Based on the colourkey, I colour up the whole image, beginning with the characters and then the props and then the background. I am continuatlly making small changes as I go along to make sure the composition is at its best and the colour and tonal balance is right.
Final steps, I add some layer filters to capture the warmth of the scene. Et voilà! C’est fini!
Interview with Gillian Reid
How long have you been illustrating?
The first real steps into illustration I took were probably about 2 years ago. I have been working as character designer in the animation industry for almost a decade, so in a way I’ve been illustrating characters. However, when I relocated to Canada and suddenly had more time and space to take on illustration, that’s when I really started.
What and when was the first painting or illustration that you did where someone paid you for your artwork?
Last year, I submitted a piece to SCBWI for an Art Spot in their bulletin and it was chosen. I didn’t even realise until I got a cheque through the post for $25! I should have framed it, but I needed to buy cake.
What made you move from England to Canada?
I had been living in London, UK for 4 years when my partner got a job offer in Canada. We felt we had been in England for a while and it was a good time for a change. We are coming up to our 2 year anniversary as Canadian residents!
What made you choose to study animation production at the Arts Institute at Bournemouth, England?
I knew I wanted to draw cartoons for a living but it took me a while to realise that was called ‘animation’ and you could actually study it! There were only a handful of schools in the UK that taught traditional 2D animation at the time and this one was on the sunny coast of southern England – a big contrast to the northern, rainy, gray city I grew up in. Easy decision!
Did the school present any opportunity to delve into children’s illustrating?
Yes, the school also has a BA Illustration course, which a couple of my friends studied. I didn’t really know what illustration was at the time but looking back, it would be great to have the 2 courses overlap somehow. There are a lot of principles in both which would help animation and illustration artists alike.
Did the school help you find work?
My first job in animation was actually in China, at a studio which had an exchange program with my animation course. They take a few students in their second year but when I graduated they were looking for artists to come over and work for 6 months. This is where I found my love for character design!
Do you feel studying animation has influenced your illustrating style?
Oh yes, definitely! I tend to think of everything as scenes from a film rather than page turns and am always trying to show a sense of motion in my designs. It’s a bit of a battle sometimes, trying to bring a more illustrative quality to my work.
What type of job did you do right after you graduated?
Initially, I worked for a British coffee chain called Caffe Nero. I actually really loved it. I got to study all the different characters that came into the shop and draw them during my lunch break. I worked there until I heard the news I was going to China, where I worked on a feature film called Back To The Sea. When I started there, I was a background designer. This is what I had specialised in at school but due to language barriers, all the British people were put onto character design. Suddenly, I realised I enjoyed characters much more than background design and haven’t looked back since!
When did you decide you wanted to illustrate for children?
Having worked in the animation industry for a long time, I was beginning to get a little tired of the more technical aspects of character design, like turnaround, expressions sheets, prop design. Illustration appealed to me because it seems to be all the fun bits! Posing the characters and telling the story. I don’t need to know what each character looks like for 8 different angles and 25 different facial expressions.
Have you done any illustrations for books?
It is still very early in my illustration career, so I have not illustrated any books yet, but fingers crossed something will come my way soon!
How did you find representation with the CAT Agency?
Christy Ewers from the CAT Agency saw my work on the SCBWI website, for a competition I won and kindly reached out to me to share some thoughts and pointers on my portfolio. We corresponded back and forth for a few months as I tried to improve my illustration based on her notes, until she finally gave in invited me to join her agency!
How long have they represented you?
Just over one month now, so still brand new!
Have you done any book covers?
Not so far, but I’m looking forward to my first cover opportunity!
Do you have any desire to write and illustrate your own children’s book?
Yes! I’ve been working on my own children’s book idea for over a year now. I’m currently taking a storytelling course to help make the story stronger.
Would you illustrate a book for an author who wants to self-publish?
Self-publishing is not something I’m very familiar with. I would have to take the advice of my agent on how this works and if it would be a good fit for me.
Were you surprised to see you were a SCBWI Draw This winner last October?
Yes! That was a very cool moment for me! It’s strange to suddenly just see your work on the homepage of such a huge site! It was the contributing factor to me finding representation, so I’m very grateful to have been chosen as one of the winners.
Have you worked with educational publishers? Which ones?
Not yet!
Have you done any illustrating for children’s magazines? Which ones?
Also, not yet!
Have you ever thought about illustrating a wordless picture book?
This is something I am definitely interested in. My own children’s book I a developing often goes through revisions being wordless. I feel I can tell stories more clearly with pictures than words.
What do you think is your biggest success?
My biggest success was in 2013 when I did character designs for a major Nike commercial that was advertised during all of the World Cup 2014. It had a worldwide audience and it brought me lots of jobs as a result.
What is your favorite medium to use?
Pencil and paper is probably my favourite to use. I mostly use it when I’m out sketching from life in my sketchbook or in life drawing classes. I can work very quickly and naturally with a pencil but when I want to refine a drawing, I like to photograph it and take it into Photoshop to work it up digitally.
Has that changed over time?
No, I think I’ve always kept a sketchbook. I feel it is the best place get out your ideas. It may not be where I do my best drawings but it’s where I get my best ideas.
Do you have a studio set up in your home?
Yes. When I lived in London, I lived in a small 1 bed flat with my partner and my cat, so my studio was the desk crammed into the corner of the living room/dining room. Now, here in Canada, my place is a bit bigger, so I have a dedicated studio. One half has a desk with my Cintiq set up surrounded by prints by some of my favourite artists and toys. The other half has a craft table set up for sewing.
Do you try to spend a specific amount of time working on your craft?
I don’t have a set requirement that I try to meet. I usually just do it when I feel inspired to do it. Between professional jobs, my book development and my personal work, I probably draw something everyday. Even if I’m out and about, I will have my sketchbook with me incase there’s an interesting character I spot to draw!
Do you take pictures or do any type of research before you start a project?
When I begin a project I try to let my own mind do all the thinking and when it is exhausted, then I will turn to google, youtube or pinterest for inspiration.
Do you think the Internet has opened doors for you?
Definitely! I grew up in the age of the internet and by the time I graduated, most networking is done online. From having an online portfolio, to meeting and sharing work with other artists on social media, the internet is probably my one source of work.
Do you use Photoshop or Painter with your illustrations?
Yes. I use Photoshop for everything! It took a lot of practise to get comfortable with it and I only use a tiny percentage of its actual ability but it works well for what I need it for.
Do you own or have you used a Graphic Drawing Tablet when illustrating?
Yes, I use a Cintiq 21UX. I got it about 6 years ago, I would be lost without it! It’s a pricey piece of equipment but it is an essential investment, along with a good computer.
Do you have any career dreams that you want to fulfill?
As I get older, I really put less time into ‘dreams’. Over the years I’ve learned that all I need to be happy is to work on jobs that are enjoyable with people who are great to work with, preferably with a cat nearby and cup of tea in my hand. Although, I would love to spend some time living in LA, working for one of the big guys, like Disney or Dreamworks.
What are you working on now?
Currently, I am working on a character design job for the UK, as well as teaching character design and life drawing at a local college.
Do you have any material type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – A how to tip, etc.
My favourite pencil to use is Faber-Castell Polychromos in Schwarz Black. I love the pens from Muji and for my sketchbooks, I like to use the small 3 pack paperback Moleskines because they are light and easy to carry around.
Any words of wisdom on how to become a successful writer or illustrator?
Whatever you want to do, immerse yourself in it and try to do to everyday if you can. Make it for yourself and forget what other people say. You do you.
Thank you Gillian for sharing your talent, process, and expertise with us. Make sure you share you future successes with us. To see more of Gillian’s work, you can visit her at her website: https://www.gillian-reid.com/
If you have a minute, please leave a comment for Gillian. I am sure she’d love to hear from you and I enjoy reading them, too. Thanks!
Talk tomorrow,
1. Magnificent work, the conversations between your cast of characters inside your mind must be quite fascinating!
Liked by 1 person
2. Beautiful, vibrant work! Thanks for sharing (and love the “you do you” reminder)
Liked by 1 person
3. Thank you for sharing your lively and fun work!
Liked by 1 person
4. Gillian, Thank you for sharing and your work. I very much enjoyed reading about you and your work. I am not an illustrator but I love learning about illustrators and how they work. Your illustrations are captivating. Best of luck to you!
Liked by 1 person
5. Great work!!! Love the feel of it!
Liked by 1 person
6. Totally amazing art style! Some of the artworks look like concept arts from the Disney movie 😀 Good luck! You have great skills, you sure will end up at Pixar or Disney(or a similar company) 😀
7. Love ALL of this, Gillian! I tell ya—animators make SUCH great children’s book illustrators 😀
8. I loved looking through all your work Gillian! Brilliant use of details that add story and personality to each character.
Leave a Reply to tiemd
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Mother Earth Living
Humans and Nature: A Straw Bale Home in Sonoma County, California
Stroll down the apple orchards in western Sonoma County and you’ll experience the deep connection between Annie and Patsy’s home and nature.
By Joseph F. Kennedy
March/April 2004
Annie and Patsy built the rough cob structure, then builder Tim Owen-Kennedy sculpted this fireplace, built on top of a standard metal box fireplace and flue.
Photo By Michelle Montelbano
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“Everybody wants to come back,” says Patsy Young of her exquisitely detailed 1,200-square-foot straw bale home near Occidental, California. “They always think it is so warm.”
For Patsy and Annie Scully, schoolteachers in nearby Santa Rosa, the journey to this home began with the purchase of five acres of apple orchard in western Sonoma County’s rolling hills in 1998. Annie had learned about straw bale construction at Shenoa Learning Center in Philo, where the first California code-approved straw bale house had been built. While visiting the Real Goods Solar Living Center in nearby Hopland, they were referred to Tim Owen-Kennedy, who had formed a cooperative natural building company called Vital Systems. As Owen-Kennedy recalls, the future homeowners wanted a “modest little house for two people as ecological as we were willing to push it.”
Owen-Kennedy recommended architect Darrel DeBoer to help develop house plans. Armed with magazine photos, Annie and Patsy met with the architect on their new property. “We knew the exact spot where we wanted the house,” says Annie. “It just called itself out to us.” The three went back to a trailer placed as temporary living quarters to talk things over. They had a beer, and as Annie recalls, “By the time we were done with the beer, Darrel had captured the idea on paper.”
“Annie and Patsy showed me a couple of pictures, and I started sketching a view of a building that met those needs,” DeBoer says. “And oddly enough, maybe for the first time in my experience, that is what we ended up building.”
Teamwork and self-restraint
For Annie and Patsy, building with natural materials was never a question. “We wanted to do what made sense—a confluence of the warmth, the security, and the knowingness that it was the right thing to do for the planet,” Annie says. Patsy was a bit more cautious and in fact felt “disassociated” from the first straw bale buildings she saw. But as the house went up, she warmed to the process, and as the details took shape, she says, “It became truly ours.”
Because DeBoer had not designed a straw bale house before, Owen-Kennedy developed many of the details on-site; the architect and builder were such a close-knit team that the boundaries between their roles blurred. “The idea here,” DeBoer explains, “was to try and relax and figure out what was the right answer without pointing fingers.” Owen-Kennedy often worked out design details in clay models while DeBoer did some of the construction. “I think that architects should be able to build just about anything that they tell someone else to build,” DeBoer adds. “It encourages self-restraint.”
Although the plans submitted to the county were fairly minimal to allow more freedom during construction, the team’s relationship with Sonoma County officials was good. “As soon as you establish with them that you are really serious and have done your homework, they really relax,” says DeBoer. “The key is establishing your credibility. When we were through, I remember the building inspector’s comment that this was her favorite building—she had completely removed that wall of skepticism you are often met with initially.”
Integrity in the details
The house is built around a balloon-frame two-story tower, which acts as the structural core for perimeter walls ranging from straw bale to straw clay to cob. The main living space opens into a kitchen and dining area on the east; a stair goes up to a mezzanine bedroom, which in turn has a sleeping loft reached by a small ladder—“a loft on top of a loft,” as DeBoer puts it. Glazed sliding door panels on the house’s undulating southern façade let in the sun’s heat. The home’s passive solar features perform so well that Annie and Patsy rarely use the fireplace or radiant heating system.
Materials were chosen for their ecological suitability. “We were always scavenging,” Owen-Kennedy says. “My foreman Evan found a barn that had blown down in a storm. That was all the redwood for the project.” The team used recycled madrone chunks for the floor and rough-sprayed clay paint with high sand content (which cost only twenty cents per square foot) for the walls.
But it’s the details that really make the house sing. “The crew added so much to the richness of it,” DeBoer says. “They really took ownership of the details.”
Owen-Kennedy describes this crew as largely “a group of artists learning to become builders.” When he became the de facto site manager after the original foreman left the project, he was forced to leave many decisions to the crew while he attended to other projects. The artists brought an emphasis on quality unprecedented in conventional construction. “The young people who worked here—their ideas, their caring to do more than just the minimum—really brought a lot of feeling to the house,” Patsy says.
“My friend Rob Williams, an amazing woodworker, did this carving of a little flower and it ended up being used as a mandala where the trim was coming together over the south doors,” Owen-Kennedy recalls.
Annie and Patsy contributed as well, creating the rough cob fireplace before Owen-Kennedy did the final sculpting. For Patsy, “The best part of the house is the work itself.”
A few wrinkles
Construction was hampered early on by some setbacks. What was originally assessed as a flat site actually had a thirty-inch drop, and concrete piers had to be placed deep into the soil to satisfy county requirements.
The earthen floor was a particular challenge. In the sunroom, the crew tested an earthen floor sample that “made a cracked plaster look that was just gorgeous,” says Owen-Kennedy. Annie and Patsy wanted some big cracks in the great room floor, and DeBoer suggested filling them with a different grout color. To achieve this, the crew held back on the floor’s fiber content, used more clay than sand, and added a bit of cement (to protect the floor from Annie and Patsy’s two dogs). “I wish I had done a larger sample of that,” Owen-Kennedy admits. Although this mix did well in the sunroom, the crew tried a shortcut in the great room that ended in disaster. Instead of a well-mixed straw clay insulation layer, they simply poured clay on top of a layer of straw. As a result, the floor wouldn’t compact. In a contradictory effort to get the floor to crack, the crew didn’t compact and level the sand subfloor, which caused the earthen floor to shrink differentially and in some places pull away, creating hollow spots. They had to pour in a watery self-leveling cement to stabilize the sand and fill the cracks with a high-strength grout. Making a virtue out of necessity, Owen-Kennedy used flagstones to replace some of the damaged earth floor—to great aesthetic effect. The rough floor is a highlight of the house.
In every natural home, Owen-Kennedy counsels, homeowners should be prepared for these types of issues: “variability of natural materials, lack of predictability, and the nature of a project where you are doing much of the design on-site.” The owners acknowledge that it was sometimes difficult. “It’s sort of like, if you knew how much pain childbirth and the raising of a child would be, you might choose otherwise,” Annie muses. “But with this house, you kind of fall in love and deal with what comes.” It was all worth it, agrees Patsy. “We come home every night and know we are very, very blessed to be here.”
“If the house caught on fire and was gone tomorrow, we still have inside our hearts all the relationships,” Annie concludes. “And that’s an extraordinary thing. It’s the piece that we probably least expected—how much we would come to care for the people we were working with.”
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“My daughter Alyra who is 5 recently shot for Big W. From the moment we walked into the shoot everyone made us feel so welcomed. The photographer could
tell Alyra was a bit unsure at the start as this was her very first professional photo shoot. We walked straight up to the set together before everyone
else was there and he gave her the opportunity to do some fun photos to show her what they will be doing shortly and this made Alyra instantly relax.
Watching Alyra blossom in front of the camera is so heart warming for me as a Mum. Alyra has done a few different shoots for Big W now and she just
loves it so much she asks me every week when she can go and do more modelling. Every shoot is so natural which has given Alyra the opportunity to really
develop and shine in front of the camera.” – Ashleigh (Alyra’s mum)
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Explore the Blog Explore Blog
Faces of Public Health: Rick Bell
Aug 16, 2013, 12:37 PM
file Rick Bell, American Institute of Architects New York, at the Fit Nation exhibit
In the last decade or so, leaders in the field of architecture have begun to look at not just the aesthetics of building and community design, but also their own impact on the health of communities. In New York City, for example, the local chapter of the American Institute of Architecture’s New York chapter partnered with several agencies in New York City, including the departments of Health and Mental Hygiene, Design and Construction, Transportation, City Planning, and Office of Management and Budget, as well as research architects and city planners to create the city’s Active Design Guidelines. These provide architects and urban designers with a manual of strategies for creating healthier buildings, streets, and urban spaces, based on the latest academic research and best practices in the field. The Guidelines include:
• Urban design strategies for creating neighborhoods, streets, and outdoor spaces that encourage walking, bicycling, and active transportation and recreation.
• Building design strategies for promoting active living where we work and live and play, through the placement and design of stairs, elevators, and indoor and outdoor spaces.
NewPublicHealth recently spoke with Rick Bell, policy director of AIA New York, who was instrumental in the creation of the guidelines, about the burgeoning intersection between design and healthier communities.
>>Read more on architecture and design for a fit nation.
NewPublicHealth: How did AIA New York become involved in healthy design with the city of New York?
file Active Design Guidelines
Rick Bell: Much of the credit goes to Dr. Richard Jackson who, as a member of the AIA board several years ago, gave a significant speech at a major AIA conference. I heard that talk and Dr. Jackson had imagery that forever resonated, showing that architects were not only responsible for the parts of the built environment that precipitated problems of lethargy and inactivity and physical complacency in our society, but were actually complicit, therefore, with the obesity epidemic. His images included an escalator up to a second story fitness center at a strip mall in San Diego and someone walking his dog out of the passenger window of his car on a street that didn’t have sidewalks.
It was because of Dick that, as an architect, I started to think of architecture as directly related to public health. And coincidentally, a young French designer, Laetitia Wolff, had just participated in an exhibition, called ValueMeal about obesity, and wanted to bring her entry to New York, to our Center for Architecture.
Wolff’s show was so visually compelling. Dick had just presented the CDC statistics at the AIA conference that showed the map of the United States and how obesity rates had changed year by year. Letitia took the statistics and represented them graphically by a wall of painted cans of food stuff, which was visually astounding.
I spoke with Lynn Silver who was then the Assistant Commissioner in charge of chronic disease prevention at the New York City Department of Health and Mental Hygiene (and now health officer in Sonoma County, California). After that the City put out a request for proposals for a conference on how active design could enhance, not impede, mobility by what architects and interior designers and landscape architects and urban designers and city planners do. That became the Fit City Conference, which brings together health professionals and design professionals, and we just held the eighth one.
NPH: Tell us about the conference.
Rick Bell: We started with the premise that we would do an annual conference and bring together people who could talk about evidenced-based design, their own research, and ideas to encourage healthier lives.
One of our early speakers was Jan Gehl, who’s been consulting to many cities, including our own here in New York, on how to increase the number of people bicycling to work. As an architect in Copenhagen, he was responsible for bringing the idea that bicycling wasn’t just for occasional recreational activity, but could be a form of public transit. Now more than two-thirds of daily commuting trips in Copenhagen are made by bicycle.
While it is great to have these conversations and have a couple of hundred people in the room, what we really need to extract from these discussions are principles, guidelines or a document that could influence more than just those in the room.
file New York City's High Line Park, excerpted from the Active Design Guidelines
And with that third conference, now five years ago, we initiated the notion that Active Design Guidelines could not only be published from the discussions at the conference, but could benefit from additional workshops, expertise and analysis, and we used subsequent Fit City Conferences as a testing ground for the guidelines. The city of New York is now publishing supplements on particular areas including more attention to sidewalks, more attention to housing, and more attention to issues of security and density, because we’ve learned a lot in discussions we’ve had since the original publication.
NPH: Are the guidelines New York City-specific?
Rick Bell: They are New York City-specific insofar as all the case studies published as examples are within the city limits of New York. But when I travel with the Guidelines, when I speak about them in other cities and even overseas, people immediately jump to the principles, not the case studies. The case studies are illustrative and help to explain the principles—such as creating parks that encourage people to walk and not just sit.
I spoke two years ago at the Geneva Health Forum in Switzerland, and I used the principles of the Active Design Guidelines as the organizing rubric of the talk, but used examples from everywhere other than New York City so that whether conference participants were from western Europe or from Asia or from the Pacific Northwest here in the U.S., the universality of the examples came through.
This commentary originally appeared on the RWJF New Public Health blog.
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04 October 2008
Fascism and (anti) urbanism
The story of urban America can be understood as the rise of great and prosperous cities of human scale, built and molded by private interests to serve their needs and the needs of their customers. Like the great market economy, the diverse cacophony of different pieces comes together in beautiful harmony to create places of distinction and merit, environments of the human scale which in all their complexity uplift and testify to the value of the human spirit.
The architecture of urbanism is the architecture of humanity, of small scale, of detail and attention to the individual who inhabits the environment:
(Do your best to ignore the shade trees which have no place in a downtown area.)
Opposed to this older school of urban design is the more recent architecture of the suburban paradigm - inherently anti-urban, anti-human, and large scale, designed to the letter and intent of a parasitical host of regulations, rules, stipulations, and covenants which have been imposed upon us from on high from a government which allegedly only has our best interests at heart:
($2.80/gallon...mmm, the daze of cheep petrol...)
Regulations of every and any sort, propagated by the state, produces an environment which is inimical to normal human life. Ostensibly enforced for purposes of safety, health, and welfare, modern subdivision regulations render traditional forms of urban development more or less illegal (unless the developer is politically adept enough to obtain the sufficient waivers). The intent is to create socioeconomically segregated environments in which only the affluent can afford to inhabit, given the slew of sunk and recurring costs involved in suburban habitation. The raison d'etre of fascism is to further the interests and increase the assets of the elites at the expense of the lower classes. Such is the barely concealed purpose of the suburban paradigm.
The despoliation of our countryside by the onslaught of what is, in the end, a fundamentally unsustainable disgusting suburban morass is bad enough. It is most distressing, however, when the anti-urban, anti-human paradigm is inflicted on our central core areas:
The architecture and urbanism (or rather, lack thereof) of fascism is fundamentally the architecture of power, whether that be corporate or State. With power, the private and the individual, celebrated so well on the small scale, is discarded and jettisoned aside in the large scale glorification of the collective and the public.
To stand in the shadow of these gigantic structures is prone to humble and humiliate the mere mortal. These buildings pose the blank sterile walls of bureaucracy to the street, killing the life of the unregulated public sphere and containing it within the stormtrooper controlled confines of the marble labyrinth.
For fundamentally, the anti-urban revolution is about control - control of space, of where people may live and work (zoning), of how they will travel to work (by auto, of course), of what types of dwellings they may occupy (preferably single family detached, unless you are Black, in which case it's cheap, deteriorating apartment stock for you), and most of all control of the Other - circumscribing heavily where that Other will live, work, and travel, and in what few interfaces he may be permitted to mingle with outer society.
The urban centers have been left to the Other, since the urban centers were not designed with control in mind, and thus they have been left to a people which are seen to be criminals at birth. In any case, the dickheadery will always prefer their gated community and exclusive neighborhood - perhaps the ultimate harbingers of the urban fascism of our modern age.
Can't come into contact with "those people", you know, unless they cut the grass or clean the kitchen.
Thankfully, in every city there are a few hardy souls who have made a stand against the decay and death of urbanism. Often they occupy the "eclectic" inner neighborhoods which have resisted the mass forces that have worked on all sides to eviscerate the cities and transfer their vital elements to perfectly cultivated and controlled suburban greenfields.
In the future on this blog I will come to profile one of these neighborhoods - the neighborhood in which I live.
Amerikans adore control and despise 'clutter' in their lives - that is their regrettable trait as a people. But it is this very 'clutter' that makes this nation great - that makes freedom viable, creates diversity of experience, and renders innovation possible.
