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The Fire Of Olympus By Tim Benjamin
September 1, 2019 — 32 Comments
This week sees the start of the rehearsals in Manchester for Tim Benjamin’s opera “The Fire Of Olympus” in which I take on the role of Pandora in this modern-day adaptation from Greek Mythology.
The opera has been composed by Tim Benjamin who is also the artistic director of Radius Opera. As the driving force behind this project, I asked if he could spare a little time to answer a few questions and he kindly shared his insight with us.
Tim Benjamin – Photo By Nic Chapman
1. The Fire of Olympus is a new opera, what inspired you to pick this subject?
In 2016 I wrote an oratorio, “Herakles”, for choir, large orchestra, 5 solo singers, and a narrator (spoken)
At the very end, the narrator, who plays the part of “Time”, a kind of mystical storyteller, says: “Perhaps now I shall tell you the story of Prometheus… but no, that can wait for another time.” The oratorio was a big success, especially with the choral society that performed it, and lots of people asked when they were going to get a sequel about Prometheus. And so the idea for this opera, “The Fire of Olympus” came about! While the opera is a very different style of piece, two of my collaborators are the same; Anthony Peter my librettist, and Professor Emma Stafford, of Leeds University, our resident Ancient Greece expert.
2. What musical influences have you used when creating the opera?
The main musical influence is Handel, specifically his “Italian” operas such as Giulio Cesare and Serse. However, rather than a pastiche (i.e. trying to make something exactly like a Handel), I have actively tried to “steal” Handel, to make it my own, in a similar way that one could accuse Stravinsky of “stealing” Pergolesi, or Britten of Purcell. So I think the end result sounds initially a bit like Handel, but on closer inspection, it’s something quite different…
There is also a strong personal, non-musical inspiration from Handel: his opera company in 18th century London, with which he directed many of his operas at the Queen’s Theatre, and practically defined the fashion for musical drama at the time. I would love to achieve something along those lines, in the modern world and context, with my company Radius Opera! So we are filming “The Fire”, in a very artistic way, and hope to use this popular contemporary art form (film) with the style of 18th-century popular opera, to forge something new and with broad appeal.
3. I think it was an amazing idea to use technology and pre-record large choir choruses, have you seen this done before? Or was it a completely new direction for you?
I have never seen or done this before, although I’ve created one or two large choral pieces. What appealed to me is the kind of person who joins their local choral society, then enjoys a wide variety of choral pieces from African Sanctus to The Messiah, performing alongside professional soloists, and develops a really fun-loving approach to music-making. I wanted to create something with those people, and give them back this new opera. And so we went and did numerous workshops, all over the north of England, and created this Chorus for “The Fire of Olympus”. It was huge fun and I can’t wait for them to hear what we’ve done!
4. What qualities do you think an opera company director needs to bring a project from inception to life?
Well, it’s hard, really really hard. There is basically no public funding for this – the Arts Council fund the big companies, but they have little money and many people competing for a slice of a diminishing pie, so they fund things like creative street festivals where the “bang for your buck” is greatest. It’s an inescapable fact that opera is expensive – perhaps the most expensive art form, particularly difficult at the “indie” level at which I’m working. I would say its only comparison (in respect of cost and difficulty) is film, which is also really hard to do well, and for which it’s also really hard to raise money for. However, with film, there are revenue streams – licensing deals, cinemas, TV – which don’t exist for opera, which really can only count on a theatre audience. And so, if opera is not subsidised somehow, ticket prices have to be high in order to pay for the work; so opera sometimes ends up accessible only to those who will pay the price. I hate that, as opera is truly an art intended for ordinary people to enjoy, much more so than (for example) chamber music or symphonic music.
I’m not sure if that answers your question! But for me, the hardest part has been trying, on one hand, to raise money and on the other hand to persuade people to donate things to us, while with my other hands, I try to create work of originality and high quality. So what does an opera director need to be? I would say an octopus. You need to have many hands…
5. Can you sum up the story, was it daunting to bring Greek mythology into a modern setting?
Zeus is a horrid, overbearing, manipulative man-child, President of Olympus and all-powerful. Prankster-activists Prometheus and Epimetheus accidentally steal his Fire, an ancient artefact that is the root of Zeus’ might. He despatches his minions Hephaestus and Pandora to recover the Fire, but they plot against him. So we end up with tragedy, comedy, passion, and politics that I think are really resonant with our present “interesting times”.
I did not think it was very daunting, though – the stories from ancient Greece are so fundamental to our culture, they almost can’t help but be familiar, yet teach us something new each time we hear them!
6. Did you remain true to the Greek legends and myths? If not, what changes have you incorporated?
The dystopian modern setting and characterisation are of course new, but apart from that, we have remained true to the myths. We have been assisted by Professor Emma Stafford from Leeds University, who is an expert on ancient Greece, but perhaps, more importantly, is a very keen amateur singer and actor!
7. When I storyboarded my role in preparation for rehearsals, I imagined Pandora as a Miss Sloane, Ivanka Trump, Karen Brady type woman, how do you see her?
She reminds me, a bit, of Claire Underwood in “House of Cards”, but really she’s a super-ambitious self-made ice queen, who has risen to the very top and has designs on Zeus’ position.
OK, that is not strictly true to the original Greek myth. Pandora was “created” by the gods as a punishment for stealing fire – in order to punish the first man, gods sent the first woman, effectively!! – but we felt it would be more interesting to interpret this as a powerful career woman who is flippantly destroyed by the man she helped secure in his position of power.
Nonetheless, she is still sent with her “jar” (the word “box” is a mistranslation!) to punish Epimetheus; and it is true to the Greek that she and Epimetheus end up as an item, confounding the gods’ intentions, and found the race of men from whom we all descend…
Tour Locations and Dates ( click on the picture below for tickets )
If you have any further questions I will try and answer them for you.
32 responses to The Fire Of Olympus By Tim Benjamin
This looks fabulous! How exciting for you to be part of a new opera like this. Have fun with the rehearsals and the performances.
Charlotte Hoather September 1, 2019 at 10:47 pm
Thanks Peter, the first week’s rehearsal started well, I enjoyed learning the role and music, there are some challenging rhythms to evoke emotion.
All my best wishes
You do excellent interviews, Charlotte. I really like the idea of the thousand voices. One thing I noticed about the choirs is they are mostly older people, like our choirs. How do you get young people into choirs? Otherwise, mixing all those voices to be played with the opera will be so wonderful sounding. You sounded beautiful in the bit where you showed up in the second video. The whole project sounds like it will be a great success.
Charlotte Hoather September 1, 2019 at 10:50 pm
Thank you Timothy 😊. We have lots of children’s choirs in schools and big churches. When I started at the Conservatoire in Scotland I was a member of their female chamber choir for my first three years and the RCS Chamber Choir for four years. I’m looking forward to week 2 starting tomorrow.
Best wishes
We have children’s choirs, school choirs, church choirs, university choirs, but few younger adults seem interested in community choirs. We had to disband our Westside Chorale because of not enough singers, and the few singers we had were 60 or older. What’s frustrating is the westside of town has lots of families and young adults.
Charlotte Hoather September 5, 2019 at 6:23 pm
Perhaps we need combination choirs for families, Mums and children singing together or Dads and their children or both. We went to karate classes with my Dad and he took part and took his grades at the same time as us and encouraged six or seven other parents to take it up rather than just sit watching and we took Ballroom and Latin dance lessons for about six years as a family Mum & Dad paired up, me and my older brother and our neighbour with my youngest brother taking our medal tests together.
Choosing the correct repertoire for choirs is important too and giving performance opportunities, maybe competing or even just opportunities to sing for fundraisers for local charities. It’s a shame you don’t see more shows on tv with choirs like the Glee show choirs that were so popular. It can be such fun and a good community activity.
I assume the skills you learned in karate and dance are very useful in your opera performances?
I think families that do things together like your family and our family are rare. My wife daughter and I always did activities as a family — karate, various kinds of dance, music, choir, rose arranging, bonsai, and bicycle racing. We were usually the only family, and actually there were few couples involved in any of the above listed activities.
I agree that family participation and showing how much fun choir can be would help get more participation.
Wow! I’ve listened online to the chorus recording clip, to Tim talking about the opera with rehearsal clips, and read your interview and I’m gutted that there is no way I can get to see this live. Hope it goes brilliantly and you all have fun.
Charlotte Hoather September 1, 2019 at 10:54 pm
It’s great to hear Tim’s passion for his work of heart isn’t it! I’m very excited for our first show in Burnley such a shame we don’t have a performance in London but it’s great that we’re touring near home. Thank you 😊.
All my best wishes
Ok, you’re in Manchester, I support you, I’ve just booked a ticket. You’d better wave to me!
I love opera and studied Greek methology in college.I would love to see this one. Sounds exciting and you have a terrific role.
What wonderful people you know. And I am so grateful that you are sharing them with us! Enjoy the new show.
Charlotte Hoather September 1, 2019 at 11:02 pm
I’m having a great time, like you say meeting the most interesting people dedicated to opera.
All my best wishes
Congratulations, Charlotte! Wishing you all the best in your performances.
Interesting interview Charlotte, sorry the music wasn’t working….
Congrats on playing Pandora. So wonderful!!!Darlene
Wow, géniale, j’adore cette approche d’écriture et de travail de mise en scène !!! Je vais essayer de venir à Manchester… rien de sure encore… On pourra peut-être essayer de faire séance photo par la même occasion…. Meilleurs pensées pour Toi !!
Another great blog post Charlotte and a lovely look into your exciting world. So pleased your coming to Manchester, me and Terry will be getting our tickets👏👏👏 😘
I like the question #4 and his answer. It is not just money but many are looking for their pieces too.
What a superb Pandora you make, Charlotte. I’ve always loved the Greek myths and now you bring them to life!
This productions sounds so exciting! Best wishes!
Charlotte Hoather September 6, 2019 at 9:41 am
Thank you so much ☺️ I enjoyed learning about Lughnasadh on your blog and hope you ticked off lots of your goals good luck for those remaining 🍀
Most intriguing story, plot and interview…! I wish you great fun and success for you role as sort of Ivanka… :)))) but what will she think about it listening and seeing this opera? Would she feel honoured or rather be vexed? :))))
That was a fab interview, Charlotte!
I especially enjoyed the rehearsal footage! Thank you!
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Thursday May 23, 2013
Survey results are meant for general information only, and are not based on recognised statistical methods.
Charlie Chaplin's bowler hat, cane in 'Little Tramp' sold at Los Angeles auction
LOS ANGELES, Calif. - The bowler hat and cane that accented Charlie Chaplin's costume in "Little Tramp" has sold for $62,500 at an auction in Los Angeles.
Bonhams said the silent film star's trademark accessories were sold Sunday at an auction of Hollywood mementos.
Other notable items included a handwritten letter from John Lennon with a nude drawing of him and Yoko Ono. It went for $25,000.
A set of original photographs of Marilyn Monroe sold for $21,250 and a painting by Frank Sinatra went for $10,625
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Riba Award For Building Inspired By Machu Picchu - Machu Picchu Trek
Machu Picchu Trek
Riba Award For Building Inspired By Machu Picchu
machu-picchu-riba-award-2
Machu Picchu is arguably the most breathtakingly beautiful archaeological site in the world. It is an ancient ruin, thought to have been built as a place of worship or as a country residence for an Incan emperor.
Now, a Riba Award has been awarded to a “modern-day” Machu Picchu: a concrete university building in Lima, Peru.
The cascading levels of the Universidad de Ingenieria y Tecnologia (UTEC) and open-air stairs were based on Machu Picchu.
It is also adapted to the mild, tropical Peruvian climate and provides just as many outdoor areas as indoor ones. This reduces the demand for air-conditioning and truly laments its winner status.
One of the reasons why UTEC was able to capture the attention of the Riba award was because of its unusual design.
machu-picchu-riba-award-2
The north face of the building is a curved, boomerang-like shape along the motorway. This cleverly prevents lots of noise from traffic and shades the interior while the south face is a sea of flowing terraces.
It won’t be grey concrete for long, though, as the terraces will be covered in the vibrant colours of bougainvillea, a plant surrounded by brightly-coloured papery bracts.
machu-picchu-riba-award-4
As a result of this innovative creation, the judging panel said that Yvonne Farrell and Shelley McNamara’s design won as “it is as bold and as pure a statement of the symbiosis between architecture and engineering as could be imagined”.
Designed by a female-led Irish firm, UTEC is the first to win the global prize from the Royal Institute of British Architects as the best new design. This is a significant win for not just architecture in general, but female architects too. It proves that women in the field can create something amazing.
The new Riba award was set up to “celebrate civil architecture that empowers people and societies to innovate and progress” and Lord Rogers, chair of the panel, said UTEC is “an exceptional example of civil architecture – a building designed with people at its heart.”
Images by: Iwan Baan / RIBA Comms
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The Signifyin(g) Saint: Encoding Homoerotic Intimacy in Black Harlem
On the left, “Edward Atkinson as Blessed Brother Martin de Porres” Photo by Carl Van Vechten©Van Vechten Trust, Courtesy of Beinecke Library, Yale University. On the Right: “Edward Atkinson as Blessed Brother Martin de Porres” Photo by Carl Van Vechten©Van Vechten Trust, Courtesy of Beinecke Library, Yale University..
Atkinson’s series of eight photographs is one such Diasporic crossing, and his depiction relied upon costuming and propsplastic rats to signify the living ones that Martin, blessed with the gift of animal communication, convinced to stop eating his convent’s grain supply, and a broom, the sign of Martin’s servile position that earned him the nickname Fray Escoba (Brother Broom). Atkinson’s staged performance had an intended audience of one: his lover Countee Cullen, literary giant of the Renaissance who was fourteen years his senior. Over the course of their clandestine nine year affair, Van Vechten shuttled photographs he took of Atkinson to Cullen. Unraveling how Atkinson, Cullen, and Van Vechten entangled a mulatto friar from colonial Peru in their encoded communiqués twenty years before the Vatican acclaimed him St. Martin, presents a generative opportunity to reassess the dynamics of appropriation, aesthetic blending, and spiritual yearning as queer practices of Diaspora.
In 1928, off the fame of his poetic collections Color (1925), Copper Sun (1927), and The Ballad of the Brown Girl (1927), Cullen married Yolande Du Bois, W. E. B.’s only daughter, in one of the most lavish events in Black New York history. Three thousand people crammed the Salem Methodist Episcopal Church to witness the nuptials as “baskets of mixed flowers and cages of canary birds…hung on the balcony railing.” With close friends Alain Locke, Langston Hughes, and Hugh Jackman, Cullen was no stranger to Harlem’s queer subculture, but fundamentalism and respectability politics foreclosed the possibility of open queerness for Cullen and forced him into a closet for the duration of his life. His short marriage to Yolande proved disastrous as she quickly discovered his attractions. After a series of letters to her father, Yolande finally outed Cullen:
About Countee and myself—the reason I haven’t said much is because I hated to….Countee told me something about himself that just finished things. Other people told me too but I thought & hoped they were lying. If he had not told me himself that it was true I wouldn’t have believed it but since he did I knew then that eventually I’d have to leave him….When he confessed that he’d always known that he was abnormal sexually – as far as other men were concerned, then many things became clear.
Yolande’s “feeling of horror & disgust at the abnormality of” Cullen’s revelation points to how social shame could police queer expression. Despite their 1930 divorce and the initiation of his affair with Edward Atkinson in 1937, Cullen married Ida Mae Roberson in 1940, remaining her husband and Atkinson’s lover until his death in 1946.
Separated by three hundred odd years and 3,600 miles of timespace, a teenaged Martin de Porres entered the Dominican Convent in Lima, Peru as a donado (indentured servant). Though the freeborn son of a Spaniard father and freed Afro-Panamanian mother (negra liberta) named Ana Velázquez, Martin’s mulatto casta barred him from taking the vows of a priest. Nevertheless, he ministered to the enslaved African community, using the skills he acquired while an apprenticed surgeon-barber. Working out of the convent infirmary, Martin attained fame as a curandero-sanador (curer-healer) and yerbero (herbalist). His saintly charisms (spiritual gifts) include instantaneous healing, bilocation, ecstasies and levitations, subtlety (the ability to pass through solid objects), and the aforementioned animal communication.
Father Thomas McGlynn, O.P. with his statue of Blessed Martin de Porres, 1930. Photo courtesy of the Dominican Province of St. Martin de Porres (Via Pinterest)
The road to official sainthood is a multistage process beginning with the candidate’s death and involving the emergence of a popular cult and its careful management by Church officials. A case for sainthood proceeds through the stages of veneration, beatification, and lastly, upon verification of two miracles, canonization. Martin’s process opened in 1660; the Vatican declared him Venerable in 1763 and Blessed in 1837. Efforts to push Martin across the finish line coalesced with the U.S. Church’s focus on evangelizing the Black community, all while New York City percolated as a node of Black internationalism and aesthetic production. After priest and sculptor Father Thomas McGlynn, O.P. displayed his statue of Martin for a 1930 religious art exhibition in Midtown, Martin gained cult figure status among overlapping sets of Black Catholics, intellectuals and artists.
The Journal of Negro Education described Martin as “a great Negro churchman who won favor with Almighty God” while The Journal of Negro History briefed its readers that “the ecclesiastical process for the canonization of Blessed Martin was reopened in Rome in 1926” and that 1939 marked “the third centenary of his death.” Ellen Tarry helped an ailing Claude McKay get back on his feet by moving him into the Blessed Martin de Porres Center, a friendship house founded in 1937. Martin remained a significant figure within Harlem subcultures well past the Renaissance. Pianist Mary Lou Williams reported a vision of Martin appearing at the foot of her bed while she composed her jazz mass Black Christ of the Andes (Hymn in Honor of St. Martin de Porres), performed publicly at St. Francis Xavier Church on Martin’s first feast day in November 1962. The following year brought the publication of Tarry’s Martin de Porres, Saint of the New World. Ada “Bricktop” Smith, owner of the heppest jazz club in Paris during the 1920s and 30s, kept an image of St. Martin on the front door of her Manhattan apartment in the 1980s.
Edward Atkinson’s portrayal of Martin is unique among these for its mobilization of Catholic iconography for unorthodox expressions of homoerotic intimacy. Despite Cullen and Van Vechten’s elite provenance, I am interested here in the vernacular performativity of these photographs and how they articulate Martin de Porres through double-voiced signifyin(g) practices of dissimulation and ambivalence. The excessive nature of Black expression, “decorating a decoration” in Zora Neale Hurston’s colorful phrasing, slips past the limited register of word-based modes of communication into multisensory and multidirectional dimensions of performance. In letters with Atkinson, Cullen used various alphabetic and graphic encoding tactics. Ellipses (…) took the place of the word love. The abbreviation D. and B. signified dearest and best. But following the June 1942 photo shoot, letters between Van Vechten and Cullen included Holy Brother Martin as a euphemism for Edward Atkinson.
St. Martin de Porres chromolithograph prayer card, undated.
The substitution of nouns within this Black queer grammar reveals how queer signifyin(g) makes use of associations and connotations that can never be discovered within a text, no matter how closely one try to read it. Cullen, Van Vechten, and Atkinson’s play of meaning constellates across a field of multiple stagings and performances: the event of the shoot, its props and costuming (which relate to masking, tying, and covering practices across the Diaspora), Atkinson’s gestural poses, Van Vechten’s development and processing of the negatives into prints, their circulation as objects to be handled, perhaps even kissed and fondled. One sees in these haptics (touch-based knowledge) the refracted circulation of prayer cards and other Catholic sacramentals, but set within a Black queer frame.
And despite temptations to read the visual text of Atkinson’s photographsdid Martin’s intimacy with rats somehow mirror the social-outcast status of Black queerness?I find it more intriguing to entertain the notion that Black vernacular practices pillage any and all useful resources in figurative, selective, and extractive ways. The Haitian Vodouisants who use Martin to signify the Ghede spirits (lwa) of the cemetery do so for the simple reason that the chromolithographs depict a Black man holding a cross, this Christian emblem double voicing as Papa Legba’s crossroads and the Dahomean cosmogram conceiving the universe as a sphere transected by two mutually perpendicular and intersecting planes.1 Without any need for deep interpretation, the figure of Martin’s Black body contains sufficient resonance and mutual recognition for Black subjects to discover their interwoven patterns of connection within the diverse textures of Diasporic life.
The queer work of Diaspora emerges from a repertoire of signifyin(g) tactics worked out behind the back, and sometimes, right in the unwitting face of heteronormative patriarchal White supremacy. Drawing upon Martin’s six-century durée within the Americas as both a historical figure and a figure of repetition within Black culture, I hold up vernacular performance as a multisensorial field of mobilization for Diasporic projects, those radical imaginings and enactments of Black sociality and affiliation in response to chronic conditions of loss and displacement. By deploying Martin as an encoded expression of homoerotic intimacy, Atkinson and Cullen dared to instigate a flourishing of vibrant life in the barren valleys of African America, a land far too-often chilled by the shadows of death.
1. My knowledge of this practice results from private correspondence (including pictures) with Dr. J. Christopher Kovats-Bernat, Distinguished Visiting Research Affiliate and Ethnologist-in-Residence with the Bureau of Ethnology at the State University of Haiti in Port-au-Prince.
James Padilioni Jr
James Padilioni, Jr. is a 2017-18 Consortium for Faculty Diversity Dissertation Fellow in History at Lewis and Clark College. His research interests include the diverse plantation lifeworlds created by enslaved Africans and their descendants across the Diaspora, with a focus on Black musics and cosmologies, Afro-Latinx and African-American folk Catholicism, and Diasporic occult, magical, ecstatic, herbal, and pharmacopic practices. This research is animated by questions concerning ritual, performance, choreography and embodied knowledge, Diasporic consciousness and memory, and the genealogy and ontology of race. James is co-host of the Always Already critical theory podcast and the director of its Epistemic Unruliness interview stream. Follow him on Twitter @ApontesGhost.
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About the Artist
Kelly’s intricately crafted ceramics can be found in 30 galleries in 15 states, as well as in corporate and university collections. Small, delicate and abstract, her art objects reference biological entities throughout the natural world—whether clinging to rocks in a tidal pool, swimming beneath the viewfinder of a microscope, or intertwined on a forest floor—with compelling non-specificity. Each of her hand-made objects, whether of porcelain or stoneware, may also include handmade textiles. She carves the works’ intricate designs using a variety of household utensils and dental tools. A lengthy process of sanding, firings and hand-painting yields highly textural work encrusted with layers of markings and meanings. “When a collector picks up one of my pieces they see the detailed carving, feel the unique tactile quality of the surface and then also realize the piece makes sounds,” says Kelly, who has an MFA from the University of Michigan. “This is my way of acknowledging that the work was meant to be touched. It’s part of the experience.”
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...that will be provided in chat) We want to add a rainbow trail ([url removed, login to view]) behind the rocket with the following requirements: - Rounded strokes fade off first before the color in the circle fading off - Change the size of the trail depending on the rocket size - Remove the green and blue colors *Developers must be familiar
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...simple jQuery slider or carousel without any moving arrows (prev, next) or bullets, only one product will be visible in time and after eg. 3 seconds next product will come by fade effect. JPG graphic design attached, PSD will be sent directly to chosen worker. All used fonts are available in Google Web Fonts library: - Montserrat Bold, Regular
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I am using S2member pro for my subscription website. I want to display the first two paragraphs of an article and then fade it out, and display subscribe button / login button to read more.. Subscribe and login button should be blue with with white text. Please confirm that you are able to work with S2member pro shortcode.
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...hand writing in the back capital letters then lower case, with hand righting off center to the drawers right hand, shaded with their skin colors faded in the hand righting. one fade for each characters hand righting background. Really appreciate you looking at this, if you think this is something that you might find fun to do ill give you all the colors
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...recording. You will need skills in - - High res screen recording - Video editing. The ability to match the screen recording with the provided voice over - Add a generic fade in/out business logo ( also provided) - The ability to zoom in on certain buttons. Please only bid if you are able to provide these skills. We are a start up but need a
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...know which is color background then I will stop use my sign. easy to Identity of colors. I have planning to hire mariachi instruments background. when closed to end put the fade out or something like that. Anyone who can make for me Video like this Teleprompter. When I use Sign Language as Song. People can read the screen projector and they can watch
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who can hear...language with a song (Lyrics) Hamd Lyrics for my wedding. does match called Hamd - Allah He Allah Kia Kero - Hassan Ali - 2017 without sound. I want to make video Intro and end fade out. good example video but not a guy in a video. similar background with text. I will know I can sign. [url removed, login to view]
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...and make it look great. 3- I can spin the image in the center, upward or downward. After I spun ( liked or disliked), the current user will go away and next user will be replaced. The transition between the current profile and the next profile must be eye-catching, it must be lovely. Try fade-out fade-in or any other lovely transition. IMPORTANT
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...swiping animation is crucial, it must be smooth, it must be lovely to use, we don't want jerky animation, try to use your innovation and make it look great. 3- I can spin the image in the center, upward or downward. If I spin upward, it means I like this girl/boy ( much like swiping to right/left on Tinder/Bumble) If I spin downward, it means I DON'T
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...points, wrong guesses (only in Advanced and Pro levels) should decrease the points. No fancy UI/Game Engine needed. It is like a trivia app. Just simple animation like slide and fade. Beginner level shouldn't have time limits but Advanced and Pro levels should have a time limit for 60 seconds. Need it soon by April 23rd PS. The app will not not be submitted
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Hi, I have ...through the years/as time progresses; a future of possibilities. Horizon-style colors where an ocean meets the sky might be good around/behind this. Perhaps the 3 concepts fade into one another in a wispy/vague/dreamlike way. None of the above suggestions are set in stone, please be creative and looking forward to working with you.
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...play 1 minute of “God’s Plan by Drake”. The one minute can be any random section of the song as long as it is the full minute. Once the timer is done all i want it to do is fade from one song to the next in your playlist or itunes and do the same thing (play a random section of the song for the amount of time that the timer is set on). I want it to
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Trophy icon Design a Logo Ended
We would like a logo for our new Blog: Colibri Cuba The logo should be in cursi...sign there should be a humming bird (coliber) in colors of Cuban flag (red, blue, white) dropping a small green leaf over first i on the world Colibri The tail should gently fade fro m letter a in Cuba schech in attachment and some example of humming birds as well
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This is a very simple job we would like done in ...Ka?dl=0 Please take the current opening animation off and replace it with this new one. If there is an animation at the ending of each video, please cut that off too and fade the video to black. You can send one video once we have gotten started so I can tell you if you did it correctly. Thanks!
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I need a logo designed. I need a design for a company called fox and fade. I’d like to do a very feminem looking cartoon fox with a faded comb over
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I want to be able to click a div and do two things: Fade that DIV out. Play the youtube video. When ID play-button1 gets clicked Fadeout ID play-button1 And through youtube API trigger the video to start playing The page is done, just trying to get it working: [url removed, login to view]
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...to be shown in a magazine for a local sailing club. Feel free to be creative and make suggestions to improve the content. UPDATE 1: We were hoping that someone could fade the picture we have chosen into the background by making it mostly transparent and the words to take center stage! UPDATE 2: Could we add this as a preface to the questions:
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The video is 12 seconds long. I need help making it slow mo with an added fade overlay.
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hi, i would like to have a simple slide...installed SLIDER REVOLUTION and LAYER SLIDER I want to transition between image A-X-B-X-C-X (then loop back to A) images A B C will be displayed 1000ms image X will be displayed 100ms the transitions will be simple 200ms fade in/out PLEASE HAVE A LOOK AT THE ATTACHED IMAGE, EVERYTHING IS EXPLAINED THERE
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...as pins) pop up on the surface of the moon 8. A preview of the homes slide in from the right END The entire clip should be roughly 30 seconds. Bonus points: the UI can fade to black (with white text) as the map zoom reaches outer space. Here are some ideas for places to show on the Moon... Neighborhoods * Sinus Fidei * Mons Ardeshir * Clavius
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Jul 22
structural design included
Structural load - WikipediaLoads cause stresses, deformations, and displacements in structures. Assessment of their effects is carried out by the methods of structural analysis. Excess load or overloading may cause structural failure, and hence such possibility should be either considered in the design or strictly controlled. Mechanical structures, such.structural design included,Structural Analysis - Dayton T. Brown, Inc.Our expert structural analysis engineers can help you find out if your structure design will be able to withstand structural failure. . analysis capabilities, including linear and non-linear analysis of frame and structural systems under static and dynamic loadings and analysis of structures in steel and reinforced or unreinforced.
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Design - Steelconstruction. considered as the 'core' document of the structural Eurocode system as it establishes the principles and requirements for the reliability, serviceability and durability of structures. It also describes the basis for structural design and verification. The main sections of BS EN 1990 include:.structural design included,structural design included,CLC Consulting Group Ltd: Structural DesignOur staff's experience and background is diverse, providing us with the ability to service a wide range of clients, including housing companies, territorial authorities, architects, insurance companies and large and successful property developersfor exampleFletcher Living and Jalcon Homes. CLC's structural design team has.
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Fully integrated load analysis included in the structural reliability .
The present work investigates where cost reductions in the support structure are possible while keeping a sound and safe design. A probabilistic design tool is presented, which involves a coupling between reliability analysis and wind turbine simulation tools. A proof of principle of the proposed tool is given in a case study.
Structural design & assessments – Atkins
Atkins' structural engineers work with the public sector (federal, state, city, and county officials), private clients (builders, contractors, and investors), and other firms. Our services include conducting field investigations; designing structures to resist hurricanes, tornadoes, earthquakes, fires, and terrorist attacks; observing.
Structural engineer - Wikipedia
Structural engineers analyze, design, plan, and research structural components and structural systems to achieve design goals and ensure the safety and comfort of users or occupants. Their work takes account mainly of safety, technical, economic and environmental concerns, but they may also consider aesthetic and.
Design - Wikipedia
Designing often necessitates considering the aesthetic, functional, economic, and sociopolitical dimensions of both the design object and design process. It may involve considerable research, thought, modeling, interactive adjustment, and re-design. Meanwhile, diverse kinds of objects may be designed, including clothing,.
International Journal of Structural Engineering (IJStructE .
Structural engineering is commonly considered a speciality within civil engineering, but it also includes any discipline which has a structural system. This field includes the analysis, design, plan, and research of structural components and structural systems. IJStructE is set up to report the relevant generic studies in this field.
Construction Engineering Services
Dedicated to providing quality engineering services to the heavy construction industry, SMG has experience in all aspects of temporary structure design including falsework, shoring, cofferdams and trestles. SMG understands the concerns and demands of the construction industry. By addressing safety, economy, materials.
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Cannon also provides forensic investigation, analysis and repair design services including expert witness. Commercial, Residential, and Industrial Buildings; School Facilities: Universities and K-12; Medical Facilities; Essential Facilities; Structural Retrofit & Rehabilitation; Industrial Structures; Site Stabilization Structures.
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When we think of houses and other buildings, we think of structures, and this is because there's a good chance they've probably been designed by structural engineers. Structural engineers design and create a wide variety of structures, including house, museums, theaters, stores and more. Using their knowledge of math.
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Civil engineers conceive, design, build, supervise, operate, construct, and maintain infrastructure projects and systems in the public and private sector, including roads, buildings, airports, tunnels, dams, bridges, and systems for water supply and sewage treatment.
Foundation Differential Settlement Included Time . - Semantic Scholar
Foundation Differential Settlement Included Time-dependent Elevation. Control for Supertall Structures. Authors: Xin Zhao, Department of Structural Engineering, Tongji University. Shehong Liu, Tongji Architectural Design (Group) Co., Ltd. Subjects: Architectural/Design. Building Case Study. Keywords: Supertall. Verticality.
What is the Difference between Civil Engineering and Architecture?
Sep 21, 2016 . Even though Civil Engineers are involved in the design process, Architects take the lead role in terms of the design of the structure. The Architect will initiate and create the design, including the shape, color and spaces of the development work then civil engineering professionals will analyze it to find ways.
Recent Work — MacIntosh Engineering
Structural design for a new 10,000 square foot eatery and 750 square foot merchandise building. We anticipate the building structures consist of a combination of various systems including steel bar joists, heavy timber joists, structural steel frame and shallow spread footings with light gauge exterior wall systems.
Engineering One World Trade Center | WSP
Three World Trade Center, located opposite the WTC Memorial and Cultural centre, will be 357m high. The 80-storey building has unusual design with an exposed steel structure. The building includes office and trading floors above 5 levels of retail. The three-level high lobby offers tenants and visitors a picture-window.
Tunstall Engineering Group | EXECUTIVE TEAM
Shawn has more than 19 years of experience in structural engineering. His background ranges from the design of new concrete and steel girder bridges to the rehabilitation of existing historic truss bridges. Shawn's experience spans the entire engineering and construction process including bridge inspection and rating,.
Structural Engineers Association of Ohio - What Does a Structural .
The architect or design-builder comes up with a building layout, and then it's the structural engineer's responsibility to calculate the loads (such as snow, wind and earthquake forces), fit the structure to the architecture, and decide on what structural systems to use. The structural systems include steel, concrete, masonry,.
StruCalc™ Structural Design Software
StruCalc Load Tracker lets you quickly link designs and transfer loads between members; Uses 2015 International Building Code, 2015 National Design Specification, and the 14th Edition AISC steel calculations; Includes thirteen unique design modules to minimize data input and speed up the design process; Quickly find.
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Eadon Consulting Engineering Design Consultants : Structural Design
Structural Design. Eadon Consulting's expertise includes designing both simple and complex structures that are either fixed or integrated with moving elements, such as moving bridges, buildings and access gantries. Our experience across a number of different sectors enables us to consider each design's requirements.
Tekla Structural Designer | Tekla
Analyze and design buildings efficiently Tekla Structural Designer is revolutionary software that gives engineers the power to analyze and design buildings efficiently and profitably. Fully automated and packed with many unique features for optimized concrete and steel design, Tekla Structural Designer helps engineering.
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Andy Warhol’s ‘Marilyn’ becomes the most expensive 20th-century work of art
The silkscreen painting has sold at auction for $195 million, surpassing the previous world record held by Pablo Picasso
The spring auction season started Monday in New York in style. Oblivious to wars, economic turmoil and the scourge of the pandemic, the art market has set another record for the work of a 20th-century artist, with Andy Warhol’s Marilyn selling for $195 million (specifically, 195,040,000 including taxes and fees). This is not only the highest-ever price paid for the work of an American artist, it also sets the world record for the most expensive 20th-century work of art – a title previously held by Pablo Picasso’s Women of Algiers (1955), which sold at auction for $179.5 million in 2015.
Christie’s auction house expected Marilyn to sell for $200 million, and even though it sold for slightly less than this amount, it indicates the strength of the art market, and its value in times of growing economic instability.
The fact that it was a charitable auction – the money from the sale will be used to fund projects to help children – does not detract from the record-setting price paid for the silkscreen painting, Shot Sage Blue Marilyn (1964), which is one of the four Warhol made of the actress Marilyn Monroe. This version – completed two years after Monroe’s death – is of a smaller size (40-inch by 40-inch), but for Christie’s expert Alex Rotter, “it is the essence of Warhol, it defines his status in art history and popular culture.” “There are few opportunities like this and there will be fewer,” he said, adding that it is “the most significant painting of the 20th century that has been auctioned in a generation.”
When announcing the sale in March, Rotter, who is the head of 20th and 21st-century art at Christie’s, called the painting “one of the rarest and most transcendent images in existence.” “Andy Warhol’s Marilyn is the absolute pinnacle of American Pop and the promise of the American Dream encapsulating optimism, fragility, celebrity and iconography all at once,” he said in a statement. Following the tragic death of Monroe in August 1962, Warhol dedicated several silkscreens to her, four of which would go on to be known as Shot Marilyns. The canvases were the same size but featured different colors. One of them, Orange Marilyn, sold at auction for $17 million in 1998. According to Rotter, the great difference between the sales price of Orange Marilyn and Sage Blue Marilyn is due to the fact that the latter is a work of art comparable to “the Mona Lisa, Botticelli’s Venus and the Young Ladies of Avignon by Picasso.”
The auction on Monday also puts a posthumous end to the rivalry between Warhol and Jean-Michel Basquiat, his young friend and sometime competitor. Basquiat previously held the record for the most expensive American artwork, after his skull painting sold at auction in 2017 for $110 million. This title was taken from Warhol himself, who had set the record in 2013, when Silver Car Crash (Double Disaster) sold for $105 million. Now, in 2022, the pop artist has well and truly reclaimed the title.
The auction held on Monday night is considered an indicator of what is to come over the next two weeks of sales, as well as the general health of the art market that does not seem to have been too affected by the coronavirus pandemic, judging by the results of the autumn session, which saw stratospheric prices, such as Rothko’s 1950 painting White Center (Yellow, Pink and Lavender on Rose), which sold for $73 million.
Shot Sage Blue Marilyn belongs to the collection of Thomas and Doris Ammann and is part of a lot of 36 pieces. All proceeds from the sale of the works will go towards the Thomas and Doris Ammann Foundation, a newly established organization dedicated to improving the lives of children worldwide. Christie’s announced on Sunday that the new owner of Warhol’s Marilyn could select a charity of choice to receive 20% of the sale price.
More information
Recomendaciones EL PAÍS
Recomendaciones EL PAÍS
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Little Madi
Currently based in Biarritz, France, Little Madi has lived in Brussels, Paris and New York.
Her work is both singular and endearing, with details filled with naive softness that stern from her instinctive approach. With the help of her Rotring pens she creates a private universe free from any boundaries.
Little Madi’s art is a constant search for absolute peace that only the act of drawing can fulfill. She uses many supports to free her imagination, from paper to porcelain, textiles and the human body.
Check out Little Madi’s work at cargocollective.com/littlemadi or follow her on Instagram at @little_madi.
Little Madi Products
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How to Tell the Difference Between a Lithography and a Print
Use a magnifying glass to distinguish between a print and a lithography.
The term "print" is often shorthand for an offset lithographic print, which is the most common type of commercial printing used today, according to John C Berg, Ph.D., a chemical engineer who has researched print media and technology. Offset lithography is premised on the basic principles of oil-and-water repulsion in order to replicate an original in a high-speed press. While the colors often vary from the original, the quality, speed and low cost of offset lithography has secured its popularity. Meanwhile, lithography prints are handmade by an artist who draws directly onto a piece of stone, aluminum or plastic. Then the artist pulls the print onto paper by pouring ink into the design. The latter are generally considered of higher value due to their high quality and low print runs. Distinguish the difference by using a magnifying glass to scrutinize the prints.
Look for the signature of the artist or numbers indicating the print is part of a limited edition at the bottom of the print or on the back of the print. Hand-pulled lithography prints are often signed by the artist, but offset lithography prints will not be signed.
Look closely at prints with a magnifying glass to see if there are any organized rows of colored ink dots. Offset lithography prints will often leave a dotted circular pattern in rows, which emerge during the mechanical color separation process. Meanwhile, random ink dots or discolorations indicate the print is hand drawn.
Examine with a magnifying glass or your naked eye the background areas of each print for discoloration. While an offset lithograph printer produces very high-quality prints, there is a slight chance that if the aluminum printing plates have not been maintained, chemical oxidation will result in markings or blemishes in non-image areas that will be unusual in color as they are neither part of the design nor ink.
Run your finger along the line where ink meets the paper. Feel how thickly the ink is laid on the paper. On a offset lithography print, the ink will not be raised from the paper. But in handmade, wood block, silkscreen or letterpress lithography printing techniques, the ink will be slightly raised. In places where there is more than one color layered, the ink layer will be thick.
If the print is from a reputable art dealer and has the characteristics of a hand-pulled lithography, it is more likely that it is an original lithography and not an offset print.
About the Author
Jen Randall has been a writer and editor since 2004. She has worked as a newspaper reporter, academic editor, freelance blogger and ghostwriter, covering education, art and design, fashion, culture and society. Randall earned her Bachelor of Arts in comparative history from the University of Washington.
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on landscape The online magazine for landscape photographers
End frame: “Below South Crofty” by Jem Southam
Mike Chisholm chooses one of his favourite images
Mike Chisholm
Mike was born in 1954 in Stevenage, a New Town 30 miles north of London. For thirty years he worked in the higher education sector as a librarian (Bristol and Southampton universities) but now concentrates on photographic and writing projects. In recent years he has exhibited his photographs and book works internationally in several solo and group shows. England and Nowhere book.
mike-chisholm-photo.squarespace.com
In summer 1991 I was in Reading for the day. We'd driven up from Southampton, as my partner was teaching an Open University seminar on the university campus. With us we had our first child, Tom, then less than a year old. While she engaged with eager OU students, I wheeled a pram through the suburban streets until eventually – by some uncanny homing instinct – I found myself in a bookshop. On prominent display were some copies of a photo-book, Red River, by Jem Southam. [you can read the interview with Jem or watch his talk at the Meeting of Minds Conference]
While Tom slept I thumbed through this book, and immediately fell under its spell. I had never seen any work quite like it before. This photographer seemed to look at the landscape in a more intense, but less calculated or mannered way than others and was prepared to allow into the frame the untidiness of the real world. He obviously shared my fascination with the frayed edges of the lived-in rural landscape, places that were neither wilderness nor urban edgeland. This was (to me, at any rate) seriously new work and, what's more, it was in colour.
The book seemed to give permission for a different kind of landscape photography. It seems Jem Southam stumbled across his red Cornish stream not on some carefully-planned expedition but while out walking the dog, and it's the constant return to that level of inconsequential intimacy that sustains the sequence, in the same way, that the red thread of the river – actual or implied – holds it together thematically. There's nothing grandiose going on here, though there are many hints of a banked-down sublimity glimmering through, like embers among ashes or a thinly-crusted lava-flow.
This article is open to paid and unpaid subscribers so requires at least a free subscription to access. Please take a look at the subscribe page for more information.
• I’m glad one of Jem Southam’s beautiful and understated images has finally been chosen as an ‘End Frame’. His work has great narrative power yet, as you say, it is not at all in the mould of the ‘classic’ landscape image. Love this photograph so thanks for taking us through it so elegantly.
On Landscape is part of Landscape Media Limited , a company registered in England and Wales . Registered Number: 07120795. Registered Office: 1, Clarke Hall Farm, Aberford Road, WF1 4AL
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How To Carry An Artwork Safely While Travelling
by weareelan.com
September 27, 2022
How To Carry An Artwork Safely While Travelling
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Same-day and next-day London flower delivery | Free delivery
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Spotlight On
Dutz Collection
Choosing the right vessel is instrumental in the final execution of floral design - whether it's a statuesque display for a 5-star hotel, an elaborate wedding installation or a simple arrangement for an intimate dinner party. For many years, McQueens has relied on Dutch glassware designers, DutZ for elegant, striking vases. An intricate craft in its own right, we were fascinated to find out more about the glass making process...
Tell us about how DutZ Vases originated?
The company was founded in 2006 by Bastiaan Kommers and Berno van Doorn who encountered the craft (glass blowing) as students travelling through Eastern Europe. Glass blowing is still very much an artisan skill only done by craftsmen today - our company fully supports these traditional, timeless values. Over the years, the company has developed its own style and put focus on the design of traditional glass - the business developed into a global supplier of handmade glass vessels and now DutZ works with interior designers, retailers, hotels and florists around the world.
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Can you share your creative process, and how you develop designs?
There are a few ways that we work with the designs. Often we will create our own from scratch or based on previous popular designs, alternatively, our glassblowers will initiate designs that they think work well and lastly we get requests from our customers. In terms of techniques, we vary the glass thickness to create different designs; use sandblasting, bubbles or powder coatings. Furthermore, we experiment with different materials inside the glass, such as metal or glass shards to create more variations. Another very important factor is the use of colours and pigments. We usually feature more than 25 colours and even more variations within our collection.
How has the company and it’s designs evolved over the last 13 years?
We are at the forefront of trends and have been for many years - we often see our designs copied, which is in a way a huge compliment! But this also means that we have to change our collection and evolve rapidly - we will always keep updating and experimenting with designs. Our customers can rely on us for exactly that. We are also able to use colours in our designs like no other business - this means that we can be on top of colour trends. As a Dutch company, we work very closely with our floral partners, including McQueens, so we can also ensure to match trends that happen in floral design too.
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What is the philosophy when it comes to design?
We work with a natural material that is actually quite recalcitrant and has a mind of its own (glass blowing really is a very difficult skill). Our motto is: "dare to be distinct" and we certainly take this into our designs. We create vase designs that are bold, grand and often very vibrant. However, we are also fortunate to be able to cater for more standard designs with our basic collections of pots, vases, bowls and candleholders. Often our customers require basic vessels that are still colourful but with no compromises on the quality of the glass.
Tell us about your latest collection - where has the inspiration come from?
We often work with glass designers to create a signed limited edition. This season, Polish designer Henryk Rysz created for us the Rysz vase, a hugely impressive design vessel weighing 14kg and available in three colours. And our last seasons' Jungle vase limited edition by Finnish glass artists Sini Majuri won an international A'Design award. For another collection, we are inspired colour, materials and of course by the flowers we visualise inhabiting them!
For more of their beautiful designs - follow DutZ Collection on Instagram.
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Meet: Our Chocolatier Partner
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18 December 2018
Spotlight On: Seedlip
We love to keep our eyes peeled for new and exciting innovators, and one that’s had our attention for much of 2018 is Seedlip.
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Trixie (Mrs. Beatrice Whistler); James McNeill Whistler
Main Record
Full Image
Accession Number
1954/1.411
Trixie (Mrs. Beatrice Whistler)
On the plate, left center: Butterfly monogram Signed, in pencil, on tab: Butterfly monogram and imp. In pencil, verso, in Whistler's hand: 2nd Proof / Butterfly monogram
8.6 cm x 5.2 cm (3 3/8 in. x 2 1/16 in.)
19th century
Primary Object Classification
Physical Description
A seated woman in late 19th c. dress is shown against an undescribed dark background; she looks directly at the viewer and rests her chin on her right hand. At the lower left is a flower-like form that is the artist's "butterfly" signature.
Subject Matter
Thought originally to portray one of Whistler's sisters-in-law (Ethel Whibley), recent scholarship suggests that this may portray his wife, Beatrix, probably fairly early in their marriage (they were married in 1888).
Other Views
unspecified | summary
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Charlotte Janowski is a multidisciplinary artist merging sculpture, fibers, photography, installation and performance. She is known for creating soft plush sculpture and bespoke masks with repetitive forms. Her sculptures evoke both archetypes and anthropomorphic figures with material, texture, and form. She explores personal narratives with symbolic visual language transforming them into secret mythology. Works speak about obsession and the handmade; and contain visceral forms juxtaposed with strange assemblage. Her work is guided by ancestors from Cygany, Ukraine; by Slavic paganism, vinok, and stories of the magic symbolism of thread. Her style is associated with abstraction, color theory, minimalism, and fiber art. She holds a BFA from Massachusetts College of Art & Design. She has shown at Boulder Museum of Contemporary Art and Concordia Sculpture Museum in Enschede, Netherlands.
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Choose Your City
Change City
Harlem street murals bring Baha'is' persecution to light
Artists stressing benefits of education which members of the minority religion are denied in organizer's native Iran.
A mural on the back of P.S. 154 in Harlem depicts women reading and the slogan "Education is not a crime."
Bess Adler
Along 126th Street in Harlem, vibrant shades of spray-painted color brightenthe neighborhood's familiar brick facades.
There's a mural in the Mandela Garden, another on the Amsterdam News building, and another just being completed at P.S. 154, Harriet Tubman School.
They are the brainchild of Not a Crime (notacrime.me), a nonprofit founded by journalist Maziar Bahari. The organization raises awareness of human rights abuses in Iran, where members of the Baha’i religious minority are denied access to higher education.
The murals feature birds, books, and people of all colors with messages like “Knowledge is power” and “The greatest education is your shield and trophy.”
