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b4b46c21-bc3c-4949-84f1-2b6e3ce6ee38 | J.M.W. Turner: Sketchbooks, Drawings and Watercolours
ISBN 978-1-84976-386-8
Joseph Mallord William Turner Stangate Creek, on the River Medway c.1823-4
Joseph Mallord William Turner 1775–1851
Stangate Creek, on the River Medway c.1823–4
Turner Bequest CCVIII A
Watercolour on white wove watercolour paper, 162 x 240 mm
Watermark J Wh[atman] | Turke[y Mill]
Blind-stamped with Turner Bequest monogram bottom left
Accepted by the nation as part of the Turner Bequest 1856
Forming part of the Medway estuary in Kent, Stangate Creek facilitated the ‘convenient intercourse of commerce between neighbouring towns’, the author Barbara Hofland (1770–1844) writes.1 It is this enactment of composed and mutually beneficial commercial ‘intercourse’ which we find represented by Turner in this drawing.
The moored vessels depicted in the distance on the left are hulks: ships utilised for examining imported goods and quarantining potentially disease-bearing cargo and crew coming into Britain via the North Sea and English Channel. To their right, hazy in the middle distance, are decommissioned navy ships anchored near the top of the creek. In the foreground, rendered with precision in more saturated pigments, is a topsail barge, laden with barrels. A Bermuda sloop can be seen advancing behind it. Immediately in front of these vessels is a sailboat being navigated by two oarsmen. The group of logs, perhaps indicating a local woodworking industry, is probably their cargo. Floating on the placid surface of the Creek, their diagonal trajectory directs the eye towards the wide radiant sky and reflected glow of the sun on the water. Though not included in the original watercolour design, Turner replaced the bobbing logs with a buoy before the drawing was engraved.
The scene has a little of the compositional and atmospheric quality of Turner’s 1818 oil painting Dort, or Dortrecht, the Dort Packet-Boat from Rotterdam Becalmed (Yale Center for British Art, New Haven, Connecticut).2 In both works Turner recalls the handling of light and aerial perspective of the seventeenth-century Dutch landscapist Aelbert Cuyp.
According to Shanes, the watercolour drawing ‘is a dawn scene’, because ‘the hulks were stationed by Chetney Hill at the south-east of Stangate Creek, which runs along a north-south axis’, the view therefore being taken ‘in the direction of the rising sun’.3 The intervals between the moored vessels and those in languorous transit create a sense, the art historian Barry Venning writes, ‘that they maintain a permanent...vigil’, bathed in an elegiac light.4 Through Turner’s flattering lens this scene of workaday life becomes idyllic and eternal, possessing a ‘tranquil majesty’ as Hofland writes.5
The Medway is featured in a further Rivers of England subject: Rochester, on the River Medway (Tate D18156, Turner Bequest CCVIII W).
This drawing was engraved by Thomas Lupton and published in 1827 (Tate impressions T04817–T04818).
Mrs [Barbara] Hofland, River Scenery, by Turner and Girtin, with Descriptions by Mrs. Hofland. Engraved by Eminent Engravers, from Drawings by J.M.W. Turner, R.A. and the Late Thomas Girtin, London 1827, pp.3–4, pl.1.
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, p.102 – 3, no.137.
Shanes 1990, p.115, no.90 (colour).
Venning 2003, p.172.
Hofland 1827, p.4.
Technical notes:
The back of the sheet has been painted with very dilute watercolour wash in blue and pale taupe. In some areas the brushstrokes have not saturated the sheet with wash, leaving traces of unpainted paper.
Stamped in black with Turner Bequest monogram at centre and with ‘CCVIII A’ at centre towards top; inscribed in pencil ‘A’ at centre and with ‘22’ at centre towards left.
Alice Rylance-Watson
March 2013
How to cite
Alice Rylance-Watson, ‘Stangate Creek, on the River Medway c.1823–4 by Joseph Mallord William Turner’, catalogue entry, March 2013, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, August 2014, https://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-stangate-creek-on-the-river-medway-r1146200, accessed 02 December 2024. | {
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ad62350f-1ffa-4332-a3ad-d4ec2a0b77f6 | Model : DeepaliPhotography: Uma Damle
Ramabai Ranade (1862 – 1924) was the pioneer of the modern womens movement in India.
This is an artistic take on a young Ramabai, dressed in the traditional finery of a Marathi married woman. It draws inspiration from a Zee Marathi television series Unch Maza Zoka, which documents her life and struggle.
This is a non-commercial project and has no affiliation to Unch Maza Zoka or Zee Marathi channel. The photographer doesn't claim historical accuracy in terms of costume and location. The project does not intend to glorify child marriage or belittle the serious subject. | {
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f0ff8b8f-ae55-4aee-a07b-6e1ffe1c5c32 |
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Couple centuries ago the highest mastery of the painter
was to capture the look of people and things:
the visual specificities of light and form,
optical perception hand-traced in pigmented oils.
Then photography came along
and easily surpassed the manual portrayer
at rendering with accuracy and detail,
doing a work of hours in seconds.
Still the photo never vanquished the paint.
The paint was liberated, free to explore its own properties:
Impressionism, Expressionism, Surrealism, Abstraction.
And to this day, a lot of painters still practice drawing from life.
So now robots are putting on smocks and claiming to be artists.
Makem pay royalties forever for the art they ripped off,
but let the robots show what they can do.
We artists will be liberated to do what the robots cannot.
Computers are best at doing what people are bad at.
Their value lies in complementing us, not replicating us.
A robot is missing the living soul, in its mortal form.
The deep part of art, robots don’t get that, not yet anyways.
Today we think Art is mainly about a Concept
realized as an Image or Object, in a certain Style.
But Art runs in the blood, and secretes from the glands.
An artist just sails, in a tempest or a doldrum. | {
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Professional Headshots
Professional headshots. Unique. Painless. Maybe even fun.
True Story!
Would you believe that seven out of ten people tell me they do not photograph well? Because they never like how they look in photographs? So they don't like being in front of the camera? And they fully believe it is impossible to create a professional headshot they will like.
It's true. This is what I hear. From so many of you.
What I want you to know is that it doesn't have to be that way. We will create images you'll be proud to use to represent yourself or your brand. It won't be torture. It'll be easier and quicker than you expect. And it will even be less painful than you've been anticipating. I promise.
Creating professional headshots was easy!
I can make that promise to you because you remember those seven out of ten people up there telling me they look awful in photographs? Those are the same ones who are more than pleased at the end and telling me, "Wow. That was easy." Some have even been heard to tell me it was fun. Which is great because when I go to work, I want to have fun. And I hope the people I'm working with have fun, too. Even when making professional headshots. Work should never be drudgery. Neither should be making a professional headshots.
So for those of you who detest being photographed, I'll talk you through every aspect of what I'm doing. We'll be partners because I'll be looking out for you. We will talk about everything, from what to wear and why, to locations or backgrounds to accomplish what you need for your professional headshot. I'll be explaining what my lights do and having you watch the editing process so you have input into the retouching elements. It will feel like we spend more time talking than you staring at a camera and feeling self-conscious. You know why? Because it's important to me that you feel comfortable and relaxed. And it's important to me to create a headshot you'll be proud to use.
For you Type A folks who speak fewer than a hundred words a day out loud? I'll match you and not clutter our conversations (or your emails) with more words than you can handle. I respect your need for being concise.
Risk free, 100% satisfaction guaranteed
There is no sitting fee for my headshots. And there is no minimum purchase requirement. Because if I can't create an image you're proud to use, then I'm not doing my job. It's purchase only what you want and know you'll use. With that purchase, you'll receive multiple files optimized for printing, web, LinkedIn, and social media. All clearly labeled, so the plug-n-play actions are super easy for you.
We will skip the over used blue backdrop from elementary school yearbook photos carried through high school and into the professional world with fake bookcases added to the background. Let’s move into the twenty first century and create headshots that help you stand out from everyone else. That show you’re easy to work with while still being a professional.
While there are a fair amount of headshots cycling through below for you to see, you can click here to see more of the individual headshot sessions with Pear Tree Photography Atlanta if you're on the fence about updating yours.
Testimonials from Professional Headshot Clients
Our experience with Kelley was so different!
Smiling couple in blue shirts "My husband and I needed professional headshots taken and we found Kelley online. In the past I was never pleased with the outcome and tended to shy away from getting my picture taken. Our experience with Kelley was so different! Our pictures turned out great!"
- Patti W
My professional headshots turned out great!!
"Kelley was wonderful to work with. My professional headshots turned out great!!
It was such a good experience I hired her to take pictures of my family
"I had Kelley take my head shots for my business media and could not be happier with the outcome. In fact it was such a good experience I hired her to take pictures of my family. We could not be happier with the entire experience with Kelley!"
- Becky C
Kelley is wonderful to work with on creating headshots
Smiling brunette woman in black shirt "Kelley is wonderful to work with on creating head shots. She listens to you when you describe the image you would like to capture. Kelley is very patient and professional in serving her clients."
- Teresa C
She is fantastic!
Brunette woman in glasses and blue shirt smiling in front of trees"I worked with Kelley to take new headshots, and I think she is fantastic! I wanted new headshots that actually showed my personality, instead of the typical bleh background, and she gave me exactly what I wanted."
- Jennifer S
Covenant House Georgia
Outstanding Individuals
Start a conversation
Her prices are fair for the high quality work I received!
"Kelley reached out to me within 1 hour of my request. I needed professional photos taken for work, and she fit me in her schedule immediately. The photos are amazing, and her prices are fair for the high quality work I received. I highly recommend using Kelley!" - Mike S.
The finished product was amazing!
"I cannot say enough great things about my experience with Kelley! I reached out through the website looking to have headshots taken and Kelley was so quick to respond. Kelley made every step of the process so easy and the finished product was outstanding. I was amazed at Kelley's ability to provide professional headshots without looking stiff or stoic. She captured who I am in the photos and I'm extremely grateful! You will not regret hiring Kelley!" - Nick R.
Highly recommend her for anyone who is camera shy!
"Kelley was awesome! She took the time to give me the best results and made me feel comfortable during the entire process. I highly recommend her for anyone who is camera shy. I would definitely use her services again." - Christine K. | {
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bởi kkmberry
I have created many logos based on client needs and company use. A logo is a company's identity and I strive to create simple logos that embrace and enhance the purpose of the business. I use sketches and Adobe Illustrator in the logo process.
kkmberry Excelsior, United States
Giới thiệu
I am a creative of the digital age: give me a task & I will enthusiastically jump on in. I enjoy experimenting with new forms of arts, but have a foundation in logo, pattern, flyer, and general graphic design. I am familiar with Abode Suite, SketchUp, CSS, HTML, etc. I work & communicate quickly and would love to help with your project! //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Please view my work at [login to view URL]
$20 USD/Giờ | {
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Over a century of music and still going strong The Liestal Orchestra is over a century old
The Basel region has a lively classical music community and one of its most enthusiastic participants is the Liestal Orchestra.
The Liestal Symphony Orchestra, which is known to its members as OLi, has a proud and long history. As recently accessed historical documents reveal, the survival and eventual expansion of the orchestra has been the result of dedicated work behind the scenes from its various presidents and committees. Much of this information has come from the Staatsarchiv Baselland (Baselland state archives) which now holds the orchestra's historical papers.
The Liestal Orchestra was originally founded in 1873 by 19 friends. Despite getting off to a promising start, in 1885, the orchestra's progress was halted due to internal administrative wrangles – although some of the members carried on playing in smaller groups thereby keeping its core spirit alive. In 1896, the internal problems had been sufficiently resolved for the orchestra to reform, but the available resources had dwindled drastically. At this point the orchestra's stored musical equipment consisted of "a double bass, 4 clarinets, 3 horns and a viola". Apparently, the double bass had "no strings" and the horns and clarinets were described as being "unfit for use and completely useless." Fortunately, over the years, the Liestal Orchestra has been able to build up a wider range of instruments to choose from than its founders!
In 1906 violinist Julie Köchlin, who had been a founding member of the orchestra, took over the orchestra presidency. At around the same time, Karl Lüdin joined as conductor and both participated until 1919. At a time when Europe was going through dramatic political and social changes, they were commended for helping make this "extremely difficult time a happy one." The next 29 years were marked by Walter Sterk (1920 - 1949), whose period in charge is noted for putting the orchestra financially back on track as there had been a worrying drop in membership. The musical programmes of the orchestra diversified during this period, which even extended to playing music in hospitals and in nursing homes. The orchestra's talents were widely recognised, with one music critic remarking that, "a concert under Walter Sterk is a social and artistic event of the first order". In 1949, Peter Zeugin, who was a young pianist with little conducting experience at the time, took over. Adapting rapidly to his new position, the orchestra prospered and won over new audiences. It proved to be a defining period, as the organisational set up of the orchestra has remained largely unchanged ever since. A music critic at the time described the orchestra as having "left the former amateurish spelling far behind".
Based on this solid foundation the symphony orchestra has continued to thrive. Since 2003, Yaira Yonne has been the musical director of the Liestal Orchestra – the first time that a woman has held this position in the orchestra's history. The orchestra has benefitted from her wide-ranging talents – from composing music through to playing steel drums!
Today there are around 50 active members in the orchestra, extending across the cantons of Basel, Basel-Land, Solothurn, Aargau and Bern. Throughout its history, the orchestra has welcomed new members. Its friendly philosophy is illustrated by the fact that the age range of the members extends from 15 years old to 70 years old. All members are encouraged to contribute their skills to the group and help the orchestra expand. As well as contributing their musical expertise, the team members also help out in other areas such as developing and maintaining the website, creating brochures and promotional material and a range of administrative projects to support the orchestra's busy concert schedule.
Each year, the programmes are carefully selected by the conductor and the music committee, which balance the programmes between the classical and modern styles. As well as playing famous, popular pieces, the orchestra also like to try out less well known compositions. Some of these are barely known beyond specialist audiences. In addition the orchestra sometimes commissions musical works which they then premier. Each year, the orchestra concentrates on developing two musical programmes. Besides weekly rehearsals, the members get together during the busy weekend in the run-up to major concerts. These are also a fun, social highlight for the members. The last weekend meeting took place in the Walensee region.
At the moment the organising committee is working intensively on its long term strategy for the orchestra. As part of this work, the orchestra committee is looking for people or organisations interested in supporting their work through sponsorship. The orchestra intends to continue running its special programmes such as the Tango programme featuring a professional Tango-Trio and dancers, as it did in 2011, or projects with the Cantabile Choir Pratteln, which were run in 2012. Although these programmes were well received they were costly and so support from sponsors was much appreciated.
For further information about das Orchester Liestal please visit: www.orchesterliestal.ch
Author: Faiz Kermani
Originally from the UK, I live in Alsace but work in Basel in the pharmaceutical sector. I'm also on the Basel committee of the British-Swiss Chamber of Commerce. Outside the day job I have many interests. I'm part of the PR team for Centrepoint (www.centrepoint.ch) and am President of the Global Health Education Foundation (www.globalhef.org), a US-based not-for-profit healthcare charity which aims to improve healthcare in developing countries. For fun I also write children's books and have won a few awards (www.faizkermani.com)
Featured Partners Thanks to all supporting partners of Hello Switzerland | {
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3ada0a6d-30ed-4b99-8855-28a7941f51a0 | Arts and Entertainment
M-PHS honors its artists
Trinda Berlin uses rainbows for her theme of focus in her Art Portfolio class with Karen Epperson at Marysville-Pilchuck High School. She was one of several students who exhibited an entire years worth of artwork at the M-PHS Festival of the Arts May 20 - 22. -
Trinda Berlin uses rainbows for her theme of focus in her Art Portfolio class with Karen Epperson at Marysville-Pilchuck High School. She was one of several students who exhibited an entire years worth of artwork at the M-PHS Festival of the Arts May 20 - 22.
— image credit:
Art students at Marysville-Pilchuck High School shared a year's worth of talent at M-PHS May 20 - 22, when a three-day exhibit featured the talent of the school's many art students.
Family portraits, self portraits and pet portraits, landscapes and still lifes in many different media, from pencil and charcoal to mosaics and ceramics, the exhibit included works from studio art and portfolio classes taught by Karen Epperson, ceramics by students of Debbie McCoy and crafts by Beth Young's classes.
The studio artists of Epperson's classes explored a range of drawing and painting. They studied portraiture using pencil or charcoal. They learned different styles of painting by studying the work of masters such as Van Gogh, Cezanne, Manet and others. They learned to use watercolor paints, oil pastels and wood block printing to express what they see and value in the world. They learned about values by doing value studies and the Art Portfolio students worked on two major categories, a narrow focus, or theme, and a broad overview, or body of work.
A junior who just finished her first Art Portfolio class, Trinda Berlin said she chose rainbows as her theme, because she loves bright colors.
"I love rainbows," she said. "I wear the colors on belts and socks all the time." She said she got the idea of using rainbows as her theme when she was painting a still life of a bowl of fruit.
"See the shaded area, when I started blending the colors it turned into a rainbow and that's when I decided to focus on that."
The rainbow theme appeared in the form of colored pencils, old hippies with tie-dye shirts, lolly pops, and a self portrait of her own face peaking out from her rainbow colored scarf and hat.
Berlin said she was most impressed by the work of her fellow student, Erica Hylback, who's chosen focus was on homeless people and who also painted many versions of the Buddha.
"Look at these portraits. She took a photo of this guy on the street. I think she gave them some money to take their pictures," Berlin said about Hylback's body of work.
"We all did the fruit bowl and see how different they turned out," Berlin noted.
Chelsea Mueller, a ninth- grader who just finished Studio Art I, said she enjoyed looking at the drawings best.
"I think it's great to see everybody's artwork," Mueller said.
"It's interesting to see all the details," she added.
Another ninth-grader, Odessa Christman also enjoyed the drawings best.
"It's amazing to see all the different talent," she said.
Both of the young artists, who plan to take more art in their future years in high school, were fulfilling another art project by filling out a questionnaire on the art show.
"It's a good way to get them to really look at the stuff," Epperson said.
Prizes were awarded in each media and subject area, judged by teachers who teach other subjects than art, according to Epperson.
"We get other teachers to come and work in small groups of two or three," Epperson explained. "They don't know a lot about art, but they are more objective than me and the other art teachers."
Epperson admitted that it's very difficult to be objective about art. It's one of those facts of life: People like art that portrays the things they care about, the colors they like, the world they relate to.
"They may not be knowledgeable about technique, but they are more objective about each student."
Epperson said midway into the festival that she was a bit tired, but that everything was going well.
"These kids never cease to amaze me," she said. "They wait and wait and wait until the last minute and then they whip out amazing things. Just imagine what they could do if they worked at it over time."
Along with paintings and drawings, the exhibit also included graphic design projects, including finished hand-made books, caricatures and cartoons and a variety of crafts.
The crafts students of teacher Beth Young learned about different cultures through projects like the Spanish pinatas and pineneedle baskets. They did glass mosaic paving stones, and they learned to crochet, making scarves and hats, among other items. The art show was open to students and the public May 20 - | {
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11ce430a-e981-47f9-b306-f3732a5c1b35 | Hex Color #303783
#303783 hex color information, color charts and harmonies.
RGB value of #303783 is 48 55 131
48 55 131
235°, 46, 35
235°, 63, 51
0.634, 0.58, 0, 0.486
24.1%, 0.13, -0.05
DarkSlateBlue (Closest)
Toggle page background color
Monochromatic Colors of #303783
A palette of monochromatic colors offers varying brightness levels of the same hue. This color scheme creates a balanced and professional look. The lack of diversity of hues creates less contrast than other color schemes. Tip: Use only a few shades and tints with a high amount of contrast to utilize the full potential of this color scheme.
Triadic Colors of #303783
This color formula is a basic triadic color scheme. The colors are evenly spaced around the color circle. To use successfully, the colors should be carefully balanced - let one hex color dominate, and use the two others for accent.
Split Complementary Colors of #303783
This color formula is a basic split complementary color scheme. In addition to the base color, it uses the two colors adjacent to its complement. This is often a good choice for beginners because it is difficult to mess up.
Analogous Colors of #303783
An analogous color patter consists of colors that are 30° apart on the color wheel. They usually match well and create serene and comfortable designs. Choose one color to dominate and use a second to support, the third color is then used as an accent.
Complementary Color of #303783
This color formula is a basic complementary color scheme. The high contrast of complementary colors creates a vibrant look, especially when used at full saturation. This color scheme must be managed well to avoid creating jarring effect.
#5f6084 color css codes
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14f937a2-3a05-494f-9532-a22f33b654e8 | لكزس تفتح باب المشاركة في "جائزة لكزس للتصميم" للعام 2021
Lexus Design Award 2021 Call for Entries Now Open
September 2020: Lexus International has recently launched the Lexus Design Award 2021 and is calling on talented creators from around the world to submit their entries to its annual design competition. Now in its ninth edition, the prestigious award offers a unique platform for aspiring designers to develop and showcase their talents on the global stage.
Established in 2013, the program continues to evolve and inspire innovations in design from emerging creators whose works can lead to a better future. Lexus remains committed to supporting tomorrow's talented designers by providing a launchpad for their careers that offers world-class mentoring, vital prototype funding and unparalleled international exposure.
Every year, the event attracts thousands of entries from around the world. The proposals submitted span a diverse collection of disciplines, ranging from industrial design, architecture and engineering to interior and fashion design. Applicants are encouraged to develop innovative concepts and imaginative solutions that highlight the creative interplay between design and technology.
One Grand Prix winner will be selected from among six finalists by an esteemed judging panel of today's most influential figures in art, design and technology. The decision of the judges will be based on three key principles of the Lexus brand - Anticipate, Innovate and Captivate - with an emphasis on design that leads to a better tomorrow.
“We are delighted to launch the 2021 edition of the Lexus Design Award and invite emerging creatives to share their visions with the world. The award represents a unique opportunity for talented young designers to transform their ideas into exciting new possibilities with the help of seasoned industry experts,” said Kei Fujita, Chief Representative, Middle East and Central Asia Representative Office, Toyota Motor Corporation. “Pushing the boundaries and going beyond the conventional are at the heart of Lexus’ approach to design, and these awards underline our commitment to inspiring the great minds of tomorrow to anticipate the future and create amazing experiences. I would like to extend my gratitude to design enthusiasts around the world for their continuous support, which contributes to the award’s success and serves as powerful motivation in our quest to uncover creative solutions to tomorrow’s challenges through brave design.”
In early 2021, Lexus will announce the six finalists who will go on to participate in a workshop with globally-renowned design professionals acting as mentors. Each participant will receive approximately USD 25,000 to transform their designs into physical prototypes and will also benefit from continual follow-up and advice. Mentors confirmed for this year’s program include Nigerien architect Mariam Kamara, Dutch designer Sabine Marcelis and the sought-after American creative and entrepreneur Joe Doucet.
As for the judges, they comprise Senior Curator of Architecture and Design Department at the Museum of Modern Art Paola Antonelli and Head of Toyota and Lexus Global Design Simon Humphries - to be joined by two additional judges whose names have yet to be revealed. The complete list of Lexus Design Award 2021 judges and mentors will be announced in the fall of this year.
The award will conclude with the announcement of the Grand Prix winner following the presentation of prototypes by each of the six finalists on a world stage during Press Day at Milan Design Week 2021.
The judges for Lexus Design Award 2021 include Paola Antonelli, Senior Curator of Architecture & Design at The Museum of Modern Art, and Simon Humphries, Head of Lexus Global Design. They will be joined by two additional judges whose identities have yet to be revealed. The complete list of Lexus Design Award 2021 judges and mentors will be announced in the fall of 2020.
Entries to the Lexus Design Award 2021 competition will be accepted through 11 October, 2020. Additional information is available at
discoverlexus.com/highlights/entries-open-for-lexus-design-award-2021. | {
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2ab0895a-818c-47c5-8f56-0b356da9e4de | Close this search box.
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Exploring a girl’s narrative within constraints of strict patriarchy
The Sanat Initiative is hosting an art exhibition featuring works by Haya Zaidi. Titled ‘Angst: Portrait of an Afterthought’, the show will run at the gallery until October 26.
The catalogue released by the Sanat Initiative for the exhibition quotes Haya as saying that her practice explores themes of quotidian life through a feminist lens and centres around the brown female body.
The artist points out that preceding the 20th century, female representation was often romanticised, reducing women to objects of beauty. She says she revisits historical iconographic elements from Indo-Persian miniature paintings, initially crafted for the male gaze, to investigate their relevance in today’s cultural context.
In doing so, she adds, she strives to reclaim and redefine South Asian feminine representation, addressing the critical themes of race, gender, identity and sexuality.
Haya says that her current collection being displayed at the gallery draws inspiration from Ismat Chughtai, the remarkable feminist writer and film-maker of the 20th century. The artist points out that throughout her literary career, Ismat fearlessly explored themes such as female sexuality, femininity, social norms and the constraints of middle-class gentility, all expressed with an undaunted voice.
She says the works on display are particularly shaped by ‘Lihaaf’, one of Ismat’s most notorious short stories. “They explore the narrative of a young girl navigating a world with limited agency within the constraints of strict patriarchy.”
As a punitive measure, she adds, the girl is sent to her aunt’s home, a woman ensnared in an unhappy marriage, leading a reclusive life marked by ill-fated loneliness in domesticity.
Born in 1993, Haya is a multi-disciplinary visual artist based in Karachi. She graduated from the National College of Arts in Lahore in 2017, securing a distinction in miniature painting.
Her work is an amalgamation of mixed media, collage, miniature painting and digital art. Her work centres around personal experiences while navigating the world through the vessel of the brown female body and explores subjects around race, gender, identity and sexuality within the context of the subcontinental cultural climate.
Since 2017 she has exhibited nationally and internationally, and has earned critical acclaim for her unique visual language, acquiring a distinct position on the basis of her originality, experiments and ideas.
Source: The News | {
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Transform the Industrial Design Workflow with Gravity Sketch
The product design discipline is a constantly evolving art form. We’ve made a workflow video showcasing a step-by-step design pipeline with Gravity Sketch, demonstrating the key areas in the pipeline where the software can transform the workflow, improve collaboration, and reduce development time.
The product design discipline is a constantly evolving art form. From the Wacom tablet to the 3D printer, for years designers have embraced emerging technologies to help with visualization and resolution of complex design challenges. Practitioners are constantly experimenting with tools to empower them to create new products better and faster. From the design of household appliances to mobile wearable technologies the challenges designers face when designing new products are ever-evolving; new materials, manufacturing processes, user experiences, and business models are just a few of the challenges an industrial designer faces when developing a product for a client. In addition, the time to market for many products has shortened, in turn reducing the length of the design pipeline. The discipline has become much more challenging: both clients and customers expect great design, a great experience, and great quality from goods and services we purchase or interact with. Now more than ever, designers turn to technology as a source of inspiration and support in this ongoing evolution.
For the past four years, we have been developing a design software and platform which will support designers with ideation and aid in the problem-solving phases of the design process. Through working and exploring ideas immersively in 3D from the onset, we have found that many design disciplines are able to not only accelerate the early phases of the design process but to collaborate and share ideas in a more effective way.
To demonstrate this, we’ve made a workflow video showcasing a step-by-step design pipeline with Gravity Sketch, demonstrating the key areas in the pipeline where the software can transform the workflow, improve collaboration, and reduce development time.
Reference Images
Mood boarding and gathering inspiration as reference images is often the kickoff for the ideation phase of a project. In Gravity Sketch you can bring in all of your images as .png or .jpeg files and create a spatial mood board, placing images anywhere in your immersive workspace.
The transition from 2D sketches to digital 3D models is one of the most challenging phases of the design process. The emotion, character, and intent of the hand-drawn line is almost impossible to carry through to the digital model; often compromises are made to accommodate the capability of the software or limitations of the CAD operator. As a result, the 3D iteration process is costly and time-consuming. Designers are able to bridge the gap between hand sketching and CAD modeling with the sketches created in Gravity Sketch, as content can be imported and exploited in a variety of file formats that are compatible with CAD software.
Over the years designers have built strong ideation skills through the use of pen and paper, and we understand the value of 2D sketching. We embrace this and build tools that can help designers leverage their 2D design skills in the 3D digital landscape while maintaining the ambiguity and flair of a hand-drawn sketch. We aim to preserve the designer’s knowledge and skills developed over years of training. Motion-tracked controllers allow us to translate hand gestures into strokes, bringing a joyful experience that closely resembles that of sketching with pen and paper.
Expressing ideas at the napkin sketch phase, at scale, in 3D, allows designers to troubleshoot proportions and explore iterations of ideas prior to any major investment of time or resources. This also promotes further creative expression as new forms and shapes can be explored directly in 3D, as opposed to being translated from 2D. The designer can focus on the user and human-factors right from the outset, in turn, reducing the need for multiple physical prototypes.
Simple Ergonomics
Every designed product has an intended user, designers must consider human factors from the earliest stages of their research and investigation. Ergonomics are considered at the early stages of the design process through 2D sketches and multiple physical prototypes. Exploring ergonomics immersively from the outset allows designers to more clearly understand the human factors and address the spatial challenges around their design virtually prior to investing time and resources downstream. In Gravity Sketch users can access poseable prefabricated mannequins which can be used to explore how the users will interact with the design or set scenarios to help simulate the product in real life situations. This allows you to integrate human factors into your design in a much richer way earlier in the workflow.
Being immersed in a sketch allows you to put yourself in the position of the user and explore the physical interactions with the product as they would. In the later stages of your workflow, pulling in the mannequins helps to showcase scenarios around the end use of the design. For design reviews, showcasing the use of your product in context, in an immersive VR environment, helps validate the decisions made during product development for you and the client.
Clean Line Drawing
After the early rounds of ideation, start blocking out forms and model a more detailed design. With the use of symmetry and point input mode, the designer can draw clean lines creating a wireframe of the product.
Gravity Sketches are easily brought into the workflow through seamlessly importing the 3D sketch into a CAD software package via the export of an IGES, FBX, and OBJ file. The resulting export will open in Alias or Rhino with like-for-like accuracy and, if exported as IGES or FBX with NURBS, each stroke and surface can be further edited and manipulated in the CAD software. Bring models made with CAD tools into Gravity Sketch via OBJ and IGES import to use as an underlay for sketch-overs.
The Surfaces tool allows for the exploration of complex concave and convex forms. Rather than laying our curves and typing in commands with a keyboard and mouse in a CAD software, drawing a NURBS or SubD surface with a gestural input allows designers to achieve a much more expressive 3D design language and explore forms in a much more intuitive way. There is also the possibility to accurately lay out characterful shapes and curves that will persist through to the final product. All of the data is carried over when the sketch is exported and imported to other CAD software packages.
Primitive Shapes and Volumes
Quickly get a better understanding of the form and volume of a design through the use of primitive shapes. You can block out the rough volume of the design, or draw freehand with the volume tool to create nondestructive solid models. All of the content created with the creation tools provided can be edited at any time allowing for the development of additional iterations.
Subdivision Modeling (SubD), is one of the latest and most powerful geometry additions to the tool. As seen in this video, this geometry method allows freeform editing capabilities. Create a surface or define a primitive shape, then edit by pushing, pulling and extruding freely. By extruding the face of a primitive shape (like a cube), develop organic or structural forms. Jump between smooth and faceted forms with a simple toggle. Edits can be made in both the smooth and faceted state, giving the designer the flexibility to define their own creative flow.
Altering the shape of a stroke is akin to altering the weight of a vector in Adobe Illustrator on but with a three-dimensional shape. Being immersed in VR allows the user to get to a three-dimensional object much faster and unlock endless iterations and spend much more time in the creative problem-solving phase of design.
Precision is a phrase that has become synonymous with millimetre accuracy more from an engineering standpoint. In Gravity Sketch, designers are achieving true creative fidelity faster and more accurately (true to the initial idea) than through the use of a classical CAD software which, in reality, was initially developed to help in the production of manufacturable 3D models.
Build Detailed Scenarios with Ease
All Gravity Sketch content can be saved and imported as a prefab or component, giving designers the ability to build libraries of content that can be reused at any time during their workflow. Loading up prefab models (alongside the mannequins provided) is an easy way to quickly build detailed scenarios which allow designs to be viewed in simulations of real life contexts. Some designers take this process quite far and use the scenes they create to hold design reviews with clients in VR. This storytelling ability is native to industrial designers. They can enhance the delivery of the concepts and bring their client on an immersive journey during the design process – a journey that is often intangible and difficult to share.
Advanced Ergonomics
Foam mockups have been a standard prototyping tool of the industrial design profession for decades. With any object larger than two by two feet, 1:1 scale model-making is almost a given, designers will use the physical model to make more informed decisions about the design and user experience, evaluate its scale, and potential manufacturing challenges. Many organizations invest in laser cutters, 3D printers, and CNC mills to create physical models from CAD data (e.g. a model made in SolidWorks) to create more dimensionally precise mockups. Iterations of the CAD model for subsequent physical models require a bit of back and forth between editing the CAD model and preparing the design for digital rapid fabrication. This is the most common method we see designers employing for working through ergonomic constraints or challenges.
In Gravity Sketch, poseable mannequins can also be used to explore more advanced ergonomic challenges, showcasing user interactions, or even how end-users or customers will use the product. Here, we see a lever underneath the table to showcase the user interacting with one function of the product. The manipulatable joints on the mannequin extend not just to the limbs, but the individual extremities as well, allowing for an infinite number of poses. Additionally, Gravity Sketch allows for the quick mock-up retail scenarios and product usage or rough digital environments to showcase products and ideas in context from very early on in the design process.
Quickly take screenshots of work inside the application, from any angle and any stage of the development. The screenshots are saved as .pngs which can be easily brought into Photoshop and used as an underlay for sketch-overs or detailed renders. The benefit is that the designer will know the exact proportions are correct, with the correct perspective used everytime.
Design Reviews and Collaboration
Rather than evaluating 2D renders behind a screen, teams can immerse themselves in the product at any stage of the development. Design reviews are an excellent way to utilize the tool; invite colleagues and other stakeholders into the VR environment to allow them to experience your proposal at 1:1 scale from their own vantage point. This clears up a lot of miscommunication that could result from the poor 3D translation of a 2D sketch.
The collaboration feature allows team members from different geographical locations to meet in the same virtual studio to ideate, review and collaborate on the same design in real-time. Users collaborating can edit a design live, working together for true creative collaboration, no matter where they are in the world.
Designs from Our Community
We’ve elaborated on one possible workflow, although there are many different variations as designers explore with Gravity Sketch to find their own personal workflow. We always look to the wealth of creativity that we find in our community of designers for possible examples to share.
In this video, Fed Rios designs a bike frame in just a single sitting. From an imported reference image, he sketches out the form to get the proportions of the bike frame first, before adding in the wheels, then detailing the form using the surface tool.
In another video, Fed creates a chair by sketching over a pre-existing model. In his caption, he describes the frame as “bent steel” topped with “bent plywood” and a cushion. Check out more of his work on his Instagram @fedriosdesign.
Lukas Hilfiker created this design for power washer by sketching out the rough form and placing the design in the context with a mock-up using the poseable mannequins. After this he created a more detailed design, focusing on the more elaborate ergonomics when users are interacting with the product.
Check out more of his work on Instagram @lukas.hilfiker.
Nick Baker creates around 300 iterations of a lamp idea in the same scene with only a couple of the tools offered. He can then explore the few designs he is satisfied within Keyshot or even make more informed and confident 3D physical prototypes.
Check out more of his work on Instagram @nickpbaker
If you’d like to find out more about how Gravity Sketch can improve your workflow, contact us via email, on our social channels, or speak to us directly on our Discord; we’d be happy to arrange a demonstration. | {
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3ffc34e0-4adf-4ae2-8833-2dbae1828e6a | Words in the wind
It sounded like the wind in my ear. It said my name in an airy tone. It spoke to me not once, but twice. I turned to the person standing next to me; he gave a friendly smile but didn’t seem to have called for my attention. I became a very attentive listener, waiting for the call yet again. I know I heard my name twice, but the words that came afterwords are what I missed.
In the mist of the mental chaos I missed a word…a word that was significant and exclusive to me. I want that moment back, but the time has passed.
I can only open my ears, sit in the silence, and wait to hear that mysterious, airy voice again.
I Am An Apple Addict!
apple-keyboard-concept-1
via Design Blog
Keyboard is one of the most integral part of a PC or a notebook and designers are working round the clock with new ideas to make it more user-friendly and hi-tech. Encouraged by the response that the Eee Keyboard PC by Asus – the 21st Century Commodore 64 with side-touchscreen instead of function keys – received at the CES, the Apple Keyboard Concept is yet another accessory for die-hard Apple fans that will allow users to dock and revitalize their iPhone/ iPod through computer. The Apple Keyboard will possibly allow the users to connect their iPhone and use the screen as a control surface while displaying the buttons and small apps, quite similar to the Asus Eee Keyboard.
apple-keyboard-concept
Luke Chueh
Born in Philadelphia, but raised in Fresno, Luke Chueh (pronounced CHU) studied graphic design at California Polytechnic State University, San Luis Obipso where he earned a BS in Art & Design (Graphic Design concentration). He was employed by the Ernie Ball Company, working in-house as designer/illustrator where he created several award winning designs and was featured in the design annuals of Communication Arts and Print Magazine. Meanwhile, he also created, produced, wrote, designed, edited and published “E.X.P.”, a ‘zine dedicated to the “Intelligent Dance Music (IDM)” genre.
Francoise Nielly
Untitled 508
Untitled 505
Françoise Nielly is a passionate woman who loves life, wide open spaces, sushi, blue lagoons, the Internet, humor, books, Paris, New-york and Vancouver. Resolutely inscribed in her epoch, she is an accomplished artist ; 20 years of artistic expression explain the maturity of her work and the perfect mastery of her art.
She lives and paints in Paris near Montmartre; shows and sells her work in Europe, in Canada and in the United States.
What Makes Us Stray?
As a child I was big into fashion. I loved designing clothes for Barbie as well, as well as designing for myself. I would customize my shoes as well as my clothes. Just like the picture above, I would take magazines and ads and cut them out and call it a wishlist. It was all the things I wanted to have or desired. After a while, I stop doing it; I would say after highschool.
I went into college with the attitude of becoming a doctor. That was my mindset, that was what I aspired to be. It was about the money, it was always about the money. I convinced myself that I really wanted to do this and I didn’t. I found biology to be boring and I doodled in my classes. I was an artist at heart…am an artist at heart. I slowly have found my way back in some sense. Graphic design and occasional modeling allow me to be near the fashion world.
My point is what caused the deviation in the first place? If the art is a part of me why would I leave it? That question is relative to a lot of things in life. Why do we stray away from God when he is a part of us? Why do we stray from each other? Is it that we in fact don’t really have that desire? Is it that we have blinded our minds and lost sight of our dreams and goals? Ah, but what makes up come back?
I am still a bit on the fence with this. Why do you think we stray from the things we love or that are apart of us? | {
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bc861a6a-2dff-48e4-9003-fde7786eafc5 | Saturday, 20 August 2011
Paris - Delhi - Bombay
We went to see the temporary exhibition at the Beaubourg yesterday. It's called Paris - Delhi - Bombay and contains the work of around 50 artists, divided more or less equally between France and India. It's a fascinating exhibition for many reasons, not the least being that it's small enough to deal with in half a day or less and not feel that the crux of it has been lost. India's relationship with France is very different to its relationship with Britain and it would be interesting to see what kind of tensions a similarly themed show might have if Paris were replaced by London (and, for the sake of correctness, Bombay by Mumbai). Here, the tensions of colonialism and its aftermath, which might have darkened, and enlivened, such a show or, for that matter, one that examined the cross-cultured visions of artists in France and, say, Indo-China, are attenuated to the point of invisibility. The mood of the show can sometimes be respectful to the point of discomfort, particularly so in the work of the French artists. The tone is established by a large piece at the entrance, a flag made of sequins that combines the flags of the two countries and is animated by a fan. It shimmers and twinkles and is altogether a thing of great decorative charm, the last thing one might expect from its creator, Orlan, but it's also an acknowledgement that the kind of equality such a melding represents can only be decorative, and a nod de haut en bas from a culture that doesn't do decoration in the same colourful, glittering way.
This sounds more critical than I intend, because I'm not quite sure exactly what line should have been taken, other than Orlan's, and the show, in one sense, is riddled with doubts about stance and appropriacy. The opening image to this post is of the exhibition's centrepiece, a massive female head by Ravinder Reddy. It's the kind of thing, on a smaller scale, that can be found in Indian villages. This size, it's both Koons-like and not. It's monumental kitsch to us, but that might be because we have no sense of what it might otherwise be if it were small. Kitsch runs through the show in one way or another, with its masters Pierre and Gilles occupying an attractively camp corner with their usual stuff, as though Bollywood were something they'd thought of first (and perhaps it was).
But there's western kitsch, which is necessarily deliberate at this level of high culture, and perceived kitsch, which may not be. Tejal Shah has a series of elaborately set-up photographs designed to express the dream lives of India's transgender community (and here the word may be appropriate), the hijra; one of them (on the left) is entitled You Too Can Touch the Moon; another has a glamorously undressed hijra lying on a sort of raft, being punted along by a young man naked except for a gilded loincloth complete with impressively large prosthetic penis. It's contrasted with the adjoining installation, also by Shah, which depicts a hijra lying bleeding on the ground after having been beaten up and raped by a urinating policeman. What we can't know, finally, is how much the first image itself establishes a sort of fond, but also cynical and knowing, distance between the dream fantasy and some more genuine and complex freedom, as yet unimaginable, in which prostitution and the violence it appears to provoke are no longer the only option. Another example of what must surely be unintentional kitsch, in my eyes at least, is a large piece by Riyas Komu, composed of eleven pairs of footballer's legs supporting a hollow tube bearing the words God is Great in Arabic. Hmm. It's one of those pieces that does what it says on the tin so blatantly that, once looked at, the work comes to an abrupt end. Which is sad, because the legs themselves are rather splendid.