Woe be this country for its rejection of its greatness, and its embrace of the sordid counterfeit false comfort of State power.
No comments:
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Professional Experience = Obstacle to Employment
Discussion in 'Off Topic' started by teflon97239, Jul 29, 2012.
1. teflon97239
Portland, OR
Well-Known Member
Likes Received:
While I’m blessed to be steadily employed and hoping to retire in 5 years (and 34 days), my friend for decades is in a situation that I wish I could help him resolve.
He’s a professional photographer with a family business and a beautiful home studio, indoors and out. Sadly, his livelihood has all but disappeared into thin air since the millennium. Everybody seems to have high-megapixel digital cameras, scanners, printers, software and glossy photo paper. So who needs him?
It’s simply easier to do things ourselves. Most people I know can take decent photos and portraits, print and frame their own stuff, and make Mom a couple hundred Christmas cards every year – all in the comfort of Ft. Livinroom. So with the exception of posters, coffee mugs and calendars (each about $15 at Walgreen’s), we can do it all ourselves!
There are businesses that still hire photographers, and I’ve helped him hone customized resumes that get him interviews. But time and time again, he gets passed over in the selection process. He’s youthful for a guy in his 50’s, but they always go with someone barely old enough to buy beer. Kids with a couple classes at PCC under their belts, instead of the guy who can do it all: photography, video, digital and old school image corrections, printing in all sizes and mediums, lighting, set design and construction, client rapport, web pages, travel in an ice storm and get the prize-winning shot – you name it.
In a nutshell, he personifies that cliché term we hear… “Overqualified.” But it’s not the obvious money thing. He has no pretense of earning what he used to. In exchange for a steady gig he can count on with skimpy benefits after awhile, he’s willing to bust his hump for entry level pay like any youngster might (or might not – some folks’ workplace expectations are a bit screwy compared to when I grew up).
I offer tips and leads when I have some, but I'm only one guy. Anyone else here have some ideas to share that might help put him on an even playing field with his younger competition? Perhaps broader/generic ideas that would help people in any trade get back to work after age 50!
Thanks in advance.
2. lowly monk
lowly monk
Beaverton, Oregon.
Just a guy.
Likes Received:
I love this forum style, "Think tank approach" Hmm, Somekind of development for the skills to be needed and marketable. Perhaps in the medical or security fields, Of course where the money is.
East Portland
Gold Supporter Gold Supporter
Likes Received:
The key for us more seasoned workers is to think outside of the box. In what way can he take his skill and experience and employ them in a different way? Something like technical photograpy, art photography, medical? Are there niche markets he can specialize in such as newborn baby photography, pets, environmental, or funeral related?
Good luck to your friend!
4. drew
Well-Known Member
Likes Received:
I'd call it crowdsourcing.
So does he have any idea why he's getting passed up after interviewing? There's tons of reasons. Some have to do with skill some don't. I've interviewed for things where there was a huge gap in philosophy and personality.
I'm assuming he has a nice portfolio to even get interviews being in a creative industry. If not, he needs one.
5. LiaB
Vancouver, WA
Likes Received:
Pick industries that are recession proof: (firearms, military and "adult entertainment" come to mind), beat other's prices, keep up with trends and skills, be on social media and push the envelope every once in awhile.
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blue infrastructure a design opportunity
There is plenty of sound advice and exemplary design available to guide designers and developers when integrating sustainable urban drainage systems (SuDS) and make this an opportunity to add to the character of a place.Integration of SuDS
The excellent diagram (above) from Planning for SuDS (sustainable urban drainage) – making it happen published by CIRA in 2010 shows the range of ways SuDS can be integrated in the more formal or urban edges of a scheme by being integrated in paving, tree pits, rain gardens and roofs or running alongside streets in rills, bioretention strips or infiltration trenches. It shows how SuDS can provide contrasting spaces such as filter strips, naturalised swales, wildlife and wetland areas. Advice about the appropriate assembly of components is continued in more detail in the document with illustrations of the best components to use for high, medium and low density development and descriptions of how to embed SuDS in Design Codes or Retrofit into existing streets and spaces.
The authors of Planning for SuDS identify the “need to embrace water management as an opportunity” and advise design teams to consider the benefits and opportunities early on. A good scheme will be compatible with the landscape and integrated with the overall design strategy providing multiple benefits, for example, drainage and public open space or car parking. As well as managing flood risk benefits could include improved; water quality, amenity and biodiversity, water resources and recreation and education for communities. The benefits to developers in integrating SuDS are the reduction of maintenance costs associated with heavily engineered drainage and a possible increase the value of nearby homes.
Some important design principles are that sustainable urban drainage should mimic natural drainage, control water at its source and use sequence of components to manage flows of water and improve water quality. They note that: SuDS mimic natural drainage patterns by:
• storing runoff and releasing it slowly (attenuation)
• allowing water to soak into the ground (infiltration)
• filtering out pollutants
• allowing sediments to settle out by controlling the flow of the water
• creating attractive environments for people and wildlife.
Focusing on SUDS strategies for urban design projects the most illuminating case studies featuring in this and other more recent guidance are:
• Upton, Northamptonshire – which set out a design code for two street types integrating SUDS, one with SUDS at the centre and another with SUDS to one side with a footpath to the inside.
• Cambourne Pool Redruth Surface Water Management Plan (SWMP) – where a design approach has been developed across an area with the strategic integration of swales or leats to open up new areas for development.
• Malmo, Sweden and Reiselfeld, Feiburg, Germany are widely cited as good examples because of the bold way they integrate SuDS bringing water and wildlife features close to homes. The indefatigable Essex County Council have produced a design guide illustrated by these examples from Malmo and Reiselfeld and expanding on the advice in ‘making it happen’ with Essex focused case studies.
Dickie, S, McKay, G, Ions, L, Shaffer, P – Planning for SuDS – making it happen, CIRIA, 2010 http://www.eastcambs.gov.uk/sites/default/files/C687%20Planning%20for%20suds.pdf.pdf
Upton Design Codes V2, Northampton Borough Council, 2005
http://www.northampton.gov.uk/site/scripts/download_info.php?downloadID=332
Nicholls, D, Cornwall County Council – Surface Water Drainage and Green Infrastructure
Sustainable Drainage Systems, Essex County Council, 2014
https://www.essex.gov.uk/Environment%20Planning/Environment/local-environment/flooding/View-It/Documents/suds_design_guide.pdf
See also ongoing archive of case studies at Susdrain:
http://www.susdrain.org/case-studies/
integrating space for play in housing leads to more social interaction
The research identifies the need for supervised spaces near the home as well as the ability for older children to move about safely and independently across a ‘network of interconnected spaces around the development’.
3017666_GREENSPACES-LIMETREESQUAREDinah Borat of ZCD Architects has published a summary of research into the sociability of streets and public spaces in housing design in the Architects Journal. This offers findings from studies of six 20th Century Estates in Hackney and a further 10 recent schemes across England. The study recorded activity in the streets and public spaces of housing developments over twenty-four hours over two days. This used Jan Gehl’s categories of activity; necessary, optional and social – also recording the gender and age of people and the numbers talking or playing together at any time.
The research identifies how the streets and public spaces provided, function in terms of their accessibility and describes their success in supporting activity to understand how well ‘social activity, children’s independent activity and their extended use of space’ is supported. The research demonstrates the need for supervised spaces near the home as well as the ability for older children to move about safely and independently across a ‘network of interconnected spaces around the development’. Which is evidence for my more empirical observations in an earlier blog ‘Playing Out’.
The research found play to be the dominant outdoor activity and discovered that when there was room for this other activities followed with more sociability occurring between adults as well. The full report will probably tell us more – but the plan diagrams (see above) recording accessibility seem to suggest that the position of the street or space in the layout is important as well as the types of street and range of spatial types used – with developments that are more generic supporting less social opportunity.
The Architects Journal; Designing Green Spaces that people want to use, Dinah Borat – AJ 21.04.16 VOL 243/ISSUE 10
http://www.architectsjournal.co.uk/buildings/designing-green-spaces-that-people-want-to-use/10005102.fullarticle
Research funded by; The Homes and Communities Agency, NHBC, ZCD Architects, University of East London, Levitt Bernstein and the Hargrave Foundation.
See also:
Housing as if people mattered, Clare Cooper Marcus and Wendy Sarkissian, 1986Child’s Play – Rob Wheyway and Alison Millward, 1997.
how to make the most of trees and wider contemporary green infrastructure solutions
It might seem obvious to say that: “having trees in development should be the normal and expected thing to happen” but too often a lack of commitment on behalf of whole delivery teams means that trees are lost from proposals one by one. Its good to see eight local authorities grasp the nettle and be proactive about integrated approaches to including trees in street design. The 8Cs (Derby and Derbyshire, Leicester and Leicestershire, Nottingham and Nottinghamshire and more recently Blackpool Council and Cheshire East) are planning to deliver a new design guide that builds on MfS and MfS2.
With the support of the Tree Design Action Group (TDAG) they held a workshop earlier this year to look at how the guide could promote and support the integration of trees and wider contemporary green infrastructure solutions. They explored the key principles of: collaborative design, priortizing walking and cycling, supporting innovation and delivering welcoming, inclusive, resilient and safe places. To make sure including street trees in projects does become the norm 8Cs and TDAG recommended that:
• Design choices for trees should be context sensitive, identifying the right tree species,
• When weighing up benefits value the whole life benefit of the tree. Trees have immediate and wider value. Can use i-tree to assess.
• Realise the opportunity to impact on air quality, reduce flooding, sequester carbon and prevent overheating in urban areas.
• Place trees intelligently and consider integration with footways and carriageway, parking and vehicle speed management, utilities and microclimates.
• Technically – seek space efficient integration with utilities, protect trees, ensure adequately nourished and watered and minimize maintenance.
• Take a joined up approach when advising developers.
The knowledge base to support integrated approaches is developing internationally with some excellent advice being published by TDAG. Their publication: Trees in Hard Landscapes, A Guide for Delivery, TDAG 2014 includes 30 Case Studies from the UK, Europe, the USA and Canada and some excellent diagrams and sections offering technical design solutions and notes on appropriate species selection.
http://www.tdag.org.uk
space to park
Intelligent integration of parking is key element in the success of residential layouts in use as evidenced by research for Space to Park. This is is a follow up to ‘What Works Where’ the English Partnership/Design for Homes guidance on approaches to parking published in 2006. It gives updated recommendations based on current policy and research into user satisfaction with parking at 402 schemes in Kent. Six case studies selected from the 402 schemes record why user satisfaction as an average was as low as -83%.
51Parking in use was recorded on a Saturday morning when most people would be at home. Each case study is illustrated with a diagram showing rogue parking or “cars parked not in accordance with design”. In the case studies visited on Saturday mornings fifty percent of parking was outside allocated bays with people preferring to park on street (or pavement) rather than in courts.
The second of the four recommendations is: “Allocated parking spaces should cater for the average parking requirement of households based on the house size. Unallocated spaces should provide for at least twenty percent additional spaces.”
• Link the maximum number of allocated spaces to the average car ownership. One and two bedroomed houses and flats – one space, three bed units – would have a mix of one and two spaces (depending on their location) and four bed plus – two spaces.
• Ideally this figure would include garages that to be counted need to be at least three meters wide internally.
• This level of allocated spaces needs to have around twenty percent of unallocated spaces to take up the slack.
The research demonstrates what is already quite widely understood that over reliance on rear parking courts does not work well with actual user behaviour and that a variety of approaches to parking should be adopted in schemes to give more flexibility.
Space to Park (2013) is part of the AHRC funded Home Improvements Knowledge Exchange and has been developed jointly by Urbed, Design For Homes and the University of Edinburgh.
prize book: young – old, urban utopias of an aging society
The Urban Design Group (UDG) Book Prize for 2016 goes to a book that offers a celebratory framing of the third age; ‘a generation embarking on a new bodily experience’. I have been a judge for this award for the last five years a process that is as rewarding as it is elongated. Judging begins in late summer when two books arrive to be reviewed, then when all four judges have published reviews we circulate the books and debate a shortlist for the prize that is announced in Spring at the UDG annual award ceremony in London.
We chose Young – Old, Urban Utopias in an Aging Society by Deane Simpson (published by Lars Muller) as it stood out for its important subject matter, for its coherence and ambition and elegant and intelligent design. The book lays out an expansive and at times entertaining survey of purpose built retirement communities in North America, Europe and Japan since the 1950’s. It interrogates the particular qualities of these places in carefully designed drawings and photographs, developing a commentary and critique of a series of ‘active adult’ communities including nomadic RV communities in North America.
Young – Old reveals a way of thinking about neigbourhoods that is pleasantly liberated from usual norms. Simpson shows how retirement communities evidence new forms of urbanity that are emerging in relation to a new phase of life – forms that engage in utopian aspirations. Setting aside moral judgements as Venturi and Scott Brown did in their study Learning form Las Vegas (1972) he allows these new forms to be revealed and offered as more general prompt to innovation.
This is an abridged version of a review published in the Urban Design Group Journal, No 137, Winter 2016.
Young – Old, Urban Utopias in an Aging Society by Deane Simpson
published by Lars Muller, 2016: https://www.lars-mueller-publishers.com/young-old
playing out – space for children in residential masterplans
The 400 meter radius circle that connotes pedestrian accessibility gathers significance if you have a small baby in a pushchair and no access to a car or if you are walking small children to school. You start to appreciate the scale of a neighbourhood very vividly. If in your radius as well as a nursery and school there is a small shop and better still a café and maybe a park or somewhere to sit out then there will be room for parents and babies and small children to congregate. This is where communities which span decades start to take shape and designers should think of these spaces in sequence with one another.
As children become mobile then play spaces become a fixation, plays spaces and swimming pools (and later forests or woods). The scale of neighbourhood activity grows as children do. If your children are happily amused you know they are spending their time well then the chances are you’ll be amused too. A recent review of the evidence of the benefits of free play reported that playing has a wide range of benefits for children including; cognitive development, physical health and emotional wellbeing, social development and resilience. The availability of play space points to wider benefits for families also: ‘Parents associate playing in playgrounds with family well-being, and those who live near playgrounds and visit often report higher levels of family well-being’ (1).
From around five to ten years of age children want assert their independence and play out with friends somewhere near to their homes. For a few months the boundaries of home are stretched into the street and there are difficult decisions to be negotiated. It is helpful initially if there is space apart that is still near enough to be supervised. So designers need to consider how to provide a range of incidental play spaces as part of the landscape of any new neighbourhood, such as well functioning home zones and slivers or margins of spaces that can be safely purloined. The Playing Out campaign grew out of a resident led project in Bristol that aims to encourage and support street play across the UK and enable every child the freedom to; ‘play actively and independently in front of or near their own home’ (2). Playing Out is also supported by Play England.
20140625-DUD_4271
Footbridge to the Parish Field, Juliet Bidgood – Photo: Kevin Nicholson
On foot links to bigger and wilder spaces are important for children as they gain independence. By ten they may want to go further afield to play or go on an errand to the shops to experience the wider world for themselves. Even better a day out in the woods with backpacks. A study for Save the Children found that children enjoyed spaces that might not be considered by design teams: “The ‘wild’ areas, which included the fields, woods, ruins and the local bing (an old coal slag heap), were highly valued by the young people and were places where they went climbing trees, biking and to generally socialise and play” (3).
Finding opportunities for these three scales of activity for parents and children: of the street, the neighbourhood and connection to wild spaces beyond is a good test of a residential or mixed-use masterplan. It is another way of asking the Building for Life question two: “Does the development provide (or is it close to) community facilities, such as shops, schools, workplaces, parks, play areas, pubs or cafés?
1. The Play Return: A review of the wider impact of play initiatives, Tim Gill for the Children’s Play Policy Forum, 2014 – www.rethinkingchildhood.com
2. http://playingout.net/ – http://www.playengland.org.uk/our-work/projects/street-play.aspx
3. Outsiders, Children and Young People and Their Use of Public Space, Susan Elsley, 2004.
building for Life 12: Integrating into the neighbourhood
images-1Permeable new housing development promotes the establishment of sustainable movement patterns. In the revised and more focused national housing design standard; Building for Life 12 a significant improvement was the moving of the question “Does the scheme integrate with existing, roads, paths and surrounding development?” from the 14th to the 1st consideration for new housing development.
Achieving a design that meets this recommendation can be frustrating for developers as often the ability to make this happen rests with local authorities and existing communities. It is quite common for example for existing communities to resist the use of footpaths by new development so that the same route has to be (less well) duplicated. Frequently new developments are created as giant cul de sacs – internally well connected but detached from their surroundings and unlikely to encourage sustainable patters of movement. In effect adding traffic to existing networks that local communities will also have sought to resist.
That this lack of connectivity is something quite common to current patterns of development was borne out by the transport planner Phil Jones in his review for the Urban Design Group of how well the design principles of Manual for Streets 2 are being embedded in current practice – http://www.urbannous.org.uk/manual-for-streets.htm – His view is slowly especially at the macro or strategic scale of development. Creating good connectivity requires a clear strategic vision about the integration of new homes from the local authority so that stakeholders and neighboring landowners can be encouraged to work together to link developments.
http://www.builtforlifehomes.org/
Image – A Plethora of Poundburys, from Streets and Patterns by Stephen Marshall, Taylor and Francis, 2004.
who’s building housing with the kind of joie de vivre it deserves?
Who’s building housing with the kind of joie de vivre it deserves? Two custom build projects are being developed in Devon and Cornwall each developing different ways for buyers to influence the design of their home.
Localizing Custom Build, Trevenson Park, Pool, Cornwall, 54 custom build (part of 144 mixed tenure development), in progress completion in 2017
HTA have designed a masterplan for new housing surrounding the Heartlands Park in Pool, Cornwall. The Park is itself a new project a ‘cultural playground’ designed around former tin mining works it was awarded £22.3 million Big Lottery Living Landmarks Grant in 2007 and opened in 2012. The housing development will create a new residential community around the park linking it to adjacent residential areas. A ‘not the village green’ to be designed collaboratively with residents.
The developer Igloo have selected by competition six architect led ‘home manufacturers’ to design kit houses for the custom build part of the site. These collaborative teams include Mae with prefabrication specialists Riko; AOC with Cathedral Builders; Ash Sakula with Easebuild and FrameUK; Dwelle; HTA Design with Potton; or White Design with Modcell and Cadfan. Based on the Dutch example in Almere, Igloo intend to developed this model across the UK sourcing different home manufacturers in each location.
A slice of Eco Life, Bickleigh Custom Built Eco Village, Devon, 91 Self build plots, in progress.
This project is a joint venture between an experienced project manager and architect; Charles Everard and Bill Dunster. The site overlooks Dartmoor in Devon and is close to the village of Roborough. The 91 serviced plots are available for ‘kit homes’ provided by the developer or custom built homes where the ‘kit’ is adapted individually.
The homes will be insulated to give low heat loss at a U value of 0.15 W/m2k. This far better than current Building Regulations and is the equivalent of Code 6 ( the highest standard under the old Code for Sustainable Homes). The low energy fabric together with the integration of solar PV and a ‘heat hub’ drawing heat from a ‘solar loft’ for hot water will create a net zero energy home. To maximize solar energy generation the buildings are mainly set out along east/west facing terraces with roofs perpendicular to the face of the house or in short north/south facing terraces.
By advertising the project early on with a demonstration exhibition a ‘Slice of Eco Life’ in Plymouth City Centre the developer generated 300 expressions of interest in the project and and secured 30 reservation bids for the first phase of homes. The price of a three-bed eco-home is likely to be £185-195,000. Community building is also an important part of this development. One of the first buildings to be built is an agricultural shed that can be used for the assembly of the kit homes and when the development is built out can be used for social or economic functions.
building for Life 12 – still a useful benchmark?
Building for Life was re-launched in 2014, ten years after it was first devised. The national housing design standard has been simplified to make it more useful. It has been refocused as a place making or urban design standard concerned primarily with the bringing together of homes to make enduring residential neighbourhoods. The intention is that the design and construction of individual homes is to be covered by national space standards and Building Regulations. Good urban design and place making are so important because they have a long legacy. As the urban designer Sue Mc Glynn would say new street layouts last much longer than buildings defining places for 100’s and 1000’s of years. Everyone interested in creating truly sustainable places to live should be interested in good urban design and place making.
Building For Life is still the national standard because there is still an urgent need to drive improvement in our collective expectations for housing design. In the last decade national housing audits showed that up to thirty percent of all housing built shouldn’t have had planning permission and another thirty percent were just average. Building for Life can be used as a tool to actively test the quality of a design early on by assessing how it answers twelve key design questions. As a tool Building for Life 12 is designed to have ownership by communities, residents and developers. This shift in emphasis was used successfully in North West Leicestershire. In 2009 they adopted BFL as a standard in planning policy and made it into a place mark or quality award called Our Place. By persuading developers to use the standard themselves early in the design process and offering incentives to do well they were able to drive some really significant changes in overall quality.
Building for Life is set out in three sections covering three different scales of design; neighborhood, place and street and each containing four simple questions: Integrating into the Neighborhood – These are the neighbourhood scale questions these are about the give and take relationship between a new neighbourhood and existing settlements.
Creating a place – These questions focus on how the new place is being created and signals how new places are built up from a number of different components… sequences of buildings, types of streets, materials, form and the intelligent use of (and in addition to) existing qualities of place.
Street and Home – This last section is about the design of the street itself – about the careful integration of functions to create predominantly social spaces. It is a good idea to test a development early on. In fact it could often help the quality of development if local authorities did a strategic BfL assessment of sites before any designs come forward. There are far too many missed opportunities in connecting new development into existing streets and footpaths. If we really want to make sustainable places we have to get this right.
energy city ‘demonstratorium’ – Frederikhavn – Denmark
Frederikhavn is a coastal town with a population of 23,295 with a plan to become zero carbon by 2030. The town and district already used twenty percent renewable energy in 2006. The annual energy demand per person was around 0.025 MWh/p/yr and about thirty percent energy use is attributed to transport. “Energy City Frederikshavn has the main responsibility for creating growth in the field of “energy” by creating a ’demonstratorium’ for the testing of sustainable climate and energy technologies in the scale 1:1.”
It is proposed that the following technologies are to be used:
• Solar powered heating.
• Wind power.
• Waste heat from the wastewater treatment.
• Geothermal heating and storage.
• Bio gas for transport in the natural gas system.
• Methanol for other vehicles and electric cars.
• Bio diesel and bio gasoline.
The project is led by the local authority and has a secretariat a fund a steering committee and a set of working groups. It employs seven people and has an annual fund of about £330,000 per year.
One exemplar project was a new heat pump at the wastewater treatment plant in Frederikshavn that was connected to the collective district heating system. The heat pump uses cheap, surplus electricity from offshore windmills nearby Frederikshavn and heat from the sewage plant to supply heat for a district-heating network in Frederikshavn, corresponding to approx. 400 households. The heat pump is one of the first of its kind in Denmark.
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Born to shoot, raised to break the mold.
Did you know Chris is a second generation professional photographer? It’s in our blood baby!!!
After shooting from helicopters, in emergency rooms, at pow wows, and so much more, we have been exposed to nearly every environment and shooting condition you can think of.
Whether it’s a finely tuned studio portrait, commercial shoot or artistic photojournalism – lighting, composition and timing are critical for success.
Utilizing artistic flare such as reflections, contrast, symmetry, leading lines, multiple stories in one frame, and negative space are just some of the tools we use depending on our objective.
It’s hard to calculate exactly but we estimate we have taken MILLIONS of photos taken over the years, with hopefully millions more to come!