“Our goal is to go to the story of the Baha’is in Iran to talk about the universal value of education,” said Saleem Vaillancourt, Not a Crime campaign manager and a Baha’i himself.
In 2015, 11 murals were painted in the New York area, including four in Harlem, and this summer Harlem is getting 15 more.
“We are really thrilled to be in Harlem because of its history of the arts and civil rights,” Vaillancourt said.
On a recent sunny day, a street artist who goes by the name Elle was spray-painting the back of P.S. 154. Her collage-style mural will depict two women, one of whom is reading, with “Education is not a crime” in three-foot letters.
“If you can paint for a cause, it’s so much cooler,” said Elle, who is based in Greenpoint and Los Angelesand has been working up to 12 hours a day at the school. “If education is someone’s dream, they should be allowed that opportunity regardless of their religion or race.”
When she was recruited for the project, she hadn’t been aware of the plight of the Baha’is, but immediately got on board.
“I was shocked I hadn’t heard about what was going on,” said Elle, who also did artwork for June’s Governors Ball music festival on Randall’s Island. “We have the ability to tell people what’s happening.”
In 2014, Bahari released “To Light a Candle,” a documentary about the persecution of the Baha’is.
“Maziar thought if we were going to continue the campaign, we should use a different art form, and why not try murals?” Vaillancourt said.
Vaillancourt didn’t know much about the scene, but went on a fact-finding mission in New York. He met Andrew Laubie of Street Art Anarchy in Chelsea, who became curator and producer of the murals.
“It was exactly the kind of project we’d wanted to do,” said Laubie, who gathered a diverse group of artists to come to Harlem from as far as South Africa, France, and Brazil.
Some locals were skeptical of a project involving Iran, Vaillancourt said, but soon the idea caught on with building owners, school administrators, and community board members. Now schools are approaching Not a Crime to ask for murals.
The goal is to bring Not a Crime’s message to new audiences through a combination of the murals and social media ahead of Iranian President Mohammad Hosseini’s September visit to New York for the U.N. General Assembly.
This summer other murals have been completed at the Faison Firehouse Theatre, Storefront Academy, Custom Fuel Pizza, P.S. 7, and Fabco Shoes.
“It adds a cultural aesthetic,” said Naomi Jones, a community advocate who lives in Harlem and walked by Elle’s mural last week. “I wish the kids could see this: someone being paid to paint something beautiful instead of being arrested for tagging graffiti."
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Jonathan Borofsky
(born 1942)
Jonathan Borofsky is active/lives in New York, Massachusetts. Jonathan Borofsky is known for flat installation, graffiti, graphics.
Jonathan Borofsky
bore-OFF-skee click to hear
Biography from the Archives of askART
An installation artist, Jonathan Borofsky has made his reputation with bold, aggressive, diaristic and frequently playful works with underlying philosophical seriousness. In an interview that he gave in 1993, Borofsky said "I like the word spiritual because I don't really know what it means, but I do believe it applies to finding your connection to the All. I've always felt that my search, whether I had a particularly chaotic work or a particularly simple one, has been a way to feel connected to the Whole."
At his retrospective exhibition at MOCA's Geffen Contemporary, work he completed as a youngster was placed on pedestals, and his dreams were literally written on the walls. Handwritten pages from notebooks were casually push-pinned in place.
In recent years Borofsky concentrated his energies on one concept at a time. In one instance, his art consisted of his counting and writing numbers down for hours on end--an obsessional marking of time. In all of these earlier and later works, movement, sound and repetition have been essential elements.
He was born in Boston, Massachusetts, and in 1964 earned his Bachelor of Fine Arts degree from Carnegie Mellon University. He also studied at the Ecole de Fontainebleau in Paris and earned a Master of Fine Arts Degree from Yale University. Primarily a working artist, he also also been a teacher including at the School of Visual Arts in New York City from 1969 to 1977 and at the California Institute of Arts in Los Angeles from 1977 to 1980.
Website of Nancy Kay Turner at Art Scene Cal
Who's Who in American Art, 1997, by R.R. Bowker Publishing Company.
From fall 2000 to March 2001, Borofsky's "I Dreamed I Could Fly" installation sculptures and "Walking Man" inaugurated a new series at the Museum of Fine Arts in Boston in which living artists create works inspired by the Museum's collection, architecture, and grounds. "Walking Man" is sixteen feet high and was placed on the West Wing driveway. The "I Dreamed I Could Fly" sculptures soared from the vaulted ceiling above the West Wing lobby. Borofsky also created a wall painting for the museum.
The following is from Artbrokering.com who credit the website of Nancy Kay Turner at Art Scene Cal
Born in 1942 into a family of highly creative and artistic parents, Jonathan Borofsky received his Master of Fine Arts from Yale University in 1966. Early on, his work was recognizable by its conceptual style typified by drawings that incorporated series of numbers and doodles.
By the early 1980s, Borofsky departed on a course which brought his iconic works to a larger breadth of collectors. "Man with a Briefcase," "Hammering Man" and "Molecule Man" evolved in the late 1980s, and by some definitions were pure, unadulterated examples of the worker in all of us. These were among the first works created into a larger, more accessible edition of prints and multiples and remain as some of the quintessential images for which Borofsky has been recognized.
Another recurring theme found in some of Borofsky's earlier work is the element of repeatability, whether it be numbers or doodles or other images. In his newest body of works, the Male/Female series, a subtle sense of repeatability can be found in what at first glance appears to be the same figurative image staring face to face and melding into one.
Upon closer examination, these boldly executed prints actually illustrate a complex silhouette of a male and female walking into one another and offer the viewer a vibrant image woven with color and abstraction. Borofsky attempts and succeeds in skillfully capturing a split second in time and fills it with dramatic color and motion.
Borofsky's works, both grandiose and intimate in their execution, can be found in major museums and collections around the world.
Biography from Auctionata, Inc.
Known for his colorful anthropomorphic sculptures, Jonathan Borofsky (American, b.1942) manipulates metal into towering constructions that symbolize and are testament to collective human strength.
Borofksy received his MFA from Yale University in 1966 and experimented in a variety of media before turning his attention fully to sculpture. His works are counted in the distinguished collections of Tate, London; LACMA, Los Angeles, and the Naoshima Contemporary Art Museum, Okayama, among many others.
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About Jonathan Borofsky
Born: 1942 - Boston, Massachusetts
Known for: flat installation, graffiti, graphics
Essays referring to
Jonathan Borofsky
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An online magazine dedicated to fine watches
Interview with the inventor of the Constant Escapement, Nicolas Déhon
| By Max E. Reddick | 6 min read |
Prior to Basel, we broke the story about Girard-Perregaux’s Constant Escapement Watch (see here) for Baselworld 2013 and explained its technological workings. We also introduced Nicolas Déhon, the inventor of the constant escapement. During Basel, Mr. Déhon was kind enough to speak with us about the constant escapement’s development.
Monochrome: What do you think of Girard-Perregaux’s Constant Escapement watch?
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Déhon: It is beautiful. The first time that I saw it, the finished watch, it was very emotional for me.
Monochrome: Why?
Déhon: It took ten years for me. For me, the project started in 1997.
Monochrome: With Rolex. What was the name of that project?
Déhon: Project E.L.F. (an abbreviation in French). E (Échappement) means escapement; L (Lame) in English means blade; and F (Flambage) means buckle in English. I think the project was completely different from any other escapement. It was not possible for Rolex to pursue the project. Rolex was the best of times. When I worked at Rolex, I had plenty of time to work on the project and concept. I think it would be impossible to start with this project’s concept under another manufacturer. Do you want to see the first prototype? It was like that. 20 Prototypes were made like that.
Monochrome: You didn’t have silicon, so what did you use for the blade?
Déhon: For the blade, it was Nivarox. None of these prototypes worked.
Monochrome: Why?
Déhon: The two points at the end [where the buckled-blade attaches to the spring frame] had to be perfectly collinear. If it wasn’t collinear, it would not work. Also, the blade and spring frame are now all one piece. That is the secret and why the prototype never worked at Rolex. Silicon was the needed technology for this concept.
Monochrome: So the Silicon blade is one factor that makes the escapement work, and the other factor is that the buckled-blade and spring frame are now all one piece.
Déhon: One piece [buckled-blade and spring frame together] is very important to achieve the precision at the two end points.
Monochrome: The Rolex ELF prototypes were the original. You went zero for twenty on the prototypes, but you didn’t lose faith?
Déhon: I felt the problem was here [inside my head]. When I came from Rolex to Girard-Perregaux, the silicon technology emerged. The project restarted at Girard-Perregaux in 2004. I arrived in 2002 and worked with them until 2008.
Monochrome: Did Girard-Perregaux know about the idea before you came?
Déhon: No. You can see the patent. The idea came to me on the train. I shared the idea when I saw the patent was down. Rolex stopped with the patent. I told Mr. Macaluso the patent was down; we can restart the project!
Monochrome: Tell me about [when the idea came to you on] train.
Déhon: It was a train ticket. Everyone can repeat the same experience by bending and unbending the ticket. It is a very special experiment everyone can make.
Monochrome: You started work on the constant escapement in 2004?
Déhon: I started in 2004 until 2008.
Monochrome: When you left, the project was unfinished?
Déhon: Yes. It was a prototype that you could see on the internet. It was a prototype that demonstrated the escapement, but the escapement worked. The concept, in my opinion, was finished in 2008.
Monochrome: When you look at what you have in 2008 and the finished constant escapement now, did Girard-Perregaux develop it further?
Déhon: They improved the reliability of the escapement. In 2008, it would work only one or two days, and then stop. But the frequency was different; we worked with 4 Hz. Now it is 3 Hz. And the balance was quite different. The inertia was 12 milligrams centimeters squared, and now it is 8. The power is decreased, and the power reserve increased. I think it is a good choice. It took 5 years to redesign the 2008-version escapement with these new features and design an entirely new movement around it.
Monochrome: Your involvement in this design is important.
Déhon: The concept and the calculations of this escapement are my contribution to the final product presented this year, Stéphane Oes [engineer] and Laurent Calame [horologist] worked on the design of the complete movement and the optimization of the escapement at a new frequency [3 Hz]. In my opinion, despite these last improvements, we can work best with this escapement in the future. It is still not optimal now. We know the pallet escapement was invented by Thomas Mudge, and now almost 300 years later, we can see the pallet escapement, the Swiss escapement, everywhere. During this time, we must admit that this escapement was considerably improved. I don’t think we have to wait 200 years for this escapement to work perfectly. We have to wait maybe another ten years to get a constant escapement to work perfectly.
Monochrome: What is the accuracy of this escapement right now?
Déhon: Because the measurement devices that measure the rate of a watch are still not adapted to the new sound produced by the constant escapement, I have not heard anything about the accuracy, but the amplitude was very stable. For a period of 7 days, the Constant Escapement watch had the same amplitude plus or minus 3 degrees.
Monochrome: At the same time, we see others coming out with constant force escapements. These are very different than what we have here. How so? How is your device different than the others?
Déhon: In my opinion, the grand difference is the buckled-blade. It takes me 40 pages to describe exactly how it works. You can see the document. I left this with Girard-Perregaux.
Monochrome: Wow! The math! The equations!
Déhon: So, as you can see, this is the blade at first order and second order. All these graphics were done before building the concept. The blade works at 20mm. If you make it at 16mm, it doesn’t work without changing other parameters, so you have to be very accurate and have to calculate each parameter independently [length, thickness, total compression, E-modulus for the escapement and inertia amplitude, frequency, and quality factor for the oscillator].
Monochrome: A hundred years from now, when constant escapements are everywhere…
Déhon: No. This escapement is dedicated for “haute horlogerie.”
Monochrome: Well then, a hundred years from now, your name will be in the annals of horology.
Déhon: I really don’t know, but I don’t think I will have another project like that in my life. It was so interesting. I remember the first time that the prototype went tick-tick-tick; it was the second of February 2008. I remember it like it was yesterday.
We like to thank both Niclas Déhon and Girard-Perregaux for allowing us time for this interview. For more information about the Girard-Perregaux Constant Escapement L.M. watch, please visit their website here.
https://monochrome-watches.com/interview-with-the-inventor-of-the-constant-escapement-nicolas-dehon/
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“Every Night You Go Home” by Jensine Eckwall
Today’s comic, “Every Night You Go Home” by Jensine Eckwall, is a sci-fi comic about balancing personal and professional lives.
This comic was originally published in As You Were, Vol. 5: This Job Sucks, featuring 44 new comics about crappy jobs.
Buy a copy in our store.
Interview with Jensine Eckwall by Natalye Childress for Silver Sprocket
Your comic is not as straightforward as some of the others; could you shed some light on what it’s about? Why did you decide to include what you did, and are there other things you considered including but that didn’t make the cut?
“Every Night You Go Home” has a pretty typical premise: the consummate professional comes out of retirement for one last job. This was my first time making an explicitly sci-fi story. In this world, a species of creatures called “horses,” (you can see them in a few of my other comics as well) has been all but exterminated. The protagonist, The Last Horse Hunter, is celebrated (by most) for her ethically questionable sniper skills, but is haunted, presumably by memories of her work. The memories, which eat at her mostly when she’s home alone, begin to follow her — to a hotel, and finally, into the field for one last top-secret hunt.
I made this story as an exploration of wrestling with personal problems alongside professional expectations, and the question of whether to disclose or not to disclose. A few other secondary themes arose, including outsiders not understanding the realities of an idealized career, and the inescapability of mental distress. I would have loved to make this story longer, and gone deeper into the world building that the comic touches on. I also wish I’d added a splash page at the end, of the character finally at rest in the void of space.
What is the BEST job you’ve had?
Currently I work full-time as a freelance illustrator, which, even with its challenges, is the best job I’ve ever had! I’ve been extremely fortunate to have been assigned some projects I’ve really loved. Recently, I completed two book covers for middle grade ghost stories by Canadian author Charis Cotter (Tundra Books), and being able to work on those really did feel like I was living the dream (if that means your child-self would think you were pretty cool).
What is the value or purpose in making art, for you personally?
Making art allows me to engage actively with all my favorite things (cartoons, art history, music, film, narrative, personal stories, etc. etc. etc.). I think illustration is just the coolest thing ever, so being able to have dialogue with that tradition is a privilege.
I’m also lucky to belong to a community of other illustrators, cartoonists, and creative professionals. They are my best friends and favorite people. I struggle with the decision I made to pursue art as a career for lots of reasons, but I guess it’s wise to just focus on doing my best for now.
Do you think artists have a social responsibility?
Yes, I do. Everybody does, before the contemporary explosion of direness in the US and after. However, artists face unique challenges and choices. I believe that artists have an obligation to be aware that every image they create gets added to the cultural lexicon and to the clutter of images that people consume every day, and that those images can either be reductive, even damaging, solutions that contribute to the single story, or their best effort to the opposite.
I don’t think that every artist needs to be making explicitly “political” art that may be disingenuous to their practice, but I do think that it’s a good idea for artists to donate their time and talents to causes they believe in, if they are able.
Some artists use their status as public figures to be vocal about sociopolitical issues on social media, and this has always been something I’ve struggled with feeling I don’t do enough of, for a bunch of reasons. I once saw someone on Twitter say that “not everyone is a fighter,” and that’s something I took comfort in, but, of course, don’t take as an excuse.
Now is maybe a chance to plug an initiative I volunteer for and helped develop — New Visions, a program of the Society of Illustrators, which “seeks to facilitate an ongoing conversation on a host of issues facing the contemporary illustrator; these include topics of diversity and inclusion, multiculturalism, and illustration’s role in a larger cultural context.”
What are you working on now?
I’m working on a few of my own projects between commissioned work — I’m in the initial phases of a follow-up to a series of watercolor paintings I made last year called Remember Who Loves You. I’m also trying to write my own picture book, which is really hard!
If someone liked your comic in As You Were, what would you recommend they check out next?
They can check out the picture book I illustrated, Almost a Full Moon (Tundra Books) and follow my Instagram and Tumblr for both completed projects and real-time process shots.
For more from Jensine Eckwall, check out her website and store and follow/like her on Instagram, Twitter, and Tumblr.
2017-03-30T01:22:47+00:00Mar 29, 2017|Comics, Features|
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Indiana based photographer, Rhonda Greene, has been building her level of skill in portrait photography for the past few years. Rhonda’s evolution to street portraiture allowed her to introduce another element extending her range of talent even further. As a portrait photographer, Rhonda looks beyond the physical aspects of her subjects to connect to their essence. Engaging in conversations about a persons evolution fascinates her and within those conversations she’s able to create a mental image that becomes a photograph.
Rhonda was. recently featured in Canvas Rebel an online art magazine for emerging artists. Her first solo exhibition is scheduled for, March 2024.
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- Art Gallery -
Sears Gallagher (1869–1955) was a prolific, commercially successful American artist proficient in multiple media: drawing, etching, watercolor and oil painting. His work consists largely of landscapes, seascapes, and cityscapes depicting his native Boston and northern New England, especially Monhegan Island, Maine. Illustrating magazines and books provided steady work and income, and his etchings and prints attracted popular demand. Gallagher took his art seriously, adapted new techniques, and was open to the influence of European Impressionism. During the height of his career his watercolors were favorably compared to those of Winslow Homer (1836–1910) and F. W. Benson (1862–1951), and his etchings and drypoints to those of James McNeill Whistler (1834–1903).
"Broadway, Monhegan; Early Morning" by Sears Gallagher. Photograph courtesy of the Boston Public Library by permission of the artist's heirs.
1869 Born in South Boston, April 30
1887–89 Studied and worked in the Boston studio of Italian-born painter Tommaso Juglaris (1844–1925)
1888 Met and began studying with Samuel Peter Rolt Triscott (1846–1925), English-born painter
1891 Exhibited 4 watercolors at Boston Art Club annual exhibition
1892 With Triscott, made first trip to Monhegan Island, Maine
1895 Married Charlotte Dodge, April 16
1895–96 Studied at Academie Julian in Paris
1897 Settled in West Roxbury, MA
1903 Travel and painting in England, France, Italy
1904 Son Bradford born, June 13
1906 Daughter Katherine born, November 13
1945 Last one-man exhibition at Grand Central Galleries, New York
1955 Died in West Roxbury, MA, June 9
Training and Early career
Gallagher was born in South Boston to parents who were members of the city's mercantile class; his father was a cabinetmaker and stove merchant and his mother was a descendant of Massachusetts Bay Colony pilgrims.[1] He seems to have had a natural talent for drawing, remarked on by family and friends in his early years.[2] During the time he was a student at the English High School of Boston he also studied with artist George H. Bartlett (1839–1923) in a private night school.[2][3][4] He had a drawing selected for exhibition at the Boston Art Club in 1887, when he was only 18.[5] While launching his career as an illustrator for magazines and books,[4][5] he also pursued a career as an artist of etchings and watercolors, enhancing that career through additional training, first in Boston and then in Paris. For about two years, from 1887 to 1889, he studied figure drawing and worked in the Boston studio of Italian-born art teacher and muralist, Tommaso Juglaris (1844–1925).[6][7] Chambers, 2007, p. 162. Gallagher also received instruction, especially in the techniques of etching, from Charles H. Woodbury (1865–1946), an accomplished and successful artist who founded the Ogunquit School of Art in Maine.[8] Gallagher and Woodbury remained lifelong friends.[9] After Juglaris returned to Italy, Gallagher began studying with Samuel Peter Rolt Triscott (1846–1925), an English-born painter with a growing reputation in Boston.[10]
"In the Rapids" Etching by Sears Gallagher. Photograph courtesy of the Boston Public Library by permission of the artist's heirs.
In 1892, Triscott and Gallagher made a summer trip to Monhegan Island, off the coast of Maine. Monhegan, which Gallagher visited regularly for the next 40 years and where he bought a house in 1904, was a frequent subject of his painting.[11] Its rocky shore and bold cliffs appear in such works as Crashing Surf, Monhegan, Maine.[5][12] His summer visits to Monhegan were often followed by fishing and sketching trips in the fall to the White Mountains of New Hampshire.[4]
In April 1895, Gallagher married Charlotte Dodge and shortly thereafter left on a honeymoon to Europe, beginning in England but with the apparent goal of settling in Paris for further instruction.[13] Like such other Americans as Woodbury, F. W. Benson, Edmund Tarbell (1862–1938), and Childe Hassam (1859–1935), Gallagher joined the ateliers of Jean-Paul Laurens (1838–1921) and Jean-Joseph Benjamin-Constant (1845–1902) at the Académie Julian and settled in to study and paint. Two of his watercolors from his work there were selected for inclusion in the 1896 Paris Salon.[14]
By the time he and his wife returned to Boston in 1896, his reputation as a watercolorist and his success in Europe established him as an important young artist. Gallagher purchased a house in West Roxbury, MA, close to Boston, in 1897 and settled into a life of middle-class ease, remaining in the same house until his death.[15] A son, Bradford, was born in 1904, and a daughter, Katherine, in 1906.[16]
Mature career
Photograph by Warner Taylor of Sears Gallagher (left) painting Frank Pierce on Fish Beach, Monhegan Island, Maine. Photograph courtesy of Anne Burr Czepiel.
Before 1900, Gallagher had eight exhibits in Boston, Providence, and Lowell: one of oil paintings and the rest watercolors and pen and ink drawings. The pace of exhibitions picked up considerably after the turn of the century, with a total of 46 between 1900 and 1929 and then tapered off to 11 between 1930 and 1939 and three in the 1940s.[17][18] His exhibitions were routinely and positively reviewed in the two major art journals of the period, The Art News and American Art News, as well as in the popular press, and his work was collected by individuals and major museums.[19] Gallagher undertook numerous commissions to illustrate books and magazines.[17] He did a series of 40 etchings of iconic Boston buildings and landscapes that were widely distributed and followed these with series on New York, Baltimore, and Washington, DC.[13] Sales of his paintings and prints and his work as an illustrator earned Gallagher a steady income. He complemented this with teaching at Boston University's evening school.[20]
Reputation and assessment
Gallagher enjoyed early success, both financially and in popular response, and through the 1920s and 1930s he occupied a prominent position in the American art world, being favorably compared to artists like Woodbury, Benson, and even Winslow Homer (1836–1910).[21]
His work was reviewed, for example, by the influential art critic Loring Holmes Dodd and included in a 1960 publication in which Dodd collected articles he had published over the years in the Worcester Evening Gazette. The collection presented Gallagher in the company of such other prominent illustrators and etchers as N.C. Wyeth, Norman Rockwell, Maxfield Parrish, and Howard Pyle.[22]
A 2012 exhibit catalog noted Gallagher's strength as a watercolorist: “Gallagher had a proclivity for calm and peaceful places, and he rendered images that elicit the feelings evoked by his sites in the viewer. He did so by the use of flowing washes of harmonious color and by holding detail to a minimum so as to sustain unity across a pictorial surface. Avoiding strong contrasts and abrupt spatial transitions, he favored soft tonal gradations and measured distances. The influences of impressionism on his art may be seen in his frequent use of animated and summary brushwork to express transitory aspects of nature and in his tendency to incorporate the tone of his paper’s reserves in a work as means of adding the sparkle of sunlight to a scene. Overall his art is characterized by an understated restraint, as he sought to emphasize the beauty of his subjects over a display of his technical versatility." [23]
Gallagher's reputation peaked around the time of World War II, and although he continued to paint and do etchings, by the time of his death he was rarely mentioned in academic and popular discussions of American art. In the 21st century, his work enjoyed only two exhibitions: prints at the Boston Public Library in 2007, and 34 watercolors at Spanierman Gallery in New York in 2012.[5] Gallagher's low visibility might be explained by the very fact of his prolific output; he produced a quantity of work that may have diminished the relative value of individual paintings and earned him the label of being a "popular" artist rather than a master. It may also be that the large output necessitated repetition in subject matter and style, resulting in so many versions of similar scenes (for example, those of waves and rocks at Monhegan Island) that few attained individual recognition.[24] Despite the wide circulation of his paintings and etchings in his lifetime and his own later work as a teacher of art, Gallagher seems not to have had a distinctive influence on other artists.
Whatever his current reputation, Gallagher's work is worthy of respect. At core, he was a draftsman and painter with a superb capacity to evoke buildings, scenes, and figures.[25] The underlying strength of his drawing is complemented by his skillful brushwork and strong sense of color. That he produced beautiful landscapes and seascapes, delightful book and magazine illustrations, and sharply defined etchings should be enough to draw attention to this successful artist, a notable American impressionist.
Gallagher's works are held in the following public institutions, among others: Boston Athenaeum; Boston Public Library; Colby College Museum of Art; Farnsworth Museum; Metropolitan Museum of Art, Museum of Fine Arts, Boston; Portland Museum of Art (Maine);Harvard Art Museums; Smith College Museum; New Britain Museum of American Art;Print Club of Albany; Smithsonian American Art Museum; University of Michigan Museum of Art.[26] The catalog accompanying an exhibit of Gallagher's watercolors at the Spanierman Gallery in 2012[27] lists additional collections in which his work is represented, although these have not been independently verified: the Art Institute of Chicago; New York Public Library; the Library of Congress, Washington, D. C.; the Brooklyn Museum of Art; the Los Angeles County Museum of Art; and the Bibliothèque Nationale, Paris
1891 Boston Boston Art Club annual (4 watercolors)
1893 Boston Boston Art Club annual (3 watercolors)
1894 Boston Foster Brothers (pen & ink drawings)
1894 Providence same as Foster Brothers
1894 Lowell Westcott Studio (watercolors)
1896 Boston Boston Art Club (oil)
1896 Boston Foster Brothers
1898 Boston Boston Art Club
1900 Paris Universal Exposition
1901 Boston Boston Society of Watercolor Painters
1903 Boston Kimball Gallery (watercolors)
1903 Boston Boston Society of Watercolor Painters
1904 Boston Kimball Gallery (watercolors)
1905 Boston Hatfield's Gallery (watercolors)
1911 Boston Doll & Richard's Gallery (portraits & etchings)
1911 Boston Doll & Richard's Gallery (watercolors)
1912 Lowell Lowell Art Association
1912 Boston New Art Gallery of C. F. Libbie & Co.(watercolors)
1914 Boston Boston Art Club
1915 Boston Doll & Richard's Gallery (1st lithograph)
1916 Boston Doll & Richard's Gallery
1917 Boston Doll & Richards
1918 Boston Doll & Richards
1918 NYC Kennedy Galleries
1919 Boston Boston Art Club annual (painting)
1919 Boston Doll & Richards
1920 NYC Kennedy Galleries (watercolors)
1921 NYC Kennedy Galleries (7 etchings)
1921 Boston Doll & Richards
1922 NYC Anderson Galleries (arranged by Brooklyn Society of Etchers)
1922 NYC Kennedy & Co. (with G. E. Burr)
1922 Boston Irving-Casson Galleries (10 Boston etchings)
1922 Boston Doll & Richards
1922 Chicago Chicago Society of Etchers (jury & Logan Prize)
1922 Boston Doll & Richards
1923 Boston Goodspeed Print Shop
1923 Washington Corcoran (drypoints & etchings)
1923 Boston Doll & Richards (watercolors)
1923 Boston Doll & Richards (etchings)
1923 Concord,NH Concord Art Association
1924 Boston Boston Art Club
1924 Boston Doll & Richards
1925 Boston Guild of Boston Artists
1925 Boston Doll & Richards
1926 Boston Doll & Richards (watercolors)
1926 Boston Doll & Richards (etchings)
1927 Boston Doll & Richards (watercolors)
1927 Boston Doll & Richards (etchings)
1928 Boston Doll & Richards
1928 NYC Macbeth Galleries
1928 Boston Doll & Richards (etchings)
1928 Boston Doll & Richards (watercolors)
1929 Boston Doll & Richards (watercolors)
1929 Boston Doll & Richards (etchings)
1930 Boston Boston City Club
1930 Boston Doll & Richards (etchings)
1931 Boston Doll & Richards (etchings)
1932 Boston Foster Brothers
1932 Boston Guild of Boston Artists
1932 Boston Doll & Richards (etchings)
1933 Boston Guild of Boston Artists (watercolors)
1935 Boston Doll & Richards
1936 Boston Doll & Richards
1938 Boston Doll & Richards
1939 Boston Doll & Richards
1940 Boston Doll & Richards
1943 Boston Guild of Boston Artists (watercolors)
1945 NYC Grand Central Galleries
Wikimedia Commons has media related to Sears Gallagher.
Chambers, Bruce W. (2006). Sears Gallagher: A Biography. Boston Public Library: Unpublished Manuscript. p. 1.
Chambers, 2006, p. 2.
Holman, Louis Arthur (1929). Sears Gallagher's Etchings of Boston. Boston: C. E. Goodspeed. pp. 11–12.
Chambers, Bruce W. (2007). "Biography of Sears Gallagher." Exhibition of Works by Sears Gallagher, Master Etcher. Boston: Boston Public Library, Print Department, Wiggin Gallery.
Spanierman. "Artist Biography. Sears Gallagher". Spanierman Gallery. Retrieved October 7, 2014.
Chambers, 2006, p.3;
Chambers, Bruce W. (November 2007). "Sears Gallagher, Boston Watercolorist". Antiques: 160–169.
Chambers, 2006, pp. 4–5.
Chambers, 2006, p. 5.
Chambers, 2006, pp. 5–10; Chambers, 2007, pp. 163–164.
Chambers, 2007, p. 164.
Chambers, 2007, p. 162
Chambers, 2007, p.165.
Chambers, 2007, p. 165.
Chambers, 2006, pp. 18–19.
Chambers, 2006, p. 21.
Czepiel, Anne. Books and Articles Illustrated by Sears Gallagher. Unpublished manuscript by Gallagher's granddaughter based on a family scrapbook in her possession.
Czepiel, "Exhibitions," pp. 1–5; Chambers 2006, pp.7–43. Holman, pp. 13–27. The list of exhibitions was verified with reference to relevant issues of The Art News and the American Art News.
Holman, Louis Arthur (1929). Sears Gallagher's Etchings of Boston. Boston: C. E. Goodspeed. pp. 13–27.
Chambers, 2006, p. 40.
Holman, Louis Arthur (1929). Sears Gallagher's Etchings of Boston. Boston: C. E. Goodspeed. pp. 22–27.
Dodd, Loring Holmes (1960). A Generation of Illustrators and Etchers. Boston: Chapman and Grimes. pp. 166–169.
Peters, Lisa N. (2012). Coastline & Countryside: Watercolors of Maine & New Hampshire by Sears Gallagher (1869–1955). New York: Spanierman Galloery. pp. 6–7.
Chambers, 2006, p. 36.
Chambers, 2006, pp. 42–43; Holman, pp. 12–27.
See the online catalogs of each institution for information about specific holdings.
Peters, p.11
This list of exhibitions is based on Chambers's research and verified in news accounts in relevant issues of American Art News and The Art News.
External links
Works by Sears Gallagher at Project Gutenberg
Works by or about Sears Gallagher at Internet Archive
A - B - C - D - E - F - G - H - I - J - K - L - M -
N - O - P - Q - R - S - T - U - V - W - X - Y - Z
Paintings, List
Zeichnungen, Gemälde
Retrieved from "http://en.wikipedia.org/"
All text is available under the terms of the GNU Free Documentation License
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Kimbell Art Museum Exhibition Catalog
June 5 - August 8, 1982
[Next][Previous][Kimbell Catalog Index][Vigee Le Brun's Home Page]
Catalog Number 18
Art Page 48
Oil on canvas: 22 x 18 inches, (56 x 46 cm.)
Private Collection
Vigee Le Brun's sister-in-law, Suzanne Marie Francoise Vigee (1764-?), was the third of seven children born to Jean Baptiste Riviere (1737-1826) and his wife, Catherine Antoinette Foulquier (1739-1826), a former actress and dancer of the Comedie Italienne known by her stage name of La Catinon. The Riviere family was of French origin, its members attached to the courts of Germany, especially that of Saxony. Jean Baptiste Riviere was charge d'affaires in Paris of the Elector of Saxony; he occupied this post for some fifty years.
Vigee Le Brun's close relationship with the Riviere family is attested throughout the Souvenirs. In the summer of 1789, she recovered from nervous exhaustion at the home of Jean Baptiste Riviere on the rue de la Chaussee d'Antin. Between 1792 and 1801, she was accompanied in her travels by Suzanne's oldest brother, Auguste Louis Jean Baptiste (1761-1833), an accomplished painter who copied in miniature many of Mme Le Brun's portraits.
The sitter's marriage to Etienne Vigee was celebrated at Paris in the Church of the Sainte Madeleine on October 19, 1784. Vigee was then Secretary to the Comtesse de Provence, and his bride was femme de chambre to the King's young daughter, Marie Therese Charlotte (see cat. no. 13). The author of a secret correspondence reported:
There has been of late a very momentous marriage, that of the poet Vigee with the demoiselle Riviere , a very charming young person... . To realize the significance of these nuptials, it should be known that the groom is the brother of madame Le Brun, the wife of a famous picture dealer and the intimate - friend [sic] of the comte de Vaudreuil [see cat. no. 14]. Members of the Court and of Paris society attended her brother' s wedding. Prince Henry [of Prussia, brother of Frederick the Great] supped with the wedding party at the residence of the Controller-General [Calonne]. All of Paris' s finest talents were there, and at the supper the groom received as a wedding gift the post of Contreleur de la caisse des amortissemens with a salary of twelve thousand livres.-J.-B.N... [Nougaret], Anecdotes secretes du dix-huitieme si@cle, ridigees avec soin d'apres la Correspondance secrete, politique et litteraire pourfaire suite art Memoires de Bacliaurnoiit, Paris, 1808, 11, pp. 230-231.)
Figure 14
Baronne de Crussol
Mrsee des Augustins, Toulouse
Art Page 124
Suzanne Vigee was a talented pianist, singer, and amateur actress (Souvenirs 1, 94) and was often called upon to perform at her sister-in-law's musical soiries. Vigee Le Brun stressed the plainness of Suzanne Vigee's looks. Apparently her only attractive feature was her large eyes (Souvenirs, 1, 99), which in this portrait are made even more impressive by the dramatic twist of her body, a pose repeated in the portrait of the Comtesse de Chastenay (cat. no. 17) and to some extent in that of the Baronne de Crussol (fig. 14). The black satin scarf is identical to the one worn bv the artist in her Self-Portrait, aiix rtibans cerise (cat. no. 11), the Chapeau de paille (fig. 7), the Duchess de Polignac, 1782 (Polignac Collection) and the Lady Folding a Letter, 1784 (cat. no. 15).
Suzanne and Etienne Vigee had only one child who survived infancy, Charlotte Louise Elisabeth (1796-1864). Caroline, as she was called, would one day marry her mother's youngest brother, Jean Nicolas Louis Riviere (1778-1861), a diplomat like his father in the service of Saxony. They and their children lived with Mme Le Brun at the end of her life and at her death inherited the bulk of her estate.
PROVENANCE: Collection of Caroline collections of Caroline Riviere, nee Vigee; by family descent to the present owner.
EXHIBITION: Tours, Musee des Beaux-Arts. L'Art dans les collections privees de Touraine, July 12-September 20, 1959, no. 52, illus. pl.21.
REFERENCE: Souvenirs, I, 333.
[Next][Previous][Kimbell Catalog Index][Vigee Le Brun's Home Page]
Reproduced with the permission of the
Kimbell Art Museum, Fort Worth, Texas.
Web Site Designed and Maintained by
Bat Guano Web Works ®
Tucson , Arizona
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New York City Street Artist: Swoon
Since I express my artistic creativity through writing and not art in the traditional sense, I am always fascinated by artists who draw, paint and create with different mediums. This article is about one of those very intriguing artists.
Swoon is a 31 year old female graffiti artist based in New York City. Her main focus is creating life-sized, cut-out, wheat paste prints and paper cutouts of figures based upon people in her life. Of course, Swoon is not her real name. She keeps her real name a mystery to avoid prosecution for vandalism crimes associated with her street art.
I always wonder what these emphatically creative artists think about when they create. Where do they find their inspiration? I’ve found two quotes below from Swoon that allow us to take a peek into her mind and begin to understand where she draws her ability to create such unique street pieces.
“When I first began to do street work, part of my impulse had to do with those things that are meant to disappear and the ability to just let things go. I use recycled newsprint that I order in 90-pound rolls. It’s extremely thin and is one of my favorite papers to use because of the way it decays. It yellows. It cracks. It has this whole life cycle that I really like.”
“I’ve always really had the sense of the way that people store things inside their bodies and the way that everything you’ve ever seen or ever done is a part of you. I felt like in a way if I could somehow draw that, or make an x-ray, maybe it was just your experiences that day or maybe it’s just what you walked past that day, or maybe it’s a deeper story that’s somewhere in there for the telling.”
I hope you enjoy this interview with Swoon as much as I did!
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Paris, FR - Bordeaux, FR
The site has a natural-cultural topography of the North / South axis. Positioned as a plateau in the forest, it opens on the landscape and becomes a lookout over the Pyrenees. It has a strong connection with nature and offers views of the surrounding natural areas.It also has a privileged position "on a plateau" in nature. Wood borders the site but does not penetrate. A priority is to open up the forest and to enter the site for the project is not in line with the body but takes place.Confirming the path Loustaounaou for Social link. Create an active fringe which multiplies the sequences. Do not fall into the trap of the façade lined street. Create a network of public space structuring across the district and zac to affirm the axis n / s and highlight the area of concentrated development / lookout link.
Read more
Status: Competition Entry
Location: Bayonne, FR
Firm Role: 200 Housing
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Rod EWINS, not titled [curly redheaded woman]. Enlarge 1 /1
Fiji born 1940
• Australia from 1957
• England, Europe 1963-65
• USA 1976
not titled [curly redheaded woman]. 1963 Place made: London, Greater London, England
Materials & Technique: prints, ink; paper etching, printed in red ochre ink and plate-tone, from one copper plate Support: medium-weight off-white wove Lawrence Imitation Japanese paper
Manufacturer's Mark: no manufacturer's mark.
Edition State: 2nd state of 2
Impression: unique proof
Edition: no edition, 2 artist's proofs only
Edition Notes: Verso of selfportrait engraving 64. Only proof [to parents], plate lost
Primary Insc: signed and dated lower right below plate-mark in black pencil, 'R Ewins 63'. not titled. inscribed with edition details lower left below plate-mark in black pencil, '2:1 Proof'.
Secondary Insc: no inscriptions.
Tertiary Insc: no inscriptions.
Dimensions: plate-mark 9.4 h x 7.7 w cm sheet 20.0 h x 15.5 w cm
Acknowledgement: Gift of the Artist 1997
Accession No: NGA 97.680
Subject: Portrait: female
• Gift to the National Gallery of Australia, from the artist, Hobart, 1997.
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Larissa + Josh's Engagement at Sahlen Field + Tifft Nature Preserve | Buffalo New York
They’re getting married one week from tomorrow!! No that does not mean I’m slacking on writing this blog... ok well maybe it does a little 🤣 Actually, we just met up at the end of June for their Buffalo Bisons game and Tifft Nature Preserve engagement session!
Larissa and Josh chose to start their photos at a Bisons game as that’s one of their favorite things to do together! They're not huge baseball fans, to be honest. But they are huge fans of hanging out and enjoying each other's company in the great outdoors with a Labatt Blue in hand 😉 I can dig that!
After watching a bit of the game, we headed over to Tifft Nature Preserve nestled next to Lake Erie for some sunset and golden hour photos. This is one of my favorite places to shoot - I love the way the sun hits the top of the hill overlooking the lake. 🌞 We spent the second half of their engagement session here watching wildlife (we spotted some baby deer!), dancing, giggling and taking in the breathtaking sunset.
I cannot wait for their big day - just a week away! Stay tuned for photos of these two celebrating their love with an intimate Hotel Lafayette wedding 🖤
#buffaloengagementsession #buffaloengagement #buffaloengagementphotographer #buffaloengagementphotography #baseballgameengagement #baseballengagement #tifftengagement #tifftnaturepreserve #tifftbuffalo #tifftsunset
#unposed #adventurouscouple #adventurousbride #forthewildlovers
#buffalowedding #buffaloweddings #wnyweddings #buffaloweddingphotographer #buffaloweddingphotography #wnyweddingphotographer #wnyweddingphotography #jaimieellisphotography
couple giggling outside Sahlen Field Buffalo NY for a Bisons Baseball game engagement session
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Furry Logic Parenthood (Hardcover)
By Jane Seabrook
Ten Speed Press, 9781580086714, 72pp.
Publication Date: March 1, 2005
List Price: 9.95*
* Individual store prices may vary.
From the author-illustrator of the best-selling FURRY LOGIC comes a book of smile-provoking, truth-telling adages just for parents. Accompanied by touching water-color paintings of the most expressive animals you've ever seen, FURRY LOGIC PARENTHOOD will speak to the hearts, souls, and funny bones of anyone who's experienced the joys of being a mom or dad. Seabrook's paintings uncannily capture the highs and lows, loves and fears that all parents feel. Her koalas, giraffes, bald eagles, rabbits, and owls are rendered in delicate and biologically accurate detail using a tiny sable brush with a single hair at its tip. Cleverly complementing the paintings are sayings such as “Your children are growing up when they stop asking where they came from . . . and refuse to tell you where they're going” and “A perfect example of minority rule is a baby in the house.” Parents will find their inmost thoughts perfectly expressed within the pages of FURRY LOGIC PARENTHOOD.A humorous collection of quotes and drawings that capture the emotional essence of being a parent.An ideal gift for Mother's Day, Father's Day, baby showers, or just to perk up any parent's day.FURRY LOGIC has sold more than 130,000 copies.A six-copy counter display is available free with every order of six or more copies of FURRY LOGIC PARENTHOOD.
About the Author
JANE SEABROOK is a designer and illustrator who, in recent years, has focused on paintings of wildlife. She lives in Auckland, New Zealand, with her husband, two teenage children, and four cats--three adorable seal-point Birmans named Fizz, Bean, and Maisie, and one elderly British blue named Philby.
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Entrance Canopies
Our wide range of commercial entrance canopies allows you to create welcoming entrances which also add a stylish architectural feature to your building.
An entrance canopy can highlight the correct door for your visitors to use and also extend a porch area to create a spacious waiting area and make a feature of your entrance.
Entrance canopies can reduce slip hazards on wet, rainy days by reducing how much driving rain enters the building and also how much is walked into the building on foot. This helps to make your entrance much dryer and safer.
A well as protecting from the wet weather, entrance canopies can help to keep the inside of your building cool as they shield doorways from the harsh sun, stopping it from beating in onto glass doors and windows.
We have a wide range of door canopies to suit your design requirements and budget.
Keep scrolling to view our range of entrance canopies, or click here:
Entrance Canopy Products
Cost-Effective Entrance Canopies
Our cantilevered entrance canopies are perfect for those with smaller budget as well as those that have limited space and would prefer a canopy without front posts. There are many designs within our cost-effective entrance canopy range including many with mono-pitched roofs and curved roofs.
The Beck Entrance Canopy has a mono-pitched roof and is one of our most popular cost-effective entrance canopies, is currently covering entrances in schools, hospitals and restaurants across the UK.
If however, you’d prefer a curved roof entrance canopy, you could opt for the Abberton Entrance Canopy which is also popular within commercial settings including schools, hospitals, shops and multi-occupancy buildings.
High-End Entrance Canopies
We also have a fantastic range of high-end entrance canopies for those that have slightly bigger budgets and would like a striking entrance canopy that creates a real focal point.
The Kensington range of canopies including the Kensington Entrance Canopy which features no front posts, has a strong steel frame and is available with glass panels, creates a high-end appearance.
Or, if you’d prefer a more robust looking canopy with front posts, the Kensington Mono-Pitch Canopy is extremely popular with architects and contractors and as a result, we have installed it within many UK hospitals, schools, shops and industrial settings.
Please click on the products below to view our range of entrance canopies:
Entrance Canopies systems
Benefits of Entrance Canopies
• Easily direct your visitors to the correct entrance by making them stand out
• Make a real focal point of your entrance and a great first impression
• Adding signage to your entrance canopy adds clarity and useful information for your visitors
• Enhance the aesthetic appeal of your building, adding a new dimension to it, modernising it or simply giving it a refresh
• Provide and safe and sheltered area for visitors to wait or prefer to enter and leave the building
• Create a welcoming area which can be coloured matched to your existing branding or building colours
• Click here to read more about The Benefits of Entrance Canopies in Commercial Settings
Entrance Canopy Style Options
There are many entrance canopy style options available and our ranges covers them all. So, if you are looking to discover the style options available when choosing an entrance canopy, click here: Entrance Canopy Style Options
Entrance Canopy F.A.Q's
1. What is an entrance canopy?
An entrance canopy is a permanent structure installed over the entrance of a building to provide shelter and protection from weather elements such as rain, snow, and sunlight. It enhances the aesthetic appeal of the entrance while offering functional benefits.
2. What materials are used to make entrance canopies?
Entrance canopies can be made from various materials including:
• Aluminium: Known for its durability and lightweight properties.
• Steel: Offers high strength and stability.
• Polycarbonate: Provides excellent light transmission and UV protection.
• Glass: Adds a modern and sophisticated look.
3. What are the benefits of installing an entrance canopy?
• Weather Protection: Shields visitors and employees from rain, snow, and harsh sunlight.
• Aesthetic Appeal: Enhances the overall look of the building’s entrance.
• Branding Opportunity: Can be customised with company logos and colours.
• Increased Comfort: Creates a welcoming and comfortable entrance area
4. Can entrance canopies be customised?
Yes, entrance canopies can be fully customized to meet the specific needs and preferences of a business. All our entrance canopies are made to order and customisation options therefore include size, shape, colour, materials, and additional features such as integrated lighting or branding elements.
5. Are entrance canopies suitable for all types of buildings?
Entrance canopies are versatile and can be installed on various types of buildings including commercial establishments, schools, hospitals and retail stores. The design and materials can be adapted to complement the architectural style of the building.
6. What maintenance is required for entrance canopies?
Maintenance requirements depend on the materials used. Generally, entrance canopies require periodic cleaning to remove dirt and debris. Some materials, like aluminium and polycarbonate, are low-maintenance and require less frequent upkeep compared to others.
7. How long does it take to install an entrance canopy?
The installation time varies based on the size and complexity of the canopy design. Simple installations can be completed in a day or two, while more elaborate designs may take longer. A detailed timeline is usually provided during the project planning phase.
8. Do entrance canopies require planning permission?
Planning permission requirements vary depending on the location and local regulations. It is advisable to check with local authorities or consult with professionals to determine if permission is needed for your specific project.
9. What factors should be considered when choosing an entrance canopy?
• Purpose: Determine the primary function (e.g., weather protection, aesthetic enhancement).
• Material: Choose based on durability, maintenance, and aesthetic preference.
• Design: Ensure it complements the building’s architecture.
• Budget: Consider the overall cost including installation and maintenance.
• Regulations: Check for any local planning or building regulations.
10. Can entrance canopies be integrated with other structures?
Yes, entrance canopies can be designed to integrate seamlessly with other structures such as walkways, porches, or adjoining canopies, providing comprehensive coverage and enhancing the overall functionality of the entrance area. We can also add side panels and lockable doors to turn your entrance canopy into an enclosed porch.
If you have any other questions or need further assistance, please do not hesitate to contact us at Able Canopies. Our team of experts is here to help you with all your entrance canopy needs.
Entrance Canopy Customer Feedback
Here’s some recent feedback from our customers that have invested in our entrance canopies:
“I just wanted to say how pleased we are with the canopy. The guys that attended did a great job, they were very professional, quick, and efficient.”
– Newpin Pre School, London
View installation: School Entrance Canopy
“The service provided to us from the first phone call to enquire about the product we required to the finished job was excellent.”