Tejal Shah isn't the only person to worry about sex, and it's interesting to see how Indian artists take advantage of this dialogue with France to talk about who and how we fuck, and what the whole business entails. Like Shah, Kader Attia looks at the fate of transgender people in a bracing and often touching video of three transsexuals, in India, France and Algeria, while Sunil Gupta produces a kind of fotoromanzo, as they say in Italy, of an Indian gay man in Paris, who enjoys the freedom to display his relationship with an older man, while betraying him by night in one of Paris's most popular gay saunas, Sun City, itself a kitsch recreation of India and its iconography. There's a lot going on in this work, but also not very much, as though the freedom of the artist to deal with his issues were as unsatisfactory and superficial as the freedom his protagonist enjoys to both live life openly with an (extremely good-looking) lover and then shag all kinds in an ersatz dark room. But maybe, as we say, I'm projecting here.
Talking about heterosexuality and the social constraints imposed on women - a major theme of the show - one of my favourite works was that by Atul Dodiya, Devi and the Sink (shown here), which uses quotation and montage to talk about women's lives and the ways in which they are represented and conditioned. The neatly reproduced Leger in the top left-hand corner, where the slab of colour applied to the woman's face is both abstract and a sort of blindfold, is a particularly successful correlative to the central figure, whose ability to speak - or express anything other than bewilderment - has been suddenly removed by the no doubt affectionate attentions of her partner. Horns, it should be noticed, are also forbidden. A darker work by the same artist shows a store-front shutter bearing the image of the goddess Mahalakshami, bearer of prosperity, half rolled up to reveal an image of the suicide of three sisters whose parents were too poor to provide them with a dowry. It's not the most subtle work in the exhibition but that's no bad thing when one of the roles of a show like this is didactic, as the rather textbook-like introduction to the catalogue makes plain, and one of its strengths is the way it finds two contrasting, and antipathetic, pictorial languages to make its point: the brightly coloured icon of the god and the neutral, almost crude depiction of the suicide, like something from a Victorian penny-dreadful.
Two of the works that most impressed me were by women and they confirm my feeling that for sheer edginess and emotional discomfort women artists these days are streets ahead of their male counterparts. (Bourgeois and Messeger are obvious examples.) Anita Dube, who lives and works in New Delhi, takes human bones she has 'found' (as the catalogue chillingly states) and covers them in red velvet, sequins, lace and pearls, transforming them into objects that might be necklaces or household ornaments, musical instruments or fans, except that, of course, they aren't. The ability of art to transform and the limits of that ability are being interrogated here, to unnerving effect. Sheela Gowda is also drawn to red. She has made heart-shaped patties from cow-dung (holy shit...), covered them in vermilion, and strung them up to hang like those strings of embroidered elephants or birds you find in charity shops in the west. Another artist, a man this time, to use red is Sunil Gawde, in a piece called Virtually Untouchable - III (see left), composed of garlands of painted razor-blades. Red is the colour of blood, but it's also the colour worn by Hindu women on their wedding days and I wonder if the catalogue's gloss on this work, that its subject is the assassinations of three members of the Gandhi family, is what the work might actually be saying, or whether it might not have more in common with the other two pieces that use vermilion so effectively. One of the best things about a well-curated exhibition, as this certainly is, is the way disparate materials, in this case bones, cow-dung and razor blades, can be united in conversation.
There's much more to be said about this show. The take of some of its contributors on consumerism, for example, with works like Krishnaraj Chonat's wall of waste computer products, manufactured in the developing world and dumped back there as soon as they're no longer fit for purpose, which reminded me of one of my favourite works, a wall of battered suitcases by the Italian artist, Fabio Mauri, or the more ambiguous and thought-provoking bazaar of stainless steel kitchen goods, an emporium of cooking utensils of the kind used in every Indian home and a gleaming, highly reflective reminder that what counts is not the pot but what it contains, which is often, as we all know, very little. But my favourite comment on recycling is the work shown here, two vertical panels made of recycled waste and reproducing in hallucinatory detail a part of Mumbai called Dharavi, the largest slum in Asia, and also constructed in its entirety of materials no one else has any use for. The work, entitled Think Left, Think Right, Think Low, Think Tight, is an indictment of the living conditions within the slum, the verticality and narrowness creating a sense of oppression, as the catalogue rightly says. But it's also a massively ingenious and detailed monument to the human ingenuity of what it represents and for something that represents life at the lowest economic level imaginable, the kind of life most of us can't even contemplate, it's a work of extraordinary vitality and, even, optimism in the face of endurance, like those African toys, and coffins, so elaborately fashioned from discarded beer and petrol cans. As such, it goes dramatically beyond its creator's intentions, as good art should.
A final thought. Most of the work that impressed and provoked me was made by Indian artists, perhaps because they were telling me something I didn't know, or didn't know I knew, or didn't know I had the right to know. Perhaps if France's relationship with India had been more conflictual, or explicitly compromised by history, the work produced by its artists would have had more bite to it. As it was, the two artists who seemed to me to have dealt most successfully with the challenge the show offered were Stéphane Calais, who preferred to stay at home and use Indian ink to cover large sheets of paper with flowers and abstract designs on the principle that his 'Orientalism was as mutant as flu' and thus required isolation, and Leandro Erlich (interestingly, an Argentine artist who lives and works between his country of origin and Paris, and is thus neither French nor Indian), who has given us an installation of a typical Parisian bedroom (designed, incidentally, by Jacques Grange, who lives in the apartment that once belonged to Colette), through one window of which can be seen filmed images of a street in Bombay. They're fascinating to watch, as of course they would be; they're elsewhere and their otherness is reinforced by the frame of the window, which is both a limit and an aperture. As metaphors go, Erlich's installation, entitled, almost too neatly, Le Regard, is as apposite as they come.
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bf0968b6-8bc8-4d60-916e-5de5f9f3278f | Just starting out? Take our Brand Style Quiz to get inspired today!
Simple websites that make a HUGE impact
There is a massive amount of content on the internet, but not every website is worth coming back to time and time again. These 9 sites I list below have helped me gain stability in my career, and continue to inspire me on a daily basis. I have used them to continue my education, find inspiration, and entertain me through my workday. This is a tribute to these fine companies and the ways I have found to use (and misuse) their services.
1. Lynda.com
This one is a BIG one. It’s number 1 on here for a reason, and that’s because when I first graduated from University of Miami I came to the harsh realization that I had learned nothing. Yes, I played around with photography, light room printing, lithography, illustration, and poor layout designs that I look back on now and shudder. But did I learn how to code? Did I know the first thing about web design and framework construction? Not even remotely.
Thank goodness Lynda saved the day. I split the membership with my friend and used every penny to teach myself HTML, CSS, JavaScript, Actionscript 3, how to use Photoshop for web… just everything. When I contacted Acotel after my interview and requested a sample project to show them I was worthy of hire, they asked me to do a Flash banner advertising their phone services. After 5 days and 35 hours of tutorials I crafted something that was so impressive, they called me back the next day to make me an offer.
2. Shutterstock.com
Some websites you use for more than what the company intends. Not only have I developed myself into a “graphic hacker” that takes vector images and tweaks them to suit the project I’m on, but I have also learned a great deal about constructing graphics from the people who upload the vectors in the first place. I’ve learned so much about Illustrator from playing around with Shutterstock vectors that I’m now able to make my own from scanned drawings and pictures. I also use it almost every day for my job, and have amassed a library of thousands of photos and vectors that I keep secured on a portable hard drive for whenever I need it.
It’s also an inspiration engine, helping me to browse the limitless possibilities when searching for a place to begin a web design or logo creation. The most difficult thing about navigating Shutterstock? Putting your graphic desires into actual words for search.
3. Turntable.fm
In the beginning, there was Pandora. I fondly remember my first winter up north, working for Saga Electronics and bookmarking every other song on my Rusko playlist. But then they “evolved”, removed the bookmarking function, and (despite my attempts to sway the algorithm otherwise) started playing the same 10 songs over and over again. I became frustrated and my working day felt longer than it needed to.
After starting my job in interactive design at Acotel, my project manager Vitaliy (the king of finding these kinds of awesome startups) introduced me to this gem.
It’s a music-playing chat room, where you can listen to tracks played by people all over the country. It sounds like it could be a huge distraction, and without self-control, it is. You can go into one of several themed rooms, listen to other people play the latest music, and actually give them feedback on what the room likes, dislikes, and has heard entirely too often. The result is a fantastic mix of chill morning music, energetic afternoon beats, the occasional “troll” round (i.e. only Will Smith remixes), and the ability to actually “lame” a song off the playlist.
Unfortunately Turntable.fm is now defunct, but it had a good 4-year run. I collected so much music as a result of finding new stuff on Turntable that I owe a great deal of my workplace satisfaction in the past year and a half to this one website. Did I mention that David & I have hosted real-world Turntable meetups to go to concerts?
4. Dafont.com
Tons of free fonts listed in several categories. Can get silly at times, so I’ve since turned to several other sources (including *gasp* actually paying for worthy fonts), but while I was first tossing together logos and building my portfolio, this site was invaluable.
5. Abduzeedo.com
Fantastic tutorials, daily inspiration from artists & designers all over the world, free wallpaper & texture packages, and posts spanning a huge variety of themes, from architecture to typography (and everything in between!). Their photoshop tutorials in particular I found myself flying through, since they are some of the more advanced I’ve seen. The format allows you to work and read simultaneously, instead of the Lynda format which requires you to watch a movie, making flipping back to previous steps a lot harder than simply scrolling up.
6. Codrops.com
For web tutorials and source code, this site is the first place I go. Part web / tech news blog and part tutorial archive, the contributors to this site manage to condense the most difficult parts of jQuery & JavaScript and spell it out in a way that a lowly designer such as myself can understand. And for when you get completely lost and just want to play around with the sample’s code, you have the option to download the source. Codrops: helping aspiring web programmers dissect complicated blocks of code since 2010!
7. The Oatmeal
I was partly inspired to pick up vector comic illustration thanks to Matthew Inman, aka “The Oatmeal” guy. This simplistic yet visually attractive style, coupled with LOL content and skillful web coding makes this guy my design idol. His comics range from the pointedly profound (How to Suck at Religion) to the delightfully silly (My Dog: The Paradox). He also tackles issues that hit home to all designers, and convey them so hilariously that even the most depressing client interaction is given a witty, sarcastic twist (How a Web Design Goes Straight to Hell). That one I go back to a lot.
8. Monster.com
My favorite job posting site. I applied to 20 jobs, sent out 20 resumes, and got 5 actual, real, email responses. 1 of them never responded to my follow-up, 2 of them gave me a sample project right off the bat, the other 2 called me in for interviews. 1 of the interviews landed me the job I am currently occupying, while the other interview actually DID contact me for a follow up, but was located in NJ. And 1 year of NJ was enough NJ. I used 5 other websites and never heard back from any of those postings (I replied to 20 postings at each). The entire process from apply to secure was 5 weeks. Not bad at all.
9. Laurabaurealis.com
The initial version of my website took me 2 weeks to design and program. It was a challenge but a necessary one, since almost all the jobs I applied to required online portfolios. Now it’s looking a lot better and I enjoy using it as a guinea pig to test web technologies (without angering a client). I love looking back to the first portfolio site I constructed in Flash the year I got my Mac & tablet. It is a delightful abomination that thank goodness never found its way online. I’m fairly certain that the website will never be completely “done”, and will continue to evolve as I do.
Which websites have helped you shape YOUR career? I bet you can think of at least 2!
Yours in pixels, | {
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fd753184-98b1-4ac8-90d7-059aee8abb29 |
Chamber Music Review
Carolina Summer Music Festival: No Ill Winds Blew in an Imaginative Program
Event Information
Winston-Salem -- ( Sat., Aug. 10, 2013 )
Carolina Chamber Symphony Players: Dvořák and Mozart Serenades
Adults $18; Students $5 -- James A. Gray, Jr., Auditorium, Old Salem Visitor Center , (336)721-7350 (Tues-Sat) , http://www.carolinachambersymphony.org/ -- 7:30 PM
August 10, 2013 - Winston-Salem, NC:
Despite earlier heavy downpours throughout the Triad, there was a good turnout of music lovers in the James A. Gray, Jr. Auditorium within the Old Salem Visitor Center for the third concert of the Carolina Summer Music Festival. Founded by the Carolina Chamber Symphony, it consists of members of the Greensboro and Winston-Salem Symphonies, the UNC School of the Arts, and local freelancers. For this concert twelve players, mostly woodwinds and horns, supplemented by percussion and strings, were arranged in different configurations. The first and last work on the program was conducted by Peter Perret who prefaced their performance with germane comments.
Estonian born composer Arvo Pärt (1935) was initially influenced by the music of Soviet composers Prokofiev and Shostakovich before taking up the serial principles of Schoenberg in 1960. This was quickly dropped in favor of applying musical collages and quotations before he found his creative voice after a deep study of medieval and Renaissance composers such as Ockeghem and Josquin. Conductor Perret, in his comments on the wind octet version of "Fratres" (1977), called Pärt’s mature style “mystic minimalism” while the composer himself has called it “tintinnabulation” from the Latin word for bells. The original version was composed for string quintet and wind quintet. This performance was an octet version of 1990 (approved by the composer) by Beat Briner for pairs of oboes, horns, bassoons, and clarinets (one on bass clarinet) and percussion. An austere hymn-like theme of eight measures is played above a continuous drone on the interval of an open fifth. Over the eight repetitions, which include inversions, an extraordinary and fascinating tapestry of colors and harmonies is woven.
Perret and his players fully conveyed the rapt, almost hypnotic quality of this piece. The wind players, oboists John Hammarback and Anna Lampidis, horn players Joe Mount and Tim Papenbrock, bassoonists Saxton Rose and Marian Graebert, clarinetists Oskar Espina-Ruiz and Ron Rodkin, were joined by percussionist Beverly Naiditch. (During intermission Perret told me he corrected a wrong note in the printed score, an error which can be heard on Telarc CD-80387 Fratres, twelve versions).
Festival co-director and horn player Joe Mount referred to the popularity of Harmoniemusik, wind music to serve as background for indoor or outdoor entertainment by the nobility when he introduced Serenade No. 12 in C minor, K. 388 by W. A Mozart (1756-91). Most of his serenades are light-hearted, in over a half-dozen movements of which many are either dance or character pieces. Mozart is always serious when he composes in the minor keys and K. 388 stands out among his serenades for its darker mood and musical depth and having only four movements. While it is unknown for whom or exactly when it was composed, clearly its dramatic nature and sophisticated scoring, such as the canon and reverse canon of its third movement, means it was intended for a very sophisticated audience. It is effectively a symphony for wind octet.
The players: oboists Hammarback and Lampidis, horn players Bob Campbell and Mount, bassoonists Graebert and Rose, and clarinetists Espina-Ruiz and Rudkin, gave a beautifully judged and stylish performance without conductor. The drama of the first movement was strongly conveyed by the horns with some remarkable efforts from the bassoons. The give-and-take between players was as satisfying as that of an established touring string quartet.
The Serenade for Winds, Op. 44 by Antonín Dvořák (1841-1904) was composed in two weeks in January 1878. Among other works he composed during the year was the piano duet version of Slavonic Dances. The foundation of cello and string bass lends a symphonic quality to the overall sound produced by wind group of pairs of oboes, clarinets, and bassoons, plus three horns. The composer had Brahms Second Serenade in A in mind when he filled his four-movement piece full of Czech nationalistic temper with a weighting toward the wind-instrument tone colors.
Conductor Perret stylishly led oboists Lampidis and Hammarback, clarinetists Espina-Ruiz and Rudkin, bassoonists Rose and Graebert, horn players Campbell, Mount, and Tim Papenbrock, cellist Jennifer Alexander Johnston, and double bassist John Spuller in a deeply satisfying performance. Tempos and balance were excellent and there was a marvelous sense of spontaneity throughout, especially the last movement in which successive returns of its polka-like theme can lose its sparkle. The close ensemble work of the three horns was especially impressive, not least in the third movement. The first movement’s march was homage to the sound of Mozart’s serenades while the second movement featured two Czech dances, the “sousedska” (similar to the Austrian “Ländler”) and the rousing “furiant” as its trio section. This performance was a constant delight from start to finish. | {
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b32bc560-1ad4-43f7-9400-bec0e7118a97 | 11 clever ways to promote your arts business
When it's time to stop making art for your own enjoyment, here's how to find clients who pay.
Whatever your brand of creativity – visual artist, photographer, writer, performer, drag star – there comes a time when you want to stop doing it for your own enjoyment and start doing it for clients with real money. So how do you promote yourself in a way that is both creative and cost-effective?
Clearly a smart and sophisticated digital presence is important. You’re a creative so your website and digital assets need to reflect your work and your brand values. This will often be the first time someone sees your work, so you want to make a strong first impression.
Unlock this content?
Access this content and more
Dr Diana Carroll is a writer, speaker, and reviewer based in Adelaide. Her work has been published in newspapers and magazines including the Sydney Morning Herald, The Australian, Woman's Day, and B&T. Writing about the arts is one of her great passions. | {
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8d39f698-8f77-4ab5-a356-2c6ad8dabcbe | Kim Stockx
Historical Bassoons & Recorders
A sparkling evening and afternoon full of early baroque surrounded by nature. Be embraced by the pure and warm sound of the dulcian.
An Instrumental Songbook by Florens ensemble
Be inspired by the latest program of the Florens ensemble build around the most famous songs of the early baroque.
In dialogo by Concerto Foscari
A dialogue between Jewish and Christian early baroque.
©Wouter Jansen | {
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2e7d8685-b9b9-4e21-8e37-9dd79a94ace7 | Mobirise Web Maker
Digital Fantasy Portraits
by Dale Ziemianski
Digital Fantasy Portraits start out with just a simple photo of the person you want as your subject - your partner, child, parent, friend, business associate, whomever. Using the lighting direction in the photo, and the angle the person is facing, I import the photo into an image editing program then compose a full color Fantasy scene around it.
All you need to provide is a photo - and all I use from the photo is the person's face.
I can change the hair style and the pose of the body as long as the head is facing the same direction as it is in the photo.
The final image is poster size, and is provided as a digital download.
It can be then emailed, added to websites and social media, printed as greeting cards, wall art, even full size banners
or wallpaper via the various wallpaper printing sites online.
They're the most personal gift you can give. | {
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e1e98ed9-0e2d-4f25-b1b3-0d18684cb573 | New Reshidev RK Mural Is A Bright Spot For Summer
The PDX Rotating Art Program is thrilled to unveil a colorful and fascinatingly complex new large-scale mural this summer pre-security in North Baggage Claim. By Portland, Oregon based artist and designer Reshidev RK, this exciting new mural titled PDXPLORE pops with Portland’s intricacies, people, personalities, and the vibrant flavor of the city and the Pacific Northwest.
Born in Kerala, India, Reshidev RK is an incredible artist and graphic designer. His journey between continents has been a unique one, both satisfying and a great learning process. While growing up in India, Reshidev discovered a passion for art very early on in his childhood taking to watercolor painting and clay modeling.
Quick to recognize Reshidev’s potential, his father was very supportive of the idea of him pursuing art as a serious career. Reshidev’s teachers encouraged him to enroll in competitions and school festivals across India to provide him with new outlets and access to opportunities for honing his creative skills and visual practice. It was only natural that Reshidev chose the visual arts for his higher education, graduating with a degree in Sculpture from Trivandrum College of Fine Arts in Kerala, India.
“I have been living and working in Portland, Oregon since October of 2018. The city welcomed me with a chill, some rain, and a lot of silence. As months passed by, and as the seasons changed, it felt like the city was finally warming up to me just as I was warming up to it. I began to get familiar with my new life. I was blown away by all that was being revealed to me. Talking to strangers like old friends, looking at smiling faces everywhere, cute pets, runners, joggers, cyclists, coffee shops, flowers. It felt like a theatrical experience. Different characters, different backgrounds— everything thoughtfully crafted. I wanted to translate my experience into this wall mural.” —Reshidev RK
While studying sculpture at Trivandrum College, Reshidev also rekindled his interest in painting and illustration, making way for him to pursue a professional career as a graphic designer. Along with advertising and design, Reshidev worked diligently towards building his individualistic artistic style.
His paintings were morphing into intricate digital illustrations where Reshidev took the leap into producing highly stylized, colorful contemporary digital artworks. These paintings, illustrations, and mural works have introduced a whole new world of art and design opportunities for Reshidev in his skilled visual art and design practice, and they have further strengthened and expanded his unique artistic voice overall. Reshidev RK is currently working for Wieden+Kennedy in Portland as a Graphic Designer.
Reshidev RK’s PDXPLORE mural will be on view in North Baggage Claim at Portland International Airport for six months. For more information about this mural and artist Reshidev RK, please visit Reshidev’s website, Instagram, or contact Reshidev at:
rkreshidev@gmail.com
Website: reshidevrk.com
Instagram: @reshidev_rk | {
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c8d4866d-87e1-42bf-949d-391128e44de4 | Chesford Grange Wedding Photographer
Kevin and Mandeep Mixed Faith Wedding
I had the honour of being the wedding photographer for Kevin and Mandeep.
They decided to have their wedding ceremony and reception at Chesford Grange Hotel, which is situated between Leamington Spa and Kenilworth.
Mandeep looked stunning in her traditional Asian wedding dress, adorned with bright jewellery and henna tattoos on her hands and feet. Kevin also looked very smart, all suited up for the occasion.
This wedding was truly a photographer’s delight and presented a wonderful opportunity to capture some amazing bridal photos.
Chesford Grange Hotel Wedding Venue
Nestled on 17 acres of picturesque countryside along the tranquil River Avon, Chesford Grange Hotel offers a serene getaway. The hotel is conveniently located just 2.5 miles away from the stunning Kenilworth Castle and Elizabethan Garden, and 3.4 miles from the historic Warwick Castle, making it a perfect base for exploring the area’s rich history and natural beauty.
Wedding Photography Light Painting
Thank you for letting me experiment with some light painting.
It was an absolute pleasure to capture your special day
Kevin and Mandeep I wish you both a very happy life together and want to express my gratitude for choosing me as your wedding photographer.
Thank you for your kind hospitality, for being great fun and for making me feel like one of the guests.
If you’re interested in booking me for your Wedding Photography then please don’t hesitate to GET IN TOUCH.
Please feel free to add comments – thank you!
Chesford Grange Wedding Photographer
Chesford Grange Wedding Photographer
Local Wedding Photographer based in Stratford upon Avon covering Warwickshire and the Cotswolds | {
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In this quick tutorial you'll learn how to draw a Cute Cockatiel in 7 easy steps - great for kids and novice artists.
The images above represent how your finished drawing is going to look and the steps involved.
Below are the individual steps - you can click on each one for a High Resolution printable PDF version.
At the bottom you can read some interesting facts about the Cute Cockatiel.
Make sure you also check out any of the hundreds of drawing tutorials grouped by category.
How to Draw a Cute Cockatiel - Step-by-Step Tutorial
Step 1: First, you'll draw the round eyes, one larger than the other.
Step 2: Then draw in the small beak below and in between the eyes, giving it a hook at the tip.
Step 3: Next you'll draw the circular head with spiky feathers on top and two small ovals under the eyes.
Step 4: Then draw in a round hook shape for the body, making sure to leave a large space for the back and wing.
Step 5: After that, draw the back and wing with three lines at the bottom of the wing for the feathers.
Step 6: Next draw two tapered tail feathers under the wing.
Step 7: To finish, draw the short legs and feet with three toes under the body.
How to Draw a Cute Cockatiel – Step-by-Step Tutorial | {
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Double glazed facades areEfficiency of production is a Danpal characteristic, one which is appreciated by architects and clients alike.
Double Glazed Facades Reinforce Protection From The Elements
Danpatherm is a Danpal product that possesses superior thermal properties, making it particularly adept at storing and transmitting heat. It also possesses the level of strength that is wind-resistant, keeping out those parts of nature that belong outside, not in.
Double Glazed Facades Bring In Natural Light
Another special attraction of the Danpal facades is the way that natural light is incorporated into the interior of the structure. Controlite, which is made of translucent glazing materials, has internal louvres which adjust in order to maintain a no-glare interior space within the rooms. This provides natural light that results in better visibility, contributes to the comfort of the interior, and spares the occupants from the glare that would be present outside. No need for sunglasses inside, even if the sunlight is present! | {
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• First things first.
That’s what I asked my daughter Page to hand-letter in gold on the front of a new, black moleskin notebook.
• Sometimes I wake up with crooked hands. It’s mostly my right hand. My fingers are puffy, sore and tender, and I can’t fully open my hand. Not so good for a right-handed writer.
• The tiny squeak I heard was the bedroom door. As I look to see a little pair of eyes peeking through the opening, I hear, “I just checking on you, Mama.” | {
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7e2a64b1-a303-434e-978e-00966b4a85cf | BEGIN:VCALENDAR VERSION:2.0 METHOD:PUBLISH PRODID:-//Iowa State University//www.event.iastate.edu//EN BEGIN:VEVENT CATEGORIES:APPOINTMENT DTSTAMP:20201201T205238Z DTSTART:20180926T230000Z DTEND:20180927T020000Z TRANSP:OPAQUE SUMMARY:Embroidered Mandalas Workshop LOCATION:The Workspace at the Memorial Union URL:http://www.event.iastate.edu/event/45776 UID:http://www.event.iastate.edu/event/45776 DESCRIPTION:http://www.event.iastate.edu/event/45776\n\nMand alas are created with geometric shapes and curvilinear lines \, and often incorporate ancient spiritual symbols that are significant in Hinduism and Buddhism. These intricate design s transfer beautifully into stiches on fabric! Judy will sho w you a variety of embroidery stitches with time to practice .\n--------------------\nThen choose a pattern and personali ze it with the colors you choose and the types of stitches y ou incorporate. If you know the basics\, try some fancy stit ches to add to your repertoire. Finished pieces can be hung in the provided hoops or added onto another project.\n\nThis workshop is held in conjunction with visiting Tibetan Monks from the Drepung Loseling Monastery who will be creating a large mandala sand painting September 24-28 at the MU. The d ul-tson-kyil-khor (sand mandala) will be made over a four da y period using millions of grains of carefully-placed sand. Once complete\, the mandala is deconstructed - a metaphor of the impermanence of life. A schedule the opening and closin g ceremonies\, open viewing times\, and the Symbolism of the Sand Mandala lecture are at sub.iastate.edu\, and sponsored by Student Union Board. \n\nInstructor: Judith Lemish\n\nIS U $21 ($12 tuition + $9 supply fee)\nPublic $31 ($22 tuition + $9 supply fee)\n\nWednesday\, September 26 from 6-9pm\n\n Please pre-register.\n\nCost: $ISU $21 & Public $31 (supplie s included)\nContact: Letitia Kenemer\nPhone: 515-294-0970 PRIORITY:5 END:VEVENT END:VCALENDAR | {
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ea265d29-492c-40f6-b7a2-016e23dcaa8c | V–A–C Foundation and M HKA engage in a longer-term collaboration by supporting the work of contemporary Russian artists in a variety of way. V–A–C wants to enhance the presence of leading Russian artists, of different generations, in selected European museum collections. M HKA exhibits and collects works by artists from Russia and other countries of the former USSR. The museum focuses on ‘Eurasia’, thereby contributing to the geographic diversity of collecting and programming.
Reflecting on and in Eurasia
M HKA and V-A-C share an interest in Eurasia as a space of diversity, openness and links between very different people and situations.
M HKA links Eurasia to the thinking about it by two of its reference artists. Joseph Beuys realised his legendary performance ‘Eurasienstab’ in 1968 in Antwerp. For Beuys Eurasia was a space that might link up his northwestern part of Europe to the open horizon of Asia. For Jimmie Durham the notion of Eurasia is also a way for Europe to become aware that it is merely a peninsula of a larger story. M HKA director Bart De Baere calls Eurasia ‘the largest island in the world’, a natural space of commitment for the Antwerp museum. The Present Continuous project, engaging for artists from the Russian federation, enhances this set up.
From this perspective onwards, M HKA and V-A-C find a shared commitment for Moscow as a transnational meeting place. It also brought them to a joint continuation of the 6th Moscow biennial. Initially aiming to offer a progressive vision on Eurasianism, going back to the foundational thinking of Prince Nicolay Trubetskoy – as indicated in the essay ‘Eurasia as an Island’ – it became a space to reflect on the potential and limits of the desire of human beings for gathering. These reflections were edited into a book entitled ‘How to Gather’ in which V-A-C took the production lead, publishing the book together with M HKA, Witte de With Rotterdam and Kunsthalle Wien. | {
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592254fa-9bbb-4a71-8ec2-bb692ccfc42a | 17 June 2022
Are NFTs Art?
By Amalyah Keshet
“Long before Beeple and Pak there was Yves Klein, who mastered the art of convincing people to pay money for not really anything at all.”
Is the answer to the question “‘Are NFTs art or not art?” important from the legal perspective? In practical terms, yes. But as usual, “it depends.” The question was addressed by a panel of experts in a webinarhosted by the Institute of Art Law (IAL) this last March. Significantly, one area where the distinction may be very important is anti-money laundering (AML) regulation.” More on this point can be found here: https://ial.uk.com/can-an-nft-be-art-and-why-it-matters/
In fact, because the NFT gold rush has been “investment-driven, with the art world following the economy rather than the other way around,” the question “is it art?” has been both highlighted and blurred by a flood of marketing language.
“…the NFT boom and surrounding hype profoundly diluted both an understanding of what digital art is and how this art (or any art at all) is tied to NFTs.
The term “NFT art” suggests a medium like video art or performance art, but the vast majority of so-called NFT art simply employs non-fungible tokens as a sales mechanism, not a medium. As non-interchangeable units of data stored on a blockchain, NFTs ultimately are nothing but digital certificates of authenticity. They reside on a blockchain, but the assets they authenticate usually do not. [NFTs technically authenticate the minting or sale, not necessarily the asset found at the URL they point to, which can be deleted or changed.]
The NFT boom has reduced the public image of digital art, which covers a broad range of creative expression, to individual reproducible digital images, animated gifs or video clips—the standard forms of digital collectibles and meme culture. There may be a segment of the crypto world that, through NFTs, has discovered the breadth and history of digital art and started supporting it, but that segment seems to represent only a small overlap in the Venn diagram of traditional art collectors and NFT collectors.”
This helps us understand why Wikipedia editors decided not to classify NFTs as art. Simply put, an NFT is no more a work of art than the entry in a museum’s collections database is, or the ID on an artwork’s shipping crate is, or the printed receipt for its sale at a gallery is. It is a tag, an address or locator and a proof of minting or sale. Like the crate, it can be discovered to be empty, the digital art file having been “rug-pulled” from its URL. (I suspect this trick has already been described somewhere as “performance art”.)
In a further instance of hype hijacking terminology, we find phrases like “curators in the NFT space.” The expression “curated collection of” has lately been applied to everything from recipes to travel experiences, but how does one “curate” blockchain metadata, a few lines of code that are little more than a data entry for a collectable? It’s another reason that semantic confusion has led many to think that NFTs are art.
In a characteristically excellent article in the New York Times, Adam Gopnik quotes Michael Bouhanna, a specialist at Sotheby’s in London who “…thinks that before too long, as the novelty of NFTs wears off, people will just talk about ‘digital art’ and leave the NFT off to one side, as a detail in the transfer of ownership.”
“Sales, rather than aesthetics, were the reason NFTs were created.
…about half of all NFTs that sell go for less that $400 — hardly enough to cover the blockchain costs when a creator ‘mints’ an NFT [and] that’s not counting the untold number of NFTs that don’t sell at all.”
Going back to the original question “are NFTs art?,” we can look at a fascinating discussion by David Joselit titled NFTs, or The Readymade Reversed. Joselit proposes that:
“The NFT, or non-fungible-token, reverses this long genealogy of contemporary art by hijacking the category of art as nothing more than a tool for designing a new asset class, ripe for exuberant speculation. In short, the readymade—whose purpose was to demonstrate the fungibility of artworks when shifted from one discursive category to another—has been reversed.”
Royalties are only royalties until they’re not.
Then one must consider the NFTs market’s promise of salvation for the cultural heritage world, with new platforms cropping up to ease the way:
Artwrld will also benefit nonprofit organisations, with fifty percent of sales going to creators, forty percent to the platform, and the remaining 10 percent to charities. The co-founders explained that “because NFTs have the potential to distribute funds automatically and in perpetuity whenever the art changes hands, artists can use their work to help build and sustain an art world they—and we—care about.”
One can’t help but asking, forty percent to the platform? Ten percent to the arts foundation, museum or other non-profit? When the odds for re-sale are low at best and declining daily, and only theoretically “automatic” and “perpetual”?
Cutting out the middleman was originally perceived as one of the great advantages NFTs would provide for digital artists – who then found themselves needing and joining NFT platforms — i.e., middlemen.
But even platforms come with complications. The “smart contract” in an NFT entry may stipulate a resale royalty for the original creator or minter. However, the technology that makes such a payment possible is not tied to the NFT, it is tied to the platform. If a collector buys an NFT on one platform but re-sells it on a different platform or marketplace, the royalty requirement won’t execute.
For example, …Alec Soth minted his project Dog Days, Bogota on OpenSea and likely set a healthy commission each time a work is resold. If I buy #53 for its current price of 3.3 ETH ($9,121.20 at time of writing), Soth — who originally minted the piece and sold it for 1.1 ETH — will probably get around a thousand dollars. However, if I buy it and sell it on a different marketplace, Soth will get nothing. This isn’t the hype that we were promised.
What about museums?
There is no lack of warnings about a volatile market that museums and other cultural heritage institutions might want to consider when encouraged to delve into “collecting” NFTs or using them for fund-raising.
“While many have little sympathy for those investing in a market fundamentally built on its lack of regulation and decentralization, there is growing recognition that buyers are at risk and are pushing for clarity.”
“Most people who make or buy NFTs never turn a profit. There is no regulation or consumer protection, and trading them is basically as risky as gambling. Investing in cryptocurrency is high risk and involves a lot of technical know-how and luck; few financial professionals would recommend it, and scams are aplenty.”
In a fascinating plot twist, we have this headline: We Reappropriated What Belongs to Us’: Congolese Artists Minted NFTs of a Colonial-Era Sculpture—and the Museum That Owns It Is Not Happy.”
“The sale of the NFT is an example of powerful magical thinking: the group felt that the chances that the sculpture will return on loan to Congo were always slim and now the museum that owns the work is not pleased about the NFT, which was made without their consent.”
On the other hand, we discover that there is an “increasing number” of NFT collectors starting to branch out and invest their cryptocurrency in a traditional, physical art collection
“Critics have scoffed that a marriage between NFTs and the art world is impossible. But catering to the tastes of the crypto nouveau riche has become the frantic obsession of the commercial art world …
Even as they court collectors from the metaverse, art galleries are …embracing the technology that threatens their business model. Many have invested in digital platforms. Industry experts say it is an opportunity for dealers to limit incentives for their artists to cut them out as the middlemen and independently sell their work.
“…In the last three or four months, we have seen a greater interest in physical art from NFT collectors,” said Charles Stewart, [Sotheby’s] chief executive,”
Nothing new under the sun?
But back to Yves Klein: “The original NFT? Sotheby’s to offer a receipt for an invisible work by Yves Klein for €500,000.” It seems Klein created and sold limited edition receipts, which tantalizingly parallel the conceptual nature of NFTs.
“… A receipt, designed to look like a banker’s cheque, was drawn up and the buyer was given two options: either retain the receipt and have the corresponding immaterial zone become transferrable through resale, or burn the receipt in a ritual between collector and artist, which would make the zone become intrinsically part of them and cease to exist upon their death.”
The work of art involved the sale of the ownership of an empty space, for which a receipt was provided … The performative aspect then followed: the buyer could, if they wished, keep the receipt and transfer it in future, or the receipt could be burned in a ceremony which would involve Klein throwing half the exchanged gold into the River Seine. For those who kept the receipt, Klein kept a ledger which recorded all the sales and resales of these empty zones, an old-fashioned version of blockchain technology.”
Fast forward to a recent project by Damien Hirst: “Each of the hybrid painting-NFTs, available to collectors at the low, low price of $2,000, has a very particular stipulation. Buyers would have one year to decide if they wanted to keep the NFT, in which case the physical artwork would be ceremonially burned. Or they could keep the physical work, and relinquish rights to the blockchain-based artwork.”
Back once more to Yves Klein and the fine art of marketing: Sotheby’s cataloguing of the Klein receipt work reveals more about this hypothetical parallel with NFTs:
“Some have likened the transfer of a zone of sensitivity and the invention of receipts as an ancestor of the NFT, which itself allows the exchange of immaterial works. If we add that Klein kept a register of the successive owners of the “zones”, it is easy to find here another revolutionary concept – the “blockchain”.
The icing on the cake? Klein made nine “empty zone” receipt works, which could be paid for only with gold. “One of these receipts is now coming up for sale at Sotheby’s, and its similarities to the modern-day NFT are so notable that Sotheby’s are going so far as to accept not pure gold, but cryptocurrency for it.”
So, are there legal implications? Many. One example of innocent-sounding “art projects’ with criminal implications:
“Police Arrest Two 20-Year-Olds for Allegedly Conning Collectors Out of $1 Million—With Ice Cream-Themed NFT Artworks.” The duo was arrested on charges of conspiracy to commit wire fraud and conspiracy to commit money laundering. They face a maximum prison sentence of 20 years.
There are legal jurisdiction issues as well:
Jeff Koons will send his sculptures to the moon. “Corresponding digital renderings of the lunar-bound works will be sold as NFTs, obviously.”
Because copyright laws differ from country to country, not counting the moon (yet), it can’t get more fun than this.
Highly recommended reading for those who can’t resist going deeper:
NFTs & the Death of Art — by Brian Frye, University of Kentucky College of Law
NFTs and the Definition of Art — by Shinobi, bitcoinmagazine.com
https://www.artnome.com/news/2021/7/28/why-museums-should-be-thinking-longer-term-about-nfts
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c9759584-fea6-4edf-87d7-c1b9c9ad045e | Excalibur Spider Double Flying Tourbillon
Excalibur Spider Double Flying Tourbillon
June 10, 2018
Roger Dubuis further speeds up its ‘Dare to be Rare’ concept with the launch of an Excalibur Spider model inspired by performance-oriented industries and supercar supremacy.
Pursuing its bold approach to watchmaking in terms of ‘progressive complications and disruptive materials,’ Roger Dubuis offers this new expression of its Excalibur Spider combining the signature features of its skeleton timepieces with the unmistakable racing design stamp of the brand’s recent luxury alliances. Prestigious partnerships that are taking the engineering skill, creativity and uniqueness embedded in the Roger Dubuis DNA to the next level.
A Powerful Touch of Orange: Because Roger Dubuis never does anything by halves, the Excalibur Spider Double Flying Tourbillon recalls the specific color coding typical of supercar dashboards. The vibrant orange shade of the rubber overmolding is picked up on the two-tone skeleton dial as well as the strap and stitching, in a tip of the hat to supercar seats with their different materials and multicolor details.
This zestful model is powered by brand-new hand-wound mechanical skeleton Caliber RD105SQ. The twin flying tourbillons at 5 and 7 o’clock are rimmed by speedometer-type small seconds displays, while the multicolored power-reserve indicator is a cool nod to racing-car cockpit fuel gauges. Exclusivity is the middle name of this 28-piece limited edition.
This new model perfectly embodies the talent and ingenuity deployed by the ‘pioneer of contemporary skeletons,’ with contrasts also expressed through finishing textures, and synonymous with the racing automobile-inspired vibe embodied in the Excalibur collection.
Roger Dubuis maintains its resolutely exclusive approach to watchmaking with 28- and 88-piece limited editions. | {
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bdd7baea-10e1-4629-bfb5-7f33156c41d1 |
The company was founded in 2009 and has offices in New York and London.
Our broad and deep history in the art market, along with our passion for technology and science set within the context of technical art history, allows us to provide unparalleled support to the art world, complementing traditional art history, provenance research, and connoisseurial opinion; these forces drive the work of ArtDiscovery. While utilizing current techniques and technologies, we are far more than ‘scientists.’ All of our specialists are trained conservators; your art is safe in our hands and art handling and security requirements are well understood. We strive to help our clients increase the value of their art or giving the required confidence when buying art.
At ArtDiscovery, our experts have spent decades collecting and analyzing data on an extensive range of reference materials, especially pigments. Our database of pigments is the world’s largest, privately owned collection exclusively licensed from the Pigmentum Group consisting of Ruth Siddall, Tracey Chaplin, Nicholas Eastaugh, and Valentine Walsh. Moreover, we use the associated spectral libraries daily as the most robust reference standard in the industry.
Our unique intellectual property, experienced leadership team, and passion for art and science are what stands us apart and has allowed us to be the market leader for the testing and examination of your valued art. | {
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710dcd8e-9cd6-4e9d-8ed7-06975aca852e | Modern Greek art
Modern Greek art is art from the period between the emergence of the new independent Greek state and the 20th century. As Mainland Greece was under Ottoman rule for all four centuries, it was not a part of the Renaissance and artistic movements that followed in Western Europe. However, Greek islands such as Crete, and the Ionian islands in particular were for large periods under Venetian or other European powers' rule and thus were able to better assimilate the radical artistic changes that were occurring in Europe during the 14th-18th century. The Cretan School and in particular the Heptanese School of art are two typical examples of artistic movements in Greece that followed parallel routes to Western Europe.[1] As such, there were different artistic trends in the emerging Greek society. Modern Greek art can be said to have been predominantly shaped by the particular socioeconomic conditions of Greece, the large Greek diaspora across Europe, and the new Greek social elite, as well as external artistic influences, predominantly from Germany and France.