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The Guide: Artists of every age are nurtured at two arts centers
Wendi Winters
Contact Reporterwwinters@capgaznews.com
Anne Arundel County flourishes with performing and visual arts of every stripe and type, created by residents of every age. Years ago, two former high school buildings were given a renewed life and mission when they were repurposed as arts centers.
Within their brick walls are environments to inspire, instruct and nurture artists at every level, and also to share their talents with the community at large.
There are opportunities for sculpting in clay or metal, wood-working, painting, music, drama, dance, singing, photography, computer-generated imagery and so much more.
The second home for Annapolis High School since 1979, Maryland Hall for the Creative Arts has established itself as the center of the arts scene for the Annapolis area and South County.
It is home to the Annapolis Opera, Ballet Theatre of Maryland, Live Arts Maryland and its Annapolis Chorale, and the Annapolis Symphony Orchestra.
At any time of day, any day of the week, there is a class, a performance, a demonstration, a rehearsal or an artisan at work in one of the rooms of the building. A youngster, holding her toe shoes, is racing to a ballet class, passing a senior en route to a violin practice. A couple is stopping by the box office to purchase tickets to a rock concert by a Top 40 star, or a performance by an internationally renowned, overseas group hosted by World Artists Experiences. Or, there might be a cocktail or black tie event in progress to benefit a local artistic project or a cause. In a second floor classroom, a model is posing for a group of painters.
Within Maryland Hall are eight, sunny artists-in-residence studios, six dance studios, a pottery studio, a woodturning studio, and over a dozen more classrooms and studios utilized for a variety of artistic endeavors.
The Hall has several art-filled, well-lit galleries: the Chaney Gallery, the Martino Gallery, the Openshaw Balcony Gallery, an Alcove Gallery on the first floor, and spaces in the hallways for additional displays.
A real treat, Portside Framers has its custom framing business in Room 108 at Maryland Hall. It offers a 30 percent discount to Maryland Hall members.
Maryland Hall's artists-in-residence studios are offered to juried artists for terms of one or three years. For artists, young or older, the synergy of the building, overflowing with art and ideas, is like being inside a full sponge, soaking up inspiration.
Some of the artists-in-residence are mentors for underserved students in Maryland Hall's ArtReach Program, an after-school program for area youth. They instruct some of the ArtReach programs and welcome the kids into their studios.
Annually, these artists have the opportunity to stage a solo show in Martino Gallery. During the opening receptions for their exhibits, all the artists-in-residence open the doors to their studios, providing a visual feast of art and creating a networking or meet-and-greet opportunity between visitors and artists.
Outdoors, there are spaces to create a plein air painting or stroll meditatively along the spiraling path of the paver stone labyrinth.
Pick up a Maryland Hall catalog. It is hefty. Several hundred classes are offered each year in nearly every art form. There is something for everyone and every age.
Its theater, renovated a couple years ago, stages at least 50 shows annually. The four resident companies relish the enhanced acoustics of the theater since the renovation — and the audience loves the comfortable new seating.
Rams Head On Stage also uses the space for several shows each year for touring acts guaranteed to attract large audiences. The Annapolis Film Festival held its 2017 opening night at Maryland Hall — and the place was packed. Anticipating record crowds, a second theater was set up in a large space on a lower level. It, too, filled up.
•Maryland Hall, at 801 Chase St., is near the burgeoning Uptown Arts District on upper West Street and several restaurants, eateries and bars. The main office phone is 410-263-5544; the box office number is 410-280-5640. Visit the website at www.marylandhall.org or email info@mdhallarts.org for the latest information on shows, exhibits or class listings.
The Galleries are open from 10 a.m. to 5 p.m. Monday through Saturday.
Not far from the border line the county shares with the City of Baltimore, is the Chesapeake Arts Center. Once the former Brooklyn Park High School building, the spacious renovated site is shared with a North County Recreation Center, the Brooklyn Park Senior Activity Center, a police substation, and Brooklyn Park Middle School. The middle school is one of two Performing & Visual Arts magnet middle schools in Anne Arundel County.
On the east exterior wall of the CAC building are five colorful mural panels depicting occupations of past and current North County residents including agriculture, shipbuilding, aviation, education and performing and visual arts.
The Chesapeake Arts Center encompasses active classrooms and studio spaces, music rooms, scenery or set construction shops, dance studios and the Hal Gomer Gallery exhibit space.
Inside, the Hammonds Lane Theatre boasts seating for 752. There is also a black box theater, a more intimate space with 120 seats, called Studio 194.
A large area on the lower level has been renovated. Called MakerSpace, it will be open for classes, after-school activities and workshops in Fall 2017.
One spot is already in use: The ceramic studio is brimming with completed sculptures and pottery, and works-in-progress. The open room has two standard kilns and an enormous kiln that visually resembles a pizza oven. A tall, wide, metal shelving unit holds dozens of works that can be rolled, on a raised track, into this industrial kiln.
One MakerSpace classroom will hold a woodworking shop with new tools and machinery. Yet another will be lined with computers for hands-on instruction in graphic computer imagery programs.
Funding for these MakerSpace rooms was provided by the State of Maryland and in partnership with Anne Arundel County.
Two artists-in-residence are Stephen Bradley, a University of Maryland, Baltimore County, professor; and Joe Bitek, a ceramic artist who, for the past 13 years, has led the ceramic program. Chris Aldrich and Todd Olson teach courses on playwriting, storytelling and drama; Judy Jenkins instructs courses in fashion design and illustration, home design, and short crash courses in art; while Mari Travis and Noelle Tolbert are among the ballet, modern, jazz and hip-hop dance instructors. Those are just a small number of the instructors and a fraction of the over 150 courses offered each year in visual arts, fashion, ceramics, dance, music, theater, literature and more.
Situated in an area where 26 percent of the residents nearby live in poverty, CAC offers free and reduced price arts classes to qualifying residents of Glen Burnie, Severn and Brooklyn Park. CAC, especially, hopes to attract students for the after-school courses offered at reduced rates. Its mission is to provide a creative alternative to "just hanging out."
Toward that goal, CAC's FutureMakers program, founded by Baltimore resident Matt Barinholtz, was established to utilize STEAM — science, technology, engineering, art and math — to impact youth in a positive manner, touch and redirect their lives, and encourage them to do incredible things with their hands using the vast array of available arts programs.
With a motto of "Small Hands, Big Ideas, Real Tools, Expert Coaches," the program is spreading to other areas around the region including Northern Virginia, Washington D.C., and other Maryland counties.
Closer to home, the goal is to revitalize the community surrounding CAC.
•Chesapeake Arts Center, 194 Hammonds Lane, Brooklyn Park, is open 10 a.m. to 6 p.m. Monday through Friday, and 10 a.m. to 3 p.m. on Saturdays. For information, call 410-636-6597, visit www.chesapeakearts.org or email info@chesapeakearts.org. Its seasonal catalogs can be accessed online at the website.
Copyright © 2018, Capital Gazette, a Baltimore Sun Media Group publication | Privacy Policy
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At a Glance
Program units
Areas of Study
• Drawing and Painting
• Graphic Design
• New Genre Art Forms
*Base Cost (cost per unit x program units) is provided to aid in program comparison only.
Bachelor of Fine Arts
The Bachelor of Fine Arts (BFA) in Visual Art is the professional undergraduate degree that is highly desired by serious students intent on pursuing careers or advanced degrees in the visual arts, such as an MFA. The BFA in Visual Art gives art students flexibility in constructing a program that allows them to choose one of five concentrations that is best suited to their academic and career goals. All art majors (including those who wish to pursue the BFA) take the first 18 units of the core classes in art. Then they may apply to enter the BFA via a portfolio review process.
Students engaged in professional undergraduate degrees in art/design should:
1. Gain a basic understanding of the nature of professional work in their major field. Examples: organizational structures and working patterns; artistic, intellectual, economic, technological, and political contexts; and development potential.
2. Demonstrate advanced competencies with traditional materials, tools, and techniques.
3. Acquire the skills necessary to assist in the development and advancement of their careers, including the development of competencies in communication, presentation, and business skills necessary to engage in professional practice in their major field through critical judgment, writing, and speaking.
4. Develop teaching skills related to their major area of study.
5. Explore areas of individual interest related to art/design in general or to the major. Among the many possible examples: aesthetics, theory, specialized topics in art/design history, analysis, and technology.
6. Explore multidisciplinary issues that include art and design.
7. Practice synthesis of a broad range of art/design knowledge and skills, particularly through learning activities that involve minimum faculty guidance, where the emphasis is on evaluation at completion.
8. Display an understanding of various worldviews (including Christian) in relation to the visual arts.
Learn more about this major.
Note: This information is current for the 2015-16 academic year; however, all stated academic information is subject to change. Please refer to the current Academic Catalog for more information.
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Deborah Magdalena
Whether she's hosting a spoken word event, music festival, or playing the role of a santera or vixen, Deborah Magdalena makes every emotion super real. This performance artist has acquired impressive TV & Film credits for the past twenty years including Sesame Street (CTW), Apollo Comedy Hour (Tribune Entertainment), Safe Harbor (Warner Brothers), Striptease (Castle Rock), Holyman (Caravan), and For Love or Country (HBO). As a published spoken word artist Deborah has released three CDs, a chapbook, and the spoken word musical FUNKdalena. As an artist-activist she’s the founder of Spoken Soul Festival, a twelve year old, three-day festival that helps women artists go from novice to professionals. As an educator Deborah for the past eight years has led in-school presentations in numerous high schools for the National YoungArts Foundation, is the co-founder of Piano Slam, and led various workshops for local art organizations like Miami Light Project and Institute of Contemporary Art Miami. Most recently and for the seventh year in a row, she was invited by the Arsht Center and Ailey Arts & Education Foundation to serve as the Creative Communication instructor for Ailey Camp Miami.
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Percussion Family
In Glogpedia
by E2group1
Last updated 7 years ago
Make a copy Make a copy function allows users to modify and save other users' Glogs.
Arts & Music
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Percussion Family
Percussion Instruments
•The Angklung is a musical made of two bamboo tubes attached to a bamboo frame. The tubes are curved to have a reverberating pitch when struck.•The base of the frame is held in one hand while the other hand strikes the instrument.
The xylophone is a musical instrument in the percussion family that consists of wooden bars struck by mallets
Lion Drum
The size of a lion drum is very big, and is used for the Lion dance. There are normally 2 types, the northern Lion drum (normally in red) and southern lion drum (painted in black). It is a single-headed drum, and its large size helps to create a majestic, booming resonance upon striking of the drum head. The lion drum head is made of thick, durable goat skin, and its wooden body is normally decorated with intricate hand-drawn drawings
The triangle is an idiophone type of musical instrument in the percussion family. It is a bar of metal, usually steel but sometimes other metals like beryllium copper, bent into a triangle shape.
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Design Solutions
Solutions Home
Walton On The Park
Arconic Architectural Products
Rising in the midst of its elegant Beaux-Arts neighbors, Walton on the Park adds a distinctly modern flavor to Chicago's fashionable Gold Coast neighborhood. Commissioned by one of Chicago's leading residential developers, The Enterprise Companies, Walton on the Park exemplifies cutting-edge architecture tempered with respect for the landmark structures around it. The challenge issued to architects Pappageorge Haymes of Chicago, IL, was to create a mixed-use building and residential tower to house more than 400 ultra-spacious, luxurious residential units. Featured on the building’s exterior is Reynobond aluminum composite material from Alcoa Architectural Products.
The architects developed the footprint for the building in respect to four landmark structures on the site facing the city's historic Washington Square Park. Rather than build a towering skyscraper that would look out of place among its turn-of-the-century neighbors, the architects designed two towers of varied heights to reinforce the context and scale of the neighborhood. The south tower, completed in June 2010, is 31 stories tall and houses 198 residential units.
Shaffner Heaney of South Bend, IN, fabricated approximately 2,200 panels for the Walton on the Park project using 45,000 square feet of Reynobond® ACM, 4 mm, FR core, Bone White Colorweld® 300 finish for the columns and wall panels; 1,600-square-feet of Reynobond ACM, 4 mm, FR core, Platinum Colorweld 300 finish as a vertical column accent; and 3,000-square-feet of Reynobond ACM, 4 mm, FR core, Silver Custom 3-coat finish for small areas on the eastern elevation and the southern loading dock soffit.
More than 600 self-supporting column panels were fabricated with a recessed, 7-inch-wide accent of Platinum material built into the column assembly. Six different types of self-supporting panels were produced, some reaching areas of more than 90 square feet. Each column assembly was built using routed ACM stiffener plates connected by formed aluminum rails to create a frame for the finished materials. The Platinum accent was built into the frame, incorporating custom extrusions that accept several types of custom gaskets. Shaffner Heaney then wrapped ACM around the frame to achieve the required design. Even the simplest of these columns featured hundreds of data points to align all of the connections of materials for a plumb, true and square product.
The column panels hung directly on the wall with system depths ranging from as small as 5 inches to as large as 24 inches, eliminating the need for metal framing and providing a significant savings in cost and time. Shaffner Heaney fabricated two-piece custom hanging brackets to span the large system depths. These parts were notched to clear the recessed accent and slotted to allow for adjustment and ease of installation. The hanging system also incorporated a ship lap detail to effectively keep moisture out of each panel. Each column is designed as a removable, individual unit through the use of mounting pins that provide wind-load connections.
The downtown location meant that all deliveries had to be scheduled ahead of time to coordinate use of the loading dock and freight elevator. Each panel was crated individually for handling and protection, then crated together for transport. The panels were installed by lifts up to the sixth floor, then by swing stage for the rest of the project. Each panel had to be staged to the correct floor and room before being installed from the stage. The largest panel, which weighed more than 300 pounds, required a crew of six to install it. All American Exterior Solutions, Inc., of Lake Zurich, IL, and Hennessy Sheet Metal Inc., of Steger, IL, installed the panels in Shaffner Heaney's dry joint, rainscreen panel system. Bovis Lend Lease (US) Construction, Inc., of Chicago, IL, served as the general contractor for the project.
Photographs by Bob Perzel Photography
About Arconic Architectural Products
Arconic Architectural Products manufacturers metal composite material and single-skin metal claddings for use in both exterior and interior applications. For more information, visit arconic.com/.
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Update on things happening in Rotary and indigenous communities, including current events – Rotary luncheons with guest speakers, open community and cultural gatherings, etc.
Transform : let life be born and born again
Join us in supporting a nation-to-nation art exhibition
First Nations and Canadian painters
March 26 - April 4 2019
Arta Gallery, Distillery District Toronto
be transformed, together
We live in Ontario as a result of the historical treaties and agreements made with the original Nations of this land.
Living in Toronto, we continue to build coalitions and partnerships in our personal and professional work, through businesses, languages, arts, and cultures.
In this show, we come together to represent ourselves as individuals - but connected by a universal human theme.
That theme is transformation.
a salient national priority
Canada is committed to Reconciliation
We are in a new era of improved and renewed relationships, to redress the past
The Truth and Reconciliation Commission’s Calls to Action urges reconciliation
across all sectors, including public dialogue, the arts, and business partnerships.
giving back
In this spirit of partnerships, a percentage of our sponsorship proceeds will be donated to Rotary HIP – Honouring Indigenous Peoples, a Rotary sanctioned registered charity.
HIP was created by Rotarians from across Canada in partnership and consultation with Indigenous people. Their board is 50% Rotarians and 50% Indigenous partners.
HIP supports community and educational efforts, and encourages Canadians to be aware of indigenous perspectives and priorities.
For more information: www.rotaryhip.com
Join us as a sponsor!
Creative marketing on all our materials
Expanding your database
Aligning with national mandates
We’ve Got Options
exposure and affiliation:
Located in the booming Waterfront Community
Toronto Tourists spend over $7 billion
Distillery is a tourist hotspot, designated as a National Historic Site of Canada
Inspired by SoHo in New York City
Local population of ~3,000
Over 100 other local tenants
Standing Banner - 7 feet
Exhibition & Artists
Thank you to our sponsors
$1000 YOUR LOGO $2,000 YOUR LOGO
$1,000 YOUR LOGO
$500 $500 $500 $500
Partnership Testimonials
[We] came away with Evelisa’s art and her event inspired, strong, and excited to go out into the world and make a difference. -
Sandie Green, Senior Vice President, Head of Global Corporate Events & Sales Planning, IMAX Corporation
We are excited to hear from you!
Questions/comments/discussion: This email address is being protected from spambots. You need JavaScript enabled to view it.
ig: @evelisanatasha
Art installation seeks to reconcile through the creative process
Public screening and discussion called Envisioning a Future Toward Reconciliation at the Simcoe Street Theatre on Jan. 30
by: Jessica Owen
2019-01-14 ArtExhibit JO-001
Mayor Brian Saunderson and Coun. Kathy Jeffery take in the new art exhibit that will adorn the walls of council chambers until March 8, called Call to Action #83. Jessica Owen/CollingwoodToday
The Town of Collingwood unveiled a new reconciliation art project in council chambers on Monday night.
The project is titled Call to Action #83 after the Report of the Truth and Reconciliation Commission Action #83, which calls upon Indigenous and non-Indigenous artists to undertake collaborative projects and produce works that contribute to the reconciliation process. The project is a collaboration between the Town of Collingwood and the Wawasayguming Arts and Culture Board, and will be on display until March 8.
Project Curator Mary Louise Meiers brought together eight Indigenous artists and eight non-Indigenous artists (including local artist Peter Adams) in a quest for truth and reconciliation through sharing, learning, and collaboration.
“Artists chose the order in which to make their artwork, alternating non-indigenous with indigenous,” explained Meiers in a video shown to council. “The first artist who was non-Indigenous, had two weeks to create his piece and then handed it to the first Indigenous artist and with it, shared his creative process. The next artist responded to the piece and in two weeks brought her artwork to the third artist, telling about her process. This continued with each artist being inspired by the previous artist in the quest for a shared vision.”
The result is a linked series of artworks that reflect past experiences while envisioning a future toward reconciliation.
The public is invited to view the panels during council and committee meetings, or Thursdays in January and February between 11 a.m. and 1 p.m., or by contacting This email address is being protected from spambots. You need JavaScript enabled to view it. .
The public is also invited to a presentation and discussion called Envisioning a Future Toward Reconciliation, at which Meiers will talk about the project along with some of the artists and presiding elders. The presentation will be followed by a screening of Gathering Circle and open discussion and will be held on Jan. 30, from 7 p.m. to 8:30 p.m. at the Simcoe Street Theatre. The event is free to attend, but guests are asked to reserve seats.
For more information or to reserve seating, click here.]
Story of Collingwood's Awen Gathering Circle inspires documentary
The documentary will premier at the town's Envisioning a Future toward Reconciliation event on Jan. 30.
by: Erika Engel
The title screen from a documentary produced by Mountain Goat Film Company and the Town of Collingwood on the Awen Gathering Circle, which will premier on Jan. 30.
What began as a short how-it’s-made video on the construction of Collingwood’s Awen Gathering Circle, became a documentary about collaboration along the path to reconciliation.
Tom Strnad, one of the filmmakers on the project said the film became more than a behind-the-scenes look at the design and construction of a structure as soon as he began interviews with those involved. Initially, the town wanted a short video showing how the gathering circle was made. As the filmmakers dove into how it was made, both Strnad and the town began to see the story went deeper than laser-cut steel and cleaning up an old landfill.
The Gathering Circle was created with the direct involvement of indigenous architects, and the idea was inspired by a concept Dr. Duke Redbird came up with – to pair seven Ojibwe grandfather teachings with the seven layers of a food forest.
Tom and Tracy Strnad of Mountain Goat Film Company Inc. co-produced the short film, called Gathering Circle, with the Town of Collingwood.
“The amount of Indigenous spaces designed by Indigenous architects is really limited,” said Strnad. “So that’s really unique.”
The ten-minute film includes interviews with Cal Brook of Brook McIlroy and Ryan Gorrie, one of the Indigenous architects on the design team.
“The story behind this is perhaps more important than the thing itself,” said Gorrie in the film.
For Strnad, Gorrie’s observation rang true.
“Seeing it come from basically a pile of what used to be a landfill there … Witnessing the opening ceremonies and learning the stories, the spiritual journey of it, and the journey the film took as well, it really comes together in its own way,” said Strnad. “There’s something special [about the gathering circle]. I think it really brings everyone together. I think it’s a really important step in the truth and reconciliation process.”
In fact, the film is part of the agenda for a town event called Envisioning a Future toward Reconciliation on Jan. 30. The presentation and discussion, which takes place from 7 p.m. to 8:30 p.m. at Simcoe Street Theatre will include a screening of the documentary, a presentation by Mary Louise Meiers on the Call to Action #83, a reconciliation art project that has combined indigenous and non-indigenous artists brought together to reflect past experiences and envision a future toward reconciliation through their artwork.
Some of the artwork from this project is currently on display at town hall.
Meiers’ presentation will include some of the artists and presiding elders. The evening will conclude with an open discussion.
Tickets to the event are free, but the town is asking guests to reserve a spot online here, or by emailing the Arts and Culture department here. This email address is being protected from spambots. You need JavaScript enabled to view it. .
Strnad said he is currently working with the town to get the film into various film festivals around the world.
UPDATE | The 176 Million Dollar Question: Are the Promised Federal Education Funds for First Nations Actually Flowing?
UPDATE | The 176 Million Dollar Question: Are the Promised Federal Education Funds for First Nations Actually Flowing?
Posted December 4, 2018
UPDATE | The 176 Million Dollar Question: Are the Promised Federal Education Funds for First Nations Actually Flowing?2018-12-042018-12-20https://yellowheadinstitute.org/wp-content/uploads/2018/09/yi-header-logo.pngYellowhead Institutehttps://yellowheadinstitute.org/wp-content/uploads/2018/05/yellowhead-institute-final-select-stan-williams-13-of-29-e1528746998471.jpg200px200px
There is new data available for the education funding Brief published last month. That Brief (below) utilizes figures from the Public Accounts of Canada. Public Accounts data comprises the sum of total expenditures in elementary and secondary education, and post-secondary education.
Since its publication, the Department of Indigenous Services Canada contacted Yellowhead with an answer to the question: why the funding disparity? They provided specific information with respect to expenditures in First Nations elementary and secondary education.
In the 2015-16 fiscal year, the Department spent $1.464.7B1 on Elementary and Secondary education out of a total education expenditure of $1.805.1B2 spent on First Nations education. Post-secondary education comprises the balance of expenditures ($340.4m).
There is a five-year commitment to add $2.6 billion3 to the 2015-16 total for Elementary and Secondary education. The Department clarified that new funds added each year do not create a new baseline. In other words, they are program expenditures over and above the funding which has historically been provided. The Department provided a graph to illustrate this point. The promise of $287.54million in Year 1, 2016-17, is shown as being added to the 2015-16 baseline, but it does not change the baseline for Year 2 (2017-18).
https://yellowheadinstitute.org/wp-content/uploads/2018/12/image001-300x198.jpg 300w" sizes="(max-width: 624px) 100vw, 624px">
The historic funding amount which serves as the baseline has been widely acknowledged as being inadequate to meet the needs of First Nations education, particularly First Nations schools, and has been subject to a two per-cent cap on annual increases for over two decades. The graph provided by the Department shows that the historic funding amount, represented by the blue line, gradually increases annually.
The chart provided by the Department suggests that the federal government has provided its Year 2 commitment of $382.9 million, and kept its promises for the first two years of its five-year commitment to First Nations Elementary and Secondary education. There is no additional information publicly available to confirm this information, but if it is the case, then it is a positive development, particularly for First Nations schools. This leaves a total of approximately $1.930 billion in additional funding out of the original $2.6 billion commitment remains to be allocated in 2018-19, 2019-20, and 2020-21.
In the meantime, there are ongoing deliberations between representatives of national and regional First Nations organizations, and the federal government, to develop new and modernized funding approaches, nationally, and regionally, to replace the inadequate and outdated funding model which has been in place for decades. Although it is a difficult task, it is critical that this work achieve success; current and future generations of First Nations students are depending on it.