– Charlton School, Shropshire
View installation: School Entrance Canopy
Service: “Excellent
Installation: “Excellent
Product: “Excellent
Would you recommend us? “Yes
– King George Hospital, London
View installation: Hospital Entrance Canopy
Entrance Canopy Transformations
View our transformation videos below which show what the areas looked like before we installed their entrance canopies, during the design stage and after we installed them.
Leicester Forest East Parish Hall
Dane Court Grammar School
Why Choose Able Canopies as Your Entrance Canopy Supplier?
Able Canopies have been designing, manufacturing and installing canopies for over 19 years all over the UK. Our main focus has always been to provide extremely high quality canopies including entrance canopies to all of our customers which include schools, leisure centres, colleges, care homes, shops, hospitals, the MOD, architects & main contractors.
Our entrance canopies are perfect for creating prominent entrances to your building. Whether you are looking for a striking modern design that stands out, or a traditional design that fits in perfectly with your building, we will have a design for you.
With our design and build team, we are also able to create bespoke entrance canopies that are designed inclusively from your needs and requirements ensuring that you are left with an entrance canopy that has it all!
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If you have an important upcoming shoot, I highly recommend that you start learning composition by at least learning the rule of thirds. The rule of thirds is the most basic rule of composition that basically tells the photographer to imagine a tic-tac-toe board on the frame of the picture, and to put the most interesting part of the photo on the intersection of those lines.
Last tip is to no take yourself so seriously. Create a few really whacky shots at the end of the session (or even in the middle if the energy seems to be fading). Tell them to do a group squish and really get them to squish. Often they will start laughing and as they pull apart you grab the shot. Do a pile on down in the grass. Ask them to jump in the air or make goofy faces (you make one too). It breaks the tension and lightens up the mood.
Select an outfit that is appropriate year round. One of the more popular times for families to take their portraits seems to be around the holidays (when the kids are home from school and everyone is in the same place). The holidays may seem like the perfect excuse to bring out the Santa hats and incorporate props into your family portraits. However, you’ll want these photos to be displayed all year round. Try to avoid purely seasonal accessories and itemor this type of pose I usually move my couch cushions out of the way and put the baby all the way down on the floor. Then I stand on a chair near him and photograph him from directly above (see the first photo below). But if the baby really wants to turn her head to the side it’s worth hopping off the chair and lying down right next to her to get a few photos that show her face better (second photo below).
Hello! My name is Kayla and I’m here to explore and appreciate all forms of photography; whether it be food or a fresh newborn & family. I love everything about all of it. I strive to give you the best and most out of your budget by offering a 48hr turnaround time on all edited images and an abundance more edits than my competitors! Please feel free to contact me over any questions or concerns about your future session!
Now is not the time to be starring dreamily into space – make sure you look at the camera (and remind everyone else in the photo to look into the camera too!). Try to get the “looking at the camera” shots out of the way first when everyone has enough attention. It can quickly get tough to get kids to cooperate, so aiming to get this shot first is keydding a tripod to your kit isn’t the most practical of wedding photography tips but hear me out. I’m not suggesting you go around the whole wedding using this. However, if you want to get creative later on at night with flash then a tripod is a necessity. You’ll be able to capture all manner of ambient light and even the stars in the night sky. Use a slow shutter speed and at the same time light the couple with your flashClaire Smith Photography is a photography studio located in Dallas, Texas. Claire Smith is a natural light photographer who specializes in newborn, baby, child, and family photography. Claire’s style is casual, modern, and fun. Claire Smith Photography aims to document a child’s unique personality, opting for candid shots rather than directed poses.
Set up a work schedule. This will largely depend on your client's needs so you'll need to be organized and prepared. When setting up a schedule, consider how long the shoot will need to last and how much time you'll need to edit photos before delivering a product to your client. Realize that some types of photography will demand specific schedules. For example, you'll probably work lots of weekends and evenings if you shoot weddings.[13]
[…] I decided to use the techniques I had practised with during my test shoot with the doll, anbd bring them into the shoot I did with the real newborn, as well as looking online for any tips that could help me with getting the images perfect. I found a site which talked me through the different poses, the best way to move the newborn and then preparation before hand, I found the advice quite helpful: DIY newborn shoots […secret to being a successful photographer and not lose the passion for the craft is to constantly work on personal projects. Make the time to shoot what you love for yourself and your passion will grow by trying various digital photography techniques. At the same time your confidence as a professional will also grow. This is true for any hobby that becomes a busineshaddeus Harden Photography is a photography studio based in Southlake, Texas, serving Dallas, Arlington, Irving, Fort Worth, Colleyville, Bedford, Grapevine, Flower Mound Denton, Frisco, Garland, Plano, Carrolton, and Southlake. They have served renowned clients in the City of New York for more than 28 years. Now, Thaddeus Harden brings their talent to Texas as a newborn, maternity, and family photographer. Thaddeus Harden Photography conducts portrait photography serviContracts provide mutually beneficial protection to both you and your photographer. Your photographer should send you a contract once you’ve both decided to move forward. The contract should define studio policies, payment and deliverable schedules, and contingency plans. Read the contract before signing; don’t make any payments until the contract is in place.
Because babies rarely arrive on their scheduled due date, your newborn photo session will be scheduled a bit differently than other photo sessions. For newborn photo sessions, it’s best if you get your session booked while you are still pregnant, ideally in the 2nd or 3rd trimester. Scroll down to see a featured session and for more information about the procesese sites also have great finds for the rest of the family, even for your home. I find a lot of my jeans there, as well as fun shoes, accessories and sweaters. Some of the brands I’ve picked up for myself there are 7 For All Mankind jeans, Hudson jeans, Paige Denim, Current & Elliot jeans (yes, I love my denim), Free People, some vintage finds when they have a Vintage Bazaar boutique (great for props), etc.
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The Topsy-Turvy World of Toronto Subways
The Topsy-Turvy World of Toronto Subways
A trip on a Toronto subway is more often than not a sedate experience. With the exception of eccentric fellow passengers, and the occasional break provided by station buskers livening up the morning commute, it’s typically a lackadaisical, mundane affair.
That is, unless you find a way to look at the experience though a different lens. Almost literally doing that is Stan Krzyzanowski, who recently put together some videos of ordinary TTC subway experiences, rendered extraordinary by reimagining them as images you’d see through a kaleidoscope.
The artist and OCADU faculty member tells us that technically, the process is “actually very simple and straightforward.” He records video with his point and shoot camera and then assembles the videos in Flash, flipping the shots upside down and left to right. Krzyzanowski developed this series out of a few other projects he worked on in which he was using actual mirrors to shoot video, and using mirrors in the video. (He recently had an installation at Roadside Attractions, for instance, which included an actual kaleidoscope in the gallery window.)
The subway videos aren’t Krzyzanowski’s first foray into kaleidoscopic reinterpretation: he’s put together videos based on the view from his bike, going down old back lanes, looking at graffiti, and while checking out a recent Luminato performance. “What I like about these,” he told us about the TTC videos in particular, “is that there’s a kind of a movement happening, visually, but you’re also catching the ambient sounds in the background and it makes a really nice soundtrack… Everyone knows the sound of the train speeding up and slowing down, the ding-dong of the doorbell.” He goes on to add that they are especially fun to shoot because rather than fighting to hold his camera steady—what photographers typically do when shooting on a moving vehicle—in this case he’s actually intentionally creating movement, utilizing the motion of the trains in the shooting process.
Krzyzanowski isn’t sure what he’ll shoot next—he prefers to travel with his camera and film as things strike him rather than planning in advance—but if these are any indication, his subjects are sure to benefit from the kaleidoscope treatment.
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Marketing 7 min read
10 More Ways to use Non-system Fonts on a Website
Design (including font choice) can make or break your personal or company brand. Here are 10 more ways to use non-system fonts to improve your website.
RossEdwardCairney | Shutterstock.com
RossEdwardCairney | Shutterstock.com
We recently published 12 ways to use non-system fonts on a website. Bonus: there’s more.
Read the first part of this series here.
From expressing familiarity to evoking novels from our childhood, fonts can do a ton of work on the web. Due to the volume of fonts available, one article wasn’t enough.
So, here’s 10 more ways to use non-system fonts on a website….as direct substitutes for system fonts.
10 More Ways to Use #Non-System Fonts in #WebClick To Tweet
Before We Begin
You will note a key difference in this second part.
That difference is the absence of both the “Feel” and “Family” sections from the last list. Given that many of us are familiar with the types of uses the most common system fonts have, it seemed redundant to restate them here.
Without further ado:
Helvetica via Network9.biz
13. Make a Conscious Choice to be Neutral Instead of Ambiguous
Helvetica is often used when companies or individuals want a more neutral typeface that is also web-safe. It has even been referred to as “one font to rule them all”. Due to its simple, but well-defined nature, it is a common choice for design firms to real estate agents.
https://en.wikipedia.org/wiki/Helvetica
As a result of active open source communities, you can find SO MANY SUBSTITUTES with one simple Google search (or Bing, I guess). There is even a non-system font alternative called “Neutral”. It offers similar features such as easy to read, well-spaced letters.
Font: Neutral
Source: Kai Bernau via Typotheque
Best Replacement For: Helvetica
14. There is Very Little Need to Spend big Bucks
Lato | Latofonts.com
While there are many fantastic alternatives to Arial such as Atlas, they can be quite expensive.
We are talking anywhere between $139 to $750 for more than one user on the desktop PC version. But Google Fonts offers more affordable and free options.
Many of these fonts (like Lato) also double as alternatives for Helvetica and all of them are available for free.
Pro-tip: many of these also made it into our first article, too.
Font: Lato
Source: Łukasz Dziedzic via Google Fonts
Best Replacement For: Arial
15. “Look-alikes” are not out of the Question
Lora | Cyreal.org
The slightest changes can have solid, measurable impacts on user engagement. But there are so many options out there including other system fonts like Futura.
Why wouldn’t you opt for a little “inside the box” creativity? (See what I did there??)
One of the main Times New Roman alternatives, Roboto Slab, made the first cut.
But if you want a TNR look alike, consider the font Lora. It utilizes similar curves and boxy letter shapes that TNR offers.
Font: Lora
Source: Cyreal via Google Fonts
Best Replacement For: Times New Roman
Raleway | Slidebean.com
16. Add Personality to Your System Font
The biggest perk to non-system fonts is their ability to convey personality. Since many system fonts are designed to be exclusively web-safe, they can lack originality. Calibri offers enhanced readability. As a result of this, it can be limiting stylistically.
Consider fonts like Raleway. The letters are a little more angular…a little larger…a little more unique. Raleway also enables you to avoid the tumult and scorn of many a designer who has strong Opinions™ about Calibri. It’s also free!
Font: Raleway
Source: Impallari via Google Fonts
Best Replacement For: Calibri
Comic Sans Shiba Inu Meme | Creative Market
17. You can use Conversational Fonts Just not Comic Sans
Due to its comical nature, many mock the font Comic Sans when we were younger. Some suggested that this oft hated font was easier to read for Dyslexic people. As a result of recent findings, however, this claim has not been proven.
Ignoring the readability factor, there are better alternatives to this light-hearted romp of a font. Both Laconic and Architect’s Daughter maintain the bouncy nature of Comic Sans while spurring less ire.
If you are going for max readability, consider Lexia Readable. This font differentiates “b” and “d” letters using asymmetrical lines. It is even called “Comic Sans for Grown-ups”.
Font: Lexia Readable
Source: K-Type
Best Replacement For: Comic Sans
Nunito Sans | Vernon Adams and Jacques Le Bailly via Super Dev Resources
18. Opt for a Non-System Font With Many “Types”
Open Sans is another font that has many, many alternatives. Some of them, like Merriweather and Montserrat, made our other list. Though substitutes like PT Sans and Arimo are great, they can offer limited variety.
Nunito Sans offers 14 different types from extra-light to semibold to extra-bold Italic. Due to its idiosyncratic essence, Nunito Sans could be useful for writers or companies with products/services aimed at writers.
Font: Nunito Sans
Source: Vernon Adams and Jacques Le Bailly via Google Fonts
Best Replacement For: Open Sans
StockSnap | Pixabay
19. Get a Non-System Font for Your Specific use Case
Verdana, a favorite for coders, can be difficult to replace. Due to its simplicity, substitutes are often too “fancy” or unclear. For coders, in particular, clarity of font is key.
Now, I am not a hardcore coder, so don’t just take my word for it. You can read up on Verdana alternatives on Slant.
For those of you searching for clear, concise non-system font alternatives, Input Mono is a great option. Not only did it have zero cons on Slant, it is 100% free to use.
Font: Input Mono
Source: DJR & Font Bureau
Best Replacement For: Verdana
The Elder Scrolls V: Skyrim | Bethesda via Giant Bomb
20. Some Non-System Fonts are Available as Subscriptions
Finding a Courier substitute proved one of the more difficult tasks. Many of the options like Triplicate and SG Benton SB cost upwards of $100 USD. Being a startup ourselves, we here at Edgy Labs prefer to find solutions that work for companies AND individuals.
In that vein, we found Nitti. This typeface does have more character than Courier. Most noteworthy about Nitti is that it is available as a subscription service for $40.00 USD/year. Due to the offerings of “hosted” vs “ self-hosted”, users of different platforms like WordPress, Squarespace, Wix, and October CMS have options.
Font: Nitti
Source: Pieter van Rosmalen and Blue Monday
Best Replacement For: Courier
21. Avoid Using System Fonts to Stand out from the Crowd
It’s debatable as to whether or not Papyrus is a system font. But, I think we can all agree that it is a vastly over utilized font. Even SNL poked fun at it in this sketch featuring Ryan Gosling playing someone haunted by the use of it in James Cameron’s Avatar.
But if you want to convey a similar feel as Papyrus, consider my favorite Teenage Mutant Ninja Turtle. The font “Donatello” evokes the same kind of script-like and historical vibe without relying on an over-used font. All of the non-system font alternatives to Papyrus offer varying degrees of Avatar.
Font: Donatello
Source: Garrett Boge & Paul Shaw via LetterPerfect and Font Shop
Best Replacement For: Papyrus
Donatello from TMNT | New Line Cinema via TMNTgifs.tumblr.com
22. System Fonts are Totally Overrated
Sometimes, a script typeface is precisely what your website needs. Many designers loathe the use of system fonts like Vivaldi simply because of overuse. Non-system fonts can instantly grant you clout with users from various industries. Decor Light is a fantastic substitute available starting for $30.00 USD.
As a result of similar flowing curves, you eschew the chidings of any would-be critics. Alternatively, if Decor Light doesn’t light your font fire, you can choose from literally dozens of others.
Font: Decor Light
Source: ParaType via Fontspring
Best Replacement For: Vivaldi
Did we miss some of your favorite non-system fonts? Let us know in the comments!
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test-2.png
IMG_9497 3.jpg
Anyone who keeps the ability to see beauty never grows old.
— –Franz Kafka
Today Looks Beautiful
Katie Cole Portland, OR
Email. [email protected] Instagram. todaylooksbeautiful
We live in a beautiful world with beautiful people who create beautiful things. Beauty evokes true and deep emotion, enriching our lives and souls. Every day, in some small way, each of us adds our own beauty to the universe.
A born-and-bred PNW girl, I came into this world with the joy of arts and crafts in my soul and the urge to create. This passion culminated into a studio arts degree, which I earned in 2009. Ready to leap into the creative job force and bring my artistic joys to the community, I soon discovered that a recession job market takes no prisoners. Forced to put my creative dreams on hold, I donned a green Starbucks apron, later taking my love for helping others into customer service.
But, after nine years in the workforce, I felt unfulfilled. No longer able to keep my creative endeavors to myself and feeling the unrelenting draw to share my creative joy, I took the leap into small business ownership and in 2018, turned my creative work into a full-time career.
What can I do for you?
I strive to add my own beauty to the world by creating and sharing my projects in ceramics, macramé, and printmaking, planning an unforgettable special event, designing rooms that bring joy, and guiding people on their journey to better self care. Nothing makes me happier than discovering the pieces that fit together to create a room that inspires delight. Whether you want to turn your home into a peaceful haven or throw a party for the ages, I turn your visions into a reality. Satisfaction of the mind begins when you find your happy place, and I will create that for you.
Let's make today beautiful.
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Olivia Guntarik is an Associate Professor in the School of Media and Communication at RMIT. Her research on digital and creative technologies seeks to draw connections between the past and present through the natural, built and cultural heritage. She brings a practice-led, comparative and interdisciplinary approach to questions of human geography, ecocriticism, and cross-cultural communication.
What are you currently looking at in your research?
I am looking at ‘slow knowledge’, knowledge that is acquired and built over time, and over generations. I am looking at the question of how we bring certain kinds of knowledges to the world in ways that make them usable, accessible and relatable to people. I am thinking about the evolution of historical knowledge about people and places more specifically; how we think of certain global crises, the mass movement of people around the world, and historical and contemporary forms of genocide and persecution. I am interested in how we think about these issues relationally and at the level of the local, national and global, how this relates to cultural difference, and why certain inequalities exist. I am looking at how all this relates to how we use pubic space, why we engage with certain ideologies and not others, why we tell stories in the ways that we do.
Much of this interest is global and historical in scale but usually begins at a very specific, localised level. This often takes me to interesting places such as Dja Dja Wurrung country in central Victoria (Bendigo) where I am working with elders to retell stories of water, land and the night sky and the significance of Dja Dja Wurrung knowledge to global environmental change, and why and how we use the land and water, what those uses mean for communities that are marginalised.
Later this year, as part of a European research fellowship, I am travelling to Barcelona and Marseille to look at questions of exile, dislocation and translation. I will do this through the work of the philosopher Walter Benjamin, tracing his footsteps through the various cities he lived and visited and as he made his final crossing to Portbou. This research forms part of recent work on Dream Writing (oneirography) and is concerned with how researchers can bring their ideas to a wider audience. Some of these ideas will appear in a special issue of New Writing, to be published later this year, under the title ‘Convoluting the Dialectical Image’. In two of the articles I experiment with fictocriticism (a way of writing that tangles journalism, ethnographic inquiry and memoir).
All of this work highlights my fascination for the forms in which different ways of knowing, being and writing emerge and move through textual evidence to broader ideas. At the heart of the matter is how we explore ideas – through language, through culture, through creative processes, through the different places we traverse, who we meet along the way. What matters to me is how all this in turn inspires us to speak about (and against) injustice, and the things we hear, sense and see around us.
What have you been doing or making that addresses your research question?
I have just completed making an audio-game walking tour called TIMeR with Hugh Davies and Troy Innocent. The app features stories of land, river and sky with Boonwurrung elder N’Arweet Carolyn Briggs, and players of TIMeR were led to various locations of historical significance in the city and presented with perspectives about different sites from various positions. In making the app, we were interested in how traditional and alternate knowledges of space could be presented through pervasive games, and how space itself can be seen as a platform carrying media.
A lot of my research is place-based, practice-led and collaborative with clear sonic, political and creative dimensions. Hugh is an artist and curator and I am curious about how he envisions the city as a board game that connects people and allows players to negotiate ethical dilemmas and shift their perspective. He brings a lot of his knowledge on the culture of games and play in the Asia Pacific into our considerations on this topic. Troy looks at how game design and public art can lead people to specific locations and conversations about place, experience, knowing and being. I am really interested in his ideas on ‘playable cities’ around the world and how he brings to our research a particular poetic dimension that situates games in more complex, layered relationships with culture and society.
This project allowed each of us to think deeply about our own practice, not only in terms of how we communicate Indigenous understandings of place to a broader public but what it means to engage with Indigenous issues from the various positions we were coming from as artists, writers and researchers. It was only through the process of making the game together that we discovered that the project was less about representing knowledge and more about the relationship we can have with this kind of knowledge, in ways that are political and agentic, and with people for which this knowledge matters. We are presenting on this research together later this year at the DIGRA conference (Game, Play and the Emerging Ludo Mix) in Kyoto and Freeplay (Independent Games Festival) in Melbourne.
I am also writing a book (in slow motion!), creating a series of short, interconnected stories about family, migration and place connected to an older homeland in Borneo. This is part of a longer-term ‘slow’ research project that began 10 years when I completed my PhD and which was the basis of my thesis. It brings together the longer-term genealogical work I have been thinking about on slow knowledge and what it means to develop an understanding of places and people over time and with the hindsight of wisdom, distance and maturity. This work is part of the Dream Writing project I referred to earlier with American scholar and poet Michael Angelo Tata with whom I am writing a double memoir, a braided narrative, where we playfully experiment with plot, point of view, style, character, voice and tone.
I can say that this approach gives a freedom that conventional academic writing does not afford. It has helped me consider my intentions as a writer, and to reflect on the obligations that I have to the people whose ideas I connect with as researchers, artists and activists. There are always elements to this process that take me by surprise but I am guided by history, especially when that history is enlivened by allegory and cultural critique. I am always inspired to think about how we bring the complexities of research to people at the grass roots and how we give ourselves over to ideas.
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All Articles
Ulrike Passe
Author: Alison Weidemann | Image: Alison Weidemann
Ulrike Passe, an Iowa State University associate professor of architecture, presented her paper on “Performance, data and the expanding field of sustainable design” at the 6th International Alvar Aalto Meeting on Contemporary Architecture – Technology and Humanism organized by the Alvar Aalto Academy at the Town Hall in Seinajoki, Finland, which was designed by Aalto in 1962.
Passe presented the theoretical framework which relates her interdisciplinary research into sustainable neighborhoods to architectural design thinking. The theoretical base supporting this work is Hermès V: Le Passage du Nord-Ouest by Michel Serres, where he is searching for a passageway that leads from the exact sciences to the arts and humanities. For Passe, the Northwest Passage serves as metaphor for the complex thought process between disciplines needed to produce and perceive sustainable urban environments. Based on this understanding, the paper established four overarching theoretical frames crossing between data and perception, narrative and policy, atmosphere and urban typology, technology and behavior, thus befriending quantitative and qualitative methods of research and design thinking.
The meeting was chaired by Professor Markku Hedman of Tampere University and discussed the relationship between evolving technology and changing premises for human well-being within the context of the built environment, such as virtual reality and computational landscape design, smart urban lighting and social spaces for refugee housing.
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AIArtArt InquisitionDesignMeta
Art Inquisition: Could You Be Our Next Winner?
The NYC Campaign Finance Board, of all places, may have me rethinking my general rule against design contests.
For the most part, I’m opposed to working for free (like most of us are). Spec work “for exposure” or “to see if I like it” isn’t an arrangement that would ever fly at the grocery store or doctor’s office, and contests don’t actually fulfill the real needs of the organization or individual hoping to get a ton of cool stuff to choose from. And you sure as hell can’t pay rent with ExposureBucks™.
HOWEVER, when we’re talking about civic engagement and getting people more involved with how our country is run, I’m all for it. After four years with a Statue of Liberty sticker designed by (then) 10-year-old Zoe Markman, NYC Votes is holding a contest to make a new “I voted!” sticker. Guidelines are simply to incorporate the phrase “I VOTED” into a design that fits in a two-inch circle, and must be submitted by April 14 at 5pm ET.
What makes this contest different? A few things, and they’re all a bit nebulous so I’m still not 100% certain I’m in favor. But good causes are, in general, well worth a smidge of my time. Donating a bit of work toward encouraging more people to be proud of voting seems like a win to me. Also, the “I voted” stickers are a fun add-on rather than part of a business’ brand or campaign. And not that money-making makes or breaks a contest, but I’m pretty sure nobody’s raking in mad cash off of “I voted!” stickers or anything. People love those stickers, even the most basic ones! (And I may be a bit jealous since Chicago gives out voting receipts instead of stickers.)
I honestly can’t think of anyone who wants to be asked to work for free. Even “budding artists” deserve something for their work, even if it’s just constructive feedback rather than blindly throwing their work into the void. And contests simply can’t provide the effective, tailored work most contest-holders are hoping to get by sheer luck. So is this one okay regardless of all that? While I’m leaning toward yes, I’m still on the fence.
What do you think? What makes an art/design contest good or bad? If “exposure” is acceptable compensation, how do artists pay rent or buy groceries? Are contests okay as long as everyone agrees to the terms? Is the work produced by a contest really the best for the job? What if nobody’s making any money off of it? Are there exceptions when working for free (or even paying an “entry fee” to work!) may be okay? Comment with your opinions below!
The Art Inquisition (or AI) is a question posed to you, the Mad Art Lab reader. It appears on random, occasional
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Hillhurst/Sunnyside: Street Art Fun!
Hillhurst/Sunnyside (H/S) community is Calgary’s equivalent to San Francisco’s Haight–Ashbury - a haven for artists, hippies and hipsters.
While every other community surrounding downtown Calgary has been overtaken by new condos and infill homes (i.e. gentrified), much of H/S still is early 20th century cottage homes and small apartment blocks. Especially Sunnyside (east of 10th Street NW and west of Centre Street bridge). A walk through H/S is a walk back in time.
Calgary Street Art
One thing I love about flaneuring H/S is the funky street art you find there - in a back alleys, on abandoned buildings, community centre, schools, the side of a retail building and especially in their container park (Yes, they have a park with sea containers used for various performances and events).
Every time I wander the community I seem to discover another piece of street art.
Link: Calgary graffiti: The good, the bad and reason it’s not all bad.
Street Art Calgary
Not Public Art
Street art gained popularity during the graffiti art boom in New York City in the ‘70s. It was then that graffiti evolved from small scribbles or tags to large murals, mostly with cartoon and fantasy-like characters, some with incredible skill and detail.
Originally, street art was often on blank concrete walls in rundown communities, on train and subway cars in derelict spaces. Today, street art has become trendy. It is often done with the approval of the landlord and is sometimes done as an anti-graffiti initative (given graffiti taggers often respect the work of street artists and don’t paint over them).
Street art is to the late 20th early 21st century what murals by artists like Mexico City’s Diego Rivera were to the early 20th century. However, they will never last as long - often disappearing in less than a year.
Today’s street art is also not considered to be public art as that artist has not received public funds and it is not sanctioned by a public authority.
Despite/or in spite of this, street art can become a tourist attraction - if there is a critical mass of quality art for visitors to check out.
Link: History of Train Graffiti
Link: 10 New York Graffiti Legends Still Kicking (Ass)
Yes this is the infamous "Trudeau Finger" on the side of the Hillhurst/Sunnyside Community Centre building.
Yes this is the infamous "Trudeau Finger" on the side of the Hillhurst/Sunnyside Community Centre building.
I LUV Street Art why?
Street Art is usually colourful and playful, two key ingredients that appeal to my eye. As well, I love the sense of surprise, as they are often off-the-beaten path, which is synergistic to my love of flaneuring. I also love the immediacy of street art. While the technique can sometimes be refined, most often they are loose, gestural, drawings.
Street Art Calgary
I went to NYC in 1982 to experience street art first hand. It was a time when I was an aspiring artist and felt a strong kinship with the work I was seeing in publications like ARTnews (my bible at the time).
I came back inspired and created a series of graffiti-inspired paintings over the following two years and also organized the Street Art for Gleichen project, which eventually lead to my becoming the Director/Curator of the Muttart Art Gallery (now Contemporary Calgary) for a 10-year stint.
It was a fun time. Thinking back, exploring those back alleys and vacant spaces of NYC was my first introduction to flaneuring!
Last Word
Perhaps it is time for someone in to organize an outdoor art (street art, murals and public art) festival that would encourage Calgarians to get out and see, contemplate and question our outdoor art. I'd love to hear what children and teens think of the art. It is not all about just the grown ups!
If you like this blog, you will like:
Frankfurt's Found Street Art
Austin's Amazing Outdoor Graffiti Ruins
Public Art vs Street Art: Calgary, Rome & Florenceurns out Castel Hill Partners own the land, are land developers and are obviously just waiting to develop it. I could help but wondered why they aren’t worried about the liabilities associated with letting people climb up and down their property. Somebody could easily get hurt and there are no signs saying, “use at your own risk.”
Jackson Pollock & Graffiti Art
Once we reached the edge it wasn’t as dangerous as the fireman suggested, but yes you have to be careful. The view of the city was spectacular and the park is a kaleidoscope of colour. It is definitely more of a graffiti park than a street art park as there are only a few areas where an individual artist’s work has been left untouched. Rather it is just layer upon layer of lines, squiggles and words in a cacophony of random colours - a Jackson Pollock-like mega 3D painting.
This was my favourite spot as you could play with the perspective of the window opening in the concrete foundation.
The intensity can be a sight for sore eyes.
Found this young lady hiding in the shadows. One of the few artworks that hadn't been covered with graffiti.
Perfect place to sit and chat.
Found this artist putting some final touches on his contribution.
Perfect place to meet friends for a picnic.
The Gallery has many walls to create lots of different galleries. Note you can see the castle in at the top in the background.
This is the proper entrance to the Hope Outdoor Gallery on Baylor St. at 11th St.
Better Than Public Art
I loved the scale, the energy, unique sense of place and randomness of the Hope Outdoor Gallery (HOG). While we were there a street artist was being interviewed about his work, there were lots of people milling about and even friends having a picnic. We went by the next day which was a Saturday and it was even busier. It is heaven for urban photographers.
HOG is better than most public artworks that quickly become just a part of the urban landscape and ignored by pedestrians. HOG is an ever-changing artwork that challenges people to literally explore it and to participate. I have now visited three times and each time I have discovered something new and always there are a dozen of so people actively looking at the art and trying to make sense of it.
I am thinking it would be a wonderful and weird place for wedding pictures. Hey this Austin, I am thinking it has happened more than once.
If you like this blog, you will like:
Public Art vs Street Art: Calgary, Florence, Rome
Freakn Fun at Freak Alley in Boise
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photo roll
Photographer Gauri Gill uncovers the secret lives of graves in Rajasthan
What can a grave tell us about the person buried there?
Tombstones are more for the living than the dead – they are the markers that friends and family return to over time, to grieve, remember and commemorate the departed. But what of the graves of peasants and nomads? Do they bear tombstones? If someone from a nomadic community dies on a journey, are they buried en route? Can those graves even be found again?
Eleven life-size images of graves by photographer Gauri Gill evoke such thoughts on death: our impact on the environment, even in our passing, and what a grave can tell us about the person buried there.
Untitled (17), from the series, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
Untitled (17), from the series, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
“If someone from the [nomadic] Jogi community dies during a long journey, the family may bury them on the way,” said Gill. “Usually, the communities themselves have an idea of where the sites are. But sand and other creatures act upon the graves, and in time they become a part of the landscape.”
These images are culled from an archive of thousands of photos that Gill has taken over the last 18 years in western Rajasthan – including in Lunkaransar in Bikaner, Barmer and in Osiyan in Jodhpur. Gill refers to the archive as Notes from the Desert. Periodically, she relooks at this archive in her home at Nizamuddin East in Delhi, to organise the photos according to a theme, like The Mark on the Wall, or the Birth Series, and now, Traces, or images of graves.
Untitled (3), from the series, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
Untitled (3), from the series, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
“Graves in themselves don’t necessarily interest me,” Gill said. “Sure, I might walk through a famous graveyard for its sense of history but I won’t necessarily photograph anything. I am interested in these specific graves, for so many reasons. For one, there’s a tenderness to them because of this act of making. Even the gravestones might be handwritten. They exist among communities with limited economic resources, so there is a simplicity. People often gather materials from nature to create them. And they are located in the desert, which reabsorbs them over time. An outsider might not even know that there is a burial site here.”
Though the oldest of the grave photos, on display at the Kochi-Muziris Biennale, dates back to the year 2000, the first time Gill edited and showed these pictures was in 2016 as part of a large solo exhibition at Galerie Mirchandani + Steinruecke in Mumbai. Called The Mark on the Wall, the exhibition combined works from different series including Fields of Sight in which Gill worked with Warli artist Rajesh Vangad, to create photo-paintings. The Mark on the Wall documented educational wall-art at government schools in Rajasthan and landscapes revealing the impression of humans – both from a distance and up close – including the graves. “That was where Sudarshan Shetty saw the photographs and invited me to Kochi,” said Gill. Shetty is the curator of the third edition of the Kochi Biennale.
Untitled (26), from the series, The Mark on the Wall, 1999 - ongoing. Image courtesy Gauri Gill.
Untitled (26), from the series, The Mark on the Wall, 1999 - ongoing. Image courtesy Gauri Gill.
Gill studied art at the Delhi College of Art, photography at Parsons School of Design and then at Stanford University, where she was the only photographer in a class of five Master of Fine Arts students. Her work has been shown in India and the US, including a solo show last year, at the Sackler Gallery of the Smithsonian Institution in Washington DC. Gill worked at a political weekly until 2000. In 1999 she made a trip to western Rajasthan and took the first photographs of her desert archive.
To Shetty, what was more important than her credentials however was that the works he chose for the 2016 Biennale did three things: generate conversations with the other works in the Biennale, trigger the imagination, and focus as much on the process of making and presenting art as on the final artwork.
At the Biennale, Gill’s photos can be seen after works by Russian artists AES+F and theatre practitioner Anamika Haksar. AES+F have created a series of light boxes that show images of the dead in high-fashion clothes, and trigger an enquiry into death and our ways of dealing with mortality. Haksar’s work is a theatre poem about the politics of water.
Waterwells. From the series, Places, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
Waterwells. From the series, Places, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
Shetty has curated this edition of the Biennale around a theme informed by the Rig Veda – forming in the pupil of an eye. He was interested in works which are interpretative and become more than the sum of their parts, with greater engagement from the artists as well as the viewers.
“Gauri’s work is telling a story in a very different way from Anamika’s,” said Shetty. “Most of the graves are unknown, but there is a way of reading into them because of the objects that are there on top of the grave. These are like cues to what kind of person this could have been...”
For the Biennale, Shetty offered Gill space at Aspinwall House, a sea-facing heritage property in Kochi that used to be the headquarters of a trading company. “It’s a huge abandoned warehouse,” Gill said, describing the space where her images were housed. “The walls are painted white but you still see imprints and scars on them. In the space there were columns and recesses. I thought why not make the photographs life-size and display one in each recess? When you walk into the room, it’s like walking into a room of graves.”
Installation view from the series, Traces, Kochi Biennale, 2016-'17. Image courtesy Gauri Gill.
Installation view from the series, Traces, Kochi Biennale, 2016-'17. Image courtesy Gauri Gill.
To adapt the photos to the space, Gill traded in her usual – more expensive, and in some ways, more exacting – silver gelatin process for digital prints. “I wanted them to be large,” she said. “Suddenly, you can see the infinite nature of the details in an ocean of sand.”
Despite the subject, Gill does not find the images and their overall effect depressing. “The graves exist so lightly upon the earth – I find that very beautiful. Usually they are not big, heavy, structures, because they are hand-made,” she said.
The graves belong to Muslims and Hindu communities such as the nomadic Jogis, Bishnois and subsects of Meghwals and Jats. Often, the families of the dead are resource-strapped and the graves are economical. But there is also an ecological imperative at work with some of them. “The Bishnois are such great environmentalists, they don’t wish to cut any wood or use any resources to make the grave, except what is already there.”
In the photographs, the graves can be seen almost submerging into the landscape. Very few have any permanent construction or structure to mark them. In some places, there are boulders with hand-written dates and names that serve as tombstones. Some of them have the personal belongings and important possessions of the deceased, such as teacups and medicines bottles. Often, animals and the elements destroy these quickly. “When a friend’s aunt recently passed away, they laid a bottle of alcohol on the grave,” said Gill.
Untitled (5), from the series, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
Untitled (5), from the series, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
As with many of the subjects Gill has shot over the past 18 years, the grave photographs became possible because of the relationships she has forged within these communities. Many of them, especially those who belong to nomadic communities, can be very private. “My experience and work is measured and marked by time,” Gill mused. “In terms of the photographs themselves, in the early years, I stayed for weeks on end, and documented everything obsessively. Now I go mainly to meet my friends, and photograph special occasions. Perhaps a friend has a baby, or another friend surprises me with five goat kids, or someone re-plasters the floor of her mud home immaculately.”
The first time Gill visited a grave was also with friends. “I didn’t plan to shoot the graves,” she said. “I went to visit my friend’s father’s grave with her. I would sometimes go with friends when they went to visit their relatives. Over time, I started to see the graves as these incredible sites, in and of themselves, and I began to revisit them.”
Untitled (11), from the series, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
Untitled (11), from the series, Traces, 1999 - ongoing. Image courtesy Gauri Gill.
To Gill, her growing archive needs close attention and careful looking. From time to time, she draws new material from it. “Actually, I need to digitize and catalogue it,” she said. Gill isn’t sure how many photographs of graves she actually has, the eleven featured in the series are just a glimpse. “These photos started with the Muslim graves, but kept on growing,” she said. “People are surprised to see Hindu graves, but Hinduism is so heterogeneous, and complex.”
Can she tell the Hindu and Muslim graves apart?
“Yes, there are differences, but in time they become more subtle, and then disappear altogether,” she said. The number 786 is inscribed on some tombstones, to denote the phrase “Bismillah ir-Rahman ir-Rahim” from the Quran. Looking at Gill’s photos in life-size takes on greater import, when you realise all the details and narratives waiting to be found in the images. “Set in the recesses of the wall at the Kochi Biennale, they also look to me like windows,” Gill said.
Gauri Gill’s photographs are on display at the third Kochi-Muziris Biennale until March 29
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At the center of downtown Beirut is the prominent Mohammad al-Amin mosque, the largest mosque in Lebanon. The beautiful building, which was inaugurated in 2008, is often the backdrop for local protests that cluster at the adjacent Martyrs’ Square. Inside is a stunning painted dome. It is the work of an artist who has gained a reputation as a leading painter of decorative ornament, particularly in mosques. What may surprise many people unaware of the rich cosmopolitan tradition of Islamic religious art is that the artist, Harout Bastajian, is not Muslim himself. When people ask him how a Christian is creating the decorative program of a mosque, he likes to answer, “God works in mysterious ways, brings us all together to decorate his house of worship.”
He embarked on this artistic path back in 2004, when he was asked by the Hariris, a prominent business and political family in Lebanon, to decorate the newly inaugurated Hariri mosque in Sidon, Lebanon — a structure built by the late Lebanese Prime Minister Rafiq Hariri in memory of his father. He had already worked on the family’s villas, and the 20-something-year-old Bastajian’s work clearly impressed the Hariris, so they made an agreement.
A view of the Bahaedine Hariri Mosque in Saida, Lebanon
The journey into painting in sacred spaces has been inspiring for the artist. Not only has he painted the interiors of mosques but he’s also been involved in the restoration of Roman Catholic and Armenian Catholic buildings in Lebanon. He remembers his first mosque commission in Sidon well. “When I went in and saw the huge dome, which is like 900 square meters [roughly 9,687 square feet], I couldn’t sleep that night. I was thinking, ‘How am I supposed to do this?’ And then I was playing basketball in my backyard. I saw the basketball, the shape, how it’s divided. So I started thinking, how can I divide the dome and try to manage it? And it was easy. Within two months I was able to finish the project with my team,” he explains.
“Regarding the design, for sure, I go through history, through different schools, and I try to come up with something somehow contemporary and work on it. And I will always use the golden ratio as a fundamental for my work. Regarding the colors, I don’t see one color. I always work with layers of colors in order to reach this depth of color, the decorative finish, and give this aesthetic end result.”
Designs by Harout Bastajian in the Al Shokr Mosque in Jamal Abdul Nasser, Mina, Lebanon
He currently has a team of six or seven colleagues who work with him full time, and a graphic designer who helps organize the project plan since Bastajian doesn’t like to work with digital tools — and he appreciates the help in fine tuning his ideas and ordering the overall program. He uses synthetic-based paint, and the inner layers of the domes are almost always gypsum, so he’s often painting on that surface. He provides a 25-year guarantee that the colors he uses will not peel, and he emphasizes that he spends a significant amount of time ensuring that his paint is of the highest quality.
In the last 18 years, Bastajian says, he has painted 37 full and half domes, which translates into over a dozen mosques and many secular projects as far afield as Nigeria, the United Arab Emirates, Saudi Arabia, Kuwait, and Switzerland.
A view of his designed in the Sultan Yacoub Mosque in Sultan Yacoub, Lebanon
“Well, when I did my first few mosques, I had to travel a lot and check other mosques in order to understand it all better. Then I took some courses in Islamic design and Islamic art … [and] after a while it became part of me. I can see the end result only by doing the sketches and preparing the designs … I don’t like to do the same, or repeat the same thing I already have done. I only repeat the same Quranic verses, which I have to, but as for the design and the colors, I don’t like repetition …. [Looking at my work] you can see none of the domes looks like the others; they’re all different.”
A view of the artist’s work at the Islamic Center of America mosque in Dearborn, Michigan. The building is the largest mosque in North America and the oldest Shia mosque in the United States.
He conceives each project from the ground level, where visitors will experience the work, incorporating a mixture of geometric designs, along with vegetal and floral motifs, to create a rich web of patterns. “The shape of the dome itself, it has something divine in it because it’s circular. It doesn’t have a start or an end,” Bastajian explains. “And the light that comes in from the windows, they call it the light of God. The dome itself, you feel that it’s flying, it’s something divine.”
That symbolism is important to the artist, who is sometimes inspired by other works, such as the designs from the Topkapi Palace in Istanbul, which influenced his work for the al-Amin mosque in Beirut. He adjusts the designs according to the sect: Ottoman designs tend to work better for Sunni spaces, while Shia holy spaces tend to take their aesthetic cues from Persian-influenced styles and geometry. But it’s hard to characterize Bastajian’s work as one thing, since he relishes the hybrid nature of culture today.
The Latest
Hrag Vartanian
Hrag Vartanian is editor-in-chief and co-founder of Hyperallergic. You can follow him at @hragv.
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Search continues for vehicle of the future
The winner of the Royal College of Art and Opel’s future vehicle design competition is still being deliberated, despite an event last night at the London Transport Museum that was meant to be the culmination of the contest.
According to a spokesman for Opel and its parent General Motors, GM design director Mark Adam, along with a judging panel comprising RCA professor Dale Harrow, was unable to make a decision on the winner due to the quality and complexity of the 19 proposals.
‘They felt that they didn’t want to make a knee-jerk judgement and wanted to consider the concepts put forward a bit further. The entries were all very good, with lots of different elements, so they wanted to make sure that they passed the best judgement. This is expected in the next few days,’ says the spokesman.
Fast Forward Forty Years, which celebrates 40 years of the RCA’s vehicle design course, set a brief to design a vehicle for Opel, based on considerations and predictions of how future mobility will define car design.
The concepts range from hovering vehicles, without wheels, to interactive interfaces that allow users to generate their own personal aesthetics.
Others include the use of unconventional materials like wood, and designs based on interior layout and spatial considerations, as well as zero-emissions concepts and surface technology that enables vehicles to harness and generate their own energy.
Students from China, UK, France, the Czech Republic, India and Germany are participating in the challenge.
The winner will spend three months working within GM’s European design centre, gaining insights into future technologies and product development.
The designs will be on show at the RCA’s Vehicle Design Interim Show later this year.
Latest articles
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Close this search box.
Catch this stunning exhibition of neon and resin artworks before it closes
Two of the north west’s most innovative multimedia contemporary artists are delivering a feast for the senses in an new electrifying new exhibition at ARTZU gallery.
LIGHT TOUCH combines Tony Spink’s vibrant neon creations with Stephen Farley’s unique resin paintings in an exhibition that challenges both your visual and your tactile senses.
The neon signs are hand made by Bolton-based Tony who has been running his business Neon Creations for over 12 years, mastering the techniques of working with neon.
He has produced bespoke pieces for major brands as well as high profile musicians and premiership footballers.
Fifteen of his dazzling artworks are on display alongside acrylic and resin-based art by Stephen Farley at the exhibition which runs for another week.
“It’s been 100 years since neon pieces have been made and I’m still fascinated by how something is still made in the same way,” says Tony.
“I believe it’s always up to the people making it to keep it interesting and keep it moving forward and push the boundaries. What inspires me is my love of neon. “
What attracted him to neon in the first place is the fact that neon makes people stop and stare. Although Tony says a lot of his pieces “just look nice” without having a hidden meaning, he admits one of his creations from the exhibition could have a deeper message.
“I saw this really nice wood and I thought I’ll make a cross out of it, it’ll look really cool. Then I wanted to make it very bright and bold. I guess you can perceive that as a symbol of the imminence of death and how one’s not ready yet.”
Birmingham-based resin artist Stephen Farley is known for his unforgettable and refreshing artworks, stimulating both the eye and the imagination. A local firm of solicitors commissioned his large scale Reef wall sculpture for their prestigious Manchester office.
Stephen says he knew the idea of showcasing his work in a room full of neon would be a success, as all his pieces are reactive to light.
“I was immediately receptive even without seeing Tony’s work at that point because I instinctively felt there might be a natural connection.”
An important aspect of his art, Stephen says, is the tactile element. He says that at some of his earlier exhibitions, people would go on and touch the paintings without asking for permission. He believes touching as well as looking is part of the artistic experience.
Working with special materials such as resin and precious leaves can be very tricky as they are incredibly unpredictable.
“Marrying the two is a painstaking but redeeming process that I won’t be forsaking in favour of any accelerated alternatives.”
The final pieces show the way he perceives the world around him, something which has been influenced by a traumatic life experience which affected his sight.
“It’s almost like you’d need to scrap everything to get to the real image,” he says. “The incident challenged me to evaluate visual perception in a whole alternative way. A TV appearance was equally influential on my creative process. Some of my art was featured on Robot Wars, and received special mention for its unique graphic appropriation.
“However, my true departure point for becoming an artist was the foundation course I embarked on at Bournville College of Art. Before I completed the academic courses, I learned that you shouldn’t sell your homework before your tutor has marked it.”
He is drawn to works where it’s not immediately obvious how the artist has formulated the end result and also admits he is inspired by Depeche Mode.
Stephen’s paintings and Tony’s neon creations complement each other on the walls of the gallery.
Both artists agree that sometimes letting go of their art pieces can prove to be quite challenging.
“You get very attached to everything that you make by hand,” says Tony. “I always see them as my signs.”
“It looks likely that we’ll both end up with each other’s work in our homes,” says Stephen, “so there couldn’t be a finer testimonial to our collaboration than that.”
LIGHT TOUCH is at ARTZU Gallery until 23rd November 2017
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Maria Pelekanou lives in Bremen, Germany and works as a sound artist and composer for interdisciplinary projects. She combines electronics, electroacoustics and 3D sound technology with visual elements in live performances to penetrate deeply into the physical and emotional essence of sound and space. Since childhood, music has accompanied Maria throughout her life. She grew up singing and playing piano in Thessaloniki, Greece. During her studies at the Department of Music Technology and Acoustics of the Mediterranean University of Crete, she gradually found her way as a creative composer. Her artistic research is based on immersive sound, listening and perception and is mainly influenced by the human voice for embodiment, human-machine interaction and acoustic ecology.
In 2016 she wrote her first work Childhood Reflections for piano and Live Electronics which she presented in December of the same year at the Centre for Television Control in Athens.
In the following two years she attended composition courses at the Greek National Theatre workshops with K. Selamsis where she wrote and performed the works Bruits and Prelude Dream.
In February 2022, she graduated with a Master’s degree in Electroacoustic Composition at the HfK Bremen with Professor Kilian Schwoon. There she developed sound installations and interdisciplinary projects. Her works have been presented at “next_generation” at “Zentrum für Kunst und Medien”, at the “Long Night of Music” in Oldenburg (2020,2021) and in Bremen (2021) at the Greek Electroacoustic Days University of Ioannina (2021), in the “6th Acoustic Oikology Conference” in the Aristoteles University of Thessaloniki hosted by the Hellenic Society for Acoustic Ecology and in the Spanish radio RTVE. One of her most recent compositions was selected in a competition for the 30th anniversary CD of the DEGEM and was presented in the ceremony concert at ZKM in Karlsruhe.