Sculpture and painting
19th century
The School of Munich
Nikolaos Gyzis - Historia
Ηistoria (Allegory of History) by Nikolaos Gyzis (1892).
George Iakovidis - Children's Concert
Georgios Jakobides, Children's Concert.
Modern Greek artSome of them remained in Munich, the so-called Athens on the Isar. Both academic and personal bonds developed between early Greek painters and Munich artistry giving birth to the Greek "Munich School" of painting. Nikolaos Gysis was an important teacher and artist at the Munich Academy and he soon became a leading figure among Greek artists. Academism, realism, genre painting, upper middle class portraiture, still life and landscape painting, often representing impressionist features, will be replaced in the end of the 19th century by Symbolism, Jugendstil, Art Nouveau, which are mainly traced in the work of Nikolaos Gysis, Aristeas and others.[2] Early-20th-century modernism is also represented by significant Greek artists in Munich. Many of these Munich School artists chose subjects such as everyday Greek life, local customs, and living conditions. Several important painters emerged at this time. Theodoros Vryzakis specialized in historical painting and especially inspired by the 1821 Greek War of Independence. Nikiphoros Lytras concentrated on realistic depictions of Greek life. Georgios Jakobides devoted his attention to infants and children and he would later become the first Director of the new National Gallery of Athens. Georgios Roilos was another leading painter of the period closely associated with the Munich School, especially in his early career. Konstantinos Volanakis was inspired mostly by the Greek sea.[3]
Other artists associated with the School of Munich were Symeon Sabbides, Yannoulis Chalepas, Leonidas Drosis, as well as quite a few modernist artists who studied in Munich, which included Theofrastos Triantafyllidis, Jorgos Busianis, and also Giorgio de Chirico.[2]
Notable sculptors of the new Greek Kingdom were Leonidas Drosis (his major work was the extensive neo-classical architectural ornament at the Academy of Athens), Lazaros Sochos, Georgios Vitalis, Dimitrios Filippotis, Ioannis Kossos, Yannoulis Chalepas, Georgios Bonanos and Lazaros Fytalis.
The School of Paris
PericlèsPantazis.Lady knitting
Lady knitting by Périclès Pantazis.
A few Greek painters studied in Paris. Despite residing in the French capital and following the guidelines of the French Art Academy, they invariably had their own interpretations. Jacob Rizos was involved with the rendering of female grace, Theodoros Rallis with scenes from the Orthodox East and Nikolaos Xydias Typaldos with portraiture, still life and genre painting. During this period in Paris the avant-garde Impressionist movement developed, but most Greek painters remained faithful to the precepts of their teachers with only some nebulous thrusts in the direction of this movement. The first Greek impressionist was Périclès Pantazis who, after Paris, settled in Belgium and became a part of the avant-garde group Circle de la pâte.
Themes-artistic depictions
Many Greek artists of this period also drew upon El Greco's style for inspiration, particularly when creating art based on religious themes. This tied in with the idea of modern secular Greek art of the period referencing more classical styles, while religious art referenced Byzantine, or Byzantine inspired art. Moreover, an important and often pioneering role was played by artists from Ionian islands in the 18th century and the beginning of the 19th century, who exploited conquests of the Italian Renaissance and baroque ateliers. As efforts persisted with new directions and objectives, Greek artists emerging in the world during the first decades of the 19th century reconnected Greek art with its ancient tradition, as well as with the quests of the European ateliers, especially those of the Munich School, with defining examples of the Greek contemporary art of the period including the works of Theodoros Vryzakis and Nikiphoros Lytras.
20th century
At the beginning of the 20th century landscape painting held sway and the interest of painters turned toward the study of light and color.[3] The dependence of Munich slackened and Paris became the pole of attraction for the artists of the period. In the early 20th century Demetrios Galanis, a contemporary and friend of Picasso, achieved wide recognition in France and lifelong membership of the Académie française following his acclaim by the critic Andre Malreaux as an artist capable "of stirring emotions as powerful as those of Giotto". Later in the century Nikos Engonopoulos achieved international recognition with his surrealist conceptions both of painting and poetry, while in the late 1960s Dimitris Mytaras and Yiannis Psychopedis became associated with European critical realism. Impressionism was the original influence on the leading figures of the art of the first half of the 20th century, Konstantinos Parthenis and Konstantinos Maleas, while Nikiphoros Lytras associated himself with the avant-garde groups of Munich constituting the last known link with the series of painters in the great tradition of Munich in Greek art . The further development of these painters led to other roads, but always within the framework of the avantgarde movement albeit with a Greek dimension.
Gradually the impressionists and other modern schools increased their influence. In the early 20th century Greek artists turned from Munich to Paris. The interest of Greek painters, artists changes from historical representations to Greek landscapes with an emphasis on light and colours so abundant in Greece. Representatives of this artistic change are Konstantinos Parthenis, Konstantinos Maleas, Nikiphoros Lytras and Georgios Bouzianis. Konstantinos Parthenis, in particular, introduces historical, religious and mythological elements that allow the classification of Greek painting into modern art. The same is true with the landscapes of Konstantinos Maleas and the expressionism of Georgios Bouzianis. The period of the 1930s was a landmark for the Greek painters, with Yiannis Tsarouchis, Yiannis Moralis, Nikos Hadjikyriakos-Ghikas, Spyros Vassiliou, Alekos Kontopoulos (introduced abstraction in Greek paintings) and Spyros Papaloukas coming into the limelight of Greek Art. These painters tried mainly to link leading European trends with Greek tradition.[4]
Notable 20th- and 21st-century artists
The second half of the 20th century has seen many widely acclaimed Greek artists such as Constantine Andreou, recipient of the French Légion d'honneur, Thodoros Papadimitriou, an internationally acclaimed sculptor. Giorgio de Chirico was an influential pre-Surrealist Greek-Italian painter that founded Metaphysical art. Jannis Kounellis ranks among the pioneers of the Arte Povera artistic movement. Electros aka B. Vekris Kinetic artist and Sculptor, Most well-known Artist working with light, Sound and Motion. Theodoros Stamos was a renowned abstract exessionism painter. Takis, Chryssa and Constantin Xenakis are internationally acclaimed artists of Kinetic sculpture. Other notable Greek artists are Hermon di Giovanno, Varotsos, Dimitris Mytaras, Alekos Fassianos, Theocharis Mores, Dimitris Koukos (1948-), Nikos Stratakis, Steven Antonakos, Kostas Tsoklis, Nikos Hadjikyriakos-Ghikas, Thanassis Stephopoulos, Aggelika Korovessi, and Yiannis Melanitis.[5]
Volanakis 001
Konstantinos Volanakis, Anchored boats.
Port of Copenhagen by Ioannis Altamouras
Ioannis Altamouras, The port of Copenhagen.
Grandma's Favorite
Grandma's Favorite by Georgios Jakobides.
Gysis Nikolaos Capuchin
Capuchin monk by Nikolaos Gyzis.
Theofilos Eudoxia
Theofilos Hatzimichail, Symposium of Empress Eudoxia.
The sortie of Messologhi by Theodore Vryzakis
Theodoros Vryzakis, The sortie of Messologhi.
Socrates by Leonidas Drosis, Athens - Academy of Athens
Statue of Socrates by Leonidas Drosis.
Théodore Jacques Ralli Eavesdropping 1880
Theodore Ralli, Eavesdropping.
Lytras nikiforos antigone polynices.jpeg
Nikiphoros Lytras, Antigone in front of the dead Polynices.
Lytras Nikolaos 001.jpeg
Nikolaos Lytras, The straw-hat.
George Zongolopoulos in Thessaloniki
The "umbrellas" of Zongolopoulos in Thessaloniki.
EO Antirriou Iteas, Dorida 330 58, Greece - panoramio
Monument in Distomo for the Distomo massacre by Aggelika Korovessi.
See also
1. ^ Nano Chatzidakis, in From Byzantium to El Greco, p.49, Athens 1987, Byzantine Museum of Arts
2. ^ a b "Archived copy". Archived from the original on 2007-08-05. Retrieved 2007-07-29.CS1 maint: Archived copy as title (link)
3. ^ a b "Archived copy" (PDF). Archived from the original (PDF) on 2011-06-06. Retrieved 2007-02-06.CS1 maint: Archived copy as title (link)
4. ^ Modern and Contemporary Art in Greece (1984), Hans-Jörg Heusser AICARC Center, Zürich
5. ^ Greek Horizons: Contemporary Art from Greece (1998), Efi Strousa, Roger Wollen, Tullie House Museum, Art Gallery Carlise, England
External links
Ancient Greek sculpture
Ancient Greek sculpture is the sculpture of ancient Greece. Modern scholarship identifies three major stages in monumental sculpture. At all periods there were great numbers of Greek terracotta figurines and small sculptures in metal and other materials.
The Greeks decided very early on that the human form was the most important subject for artistic endeavour. Seeing their gods as having human form, there was little distinction between the sacred and the secular in art—the human body was both secular and sacred. A male nude of Apollo or Heracles had only slight differences in treatment to one of that year's Olympic boxing champion. The statue, originally single but by the Hellenistic period often in groups was the dominant form, though reliefs, often so "high" that they were almost free-standing, were also important.
Art Gallery of the Society for Macedonian Studies
Founded in 1975, the Art Gallery of the Society for Macedonian Studies is a museum in Thessaloniki, Greece. It was the first organised visual art institution in the city of Thessaloniki, its purpose being to promote and disseminate modern Greek art, mainly that of northern Greece. It occupies the top floor of the building that also houses the State Theatre of Northern Greece. The building was designed by the architect Vassilis Kassandras and stands directly opposite the White Tower on the sea-front.
The collection comprises more than 400 works, mainly paintings, sculptures and engravings, mostly by artists from Thessaloniki and Macedonia in general, though there are also works by major artists from the rest of Greece and other countries. Works by foreign artists are selected by virtue of their connection with the city, i.e. they depict monuments or landscapes of Thessaloniki. Most of the artwork has been donated, some purchased, and at one time quite a number of works were bequeathed to the gallery. Early in 1999, it was augmented by works from the Papanakos Collection.
There is space to display only 150 works, yet the exhibition presents an entirely satisfactory picture of the basic orientations of visual expression in northern Greece, as also of the development of modern Greek art since 1850. A sample of the artists includes Tassos Kyriazopoulos, Spyros Vassiliou, Thalia Flora-Karavia, Nikos Sachinis, Émile Gerlach, Yorgos Apotsos, Kostas Karanos, Anna Christoforidou, Kyriakos Kabadakis, and Apostolos Kilessopoulos.
The gallery extends its interest to organizing solo and group periodic exhibitions to promote contemporary art.
Athens School of Fine Arts
The Athens School of Fine Arts (ASFA; Greek: Ανωτάτη Σχολή Καλών Τεχνών, ΑΣΚΤ, literally: Highest School of Fine Arts), is Greece's premier Art school whose main objective is to develop the artistic talents of its students.
Contemporary Greek art
Contemporary Greek Art is defined as the art produced by Greek artists after World War II.
Cretan School
Cretan School describes an important school of icon painting, under the umbrella of pEmfietzoglou Gallery Museum
The Emfietzoglou Gallery Museum is an art gallery in Athens, Greece. It is sited in Marousi near the metro station. Its founder Prodromos Emfietzoglou gave his private art collection of over 500 works to the public.
These days the Emphietsoglou gallery offers a review of 750 works of modern Greek art including some of the best paintings from the last 200 years.
Greek academic art of the 19th century
The most important artistic movement of Greek art in the 19th century was academic realism, often called in Greece "the Munich School" (Greek: Σχολή του Μονάχου) because of the strong influence from the Royal Academy of Fine Arts of Munich (German: Münchner Akademie der Bildenden Künste), where many Greek artists trained. The Munich School painted the same sort of scenes in the same sort of style as Western European academic painters in several countries, and did generally not attempt to incorporate Byzantine stylistic elements into their work.
Greek art is mainly five forms: architecture, sculpture, painting, pottery and jewelry making.
Heptanese School (painting)
The Heptanese School of painting (Greek: Επτανησιακή Σχολή, literally: "The School of the Seven Islands"
Macedonian art (Byzantine)
Macedonian art is the art of the Macedonian Renaissance in Byzantine art. The period followed the end of the Byzantine iconoclasm and lasted until the fall of the Macedonian dynasty, which ruled the Byzantine Empire from 867 to 1056, having originated in Macedonia in the Balkans. It coincided with the Ottonian Renaissance in Western Europe. In the 9th and 10th centuries, the Byzantine Empire's military situation improved, and art and architecture revived.
Melina Mercouri
Maria Amalia "Melina" Mercouri (Greek: Μαρία Αμαλία "Μελίνα" Μερκούρη; 18 October 1920 – 6 March 1994) was a Greek actress, singer, and politician. She received an Oscar nomination and won a Cannes Film Festival Award for her performance in the 1960 film Never on Sunday. Mercouri was also nominated for three Golden Globes and two BAFTA Awards in her acting career.
As a politician, she was a member of the PASOK and the Hellenic Parliament. In October 1981, Mercouri became the first female Minister of Culture and Sports.
Municipal Art Gallery (Thessaloniki)
The Municipal Art Gallery of the Municipality of Thessaloniki in Central Macedonia, Greece was founded in 1966 as an offshoot of the Municipal Library. Since 1986 it has been housed in the Villa Mordoch on Vassilissis Olgas Avenue, a mansion designed by the architect Xenophon Paionidis in the eclectic style in 1905 and owned by the Municipality of Thessaloniki. Since 2013 it is housed in Villa Bianca, also on Vassilissis Olgas Avenue. It also uses the Makridis Room near the Posidonio sports centre on the sea front and the old Archaeological Museum (Yeni Cami) as permanent exhibition spaces.
The gallery has more than 1,000 works in its collection, and these are divided into the Thessalonian Artists Collection (3 generations: 1898–1922, 1923–40, 1941–67), the Modern Greek Engraving Collection, the Collection of Byzantine and Postbyzantine Icons, which covers a period of six centuries, the Modern Greek Art Collection, and the Sculpture Collection.
The gallery organises regular (mainly retrospective) exhibitions of Greek artists, produces numerous publications, has a specialised library-cum-reading-room, and offers guided tours for the public (booked in advance). Since 1986 it has held 55 exhibitions of Greek and foreign artists. One of its aims is to jointly organise exhibitions with major visual arts institutions in Greece and abroad. Thus it has presented such artists as Max Ernst and Nikos Engonopoulos (in 1997), Theofilos Hatzimichail (in 1998), and, for the first time in Greece, the works of Nikolaos Gyzis owned by his family (in late 1999). The latter include drawings and oil paintings from Gyzis’s travels in Greece, Asia Minor, and Germany, family portraits and scenes, allegorical subjects, genre paintings, and still lives.
The immediate aims of the Municipal Gallery include converting the second and third floors of the Villa Bianca into permanent exhibition spaces for works by Thessalonian artists and its collection of Byzantine icons.
Municipal Art Gallery of Ioannina
The Municipal Art Gallery of Ioannina (Greek: Δημοτική Πινακοθήκη Ιωαννίνων) is an art museum in Ioannina, Greece that has been open in its current building since 2000. The collection of over 500 items ranges from classical to modern paintings and sculptures.
Outline of Greece
The following outline is provided as an overview of and topical guide to Greece:
Greece – sovereign country located on the southern end of the Balkan Peninsula in Southern Europe. Greece borders Albania, Bulgaria, and North Macedonia to the north, and Turkey to the east. The Aegean Sea lies to the east and south of mainland Greece, while the Ionian Sea lies to the west. Both parts of the Eastern Mediterranean basin feature a vast number of islands.
Greece lies at the juncture of Europe, Asia and Africa. It is heir to the heritages of ancient Greece, the Roman and Byzantine Empires, and nearly four centuries of Ottoman rule. Greece is the birthplace of democracy, Western philosophy, the Olympic Games (for this reason, unless it is the host nation, it always leads the Parade of Nations in accordance with tradition begun at the 1928 Amsterdam Olympics), Western literature and historiography, political science, major scientific and mathematical principles, and Western drama including both tragedy and comedy.
Greece is a developed country, a member of the European Union since 1981, a member of the Economic and Monetary Union of the European Union since 2001, NATO since 1952, the OECD since 1961, the WEU since 1995 and ESA since 2005. Athens is the capital; Thessaloniki, Patras, Heraklion, Volos, Ioannina, Larissa and Kavala are some of the country's other major cities.
Protogeometric style
The Protogeometric style (or "Proto-Geometric") is a style of Ancient Greek pottery led by Athens produced between roughly 1050 and 900 BC, the period of the Greek Dark Ages and the beginning of the Archaic period. After the collapse of the Mycenaean-Minoan Palace culture and the ensuing Greek Dark Ages, the Protogeometric style emerged around the mid 11th century BCE as the first expression of a reviving civilization. Following on from the development of a faster potter's wheel, vases of this period are markedly more technically accomplished than earlier Dark Age examples. The decoration of these pots is restricted to purely abstract elements and very often includes broad horizontal bands about the neck and belly and concentric circles applied with compass and multiple brush. Many other simple motifs can be found, but unlike many pieces in the following Geometric style, typically much of the surface is left plain.Like many pieces, the example illustrated includes a colour change in the main band, arising from a firing fault. Both the red and black colour use the same clay, differently levigated and fired. As the Greeks learnt to control this variation, the path to their distinctive three-phase firing technique opened.
Some of the innovations included some new Mycenean influenced shapes, such as the belly-handled amphora, the neck handled amphora, the krater, and the lekythos. Attic artists redesigned these vessels using the fast wheel to increase the height and therefore the area available for decoration.
From Athens the style spread to several other centres.
Spyros Vassiliou
Spyros Vassiliou (Greek: Σπύρος Βασιλείου; 1903- 03.22.1985) was a Greek painter, printmaker, illustrator, and stage designer. He became widely recognized for his work starting in the 1930s, when he received the Benaki Prize from the Athens Academy. The recipient of a Guggenheim Prize for Greece (in 1960), Spyros Vassiliou's works have been exhibited in galleries throughout Europe, in the United States, and Canada.
Thanassis Stephopoulos
Thanassis Stephopoulos (Greek: Θανάσης Στεφόπουλος, 1 June 1928 – 29 December 2012) was one of Greece's most important 20th-century painters, teachers and philosophers of art. He was famous for his works, representing a genre of painting which he had introduced, the abstract landscape painting. He was one of the most important representatives of the so-called Modern Greek art.
Theophilos Hatzimihail
Theophilos Hatzimihail (Greek: Θεόφιλος Χατζημιχαήλ or Θεόφιλος Κεφαλάς; born c. 1870, Vareia, near Mytilene, island of Lesbos; died in Vareia, Greece, 24 March 1934), known simply as Theophilos, was a major folk painter of modern Greek art. The main subject of his works are Greek characters and the illustration of Greek traditional folklife and history.
Yannoulis Chalepas
Yannoulis Chalepas (Greek: Γιαννούλης Χαλεπάς, August 14, 1851 – September 15, 1938) was a Greek sculptor and significant figure of Modern Greek art.
This page is based on a Wikipedia article written by authors (here).
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ae65597a-42d1-4ce8-901f-3310861a52ca | Patrick Vieira Head Poster
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Patrick Vieira Head Poster
Product Description
Capturing his image through a classic pose, this vintage minimalist, retro style illustration using only light and shade to draw out the personality, identity, soul, emotions and determined gaze of a true winner. Born in the vibrant city of Dakar on Wed Jun 23 1976, he rose from the streets with a ball at his feet, weaving magic and mesmerizing crowds with his exceptional skills. With each kick, he brought glory to his nation, becoming a symbol of hope and inspiration.
In the heat of battle, he stood tall, displaying courage, passion, and unwavering determination. His playing style was a blend of power, precision, and finesse – a true master of the game. In important matches, he danced through defenders with ease, scoring unbelievable goals that left the crowds in awe. His presence on the pitch was commanding, his influence undeniable.
This poster immortalizes him at the peak of his powers, showcasing his greatness in a moment frozen in time. It tells the story of a legend, honouring his memory and celebrating his legacy. With a minimal use of colour, the design reflects the essence of France, a symbol of pride and resilience. Displaying this poster is not just a tribute – it's a declaration of the unbreakable spirit of a true footballing icon.
Celebrate the life and achievements of a football legend with this captivating tribute to Patrick Vieira – a must-have for fans and collectors who appreciate the beauty and magic of the beautiful | {
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8ac7c1ed-1128-4acc-9527-16bae253452d | Monday, 26 September 2016
The Importance of a Logo for your business
Logo designing agency
Logos are very crucial to any business. They are the most visible emblematic identity carried through the birth and remains till the eternity. A well designed logo is an essential part of the company’s overall marketing communication. It is an easily recognized symbol and builds brand image.
Small businesses often make mistakes by not giving it the due importance it has. They either copy the element with a minor change or use easily available graphics. This often leads to an identity crisis and poor business image. Logos are significant and let us tell you why.
Fore mostly, Logo designs are a major contributor to Brand Identity and Brand Assets
The logo is the first distinctive feature and visual identity of any business. It appears on every corporate collateral and all merchandises. Corporate stationery or website, advertisements or legal ventures; it is on records everywhere. It symbolizes the quality of your products and services. Over a period of time, the performance of the brand develops into a valuable brand asset. Hence, it is advisable to design it exclusively right at the conception of any business.
A sound designed logo reveals clarity in the business plan to its target markets. It implies a high degree of professionalism and competence that could help steer potential new clients towards selecting a product. The visual elements like colors, fonts, typography and other design elements are the contributors to deliver a professional logo. The design principles give some sense of a meaning about the company or its industry. They adhere to quality standards and bring a sense of direction to all the investors, beneficiaries, personnel, partners and all affected parties. Logos are intended to be the “face” of the company.
Effective Marketing Strategy
A Logo is a short-hand address to a company name. It is easily recognizable and stimulating if designed appropriately. Human minds often register those visuals or images which activate their sub-conscious mind. It could be simple but memorable or complex which involves the brain cortex to decipher the meaning. The more generic ones fail to be recalled. Since logos are prominently used in every marketing communication, it is significant to get a noteworthy logo designed.
The power of the logo lies not only in its visual nature. A combination of great design elements and powerful words can result into an outstanding logo.
A well-designed logo carries an unbreakable strength that it can carry any communication single-handedly keeping your business image intact and strong. Studies have shown that people recognize and relate to images faster than text. As the popularity increases it gains brand loyalty and goodwill. It is the logo that helps recall the brand hence, ample consideration should be given to the making of a logo. It could be simple yet memorable or complex yet extremely thoughtful.
Resource: Therefore, it is very important for a logo to have a meaning to present something specific and unique to the subconscious mind of the consumer. A logo establishes ownership and sets one apart from the competition. Get yours designed today from best Advertising agencies like Moonstruck Advertising agency and let your logo lead your business and stand apart from the rest of the competition! | {
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e0c0fabe-72be-4aeb-a8a6-a6c009b50894 | This are 3D printed Friedrich Engels Busts produced by the 3D company EXCIT3D.
The artist Yvette Endrijautzki painted and patinated each bust.
Thebusts of Engels in old and young range from 4,5 com to 5,5cm in hights.
You can order them in red, white, black, green, blue
Let us know if you'd like to order an old or a young Engels head and your color choice!
The old Engels bust was sculpted by Heike Ising-Alm
Friedrich Engels (28 November 1820 – 5 August 1895) was a German philosopher, communist, social scientist, journalist and businessman. His father was an owner of large textile factories in Salford, England and in Barmen, Prussia (what is now in Wuppertal, Germany).
Engels developed what is now known as Marxist theory together with Karl Marx and in 1845 he published The Condition of the Working Class in England, based on personal observations and research in English cities. In 1848, Engels co-authored The Communist Manifesto with Marx and also authored and co-authored (primarily with Marx) many other works. Later, Engels supported Marx financially, allowing him to do research and write Das Kapital.
Friedrich Engels Bust
18,50$Preis | {
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3b7e752d-31c3-4630-bccf-d6ea00ef52c1 | This Canadian Design Show Was Dreamed Up Before the Pandemic. So Why Is It About Mutation, Isolation, and Fear of the Unknown?
In February of 2020, I flew to Montréal at the invitation of the Collectif des Créateurs Canadiens (CCC) to preview an exhibition of Canadian design that was set to debut at last year’s Salone del Mobile. Curated by Carwan Gallery’s Nicolas Bellevance-Lecompte — who was born and raised in Montréal before settling in his current home base of Milan — the exhibition, called FICTIONS, was set to feature monumental works by eight local design studios. As we toured the city, hopping from atelier to atelier, we learned firsthand about the inspiration behind each piece, about the pride each designer felt in their Brutalist-peppered, Leonard Cohen–obsessed, post-industrial city, and about how a new wave of talent is fueling a creative renaissance there. Then, of course, a month later, the entire world shut down. No Milan, no exhibition.
A year later, with international design plans still tenuous at best, CCC and the FICTIONS group have launched an ambitious virtual experience to bring the pieces to the world. Set in an abandoned, post-apocalyptic-looking building in Montréal, the virtual exhibition offers visitors a surveillance-like experience, with four different camera angles offering a glimpse of the half-shrouded pieces, alongside an eerie accompanying score. Though there was no brief, many of the pieces play with ideas about mutation, isolation, and perception; “familiar in their appearance, these fictions of mutated furniture blur the lines of design and art, and question who the user might be, and what purpose they are meant to inhabit.” In light of the pandemic, some of the themes feel weirdly prescient.
For instance, Claste Collection’s Lest We Be Kings chairs feature thin slabs of marble hung from towering sheets of bronzed glass; they resemble oversized thrones and yet protect and isolate their occupants rather than showing them off. Lambert & Fils’s topographical Paravent, made from hundreds of extruded aluminum profiles, both filters and extinguishes light as the viewer moves around it, creating a sense of unease (not to mention reminding one of the “Swiss-cheese analogy” from this year). David Umemoto’s cast-concrete sculptures are Escher-like with their overlapping staircases and architectural elements; a house you can’t quite escape. And Yannick Pouliot’s Nouvelles Singularités wonders what would happen if you fed a silk-upholstered Louis XIV chair through a glitch in the matrix; its tunnel-like, closed-off, repetitious form feels surreal at best, and ominous at worst. On view online through April 30, and the pieces are for sale here.
David Umemoto
Claste Collection
Loïc Bard
Pascale Girardin
Guillaume Sasseville of SSSVLL
Lambert & Fils
Atelier Zébulon Perron
Yannick Pouliot
Atelier Zébulon Perron
David Umemoto
From left: Pascale Girardin, Atelier Zébulon Perron, Lambert & Fils
SSSVLL & Loïc Bard | {
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b54613dc-0bf4-4502-b2b7-f584d792bfff | Rhema Soul [RED]
Client: Good City Music
Project: Rhema Soul “RED”
Deliverables: Album brand, custom typography, packaging and art direction.
Project Notes: The members and friends of Good City Music, hired me once again to create their album art for Rhema Soul’s [technically] junior album entitled “RED.”
This time around, I collaborated with good bud, David Moreno of Dajo Photography for imagery. We met early in the process to discuss creative direction. Rhema Soul painted the picture of what the message of their album was and I instantly knew which direction to take it.
This album was a mature evolution from their previous. I wanted the moodboard to showcase both elegance with duotone photography and hand lettering for that human element.
RS-Moodboard-A
The photoshoot was done in various locations in Downtown Miami and in my Loft. The stylist, Denise Ramos from The Salvation Group, did a great job with the groups modern wardrobe.
[slideshow_deploy id=’3626′]
Initial Cover Concepts
I wanted the color red to serve more as a highlight, complimenting the duotone photography and the hand lettered typography. I submitted these along with a more obvious, red album cover. They eventually chose the latter.
RS-RED-AlbumConcepts-3-4
RS-RED-AlbumConcepts-1-2
Album Art
Combining the colors, photography and lettering, I created a small booklet for the insert. Each spread gave the reader a seamless experience.
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d8a2bdd2-3b55-407a-a768-2b6f67734274 |
Mexico City, Mexico
CLIENT Confidential
PROGRAM Skyscraper—including offices, hotel, residences, and amenities—and retail base, forming the centerpiece of the regeneration of Santa Fe, Mexico City
AREA 120,000 m2 (1,290,000 sf), including 70,000 m2 (753,000 sf) offices, 25,000 m2 (269,000 sf) hotel / residential, 25,000 m2 (269,000 sf) retail, and 5,000 parking spaces
COST $350 million
STATUS Invited competition 2018; second prize 2019
PERSONNEL Elina Spruza Chizmar (PL), Maur Dessauvage, Nicolas Lee, Elizabeth Nichols, Kelsey Olafson, Joshua Ramus, Teng Xing
CONSULTANTS Front, Magnusson Klemencic
In most spheres of knowledge, making incremental advancements to one’s own ideas is a sign of serious, committed thought. In architecture, the continual refinement of an architectural language is appreciated, but the ongoing progression of non-stylistic ideas is largely regarded as intellectually corrupt. As a firm committed to architecture doing things, not merely representing things, REX practices design as an iterative critique from which an argument evolves. We therefore often return—unapologetically—to our previously advanced ideas to mine them further…or ‘re-evolve’ them.
Invited to participate in a competition in Santa Fe, Mexico City with a complex program, a large amount of deliverables, and a very short, two-and-a-half week timeframe, we unabashedly (and polemically) “mashed up” and re-evolved the underlying ideas from three of our previous competition proposals: Al Jazeera & QMC Headquarters, IIᴑᴑ, and Farley Annex High Garden.
Contemporary commercial architecture is swiftly being reduced to willful forms, enveloping and at odds with market-driven, generic floorplates. In contrast, ‘CDMX Mash-Up’ uses ideal development standards to create an economically robust and graceful design that contributes an elegant inflection into Mexico City’s evolving skyline.
To optimize operational costs, human comfort, and sustainability (and hence lease rates), office buildings should be slender bars oriented east-west or north-south. Taking advantage of its narrow site’s north-south orientation, CDMX Mash-Up manifests these benefits in a very specific, high-performance building organization.
This north-south orientation maximizes daylighting and cross-ventilation year-round, and passive heating in winter, all significantly reducing energy use and therefore electricity costs. The tower’s 21 m width (ideal for the north-south variant) in combination with custom blinds enable sunlight to penetrate the full depth of its floors without heat gain or glare.
This width also creates efficient open and closed office layouts on a 1.5 m module and equally efficient, double-loaded corridors of hotel rooms—of a market-desirable 38 m2—and rental housing units.
21 m office floorplate (from sunrise to sunset)
The bar’s length is cut to 80 m and capped by cores to match maximum allowable distances under Mexican code, resulting in a building footprint of 107 m x 21 m with an 85% efficiency.
Top to bottom: Residential plan (with one-, two-, and three-bedroom units) / hotel plan / open & closed office plan
This footprint is extruded to create 32 floors (70,000 m2) of office space and 15 floors (25,000 m2) of hotel and residential units. The office floors have a floor-to-ceiling height of 2.7 m, with 3.3 m at the window walls; their floorplates are 1.3 m thick, structured with castellated steel beams that taper at each end to create the additional perimeter height. The hotel and housing units also have a floor-to-ceiling height of 2.7 m; their floorplates’ thickness is minimized to 0.5 m by use of concrete “hollow-core” concrete planks.
Taking its cue from the highly successful Asian hotel model where lobbies and amenities are placed as high as possible, CDMX Mash-Up’s hotel lobby and a ‘Playground’ of amenities are inserted between the offices and the hotel / residential on the 34th to 39th floors. Accessible to all, the Playground includes a piano bar, a restaurant, a ballroom, pre-function spaces, meeting rooms, a gym, and other attractions. This public space at the tower’s midlevel affords panoramic views over the Santa Fe district and creates a dynamic node enlivening the Mexico City skyline.
Sky lobby with meeting rooms above
Piano bar
The dual core design provides high-efficiency vertical transportation, with: dedicated shuttle elevators that move quickly from ground lobby to sky lobby and its amenity Playground; separate low- and high-rise office elevator banks; dual hotel elevator banks stacked above the office elevator banks; dedicated high-speed residential elevators that bypass all other uses; and ample goods elevators.
Section A_A
At the office levels, castellated steel beams span the full width of the building, providing column-free interiors for maximum flexibility. The holes in the beams reduce weight by removing steel from the webs where material is least effective, while simultaneously providing prefabricated locations for routing building services. The castellated beams are tapered to increase the height and view at the window wall.
At the sky lobby and Playground levels, a structural diagonal bracing grid (“diagrid”)—built-up steel boxes encased in concrete for fireproofing, with dampers at strategic locations—links the cores to increase the building’s stiffness, optimize wind resistance, and provide additional seismic energy dissipation. The diagrid also acts as a multi-story truss, supporting the structural columns above and below, creating a column-free ground lobby.
At the hotel and residential floors, one story tall trusses—staggered vertically—span between columns. The story-tall trusses allow floor framing to attach into their W310 truss chords to minimize floor thickness and maximize floor-to-ceiling clearance. Combined with hollow-core precast concrete planks that span the 9 m distance between trusses, both the overall weight and overall floor depth are greatly reduced.
CDMX Mash-Up’s fully sealed, actively pressurized, closed cavity façade with integrated, motorized blinds enables exceptional transparency, solar control, thermal efficiency, compactness, and acoustic isolation. When deployed, the motorized blinds maximize daylight harvesting and control glare; when they are retracted, the system’s laminated low-iron glass achieves excellent light transmission and color rendition. The blinds also indicate the distinct program types: the sleek appearance of metal blinds at the offices is a counterpoint to the warm and inviting qualities of the specialty kiln-treated wood blinds at the hotel and residential units.
Loggias on the residential floors feature a unitized curtain wall with an operable bi-folding panel. When the operable panel is closed, it remains flush with the plane of the typical glazing on the building. When fully open, the unit is positioned overhead in parallel to the terrace floor; it can be partially opened to curate the extent of natural light and fresh air.
When the morning sun strikes the east side of the building, its eastern blinds deploy, while its western blinds remain retracted from the night before. When the afternoon sun strikes the west side of the building, its eastern blinds retract, while its western blinds deploy.
(For further information, please refer to FAÇADE DETAILS tab.)
View of tower from east with blinds deployed and retracted
A multilevel, landscaped public square and shopping experience (with 25,000 m2 of retail and 5,000 parking spaces) adjacent to CDMX Mash-Up positions the development as an urban activator in this growing district and allows an additional 25,000 m2 of GLA to the tower.
Depressions in the public square form multifaceted windows and light wells into the retail that follow the organization below.
The retail garden is parceled into highly programmed spaces, such as an amphitheater, a French garden, a tree grove, a water feature, or a wild topographical adventure. Food carts on the travertine paths around these spaces encourage visitors to linger longer in this oasis.
Section B_B
CDMX Mash-Up forms a coherent urban ensemble; its powerful simplicity pays homage to the namesake of Calle Luis Barragan, which winds through the garden and park.
Bird’s eye view of the retail garden
Site and retail plans
Instead of inserting a trendy glass tower into this prime location, CDMX Mash-Up strives to create an edifice that is simultaneously economically strategic, elegant, and of its context.
Images Credits: 1, 2, 3, 4, 8, 13, 14, 15, 25: Luxigon
(/) Prev / Next | {
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1334e423-3577-47f9-84f5-6551336e07c4 | Leica 50mm Summilux vs Zeiss Planar 50mm F1.4 ZF.2 - 50mm Lens Fashion Shootout
Leica 50mm Summilux vs Zeiss Planar 50mm F1.4 ZF.2 - 50mm Lens Fashion Shootout
50mm lens shootout between the Leica 50mm F1.4 Summilux asph and Zeiss 50mm F1.4 ZF.2 Nikon Mount Lens. This blog post is a review of each lens shot with 35mm film and a comparison between each two shooting fashion. Equipment used: Leica m-a and Nikon FM3a 35mm film cameras and Kodak Portra 800 and Kodak Gold 200 35mm film.
April 12, 2020, 10:14 p.m.
I have two primary 35mm film cameras that I use for my personal and professional work as a wedding and portrait photographer. Like many others, I always struggle with deciding which camera to bring along for a photo shoot. So, I figured I would put both lenses to the test on a portrait fashion photography shoot on 35mm film to see what the strengths and weaknesses of each 50mm lens was. I chose an old jail building in downtown Charleston South Carolina as my backdrop for the 50mm lens shootout.
35mm Camera Gear Used
The first camera was a Nikon FM3a 35mm film camera with the Zeiss Planar 50mm F1.4 Planar ZF.2 lens, paired with Kodak Gold 200 film and one roll of Portra 800 film. The second camera was a Leica m-a 35mm film camera with the Leica Summilux F1.4 asph lens (version with the telescoping lens hood) paired with Kodak Gold 200. The film was developed by Photovision Prints
NOTE: Both lenses in this shoot were always shot at F2 to give a more equal comparison.
Why Do I Shoot the Leica M-A and Nikon FM3a
Before I dive into the review, I just wanted to make a quick note about why I photograph fashion, portraits and weddings with the Nikon FM3a and Leica M-A.
Nikon FM3a 35mm Film Camera
I started out shooting 35mm film on a Canon F1N. I actually ended up buying the FM3a largely to pair it with the Zeiss 50mm Planar in this review. The other reason I wanted the Nikon FM3a was because of it's 1/4000th second max shutter speed and because, as a former engineer, I marveled at it's mechanical perfection. Which leads me to the m-a...
Leica M-A 35mm Film Camera
I purchased the Leica m-a about a year before writing this review. I had a Contax G2 kit that I never thought I would sell. You can read about the camera I sold, here: Brian D Smith Photography Reviews the Contax G2. I decided to sell the G2 because I was always curious to try a leica camera and I could adapt the lenses to my digital camera, thus enabling me to travel light with both digital and film. I purchased the 50mm Summilux F1.4 because I shoot nearly all of my portrait and wedding photographs on a 50mm lens, so I wanted to make sure I got the best 50mm lens for the leica camera. The 50mm Summilux asph would give me the perfect balance between sharpness and soft, contrasty character shot wide open. Let's move on to the lenses and why I decided to purchase each. I'll talk about their strengths, weaknesses, and why I decided to keep both 35mm kits.
Zeiss 50mm F1.4 Planar ZF.2 Nikon Mount
I purchased this lens after reading a review about how it rendered very similar to the Zeiss Planar 80mm F2 for the Contax 645. I didn't own a Contax 645 yet but as a wedding photographer, I already knew of it's legendary status as the ultimate wedding lens due to it's dreamy, almost surreal rendering. I prefer to shoot 35mm film because of the size and I love the grain and deep shadows, so I decided to purchase the Zeiss 50mm planar for my FM3a. This is the only 50mm lens I own for that kit. I'll keep the summary brief and just let the images do the talking.
Where the Zeiss Planar 50mm lens shines
The zeiss lens is surprisingly sharp when shooting objects in shade or front lighting. It still isn't as sharp as the leica lens, but with it's modern coatings it renders relatively sharp without being clinicly so. Where the zeiss lens really shines on the Nikon FM3a is in angled backlit or diffused backlit situations. This is when you get the images with that characteristically dreamy, soft zeiss planar lens rendering. The below image is the Zeiss planar 50mm F1.4 front lit, with Kodak Portra 800 film. You can see that it is sharp but there is still a certain softness to the way it renders.
Here is the Nikon Zeiss Planar 50 shot backlit. THIS is where this lens shines and why I purchased it. Look how dreamy the skin tones are and that absolutely perfect Bokeh. It's truly an amazing lens and if you are looking for dreamy, backlit portraits, you really can't beat it. Whether you are a wedding photographer, a portrait photographer, or just for personal projects, this lens has a unique character that every photographer should at least try once.
Where the Zeiss Planar 50mm F1.4 ZF.2 falls a bit short
While the lens truly does shine in backlit scnarios, the zeiss planar zf.2 can tend to get washed out if you are too squared up to the sun on a backlit portrait. I know this is a problem with all lenses, but the zeiss planar is particularly prone to getting washed out. The lens can experience this a similar washout when photographing subjects against highly reflective white walls or white boards (think a white linen styling board for wedding photography flat lays and detail styling). This is a flaw of planar lenses in general. It's hard to describe, but all I can describe it as is a highlight bleed. The highlights tend to disolve into the surrounding midtones and create this weird haze affect that I have never seen on any other camera lens. The Zeiss planar 80mm for the contax 645 doesn't suffer from this problem as much because of medium format film's significant dynamic range advantages.
More Examples from the Nikon FM3a and Zeiss Planar 50mm ZF.2 Lens
Leica 50mm Summilux-m F.14 asph Lens
I thought about getting the leica 50mm summicron at first but I decided on the summilux asph instead because I prefer lens character over sharpness and the leica summilux to me has the perfect balance of that. It is sharp wide open, but with a touch of softness and it has this contrast to it's rendering that is nothing short of indescribable. I purchased my copy of the Summilux for my Leica m-a 35mm film camera on a facebook forum for used film photography equipment.