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関岡木版画
Hokusai South Wind, Clear Sky (Red Fuji) Woodblock Print
Hokusai South Wind, Clear Sky (Red Fuji) Woodblock Print
Regular price ¥15,000 JPY
Regular price Sale price ¥15,000 JPY
Sale Sold out
Shipping calculated at checkout.
• Hand-printed using hand-carved woodblocks and handmade Japanese kōzo washi paper in Japan.
South Wind, Clear Sky (also known as Red Fuji) is one of the most iconic and bold illustrations produced by the famed Japanese artist Katsushika Hokusai (1760-1849). The masterpiece beautifully depicts Mt. Fuji illuminated in orange-red tones by a rising or setting sun, the blue sky and mackerel clouds implying a windy day.
At the time it would have been a bold decision to only use three colors; the resulting simplicity of Hokusai’s colour scheme was met with high acclaim. The print features three color bokashi gradations (in the blue sky, at the mountain top, and in the green forest); the successful execution of bokashi is extremely challenging for woodblock printers and requires great skill.
Size: Height: 270mm / Width: 397mm. Please note that all prints are cut by hand, meaning that prints may have a 1mm/2mm sizing difference.
Thirty-Six Views of Mt. Fuji
Hokusai South Wind, Clear Sky is a scene from Hokusai's iconic Thirty-Six Views of Mt. Fuji series which depicts Mt. Fuji from different perspectives, in different seasons, and together with various famous landmarks. The series gives insights into architecture and the everyday lives of the Japanese people in the Edo Period, including traditional attire and daily activities. Although the series is titled The Thirty-Six Views of Mt. Fuji, Hokusai eventually created a total of 46 prints for the series. Sekioka Woodblock Printing Studio has hand-carved and reprinted 3 of the 46 prints. All three of these “Sekioka Edition” prints are available in the Kesapasa Shop.
The Process of Creating a Woodblock Print
Artists, woodblock carvers, and woodblock printers work closely together at Sekioka Woodblock Printing Studio. For example, after a printer receives a private order for a set of senshafuda (small prints to attach to shrines featuring the customer’s name (now more commonly used as business cards)), the printer will either approach an artist or create the design himself/herself based on the client’s design requirements. After approval, the printer provides the carver with the complete design, color designation, and outlines for the senshafuda.
The carver then cuts the outlines for the design into cherry wood, using both sides of each woodblock (one woodblock ‘face’ must be carved for each colour used). Once the woodblocks are carved, the printer can start printing the design on washi paper. The pigment applied to each woodblock is pressed onto the paper with a baren, a round flat printing tool made of bamboo.
The production of a woodblock print through this method can only succeed with a streamlined process and good teamwork. The Arakawa Artisan Training Project facilitates this process by introducing students to each other and having them complete the same training. The carvers and printers at Sekioka Woodblock Printing Studio completed their training around the same time, and one of the program’s teachers is also a printer and artist for the Sekioka Studio.
Workflow in the Edo Period
In the Edo period, a publisher would commission an artist to produce paintings and choose colours for prints to be made. Some artists, like Hokusai, were known for only drawing outlines in black pigment, informing the publisher about colour designations only in notes.
The publisher would then commission a woodblock carver to carve the painting in woodblocks usually made from Sakura (cherry wood). Each pigment used required a respective woodblock to be carved, so for economic reasons, both sides of a woodblock were carved. A painting consisting of ten pigments, for example, would have typically required five carved woodblocks.
Finally, a printer was commissioned by the publisher to print the illustration using pigments and the carved woodblocks. The first batch of prints usually consisted of 200 sheets, to test the waters. Based on demand, the publisher could then commission the printer to produce an extra 100, 200, or even 1000 prints. The publisher would usually provide the printer with the paper (handmade washi) required.
The publisher became the sole owner of the printing rights but could sell these rights if desired. Rights to an illustration expire in Japan seventy years after the artist’s death, as is evident from the prolific use of ukiyo-e illustrations in merchandise today.
After Japan opened its borders to international trade in 1853, new printing technologies entered the country and the demand for woodblock prints slowly decreased. As a result, Japanese publishers focused on new genres and formats like manga, magazines, and books printed with movable type. The number of woodblock craftspeople also slowly decreased, as they were no longer able to make a living. Luckily, there was still a small group of dedicated woodblock craftspeople who cherished the craft of woodblock printing and passed the skills on to new generations. Programs such as the recent Arakawa Artisan Training Project (Tokyo) help keep these crafts alive and strengthen the small but strong crafts community in Japan.
Arakawa Artisan Training Project
Programs such as the recent Arakawa Artisan Training Project (Tokyo) assist new students in learning woodblock printing crafts by supporting them and connecting them with existing Arakawa craftspeople. Tokyo’s Arakawa Ward prides itself on its rich crafts history and is committed to keeping such crafts alive with its range of training programs and events/exhibitions. Members of Kesapasa’s Sekioka Woodblock Printing Studio, Katayama Noren Dyeing Studio, and the Edo-Moji craftsperson Mekaru-san all completed their artisan training in Arakawa.
We are proud to state that Kesapasa is run by craftspeople for craftspeople. We have a deep understanding of the process of becoming a craftsperson in Japan and know what it takes to master a traditional craft. The system by which craftspeople are trained in Japan is known for requiring perseverance, patience, and mastery from its participants. It takes many years of training for an apprentice to master a skill and finally be able to call themself a craftsperson. We pride ourselves on our work and hope that our customers will share our love of traditional Japanese crafts.
Shipping and Returns
Kesapasa offers two worldwide shipping options: standard and express shipping.
Worldwide standard shipping starts at 2000 Japanese Yen (€12,95 or $14) for all orders under 1kg and takes around 7 working days to arrive. Including an order process time of 2 to 3 days, you should receive your order in 10 business days.
Worldwide express shipping starts at 4000 Japanese Yen (€26 or $28) for all orders under 1kg and takes around 2 to 3 working days to arrive. Including an order process time of 2 to 3 days, you should receive your order in 5 to 6 business days.
Japan domestic shipping has a fixed price of 1000 Japanese Yen (€6,5 or $7) for all shipments to Japanese addresses and takes one business day to arrive after the day we ship your order. Including an order process time of 2 to 3 days, you will receive your order in 3 to 4 business days.
We have a 7-day return policy, which means customers can request a return up to 7 days after the arrival of an item.
Returns will be accepted if or when expectations have not been met or the purchasing customer is not satisfied with the product.
To be eligible for a return, the item in question must be in the same condition in which it was received, unworn or unused, with tags, and in its original packaging. Receipt or proof of purchase will also be required. Please note that customers are responsible for return shipping costs as well as any duties on all returned items.
Before returning an item, please contact us at kesapasashop@gmail.com.
When a return is accepted, instructions on how and where to send the return package will be sent by email. Items sent back to Kesapasa without notice (i.e. without an email requesting a return) will not be accepted.
View full details
Artisan's profile
Kesapasa’s mission is to present with full transparency the artisans/craftspeople who made products for the Kesapasa site and the processes behind the creation of these products. This woodblock print was hand-printed by Nobuto. Please click below to learn more about his journey.
Sekioka Mokuhan
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School Buildings
This print took a long time to design. I had to take lots of pictures of the school buildings and picked the ones that had just the right angle. Then painted then with watercolor and illustrated them. I am thrilled that they are finally done and turned out really bright and cheerful. If you missed the Holiday Market sale at the school, no problem I am still giving the school a percentage of all products purchased with this print, so it's never too late. I am delighted to share with you the many products with this “School Buildings” Print, enjoy!🐻
18 products
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Reverse Ravel, Michael Holcomb Artist
Artwork appears at BASIS Chandler
Michael Holcomb lives and works in Tucson Arizona. His art is displayed in the lobby of every school managed by BASIS.ed.
I became aware of the profound relationship of art and technology in the 1960’s, in the middle of the blossoming of the “technosphere” that followed World War Two. This included television, the integrated circuit, computers, lasers, robotics and the Internet, all of which have continued to shape and define our world. Some of my earliest work with arts technology had connections to the Experiments in Art and Technology (E.A.T.) initiatives, Ant Farm and the Artists Television Workshop.
Even though I’d been successful as a young painter, I put that behind me and worked for several years as an artist, designer and animator in television and video art where electronic imaging technology was most advanced and where digital tools were first accessible to me. By the late ’70’s, small, cheap desktop computers had become available and WYSIWYG interfaces soon followed. Suddenly there were computers everywhere and I was able to take my work to a university setting where research in new methods and forms is the expectation.
The university world has provided many opportunities, allowing me to work in teams with engineers and programmers on large complex interactive “new media” projects and to continue making images with increasingly sophisticated tools. I’m currently Assistant Dean for Technology in the Arts at the University of Arizona and Director of Treistman Center for New Media in the College of Fine Arts.
I’ve been fortunate to have my work exhibited and published around the world and to see this kind of work accepted as part of the larger and more historical understanding of “Art”. I’ve never been more intrigued by or committed to my work than I am today.
My work with art/technology is well represented in these defining ideas:
“As an artist, my primary challenges and processes are concerned with ‘discovery’. Discovering the formal, rhythmic, spatial, and chromatic relationships that result in a finished piece is an unpredictable, humbling, and often surprising experience. The images I create are records of those richly complex discoveries. As in life, patience, courage, openness to change, to exploration and the confidence to embrace meaningful options when they emerge, can affirm, sustain, and renew.” Michael Holcomb
“TECHNÉ is an epistemological term that Aristotle used to refer to the third form of knowledge in his classification of sciences. Now, commonly understood as mere skill belonging to craft, Techné has lost its original meaning which integrated beauty, art, expertise, technical knowledge, skill and industry: In Aristotle’s time, artistic creativity and technology were not divided.” Victor Burgin
“‘Poetic Logic’ is the sensuous apprehension of what we do not yet understand in the
presence of reality.” Frederick Sommer
“‘Phase’ is a concept that helps us see the variable synchronicity of art and technology. Bach imagined music beyond what his instruments could play. Now we have instruments that can play beyond what can be imagined.” Gene Youngblood
“Nothing is positive about art except that it is a word.” Willem de Kooning
The confluence of technology, art and culture has been my central interest since the 1960’s. I am a humanist with much curiosity; interested in getting these very sophisticated computational tools to produce images they weren’t always intended to produce. I respond to the sensual surprises that result from setting up a number of formal and mathematical circumstances and revealing what was, heretofore, unknown. Then, like any other artist, it’s what I do with these discoveries that makes the work.
The forms are developed with 3-dimensional vertex modeling software and original algorithms. They are edited for characteristics of color, transparency and texture. I compose them in a controlled and lighted virtual environment and they are captured in a high-resolution digital image. The images are printed with large inkjet (Giglee) printers using archival ink and papers.
Some of my recent works are influenced by the 19th century German biologist Ernst Haekel’s great book, Art Forms in Nature. I’m also greatly influenced by the early 20th century abstractionists whose translation of the spiritual into the sensory often found pure form as a subliminal equivalent, the result of what some referred to as clairvoyant observation.
Dr. Q Mark Reford
Chief Business Development and Brand Officer at BASIS Educational Ventures
Dr. Q. Mark Reford is an international educator with 25 years of experience in the United States, United Kingdom, and Russia. He has educated students from the early childhood years through university graduate levels, and is currently the Chief Business Development and Brand Officer of BASIS Educational Ventures.
Dr. Q Mark Reford
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f6a96a1b-d761-4e26-b27c-5f06f274c84c
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Home Design
What do you need: A landscape architect or a landscape designer?
If you have bought a house that is in need of a little bit of renovation, you should reach out to a professional to help you. No matter if you are sprucing up the swimming pool or breathe new life into the patio, seek professional advice. Hiring a landscaper is the first thing that comes to mind. The question now is: Do you need a landscape architect or a landscape designer? The scope of the project will determine whether you need to hire a landscape architect or a landscape designer. Keep on reading to find out what the difference is between the two.
Landscape architect
A landskapsarkitekt is someone who creates beautiful outdoor spaces. They focus on important aspects such as site planning, landscape design, and project management and implementation. A landscape architect can handle residential projects, as well as commercial, industrial, and institutional projects. A solid education is required, which is centered around respect for historical landscapes and cultural resources. A licensed, registered landscape architect can design construction plans for complex undertakings. Examples include grading, drainage, retaining walls, and paving. You should hire landskapsarkitekttjenester if you are not sure how to maximize the potential of the outdoor space.
Landscape designer
A landscape designer can provide the blueprint for your yard, indicating where each plant and features should be placed. Generally speaking, a professional of this kind has a degree in ecology, environmental design, or horticulture. The training is similar to that of a person with expertise in landskapsarkitektur, but the landscape designer does not have experience with hardscape. You cannot count on them for electrical work or wall building. Spring is the landscaping season, yet some projects can be carried out throughout the entire year. Do not waste any more time and set up a consultation. An experienced professional will be able to show you beautiful pictures of their previous work.
If you are not quite sure what you want to do, it is advisable to start with a landscape architect. Define your project ahead of time and interview potential candidates. Look for relevant work experience and ask whether the services are charged at an hourly rate. You may have to pay a lump sum of money when the project commences. It is highly recommended to follow up on references to obtain independent information about the candidate’s previous performance. If things were handled in a professional manner, or not, you will know and avoid headaches.
Feel free to ask any questions you like. You need to find the best match for your needs. Asking the right questions upfront will help you save a great deal of time and money. Make sure the landscape architect carries insurance because there is no way of knowing what could happen on your property. Most importantly, be very clear about what you want. Do not hire someone that has a hard time understanding what the job entails. If your visions do not match, you will not be happy with the result.
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Shadowy Chair and Sunny Lounger
Posted inID Mag
August 21 is a significant date for Shadowy Chair, Tord Boontje’s colorful new outdoor seat for Moroso. Not because that’s when the product launched (the introduction happened back in April during the Milan Furniture Fair, alongside its sister piece, Sunny Lounger) but because the date helped to determine Shadowy’s scrolled armchair–meets-exotic-insect profile.
“I wanted to do something for lying in the sun, but I also love reading outside, so I wanted to be able to sit in the shadows,” Boontje explains. Made from nylon cord woven onto a steel frame, Shadowy’s backrest curves forward to provide a canopy. To optimize the amount of shadow cast, Boontje instructed his computer’s 3-D modeling program to illustrate how the shade would behave at midday in Miami on August 21, the date when the sun is at its highest in the northern hemisphere. Why Miami? Because it’s a seaside city that the Dutch-born Boontje, who lives in rural France, is fond of. And Miami, with its glossy hotels and apartments, presumably sports plenty of potential clients. Besides, the designer reasons, “If it works in the midday sun there, it should work anywhere.”
Glamorous Miami turns out to be something of a red herring, however. Both Shadowy and Sunny (plus a forthcoming matching dining chair and footstool) are fair-trade products, hand-built and hand-woven in Senegal using existing materials and techniques. According to Boontje, Moroso’s creative director Patrizia Moroso had long admired his studio’s collaboration with the U.S. company Artecnica, which enabled the TranSglass series he designed with Emma Woffenden to be successfully reproduced by artisans in Guatemala. “Patrizia’s husband, Salam, is from Senegal, and in January they came to me with this proposal,” says Boontje, who visited the West African country himself shortly after the launch (the final prototypes having arrived in Milan on Alitalia a day before the show).
The finished pieces are being made in an independent furniture workshop in Senegal’s capital, Dakar, where Moroso guarantees the rapidly expanding workforce a decent wage. Rather than introducing expensive new equipment, Boontje stuck to what the workers could do using simple wood formers and steel tubing coupled with an existing palette of vibrantly colored fishing-net plastic. He then chose patterns inspired by traditional West African weaving. “It’s very important that the artisans can relate to the product they’re making,” Boontje says. The main technical change was to lacquer the welded joints with an epoxy paint to prevent rust.
Shadowy’s dramatic back (the seat is more than 5 feet tall) is part flamboyance, part practicality: “You don’t want to hit your head every time you stand up,” Boontje says. But inspiration for the scrolled profile of both pieces came from watching the weaving in action and noticing how increasing the tension on the threads could cause a flat surface to distort. It reminded Boontje of the double curves in a Naum Gabo sculpture, proving that a little creative globalization can be a very good thing; $2,340 (Sunny), $2,722 (Shadowy).
Related items: Embody by Herman Miller Cordially Invited by Fabrica MicroFueler by EFuel
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How To Photograph New Year’s Eve Fireworks!
Going to ring in 2017 with a bang and want to photograph the awesome New Year’s firework display? Here’s how!
If you are in a colder climate, staying warm is very important. So dress appropriately for the weather. You will want gloves that flip so your fingers have access to the camera controls.
Make sure your batteries are fully charged, bring an extra one and keep it in your pocket to stay warm.
#1 most important step! USE A TRIPOD!
I can’t stress that enough. If you don’t have a tripod, find something you can steady the camera on, or you will not get any sharp images.
Choose a good vantage point to take photographs from is also important. Try to find an area that has as little ambient light as possible (street lights, businesses, etc) so you don’t get light leaking into the lens.
In Saint John, there are a few options. I’m going to assume they are launching from market square, but it might also be from long wharf. If you want to get the Harbour Bridge in the frame, go by the Harbour Passage interpretation centre/gazebo thing near the base of Bentley Street and Chesley Drive. However, I’ve found this from vantage point, the Bridge does cut through the fireworks depending on how high in the sky they are. If you want just the fireworks with the boardwalk in them, head to under the harbour bridge at HMCS Brunswicker. From atop Fort Howe, you will get good shots of the fireworks with the west side of the port in there. Another high vantage point that would get the boardwalk would be atop Martello Tower on the West Side.
For those in Fredericton, you have two options. Down by the lighthouse, you get a nice angle where you can get the Westmoreland Street Bridge in the background(as below), or you can go across to the North Side and get the Downtown in the background!
-most of your shots will be with your 18-55/18-70mm lenses, more likely at 55mm or 70mm. That way you can zoom in a bit on the fireworks. You can use your 70-300 if you want to zoom in on the bursts or try some creative techniques!
I hope you find these tips useful! If so, it would be awesome if you would check out my LearnPhoto365 Photography Assignment Generator Apps on the app store and the Google Play store, a unique photography app that's meant to inspire you to take great photos!
Perfect for anyone taking part in a Photo 365 challenge, there are over a hundred individual assignments and hundreds of thousands of potential random ones. Versions available for iPhone/iPod and iPad, including free versions so you can try them out! Full details, including reviews and tour videos of the apps can be found at www.learnphoto.ca/apps Even if you only download the free version that would help get it up the app store lists!
-for ISO, you can use 100 as the fireworks are very bright, up to 400 if you like. If you are using a point and shoot style camera, not an SLR, i would recommend the lowest ISO possible(50-100)
-for WHITE BALANCE, try DAYLIGHT(SUN icon) if you want a warmer tone, or use INCANDESCENT/TUNGSTEN(little bulb icon) to get truer colours. FLOURESCENT BALANCE(long glowing tube) gives a bit in between. See example image below with the various whitebalances. If you shoot in RAW, you can always change this later.
-use manual focus. as the camera won’t be able to lock the focus on the fireworks. Let one firework go up and focus on that, then don’t change your focus. If you don’t have a manual focus, lock the autofocus on the buildings in the background.
-Use manual shooting mode(M), as the more automatic modes won’t be able to get the exposure right.
-for exposure, start by setting your aperture/F-Stop to F16 if using ISO 400, F11 for ISO 100. (if you are using a point and shoot camera, you may not be able to go to F11, go to F8) If the fireworks are too bright, select a higher aperture number to darken things down.
-for shutter speed, it all depends on how many bursts you want to capture. Choose a speed between 1-2 seconds to record a single burst, up to thirty seconds for multiple bursts. Also, the longer the shutter speed, the more ambient exposure will be recorded, so if you want the cityscape or crowd, longer speeds will do it.
5 seconds recorded two bursts
5 seconds recorded two bursts
30 Seconds recorded some of the crowd along with the bridge, and the fireworks.
30 Seconds recorded some of the crowd along with the bridge, and the fireworks.
However, using a shutter speed over thirty seconds usually results in too much ambient light from the city scape or surroundings recorded. It can also being to record smoke or haze in the sky from the fireworks.
Over thirty seconds began to record the haze in the sky and wash out the fireworks.
-Use your remote control or cable release! This will help prevent camera shake that can happen even when you are on the tripod, and when your hands are shaking because it most likely will be cold where you are at.
Once you’ve gotten a few good shots, you could try throwing on your telephoto zoom and try doing some shots where you zoom the lens during the exposure (below) or jiggling and rotating the camera.
And if you are going to be heading out to some parties, check out my post on getting great photos at those too!
If you have any questions, send me an email.
Hope you have a great start to 2017!
Noel Chenier
Photographer and teacher
Connect with Noel on INSTAGRAM or TWITTER or via EMAIL
Photography Assignment Generator Apps now available on the app store!
Noel’s Portfolio
Work Done by My Students!
More Photo Tips
1 Comment
Add your comment
1. Wonderful photos! Thanks for sharing this great post of instructions, can't wait to give this a try…enjoy your day!
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Frog in Hand explores Film Noir at the National Ballet
Hello again, and welcome to another Blog with me, Maya, the FH intern!
This month I’m back to introduce you to Frog in Hand’s newest production: “NOIR” - a contemporary dance work exploring the Film Noir genre. We're really early in the process, but you can check out some behind the scenes highlights from rehearsal below.
Research for this brilliant new show began partway through March, at the National Ballet of Canada’s Open Space Program. The Open Space program is amazing and welcomed a number of different dance groups to use the National's state-of-the-art studios for one or two weeks - so we were surrounded by colleagues researching, rehearsing and working. I had the incredible opportunity to join Frog in Hand's process, dancing beside Ryan Lee, Sully Malaeb Prolux, Evan Webb, Kelly Shaw, Abby Silvera and Clarke Blair - all wonderful, intelligent artists and storytellers. Together we researched, planned, imagined, choreographed, investigated, discussed, reimagined, tore apart, and pieced together the beginning of this work, finding meaning in the movement, and movement from the meaning. We explored what it means to exist as, and embody, a Film Noir character, embracing their stoic poise while finding the raw humanity underneath. Began with recurring archetypes and began to make them our own; characters like the dead woman, the detective, the cop, the sidekick, the femme fatale. We explored how gender identity can enhance and transform these characters, and their narratives.
Thank you to FH’s co-founder and artistic director Colleen Snell for giving me this opportunity to learn and grow within such an artistic, caring, supportive, and professional environment. Throughout this research period, I have gained a better understanding of how to create stories and build worlds, and how to use one’s mind and body in an intelligent and open way. Frog in Hand is so excited to present “Noir” in Mississauga throughout July.
The 2023 Summer Company will be involved in this production, and applications just opened - so apply, apply, APPLY! You can submit your resume to be considered for a few different roles, including dancer, stage production worker, or assistant costume designer. It's right here on our website. These positions are for artists under the age of 30. Over 30? Well there's ALSO a job posting for Art Activation Coordinator with the Art Shelter - read more and apply right here. You have until April 3rd to submit your application for all of these roles, and this is an incredible opportunity you DON’T want to miss!
Thank you for reading my March blog!! Come back next month for the final edition and find out more about my time overall with Frog in Hand.
Shout out to our friends at the TranscenDance Project who are going into shows March 31st through to April 9th, 2023. You can check out their exciting immersive show, A Grimm Night, at the Great Hall in Toronto. Tickets are on sale now through this page on Eventbrite.
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Cushion controls by Droog Design
[gallery] I love these playful and simple cushion controls created by Didier Hilhorst and Nicholas Zambetti at Droog Design a few years ago. The project consists of different cushions each with its own function: one for the channels, one for the power, one for the volume and so on. The project aims to transform the fights over “who has the remote” into playful cushion fights. Like most of Droog's work, the project is conceptually strong as they change our perspective on the core interaction by re-imagining it and turning it into play.