A very significant moment was when she played together with the famous flutist Roberto Fabricciani the piece by Bruno Maderna Musica su due dimensioni (Version 1958) für Flöte und Tonband in a concert organized by the Atelier Neue Musik on the initiative of Kilian Schwoon.
(Worpswede, 5 th of November 2021)
In October 2022 she won a scholarship to Mallorca, where she travelled, recorded for a week the soundscapes of the island and on her return she created a sound map which she presented at Kulturwerkstatt westend from 4-24 November. She also participated in the autumn Project Cities and Memory composing a piece for Tel Aviv.
After graduation she created the group Noisy Waves with which she organizes electroacoustic music concerts with works by women composers, she works permanently as a sound engineer with Culture Connects and gives piano and voice lessons at the Musik Schule in Bremen.
In January 2024 she took part in the Tape Music Festival in San Francisco.
She is a member of DEGEM (Deutsche Gesellschaft für Elektroakustische Musik), REM and HELMCA (Hellenic Electroacoustic Music Composers Association).
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What we're about
Hello photography enthusiasts!
I am a photography teacher and educator located in Edmonton, Alberta. I created and run Digital Photo Mentor ( https://www.digitalphotomentor.com/ ) where I publish articles, tutorials, product reviews, and more. I also have online courses and photography workshops and tours available if you want more learning opportunities.
I created this group to be able to do more local classes and events for you YEG folks!
I want to see what everyone is interested in first, then I'll build some evening classes and possibly some weekend workshops. Some possible topics include (these are all classes I've taught before or can teach).
- Portrait photography using natural light
- Off-camera flash
- Street photography
- Fine art photography
- Photo editing using Lightroom
- Photoshop tips or help
- Photo editing using Luminar by Skylum (it's perfect for beginners or as an alternative if you do NOT wish to pay Adobe monthly for the right to use Photoshop or Lightroom)
- Travel photography
- Basic camera settings
- The exposure triangle (how to get good exposures and read the histogram)
- Composition tips and image reviews
- Night photography including things like starry skies, Milky Way, star trails, light trails, and light painting
So come join and tell me what you would be interested in learning! I'm listening.
Upcoming events (1)
RAW processing for beginners
St Andrew's Centre
Shooting RAW files for the first time is scary. You get them home and then what?! Well, this is the workshop for you if you can relate to that scenario. FREE HANDS-ON WORKSHOP Bring your laptop for this one and follow along as I demonstrate some photo editing basics - how to process RAW image files. Everyone will get a few of my RAW files to practice with and follow along as I go over some basic steps of photo editing including: - how to assess the image - what to do first - how to fix and/or adjust the brightness or exposure - how to remove a color cast or tint - how to adjust the contrast the right way - how to set the saturation so the colors pop but it's not overdone - how to do b/w conversion the right way - how to darken the sky - how to adjust skin tones - basic sharpening - noise reduction - and more... We'll go through as much as we have time for in 2 hours and I'll stick around and go Q&A at the end and try and help you with any individual questions or issues you're having. You can also bring your own images if you prefer to work on them. THIS WORKSHOP IS FOR YOU IF: - You struggle with photo editing - You aren't happy with your current workflow or methods - You are interested in seeing how others (a pro) does it - You haven't got a preferred image editor and want help choosing - You want to see Lightroom and Luminar in action SOFTWARE: I will be using a combination of Lightroom (current subscription version) and Luminar for this workshop and demonstration. If you do not have either and you want to follow along, Luminar has a free trial available for download. I believe it is 7 days, so make sure you get it downloaded and installed a couple of days before the workshop so the trial doesn't run out. Luminar 4 is on pre-order until November 18th, then it will be shipping. Best of all - Luminar is a one-time purchase, NO monthly fees, no subscriptions! You buy it, you own it! https://www.digitalphotomentor.com/skylum-luminar-software (get more info and download it here). I also have a discount code but it doesn't apply to the pre-order price for Luminar 4. Use the code: DIGITALPHOTOMENTOR after November 18th to save 15%. Or if you decide to buy it before then, the pre-order discounted price will apply. BRING Please bring your laptop and your preferred image editing program already installed and running. I cannot help you do any of that or troubleshoot software issues in class. An open mind and some enthusiasm help too! I am a Skylum ambassador as well: https://skylum.com/ambassadors/darlene-hildebrandt Cost of this workshop - FREE!
Past events (3)
Photos (27)
Find us also at
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In Between Chair
Stylepark-ID: 05.7487.00047
Kategorien: WohnmöbelSitzmöbelStühle
“I’m fascinated by a product’s form and presence in the room. How are the gaps in the design perceived? It’s all about balance, distance and proportion,” says Sami Kallio of his new chair In Between for &tradition. The name perfectly explains the premise
of the chair. The crescent-shaped back- and armrest attaches to the seat through three wood veneer panels, and it is the gently curved cut-outs to these panels that create an interesting correlation between the chair and its surroundings – revealing the
spaces in between.
Made in ash and oak, In Between is an exercise in wood craftsmanship and uses two traditional techniques to achieve its form: compression moulding and woodturning. As well as involving modern industrial manufacturing processes,
there are also certain interventions made by the human hand – a nod to Kallio’s background and education as a joiner and his interest in traditional woodcraft.
“What’s exciting about In Between is the successful clash between the industrial proce
ss and the traditional techniques that reference hand-crafted wooden furniture,” says Martin Kornbek Hansen, brand director of &tradition. In Between’s combination of modern industry and traditional craft is in perfect accordance with &tradition’s champio
ning of tradition tied to innovation.
Breite 580 mm
Höhe 770 mm
Tiefe 540 mm
Sitzhöhe 450 mm
Armlehnenhöhe 700 mm
Material Holz (nicht spezifiziert)
Farben Schwarz
&Tradition, Dänemark
Sami Kallio
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Cad Wala
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7bdc1163-4ccf-42b5-9840-6484dbe1aa14
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Rabbit Hole Day (Harley Open 2020)
This piece was selected to be part of the Harley Open 2020 exhibition, which runs from 1 Aug to 1 Nov, 2020. It was amongst the first paintings I made during the Coronovirus lockdown days at the end of March and beginning of April.
Susan Isaac - Rabbit Hole Day
In the early days of lockdown, in an effort to gain some measure of calm, I removed myself from the daily streaming of panicky thoughts brought into our daily lives through news stations and social media, seeking out solitude and nature, which became a reassuring constant over the coming months.
Susan Isaac - orchard setupWe are very fortunate to live in the Nottinghamshire countryside at my partners long-standing family farm, which has an old secluded orchard. I set up a washing line in the orchard and began to make drawings of the familiar trees and to watch the slow dreamy breath of billowing bed linens after their laundering, as part of an extended domestic routine – bringing them into the compositions.
Susan Isaac - Orchard SetupThe days repeated themselves – unseasonably and surreally warm and lovely, like fabled childhood summers, which added to the strangeness of the time. I began to feel lost in a world that was by turns benign but also sinister and utterly beyond my control.
We were also very lucky to have our three grown up daughters around us through this time, variously: working from home; suddenly returned from an interrupted university course; and at home heavily pregnant with a first child. They each came to see me working in the orchard – the eldest taking some video footage of the process of creating an early form of the composition.
About Susan Isaac
Contemporary Artist - painter and ceramic sculptor
This entry was posted in en plein air, Events, Harley Gallery, Nottinghamsh
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Neff To Serve As Director Of Fred Jones Museum
Neff To Serve As Director of Fred Jones
Emily Ballew Neff has been appointed Director of the Fred Jones Jr. Museum of Art.
Emily Ballew Neff, a distinguished curator of American art and the art of the American West, and the founding Curator of American Painting and Sculpture at the Museum of Fine Arts, Houston, will be appointed Director of the Fred Jones Jr. Museum of Art, pending approval by the University of Oklahoma Board of Regents.
In January 2014, she will assume the position vacated by Ghislain d’Humières, who served as Director of the museum since 2007 and left earlier this year to assume the position of Director and CEO of the Speed Art Museum in Louisville, Ky.
“The university is extremely fortunate that Emily Neff has agreed to become the new director of the Fred Jones Jr. Museum of Art,” said OU President David L. Boren. “Dr. Neff is one of the most highly regarded art historians in our country and was our first choice as a potential director for the museum.”
Neff has served as curator at the Museum of Fine Arts, Houston, since 1997. For many years, she worked closely with Peter Marzio, the museum’s late director, who was widely considered to be among the most outstanding museum directors in the United States and a trusted advisor to many cultural institutions.
At the Museum of Fine Arts, Houston, Neff established a significant presence for the museum in the field of American art, growing the museum’s collections by more than 30 percent, building a dynamic patron support group, organizing more than 20 exhibitions at the museum and coordinating 14 traveling exhibitions from other institutions. She has authored several major exhibition catalogs, numerous publications, and essays, including Charles M. Russell: The Masterworks in Oil and Bronze, published by the OU Press in conjunction with the Denver Art Museum. Known for organizing exhibitions that push the field of American art in new and innovative directions, Neff is also a lecturer and teacher, serving in 2010 as the H.E.R.E. Distinguished Lecturer at Rice University, Houston.
Neff will assume responsibilities at the Fred Jones Jr. Museum of Art as OU prepares to celebrate its 125th anniversary in 2015, of which the museum’s almost 80-year tradition of encouraging an understanding of art and culture is an important part.
“I am honored to join OU’s Fred Jones Jr. Museum of Art and to lead this important institution in its next chapter,” Neff said. “With almost 16,000 art objects in its collection, a new, state-of-the-art museum facility, and the stewardship of the renowned Bruce Goff-designed, mid-century modern Ledbetter House, the museum is an impressive institution with a talented staff. Moreover, it is an integral part of a dynamic and collaborative university led by President David Boren. I look forward to working with university leadership and the museum’s staff and Board of Visitors, to expand the art collections, shape the exhibitions program, broaden the museum’s audiences, and, most of all, advance its already distinguished reputation as one of the major university art museums in the United States.”
Neff has organized several major exhibitions for American art projects while in Houston with support of major grants and gifts from the National Endowment for the Arts, the National Endowment for the Humanities, foundations, and private individuals. Neff recently mounted American Adversaries: West and Copley in a Transatlantic World, which is receiving praise for its innovative approach to exhibiting colonial American art in a global context. Other exhibitions include The Modern West: American Landscapes, 1890-1950, a show of more than 100 paintings and photographs, including paintings of the Santa Fe Indian School, that examined the role the American West played in the development of American modernism, and John Singleton Copley in England, based on her dissertation on the same subject, which revealed the entrepreneurial role the Boston colonial painter played on London’s 18th-century artistic stage. An exhibition particularly celebrated in Houston, American Made: 250 Years of American Art at the Museum of Fine Arts, Houston, presented in 2012, highlighted for the first time in the museum’s history the superb quality and dramatic expansion of its collection. Neff also authored Frederic Remington: The Hogg Brothers Collection at the Museum of Fine Arts, Houston, the first major catalog to document this historically important collection and the Hogg family patron who created it. Her involvement in the field of Remington studies includes her role as consultant to the Whitney Gallery of American Art at the Buffalo Bill Historical Center.
Neff holds a B.A. in art history from Yale University, an M.A. in art history from Rice University, and a Ph.D. from the University of Texas at Austin. She was chosen to participate as a Fellow at the Royal Collections Study Program (Attingham Trust); the Center for Advanced Study in the Visual Arts at the National Gallery of Art, Washington, D.C.; the Georgia O’Keeffe Museum and Research Center; the Clark Art Institute in Williamstown, Massachusetts; and the Metropolitan Museum of Art. She is a recent Fellow of the Center for Curatorial Leadership in New York City. Currently, she serves as President of the Association of Art Museum Curators, which has a membership of more than 1200 in North America.
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Literary Activism: Writers Raise Money to Preserve Langston Hughes’ House
The building where Langston Hughes lived in Harlem is undoubtedly an important part of literary and African American history. Yet the house sits empty, the paint chipping off, only a small plaque suggesting its history.
(Photo via Wikipedia)
(Photo credit National Register of Historic Places, via Wikipedia)
To make matters worse, the owner of the “Hughes House” recently listed it for sale. While it is now back off the market, the listing got writers worried about losing this piece of history to gentrification.
I can’t speak for all students, but Hughes was one of the few African American poets we studied at my high school. While this is a problem in and of itself, it also speaks to the massive impact that Hughes has had on literature and as a voice for an underrepresented population. His home being sold to commercial developers would be a tragic loss.
Thankfully, there’s still hope that this site can be saved. A writer named Renee Watson sent out a call to raise the funds to buy the house and preserve it as a safe space for art. Along with the campaign, she started a nonprofit called the I, Too, Arts Collective.
As stated on the Indiegogo campaign page, their mission is “to nurture voices from underrepresented communities in the creative arts.” The nonprofit’s first major project will be the purchase and restoration of the Hughes House, turning it into a space for the creation and showcasing of art in Harlem. This, Watson states, will both preserve and build upon Langston Hughes’ legacy.
According to an article on CNN: Money, the home’s current owner is willing to pause her attempts to sell the house to see how the campaign turns out. As of today (August 23rd, 2016), the campaign page has raised $54, 534. While this is no small sum of money, it’s only 36% of their goal. In order to renovate and maintain this building as a space for art and culture in Harlem, the I, Too, Arts Collective hopes to raise a total of $150,000.
If this is something that speaks to you, you can donate here to help preserve a piece of cultural history and create a space to foster artistic ventures in underrepresented populations.
Looking for your next great audiobook? We recommend Year of Yes by Shonda Rhimes. Get it or one of 250,000 other audiobooks free when you begin an Audible 30-day trial. audible_scifi_570x147
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Jeonju International Film Festival Review: Experiment and Immersion
Challenging films and installations were highlights at one of Asia’s most important festivals
Jeonju is a film-town from the ground up – quite literally: the manhole-covers in South Korea’s 16th city feature stylized representations of 35mm celluloid-strips. One short thoroughfare in this mini-metropolis (pop. 650,000), unofficially dubbed Movie Street, boasts eight cinemas including several multiplexes – the slightly rough-edged jewel being the gloriously mid-80s ‘Jeonju Cinema Town’. The area comes noisily alive for ten days in early May, when youthful crowds from the city and elsewhere in the country attend the Jeonju International Film Festival. Jeonju IFF has steadily grown since its inception in 2000 to become one of the most internationally respected such events in eastern Asia.
This year a total of 275 films (201 feature-length, 74 short) from 53 countries were shown this year, with a record 86,000 tickets sold. Such success is all the more admirable given the fact that many of the films veer towards the more challenging end of the spectrum. The winner of the International Competition was among the more unconventional of offerings: From Tomorrow On, I Will (2019) is a 60-minute collaboration between two filmmakers who turn 30 this year, Serbia’s Ivan Marković and Hunan-born Wu Linfeng.
Ivan Marković and Wu Linfeng, From Tomorrow on, I Will, 2019, film still. Courtesy: the artists
They operate very much in the spirit of semi-retired Taiwanese-Malaysian master Tsai Ming-Liang here, observing two lonely roommates existentially adrift among the vast ultra-urban complexities of present-day Beijing. A multi-layered slow-burner that seeks to find reflection and nature in the midst of densely-populated chaos, it accumulates narrative fragments and character details rather than following traditional methods of story development. Indeed, given a little reconfiguring it is quite easy to imagine the drama being shown as an installation in a gallery. Such interfaces were very much to the fore at Jeonju IFF this year thanks to its new section, Expanded Plus, inspired by the 13-year-old ‘Forum Expanded’ parallel-section of the Berlinale. This year, Expanded Plus took the form of an exhibition in the crumbling, decades-abandoned Sorex tape-factory in the industrial suburb of Palbok that, since 2016, has operated as the Palbok Art Factory.
Under the title Utopian Phantom, 12 artists contributed 13 installations – most of them directly or indirectly related to works showing on the film-screens. One of the most effective transplants was Communion Los Angeles (2018), originally a 68-minute impressionistic portrait of Los Angeles constructed by directors Peter Bo Rappmund and Adam R. Levine as a sequential diptych: half diurne, half nocturne. At Palbok, the two sections were projected simultaneously on two walls connected at right-angles, emphasizing the degree to which the images rhyme or diverge. As is often the case with such installations, the visual strength of the presentation came at a cost to the audio: in the theatrical version, Rappmund and Levine composed a superb eclectic soundscape; at Palbok this was reduced to an insectoid scratchiness, competing with neighbouring noise.
Jodie Mack, The Grand Bizzare, 2018, film still. Courtesy: the artist
Jodie Mack, The Grand Bizzare, 2018, film still. Courtesy: the artist
Audio-leakage can be a boon as well as a curse, of course: Birth of a Nation (2019) is a silent triptych by avant-garde veteran James Benning that comprises a trio of slowed-down, single-second excerpts from D. W. Griffith’s controversial 1915 epic The Birth of a Nation which are shown side-by-side, tinted red, white and blue on a three-minute loop. Benning, who is 77, could theoretically have met Griffith – he died in 1948 – but retains the profitably oblique political sensibility which has marked his output since the 1970s. Specifically created for Utopian Phantom, Birth of a Nation was given an extra layer of rousing intensity by being projected near Helena Wittmann and Nika Son’s Wildness of Waves (2018), benefiting from the latter’s surging oceanic soundscapes.
The most fully immersive experiences, however, were provided by the sole Korean artist, Jang Woojin, and the experimental US animator Jodie Mack. Jang’s oneiric two-TV installation Shot Reverse Shot (2019) subtly conjures the psychic rupture of the demilitarized zone separating the Koreas via a shadowy phantom-space between two monitors facing in opposite directions. Mack’s The Grand Bizarre (2018) ‘opens up’ her antic 60-minute film of the same name by showing it in an airy oblong room where a breeze wafted through patterned fabric (similar to those depicted on screen) suspended from the ceiling. Entering the space was like stepping into the artist’s creative consciousness: an entrancingly ethereal bubble of calm, albeit concrete-walled, the rumble of Palbok trucks dimly audible beyond.
Main image: Peter Bo Rappmund and Adam R. Levine, Communion Los Angeles, 2018, film still. Courtesy: the artists
Neil Young is a journalist, film-curator and film-maker based mainly in Vienna, Austria. He writes regularly for Sight & Sound and The Hollywood Reporter.
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Those crazy dots (Stippling)
Hey, so I really liked the look of the technique known as stippling….using dots to describe light and dark areas. It’s really interesting to me as I have a couple of degrees in IT and, of course, printers and imagery are judged by “dots per inch”. So I thought I’d continue working on this as I’ve seen skyline pictures I’ve drawn and thought “bugger, stippling would be perfect for that! So I’ve included a few of my notes which might come in handy.
By h0ckeyd
Hey, I'm just a guy who loves travel, art and music. Thanks and I hope you enjoy joining me on my adventures.
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Sydney-maternity-photographer-artistic-style Maternity-photos-sydney-natural-style Artistic-pregnancy-photos-sydney Natural-maternity-photos-sydney-water Artistic-maternity-photographer-sydney Natural-maternity-photography-sydney Creative-maternity-photography-sydney-floating-in-water Fine-art-maternity-photography-sydney-waterfall
Sydney Maternity Photography Session – That had me happy dancing like a 5 year old!
I did this gorgeous Maternity Session back in March this year, and it still makes me smile from ear to ear when I think back to how much I enjoyed it. This was a new location for me, with a pregnant Mumma who wasn’t afraid of anything. I was the stress head, desperately begging her to be careful as she climbed the waterfall!! I wasn’t even game to suggest we take photos near it, but this gorgeous Mumma was so keen on embracing the beauty of her pregnancy, nothing was going to stop her.
We started heading down the rocky stairs stopping every three steps to find yet another beautiful shooting location. Then at the bottom of the track, was a stunning little bay, with the most amazing backdrop of the bush that we just walked down. This spot was absolutely breathtaking, and perfect for this session. The floating shots were amazing to shoot, the dark quiet water, and this gorgeous blooming Mumma photographed so well.
Then we headed back up the stairs, to the waterfall. Everything that ignites my creativity was well and truely ignited during this session. I could share so much more. I hope you enjoy the selection I’ve shared with you today.
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Thursday, March 4, 2010
"Calligraphy is a beautiful, meditative art that requires hour after hour of disciplined practice. Sometimes slow, sometimes free, sometimes deliberate, sometimes rhythmic... it involves exemplars and experimentation, a study of the masters and a study of the self. It requires intense concentration and a free and forgiving spirit. You are humbled every time you look at another's work, and are proud when you see how your work today compares with yesterday's. It is frustrating, and gratifying, and worthy of your greatest effort." -Shannon Martin Wilson
I like to hear thoughts toward calligraphy from experienced calligraphers. As I'm just getting started on my personal journey with calligraphy, I'm finding that calligraphy certainly does "require hour after hour of disciplined practice". But as I'm practicing and studying, I'm enjoying and appreciating the art of calligraphy more every day.
Shannon Martin Wilson is a calligrapher, artist, & jewelry designer. Below are pictures of Shannon's studio that she recently posted on her blog. I'm posting them here because I like how creatively inspiring her workspace is. Shannon also has a great website!
Other experienced calligraphers out there, I'd love to hear your thoughts toward calligraphy. To hear some about your personal journey. :)
1. I have been a professional calligrapher for many years but I am no where near where I think I should be. I think that you have to love love love it to master it,. So much practice, studying of letter forms, taking
classes etc. I don't do that so I'm not where I should be but that's ok.
Anyway, you are off to a great start. You will fall in love with writing with white ink. It's so cool!
2. Hilary, Thank you for sharing your thoughts and for your encouraging words! I'm so glad that you stopped by! It's great hearing from you!! :)
3. What a lovely studio you have. It's delightful!
4. Oh my gosh - amazing workspace! That table with the paper rack below is absolutely to die for!
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Things To Look Forward When You Are Planning To Rent A Photography Studio
Be it a novice or a professional photography a general consensus would be to shoot in a photography studio. The advanced photography courses might hold you in better stead but when you plan to catch one from scratch it is going to cost you a bomb. At this point of time option of renting a studio comes into play. Though you might not come across a lot of photo studios on rent this trend is slowly gaining considerable momentum. While renting out a studio there are some definite points of consideration that you need to keep in mind
This works out to be the main reason on when you are planning to rent a studio and not purchase one. It does not make a sense if these studios go on to charge a bomb. Without compromising on quality look for a studio that does not charge a bomb. With a right set of facilities anything around Rs 5000 would be a worthy deal.
Lighting system (Pantograph)
A new technique is the photography lighting system whose installation is undertaken on top of the studio roof. Where studio lights are placed pantographs you will come across. The system of cables is completely off and no need to overturn things that happens with a traditional studio set up. Not only this system of lighting is stress free but for your photographs incredible lighting is provided. Most of photography and videography courses suggest this system of lighting.
Elincrom FRX 400
Be it architectural, portrait or landscape photography you cannot overemphasize the need for a flash unit. Elincrom is one of the top notch brands for over 50 years have been creating these bad boys. A studio needs to be well equipped with such facilities if you are having a demanding job at hand. FRX ensures better control, flexibility and versatility to power your best shots.
Make Up Area And Changing Room
If you are opting for a studio for an entire day, chances are that you are going to have a model. Mostly she will carry a set of outfits for a photo shoot. For this reason, a changing room is an absolute necessity and you should not opt for a studio that does not have this basic facility. Ensure that the studio set up has a decent make up area with a mirror and proper lighting system so that a flawless make up is assured without any troubles.
Chroma Background In Combination With Paper Drops (Motorized) Sometimes you might want to improve quality of your photographs by changing background of them. It becomes a necessity to have a Chroma background. After shooting a cake walk a green background would make the task of editing photos a lot easier. It is extremely important to opt for paper backdrops in a variety of colours which means you do have a choice to change the background colour to enhance a subject in a final photograph.
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Have a bounce on the Poulnabrone Bouncy Dolmen
Dolmens are ancient portal stone burial sites found throughout Ireland, Britain, and Brittany and are places of archaeological and spiritual importance - but are they really places to have fun?
Jumping and bouncing on dolmens is not something we associate with these structures although that is just what Galwegians will be able to do with the Poulnabrone Bouncy Dolmen.
The Poulnabrone Bouncy Dolmen, based on the famous dolmen in Co Clare, is a new public art project by Galway based artist Jim Ricks and part of the Galway County Council Percent for Art Scheme 2010.
The Poulnabrone Bouncy Dolmen is a giant inflatable sculpture designed for members of the public, of all ages, to interact with and bounce on.
The public are invited to go along and enjoy the Poulnabrone Bouncy Dolmen on its debut appearance at Kylebrack Woods, Co Galway, outside the Hill Bar this Saturday from 4.30 to 6pm. People of all ages are invited to view, discuss, and bounce on the dolmen for the afternoon.
The dolmen will then tour the Aughty region in south Galway until the end of September.
Ricks’ work is a replica, at twice the scale, of the famous 6,000 year old megalithic portal tomb of the same name in the Burren.
Mr Ricks created the interactive soft sculpture with the intention of bringing a portal dolmen to Aughty, a region which has no dolmens, only wedge tombs.
The artist has combined an icon of ancient Ireland with an icon of contemporary Ireland, playfully re-presenting elements of Irish culture, often over-used commercially to attract tourism, in an accessible, witty, and visually arresting way.
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May ArtStart Reflection
Time is flying by, and I am now entering the final month of my time in England. While my overall blog has been a little quiet of late, I am happy that I’ve been making good progress with the ArtStart side of things. Here is what I’ve been up to:
I am now six weeks into my Practical Financial Management for Small Businesses course. We have covered a lot of ground, including financial forecasting, income statements and analysis of account. As the course has progressed we’ve had some classes that I feel are very relevant to what I’m hoping to do as a musician, and some that aren’t at the moment. The class on ratio analysis, for example, was interesting but not terribly relevant for managing chamber ensembles. It has, however, prompted me to be a little more daring with my use of MS Excel for designing spredsheets, which will help with organisation and budgeting no end.
My lessons with Carla Rees are continuing, with a double lesson extravaganza this week. We worked on Stravinsky and Boulez excerpts as well as one of the Jolivet Ascèses and a brand new piece written for me by Australian composer James Wade. I was utterly exhausted afterwards, but feel like I’m learning an awful lot. We spent a lot of time talking about differences between alto and C flute, especially in terms of colour. On C flute we aim for a homogeneity of colour across the registers, but on the alto we need to embrace the differences between high and low a little more, using the colours to our advantage. I need to remember to resonate rather than pushing the sound. Also, when I need to project the sound as in the Stravinsky excerpts, I need to think about how to achieve this with colour rather than taking the written dynamics too literally. The Boulez was a particular challenge, both technically and conceptually, and I’m looking forward to spending a lot more time on this piece.
It is now less than a month until the SoundSCAPE Festival, and I’m now knee deep in preparing repertoire for that. I’ve been allocated an interesting and highly varied selection of new commission pieces: C flute with lots of whistle tones, multiphonics and quartertones (with bassoon, percussion and piano); bass flute with quasi-theatrical indications and some interesting staging (with double bass and piano); C and alto flutes with soprano, guitar and percussion. I’m also playing duets with some friends from last year, giving a talk on contemporary music in Australia, and preparing some solo pieces. It is going to be a lot of work, but I’m already getting excited.
After SoundSCAPE, I’m flying back to Australia, and will be moving on to a few more of he ArtStart activities in the second half of the year. There is still a lot more on the cards, but looking through my breakdown of activities I feel more or less on track still.
Based on some outcomes from job applications in Australia (for better or worse), my trip to the U.S. is now very much back on the cards for mid-August. I’ll be starting off at the National Flute Association Convention in Washington D.C., then heading to New York City for about a week for some lessons. At the moment there feels like an awful lot to do in preparation for this, but I’m hoping to get that sorted in the coming weeks!
April ArtStart Reflection
A very belated ArtStart blog for April, as I have been off travelling then settling into my new place. That said, a lot has happened, and the next two months will tick a lot of things off the to-do list for this year. Here’s the digest:
I started my Practical Financial Management for Small Businesses course at City University London on April 28th, and have now completed two out of ten classes. Though not obviously the first thing I would spend arts development money on, I do think it’s probably one of the most important sets of skills I’ll be filing away from this year. A basic understanding of finance, I hope, will set me in good stead for managing chamber ensembles in the future, and presenting clear budgets for funding applications. That said, I’m definitely not the typical student in my class – most are starting out as small business entrepreneurs. So far we have covered double entry, income statements and balance sheets, The maths isn’t difficult, and I’m managing the concepts quite well. I’ve managed to get all my ‘homework’ done on the train home after class!
Now that I’m following my own plan with practice, I’ve had a bit more time to start working with the AirTurn foot pedal and my iPad. I’ve learned that I can’t just upload PDFs as they come because scrolling down a page with the foot pedal makes me loose my place. Instead, after reading this excellent blog by UK clarinetist Heather Roche on using an iPad in performance, I’ve been using MS powerpoint to do a bit of a cut and paste job. If possible, I’d still prefer to turn the page during rests, thought am finding that I’m getting used to the footpedal. Some scores are also really small, and so putting then into powerpoint allows me to blow them up a bit! The best thing I’m finding about this set-up is that I can change things quickly, and without having to worry about printing at all. However, it does mean that I need to make sure my iPad is charged before practice sessions!
This week I’m starting my lessons with UK alto and bass flautist extraordinaire Carla Rees, which I’m very excited about. Back in October I escaped up to Windsor for a day, and I’ve been revisiting the notes and advice from that lessons. We talked a lot about alto flute sound, and making sure that I was producing the biggest possible sound on the instrument. Carla suggested I play Bach, and so I’ve been playing quite a bit in the last week. Rather than return to flute music (I’m keen to play it, but with a little more distance from Trevor’s course), I found a transposed version of the 3rd violin partita for treble recorder, and have been particularly enjoying the Gavotte and Rondeau movement. The prelude is a great exercise for intervals, but not great for playing all the way through on flute – there really is nowhere to breathe!
In the coming lessons, I want to work both on alto flute fundamentals, and get my teeth into some good contemporary music. There is so much wonderful music out there that my wish list is probably already too long!
Things are also starting to look exciting for the SoundSCAPE Festival in July. As well as the commission pieces for ensembles that we work on there, I’m also working with some composers on solo flute pieces that I’m hoping to perform. Last year at the festival, I did some work on the method book The Vocalization of the Flute by US flautist Jane Rigler. It’s a good step-by-step guide to singing and playing, which gives lots of exercises and studies. Ordering it has been on my to-do list for the last nine months, and I’ve finally got round to that. I should have done it much earlier – in PDF form the book is only US$10! I’m hoping to prepare some of the trickier studies to work on at the festival.
As for my US trip…it’s still at the same stage it was last month, waiting on the results of things back in Australia. I’m trying not to get too frustrated by this, and rather to enjoy what I’m up to at the moment and get everything I can out of the experience!
March ArtStart Reflection
A slightly belated ArtStart post for March, what with everything finishing up at the Flute Studio course and now being on holiday for a few weeks. The last month of ArtStart-related activities has been something of a step backwards and a reconsidering of options, but I now feel more or less on track again. Here is what I’ve been up to:
The AirTurn PED for my iPad arrived, which is exciting. I waited a little longer to get the PED rather than the older BT-105, as the PED was both cheaper and lighter, and am really happy with it. I’ve been using it in the practice room with scores that are on my iPad, but haven’t had the chance to test it beyond that as Trevor wasn’t terribly into technology. I have the ForScore app on my iPad, and need to play around a bit with sorting out page turns still. At the moment, I loose my spot when the page scrolls down…
In the first week of March, I heard back from Bang on a Can, and wasn’t accepted to the program this year. It was a bit of a disappointment, but I have no idea who else applied so shouldn’t be too hard on myself. The question then became how to redirect my ArtStart funds in a way that gives me a similar musical/education experience but coincides with other plans. Various friends and mentors suggested summer programs in both the U.S. and Europe, and I’ve spent quite a few hours looking through them all (and my diary) trying to work out the best options.
In the end, I’ve decided to return to SoundSCAPE for a couple of reasons. Firstly, I want to go to a festival where I can play chamber music with a broader range of instruments than just flutes. Much as I love the flute, I’m yearning for greater diversity in the music I play, and think that I would find a flute summer course a bit frustrating. I’ve had my six months at the Flute Studio – bring on something a bit different! And then, while there are some other courses on in June in the U.S., I’m still committed in England. Going back to SoundSCAPE will give me another opportunity to work closely with Lisa Cella, and I know the ropes so will be able to prepare some challenging pieces. I’m also going to be giving a talk on contemporary Australian music as part of the festival!
So where does that leave my U.S. trip? I’m still planning on going, at least for the NFA convention, but am also awaiting the results of some job applications in Australia. I hope to be able to fit in some lessons in NYC as well, but also need to look into the possibility of them happening during (or maybe directly following?) the NFA convention.
The end of March means I’m already a quarter of the way through my ArtStart year. While some things have been ticked of my list, and others are well on the way, I’m also learning that making a career in the arts is never a straight road. Things change, and where one door closes another hopefully opens. At the moment, it feels like I’ve thrown lots of juggling balls up in the air, and need to wait for some of them to land to decide exactly what happens next. Which order they fall in will be the difference in choosing one path or another, which at once feels like an exciting and terrifying way of deciding things! I now know I’m coming back to Australia in mid-July, but still need to plan out much of the path once I’m there.
February ArtStart Reflection
Not a huge amount of ArtStart activity has happened this month, mostly due to the flute studio course still being my top priority. Bits and pieces are coming along though:
– Having submitted my Bang on a Can application in January, I’ve spent this month patiently waiting on a response while trying not to get nervous! I should hear next week, and have fingers crossed that I’ll get in. If I’m accepted, I can start organising my U.S. trip, which would be incredibly exciting. I’ve also been having a look at some other summer festival options as a backup plan.
– The other big thing on my U.S. itinerary would be attending the National Flute Association conference in August. The NFA has a myriad of different competitions at the convention, and I decided to submit my thesis for the graduate research competition. The paperwork was all due mid-Feb, and I’m happy with my submission. Dad was a wonderful help printing off the thesis itself and posting it for me – it saved trying to organise printing here!
– Having sussed out my options, I booked my Practical Financial Management for Small Business course at City University London. It goes for ten weeks and starts at the end of April, and the reviews I’ve read are all quite positive. I decided that a physical classroom once a week is much better than trying to complete something online. Though this isn’t the most exciting part of my ArtStart plan, I know that the skills will be really useful…I just need to reacquaint myself with the maths side of my brain.
– I haven’t made any progress with Max 7 since January, I keep putting it off in favour of more pressing things (preparing studies). A few weeks ago, though, a friend suggested I should go and improvise in the wood near the Dairy. I think this will be a good catalyst for starting to play with Max – starting with something a little more imaginative will remind me of what I want to achieve with this software in the first place.
– I ordered an Airturn foot pedal so I can use my iPad to read scores. Now that I’ve paid the pesky customs fee, it’s due to arrive on Thursday.
– I’ve continued to work on my website, and am becoming quite please with it (do have a look around). As well as the things you see – blog, performances page with videos etc. – I now have some things up and running in the back end as well. I can look at how many people visit, how they happen upon the site, which country they’re from. However, I don’t like the idea of treating the website as properly ‘finished’ at any point. I hope it can continue to grow as I explore different avenues of creativity, with words as well as with music.
– Finally, I’ve used ArtsHub to find and apply for some jobs here in the UK. No success yet exactly, though a theatre company (they were looking for a musician/improviser for a production) said they would keep my name on file.
Actually, that’s not too bad a list!
January ArtStart Reflection
I think it’s a good idea to write a short reflection each month on what I’ve achieved with my 2015 ArtStart grant from the Australia Council for the Arts. While my main focus for the moment is the flute studio course, I’ve already started the ball rolling with a few other things as well:
– Most importantly, I submitted my application to the Bang on a Can Summer Festival on January 15th. A trip to the US in July/August to attend the festival, take some lessons and attend the National Flute Convention was a central element of my grant proposal. I was happy with the application, but can never know who else is applying. I find out whether I’m going in early March.
– I started work on my website, which is very exciting. So far, I’ve done most of the written content and had a bit of a play around with design. My lovely friend Matt has been doing some of the trickier bits. While we’ve managed to embed a twitter feed, we’re still working on getting this blog as part of the website, as well as sorting out bits and pieces of back end design. I also need to go back over my performance videos and recordings to decide which ones I really want to put up. Rather than just making the website about my flute playing, I’m keen for it to reflect the range of things I do in music, writing and radio.
– I joined ArtsHub for the year. I put this on my application both to look at the range of arts jobs available and to have access to various resources and articles on work in the arts industry. The jobs board hasn’t been amazing so far – more targeted towards arts admin jobs – but the articles have been interesting.
– I’ve downloaded Max 7, a program which allows me to generate electronics patches. Following the Blackbirdwhich was written for my final MMus recital by the lovely Andrew Aronowicz, used Max for the electronics component, and I’m keen to use it further in creative and collaborative projects. But firstly, I need to learn how to use it… cue tutorial videos!
– I’ve looked into the small business management course I want to do following my time here in Kent. Still need to book though.
– And finally, I’ve made trips up to London to attend masterclasses and concerts. Once my budget was all planned out, I had about $120 left over, and so decided that it could support travel up to London while I’m here. While my 16-25 railcard is a big help, trains in the UK are still expensive!
So far I feel like I’m on track to complete all my ArtStart grant activities, though there is a lot of work ahead. More importantly, though, there is a lot of artistic growth to look forward to.
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Zenfolio | Philip Sutton Photography | Street and Travel Photography - the Mad, the Holy and the Incongruous!
Street and Travel Photography - the Mad, the Holy and the Incongruous!
February 06, 2020 • 7 Comments
Smoke and Prayers - worshipper at Ba Thien Hau Pagoda, District 5, HCMC Vietnam, 2020. Fuji X-H1, Godox TTL fill flash, 16-55 @ F2.8, 16mm, ISO 400, 1/420th.
I recently arrived back from my annual, end of year holidays. I travelled most of the journey with my wife, but also spent part of the time alone in Cambodia. I ended up in three countries and had a wonderful time exploring with my cameras. I have been travelling now for over 14 years photographing parts of this wonderful planet. I have been to Cambodia 13 times and countless times to other parts of Asia. I think after slowly honing my skills and my equipment this was the first time in my life where I returned not being frustrated with some part of my gear or wanting to change anything. Consequently, I missed a lot less opportunities because of being very familiar with my equipment, having the two best lenses on the planet (for me), and the new X-H1’s with the IBIS just lifted my photography to the next level. This all combined to make this trip unforgettable.
For this blog I want to concentrate less on the cameras and gear (though I will touch on it briefly for those who may be interested) – most of my other blogs have always be gear centric. However, this time I really noticed the grace and kindness of people, allowing me to photograph them in their natural environment and different cultures. I am so blessed to be able to do this often and I was humbled by some of my experiences. This time I will talk more about the actual act of photographing people, and the hilarious, sad, irreverent and holy sights that one witnesses along the way.
Golden Girl - street market, Siem Reap, Cambodia, 2020. Fuji X-H1 & XF 90 @F2, ISO 400, 1/120th.
Where did I go?
My wife had been pestering me all year to go to China. She had spent the last six months muttering away in the lounge room every night learning Chinese (or so she told me). I reluctantly went, because even though I really had no interest in China, my wife graciously goes where I want to most years so it was my turn. We spent about a week in the old city of Lijiang, and then about four nights in the ancient city of Shangri La. I had just experienced a week straight of over 40deg Celsius in the Western Australian desert town where I abide. You can imagine the shock I got on the first morning in Shiangri La, when I awoke to thick snow and -15°. We really loved China - the people were awesome, the place was spotlessly clean, and everything ran like clockwork. This is the antithesis to most of the rest of Asia. I read recently where Steve McCurry said that China is the easiest place in the world to take photos – methinks he is correct!
My wife is Vietnamese so we spend a lot of time there. Vietnam is lovely and the people beautiful but it is absolute chaos there! The motorbikes rule the road, the footpath, they run red lights, drive up the wrong way. I never saw one traffic infringement the whole time in China. I also had many different types of photographic opportunities in China that were different from the rest of Asia. Mainly the snow shots, the way people dressed, the bikes and vehicles they drove and the way they reacted to my cameras.
The 'Holy Thief' - Catholic Church, streets of Quy, Nhon, Vietnam, 2020. Fuji X-H1 & XF 16-55 @ 2.8, 16mm, ISO 800, 1/100th.
Why Asia
As mentioned, I do live in a Western country, and it has almost become impossible to point your camera at random folk in the street (in spite what people tell you, it is not illegal to do so). I came back from this almost 6 week trip with nearly 15K images. If I had taken that many photos here in Australia I would probably have been arrested by now, beaten up or had my camera wrecked. I took a photo on the street here in my hometown just at the end of last year (2019) - the maniac I pointed my camera at objected, so he thought he had every right to grab my beautiful X-H1 and 16-55 and try to wrench it from me. I held on for my dear life as he tried to twist, break and smash my camera. I’ve had experiences like this here before and have just about given up doing street stuff around home. In traveling Asia for nearly 15 years now, having taken hundreds of thousands of images, I’ve only ever had one bad experience for that whole time. It was in Vietnam years ago, and my wife explained to me after it happened that gambling is illegal there. I tried to photograph a bunch of guys playing a gambling board game on the road. They picked up rocks and chased me out of there quick smart. Now that I’ve been enlightened I never point my camera at them.
Don’t even mention taking photos in the West around children. I’ve had security called on me many times, just because I happened to be festooned in cameras, near some place where kids were - people thought I was a menace (I never point my camera at kids in the West). It is the total opposite in Asia. If folk see me anywhere around kids, they ‘wheel’ them out for me to photograph. I’m a teacher so I’m very at home working around kids. In the nearly 15K images I took on this trip I never had anybody objecting to me photographing near or around children/families. There were only a handful of other times where folk just put up their hand if they did not wish to be photographed - of course I always respect that. I think you can see now why I love so much to photograph in Asia.
Holy Consternation - me distracting little girls at church service, Quy Nhan, Vietnam, 2020. Fuji X-H1 & XF 16-55 @ 2.8, 55mm, ISO 800, 1/60th.
The holy the mad and the serendipitous
It became very obvious to me on this trip the rare insights that one gleans into humanity, when intimately photographing people in their own space. I absolutely love the photo I took of the guy ‘running off' with Mary – from the scene in the manger. He almost looks like a ‘Holy’ thief! I was struck by the incongruity of it all – the Holy scene being disrupted, the church clerk scampering off when he saw me with the camera. The Divine and the mundane meeting somewhere in that church yard in Vietnam. The young Monk descaling Buddha with household detergent – as I happened along. I couldn’t believe my good fortune and that serendipitous moment has now been captured forever.
Midst the clamour and stench of the fish market I caught the lady staring into her makeup mirror giving herself a ‘touch up’, and totally oblivious to the incongruity of the whole grubby scene. I could go on but suffice to say these are just snippets of numerous examples of humanity just getting on with things as best they can. This is the part of photography I really love the most. People ask me why I have zero interest in sunsets or scenery or landscapes. It is humanity that truly intrigues me and I am so blessed to be able to not only witness these special moments, but record them so they can be shared and recalled at will.
The other amazing thing too is that not only are there serendipities that one can stumble upon, but often there are also other surprises awaiting when one checks out the images on the computer. I took the photo of the little girls smiling at me during the church service. I grabbed a quick shot but it wasn’t until later I discovered the nun scowling at me. This turned a normal mundane photo into something very special. My wife asked me to take a photo of her sitting at the table of an old historic house in LiJiang in China. It wasn’t until I got home and looked, I saw the man staring down at her with the magnifying glass – again, a mundane image turned into something special.
I am truly grateful to all the wonderful, gracious and kind folk who allowed me to capture them in their personal space – often in not very flattering poses or circumstances. If all of these gracious folk had shooed me away (my wife said she would if somebody poked a camera in her face) – I certainly would not have the beautiful collection of images that I now posses, to forever remind me of this wonderful journey that I have just completed.
Don't tell my wife she's in here, I'll be in trouble! Ancient City, Lijiang, China, 2019. Fuji X-H1 & XF 16-55 @ 2.8, 16mm, ISO 800, 1/80th.
Gear stuff
Man I really love this part. My gear totally rocked this time and the few changes that I made, really made a difference. I’ve photographed the last couple of years with my marvellous 16-55 and 90mm lenses. They are so embedded in my M.O. that not even a crowbar would prise them off my cameras. However, swapping over before I left for the two X-H’1s was a totally magic move. The bigger grips, the faster handling, and the IBIS, all helped to put me in the zone and keep me there. I shoot a lot in dim places, temples, markets and dark streets. It was very obvious on this trip that I had so many more keepers because of being able to shoot in lower light and use lower ISO settings. As I don’t even own a tripod this is a really big deal. The 90mm lens was always hard to use on my X-T2, I had to try and keep the shutter speed up around the 250th sec but this was not always possible. Except for people movement, I can now shoot way down to 1/15th sec now with the IBIS. This really is a game changer.
I made a few other changes to settings and things that also made a big difference. Up until this trip I have always shot in ‘matrix‘ metering, or whatever the Fuji equivalent is. I used it on all of my Nikon cameras and it seemed to work satisfactorily. However, when it came to post processing lots of my shots always seemed to have blown out highlights. The last few years I started to try and use the minus compensation on overly bright images. This helped a bit but was always a pain. For this trip I shot everything on the average metering (the one with a pair of square brackets). This was totally transforming. Hardly any of my shots had blown out highlights, and I never had to use the + or -. After starting to post process some of my images I can clearly see that they are metered more perfectly for the scene. Of course the marvellous sensor in the H-1’s can easily handle the rest of the differences between shadows and highlights (if they are a little on the dark side).
De-scaling Buddha! - Wat Bo, Siem Reap, Cambodia, 2020. Fuji X'H1 & XF 16-55 @ 2.8, 22mm, ISO 800, 1/105th.
I also started experimenting a bit with ‘zone’ focus. Man – it was really fantastic. Up until recently I always used the small ‘single’ focus, but of course I had to frenetically move it around the frame using the D pad. Sometimes I would be a bit slow and miss the focus. This time I used the smallest ‘zone’ focus and had some really good results. Of course the area it covers is much bigger than the ‘single’ zone, so one does not have to move it around too much. I thought I would get a lot of out of focus shots because it may latch onto the wrong area to focus on – but not so. I had very few images that were not perfectly in focus. However there is one big proviso – do not use it with the 90mm at F2. There is such a slim area of focus or depth of field at this focal length, that ‘zone’ is not precise enough. If I pointed it at a face it may focus on the chin or forehead, but the eyes would be slightly out. I found I could only use the 90mm with the ‘single’ focus mode. However, the ‘zone’ was fantastic on the 16-55. I mainly always shoot that at the wider end, and even at 2.8 there is enough depth of field in whatever focus point is chosen, for things to be perfectly sharp. What I mean is if I point it at a face, no matter what part of the face it latches onto, the whole face will be in focus. All of these things were small changes, but they all allowed me to work a bit faster, a bit smarter and helped me to achieve the results that I was after.
Another change I made was to always have my little TTL Godox flash attached to the H1 with my 16-55 on it. I did not use it often but sometimes there were scenes where I was shooting into strong backlight and there was no way the camera could handle that dynamic range. I would flip on the little flash and voila. Some of my favourite photos from this trip would not exist if it were not for the flash. The photo of the guy sweeping the snow, the girl in the temples with the smoking Buddha sticks around her and some of my images from the dark Siem Reap market were only possible because of daylight balanced fill flash.
I also did not bother taking a backup hard drive. I just bought some extra cards and used the double slots in the H-1’s. This allowed me – after the two cards were full – to ferret one away in my camera bag and the other in a different hiding place. This gave peace of mind, because if I were ever robbed or lost a bag, I had another disk backed up somewhere else and I did not have to carry around a heavy hard drive.