Where the Leica Summilux-m 50mm F1.4 lens shines
The lens shines in nearly every single scenario, whether it be for fashion portraits, wedding photography, studio portraits, front lit, back lit, whatever. It's just an amazing all around lens. My favorite thing about the lens is the contrast and the incredibly flat plane of focus. I've never shot a lens that rendered so much fine contrast incremements, whether on digital or 35mm film. I've never shot a lens that rendered so closely on a 35mm film or digital body to medium format in my life, until I shot the Leica Summilux 50mm mounted to my sony a7iii. Shot at F1.4, wide open, back lit, it renders incredibly similar to the legendary Pentax 67 105mm F2.4 medium format lens. The separation from the flat focal plane and wide contrast tonal range gives it that medium format quality look.
Look how sharp the lens is and how much detail it renders on 35mm film. It's truly remarkable. It's so sharp but the lens has so much character from the contrast rendering that it still has an interesting, and not overly technical look to it like modern lenses.
Where the Leica 50mm Summilux-m F1.4 lens falls short
The lens doesn't really have any significant weaknesses. The only complaint I have, and sometimes I actually like the look, is that it has the strangest flare. The lens flare has a lot of radial lines to it that give it this "fine tooth comb" look. It's strange, and at times gives an image a surreal character, but when you don't want it it's kind of annoying and isn't pleasant for portrait photography. I didn't manage to produce the effect on this shoot as it's a little harder to predict flare on a rangefinder camera like the Leica m-a. You can see in the backlit photo, below, the leica lens retains a bit more sharpness than the Zeiss planar ZF.2.
The only other complaint I have about the lens is that I wish the lens aperture had more diaphram blades. The Leica Summilux 50mm has 9 blades whereas the Zeiss 50mm Planar ZF.2 has 11. This makes the bokeh slightly more pleasing and rounded on the zeiss lens. Notice the Octagonal shaped bokeh to the left of the model's face on the leica lens in the 35mm portrait, below.
More examples of the Leica Summilux-m 50mm F1.4 Lens on 35mm film and Leica m-a
Stuuuuuupid sharp and crisp
so sharp and such good contrast.
Lens Comparison - Leica 50mm Summilux-m F1.4 vs Zeiss 50mm F1.4 Planar ZF.2 lens
Now onto the part you all want to see. Here is where I share some comparison images of the two lenses, both on 35mm film, photographing the same fashion portrait subject. This should give you a good comparison of the lens character for similar poses and lighting scenarios. If you have any questions about the two lenses and where they differ, feel free to contact me! I love to chat about film camera equipment and my work as a film portrait photographer.
Front lit, notice the difference in contrast between the two lenses. Keep in mind that these are two separate films in this image. Nikon is kodak portra 800 and leica is kodak gold 200. Still, just notice the contrast difference in the hair...
Notice how well the leica summilux lens handles the bright light reflecting off of the wall behind the subject. The nikon zeiss 50mm planar gets a little washed out in the highlights on the models skin from the strong light reflecting behind her.
Best portrait comparison between the Leica 50m summilux-m vs Nikon Zeiss 50mm Planar ZF.2
This is probably the best and most direct comparison between the two lenses. Remember, the leica summilux lens is on the left. Look how much more contrast is rendered in this backlit scenario. There is more color in the model's skin, more detail and tonal range in the greens and better overall color.
Leica 50mm Summilux-m F1.4 vs Zeiss Planar 50mm F1.4 ZF.2 - Where they both are at their best
Here is an example image showing where both lenses truly shine and are at their best, and the reason I still own both. The leica film image on the left has loads of contrast and sharpness. You could fool me that it wasn't even shot on 35mm film if I didn't look close enough. The zeiss planar lens image on the right shows the beautiful, almost surreal and soft glow that it renders for backlit film portraits. This 50mm lens is incomperable for that dreamy portrait look and is the reason so many wedding photographers have it in their kit. That all being said, it is still a relatively unknown lens in comparison to the leica 50mm summilux-m.
Again...notice the greater micro contrast and detail from the leica lens, but the zeiss 50mm planar has that characteristic warm glow to it.
Conclusion: Which is best - Leica 50mm Summilux or Zeiss Planar F1.4?
If I had to pick one to have as my only lens for the rest of my life, I would pick the leica. The zeiss lens can really render poorly in certain intense backlit scenarios (that I'll review later and update this blog post with) so it makes it a trickier lens to shoot and less versatile. I've never been greatly disappointed getting 35mm film scans back from weddings or portraits with the leica but there have been a few times when I didn't like the results from the Zeiss Planar...on both 35mm film and digital for that matter. For this reason, the leica lens is my trustworthy daily lens. It is remarkably beautiful in it's own right, but moreso it just doesn't let me down.
I will say, however, that if I had to pick one lens to render a surreal, backlit portrait or if I was photographing bridal portraits on film, I would probably reach for the zeiss lens and my nikon fm3a 35mm film camera. If you are careful with your backlighting, you can achieve the most beautiful and soft portraits on film that you have ever seen. I think you should shoot both at some point in your life.
The Nikon/Zeiss lens also wins out on price. You can pick up a used copy of the zeiss planar 50mm in nikon mount for around $450, whereas the Leica 50 Summilux-m goes for about $2500 used.
Which 50mm Lens am I going to keep for 35mm film portraits?
Both. I will likely hold onto both as they are both good at different things. The zeiss planar lens will probably stay permanently mounted to my nikon fm3a, but that camera will be more of a specialty camera on my days as a Charleston Wedding Photographer for when I want dreamy portraits or double exposures - since the leica m-a doesn't allow for this.
Check out my blog tags for more posts where I use each lens and, as always, please email me if you want to chat more. I'm always open to talk film photography, especially when it comes to camera gear and 35mm.
If you are inspired by what you read, I'd love to invite you to reach out about the photography services I offer. My guarantee is that you won't find a photographer that cares more about you and your story than I. I'm endlessly passionate about telling stories on film and pushing the boundaries of art in wedding and portrait photography. I'd be thrilled to work for you and document your story, wedding or business in Charleston South Carolina, Northern Michigan, or any destination abroad.
If you'd like more info about this post, would just like to chat, or are ready to book, reach out to me by visiting my contact page here!
Contact Brian D Smith Photography
All 50mm Lens Shootout Comparison Images - Leica vs Zeiss
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9488d5e5-e8de-441b-9e17-96873233a07b | 5+1AA Alfonso Femia Gianluca Peluffo - Headquarters Roma Tiburtina
1. Home
2. Award 2016
3. Office
4. Headquarters Roma Tiburtina
Headquarters Roma Tiburtina
5+1AA Alfonso Femia Gianluca Peluffo
Office / Future
A Specific Context
The project of Roma Tiburtina will transform a large area in the east quadrant of the city of Rome with considerable benefits in terms of transport, environment and quality of life. High-speed rail, urban regeneration, improvement of viability as well as expansion of services to citizens and the tourism facilities in the surrounding area are the objectives of the project that will bring new roads, parks, squares, public services, park lanes and bike lanes.
The Janus
The design of the new headquarters of BNL is part of a particular and unique context. Unique because the nature of the context is a layering of infrastructures that are separated by two important urban areas of the city of Rome, thanks to the construction of the station for high-speed rail, which leads to a new role, not only in terms of services service but also as “urban place”. Particular because the area where the new building will stand, due to its geometric shape and topography and its relative orientation, suggests to design the building according to the principle of “Janus”.
The search for a urban and territorial dialogue
We consider it important that the new building develops a dialogue with the adjacent complex of Tiburtina railway station, with its main features characterized by size and horizontality. The dialogue does not necessarily have to be direct, but should have references both to perspectives and to the different levels of the station, and also a different role (the horizontal stratification) in the new urban landscape.
Our goal is to meet the functional needs with a building that is capable, in its autonomy and identity, to belong to the urban context of the Tiburtina Station and at the same time to be representative both for the city of Rome and for its users.
From these considerations, a proposal is made for a building that is able to relate differently to the north-west with the district Pietralata and south-east with the Tiburtina Station complex. Dynamic, reflective and fading, where its perception is mainly dynamic and different meter after meter (from the train, from the station, from the different areas of the city), almost as if it was moving, comparatively, where the contect is urban or “slow”, facing North, the perception is static transparent and material.
The building thus assumes different roles leading our imagination to important works of contemporary artists and filmmakers who have treated the themes of perception and "reflection" of reality.
Architecture as a perceptual device.
The proposed typological choice wants to be identified as a perceptual device of the context and of the reality, capable of establishing a symbolic value where directs its gaze, a gaze directed at the same time on two different landscapes: a dynamic one, of the rail station and on the horizon of Rome, and one of the urban district of Pietralata. The perception ratio is subsequently a relation that the project moves from outside to inside, creating a succession of spaces now dilated and now compressed, which gradually accompany us building a backbone both vertically and horizontally around all “productives” areas, as well as the directional and officies areas, and able from time to time to help us to discover new "perspectives" and a new "context".
Architecture as a body
The building comes formally to assume a symbolic value that is found in the following characteristics that define his own "body":
• the floor pan, linear on the east and gently warped to west through the writing of a variable sequence of broken lines;
• the choice of not wanting to create a "front and back" but compositive music sheet capable of creating amazement and wonder in the "metamorphosis" of the building, which will be always perceived differently because of its ability to react to the sun light at different hours of day during different days of the year;
• the articulation of its functions, composed according to the principle of horizontal stratification, in a classic sequence as base ("collective" or better, interface with the public functions ), elevation (the predominant functions / offices), the crowning (the unexpected and unique space and its relationship with the sky);
• the entrance hall, according to an horizontal and vertical relation thanks to the identification of a "union-separation" that becomes a "transparency-terrace" for four levels and discovers the water tank of Mazzoni, original and intact element.
Architecture as a Matter
The new building is discovered through the silvery color of the facades. Its preciousness is related to the theme of sunlight and its reflections, to the ability to establish an atmosphere of transparency, opacity, mirroring and semi-transparencies with its surroundings. In the morning and evening hours, or in those moments when the light becomes incidental along the main façades, the perception of its physical limits it’s nulled and its confused by the natural light. Glass façades, in vertical opaque portions, alternate with ceramic diamond surfaces that reflects light in shades of silver, never equal to itself.
BNP Paribas Real Estate
07/2016
75000 mq
Alfonso Femia, Gianluca Peluffo, Simonetta Cenci (5+1AA), BNP Paribas (Co-Developers on preliminary design)
Alessandro Bellus, Marco Corazza, Francesca Raffaella Pirrello (Project Responsibles), Gabriele Filippi, Marzia Menini, Sara Sartini, Maria Michela Scala, Daniele di Matteo, Sara Massa, Vanesa Carbajo Fernandez, Roberta Nardi (Design Team), Gianmatteo Fer
Annalaura Spalla (urbanistic consultant), Redesco srl (structural engineering), Ariatta Ingegneria (services and environmental engineering), Starching – Studio Architettura Ingegneria (coordination and executive design)
Luc Boegly, Ernesta Caviola
Alfonso Femia and Gianluca Peluffo founded 5+1 in 1995, and since then they have been dealing with design in its different thematic and functional declinations carrying out several projects in Italy, France and also extra european countries.
The idea that the city builds itself through strategic visions capable of bringing together territory and city, leads the studio to the development of several strategic master plans including the one with which Milan won the "Expo 2015".
The studio, that became 5+1AA agenzia di architettura in 2005, is based on a interdisciplinary relationship that develops itself between the studios of Genoa, Milan and Paris, creating a triangle between cities, cultures and confrontation.
They won numerous national and international prizes during the years, including the “Leone d’Argento” at the Venice Biennale for the new Cinema Palace in Venice and the title of “Benemerito” from the Culture and Art School of the Ministry of Heritage and Culture.
http://www.5piu1aa.com/en/2013...
© Maggioli SpA • THE PLAN • Via del Pratello 8 • 40122 Bologna, Italy • T +39 051 227634 • P. IVA 02066400405 • ISSN 2499-6602 • E-ISSN 2385-2054
ITC Avant Garde Gothic® is a trademark of Monotype ITC Inc. registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions. | {
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1c1a1319-8abc-4b9b-b7e9-1d4d4c8ebf77 | top of page
Painter - Costume Designer - Professor
I'm a trained, professional costume designer for theatre who believes that art education within the context of theatre design needs an overhaul. My mission, through my own work and that of my students, is to de-stigmatize image-making and increase students' confidence in their visual communication skills.
My research interests include digital costume rendering techniques, incorporating more realistic applications of pattern, bodies, and texture within a sketch. Over the course of the next few semesters, I will be working to develop tutorials and techniques on how costume designers can use their iPads to bring their art into the digital age.
You can connect with me about Digital Rendering Instruction and access our online course content using the button below.
Home: Welcome
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951e9816-b5da-4c5f-8a81-f907ea1d6afa | Historic Scotland Data Website
Results New Search
This building is in the Edinburgh Council and the Edinburgh Burgh. It is a category A building and was listed on 29/11/1988.
Group Items: see notes, Group Cat: A, Map Ref: NT 2649 7455.
W H Playfair, designed 1820. Near-symmetrical, classical terraced (see Notes) house with Greek Doric colonnade and eaves parapet; 3-bay, 3-storey and basement (2 additional storeys to rear). Polished ashlar (droved ashlar to basement, squared coursed rubble with droved margins to rear). Predominantly regular fenestration.
S (PRINCIPAL) ELEVATION: to left bay, stone steps leading to 2-leaf timber-panelled door with letterbox fanlight. Projecting band dividing basement and ground floors; plain entablature dividing ground and 1st floors; cill band to 2nd floor; modillioned eaves cornice; blocking course; balustraded parapet. Paired fluted Greek Doric engaged columns dividing bays to ground floor. Regular fenestration; moulded architraves to 1st and 2nd floors; segmental-headed windows to basement.
N (REAR) ELEVATION: 3-bay elevation; 2-bay bow to left. Eaves course; blocking course surmounted by plain railings. To far left, one-bay 2-storey piend-roofed offshoot; adjoining to right, advanced bowed open colonnade with moulded cast-iron columns to ground floor supporting 1st floor with tripartite bowed section to left and window to right; lean-to roof. To 3rd floor to bow, continuous cast-iron trellis design balconette with Greek fret borders and scrolled wrought-iron bracket supports. To all 5th floor windows, individual ornamental cast-iron balconettes. To right bay (excluding 5th storey), some unsympathetic alterations to openings; external metal staircase obscures much of bay from ground to 4th floor.
GLAZING etc: predominantly plate glass in timber sash and case windows. Pitched roof to front elevation rising to flat roof to rear; grey slate to pitched section; stone skews. To front elevation, corniced ashlar ridge stacks with predominantly circular cans to outer left and right.
RAILINGS: edging basement recess and platt, cast-iron railings with spear-head finials, spear-headed dog bars and distinctive Greek key patterned top border.
INTERIOR: to ground floor: to lobby, screen of 2 pairs of fluted Ionic columns in anta, compartmented ceiling, good plasterwork; to former dining room, bowed inner wall, black slate chimneypiece, corniced doorpiece, good plasterwork; to rear room, bowed inner and outer walls, corniced doorpieces, good plasterwork. To 1st floor: former drawing room slapped through to rear room, bowed outer wall to rear, suspended ceiling (plasterwork may remain above). To 2nd floor: to front room (E), classical grey marble chimneypiece, corniced doorpieces, plasterwork cornice. To stairs and stair hall: stone stairs with cast-iron balusters; plasterwork friezes to wall and edges of landings; cupola and ceiling blocked from view by glazed panel; some good plasterwork cornices; to 1st floor landing, plaster bas-relief plaque above door; to ground floor, round-headed arch leading to semi-circular domed area giving access to principal rooms.
Part of the Calton A-Group. 11 Hillside Crescent was built as the house of Mr Allan of Hillside, one of the three principal landowners involved in the Eastern New Town. Playfair's drawings for this building include designs (most of which were executed as drawn) for features such as doors, the stair balusters and plasterwork. 11 Hillside Crescent is significant as one of the few fragments built of one of the most important streets in Playfair's Calton or Eastern New Town Scheme. Playfair was one of the major driving forces of the Greek Revival in Edinburgh at this time, and his public commissions such as the National Monument, the Royal Institution and the National Gallery (see separate listings) gave strength to Edinburgh's reputation as the Athens as the North. The Calton Scheme was one of his few domestic commissions, and the variety of designs, different for each street, demonstrate Playfair's expertise with the Grecian style and his characteristic punctilious attention to detail. It is important for its streetscape value, and as an example of the work of one of Scotland's leading early 19th century architects. The origins of the Eastern New Town, which was to occupy the east end of Calton Hill and lands to the north of it on the ground between Easter Road and Leith Walk, lie in a `joint plan for building' which three principal feuars (Heriot's Hospital, Trinity Hospital and Mr Allan of Hillside) entered into in 1811. In 1812 a competition was advertised for plans for laying out the grounds in question. Thirty-two plans were received, displayed and reported on by a variety of people, including eight architects. Eventually, it was decided that none of the plans was suitable. However, it was a more general report by William Stark (who died shortly after submitting it) which caught the attention of the Commissioners and formed the basis of the final scheme. Stark's central argument stressed the importance of planning around the natural contours and features of the land rather than imposing formal, symmetrical street plans upon it. After several years of little or no progress, in 1818 the Commissioners finally selected William Henry Playfair, who in his early years had been associated with Stark, to plan a scheme following Stark's Picturesque ideals. The resulting scheme, presented to the Commissioners in 1819, preserved the view of and from Calton Hill by the creation of a limited development of three single sided terraces on the hill itself. These looked over a huge radial street pattern, centred on the gardens of Hillside Crescent, on the land to the north. The feuing of these lower lands started well, with Elm Row, Leopold Place and the west side of Hillside Crescent being built fairly swiftly. However, demand for the feus faltered severely, due to the growing popularity of new properties being built to the west of the New Town. The fate of the Calton scheme was sealed in 1838, when it was decided that feuars should pay poor-rates to both Edinburgh and Leith. This virtually halted development for the next thirty years. Hillside Crescent also had particular problems with subsidence, which further exacerbated the lack of interest in the scheme. The result of all these problems was that very little of Playfair's original scheme was ever built. When building resumed in the 1880s, some of Playfair's original street lines were adhered to, as was the case with Hillside Crescent, and in others such as Brunton Place, Brunswick Street, Hillside Street (originally to be a longer street called Hopeton Street), and Wellington Street (also curtailed). However, due to piecemeal residential, industrial and transport developments immediately to the north, it would have been impossible to further follow Playfair's original layout, even if this had been considered desirable For some 60 years, 11 Hillside Crescent stood as an isolated fragment of Hillside Crescent, until building resumed on the crescent around 1880. Between 1880 and 1883, W. Hamilton Beattie built on the corner to the west of 11 Hillside Crescent. However, these houses suffered badly from subsidence, and were finally replaced by Elliott House in 1967. In the 1890s, further houses were built adjoining 11 Hillside Crescent to the east. These were designed by John Chesser who was responsible for the resumed building scheme for Hillside Crescent and Brunton Place. Chesser chose not to use Playfair's designs, but instead to complete the Crescent using a simplified and cruder version of Playfair's Brunton Place designs. However, in 1976, the adjacent 12-14 Hillside Crescent was demolished and replaced in 1988 by a modern office block which reflects elements of the Chesser design. No 11 Hillside Crescent is currently in use as an RAF Club.
Brown's Maps, 1823 & 1831. OS Map, 1853, 1877. MINUTES OF MEETINGS OF THE COMMITTEE FOR FEUING THE GROUNDS OF CALTON HILL 1811-1822, Edinburgh City Council Archives. W H Playfair, DRAWINGS, Edinburgh University Library, 1790-1857. Edinburgh City Archives, Dean of Guild: 22nd April 1919 (relating to alterations). A J Youngson, THE MAKING OF CLASSICAL EDINBURGH, (1966) pp148-156. I Lindsay, GEORGIAN EDINBURGH, (1973) pp54-55. Gifford, McWilliam and Walker, EDINBURGH, (1994), p447. H Colvin, DICTIONARY OF BRITISH ARCHITECTS, (1995), p766. J Lowrey, THE URBAN DESIGN OF EDINBURGH'S CALTON HILL in THE NEW TOWN PHENOMENON - ST ANDREWS STUDIES IN THE HISTORY OF SCOTTISH DESIGN AND ARCHITECTURE AND DESIGN, (2000), pp1-12. RCAHMS Collections.
© Crown copyright, Historic Scotland. All rights reserved. Mapping information derived from Ordnance Survey digital mapping products under Licence No. 100017509 2012 . Data extracted from Scottish Ministers' Statutory List on . Listing applies equally to the whole building or structure at the address set out in bold at the top of the list entry. This includes both the exterior and the interior, whether or not they are mentioned in the 'Information Supplementary to the Statutory List'. Listed building consent is required for all internal and external works affecting the character of the building. The local planning authority is responsible for determining where listed building consent will be required and can also advise on issues of extent or "curtilage" of the listing, which may cover items remote from the main subject of the listing such as boundary walls, gates, gatepiers, ancillary buildings etc. or interior fixtures. All category C(S) listings were revised to category C on 3rd September 2012. This was a non-statutory change. All enquiries relating to proposed works to a listed building or its setting should be addressed to the local planning authority in the first instance. All other enquiries should be addressed to: Listing & Designed Landscapes Team, Historic Scotland, Room G.51, Longmore House, Salisbury Place, EDINBURGH, EH9 1SH. Tel: +44 (0)131 668 8701 / 8705. Fax: +44 (0)131 668 8765. e-mail: hs.listing@scotland.gsi.gov.uk. Web: http://www.historic-scotland.gov.uk/historicandlistedbuildings.
Results New Search
Buildings are assigned to one of three categories according to their relative importance. All listed buildings receive equal legal protection, and protection applies equally to the interior and exterior of all listed buildings regardless of category.
ACategory A
Buildings of national or international importance, either architectural or historic, or fine little-altered examples of some particular period, style or building type. (Approximately 8% of the total).
BCategory B
Buildings of regional or more than local importance, or major examples of some particular period, style or building type which may have been altered. (Approximately 51% of the total).
C(S)Category C(S)
Buildings of local importance, lesser examples of any period, style, or building type, as originally constructed or moderately altered; and simple traditional buildings which group well with others in categories A and B. (Approximately 41% of the total). | {
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117534f7-70b1-486f-a624-2cd41b02a795 | Posted on April 14, 2015 by Renick
Junichi Uesugi and Renick Bell - Signal Farming (audio) (2008)
Signal Farming is the first set of works co-composed by Junichi Uesugi and Renick Bell. Junichi was originally Renick’s English student, and they found they had similar musical taste. After their class ended, they began to work on some music together. Every session was interspersed with vegetarian meals or snacks, which had a particularly strong effect on Junichi.
They made this music in a very relaxed way – usually working one day per month. First, digital recordings with a pair of condenser mics were made in a three-hour session of Junichi improvising on electric guitar and viola, sometimes with a delay or distortion pedal, at a practice space in Nakano, Tokyo in May of 2007. Over the next year, the two edited, processed, and arranged those sounds a few minutes from Togoshi Ginza, near Gotanda. The work was done on a Linux DAW using Ardour and various other pieces of free audio software. That work resulted in these five tracks.
Before arranging the edited audio, some sketches were drawn on paper of the structure or feeling of the tracks. Junichi wondered if he and Renick shared the same understanding of what the sketches meant. Though every sketch sat on the desk as they were working, he wasn’t always sure if they were going in the same direction.
Frequently (though progressively less often, thanks to the efforts of the software developers) the software crashed in the middle of editing, causing some edits to be redone multiple times. Some of that frustration and eventual satisfaction is captured in these tracks.
Every time, they lost their way or encountered headaches, such as crashes or digging through the original recordings. Finally, they could come to an agreement about which fragment to use or edit to make; that was satisfying.
THE3RD2ND_013 - Junichi Uesugi and Renick Bell - Signal Farming (audio) (2008)
Download the whole release as a zip archive:
http://the3rd2nd.com/releases/THE3RD2ND_013.zip
01 - i dropped the pick (1:53) http://the3rd2nd.com/mp3/THE3RD2ND_013/01-i_dropped_the_pick.mp3
02 - a busy but unfashionable neighborhood (3:08) http://the3rd2nd.com/mp3/THE3RD2ND_013/02-a_busy_but_unfashionable_neighborhood.mp3
03 - wondering about selfishness (6:03) http://the3rd2nd.com/mp3/THE3RD2ND_013/03-wondering_about_selfishness.mp3
04 - i dropped the same pick again (3:33) http://the3rd2nd.com/mp3/THE3RD2ND_013/04-i_dropped_the_same_pick_again.mp3
05 - 不協和音 (fukyouwaon - dissonances) (8:27) http://the3rd2nd.com/mp3/THE3RD2ND_013/05-fukyouwaon.mp3
Illustration by Norio Kozima. | {
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3ec7e4da-9143-44ba-840b-1edb015d32c1 | Render Subdiv Settings
From Terragen Documentation from Planetside Software
Revision as of 02:38, 13 June 2018 by Matt (talk | contribs)
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These are considered advanced settings. Usually you should not need to change them.
Fully adaptive: Fully adaptive causes micropolygons to be more heavily subdivided when the surface is stretched by displacements, but reduces the amount of subdivision where the surface is compressed in screen space due to the angle of view or due to displacements. For stills this is usually a good idea, but it can lead to sudden changes between frames in an animation. Turning this OFF means that the amount of subdivision is quite regular according to the undisplaced surface, and therefore stable in animations, but doesn't give the best image quality when studying each frame separately. Big displacements will look quite faceted when this is turned off.
Force all edges: Force all edges fixes one of the problems that causes gaps between micropolygons. If two neighbouring micropolygons A and B are subdivided to different levels along a shared edge, this can cause gaps. Force all edges causes the shared edges to be subdivided to the same level. This helps in both animations and stills. However, the default is OFF because this feature slightly increases render time. For animations, though, it's probably worth the cost to remove artefacts. The Animation Check... button (on the render node's Advanced tab) will check this setting and suggest that you turn it ON.
Microvertex jittering: This setting is important to reduce the appearance of straight lines in some displaced surfaces. For still images we recommend you keep this turned ON. For animations, OFF seems to produce a more stable animation, but ON reduces render times by a small amount.
Detail jittering: For still images you should keep this turned ON. However, there is an error that cause this to change from one frame to the next in an animation, so you should switch it OFF for animations.
Detail blending: This controls how much blending occurs between levels of detail as the distance between camera and surface changes. Blending also softens the appearance of surfaces. Higher blending values increase render time. For still images we recommend that you set this to 0 for the fastest render times. For animations we recommend values between 0.5 and 1.
Displacement filter: Allows displacements to blend between levels of detail. The effect also depends on detail blending. We recommend that you keep this value at 1.
Jitter shading points: Jitter shading points chooses a random point on each micropolygon as the point where lighting and shaders are calculated. The results of those calculations are used to colour the whole micropolygon. Jittering provides a more natural image, but because of an error in current versions the jitter is different on each frame so it is a source of unwanted noise in animations. The Animation Check... button (on the render node's Advanced tab) will check this setting and suggest that you turn it OFF.
Stabilise ray detail in motion: This feature's purpose is to blend between levels of detail when calculating shadows and reflections. It aims to provide 2 benefits. First, it changes the appearance of shadows crawling across surfaces as the distance from camera changes. The crawling motion is instead replaced by a gradual blend between different shadow positions. (Unfortunately it's impossible to completely stop the shadows from changing shape, because the terrain that casts the shadows needs to change levels of detail as the camera moves.) Second, because the shadow positions are now blended instead of moving from frame to frame, this should prevent popping that occurs when shadow-casting micropolygons change their shape very close to the shadow-receiving point. Unfortunately, stabilise ray detail in motion produces artefacts of its own: sometimes a kind of cross-hatching pattern is visible. Therefore it may not be suitable for some scenes. It may also change render times.
A single object or device in the node network which generates or modifies data and may accept input data or create output data or both, depending on its function. Nodes usually have their own settings which control the data they create or how they modify data passing through them. Nodes are connected together in a network to perform work in a network-based user interface. In Terragen 2 nodes are connected together to describe a scene. | {
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19efc246-d6c0-4922-8c6a-d9d96274cf70 | Body Fluids in Art: Breast Milk
Feature image: Virgin and Child Surrounded by Angels by Jean Fouquet. Photograph: Heritage Images/Getty Images via The Guardian
Body Fluids in Art: Breast Milk
For centuries, the image of Mary breastfeeding the baby Jesus was a prominent part of Christian iconography. This imagery was meant to highlight the compassion and humility of Mary and to communicate the nursing, motherly aspect of Mary’s love of Jesus. Nursing Madonnas first appeared around the twelfth century in Italy and Spain. However, by 1563, these images were abandoned after the Council of Trent deemed the works inappropriate and too sexual. Unfortunately, Western cultural norms regarding the sexualized taboo of public breastfeeding have persisted into the present day, as women still face social backlash for breastfeeding in public. Women’s bodies are so often subject to over-sexualization that something as decidedly non-sexual as feeding a child has been scandalized and thus deemed inappropriate for public settings. The manner and location at which a new parent feeds their child is a personal choice, not a public decision. For many new parents, the journey of breastfeeding is rife with stress, joy, and every emotion in between. While this article focuses on artistic depictions of breastfeeding, it is important to note that many women are placed under undue stress to breastfeed and shamed if, for whatever reason, they are unable to breastfeed their child.
Giambologna, Neptune Fountain, c. 1567, Piazza Nettuno, Bologna via WTF Art History
Ine Poppe, Dutch Mother’s Milk (1983)
In Dutch Mother’s Milk, Ine Poppe explored what it meant to be a milk-producing being. This work was a multimedia project that incorporated elements of music, video, photography, and performances. A central part of the work was cheese made from Poppe’s breast milk. Images of Poppe pumping and making the cheese are all included in the piece, alongside the music, which was created from baby hiccups. While the work was positively received in the US and in Japan, it received backlash in the Netherlands. Poppe’s mostly male Dutch contemporaries ostracized her, and a Dutch newspaper said the work “makes us puke.” Poppe’s work was eventually embraced by the Dutch and is now heralded as the pinnacle of Dutch media art. Poppe has come to be considered a trailblazer in combining media art and feminist critique and is credited with inspiring future artists such as Tracey Emin.
Ine Poppe, Mothers Milk, 1983 via Future Materials
Mother Artists Making Art (MAMA), Milkstained (1998)
Mother Artists Making Art (MAMA) is a collective of people who welcome all who identify with the word mother to embrace a world where mother and artist occupy a shared space. In their 1998 multisensory performance, Milkstained, these mothers explored their postpartum bodies and the social taboos around the maternal experience. The work was performed at the Electronic Café International in Santa Monica and was also live-streamed. Milkstained began with a naked woman lying on a white pedestal and draped in white cloth. White liquid began to pour down her back, at which point more women joined the stage and began hand-expressing milk from their breasts. They poured the milk into a fountain of cocktail glasses while spoken word sounds of a baby feeding and the whir of an electric breast pump filled the space. To finish, the audience was invited to taste the fresh milk. Of the work, MAMA described it as a “spilling, pouring, dripping, a sense of a fantastic abundance, the release of bodily fluids as in the sexual act, the tension and the feeling of disorder produced by liquids overrunning their containers.”
Mother Artists Making Art, Milkstained, 1998 via Maternal Notes
Jess Dobkin, The Lactation Station Breast Milk Bar (2006)
The Lactation Station Breast Milk Bar was inspired by wine tasting. Jess Dobkin began the work by finding and interviewing six breastfeeding mothers. She then created an exhibit inviting audience members to taste the different people's milk, which was all pasteurized for health and safety reasons. As patrons tasted the pasteurized human milk, the interviews of the women who donated played in the background. In these interviews, the donor's diet, time of expression, age of their child, and details about the woman's experience breastfeeding were all shared. Through this work, Dobkins invited patrons to have an open "dialogue about trust, risk, taste, culture, and bodily fluids." This work first occurred in 2006, but occurred again in 2012 and 2016.
Jess Dobkin, Lactation Station promotional photo, 2006 via Wikipedia
Lynn Lu, Baraka (2013)
Lynn Lu’s Baraka, an Arabic word that translates to blessing, is a performance piece exploring how caretakers' (breastfeeding women's) labor is often overlooked. In Baraka, Lu stood before an audience wearing a simple black dress with a gray shawl wrapped around her. She read an academic paper titled “From Folklore to Scientific Evidence: Breastfeeding and Wet-Nursing in Islam and the Case of Non-Puerperal Lactation.” Those closest to Lu also noticed a rhythmic hum and the shape of a breast pump under Lu’s shawl. Once Lu finished her reading, she poured the freshly expressed milk into porcelain spoons that she then fed to audience members, one person at a time. Lu acts as caretaker and provider as she spoon-feeds her audience, who take on the role of child or someone in need of help.
Lynn Lu, Baraka, 2013 via artist website
Aimee Koran, Milkscapes (2016-present)
The idea for Milkscapes was stumbled upon after a newly breastfeeding Aimee Koran knocked over a bottle of her breast milk onto a page in her sketchbook. Koran was intrigued by the pattern created from the spilled milk and watched how, over time, the milk curdled, dried, and cracked. She began experimenting with how to incorporate breast milk into her work. Koran now creates inkjet prints on paper and fabric of breastmilk fabric on Mylar. The resulting works are abstract and filled with interesting shapes and textures.
Aimee Koran, Milkscapes, 2016-present via artist website
On Koran’s website, she states, “My breast milk performed as the material trace of my transition into my new role as mother; beautiful but messy, quiet and calm yet chaotic and unpredictable, and profoundly abstract while similarly rooted in reality. Produced for her. Only for her. Only from me. Breast milk is the material created from an intimate exchange of body to body.”
Eva Zasloff, Reflections of light on breastmilk particles (2018)
Eva Zasloff is a physician who cares for families in the fourth trimester. She spends a large portion of her time thinking and talking about breastmilk. In Reflections of light on breastmilk particles, Zasloff captures images of light reflecting off of breastmilk through the lens of a microscope. The resulting images look like their own galaxies. The milk used in these images, donated by postpartum women, is portrayed at 750x magnification to capture the smallest of details in the milk particles.
Eva Zasloff, Reflections of light on breastmilk particles, 2018 via artist website
Of these works, Zasloff said, “These images are projected to create a dreamscape space where we can stargaze at the microscopic views of light reflecting on breast milk.”
OONA and Lori Baldwin, Milking the Artist (2022)
Milking the Artist, which was OONA and Lori Baldwin's guerilla performance piece, was displayed at Scope Gallery during Art Basel. In this work, OONA and Lori talked about the fetishization of female bodies, then OONA produced breast milk in a glass and put it up for auction. The first glass of milk sold for $200,000. Baldwin wore a brilliant all-white outfit featuring a long button-up coat miming a doctor's lab coat. OONA donned a pair of white pants with black lettering, black, hoof-like shoes, a black top with a large hole in the front to reveal her prosthetic breasts, and a black face covering. OONA also had cow print nails and a name tag around her neck. The artists were removed from the gallery because the performance was deemed too controversial, a decision that was met with backlash across the art world. The artists shared that "the work revolves around the concept of ownership, value, censorship, and consumption."
Some women have also begun incorporating breastmilk into keepsakes such as artworks or in jewelry. Artist Gina Jones is an example of this, as she preserves and refines her clients’ breastmilk and uses them to paint an image of the woman breastfeeding or of their family. These keepsakes speak to women’s breastfeeding experiences and the joy and hardship that can accompany this journey. The range of experiences women have with breastfeeding is reflected in these works. Each work strives to convey a different purpose; they discuss the over-sexualization of women’s bodies, the feeling of being overlooked as a caretaker, and even being desexualized in a postpartum body. This collection of works speaks to the often contrasting roles that women are expected to fill under the heel of patriarchy, even when it comes to feeding their own children.
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8a65f50a-603c-43c5-b0a2-d0d0c1aa644c | Christopher Poehlmann’s Lighting as Art
By Regina Connell.
Having interviewed a number of lighting designers, I’ve found that they’re a pretty talented, cerebral bunch. They have to be artisans and thus know about materials and design and all that, and they have to know a little something about practical things like electricity. But they’re also installation artists, sculptors of form, shadow, space and light. And that makes for an intriguing combination.
Philadelphia-based (and yes, a brainy pre-med in college) Christopher Poehlmann is one of those sculptors of light, but he’s a master of shadow, too—playing with materials old (often recycled) and new to do it. We love the moody simplicity of his work, high blend of organic and tech-edgy design (including 3D printing), and commitment to the making process—and to the process of making a very smart business.
How’d you get into the art and business of lighting? Where did your interest in craft and design come from?
My mother went to art school to paint, her father was an inventor, and my dad’s parents were both commercial artists so it was kind of in my DNA. My mom cultivated my love of art and craft: I was cooking with her from the time I could stand, and spent hours on end with her doing craft and art projects. My little brother wrote stories and acted, my sister played with dolls and organized stuff.
I made things. I remember in high school getting frustrated with the shirts that I had available in the late 70s early 80s and choosing home economics over auto shop. That was probably my first glimpse of my ultimate calling to be a designer, but I did not have the language or even a clue that it was a viable life track.
I found photography early in high school and continued to pursue that craft until I shifted to 3D in the late 80s. I eventually realized that I was meant to be an artist, and after struggling through pre-med and a BS in psychology, craft, photography and design suddenly became what I understood as the meaningful thing to pursue, not money and security.
But making isn’t necessarily design. How did that love come to be?
I fell in love with design while studying photography for a semester in Salzburg, Austria my last year of college. At that point, my only exposure to design was my Dad’s best friend Bill, whose home was filled with classics byCorbu, Breuer, Mies and Castiglioni.We spent a lot of time at Bill’s so images of that stuff were embedded in the back of my head. Once I was in Europe, though, I suddenly realized that everyday objects could have so much more meaning and impact on our daily lives. Everywhere I went in 1985, there were new ways of looking at furnishings that I had never thought of in the States. Stores and showrooms became my museums and the decorative arts sections of the art museums became so much more attractive than the paintings, etc. This love of furniture and objects has never left me.
Did you head to design school after you had this epiphany?
I am self-educated in design and craft. I fell into making after years of sketching more as a need to see my ideas in 3D than as a career move. But it instantly became a visceral need to make. Having no prior experience with making objects, I took a trip to the local hardware store and came home with copper pipe fittings and pipe. I learned to fabricate a wide range of functional objects and became an expert at pipe sweating after being offered a solo show and given a studio space to do the work in a short six months after a gallery owner in Milwaukee saw just a couple of my pieces.
Talk about working with clients on a custom piece like the newGROWTH light.
The newGROWTH fixture series began about 8 years ago in Milwaukee, almost against my will. I was approached by a designer whom I had worked with before. She asked me to recreate a version of Tord Boontje’s famous Swarovski Branch chandelier—a commission that I instantly turned down, having had others knock me off before. She kept pushing me to and gave me the design brief indicating that the primary concern was a concrete ceiling with an off center j-box. I designed an asymmetrical chandelier that turned out to be too difficult to build and then had an “aha” moment realizing that the idea of a tree branch as a cantilevered fixture could be a great solution indeed. So, from the seed that she planted grew what has become my best seller and favorite fixture series to produce.
Every newGrowth light is unique to the client, so that means working closely with them.
What’s that like, and what’s your approach?
The newGROWTH commission process requires feedback from my clients. Each piece is fabricated by my hand from aluminum pipe and solid rod. There are no forms or jigs used, just a rough sketch that I develop through email exchange with my clients. I ask them for the dimensions and general form that they feel would work best for their project at hand along with photos or plans of the space if available. In this way, they get to collaborate on the outcome and have more of a connection to the final piece. When I’m doing the sketches and also at the work bench, I’m always thinking about the organic form mixed with proper function—as if a tree were genetically predetermined to grow into a chandelier.
Tomorrow: Innovation and exploration trump financial considerations.
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0e2f9bff-588d-4c0b-a3ef-fce2474a208e | pastel-landscapes-44.jpg
natural & textured oil pastel paintings
Inspired by a beautiful trip to the Rocky Mountains, this collection is all about the expansive feeling you get when you’re surrounded by mountains and big skies that make you feel so small. But small in a good way - like there’s so much room to breathe.
This was our first trip out after lockdown so that feeling was indescribably strong after being stuck behind tiny apartment walls for month & months. I love thinking back on it. Mile high mountains, alpine lakes and towering trees. It feels like a chest full of fresh air. | {
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70043c99-c115-4a01-bcfb-647905012f95 | August 3, 2015
By Steven Leyden Cochrane
The Arts
And for my next trick...
Artist transforms everyday objects to create quirky, thought-provoking sculptures
Sometimes art is a joke; sometimes it's more like sleight-of-hand.
Both prime us for one outcome (the setup) and then deliver something else (the punchline or the big reveal), taking seemingly ordinary situations and rendering them either fantastical or absurd.
His & Hers
His & Hers
Gordian Brain
Gordian Brain
In his exhibition Present at Hand, which opened at Aceartinc. last month, Montreal-based artist Matt Sabourin does a series of tricks and tells a handful of visual jokes using tweaked and reconfigured household objects that range from rubber bands to pantry staples. With an engaging mix of humour, playfulness and semi-serious investigation, the works ask us to reconsider the ordinary stuff of everyday life.
Sabourin's routine is one of transformation. In one piece, he fuses an entire box of sugar cubes into a single brick, fitting it back into the original packaging, while in another, he refills an identical box with the contents ground to a powder. Title cards describe the process of making each piece, though like any showman he's cagey about the details -- how exactly he might have removed the lines from a pack of notebook paper, turning them into "usable ink," as he claims to have done in Tabula Rasa, remains pleasantly mysterious.