Continue reading on didierandnicholas.com and droog.com. Images from didierandnicholas.com.
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When should I bracket my shots?
Bracketing, as you probably know, refers to shooting the same image a few times at different apertures or shutter speeds. Bracket when you can’t tell in advance which exposure setting is absolutely the best.
For example, you may have difficulty predicting the best aperture to use at sunset to best reproduce the bright crimson sky. Your meter indicates an aperture of around f/11. Try bracketing by shooting at f/11, and then shooting the same image a half-stop more open and a half-stop more closed. You may decide to take additional bracketing shots – some even more open and some even more closed.
Or you want to use a slow shutter speed to give the “angel-hair” look to a waterfall. But what shutter speed is best – 1/30…1/15…1/8…or even slower? Since you usually can’t tell in advance, shoot at all three speeds – and more if you can – and select the best image you get back.
Or you may want to shoot a skiing scene in which the snow is reproduced as pure white. If the exposure is even a hair off, the snow will have an off-color tint: it may seem grayish or bluish or some other color. Again, bracket your exposures and pick the processed result in which you get the whitest snow.Bracketing
Obviously, bracketing is most effective when you use it for a static object like a landscape because you want to get more-or- less the same image in each frame even though the shots are taken a few moments apart. You can’t bracket a wide receiver making a spectacular catch, or one car crashing into another.
What about bracketing with an automated camera or point-and-shoot that doesn’t give you the control of aperture or shutter speed? Sometimes you can “fool” the camera into bracketing. For example, you may be able to bracket by changing “mode” – for example, by shooting once in “Portrait mode” and then again in “Sports mode.” Or you may be able to shoot once without “Backlight Compensation” and once with it. In each case, you will be varying the aperture or shutter speed or both.
Vishaal Bhat
Founder manipalblog| Student| Father| Blogger| Pharmacology Teacher| Chess & Photography Enthusiast| Voracious Reader| Hindu Nationalist.
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Enhance guest experiences with enriching activities from Art of Nature!
Hello and welcome to our introduction of the Art of Nature School. Our profiles may be veiwed at the end of this webpage. To gain an understanding of our journey and vision for partnering with your tourism business please watch the film below.
Below is our example flyer that will introduce people to our online Art of Nature activities.
We envisage a double sided pdf flyer that you can download for your activities book.
Side A draft
Side B draft
Mali Moir
Scientific IllustratorConcept creator of ‘The Red List’ Exhibition
Mali Moir has an extensive history in the field of scientific illustration and field naturalist projects, an award-winning Botanical, Scientific and Natural History Artist and teacher began her career at the National Herbarium of Victoria and was a major contributor to Flora of Victoria. By working closely with botanists, Mali has gained an understanding of the importance of scientific accuracy, the fundamentals of precise measurement and thorough depiction of detail. Mali’s field experiences include Expedition Artist with Museum Victoria and ‘Our Planet Revisited PNG’ with French Natural History Museum. In Australia she led ‘Beckler’s Botanical Bounty’, a 10-year project encompassing Art, Science, History & Country where dedicated enthusiasts re-collected, documented and illustrated plant species originally collected on the Burke & Wills expedition in 1860. Currently Mali works in collaboration with artist Ben Beeton on the Genestreams Sculpture project from WA to the Bunya Mountains in Queensland. Mali’s interest in the areas of conservation and species documentation contributes to her sincere belief that ‘artists make science visible’ and is now developing online teaching programs to promote the value of engaging in the richness of our natural world. Working in the Accurate Realism style, Mali’s dedication combines her fascination for the natural sciences with an active desire to render works of art with beauty, character and scientific integrity. I am a co-founder of the Art of Nature School with Ben Beeton“.
Ben Beeton
Co-founder of the Genestreams Sculptures Initiative, Creator of the Genestreams toolkit for visualizing and interacting with the Tree of Life
Along side designing the Genestreams toolkit for exploring the Tree of Life and the Genestreams Sculptures Ben Beeton is the creator of the SciArt website. “My art drops a thread through aspects of the ecology, geology and deep time history of natural systems. My process of creating art is a learning experience from which has grown an active interest in scientific model making. As I travelled across Australia and abroad learning from scientists, indigenous elders and conservationists about the special natural environments which they studied and cared for, I envisaged an interactive educational website that would share their stories of country. As a consequence I developed SciArt, a website which along with showcasing my art allows access to the knowledge shared with me by many learned people that has inspired my art. I have completed over 40 artist residency projects focusing on the study of natural systems across Australia including being invited to accompany the Burke & Wills Environmental Expedition as artist. I am convinced that the Tree of Life is a hugely underutilized resource from which we can gain a deeper understanding of connectivity between all of life on Earth. It was for this reason that I developed the Genestreams toolkit. I am, with Aunty Carol a co-founder of the Genestreams Sculptures program. I am a co-founder of the Art of Nature School with Mali Moir“.
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Chu’s Day began on a napkin for children’s book illustrator Adam Rex
Adam Rex author illustratorPlease help me welcome Adam Rex.
Adam Rex grew up in Phoenix, Arizona, the middle of three children. He was neither the smart one (older brother) or the cute one (younger sister), but he was the one who could draw. He took a lot of art classes as a kid, trying to learn to draw better, and started painting when he was 11. Later he got a BFA from the University of Arizona, and met his physicist wife Marie (who is both the smart and cute one).
His first picture book, THE DIRTY COWBOY by Amy Timberlake, was published by FSG in 2003. His picture book FRANKENSTEIN MAKES A SANDWICH, a collection of stories about monsters and their problems, was a New York Times Bestseller. 2007 saw the release of his first novel, THE TRUE MEANING OF SMEKDAY. His second, a book for teens and adults called FAT VAMPIRE, will be published in July 2010.
Garlic and crosses are useless against Adam. Sunlight has been shown to be at least moderately effective. A silver bullet does the trick. Pretty much any bullet, really.
Q: When did you start illustrating for children? What did you do before?
A: I guess I started illustrating for children when I was a child, though I know that’s not what you’re really asking. But when I was in third or fourth grade, I began to get “commissions” from the other kids. They’d ask me to draw Snoopy, or Yoda, or whatever. I don’t think I got paid or anything–I just drew what they asked because I wanted people to like me. That’s mostly still why I do it.
But in college I started putting together a children’s art portfolio and sending out samples, and maybe in…’97?…I started getting work from magazines like Cricket and Spider. Those jobs led to my first picture book assignment, The Dirty Cowboy, which I landed in 2001.
Before that I paid the bills illustrating for fantasy games like Dungeons & Dragons and Magic: The Gathering.
Q: Wasn’t the Dirty Cowboy recently challenged? Why?
A: Yes, challenged and banned, despite the efforts of a heroic librarian, in a school district in Pennsylvania. I believe the stated reason was “nudity,” which The Dirty Cowboy technically doesn’t contain. In a great letter to the school board, the National Coalition Against Censorship and the ABFFE pointed out that The Dirty Cowboy couldn’t be removed under that rationale alone:
“Otherwise a book about the noted artist Norman Rockwell containing his work No Swimming, which depicts scantily clad bathers, could be removed, along with books about Native Americans or other indigenous cultures, story books about the Bible depicting Adam and Eve or Christ on the Cross, and art history books containing images from Michelangelo’s Sistine Chapel or Botticelli’s Birth of Venus.”
I really appreciated their efforts, but the board voted unanimously to remove it. And yet the whole fiasco caused many, many times more people in that district to view and read the book than would have done otherwise; so while this sort of thing hurts, I’m not so afraid of such a sunlit, public banning. I’m afraid of the others we never hear about.
Q: Your newest book released this month is Chu’s Day by Neil Gaiman. Can you share a little bit about the story and how you approached the art for this book? Can you explain your art process?
A: The first time I heard the story was when Neil read it to me over the phone, and later I was sent both a clean manuscript copy and also Neil’s own doodled dummy. That dummy was unusual–that is, I don’t know if many authors sketch up such a thing, but I do know that it’s rarely shared with the illustrator.
Anyone familiar with his early sketches of Morpheus and Death know that he’s a better than average doodler, but this dummy was nonetheless pretty slight. Which was good–had he really put his all into each drawing, I might have felt obligated to follow it to the letter.
So I started drawing pandas:
I’m trying a little of everything at first, including trying to reduce Chu to his flattest geometrical essence at the bottom. You can also see Merle Lynn, my Merlin character from Cold Cereal, in the corner. This is just a detail from one of my sketchbooks.
Eventually I settled on a little panda I liked, and you can see my earliest drawing of his father, too.
All my picture books begin something like this, with a thumbnail representing each page, all laid out on one sheet of paper. The thumbnails actually represent the entirety of my book with Mac Barnett, Chloe and the Lion. I can’t find my thumbnails for Chu’s Day in any of my sketchbooks, which probably means that I doodled them on a napkin or something.
From the thumbnails I move into larger but still messy sketches. Usually several, until I think I’ve really hit on the right composition. Here’s the one I went with for a double-page spread of Chu and his mother visiting the library. I tried to give some thought to how a library with such variably-sized patrons might work. And so there are doors within doors, ladders and multi-tiered tables, etc.
From here I did a bit of visual animal research, got out all of my Schleich animal toys, and drew out a more presentable version:
Which, in the case of this articular book, I then colored in Photoshop. I don’t always do this by any means. My process tends to be a little different on each project.
I then actually printed the digitally colored sketch onto a cardstock with a color copier. I mounted the print onto illustration board with matte medium, and sealed the printed image itself up with matte medium as well. Then I painted in oils directly on top.
It’s funny that you do your thumbnails on a napkin. Sounds like you’ll draw on anything handy.
Q: What are you working on right now? Do you have any other books or art projects you’d like to talk about?
A: I just finished illustrating the second novel in my middle grade trilogy, The Cold Cereal Saga. And now I’m writing the third. That’s going to keep me busy for a while.
Q: Do you do non-children’s book art (licensing, fine art, etc.) or art just for fun? Is that art similar or different from your children’s book art?
A: Well, as I mentioned earlier, I used to do a tremendous amount of work for games like Dungeons & Dragons and Magic: The Gathering. That was fun, but my preference is to work in kid’s literature so when I no longer needed those fantasy assignments to pay the bills I stopped accepting them. So I haven’t done any of that kind of stuff for years.
Otherwise, I DO occasionally draw or paint something for myself, but that’s pretty rare, I’m afraid. I’m always running behind of some deadline or another, so doing anything just for myself usually feels too self-indulgent. Sometimes I’ll paint or make a little something as a gift for a friend. I like Victorian painting, formal portraiture, Art Nouveau, pretty girls dressed like the anthropomorphic personification of Winter or Industry or whatever, a little bit of pop surrealism…so when I do something for myself or for a gift, it’s usually in that wheelhouse somewhere. Like this portrait of my wife: http://www.adamrex.com/Resources/dawn.jpg
Q: When illustrating children’s books do you include a visual storyline not mentioned by the text or include animals or people you know?
A: Sure, sometimes. It’s often pretty minor–in Chu’s Day, for example, kids can follow the travels of a snail across a number of spreads. Other times it’s not really a storyline, per se, but I might add visual gags that were never asked for by the author, and are never mentioned in the text. Billy Twitters and His Blue Whale Problem has some art-only jokes that I’m proud of.
And a number of my books feature animals or people I know, because friends and family make for cheap art models. I often just shoot myself for photo reference, and my wife gets roped into this a lot as well. My second picture book, Ste-e-e-e-eamboat A-Comin’! (by Jill Esbaum) has more of these kids of cameos than any other I’ve done. I’m in it, my wife’s in it, but also my nieces, siblings, mom and dad, sisters-in-law, cats, friends, cousins, and a number of perfect strangers as well. Just people I met in the neighborhood who didn’t blanch when I told them why I wanted to take their picture. I needed a lot of reference of kids, and I didn’t have any friends with kids at the time, so I was actually reduced to visiting playgrounds and trying to explain myself to moms and nannies. Which is just a terrible, terrible idea. But I eventually got what I needed.
Q: What gets you through an illustration when you’re stuck for inspiration?
A: How do you mean, exactly? Like when I’m struggling with how to compose an illustration, or what style or media to use? I feel like, due to the nature of kid’s narrative illustration, I’m rarely waiting for that flash-of-lightning inspiration that might carry, say, a single editorial image.
Q: Like how to handle an image in a spread or vignette or coming up with the right character for the story?
A: Oh, you know–keeping my eyes open. Sketching and sketching and sketching. Not settling too early. Illustration is problem solving; and I read a quote recently I like, whose originator I can’t remember, that said, essentially: illustration IS the thumbnails, the sketching, the research, the gathering of visual reference, the figuring things out. The finished image is just something you make after you’re done illustrating.
Q: It sounds like you’re always sketching. Do you have a warm-up routine or other habit that helps you stay motivated day in and day out?
A: I actually don’t have anything like that. Maybe I should, to prevent me from disappearing down the Internet hole every morning.
The internet can certainly gobble a lot of time!
Q: Do you have any advice for young illustrators trying to break into the kid lit market?
A: Only put stuff in your portfolio that’s representative of the kind of work you’d like to get. That said, don’t be too self-indulgent. I see a lot of kid’s portfolio pieces that lack any consideration of backgrounds, for example. Or which only contain the illustrator’s very personal and individual flights of fancy, and don’t show that the illustrator is capable of working on anything but their own creator-driven projects. Make sure you have pieces that show kids, and make sure two or more of your pieces contain the same characters, so that you demonstrate that you’re capable of carrying a likeness across multiple images.
And try to only include images that tell a story. Even if they’re stand-alone images, it’ll help if they have some little self-contained narrative.
Q: If you could be anything other than an artist, what would you be?
A: Well, that’s easy. I’d just keep writing. I’s nice to have a Plan B in case my eyes or my hand gives out.
Related posts:
Book illustration promotional postcards - WIP
Painting first washes of color for "The Story Circle."
Some kind words for "The Story Circle"
One thought on “Chu’s Day began on a napkin for children’s book illustrator Adam Rex
1. What an inspiring interview. I love that Chu came to life on a napkin. It’s also wonderful to see Adam Rex’s process. I’m going to check out The Dirty Cowboy today.
Comments are closed.
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Selection of forumakers.com forums for :
Escape From Reality
Escape From Reality is a family of friends who share an interest in PSP. We have challenges, games, special tag events, & activities for taggers & non-taggers. We are home to resident artists, Bobbie
escape, from, reality, cluster, frames, paint, shop, tubes, challenges, artists, posers, tags, taggers, snags, #tuts, tutorials, graphic, scrap, kits
Taggerz Paradise
Group is dedicated to PSP tagging and snagging. Challenges, Contests, TUTS, Games for tags, Make friends, etc. Join Group for fun!
taggerz, paradise, tagging, snagging, challenges, contests, #tuts, games, tags, make, friendsFree forum : Tinkers Boo PSP Graphics
tags, scrap, booking, tutorials, friendship, offers, site, kits, posers, work, arts, templates, frame, clusters, snag, and/or, designs, shareThe Brat Pack
The Brat Pack forum. For all your tags, snags and loads of fun.
tagging, snags, challeges, taggers, #tuts, chats, challenges, signature, tag
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The Merci Shop
111, bd Beaumarchais, 75003 Paris
Following government decisions, the Merci store is close until May 19th.
But find us at the Ciné Café, located in our shop with selection of home linen.
Bed linen, bath, table and kitchen are waiting for you from
Monday to Friday from 11 am to 6 pm
& Saturday from 11 am to 7 pm
During all this period, the shipping is free in France on all Merci website.
The Canteen
Merci History
Why Merci ?
A common thread embroiders the letters of Merci just as much as it weaves its history. The thinking that drives its teams today is the same as that which presided over its creation. Marie-France and Bernard Cohen wanted to create an extraordinary, living place that would offer something more than just another store.
This « extra »something would bring together fashion and homeware..
... along with restaurants, in which they would share their sensibilities, their perspective and their questions about the world. This « extra » something would also be a different approach to trade. A generous and sensitive approach. Thus, a new way of way of doing business emerged, a way that combined pleasure with responsibility. A way that, from the outset, integrated the principle of an endowment fund to contribute to the development of south-west Madagascar.
The approach also involved engaging with artisans, suppliers, farmers and creators and never giving in to the cult of the ‘numbered’ piece or the latest fashion. In March 2009, after a year of planning, aided by talented friends who had been involved in the adventure since the beginning, Merci was born in the Haut Marais district of Paris, its name chosen as a thank-you to its customers and contributors.
An unique place
A surprising concept in a surprising place.
Designed to be welcoming rather than intimidating, based around conviviality and pleasure, more than a store, Merci is a haven of warmth and life. It is a consciously chosen destination, a place to go for its unique atmosphere and the pleasurable experience it offers. A surprising concept in a surprising place..
Merci set up home in a 19th-century building formerly occupied by a firm making furnishing fabrics and wallpapers. Occupying the entire building, this unique store resembles a large house. Even the window displays are in fact filled by cafés.
Offering a sensitive and responsible art of living in keeping with the times, this is the raison d’être of the store at 111 boulevard Beaumarchais.
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Case study – Anolis LEDs light up Miami’s Haven - Installation
Case study – Anolis LEDs light up Miami’s Haven
Haven is an exclusive restaurant in the trendy South Beach district of Miami, Florida, featuring a fabulous Anolis LED lighting scheme created by lighting designer David Chesal and venue owner Mike Boles.
Publish date:
Haven is an exclusive restaurant in the trendy South Beach district of Miami, Florida, featuring a fabulous Anolis LED lighting scheme created by lighting designer David Chesal and venue owner Mike Boles.
The 1237 Lincoln Road location is a contemporary food lounge mixing cutting-edge design, international cuisine and creative cocktails in South Beach’s busiest business district. Haven features a state-of-the-art light and sound installation that retains a warmth and accessibility that Boles believes will appeal to both locals and out-of-towners.
Different lighting scenes help to morph Haven from lunchtime lounging to early evening contemporary fusion dining to later evening dancing, chilling and cool DJ sets. Chesal and Boles took all these different mood parameters into account when considering how to light the venue.
The walls - effectively a massive HD projection window - can be streamed with one continuous digital image, ranging from breathtaking scenic views to abstract video art, evoking a constantly evolving environment which is also ideally suited to branding for private events.
The lighting magic starts outside where Haven’s 20-seat sidewalk café offers cushioned teak arm chairs for open-air dining. Running alongside is a white concrete sidewalk. Embedded in the overhang above are Anolis ArcLine Outdoor Optic fixtures fitted with 25 x 6° lenses, giving the exact throw angle required to light the floor section below without spillage.
Once inside Haven, guests are welcomed by a black beach pebble water wall that leads into the 120-capacity venue. The water wall feature has the same Anolis ArcLine Optic fixtures grazing the textural black stone behind. “The stone is absolutely jet black, but the output of the ArcLine Optics is so intense that they do literally colour change black with absolutely no problem - and that's really impressive,” comments Chesal.
The focal point of the intimate space is a custom-designed open kitchen and chef’s counter offering front-row seats to the inventive food preparation. Like the counter, the bars and tabletops are constructed out of white Siberian onyx and reclaimed American walnut. The main bar is opposite the kitchen and extends midway into the lounge, where recycled black-leather banquettes and Ottomans accompany up-lit low tables that illuminate the chef-designed glass plate ware.@page_break@
The two back-lit stone bar dies (faces) are internally lit with Anolis ArcLine Optic 4, an RGB warm white source. Above the bar a channel is carved out of the wooden ceiling to the exact dimensions of a strip of ArcLink with 25 x 6° lenses, which beams downwards to illuminate the area below.
Embedded in the floor are 14 Anolis ArcSource 3 in-ground RGB units with 25° lenses uplighting the cocktail tables. When the tables are removed and the area becomes a dancefloor, these same lights take on a new role as colour changing effects fixtures.
The ceiling cones and the liquor tiers behind the bar are lit with Anolis ArcLink 3s - a very flexible pliable unit - and above the DJ booth is a row of ArcLine Optics downlighting the decks.
No self respecting venue would be replete without some groovy lighting in the toilets, and Haven is no exception, with custom-recessed boxes scooped out of the ceiling, each fitted with powerful Anolis ArcSource 7 RGBs with 6° lenses. The light sources are imperceptible to the eye producing dramatic illusory pools of light from nowhere.
Additional touches include a ceiling grid of 1,000 colour changing frosted replica ice cubes used by Haven’s mixologists combined with 14 zones of soft LED downlighting and a walnut-tree structure with an illuminated canopy for additional warmth.
Chesal sums up: “Haven was one of these amazing projects with real scope to illustrate what’s achievable with good lighting, and how this can add to the whole visitor experience and boost its success, literally as a chameleon-style environment. It was seriously inspirational working with Mike on the project, and I am very proud of the results of his vision and imagination.”
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[Member log in]
antiques advice from John Bly
Item No. 53511
A good example of a Gregorian telescope, so named after its inventor James Gregory, 1638-1675. The shagreen cased Scope with external focus adjustment on a finely turned brass Stand with folding tripod base of superb quality. Retaining its original palladium mirror; a rare white metal discovered in 1803, element symbol Pd, atomic number 46.
Height: 19 ins (48 cms), Width: 17 ins (43 cms), Depth: 9 ins (23 cms),
Circa 1805
Please email us for pricing information.
Five generations
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Rabbit and Snail
This rabbit study is one of my favorites. I think I was able to conjure up a little bit of moodiness and mystery.
This is one of the 8 x 10 inch preliminary drawings for me Secret Garden series.
It’s also a great example of how the image changes each time I draw it. The bottom drawing was the initial sketch and the top a second rendering. You get to try different things out yet, improve on the areas you like.
This concept moves forward to the next stage…
Angels Among Us
AAngels Among Us (5)
Angels Among Us -acrylic & charcoal on 300 lb cold press paper 22″x30″ inches
So let’s see how this painting got started…
AAngels Among Us (1a)
AAngels Among Us (1b)
Like the famous Rorschach ink blot tests, you can interpret lines and marks in a myriad of ways. I personally saw a wing to the bottom right and went from there! Random strokes of lilac caught my eye as well and I saw more wings.
I see wings – I associate angels
AAngels Among Us (5)
I see angels – I associate bows an arrows
Now this is where my cousin Liz says “Wha -Wha- What? How do you get bows and arrows from angels?”
Well duh, the most famous angel? Cupid??? …. Of course this makes perfect sense… to me ;)
I also drew in some xxoo’s which equal love. Perfect Cupid sense if I say so myself! There’s also a little planetary/cosmos action which is aligned with my constant quest to understand the spiritual world around me.
This painting turned out bright and airy and it keeps one looking for the mystical and weird which is right up my alley. It’s a perfect psychological bundle of the inner workings of my mind.
4Intergalactic (10)Intergalactic acrylic painting 30″ x 40″ inches on canvas
I was visiting with a friend of my mother’s who told me somehow she must have been dropped from receiving my blog via email. She hadn’t received anything from me in months. Well Miss Sharon, it’s not your email account it is me. It’s been a month actually and how fast that flew.
I am my children’s nanny in the summer and of course my cherubs come first. It’s amazing though how one week I think I am going to be able to do everything and the next week I drop off the face of the earth for a month!
Don’t get me wrong, I have done plenty. I taught pottery and art camps, painted 3 more paintings and binged on our local beaches. I have LOADS of photos to share, but first I have to get my kids back into school. 5 more days of freedom before all of us get back into a schedule.
OK. Enough with the excuses… LET’S TALK ABOUT ART!!!