Endurance - little girl getting hair ties, Dali, China, 2020. Fuji X-H1 & XF 16-55 @2.8, Godox fill flash, 21mm, ISO 400, 1/250th
Capture One
However, I believe the best change of all that that I made was swapping over to Capture One. I did this about six months ago because the Lightroom CC I was using, had ground down to a snail’s pace on my 27” iMac. It was a total disaster to use and very frustrating. However, it caused me much angst to even think about changing programs. I had used LR for years and had hundreds of profiles saved away that I would go through when post processing. Anyway, I was forced to make the change and it was the best thing I ever did. Capture one works reasonably fast now on my fairly old computer. However, the difference this time was in the post processing of all of my images from the trip and how quickly I was able to get the look I wanted. In LR, the look of all of my images seemed to vary so much that I almost had to individually tweak or change each image.
Though I did not really have any styles for C1, I used some of the default ones that came with the programme and over a period of a few months I developed some of my own. Once I came to process the images from this trip I just went through my own ‘styles’ and found one that suited about 95% of all these shots. This was fantastic. I was able to attach that look to the images as I downloaded them and then all I had to do was slightly tweak each shot before uploading and using them. I also find that C1 is magic when it comes to the default settings for clarity, sharpening, saturation. With LR I had to fiddle so much with sharpening and clarity because some of the images looked terrible. I find for nearly all of the images the default settings on C1 are absolutely brilliant - especially those for sharpening, clarity, dynamic range and saturation settings. I found the settings were too critical on LR for the X files, but C1 is much more gentle and refined. If an image needs a slight tweak from my standard ‘style’, it is so easy to get it correct in no time.
Smoke Signals - homeless vagrant, streets of Phnom Penh, Cambodia, 2020. Fuji X-H1 & XF 16-55 @ 2.8, 27mm, ISO 800, 1/75th.
Go where others dare not go
My closing thoughts would be to challenge each of you to be daring and get off the beaten path. Steve McCurry alluded to this and it is also exactly what I do (get lost)! Especially in Vietnam – I leave my motorbike stored with my wife’s parents – each time we go there I head off into the mayhem and literally get lost. I just keep driving and stopping. As soon as I see a factory, place of work, market, farm business or people doing anything, I stop my motorbike, festoon myself with cameras, and start poking around. It is just the best feeling in the world. I purposely never take a guide or ‘fixer’. I’ve tried this and it’s a waste of time for me. The fixer can speak their language and can often get told that you are not allowed in, or it will cost you this and that.
Ignorance in bliss, so being a visitor (and obviously so because I’m a ‘White Man’), I am tolerated because it’s too difficult to have a discussion or conversation. I am never rude though or assume anything. I certainly do not want to offend or be precocious. I usually point to my cameras, smile and wave, and over 90% of the time I am allowed to enter and poke around and take my images. The photos here of the charcoal factory were taken by this M.O. I was just driving around ‘lost’, I saw and heard the factories operating. I stopped my bike, got all of my gear ready and just entered smiling and being friendly. There is always a bit of a fuss at the beginning but people always get used to you, and after a while you are free to click away.
Carbon Man - Charcoal factory, Ben Tre, Mekong Delta, Vietnam, 2020. Fuji X-H1 & XF 16-55 @ 2.8, 38mm, ISO 800, 1/125th.
I have travelled so much over the years now and I always avoid tourist destinations or on the beaten track. I always take off and get ‘lost’ – and these are the times that the real magic will happen for you. I always carry my google map (smart phone), and a card from the hotel or wherever, so if I am truly lost, I can easily find my way back. In Siem Reap, Westerners are not allowed to hire a motorbike (so that the tourist trade can benefit the local Tuk Tuk drivers). I just hired an ebike and was still able to head off by myself and find the magic sights. I even spent a day up at the Temples of Angkor, but I was still able to keep away from the thousands of tourists, get off the beaten track and find those magic moments.
Even if you can’t travel to these foreign climes, still get away by yourself. Wander around and get lost. Be a bit cheeky and poke your nose in where you would not normally go. The worst that can happen is that you may get a ‘no’ and you can just move on to the next destination. I challenge you for this year to get outside your comfort zone and start finding those ‘magic’ shots.
Snow Man - Streets of LiJiang, China, 2019. Fuji X-H1, Godox TTL Fill Flash, XF 16-55 @ F4, 16mm, ISO 400, 1/500th.
Hendrik Hazeu(non-registered)
Dear Philip,
Thought I'd return the favour & visit your site again, because I know that there are always beautiful images of people here. And I wasn't disappointed! Especially the image of the 3 young girls at the Quy Nhan church service: So full of fun & life, and that stern nun in the background ... absolutely priceless! But also the "Smoke & Prayers"image - I love the contrast of the traditional "Asian religion" look with the modern glasses the girl is wearing! Congratulations, a joy to look thru your blog and I'm so happy for you that you are enjoying your X-H1's so much, with your 16-55mm and 90mm Fujinons "welded" onto them respectively. I can see how the X-H1's IBIS has leveraged your photography (as it has mine) by allowing 1-2 stops slower shutter speeds (especially when using the 90mm). And I'm also more and more using C1 now, it's just so much more fluid than LR and the image quality off Fuji's X-Trans sensor is just way better (apart from that being able to change colour filters in C1 to change their grey tones in my back & white images is a big bonus)!
I got a question for you: As you may know I prefer using prime lenses, coz I'm used to exactly pre-visualizing the lens' field of view before taking the image. I do have a 32-64mm (25-50mm full frame equiv. field of view) zoom for my GFX50R and there I always struggle with this "variable focal length" thing. So I've reverted to setting the focal length on that zoom to one of the discrete steps engraved on the barrel in advance of composing the image (i.e. "acting" as if I was having a prime attached - a bit weird approach I guess ...). I've noticed that you often use your 16-55mm at its focal length extremes (16mm and 55mm) ... so, how do you do that? Do you also set the focal length in advance or just adjust it to the best framing while taking the image? I'm sure I could learn something there, coz I would be interested in maybe getting m'self a 16-55mm. Especially in combination with the X-H1's IBIS it would be a powerful and flexible piece of kit, not forgetting that it's also got weather resistance, which my primes ain't got ...)
And thanks for your visit to my site, enjoyed! Looking forward to your comments, meanwhile wish you and your loved ones a great weekend. Take care & stay safe / healthy!
Yours, Hendrik
Philip Sutton Photography
Hi Jean - thanks for taking the time to comment. I only use C1 now. I like to keep my post processing very simple. I have one or two favourite 'styles' that I developed myself and they suit the general look that I like for my images. I usually apply them when I import the images, so this way I get a general feel for how they should look (with my own style already applied). Then I sort out which images I will keep. Then I go through each one individually and just apply a few last minute tweaks (levelling horizons, bringing up shadows, adjusting the colour etc), then my image is finished. I find C1 much more subtle and gentle that Lightroom and much easier to get the look that I want. I also love the sharpening slider in C1, when compared to the one in L/R. The C1 sharpening is very gentle and subtle and does not introduce artefacts, which was happening a lot in L/R.
I hope that answers your question. Feel free to ask anymore questions if I can be of help.
Jean lambert(non-registered)
Thanks for your precious advice, I do feel in western countries people will allow to be took in pictures with small camera and in Asia if big no problem (I m from Europe and I live in Asia) . Are you using any other software or only c1 I m a c1 user and I do find your pictures really clean so I m curious if everything is done only in c1
Ed(non-registered)
Seconded on the earthy look to the images - I use C1 too now and its pretty solid. Wish they would improve the workflow a little tho
Philip Sutton Photography
Thanks 'fcracer' for your encouraging comments - much appreciated. Thanks too 'Shukla' - I sent an emailDecember
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Gregory Hamilton | Dom Paul Benoit Organ Works, Vol. 1
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Classical: Organ Spiritual: Inspirational Moods: Spiritual
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Dom Paul Benoit Organ Works, Vol. 1
by Gregory Hamilton
The Organist Dom Paul Benôit, (1879-1976) lived as a Dominican monk in the confines of the Abbey of St. Maur, Clervaulx. This CD (Vol I of his Organ Works) Explores his deeply personal and mystical style.
Genre: Classical: Organ
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Song Share Time Download
1. O Sanctissima
5:54 $1.29
2. Offertoire
5:29 $1.29
3. Exultemus
2:50 $1.29
4. Chorale
3:26 $1.29
5. Elevation 1
1:47 $1.29
6. Elevation 2
1:41 $1.29
7. Elevation 3
1:18 $1.29
8. Elevation 4
1:36 $1.29
9. Elevation 5
2:11 $1.29
10. Elevation 6
2:05 $1.29
11. Versets
4:30 $1.29
12. Christ the King
2:15 $1.29
13. Jubilate
1:20 $1.29
14. The Good Shepherd
3:44 $1.29
15. For Advent
3:34 $1.29
16. Fidelis Servus
1:50 $1.29
17. Communion
2:46 $1.29
18. Transfiguration
6:02 $1.20
19. In the Love of Jesus Christ
3:49 $1.29
20. Prelude and Fugue
3:40 $1.29
Downloads are available as MP3-320 files.
Album Notes
“You give me happiness in telling me that my music, which is written only for the sake of our Lord allows souls to ascend to him” (Letter to Abbé Ponchelet, July 1972)
Dom Paul Benôit, (1879-1976) lived all of his adult life in relative obscurity as a Dominican monk in the confines of the Abbey of St. Maur, Clervaulx, Luxembourg. His organ works, though numerous and composed over a forty– year span, were published because of interested friends, and many of his works only appeared posthumously by his monastery under the imprint Art-Sacre. Despite this obscurity, Benoit was well trained in composition, organ and counterpoint by French masters of the day. Although influenced by Bach, Ravel, Vierne and other French composers, he forged a deeply personal and mystical style of which his most salient influence was the corpus of Gregorian Chant. Although founded in a clearly tonal language, Benoit often stretches this with extreme chromaticism, quartal harmonies in parallel voices, and sudden exploration to unrelated tonal centers. His Ouvre is varied, consisting of many small works for liturgical usage, such as Elevations or Canticle alternatim versets, to large works and mutli - movement suites requiring considerable virtuosity. At the Abbey of Clervaulx, Benôit had at hand a Caville-Coll organ of three manuals and some 15 ranks which he played daily.
Notes on the Works
The Offertoire appears together with a Toccata and his suite Paques (to be issued in a subsequent CD in this series) in 1957. They are good examples of his style, which is Benoit describes “a mixture of Bach, Vierne and Chant”. The undercurrent of Mysticism is a key component of Benoit’s style, with indications of “Très Calme”, (even at full organ) and the French legato school -“Bien Chanté”. This repertoire represents an organist who approached composition of organ music through absorbing Gregorian chant daily in the Offices and Mass through the course of his life.
Venite exsultemus de Noël This small setting is one of several Benôit created from this Christmas Eve Introit chant. It seems to suspend time in a way that reflects also the mystic world of the Nativity, employing a sustained major 6th chord, and the organ with it’s perpetual breath, represents eternity apart from time. The piece has no barlines or time signature.
Six Elevations. Benôit composed some 200 Elevations, short works intended to be played during the canon of the Mass at the elevation of the Host. Many took melodic inspiration from Gregorian Masses, such as this collection, modelled on motives from Mass XI. Despite a very restricted form—less than two minutes, reverential tempo and dynamics, Benôit developed an astonishing variety of invention and expression within this prescribed framework.
Five Magnificat Verses. These little pieces, were alternated with chanted verses of the Gospel Canticle -Magnificat in alternatim usage—was a tradition kept alive in French convents and monasteries well into the 20th century. Some of the unusual or distinctive registrations heard here are Benôit’s own indications. A complete collection of Versets du Magnificat exist in Mss. in his own elegant holograph, published in facsimile by Art—Sacre . Of note is the second verset, a poignant homage in the French tombeau genre— à Maurice Ravel.
Pieces de Orgue. With this collection of nine movements, Benôit is giving homage to the many French organ masters of the 16-18th centuries, in particular baroque composers such as Corrette, De Gringny, et al whom all title their collections “Piece de Orgue” as a convention. Many of Benôit’s smaller works are intended for specific liturgical requirements (indeed composed for his own use at the abbey) but the larger works such as this collection seem to not be assigned for a specific liturgy, but for concert. Benôit shows his love of classical forms, and repertoire but imbues this concept with his own individual language . The work contains a striking variety of moods, registrations, contrapuntal textures and compositional ideas. The collection begins with an ending; the last Sunday of the Liturgical Year (Le Christ—Roi) and ends with a beginning—a powerful Prelude and Fugue Libre based on the Easter Sequence Victimae Paschali Laudes.
The Organ used on this recording:
The Ross King Organ at Holy Trinity Seminary
Although the organ is orientated to the American Classic Style, the powerful reeds, classical voicing and broad diapasons are sympathetic to the French métier of Benôit. The organ was designed and built by Ross King and Associates with design consultation by Dr. Gregory Hamilton. 2013; 18 ranks, two manuals and three divisions, 981 pipes.
Gregory Hamilton, Organ
RosaMystica Recordings
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Tribal Art, online sale of tribal art, primitive art and primitive art
Tribal art > African mask > Fang Mask
Fang Mask (N° 24440)
Rare and old fang type mask, the center of which is coated with a pink ocher tint. Intended to unmask sorcerers, this type of African mask was carved on the eve of ceremonies. The austere physiognomy was meant to counter occult powers. Accompanied by words, gestures, dances and sacrifices, it also intervened during initiations out of sight of the profane. Matte grainy patina. Abrasions, cracks.
Among the Fang, established in a region extending from Yaoundé in Cameroon to Ogooué in Gabon, the appearance of these masks generally coated with kaolin (the white color evokes the power of the ancestors), in the middle of the night, could cause dread. This type of mask was used by the ngil religious and judicial male society which no longer exists today. This secret society was in charge of initiations and fought against witchcraft. The ngil was a rite of purifying fire symbolized by the gorilla. Guarantor of peace, he also fixed the seasons, the location where the villages were to be established, and the conditions of exploitation of the agricultural land.
Possibility of payment in3x (3x 226.7 €)
This item is sold with its certificate of authenticity
Estimated shipping cost
OriginCollection X.R.
Material(s)wood
Height cm36
Width25 cm
Weight0.82 Kg
Estimated datingcirca 1960
Socle inclusOptional
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Swarovski_Alexandra-Plesner_0.jpg
Strategic reorientation of the Swarovski Kristallwelten.
From 2006 until 2009, I developed and managed creative retail and product concepts for the Swarovski Kristallwelten brands with the Creative Director Carla Rumler and the Director of Business Development Dr. Gabriela Depisch-Holicky.
Repeatedly promoted from product manager to Head of Product and Retail, and Art Director Corporate Communications Crystal Worlds.
The strategic reorientation was designed to defend the company’s position as market leader, reach financial goals and also secure long-term growth at the Wattens headquarter.
The new brand campaign, “The three graces” – based on the mythological embodiments of radiance, joy and opulence, reflecting Swarovski’s strategic platform and we ensured with Swarovski’s internal graphic, product, retail, architecture, marketing and business departments that the new brand identity is implemented consistently.
The store in Wattens attracts over 600,000 visitors a year, the location attracted since it’s opening in 1995, 12 million+ visitors, which makes it the second most important tourist attraction in Austria. We created a shop concept with external partner (Conran + Partners), that also has then been translated for the locations in Innsbruck and Vienna. We succeed in maintaining a luxury shopping experience with daily visitor numbers hitting 5000+ at peak times.
We developed and launched the first coherent “Swarovski Kristallwelten” collection. This included analytics, setting up a new retail management system, product design, the first prototypes for open sell showcase furniture and complementary packaging. With a clear product focus, steering away from many colour variations, we have been able to meet the yearly growth target earlier than expected.
In order to extend the fascination of the crystalline dreamscape into the store area, we started to test regularly changing showcases by international designers. Those installations quickly became far more than a conceptual parallel and extension of the chambers of wonder.
In a demonstration of the emotional quality of crystal, Studio Tord Boontje created a landscape for the store in Innsbruck. We designed and developed exclusive merchandising products in house.
ART DIRECTION Crystallized™
2009, the Bread & Butter has settled back in Berlin at the old Tempelhof airport. For the first time, Swarovski Crystallized™ enjoyed a central position at the fashion fair. The booth was located in one of the busiest areas, next to several key partners and top prospects in the industry.
I developed a concept that was based on the idea of an artist studio and was thrilled when it was chosen to be realised. The crystal components and application area conveyed a creative and inspiring mood. It created a space of experimentation and discovery intended to entice fashion professionals to include crystals in their collections.
The presence at Bread & Butter involved a 3 stepped scenario:
_Display of commercial pieces:
Exhibition of commercial fashion pieces designed by key partners. Area more specifically targeted at retail buyers.
_Branding Lounge:
Area dedicated to meet&greet with visitors, focus on branding & tag retail programme.
_Application Workshop:
Display of loose components & application workshop to inspire. White cotton bags have been offered with the Crystallized™ logo and the visitors were able to customize their bag with crystal elements, and stamps in a diverse colour range;
Interest was huge and the number of registrations exploded.
Alexandra is hard working, tenacious and very creative. Strongly recommend her.
— Dr. Gabriela (Holicky) Depisch-Holicky, Director of Business Development
Swarovski Crystal Worlds has developed into a unique hybrid format: it has international appeal, but at the same time native Tyroleans can identify with it strongly.
— Markus Langes-Swarovski
In a demonstration of the emotional quality of crystal, we created a landscape in which the visitors are taken on a fantasy journey.
References to fairy tales, story telling, history and adventures invite personal interpretation and dreams.
— Studio Tord Boontje
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Wednesday, April 8, 2009
Don't forget...
...to pick up Batman: Confidential #28 today. If your comic shop sells out you'll miss your chance to see more cool art like this.
2. Much much better in black and white !!!
3. Picked the issue up and it was a joy to see. Really liked how you inked the female throughout the story. Her eyes, as well as King Tut's, were key to the story so making those perfect were very inspiring.
On a second point, the cover for #28, I had to do a double take to realize that you or JGL designed your signature into the cover art lettering on the wall behind Batman/Riddler. Was this something you did or JGL? Just a neat way to integrate your names into the artwork. Lost skill per se. Reminded me of how Michael Golden used to do that in his old covers.
4. As far as focusing on a detail, I really liked the way the girl was drawn, too. The simpler the better, I say. The cops in the background of the crime scene and the station are also favorites.
5. Hi, Mr. Nowlan I would thank you anyway for the time you dedicated to my request, I would have wanted a hig-res version of the original painting because I wanted to print it, frame it and append it on a wall of my home. Too bad that you have not found the original painting. However I would to give you a sign of my appreciation and gratitude, below is the link to an Italian recipe book (the Italian cuisine is one of my passions), hope you'll like it.
http://www.fileshost.com/download.php?id=BD5D62151
6. Hi Patrick! José designed the signatures and incorporated them into the drawings.
Anthor: Sorry I couldn't find that color copy of the cover painting. I'm glad you think that much of the piece. If I find the copy I'll post it here but it may take a while. And thanks for the link to the recipe book. I share your passion for Italian food -- or at least for eating it.
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Make your Presentation like a PRO by using PowerPoint Icons
by John S. Graphic Designer
Every time, you have made the PowerPoint presentations you have frequently used such attractive small symbolic pictures.
Do you know what are they?
They are known as the icons which provide a make-over to your presentations.
Let's discuss the icons!
These famous icons are the graphically rich and symbolic small pictures that provide the information, motive, and action through their compatible small size.
Now you remember, that one thing which makes your presentation attractive is the icon for ppt presentation.
These icons play a very distinctive role in the presentation as they are the medium for the content of the text to be presented creatively.
Icons have outsmarted the process of powerpoint presentation as these small but clever artful objects have blended into the presentation as the basic necessity. These come very handily when applied to presentations related to academics, business, and marketing. The business icon for powerpoint has changed the scenario of the business presentations.
Uses / Importance of icons for ppt presentation-
1. Icons associated with the content categorize and form them in small chunks of symmetrical formation, rather than presenting them in bulk.
2. By the clever use of icons, it made the content easily approachable to the audience for a good experience in reading.
3. These icons also support the text of the presentation as they are informative and hence complement the text.
4. They attract the interest and attention of the audience in the text of the presentation.
5. The universality of the icons plays a very significant role before the audience of any language because they can easily interpret the information through their informative pictures by breaking the language bar.
6. Due to their size, they can easily and effectively be presented in all screen sizes without been edited.
7. Another fascinating feature is that these icons are small in size and hence require small storage size.
Coming to a nutshell!
Concluding the above, its simple that powerpoint icons have changed the whole concept of presentations and been able to bridge the gap between the audience and the information. For all such clever and resourceful presentations, you need the powerpoint icon library which can easily be accessible at the SlideKit with the user-friendly interface.
About John S. Advanced Graphic Designer
66 connections, 1 recommendations, 233 honor points.
Joined APSense since, July 5th, 2019, From California, United States.
Created on Sep 4th 2019 02:39. Viewed 467 times.
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#254 Inner Grounds 2019 - Lambdaprint 50x50cm
This is a serie of 4 images. I've rethought the idea of identity and the inner side of it all.
How memories and experiences in the world are creating your inner space, inner identity. It is a connection between the world outside and the world inside. That’s the ground or the basic we start from. It is an inner identity – connected with everything around the subject. An existential view of existence.
A selfportrait from the inside out, connected with the world or grounds in nature.
A Beauty is within. Is something inside that comes out. That attracts and connect people with each other. Beauty is a mindset, a way of thinking and looking, feeling. Beauty is love and respect for yourself so you can see beauty in everything and everyone. Beauty is something we can discover. If we dare to put ourselves in that world. Beauty is consolation. Beauty is a contrast with the ugliness. The antidote to the darkness and emtyness in the world. May’be a medicine to recover from all that poison. Beauty is art, is life is a way of being. And it makes us all more beautiful.
Antwerp, Belgium
Linked to Project
Work Fans 2
No project link this work
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Check out The Morning Call's NEW and improved Go Guide Calendar
Gregorio Luke brings art history to the masses
Gregorio Luke knows that he can't beat Hollywood. So, in a sense, he's going to join it.
During his years as director of the Museum of Latin American Art in Long Beach, the Mexican-born cultural impresario was forever trying to bring high culture to the broadest possible audience. Perhaps his most notable endeavor was his annual "Murals Under the Stars" presentations, big-screen outdoor multimedia shows that highlighted the giants of 20th century Mexican art, such as Diego Rivera and David Alfaro Siqueiros.
Using enormous projections while he lectured through a microphone, sometimes accompanied by live music, Luke commandeered the museum's parking lot and for a few hours every summer turned it into an impromptu cultural space.
Luke's populist approach fits with his oft-stated belief that audiences are starved for enriching artistic experiences and fed up with a steady diet of pop culture. His show, he said, "appeals to the natural curiosity of people that has been dumbed down too long."
"We can make learning fun again, but we have to get ahead of the technology curve."
As if to illustrate his point, this summer Luke is moving his show close to the heart of Hollywood: the 1,200-seat John Anson Ford Amphitheatre, on the edge of Universal Studios, for three performances. The first, on Sunday, was devoted to Rivera, specifically the great mural paintings that adorn museums and government palaces in Mexico City, Detroit and other metropolises. A July 12 show will pay homage to painter Rufino Tamayo, and the work of painter and caricaturist Miguel Covarrubias will be examined Aug. 16.
Among those who attended Sunday's spectacle was the artist's daughter, Guadalupe Rivera Marín, an accomplished art historian and author. In an interview before the show, Rivera said she thought that her father would heartily approve of Luke's attempt to make art and art history broadly accessible. After all, she said, that's what her father and his fellow muralists were trying to do by painting monumental wall works that frequently conveyed highly detailed narratives of Mexican history and politics.
"He thought that this was the most practical form to show the world the themes and stories that were most important to the people," Rivera said, speaking in Spanish. "In Mexico, artists form part of the daily life of the people, and the people see themselves in the work of the artists."
The show's L.A. setting also was appropriate, she said, because her father befriended a number of Hollywood stars such as Edward G. Robinson and the Mexican actress Dolores Del Rio, and mixed socially with cinematic authors such as the Mexican cinematographer Gabriel Figueroa and the Soviet director Sergei Eisenstein. Fascinated by machines, Rivera believed in harnessing technology as an engine of communication.
"It's a magnificent spectacle," Rivera said of Luke's mural series. "All the work that Gregorio does is done with great enthusiasm."
Luke probably would cop to being not merely enthusiastic, but fanatical, in promoting art to a wide populace.
Since he stepped down as MOLAA's director, he has reinvented himself as a radio pundit, discussing immigration reform and a slew of other issues both on Spanish- and English-language radio and television. He lectures widely and has taken his art-show talks, which typically use between 200 and 300 images, as far afield as Italy.
When the subject is culture, politics or most anything else, he speaks in machine-gun cadences, gesticulating and switching instantly from Spanish to English.
"I'm like Pinocchio. He wants to be a real boy. I want to be a real entertainer," Luke said. "I'm also a student of great orators. I used to mimic Martin Luther King speeches and Churchill speeches."
Yet behind Luke's song and dance, there's a serious scholarly intent.
Luke said he got the idea of showing art on a big screen while serving as cultural attache at the Mexican Embassy in Washington, D.C. in the late 1980s. When protesters succeeded in canceling a scheduled exhibition by photographer Robert Mapplethorpe at the Corcoran Gallery of Art, supporters of the work got together and screened the banned images on the gallery's outer walls. Luke figured he would try the same thing with Mexican artworks.
For the current series' Covarrubias finale, Luke plans to add Balinese dragons (the artist had a fascination with the Asian island), live jazz and modern dancers from his choreographer-mother's Mexican company, who'll interpret a ballet for which Covarrubias designed the costumes and scenery.
"Forever there's been this stereotype that the audience is stupid, that you have to give the audience the most simple and most processed information," Luke said. Quality, he insists, can be popular as well. "We have to learn the lesson of Bob Dylan."
[email protected]
Copyright © 2017, The Morning Call
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Roof, covering of the top of a building, serving to protect against rain, snow, sunlight, wind, and extremes of temperature. Roofs have been constructed in a wide variety of forms—flat, pitched, vaulted, domed, or in combinations—as dictated by technical, economic, or aesthetic considerations.
• Learn how a white roof helps cool a building in hot sunny weather.
Learn how a white roof helps cool a building in hot sunny weather.
© University of Melbourne, Victoria, Australia (A Britannica Publishing Partner)
The earliest roofs constructed by man were probably thatched roofs that were made of flat roofs and sloping ones. The flat roof (see the Figure) has historically been widely used in the Middle East, the American Southwest, and anywhere else where the climate is arid and the drainage of water off the roof is thus of secondary importance. Flat roofs came into widespread use in Europe and the Americas in the 19th century, when new waterproof roofing materials and the use of structural steel and concrete made them more practical. Flat roofs soon became the most commonly used type to cover warehouses, office buildings, and other commercial buildings, as well as many residential structures.
Sloping roofs come in many different varieties. The simplest is the lean-to, or shed, which has only one slope. A roof with two slopes that form an “A” or triangle is called a gable, or pitched, roof. This type of roof was used as early as the temples of ancient Greece and has been a staple of domestic architecture in northern Europe and the Americas for many centuries. It is still a very common form of roof. A hip, or hipped, roof is a gable roof that has sloped instead of vertical ends. It was commonly used in Italy and elsewhere in southern Europe and is now a very common form in American houses. Gable and hip roofs can also be used for homes with more complicated layouts. The gambrel roof is a type of gable roof with two slopes on each side, the upper being less steep than the lower. The mansard roof is a hipped gambrel roof, thus having two slopes on every side. It was widely used in Renaissance and Baroque French architecture. Both of the aforementioned roof types can provide extra attic space or other room without building an entire additional floor. They can also have a strong aesthetic appeal.
The vault is a parallel series of arches used to form a roof, the most common form being a cylindrical or barrel vault. Vaults came into their greatest prominence in Gothic architecture. The dome is a hemispherical structure that can serve as a roof. Domes have surmounted some of the most grandiose buildings of ancient Roman, Islamic, and post-medieval Western architecture. Vaults and domes do not require a supporting framework directly below the vaulting because they are based on the principle of the arch, but flat and gable roofs frequently require internal supports such as trusses or other bracing. A truss is a structural member that is composed of a series of triangles lying in a single plane. Until the later 19th century, such supporting frameworks were made of wooden beams, sometimes in highly complicated systems. Steel and reinforced concrete have for the most part replaced such heavy wooden support systems, and such materials moreover have enabled the development of new and dramatic roof forms. Thin-shell roofs using concrete reinforced with steel rods can produce domes and barrel vaults that are only three inches thick yet span immense spaces, providing unobstructed interior views for stadiums and amphitheatres. In cantilevered roofs, a roof made of thin precast concrete is suspended from steel cables that are mounted on vertical towers or pylons of some sort. The geodesic dome slate, and corrugated sheets of steel, aluminum, lead, copper, or zinc. Flat roofs are normally covered with roofing felt and tar, while sloped roofs are generally covered with shingles or sheet metal.
Learn More in these related articles:
Al-Ḥākim Mosque, Cairo.
The majority of early Islamic ceilings were flat. Gabled wooden roofs, however, were erected in the Muslim world west of the Euphrates and simple barrel vaults to the east. Vaulting, either in brick or in stone, was used, especially in secular architecture. Domes were employed frequently in mosques, consistently in mausoleums, and occasionally in secular buildings. Almost all domes are on...
Berlin Philharmonic Concert Hall, designed by Hans Scharoun.
...innovation practically unknown. Except in urban areas, the basic structure of the Chinese house has remained almost unchanged at least since the Shang dynasty. In all types of buildings the roof is the most important feature, and by the Tang dynasty the characteristic upturned eaves and heavy glazed and coloured tile covering had developed. The roof is chiefly supported by timber posts...
...adjoining layers. Particleboard consists of fine wood chips mixed together in an adhesive matrix and allowed to harden under pressure. On top of the wall plate is placed either a second floor or the roof
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2016 Day of Dance Choreographers
Ishita Bhattacharya is a professional dancer born and raised in New Jersey. She has been extensively trained in Bharatanatyam, Indian Contemporary Fusion, Hip Hop, gymnastics, and more. Ishita is currently a company member of Sukalyann Dance Entourage, an established internationally performing Indian dance troupe, and a choreographer for UFP Dance Company, one of the East coast’s best Hip Hop teams. She has completed the Dancing to Connect Program at Battery Dance Company, led by artistic director Jonathan Hollander. Ishita's choreography pulls from her different dance trainings to create a unique urban Indian style. As both an Indian classical and urban dancer, Ishita strives to tell classical Indian stories in a more modern, relatable, and relevant way to keep the Indian culture alive and current for her generation. Moreover, Ishita tries to tell these stories in a way that also resonates globally by using Indian and urban dance vocabulary. Ishita’s dancers are of different ethnic, national, and dance backgrounds but they are able to pick up elements of Indian dance storytelling to carry out the true definition of fusion in all aspects. Find out more at ishitab.foliohd.com
Janis Brenner is an award-winning dancer/choreographer/singer/teacher and is Artistic Director of Janis Brenner & Dancers in NYC. Known for her “meticulous artistry” (The Village Voice), she has toured in 35 countries and is recognized as a “singular performer” with a multifaceted artistic range. Ms. Brenner has been a long-time advocate for Women in Dance and was a founding member of The Gender Project in NYC in 2000. Honors/grants include: NY Dance & Performance Award ("Bessie") for her performance in Meredith Monk’s work, Lester Horton Award for Choreography in L.A., NY Foundation for the Arts Fellowship, Fund for US Artists at International Festivals, U.S. State Department, Asian Cultural Council, The Trust for Mutual Understanding, UNESCO, US Embassies in Moscow, Sarajevo, Jakarta and Dakar, and a commission for the interdisciplinary work, The Memory Project, from the Whitney Museum of American Art. Her work has been commissioned/restaged on more than 50 companies and colleges worldwide and she performed with Meredith Monk and Vocal Ensemble from 1990 - 2005, 2014. Ms. Brenner was with the Murray Louis Dance Company from 1977-84, working with Rudolf Nureyev, Placido Domingo, Dave Brubeck Quartet, Joseph Papp, Bat Sheva Dance Company, and Alwin Nikolais. Janis Brenner & Dancers has performed throughout the U.S., Asia, Russia and Europe and has been presented by leading NY organizations including the Joyce Theater, United Nations, Danspace Project, Harkness Dance Festival. The company is known for its national and international guest residencies as well as its “emotionally authentic” and musically diverse work. Lost, Found, Lost won a Copperfoot Award from Wayne State U. in Detroit. Brenner has been on faculty at The Juilliard School since 2009. www.janisbrenner.com
Harika Chatpalli started learning dance from Guru Kantham Chatlapalli at the age of 3 and completed her graduation or “Rangapravesam” in Kuchipudi Indian dance in 2003. Her career as a dancer over the past 18 years has involved recognition as both a professional dancer and choreographer at various competitions, in several cultural & community events, and by Fox Network’s, So You Think You Can Dance. She has performed at events around the US, Europe, and India and is a guest teacher and choreographer at her mother’s dance school, Natyanikethan, in New York. Harika is an Honorable Mention recipient of the National Foundation for the Advancement of Arts and received the Folk Arts Apprenticeship in Indian Classical dance from the New York State Council on the Arts. Most recently her work, Navarasa: The Nine Universal Emotions was featured in a production by the JP Dance Company. Harika graduated from Carnegie Mellon University in 2008 and served as the head choreographer of the University’s fusion dance troupe, Tanah. In addition to learning Indian classical dance, Harika has trained in hip-hop and ballet.
Delhi Dance Theater
Emily Mcloughlin is a dancer, choreographer and teacher from Surrey, UK. She holds a Diploma in Theater Dance from London Studio Centre in the UK and continued her training at the Jose Limon Institute’s Professional Studies Program in New York City. After moving to India in 2009 she began to study the north Indian classical dance form, Kathak under Chetna Jalan at Padatik. In 2011 Emily co-founded Delhi Dance Theater (DDT) with Leah Raphael Curtis and Lydia Walker. With DDT she has choreographed, produced and performed throughout India and in NYC. Performances include Beneath The Tamarind Tree, Tongue Tied, Not Your Mothers, Brooklyn Looks East and Beneath The Burka. DDT’s work has been presented at the India Habitat Center, New Delhi, The Garden of Five Senses, New Delhi, Alliance de Francaise, Chandigargh and the LTG Auditorium, New Delhi, in India and for GAP First Look, Erasing Borders Festival of Dance and Pioneer Works in NYC. Most recently Emily worked in collaboration with members of the Brooklyn Raga Massive to curate an evening of dance and live music, titled Ragas in Motion at Pioneer Works in Brooklyn, NYC.
Roshni Samlal (tabla) is a New York–based tabla player who hails from the West Indies, where she was initiated into the ancient tradition of Indian classical music by her vocalist father. She has continued her tutelage in the Benares style of tabla playing under Shri Tapan Modak and is currently a student of the epic Farukhbad exponent Pt. Anindo Chatterjee. While her passion is Indian classical tabla, she has played folk, jazz, and other genres. Samlal has performed at notable local venues such as Pianos, The Knitting Factory, The Bitter End, The Shrine, and Tea Lounge. Roshni is a member of the Brooklyn Raga Massive an Indian music collective based in NYC and the co founder of Orakel, a band that explores electronic music in tandem with classical instruments from India and Africa.
For more info visit www.delhidancetheater.com & brooklynragamassive.com.
Amanda Edwards is from Mount Vernon, NY. She began her training at The Dance Theatre of Harlem, where she participated in the Community Program, Summer Programs, and the Pre-Professional Program. She attended Earl Mosely Institute of the Arts during the summers of 2013 and 2014. She graduated from The University of the Arts with honors in May 2015. She has worked with choreographers such as Iquail Shaheed, Jen McGinn, Olivier Tarpaga, Esther Baker-Tarpaga, Kim Bears-Bailey and Meredith Rainey. More info at amandaleee.com.
Jaclyn Gary is a young dancer and aspiring choreographer. She has trained in many styles including ballet, jazz, contemporary, modern, and urban styles (popping, locking, breaking, house, walking/dancing in heels, and vogue). Jaclyn spends her time training at the Funktion Dance Complex in Edison, NJ and at Broadway Dance Center in New York City. Apart of Beat Club Crew, she travels to perform at various conventions, including World of Dance in the spring of 2016. Jaclyn also attends Princeton Day School where she has been given the Assistant Choreographer position for the school’s productions of Once Upon A Mattress and The Boy Friend, both of which received awards from Paper Mill Playhouse. Her choreography style can be described as contemporary with urban influences, such as isolations and popping, creating more dynamic within her work. Jaclyn also works with metaphors in her choreography to strengthen her connection with the audience. She is working to fuse movement with nature; to leave the confines of the mirror. Her growing love for the outdoor world drives her to bring dance to places where it’s unexpected. In college, Jaclyn hopes to double major in dance along with a natural or behavioral science, and to find a way to tie these two passions of her’s together.
Ariel Rivka Dance (ARD) is an all-female contemporary dance company led by married choreographer/composer team Ariel Grossman and David Homan based in NY/NJ. Named one of Jersey (New) Moves Emerging Choreographers, ARD was recently presented at NJPAC, Rutgers University, the White Wave Rising Series and Inaugural Solo/Duo Festival and Fall Further at Dixon Place. Upcoming performances include REVERBDance Festival and tours to Houston and. Baltimore. www.ArielRivkaDance.com
Maré Hieronimus is a Brooklyn-based interdisciplinary dance artist, performer and teacher whose work weaves together her interests in movement, light, sound, the visual language, and perceptual awareness. As an interdisciplinary dance artist, she works across media, including in video, photography, voice, as well as sound scoring, all towards the creation of her body-based work. Her performance environments have been presented both indoor and outdoor, in proscenium, gallery and site-specific settings widely in NYC, regionally, and beyond, including through the chashama Summer Performance Series, wild project through the CURRENT SESSIONS, Triskelion Arts Split Bill, The 92nd Street Y, and The Reverb Festival. Her work has been presented regionally at Dance Place (Washington DC), The Goose Route Dance Festival (West Virginia), The Wassaic Project Arts Festival (Wassaic, NY), The Midwest Regional Alternative Dance Festival (Michigan), Cultivate Contemporary Dance Festival (New Hampshire) and PERFORMATICA Dance Festival (Cholula, Mexico). She is the recipient of a 2016 Playa Summer Lake Artist Fellowship (OR), a 2015 Djerassi Artist in Residence (CA), and a 2014-2015 E|MERGE Artist in Residence at Earthdance (MA), and has been a guest-teaching artist at Bucknell University (Lewiston, A), University of Maryland College Park (College Park, MD), and The Isadora Dance Festival (Krasnoyarsk, Siberia), among other locations. Maré received her BFA in Painting from Rhode Island School of Design, her MFA in Dance from Sarah Lawrence, and is a Certified Movement Analyst through the LIMS. She is also a certified Yoga Teacher, Ayurvedic Counselor, and is continuing her studies in core shamanism with various teachers, healers, and practitioners. www.marehieronimus.com
Laura Katz is an Assistant Professor in Temple University’s Department of Dance, located within the University’s Center for the Performing and Cinematic Arts. Certified in the Vaganova syllabus and the American Ballet Theater’s National Training Curriculum, she studied ballet at the schools of The Maryland Youth Ballet, The Chicago City Ballet, The San Francisco Ballet, The Pennsylvania Academy of Ballet and The Houston Ballet. By age twelve, she had danced with The Joffrey Ballet and New York City Ballet and went on to perform with several classical ballet and contemporary dance companies, including: Ballet South, the Donetsk Ballet/Russian Ballet of Delaware, the Pennsylvania Ballet, The Ballet Theatre of New Mexico, New Mexico Ballet Company, Dance Theatre X, Opus I Contemporary and Sprezzatura Dance Ensemble. Dr. Katz has a BA in History and English, an Ed. M. in Dance, and a Ph. D. in Dance and Women’s Studies. She has written for dance publications such as Dance Chronicle, Playbill Magazine, and Critical Correspondence: Movement Research Journal and collaborated with The Brooklyn Academy of Music, The National Museum of Women in the Arts, WRTI Radio, History Making Productions, and Dance Teacher Magazine, as well as presented papers, lectures, choreographic work and master classes at significant conferences, and renowned universities and dance companies around the world. Katz was the 2012 recipient of Temple University’s Teacher of the Year Award, the Choreoplan 2013 international choreographic commission and a 2015 Presidential Award in the Arts and Humanities. In Fall 2013, she created an evening length ballet danced to Phoebus and Pan, in collaboration with a full concert choir and Baroque orchestra. Her book, “Dancing the Fairy Tale: Producing and Performing “The Sleeping Beauty,” was published in January 2015 and her essay, “Ricki Starr’s Ironic Performances of the Queer Commodity in Popular Entertainment,” will be published in the forthcoming Routledge collection, Wrestling and Performance. Dr. Katz has held permanent positions in both higher education and with ballet schools and companies across the United States. More at laurakatzrizzo.com.
Fatima Logan-Alston studied at Virginia Commonwealth University (Richmond, VA) where she graduated Summa Cume Laude with a BFA in Dance and Choreography. She danced professionally with the African-American Dance Ensemble directed by Dr. Chuck Davis, Forces of Nature Dance Theater directed by Abdel Salaam, and the Seewe Dance Company directed by Mouminatou Camara. She has extensive teaching experience as artist in residence at Hunter College and Long Island University. She has been a teaching artist with Bronx Children’s Museum and Master Class I teacher at the Steffi Nossen School of Dance. She has performed with Bobby Sanabria, Paul Winters, Ntozake Shange, and has received written recognition for her commitment to dance education from Supreme Court Justice Sonya Sotomayor. She is currently a teaching artist with Young Audiences New York. Her work has been performed nationally at venues including Paramount Theater (Boston,MA), Dogtown Theater (Richmond, VA), Riverside Theater (NY), Ailey Citigroup Theater, Salvatore Capezio Theater at Peridance (NY) and Asbury Temple (Durham, NC). More information at vashtidancetheater.com.
Boroka Nagy is a dancer, choreographer, and multimedia artist born in Budapest, Hungary. After cultivating her art in New York City, she moved to Southern California to continue to research dance-film and choreography. In 2015, Boroka received her M.F.A. in Dance from the University of California- Irvine. Her dance training consists of prestigious dance academies such as The Fame School and the Ailey/Fordham B.F.A. Program in NYC. Boroka has performed in many legendary dance spaces in NYC, including The Apollo Theater, the 92nd Street Y, and The Merce Cunningham Studio. She has danced in works by Bertram Ross, Paul Taylor, Alvin Ailey, Robert Battle, Milton Myers, Desmond Richardson, Dwight Rhoden, and many more. In 2011, she performed Alvin Ailey's Memoria with the Alvin Ailey American Dance Theater at New York City Center. Boroka continues to perform internationally as a freelance artist, and her choreography and screendance works have appeared across the U.S.A. and Europe at various festivals, museums, and experimental spaces.
In 2016, Boroka founded Re:borN Dance Interactive, a contemporary dance company that challenges the conventional audience-dancer relationship and explores the interconnectedness of movement, emotions, and identity. More information can be found at www.borokanagy.com and www.reborndance.org.
Blythe E. Smith began dancing at the age of three in South Jersey. Her training includes the Atlantic City Ballet, Ballet Magnificat, Columbia City Ballet, Alvin Ailey American Dance Theater Intensive,The Rock School for Dance Education Intensive, and Central Pennsylvania Youth Ballet Intensive. Blythe was offered scholarships to attend Joffrey Ballet, Boston Conservatory, and SUNY Purchase. She attended The University of the Arts on scholarship and graduated with a BFA in Ballet Performance in 2004. She was offered a trainee position with Ballet Magnificat in Jackson, MS in 2005. Her performance credits include Regional and National Dance America Festivals and soloist roles in The Nutcracker, Paquita, Swan Lake, Les Sylphides, and The Sleeping Beauty, all performed at The Merriam Theater in Philadelphia, PA. Blythe was a member of Alchemy Dance Company for seven years and danced several performances of new work throughout Pennsylvania, New Jersey, and New York. She danced extensively in a touring Tina Turner Review show entitled Simply the Best for four years. Blythe was a member of Danse4Nia Repertory Ensemble for five years in which she also choreographed for the company and taught on faculty for the Danse4Nia Conservatory. As a part of D4N she danced in performances such as Thelma Hill Dance Festival and Pentacle Dance Works. Blythe has been a dancer with DanceSpora, under the direction of Heidi Cruz-Austin, for three years. In the Summer of 2012, Blythe completed the Lester Horton Pedagogy Workshop at Alvin Ailey. In May 2016, Blythe graduated with her Master of Fine Arts in Dance from Temple University. She is now presenting choreographic works in Philadelphia as well as designing new curriculums. In Summer 2014, her pas de deux, Pales in Comparison was performed at the Koresh Come Together Festival. She is a dance instructor and choreographer for several studios throughout New Jersey and Pennsylvania and has worked in the Philadelphia school system under the organization PAEP, Philadelphia Arts in Education Partnership. She also has choreographed contemporary solos and acted as a coach for students training for YAGP. In addition to teaching, Blythe has worked counseling young dancers for Ballet organizations including CPYB, Ballet Magnificat, and American Ballet Theater. Blythe is the Associate Artistic Director and founder of Magnolia Hill Studios:Art and Dance, a studio dedicated to sharing a love of the visual and performing arts with children. She has choreographed and directed eight full-length shows for MHS and helps direct the community outreach portion of the studio. In January of 2015, Blythe had the opportunity to set a piece entitled, Watermark on Pennsylvania Ballet 2. It was commissioned specifically for the program One Book, One Philadelphia at the Philadelphia Public Library. Blythe was a recipient of the Temple University Project Completion Grant to complete her MFA thesis concert, Kairos. She received the Rose Veronica Choreography Award for her overall achievement during her time at Temple.
Meggi Sweeney Smith was born in Carrollton, MO and began dancing at the age of ten in her hometown studio. She attended the MO Fine Arts Academy in 2001 and continued her interdisciplinary and collaborative interests while obtaining her BFA in dance and minor in music at the University of Kansas. While there she received the Undergraduate Research Award for her work in the field of dance history, as well as the School of Fine Arts Collaborative Initiative Award and an honorable mention for the Sara and Mary Edwards Paretsky Award for Creativity. Meggi performs as a soloist in historic modern dance, world dance fusions, and historic Baroque dance. She currently dances with several companies such at the Sokolow Dance/Theater Ensemble and the New York Baroque Dance Company and has done work by artists such as José Limón, Wally Cardona, Patrick Corbin, and more. In 2015 Meggi graduated with her MA in Dance Education from New York University. She currently teaches as an adjunct professor at New York University as well as William Paterson University and was recently commissioned to choreograph a work for Noree Performing Arts show at Poet’s Den Theater and Gallery. For more information please see www.MeggiSweeney.com.
Maxine Steinman a performer, teacher, and choreographer spanning over 25 years, has presented her choreography in numerous festivals and venues such as Joyce Soho, The 92ndStreet Y Harkness Dance Festival, the Westfest Dance Festival, the American Dance Guild Festival, DUMBO, the Battery Dance Festival, and Making Moves Festival, as well as others. She has traveled to Taiwan, Brazil, Mexico, Spain, Japan, Italy, and Cyprus to teach, choreograph, and perform her work. Jack Anderson and Jennifer Dunning of the New York Times have called her choreography “ingenious” and a “jewel” and in 2009 and 2011, she was awarded grants from the O'Donnell-Green Foundation for Music and Dance. Over the past 18 years, Maxine has created works for colleges and conservatories in the US and abroad at places like Montclair State University, Hofstra University, Marymount Manhattan College, the Ailey School, Institute del Teatre, Centro Andaluz de Danza, and University of Colima. Maxine was a soloist with the Eleo Pomare Dance Company for 12 years and has also performed with Denishawn Repertory Dancers, Mafata Dance Company, Robin Becker, Regina Larkin, Sue Bernhard, Spiritdance, Danceimprints, and in the LINKs project with the José Limón Dance Company, among others. Maxine holds a BFA in dance from Adelphi University, an MA in Dance and Dance Education from Teachers College Columbia University, and an MFA in Dance/Performance from the University of Wisconsin-Milwaukee Peck School of the Arts. Maxine is an Assistant Professor of Dance and Program Coordinator of the BFA Dance Division at Montclair State University. Learn more at www.maxinesteinman.com.