When Sabourin plays with food, the results are both baffling and kind of icky: neither the life-size apple made from the blackened pulp of other apples nor the loaf of sandwich bread "reassembled" with liberal quantities of plaster and paint is especially appetizing. Many of the works, especially the gently unsettling ones, owe an obvious debt to surrealism. His and Hers includes a toothbrush whose bristles have been replaced with a My Little Pony cascade of hot pink synthetic hair, a cheeky echo of Meret Oppenheim's 1936 sculpture, Object -- a teacup, spoon, and saucer lined with fur. Upping the ante, there's Pacifier, a "bath stopper made from the contents of a clogged drainpipe," and the menacing Monster, a nightlight you turn on by jamming two door keys into an electrical socket (I opted not to test it).
A maze of pedestals, the show features some 21 distinct works along these lines, and the shtick does admittedly wear thin after awhile. One certainly can (and Sabourin certainly does) turn a toothpaste tube inside out, but it leaves open the question of why on earth one ever actually would. At times, working through the exhibition can feel a bit like trying to have conversation with a toddler who's just learned her first knock-knock joke or getting accosted by an amateur magician who insists you "pick a card, any card" and won't take no for an answer.
All crabbiness aside, what most appeals about Present at Hand is Sabourin's undeniable, exuberant curiosity. His drive to explore and exploit the unexamined potential of ordinary things we take for granted is both admirable and infectious. That frenetic mindset might be best illustrated by Gordian Brain, a life-size sculpture of a human brain and brainstem made from 25 metres of tightly coiled and knotted rope, an exhibition highlight. Seen as a kind of self-portrait, it gives context to Sabourin's freewheeling explorations.
You could say it really... ties the show together.
Don't forget to tip your server, ladies and gentlemen. I'll be here all week.
Present at Hand closes next Friday, Feb. 14w.
Steven Leyden Cochrane is a painfully unfunny artist, writer and educator.
Republished from the Winnipeg Free Press print edition February 6, 2014 C1 | {
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Living Tower
Verner Panton
The organically shaped Living Tower furniture sculpture by Verner Panton can be used on four different levels. Over two metres high, the appealingly upholstered seating tower has a stable frame made of birch plywood. The cleverly arranged interior niches can be used in sitting and reclined positions, encouraging communication and relaxation.
Base Game
Verner Panton
Verner Panton aspired to be a painter before studying architecture at the Royal Academy of Fine Arts in Copenhagen. After an apprenticeship with architect/designer Arne Jacobsen, Panton pursued a path in furniture and interior design. It was during this part of his career that he became famous for his avant-garde work, pushing the boundaries of design with innovative materials, bold colors, and unconventional forms that transformed contemporary interiors. In the 60’s and 70’s, his passion for designing entire environments led to immersive interiors featuring his hypnotic patterns and futuristic designs for furniture, lighting, wallpapers, posters and rugs. Panton’s pioneering use of materials, colours and shapes earned him a reputation as a visionary.
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2485dc95-b461-4b90-98dd-67839c6f8735 | York County’s Hanover Theater, once “At Risk,” now slated for redevelopment
The Hanover Theater (originally State Theater) at 37-41 Frederick Street in downtown Hanover will be sold to a redevelopment group led by Jordan Ilyes. The historic theater was named to Preservation Pennsylvania’s list of threatened and endangered historic properties in 2011. The building is a contributing resource in the National Register-listed Hanover Historic District.
“We are delighted to see progress toward returning this wonderful building to productive use,” said Mindy Crawford, Executive Director of Preservation Pennsylvania. “Saving a historic building takes patience and perseverance, so the news of a new owner and a new use for the State Theatre is most welcome and rewarding after so many people worked to make this happen.”
Preservation Pennsylvania, in addition to listing the building to its Pennsylvania At Risk list to raise awareness and build support for its preservation, had also marketed the building by posting the real estate listing to its website. Working with a local preservation architect, Preservation Pennsylvania funded a feasibility study using their Intervention Fund for At Risk properties to evaluate the building for reuse.
Ilyes’ other area projects include the historic McAllister Hotel in downtown Hanover and the Keystone Color Works in downtown York.
About the Hanover/State Theater
Originally known as the State Theater, it began as a movie and live performance venue on September 21, 1928. Architect William Harold Lee, who was involved in the design of over 80 theaters, created a design featuring elements of the Spanish Colonial Revival and Moderne styles that were popular at the time.
The interior featured extensive ornamental plasterwork designed by Arthur Brounet, known for his extravagant murals and paintings. It is one of only two complete Brounet-decorated theaters still standing. While it is not known if any of Brounet’s murals exist beneath layers of paint added during renovations, he did design the elaborate plaster details that adorn the theater’s elegant interior.
The State Theater’s name was changed to the Hanover Theater in 1960 after the building was renovated. Its use as a theater continued until 1986, when owner Fox Brothers sold the theater to an antiques dealer who intended to turn it into an antiques mall. That plan was abandoned in 1991 and the Hanover Theater was instead used as a warehouse. Years of deferred maintenance have taken their toll on the building.
In 2007, members of an organization called Casual Arts, which assists in the restoration of theaters as part of downtown revitalizations, discovered the ailing theater and sought to preserve the rare Brounet interior. A group of committed individuals formed a holding company called Historic Hanover Theater, LLC, and provided $500,000 to purchase and stabilize the building, with the understanding that Casual Arts would work to raise funds to purchase the theater within two years and begin rehabilitation of the mothballed structure. Unfortunately, in 2009, Casual Arts decided that the restoration project should be postponed until the revitalization of downtown Hanover was farther along, and the group would not take over the theater as planned. Historic Hanover Theater, LLC, considered keeping and rehabilitating the building, but decided that they did not have the means. The group attempted to find an interested buyer who would preserve the building as a theater.
By June of 2011, with no potential buyers and the building vacant, in decline and subject to vandalism, Preservation Pennsylvania listed the building on Pennsylvania At Risk. The annual listing is an effort to draw statewide attention to the plight of Pennsylvania’s historic resources; promote and support local action to protect historic properties; and encourage funding and legislation that supports preservation activities. Preservation Pennsylvania worked to find a new owner who would preserve the building as a performance venue. The size and location of the building make it vulnerable to conversion to apartments, retail, or other uses that would not allow for the retention of the theater’s beautiful and character-defining features.
The theater is very well known in the community and sits in the heart of downtown, along one of Hanover’s main streets. Many of the town’s residents – past and present – have attended movies and performances in this building, creating memories that connect them to this special place.
About Preservation Pennsylvania
Preservation Pennsylvania is the commonwealth’s only statewide, private, nonprofit organization dedicated to the protection of historically and architecturally significant resources. Helping people to protect and preserve Pennsylvania’s endangered historic properties is a top priority for Preservation Pennsylvania. The organization is committed to engaging with people interested in working to preserve and rehabilitate the landmarks they love. The Pennsylvania At Risk Intervention Fund offers small grants to listed At Risk properties to assist in seeking a positive outcome for the property. The fund is supported by donations from the public.
For more information about Preservation Pennsylvania, visit the website at www.preservationpa.org. | {
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c2163f99-68a6-427f-8f8b-f6c30ba39b28 | Question: Tell me about your younger days, Dr. Anueyiagu. What kind of education did you have? How did it help you cultivate an interest in art and heritage?
Answer: I was born in the bustling ancient city of Kano, in Northern Nigeria. My early formative years witnessed the most amazing picturesque exposition to ancient northern art and architecture, laced with interesting experiences of ancient Igbo cultural life, art and folklore, occasioned by my periodic visits to my ancestral home of Awka, in Eastern Nigeria.
The city of Kano left an indelible mark in my life and until today, has remained the centerpiece of my reflections of a conglomerate of diverse cultures, peoples, ideas and ways of live. My childhood experiences in Kano have elicited my interest in writing a book that will show that, until the politicians and their military collaborators polluted the system, all peoples of diverse cultures, religion and values lived peacefully in total harmony in Kano.
Conversations with Okey Anueyiagu
Dr. Okey Anueyiagu
With the advent of the devastating civil war in 1966, my family was forced to relocate to the East. I attended the University of Nigeria, Nsukka, an institution steeped very deeply in creative art and culture. Although I did not study art, the overwhelming presence of art giants, both painters and sculptors; teachers and budding students within the campuses and around the cities of Enugu, Awka, Calabar and in other localities, captured my imagination. These explosive art movements arrested my interest. From Obiora Udechukwu, EI Anatsui, Chike Aniakor, Uche Okeke to Tayo Adenaike, Nsikak Essien, Ifedioramma Dike, Chris Echeta, Bona Ezeudu, Obiora Anidi, Olu Oguibe and others, I found great company in the personal relationships shared with some and intimate admiration for their works in their many exhibitions around the Eastern part of Nigeria in the 1970s.
For my post graduate studies, I lived and studied in New York City, an environment of expansive and intensive art and culture. During this period, I visited many museums and attended art exhibitions in the city. I became an active member of The Museum of Modern Art (MoMA) and had the opportunity of viewing works of great artists like Picasso, Monet, Jackson Pollock, Paul Cezanne, Andy Warhol, Joan Miro, Willem de kooning, Salvador Dali, Marc Chagall, Jean-Michel Basquiat and many more. Without any doubt, these early experiences and exposures helped enormously in cultivating my interest in art and cultural heritage.
Question: How old were you when you started collecting art? What was your aesthetic taste like at the onset and how has it developed over the years?
Answer: I was pretty young when I started collecting art. Maybe as early as four years or so. I was, at a very early age, fascinated with horses and race cars. Kano had many horses, and my late father’s friend, the late Emir of Kano had loads of horses mostly decorated with beautifully woven colours of materials made of various motifs and His Highness allowed me to play with his horses. I loved the colours and the local patterns on the horses and the motifs on the ancient walls of the city. I always went to the Emir’s Palace to admire the horses and the painted art on the walls. Following my interests, my father had acquired some horses which we decorated in those beautiful colours and rode them on the farms outside Kano in Azare and Jamari. Kano also had race tracks and in addition to the miniature figurines of horses, I also collected miniature race cars of various shapes and colours. I thought those were really cool and adventurous collections.
Aesthetically, I have always been fascinated by futuristic art that is embedded in the past as a vehicle for the modern times. I like it when an artist is using the past and old history to point to the future. That is awesome and has guided my quest for art collection.
Question: What are the factors that helped to sustain your interest in art? Where do you locate those factors and have they continued to be part of your life?
Answer: My interest in art grew in my undergraduate years as I became very friendly with the prolific and the enigmatic painter, Nsikak Essien. We had many common interests, including our interest in classic rock music. I found a unifying force between the dark heavy rock music of the early 1970s and art. We listened to Jimi Hendrix, Led Zeppelin, Jethro Tull, Black Sabbath, Queen, Deep Purple, Cream and others. The culture of rock music and the outrageous dressings of the musicians, coupled with the poetic nuances of the lyrics, in my opinion, had major similarities to creative and abstractive art. This was also the same case with the Igbo, the Efik and Ibibio masquerades and musicology, although, at that time, to a lesser extent, nothing to compare to the influences rock music had on my direction and appreciation of art.
Nsikak Essien was the factor and rock music was the motivator that sustained my interest in art. Nsikak and I were drawn to the eroticism of colours flowing from the hippie culture of the 1960s prevalent in the flower age and era as exemplified by legendary rock groups like the Doors and the Grateful Dead. He experimented with ideas and colours reminiscent with the culture of the times. We both romanticized this moment and movement and were hugely influenced. These factors have remained indelible in me and have continued to be an integral part of my art life.
Question: How do you describe your aesthetic taste now? Are there any kinds of work that specially appeal to you? Do you collect works on their merit or are there extra-artistic factors that usually influence your decision on what to collect?
Answer: My aesthetic taste for art is described within the ample creative ambit and space of modern African art. The historical development of modern art, in my opinion encompasses many diverse strands, mediating and unraveling in divergent juxtapositions. I am particularly attracted to paintings of acrylic and pastel media. I have extensively collected works that evoke explosive kinetic contents and compositions of colours. I have collected some sculptures and works of other selected media.
I collect works according to their personal merit and on how they appeal to my taste and personal idea of what good art is and the significance of such art to me and my environment. I have never speculated on the futuristic financial value of any of my collection, as a basis for the purchase, although in the back of my mind, I know that any good work, will make for a good investment in its value in the future. If I do not like a particular work or its maker, I will not purchase it regardless of its potential value presently or in the future.
I am vastly inspired in my art collection by African schematic renderings which have been prominently referred to as Cubism, a style of work believed to have been developed by Braque and Picasso. This style of painting was largely defined by pictorial language whose geometrical approach to form and shape was inspired by Cezanne and by archaic or primitive art. The origin of these styles, many believe, is African.
My interest in abstractions and surrealistic forms of art, intertwine in the sense that they give me the satisfaction of seeing clear dissociation of line and colour, and the unique contrast of various forms, images and shapes, making for exciting forms of pictorial harmony. These variables influence my decision of what to collect or not.
Question: Could your love for cubism and its African roots be the reason that attracted you to Onyema’s works, because looking at his works, I see a certain level of fragmentation that is usually well orchestrated in terms of formal and tonal architecture of the works. Could that be the reason for your interest?
Answer: Yes, you know that Onyema was not a trained artist. He studied Architecture and I think he may have studied Art in informal ways, in secondary school and elementary school, so his paintings were determined by forms and structures, the elements which can be found in cubism and many traditional forms of artistic expressions. I think that is what attracted me to his works. Once I saw that, I got very, very attracted to him.
Question: Do you see the role of the critic as being complementary to that of the artist, the way the role of the art collector also is? If yes, how have you enjoyed playing this highly complementary humanising role in the art field over the years?
Answer: I have never played this role, as I believe that beauty is in the eye of the beholder. However, for those whose professional duty it is to critique works of art and the artists, there is always an element of bias and personal prejudice, as no one can claim impartiality in the judgment of any art form, be it drama, film or painting.
Conversations with Okey Anueyiagu
However, objective criticism sometimes can complement and spur the artist to improve and adapt to new ideas and perspectives that may have been pointed out by the art critic.
Question: I believe that the role of the art collector is as complimentary as that of the critic. Without both, the business of art and the creative process will lack vitality. What do you think?
Answer: Definitely, I agree. They both have different functions. The art critique is more of an academic exercise in trying to illustrate why one thinks that an object is not good or not bad; it’s more of a compelling motive than that of the collector. A collector is collecting because he/she likes the art or he/she is collecting for other reasons. Maybe the artist is well known to the world and I am collecting because I think I will make money from it in the future. But for me, like yousaid, they are both complimentary and they both can spur an artist to do better work and pay attention to his vocation.
Question: Somebody said the art critic is a legless man who teaches running, someone who may not able to do something but knows how it could be done well…
Answer: Like I said before, you have to be careful with criticism because there is almost always an element of bias, not necessarily bias to destroy the artist but bias because this is how I feel this thing should be. Bias sometimes can be good and sometimes it can be detrimental.
Question: Tell me about your collection? How rich is it? How many pieces of art do you have today and what do you consider the most precious or important aspects of it? If there are high points of your collection, what do you consider the low points, if any? Apart from collecting art, have you supported art and the creative enterprise in other ways? If so, could you tell me a bit about these contributions and how they have impacted the growth of art in these parts?
Answer: My collection is very rich and widely extensive. From my early NsikakEssien, EI Anatsui, Bona Ezeudu, TayoAdenaike, Bruce Onobrakpeya to my not too recent and recent Ndidi Dike, Tola Wewe, Olu Ajayi, Sam Ovraiti, Tony Enebeli, Glover, Ekwenchi, Onyema Offoedu-Okeke, I have been able to find a balance between various forms, patterns and artistic compositions that our continent has offered.
I have also collected works of, and shown deep interest in the works of, Muraina Oyelami, Peju Alatise, Wosene Worke Kosrot, Rom Isichie, Abdel Basit EL Khatim, Chris Afuba, Yusuf Grillo, Kainebi Osahenye, Dele Jegede, Joe Musa, Anthea Epelle, Chris Ofili, Yinka Shonibare and others.
My major collection is that of Onyema Offoedu-Okeke, whose work in my collection that are scattered all over the world, number in the excess of 200 paintings. Upon sighting some of his early works in the mid-1990s, I saw a pattern that pointed him in the direction of artistic greatness. His work, in a very progressive way, defies the codes and narratives that define traditional art in regimentary manners. I was drawn to Onyema’s art because of the interpretative paraphrases that it employs in making his works relevant to our lives and environment. Crucially, Onyema has enormous natural gift and talent that prod him to try virtually anything, no matter how outrageous. He paints a landscape filled with wild colourful flowers and birds, or a marketplace that drizzles acrylic paints on canvas with human and other hidden images and forms playing mirage like and magical visual tricks on the viewer, offering varying interpretations and meanings.
My large and extensive collection of Onyema, prompted me to write a 260 page book titled “Contemporary African Art. My Private Collection of Onyema Offoedu-Okeke”. This book, published in 2011 by Brown Brommel Publishers, is in many libraries and museums around the world, and has received many accolades and commendations as a literary, academic and pictorial well researched work on African art.
The high point of my art collection was in 2003 when I took six Nigerian artists to London and, in collaboration with Barclays Private Bank, hosted one of the most successful art exhibitions of contemporary African art in the world. This exhibition was attended by prominent art lovers, politicians, captains of the banking world, art critics, princes and princesses and the who is who in the art world. The artists and their works received high commendation in the British mainstream media, and some of the proceeds of the exhibition were used for the betterment of some charities in Nigeria. This was a very high point for me.
I have had a few low points, most significant being, generally, the unfortunate negative and myopic attitude of some artists and patrons who assume that their God-given talent and or their wealth is a ticket to the financial and status mountains of the art world.
Question: Can you explain this point a bit, are you saying that art as a humanizing experience is not to be primarily and highly monetized?
Answer: Well, it will be wrong for me to say that. I mean, if you are a Doctor, you’ll have an inclination to treat people even if you make money or not, but that’s not the case. Doctors earn salary, some earn more salary than teachers and an artist is entitled to be rewarded for his talents. But at the same time, I think we should have a humanist approach to talents that are given by God and at the same time regard them as things that are sacred and combine the attitude of making money and the attitude of letting the world experience and see and your talents. There could be a contradiction to what I said but it’s just a fact.
Question: Recently we had an argument somewhere in the university at the opening of an exhibition and I said the role of art is not primarily to put food on the table but that the artist has to have a passion to create, and the Vice-Chancellor took on that and said “Who told you the role of art is not to put food on the table? What about my friend El Anatsui who bought my ticket the other day to South Africa? If he didn’t have money, would he be able to buy it? What of Picasso?” Well, but the point is, El Anatsui for instance, if he was creating to make money from the beginning, I think he would have stopped at some point when things were difficult, because he did not start making money from the first day. The money came because he was able to persevere through the tough times.
Answer: You and I share the same point of view. If you paint because you want to make money I believe you would never be successful. Picasso, when he was painting and when in his early days he didn’t make any money, at a point he was living with friends, but the passion he had for painting created the affluence that he enjoyed in his old days and even after he died.
Question: And which means money can make and mar the artist.
Answer: Yea. Money can make or mar the artist. To illustrate some more, I have come in contact with so many Nigerian painters and sculptors, and I believe that a lot of them have the passion and some of them are in a hurry to make money. Not that I blame them; it could be the circumstance they find themselves in. Look at the country now, if you don’t have money you will not have energy. Some of the things we took for granted while growing up in the 50’s and 60’s are not to be taken for granted now.People are “hustlers”, and so, if you believe that you can just sit down and let your talents carry you beyond a certain point, you may just get into trouble. So these artists are over exterting themselves just to survive and in the process, I think they miss the essence of what their calling is.
Question: What do you think about the value of art? At times, when I contemplate the game of football philosophically, I wonder why people are so moved by a simple round leather. The same way, many wonder what is in a piece of canvas or wood that should make people pay so much for art. When you look at a work of art, what do you see that moves you? What endears you to it, to the empathetic point where you want to acquire, to own and to cherish?
Answer: Philosophically, the analogy is apt and appropriate. The passion, the affection, and the fanaticism are inclined by desires of joy, exhilaration, and self-fulfillment in the object and action.
I cannot place a value on art. The value is latently intrinsic and can only be determined by extraneous factors that sometimes may be beyond comprehension. Practically, the media over the many decades, with the help of critics, have come to place values on works of art, through the promotion of the artists. Some art that may appear meaningless, without much value, to some, may become extensively sought after by value hunters, simply because some critic in the New York Times recognized the painter as great.
What moves me and elicits my interest in a work of art is, first, the strength and vision of the artist and, second, his or her character, disposition and views of the world we live in, through his or her eyes and brush.
Question: Do you then agree with Chinua Achebe who says that “Art for art’s sake is nothing but a deodorized piece of dog shit”? In other words, for him, for the work of art to be meaningful, it has to have some connections to the rhythms of the prevalent issues of its time.
Answer: I mean, that is a most apt statement I have heard coming from Chinua Achebe, and I agree with him. If you paint and you paint because you think I want to paint a house or a landscape and you do not have a meaning or a reason for painting it, then you have lost the essence of what you are doing. Let me go further to a point where I may be sounding a bit futuristic; you have to have political intent, maybe social-economic intent in your formation of an idea, it doesn’t have to be a radical idea, but you’re just not going to sit up and begin to paint a conflict situation without thinking of the ramification of the situation. I want to paint about the suffering in Biafra, children who are malnourished by kwashiorkor, you have to think in your mind, “Why am I painting those things? Am I agitated by the fact that there is injustice and oppression in the land and killings?” So, it is for an artist, musician, painter, sculptor, given the natural gift to be the conscious of the society, to be the ones to say to the society “things are wrong” because the gift they have are very natural gifts, sometimes, very eccentric gifts from God, so they speak the truth all the time. Artists are really pure and they are like children, innocently pure. So, I see a correlation between being a painter and being an activist, and being a painter and painting with a motive to explain to the world why we shouldn’t do certain things or why, you know it shouldn’t matter whether they are right or wrong. But they have to have some vehicle of intent, of purpose, driving them. So I agree with Chinua Achebe there, to just sit up and paint something and they ask you why did you paint this and you say I think it’s beautiful, it doesn’t make any sense to me.
Question: Art appreciates in value over time. How do you perceive this unique potential of art? At a fundamental level, if you resell something, it should lose some value. But it is not the case with art. Why does art have this unique value when it comes to its economic significance?
Answer: The appreciative value of art both in economic and aesthetic terms is an indisputable fact. Fundamentally, art is uniquely different from other objects due to its originality in form and content. An art object cannot be essentially reproduced as a replacement of the original, whereas a car, for instance, can be duplicated in its original form, shape and content. Art has no replacement and, therefore, retains and surpasses its unique value when it comes to its economic significance. For these reasons, an art object will continue to appreciate in value over a long period of time.
Question: Beyond personal enjoyment, what do you hope to do with your collection in the long run? When you decide to retire, how will your collection be preserved and looked after for the benefit of your family, the society and posterity? Do your children appreciate art as you do?
Answer: I intend to keep most of my collection in my private family estate. Others I intend to lend to museums and other institutions for display for public viewing and education. At this present time, I am in discussion with Mayor Kasim Reed, the Mayor of The City of Atlanta, USA, who is a good friend, to lend some of my works to the city for display in some prominent locations in the City. One of the locations is the new and magnificient Maynard Jackson International Airport, the busiest airport in the world. It will be a thing of joy and pride to display my collection of beautiful African art for millions of travellers from around the world to appreciate.
When I retire, or you must mean when I am no more, I will keep my works in my Family Trust and my Foundation. My wife and children all have tremendous love and appreciation for art. Whenever we are in a big city, one of our first visits would be to the museums and art centres. I am hopeful that they will be able to preserve my collections and that they will do much more than I have been able to do for the benefit of mankind, the society and posterity at large.
Question: Most times, business people have a terrible attitude to art. They see it as luxury. You talked about your exposure to the Emir of Kano, your father’s friend and other people. Are they the things that made you interested in art? You have a sustained and strong interest in art. I know you will, for instance, go anywhere to see an exhibition. What really drives you beyond some of the things you have explained here? The money you spend on art, why not spend it on estates or other ventures?
Answer: If something really fascinates you, you spend money on it without worrying. If you like football, you buy tickets to go watch a team play, but you if you don’t like disco, you will not spend money to go listen to it. I like art. It fascinates me. That’s why I spend money to buy what I like and what I think people will come into my home and see and ask questions, and some of them are things that will help explain my culture, my heritage, tell people who have never been to my village that this mask is from Awka, Enugu or Umuahia. And it symbolizes the strength of our people. I think art for me is very good for explanation of whom I am and where I come from.
Question: You earlier mentioned that you were interested in a museum project but you are saying you will donate your works in the long run to museums and other bodies of trust and also keep some as part of your personal foundation. Do you hope to build a museum? I notice that a number of collectors are doing so?
Answer: This has been my number one interest, to build a museum, an art center, probably in the East, somewhere in Awka. I mean I dream and live it, but I don’t think the time is right. This is what I would love to do, to build a Museum of Contemporary African Art, where people will not only come and look at art, but where people come and seat and conduct research. A museum that would include a research centre where professionals can come from all over the world to undertake studies and cultural exchanges, learn things about my locality and be able to view some of the things that we have been able to preserve and conserve over a long period of time. Because if you go to Awka now, most of the artworks, things of interest from the past are being discarded because no one is bringing them under an umbrella where people can come and look at them.
Question: We try to do something with the Anambra Book and Creativity Festival in Awka for the past four years; the last one we had was the fourth edition; people come together and you have an event for one week: exhibitions, lectures, workshops, etc. But the turnout has been poor and it tells us that everything is not right; people do not appreciate works of art and creativity. The reading culture has also ebbed.
Answer: It is a shame and I will tell you I blame the government in a way because most National Museums in the world are essentially put together by Government bodies then private enterprises, businesses take over. Look at our National Museum of History in Lagos, it is overtaken by dust. I went there a few years ago and I was embarrassed. They didn’t even have air conditioner and you can’t preserve art work in an environment of harsh weather. They will deteriorate in substance and quality. When you go in there, the whole place is a mess and nobody even goes there. The environment is overtaken by weed and it’s terrible. Then private business people in Nigeria should also come up with private museums. They are the ones to broker our story to the world, not as a money making venture, but as a cultural conservation process where we can use our money to create institutions where our children can come and learn about their past and be proud of their heritage and the future.
Question: But people have said that museums here are a dead end, as they are poorly perceived. But from what you are saying, do you think there is a future for museums in this part of the world considering your own interest and what Igwe Nnaemeka Achebe the Obi of Onitsha is doing? Prince Yemisi Shyllon is also building a museum at the Pan-Atlantic University in Lagos. Do you think that such ventures would boost the prospects of museums in these parts in the near future?
Answer: I think that the private sector has a major role to play in leading the conservation of our culture. Government can also do something. But I don’t think they care, or have an interest in what is happening. So it is the private sector that will drive us, like the Obi of Onitsha, whom I regard so highly. He is interested and not doing so to make money out of it, but because he believes that he, being a custodian of our culture, has a major role to play in conserving that culture, propagating it and in letting our people know that this is where we have to invest in in the future. I think many more can follow. Our traditional rulers don’t even know what it means to conserve our culture, but we have to teach our children about the past so that they can see that they can look forward to a bright future.
Question: Apart from art, what else have you loved so passionately?
Answer: Apart from art, I have fascination and love for mechanical objects. I love cars, but not in the aesthetic and showoff form. I have owned a few Ferraris and have always wanted to open the awesome and monstrous engines and play around with the intricate parts. I also started collecting watches from childhood. Then, from the fake inferior movements, to now, the more complicated tourbillon timepieces. Sometimes I begin to think that my collection of wrist watches supersedes or surpasses my art collection. I think that, in my other life, I must have been a watch repairer or a horologist.
As a little kid I fell in love with aircraft. My father in the very early 1960s had built what was then considered one of the most luxurious hotels in Kano. The hotel had a small extension at the airport, which at that time, was referred to as the Kano Aerodrome. It was an unceasing family ritual to visit the hotel’s restaurant at the Aerodrome every Sunday afternoon after church. For me, these visits had very little to do with food and dining, but much to do with watching the one or two aircraft land and take off. I dreamt of and cherished these experiences.
I am convinced that this childhood experience got me interested in designs, and taught me about the elegance of machinery and the splendor of engineering ingenuity. From that point, I thought that there was something elegiac about aeroplanes; something that pointed at the purely aesthetic value and its extraordinary feat as a strong prima facie test for good art and design.
To this day, I am fascinated with watching a plane take off and land. To me it depicts the beginning of a journey and the arrival, the end – just like birth and death.
My love for architecture and furniture is so passionate that I have devoted tremendous time, travels and interests, to the point that by a mere first glance at a masterpiece architectural drawing and design, or a piece of furniture, I could tell almost to a pinpoint accuracy, who is behind the design. I also love to cook.
Apart from these objects of desire, my primary love and passion is my family and God. I believe that for the world to thrive, we MUST LOVE GOD and LOVE PEOPLE. | {
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Reminiscence boxes
Image of the Reminiscence boxes being used in a group setting. Image: Karen Player
© Australian Museum
The Australian Museum now has a range of Museum in a Box resources for use in group work with seniors.
These are designed for aged-care facilities and community groups.
The Reminiscence Boxes contain multi-sensory material inspired by nature, including dioramas, specimens, images, audio CDs, DVDs and background information to stimulate reminiscence in a group setting. The Boxes are designed for participants with a range of physical and cognitive abilities. The themed resources and objects can be touched, handled and passed around to act as memory triggers to encourage communication.
There are six themed boxes which can be used to encourage reminiscence through touch, sight and sounds:
All of these topics have hands-on material, specimens, background notes, books and digital resources. The Reminiscence Boxes are designed to foster communication, social interaction and provide the opportunity to have the Australian Museum come to you.
For more information go to Museum in a Box | {
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f9daa386-cb09-4b00-9c32-710ed5bd4f02 | SALES / SUPPORT : +1-877-525-5646 | Login
Brand graphics are all about your company and how they remind your target audience, customers and potential consumers of your business. While you may not think that a manufacturing company needs a brand identity, this is far from the truth. No matter what industry or products you deal with, get a brand logo with a memorable identity design will help you get recognition. Printing and showcasing this manufacturing service logo design on a variety of platforms will show people from all over that you provide solutions and tools for their needs.
However, you must also realize that because there is a plethora of logos which are already present, it is important that you invest in one which is as powerful as your products and as outstanding as the services which you provide. Bear in mind that even though your designer will be aware of the nitty-gritty of logo designing like a pro, there are a few tools and tips that you should know about as well. Knowing and understanding these unconventional logo design techniques will help you own a logo that is spectacular and brilliant in every way. Here are a few brand logo design features you should start focusing on.
Focus on Aspect Ratios
Though this may seem like a very graphic artist type term, aspect ratios should be understood by business owners who want to rule the industry as well. In simple terms, the aspect ratio is the relationship or connection between the height and width of the logo. In your years of experience, you must have seen several brand identities that were too tall and skinny or too wide and short. The problem with these corporate identities is that they aren't just ugly and unattractive to look at but don't have the right layout for different platforms. If you make the mistake of accepting such manufacturing service logo designs and print them on business cards or websites, they will lack the power to influence.
However, if you are aware of the golden mean or ratio of your logo, it will not only look visually appealing, but will also work well with all platforms. Though square logos are used commonly, a lot of new businesses have started to opt for circle or oval shaped logos because they are visually strong and work well with social media websites.
Treat Text & Images Individually
Unless you have a combination logo where the text is incorporated inside the symbol, you will want to treat your iconic logo individually, so it can look good and sufficient even without the text. Don't make the mistake of overlapping or intertwining your powerful manufacturing service logo design because this will make it difficult for you to represent the logo individually. Browse through some of the most popular and famous logo artwork and you will immediately notice that while these designs have fonts, the singular logo itself looks just as good as the true version.
If you have decided to use typography and fonts of any sort in your logo, be sure not to get overwhelmed and use too many because this will greatly hamper your corporate design. As a company that provides tools or other kinds of manufacturing solutions, you must be focusing on a design which is simple but effective.
Don�t Overcomplicate Meaning
Your brand logo design has to mean something, but it doesn't necessarily have to give everything way or seem too complicated. Remember that an overly complex logo design is not pretty and will never be appreciated by your customers. On the contrary, what you and your professional designer must be opting for are simple, memorable and impactful logos that are free of a lot of illustration and a bunch of shapes or symbols. Take a look at some of the Fortune 500 brand logos and you will be greeted with simple yet effective designs that don't make you think a lot.
Though it is often suggested that your logo have a backstory, it is not always ideal to do so. Instead, encourage your designer to study your industry, the tools or services that you provide and your target audience to create a meaningful logo that is easy to comprehend and remember. Be sure not to be robbed by sketchy designers who have no clue about your project or are not willing to put in efforts to get to know your requirements.
Make a Dynamic Design
The first logo that comes to mind when you say the word 'dynamic' is Nike's. The only way you can have a dynamic and versatile design is if it looks the same from any and every angle. Nike's very popular swoosh looks like a tick mark no matter where you see it from. It could be printed upside down on a t-shirt or pen but you would still know that it is Nike's logo. Likewise, if you want a logo which is adaptable for all platforms, you need to have a design which is balanced and thoroughly researched so there are no gradients or mishaps.
There are examples of many logos in the manufacturing services industry that don't look good when they are printed on huge billboards or tiny pens and pencils because they lose their effect and impact. So what you should be aiming for is a powerful logo that look good in all sizes and can be showcased anywhere from fax papers to advertisement billboards. Remember, the more versatile your logo, the higher its chances of hitting the industry with a bang.
Repetition is the key when you want your designer to create a successful manufacturing service logo design. No matter how experienced or professional your graphic artist, he will know that practicing, brainstorming and researching about your company logo are the best ways to create one that is unconventional and remarkable. So don't wait for your competitors to get ahead of you with their logos but instead design a corporate identity of your own today by starting a contest on ZillionDesigns.com.
Manufacturing Service Logo Gallery | {
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e6fd2ece-cd54-491b-b09d-2c4e399e97ea | • Scope of Work: Design & Build
• Location: Ho Chi Minh City
• Completion Date: 2015
As a place for the fashionista, Topshop Topman is designed by an elegant style with the warm light in Vivo City.
Topshop Topman captures initial attention by its eye-catching and impressive modern design of the front facade. By using the warm light and wooden floor that making the space warm neutral, but also to give background to brilliant decoration. Besides, glass serves as a popular material in creating transparent dividers of inner space, efficiently making an open and connective environment.
The bright tone from these interiors also emphasizes the modern look for this design as well as enhances the sense of elegance and friendliness." | {
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3b97212b-51c5-4cba-9dbb-04b8f2186877 | Minnesota Chorale's performance of Brahms' "Ein Deutches Requiem (A German Requiem)," heard Friday night at Hamline University's Sundin Hall, made for compelling listening, all the more for being done in an arrangement for two pianos that Brahms himself made of the massive orchestral score.
Brahms began his Requiem in 1865 in response to the death of his mother. He used sketches abandoned in 1854, the year he lost his friend and mentor Robert Schumann to insanity. This work is the most personal that Brahms ever wrote, as the intimacy of this chamber version helped exemplify.
Chorale Artistic Director Kathy Saltzman Romey has a 30-year history with the work. While preparing to conduct it as a graduate student, she lost three good friends to a car accident. As she put it, "it became my way of processing death."
That personal connection is evident in the intensity and detail of the performance, like, in the first movement, the transition between "Those who sow in tears" into "Shall reap in joy." She had the voices swell dramatically and my heart soared. Throughout, she made viscerally clear the transition from grief to consolation.
In this version, the voices are indisputably center stage, not having an orchestra to compete with. The chorale sang with clarity and purity of tone, even at the extreme ends of the dynamic range. Members used their impeccable musical precision as a vehicle for conveying the work's deep spirituality.
Soloist Michael P. Schmidt has a lyric baritone that is mellifluous and capable of great legato. He was especially moving in his entreaties for understanding in movement III. Soprano Deborah Carbaugh was less effective. She captured all the notes of her solo's high tessitura, but effortfully, missing the transcendence.
Pianists Barbara Brooks and Mary Jo Gothmann proved able accompanists. If they were not able to equal the orchestral climaxes, they compensated with moments of great delicacy, ending the work on a moment of grace.
An unnecessary gimmick marred the performance: The seven movements were juxtaposed with poet Juanita Garciagodoy reading her verses. The poetry was carefully chosen to create a dialogue with the Requiem and was quite compelling in its own right, but it ultimately proved disruptive, taking me out of the emotion of the music.
William Randall Beard writes about music. | {
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Candy Claws look fierce, threaten buildings in Arvada
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Support the independent voice of Denver and help keep the future of Westword free.
Arvada, beware! There's a big-ass, crocodilian kaiju coming for you. Your skyscrapers, supposing you have any, are in serious danger. And don't let your guard down just because it says those claws are candy.
Ahem. We were quite taken with this flier. We're not sure if the awesome illustration is original or appropriated from somewhere, but kudos to whoever applied it here -- it's fantastic. There's just no way a giant crocodile-dinosaur monster straight out of a Japanese monster movie wasn't going to capture our hearts.
The illustration is bolstered by some really wonderful design elements, too. The typeface choice and layout gives an excellent feeling of action and recalls old movie poster design, from the days when movie posters where actually nice to look at instead of just pimping the stars' faces. The limited color palette really makes the whole thing pop, and it's all laid out to maximize the impact. Honestly, there's nothing we don't like about this.
By the way, when did Arvada get so cool? Danielle Ate the Sandwich, Ian Cooke and Candy Claws on one bill? Way to shake off that suburban stigma, Arvadans! Also, to the rest of Denver's flier design community: There were a lot of fantastic fliers this week. You all are stepping up your game, and don't think we haven't noticed. [editor's note: Air Dubai's latest Banksy-owing handbill gets my vote.] | {
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What is Macro Photography?
Jun 26, 2016
Macro photography is the close-up photographing of small objects, often insects and flowers. It provides the photographer with a way to examine, in minute detail, small objects and the patterns and textures on them that would otherwise escape notice. Before the rise of digital photography, macro photography involved more time and effort than it does today.
Macro photography is considered any image that captures a subject that is at least 1/10th of the original size of the object being photographed, but generally are images with subjects shot in life-size, or close to a 1:1 ratio. Many people get the terms “macro” and “micro” confused, and it is easy to understand why. The two terms are very different, with “macro” meaning big and “micro” meaning small. This confusion is not helped by the major camera manufacturers, like Nikon, who refer to a lens as “micro.” Canon will refer to the same size lens as “macro.” To simplify your thinking on this subject, think about it in this manner: if the subject you are photographing is small and you want to make it look large, you end up with a “macro” view of a “micro” subject.
Macro Photography on Compact Cameras
Today, macro photography is much easier. Many compact cameras have point-and-shoot macro modes that can pull out some fairly impressive close-ups. Typically, a camera’s macro photography capability is measured by how close you can shoot an object while still being able to focus as well as the number of pixels in the image. The minimum distance from the lens that the camera can focus should be listed on the camera’s specifications. Newer cameras can achieve focus even when the subject is just an inch or so from the lens.
Macro Photography on DSLRs
On DSLR cameras, macro photography doesn’t depend on the camera. What matters is the lens. To shoot macro photography on a DSLR camera, make sure you select the right lens. (I use the Nikkor 105º Micro which I find gives outstanding resolution.) The lens will list technical specifications, such as a minimum focusing distance and a macro ratio. Unlike compact cameras, DSLR cameras provide much more flexibility not only in terms of depth of field and exposure when shooting in macro, but other factors such as the ability to add additional lighting, higher resolution and the use of “live view” to view your images in real time as they will appear. And in macro photography, the number of pixels really does matter – the more the merrier.
Learn Landscape Photography with Steinberg Photography
Looking to learn the craft of landscape photography or just get into the great outdoors for a wild adventure? Jim and Lori Steinberg of Steinberg Photography are here to help. We run photo tours to exotic locations for photographers of all skill levels. Follow us on Facebook and Instagram to see where we’ve been and check out our schedule to see where we’re headed next!
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223a5533-3cd4-4bb2-9e73-08973e0874d7 | Advertising Console
New Art Techniques- Mineral Spirits and Color Pencil
Merrill Kazanjian
by Merrill Kazanjian
2 242 views
Today, I am going to demonstrate a new artistic technique. I am going to merge the best qualities of two artistic mediums; oil painting and color pencil. What you are now watching is a time lapse of me building up layers of illustration marker and color pencil over a pencil drawing. In about a minute, I will slow the video down to show you that color pencils can be blended by using mineral spirits and a paint brush. I am doing this artwork on 110 lb. bond paper and please note that this method will not work as well on simple 20 lb. printer paper. This drawing was done as a tribute to Manhattanville Colleges iconic History Professor- Mr. Lawson Bowling. Professor Bowling is a mentor and friend of mine. He just completed his 25th year of service at Manhattanville College. It is an honor to give him this drawing and possibly turn him in to an internet celebrity.