Here is the layering progression of my painting Intergalactic:
5Intergalacticc (3)
6Intergalacticc (4)
1Intergalacticb (2)
2Intergalactic (1)
3Intergalactic (9)
4Intergalactic (10)
The first layers of this painting had fish swimming around and there was a house with windows and doors. But eventually I started to see planets forming and from there I was hooked!
There are many layers of floating stars and planets. When you see it in person you can actually look through the layers. To the right there are hands reaching to pluck one of those stars from the sky or is it just a strange plant? I left it ambiguous.
I don’t know about you, but I feel a lot of Keith Haring influence in my use of the charcoal. When I pick up that piece of charcoal something makes me draw very ballsy and bold. Nothing soft and nurturing coming out of my hand. My cousin Liz is designating this my “Piss and Vinegar Series” and I think she’s right.
There are some issues with these current paintings. I don’t feel like I really have control over color – what is coming out isn’t exactly what my right brain would plan and there isn’t any quiet space. In theory there should probably be at least one-third of the canvas solid and opaque giving your eye a place to rest…
It shall take many attempts to tame my inner-dragon. As I have mentioned, these paintings are intuitive paintings which means I spend countless hours trying to keep that right-brain at bay. Each stroke and color is done by pure gut – no thought. Pretty freaky what comes out of my psyche huh?
Eventually I will be able to marry my left and right brain and come up with some images that have some thought, planning and organization …. with just a hint of “piss and vinegar!” :) but for now I am learning and shall let my heart do what my heart wants to do!
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‘Vision & Sound: An African American Experience’ celebrates Black artists
Stephanie on JR’s House by Chip Thomas (Courtesy/ SAC)
Originally Published: February 7, 2024 10:52 a.m.
An immersive arts experience, ‘Vision & Sound’ broadens the understanding and appreciation of African American art and music for multigenerational and multicultural audiences. This program, which features an exhibition, lectures, artist demonstrations, musical performances and a symposium, builds supportive relationships to encourage cultural equity throughout Arizona and beyond, recognizing that professional American artists of African descent are too often overlooked.
“We are thrilled to present this wide-reaching and inspiring experience that celebrates Black artists in the visual and performing arts,” says Julie Richard, CEO of Sedona Arts Center. “The exhibition and related programming amplify BIPOC voices and provide an opportunity for expansive thinking about Arizona’s Black artists and their achievements.”
Face with a Peeking Eye by Jerome Fleming (Courtesy/ SAC)
‘The Vision & Sound’ exhibition showcases artworks by Patricia Bohannon, Dorrell Bradford, Jacqueline Chanda, Amber Doe, Debra Edgerton, Jerome Fleming, Isse Maloi, Chip Thomas and George Welch. The paintings, photography, sculptures, fiber and mixed-media pieces push the boundaries of creative expression—exploring identity, agency, beauty, shared histories and cultural experiences. While the artists’ backgrounds and approaches vary, their artworks illuminate the powerful connections that art makes possible between individuals and communities.
Founded in 2014 by Norma and Michael Cunningham, ‘Vision & Sound’ began as a week-long exhibition in the West Valley of Phoenix programmed during Black History Month. Over the last decade, the event has expanded in scope, duration, artists and audiences, finding a permanent home at Sedona Arts Center in 2022—a new venue for artists to engage with northern Arizona residents and visitors. ‘Vision & Sound’ is one of many ways SAC has expanded its programming to ensure diversity, equity, accessibility and inclusivity.
“SAC is committed to addressing unfamiliar narratives and encouraging cross cultural perspectives,” says Richard.
While SAC’s exhibition and programs anchor the event, satellite exhibitions and programs are also planned for Goodyear and Peoria through March.
An opening reception will be held Wednesday, Feb. 7, from 4-6 p.m. in conjunction with Celebrate Sedona. The events are free and will be held at SAC’s upper parking lot and the Special Exhibitions Gallery. Attendees will enjoy artist demonstrations, food, wine and beer, and Blues music by the Tommy Dukes Band.
Later in February, SAC will present the ‘Vision & Sound’ Symposium Feb. 25-26.
The Symposium features keynote speaker artist Chip Thomas, a workshop by MacArthur “Genius Grant” Fellow Liz Lerman, artist talks in a Pecha Kucha format, performances, receptions and reflections. Antiracism, Diversity, Equity and Inclusion (ADEI) training will be included throughout, incorporating Critical Response methodology.
‘Vision & Sound’ is presented in partnership with the ASU Center for the Study of Race and Democracy and is sponsored by the AZ Community Foundation, City of Goodyear and City of Peoria.
Sedona Arts Center is located at 15 Art Barn Road. Free parking is located behind SAC’s Art Barn.
For more information, including a calendar of events, visit VisionAndSound.org.
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52.48°N 1.75°E Map of Lowestoft
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BT England
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2 Archival description results for Lowestoft
2 results directly related Exclude narrower terms
Portrait of a man next to writing desk
Item is a white card with black letterpress at bottom edge, "BEVAN,/ LOWESTOFT." Photograph is of a man dressed in long, double breasted coat holding a quill in his hand and leaning on a writing desk. Studio backdrop features a column with view to conservatory at right. On verso, photographer's stamp in the design of an artist's palette with brushes contains the text "H.W. BEVAN,/ PORTRAIT PAINTER/ AND PHOTOGRAPHER,/ LOWESTOFT."
Henry William Bevan
Portrait of a soldier, pointing
Item is a beige carte de visite with an image of a soldier, with plumed helmet and sword, in front of a studio backdrop. The man is posed, pointing off camera. On verso, in black letterpress, "No.../ GEORGE CROUGHTON/ FIRST CLASS PRIZE MEDALLIST,/ MINIATURE PAINTER & PHOTOGRAPHER,/ 19 ALBERT PLACE,/ LONDON ROAD SOUTH,/ LOWESTOFT./ THIS PORTRAIT CAN BE ENLARGED/ TO ANY SIZE AND FINISHED IN/ BLACK AND WHITE, OIL OR WATER COLOR."
Croughton, George Hanmer, 1843-1920
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The “Mysteries” of Panormo
The first replica I built of a guitar by 19th century London guitar maker Louis Panormo introduced me to a number of features typical of instruments of that time and in particular of the instruments of that maker. It also raised for me a number of questions about these instruments. These were fascinating enough to me that I thought they may be of general interest to luthiers, those familiar with instruments of the period and those that are not. This article discusses a number of these “mysteries” and some of my own speculation about why the maker did what he did. It also points out just a few of the many interesting design features of these beautiful instruments. This article originally appeared in American Lutherie.
Initial appearance: December 17, 2021
Last updated: December 17, 2021
The “Mysteries” of Panormo
Copyright © 2017 R.M. Mottola
[This article originally appeared in American Lutherie #132.]
One of the classics of lutherie literature is the book The “Secrets” of Stradivari by violin historian Simone F. Sacconi. This thick book contains much detailed information on the instruments of the Cremonese master violin maker, enough so that, for some readers, what may have once been considered to be true secrets of design and construction are revealed. The title of this article is a takeoff on that of Sacconi’s book. Sacconi spent a lifetime researching the instruments detailed in his tome and so the information imparted there can be considered to be definitive. Following completion of my first construction project of a replica instrument by 19th century guitar maker Louis Panormo (photo 1), I was in nowhere near a position to assume expertise in the “secrets” of Panormo’s guitars. But that project did introduce
Photo 1 – Replica of a Louis Panormo “Spanish Style” guitar built by the author. Although not a reproduction of a particular instrument, this replica is typical of Panormo’s lower priced version of this model as produced in the late 1840’s.
Headstock shape. The distinctive shape of the Panormo headstock as seen in photo 2 features tapered slots, something not found on contemporary instruments. The tapered slots require the use of tuning machines with rollers of different lengths; short rollers near the nut and longer ones near the top of the headstock. Turns out that guitars from England, France and other European countries made use of such tapered slots and the machines with different length rollers too. My speculation here is that this was simply an artifact of the introduction of the new technology of machine tuners. Louis Panormo built instruments during the time when geared tuning machines were just becoming generally available and popular. As is the case with the introduction of any new technology, standards for tuning machine dimensions had not yet evolved during Panormo’s time. Eventually we would have standardized roller diameter, length and spacing, and these would imply dimensions for the slots, but that was a ways off in the future.
Photo 2 – Panormo headstock of the author’s replica instrument. The slots taper from top to bottom and original tuning machines had rollers of different lengths to accommodate the slot taper.
Headstock V-joint. The maple headstock is attached to the Spanish cedar neck shaft using a traditional V-joint. Such joints had been used to attach guitar peg heads for years. Jim Buckland provided a good drawing of the construction of this joint in his article in American Lutherie #103 entitled “19th-Century Guitar Making Techniques.” It is a somewhat complicated joint, because the thickness of the tenon tapers not only along the length as viewed from the back (as can be seen in photo 3) but also along the length as viewed from the side and across the width as viewed from the end. Since the Panormo headstock is made from a solid piece of maple the mortise cannot be sawed out but must be chiseled. Although this type of joinery may be rare in modern instruments it was quite common to find such work in guitars of the 19th century.
Photo 3 – Shoulder-less headstock V-joint.
A mysterious feature of Panormo’s headstock joint is that it is shoulder-less. This results in the joint forming an acute angle at the sides of the neck where headstock tapers down to shaft. Acute angles in visible joints are generally eschewed in woodworking because the skew makes the glue line appear wide, and also because it is difficult if not impossible to retain a clean edge on the piece of wood that tapers down to nothing. Most of the instruments I looked at when researching for my construction project showed wide glue joints and ragged edges of the thin headstock wood at this joint along at least one side. The glue joint of my project guitar is quite wide on one side too, as can be seen in photo 4. It is curious that instruments built otherwise with such attention to woodworking detail would have this shoulder-less joint. Also there are many examples of earlier instruments that made use of shoulders (so that the joint seam would remain approximately perpendicular to the side surface of the neck) or that just left the shaft ends of the headstock wider than the shaft. An example of the latter can be found in the plan of a Stradivari guitar in Jan van Cappelle’s article “Antonio Stradivari, Guitar Maker”, which appeared in American Lutherie #122.
Photo 4 – The acute angle of the shoulder-less v-joint where it is exposed under the nut skews the glue joint and makes it highly visible.
The only thing I can think of to explain this mystery has to do with Panormo’s own instrument building chronology. Panormo built two guitar models for much of his career. The model he began with is what is now generally referred to as the Panormo Fecit model. He eventually added a second model, which is now generally referred to as his “Guitars in the Spanish Style” model. These terms are taken from the instruments’ respective labels. Panormo Fecit guitars were ladder braced and featured (usually) maple bodies, with rosewood bindings and black painted necks. The “Spanish Style” guitars were fan braced and featured (usually) rosewood bodies, and had rosewood bindings and natural finished necks. In his PhD dissertation on 19th century London guitar builders (the mother lode of information about Panormo instruments, reviewed by me in American Lutherie #117) entitled Guitar Making In Nineteenth Century London, James Westbrook points out that even Panormo’s black-painted necks featured this V-joint. This is interesting to us moderns, who often consider such joinery to be just for show, but at that time it primarily served a functional purpose. The issues raised above about the shoulder-less V-joint are aesthetic only and would not have been visible when painted over. It is possible that Panormo simply retained this joint when he began building the “Spanish Style” guitars, even though the necks of these featured natural finishes.
Long neck shaft scarf joint. Panormo’s guitars used typical Spanish heel construction, with the ribs set into slots cut into the heel block. According to Westbrook the ribs were sometimes fitted into narrow slots and sometimes fixed into wide slots with wedges. I used the wide slots and wedges method for my project (photo 5). The neck shaft and heel assembly uses a separate piece for each – a thinner (probably 1” thick) piece for the shaft, and a shorter and much thicker piece for the heel and internal foot and top shelf (more on the latter in a bit). Although such construction is not uncommon, Panormo’s instruments joined these pieces together with a long diagonal (as viewed from the side of the neck) scarf joint. See photo 6. It is interesting to note that, in the instruments I’ve seen and in photos of others, no attempt seems to have been made to color-match the heel and shaft pieces. It is even possible that different species may have been used for the two pieces. As a matter of authenticity my replica instrument is not so accurate in this regard. Having selected the wood in my inventory specifically for good color match I could not find pieces for this project that were as mismatched as is typical of original Panormo guitars.
Photo 5 – Wide wedges that taper in all three dimensions are used to attach the ribs to the heel in some of Panormo’s guitars.
It is highly likely that the shaft and block were made of separate pieces for primarily the same reason it has been done this way before and since, to reduce waste and thus cost of materials. But I hypothesize two reasons for the use of this particular long joint. The only other type of instrument in which I have ever seen this joint used is the double bass. Louis Panormo was from an Italian (probably Sicilian) violin making family. His father Vincenzo built double basses and is one of the most highly regarded builders of that instrument. So it is possible that this joint was simply in the family repertoire of lutherie techniques. The other reason is the strength and reliability of the joint. Ending up about three times the length of a straight joint in this location, this diagonal scarf joint provides a lot more gluing area. As is abundantly clear from Westbrook’s thesis, 19th century London guitar makers were concerned about glue joint reliability, or at least made a big marketing issue of it. Panormo’s guitars were built at the height of the British empire, were glued with hide glue, and were expected to hold together in hot and humid colonies as well as during the long voyages to them. There is much in the construction of his instruments that is likely due to this requirement. This hypothesis will also come up in the discussion of bracing mysteries below.
On a side note, I must admit that I am quite fond of this joint for simply aesthetic reasons. I often build neck blanks using a separate block for the heel anyway, and I think this joint adds a classy touch and so have been using it for other instruments. It is not that much more difficult to implement than a straight joint.
Photo 6 – The neck shaft and heel block are joined using a long diagonal scarf joint. The color match of the two pieces is generally not nearly as close as it is in my replica instrument here.
Upper platform of heel block. Unlike guitars of what we now consider to be typical Spanish construction, Panormo’s instruments featured a large thick upper platform as part of the heel block. This platform supported the top directly underneath the fretboard extension. Photo 7 shows the heel of my instrument during construction. The typical Spanish foot can be seen at the top (the neck is inverted in the photo) and the upper platform is visible below that.
This feature is probably not too hard to figure out. Just before and also during Panormo’s time guitars often featured fretboards that were flush with the instrument’s top and ended at the body. Many such instruments added some frets over the body for extended range. These frets were embedded in the top, which of course was not thick enough to support them, and so a shelf was added under the extension area of the top for support of these frets. In fact Louis Panormo manufactured some instruments in this style. Westbrook’s thesis mentions two, a miniature “bambino” guitar, and a guitar built specifically for Antonio Trinitario Huerta, a Spanish guitar virtuoso who settled in London following an extended and successful tour in the USA. The first known instrument attributed to Louis Panormo is also of this construction. But this shelf appeared in all of Panormo’s guitars, most of which featured fretboards that extended over the top as is typical of guitars today. So it is possible that this feature remained simply due to design inertia, but it is also possible that it was retained to add some support and stiffness in this area. The fretboards of Panormo’s instruments are made of rosewood and are quite thin and so the fretboard extension does not provide anywhere near as much stiffening in this area of the instrument as would a thicker board. It is also possible that it has something to do with the next two mysterious features I’ll mention. In private correspondence James Westbrook mentioned that whatever the builder’s intent, original instruments are particularly mechanically stable in this area.
Photo 7 – The inverted heel block during construction. The heel features a typical Spanish style foot (top) which will contact the back, and also an upper platform which will contact the top.
Block between platform end and upper transverse brace. There is less than an inch of space between the end of the above-mentioned heel block platform and the upper transverse brace. Between the two is a small block, the purpose of which is a mystery to me (photo 8). The block is not as wide as the platform, nor is it as thick. In some instruments its location is skewed to one side. It contacts the end of the shelf and the upper transverse brace. On some instruments it is slightly wedge-shaped. I don’t have any idea what this one is for, except possibly to help locate the top relative to the neck during assembly of instruments with fretboard top surface flush with the instrument top. As mentioned Panormo did make a few instruments in this style.
Photo 8 – The underside of the top plate and the heel block during assembly. The arrow points to a mystery block between the heel block upper shelf and the upper transverse brace (the center of which is covered by the clamp holding the top to the solera).
Fret slots on the top under fretboard extension. But wait, it gets stranger! Westbrook’s dissertation features a photo of an instrument awaiting repair that has its fretboard removed. On the top, under where the fretboard extension would be, are saw marks apparently in the places where the frets of the fretboard extension will be. The dissertation asserts that these have been found under the fretboard extensions of more than one instrument. This is strange indeed and I can think of no likely explanation that fits all the facts. The builder was certainly parsimonious where materials were concerned and a re-purposed top from a junked instrument could explain a single example of this but probably not more than one. That fret slots would have been sawn after the instrument was assembled is a possibility; this would be more likely for earlier instruments with flush fretboards but the technique could have been continued for fretboards over the top. And some of that sawing could have sawn through the thin fretboard near its center if a curved bottom saw was used. But this is a whole lot of coulda. For me at least, this feature of the instrument remains a mystery. In my replica guitar I sawed such slots anyway, using a curved bottom veneer saw. See photo 9.
Photo 9 – Fret slots cut into the top under the fretboard extension remain a mysterious feature of Panormo guitars. The author’s replica included such slots, cut with the veneer saw shown.
Non-bookmatched top. None of the original instruments I examined during my project had bookmatched tops. All had single piece tops with the wide grain on the bass side. Westbrook indicates that some instruments do make use of two piece tops but in these the top is essentially one piece but with a narrow filler piece added on one side, so the seam between the two pieces of the top is way over on one side. Neither of these features is uncommon in guitars of the period. The instruments were narrow, and wider top material was probably more readily available then. The technique for extending the width of slightly too narrow top material is interesting though. This certainly would make for more efficient use of wood than would using a bookmatched top. Westbrook states that more asymmetrical fan bracing was used for these two piece tops, and from the photos in his dissertation it would not surprise me if this was done simply to be sure a fan crossed the top seam to help keep that joint together under adverse conditions.
‘P’ on upper transverse brace. At some point Louis Panormo began carving a small letter ‘P’ in the center of the upper transverse brace so it could be visible through the soundhole if the instrument were positioned appropriately. Note though that the position of the mark and the fact that Panormo painted the exposed light wood inside the guitar (see below) would make this difficult to see unless you were looking for it. This identifying mark is likely to be there for obvious reasons and so is not much of a mystery. It is however a distinguishing feature of his instruments (photo 10).
Photo 10 – Panormo’s guitars featured the letter ‘P’ carved into the upper transverse brace so it could be seen through the soundhole.
Pocketed and bracketed brace ends. In the discussion of the long neck shaft scarf joint above, I speculated that a number of features of Panormo’s guitars could be attributed to a requirement that the instruments hold together in hot and humid climates. Probably the most compelling evidence for this possibility is seen in the bracing. We would generally consider the bracing scheme of his Spanish style guitars to be conventional Spanish guitar construction these days. The backs were braced with two (later three) transverse bars and the tops featured the usual upper and lower transverse braces and fan bracing below. But there are essentially no floating brace ends anywhere in the instrument. The ends of the back braces are let into the linings. The ends of the top transverse braces are bracketed, and the bottom ends of the brackets are generally let into (actually covered over) by the tops of the back linings as well. The ends of the fan braces at the lower transverse brace are bracketed by a small piece attached to the transverse brace (photo 11). The other ends of the fan braces are either pocketed into the tail block (photo 12) or are bracketed by peones (photo 13).
Photo 11 – Fan brace ends are bracketed on the ends near the lower transverse brace.
No bridge patch. Westbrook indicates that bridge patches were not a standard feature. This seems odd today because the guitar uses a pin bridge and the string knots can easily damage the soft spruce top. All of the instruments I examined had patches of some hardwood added after the fact on at least one of the bridge pin holes. I have no idea if the damage that was repaired happened during the time of Panormo’s production. For my replica I included individual maple patches of the size, shape and locations that would have been used to patch damaged pin holes after the fact. These can be seen in photo 12.
Photo 12 – Fan brace ends on the tail end are either let into the tail block or are bracketed by peones. The latter case is not shown in this assembly photo, taken during fitting of the brace ends to the block.
Pierced tentellones/peones. The tops of these guitars are joined to the ribs using peones as is typical of instruments of this era. An interesting detail of one instrument I examined is that every other peón had a small prick mark near its center. This was easily visible through the soundhole of the original instrument using some interior lighting and an inspection mirror. Westbrook’s thesis mentions this in some instruments he examined too. This mystery was solved, to my satisfaction at least, while I was assembling the replica guitar. I am no fan of peones. I’ll use them only in cases where historical accuracy is a requirement, but the effort of emplacing each one with tweezers, holding it down right next to the previous one until the glue grabs, and trying hard not to bump into and knock off any of the previously placed pieces is so dreadfully tedious that I can do only a short section at a time. But I realized during construction that a far less nerve-wracking way to do this is to first emplace every other peón, and then in a second loop around the top fill in between the ones put down during the first pass. Because of the non-crowded spacing during the first pass, the peones can be easily held with the fingers. During the second pass they can be held with tweezers, but to reduce the chance of disturbing neighboring pieces, it is easier to pierce each one with the point of a dental probe and hold it in place that way (photo 13). For me, a big problem and a minor mystery solved.
Photo 13 – Every other peón is pieced in some guitars by Panormo. This could be an artifact of the order and method in which the peones were placed. Note also in this photo the end of a fan brace bracketed by a peón.
Painted insides. The insides of Spanish style guitars by Panormo were painted with a dark purplish brown thin paint or thick stain. From the instruments I’ve examined there doesn’t seem to be any rhyme or reason to what was painted or left unpainted. Sometimes the entire inside of the instrument save the top and peones was painted. In other instruments just the light colored wood (braces, patches, linings, heel, etc.) was painted, and then usually just that which would be visible through the soundhole. Looking at the underside of the top using an inspection mirror reveals a pretty sloppy job of paint application too. The surfaces of the transverse braces and rosette reinforcements that are visible through the soundhole are always well covered, but the surfaces of those same components that cannot be seen through the hole are usually left unpainted. Because the focus seems to have been to cover the interior components made of light colored wood and visible through the soundhole, and because the color of the paint used approximates that of the rosewood back and sides, it is easy to assume that the painting was done for aesthetic reasons only.
Photo 14 – Painting the light wood components of the inside of the guitar that are visible through the soundhole.
In my replica instrument I used a paint made from 2lb cut shellac and fresco pigments. Although color mixing can be quite a skill, mixing up a dark brown color does not require any particular expertise. It was interesting as an exercise in self-realization to note how difficult it was for me to slop this stuff on in a manner that would achieve historically accurate results.
Integral bridge saddle. The bridges on Panormo’s guitars featured integral saddles. Rather than using a separate piece of bone or other material in a slot as we are familiar with today, in these instruments the front edge of the bridge itself rises up to form a saddle. See photo 15. As such the Panormo bridge is itself a technological “bridge” between the saddle-less tie bridge of lutes and earlier guitars and the currently popular saddle-in-slot modern guitar bridge. Earlier saddle-less bridge design is possible because the strings are anchored to the bridge by tying. The vibrating length of each string simply ends at the hole through with the string is tied. Such bridges offer no simple way to adjust action.
Photo 15 – Panormo bridge as used in the inexpensive series of his later period guitars. Bridges used pins for string anchoring and featured an integral saddle at the leading edge.
Panormo’s bridges used pins to anchor the strings and so a saddle-less approach is not really possible, so a separate means of terminating the vibrating length of the string is needed. A saddle is a logical way to do that. Action can easily be adjusted down with such a bridge by removing material from the top of the integral saddle and re-working the gully between saddle and bridge pins to keep the saddle edge sharp. Adjusting for higher action is not really possible. Although these bridges do not offer the ease of action adjustment of bridges with replaceable saddles, they certainly did offer easier down action adjustment than did their saddle-less predecessors.