Harlee Trautman is a movement artist and sculptor currently residing in Philadelphia, PA, though most of her artistic career was spent in Southern Louisiana, where she received her BFA. Harlee is an active member of the freelance artist community. She teaches both studio art and dance in several schools in the Philadelphia region. In the near future, Harlee will be performing at the Philadelphia Academy of Music during Opera Philadelphia’s run of “Turandot.” Her most recent artistic creation can be found with a quick visit to Philadelphia Airport’s D terminal.
Blakeley White-McGuire is an award-winning, critically acclaimed Dance artist and teacher who holds an MFA in interdisciplinary Arts from Goddard College, Vermont. As a Principal dancer with the Martha Graham Dance Company (2002 - 2016) she has danced on the world’s greatest international stages including Carnegie Hall, the Metropolitan Opera House, Beijing Opera House, Le Chatelet, Paris, Sadler’s Wells, London, Vatican City, Rome and the Herodion in
Athens, Greece. Currently, Blakeley collaborates with multi-disciplinary artists in Performance Research through the inter-generational salon, Open for Transmission. She teaches Modern Dance technique and repertory at New York’s famed High School for the Performing Arts and is a member of the Seeing Red task force which continues its research into the Dance of Destiny: An Archetypal Redefinition of the Feminine. Artist’s statement: My dance practice intersects theatrical ritual, contemporaneous performativity, traditional engagement with repertory and individual choreographic experimentation. Through these forms and others, I offer my expressions of grace, strength and presence. I strive to embody these states of being as a mirror for my audience that they may have the time to also recognize and/or acknowledge these qualities in themselves. More about Blakeley and her work at www.blakeleyarts.com.
Hee Ra Yoo was born, raised, and educated in South Korea. Longing to experience the world from a young age, she moved to Russia in her twenties and have continued traveling thereafter, living in and visiting Australia, America, Vienna, Austria. Her upbringing and international travels helped her become trilingual, speaking Korean, English, and Russian. She has also trained across disciplines, from the structure of traditional ballet to the breathing techniques in Taekwondo. Her experience living in different cultures and learning different languages and movement practices, merged with her own Korean heritage has a powerful influence in her choreographic work. Dance has the beautiful capability to celebrate the joy of the human experience. As an artist, she creates choreography reflective of her own cross-cultural experience. Dance is a strong communicator, breaking language and cultural barriers. It combines the body, mind, and soul to create a meaningful vocabulary which communicates with the audience in a powerful way. For this reason, dance is a universal language that everyone can understand. As a choreographer, she delivers a unique experience of dance by utilizing her own life experience to create meaningful art. By blending inspiration from cultures all over the world, Yoo and Dancers, highlights the interactions and intermingling of people in everyday life through various forms of movement. More at www.yooanddancers.weebly.com.
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3D Character Animation
3D Character Animation is part of our wider service spanning all aspects of 3D Animation. We can create a unique animated character by itself or as part of a complex animation or cartoon.
Our dedicated team pay attention to every detail of the characters in your animation, using state of the art techniques like rigging to create a character that’s life-like and engaging.
We’ll work with you through every stage of the process. If you know exactly what you’re looking for, we can create characters according to your exact specifications. If you’re not sure, don’t worry, our expert team will help you decide what will work best based on what you want your animation or character to achieve.
Our 3D Character Animation Services
Virtual skeleton – the first stage of the process is the creation of a virtual skeleton, to accurate map basic movements.
Rigging – rigging plots the mesh (skin) onto the virtual skeleton.
Mathematical functions – complex functionality that allows us to simulate the effect of gravity (for example) on the animated character.
Detailed physical characteristics – we can create complex details such as hair or fur, which respond to the character’s movement.
Photo realistic animation – a process that creates extremely life-like characters.
Cel-shaded animation – cel-shaded animation mimics traditional cartoon drawings.
Whether you want your character to be life-like or entirely fantastical, our expert team and extensive suite of technology can create one that’s just right.
How We Can Help
At Cartoozo we offer a whole range of animation solutions, from 2D animation to Flash. If you have a story to tell, we’ll help you tell it.
Experience and expert knowledge – our animation team have over 10 years’ experience in the industry. We use the latest technologies to ensure your animations are top quality, and because we understand all forms of internet marketing, we’ll help you put your new animation to use spreading the word about your company.
Cost-effective solutions – with Cartoozo, everything is costed upfront, meaning no nasty surprises. We have a range of price packages to suit any budget.
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You are here: Home PROGRAMME Artists / Speakers Monobanda
Monobanda designs interactive experiences at surprising locations. Their projects are very diverse, but always have something in common. They are all dedicated to their mission: they want to make you play!
For Monobanda play means accessibility, open communication, freedom, clarity and creativity. These important characteristics are applied to a variety of situations in everyday life.
They enrich museums, festivals, companies, exhibitions and other locations with their productions. The characteristics of play create a strong bond between the visitor, the location and the message.
Projects bij Monobanda are renowned for their accessibility; complex messages are communicated to the audience in a lighthearted manner.
http://www.monobanda.nl/
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Saturday, 9 February 2013
Day 40 - Come and meet the lovely Lynn.
Saturdau 9th February
Arran is wearing its misty shroud today and the trip to Brodick was a bit tricky. George and I went armed with a long list of things to get. Most important was a present for George's dog Fly. Once he was happy with his purchase we started ticking off the list and clock watching. Today is rugby day and it is important for me to take my seat in time.
Scotland has just won their match with text book rugby and some great individual performances. When I come back again I want to be a man so that I can play rugby. I know girls play rugby but I want to be one of those massive men that can take anyone down.
I am delighted to introduce my second guest blogger. I met Lynn many years ago when my mother was taking her spinning and weaving courses. In recent times the craft industry has made a big fuss about its green credentials. But Lynn has been way ahead of this campaign and I always thought she was ahead of her time. Last week we met Angie who is just starting out but this week we welcome the very wise words of Lynn who has really done it all. Enjoy!
As an artist Arran captured my soul. I came here for the first time in April 1975 during a short trip home to Kilmarnock and discovered a vibrant craft community where I could practise the textile arts I studied as a hobby in Sweden, as relief from my
academic studies. It took the rest of that year to finish my degree, pack up my belongings and move lock, stock and weaving loom to the island with my 6 year old daughter.
Making ends meet was not always easy, but gradually my studio developed and I used my teaching experience to run workshops on the island. From the time I moved here my weaving drew inspiration from the magical environment which was our everyday experience. In trying to capture the colours, textures and forms around me, I felt a resonance reflected between the amazing surroundings and the inner me which exists to this day, even though I can’t physically produce textiles any more. I can still share the experience with others through my writing and find great satisfaction when someone I taught “gets” the connection between themselves and the island through their art.
I’ve written about this connection in my book “Practical Weaving on a Frame Loom” which will be published later this year, bringing together techniques and the magical experience of weaving. The yarns and dyes I choose are influenced by the environment that surrounds me from the mountains to the ever-changing beach and sea and the human structures such as the stone buildings and fences marking off fields.
I am grateful to have experienced this synergy between me and the island and to know that I am in the place where I belong. That I can communicate this through my work is a much appreciated gift.
Some inspirational photos from the island and a piece of weaving in progress -
For me Lynn's determination to succeed in a difficult industry shines through and now it is up to the rest of us to follow her lead. Thank you Lynn for an interesting post. For those of you who fancy learning weaving from the best out there grab a copy of Lynn's book called Practical Weaving Techniques available from Amazon - just click on the link. Lynn's website is absolutely worth a look as well. For those of you who love knitting you can get a pattern from the Arran Knitting Company.
We will hear from Lynn later in the year when she tells us what it was like raising children on the island.
I will end confirming that my 37 acts of kindness is underway. Check out my page at the top of the blog to see what I have been up to. Speak tomorrow when I hope to report snow and sledge success. xx
Picture is of some fabulous trees at Brodick Castle. They really have more than their fair share of lovely trees. xx
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IN: News & Features
BMInt Celebrates Its Own
devotoBirthday parties are fun, and those with live music even more so. When the music is a series of premieres by the honoree performed by first-rate artists, one can get rather giddy at the prospect. Such were the circumstances at Tufts University’s Distler Hall on January 25th, when friends, colleagues and family gathered to honor Mark DeVoto, retired professor, composer, musicologist, irrepressible wit, raconteur, and author of 106 articles and reviews for this site, in celebration of his recent 75th birthday.
A couple of years ago, Harvard Musical Association President (and BMInt Publisher) Lee Eiseman asked DeVoto to contribute a variation on the HMA’s “theme song” as part of a composite variation set by 8 composer-members of HMA. This exercise seems to have triggered the revival of DeVoto’s creative mojo: in short order he had completed several other works, which were performed Sunday by an impressive array of talent, namely pianists John McDonald and Cagdas Donmezer, soprano Karol Bennett, clarinetist Ray Jackendoff, violists Anna Griffis and Will Myers, and cellist Emmanuel Feldman.
The program opened with Donmezer’s poker-faced performance of Gschoppin, DeVoto’s musical “proof” that Scott Joplin’s rigorous classical piano training exposed him to Chopinesque harmonic and melodic influence. What the piece consists of is the Chopin Impromptu in G-flat, Op. 51, reimagined as a rag, and the title an elaborate pun on Chopin and “Ges,” the German word for G-flat.
The outright hilarity of Gschoppin was followed by a wittily serious entry, a trio for clarinet, cello and piano (McDonald), with an erudite and highly chromatic slow passacaglia finale preceded by a flashily rhapsodic opening Maestoso pomposo and a fleet scherzo-like Allegro non tanto. After intermission came Three Pieces for Two Violas, exploring timbres and textures in viola playing, with the second movement a kind of “Stravinsky Meets the Minimalists” and the third an essay in an Expressionist esthetic like that of his scholarly subject Alban Berg, which nevertheless always finds its path to a tonal solution. Finally, Bennett and McDonald performed a set of eight songs on poems of Emily Dickinson, which found widely variant accompaniments (really commentaries) on Dickinson’s spare and deceptively placid or breezy verses. It was great to hear this once-indispensable duo, as no modern composer could want better advocates. Bennett’s 20 years at Rice have been a real loss for Boston.
As wonderful as all these pieces and performances were, the best news of the day was that DeVoto is back in form, suited up and ready to provide, like artists as varied as Saint-Saëns and Carter, a new flush of creativity at a time of life when many hang up their gloves and cleats. The baseball analogy here is not random: when presented with flowers at the end of the concert, the laureate donned his otherwise ever-present baseball cap (brim forward).
Vance R. Koven studied music at Queens College and New England Conservatory, and law at Harvard. A composer and practicing attorney, he was for many years the chairman of Dinosaur Annex Music Ensemble.
Comments Off on BMInt Celebrates Its Own
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Artists on Screen Collection
Curated by Mark Amery
For this screen showcase of NZ visual arts talent, critic Mark Amery selects his top documentaries profiling artists. From the icons (Hotere, McCahon, Lye) to the unheralded (Edith Collier) to Takis the Greek, each portrait shines light on the person behind the canvas. "Naturally inquisitive, with an open wonder about the world, they make for inspiring onscreen company."
Kiwi Ingenuity
Curated by NZ On Screen team
'No 8 wire' Kiwi ingenuity is defined by problem solving from few resources (No 8 wire is fencing wire that can be adapted to many uses, an ability that was particularly handy for isolated NZ settlers). Embodied in heroes from Richard Pearse to PJ, Kiwi ingenuity is a quality dear to our national sense of self. It has been memorably celebrated, and sometimes satirised, on screenNew Zealand Stories - Battle at the Basilica
Television, 2011 (Full Length Episode)
This documentary follows the fight to save Christchurch’s “other” earthquake damaged cathedral, the Roman Catholic basilica. A team led by a heritage consultant and a structural engineer struggles to keep pace with fresh damage inflicted on the basilica by ongoing quakes. Drones and a Defence Force robot aid investigations into the interior of the now dangerous building. There are hard questions about the venture’s costs. But, as parishioners tell their stories, there’s also reminders that the basilica isn’t just an architectural treasure — it has been the heart of a community.
Backch@t - First Episode
Television, 1998 (Excerpts)
Backch@t was an award-winning magazine-style arts and culture show that appealed, right from the opening acid-jazz theme tune, to a literate late-90s arts audience. Fronted by media personality Bill Ralston, these excerpts from the first episode come out guns blazing with a debate by panellists about Tania Kovats's controversial artwork 'Virgin in a Condom', the sculpture that caused national upset when it was exhibited at Te Papa in 1998. Managing to keep a panel discussion convivial rather than confrontational, Ralston handles the catholic debate with aplomb
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Tag Archives: design fiction consultancy
Lemon Difficult: Building a Strategic Speculation Consultancy
Joseph LindleyJoseph Lindley works with design fiction in order to facilitate meaningful speculation about the future. In between he likes to make music, take photographs and combine the other two with things that fly. Quoting from his 2012 song Tingle in the Finger: it’s a designed world, balanced and slippy. Artificial. I see beauty, not a little superficial. Colder wind.
Editors Note: When I agreed to collaborate with my friend Dr. James Duggan in order to explore a future where corporate taxation was transparent, I had no idea that it would ultimately result in me writing an introduction to my own blog piece on Ethnography Matters. To explain: at an event to share the results of our design fiction tax project (that I did with James) I ended up talking to Heather, and was pleasantly surprised to discover that she was one of the people behind this website. I was aware of Ethnography Matters because of citing Laura Forlano’s posts while writing about ‘anticipatory ethnography‘ for EPIC. Through the wonder of serendipity, that citation, the collaboration with James, and the conversation with Heather has lead to this introductory paragraph being tapped out on my keyboard. Amazing! This seems like the best place to say a massive thank you to the Ethnography Matters team for their extensive and friendly support through the process. Also a massive thank you to Rob, Ding and Dhruv who contributed posts. Hopefully what we’ve collectively written will be of use, interest, or act as some kind of stimulus to provoke new insights about ethnography. So long, and thanks for the all the fish.
This post is part of the Post Disciplinary Ethnography Edition based on work done at the HighWire Centre for Doctoral Training and curated by Joseph Lindley. The other articles in the series are “What on Earth is Post Disciplinary Ethnography?“, “What’s the matter with Ethnography?“, “Everybody’s an Ethnographer!” and “Don’t Panic: the smart city is here”.
Design fiction is what I do. I’ve immersed myself in it for the last 3 years, and it is the subject of my doctoral thesis. I’ve explored it by adopting a ‘research through design‘ approach, which in essence means I’ve been ‘researching design fiction by doing design fiction’. It also means I get to be playful, which suits me fine. The ‘doing’ part of design fiction can be great fun (arguably it’s an integral part of getting design fiction’s right) and this has made my PhD experience an absolute blast. Of course there has been a fair amount of reading and desk-based research too but for the most part I have been doing practical experiments with this extremely flexible approach to speculating about the future. One of the many insights coming out of my research is that design fiction achieves many of the same things that design ethnography does. Furthermore it achieves those by leveraging some of the same properties of the world that design ethnography does. Design fiction can easily be adapted to play an important role in virtually any kind of research project.
But what is design fiction? The generally accepted definition of design fiction is the ‘intentional use of diegetic prototypes to suspend disbelief about change‘. That’s a bit of a jargony mouthful. With the most jargony part being the word ‘diegetic‘. Diegetic is the adjective from the noun ‘diegesis’, and diegesis is derived from ancient Greek philosophy. The concept is fiendishly deep and complex, so properly ‘getting’ it is pretty damn hard (and, if I’m honest, probably beyond my modest cognitive capacity). For the purposes of design fiction, however, it can be taken to simply mean ‘story world’. So if we put it like that, design fiction is really quite simple: it’s about incorporating design concepts into story worlds. But why would you join together a design concept and a story world, why put a prototype inside a fictional world, what’s wrong with this world? Well, it’s about the power of situativity, the depth of insight that emerges when action and context are considered together and with equal importance. And this is where the similarity between design fiction and ethnography can be drawn. The combination of design provocation and context is design fiction’s unique selling point (even if it is all just ‘made up’). It differs from traditional notions of fiction in that it tells situations rather than stories. And it differs from normal views of design, in that the designs are only of consequence when considered in terms of the (made up) situations they’re placed within.Read More… Lemon Difficult: Building a Strategic Speculation Consultancy
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What We’ve Found: Covid-19
Hi everyone! We hope that you and loved ones are continuing to stay safe and healthy. It’s been a month since I posted the initial covid-19 call for entry, and you guys didn’t disappoint. It was difficult to narrow it down to a final selection – so much good work to look through! We had a nearly unprecedented amount of submissions for this month’s theme, and I would like to extend a sincere thank-you on behalf of everyone at Aint-Bad.
These submissions help to visualize the intersectionality and multiple facets of a global pandemic. Viruses can’t be viewed by conventional photographic means, so we can shoot their ramifications. However, consequences are varied across the board, so it’s essentially necessary to have a variety of technique, subject, and photographers to paint an even somewhat accurate picture. It’s a somber topic to make work about, but it also has the capacity to be illuminating. With photography, we can bring light to aspects of covid-19 that might’ve otherwise stayed dormant. This month, we felt that your submissions were especially eye-opening, bringing an array of experience into focus.
Curated and written by Aidan Bliss for Aint-Bad.
Keep an eye out for next month’s What We’ve Found call for entry!
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Love Square Safety Matches
Regular price $14.95
Get ready to dive into a world of colour and creativity, as we're teaming up with none other than Girard Studio! Created by the Girard family to honour his design legacy, Girard was all about infusing everyday life with bursts of colour, visual symbols, and patterns. We are spreading the love and introducing Girard's famous 'Love Heart' a motif designed to sprinkle warmth and emotion into every nook and cranny of your interiors.
About the Artist:
Family founded and run since 1996, a love of ink and paper is the beginnings and Centre of Archivist. As proud owners of Britain’s largest dedicated letterpress printing facility the idea of heritage and legacy weave in and out of our printing, design inspiration and product categories themselves. From the humble greeting card and other paper goods to luxury matchboxes and beautiful bath and body ranges, the creative minds at Archivist bring vibrancy and playfulness to create, curate and show true care to what we produce. We are not alone in this, working and collaborating with a wonderful community of talented artists and designers who shape so much of the world of Archivist; a world that ultimately brings joy and generosity to gifting for the conscious consumers.
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SilverStone Logo
1 Star2 Stars3 Stars4 Stars5 Stars
SilverStone LogoSilverStone Logo PNG
SilverStone Technology Co., Ltd is a Taiwanese manufacturer of personal computer items: cases, power supply units and other peripherals. The firm was established in 2003 by several IT engineers, former employees of another Taiwan company engaged in the production of the same range of products, Cooler Master Co., Ltd. Today, apart from the computer cases and power supply equipment, the company supplies to the word market cooling fans, and central processing unit heat sinks. In addition to PC products, SilverStone offers its customers a wide range of home entertainment items.
The logo and its meaning
The SilverStone logo has been developed at the outset of the company’s history. It consists of an emblem and the brand name “SilverStone” next to it. The emblem is made as a hexagon, in which the image of a snowflake is inserted. The snowflake was chosen for the company’s logo because computer cooling systems were the main part of the company’s product range during its formation on the market.
Logo SilverStone
The emblem is made in a light tone of the arctic blue colour. The snowflake is made in silver grey colour making a hint to the name of the brand. As to the wordmark, it is written in block letters with elegant graphics most close to the commercial font New Baskerville Bold Italic. The colour of the wordmark is also silver grey. There is also another version with a black background rectangle and the name of the brand written in white.
SilverStone logo
For the customers of SilverStone, the company’s logo is associated with the pride that its takes in ensuring the highest standards of design and production of PC enclosures, power units and accessories, as well as a constant search for the best technologies to better suit end-users’ needs and requirements.
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StyleTech Transparent Glitter Magenta - CraftCutterSupply.com
StyleTech Transparent Glitter Magenta
4 Reviews
| Ask a question
Styletech Transparent Glitter Film can be easily cut and applied allowing you to turn and flat or slightly curved glass into a work of art. You can add sparkling color and privacy, creating an entirely new environment of light, space and visual effects. This film is especially useful for glassware as it gives you a vibrant color on the outside and a silvery color from the inside.
This vinyl has a 4 year durability life
Adhesive: Permanent
Size is +/- .5 inch
Colors of products may be different than what the screen on your device shows.
TIP: Always perform a test cut prior to cutting a whole design.
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Flemish Art and Architecture, 1585–1700 (The Yale University Press Pelican History of Art Series) (Hardcover)
By Hans Vlieghe
Yale University Press, 9780300070385, 348pp.
Publication Date: January 11, 1999
Other Editions of This Title:
Paperback (11/10/2004)
List Price: 90.00*
* Individual store prices may vary.
This beautifully illustrated book provides a complete overview of the art of the Southern Netherlands from 1585 to 1700, the years between the separation of the Southern from Northern provinces and the end of Spanish rule. Eminent Flemish art historian Hans Vlieghe examines the development of Flemish and specifically Antwerp painting, the activity and influence of Rubens and such other leading masters as Van Dyck and Jordaens, the Antwerp tradition of specialization among painters, and the sculpture and architecture of this period. He also describes the socioeconomic and political conditions that facilitated the rise, evolution, and expansion of Flemish art, focusing particularly on the Counter Reformation, which stimulated construction and decoration of new churches according to rules set out by the Council of Trent.
In the first half of the seventeenth century, Antwerp painting rapidly became one of the highlights of Baroque art. This was clearly linked to the activity of Rubens, who was immensely important not only for the astonishing stylistic quality of his work and for his enormous influence on several generations of painters, but also for his workshop practice modeled on the Italian method and his ability to familiarize others with Italian Renaissance and Early Baroque art. Yet Rubens’s work can only be understood fully in the context of the Antwerp tradition. Vlieghe organizes the book around the pictorial categories of Antwerp’s specialists—monumental history, cabinet history, portrait, genre, landscape and architectural, still life, animal and hunting scenes—and discusses the contributions of well known and lesser known artists to each type of painting.
About the Author
Hans Vlieghe is professor of art history at the Katholieke Universiteit Leuven (Louvain) and research director of the Belgian Nationaal Fonds voor Wetenschappelijk Onderzoek at the Rubenianum, Antwerp. He is a member of the editorial board of Corpus Rubenianum and author of several books on Flemish art.
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The Grandeur of the Chandelier Entrance: A Timeless Symbol of Elegance and Luxury
Chandeliers have been a symbol of elegance and luxury for centuries. They have graced grand ballrooms, magnificent palaces, and opulent homes, and are renowned for their intricate designs and sparkling beauty. One of the most spectacular ways to display a chandelier is through a grand entrance. In this article, we will explore the grandeur of chandelier entrances and their significance in architecture and design.
History of Chandeliers
Chandeliers originated in medieval times as simple candle holders hung from the ceiling. Over time, they evolved into intricate, multi-tiered designs that were adorned with crystals, glass, and precious metals. Chandeliers were initially used to light up large halls and ballrooms but soon became a status symbol for the wealthy.
Design and Types of Chandeliers
Chandeliers come in a variety of designs and styles, from classic and traditional to modern and contemporary. They can be made of glass, crystal, metal, or even wood. One of the most popular styles is the crystal chandelier, which is characterized by its sparkling prisms and elegant design.
Significance of Chandelier Entrances
Chandelier entrances are a grand way to welcome guests into a space. They are often used in ballrooms, hotels, casinos, and even private homes. Chandelier entrances not only serve a practical purpose by providing light, but they are also a statement piece that can set the tone for the entire space.
Case Studies
Buckingham Palace
One of the most famous chandelier entrances is in Buckingham Palace’s grand ballroom. The ballroom features a chandelier that is over 30 feet in height and weighs over a tonne. The chandelier is made of glass and brass and is designed to resemble intertwined branches with flowers and leaves.
The Venetian Las Vegas
The Venetian Las Vegas is a grand hotel that boasts of a grand chandelier entrance. The entrance features a 12,000-pound chandelier that is over 14 feet tall and 20 feet in diameter. The chandelier is made of 20,000 hand-blown glass flowers and stems and is illuminated by 5,000 LED lights.
George Vanderbilt’s Biltmore Estate
George Vanderbilt’s Biltmore Estate in Asheville, North Carolina, is a 250-room mansion that features a grand entrance hall with a massive chandelier. The chandelier is 7 feet in diameter, weighs over 1,000 pounds, and is made of brass and crystal. The chandelier is adorned with 72 candles and is suspended from a 20-foot-high ceiling.
Chandelier entrances are a grand way to add luxury and elegance to any space. They have been a symbol of grandeur for centuries and continue to be a popular design element in modern-day architecture. Whether you’re looking to add a grand entrance to your home or a statement piece to your hotel, a chandelier entrance is sure to impress.
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Skip to main content
theatre review
Lucy Rupert and Peter Quanz combine their markedly different styles in dead reckoning.Omer Yukseker
dead reckoning
At the Theatre Centre in Toronto on Wednesday
I was intrigued by the premise of dead reckoning, a dance piece in three parts about explorer Sir Ernest Shackleton's Antarctic expedition, because of the unexpected collaboration between two very different dance artists: Peter Quanz and Lucy Rupert.
Quanz is a Winnipeg-based ballet choreographer with an international reputation for his inventive and intelligent manipulations of classical technique. Quanz has created critically acclaimed ballets for the likes of the Mariinsky Ballet, the American Ballet Theatre and Canada's National Ballet. His company Q Dance, an ensemble of Royal Winnipeg Ballet dancers, consistently generates excitement at the best American dance festivals – Quanz's name is well-known in dance communities south of the border.
Rupert, the artistic director of Blue Ceiling Dance, is known in Toronto for smaller-scale dance-theatre work that's often driven by compelling characters, stylized aesthetics and imaginative themes. Her focus is neither formal nor technical; she's as much a physical-theatre artist as she is a dancer. Seeing Quanz and Rupert slated for co-creation in Toronto's Theatre Centre's intimate downstairs space had the tenor of the unlikely – so I was looking forward to seeing what it was all about.
Dead reckoning begins with a gorgeous image of Rupert standing in the corner of a sunken, contained space, bending backward into a spotlight. She is dressed entirely in black – the fabric of her black costume extends from her waist in all directions to swoop over the whole stage.
A door opens suddenly and she is basked in warm light. As she walks into the beam, the fabric moves with her, so that the stage appears to undress itself, revealing a patina of white floor. With Rupert slowly exiting, the effect suggested a lonely uncovering of cold, uncharted land, making for a beautifully distilled introduction to Shackleton's story.
From that point on, however, I felt that the 45-minute, four-person work (dancers Elke Schroeder and Sky Fairchild-Waller perform with Rupert and Quanz) was choreographically underdeveloped, with little to substantiate the dancers' relationship to each other or to the excerpts of text they recited – excerpts that ranged from chocolate-cake recipes to bits of biographical narrative.
While the atmospheric score of layered piano and electronic music (composed by Walter Frank and Jascha Narveson) created an off-kilter feeling of extremes and uncertainty, the dramatic stakes weren't clear enough to turn the sparse formal content into a satisfyingly coherent expression.
But the extreme close-up nature of the performance – only a single row of seats wrapped the stage on all sides – set the audience up to ponder a parallel between the physical precariousness of dancing and, perhaps, the physical dangers of Shackleton's mission.
Early on, I noticed a circle of blood on the arch bone of Rupert's foot (I was that close); as the piece progressed, it began to trickle toward her instep. This tiny injury made for the kind of real-life detail that unwittingly gains theatrical weight in such close quarters, particularly when the planned performance itself is thin. I couldn't help but note the unintentionally apt symbolism of blood on Shackleton's "uncolonized land."
There was a similar sense of real physical danger as Fairchild-Waller thrashed himself about the stage, pounding his heel repeatedly into the floor with a heedless ferocity that I can't imagine a physiotherapist would recommend. Still, there was something theatrical in being constantly reminded of the risk of physical exertion, and to witness the constant overlap between "real" and performing bodies. I wonder if these flashes of danger could be more productively integrated in a more developed iteration of the work.
Dead reckoning runs until Jan. 17 at the Theatre Centre Incubator Space in Toronto (theatrecentre.org).
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Adriatica - Metal Print
Regular price $38.23
Tax included.
Adriatica metal print by Marina Krylova. Bring your artwork to life with the stylish lines and added depth of a metal print. Your image gets printed directly onto a sheet of 1/16" thick aluminum. The aluminum sheet is offset from the wall by a 3/4" thick wooden frame which is attached to the back. The high gloss of the aluminum sheet complements the rich colors of any image to produce stunning results.
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The Icefjord Center in Ilulissat, Greenland / rendering by MIR
Talks and lectures
RIBA + VitrA Talk: Dorte Mandrup
The founder of the award winning Copenhagen based practice will speak about their ‘hands on’ approach to design and her commitment to improving the culture of architectural practice.
Established in 1999, Dorte Mandrup Arkitekter have completed a number of internationally acclaimed projects including the multi-award Wadden Sea Centre (2017), located in Denmark’s largest UNESCO World Heritage site, and the IKEA Hubhult which became Scandinavia’s most environmentally friendly office building when it was completed in 2015.
Ongoing projects at the practice include the renovation of the research facilities and visitor experience at the La Brea Tar Pits in Los Angeles, and The Icefjord Centre located in the UNESCO-protected west coast of Greenland, which were both won through international competitions.
Alongside leading the practice, Dorte was the Chair of the 2019 Mies van der Rohe Awards and is also currently the Adjunct Professor at the Royal Danish Academy of Fine Arts and holds visiting professorships at architecture schools across the world, including Cornell University College of Architecture, Art and Planning.
The evening will begin with a lecture by Dorte Mandrup and will be followed by an opportunity for questions from the audience. The event will take place in the Jarvis Hall at 66 Portland Place.
You can watch the talk via the live stream below.
The RIBA + VitrA partnership reflects a shared commitment to add social, economic and cultural value to society, and VitrA Bathrooms are proud to be supporting such an inspiring programme.
With innovation at its core, a global reach and a tradition of collaborating with celebrated architects and designers, the VitrA bathroom brand has become a world leader, synonymous with contemporary sophistication since the mid-1900s.
Travel bursary kindly supported by the Embassy of Denmark in the UK.
The RIBA + VitrA Talks Series is sponsored by VitrA Bathrooms.
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Page 1
Suzanne Treister HFT The Gardener 22 September - 29 October 2016
Annely Juda Fine Art
23 Dering Street (off New Bond Street) London W1S 1AW [email protected] www.annelyjudafineart.co.uk Tel 020 7629 7578 Fax 020 7491 2139 Monday - Friday 10 - 6 Saturday 11 - 5 cover: details of “HFT The Gardener/Diagrams/20 Stock Exchanges” and “Psychoactive Plants/Geography, Traditional users and Effects”
Hillel Fischer Traumberg (b. 1982 London), a high frequency algorithmic trader in the city of London, experienced a semi-hallucinogenic state one day whilst staring fixedly at the High Frequency Trading graph patterns illuminating the bank’s trading room walls. After several such experiences Traumberg got the idea of experimenting with psychoactive drugs and eventually managed to procure some online from a supplier in Zurich. The influence of the drugs, which he took at first in small doses, began to alter Traumberg’s perceptions of the trading algorithms he was working with and he gradually began to feel more at one with them as if he actually inhabited the code. He felt himself becoming part of an infinite swirl of global data as the algorithms became transformed in his mind into technicolour fluxing entities, travelling through and beyond his body in holographic space and time. In his spare moments Traumberg started researching the ethnopharmacology of a hundred or so known and documented psychoactive plants across the world, exploring their historical ritual uses and functions in shamanic healing, in magic, religion, sex, divination, protection, modern medicine and in mental enhancement. He became curious about their chemical composition and studied the compounds in each plant which produce the psychoactive effects. He made lists of the active substances, the alkaloids, and wondered whether inserting their molecular formulae into the codes of his trading algorithms would have a similar effect as the drugs themselves have on the human brain, i.e. whether they would in any way enhance or alter the trading performance of the algorithms. Inevitably when the presence of these rogue algorithms came to light at the bank his bosses traced the problems back to Traumberg. Suspecting a nervous breakdown due to the stresses of the job they released him from his employment. With his substantial savings Traumberg moved to a penthouse apartment on the other side of town at Embassy Gardens, a New York Meatpacking District styled riverside complex recently constructed around the new U.S. Embassy in Nine Elms on the southside of the Thames. From his apartment Traumberg had a 360 degree view which took in the US Embassy, the New Covent Garden Flower Market, the green glass edifice of the MI6 building just beyond St George Wharf, the Houses of Parliament and the city of London further to the east. Most mornings Traumberg went for a stroll around his new neighbourhood.
From the local flower market he built up a collection of plants with supposed psychoactive properties which soon filled his living room shelves and penthouse roof garden. One day, staring at the list he had compiled of the botanical names of his plants he decided to conduct a gematria experiment. Using his rudimentary knowledge of the Hebrew language, gained during his school days, Traumberg made numerical experiments translating the botanical names of psychoactive plants into phonetic Hebrew and then deriving their numerical equivalents. He discovered that, for example, Mandrake, (Mandragora officinarum) had a gematria value of 970. Adding together the 9 the 7 and the 0 made 16 and then adding the 1 and the 6 made 7. A copy of the Financial Times on his desk prompted him one day to check the numerical equivalents of the plants against the top companies in the FT Global 500 index. Traumberg found that the two final numbers for Mandrake, 16 and 7, corresponded to Petro China and Wells Fargo which came 16th and 7th respectively in the FT index. Traumberg compiled a gematria chart of all the plants, listing their botanical names alongside their global companies equivalents. He then developed an algorithm that would trawl the internet collecting images of the groups of psychoactive plants which corresponded to each company. Inspired by the botanical illustrations of Ernst Haekel, which he had loved as a child, Traumberg reprogrammed the algorithm to collate and transform these images into works with a similar style and format. Stimulated by the artistic results he recalled a summer holiday he’d taken in 2013 to Venice with some banker friends. One of them, an avid art collector, had dragged them around an exhibition in a park on the lagoon and he had seen masses of weird coloured drawings in one of the many buildings, which were said to have been made by artists who had received no formal training. This brought to mind a work trip several years previously, to UBS in Bern, Switzerland. The Swiss bank had taken them on a free afternoon to a museum where he had seen works by a supposed madman. He looked it up online, the guy was called Adolf Wölfli. Traumberg, who by now had become obsessed with the forms and structures of the plants themselves, as well as all the data he was collating about them, began,
under the influence of the various psychoactive drugs in his possession, to spend his afternoons making a vast series of drawings. Under the hypnotic influence of Wölfli he transformed himself into an ‘outsider’ artist. He developed a fantasy of himself as a kind of techno-shaman, transmuting the spirituality of the universe and the hallucinogenic nature of capital into new artforms. One day a banker friend, the art collector from the Venice trip, paid him a social visit and was astonished to see Traumberg’s new apartment filled with strange plants and drawings. On a subsequent visit he took along a top art dealer who invited Traumberg to show the works at his London gallery. Traumberg, in the throes of a hallucinogenic trip, agreed to the offer. Later in the year the dealer put on an exhibition and all the works were sold out, primarily to bankers, oligarchs and to some of the corporations featured in the works. Traumberg was unaffected by this turn of events, his primary concern being to discover whether the realities opened up to him by psychoactive plants were arbitrary hallucinations or whether they indeed, as many had suggested, lifted the brain’s filter, opening the portal to what lay beyond our everyday perceptions of reality necessary for survival; the holographic universe perhaps? Traumberg spent his days wondering whether his experiences were real or imaginary, whether they originated in his unconscious or came from another dimension. He wondered about the nature of consciousness and whether it existed outside the brain/body. Was consciousness perhaps the ultimate organising principle of the universe, merely reflected by the brain in a limited and distorted way? Was consciousness maybe a giant algorithm? And where was the universe in this algorithm? Based on his experience with high frequency trading algorithms Traumberg decided to develop a new algorithm to test these ideas. A brain thinking about a brain. Consciousness thinking about consciousness. An algorithm trying to return information about another algorithm. A brain trying to develop an algorithm about an algorithm about a universe of which it is a part or perhaps a whole or perhaps neither? HFT The Gardener -----------------------------------------------------------------High Frequency Trading (HFT) Hillel Fischer Traumberg (HFT) (en. ToPraise Fisherman DreamMountain)
HFT The Gardener / CHARTS / Psychoactive Plants / Gematria / FT Global 500 Companies Equivalents Archival giclĂŠe prints 6 parts, 21 x 29.7 cm each
From Galbulimima belgraveana to phragmites australia
From Cannabis sativa to Carnegiea gigantea
From Panaeolus cyanescens to Hyoscyamus niger
From Tabernaemontana to coffeoides to Datura stramonium
From Salvia divinorum to Mandragora officinarum
From Datura innoxia to Calea zacatechichi
HFT The Gardener / Botanical Prints Archival giclĂŠe prints 20 parts, 29.7 x 42 cm each
Rank 1: Apple - US - Technology hardware and equipment Rank 2: Exxon Mobil - US - Oil and gas producers Rank 3: Microsoft - US - Software and computer services Rank 4: Google - US - Software and computer services Rank 5: Berkshire Hathaway - US - Nonlife insurance Rank 6: Johnson & Johnson - US - Pharmaceuticals and biotechnology Rank 7: Wells Fargo - US - Banks Rank 8: General Electric - US - General industrials
Rank 11: Nestle - Switzerland- Food producers Rank 12: Royal Dutch Shell - UK - Oil and gas producers Rank 13: J P Morgan Chase - US - Banks Rank 14: Novartis - Switzerland - Pharmaceuticals and biotechnology Rank 15: Chevron - US - Oil and gas producers Rank 16: Petro China - China - Oil and gas producers Rank 17: Procter & Gamble - US - Household goods and home construction Rank 18: Samsung Electronics - South Korea Leisure goods
Rank 9: Roche - Switzerland - Pharmaceuticals and biotechnology
Rank 19: Pfizer - US - Pharmaceuticals and biotechnology
Rank 10: Wal-Mart Stores - US - General retailers
Rank 20: IBM - US - Software & computer services
HFT The Gardener / Diagrams Archival giclee prints on Hahnemuhle Bamboo paper 16 parts, 6 at 21 x 29.7 cm; 10 at 29.7 x 42 cm
Key Diagram 69 Banks 66 Technology Hardware, Equipment, Telecommunications, Software and Computer Services Companies 49 Oil and Gas Companies 28 Pharmaceutical and Biotechnology Companies
Trading Algorithm using Molecular Formulae of 10 Alkaloids to return feedback on Holographic Dimensions of Consciousness (Tree of Life) 168 Alkaloids 20 Stock Exchanges R. Gordon Wasson, J. P. Morgan Banker and discoverer of Magic Mushrooms
Trading Algorithm using Molecular Formulae of 10 Alkaloids to return feedback on Holographic Dimensions of Consciousness
The Holographic Dimensions of Consciousness
Hillel Fischer Traumberg-High Frequency Trading
Native use of Major Hallucinogens World Map
Global Financial Fiberoptic Networks (Spread and Hibernian)
Psychoactive Plants/Geography, Traditional users and Effects
Holographic Universe
HFT The Gardener / Outsider Artworks Archival giclée prints 92 parts, 21 x 29.7 cm each
Acacia maidenii (Maidens Acacia) Acorus calamus (Sweet Flag) Amanita muscaria (Fly Agaric) Anadenanthera colubrina (Cebil) Argyreia nervosa (Woodrose) Ariocarpus fissuratus (Hikuli Sunamé) Atropa belladonna (Deadly Nightshade) Banisteriopsis caapi (Ayahuasca) Boletus kumeus (Nonda) Brugmansia arborea (Angel’s Trumpets) Brunfelsia chiricaspi (Chiricaspi) Cacalia cordifolia (Matwœ) Caesalpinia sepiaria (Yun-Shihi) Calea zacatechichi (Zakatechichi) Cannabis sativa (Marajuana) Carnegiea gigantea (Saguaro) Cestrum laevigatum (Dama da Noite) Claviceps purpurea (Ergot) Coleus blumei (El Nene) Conocybe siligineoides (Teonanacatl) Coriaria thymifolia (Shansi) Coryphantha compacta (Bakana) Cymbopogon densiflorus (Esakuna) Cytisus canariensis (Genista) Datura innoxia (Toloache) Datura metel (Datura) Datura stramonium (Thorn Apple) Desfontainia spinosa (Taique) Duboisia hopwoodii (Pituri) Echinocereus salmdyckianus (Pitallito) Epithelantha micromeris (Hikuli Mulato)
Erythrina americana (Colorines) Galbulimima belgraveana (Agara) Heimia salicifolia (Sinicuichi) Helichrysum foetidum (Straw Flower) Helicostylis pedunculata (Takini) Homalomena (Ereriba) Hyoscyamus niger (Henbane) Iochroma fuchsioides (Paguando) Ipomoea violacea (Badoh Negro) Justicia pectoralis (Mashihiri) Kaempferia galanga (Galanga) Lagochilus inebrians (Turkestan Mint) Latua pubiflora (Latué) Leonitis leonurus (Lion’s Tail) eonurus sibiricus (Siberian Lion’s Tail) Lobelia tupa (Tupa) Lophophora diffusa (Peyote) Lycoperdon marginatum (Gi’-i-Wa) Mammillaria craigii (Wichuriki) Mandragora officinarum (Mandrake) Maquira sclerophylla (Rape dos Indios) Mesembryanthemum expansum (Kanna) Mimosa hostilis (Jurema) Mitragyna speciosa (Kratom) Mucuna pruriens (Cowhage) Myristica fragrens (Nutmeg) Nicotiana rustica (Nicotine) Nymphaea ampla (White Water Lily) Nymphea cerulea (Blue water lily) Oncidium cebolleta (Cebolleta) Pachycereus pecten-aboriginum (Cawe)
Panaeolus cyanescens (Copelandia) Pancratium trianthum (Kwashi) Pandanus (Screw Pine) Papaver somniferum (Poppy) Peganum harmala (Syrian Rue) Pelecyphora asselliformis (Peyotillo) Pernettya furens (Taglii) Petunia violacea (Shanin) Peucedanum japonicum (Fang-K’uei) Phalaris arundinacea (Reed Grass) Phragmites australis (Common Reed) Phytolacca acinosa (Shang-La) Psilocybe semilanceata (Liberty Cap) Psychotria viridis (Chacruna) Rhynchosia longeracemosa (Piule) Salvia divinorum (Hierba de la Pastora) Scirpus (Bakana Sc) Scopolia carniolica (Nightshade) Sida acuta (Malva Colorada) Solandra brevicalyx (Kieli or Kieri) Sophora secundiflora (Mescal Bean) Tabernaemontana coffeoides (Sanango) Tabernanthe iboga (Iboga) Tagetes lucida (Yauhtli) Tanaecium nocturnum (Koribo) Tetrapteris methystica (Caapi-Pinima) Trichocereus pachanoi (San Pedro) Turbina corymbosa (Ololiuqui) Virola calophylla (Epená) Voacanga africana (Voacanga)
HFT The Gardener / Shaman Visions Archival giclĂŠe prints 16 parts, 21 x 29.7 cm each
Zapotec shaman in San Bartolo Yautepec, Mexico, preparing an infusion of Ipomoea violacea Ayahuasca vision Henry Crow Dog at peyote ceremony, Rose Bud Reservation
Colombian shaman performing Brugmansia divination ceremony Russian Yukaghir shaman, Eastern Siberia A shamanic healing ceremony in Alaska
Indian Yogis smoking marijuana at Shiva Temple of Pashupatinath near Kathmandu, Nepal, India
A north Peruvian curandero setting up his mesa for San Pedro ritual on banks of Shimbe Lake
Maria Sabina, Mazatec shaman, performing Velada
Tungus shaman, Siberia
Magician + Kuma women ritual dance N E Africa Maria Sabina and her daughter, Oaxaca, Mexico Kamchatka shaman in far eastern Russia with Fly agaric travelling to other realms
A Mahekototen shaman struggling against death Huichol shaman Peyote ceremony Huichol shaman Peyote ceremony (2)
HFT The Gardener / Psychoactive Glitch Graphs Archival giclĂŠe prints 6 parts, 21 x 29.7 cm each
Brugmansia arborea (Angels Trumpets)
Voacanga Africana (Voacanga)
Atropa belladonna (Deadly Nightshade)
Lophophora williamsii (Peyote)
Mitragyna speciosa (Kratom)
Ipomoea violacea (Morning Glory)
HFT The Gardener / Video stills and photo works Archival giclée prints 18 parts, 12 at 29.7 x 42 cm; 6 at 21 x 29.7 cm each video: http://www.suzannetreister.net/HFT_TheGardener/HFT_Video.html
High Frequency Trading Floor London Stock Exchange, UK
Vision of Mazatec shaman María Sabina at Embassy Gardens, London
Embassy Gardens Apartments, Nine Elms, London, UK
HFT Laser devices linking the New York Stock Exchange’s data center in Mahwah, N.J., with the Nasdaq Stock Market’s data center in Carteret, New Jersey
New Covent Garden Flower Market, London, UK
NASDAQ Trading vision 1
New Covent Garden Flower Market, London, UK (2)
NASDAQ Trading vision 2
New York Stock Exchange, USA
US Embassy, Nine Elms, London, UK
NASDAQ Trading vision 3
HFT trader + Holographic Universe
NASDAQ Trading vision 4
Nine Elms, London
NASDAQ Trading vision 5
Sky-Lights vision
NASDAQ Trading vision 6
SELECTED BIOGRAPHY 1958 1977-78 1978-81 1981-82
Born in London Brighton Polytechnic St Martins School of Art, BA Hons Chelsea School of Art, MA
Works and lives in London SELECTED SOLO SHOWS & EVENTS 2016 2015
2014 2013
2009 2008
2007 2006
HFT The Gardener, Annely Juda Fine Art, London HFT The Gardener, P.P.O.W., New York HEXEN 2.0, Fig-2, ICA, London Post-Surveillance Art, Primary, Nottingham Rosalind Brodsky’s Electronic Time Traveling Costumes, Schaufenster am Hofgarten, Kunstverein München, Munich HEXEN 2.0, Aksioma Project Space, Ljubljana Post-Surveillance Art, Maggs Bookshop, London In The Name of Art and Other Works, Annely Juda Fine Art, London HEXEN 2.0, Cleveland Institute of Art (CIA), Cleveland HEXEN 2.0, P.P.O.W, New York Grimoir du Futur, Espace Multimédia Gantner, Bourogne THE REAL TRUTH A WORLD’S FAIR, Raven Row, London HEXEN 2.0, D21 Kunstraum, Leipzig HEXEN 2.0, Hartware MedienKunstverein, Dortmund HEXEN 2.0, Science Museum, London MTB [Military Training Base], Alma Enterprises, London NATO Black Dog Publishing, London 3 Projects, Annely Juda Fine Art, London HEXEN 2039 and Alchemy, Galerie Lorenz, Frankfurt Alchemy, P.P.O.W New York HEXEN 2039, Kunstverein Langenhagen HEXEN 2039, Skolska 28, Prague HEXEN 2039, New Art Gallery Walsall HEXEN 2039: CHELSEA space;
2000 1999
1997 1996
1995 1994
1988 1985
Screening: Warburg Institute; Interverventions: Ognisko Polskie, Science Museum, British Museum Operation Swanlake, Annely Juda Fine Art, London Operation Swanlake, Kunstlerhaus Bethanien, Berlin Archives from the Institute of Militronics and Advanced Time Interventionality, Grey Matter, Sydney No Other Symptoms - Time Travelling with Rosalind Brodsky, Artspace, Sydney No Other Symptoms - Time Travelling with Rosalind Brodsky, Freud Museum, London Dying for your sins, Australian Centre for Contemporary Art, Melbourne Time Travelling with Rosalind Brodsky, The Tannery, London Dying for your sins, Institute of Modern Art, Brisbane Q.Would you recognise a Virtual Paradise?, Mizuma Art Gallery, Tokyo Q.Would you recognise a Virtual Para dise?, Contemporary Art Centre of South Australia Q.Would you recognise a Virtual Paradise?, Australian Centre for Contemporary Art, Melbourne Recorded Evidence: Prosthetic Speech, [RE] Gallery, Adelaide Software, Union Gallery, University of Adelaide Fictional Videogames, Edward Totah Gallery, London Between the Clues lies the Evidence, Post West, Adelaide Edward Totah Gallery, London Kerlin Gallery, Dublin Ikon Gallery, Birmingham: Arts Council touring exhibition, to: Spacex, Exeter; Oldham Art Gallery; The Minories, Colchester; Darlington Arts Centre; Nottingham Castle Art Gallery Edward Totah Gallery, London Edward Totah Gallery, London
Liverpool Biennale 2016 Hailweed, Auto Italia, London The Hellstrom Chronicle, Galerie Barbara Weiss, Berlin You Say You Want a Revolution, Victoria and Albert Museum, London Third Nature, CCS Bard Hessel Museum, New York WE transFORM, Neues Museum, Nuremberg Perpetual Uncertainty, Bildmuseet Umea Digitale Demenz (Artificial Intelligence), EIGEN + ART Lab, Berlin I See, So I See So. Messages from Harry Smith, Temporary Gallery, Cologne Infosphere, ZKM Center for Art and Media, Karlsruhe Control Mode Feedback, HALLE 14, Leipzig Island - Adaptation II, g39 Cardiff Algorithmic Rubbish: Daring to Defy Misfortune, Stedelijk Museum Bureau Amsterdam Air de Jeu, Centre Pompidou, Paris Anonymity no longer an option, Pierogi The Boiler, New York Anarchronism, iMAL, Center for digital cultures, Brussels Test Exposure, 16th WRO Media Art Biennale, Wroclaw RARE EARTH, Thyssen-Bornemisza Art Contemporary, Vienna Social Factory: 10th Shanghai Biennale 8th Biennale de Montréal, Canada Média Médiums, Gallery YGREC, Paris A Politics of Drawing, Barbara Walters Gallery, Bronxville Systemics #2 - As we may think (or the next world library), Kunsthal Aarhus The Whole Earth. California and the Disappearance of the Outside, Haus der Kulturen der Welt, Berlin A World of Wild Doubt, Hamburger Kunstverein, Hamburg Intersections, Weizmann Institute of Science, Rehovot Plus ou moins sorcières,La Maison Populaire, Paris Mutatis Mutandis, Secession, Vienna Secret Societies, Schirn Kunsthalle, Frankfurt; CAPC, Musée d’art Contemporain de Bordeaux
Art/Systeme/Poésie, In Situ / Fabienne Leclerc, Paris The Big Society, Galerie GP&N Vallois, Paris Reinventing Ritual, Contemporary Jewish Museum, San Francisco Magic Show, Hayward Touring Exhibition Cross-fades. Reconstructing the Future, Shedhalle, Zurich Documentalist, Collective Gallery, Edinburgh
PUBLIC COLLECTIONS Arts Council of England Art Gallery of South Australia Australian Centre for the Moving Image AXA Collection British Council Center for Contemporary Art Znaki Czasu (CoCA), Torun EMI Paris FRAC Lorraine, Metz Griffith University, Queensland Muzeum Sztuki, Łódź New Hall Cambridge Centre Pompidou, Musée National d’Art Moderne Science Museum London Tate Britain Thyssen-Bornemisza Art Contemporary, Vienna Wolverhampton Art Gallery SELECTED PUBLICATIONS ‘HFT The Gardener’ Black Dog Publishing, London, 2016 ‘HEXEN 2.0’ Black Dog Publishing, London, 2012 ‘HEXEN 2.0 Tarot’ Black Dog Publishing, London, 2012 ‘NATO The Military Codification System for the Ordering of Everything in the World’, Black Dog Publishing, London, 2008. ‘Hexen 2039 - new military-occult technologies for psychological warfare’, Black Dog Publishing, London 2006. ‘No Other Symptoms - Time Travelling with Rosalind Brodsky’ CD ROM with 124 page colour hardback book. Black Dog Publishing, London 1999. Website: http://www.suzannetreister.net
ISBN 978-1-904621-73-7
works © Suzanne Treister catalogue © Annely Juda Fine Art / Suzanne Treister 2016
Printed by Albe de Coker, Belgium
Profile for Annely Juda Fine Art
Suzanne Treister
Suzanne Treister
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15 Cool Photoshop Text Effect Tutorials
Interesting and fun Photoshop Text Effect tutorials to follow and try out!