The best quality of oil painting is that you can 1.) Blend while the paint is wet and 2.) Add multiple layers of new paint after the previous layer dries. The greatest nuance of color pencil drawing is the accuracy that is attained by using the very fine point at the tip of the pencil. I dip the paintbrush in to the mineral spirits and then dab it on a paper towel; then I drag the brush over my drawing. The mineral spirits quickly break down the thick cake of color pencil. The soft tip of the paint brush allows me to move and blend the pigment from the color pencil in a manner that is similar to the process of painting. It takes only a few minutes for the mineral spirits and pencil to dryAfter the mineral spirits dry, you can add more layers of color pencil. I have actually finished an oil painting with color pencil and an oil paint medium called liquin before, but to save time, I built up the flesh tones today with markers and color pencil.
by Merrill Kazanjian http://merrillk.com | {
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f7337d16-046f-4ec1-af2a-a977e33c0a96 | Telemann: Harmonischer Gottes-Dienst Vol 1 / Bergen Barokk
Regular price $18.99
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This is an issue of considerable potential significance, the opening installment in what is planned as a complete recording of Telemann’s 1725/26 Harmonischer Gottes-Dienst, the first integral cycle of church cantatas for the liturgical year ever published. Ever the astute self-publicist, Telemann had first announced in the Hamburg press plans to publish a cycle of cantatas as early as 1723, but the late delivery of the texts by the poet, Pastor Michael Brandenburg, forced Telemann to turn to a new cycle, Harmonischer Gottes-Dienst. For this, he sought the help of various poets, but in the end employed texts that were mostly the work of a young Hamburg writer, Arnold Wilckens, who based them largely on the Epistle for the day.
Planned more with domestic than church use in mind, the 72 cantatas are chamber works scored for a single voice, an obbligato instrument (specified with characteristic pragmatism by the composer as “a violin, or oboe, or flute, or recorder”), and continuo. The earliest cantatas of the cycle, sold by subscription, were ready by the end of 1725, in time for the issue of the first in the cycle, the cantata for New Year’s Day. Numerous reprints and the number of published copies still extant testify to the success of the venture, a success that was doubtless responsible for Telemann issuing a second collection in 1731–32.
The first six cantatas to be issued in Toccata’s new series are all for high voice, and cover a wide range of the liturgical year. The claim that four cantatas (TWV 1:941, TWV 1:730, TWV 1:1502, and TWV 1:96) are first recordings is untrue, the first three being available in current recordings. Toccata has also got in a mess with their TWV numbering, giving Hemmet den Eifer the number of In gering (wrongly listed as TWV1:549) instead of its correct number, TWV1:730. Hemmet den Eifer is also erroneously listed on the cover as being for the First Sunday after Epiphany rather than the Fourth, although the booklet gets it right. Not an auspicious start for an ambitious series.
The form of each cantata is the same: opening and closing da capo arias framing a lengthy plain (or secco) recitative. The use of rhetorical gesture is a feature of the cantatas, either in obvious mimetic ways such as the graphic shakes on the word “regen” (“trembling”) in the opening aria of TWV1:1040, or with greater musical subtlety when the music of TWV 1: 1502’s first aria becomes disjointed to illustrate the impotence of mortal wisdom “to gain complete perfection.” Hemmet den Eifer starts in strikingly bold fashion with an aria demanding “Stifle your eagerness/banish revenge,” but the most dramatic music here is to be found in “Du bist verflucht” (“You are accursed”), the opening aria of TWV1:213 for the Fourth Sunday of Lent. Here a turbulent accompaniment underpins a colorfully declamatory text, the “voice of terror” inspiring a headlong chromatic descent in the voice, fearfully dogged by the recorder.
Mona Julsrud’s account of these six cantatas is generally very satisfying. She is a bright, agile soprano with a good technique that gets her around ornaments with ease, phrases musically, and sings with clarity and good diction. But on the debit side, the voice lacks distinctive color, and there’s a tendency for upper notes to sound “hooty.” She is well supported by the members of Bergen Barokk, although it might have provided greater interest had at least one of Telemann’s alternative obbligato instruments been employed rather than using a recorder throughout. Other than the solecisms noted above, the presentation is good, with a slipcase that includes the disc, and an informative 60-page booklet that deserves full credit for printing the relevant biblical text before each cantata. Good sound. Overall, this is a promising, if not perfect start to a project one wishes every success.
FANFARE: Brian Robins
Product Description:
• Catalog Number: TOCC0037
• UPC: 5060113440372
• Label: Toccata
• Composer: Georg Philipp Telemann
• Orchestra/Ensemble: Bergen Baroque
• Performer: Frode Thorsen, Hans Knut Sveen, Markku Luolajan-Mikkola, Mona Julsrud | {
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d7b2e960-4a73-40d5-a806-bbe550e85e43 | Saturday, October 05, 2024 | Rabi' ath-thani 1, 1446 H
clear sky
34°C / 34°C
Rarely seen Klimt painting returns to Austria after 60 years
A major work from the Austrian painter Gustav Klimt has returned to Vienna where it will be shown in its homeland for the first time in nearly 60 years, after museum officials pieced together its tumultuous history.
"Water Serpents II," which depicts nymphs grappling with a red serpent, was completed in 1907 during Klimt's so-called golden period, when he embraced the gold-leaf techniques he is known for today.
But unlike many of his other works it has rarely been seen, last exhibited in the Austrian capital in 1964 before falling into obscurity.
The painting was originally purchased by the Steiners, an Austrian art collecting family, and was looted by the Nazis after Germany annexed Austria in 1938 and Jenny Steiner fled the country.
It was later purchased by the Austrian film director Gustav Ucicky, Klimt's "illegitimate son", according to Markus Fellinger, curator of the new exhibition at the Belvedere Museum.
Ucicky's widow is said to have exhibited the painting in 1964, and since then it had largely been kept from public view, Fellinger told AFP.
But it re-emerged in 2013 when the widow surprised the art world by agreeing to sell it the Russian oligarch Dmitry Rybolovlev, president of the AS Monaco football club, for $112 million.
Rybolovlev then sold it two years later to its current owner, the HomeArt collection founded in Hong Kong by Rosaline Wong.
The Belvedere, working with the Van Gogh Museum in Amsterdam, was able to borrow "Water Serpents II" as they put together a show on the artists and works that inspired Klimt.
Unable to finance the six-figure sum required to insure the work, the Belvedere offered instead its restoration expertise to include it in the show that opens Friday and runs through May 29. — AFP | {
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21ff6148-4aac-4c7f-81b9-e43aa04881f6 | Cutting Copper Dus Cutting Copper
Home Culture 2019-05-09
Cutting Copper Dus Cutting Copper
Painting inscriptions on bronze pots, smooth lines; beautiful paintings of mountains and rivers on bronze plates, such as immersion... In many people's eyes, Du's bronze engraving, which can turn knife into pen, is similar to the craftsmanship of "ghost axe and magic workmanship" by means of shaping techniques such as inscriptions, Yang inscriptions and double hook shallow engraving, which makes landscape characters, flowers, birds, fish and insects, and regular grass seals "leap onto the bronze". In Du Ping's eyes, these are just "hammers hammering steel knives". One person, one hammer and one steel knife, seemingly without many secrets, but in the invisible interpretation of Fuyang Du's carving of copper, the "new branch" of national adherence and inheritance.
Cutting bronze originates from the great masters in Beijing
Du Ping thought that Du's carving of bronze continued the "fragrance" of his ancestors, although he thought it was more through his own repeated thinking.
At the beginning of the Republic of China, as a soldier under warlord Zhang Xun, Du Ping's grandfather, Du Xingjing, met Chen Yinsheng, a famous bronze engraver at that time in Beijing.
"Chen Yinsheng was one of the three famous bronze engravers in Beijing at that time. It can be said that he pioneered the engraving of calligraphy and painting on smooth copper ink cartridges." Du Ping said that at that time, Du Xingjing often went to the antique market, and met Chen Yinsheng, and was fortunate to be taught the bronze carving process. However, due to the high price of bronze wares at that time, it was difficult for ordinary people to buy bronze wares for skill training, so after Du Xingjing returned to Fuyang, his skills were wasted.
Unable to invest in the bronze carving, Du Xingjing had to teach his son Du Hongnian what he had learned in his life. However, after learning knife and art, Du Hongnian also encountered the same problem as his father, that is, he had no money to buy bronze for practice. Unfortunately, Du Hongnian had to use his father's teaching in printmaking, and later became the founder and one of the most important representative painters of Beidahuang printmaking. Du Hongnian, who had thought that the bronze engraving skills in this middle period might not have thought that neither he nor his father could continue his career, but he could continue on his son.
In 1993, Du Ping, who was very young and was engaged in calligraphy and painting creation under the influence of his father, accidentally found a copper-carved inkcase by Chen Yinsheng, a master of copper carving in the late Qing Dynasty, when he visited his colleagues in the collection of calligraphy and painting in Zibo, Shandong Province.
"Chen Yinsheng is my grandfather's teacher. I'm too familiar with him." What attracts Du Ping more is that this pair of bronze carving works has smooth lines, beautiful pictures and exquisite sculpture skills. Du Ping decided at that time that we could buy Copper now and firmly refuse to let this craft be lost again. Therefore, this masterpiece of bronze brushing has been continued in Fuyang again after the leap of the century.
Achievement of Knife and Pen Fusion "Du's" Cutting Copper
Although Du Ping has become a national inheritor of non-heredity, he recalls that when he studied copper carving, he still praised its hardship.
"There's no place to learn." Du Ping said that after his firm idea of learning to carve bronze, he went to visit famous masters everywhere, but what made him difficult was that after many years, there was almost nowhere to find the handlers of carving bronze skills, and there was not much relevant information to be retained because of the privacy of teaching and the scarcity of practitioners. In desperation, Du Ping had to study the bronze carving works from all over the world, and communicate with his predecessors silently through the bronze wares.
"Writing and drawing on paper, making a wrong stroke, you can change a piece of paper, or modify it, but copper can't. If you make a mistake, a good bronze ware will probably be useless, so you dare not think about it carefully at that time." Du Ping said that he had never used a steel knife to write. At the beginning, his fingers were swollen, but he dared not carve directly on the bronze ware.
In 1995, Du Ping considered studying hard and needed practical testing, so he bought a copper basin from the market. Although the picture was simple, it took Du Ping more than a week to finish the sculpture. Du Ping, who had thought that the bronze carving work would be his own "tuition fee" failure, did not expect that it would be collected by a famous antique connoisseur in Beijing for 5000 yuan shortly after the completion of the work. "I couldn't believe it at that time." Du Ping said that what excites him more than the high price is that his bronze-engraving skills have finally come to the fore.
Since then, Du Ping's bronze carving road has become wider and wider, ranging from small copper boxes and pots to bronze paintings which are incessantly several feet long. With the continuous outflow of works, his exquisite bronze carving skills began to rise: in 2007, Du Ping was named the inheritor of intangible culture in Anhui Province, and in 2008, he was named the folk craftsman of Anhui Province. Not long ago, he became the successor of the fourth batch of national intangible cultural heritage, Du Lithographic Copper. His record of winning successive national competitions and exhibitions once made him a famous "gold medal harvester" in the circle.
Copper carving skills to break the bottleneck of inheritance
"It's good to be a national intangible cultural heritage, but as a successor, I'm more worried about the inheritance of this skill now." Du Ping said that he used to put his mind on the creation of bronze carving works, but now, compared with the creation, he is more worried about whether this skill will be lost.
Du Ping said that learning bronze engraving requires a solid foundation in art and calligraphy. For this reason, he has recruited some art majors in recent years. However, the final result is that, due to the dull and arduous study process, few students have persevered. What's more, once he asked several apprentices to teach the bronze carving skills, but the first thing they asked was, "How much can you pay for a month studying here?" "It was cold at that time." Du Ping said that there is nothing to spend thousands of yuan a month, but this kind of study for the purpose of money makes him feel lost and puzzled.
"Copper carving must not be lost in my hands." Pointing to a pile of abandoned manuscripts in the studio, Du Ping said with emotion that in order to inherit the bronze carving skills, he had found his son and recruited apprentices in recent years, but none of them succeeded. Fortunately, some young people now insist on the study of bronze carving in the form of part-time learning, which reassures him a lot. Now his greatest wish is that these "prospective apprentices" can persist in learning to carve copper, so that Du's folk crafts continue to inherit and develop.
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d6b6650a-03f5-4a65-b66c-f052d06f7a41 | What Exactly Is Urban Planning?
What is urban planning? Urban planning is an facet of landscape architecture that's worried about the charge of using land and design with the urban environment, including transportation networks, to guide and make sure the orderly continuing development of communities. It concerns itself using the potentials and problems of urban areas relate with the built environment as well as its underlying social, economic, political, and legal structure and related public policies. Research and analysis, strategic thinking, urban design, policy recommendations, implementation and management are hoped for within this field.
The present day origins of urban planning lie inside the movement for urban reform that arose as a reaction against the disorder of the industrial city in the mid-19th century. Urban planning range from urban renewal, by adapting urban planning techniques to existing cities being affected by decline. From the late-20th century the definition of sustainable development comes to represent an excellent outcome within the sum of all planning goals. It concerns itself with research and analysis, strategic thinking, urban design, public consultation, policy recommendations, implementation and management.
An urban design will take a variety of forms including: strategic plans, comprehensive plans, neighborhood plans, regulatory and incentive strategies, or historic preservation. Planners are often also accountable for enforcing the chosen policies. A metropolitan planner should be in a position to handle both long and short range planning and projects at various scales.
What started as industrial cities from the mid-19th century has quickly converted into design sustainable developments that adhere to safety and health regulations for that masses. While there are lots of pros who specialize in either fixing issues in existing developments or designing a, urban planning is usually executed by the gang of those that have specific skills and backgrounds. To be a thing about this growing field, you need to attend an urban planning school.
Recent years ahead promise new developments and challenges on the ever-broadening profession. Just how does one begin pursuing this must needed profession? First you need to look into landscape architecture programs from your renowned landscape architecture schools that provide fully accredited landscape architecture degrees. A graduate degree in landscape design or work equivalent is required as a way to obtain a landscape architecture license. On and on to one with the top landscape architecture schools could ensure a bright future of urban designing planning ahead person! Don't wait into it, take charge of your family career choice and start today with urban designing and planning!
More info about zeitgeist nha be see the best website. | {
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85d4ac6c-f7e1-417d-a9ab-82cdadfd8eed |
28 Favorites Groups »
- This fotolog content is all about CARS! If it have tires and a wheel please share it here! All kinds are welcome, new ones, oldies, slow ones, fast machines, tunned, etc. All brands are welcome, come and warmup your engines! - Este fotolog é sobre CARROS! Todas as espécies são bem-vindos, novos, antigos, lentos, rápido e máquinas tunned, etc. Todas as marcas são bem-vindas, venha aquecer os seus motores!
flowers in their natural surroundings. No coloured or painted flowers. No other things in the picture but flowers.
As description: Name of the flower and the country where the picture was taken.
Tag - Style | {
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ef4021d7-b391-40ad-af52-84cf5c22c579 | € 0,00 0 Buch dabei,
The Culture of Building als Taschenbuch
The Culture of Building
45 halftones, 56 line drawings, 173 color photographs. Sprache: Englisch.
Written by a leader in the field of vernacular architecture, "The Culture of Building" provides a historical and cross-cultural analysis of building cultures, looking at the systems of people, relationships, rules, procedures, and patterns in which a … weiterlesen
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The Culture of Building als Taschenbuch
Titel: The Culture of Building
Autor/en: Howard Davis
ISBN: 0195305930
EAN: 9780195305937
45 halftones, 56 line drawings, 173 color photographs.
Sprache: Englisch.
Oxford University Press Inc
22. Juni 2006 - kartoniert - 400 Seiten
The Culture of Building describes how the built world, including the vast number of buildings that are the settings for people's everyday lives, is the product of building cultures-complex systems of people, relationships, building types, techniques, and habits in which design and building are anchored. These cultures include builders, bankers, architects, developers, clients, contractors, craftspeople, building inspectors, planners, and many others. The
product of these cultures, which operate building after building, is the built world of cities and settlements. In this book, Howard Davis uses historical, contemporary, and cross-cultural examples to describe the nature and influence of these cultures. He shows how building cultures reflect the general
cultures in which they exist, how they have changed over history, how they affect the form of buildings and cities, and how present building cultures, which are responsible for the contemporary everyday environments, may be improved. Following the development of the idea of building cultures using several historical examples, the book lays out a framework that puts such topics as craft and professionalism, the vernacular and nonvernacular, and design and construction in common frameworks.
Although the book ranges widely over different cultures and historical periods, it emphasizes the transformations that took place in architecture and building practice from the late eighteenth century to the present. Finally, the book uses a series of contemporary examples that demonstrate the building
culture as a living concept. These examples, which include built work as well as innovative processes that go beyond the work of architects alone, are described as the seeds that can help the emergence of a better build world. This beautiful book features over 260 color and black-and-white illustrations, most from the author's extensive collection of slides, and includes photographs, prints, and drawings from historical archives and contemporary architectural offices.
Howard Davis is Professor of Architecture at the University of Oregon.
"It's not often that a book appears with the potential to fundamentally change the way we think about the built world. The Culture of Building by Howard Davis is such a book....[It] is filled with both beautiful and gritty photos of people building and the places they produce....Davis' ideas are clear, intelligent, and substantial, and he writes about them in a refreshing, penetrating, and enlightening way.... Davis's goal is nothing less than a "unified theory" of architecture and construction, a book that finally explains it all design, codes, contracts, style, technology, finance, place-making, education and how they interrelate."-Architecture Week
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9f44d3b6-30a0-4c83-a045-d053a90440a3 | ”B/W is the founding force of photography, its singular beauty and strength carrying a visual message which is hard to equal. And while I often succumb, like so many in our trade to the ease, and speed, and yes, quality, of digital photography, I’d like to think that there is a place which my Speed Graphic will have for years to come, unfettered by the Tyranny of the Ones and Zeroes. It has become a part of my life, my family, my being. The metallic rap it makes when you ram a film holder into the back is one I never tire of.”
David Burnett is an accomplished and legendary photographer with an acute and curious eye, who has been able to travel to many corners of the world photographing the likes of Bob Marley, the launch of the Apollo 11 Mission, the presidents from John F. Kennedy right through to the inauguration of Barrack Obama, as well as being part of many Olympics from 1984 till the present day. Yet unlike many or all of the photographers at The Olympics, Burnett sticks to tradition by shooting on his trusty 4×5 Speed Graphic Camera.
Following the weeks of the London Olympics we were able to talk to Burnett about his extensive and profound career:
Film’s not Dead: Firstly, where did your love for photography begin and what about the medium really draws you to it?
David Burnett: At the beginning of 11th grade/ high school/ I joined the year book staff, looking for something else to do at school. With a process of elimination ( NOT illustrations, NOT literary, NOT business) I ended up on the photo staff, and when I saw my very first print develop in the darkroom, I was hooked, absolutely hooked. As I began to shoot, and slowly get published, I realised the power of the printed image, and the power that each photo potentially has to reach someone, and tell them the story of a moment that perhaps only you saw. I loved it.
Film’s not Dead: What was the first camera that you brought?
David Burnett: An old Exacta 35mm camera, with a manual 50/3.5 Tessar… very difficult to focus (so slow) and yet I found that Exacta could do amazing things if you only could figure out how to let it. I later added a Yashica Mat (120) .. and swapped the Exacta for a Pentax H3v….
Film’s not Dead: When did you make that transition from using photography as a hobby to turning it into a career?
David Burnett: I was selling pictures at age 16 to the local papers, and for me, it just seemed a logical thing to do, to try and let the sales of the pictures become not only a way of supporting myself, but of letting me do what I wanted to do in life. I was right!
Film’s not Dead: If you had to pick one event that you have photographed that has been the most memorable and most enjoyable moment, which one would it be?
David Burnett: So many things are amazing as a witness, and yet don’t fulfill in quite the same way as photographs. I have to say that in terms of adrenalin rush, there is nothing like being chased by crowds, police or demonstrators. Yet they don’t always yield pictures, which are as amazing as the emotion you feel at the time. The same with “big deal” personalities… you know you don’t have a lot of time, but you work like mad to make the most of it. In the end, I have to say that in terms of amazing visually striking event (and for which my photographs are quite underwhelming)… The Opening Ceremonies in Beijing Olympics 2008 had me barely able to see through the finder, it was so strikingly beautiful. Some things you just enjoy as a witness, as a person, and hope that other pictures will fill in the gaps of trying to explain the visual amazing that is our world.
Film’s not Dead: The ‘Holga Eye’ work. You have photographed a variety of people on the plastic camera, from diplomats to soldiers, athletes to street life. What have the reactions been to the toy camera and how does your shooting differ?
David Burnett: I usually try and bring the HOLGA in for a few pictures, often just a few frames, sometimes a roll or two, in whatever else I’m shooting. There is something very simple about the HOLGA, it boils the image down, like a good soup. The worst moment, perhaps, was when I was photographing the Secretary of Interior in Washington, a few years ago, and as I went to show her the camera — she’s remarked on how “different” it looked, the back fell off (not enough TAPE!!) and the film fell out. It wasn’t my most promising moment.
Film’s not Dead: You’ve been able to cover many stories around the world, would you be able to describe to us in particular what your time in the Vietnam War was like and did it affect your photography in any way?
David Burnett: I believe, like many soldiers and certainly many journalists, I grew up in Vietnam, forced to by the situations in which I found myself working. I have never described myself as being much of a war photographer, as such, but there is something which the stress of the moment, and dynamics of war bring to real life which is rarely seen anywhere else, I remain, at this point, 40 years later, captivated by the youth of the soldiers I spent time with, just amazed at how able they were for such young men, to carry out such tasks. (And I’m sure I would have felt the same way about soldiers from the North Vietnamese/Viet Cong side, if I’d had a chance to meet them.) My one real regret is that I was a pretty terrible caption writer, and have almost no names for any of the people I photographed then. I would love to catch up with them today, and photograph them on the other end of their lives.
Film’s not Dead: What draws you to still use film over digital for some of your commercial work?
David Burnett: Any time I can create a look, a feel, an emotion by using an ‘alternative’ camera approach, I’d like to try it. I understand that these things are full of chance. There is no guarantee anything will work 100% of the time.. (just look at all my out of focus LONDON pictures!!) but I think there is always a time to take a chance.
Film’s not Dead: You’ve been photographing the Olympics since 1984, how did you manage finding yourself in that environment and what was your first experience being an official photographer at the Games like?
David Burnett: The Los Angeles games were my first… remember it was still the era of Kodachrome and E6. It was actually quite wonderful for the time, to drop your film, and have it back in just a few hours. That was, in itself, a real experience, as we’d never had that kind of regular turn around service, especially with K64. I loved shooting the games with Koda 64 though in most cases we needed to shoot E6 just to have the film back quickly enough to make dupes for our clients around the world. It was a mad and crazy time… TIME Magazine alone must have had 15 photographers (it was the first US Summer games in 50 years.. it was a big deal) and we were part of that team. You learned by watching the pros, and then tried to move on elsewhere and do your own thing. The one worry of the Olympics is that you end up at the Finish line with 50 or 100 of the worlds best sports photographers.. so you have to be rigid in trying to tell yourself.. “go somewhere else…. do something else… take a chance…” I was lucky .. when I did that I ended up in front of the place where Mary Decker and Zola Budd collided, and with that, I was “officially” a sports photographer.
Film’s not Dead: Why particularly do you choose the Speed Graphic to shoot on?
David Burnett: Well it’s not really THAT Speedy… is it. But it lets you shoot a big piece of film, with a fast lens, and in many ways, I try and mimic what I might do with a Leica or Canon and a 50mm lens. It has a chance to deliver a great negative as long as you don’t screw up one of the ten things you have to do when you shoot. I love the camera, and in the words of Nig Miller, a Life photographer in the 1960s: “These Nikons aren’t worth a damn. You hit someone with it, they go down, but they get right back up. You hit someone with a Speed Graphic, they’ll stay DOWN.”
Film’s not Dead: What was it like shooting for the first time this year at the Olympics that wasn’t for a magazine assignment?
David Burnett: I greatly enjoyed shooting for the IOC photo team. They are the folks who run the Museum and IOC Photo library in Lausanne, and you have a feeling you really are shooting for history. I quite appreciated their willingness to let me shoot with my big camera, and not be tied to having to shoot in digital for the possibility of quick turn around. I have no real idea where these photos might end up, but it was more important for me that I have the chance to shoot them, and worry about usage later on. At my age, I don’t think I have more than a few more Olympics in my bag, and I appreciate each and every one.
Film’s not Dead: Using a 4×5 camera is a meticulous and time consuming art to gasp, you have to compose and be sure of your shot, how do you deal with this at the Olympics when everything is so fast paced?
David Burnett: I’m pretty good with the Speed at this point, but yes, things happen quickly, for 90% of your shots you have to imagine where your subject will be, pre focus, and then hope you nail it. It’s a real challenge. I’ve missed dozens, but I think I got a few good ones.
Film’s not Dead: Also, while shooting at the various Olympic Games what were the other photographers reactions to your camera like?
David Burnett: So many colleagues came up to me and in a way which was like the recognition of an old family member (the camera, not me personally) they would smile, say something nice, and give us a pat of warm recognition. I think many people would love to have the chance to shoot film but the exigencies of work (wire services, news services, etc) mean they just cannot take the time needed to do so. Everyone loves the idea that some crazy old guy is shooting a la 1956.
Film’s not Dead: You ‘owe’ a great deal to your first Olympics in Los Angeles in 1984 when your photo of Mary Decker became one of the most iconic sports images in the world. Would you be able to describe to us how that shot came about and do you think you will be able to produce an image like that again with such stature?
David Burnett: I was lucky to be in the right place at the right time, at an Olympics where TV hadn’t yet totally taken over the Games. Now, essentially, everything is covered 10 times over by TV: Overhead cameras, moving cameras, cameras in every place, size and description. In 1984 there was still little enough TV coverage that the biggest moment of the games, Decker/Budd, was essentially missed by the TV cameras except for a very distant shot. That wouldn’t happen today. Now there would be 10 different slow motion versions of it. That said, I wonder if we will ever have that kind of iconic image again, as there are so many pictures, so many good pictures, in a smothering world of production (one newspaper, the Sun, had to edit 10000 pictures of the Men’s 100 meters, alone)… it becomes harder in the ocean of photographs, or any one image to rise above the crowd, as good as it may be. I think we may have seen the end of such iconic sports pictures because of the saturation of imagery alone.
Film’s not Dead: Some people believe that analogue photography is like a ‘dying dinosaur’, but with people like you shooting for example in the Olympics with a 4×5 camera it proves that this statement is unjust. So what do you think about the current state of photography?
David Burnett: I feel like a bit of a dinosaur. The great worry that films will be come harder and harder to find, and process is a real one. I just hope there are a few well to do industrialists who love photography, who will keep those lines of film coming for decades. There is a reason that film is having a big resurgence these days… photographers are looking for something beyond the instant satisfaction of the digital image on the back of their cameras… and I hope we can be assured of enough tools going forward, that we won’t have to talk of film as ‘the good old days’ which don’t exist anymore.
Film’s not Dead: What advice and encouragement would you give to inspiring photographers of today?
David Burnett: Develop your own style. Make your pictures YOUR pictures. Shoot in a way that brings people into your work (we each do that our own way… that is something you have to discover on your own…)
Film’s not Dead: Is there anything else you would like to say to the Film’s not Dead readers?
David Burnett: Make every frame count! | {
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c4632a85-5ceb-4ae6-bf98-fb2eaf01eb28 |
carefree photography for wild, moonstruck lovers.
Elopement + wedding Photographer
based on the Big island of Hawaii
e7efc5-2880x1800.png
hawaii elopement photographer
CHOOSE HER! If you're here looking for a photographer, you should stop looking and book with Braidyn! She is kind, honest, and above all, such a great photographer! She shot our wedding photos when it was 104 degrees outside AND she was sick. She was there from the morning champagne to the keg stands at the reception and captured each moment perfectly. Can't recommend her enough! -Ashley | {
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339e31b7-9458-4477-850c-8313e187dd21 | Monday, May 30, 2011
I Met The Man Who Designed Tiny Tears.
A week or so ago I went to a lecture on the history of Palitoy, a Coalville-based toy manufacturer begun in 1918 in Leicester which went on to produce Action Man, Tiny Tears, all the Star Wars figures and other legendary toys till its closure in 1986. At its peak, it was turning over £2million annually - quite something in the very early 80s.
It was more fascinating than I thought it would be. As an occasional lecturer and public speaker it's always hard not to judge the presentation (my Mum went too, so the poor woman had two lecturers in the audience) and it began a bit ropey - slides on an overhead projector, badly publicised resulting in more empty seats than full, and notes in the wrong order.
But it didn't matter. The few who were in the audience turned out to be original Palitoy staff from back in the day, who kept the initially-stuttering lecture notes bouncing along with anecdotes, correction of facts and interjection of shopfloor statistics, thrusting technicolour Palitoy catalogues at us from carrier bags.
One of those people was Stewart Moore, the man who designed Tiny Tears and Pippa, and actually worked in the doll design section for decades (can you IMAGINE?) He claims to have interrupted his job to take National Service, which tells you how young he was when he started. After staring at him for some time, my Mum encouraged me to get his autograph, so I did. An elderly gent with a glint in his eye, he was amused and a bit confused, but humoured this over-excited doll fan and duly scribbled in Mum's notebook.
The signature now sits tucked under the arm of my Pippa who, being a doll, knows no different, but perhaps feels just a slightly increased sense of paternal comfort.
The original Tiny Tears from whom the Palitoy version was evolved, actually crying. Would you buy this for your child? I'm not sure...
The more modern Tiny Tears - the one I had (along with Teeny Tiny Tears and a Teeny Weeny Tiny Tears). Tiny Tears was stolen out of her pram one summertime. I'm still having counselling. Sorry about the 'tiny' photo.
http://en.wikipedia.org/wiki/Palitoy
http://www.pippadoll.net/
http://en.wikipedia.org/wiki/Pippa_(doll)
I bought it for the cover.
How many times have you said that? I've said it a lot. I am not sure people say it about my covers, though the phrase always hovers worryingly in my head when I'm under pressure to produce a good book cover.
I bought the following at a second hand book shop in Edinburgh. I was there to visit a National Trust site for a job, and had some time left over, so thinking I might find some interesting clothes or shoes I found myself being scared of the boutiques and blowing money in a book shop instead, coming home in the same pair of tragic old shoes (again).
This is the shop.
And here's what I bought.
The first I picked up in the £1 box outside the shop. I hovered for a bit as I thought no-one was in, and spent a good five minutes working out how to get the coin into the shop without breaking in. Since I've been thinking about doing some repeat-pattern covers for a bit (not for a publisher, just as a project) this one appealed, since the artwork was produced the same way, all drawn by hand. I've no idea what the book's like, but my Mum reckoned it'd be a rip-roaring story of the sea.
The second had a foiled and embossed cream cover which I got excited about. My friends Steve and Roger run a place in Leicester which does this sort of thing, and it was good to be reminded of the skills at my disposal in the local vicinity.
Then I went inside, since the door opened as I was trying to cram my pound coin under it. Here's the sight that greeted me:
I nearly fainted.
Here's the next one I bought. This one I picked up initially because the spine told me it was by 'Coleman', but with the discovery of a still-sparkling gold spine and that it was about butterflies, which I tend to draw quite a lot, it was sold. It's about 6" x 4", and is indeed written by one of my ancestors (I like to think).
Just look at these beautiful illustrations of butterflies. Some of them have a silver ink on them which still gleams in places.
The only downside is this page...
On the way to my most devastating unplanned purchase, I saw these 'Bibelots' which were massively desirable, but £200 EACH. Oof.
So then I saw this. I pulled it a bit too eagerly from the shelf on sight of the word 'Detmold', which caused the assistant to lower his trendy glasses a bit in my direction.
Charles Maurice and Edward Julius Detmold were prodigious illustrator twins born in 1883. Their output was large and impressive, working on pieces together, and were well on their way to joint and individual success when Maurice committed suicide without explanation in 1908. He was 24. Although distraught, his brother Edward lived and worked until the 1950s, and it is he who illustrated this book. Since they are among that fairy-lit collection of illustrators credited with creating the magical era of illustration around the turn of the century (Arthur Rackham, Kay Nielsen, Edmund Dulac and Aubrey Beardsley among them) I had to bring it home.
It's a first edition and is embossed with accurate line drawings of insects, with this debossed beauty on the back. Around 10"x8", and two inches thick, it's surprisingly light for its size largely, I think, down to the very fluffy paper inside which is easily damaged. It's like thick blotting paper. The type is set with a massive margin around it - this was a luxury book certainly - in something like Bodoni - I'm sure a type geek would soon tell me - and each colour plate is covered with rustly tissue paper.
Italian Locust. Great legs:
Common Wasp. Check the deboss around the plate:
Clock the attitude of the Preying Mantis here, the wary eyeball. Note not a hint of caricature, yet he imbues the fella with a personality of his own.
Finally the text itself is a delight. Fabre writes about every insect as a 'he' or a 'she', like this example from 'The Capricorn', which resonated with me immediately.
'Though the Capricorn-grub possesses these useless legs, the germs of future limbs, there is no sign of the eyes with which the fully-developed insect will be richly gifted. The larva has not the least trace of any organs of sight. What would it do with sight, in the murky thickness of a tree trunk?
But at the end of Spring the Capricorn, now in possession of his full strength, dreams of the joys of the sun, of the festivals of light. He wants to get out'.
Don't we all, little grub-face. We all want to get out into the sun and collect beautiful things like this. You don't find words and pictures like that in the DK Guide to Insects now, do you?
Nigel Peake.
Our friend Kev originally introduced us to Nigel Peake, who did the artwork for Coldcut's 'Sound Mirrors' album (Kev's the designer). His work is beautiful. I bought his book recently, 'In The Wilds - drawings by Nigel Peake' published by Princeton Architectural Press.
Nigel Peake’s new book In The Wilds is a lovely collection of drawings about farms, fields, and birds, taken from childhood impressions and his life in a one-road Irish village, where he is allegedly mistaken for the postman. He trained as an architect Edinburgh University, winning a Silver Medal commendation by the Royal Institute of British Architects (RIBA) for his thesis. All that attention to detail shows in the drawings he makes now.
Drag these gentle things over your tired eyes three times a day for best results.
http://nigel-peake.blogspot.com/ (his blog is more interesting than his 'actual' website)
Robert Burns Museum Award.
The Museum's just won a Scottish Design Award, which along with the design team involved I feel very pleased about. I don't get a gong of any description personally, but I did have an extra cup of tea and this very nice email from a lady called Hannah, who'd visited the museum recently. It left an impression on her that she was excited enough to tell me about - worth more than any award, what do you reckon?
In was only too keen to point out I don't get *any* crazy emails, but life would be more interesting if I did!
Dear Inkymole,
My name is Hannah Foley and I'm an illustration student at Edinburgh College of Art. I'm sorry to get all mad fan on you but I've just visited the Robert Burns museum at Alloway because I wanted to see your work there and it is absolutely terrific. It was so atmospheric and yet in keeping with the simplicity of his early beginnings. Really, really wonderful. I hope you don't mind but I've blogged about you and would be honoured if you'd take a peek here: www.owlingabout.co.uk. I know you're a very busy person and must get crazy emails like this all the time so please take the compliment and ignore the blog if you'd rather.
www.thedrum.co.uk/events/79-scottish-design-awards-2011-winners-announced/categories/
Hand-drawn Fonts.
I'm in this month's Computer Arts projects waffling on about why I love a hand-drawn letterform. You can probably imagine what I'm saying, but the frustrated writer in me is particularly proud of this line:
'Where a neat and symmetrical slab font might be a robust march, a script typeface is a ballet, controlled and learned but full of expression and surprises'.
(I'm repeating this line because it's mis-printed in the article - they wrote 'serif font' instead, which doesn't make sense!)
Here's the article next to the original artwork.
I'm in the next issue as well, the Illustration edition, talking about being a pen-and-ink perv. Again...
http://www.computerarts.co.uk/home
I did the cover of Contact this year, a double-sided edition with photography at the back. It was an image I did last summer for a US client, should have been a bit bigger perhaps to communicate all the detail, but it's still very pleasant to be featured on it.
I've advertised for years with Contact and for the first time am considering whether to next year. These days, it's almost impossible to tell where work came from. I can't recall the last time a conversation opened with 'We saw your page in Contact' - and many of them did start like that, to the point where I was able to keep a tally of work's origins, so that I could see what investments were working and which weren't. Unless a job has come through my agent, it's unclear what role each of my professional presences played in getting it.
There's a strong argument for a hand-held object with large, well-printed full colour images. There's another which says it's nice, but no longer relevant. I like to produce my own hand-held objects (though it's high time I did this - Christmas was the last). Compared to the cheap-to-freeness of online promotion, it comes with a whopper of a price tag. So right now, I think if you can afford it, it's necessary for those slightly old-school art director and buyers who like a chunky book of pictures to browse through, but only as part of a large artillery of tools including the now-obligatory social networking, blogging, iPhone apps and Tweeting. Those things are not novelty extras any more - they're at the core, but like an apple, the core's no good without the juicy fleshy bits to bite into.
What does anyone else think?
A Bright 'Un
We went to see the work of our friend Caroline Allen recently, who's embedded in her (second) degree in Materials Practice and 3D Design at Brighton University. Since she's usually a little coy with her work, we weren't prepared for the joy these things thrust at us.
Caroline's spent a long time researching prehistoric artefacts, and the roles and purposes we assign to them even if we don't know what they are or were. Find a corner of pottery with a curve, it was a milk jug. Find a flat piece with a pattern on it, it was a plate. The truth is we often don't know what they are, but we imbue these shards with meaning and purpose anyway, so that we can attach a significance and history to them.
She's invested a large amount of time in playing with ceramics as a way of exploring ideas around utility, function, context, and aesthetic. There's no official explanation for the things that have emerged as a result - that's up to us, as viewers: to 'develop their own biography'. These beautiful and beguiling objects ask to be touched, yet snag you and set your teeth on edge. They're made up of so many pieces, yet were made as one entity and then divided into pieces, sometimes carefully, sometimes, it seems, harshly. They make an uncomfortable sound if you stroke them. They might break (some did in transit, apparently) but they look broken already and what do they care?
The shavings are highly glazed and fragile, and highly tactile. Razor-edged, they're light as a vicious feather. Her degree show is on now but I just wanted to share these as, after a long period of output ultimately ending always in two printed dimensions, feeling and looking at them it was like a big gulp of fresh cold sea air. Carry on having thoughts Cazza, we like it when they emerge as objects which make us do the same.
Show: 1st June, 5-8, Faculty of Arts, University of Brighton
Room 207, Circus Street
http://arts.brighton.ac.uk/study/3d-design/3d-design-ba-mdes
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Country Roads
Country Roads
Product Information
I have always loved painting stadiums, so I was really excited to paint this iconic stadium in Morgantown. While the stadium itself has expanded over the years, the marching band still continues to create their famous and quite impeccable state of West Virginia shape as depicted in the painting. I can't even imagine how hard that is to coordinate, although marching while playing a musical instrument alone is pretty amazing in my book. What is even more amazing is that the university stadium can hold up to 60,000 people, although attendance has been in excess of 70,000!
Giclée Print on Fine Art Paper
Sizes: 12x18 or 20x30
Giclée prints are produced on acid-free, archival heavy weight matte paper. The quality of materials used ensures that the print will not fade or yellow over time. This is an open edition print, and is signed by myself, the artist, and comes in standard frame sizes so it can be set in a ready made frame from your local arts and crafts store.
Giclées on Fine Art Paper with Certificate of Authenticity are shipped within 1-2 business days.
While I hope that you love the product, I understand that sometimes things aren't a fit, so returns are allowed for intact product. Shipping costs for a return will be incurred by the buyer. If you receive a damaged product, I would be more than happy to replace the product at no charge, but do ask for pictures of the damage if possible for insurance purposes.
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1f739363-ca76-49e6-8f8c-0be0593daadb | Seguici su
Handicraft products of high quality
Home > Company
GENUS was founded in 2001 by Germano Cavalli and Gianni Brotto, both veterans since the early 1980th in the area of interior decoration and furnishing. The idea was to create a company which is capable of interpreting and transposing the extraordinary taste of its founders, giving a timeless breeze of life to the exclusive objects which are approachable for everybody, who can reflect their character and identity in the chosen item.
Objects, which existence is going further than simply having a technical function, but become a “messenger of story, culture and style”. In these past years of our activities, passing an uninterrupted evolution of products, in a spasmodic search of different materials, colors and personal stylistic solutions, which are adapting the demands of clients, who have become more sophisticated. Following this philosophy and of the daily working days of “today”, we are not simply offering only our standard creations (you can download our new catalogues on this site or on request in hardcopy form), but we are proposing our clients “an interpretation of feelings” in high quality to materialize a personalized and exclusive arrangement object which reflects his/her story of life, philosophy and feelings.
The name GENUS is represented by a full range of High Quality Products, built strictly observing, but with a special touch of authenticity and innovations, the Values of the Tradition...
The starting point of our work is, as usual, a maniacal and careful selection of raw materials. We only use noble materials with unique and ancient traditions, speaking of history, but also through a skilled manipulation, becoming contemporary.
Each of the pieces presented have a uniqueness given by the skill with which it is made of and of the originality of idea and design. Each detail has its own personal importance and sense, which is made with great care and wise attention.
The exclusive finishes realized with multi colors, natural patina, gold and silver leaves as well as natural leather and precious fabrics significantly contribute to the singularities of the production of “GENUS”, made up of unique objects, each with its own historical and personal touch.
The real creators of “Made in Italy” have been always showing great creativity; they have never bowed to the mass market and have always been surrounded by employees of great taste and of working and production culture.
This applies also to GENUS. We won’t ever run after easy profits or production areas in which it is possible to realize products at significantly lower costs; we will always be faithful to our historical culture, tradition and artistic wisdom, producing our items in a country that always had respect for quality and taste of beauty and this is being appreciated throughout the world.