Photo 16 – The fittings of Panormo guitars include a large diameter bone end pin and two small bone back buttons on the centerline of the back.
Big end pin, back buttons. The first time I saw one of these guitars the question that came into my mind was about these strange fittings. Panormo’s instruments have a large diameter end pin, and two small buttons on the back, one at each end of the body, as seen in photo 16. These are all made of bone. The back buttons are fixed to the back, their shafts glued into small holes (photo 17). The end pin is a two piece affair, with a tapered shaft glued into a hole in the body tail. The other end of this shaft is threaded. The other piece is the large button which is also threaded and is therefore removable (photo 18).
Photo 17 – The back buttons on my replica have round shafts which fit in drilled holes. The shafts of the buttons of original instruments are tapered and square in cross section.
The instrument could either be suspended from a strap tied to the end pin and the headstock, or could be invisibly tied to the player using lengths of string or gut tied to the back buttons and then to parts of the player’s clothing, like buttons, button holes and belt loops. I am still puzzled by the size of the end pin button and the intended purpose of making it removable. In private correspondence James Westbrook mentioned that straps of this time were made of ribbon and were tied on, so a large button would help secure the strap to the instrument. Removing such a strap would be an issue and could have been difficult without pulling the end pin, so the threaded button may have been intended to help in that case. This latter feature was probably not a complete success. On all of the instruments I examined for this project, the threads of button or shaft were obviously stripped, or the button had been glued to the shaft, probably indicating stripped threads in those instruments as well.
Photo 18 – The back button consists of two pieces, a tapered shaft with threaded end and a removable threaded button. Original shafts feature a much higher angle taper than my replica pictured here.
As is the case for most historical instruments, there are many more odd and interesting features of the guitars of Louis Panormo than just the handful identified here. For folks that are unfamiliar with instruments of this period I hope this article stimulates interest in them and in particular for those of this maker. Anyone interested in the guitars of Panormo will want to read Westbrook’s thesis, which fortunately will soon be published as a book. I’d love to hear from anyone that has answers to my questions about some of the truly mysterious features pointed out in this article. And if you’d just like to join in the speculation I’d enjoy hearing your thoughts. It has been an enjoyable exercise for me and will continue to be so. It is interesting to take a look into the past, and fascinating to do so when only limited information is available. I am not a historian and so I have neither the training nor the discipline to view things from a strictly historical perspective. As I’m sure is apparent to instrument historians reading this article I carry all my modern assumptions and prejudices with me when I look at these artifacts from the past.
James Westbrook was kind enough to look over a draft of this article and gently correct a number of its deficiencies. I am most grateful for his knowledge and help.
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KDP Offices, Hillside House
• KDP Offices, Hillside House
Kearney Donald Partnership acquired a 2-storey house in 2005 with a view to converting the building into new offices for themselves. The main building is a 2-storey stone built villa with a dual pitched slate roof. The building dates from the early 1800’s but had been extended over the years. We demolished the various extensions and added a new 2 ¾ storey timber frame extension to the east end of the house.
The building is adjacent to a Grade A listed Church. We were encouraged by the Highland Council Conservation Officer to make a modern statement with our office extension. We required sufficient floor area that dictated a 3-storey extension but with a relatively small footprint with 2 no. projecting 1st floor bays providing additional floor area.
The larger bay to the front is “hung” from the 2nd floor joists and tied back at first floor level. This led to a lightweight external construction of 100mm thick timber frame clad with Siberian Larch on battens.
We wanted to create a strong geometric panel arrangement and therefore introduced rebated 70 x 70mm larch posts at 1150mm centres. Individual 22mm x 150mm bevelled edge Siberian Larch boards were fixed with a 10mm shadow gap all round.
The projected bay is roofed with code 5 lead with the soffit of the bay finished with the Siberian Larch boarding. Lighting is incorporated into the soffit of each bay.
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‘Music from Before the Beginning’ Celebrates Primitive Life with Many Voices
The tracks are entirely improvised, though most of them are layered with multiple voices, so of course the lines between improvisation, composition, and editing are blurred.
By Stephen Nachmanovitch | From the March-April 2024 issue of Strings Magazine
In the past couple of years, I had done a series of duo improv collaborations with partners, so it felt like time for a solo album again. For an improviser, creating a sequence of music like Music from Before the Beginning provides an opportunity not available in the heat of live performance: being able to edit, overdub, and reshape the sounds. The trick is to make the editing as real and present a process as the act of playing. I see the 11 movements on this album as a single piece, a continuous narrative from beginning to end. The tracks are entirely improvised, though most of them are layered with multiple voices, so of course the lines between improvisation, composition, and editing are blurred. The movements came together in a sequence from the lowest register (“Hydrothermal Vent”) to the highest (“Clouds Unfold”).
Player: Stephen Nachmanovitch performs and teaches internationally as an improvisational violinist at the intersections of music, dance, theater, and multimedia arts. He is the author of two books on the creative process, The Art of Is and Free Play. In the 1970s, he was a pioneer in free improvisation on violin, viola, and electric violin. His most recent album, Music from Before the Beginning, was released by Blue Cliff Records.
Title of Work: Music from Before the Beginning
Improvised/Composed by: Stephen Nachmanovitch
Date Composed: 2023
It’s meant to reflect the evolution of life on earth—an improvisational activity that seems in retrospect as though it were composed—and my lifelong fascination with so-called primitive life forms, protozoa and such. It also reflects my fascination with organic evolution, its continuous unfolding of communication, its layers and levels that interweave and intertwine in shapes we cannot describe but still experience. In “Hydrothermal Vent,” the six-string Violectra plays in a fluid world of interchanging layers, and it unfolds from there. Viola d’amore solos reveal it to be an old instrument of many layers and voices. Do you hear the music of primitive life forms or old life forms far more advanced than we are?
My primitive singing appears in two of the tracks—“Archaea” and “Nay Yama Dodo Tulu.” “Nay Yama” was done in one shot, with me singing into a digital delay in ping-pong mode. It was inspired by one of John Cage’s verbal pieces, though you’d never know—it sounds like the polar opposite of John’s music. “Archaea” is layered like geological strata: I was playing bass, voice, acoustic violin, and a Chinese lithophone.
Playing with timbre is the element that most gives an individual liveliness to our beautiful stringed instruments, whether in new music or the classics. In “Anemones Waving Goodbye,” I use an envelope filter to give the violin a brassy tone on the left and a phaser to take the same violin underwater on the right. And for the subtleties of right-hand touch, electric violin and baroque bow is a marriage made in heaven.
Our local Virginia birds appear in “To Be in the World” and “Perch on Pine.” I’d spent a lot of time during the pandemic with these birds and strings in my earlier album, Hermitage of Thrushes. The higher reaches of the violin and the lower reaches of the thrush meet and twine around each other in “Perch on Pine.”
Two movements that were straight solos with no extra layers were the ones for viola d’amore: “Tentacle Time” and “I Am Leafy Speafing.” “I am leafy speafing” is an evocative sentence from Finnegans Wake, spoken by the river Liffey flowing and burbling before swishing into the sea at dawn. The viola d’amore is a magical improv vehicle, with its multiple sympathetic strings giving off a wonderful (and tunable) natural reverb, with phasing effects that can only be heard close up. Like the Indian sarangi, it was a technology for making electronic music before there were electronics. For this reason, viola d’amore always enjoys being played with lots of rests and silences to give time for the resonance to ring out.
Fifty years before making this spur-of-the-moment music, I was dreaming about it already when I wrote:
Go back
Go back
To the beginnings
To the tide pools
To the lips of the sea
To the fringe of first life
Where the little ones wash up from time’s Deep womb
Album Gear
Stringed Instruments:
• Six-string Violectra by David Bruce Johnson 2015, Birmingham, England
• 7+7-string viola d’amore by Abbondio Marchetti, 1830
• 4+5-string viola d’amore by Thomas Hulinsky, 1781
• Viola by Carleen Hutchins, 1984
• Violin by Annibale Fagnola, 1929
• Mezzo violin by Carleen Hutchins, 1984
Bows: Vuillaume; Panhaleux; Hill; Dodd; Gaulard; James Tubbs; Arcus unstamped English Baroque viola and violin bows formerly owned by Isaac Stern
Cases: Musafia; BAM
Other Gear:
• 2013 garbage-can style Mac Pro
• Ableton Live and Adobe Audition
• Effects by FabFilter, PSPaudioware, Kuassa, Imdsp, Valhalla, and QuikQuak
• Equator softsynth played with Roli Seaboard Blocks
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Chicago Stadium
In 1925, while working for Luse-Stevenson, Paul heard of a large indoor stadium to be erected at Paulina and Madison Streets in Chicago. This building was to incorporate corkboard as both the roof insulation and as insulation under the proposed artificial ice rink. This project was unique in the fact that in 1925 there were only three other artificial ice rinks in the world, and none came close in size to the proposed Chicago Stadium.
Paul searched out the architect to try and sell him on his company’s cork board. After Paul finished his sales pitch, the architect reached in his desk drawer and pulled out a 35 page, neatly-bound treatise and asked Paul, “Have you ever seen this before?” He had! He was looking at his graduation thesis on extended season ice rink design from the University of Illinois which the architect was using to help him build the stadium. Needless to say, Paul got the contract to furnish and install both the roof and rink insulation.
In 1995, the stadium was razed, and a remnant of the original cork used was salvaged and is displayed below. Some of the pictures below were taken by Paul himself while the project was under construction.
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22/05/09
Onze's style
"Onze’s personal, expressive style – a mix of techniques which are always figurative technical but with abstract tendencies – is able to be, at the same time pleasantly classic and excitingly innovative. Surprisingly his composite disharmony, purposefully done, results very harmonic. His color combinations, being audacious and daring, are revealed to be quite successful. His homage to the usual, traditional “romantic” Italian illustration are simultaneously balanced with a light background and affectionate irony. His pictorial culture is blended with intelligence with regards to the functionality of the illustration, while his illustrative expression remains a passionate testimony of a highly worthy pictorial."
Ferruccio Giromini
21/05/09
Onze's landscapes
"In Onze’s landscapes sometimes we hear (see) the echo of the human dimension of the city, or rather of the village, because outside the big agglomerations and major communication routes, a past resists that is nevertheless marked by the old, cut away from each “youth " in the city dominated instead by machines, and humans who, when present, seem to be but appendages."
Goffredo Fofi
07/05/09
Onze (Stefano Centonze) lives and works in Rome, where he was born in 1967. His illustrations have appeared in Dolce Vita, Vanity, Rockstar, Gambero Rosso, Blue, Nessuno tocchi Caino, Internazionale, Linea d'ombra, Alias, Musica!!!, Bravacasa, Urban and Corriere della Sera, La Repubblica, Liberazione, Il manifesto. In 1998, he received the annual award Lo straniero by Goffredo Fofi's quarterly publication of the same name.
In 1999 he became the illustrator for the monthly publication Fuoriluogo and in 2001, the weekly Donnamoderna. His work has been exhibited in Rome, Genova and Parma.
His illustrations have been used in advertising campaigns for Roman Summer '98, Renault Clio (both by Saatchi & Saatchi), Toscano Immobiliare (by Young & Rubicam) and Noi Donne (by Ambrosio & Maloni). He has also designed bookcovers for the publishers Mondadori and Feltrinelli. He's the illustrator for the bookcovers of the series Contromano by Laterza. His illustrations consist of various techniques such as pencil, acrylic paint, collage, photography, paintbrush and computer.
Photo by Alessandro Palazzi
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Top French artists sold in the United States
In today’s Top ranking (every other Friday) Artprice looks at the top-selling Contemporary French artists on the other side of the Atlantic.
Art history tells us that France was the primary geographical locus for what we now classify as ‘Modern’ and ‘Avant-garde’ art. It also tells us that this incredibly creative period lasted roughly from the latter decades of the 19th century until World War II. Even today, works by the artists from this period fetch the highest prices on the international market, especially in major American auction rooms. The exceptional results at New York’s recent prestige May sales have once again demonstrated the absolute centrality and value supremacy of works by Impressionist and Modern artists who lived and worked in France when the country was considered the most free and creative nation in the world. The major results hammered last week confirm the continuity of this legend: $157 million for a Reclining Nude by Amedeo Modigliani; $115 million for Picasso’s Girl with basket of flowers… and new auction records for other grand masters of Modernism like Henri Matisse and Claude Monet.
Although WWII seems to have curtailed France’s international magnetism and attractiveness, it remains – no less than any other country – an inexhaustible source of talent and creativity, generating numerous highly original and extraordinary artists. However, the evidence clearly shows that these artists struggle to gain recognition outside their national borders, and particularly on the American auction market.
Rank Artist Best Hammer Price in 2017 ($) Global result 2017 Artworks Sold
1 Laurence JENKELL (1965) 337 500 425000 2
2 MR BRAINWASH (1966) 97 500 193445 27
3 INVADER (1969) 53 125 152200 6
4 Bernard FRIZE (1954) 47 500 119610 4
5 Cyprien GAILLARD (1980) 75 000 95000 2
6 André DUBREUIL (1951) 52 500 85000 3
7 Philippe PASQUA (1965) 35 000 35000 1
8 Vicky COLOMBET (1953) 31 250 34275 2
9 Valérie BELIN (1964) 22 500 22500 1
10 Sophie CALLE (1953) 16 250 16250 1
copyright © 2018 artprice.com
A handful of living French artists manage to sell their works on the American secondary market; these include Daniel Buren, Pierre Soulages and Bernar Venet who are all collected at very substantial price levels in both France and the United States. But what about the subsequent generation, i.e. artists born after 1950?
Which Contemporary French artists sell in the US?
This week’s ranking plots the 10 best results obtained for Contemporary French artists in the USA during 2017. However, considering the notoriety (or lack thereof) of the artists listed, the ranking is somewhat surprising. The neo-pop work of Laurence Jenkell managed to seduce American collectors above the $300,000 threshold. His giant aluminum candy Polimiroir (8 copies) became a ‘must-have’ object during a session organized at Sotheby’s last November, so his gleaming sculpture fetched far more than works by artists with well-established institutional reputations like Xavier Veilhan (represented France at the last Venice Biennale), Cyprien Gaillard (awarded the Marcel Duchamp Prize in 2010) and Sophie CALLE, whose artistic and existential experiments are widely appreciated.
However, these 2017 results reflect only the tip of the iceberg. We need a much loçnger timeframe to appreciate the market reality of the major Contemporary French artists. If we look at Sophie Calle over ten years (2008 – 2018) we see that half of her auction turnover was generated in the United States. Her work is therefore much appreciated in the USA, and her 2011 auction record of $218,500 (The Sleepers (Les dormeurs)) was hammered at Christie’s in New York.
So this week’s ranking reveals not so much the low prices of works by French artists on the US market (we already know there is a major price differential between the respective stars Contemporary American art and Contemporary French art), but rather the absence of a constant flow of highly quality works by French artists in American auction houses.
In short… it is difficult to stimulate demand for works that do not reach the auction podium. It would appear that French art dealers are generally less willing to play the auction game “à l’américaine”. Americans clearly have a much more uninhibited approach to the relationship between art and money.
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A Museum-Based Charrette on Riverfront Revitalization
A new museum exhibit in Vermont invites visitors to review various proposals for updating the riverfront in Brattleboro -- and allows them to submit their own ideas.
"Circle stickers have been in high demand at the Brattleboro Museum & Arts Center in Brattleboro, Vermont. Visitors to the 'Renewing the Riverfront' exhibition, organized by a multidisciplinary workshop under the auspices of Marlboro College and its Center for Creative Solutions (CCS), have been using the adhesive dots to show support for their favorite proposals for the town's waterfront, arrayed on walls of a gallery here. And museum-goers have not only voted for a number of the proposals that the CCS team has offered up - from a riverside boardwalk to a performance space - they've also posted ideas of their own on blank note cards on hand, and planted dots of approval on some of those, too. A 'river museum,' scribbled one visitor, earning a smattering of dots. 'Outdoor seating next to the river,' suggested another. 'Paved space for skaters/bladers/BMXers,' urged a third."
The exhibit focuses on a 1.3 acre piece of land bordering the Connecticut River, and places short-term programming to test out ideas about how best to reinvent the riverfront.
Full Story: Renewing the Riverfront
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Tim Kenney Fine Art
Artist Tim Kenney paints as an abstract impressionist and is also known as a colorist for his use of bright pigments and thick textures which are immediately recognizable by those who know his work. His subjects range from aspen trees to flowers, oak trees, sunsets and anything else Tim might find pleasing to the eye.
Tim paints with oil on canvas, predominately using palette knives which allows him to apply broad strokes of thick paint and multi-dimensional textures.
A few years ago, Tim was exposed to the world of abstract art in Santa Fe, New Mexico. Paintings he saw there reminded him of New Mexico and Colorado where he and his family have camped, and fly fished his whole life. After being exposed to the artwork in Santa Fe, he saw his vision of becoming an artist. Having never painted in his life he returned to Oklahoma and started working with instructor and accomplished artist, Carol Armstrong. He has been painting ever since.
Tim’s work is currently shown in Santa Fe and Albuquerque New Mexico with Bobby Beals, Beals & Co. Tim also shows his work in Breckenridge and Steamboat Springs, Colorado, Gulf Shores, Alabama and Norman, Oklahoma City and Edmond, Oklahoma. He has been the featured artist for the Norman Mayfair Festival and shows his works at various Art Festivals in Oklahoma including the Festival of the Arts in Oklahoma City, May Fair in Norman and the Downtown Edmond Arts Festival.
Tim donates his time and his artwork to many causes in Oklahoma, New Mexico, and Colorado as well as contributing on behalf of several national philanthropic programs.
Tim lives in Norman, Oklahoma with his wife of 40 years. They share their lives with four children and five grandsons and share their home with two Golden Retrievers named Gunnison and Aspen.
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There are many ingredients that fuel a photographer’s appetite when it comes to their abilities to create, but two ingredients that every photographer should have are sources of influence and inspiration. Normally inspiration comes from a muse and influence from the study of another artist’s work. Sadly, muses come and go, but here are six photographers that continue to influence photography and I hope you’ll research them further so that they may help you with your photography if they haven’t already.
Six Photographers That Continue to Influence Photography
Inspired by the photography of Jeanloup Sieff, one of the six photographers that continue to influence photography today.
Jeanloup Sieff
While an active-duty soldier in the U.S. Army stationed in Germany in the late 80’s, one influencer I stumbled upon while perusing through a bookstore in Mainz, was Jeanloup Sieff. I actually purchased a set of small reproductions of his work that I would study on my free time and one that caught my eye was a photograph of a man and woman, both with cigarettes in their mouths.
Originally published in Harper’s Bazaar in 1964, the black and white photograph connected the two subjects with their cigarettes plus the gaze in their eyes. My eyes went straight to the cigarettes and then to each subject, back and forth, keeping me attentive for a bit of time — this photo taught me the importance of interaction in an image. Seiff’s photography interacts with the viewer through its subject matter, often sensual with a common thread of elegance and human warmth.
Though I often wonder if Sieff wasn’t inspired by Ernest Hemingway as in the 1952 movie The Snows of Kilimanjaro, based on Hemingway’s short story, there is a similar scene where a couple lights their cigarettes together. All greats are inspired one way or another and Sieff was no different.
Photographers that inspire
Take what you studied from other photographers and apply it to your photography as I do.
Yousuf Karsh
I began my photojournalism career as a sophomore in high school where I was a school photographer and our journalism department published a monthly newspaper and a yearbook. While I spent much time in the darkroom and shooting at school events, I also spent time studying and admiring other photographers, and it was then that Yousuf Karsh’s lighting mastery caught my eye.
Karsh credits his photography career launch to his Life magazine cover photo of Winston Churchill, 15 years after he started photography. He is known as one of the top portraitist of all time photographing some of the most notable people on the planet. In fact, Karsh was listed in the International Who’s Who (2000) of the most notable 100 people of the century, and ironically, only 49 people on that list he had not yet photographed.
His influence to me comes from his own words, “Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize.”
Robert Capa
I first heard the name Robert Capa when a Sgt. 1st. Class, one of the editors at the 5thCorps Public Affairs office, looked at one of my military photos of soldiers in a live fire combat exercise firing their weapons and anti-tank weapons in the field. Unfortunately that was 25 years ago so I forgot the sergeant’s name, but I remember him staring at my photo and stating, “It has a Robert Capa feel to it.”
That statement along with the fact the editor chose my photo for publication was enough for me to start my research on Robert Capa, one of the founders of the legendary Magnum Photo Agency, where eventually Jeanloup Sieff would become a member of the still operational and highly respected co-op of top photographers.
Four years later, the U.S. Army selected nine journalists and one photographer to attend their Advanced Photojournalism Course at the University of South Carolina. It was an eight-week upper-level college credit course and our professor, Dr. Keith Kenney, was hard on us, and for good reason, to make us better photographers. As the only photographer chosen that year for the program, I chose Robert Capa as one of my research paper topics and Kenney liked my choice based on my portfolio.
In that research I read one of Capa’s books, “Slightly Out of Focus.” Capa was a great photographer and in his book he focused on “life, love and war.” I really enjoyed this book which at times brought laughter as I read it, but most important, what I learned from all my research about Capa, was that the best photographers arrive early and leave last to get the greatest shots no one else will get
Helmut Newton
Helumut Newton was catapult into fame for his nude photography rather than his commercial magazine work. It’s been said that Simon de Pury, the head of the New York/London auction house Phillips de Pury & Company, while having a discussion with Helmut Newton about the then upcoming inaugural show for his Zurich gallery, asked Newton, “…What else do you have?” Newton replied, “My landscapes, but nobody wants to see those.”
Photo Through Glass
I captured this photo through glass. The model is actually indoors and I stood outside to capture this image.
Newton was correct and soon “Sex and Landscapes” was conceived for that inaugural show in 2001. While undoubtedly the late Newton help put the “politically correct” in nudity over the years, it’s not that nudity is so bad in our private conscious, it’s the difficulty of the use of the word in our vocabulary and the use of nude images in our visual arts — like a fear, our own society is the guilty culprit and it’s time for us to “grow up” and accept the beauty nudity brings. With the fact I’ve traveled and worked in 45 countries so far, and lived in Europe for three years, I can say this problem with nudity is a more a U.S. problem than a European problem —perhaps that’s why many great artists originate from Europe.
Robert Farber
I’ve known Robert Farber for over 20 years now and I consider him a personal friend plus mentor. Recognized by the Photo Manufacturers Association in 1987 as the Photographer of the Year, Jacqueline Kennedy Onassis brought Farber into Doubleday for the publication of his book “By The Sea,” that would then win the Art Director’s Award for color photography. In total, Farber has authored many books, including “ten books of original collections of his work that have sold over half-a-million copies, four of them revised into later editions.”
Farber’s photographic work is recognized worldwide throughout galleries and museums. He’s known for his “painterly, impressionistic style that captures the essence of composition in every genre, including nudes, still life, landscapes and architecture.”
Farber never told me once how I should shoot, though he’s provided some critiques and advice. Farber was the first personthat told me to go teach photography workshops, write books and magazine articles, plus ensure sure you get paid your worth. I remember him telling me once, “There are no secrets in photography because it boils down to execution along with a creative eye.”
Combat Photographer Photo
This is one of my most iconic photographs from my army combat photography days as an active-duty soldier for almost nine years.
His biggest influence was telling me that I have a photojournalistic style and I should never lose sight of that style. He’s always stressed the importance of style and photographers developing their styles. Think about your photographic style as your brand or trademark — that is how people will recognize your work. Once you’ve found your style, tweak it, but don’t let others try and force their styles on you. The public doesn’t demand copycats, it seeks originality.
James Nachtwey
I first met James Nachtwey in 1994, eight years after he became a Magnum Photo Agency member, when the U.S. Department of Defense had selected me for their “top 25 military photographers” from the Army, Navy, Air Force, Marine Corps and the Coast Guard that would attend the Dept. of Defense World-Wide Combat Camera Workshop in Ft. Meade, Maryland.