Adobe Photoshop can produce some amazing works of art, if you have the know-how. It is also great for generating unique and interesting text effects that catch your attention.
We’ve compiled this brief list of the best and most fun text effect tutorials online. These tutorials dive deep into using layer effects, brushes, and more tools, so that you can create the text effect you need for your project.
1. Dramatic Text on Fire
photoshop-text-effect-tutorials-fire
What would a list of text effects be without a tutorial on how to set text on fire? This is the first thing that anyone wants to make in Photoshop. It is a relatively simple effect, and produces something that looks pretty good, if not a bit cliched.
2. ‘Stranger Things’ Inspired Text
photoshop-text-effect-tutorials-stranger-things
The title graphic for the hit Netflix series Stranger Things is iconic and retro, making it perfect for recreating. This Stranger Things text tutorial is straightforward. All you need is the proper font with an emboss effect and glow effects. This guide goes through the best settings to emulate the red glow, so you will be able to turn any text you want into this 80’s flashback look.
3. Plastic Text Effect
photoshop-text-effect-tutorials-plastic
Creating a plastic effect in Photoshop is satisfying, because the text will appear to have reflections and a 3-dimensional feel. In fact, you will just be using layer effects such as contour, inner glow, and stroke. The result is a versatile and fun effect that has a realistic texture.
4. Use a Clipping Mask with Text
photoshop-text-effect-tutorials-clipping-mask
An oldie but a goodie, using a clipping mask with text can turn any background image you like into a text. All you need is to type the words you want, put the layer below an image, and select to create a clipping mask with the image. This great-looking effect quite literally will take you 30 seconds.
5. Create a Grassy Text Effect
photoshop-text-effect-tutorials-grass
A 3-dimensional grassy texture is vibrant and realistic. This is a fun text effect to try, and relies on a number of layer effects with a grass stock image. It requires some precision pen tool work to make it look perfect, but the time investment will be worth it!
6. Make a Bold and Funky Sticker
photoshop-text-effect-tutorials-sticker
Making a text sticker in Photoshop can be incredibly useful if you’re looking to create some fun graphics for your website, or maybe even a sticker pack. This Photoshop text effect pairs nicely with handwritten text and paper textures. It’s a simple tutorial, but can make all the difference in bringing your project together.
7. Vintage Sugar Bag Effect
photoshop-text-effect-tutorials-vintage-sugar
Creating a vintage text effect based on old logos is easy to do, and looks great for a variety of uses! The internal shading and white “shadow” really sell the piece, and they’re essentially the only steps.
8. Design Metallic Embossed Text
photoshop-text-effect-tutorials-metallic-emboss
Any Photoshop text effect that produces a 3D look is great for beginners. This embossed metallic text effect is no different, which creates a clean look with a bit of depth. This is accomplished through layer effects and some additional small details that really make the piece pop.
9. Billowing Smoke Text
photoshop-text-effect-tutorials-smoke
This smoke text effect uses a custom brush to create smoke tendrils, and relies on other simple effects like blurring and smudging, until things look just right.
10. Practicing Airbrushes to Make Text Glow
photoshop-text-effect-tutorials-airbrush
While a lot of these tutorials utilize layers to create a great text effect, this tutorial will teach you how to use Photoshop airbrushes to make optimal highlights and shadows on a flat layer of text.
11. Retro Folded Paper Type
photoshop-text-effect-tutorials-folded-paper
This folded paper text takes a lot of cutting out of shapes, but ends up looking like natural folded paper! This is in fact digitally built but will be much easier to emulate if you fold actual paper first so you have a real reference point.
12. Create a Dripping, Gooey Mess!
photoshop-text-effect-tutorials-gooey-drip
This may look complicated, but really it just requires a little bit of digital drawing. The organic drippy look is achieved through drawing around the original text. This is a great lesson for learning the pen tool, and even if you’re not interesting in the gooey look, this a great tutorial to learn some essential Photoshop skills from. Perfect for Halloween, candy/food effects, and more.
13. Displaced Text Effect Photoshop
photoshop-text-effect-tutorials-displaced
This is a simple but potentially versatile technique. After applying some effects to make the text look nicer, just cut off parts of the text and move them around until it has a satisfying disjointed look.
14. Glowing Retro Sign
photoshop-text-effect-tutorials-glowing-retro
This tutorial uses layer styles to create a 3D sign effect. You can use the techniques in this tutorial to make it your own and customize to your liking. The end result looks almost realistic and is a standout text effect.
15. Whimsical Comic Book Text Effect
photoshop-text-effect-tutorials-comic-action
This fun text effect is inspired by comic book action words. The bright yellows and reds sell the look, but the red dots reminiscent of comic book art are the finishing touch. This effect shows off that certain looks are achieved by some subtle (and sometimes not as subtle) details.
Pre-Made Text Effects
Another way to get stunning text effects in Photoshop is to purchase layer styles from other creators. Designers and talented Photoshop users are constantly innovating to create cool text effects and type styles, find a few cool products worth trying below.
foil balloon text effects photoshop
80s text effects for photoshop styles
Texture Press vintage text stamp effects for Photoshop. Created by designer Ian Barnard.
More Photoshop Tutorials
Additional photo editing and graphic design tutorials for Adobe Photoshop.
4 Replies to “15 Cool Photoshop Text Effect Tutorials”
1. John says:
Here is another Photoshop text tutorial for creating engraved wood effect that you might like:
https://creativegraphicresources.wordpress.com/2018/06/05/wood-carving-text-effect-in-photoshop/
2. Emily says:
You can do some of these cool text effects online without Photoshop:
https://www.mockofun.com/templates/text/text-styles/
3. This tutorial uses layer styles to create a 3D sign effect
this is more than what was i thinking
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The St. Regis Maldives Vommuli Whale Bar wins at the SBID Int’l. Design Awards
[vc_row][vc_column][vc_column_text]The annual SBID Awards is one of the most celebrated events in the international interior design community and 2017 saw the most globally represented entries to date, including talent from over 40 countries around the globe. All 14 categories represented at the event are evaluated by a panel of leading industry experts, a technical panel and a public vote.
WOW Architects | Warner Wong Design, a Singapore and London based practice that designed the Whale Bar at The St. Regis Maldives Vommuli won the Overall Winner Award of SBID International Design Awards. The Overall Winner Award also holds the title of “SBID Choice” and is given to projects that receive the highest scores after considering both the public votes and the judge’s choices.
The Whale Bar, true to its name, is shaped in the form of a Whale Shark, the most majestic of all marine wildlife the country has to offer. A combination of marine themes, pyrography, pale oak and soft lighting, and the mural is a tribute to the oceanic paradise that is Maldives. Aside from the SBID Award, the Whale Bar has won global praise for its architectural design, including a continental award for the best exterior design at Prix Versailles 2017 and also a nomination for the 2017 World Interior of the Year Awards that will be announced at the end of November.
The St. Regis Maldives Vommuli is a luxury resort in Dhaalu Atoll, located just 45 minutes away from the Velana International Airport by seaplane. The resort embraces both contemporary design and traditional craftsmanship, with a deep respect for ecological preservation. With the largest three-bedroom over water villas in the Maldives and spacious private terraces, the St. Regis Vommuli Maldives is a pristine escape surrounded by an ocean rich in marine life.
To learn more about The St. Regis Maldives Vommuli and its offers, please visit stregismaldives.com.[/vc_column_text][/vc_column][/vc_row]
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8 Tips to Help You Make a Killer Bespoke Canvas
Off the peg or bespoke? The dilemmas of a modern man.
Choosing a canvas is much like deciding between Savile Row, the high street or knitting your own!
With Bespoke you get:
Neat edges on the back, staple free sides, a choice of fabric, a choice of finish (unprimed, sized, oil-primed) an exact choice of size, a choice of stretcher bar thickness and a skilled craftsman making it for you, all coming with a premium price tag.
High street you get:
Neat edges on the back, less robust stretcher bars, not as heavyweight canvas, machine-made but a very reasonable bill.
Knitting your own:
Can be a bit of a headache! But you do get a choice of fabric, choice of size, choice of stretcher bar and it’s a very economical way to achieve what you want, if working on a lot of canvases the same size. Huge flexibility in finish mixed with the glow of satisfaction when stretching your own canvas…
Bespoke gives you a huge range of choice to suit your own quirks and style of painting.
Like a thin-edged frame with a rough weave? No problem, or maybe a super long thin canvas with a fine surface? You’ve got it.
Going bespoke can be a joy, but I have been through many suppliers with a huge variety of ups and downs. From Chinese import stretcher bars that curve like a banana, to straight as a die bars that are just 4mm too deep. Believe me, you can get slightly obsessive about it and the never ending search for your perfect finish.
The 2 components of a canvas are:
• Stretcher bars – These come in a variety of depths and quality.
• Support – canvas or linen.
Below are my 8 tips if you want give stretching your own canvas a try:
1. Look for expandable joints.
Often cabinet makers run a sideline in stretcher bars for painting. The majority of the time, although well made, they are not fully airdryed wood and the bars are glued and screwed in a fixed position.
These can look great to start with but leave no option for tightening the canvas over time. Also they often don’t put in a cross brace on larger stretchers, which can cause the stretcher bars to bend in the middle when pulling hard to achieve a tight canvas.
2. Use the little wedges, even if you don’t know what they are for!
Over time or if placed in a variety of different temperatures, i.e: a painting placed over a radiator, the wood of the stretcher bar can move and distort slightly. Have you ever noticed how your doors (if wooden) are stiffer to open in the Winter? it’s because the wood expands.
If this happens with your painting, gently tap the wedges (2 per corner) into the grooves at the corners of the stretcher bar and you will gently push out the bars, thus re-tightening the canvas. You have to be careful with cheaper ready-made canvas’s that still have the wedges because they often don’t fit properly. If you’re too eager with the hammer, it can result in tearing the side of the canvas – yes, I’ve done it a couple of times! Very annoying.
3. Get a sample of the canvas sent through.
Most stretcher bar firms will send you some sample off-cuts of the canvas they hold in stock, it’s well worth it even if they charge for postage because you just can’t get a feel from a photograph.
4. Look for Kiln dried wood.
This is wood that has its moisture removed by drying it in a kiln, this means there will be less room for the wood to move/distort over time.
5. Choose a good weight.
It’s not worth bothering with a canvas under 12oz unless your working really small. 120z means you can pull tight without the fear of ripping.
6. Experiment with priming canvas yourself.
There is something rewarding about sizing and priming a canvas yourself, you value the stretcher more and you will produce a better painting because of that. If you’re working on a substandard product you’ll have a tendency to paint with less heart because you place no value on the support.
7. Be prepared for sore fingers.
When stretching canvas yourself it can be very testing! Trying to pull it tight, handle a staple gun and keeping everything neat can be a juggling act.
Sore fingers and lots of blisters on a big canvas are the norm, wear gloves or start small.
8. Rip your canvas.
Staple a small strip of the canvas you’re going to stretch onto your stretcher bar, then with a pair of stretcher pliers try to rip it! You’ll be surprised how hard you can pull. Beginners stretching canvas never pull it tight enough, get pumped and rip that bad boy!
You might also like:
1. Getting Started: How a prepared Canvas can drastically improve your painting – An Old Master technique to rapidly improve your paintings
2. Getting Started: A quick way to understand brushes + video – Overview of Acrylic brushes & video on brushes I use for a simple landscape
This Post Has 32 Comments
1. Isabel
Thanks for this Will, I really enjoyed reading your tips on using bespoke canvas and had a real good laugh at some of your “tongue in cheek “comments but Oh so true.You have a wonderful sense of humour & way with words. I am an “off the peg” user and will continue to be so. Another very interesting and informative article. Thank You.
1. Will Kemp
Hey Isabel, yes, many hours of sore fingers and odd shaped canvases make an ‘off the peg’ commission a joy!
Glad you enjoyed it,
2. Larry Rigby
Love your sharing such valuable knowledge in an excellent way.
1. Will Kemp
Cheers Larry, pleased you’re enjoying the articles.
3. Victoria
Thank you Will for sharing with us your knowledge. I would like to learn painting with acrylics. What do you think of painting on card for acrylics? Is it going to last or should I invest in canvases? What are the pros and cons? I hope I do not ask a question which you have already covered. Many thanks!
1. Will Kemp
Hi Victoria,
If you paint on thick card it can work quite well, one of my old tutors used to have us gesso cardboard boxes and use these as impromptu canvas, you’ll get a feel for painting and working on a hard surface, the only thing that will be harder is using watery washes, as the canvas absorbs the moisture as you work and the thin washes soak in. On a harder surface they have the tendency to run off.
1. Victoria
Thank you Will. Now I understand why canvas are better than card because of water absorption. As a complete beginner I would not be able to work fast so probably canvas would be better for a start but I have already bought an acrylics pad so will have to practice on it and then buy canvas. Victoria
1. Will Kemp
Good one Victoria, have a go on the acrylic pad and see how you get on.
4. Jack
Hi Will,
I’m a newcomer to the site (just came across it today), but I’ve already worked my way through a dozen articles. You have a knack for explaining the arcane in layman’s terms. The hallmark of a good teacher!
I’d like to ask for your opinion on the necessity to use gesso instead of regular interior latex paint. I’ve used both, and have found the results to be different only in terms of cost (interior paint being vastly less expensive). In practice though, I’ve only used the interior paint on non-flexible surfaces, such as boards.
Online opinion seems to be divided between those who believe (or cite their university professor’s belief) that interior paint is fine and that the “gesso-ites” are just snobs, and those who describe the superior flexibility of gesso on canvas.
So I’m wondering, is using latex paint begging to have a cracked painting if it should ever be rolled?
On a side note, I am currently living in Beijing (just a stone’s throw from the China Academy of Fine Art). Across the street from that is a conglomeration of art supply shops which are stocked with an incredible range of items at an incredible range of prices. Some of it is not to be bothered with. 170 mL tubes of paint for the equivalent of $1.5 USD, paint brushes that fall apart if you touch them, and dangerous-looking tubes of poorly identified liquids. But other items are practically a steal! I have stocked up my painting cabinet for years to come!
(The eventuality of pulling my paintings off and rolling them up for the flight home a few years from now is the real reason I’m asking about the gesso.)
1. Will Kemp
Hi Jack,
Pleased you’ve been enjoying the articles, to answer your question:
Is using latex paint begging to have a cracked painting if it should ever be rolled?
It shouldn’t really give you a cracked painting if it has a high latex content, but it’s hard to give an exact yes or no due to the huge variety in quality with different brands.
5. Nadia
Hi Will,
I really like all art lessons and i really thank you for sharing with us your knowledge.
6. Summre
Hi Will,
I noticed above you’d mentioned writing about your choices for art students. I didn’t find the post on your site? I teach Applied art to Middle and high school. Currently they use really cheap acrylic paint, I believe by Crayola or something cheap like that. Can you recommend acrylic I can buy in larger sizes or even tubes that will be a bit better in quality? Thanks so much.
1. Will Kemp
Hi Summre, any student quality paint from an art brand (such as Winsor & Newton, Daler Rowney etc) will give you a good paint to work with, I would try to stretch the budget to an artist quality white as this will give you the most bang for your buck in terms of opacity of the paint mixes.
7. Susan
Great information, Will! I recently bought some expensive bespoke prestretched linen canvases that have been sized with rabbit skin glue and primed with lead white. I see that on the back of the canvases the sizing and primer did not extend to the ends of the linen. This left the linen floppy and it’s rolling up. Also, there are many loose threads. The fraying is quite serious. I’m concerned about the fraying continuing and also the look of it doesn’t seem professional. What is traditionally done with linen? In the past I’ve always used cotton duck canvas that was gessoed to the edges so it was stiff and no fraying. Thank you for your advice!
1. Will Kemp
Hi Susan, the canvas is usually stapled neatly on the side of back of the canvas. There can be odd strands of fibre depending on the manufacturer, and these can be left as raw linen/canvas with only the main surface and edged of the canvas sized and primed.
Hope this helps,
8. Erika
Hi Will. U can stay in my guest house on the farm for FREE when you come to SA! I am so grateful to you and to have found your mindblowingly good tutorials… Have been studying Fine Art by correspondence, and all the technical stuff is for us to find out ourselves. These days breaking the rules and doing thing differently is cool, but at the end of last year I have found myself wanting to relearn everything “properly” and then mix things up. Have discovered some things that I do completely “wrongly”, such as I prime whatever surface with normal cheap PVA paint, sanding in btw layers and changing direction with each layer, and THEN sizing with cheap woodglue mixed with water. I loved the smooth non-porous surface (for oils)… but often struggled with the apprearance of linseed oil glazes ending up too glossy. I will try the porous surface of sizing first, followed by priming, now… I also read with interest the info on different gessos, some with a smoother finish. In one painting I did recently I worked in very thin layers of oil, imitating watercolours, but the canvas type priming finish on my MDF board showed through and really was far too hard and heavy for my painting technique. I suppose I should try a harder gesso, maybe use a sponge roller to apply (iso a brush) and sand more between layers… What do you think? Also: How do you stop yourself from overworking any area when painting? To get a more expressive feel? Just looking at your cherry tutorial, I love the “casualness” in which you treat every aspect of the painting, Does that come with practice and constant awareness? I find I have to concentrate very hard to maintain that, and when my mind wanders I can find myself returning to colouring-in mode/painting-a-wall mode… Lastly: how would one prepare a canvas/mdf board for overpainting that already has an oil painting on it? I have sanded some mdf board with paintings on that I want to overwork, but now realise that I must have sanded through the (incorrect sequence) sizing in places… And how would one do it differently for an image one wants to keep, and just rework, and an image one wants to overwork completely with something else? And how does oil paint affect an mdf board if there is no sizing to “protect” the mdf?… MY offer at the beginning stands!!! Best Regards, Erika
1. Will Kemp
Hi Erika, pleased you’ve been enjoying the lessons and thanks for the kind offer!
Creating a more impressionistic style in your works comes from practice and not trying to focus on the essentials in a scene that capture the subject.
For preparing MDF for an oil painting, you would ideally seal the surface with a sealant like GAC100 (from Golden Artist Colors) or Archival PVA from Gamblin and then apply a gesso.
The sealant will prevent the oil from seeping through into the board and stop any chemicals from the MDF board affecting the oil.
For a gesso if you’re working predominantly in oils using a quick drying oil ground like the Gamblin Alkyd Oil Ground can give you a good surface for oil.
Hope this helps,
9. Erika
Thanks for your reply & help, Will! Everything you write is of huge benefit!
May I also ask you on what kind of surface & surface prep you would work if you were working very thinly in oils (imitating watercolours – to some degree)?
And how would you prepare a surface that has an oil painting on it that you want to OVERWORK with a new work, also in oils?
Many thanks, Erika (South Africa)
1. Will Kemp
Hi Erika,
I would prep the painting the same way as with any oil painting with a couple of gesso layers over a canvas that has been sealed (either traditionally with rabbit skin glue or more commonly now an archival PVA) You can change the absorbency of the gesso by adding in more chalk to make it more absorbent but with a fine weave pre-primed oil canvas you would still be able to achieve multiple thin layers.
Overpainting over a painting, you can read about it here in relation to an acrylic painting, but the same principles apply. It’s just tricky with the absorbency because of the lack of tooth in the canvas.
Hope this helps,
10. Hamilton Nunes
Will, what do you think of painting on canvas stretched on a plank and only after completed work, fixed it to a rack?
I think working with the brush or the knife is more enjoyable because the canvas does not behave like a drum membrane.
1. Will Kemp
You can stretch canvas over board, or attach canvas to a board to give you a solid surface to paint against.
11. Joanne Rich
Hi Will, great info on here, thank you very much. I am starting to paint on canvas, but I am looking for a better quality canvas now. Where do you recommend to buy the canvases ? also my paintings are abstract acrylic, I really like expressing myself with this method, but my husband thinks it looks like our 1-year-old baby has splattered a bit of paint around. My other question is, in your opinion how abstract can a painting be before it turns into a messy disaster ?
1. Will Kemp
Hi Joanne, nice to hear from you, you can buy rolls of canvas and linen from most art supplies stores. They range in price from manufacturer to manufacturer. Often the brands own range can give you a good price to quality standard for larger scale paintings.
12. Carol
Hi Will – I love watching your videos!
Can you advise on whether to frame or not frame a canvas….is it worth spending the extra money on a floating canvas (which is usually 4 times as much as your canvas and paint supplies!) and if you are going to display at an exhibition, what kind of canvas would you recommend (depth, quality etc,?) Thanks!
1. Will Kemp
Hi Carol, framing is a personal choice depending on the subject, style and feel you’re after in the painting. Usually, more traditional thinner stretcher bars are framed and more contemporary box canvases can be displayed unframed. But this is a very general statement, I’d try getting a small frame that would fit a size canvas you usually work on and then try a few paintings within in. Then you can judge mores easily if you prefer the framed or unframed look.
13. Dora
Hi Will,
Thank you for this post, it is amazing, your website has the answer to every question related to art. :)
Recently I have found a pre-stretched and triple primed 10oz canvas, I haven’t tried it yet because you suggested it was not worth to work on less than 12oz canvases. But it is a quite prestigious brand, and as I see you mention this 12oz limit with hand-stretched canvases. So, I would like to ask your opinion about cheaper, 10oz pre-stretched and primed canvases. Do they worth?
Many thanks,
1. Will Kemp
Hi Dora, a 10oz canvas is great for smaller pieces, personally, I find them more tricky when they get larger as the canvas isn’t as tough for my style of painting (quite stiff brushes and rapid brushmarks). If you are painting small and paint with a more flowing line a 10oz would be fine.
1. Dora
Thank you, Will, I really appreciate these little tricks. :)
14. Denis Bishop
Just complete my first portrait, following your ‘free’ on-line notes and instruction. Quite happy with first attempt. Could send a photograph??
15. Ellie Jakeman
Hi Will,
You are my go to Authority on everything, I find your tutorials incredibly beneficial and inspirational, many thanks for your great generosity. May I ask you a question, I have bought ready, primed canvass for the pet portraits I have been commissioned to paint and then spray varnish them after leaving them to dry for 48hrs on completion. Should I be looking to put a stabilising coat underneath the varnish spray? Many thanks Ellie
1. Will Kemp
Hi Ellie, if the varnish is a removable varnish I tend to apply an isolation coat first and then a layer of varnish.
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Posts tagged ‘art’
22 octubre, 2012
Sally Mann: At Twelve
Written for The Harlow
I first heard of Sally Mann by the mid-1990s, when I was at school in the U.S. At that time, she was famous for having outraged the general public with photographs of her own children. It was no small thing, even Artforum refused to publish her work. So her name, as well as Mapplethorpe’s, popped up in class every time we dealt with art, sexuality, and censorship.
Family Color, 1990-1991
In this controversy, I was ready to side with Mann. Both series, Immediate family (1984-1991) and Family color (1990-1991), portray her kids at absolute ease, wild in action and indolent when not, as lazy and comfortable in their own skins as cats in the sun. For me, there is such a distinctive atmosphere of intimacy and candor that obscenity (overexposure, exhibitionism, abuse) is simply out of the question. It is true that these children are depicted in extreme situations (i.e. injured and bleeding) and mostly naked, like savages in nature and culture, but that’s probably the beauty of it.
Almost twenty years later, La Fábrica (Madrid) presents At Twelve (1983-1985). Equally controversial at the time, this series is composed of 35 b/w, beautiful images of 12-year-old-girls. These young women are photographed in their own surroundings, either alone or with parents and siblings, looking straight into the viewer’s eyes. They are literally half-child / half-adult, their bodies being still in the making, their poses showing, at once, awareness and ignorance of their newly acquired sexuality.
I am surprised at how uncomfortable I feel in front of these photographs. I find them somehow sinister and a bit perverse. And yet, everyday we are literally bombarded by images of teenagers. In the last decades, adolescence has become a genre in itself, being the subject of artists such as Rineke Dijkstra, Inez van Lamsweerde, Anna Gaskell, or Sue De Beer. And, of course, there is Disney channel, a factory of commodified, over-sexualized teen-agers who are ever more pervasive. So, what’s the fuss?
Mann’s oeuvre has a certain feeling of melancholy, mystery, and decay; some sense of desolation and pending doom. At Twelve is no exception. In fact, there are signs of violence and neglect everywhere: the dead cattle surrounding a girl, a blood stain on a blanket; a menacing faceless figure emerging from the dark; a trio of cowboys in the background, watching; a girl lying on an old, dirty car… But these photographs are also dishonest and I do get the impression that, here, these girls have been, definitely, overexposed and manipulated. The reason is that Mann knows something they don’t and is evident to anyone; something that becomes crystal clear in the photographs: their incredible vulnerability, the hostility of their environment, and that their passage into womanhood will certainly come at a price.
In 1988, Aperture published a book on the series. At Twelve: Portraits of young women includes an essay by Ann Beattie as well as short comments on the sitters by Sally Mann. In contrast with the book’s rather innocuous essay, Mann’s short texts make reference to a tough reality: a girl getting pregnant at eleven; a man shot (in the face) for harassing her step-daughter; children living in the back seat of a car… If this is the world these girls inhabit, this series is not simply about adolescence. It is about the violence that becoming a woman implies in certain contexts. And they are inscribed by class as much as they are by gender. Within this framework, these photographs become somehow voyeuristic and disrespectful. I might be a moralist, but I feel these girls have been cheated…
Until November, 17
La Fábrica, Madrid
http://www.lafabrica.com/en/galeria
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Bullring Location City: Birmingham, UK
A major retail destination in the heart of Birmingham
VIEWS: 8630
The Birmingham Alliance / Sir Robert McAlpine
Key Info
111,400m² lettable retail floor space, 32,000m² for anchor tenant Selfridges and 23,000m² for Debenhams, a catering area and 1,000 parking spaces
11.1 hectares / 111,400m² GLA
Completed in 2003
Map Location
Successful design implementation
Historically, the Bullring has been an important feature of Birmingham since the Middle Ages, when its market was first held. Located between New Street and St. Martin’s Church, and accommodating a 15m change in level, the new Bullring consists of two principal buildings, East and West Mall. With access from St. Martin's Square at upper ground level, the two malls are also connected at lower ground level beneath the square, incorporating an extensive 7,000m² SkyPlane glazed roof which spans the full width of both malls.
One of the busiest shopping centres in the UK
Within a year of opening, Bullring had become the busiest shopping centre in the UK, with 36.5 million visitors. The centre has been a huge success, winning seven major awards and attracting customers from all over the world.
Iconic store design
The development houses a 32,000m² Selfridges department store, one of only four stores that the brand operates in the UK. It also provides a 23,000m² Debenhams store, 160 retail units, as well as two levels of car parking, customer information areas and a management suite.
Working directly with Sir Robert McAlpine, Chapman Taylor was responsible for the detailed design and delivery of the £250m shopping and leisure complex, which was completed on time and within budgetcaret-down-skewed caret-down-thin caret-down caret-left-thick caret-left-white caret-left caret-right-thick caret-right-white caret-right caret-up chinese cross download english facebook grid instagram linked-in list mail map pinterest play-button reset search-nobg search-square share twitter views wechat youtube
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Charlie Kingsley
Long time member of OCAC, Charlie Kingsley, has many talents. He grew
up in Connecticut with six siblings. Although he graduated with a degree in mathematics he was drawn to the arts. He remembers his time at Woodstock as an incredible, enlightening experience that opened his mind to arts, hippie culture, and of course the MUSIC!! After college he took a class on stained glass and decided to move to Florida where he apprenticed as a glass blowing flame worker. Charlie became very intrigued with the art of “hot glass” using the furnace glass blowing technique.
In the 70’s Charlie applied and was accepted into the Naples Mill School of Arts & Crafts,
located in Naples, NY, which accepted students from all over the U.S. and Canada. While there he took classes in glass blowing. He became the first recipient of a NYS apprenticeship grant for glass blowing with Nashama Glass.
Charlie credits his apprenticeships with veteran glass blowers and carpenters such as, August
Hueter and Bill Glasner with helping him to excel in those crafts. In the 70’s and 80’s he started his own small shop in Prattsburgh, NY creating paper weights and perfume bottles along with other art pieces. He also continued to take glass blowing classes at Corning, learning to make larger glass art pieces. From 1995 to 2000 Charlie had a glass blowing shop, Kingsley Glass & Metal Sculpture, in Middlesex, NY and was on the Naples Art Trail.
In the late 90’s Charlie and his partner, the late Jo Krajci, began scouring flea markets for items that inspired a different form of artistic expression – sculpture from found materials! Charlie also continued with furnace glass blowing until 2012 when health issues caused him to stop. It was at this time that Charlie started intently focusing on creating smaller sculpture pieces.
Charlie credits local artists, Darryl Abraham and Paul Frazer, as influencers for his art. Charlie states that, “ My inspiration for creating art is having a need to keep an active mind. Art keeps me sane!”
Charlie’s sculptural style has changed over time with more socially relevant aspects subtly
included in his pieces. For example, in his “Junior’s Time Machine” sculpture there is an
element of wind power.
Charlie is a fan of coffee shops and cafes and at present he has acquired vintage coffee pots that can be found within his sculptures. He uses them and other found objects such as an old water tank and copper piping. He gets inspiration from seeing his raw materials together on a table to see how they go together until he gradually gets down to what he creates.
Charlie also tries to be conscientious about the sustainability of natural resources. He uses mechanical means for combining materials, eschewing blow torches and electric tools.
When asked how he describes his sculptures Charlie believes that the genre of naïve art
using found objects describes it best. He feels titles are not important to his sculptures. Although he does title his works, he’d prefer that people don’t limit their interpretation of his art based on the titles.
At present, Charlie has come full circle back to the Naples Mill School of Arts & Crafts! He has a studio in the original building on Lyons Street in Naples. He would love to see the building restored as it was in the 70’s.
Charlie is enjoying creating sculpture with more social significance but his dream project would be to create unique room environments that include mannequins.
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Whether it’s art, history or science, Bristol Museum & Art Gallery offers a range of one hour, half or full day learning sessions.
School favourites include Stone Age to Iron AgeAncient Egypt, Ancient Greeks, Rocks and Soils & Discover Dinosaurs.
Do pictures really tell stories? If you are researching opportunities to teach Art & Design, we have a portfolio of art workshops covering portraits, landscape and nature and now your school can achieve an Arts Award too!
We can deliver other in-school sessions such as Anglo-Saxons and, new for Reception, Discover Dinosaurs in your classroom.
See below our latest school workshops and learning activity at Bristol Museum & Art Gallery:
Fabric Africa: African textiles handling boxes
Enhance your visit to the Fabric Africa exhibition by borrowing one of our special handling boxes. Feel different African textiles, try on garments, discover who made them and how they were created.
EFL Art Gallery tours
Bring your EFL students on a guided tour of our art galleries and enhance their learning beyond the classroom. Focus is placed on several works of art, with the opportunity for students to use new vocabulary and practise their listening and speaking skills.
Discover: Dinosaurs
Budding palaeontologists will be able to unearth fascinating facts about dinosaurs and fossils in this hands-on session.
Discover: Ancient Egypt
Why is there an ancient Egyptian obelisk and ‘ankh’ on a grave in a Bristol churchyard? Follow the adventures of Egyptologist Amelia Edwards in this hands-on session about her life-changing journey ‘a thousand miles up the Nile’.
Discover: Ancient Greeks
Ancient Greece has had an influence on western civilisation for over 2500 years. Learn about the life of ancient Greeks with the handling and investigation of real Greek pots, pottery pieces and artefacts.
Discover: Stone Age to Iron Age
Investigate the development of human technology by examining stone tools and metal workings used from the Stone Age to the Iron Age. Handle 500,000 year old stone hand axes and flint tools and unlock the secrets of how they were made and what they were…
Anglo Saxons in your classroom
How did the city of Bristol get its name? Discover the Anglo Saxons roots of our city when Bristol Museum visits your school. Find out about Britain’s Anglo Saxon past during our in-school workshop.
Art: Every picture tells a story
Do pictures really tell stories? Discover how myths and legends have influenced artworks in our museum collection. Your class will have the opportunity to explore our paintings and develop their spoken language skills during this hands-on workshop.
Leonardo: Fantastic Creatures
See twelve of Leonardo da Vinci’s finest drawings during a visit to the exhibition Leonardo da Vinci: A Life in Drawing. Then explore the museum looking for inspiration to make a fantastic creature mask based on his amazing animal sketches.
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John Cross
Fine Artist
John was formally trained as a commercial artist/illustrator from California State University. It was by meeting Michael Linstrom in a Los Gatos, California gallery that inspired his transition from commercial artist to fine artist. John’s work was inspired by the California School of Color which at that time had a long tradition of plein air painters who had either studied in France or were students of those who had studied in France in the early 20th Century. He was also heavily influenced by Nicolai Fechin and Sergei Bongart.
John lived in the Sierra Foothills where he worked hard to develop his skills as a fine artist. While there, he was able to have Hollywood set painter legend Duncan Spencer mentor him on the art of plain air painting. John has had his work displayed in galleries in San Francisco, Sonoma, and San Diego, California along with the Joe Wade Gallery in Santa Fe, New Mexico. His work has been collected by numerous national and international patrons. John has won various awards and accolades with his work. Most proudly: The Marin Society of Art’s Gumbacher Gold Medal Award for Oil Painting.
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Rohit's Realm
// rohitsrealm.com / archive / 2011 / 01 / 30 / say-hello-to-my-little-friend
January 30, 2011
Say Hello to My Little Friend
As I have written on extensively in the past six months, one of my goals since emerging out of the graduate school bubble in which I was ensconced the past three years has been to rekindle many of my pre–law school hobbies. In that vein, I have resumed reading, gotten back into coding, and even started running regularly again—sort of. One of my hobbies that never quite died was photography: even in the darkest days of my law school life (and rest assured, there were many such days), I still brought along my trusty DSLR whenever I traveled, from New York to Mississippi to the United Kingdom to Japan to Montréal.
But even as my travel photography maintained a steady clip, my personal photography fell dramatically. Indeed, this past December, I had to struggle quite a bit to find pictures of myself for my annual holiday card—I simply hadn't taken any casual pictures at all in the past year. Once the guy who was never without a camera at any event and always the one shooting long-armed self-portraits (as those who knew me back in the day know well), my casual photography saw a precipitous decline during law school. Which, like many other law school–induced fall outs is really too bad: memories aren't just a function of travel, and without doubt, there were occasions in the past two years that could have and should have been captured. What happened?
At least three things happened. First, I grew weary of the endless stream of photos from parties, bars, and other such nighttime destinations that had marked much of my college and yuppie manifestations. With an increased focus on branding in the brave new Internet era, the existence of these sorts of photos quickly became a liability, and my solution was to simply stop taking them. Perhaps that was overkill—I could have taken but not posted them—but as I touched upon in this post, the era of carefree sharing had long since become the era of paranoid self-monitoring, and I wasn't taking any chances. And while I think that was probably the right sentiment, I can't help but regret my decision just a bit: my pictures from college and San Francisco are so nostalgic precisely because they capture my day-to-day life in all of its not-fit-for-public-consumption reality.
A second and related reason for the drop in photos was the tried and true one: I just didn't have time to keep up with all the demands of serious amateur photography. Between editing and cataloging, post-processing had become a massive effort with which I often could not be bothered. And so rather than add to my already crushing workload, I just stopped bringing my trusty point-and-shoot out with me when I went out.
A final reason was my equipment itself. After my dear old Olympus point-and-shoot died back in September 2005 (fittingly, at the 1524 housewarming party), I replaced it with a Canon PowerShot SD400. That camera was a valiant companion all throughout San Francisco, and even into my first year in Chicago. But by the summer of 2008, it had started to degrade and by spring of 2009, it was all but nonfunctional. (The last full album I shot with it was at my sister's college graduation in May 2009.) It died completely in April 2010 (RIP).
All that brings me to the present: I have decided I do see value in day-to-day photographs, and considering my life these days rarely involves brand devaluing activities (old age hits us all, I suppose), the concerns I noted above are somewhat alleviated. This past December, my mother asked me what I wanted for the holidays, and somewhat on a whim, I decided it was time to replace my old point-and-shoot. A quick trip to the electronic store, and voilà: I had a brand new Canon PowerShot S95. So far, I've been suitably impressed: the picture quality on this guy is topnotch, and it has definitely lived up to all the reviews I read before getting it.
Also in the spirit of rejuvenation, I have been taking my point-and-shoot out with me when I go places. As always, the results of this endeavor will be available in my gallery: I have created a new top-level album for this period in my life (aptly known as the deleveraging years) and posted some photos from Central Park, this winter, and (everyone's favorite) Albany, NY (where I spent a four days two weeks ago to get sworn into the NY State Bar).
For those in New York, drop a line if you want to go on a photo tour some weekend. My new theme: mounds of garbage piled high in the streets. Haul the trash, assholes! It's good to be back.
I've got the S90 (almost the same as the S95) and I love it. In fact I only had that camera for a month long trip to South America I took last year. I heartily recommend that little guy. Though I did splurge and get a grip for it after a while and do like the way it feels more now.
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On this page is some information about the board of trustees of the Eric Hosking Charitable Trust:
Professor Richard Chandler
Dr Jim Flegg OBE
Robert Gillmor
Robert Gillmor started his long career as an illustrator at the age of 15 with drawings for the monthly British Birds Magazine. He illustrated the first of over 100 books in 1958 while an art student at Reading University. In the late fifties, with the support of leading bird artists of the day, he organised Exhibition by Contemporary Bird Painters, and this led directly to the founding in 1964 of the Society of Wildlife Artists. Robert became the Society’s first Secretary and was later elected to two terms as President. He and his wife Sue, also an artist, moved to north Norfolk in 1998, and book illustrating was abandoned in favour of printmaking.
David Hosking FRPS
David is a Fellow of the Royal Photographic Society and has been an examiner on the RPS Associateship and Fellowship Assessment Nature Panel. He is also a Fellow and Vice President of the British Naturalists Association; founded in 1905 the BNA promotes the study of all branches of Natural History. With his wife Jean he is also a director of FLPA Ltd, an extensive and rapidly expanding web based photographic stock library, specialising in Natural History. His photographs have appeared in a vast range of magazines and books, including over twenty which were the product of his happy and prolific partnership with his late father Eric Hosking OBE, Hon FRPS.
Robin Hosking
Robin is a retired Design & Technology teacher with 35 years experience. He taught for most of his career at North Leamington School in Warwickshire where he was Head of Department and also Year Head. He was also very involved in national examinations holding the positions of O’level Chief Examiner for 6 years and GCSE Principal Moderator for 15 years. He now lives in Spain and travels extensively around Europe with his wife Julie.
Edward Keeble MA (cantab)
Paul Williams MA (Cantab)
Paul Williams, a qualified Chartered Accountant, looks after the Trust’s financial affairs. Finance Director of an Aim Company, Paul is also a bird ringer and for a number of years was Eric’s accountant.
Dawn Balmer
Dawn has worked for the BTO since 1992 in a range of roles covering census methods, fieldwork, ringing and BirdTrack. She was the National coordinator for Bird Atlas 2007–11 and now works as National Survey Coordinator. Dawn is a keen birdwatcher and ringer and enjoys all aspects of natural history. She is on the Editorial Board of British Birds and writes regularly in Sandgrouse and British Wildlife.
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Jason Dorsey is working on second Children’s Picture Book in the “I Remember” series
Jason Dorsey is working on the second book in the I Remember series. This series tells stories of a boy growing up on an island (Camano), to explore sacred memories in the formation of children. Fyodor Dostoyevsky says this about sacred memories in his novel The Brothers Karamazov:
“… there’s nothing higher, stronger, more wholesome and more useful in life than some good memory, especially when it goes back to the days of your childhood, to the days of your life at home. You are told a lot about your education, but some beautiful, sacred memory, preserved since, is perhaps the best education of all.”
Jason Dorsey published I Remember Fishing with Dad in December 2015. It was well received and sold briskly.
IRFD Cover
Jason is close to completing the second book in this projected 12 book series. I Remember Running Through the Woods shows that the places we remember are part of who we are today. Jason reflects, “The woods which surrounded me in childhood are a part of me.” In this book, like the first, Jason is working with his father to do the illustrations.
“It’s been fun to go back to the woods of my childhood,” says Jason. “I’ve been trouncing through them to get photographs including photographs of a “scary stump” just like the ones I remember when I was young.
Jason and his Dad, renown Northwest artist Jack Dorsey, are collaborating on the illustrations just as they did in the first book.
“Our painting styles are similar,” Jason says. “I typically get the painting started and then bring it to Dad to finish. I’m able to get a good, fresh watercolor started; and Dad, with his eye for strong values and details is able to finish it.”
“I’m super thankful I have this opportunity to share in the painting of these illustrations with my Dad,” Jason says. “He’s super supportive. I don’t know if I could do this without him.”
I Remember Running Through The Woods is based on my own experiences in the woods that surrounded our little white home on Camano,” Jason says, “including a camping adveture with my friend Tom H. We skipped our High School Tolo to spend the night in the woods. Tom had all of this great Marine Corp gear and I guess we were more into that than girls. It turned out to be a super cold night and we had lots of adventures that night that I share in the book.”
Jason Dorsey and Tom Hamilton 1984
Jason also has enjoyed tying the story all the way back to the early days on Camano Island when loggers felled massive Fir and Cedar trees. I’m enjoying sharing this beautiful place (Camano) through these stories,” Jason reflects.
IMG_3353.jpg
He projects that I Remember Running Through The Woods will be (barely) back from the printers just in time to make it under the tree for Christmas 2018.
If you’d like to view the original illustrations they will be displayed at Sunnyshore Studio’s Christmas in Miniature art show that runs Saturdays, December 1st and 8th, 10:00am – 5:00pm.
Sunnyshore Studio to host first art show on web
Sunnyshore Studio is committed to being a “bricks and mortar” gallery and studio. We love showcasing art, hosting workshops, and being a hub for creativity on the south end of Camano Island, WA. But we know that many of the friends, collectors and patrons of the artists we showcase can’t make the pilgrimage to our beautiful corner of the the northwest.
So on Saturday, October 20th, we will host our first internet based art show in conjunction with Jed Dorsey’s solo show of new art “Home: places of the heart” that opens at 10:00am at our gallery on Camano (2803 S.E. Camano Drive, Camano Island, WA). Our web Gallery will open two hours later on October 20th at 12:00pm (Noon).
Because Sunnyshore Studio takes a low commission, Jed’s art will be on sale at a 20% discount. We are excited to provide affordable art for Jed’s friends, collectors and patrons across the US and beyond.