Since the beginning of humans’ existence, man had always the need to improve and express the atmosphere and surrounding of his daily life. By the objects surrounded, man was always trying to give certain messages and to develop the own personality, always in connection with his story and culture. The elements of decoration in detail are a mirror of our inside, a particular feature which we can also define as a subliminal message to ourselves and our environment. Also today we can read the character, the personality, the history and the culture of a person by the objects he is surrounded of.
In creating GENUS, I have always tried to emphasize myself into the taste and pleasure of everyone; to send messages and to communicate with those around and to question the meaning of life.
I am expressing this with luxurious and elegant objects, which are telling the history but talking about the future, transmitting impressions and feelings. Numerous designs, which are being developed by different formal, functional and emotional dynamics.
Every model has to have its own personal background, depending on its owner and has to narrate through its presence.
A luxurious object, a philosophy of life, is the time in a welcoming and relaxing atmosphere, which is the mirror of our lives.
Any piece, which you are going to choose will be YOURS...unique...like YOUR life and mine. | {
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8d094849-e88d-4ac4-8528-7148a2c80505 | Huffpost Arts
Matthew Israel Headshot
'The Most Beautiful Drawing Ever': Pegasus (1987) by Jean-Michel Basquiat
Posted: Updated:
Jean-Michel Basquiat's Pegasus (1987) has always intimidated me.
It was usually one of the last works I showed students when I taught Basquiat, and I never said much about it. Its massive size, allover writing and symbols, and almost total lack of negative space overwhelmed me.
It also felt like standing face-to-face with sadness and death. Basquiat made Pegasus during the last period of his life, when his use of heroin was increasing and he was devastated by the recent death of Andy Warhol. He was also isolating himself and feeling like he had no one he could talk to. And then there is the work itself. The black acrylic paint emerges like impending doom from the top right and the writing and symbols feel obsessive.
Yet whenever I think about Basquiat's work, it's usually Pegasus (and Skull, 1981) which come to mind. So for the second entry of this series I thought I'd take a second look at this work to see what other things I could say about it. A few observations are below:
I know I've said above that this work is a drawing but it's important to remember, since its size (7 x 7 ft.) suggests it's a painting and it's mounted to canvas. And the whole thing is mostly executed in graphite. (He also used oil stick, acrylic and colored pencil.)
Alongside other Basquiat works, Pegasus has entered the world of mainstream fashion. Probably because of its allover surface it's a good fit for accessories and clothes. For example, you can buy a watch or a pair of shoes with Pegasus on them.
"It's as if [Basquiat] were dripping letters," the art historian Robert Farris Thompson once wrote. One might argue that the written word and Basquiat's specific style of writing were the most important aspects of his work. (And Pegasus could be one of the most important examples of how the written word dominated his work.) Have we done enough to understand Basquiat's grasp of writing, his vocabulary and his script?
Below are some of the words most often used in this work; many of them could be seen to reflect his emotions at the time: PEGASUS (In Greek mythology, Pegasus is the winged horse birthed from the blood of Medusa when Perseus beheaded her. It's become a symbol of fame and wisdom and is characteristically seen among the Muses. Also, in one of Basquiat's collaborative paintings with Andy Warhol, Warhol painted the image of Pegasus, which was then the Mobil logo.)
EROICA (Beethoven's Third Symphony)
SCHWARZ (German for black. It appears 47 times in this work.)
The major source for the diagrams and symbols used in this work was Henry Dreyfuss's Symbol Sourcebook (1972). Among the symbols taken from Dreyfuss's book were so-called "hobo signs," used by homeless people during the Depression. Such symbols marked a house where people could receive food or indicate unfriendly neighborhoods. This is where Basquiat found the phrase "nothing to be gained here." Basquiat also used Dreyfuss's diagrams for a rotary or centrifugal pump (a circle with a line shooting out from the top right with a "G" at the end); a tape recorder and a loudspeaker--again, among various others.
Looking at this work, you might conclude there is a possible circular path to Basquiat's thinking. You could think of him writing out a major theme of the work (i.e. "PEGASUS"), then drawing some diagrams from the Dreyfuss book and then coming back to "PEGASUS," and then moving back to the diagrams again. One might compare his process to the path of anxious thoughts or stream-of-consciousness thinking. Critics often see Basquiat's work as the visual counterpart to Jazz and Hip Hop. So one also might see the rhythm behind his writing as influenced by such music.
Basquiat worked on Pegasus while he was in-between paintings and didn't know exactly what to work on next. Dealer Anina Nosei has commented that she witnessed Pegasus's completion at his studio. She said Basquiat worked on the upper section as he talked to her. Then, she said, he "got bored and filled up the black" and it was done. Nosei has called Pegasus "the most beautiful drawing ever."
This is the second post in my series focusing on individual works. The first was on one of Cindy Sherman's Untitled Film Stills. | {
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98d4ecf7-bdb0-4864-825e-a3f556c7f977 | Christian Art
Early Christian art and architecture
Early Christian art and architecture, works of art exhibiting Christian themes and structures designed for Christian worship created relatively soon after the death of Jesus. Most date from the 4th to the 6th cent. AD See also Christian iconography under iconography.
Earliest Works
Little is known about Christian art in the first two centuries after the death of Jesus. Among the earliest manifestations extant are the early 3d-century paintings on the walls of the catacombs in Rome. Whereas the style resembles that of secular Roman wall painting, the subject matter consists mainly of biblical figures. Jonah, Daniel, and Susanna appear in scenes of miracles through divine intervention. Among the motifs that symbolized the hope of resurrection and immortality are the fish and the peacock. Following the official recognition of Christianity after the Edict of Toleration (313), the scope of Early Christian art was radically enlarged.
Mosaics and Manuscript Illumination
Elaborate mosaic narrative cycles covered the upper walls, triumphal arch, and apse of basilican churches (see basilica. Some are preserved in Santa Maria Maggiore and Santa Pudenziana in Rome and Sant'Apollinare Nuovo in Ravenna. The use of gold backgrounds heightens the effect of otherworldliness and transcendence. In contrast to paganism, the Christian faith was bound by the authority of sacred writings, and it placed increasing importance on the production of books and their illumination. Some fragments of the biblical text, written in silver and gold on purple vellum and sumptuously illuminated, are still preserved (see illumination). Foremost of these is the Vienna Genesis, a manuscript of the first half of the 6th cent.
The sculpture of the stone sarcophagus was extensively practiced in Roman art and was continued into the Christian era. In some cases subjects similar to those of the catacombs were used. In others, scenes of the life of Jesus or more ceremonious compositions were created, showing the enthroned Christ receiving the homage of the apostles. In addition, ivory carvers decorated book covers and reliquary caskets or larger objects, such as the throne of Maximianus in Ravenna, a work of the 6th cent.
Before the legal recognition of the new faith in the early 4th cent., Christian places of worship were of necessity inconspicuous and had no fixed architectural form. Afterward, however, imposing cult edifices were erected in many parts of the Roman Empire, especially in its major cities, Rome, Constantinople, Milan, Antioch, and Ravenna. Early Christian builders adapted structures that had long been used in the Hellenistic and Roman worlds. The basilican hall, consisting of a nave flanked by lower aisles and terminated by an apse, was adopted as the standard structure in Christian congregational worship. Sant'Apollinare Nuovo in Ravenna and Santa Sabina in Rome still survive as largely unaltered examples of this type.
In Early Christian architecture a distinct emphasis was placed on the centralized plan, which was of round, polygonal, or cruciform shape. Baptisteries and memorial shrines (martyria) were based on the traditionally centralized Roman funerary monument. Martyria were erected on sites connected with certain events in the life of Jesus and other places held to be sanctified by the sacrifice of the martyrs. In such buildings as Saint Peter's in Rome and the Holy Sepulcher in Jerusalem, the martyrium structure and basilica were combined, creating a new formal synthesis of great significance for the religious architecture of the medieval period.
Eastern Traditions
A distinct type of Christian art and architecture was evolved in Egypt (see Coptic art). In the eastern part of the Roman Empire the development of the Early Christian tradition was continued under the auspices of the Byzantine emperors (see Byzantine art and architecture).
See R. Krautheimer, Early Christian and Byzantine Architecture (1965); J. Beckwith, Early Christian and Byzantine Art (1970).
The Columbia Encyclopedia, 6th ed. Copyright© 2015, The Columbia University Press.
Christian Art: Selected full-text books and articles
The Beginnings of Christian Art By D. Talbot Rice Abingdon Press, 1957
Christian Art By C. R. Morey Longmans, Green, 1935
Roman Sources of Christian Art By Emerson H. Swift Columbia University Press, 1951
Art in the Early Church By Walter Lowrie Pantheon books, 1947
The Invisible God: The Earliest Christians on Art By Paul Corby Finney Oxford University Press, 1994
The Early Christians By Michael Gough Frederick A. Praeger, 1961
Librarian’s tip: Chap. III "Christian Art before Constantine" and Chap. VII "The Art of a Christian Empire"
The Early Christian World By Philip F. Esler Routledge, vol.2, 2000
Librarian’s tip: Chap. Twenty-Eight "Art"
Medieval Art By Marilyn Stokstad Harper & Row, 1986
Librarian’s tip: Chap. II "The Art of the Triumphant Christian Church"
Christian Faith and the Contemporary Arts By Finley Eversole Abingdon Press, 1962
Survival of Early Christian Symbolism in Monastic Churches of New Spain and Visions of the Millennial Kingdom By Schuetz-Miller, Mardith K Journal of the Southwest, Vol. 42, No. 4, Winter 2000
Peer-reviewed publications on Questia are publications containing articles which were subject to evaluation for accuracy and substance by professional peers of the article's author(s).
Looking for a topic idea? Use Questia's Topic Generator
Author Advanced search
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d1447d63-bb8e-48cf-8452-de008b567b93 | Are we over the painted silos?
For those who don’t know, up around where my mum lives they have taken to painting silos and other things in the hope of bringing more people to visit the towns.
I don’t remember when it started, but they have been doing them for a few years now and are continuing to do them. I was so happy they didn’t do the ones in Woomelang. I love photographing them and like them as they are.
It was fun when they first started painting them and I know that they attracted people up there, but I have to wonder if they are going too far now. In some towns, there are paintings everywhere you look. It gets a bit much.
Some of my concerns about them are the surfaces they are painted on and what they will look like in 10, 20 or 50 years’ time. We all know that any painted surface that is outside will crack and peel with age and then need to be repainted. So I have to wonder how they will repaint them.
Plus, I know from some people I have spoken to up there people are annoyed that their local government has all this money to spend on artists to come and paint the silos and other things, but they can’t spend money on the roads. It seems to have become a bit of a practice where a road needs fixing that they simply put a sign saying “Rough Surface, Slow Down”. That is the cheap way of fixing things. The roads are also really bumpy from all the grain trucks driving over them. They don’t need speed cameras because it is really hard to speed. If you try you get bounced all over the place.
In Woomelang they have now added more painted silos. They are the small ones that can be moved around. They painted a wall, then put a shelter thing next to it so you can’t really see the full benefit of it.
It also seems that people are painting things everywhere in the state now. It is like the latest fad.
I would like to see them doing more than that. If they want people to go to the towns, then perhaps find other ways. I don’t know what, but it would be good to see other things as well. See things as the towns are, or were.
Anyway, while I didn’t get out and take many photos while I was there, I did go for a quick walk and got these.
There are more, but I only got these.
What do you think of all the country towns painting objects?
You might be interested in …
1. Artistic expression needs to be fostered and artists need money to live. I love murals. I must agree with the what happens over time bit
1. I don’t disagree, but when no money is being spent on where it is needed as well, then it is hard to justify it all. When it was just 6 silos, I think people were okay, but now they just keep doing more and more and things like the roads don’t get anything. That is the sad part. Thanks Bushboy.
2. It is more about distribution of Federal Govt funds that get allocated to many sectors of our community. How about we get our railways going again and get the trucks that do the most damage to our roads off.
3. Yeah, that is true to some extent, the federal gov does fund some roads, and so does the state, but it depends on the road and how important it is. Unless it is a highway then it is up to the locals to pay for it. I wholeheartedly agree about the rail network. Trains go through my mum’s town all the time, but no passenger trains. If you want to travel to Melbourne you have to catch a bus at midnight. It is ridiculous. There is a massive break at Ballarat and then they arrive some time in the morning. I takes twice as long as a car. Disabled people can’t use the bus, so it seems unfair. The train lines are there, use them.
1. Oh the snake is the one painted on the wall. It is hard to get a good photo because after it was built they put up the shelter in front of it. Don’t understand the logic. My mum is with you, she doesn’t like the snake either.
2. I never thought about what they will look in the years to come given that paint chips, fades, etc. In my town in the US there is a bite of this. Two stone walls have been painted and underneath a bridge but that’s about it. I think your painted silos are beautiful. Now.
1. Thank you Lena, they are beautiful. I don’t like all of them, but yeah, what happens to them in the future is a worry. Especially the really big ones that are painted on the rough cement silos.
3. I can’t use the Like button for some reason, not your site’s fault. I think they look very nice, Leanne, but I agree. They will need paint again, who’s going to pay for it? Your local government body shouldn’t be paying for this.
1. It might be my sites fault, you never really know. Are you logged into WordPress, sometimes that can matter. They will definitely need that, or they will end up being an eye sore perhaps. The local guys pay for it because they hope it will boost tourism, but so many other local councils doing the same, it is hard to see if it works. Thank you John.
4. I love street art and murals and think they very much improve the urban landscape. That said, I am not sure how I would feel about too many of them being in a much more rural context. Public art in urban spaces breaks up the monotony of all the grey, the concrete, and infrastructure. It does not serve that purpose in rural settings. I can see the merits of the financial argument but I also think that it a tried and true method by which financial backing is withdrawn and diverted away from the arts more broadly, including from the education system.
1. Don’t get me wrong, I love them too, but not everywhere. I agree about them in urban spaces Laura, they can be a wonderful for the reasons you said. I agree to a certain extent about the financial backing, but when I hear my mum constantly complain about how they won’t spend money on roads, or other things around her, you have to wonder if the money is being spent wisely. Surely they can do both, would be my thoughts. Perhaps less art and a little more to make the road safer. Thank you Laura.
2. Totally agree. It is all about balance. I live in an area notorious for its terrible road surfaces so that is an issue near and dear to me. I just think the money for roads would easily be found in the budget diverted away from something with less impact than art funding. There is so much inefficiency and waste in all layers of government.
3. There is so much waste, our last federal gov was a testament to that. They were spending our money on things they shouldn’t have, like land for an airport, they paid something like 30 million for it, and it was worth 3. Dodgy stuff. I don’t object to spending money on the art, but how much art do they need. Also, from what I can gather they aren’t local artists, they are artists that are getting lots of work and getting paid lots of money already. There needs to be a balance.
4. It absolutely should be about supporting local artists, perhaps community art projects. You also mentioned that the silo paintings don’t last long which makes them a questionable investment. There definitely needs to be a balance. They should also be consulting the community and asking whether this is something they want and appreciate.
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A desperate bliss
I once received a colored-crayon drawing from a very young niece. She made the drawing, folded the paper into the shape of an envelope, sketched a stamp in the appropriate corner, and then handed it to me. She was very pleased with herself for she had found a way to guarantee a sympathetic reception for her work of art.
She had reason to be pleased, but what will she do when she learns that the creation of art is actually much more like writing a note addressed "To Whom It May Concern," sealing it in a bottle, and then dropping it from a boat in the middle of the Pacific Ocean?
Will she then still wish to draw? Or will she decide that art is not for her , that its rewards are too uncertain, and that she'd be better off putting her feelings elsewhere?
And why, I wonder, do those who stick to it, those who keep plugging away year after year at writing, painting, composing, etc, often with little or no acceptance or approval, continue at it?
It certainly isn't only talent that drives them, although early proof of its existence will help focus a youngster's attention and will provide him with just enough effectiveness to convince him that he is not totally deluded about his chances.
No, it's something else, something much less tangible and more private.
One might think it had to do with greater sensitivity, with deeper feelings, sensibilities, and values. Or with a greater sense of the beauty, fragility, or preciousness of life. Considering the emotional nature of art, that would make sense.
But that doesn't really convince me either. I've known altogether too many people in the arts who were blind as bats to anything beyond their own egos, and too many people whose only contact with the arts lay in an occasional trip to a concert or a museum, who yet lived lives of the deepest beauty and concern.
And besides, don't we all, artists and non- artists alike, share the same basic humanity? Haven't we all experienced moments when everything falls into place, when everything seems to be part of a whole and we exist serenely and at peace with the world and with ourselves?
And haven't there also been moments of great anguish and pain when we wanted nothing so much as a peaceful resolution of what was ripping us apart?
Or moments of beauty we literally ached to share, flashes of insight which burned to be told, and pits of loneliness which needed to be filled? Haven't there been times we wanted to shout to the heavens that we were truly alive, that we truly existed, that we didm matter regardless of how small we were in the overall scheme of things?
And who of us, during or after such moments, hasn't written a poem, painted a picture, or composed a song to express these feelings or to try to capture the quality of the moment forever?
Common sense and fear of ridicule may cause us to keep such efforts at self-expression to ourselves, but weren't we a bit awed by what came out, by our creative potential? Didn't it seem for a brief moment as though we were involved in an act of magic? That we were somehow plugged into life's deepest rhythms and secrets?
And didn't it feel like the most wonderful thing in the world? Feel so good that it would be worth giving up almost everything else for?
Most of us get over this feeling, tuck it and our poem or painting away, and get on with the daily routine of living. But for some that is impossible. They can never get over it. They are hooked and will spend the rest of their lives trying to reactivate that feeling through art, trying to connect at least one more time with those wonderfully life-generative rhythms and patterns of which we are so much a part and which yet transcend us.
For these people art is not a profession or a career so much as a reason for being. It is life, love, and understanding all rolled into one.
They are driven not only to feel deeply but to give form to that feeling. Driven not so much to make things as to shape better vehicles of expression in order to project the uniqueness as well as the universality of what they feel, sense, love, hope and know.
(If we understood better that art is more a matter of findingm expression than of being "self-expressive," we would be able to accept a bit more easily the ruthless necessities of emotion and idea seeking external form. And understand better why, should all traditional forms be inadequate, the artist mustm shape something totally new.)
And lastly, these people we call artists are driven to share. They may argue in all honesty that they create only for its own sake, that it is their inner necessity, integrity and passion which concerns them and not the ultimate disposition of their art, but creativity, like procreativity, has its own laws of which the artist, driven by his private vision and passions, may not be consciously aware.
And that drive is what my young niece will need if she is to continue in the arts. She has already decided that painting is not for her. And that ballet-dancing is the greatest thing in the world. But she is only 14, and we shall see.
We want to hear, did we miss an angle we should have covered? Should we come back to this topic? Or just give us a rating for this story. We want to hear from you. | {
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a7866e02-6ea7-446b-9f6c-b7120706326c | I’m using the free time without evening practices during the week or events on the weekends to make banners. I finished my personal one a couple of weeks ago.
Is there a good website listing ways to appreciate words in medieval texts? I’m more interested in vernacular than in Latin.
I also practised some illumination under the advice of Mistress Genevieve.
Using paint is still very scary.
I actually might get this dress done for 12th Night in 5 days. Only a couple of buttonholes and buttons to do to make it wearable.
My name is Alays de Lunel in the SCA. I'm German (from Dresden) but live in Dublin, Ireland. In the SCA I dabble in embroidery, calligraphy & illumination and bookbinding. Mundanely, I'm singing in the chamber choir Mornington Singers and am member of Bookcrossing.
Medievalists and Medieval-adjacent. Sort-of. | {
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e852ba1d-2442-4341-91ed-d626514f3f8d | Challenge Me
From time to time I think most artists will encounter a block, much like writer’s block, or as I like to call it, white canvas syndrome. If you make a living with your art, there is nothing more frightening than that endless blank canvas or paper waiting… Personally to combat this stomach knotting, twilight zone of emptiness, I’ve used various tricks, tools, incantations, whatever you want to call them, to get back to a more productive zone. I’ve done things like just go and sit in my work space, or studio if you will, and go over old ideas I’ve written about or tried, looked through art books, and more currently gone online for some free inspiration. Sometimes I write up a list of categories, such as wildlife (the animal kind, sadly I have none of the other), or just simply goof around looking through photos I like. But there is one more concrete tool that I have found to be useful, and that is the “art challenge”. In particular ink challenges, or more specifically “Inktober”. Created in 2009 by Jake Parker, an ink artist who was looking for something to ” improve his inking skills, and to develop more positive drawing habits.” Something I know I can always use, as there are so many distractions on top of real life needs, that it becomes very easy for weeks to slip by without creating something, and for the old ferrules to get rusty.
The prompt for this was “graceful”.
Therefore its crucial to find something that not only gets us off of our sorry excuses, but to also find something that is fun, challenging and engaging. For myself I have found that Inktober fits the bill. The premise of Inktober, is this; For each day of the month leading up to Halloween, there is a list of “prompts” . They don’t always have to do with Halloween, but generally they do. But it isn’t a rule or anything that you have to interpret the prompts that way either. Again it is meant to get you excited about creating something. It’s always interesting to see what other’s take is on each prompt. There is a massive range of ideas, styles, and talents submitted each year. I prefer not to look at other’s work for the day, so as not to be influenced. After you have drawn your idea, you upload it to the site on Twitter with a few different hashtags. I have even been surprised myself by what interpretations pop out of my head, heheh. They often take a completely different turn as I work on them, than what I had planned.
I used to use pen and ink quite a bit, back in the day in the “purest” form. Actual pens with removable nibs and small bottles of ink. There was something almost sacred about picking up these supplies, lining them up on my art table and working like the old masters did, learning by trial and error how to use this medium, careful not to splotch my work. Most of the time these were smaller pieces, and were very detailed. Like any time I am working, I tend to lose track of time and sometimes it feels almost mystical. I normally use either oils, or acrylics, mostly the latter lately. So it’s fun to take a month and work in a completely different medium. I highly recommend Inktober. Since Mr. Parker started it back in 2009, Inktober has grown exponentially into a massive worldwide endeavor. I’m posting some of my Inktober challenges for you here to see for yourself the strange, interesting and sometimes odd places it will take you. Enjoy, and I hope you take up the challenge. See you next time!
I did this as a “mash up” of two day’s of prompts, “trail and juicy”. I thought it was pretty clever, heheh.
Another “mash up” “Climb & Fall” (It works both ways.)
PS Please take a look at my site on Etsy- oMordah etsy.com/shop/omordah for originals and prints of my work. There is a price range so everyone can have some sweet art 🙂
Born Out Of Time
Is daydreaming a prerequisite of being an artist? So many I have known, and including myself tend to have this trait to one degree or another. For myself it is a necessary requirement of the job, letting my mind wander, and rest, gives me a clearer vision of what I want to do. As well as takes me on impossible flights of fancy, (which may not always be a good thing, ) but it is essential.
One thing I’ve always daydreamed about is being part of, what feels like to me, some of the more important times and births of genres in the history of art; The Renaissance, the time of the Impressionist, the Abstract painters of the 20th century, (I only missed that one by a few decades), as well as the coming of age of comic art. To have been included in one of these circles of great minds and talents would have been an incredible experience.
The era that I’ve always felt most drawn to, almost as if I had been there, was the time of the Impressionists. What an exciting, brave romantic time of a burgeoning artistic genre and group of artists to have been part of!
It was bold, and difficult. They were mocked, and bullied by fellow artists. The official royal salon did not accept them. It was most likely when the terrible lable of “starving artist” came to be, and most certainly was true in many cases. Because they were creating a new, often maligned artistic style, it was a constant struggle. Often even amongst themselves, the impressionist artist couldn’t always agree about what was “acceptable ” and what was just “too far”.
Yet, with all of that, how exciting it must have been! They were rebels, outsiders, but passionately believed in what they were doing. They fought for their art, sometimes living in drafty, damp quarters, with little food, (hence the “starving artist sobriquet “). Often in between sales, or the help of patrons, they lacked art supplies, making what they could and reusing canvases to paint new works.
This may all sound pretty rough, and I imagine it was. But there is that wistful charm about it. Somewhat like looking back on our own “glory days”, growing up. There was magic in the struggle. It makes us who we are. It made them who they were, and they were true to themselves.
I imagine, living in an attic studio in old Paris. Lead lined skylight covering most of the ceiling, pans catching the rain where it drips down from the old, cracked caulking. It’s chilly, but there is some warmth from the old stove in a corner. A large bank of lead lined windows, looking out over Paris. Easels, canvases, and brushes everywhere. And being too thin, but still young, strong and dreaming of people loving your work. Meeting up with other like minded painters, giddily talking about what you’re working on, and dreaming of what’s to come with this new way of painting. Complaining of the fools who don’t quite get it. Knowing, feeling to your bones that you’re on to something great. That all the hard times will be worth it. Maybe not knowing that these are the glory days, but maybe a little part of you hanging on for dear life to it, because it is “something “, something important. And it was. | {
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18c8e3f2-3dde-4e0f-a53d-860f593a5a89 | Merging Letters - Logo Lesson
Simplicity is essential when creating an effective logo. When merging letters the shape of each letter must be strong, clean, and distinctive so each letter can be recognized and the overall logo shape remains simple. For this example I recommend a wide sans serif font.
Create a new PhotoShop file - width 200, height 100. I select the font "Arial Black" size 120 and type in a capital U and R on a single layer. Here is the file so far.
In this example let's use the path palette to combine these letters.
I access the Layer Menu > Type > Create Work Path. Look closely at the letters "U" and "R", there is now a thin purple outline which indicates a Work Path has been created around their shapes.
Next I add a new layer. The work path will display on this layer and I can now turn off the original text layer.
I use the path component selection tool to drag the "R" over to the "U" so the left leg of the "R" fits inside the "U".
It's a pretty good match, however the left leg of the "R" is sticking down below the "U". I access the pen tool and move the anchor points so it is within the curved area.
Next I fill the path with color. This can be tricky if you do not have much experience using paths. Using the fill command or the paint bucket will fill the entire screen with color not your path.
To fill a path I first need to select the entire path. Since this work path started out as a "U" and a "R" when I use the path selection tool I may only have one of the letters selected. Hold down the shift key and select the other letter until you see anchor points surrounding both letters.
Now it's time to switch to the path palette. If you don't see a path window access Windows > Show Paths.
The path of the letters "UR" is displayed and there are several icons at the bottom of the path window. I access the fill path icon and the foreground color is automatically inserted into the "UR" path.
Next I access the layer window and make a copy of the "UR" layer. My document now looks like this.
I access the upper UR layer and add a stroke of 2, outside, in a lighter color (FFCC66). It may be difficult to see the lighter stroke over a white background so I zoom in for a closer look.
Next I access the lower layer and add a stroke of 6, outside, in a darker color (663300). Here is how my document looks now.
Don't be alarmed if you see lines which are elements of the path, when you Save for the Web they will disappear. Here is finished logo File > Save for Web > Optimize as a Web GIF.
To view this file as a Photoshop document access the CD > CIS 58.53B Advanced Class > PSD > logo > logo-letter-merge.psd | {
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The tin insects are made by The Improved Arts Metal Sculpture Project which was started in 1986 by five brothers. Having discovered their artistic talents, they founded the group to depict African natural history through metalwork and to make a better living. Old tin cans and other scraps of metal from businesses in the industrial area of Harare are turned into these delightful sculptures by these artists using snips, pliers, and hammers. The sculptures are then painted in bright and funky colours in the Weya Art Style.
Hand Painted Tin Crab | {
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8d4a7a70-a03f-4094-a48c-b97f2b2a2245 | Learn how to use animated infographics to engage your audience
You probably know this by now but one of the best ways to get the audience’s attention on the Internet is by using infographics in your content. What you may not know is that you can make it even more engaging by creating animated infographics.
Common infographics have been working with all types of public for years but that doesn’t mean it can’t get better.
Going to animation mode will make your content pop out and have some of the benefits that are usually reserved for video marketing. It’s kind of the best of both worlds.
To fully understand how to use this tool and make the best results out of it, you have to get a grasp on everything that surrounds it. Keep reading to learn all about animated infographics:
What are animated infographics?
Information is much better perceived when we have a way of visualizing it. In this case, there are not only imagery, illustrations, charts, and other visual elements — there is also movement. You have certainly seen that a lot online.
GIFs are the most popular type of file, besides videos, that have movement. The whole internet is filled up with them. That format can be used when creating infographics, as well as other artifices. But let’s not get ahead of ourselves: the point is that you can see for yourself how important and widespread motion content is.
Animated infographics are a method of exposing valuable info for your audience simply and effectively, while you keep them entertained. If done correctly, it can be a great differential for your brand.
Why invest in animated infographics?
There are several reasons why this is an amazing tool. Just like your content has a purpose, the same works for the infographics within. Therefore, let’s see how it can work alongside your business planning, assuming you already know how to define the scope of a project.
First of all, you have to see things through your client’s perspective. What do you think is easier: remembering written data and numbers, or recollecting a visual representation? What if some of that material stands out, wouldn’t it be even simpler to recall specific information?
If you plan to provide content that shows your brand as an expert or an authority, that kind of approach is very valuable. An animated infographic will engage the audience and help you uplift the company’s reputation.
It’s also a great way of showing case studies, getting more brand exposure, and adding to online campaigns. You can use good design to attract and convert leads or to improve customer loyalty, depending on your goals. Don’t forget to always focus on providing effective client communication.
How to turn your old infographics into animated ones?
If you already have some infographics up your sleeve, it can be a good idea to try and reuse them with this new technique. There are a few ways to do it, as long as the right graphic design software is used professionally.
You can identify key elements and highlight them, not necessarily transforming the whole art into an animated one. The result will be an easy-going design, pleasing to the eye, and still keeping the same components and outline.
The Role Player
From Visually.
It is possible to remake the infographic into a GIF, using the same idea of highlighting a few elements or making the whole design a new animation. Either way, modular design is the best way to do it.
Last but not least, you can create a video based on an old infographic. It may require more work but videos receive the same, if not more, attention. If your data is still relevant, creating a new video with it can be amazing for you and your audience.
How to create innovative animated infographics?
Whether you want to get old designs back to life or create new ones, we bet you want to make it as innovative as possible. Follow these tips to give the public what they deserve!
Find the best story
Infographics are just ways of telling a story. Even if the data sounds boring, you can always make it look nicer if you work on your creative thinking skills. Discover what your audience wants to know and you will already have a good story to tell.
Choose the right voice
As usual in any content you provide to your clients, you must find the right tone before speaking out. Be solid to what the brand is all about but don’t forget to be accessible and simple for people to understand. The secret is finding the balance between showing what an expert you are and talking in the same language as the reader.
Limit the data
When you do research and get a bunch of information, it may sound exciting and you might feel like the world needs to see it all. However, too much data can ruin an infographic, so be careful! You can have a separate document with everything else that didn’t make it to the design if you want.
Be professional
Of course, you will be professional when handling this or any other marketing tool but what we mean is that creating animated infographics is not such an easy task. Getting it done poorly can cost you the investment, so analyze the best course of action before making anything from scratch. Outsourcing might be the best option.
If you feel like that applies to your current situation, we can help with a single recommendation: Visual.ly. It’s a fast and affordable way of creating animated infographics, as well as other content. Click here to get a quote on our creative services!
Get a quote right now for a top visual content!
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Oops! Invalid email, please check if the email is correct. | {
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f6058ee4-be40-4889-a160-3b1addba43c2 | This Was Leica's First Digital Camera—20 Years Ago
I don't remember very much from the mid-90s, but I'm certain I never saw Leica's incredibly strange (and damn beautiful) digital camera. It had awesome giant handles, and it took gorgeous photos. 20 years ago. But the wait? Not gorgeous.
Each image—weighing in at a very-impressive-for-its-time 5140 x 5140 (yes, it took perfectly square pictures) took over three minutes to capture. So those handles were there for a reason—just don't get jittery. Realistically, the handles were employed for pinpoint framing, not actually holding—the thing was meant for stationary use, as it was essentially a miniature scanner with a film camera's lens. It might sound a little crude—but keep in mind, thing was a trailblazer. Still, most of Leica's customers were museums and research groups—which is a shame, because, were this thing a viable point and shoot, I would love to see the looks on peoples faces when I took it out of my bag. Whether they'd be looks of horror, mockery, or astonishment—hard to say. [Photojojo and B&H] | {
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d1cb69df-26a6-458a-8f09-33fe420c122d | Bouchra Khalili: The Mapping Journey Project
Museum of Modern Art, New York
Maps have long been used by artists as a basis for their work. From Alighiero Boetti’s embroidered maps of flags, to Rirkrit Tiravanija’s charts of his peripatetic childhood, and Grayson Perry’s markings of social norms in Great Britain, objective maps are used as the originating points from which subjective interpretations of strife, relocation, identity, and cultural affinities are drawn. But rarely does one see a pristine map sullied only by a single line. In the French-Moroccan artist Bouchra Khalili’s The Mapping Journey Project (2008–11), on view at the Museum of Modern Art, New York, six maps displayed on flat screens, accompanied by six different voiceovers, chart the harrowing journeys of illegal immigrants from the Eastern Hemisphere to Europe.
Suspended from the ceiling in the open atrium section on the first floor of the Museum, six flat screens depict circuitous immigrant routes from the Middle East, Africa, and South Asia to Europe. A line drawn with a marker by a hand on each map enables the viewer to follow the path of each journey. Poised between a documentary and a film, Khalili’s uninterrupted, spontaneous recording of each subject’s narrative is accompanied by the slow almost surreal movement of their hands along the borders of several countries.
Accounts of treks from Algeria to Tangiers, and others from Mogadishu and Somalia to Italy, and some traveling from Dhaka to Delhi to Moscow, through wide-open deserts, choppy seas, and hazardous checkpoints, are just stops for the immigrants in their hope of reaching the United Kingdom or the Scandinavian countries. Their clear, almost clinical tales recount treacherous journeys of concealment, subjugation, and incarceration. Presented without images of the landscapes or photographs of the speakers, with the exception of the appearance of their hands, Khalili creates a distance between the viewer and the reality of the situation. Her bare minimalist technique forces us to imagine the plight of these disregarded individuals who are often hidden in trucks and boats and preyed upon by greedy smugglers who promise to transport them across the Mediterranean Sea to Italy and Greece for large sums of money.
When I first saw Khalili’s project in the exhibition Here and Elsewhere at the New Museum, New York, in 2014, I was struck by the way she engages in a kind of activism that creeps up on the viewer. Her project, unlike any other, does not use maps to discuss geography or territories. Instead the inequities of society and the divide between the haves and the have-nots are made clear as these African and Middle Eastern immigrants are detained, confined, and rejected in different European ports of entry. The effect of combining these intimate auditory tracks with the movement of a hand on a map is like watching the arbitrary maneuvers of a pawn on a chessboard. Khalili’s subjects are mere pawns with no control over their destiny. Left to chance, the immigrants’ first hand accounts of their journeys gives grist to the voice of the disenfranchised. Without being maudlin, The Mapping Journey brings home a close up view of the lives of thousands of people who washed up daily on the shores of the Greek Islands and Italian villages.
Khalili’s pristine maps marked by single curving lines become a platform for the precarious situation of a large populace in need. Her work is particularly relevant in today’s highly charged and controversial environment of xenophobia and fear. While a map is the most essential tool to guide a person’s journey, the maps that make up her project are trajectories of uncertainty and desperation. Yet, through this highly understated but powerful work Khalili’s case for these hapless immigrants is conveyed with a great deal of dignity. Hidden behind the narration of each matter-of-fact story is the need to escape from the trauma of war, famine, and autocracy. These people risk their lives in the hope of finding a better one; these are incredible stories of grit, bravery, and survival.
Bouchra Khalili, The Mapping Journey Project, 2008–2011. Installation view MoMA, New York. Courtesy the artist and the MoMA, New York.
Bouchra Khalili, The Mapping Journey Project, 2008–2011. Installation view MoMA, New York. Courtesy the artist and the MoMA, New York.
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7d70449f-561a-4f5d-a3b1-97d6bad2cda9 | Wedding Photos of Night portrait
The following “Night portrait” images were created by documentary wedding photographers from the WPJA, who regularly submit their best candid moments, artistic portraits, details, and scene setters for review by our WPJA competition judges.
Some of the “Night portraitCalgary, Alberta Engagement: Couple in Love Facing Big City at Night in Black & White
Minneapolis, Minnesota Holiday Lights Engagement Announcement Portrait for Couple
San Francisco, USA - Romantic Engagement Announcement Portrait of Couple Kissing at Night
The Peddler's Village in Lahaska, Pennsylvania witnessed the romantic kiss of the engaged couple in love
On Addison Street in Philadelphia, the groom-to-be lifts his fiance during a night Christmas engagement session
In Thailand, the engaged couple posed back to back in a silhouetted urban art setting
In Miami, Florida, the couple in a night portrait by the water with twinkling city lights
In Eminönü, Istanbul, Turkey, a romantic kiss was caught along with the night's city light reflections on water
The couple beamed in the romantic lighting of the theater on the eve of their urban wedding adventure
A romantic portrait of a couple is made even better by a wall of bokeh lights to the left of the frame
The couple had their portrait taken at the famous sign, illuminated by a striking rim light in the evening sky, prior to their wedding reception
The presence of rally cars and smoke bombs illuminated by backlit smoke creates a romantic atmosphere in the night
At the Château de Belflou, a clear umbrella over the bride and groom at night
The couple's romantic silhouette, illuminated against the backdrop of a rainy night, makes for a stunning image at their wedding reception
At Schloss Hambach, the couple posed for a portrait at night with warm toned fixtures on the exterior building wall
The couple basks in the cozy atmosphere of the warmly lit building on a rainy night, sheltered by an umbrella
The atmosphere of the wedding reception venue is highlighted by the bokeh lights as the bride and groom stand in the rain at night
Joshua Tree, California: Colorful night portraits of bride, groom and dog with neon lights at Airbnb
The couple's night portrait engagement features a slow shutter speed and painting with lights. The vibrant electric blue sky creates a stunning contrast with the golden hour couple.
an engaged couple on fence with man kissing woman on forehead
The Bride and Groom created a romantic atmosphere with a nighttime outdoor portrait illuminated under an umbrella
The scene is illuminated with a captivating display of twinkling lights, with a blanket of snow coating the ground, as the newlywed couple stands together under an umbrella
couple out late at night and a sparkler is used with a slow shutter
A night portrait is the last shot at the Park for this engaged couple
The couple is getting ready to kiss at night under an illuminated sign that reads BAR
A Campos do Jordão city night portrait with a SP couple under the trees filled with lights
A Granada, Spain Pre-Wedding Couple Portrait Session at Night with Lights
Golden, CO image | the wedding party poses with cigars for this Chief Hosa Lodge wedding portrait at night
Outside the Historical Walton House, Homestead FL, a Night Portrait in BW of the Bride and Groom | {
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ece99e70-7c58-4c76-8959-922f23bd7f97 | London Design Festival 2016
“Once again the London Design Festival is about to touch down for nine days, with more than 400 events that promise to show — as if there were any doubt — that our capital city is crackling with creativity…In venues ranging from the Victoria and Albert Museum in Kensington to studios in Clerkenwell and galleries in Brixton, the latest trends and talents will be thrust centre stage for an all-too-brief Indian summer, but one that promises to be spectacular.”
Jonathan Morrison, The Times
The annual London Design Festival has become one of the most influential events of its kind in the world, boasting home grown and international talent across the city for nine days each September. Each year the Festival presents an exciting array of large scale experiential installations alongside an imaginative programme covering interiors, product design, furniture, technology, graphics, craft and textiles. 2016 marked the Festival’s fourteenth year and was no exception with 669 projects taking place from 17 – 25 September.
Once again the V&A was the hub for the Festival and featured a number of highlights. Benjamin Hubert of Layer collaborated with Braun to create Foil, a 20 metre-long structure made with 50,000 metallic triangular pieces. Set against the atmospheric backdrop of the V&A’s tapestry galleries, Foil immersed visitors in a sea of light, shadow and ambient sound.
Design duo Glithero created the colourful Green Room, an immersive wave of pink and orange cords created with Panerai and influenced by the movement of time. The V&A also played host to the London Design Festival Shop which saw designers such as Kellenberger-White and AL_A reimagine London souvenirs.
Another integral part of the Festival programme is the Landmark Projects. For 2016, MINI Living partnered with designer Asif Khan to create ‘Forests’, an exploration of third spaces within the city. Set in Shoreditch, the activation saw three community areas created for social activities, meet-ups and collaboration. Asif filled these spaces with hundreds of plants and the installations proved popular amongst locals and visitors alike – providing a chance to reclaim public space and foster community engagement.
As always, the Design Destinations and Districts provide an easy way for visitors to navigate the Festival and see lots of content in a concentrated hub or area. Brixton took to the Festival stage for the first time and did not disappoint with a programme focused around the theme ‘Rebel Rebel,’ a homage to their late native David Bowie. In Bankside typography and fonts were a core theme with ‘type-tasting’ workshops with Sarah Hyndman and a tour of Bankside’s ghost signs, the fading advertisements typically found on exterior brick facades.
The Festival also celebrated the tenth year of its British Land Celebration of Design Awards, a celebration of design talent of the year, emerging names, innovators and industry icons. Winners this year included David Adjaye who also unveiled his design for the new Smithsonian National Museum of African American History in Washington during the Festival week.
Partner highlights included Martino Gamper’s ‘No Ordinary Love’ at the Seeds Gallery for which Martino collaborated with designer friends to create collections of pottery and ceramics, questioning the role of authorship in design and whether this plays a greater role than aesthetics or the functionality of such pieces.