Helo Sling load Combat Photographer Photo
I often draw from my photojournalism roots but also from inspiration from other master photographers.
Upon our arrival, we were divided into five groups of five military photographers that were assigned a notable civilian photographer. These photographers included Magnum photographer Eli Reed; the photo editor and at the time the only female ever as the National Press Photographer Association President, Mary Lou Foy; the chief of photography from the Denver Post and former White House Staff photographer, Susan Biddle; the 1993 Joseph A. Sprague Memorial Award winner and finalist for the Pulitzer Prize, Bernie Boston, plus several other notable photojournalists.
We would spend a week with these notables who gave us assignments we’d have to document on slide film and our film was processed overnight for critiques amongst every civilian photographer. At the end of that week of assignments and critiques, these photographers, along with Nachtwey, who to this day is one of the most highly award-winning photographers of the world, chose the top five photographers out of the 25 in no specific order. It was truly a learning experience and I left there with job offers to work for the Los Angeles Times, Washington Post, Miami Herald, Denver Post, and a few others, but unfortunately I still had over a year left on my military contract.
I was appreciative of the selection into that top five group, but was more thankful of the wealth of knowledge learned from all the civilian photographers there. In reality, they all influenced me in some manner or another. Nachtwey influenced me in knowing that he was one of the judges that chose me into that top five group, but more important, I remember discussing with him why he preferred TRI-X 400 film vs. T-MAX and his answer was that the TRI-X 400 film had grain while T-MAX had a muddy grain-less structure. He explained to me that grain made for sharper printing when it came to publications and he also told me his film was always developed in D76 diluted one to one at 68 degrees.
That day I learned the importance of grain when it came to printing and half-tone separations, plus how the most highly awarded photographer in the world kept things simple and traditional. Around 15 years later I saw Nachtwey at the annual Photo Plus Expo in New York. We were both speakers that year, him of course a “keynote” speaker, and while having a lunch break in the speakers room, I approached him and reminded him what he had taught me in 1994. We chatted briefly then I left the room to conduct my lecture that day.
In Summary
So those are six photographers that continue to influence photography including my photographic style. Are those the only six, no, there are others. I share these with you to hopefully give you an insight of what impacts my creations in photography along with past muses. While finding a muse is not an easy task, finding influencers is as simple as doing research, you don’t have to personally meet them to understand them.
I never met Jeanloup Sieff, Yousuf Karsh, Robert Capa, or Helmut Newton but I have studied their photographic works and their lives enough to feel as though I’ve met them. While those four are all in their heavens, their photography continues to influence me today and I’m sure others too, and if you’re unfamiliar with any of them, research them. You don’t have to go to the museums, bookstores or libraries like I did, just Google. Do it. Get influenced, it’s the first ingredient of two that will fuel your appetite to create great photographs.
Rolando Gomez is a professional photographer and author of five photography books that has traveled to 45 countries for assignments. The former soldier and U.S. Army combat photographer has taught hundreds of photography workshops for almost two decades. A 2016, 2017 and 2018 Top Writer for Quora, his partial credits include Newsweek, Parade, Playboy, Rangefinder, Maxim, Rangefinder, New York Times, Stars & Stripes, and various other publications.
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KRUTZ 5Star Pro
5Star Pro Fiddles are the outcome of our effort to make the best five-string instrument possible, without compromise. Designed from its inception for optimum performance as a five-string instrument, the body is a little longer than a normal violin, the lower bouts wider, and the ribs are taller, but the scale length is the same as on a violin. All 5Star Pro Fiddles have one-piece backs; some have one-piece fronts. 5Star Pro Fiddles are crafted entirely in our Kansas City workshop by senior luthiers, many of whom learned the art of string instrument construction in Europe. All aspects of the making process are overseen by Anton Krutz. We hand select every single piece of European and American maple and spruce used to make these instruments. The wood is then aged for five to ten years before the instrument crafting begins. Anton's own proprietary sealer and varnish are used. These instruments are then given a professional set-up by the craftsmen in our shop. 5Star Pro Fiddles utilize fully professional materials and precise specifications, which give them the strong sound and tonal flexibility desired by advanced students and rising professionals.
Set-Up: Seasoned spruce top; Seasoned maple back, ribs and scroll; inlaid purfling; Medium flame; Acoustically enhanced wood sealer; Antiqued oil varnish; Ebony or boxwood fittings; Aubert bridge; D’Addario Helicore strings; Ebony or boxwood tailpiece; Wittner mechanical pegs. Bridge, fingerboard, nut and soundpost assembled, dressed, fitted and tonally adjusted in our Kansas City workshop.
Available sizes: 14.5” (F050), 15.5” (F850)
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• Kevin Luiz
Three Creative Ways To Integrate UAV Drone Content Into Your Adverts
Updated: May 5
Don't Like To Read? Give A Listen! Runtime - 5:30
Drone footage has sort of become a commodity in the world of creative content, and video advertisement. It’s no secret that these tools can create powerful, sweeping imagery of your landscapes, even making their way into the interiors of homes, or facilities. Generally speaking, audiences have become desensitized to drone footage. With this technology coming in at such a low point of entry, the only barrier in monetizing these tools is the acquisition of a Part 107 license. Thus, these shots have become democratized, at least in the non-monetized arena.
It should be noted, over using this type of content can actually have an adverse effect on your audience. Linger on a shot too long, and risk losing your audience retention. Use these shots too much, and alienate your audience with a perspective they cannot relate to. This type of content needs to be used sparingly, and at the right moments. In this short article, we will go over three creative ways to integrate UAV drone content, and how to leverage them with your video marketing tool sets.
· Bookends; at Capion Studio we have used this type of technique for years. It always wows our clients & audience to increase our production value. It also serves as an establishing shot for the piece. They work sort of like the “Jurassic Park doorway” if you will into the world we are about to paint. This is placed strategically at the front and back end of the video, giving a thematic undertone, or “book cover” feel with the open & close. Using the imagery of a landscape, building, or structure however is not enough. We amplify our establishing shots by using motion graphics, pushing, and pulling our subjects into the titles, or a call to action. For a big brand video, or capital campaign it’s not uncommon for us to title the piece, and then quite literally fly through the text. With drone footage, its all about moving past objects to reveal something, which in turns creates the sensation of flying. Without it, a landscape, or building lacks dimensionality and depth. So this is two fold;
· Create a sweeping establishing / closing shot to enter, and exit our audience from the video. Gain perspective on the world from a greater height (quite literally).
· Utilize motion graphics to offer a thematic undertone that coincides with your branding, as well as offer a call to action as the audience exits the piece. Push & pull through your motion graphics to add depth, and nuance that would otherwise be a flat, lingering shot.
· FVP Motion; Be careful with this one, you can make your audience sick! With that cautionary advice out of the way, FVP (short for first person view) can really blows the doors off your video. Like all aerial drone shots, it has to be used appropriately, but it can add a heighted sense of flying for your audience. Unlike traditional drone footage that have corrective, balanced motion in the roll, tilt and yaw axis, FPV drones are traditionally gimbal-less. Since the camera is hard mounted to the frame of the aircraft, this means when the drone banks, the camera banks with it, skewing your horizon. This can give the exhilarating, fast feel of flight which is akin to a bird. This is amplified when you move quickly past objects, land masses, or structures. It’s best application is utilized with motor sports, tier 1 car commercials, or large land masses that need very fast coverage in a short period of time.
EXAMPLES: (credit Ellis Van Jason)
· Top Downs; Exactly as the name implies, shots looking straight downward, or “nadir” can really add perspective to a piece. There is a ton of symmetry in our environments either man made, or natural. Often when we focus on a top down shot, this can pull our audience in immediately to our content with the “bigger picture”. Oddly, Top Downs aren’t used too often in commercial pieces, and that’s probably a good thing as it needs to have a specific purpose. At Capion Studio, we’ve used these types of shots in nature, to infrastructure, even to over people at events with our part 133 certificate for a closed set permit. Each of our shots can be extremely engaging to our audience, and almost feel surreal. Like Bookends, when you pair a top down with motion graphic tracking along with annotations you can create very powerful content for practical applications as well as inspection overviews.
These are just a few of the creative ideas you can utilize in conjunction with UAV drone technology. In a tasteful, and conservative fashion, drone shots can be strategically leveraged to enhance your production value, heighten the senses of your audience, or give a view that can offer some utility. At Capion Studio, we offer a Part 107 certificate for all monetized drone applications, as well as a combine 35+ years of licensed aviation experience. With our services, you can rest easy that you’re in good hands, and that we will get you the shot!
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Black Narcissus, now heralded as a masterpiece, is a landmark movie within the influential canon of Michael Powell and Emeric Pressburger. With the centenary of Powell's start in 2005 this well timed book--the first committed solely to the film--draws on archival records, unique set drawings and stills to illustrate its extraordinary achievements, either as a creation and as a motor vehicle for concepts. the film's enduring pictures of either position and gender, Sarah highway additionally examines Black Narcissus as a masterly technical accomplishment, in addition to a meditation at the finish of empire. taking a look too on the film's debatable reception through foreign critics and censors, and its next effect on experimental filmmakers, highway explores problems with process, kind, functionality and interpretation to bare the continuing relevance of the movie today.
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Quick preview of Black Narcissus: Turner Classic Movies British Film Guide (British Film Guides) PDF
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Additional resources for Black Narcissus: Turner Classic Movies British Film Guide (British Film Guides)
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The case of Black Narcissus generated an unlimited bulk of records that bring up fascinating questions about the implications of yankee censorship. The spiritual factor predominated, however it additionally had wider implications. contributors within the controversy weren't merely fascinated about the portrayal of the nuns, they have been additionally uncomfortable with the film’s imaginative and prescient of the East as seductive and enthralling. it truly is transparent from the records that the East–West dichotomy used to be one of many subject matters that commentators drew out. As already saw, in lots of methods Black Narcissus might be learn as a film that implicitly references the decline of the British Empire. simply because the sisters are pressured to withdraw from their ‘civilising mission’, the British had withdrawn from India (India Independence Act, July 1947). As bearers of Western influence the ladies in Black Narcissus fail to offer the East a sustained replacement to sensibilities which the film privileges as seductive. The post-war international used to be quickly changing into a decolonised one, with america assuming an ever-increasing monetary and political function, exhibiting the various imperialist assumptions previously held via the British Empire. it appears the debate over Black Narcissus used to be now not accordingly BLACK NARCISSUS seventy four easily confined to the objections of the Catholic Church. The film used to be definitely thought of to be an assault at the Church, the problem that exercised such a lot critics. although, as we've seen, it used to be additionally considered as an assault on Western civilization. Virginia S. Tomlinson’s evaluate explicitly says that ‘[Rank] is attacking the identified sanctity of a bunch of girls whose lives are (as he says) devoted to sacrifice and paintings and who stand for all that's holy and above reproach in a rocking global. ’ faith hence stands in for balance, Western civilization, stasis, ‘tamed’ and sacrificial femininity. What we all know and belief mustn't ever be visible to be below chance. Its defeat in Black Narcissus by means of strong ‘rocking’ forces of sexuality, hope, nature, good looks and freedom seemed at a significant juncture in East–West family members whilst political divisions have been being validated (and re-established) after the second one global conflict. With hindsight, it really is consequently ironic and exciting to monitor that the yank print cuts out the scenes which blur a inflexible East–West divide at a time whilst, as acknowledged recognizes, the us used to be adopting the Orientalist mantle within the East. fifty two Sisters Ruth, Clodagh and Philippa have been having a look outwards, past their speedy tasks, their stories probably contributed to the film’s advice of the lifestyles of another house, a convergence among a remembered earlier and a more difficult destiny the place strict divisions among East and West aren't any longer operable. via excising the flashbacks, the Legion of Decency accordingly unwittingly punished the nuns and the film for offering such an unsettling end-of-Empire fiction: in brief, for bold to ‘see too far’. 4 Revival and Appropriation Black Narcissus performed a huge half within the resuscitation of Powell and Pressburger’s reputations as significant British film-makers.
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sweet nothings - Vanessa Winship
blogEntryTopperThe first time I saw Vanessa Winship's photography was when she won the portrait section in the Sony World Photography Awards in 2008. Her entry showed two young schoolgirls from eastern Turkey.
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Later that year her second book 'sweet nothings' which was a collection of portraits of 'The Small Schoolgirls of the Borderlands in Eastern Anatolia' was published in the UK by FOTO8. It had a limited run of only 300 copies. A french edition was also published by Images en Manoeuvres Éditions. At time of writing some copies seem to be available from The Book Depository
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From the book I learn "Vanessa has lived and worked in the Balkans and Turkey for almost a decade. In her imagery, she focuses on the junction between fiction and reality, exploring ideas around the concepts of borders, land, memory, identity and history"
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Windship's photos have a quiet intensity about them. Her technique, in terms of viewpoint and framing, is straight forward and uniform from portrait to portrait. This helps to focus on the subjects and the equality of esteem afforded to each. The small book size book, 18cm x 22cm invites you to handle it closely. There is a photo on every second page printed on heavy matt paper stock which imparts a suitably old look.
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Winship says of the work “I wanted to make a series of portraits of these girls on the borderlands. Knowing their status I wanted to give a small space for the girls to have a moment of importance in front of the camera. I hoped the symbol of the uniform, the distance in repitition, and the austerity of the landscape would represent one thing, but I also hoped more than anything, in the expressions of the girls’ faces, to draw attention to the idea of these young girls poised at the moment “just before”. The moment where possibility lies, a time where the presentation of self teeters into consciousness.”
Photos from this collection can be seen on her website
This works comes from a few years back but I see that her latest project based in the USA, titled ‘She dances on Jackson’ has just been published by Mackbooks
Vanessa Winship from Türkiye'de Zaman/Time in Turkey on Vimeo.
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Exhibition Celebrating 100 Years of The Walt Disney Company to Launch in 2023
Exhibition Celebrating 100 Years of The Walt Disney Company to Launch in 2023
The Walt Disney Company partners with SC Exhibitions on a production marking a century of Disney innovation and inspiration.
Walt Disney Archives Logo
PHILADELPHIA – March 3, 2021 – In celebration of the centennial of The Walt Disney Company, SC Exhibitions has begun production on an exhibition that showcases the company’s history and rich legacy, to premiere at The Franklin Institute in Philadelphia in February 2023.
The exhibition will feature galleries with hundreds of artifacts and an immersive environment of sight and sound spanning 15,000 square feet, showcasing stories and characters from The Walt Disney Company’s last century, said SC Exhibitions CEO, Dieter Semmelmann.
Historian and Co-Curator Paula Sigman Lowery, an internationally recognized expert on Walt Disney and The Walt Disney Company, offered this comment as initial work on the exhibition gets underway: “It’s thrilling to bring Disney’s crown jewels – art, memorabilia, costumes, props, and one-of-a kind treasures – to public view – and to explore the story of one of the world’s most creative entertainment companies. Many of these objects have never before been seen outside the company’s archival, animation, and Imagineering vaults.”
“As we approach the 100th Anniversary of The Walt Disney Company, we at the Walt Disney Archives are incredibly excited about traveling a new and unique exhibit marking a century of unparalleled innovation and storytelling with the world,” said Rebecca Cline, director of the Walt Disney Archives. “This groundbreaking exhibition will celebrate the wonder of Disney, from 1923 to the present and into the future.”
President and CEO of The Franklin Institute Larry Dubinski added that “The Franklin Institute is thrilled to debut this world premiere exhibition in Philadelphia during the remarkable 100th anniversary of The Walt Disney Company. We look forward to celebrating the legacy of a creative empire synonymous with imaginative storytelling, innovation, discovery, and wonder that spans generations and delivers widespread, undeniable global appeal.”
The exhibition will also be the third collaboration between SC Exhibitions and Studio TK, a Berlin-based collective of architects, visual artists and experts of entertainment technology who specialize in aiding the creation of brand exhibitions. “It’s great to work at The Franklin Institute again, where our ‘Marvel: Universe of Super Heroes’ exhibit drew hundreds of thousands of visitors in summer 2019 to the galleries. It’s a big honor to develop the design for the 100th anniversary exhibit of The Walt Disney Company with the Walt Disney Archives,” says StudioTK exhibition designer Tobias Kunz.
The as-yet-untitled “Disney Centennial” exhibition will launch in February 2023 at the Franklin Institute, with a second, parallel staging for territories outside the US set to have its global premiere the following month, says Semmelmann.
Leave a Comment
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The work of Matko Trebotić, one of the most renowned contemporary Croatian visual artists and our fellow citizen, has been selected from a segment of his oeuvre where Trebotić passionately and continuously engages with Marko Marulić's Judith. His enduring immersion in the currents and messages he discerns in Marulić's work was perhaps best recognized early on by Tonko Maroević, who expressed that "the relationship between the painter and the poet is based on primary attraction, on seeking originality that our contemporary senses in the father of Croatian literature, as a representative of regional and local values and as an advocate of universal spirituality." (Vijenac, issue 186; April 19th, 2001).
Instead of currency exchanges and windows cluttered with advertisements, the neglected facade at the corner of Marmont Street and King Tomislav Street will soon receive a visual dedication to Marulić and his Judith.
The proposal was agreed upon and executed in collaboration with the author. For the work's motto, verses were chosen that could hardly be more relevant despite five centuries having passed since their creation:
God chastises us less than we deserve:
He makes us aware to fear Him,
to leave sin behind, to become better,
so that we do not lose what we have
Marko Marulić: Judith, III 334
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Salient is known as a multipurpose wordpress theme that has been about for over ten years and is nonetheless among the top 5 various themes in Themeforest. Very low customer rating of 4. 8 out of five, which is decent and reveals that potential buyers are extremely happy with the idea. It has a great deal of options which you can use to create any type of website, and it is quite simple to use.
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Artist interview with Laure Prouvost as part of Oui Move In You
Watch our artist interview with Laure Prouvost, discussing her major solo exhibition Oui Move In You showing at ACCA until 10 June 2024.
Encompassing new commissions and a survey of existing work over the past decade, Oui Move In You transforms ACCA’s unique architecture into a labyrinthine and other-worldly environment, introducing Australian audiences to the imaginative, absorbing and frequently absurdist hallmarks of Prouvost’s diverse artistic practice.
Laure Prouvost is among the most celebrated artists on the contemporary international art scene, with ACCA’s exhibition the first major presentation of the artist’s work in Australia. Born in 1978 in Lille, France, Prouvost lives and works in Brussels, Belgium. Prouvost graduated with a Bachelor of Fine Arts from Central Saint Martins (London, 2002) and a Master of Fine Arts from Goldsmiths College (London, 2010). Prouvost represented France at the 58th International Art Exhibition at the Venice Biennial in 2019. She was the recipient of the prestigious Turner Prize in 2013 and the MaxMara Art Prize for Women in 2011. Prouvost has recently presented solo exhibitions at Remai Modern (Saskatoon, Canada 2023); Nasjonalmuseet (Oslo, Norway, 2022); Longlati Foundation (Shanghai China, 2022); and Kunsthal Charlottenborg (Copenhagen, Denmark, 2021), which included a major new video work co-commissioned with ACCA; as well as a wide range of public art and performance projects.
Curators: Max Delany and Annika Kristensen
Video produced by Gatherer Media
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5 Top Classical Guitar Technique Mistakes
The Usual Suspects: Common Guitar Mistakes
Throughout my teaching, I have noticed time and again some common mistakes that many beginning players make.
These mistakes are especially common with self-taught players. The fundamentals of good classical guitar technique aren’t always instinctive.
5 Common Guitar Mistakes
1. Poor alignment:
Extreme angles in any joint will likely lead to problems later, and create excess tension.
Ideally, every joint between the shoulder and fingertip finds a neutral position at its mid-range.
To make it simple, try to keep your wrists straight or with the big knuckle slightly lower than the wrist.
Ideally, you use a good sitting position, and stay aware of your positioning and form.
2. Bracing:
Bracing is touching the top of the guitar with the right hand pinky or ring and pinky.
Bracing one or more fingers restricts the motion of the others, and also creates considerable tension.
If you want to play well, and progress more advanced music, you’ll eventually need to “float”.
3. Bicycling:
“Bicycling” is hooking the strings with the right hand fingers and pulling up, snagging the strings (extremely common).
This creates a thin tone and excess tension, and is also a cause of Bouncing (below).
Bicycling often results from the palm and wrist staying too close to the strings and guitar.
You can tell whether you’re bicycling if you use your left hand to touch the middle knuckle of the right hand while preparing to play a note.
When you play through the string, the middle knuckle ideally moves directly into the palm, instead of away from the palm.
If you feel the middle knuckle push on your left hand fingers at all, you’re bicycling.
4. Splayed fingers:
Right hand fingers are widely separated from each other. Again, avoid extremes.
Excess distance between the fingers creates tension. It also makes it very difficult to close your hand, with the fingers coming all the way into the palm.
As an analogy, try running with your legs very separated. Not so effective.
5. Bouncing:
Bouncing is the habit of lifting the right hand away from the strings upon playing a note.
This takes your hand out of optimal position, and increases the likelihood of missed notes.
Constantly having to reposition creates a low-grade stress, and generally increases tension.
This usually goes hand in hand with “bicycling”, above.
There are more common mistakes than just these, but ensuring that you’re clear of these will be a huge step in the right direction.
In case you were Wondering…
In this video, I was using the Gitano Guitar Support (not an affiliate link). It’s a guitar support that puts the guitar in a great position for playing. It attaches with suction cups. I am a big fan, but it is not entirely perfect. It has let me down in performance by popping off (a harrowing experience, I assure you!).
But for most people, and for everyday practice, it’s a great solution, and a big help. You can find more on sitting and holding the guitar, as well as several other guitar support reviews here.
What’s next? Perhaps one of these:
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Video still for Ghostwriter Sandra Carluccio at The Royal Albert Memorial MuseumSandra Carluccio at The Royal Albert Memorial MuseumSandra Carluccio at The Royal Albert Memorial Museum
Ring the number on the wall and take a personal tour through the renovated Royal Albert Memorial Museum in Exeter.
The woman who speaks to you recently broke her ankle. At least it seems to be recent. This quiet, intimate interactive journey hovers between late night radio and eavesdropping on someone else's phone call. As you wander the rooms you slide through time and space. Sometimes she describes objects you can see. At others you're in barn or on a lawn. Her final invitation brings you smartly back to the here and now: make a recording that will become part of the Museum's collection.
An audience member receives a phonecall
Ghostwriter is a commission for the Royal Albert Memorial Museum in Exeter as part of the relaunch of the renovated building in November 2011.
The work springs from the saying that “A million objects give rise to a million thoughts” which the museum uses as a concept for their collection. Each object in the collection carries an aura and resonates with the extraordinary histories of those who made it and used it. Ghostwriter is an interactive phone call that subtly hovers between the present and the past, between the here and the elsewhere.
Visitors ring in and hear a woman whose voice gently draws you into the museum. She describes her surroundings and they seem to match yours. She describes an object in front of her and talks about its role in her life. But this line between her surroundings and yours is unstable. At times she says things that suggest she is somewhere else looking at a different object. And you can interact with her, jumping in time and space or even making a recording of your own about an object that resonates in your life.
Ghostwriter has echoes of the museum guide, of the radio heard late at night and of the writing of Paul Auster. It has a spare, metaphysical style that is part detective novel and part internal monologue. Its ghostly tenor and rich atmosphere act as a mysterious lure towards the reinvented RAMM.
New Expressions is a partnership programme for museums in South West England. It pioneers sustainable collaboration with artists and audiences to invigorate museum collections, buildings and spaces. It enables museums to commission new work and to join forces with contemporary artists to create high quality, participative projects and compelling visitor experiences.
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