Jed’s art sells fast. So you’ll want to arrive early (either physically or digitally)! Jed’s Home: Places of the Heart show will open at www.sunnyshorestudio.com on Saturday, October 20th, 12:00pm.
We look forward to sharing his beautiful acrylics with you. And maybe you will find a painting that represents a place of your heart.
Skagit Valley Summer - 20x16
Jackie’s Tiny House Update: Roof and Windows installed
Work has progressed on Jackie’s tiny house in September. The two big developments are that a metal roof and two windows have been installed.
Jim Spane came through big time with the metal roof. Jim’s company built Sunnyshore Studio, and it has a metal roof. When the time came for putting a roof on Jackie’s tiny house I reached out to Jim. Jim sent one of his foremen, Scott, to measure the roof, ordered the material; and Scott installed the roof.
It is a metal roof, which is very durable, and the same color as our Studio roof. It looks awesome.
The next big project was installing windows. Jenny oversaw this with the help of Dad.
She and Jackie went to Home Depot and bought a big window, with Jackie’s money, for the north wall. Dad helped Jenny cut the hole out of the wall for the window to go into.
The big window looks out at the bulkhead I’m building and beautiful hydrangea plants Mom gave us.
Dad framed in and installed the window and it looks great.
Then Dad and Jenny worked on making a hole in the south wall for the smaller window that came with the building kit. It looks great too!
Jenny has overseen this whole project and is a wonderful builder. Three cheers for Jenny.
Join us for the Grand Opening of Jackie’s Tiny House on Saturday, December 1st, 10am-5pm, during the “Christmas in Miniature” show at Sunnyshore Studio.
Home: Places of the Heart
What places have been home to you? Why do our hearts get attached to a place? How can art capture the essence of “being home?”
These and other important questions will be explored in Jed Dorsey’s upcoming art show Home: Places of the Heart at Sunnyshore Studio on Saturday, October 20th and 27th. Jed’s painting touch hearts because they evoke that longing for “home” that Jed says was all have. Sunnyshore Studio sat down with Jed to explore the connection of home and his artwork.
Sunnyshore Studio: What places have been home to you? Tell us about them your homes?
Jed Dorsey: When I think of home, there are several places that come to mind. They are Camano Island, Vancouver, BC, Indianapolis, and Edmonton.
Within each of those places, there are more specific locations that stand out. My parents’ house, for instance, is where I grew up, and it has always been our home away from home wherever I have lived with Renae through the years. But Camano Island has other places that I regard as home. The beach across from Mom and Dad’s house is one of them. I spent so many summers there. The flatlands as you cross onto Camano Island is another. There’s no place like it for me. When I get there and see that, I feel like I am finally home.
Soft Day, Camano Crossing - 36x24
And the other cities have similar special places, whether it is a house or a neighborhood or a park. Significant places where I have spent time with people I love – that’s the common theme.
Rainy Night
Why do you think “home” evokes such powerful emotions in our hearts?
I believe we all long for a home. Whether that is a real home of our past where we remember good times or people we’ve loved, or whether it’s something we’ve never really had, I think we all have a deep longing for a place of belonging and safety and love.
And places matter to us because we have memories connected to places. We grow fond of a place often not just because of what it actually looks like but because of the memory connected to it. And most of our memories involve other people. There’s an old poem that says, “,,,it takes a heap o’living in a house to make it home.” That’s because it’s not the exact physical place that makes the home, it is something more than that: the relationships and memories of life together with people we love and who have loved us. And no matter whether we’ve had a lot of that in the past or not that much, we all long for it.
How can a painting capture the essence of home in a way that maybe a photograph or memory can’t?
Perhaps because a painting can bring our imaginations to life more than a photograph. If I took a photo of a particular house, you would know it wasn’t the house of your childhood because of the exactness of a photo. But if I painted the same house, you might see something that makes you think of the house of your childhood and because it is more suggestive in its nature, your heart might override your mind into believing it is your childhood home even if it knows I didn’t paint your exact house.
Which of your paintings best evoke that sense of home? Describe why they do this for you.
That really just depends on who is looking at the painting. For me, they all evoke a sense of home for different reasons. Some of the paintings will speak to different people more strongly than others. But that is for the viewers to decide for themselves.
Small Town Charm - 20x16
What are the hopes you have for your “home” art show coming up in October at Sunnyshore Studio?
I am looking forward to sharing good times with people I love in a place I love.
First Day Of Summer - 11x14
Home: Places of the Heart
• Saturdays, October 20th and 27th
• 10:00am – 5:00pm
• Sunnsyhore Studio
• 2803 SE Camano Drive, Camano Island, WA
Viewing and Purchase Options
• If you can’t make these two Saturdays we are “open by appointment.” Call Jason Dorsey, 317.209.6768.
• Jed’s “Home: Places of the Heart” art show will go live on Saturday, October 20th at 12:00 (Noon). Jed’s friends, fans and collectors can purchase his artwork through Sunnyshore Studio’s web site: www.sunnyshorestudio.com.
Show Sponsor
Sunnyshore Studio thanks Russ Bumgarner and his company Rubumco for sponsoring the show. If you are in need of getting your home or business painted, Russ’s premier painting company that’s been operating since 1999 in the Stanwood-Camano region is the place to go!
Russel Baumgarner
Rubumco logo
Meet the Project Coordinator for Discover Beautiful Camano: Jacqueline Dorsey
Sunnyshore Studio is thrilled to announce that Jacqueline Dorsey will be serving as the Coordinator of the Discover Beautiful Camano Project. Jacqueline is highly organized and she is going to do an amazing job!
Sunnyshore Studio: What’s it been like to grow up in a family of artists?
Jacqueline: I’ve been submerged in the world of art since I can remember. And it’s been eye-opening seeing how much time, technique and networking goes into art and art shows. It’s been really fun to help at art shows hosting people, during the register, and other meeting people from all walks of life.
And I’ve been fortunate to paint and sell, and be commissioned to paint, art of my own.
Sunnyshore Studio: What kind of art do you do?
Jacqueline: Watercolor landscapes for the most part. I like to draw and dabble in different art forms. I’ll be taking Watercolor 101 at Bellevue Community College this fall as part of the Running Start program.
Sunnyshore Studio: You’re helping your Dad as the Coordinator of the Discover Beautiful Camano Project. Tell us more about that project and what makes you good as a Coordinator?
Discover Beautiful Camano 2018
It is all about discovering the beauty of Camano Island through art and telling people’s stories and histories. The culmination of this two-year project will be in July 2020 showcasing the art of Camano artists in an art show at Sunnyshore Studio. The stories of people and their places will be told in the Discover Beautiful Camano coffee table book as well as a documentary video.
I’m a detail-oriented person and an avid organizer and planner. I wanted to challenge myself by taking on an ambitious, two-year project.
Sunnyshore Studio: What are you most excited about in coordinating the Discover Beautiful Camano Project?
Jacqueline: I really enjoy getting the little details of a list checked off that move us forward in the project. Seeing everything slowly come together, piece by piece, and how every little thing that we do makes the project better. I’m looking forward to learning more about my family’s roots on Camano and the history of the people there.
The “We are Family” Sound Track Team
The music in a movie matters.
On August 1st I sent out a facebook post sharing that I needed musicians/composers to provide songs for the sound track for the documentary movie We are Family that tells the story of how a basketball team from an urban school in the heart of Hoosier basketball country came together around a common dream of winning the state basketball tournament, how they fought through personal and team challenges, how they forged a bond as family, and how they rallied a whole community around them. It is an inspiring story, and the movie needed a killer sound track.
It will have one.
Meet the team of talented musicians/composer who will bring the movie to life.
Osoking Mezzy
The first contract for the documentary “We are Family” rolled in August 27th. It was Osoking Mezzy, cousin of my good friend Donteau Gladney Sr.
Four years ago, when I was working on pulling this documentary together for the first time, I asked Donteau if he had any connections with musicians who would be interested in contributing to the sound track. He shared the project with Mezzy who sent in three tracks. We liked his work, but the project stalled out.
So after I put out the word for musicians in August I contacted Donteau to see if I could track Mezzy down. I shared with him that the project was back in the works, and that I really appreciated his early support. I asked him to send in a few more of his newer songs, which both I and David Lichty love.
Here’s his blurb:
Osoking Mezzy is an aspiring artist and producer in Indianapolis, IN. Mezzy brings a burst of energy and a new sound to the hip hop scene. This artist has used music as a way to express himself in way others can relate. Armed with dedication and consistency this artist is most definitely one to be on the look out for.
Eron Harris 1
Eron Harris
Another early contributor was Eron Harris. In fact, he was the first to contribute music over four years ago.
Here’s that story.
After Tech won the Indiana State basketball championship and Julian Dorsey, David Lichty and I were well on our way in organizing he footage, I shared with some people at Tech our dream of making a documentary of that magical season.
Eron’s mom, Marveda, who was a police officer at Tech heard about the project and shared it with her son, who was playing basketball at West Virginia (he transferred to Michigan State).Eron submitted a song for the documentary, which David and I love and which has become something of a theme song for the movie.
I’m super grateful for his early support. Here’s his short bio:
My name is Eron Harris. I was born and raised in Indianapolis. My mother and father and both of their parents all went to Arsenal Tech High School so I have a big connection to that school. My mother has always been a singer so I’ve always been around music and I also played the trumpet and percussion growing up. Now I really love to record vocal music and make my own beats. But right now I am pursuing my professional basketball career. I am heading to Finland for my first year of professional basketball. I plan to get into the NBA.
Nabil Ince
I heard about Nabil in May when I was in Indy doing interviews for the movie. I was at Mike and Julie Berend’s home hanging out one night and asked them if they knew any local musicians who might fit. They had a house guest staying at their home named Big Mike, I think that was his name. Anyway, Big Mike shared with me about this intern at the Harrison Center for the Arts named Nabil Ince.
It turns out that I knew Nabil’s dad, Irwin, who the moderator of the presbyterian denomination I serve in and respected as a terrific leader. My wife Jenny worked closely with Irwin at the Church Planter’s Assessment. So that was a cool connection. When David and I heard the wide range of Nabil’s music, we were really excited to have him on the team.
Anyway, here’s his bio:
Nabil Ince, stage name Seaux Chill, is an artist originally from Columbia, MD who has been in the Chattanooga area for the past few years. Piano is his first love, playing since he was 6 years old. However, Seaux Chill also loves writing, composing, and producing music largely influenced by pillars of black music. In 2018, he graduated from Covenant College with a bachelors of arts in jazz piano. He currently functions as the Program Director for a children’s music ed non-profit called East Lake Expression Engine and continues to build towards his own music career. His music can be found on all streaming platforms and more about Seaux Chill’s work can be found at www.seauxchill.com
Caleb Buse
Caleb Buse
I was connected to Caleb through Derek Fekkes. I knew Derek’s parents from years ago when I did an internship at Camano Chapel. Derek is now all grown up and is planting a church in Stanwood. We’ve had coffee together and hob nobbed about ministry and church planting. When I put out the Facebook post, he reached out to his friend Caleb Buse, who is a really talented, up-and-coming composer.
Here’s a bio on Caleb.
Caleb Buse grew up with a passion for music and pursued it in high school as a drummer in rock bands. After choosing to major in music in college, he expanded his skillset by learning to lead bands, as well as sing in the University’s Concert Choir. He played in rock venues all around Seattle, and did small tours of the west coast. After a show one night in the Seattle rock venue Chop Suey, Caleb met a film maker who eventually collaborated with Caleb on his first film score, which won an award at a film festival in Wroclaw, Poland.
Since then Caleb has won the following awards for his film music: Wroclaw Film Festival, Poland (Award winner for Chevy), Best Original Score (100 Hour Film Race), Canne Lions Film Festival in Canne, France (Award Winner for Chevy), an Addy for Microsoft Surface, and a Vimeo Staff Pick. He has gone on to compose music for narrative, animation, and documentary short films as well as commercials for Microsoft, Gatorade, Amazon, Pepsi, Chevy, American Express, Purina, Puma, Carenet, The Greater Foundation and many more. In 2018, he is continuing to work in short films and commercials and is beginning work on feature film scores later this year.
Malcolm Jordon
Malcolm Jordon
I am very excited to have Malcolm Jordon working with us on the “We are Family” sound track. David and I love his high energy, driven music. Best of all, he’s an IPS kid and friend of my son Julian Dorsey. Julian attended Crispus Attucks in middle school and played basketball with Malcolm there. I remember watching Malcolm play. Their 8th grade team was really good. They had a young man named Jalen Coleman on their team who went on to play Division 1 basketball. They came in second place to Harshman Middle School that year.
I knew Malcolm was a good basketball player, but I didn’t know that he was such a talented musician.
I’ll let Malcolm introduce himself:
My name is Malcolm Jordan, I’m 22 years old and I’ve been recording music since I was 17. I started writing raps at 8 years old and progressed with my skills later on with time. I grew up in Indianapolis, Indiana. I’m proud to be from here and wouldn’t be from anywhere else. I live my life off of determination and working smart. I’ve been working since I’ve left college to do music and every time I look up I’m in a new spot with new opportunities. I’m thankful to be apart of this project and hope to help you guys get something out of it.
Daniel Dorsett
Daniel Dorsett
Daniel is another IPS kid. He is an alumni of Arsenal Tech High School which makes his participating in creating the sound track extra great. He’s a great example of the many really terrific kids who go to IPS Schools and go on to do great things. I remember being impressed with Daniel when I first met him, and I still am.
Daniel is going to be working on creating a full band edition of the Tech fight song.
Here’s his bio:
Daniel first encountered his passion for teaching music as a student at Tech when helping teach at Harshman Middle School. While studying music education at the University of Indianapolis, he was awarded the Outstanding Future Music Educator Award from the Indiana Music Education Association. Now in his fourth year of teaching, Daniel is the middle school band director for the MSD of Martinsville, 30 minutes south of Indianapolis.
Boyhood Bravery 3
Boyhood Bravery
Not only do we have individual musicians, but an entire band, Boyhood Bravery, contributing to the sound track.
One of the bands members, Luke Livingston, attended Redeemer, the church I pastored in Indy. Another, Tyler Kniess, is like a spiritual son to me. I have lots of stories about Tyler. One of my favorites is when Tyler joined our family on one of our epic month-long road trips out west.
Like Daniel, Tyler is an Arsenal Tech alumni, so he gets how much it meant to Tech to win the Indiana HS basketball championship and what it means to say “we are family.”
Here’s an intro to the band:
Active in the Indianapolis and Bloomington independent music scenes, Boyhood Bravery is a folk-rock band known for their powerful performances, creative songwriting, and poetic approach to lyrics.
Steve Wick
I’ve mentioned how encouraging to me to see the way the team for the “We are Family” sound track has come together. Some of the musicians/composers have been people I know, like Tyler, Daniel and Malcolm.
Other’s have been referred to me by my son Julian and other friends: like Eron, Mezzy and Caleb. Steve Wick falls into that later category. When I put out that call for musicians/composers on facebook my friend and colleague on the board of Mission Eurasia, Wayne Shepherd, contacted me and told me about Steve.
We’re thrilled to have Steve with his gifts of mixing and mastering music, as well as composing, working with us on the sound track for the “We are Family” documentary.
Here’s his bio:
Steve Wick is an audio producer/guitarist/musician who has lived his entire life in the Chicago, IL area. A graduate of Moody Bible Institute, he worked for Moody Radio throughout the 90’s as a live local and national engineer/program producer, then transitioned to a private recording studio as music composer in 2000. In 2002, he ventured out on his own starting Resonance Audio Media, Inc., and since then has produced numerous audio dramas, music releases, podcasts, radio programs/features, audio books and soundtrack foley/SFX. Steve also has recorded and released 5 albums of original guitar-based music and arrangements. In his spare time, he enjoys loitering in record stores, collecting vinyl, iPhone photography and creatively collaborating with others. Steve has been married to Kelli for 23 years and together they have 3 kids, Chloe-18, Mallory-16 and Carter-14.
Music matters in movies!
We have a great team of musicians who will bring the story to life. Their music covers the movie’s wide-range of emotions and actions, and brings a wise range of styles, tones, and emotions.
I will be launching a Kickstarter “social funding” campaign November 1st to raise money to pay these artists for their contribution. Please consider helping bring this story to life by contributing to the Kickstarter campaign. Their work will be worth every penny they are paid!
1st Annual Plein Air Event a Success
The first annual Plein Air, that is “painting out of doors”, Art Competition took place August 17th and 18th. It was led by Jed Dorsey under the auspices of the Stanwood-Camano Art Advocacy Commission and in partnership with Art by the Bay: so, in short, a great collaboration.
Some Background to the Plein Air event
The Camano Arts Association (CAA) launched the Stanwood-Camano Arts Commission to bring together the many art and cultural organizations in the Stanwood-Camano region who share a vision to make Stanwood-Camano one of the top centers and destinations for the Fine Arts in the Northwest.
These organizations believe that Stanwood-Camano is at a “tipping point” where art might become a key identity and economic engine of our region. We believe that a strong, strategic and intentional promotion of the arts with organizational and institution muscle behind it can make the Stanwood-Camano area a recognized destination for art and play an vital role in the flourishing of our region.
As leaders from these organizations discussed the many art events already taking place in our region, we felt that the creation of an annual Plein Air art competition would supplement what is already happening and have potential to become a popular event, much like the Studio tour is.
As we were having these discussions, we learned that Jed Dorsey was moving to the area. Jed has long had a heart for starting a Plein Air event. He’s participated in many in the past and sees their value for a community. We began to talk with Jed about taking the lead. He agreed.
Jed had conversations with the Stanwood-Camano Art Guild about the possibility of doing the Plein Air Competition in conjunction with their popular “Art By the Bay” show in August. They agreed that it would work well with their event. Val Paul Taylor assisted Jed in creating the event’s promotional look.
Art By Bay Plein Air Sign
That is the background to the event.
The Event Itself
Nine people signed up for the Plein Air Competition. As I drove onto Camano on Friday morning I saw my dad painting the Danielson farm from the side of the road.
I stopped to photograph him. I caught him being a little grouchy about all the cars driving by :). I have to admit it was non-stop cars!
Then I drove to the Camano Marketplace to get my watercolor paper stamped by Jed. The purpose of the stamp is to ensure that artists don’t cheat by painting in advance of the competition.
I set up my easel at the Camano Lutheran Church just south of where dad was.
Painting Lutheran Church
I had never painted, let alone entered, that church though I knew that one of my classmate’s dad, Pam Stordahl, had pastored there for many years.
It is a really picturesque church and I enjoyed painting it. I was happy with the progress of the painting as I went along.
As I painted, the church’s secretary (I forget her name) came out to chat and take pictures of me for the church’s newsletter. I told her that I was a local boy, that I was working on a 2 year project called “Discover Beautiful Camano” and would like to tell the story of Camano Lutheran in that book, and that I had never been inside the church.
She graciously took me on a tour.
Right inside the front door to the historic church there is a wonderful display of old photographs and I was delighted to see many of my Stanwood High School Classmates: Cheryl and Teri Cooper, Michael Hansen, Shannon Tonheim, Cindy Olsen, Heidi Berg, Jim Lindell, Sabena and Victor Mueller, Joy Holstom, Deana Major, Pam Stordahl, Michelle Lien and Kim Lien among others.
The sanctuary was historic and beautiful.
I finished up around lunch time. Then I grabbed lunch and went to the Kristopherson farm. They were gracious to let me paint their beautiful barn. I was able to hammer out a decent painting.
There were, of course, other artists painting around Camano and Stanwood.
One artist
Some of us met up for dinner at a new restaurant at the Marketplace.
I wasn’t able to participate in the event on Saturday. Lots of fine paintings were done and community among the artists built.
My favorite painting of the lot was dad’s painting of Danielson farm.
Dad didn’t end up winning, but my painting of the Lutheran Church came in second place and I won $100 for my efforts…and my friend and colleague on the Stanwood-Camano Arts Advocacy Board, Robin Hanks, who is the Co-Director of the Stanwood Historical Society purchased it. So a good day for me for sure.
Best of all was spending a day with my dad and my brother painting.
Dad Jed and I
Jackie’s Tiny House Update: a smashed thumb a thunder storm and still great progress
We’ve made great progress on Jackie’s tiny house. Over the last couple of weeks the walls have gone up and roof put on. This is mainly due to the building skills of Jenny Dorsey, the strong help of big brother Jacob.
Jackie – when she can get away from Ben Franklin for a day – is a great helper too. She brings her special sizzle to the team.
IMG_1419[1]
I (Jason) help out as I can but they are doing the bulk of the work.
There are a couple of fun stories in this building project. Like when I smashed my thumb hammering.
I was at my desk at the studio working on my Psalm sermon series. I was preparing my sermon on Psalm 22, which Christ’s quotes on the cross, and thinking about how in his time of extreme pain and suffering He was quoting Scripture, showing how the Scriptures were so deeply embedded in His heart and integrated in His life.
IMG_1370[1]
When it came time to put the plywood on the roof, Jenny and Jacob needed my help. We hoisted the plywood onto the rafters, and nailed it down. I was showing them my prowess at hammering when all of a sudden my hammer missed the nail and came down SMACK with all my considerable might on my left thumbnail, causing a great deal of pain. I climbed down the ladder, cuss words and grunts and groans flowing from my mouth. Later as I considered the contrast between Christ quoting Scripture and me cussing in our moments of pain, it was a great moment of clarity in His perfect righteousness and my need of a Savior, and a very useful sermon illustration.
The other fun story is that when we had about 1/5 of the plywood up we could hear thunder in the distance and so got a few tarps ready. Then the rainstorm hit, and it was like and Indiana rainstorm with sheets of water falling. And we’re trying to throw the tarps over the roof. And Jacob can’t see because his glasses and his eyes are covered with water. And I keep shouting orders though no one can hear my words. And Jenny is running around trying to get tools and boards under cover. And we’re all laughing because the whole thing is absolutely comical. Thankfully we were able to cover the roof pretty well and protect the inside of the tiny house from damage.
The next week we returned and finished the roof and put up tar paper. Here’s Jackie herself hammering in nails.
Putting up the doors was fun. Jed and Renae and Willow came over, and we were thankful for Jed’s help. He’s really good as a craftsman.
We’re on track to have the tiny house finished for our December “Christmas in Miniature” show. Jackie is planning to have the “ribbon cutting” and “grand opening” of her tiny house then, and even to display some of her own miniature paintings in it!
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Home: Exploring the places of the heart, new artwork by Jed Dorsey
Sunnyshore Studio is thrilled to announce the date is set for Jed Dorsey’s October show. Home: Exploring the places of the heart will open on Saturday, October 20th.
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The show will feature new artworks by Jed. In his paintings Jed will explore how places become symbolic of home and how the sense of “being home” is deeply rooted in place.
For Islanders, Jed’s painting of the “gateway” to Camano, used for the promotion for the show, evokes that sense of home. How many of us felt that we had “come home” as we drive on 522 over the Stillaguamish River and look north across the marshy waters lit by the sunset to the Skagit Bay and blue and purple hills beyond.
When The Sun Paints The Sky
Partly because Jed’s painting’s wonderfully evoke this sense of home, they are purchased by collectors all over the United States. His last show at Sunnyshore Studio all but sold out. To meet the growing nationwide demand for his art, Sunnyshore Studio will make Jed’s Home: Exploring the places of the heart show available online. So if you are not able to attend the show at our Gallery on Camano you will be able to purchase your Jed Dorsey original through Sunnyshore Studio’s web site.
We are very thankful that Jed’s good friend and teammate from his Stanwood High School Days, Russell Bumgarner, and his company, Rubumco Painting Inc. is sponsoring the show. Rubumco does great work built on years of experience, and based on character and integrity all over the Stanwood-Camano area. Check them out here: http://rubumco.com
Russel Baumgarner
Russell has been a great friend and support to Jed, and to the entire Dorsey family. His friendship, patronage and sponsorship will help us with the promotion of the show and in hosting a big party worthy of the occasion.
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BCU Awards – July 2019
eb36c150-a88b-49a7-82c8-ee31c2b87ea8The BCU BSoAD awards night is always the culmination of much anticipation. For weeks prior there is no-one in the whole community who could fail to notice the build up to the exams, crits and hand-in’s.
Colleagues away on study-leave, furtive printing, and eventually the dusty clothes of those building the exhibition.
This year was no different, save for the heavy rain which did nothing to dampen the atmosphere, save keeping the top floors mercifully cool.
21f063dd-bcdf-430c-98bb-a9a461f7dd5d
As ever the work was of the highest standard, the presentation skills of the BA standing out, both those using software and those who’s designs relied on hand drawing to portray their message. Of note was the unit where castings and sculpture informed their submissions.
The interior designer’s work remained innovative, re-iterating the relevancy of how we connect with our designed spaces in otherwise alienating conditions re-ascribing meaning to those places most important to our ongoing wellbeing.
From the Masters course exemplary work was harder to find, the level of quality being so high from every student. Focuses on meaningful crafts, retro-fit and re-use, engaging with social change through ritual and designs toward an architecture fit for the climate emergency showed all present that this year’s cohort had their eyes firmly fixed on the challenges of the near future.
ebb4ba5c-740f-41c4-b6ea-6044db06f39a
The prizes were well deserved and the BAA remains proud to have been able to support three this year with the aim of improving on the scale of the awards in 2020.
More Stories
Craig Watts
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Tuesday - Saturday: 10:00 - 17:00
Sundays & Bank Holidays: 12:00 - 17:00
CLOSED Tuesday 20 February
A man playing a flute, drawing by Jean-Antoine Watteau, c.1706-1716
Musical references occur in over one third of Watteau’s paintings and drawings. Often, these appear as observations of particular musical instruments and their players, reflecting Watteau’s deep understanding of the music of his time. The transverse flute depicted here was an instrument that was developed extensively at the beginning of the eighteenth century, and which was especially popular in France.
Watteau characteristically made use of this figure in more than one of his paintings. With the addition of a hat it appears in his Concert champêtre, dated variously from 1707 to about 1716 (Angers, Musée des Beaux-Arts), and, bare headed, in another treatment of the same subject known from an etching by Benoit Audran.
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Kindly Surrender: Thoughts on Collaboration
By July 9, 2012Blog
I love collaboration. Collaboration is a window flung open to the skies. It’s a bulwark against stasis, a kind surrender to the unexpected. No matter how much I may enjoy working alone (toiling away in my dingy garret), collaboration reminds me to keep the windows open and let the light and air through. No one thrives in solitary confinement. My creative introverted brain is always replenished by outside visitors.
As a picture book writer, I have come to await that moment when I must relinquish my story. I have come to await it not as someone anticipating the end of something but as someone rushing towards the beginning.
Here is something I have discovered. A good collaborator will decorate your ideas and prettify your pages. A great collaborator will take your unfinished notions and put them through a process of enhancement and enchantment so astonishing that, by the end, they’ll have whisked you off to an even-better invented world.
I count my lucky stars that I have been blessed with great collaborators. Both Isabelle Arsenault and Matte Stephens make art that balances sophistication with playfulness, and cleverness with heart. Matte’s particular approach is to take familiar objects and people, and re-arrange them in surreal and delightful ways that are not obvious at all. Isabelle, widely celebrated for her beautiful depth of detail, has a terrific knack for using white space, a lot of white space, active white space. She has taught me that the best illustrations give room for, rather than confine, the imagination of the reader.
Isabelle and I have done two books together. In both instances, I have watched her move from initial sketches and mood boards to finished art. I have seen her go and live inside a story, exploring the emotional intricacies of a scene with a focus that might make some wonder if she was applying the Stanislavsky Method to illustration. Her intuition astounds me. She often seems more attentive to the inner workings of my stories than I am.
Here’s an example. There is a revelatory moment at the end of Virginia Wolf where Virginia is transformed from a wolf back into a girl. Isabelle used a clever visual trick involving silhouetted wolf ears and a large bow. Let me just say that I did not write or foresee this transition at all. Isabelle found it inside the story and, happily for everyone, it has become the crowning touch of the whole book.
This is the kind of out-of-the-blue magic that happens when you collaborate: you hand your collaborator a cube and they give you a dodecahedron in return. When you loosen your hold on a work, a communal form of talent takes over. There is room for anything to happen.
Reprinted from Uppercase Magazine, issue 14. Order it now to get a heartful serving of work and words by über-illustrators Matte Stephens, Isabelle Arsenault, Agata Dudek, Jon Klassen, Oliver Jeffers and more!
(Photos: Crockett Johnson and Ruth Krauss; Jeanne-Claude and Christo in the early days.)
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Trophy icon Disney Youtube Channel Logo 6 gün left
...only want J. Cricket Crew or Cricket Crew in the logo --Bubbly/Bright/Full of Life We are looking for an original artwork/logo for our Youtube channel that discusses Disney animated movies. The name of the youtube channel will be The Jiminy Cricket Crew. Jiminy Cricket is a character who personifies the role of the 'conscience' in the film Pinocchio.
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Animated GIF / Cover Art 6 gün left
I'm looking for someone who can draw an animated gif for a song I'm going to release. I want to be able to use it on social media. I want it to be a cartoon of me sitting on top of a washing machine in a laundry mat with a sexy girl next to me put money in the washer. I want the washer I'm sitting on to have the money mobing in the machine like its
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Need a short animated logo (approximately 10-15 seconds) for a video series. I would like to include a stick man backpacking and sailing. Based on the logo below
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...Display all Active, New, Completed and Expired challenges. These challenges will be displayed with the ability to Start / Stop challenges. These challenges will be displayed as Cards in the screen that are displayed in a scrollbar screen. Create a Settings screen. Allows the user to update their account information. Update measurements for the user.
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Trophy icon Business Card re-design 6 gün left
Hello I'm a CPA specializing in healthcare. Attached is my current business card. My website is [login to view URL] I'm looking at redesigning my business cards. Thanks
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Trophy icon I need a logo 4 gün left
I am a church leader at Light of the Vine church. I need a logo for our church use we will use this logo on signs, tshirts, and businesscards. Info on logo: looki...cross in an outlined image slightly shaded If you can incorporate colors our church colors are Burgandy, white, with a hint of black. The logo is to look professional no animated look
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...have control over the draws including the amount of numbers /balls that are in play. 2: Site admin will need control over when the draw is run (this can be a manual task) 3: Animated machine as shown in example link below. 4: Allow site admin to set if there will be a 1st / 2nd /3rd winner /winners. 6: Have a 1 minuet count down that is set by admin.
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Hello, i need an animated video of 30 secs for marketing purpose of our startup. And we are limited with very low budget of 50,000. So kindly get back with the possibilities. thank you.
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...this job is all about): ANIMATED TEXT and cool transitions. Check out some of our favorites in folder #1. All videos in EXAMPLES folder were done with Filmora. (Examples of MODERN STYLES we like are: Bruno Mars "GRENADE" (all is cool); The Cranberries "When You're Gone" (all is cool); and #452 Wrecking Ball (for the animated text) Currently we have
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I need a business card for personal branding. I am applying to a Masters of Science in Marketing program and would like a business card for networki...would like a business card for networking purposes. The business card should look professional but still have some creative flair to it, whether it be via texture like embossed cards, or via typography.
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Poem in German 6 gün left
Need someone to compose and write a poem in German, and also provide the Spanish translation. This will be for a lovely lady that will be celebrating her 92nd birthday. Budget USD 30,00 - 40,00
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Male English voiceover neutral accent or slightly American accent needed for animated video. Warm deep voice preferred. Budget 25 USD attached script. If possible send one line from the script. If not send previous work samples as mp3 attachment.
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Please read carefully. Looking for the right Graphic Designer for... Logo Design Business Cards Illustration Flyers & Brochures Packaging Design Web & Mobile Design Social Media Design Banner Design Merchandise Presentation Cafeteria Display Menu Tableware Design and I'm pretty sure will need more than that. New commerce, Chocolate, Candy
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Our company needs help with transferring information from several colleagues' collected business cards (from events, conferences, etc.) into an excel/.csv document. The output would be the .csv document with all of the business cards' contacts' information, ready to be imported to Salesforce.
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... work with Senior Customer Service Associate to determine the best resolution for each case • A/R Aging collections by phone/email for overdue invoices and declined credit cards • Scan and file new account Sales Policies and Resale Certificates using NetSuite and AvaTax • Assist the Senior Customer Service Associate and Director of Operations with miscellaneous
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hello I am student and for to became better my presentation , i need someone to do a fake brochure animated for 10 product . thank you
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i like to create a PITCH DECK animated video. The video has to be below 3-4Min max.I prefer people with an early experience of creating such video to work on the project.
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Required a new visual language (Texture, theme for stationary business cards and all) based on the new brand guidelines The brand is a traveling agency in UAE Arabic designers preferably.
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I need motion designer to create typography animated videos.
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Trophy icon LOGO magazin EBIKE 2 gün left
Am nevoie de LOGO pentru magazin cu punct de vanzare si reparatii de biciclete e...Culori: #00b7b7 #a2a2a2 #004a93 #141414 #d8ffec I need the LOGO for a shop and repair point of electric bicycles. The Logo must be representative. It will be used on business cards, stickers, panels, etc. Name: E Bike Colors: #00b7b7 #a2a2a2 #004a93 #141414 #d8ffec
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Trophy icon Make me a company logo 2 gün left
A logo for a company named Grogg Inc with some type of colorado colors. I would need the vector files for using the logo for business cards and possible silk screening.
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...of each card and any text needed for the reverse of the card. Your design skills will be needed to design a finished product which can then be passed to some printers. The cards will need a highly professional look and I will also be available to guide you. They will be based on superheros and the uploaded file gives you an example of what we are talking
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Dear Freelancer! We need an explainer video to be animated for our company. We have written a scrpit and storboarded the video which will be around 1 minute long. Below is the link to a YouTube video which has the sort of animation style that we are looking for. [login to view URL] Thanks for your interest, and looking
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Hi I am looking to create a short 5 -10 minute Animated Technical Civil Engineering Video on Underground and Tunnel Structural Repairs & Techniques I would like to hear from individual / organization, who would be interested in this Project
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We are looking to create another app with a different 3D avatar for the flashcards, based on our current app called Action Words: 3D Animated Flash Cards [login to view URL] For example, we were thinking a 3D animal with person-like characteristics... like Bugs Bunny or Kung Fu Panda... these
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I need some best animators who can provide me some readymade videos and some videos on my demand!
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Hello! I need design 8 screens for my App like this flow. Need be Animated onboarding screen. This examples are from others competitors CHECK THE VIDEO.
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Hello! I need design 8 screens for my App like this flow. Need be Animated onboarding screen.
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We are a video production company that deals in explainer videos, with countless everyday projects that begin from the scripting phase, we need a pool of quality writers to become a dedicated resource for us for the long term. The writer must have good creative thinking ability and knowledge to grasp and craft ideas based on requirements. The writer should possess a portfolio of previous scriptwr...
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I am looking for someone to help me develop a gateway which will accept payments from my local mobile money providers... In my country not many people use visa cards but mobile payments like M-pesa, Tigo-Pesa & Airtel Money are very convenient.. NB: Do not respond to this if you know you cant deliver...
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I have an audio intro I have recorded to be inserted into all my videos/podcast episodes. I need the script to become animated in the video with some b-roll footage portraying the emotions and things that I am describing in the intro. I am looking for a grungy, tough, intense, masculine style of video/audio/effects. here are a couple examples I'd
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Flood-DRI, LLC is a water mitigation and restoration company based out of Cleveland, OH. We are looking for help to make attractive, eye catching business cards and flyers explaining our services and benefits of choosing our company.
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€62 Ortalama Teklif
107 teklifler
I need a NEW template for my clients. I have used the same design over the last 5/6yrs. My cards still are dynamic, unique, and help me STAND OUT. Though..... needing a revamp of my classic square business card design. The size is 2.5x2.5, proof needs a Business Portrait (headshot, full body shot, 3/4 half body shot, etc) - It has to be elegant, classy
€10 / hr (Avg Bid)
€10 / hr Ortalama Teklif
38 teklifler
Hi All, I need this video (see attached files), because I lost the source code (I also do have obj and blend files (attached to this description attachments)) budget $10-20 <-- so only for the people who have a bit of time, and not mind getting paid a little
€22 (Avg Bid)
€22 Ortalama Teklif
3 teklifler
I need someone to create a fun animated, moving video title/logo overlay for the start of a video that I can easily open and overlay the start of my video in Premiere Pro. Thinking of having it as a path reveal title, or something else that is punchy and fun. Examples of past videos and the boring simple title are: [login to view URL]
€31 (Avg Bid)
€31 Ortalama Teklif
27 teklifler
Video animation 6 gün left
Small Business looking to design an animated logo intro for a youtube video series. I would also like a template made for the "please subscribe" screen that will help link to other videos at then end of each video.
€104 (Avg Bid)
€104 Ortalama Teklif
56 teklifler
I need a logo designer 6 gün left
We are starting a recruiting firm, and need a professional logo for our website and business cards
€56 (Avg Bid)
€56 Ortalama Teklif
109 teklifler
I'm looking for someone to cr...occassion so just need templates to be set up with instructions on how i can make changes in photoshop. Blackboard designs 6cm x 4cm stickers for quotes - editable Blackboard birthday and milestone - editable Need to be able to edit in photoshop. I just need the templates made so i can make custom changes to them.
€40 (Avg Bid)
€40 Ortalama Teklif
28 teklifler
I'm looking for someone to design me a CREATIVE logo. Its related to "business cards" exchange. I'll give you more details when selected, please present your work. I expect to have the logo within maximum of 3 days time. I prefer to use a specific color theme "Coca-cola - red" and "light grey or buff". I also need to receive the logo in high resolutio...
€62 (Avg Bid)
€62 Ortalama Teklif
67 teklifler
STEM Learning Tool 5 gün left
...third through fifth graders. We have written several stories that we want to students to be able to use online like a digital/video comic book. So we need the stories to be animated with bubbles containing the spoken words for the characters. We want to be able to give the animator the story and have them animate it for an online application for students
€2294 (Avg Bid)
€2294 Ortalama Teklif
41 teklifler
Trophy icon Logo design 5 gün left
Our company name is Kerr's Wholesale Floral LLC. We are a family owned company in KY. Our business has recently been handed down to the next generation ...and we are re-branding. We sale silk florals, arrangements, decor items and gifts to both retail and wholesale customers. This logo will be used for outdoor signage, business cards, stationary, etc.
€89 (Avg Bid)
190 girdi
Market research, Marketing, Sales & Customer Service / Support are treated as separate functions within most ...journey they need to improve. Initially I need a logo for my website [login to view URL] and other digital (social) media sites. I don't need it for stationary or business cards Thank you in anticipation of your interest & design ideas. PJ
€117 (Avg Bid)
131 girdi
...Program proficiencies: After Effects, Photoshop, Illustrator, inDesign, Powerpoint, Celtra. Types of projects: Animated maps (example attached), Print materials (case studies, one sheets, etc), Sales decks, Static and rich media/interactive/animated campaign creative, Vector illustrations, logos, character design...
€20 / hr (Avg Bid)
€20 / hr Ortalama Teklif
19 teklifler
...that tough time is Zafar, her stepdad. He not only motivates her to chase her dreams but also shares her pain. One thing leads to another and she falls for him. On her 18th birthday, when she proposes to him, he bluntly rejects her, calling her an immature teenager. Burning in the fire of revenge, she shoots Zafar dead. She faces a punishment of six
€56 (Avg Bid)
€56 Ortalama Teklif
7 teklifler
I have done invitations, banners and business cards for a couple years. I want to on the sales part of my business and need a designer to help me with designing entire projects or help me with projects.
€4 / hr (Avg Bid)
€4 / hr Ortalama Teklif
32 teklifler
Design stationery 5 gün left
I would be happy to get a design of a letter head, business cards and logo for my new property business. Very simple design. A4 style with final files as PDF and eps. I will supply all the information. This is a very quick and easy project for good designer.
€102 (Avg Bid)
€102 Ortalama Teklif
98 teklifler
We are looking for a card back illustration to be used in our card game called Monkey. The il...source files to show authenticity of your work as we do not want to receive stock photos you have not created yourself). Please see 2 other attached images for additional cards used in the game for reference "other cards1" & "other cards2". Thanks!
€44 (Avg Bid)
11 girdi
I need some best animators who can provide me some readymade videos and some videos on my demand!
€30410 (Avg Bid)
€30410 Ortalama Teklif
9 teklifler
Hi, I am Basanta. I need a less than 60 second animated explanation video for my website. I will explain you the details about content. It will be MALE VOICE OVER with background music. For reference, please check these videos, [login to view URL] [login to view URL]
€90 (Avg Bid)
€90 Ortalama Teklif
25 teklifler
2D Animated Video Needed 5 gün left
Hi All, I am from the marketing team for a health and safety course company. I need to create a short video explaining how individuals can obtain their ECS card via taking a health and safety course we provide at our company, which is the IOSH Working Safely course. I have a script which will need a voice over whilst the video is being played. The video should be around 1 minute and 30 seconds. I...
€283 (Avg Bid)
€283 Ortalama Teklif
48 teklifler
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Walt Disney On 'How To Train An Animator'
With DreamWorks Animation opening Megamind today, and Sony Pictures Animation just naming a new president, and Walt Disney Studios releasing Tangled shortly, and Universal/Illumination sending Despicable Me overseas, and the Academy of Motion Picture Arts & Sciences enforcing a November 1st deadline for 2010 Best Animated feature entries, it’s more relevant than ever to spotlight a letter written by Walt Disney in 1935 about the business of toon storytelling. The Drawn Blog (described as a daily source of inspiration for illustration, animation, cartooning, and comic art) recently drew attention to an 8-page Walt memo to Don Graham, a highly respected art teacher, about setting up art classes for Disney animators that would become the studio’s structured training program. That gave birth to the Golden Age of Animation, what with Snow White And The Seven Dwarfs released in 1937, and Pinocchio and Fantasia in 1940.
The full memo is posted on the website, but I felt it was important to repeat it here as well. Because today’s toonmakers who place relentless hipness over emotional substance would do well to remember Walt’s words, especially about animation laughs: “Comedy, to be appreciated, must have contact with the audience. This we all know, but sometimes forget. By contact, I mean that there must be a familiar, sub-conscious association. Somewhere, or at some time, the audience has felt, or met with, or seen, or dreamt, the situation pictured. A study of the best gags and audience reaction we have had, will prove that the action or situation is something based on an imaginative experience or a direct life connection. This is what I mean by contact with the audience. When the action or the business loses its contact, it becomes silly and meaningless to the audience.”
Right after the holidays, I want to get together with you and work out a very systematic training course for young animators, and also outline a plan of approach for our older animators.
Some of our established animators at the present time are lacking in many things, and I think we should arrange a series of courses to enable these men to learn and acquire the things they lack.
Naturally the first most important thing for any animator to know is how to draw. Therefore it will be necessary that we have a good life drawing class. But you must remember Don, that while there are many men who make a good showing in the drawing class, and who, from your angle, seem good prospects – these very men lack in some other phase of the business that is very essential to their success as animators.
I have found that men respond much more readily to classes dealing with practical problems than to more theoretic treatment. Therefore I think it would be a very good idea to appeal to these men by conducting these classes with the practical approach in mind. In other words, try to show in these classes that the men can make immediate practical application of what they are being taught.
The talks given by Fergy, Fred Moore, Ham Luske, and Fred Spencer, have been enthusiastically received by all those in attendance. Immediately following these talks, I have noticed a great change in animation. Some men have made close to 100% improvement in the handling and timing of their work. This strikes me as pointing a way toward the proper method of teaching in the future.
The following occurs to me as a method of procedure: (more…)
This article was printed from https://deadline.com/2010/11/walt-disney-on-how-to-train-an-animator-81688/
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Franck Muller® 25th Anniversary Exhibition “The Legend Of Time” Opening Reception Asia-pacific Brand Ambassador Zhang Zhilin And Brand Friend Hu Xinger, Etc. Visit Masterpieces Masterpieces
[Hong Kong, September 20, 2017] FRANCKMULLER, a high-end watch brand in Geneva, Switzerland, has been around for 25 years. The pace of development has kept pace with the times and exceeded imagination. To celebrate the brand’s wonderful 25 years, FRANCKMULLER held the ‘FRANCKMULLER 25th Anniversary Exhibition’ in the exhibition lobby of the Harbour City Maritime Tower in Tsim Sha Tsui for five days from September 20 to September 24.
FRANCKMULLER also held a grand reception on the first day of the exhibition to kick off the exhibition. Mr. Zhu Junhao, Executive Director of FRANCKMULLER Asia Pacific, and Mr. Nicholas Rudaz, Chief Operating Officer of FRANCKMULLER Group, delivered speeches, thanking customers, watch connoisseurs and collectors who have been supporting FRANCKMULLER for the past quarter century. FRANCKMULLER Asia-Pacific brand ambassador Zhang Zhilin also personally sent a blessing: ‘I wish FRANCKMULLER repeatedly create peaks and welcome more and more exciting 25 years!’ During the dinner, three men gathered together and did not forget to share their special FRANCKMULLER watches Models, everyone’s pursuit of watches is quite different, each has its own good.
Finally, Dr. Zhu Liyuehua, Chairman of FRANCKMULLER Asia-Pacific, Mr. Zhu Woyu, Executive Director of SINCEREWATCHLIMITED, and Mr. Pan Zhengqi, Managing Director of FRANCKMULLER Asia-Pacific, together with brand friend Hu Xinger, came to the stage with brand ambassador Zhang Zhilin and executive director of FRANCKMULLER Asia-Pacific Zhu Junhao Mr. Mr. Nicholas Rudaz, Chief Operating Officer of FRANCKMULLER Group, presided over the toasting ceremony. The scene was fragrant, with guests including: Guo Yanguang, Tong Ailing, Chen Yun, Huang Yulang, and fiancee CassFong, Zhan Qiqing, Lin Zuo, Wang Daye, Deng Juming, Yuan Miming, Luo Jiecheng, daughter Luo Xinyi, Xiao Dingyi and his wife ､ Zhan Jianlun, his wife Li Kaiqi, Huang Baiming, Gan Guoliang and so on.
The exhibition has different links to interact with the guests, and you can enjoy the master watchmaking craftsmanship up close. A giant gear time tunnel is set up on the site, and the classic FRANCKMULLER watch masterpieces specially delivered from Switzerland are on display. Looking back and looking forward to the future, a new watch series was also displayed at the same time to experience the innovative design concept of FRANCKMULLER. The FRANCKMULLER watchmaker who made a special trip to visit Hong Kong from Switzerland demonstrated on-site superb watch inlay manufacturing and ingenious craftsmanship.
During the exhibition period, there will be an Instagram interactive session. Guests are welcome to upload photos taken at the exhibition venue, hashtag # FM25thHK and follow @franckmuller_asia official account to share moments of joy. You can print it on the spot and leave a moving memory!
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Always use a lens shade…
Or maybe not.
Go ahead, take it off and experiment with flare. You never know, a test shot might turn out to have some “flare with flair.”
Hmm, that wasn’t my intention here. I was just testing 4 flashguns in the kitchen. As you can see, the three on the counter all fired, triggered by the camera’s pop-up flash. However, the slave I Nasty-clamped to the shelf didn’t pop. (Ugh, I set the bugger to the wrong channel.) The flare in the window which looks like the sun was produced by the master flash.
By going shade-less with an extremely wide 12mm lens I opened myself up to a world of glare, gotchas, & ghosts. Try it some time.
Usually when a shot has streaks and balloons it deserves to go right to the trash bin, but this dud begged for mercy.
“OK,” I said, “I’ll put you on my blog and hope nobody notices.”
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Subsets and Splits
Rayleigh Scattering Samples
Retrieves up to 100 rows containing the phrase "Rayleigh scattering" in the text, providing a basic filtering of data related to this topic.
Text Samples Containing "Rayleigh"
Retrieves 10 samples containing the word 'Rayleigh', providing a basic overview of related entries but limited insight.