London Design Festival | {
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334e22e1-6d46-400d-a705-c0f31e5464e9 | Employ a professional corporate photographer
Taking photographs is a favorite activity that almost everyone partakes in. Professional photographers are trained to take the best pictures. But what pro photography secrets could we utilize for the best photographs?
1. Get On A Single Level As Your Subject
It is actually natural on an amateur photographer to withstand go on a picture. However, adjusting your level in order that you are on the same level since the subject are capable of doing wonders for your personal photograph. For example, when you are getting a photo of your five-year-old girl, get on the knees to accept the photo.
2. Be Aware Of Background
One of many mistakes non-professionals make when it comes to photographs will not be to pay attention to the background. What appears in the background of your photos can make or break the photographs. For best results, choose a plain background.
3. When Necessary, Use Flash
Flash is positioned on the camera for any reason. Many cameras will automatically flash in case the conditions are there. However, should you not own a camera with the automatic flash, be sure you use flash when it is necessary.
4. Get Close
The same as getting on the very same level as the subject is very important, getting in close proximity to your subject is also important. Figures which are too far away can look unclear and blurry. Get near to your subject or take advantage of the mechanism in your camera for bringing your subject closer as well as in focus.
5. Get Verticle
It is normal for all of us to keep our camera in one position when getting a shot, and that position is horizontal. But get creative and attempt verticle. Verticle shots provide you with more verticle room, including when you find yourself taking a photo of the tree or everything that is tall.
What Are Some Pro Photography Secrets
6. Adjust Your Focus
Many cameras automatically focus your subject. However, the ideal cameras permit you to focus your subject manually and the way you desire it. Make sure you adjust your focus when you are able to offer you as clear an image as is possible.
7. Think Off-Center
It's also normal to have an amateur photographer to center his / her subject. However, centering an issue often looks too staged. To get a natural photo, place your subject a lttle bit off-center.
8. Pay Attention To Lighting
Lighting plays a crucial role in the style of a picture. As an example, should it be gray out unless you're choosing a Halloween type feel, your photos is not going to look just like in the event the same picture were taken out in the sunshine. Focus on lighting. Make certain there is certainly enough natural, bright light for your personal photo.
9. Take Control Of Your Shots
You are the one in control when you're taking photos. So take charge of your shots. Select the design you're seeking.
10. Utilize A Good Camera
Cameras are expensive, but an excellent camera provides you with the ideal photos possible. Work with a good camera anytime you can.
Even though you're a beginning doesn't mean you can't take great photos. Utilize a few of these tricks of photography pros. | {
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c75439f1-022c-42ab-a0f7-a7bb17994a65 |
Deadline looms for SPCA’s kids T-shirt contest
With the deadline for its art contest just weeks away, the BC SPCA urges all “Pablo Petcassos” to get their creative juices fired up to help animals across the province.
Young B.C. artists up to 13 years of age have until midnight June 26 to submit original artwork for the 2011 Scotiabank and BC SPCA Paws for a Cause Kids T-shirt Contest.
The winner’s artwork will be featured on the front of all 10,000-plus Paws for a Cause participant T-shirts this year – not just on youth shirts, as in previous years.
“Everyone who participates in Paws for a Cause all across the province will be wearing these T-shirts,” BC SPCA development director Denise Meade said in a release. “Alone, that’s pretty special, but the winning young artist of this contest will also be helping homeless and abandoned animals.”
Contestants are invited to submit their original artwork online, then customize a fundraising page with details about why their artwork should win.
The artist will then be guided through a step-by-step process emailing friends and family members and asking them to vote for their masterpiece.
One dollar will equal one vote. The artist who collects the most online donations wins, with the winner being announced June 27.
Each entry that raises a minimum of $15 also qualifies for a free one-year Kids Club membership.
In addition to the grand prize, honourable mentions will be given to two other outstanding artists, who will receive a goodie bag with a selection of official BC SPCA gear.
Visit spca.bc.ca/walk for contest rules and regulations.
Paws for a Cause will be held Sept. 11 in 37 communities across the provi | {
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fa7faf13-22c4-4a84-a39a-3e043b4da497 | Hey you!
My name is Stefanie. I'm inspired by love. I'm passionate about traveling to new places, meeting people, exploring and telling stories through the photos I take. Shooting photos is fun, but getting to know the great couples I photograph, makes my job the best. job. ever.
I specialize in shooting with natural light and getting my feet dirty. When I'm not shooting photos you can find me chomping on local food(most likely tacos), planning my next trip or outside enjoying friends and the sun.
I LOVE how photos can express the human spirit and capturing memories that you can't help but smile back at is my favorite. I want you to love and cherish your photos more and more as time goes on.
With all that said: let's make something pretty.
Located in Northeast FL + beyond
Junebug Weddings - Kayla + Erik's Surprise Proposal
Magnolia Rouge - Sunset Sand Dune Inspiration
Once Wed - Modern Spring Wedding inspiration
In Print:
Flamingo Magazine
Edible Northeast Florida
Perversion Magazine | {
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70842e6c-b8d9-4992-9078-fb3ae1cbfdf4 | Built in
1975-1976
Land Area
57 m2
Floor Area
34 m2
Built-up Area
65 m2
Sumiyoshi, Osaka, Japan
Azuma House in Sumiyoshi, also known as Row House, was one of the first works of self-taught architect, Tadao Ando. He divided in three a space devoted to daily life, composed of an austere geometry, with the insertion of an abstract space dedicated to the play of wind and light. His objective, he says, was to challenge the inertia that has invaded our everyday lives.
Ando, who sees himself as a fighter-architect, developed a series of brave proposals for small houses. Among them, Azuma House in Sumiyoshi is his proudest achievement: a fortress from an architect who developed his skills through repeated ‘combat tests’. It’s also a house in which the distinguishing features of his later works are already evident. For it, he received an award from the Japanese Association of Architecture in 1976.
Located in Sumiyoshi, a district in central Osaka, Japan, replacing one of the traditional wooden-built houses of the area. It is situated in the middle of three previously-built terraced houses.
Azuma House is found in the “shitumachi” (lower city) of Osaka. In the middle of this working class neighbourhood full of the noises of daily life, the house stands like a silent wall. Although the area in which it has been placed is not one of the most chaotic areas of the city, there is an obvious contrast between this “concrete box” and the surrounding environment.
Known as the district of the “Deep south” of Osaka, this area is where Ando began his career as an architect. Since the end of the 1960’s until the beginning of the 1970’s, the architect immersed himself in the fight to create ample living spaces in narrow spaces. It was a fight to establish his identity as an architect while struggling with complex components: tradition and modernity; the desires and limited budgets of his clients; the demands of daily life; and the demands of aesthetics in a city which still maintained a strong Asian tradition.
Azuma House developed a theme of design, but also a social theme. Tadao Ando presented a cement box in the middle of a row of dilapidated wooden houses, of which there are masses in the central areas of Osaka, and created a highly self-sufficient living space within that box. Guaranteeing individual privacy (something which the traditional houses did not provide) and creating a residential space which allowed for the development of modern individuals. It is an expression of the belief that Ando had, that the home is exactly the construction which can change society.
Built between dividing walls, the house sits within a plot of 57.3m² with a total constructed floor-space of 64.7m², divided into three equally sized sections: two spaces and a patio. It is a concrete box which occupies the entire plot. The building, moving towards its centre in terms of its organisation of space, is divided into 3 spaces and centres on an uncovered patio.
The treatment which Ando gives to nature in the city is another of the points which distinguishes his work. Convinced that the relationship between it and the human being is fundamental for the latter, he incorporated into the construction a way of living in which the inhabitants would participate in nature. In winter with the cold and the rain, or in the heat of summer, home-dwellers would have to go outside, as they have to cross the uncovered patio to access the kitchen and bathroom, feeling the wind or the rain on your face or being able to gaze out at toward the sky. The open patio is an “oasis” within the hustle and bustle of the city; a place in touch with nature within the house, which allows the entry of light, air, rain, cold or heat, to watch the clouds go by or gaze at the sun; a window which allows you to cohabit with nature.
The austere façade, whose only decoration is the appearance of the exposed concrete (a detail which would become a signature of Ando’s works) presents us with an axially symmetrical composition with an entrance in its centre. There are only two rectangular forms used by the architect in its elevation: the general outline of the building and the entranceway.
The totality of the austere space has been divided longitudinally in three parts: two interior, closed spaces of equal size which contain the living area, kitchen and bathroom on the lower floor and bedroom and study on the upper floor, at once separated and united by the open-air patio. This three-way partition is applied to the building as a whole and echoes the long-short-long pattern of the façade, that is: wall-entranceway-wall.
The patio and nature
The factor which makes this patio so unique is that there is no way to cross to either side of the house without going outside; without coming into contact with nature. Before anyone who sees this as an inconvenience rather than a benefit of this space, Tadao Ando defends his design with these words:
“… In the moment, I thought of residential design as the creation of a space where people could live as they desired. If they felt cold, they could put on another layer of clothing. If they felt warm, they could take clothes off. The important thing was the space, not a mechanism for temperature control, but something defined and receptive to human life… No matter how advanced society becomes, institutionally or technologically, a house in which nature can be felt represents to me the ideal environment in which to live…”
Crossing over the entranceway, you turn to the right to access the living room, from the living room to the patio where you turn again to reach the staircase which takes you to the upper floor or go straight ahead to arrive at the kitchen and bathroom. A complex circulatory layout transforms a simple geometry into a rich spatial experience. This progression is a technique to transform, through experience, a cold geometric form into a living space, and is fundamental to Ando’s architecture. The architect’s treatment of nature within the city is another factor which distinguishes his work.
On the ground floor are situated the living room, kitchen and bathroom, separated by the external patio which is the focal point of family life, and the stairs which lead to the upper floor. At the top of the stairs, you are faced with a bedroom and study, joined by a corridor. The central, uncovered space is the only source of natural light in the whole house.
The patio, which acts as the axis of daily life of the house separates the living room, at one extreme of the ground floor, from the kitchen-diner and bathroom, situated at the other extreme. On the upper floor, the studio faces the main bedroom, which is located on the other side of the central courtyard and reached by a corridor. The building presents a blind façade to the street. The presence of a door suggests the use of this box.
The material used in this construction has a psychological effect on the observer, precisely because the absence of decoration invites an extraordinary empathy. That is the reason why it is said that the buildings of Tadao Ando are the maximum expression of the Japanese sense of beauty. A “place of nothingness” is in the very nature of Japanese cultutre.
The exposed reinforced concrete used for this house is presented as the only ornamental structural element, both in the exterior covering and the interior walls, accompanied by some glass walls which look onto the patio and some wood finishes.
In each bedroom there are four surfaces of exposed concrete. One of these is the floor slab which, although covered in wood as insulation, permits the conduction of thermal energy through the other four walls and the ceiling. The fourth wall is a pane of floor-to-ceiling glass, with a door also made of glass and metal frames.
The open patio, surrounded by walls of concrete, glass and slate, reflects the natural light and creates complex shadows.
https://www.youtube.com/watch?v=UixWu_poQi4
Azuma House – Row House
1 / 26 | {
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da407b44-99e2-412d-883e-761f53110316 | Sophie Delaporte, ‘Global Nonchalance’, 2005, Sous Les Etoiles Gallery
ophie Delaporte, b. 1971, is a French artist and photographer who works in fashion on a regular basis. The depth of color, staging, gestures and simple fun of her imagery evoke the world of storytelling. Delaportes’ photographic language imagines situations that do not exist, suggesting an alternative fantasy vision of women in fashion photography. Art historical references are fundamental to the work, and are inspired by the performing arts, such as the work of Pina Bausch, and early woman surrealist photographers, such as Claude Cahun.
The work of Sophie Delaporte has been shown in numerous solo exhibitions around the world, including New York (Sous Les Etoiles Gallery), Tokyo (Galerie 21 and HPgrp Gallery), and London (Scream Gallery). Her work is also featured in publications such as Another Magazine; Vogue Japan, China, Italy, and Russia; Interview; Harper’s Bazaar; and I-D Magazine, with whom she has regularly collaborated since the 1990s. Her series Needlework was featured in the book “The Art of Fashion Photography” by Patrick Remy, published by Prestel in 2013. Sophie Delaporte studied photography and film at the Ecole nationale supérieure Louis-Lumière.
Signature: On the back of the print
Since the early 90s, when the artist would begin her formative and longstanding collaborations with cutting-edge British magazine I-D, Sophie Delaporte has remained dedicated to the “play” of photography and fashion in its most straightforward definition, emphasizing fun, freedom and theatricality. Yet Delaporte’s lighthearted view of the worlds she creates, in which women and men appear to happily vacillate between childhood and adulthood, are anything but straightforward. This immediately recognizable style of Delaporte—highly pictorial, and often employing lush color and sparkling humor— promises such multifaceted readings, that any sequence of images can be arranged and disarranged to pleasing effect: a dinner scene, framed in front of darkening windows and spotted with silverware that reflects the impossibly bright wine set in glass goblets, could be at once a poetical, beautiful meditation on the power of the woman in red at the head of this table, and also a charged scene from a contemporary iteration of Ubu Roi. “The mysteries are decidely postmodern,” writes Vicki Goldberg, “consisting of inexplicable actions, they involve no crime and have no solution other than anyone’s guess.” With an ever-refreshing perspective, along with the mastery of pretended improvisation and movement in a tightly controlled studio setting, Delaporte positions her work in the realm of surrealism, promising nothing but the surprise and delight of the imagination.
Essay by Vicki Goldberg
About Sophie Delaporte
French, b. 1971, Paris, France, based in London, United Kingdom | {
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bb8cc656-5af5-4c2a-9ecd-a29d89f7b193 | We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of New South Wales stands.
Gallery welcomes Sherman gifts
The Art Gallery of New South Wales is delighted to announce two gifts from Dr Gene Sherman AM and Brian Sherman AM supporting the Gallery’s collection and expansion.
The leading philanthropists have donated a work from their collection by renowned Wiradjuri/Kamilaroi artist Jonathan Jones, untitled (illuminated tree) 2012, which is on display in the Gallery for the first time.
Taking the form of an illuminated river red gum, displaced, segmented and splayed on the Gallery floor, the work questions Western visions of the landscape while tracing the memory of the Murray-Darling river system, the main artery of south-east Australia.
The Shermans have also pledged $1.5 million to the capital campaign supporting the construction of the Gallery’s new building designed by Pritzker Prize-winning architects SANAA. In recognition of their campaign gift, a project gallery in the new building will be named the Sherman Family Gallery.
Art Gallery of NSW director Dr Michael Brand thanked the Shermans for their generosity and deep commitment to the arts.
‘Gene and Brian Sherman have played a central role in the development of the arts in Sydney, and I salute their philanthropic spirit. Gene’s artistic vision and support of so many artists have made a lasting impact. We are grateful to be able to add this powerful work by Jonathan Jones to our collection,’ Dr Brand said.
Long-time supporters of the Gallery, the Shermans have made a number of significant gifts to the collection including Jitish Kallat’s Public notice 2 and Yang Zhichao’s Chinese bible.
‘Gene has also been a real champion of the design of the Gallery’s expansion, the Sydney Modern Project, and I have very much appreciated her enthusiastic support for our architects from SANAA. The Shermans were among our earliest campaign donors, which is a great endorsement of the Gallery’s future vision,’ Dr Brand said.
The Shermans join a generous community of donors supporting the Sydney Modern Project. With pledges of $96 million, the Gallery is close to reaching its capital campaign target of $100 million.
Dr Gene Sherman AM is a leading cultural figure and the founder of the Sherman Galleries (1986-2007) and the Sherman Contemporary Art Foundation (SCAF, 2008-2017), a philanthropic enterprise that commissioned and presented work by internationally renowned visual practitioners from the Asia Pacific, Australia and the Middle East. In 2017, she established the Sherman Centre for Culture and Ideas (SCCI) focusing on fashion and architecture both contemporary and historic.
Dr Sherman said: ‘Brian and I are honoured to be in the fortunate position of being able to offer a significant work by Jonathan Jones to the Art Gallery of New South Wales – a museum and institution which has significantly enriched our lives since our 1976 arrival in Sydney.
‘We selected Jonathan as our second SCAF project grantee with the exhibition untitled (the tyranny of distance). Thirty-seven mostly newly commissioned projects followed over the course of a decade. However, Jonathan’s work at SCAF, his body of work more broadly and the friendship that grew between us have remained close to our heart.
‘The symbolism associated with a grand-scale fallen tree resonates strongly with us personally; we think of nature’s eternal cycle, the destruction of natural resources, lost Indigenous heritage – all sombre subjects illuminated by the potential of hope and renewal,” said Dr Sherman.
Jonathan Jones’ association with the Sherman visual arts program goes back to 2002.
‘The Shermans are one-of-a-kind people. I’ve been so lucky to be a beneficiary of their support over many years and from a very early stage in my career. It has really sculpted my practice and has taken me to where I am today,’ Jones said.
‘Gene has such vast knowledge and experience, while her dedication to education and sharing the importance of contemporary art is enormously inspiring.’
Sydney-based, Jones works across a range of mediums, from printmaking and drawing to sculpture and film. He creates site-specific installations and interventions into space that use light, shadow and the repetition of shape and materiality to explore Aboriginal practices and ideas.
Commissioned for the Adelaide Biennial of Australian Art at the Art Gallery of South Australia, untitled (illuminated tree) 2012 is made up of pieces of wood representing a fallen tree and is lit with fluorescent tubes. It places the spotlight on issues brought about by the colonisation of the landscape through which the Murray-Darling river system flows.
‘Once a trope of colonial painting, used to frame the Western imagination in this vast landscape, the gum tree has fallen. Caked in white ochre, the tree traces the memory of the river, creating an Aboriginal framework that challenges Western perspectives,’ explained Jones.
Art Gallery of NSW senior curator of Aboriginal and Torres Strait Islander Art Cara Pinchbeck said: ‘It is a real coup for the Gallery to acquire Jones’ extraordinary work, untitled (illuminated tree) 2012. Substantial in both scale and concept, this work is a fantastic addition to the collection and we are enormously grateful to Gene and Brian Sherman for their generosity in gifting it to the Gallery.’ | {
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8883ac78-6ccc-44ce-86fd-174f80e297a2 | Tuesday, May 21, 2019
HomeLifestylesArts & CultureChan Pratt: ‘Resurrection’
Chan Pratt: ‘Resurrection’
Slated to open on Thursday, May 2, 2019 at the National Art Gallery of The Bahamas (NAGB), “Resurrection” is a retrospective of over 100 paintings by noteworthy Bahamian artist Chan Pratt. The collection prominently features Bahamian landscapes between the 1980s and ‘90s with scrupulous attention to the local flora. Having died suddenly – and at a young age – much of Pratt’s work was undocumented and there is an unfortunate lack of historical information on the artist and his practice. To resolve this lack of exposure, the NAGB is working with Dewitt Chan (DC) Pratt, Chan Pratt’s son, and over 20 collectors of Pratt’s work to pay homage to his talent, which was sometimes overlooked.
Blake Fox
The National Art Gallery of The Bahamas
Among the many botanical paintings in the collection, there are two paintings that focus on and present an appropriate contrast: buildings – instead of vegetation. Pratt’s application of paint is steady and precise, creating a sense of clarity in the work. Expectedly, concrete buildings and angular lines present a certain rigidity which complements the organic and painterly approach to nature in his work. Pratt’s attention to detail is impeccable: the repetition of the shingling and the window panes, the gentle folds in the curtains and the subtle shadows all seem mundane, but these nuances reveal the artist’s contemplation and appreciation of the finer moments which may be deemed insignificant.
There is often a generalization that artists are wild and messy, or that they work without direction, when really they are often very deliberate in their actions. The precision of Pratt’s work can be compared to that of an architect. You can essentially recognize the blueprints or the bones of the work. Continuing in this vein of conversation, the site of the painting “Trinity Place” (1984) is now home to the Central Bank of The Bahamas, which clearly speaks to the urbanization of Downtown Nassau. Although the downtown area of Nassau has seen urban growth over the years, the area seems disengaged and an insignificant part of the Bahamian cultural identity. While urbanization is necessary to accommodate spatial and economic growth in a country, there should be serious urban planning from the onset.
In The Bahamas, there tends to be an overall lack of vision for the future. We would rather be immediately gratified by money and employment opportunities with little forethought of how actions will affect the country in years to come. The Nassau Urban Lab: Central Nassau Urban Regeneration Plan report was prepared for the government of The Bahamas in 2016. The report included insight from both international and Bahamian experts in the fields of urban planning, anthropology and architecture. The Nassau Urban Lab outlines a plan to use Nassau’s heritage and natural resources to revive the economy in a sustainable way. Creating parks, green spaces and creative spaces along the waterfront would put The Bahamas on a level playing field with nearby Caribbean countries by showcasing Bahamian history and culture in a way that enriches the experiences of both residents and tourists.
While somewhat connected to Downtown Nassau, the adjacent Over-the-Hill area has a starkly different identity – one that is not viewed favourably. The lack of water and sanitation infrastructures, dilapidated buildings and few green spaces put this area in serious need of revitalization. Pratt’s characteristic floral adorned landscapes remind us of what our land used to look like. Urban sprawl has grazed our natural environment and left us with unattractive concrete facades that do not incite a sense of pride in our surroundings. The vacant lots in the Over-the-Hill area would be apt for creating green spaces that rejuvenate and foster a closer relationship and greater sense of community between the two areas.
Pratt’s paintings have visually preserved the natural landscape of The Bahamas over the years. Many of these landscapes are not recognizable today as our development as a country has obviously impacted the environment. It is evident from the Nassau Urban Lab report and supplemental urban and environmental studies that the creative and cultural arts will be crucial in supporting Nassau’s urban development moving forward.
“Resurrection” is curated by Holly Bynoe, NAGB chief curator. The show will open on Thursday, May 2, 2019 at 7 p.m., and all are invited.
Emerging poet Xan-Xi
The chef’s influen | {
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4088a2f6-9b58-4897-aeaa-e0829df06168 | Rosanna is a printer in the Seattle area and emailed us this week with some tips on printing dark colors which we were happy to share – as so many other printers have been there to offer us tips along the way.
First things first – dark colors can be a pain on any press and certain techniques may work for one pressman while others work for another. Here’s what we’ve found works for us.
Double Strikes and Double Plates on the letterpress Cylinder Press:
On our cylinder press (challenge 15MA, just like a Vandercook SP15) there was a certain saltyness that I’m sure you get when printing dark colors. The pressure of impression without having show-through on the back of the print posed challenges when printing. To achieve good saturation for dark colors without flooding the press can be hard and is something to consider before getting on press. When mixing large print areas with small type on the same plate one can pack specific areas that need more saturation however the risk is uneven impression. The other option is to split the plate and run the paper in two passes on the press so a set of 100 would run through the press by hand 200 times! The other option, which is cheaper than doing a double plate is to do a “double strike” on press. Where the same sheet is run through the press on one plate – two times. The over lay of one thin layer of ink on top of another thin layer of ink helps avoid flooding of the ink outside of the image area.
Inking tricks on the Cylinder press:
Black is always printed as registration black (process blue, process yellow, rubine red and black- equal parts) – when mixing inks, it’s an additive process so the more of everything makes a richer black :) By adding all our base mixing colors we can create a richer black that is more pigmented and we can also “tint” that black to match the hue of the other colors on the printed piece (cool vs. warm).
We also like to add a hint of 877 opaque silver to anything that we can that is dark. – No one notices it and it makes for a richer color. However be warned at first, it can be a bugger to mix the right color. Practice makes perfect and silver is the magic touch for us.
When possible go without tint base. Tint base and I don’t see eye to eye. I never could print type well with it on the cylinder press. There were ghosting issues, shadowing and more. bleh. So again we custom mixed our colors with opaque white instead of tint base when the need arose. The windmill has helped with being able to use tint base, but it was more headache and heartache than success on the cylinder.
Windmill vs. Vandercook
While our press is a Vandercook knock-off it’s pretty much the same thing (blasphemy! you cry!). It is really great for large prints, ease of use, and really the machine is just ZEN to me. Harold form Boxcar Press had a great comment regarding the two best presses (if you could only have one or two) that you can read here. While the Vandercook is a great press, the windmill has even more amazing registration and the impression is incredible. At 5,000 lbs of pressure when the platen closes, I think – don’t quote me, it in no way compares to the Vandercook regarding saturation sans flooding. No that you can’t flood ink on the Windmill but I was amazed at the difference in saturation. While both presses have their advantages, I think the biggest thing to remember is that letterpress is beautiful because of it’s “salty” nature when inked up on the paper.While print area gets crisper with the windmill and saturation more pronounced, it can still be done on the others – it’s just finding what works for your press and your printwork.
A CRISP impression
Everyone has different terms in the letterpress business regarding impression (when the plate is relief printed into the paper via cylinder or platen). There’s the Kiss Impression, Punch Impression (the bane of every seasoned printer’s existence), No Impression (back in the day, this was the sign of a good printer – how the times have changed regarding preferences), Light/Heavy Impression – it goes on an on. For us, we like it somewhere in the middle. Tactile, without ruining the paper (e.g. showthrough on the rear of the printed piece) but visable.For me, I found that mixing darker ink than planned, and inking lightly on the press was the best solution to getting a beautiful crisp impression without flooding and keeping the color as close as possible to the color match.
Other printers: What are your tips and tricks to printing saturated and dark colors on press? | {
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9e1f430c-ae30-4ebd-b4ff-23bedb9ceb5f | Nicola Saunderson – England
In recent work Nicola has been studying landscaped areas of urban space, perceiving in particular roundabout islands as unexplored new territory such as how early explorers may have come across new islands on sea explorations. She is interested in the relationship between pedestrian and non-pedestrian space, the non pedestrian being unknown territory, a potential wilderness open to imagination and exploration. During her residency Nicola would like to take on the role of explorer in the environment and work directly with a physical landscape.
During her stay in Corris Nicola proposes a site exploration and period of study looking closely at an area of the surrounding environment. In particular looking specifically at the ecology of an area, and whether there are traces that could hint at the past of the site, the history of the area as a mining town is of particular interest. The relationship of man to his environment. In current work Nicola has been looking at charting island spaces in drawings and she feels this would be how she would seek to approach the site, but with a view to developing an outcome that takes these works forward though the creation of physical objects.
www. nicolasaunderson.com | {
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12762a4e-c55c-4e23-bef5-81c56198f84b | Sandwiched between the horror and disarray of the two World Wars, the Art Deco period, spanning the 1920s and 30s, was a glorious, golden time, where society chose to forget the austerity and conservatism of the past and turned sharply towards the decadent, the glamorous and the thoroughly modern.
With a new consumer economy booming and a renewed sense of hope and aspiration in the air, the 1920s roared in on the bloodied coat tails of the First World War, bringing flappers, jazz and the rise of the silver screen alongside a bold, new aesthetic.
How did Art Deco get its name?
Taking its name from the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, a huge exhibition held in Paris and featuring all the key designers of the day, Art Deco quickly became a global movement – the first of its kind.
What are the hallmarks of Art Deco?
With its dynamic, streamlined forms, geometric patterning, and use of rare and striking materials such as ebony, tortoiseshell and jade, Art Deco was as distinctive as it was universal. The look included not just furniture and architecture, but also mirrors, lamps, barware, wallpaper, tiles, rugs and bronzes.
More like this
Unsurprisingly, authentic pieces are in huge demand today.
The pieces still have a contemporary feel about them, bridging a gap between the antique and the modern. They are a great look for today’s home.
Jeroen Markies
While there is no doubt that Art Deco exudes a sense of the avant-garde and an enthusiasm for advances in technology, engineering and motion, many of its stylistic influences are rooted in the past and include touches of the ancient and the foreign, with Egyptian, Aztec and African motifs all leaving their mark. The combination of the modern with the exotic is one of the reasons that Art Deco is so distinctive.
This is the first time that something totally new and fresh came on to the market and that’s what makes it so exciting today.
Jeroen Markies
How much does an Art Deco piece cost?
Although original French pieces by some of the most notable designers such as Émile-Jacques Ruhlmann or René Lalique can exceed hundreds of thousands of pounds, pieces from the English Art Deco stable are far more affordable. Chairs and tables by distinguished names such as the Epstein brothers and Hille can fetch between £2,000 and £3,000 at auction. Smaller items like mirrors or lamps can be bought today for as little as £200-£300. This is a reflection of the movement’s shift into the 1930s, when mass production ensured that objects could be made in much greater quantities at a lower cost.
But what we really love about this remarkable look is the sense of glamour and elegance that it evokes. When we see a beautifully curved, walnut cocktail cabinet or a sleek, angular lamp, we are able to picture ourselves in that drawing room, at that party, during a time when pleasure and enjoyment were fundamental antidotes.
There is a growing nostalgia for Deco. The 1920s and 30s seemed to be a lot more fun with all the parties and the cocktails. Why not own a piece of that?
Jeroen Markies
Where to Buy
Gazelles of Lyndhurst
Hive Antiques
Jeroen Markies
M&D Moir
Matthew Foster Art Deco Gallery London
Morgan Strickland Decorative Arts
Rare Rugs
Regent Antiques
Richard Hoppé Antiques
Savoy Art Deco Collectables
The Design Gallery
Tile Heaven | {
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ca12885b-d324-47d7-8290-26f22a8d8547 | Walker Art Center
74° FCloudyVia Yahoo! Weather
Digression(s) and Entry Point(s): An Interview with Heman Chong
By Latitudes
What “old rules” about art programming, production, and distribution has the Internet broken? What challenges, expectations, and new possibilities does digital culture and social media present to contemporary art institutions? Through #OpenCurating, Barcelona-based Latitudes (Max Andrews and Mariana Cánepa Luna) are leading an investigation into these and other questions about culture, participation, and connectivity. The series—supported by the Walker, the project’s content partner—continues with a conversation with Singapore-based artist, curator, and writer Heman Chong.
Chong’s art practice is comprised of “an investigation into the philosophies, reasons, and methods of individuals and communities imagining the future.” His ongoing project, The Lonely Ones, looks at the representation of solitude and the “last man on earth” genre in art, film and literature, and is the basis for a forthcoming novel entitled Prospectus. Chong’s recent solo exhibitions include LEM 1, Rossi & Rossi, London (2012), Calendars (2020–2096), NUS Museum, Singapore (2011), and The Sole Proprietor and other Stories, Vitamin Creative Space, Guangzhou (2007). He has participated in numerous group exhibitions including the Asia Pacific Triennale 7 (2012), Performa 11 (2011), Momentum 6 (2011), Manifesta 8 (2010), Busan Biennale (2004), and the 50th Venice Biennale (2003) representing Singapore. A monograph of his work entitled The Part In The Story Where We Lost Count Of The Days, edited by Pauline J. Yao, will be published in June 2013 by ArtAsiaPacific. Presented as part of the ongoing #OpenCurating project, this interview was initiated at Spring Workshop, Hong Kong, in the context of Chong’s invitation to Latitudes to make a curatorial residency as part of Moderation(s), a yearlong series of programming between Spring and Witte de With Center for Contemporary Art, Rotterdam.
The Moderation(s) project initiated in October 2012 with a meeting in Rotterdam that convened over a dozen artists, curators, writers, etc., all of whom have been or will be involved in one way or another with the development of Moderation(s) and the various forms that it will take during 2013. During that meeting the way you introduced the project—in terms of generosity, making “soft” the borders between artist and curator, as well as its unfolding as a porous process across several participants, publics, and host institutions—we felt really chimed with many of the themes we are attempting to engage with in this #OpenCurating research. There are several ways in which we could begin to unpack this, but let’s start with the question of how you have approached and adapted your role here as a “moderator” via your work as an artist, curator, and writer. What distinguishes the moderator? What is moderating involving, and what is it not involving?
Heman Chong
It has become very apparent to me that within this yearlong program there are multiple possibilities to somehow instigate a heightened situation where groups of people can come together to do things without compromising their own practices. I am interested in rethinking the notion of collaboration, and perhaps—to answer your question about what “moderating” involves or not for me—the strategy is to let things happen in a situation where the different participants can bring a series of things to the table where we can discuss and then process them into some kind of discernible “text.” A situation where everything can be usable, and there is a lexicon of forms that can be expanded upon to make other things. It’s a lot about production, but also about questioning how and why something needs to be produced. Having said that, the idea of developing a master plan for Moderation(s) presents itself as a very boring and purposeless endeavor—this desire to sink one’s fingers into every single inch of a given territory and to design it purposefully according to one single definitive vision. I mean, we’re not building a biennale in some godforsaken country here. While I am conscious that a certain structure is necessary for the many parts within Moderation(s) to be produced, at the same time I am attempting to keep multiple doorways open for different infiltrations from the huge amount of individuals within the programme to occur at any given point of time, and for the programme to be infected and changed accordingly. This involves a lot of risk and places a huge amount of stress on the two institutions who have commissioned Moderation(s)—Spring Workshop and Witte de With—and are hosting it for the entire of 2013. For example, this method of working is a complete nightmare for press and communication, with ideas shifting all the time, individuals joining the project and leaving the project, things created on the fly—it’s a fucking nightmare!
In a recent Artforumarticle on Paul O’Neill’s book The Culture of Curating and the Curating of Cultures, Julian Stallabrass questions O’Neill’s “horror of fixity” and advocacy of contemporary curating as “a durational, transformative, and speculative activity, a way of keeping things in flow, mobile, in between, indeterminate, crossing over and between people, identities, and things, encouraging certain ideas to come to the fore in an emergent communicative process.” Stallabrass states that “a show that has an argument may at least be challenged critically; the art event that as a matter of principle shuns coherence appears and aspires to lie beyond the reach of critique”. What do you make of this? Is Moderation(s) deliberately indeterminate?
Given enough time, things unattended will start to fall apart. I have no idea why I’ve just written what I’ve just written, but it was almost like an immediate response to what you’ve just posed. Perhaps I’m becoming delusional from lack of sleep. I digress. Apologies. For me, everyday life is “a durational, transformative, and speculative activity, a way of keeping things in flow, mobile, in between, indeterminate, crossing over and between people, identities, and things, encouraging certain ideas to come to the fore in an emergent communicative process” which requires our minute-to-minute attention. But it doesn’t mean that this cannot be critiqued. I think it warrants a certain level of introspection that often moves between a “troubled” state and a state of stability. Again, I digress. As to whether Moderation(s) is indeterminate or not, I think it’s too early to tell. I would like it to be, and in many ways, I’ve resisted transforming the project into determinate forms such as defining collaborations involving artists looking at relationships between Rotterdam and Hong Kong (Ugh! Bleah!). But it’s very clear that I’m not the only one pulling the strings here. I’m also not interested in jousting for a central position in this programme. I find it so much more interesting to phase in and out of control, allowing for either Defne [Ayas, Director of Witte de With, Rotterdam] or Mimi [Brown, Director of Spring Workshop, Hong Kong] to take control at certain points, to inject their points of view into Moderation(s), just as how some of the artists are increasingly gaining ownership over certain sectors of it.
I think of “Bibliotheek (Library)”—a list of books identified by the group to function both as a bibliography for Moderation(s), as well as a planned physical library that will be installed both at Witte de With and Spring—as a kind of basis for this indeterminacy. It is a list that expands without much control involved which can accommodate these rhizomatic approaches to how we build something together, and can be used in another context, either individually or for another collective situation. Having said that, I don’t think Moderation(s) is necessarily a platform for people to come together to exclusively feel good about themselves and their work. And it’s also not necessarily a situation or structure that will only exist with the time frame of a year in 2013. I envision that the participants within Moderation(s) will continue with a degree of access to each other outside the program, and that they’ll each have the possibility to instigate that. I hope that It will develop potentials to become a series of engagements that plays out over several other projects.
Picking up on your earlier observation about press and communication, this is something we’ve been mulling over a lot recently with #OpenCurating and in thinking through contemporary art’s relationship with, or lessons to be drawn from, the Internet’s uprooting of print-led journalism. For example, it is curious to see the tenacity of faith in the ink-on-paper newspaper review as a gold-standard measure of success of an exhibition, and the persistence of the traditional decree-like press release as a primary means of managing communication. As you intimate, these formats may have been appropriate to static and unchanging exhibitions, but seem at odds with evolving or dialogic programming such as Moderation(s). The notion of contemporary art being wholly subsumed into broadcast culture seems undesirable, yet there is surely a great deal of unused available “bandwidth” in terms of the writing and reading that accompanies or forms a part of artistic or curatorial work. Would you agree with this?
A lot of this unused “bandwidth” is being occupied very rapidly. There’s now even talk of establishing a “.art” domain, something which will encapsulate more of this occupation. For me, the issue has always been about how we can provide content for free or at a very low cost rather than restricting it or having it in the hands of a very select few. This is particularly important, say, for regions that have historically suffered from having a lack of access. Until recently, it was very difficult for an artist in Southeast Asia to have instant access to stuff about contemporary art and the discourses surrounding it. I think up to even the early 2000s, we generally had that problem in gathering material that we could talk about. The reality is quite different now. You can be in Yogyakarta or Phnom Penh and an artist can come up to you and start talking about Tino Sehgal or Jérôme Bel, for example. Perhaps this is also something that Moderation(s) can be involved in—the ability to expand the capacities of both Witte de With and Spring Workshop, in order to channel these distributive states into a situation much larger than each other. I do believe that there is a lot of room for this. But at the same time, we need to start to think about how to avoid a certain sort of exhaustion that comes from having too much information. There needs to be a heightened sense of authorship in developing content about contemporary art that moves beyond mere reportage. For example, I think we need to rethink how we describe a certain work via words and how that can further the work within the critical field.
Can you describe how the PLURAL initiative came into being: what it is, its focus and how it functions? We’re interested in how it has created a shared forum for dialogue amongst artists in Singapore, as a form of peer review, a “moderation” process more familiar from academia, something that leans towards participation and transparency yet without being completely “open.”
PLURAL started in this very intimate manner where it was pretty much defined as a friendship between the Singaporean artists Ang Song Ming, Genevieve Chua, and me. We’d have these conversations where we’d spend a lot of time talking about each other’s work, being completely open and brutal, and also convincing each other that we can help by editing one another’s work. It has become very clear to me that one of the strategies that we can employ to resist the high speeds in which contemporary practice is defined and consumed is to convince artists to generate in-depth, concise research about their given fields in order to produce works that have some kind of coherence over time. We opened up the conversation after a couple of months to include other artists like Charles Lim, Michael Lee, and Chun Kaifeng, and we physically met for the first time in 2009 in my apartment on Depot Road to form the first “workshop.” In this, we talked about the references which influenced our work. It was an incredibly luminous session. Artists like Matthew Ngui and Ming Wong have also been a part of some of these conversations along the way, but because they don’t live in Singapore it sometimes gets very difficult to sustain. Younger artists like Ho Rui An and Joanne Pang have also recently joined PLURAL, and this has helped us gain access to the perspectives and thoughts of a different generation of artists from Singapore. So in a way, PLURAL is an institution, but refrains from the unimaginative ways of institutionalization that is endemic to collective activity. It has no permanent address, but a cluster of addresses that can be triggered for multiple purposes, be it a seminar, or a book launch. It benefits from the generosity of its surrounding community. It is also about creating an extended circle of participants with this process.
In your approach to projects it seems you’re working as an artist as much as being an artist making works; there is a subtle but important difference between the two tacks, a relationship to collaboration and process on the one hand and a singular voice and “contained” artwork on the other. We’re thinking here in particular of PHILIP, the collectively-written sci-fi novel which you instigated in 2006. Could you describe the project, its importance to you, its successes and failures as you see it now?
PHILIP was a project curated by Mai Abu ElDahab and Tessa Giblin at Project Arts Centre in Dublin at the end of 2006 which involved a group of international artists, curators, designers, and writers including Mark Aerial Waller, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt and Steve Rushton. They were invited by Leif Magne Tangen and me to take part in a writing workshop, public talks and film screenings which concluded with the publication of a limited edition sci-fi novel produced at Dexter Sinister’s Just-In-Time Workshop & Occasional Bookstore in New York.
In a way the process was very similar to how I’m running Moderation(s) at the moment. I dove into PHILIP without much prior “training” in collaborative modes, and relied plainly on my intuition when it came to how I would interact with the group of writers. Sure, there was a lot of frustration involved from some of them, especially one or two who needed a lot of hand-holding and “direction”. But you see, I’m not that keen on telling people what they should be doing, as little as luring them into doing something they might not expect themselves to be doing—it’s not malicious, but it is a little sinister.
I did make it very clear that at the end of seven days, we had to finish the novel. There wasn’t any room for compromise or negotiation with that. Much like PLURAL, the notion has always been that of the generative (and to understand the situation via what we can collectively produce) rather than just hypothesizing about what we might produce. During the production of PHILIP, we were mainly fueled by this heightened sense of anxiety about our general lack when it came to what fiction writing was actually about. None of us were actually fiction writers, yet we were put into this situation to perform beyond our professional capacity, and had to take responsibility for that. In retrospect, I would still make the project but would have tried a couple more writing exercises with the group; yet I doubt that would actually have changed anything. I felt utterly useless in that workshop. But apparently it got done, so I guess I don’t really have to feel so bad after all.
I remember Lawrence Weiner saying in a talk at Tate Modern that he didn’t like the word “practice” when it came to art, because he sees art as just doing things. There really isn’t any room for practice. You either do it or you don’t. Perhaps this might explain why I’m always in some kind of trouble.
Could you reflect on your interest in Kenneth Goldsmith’s notion of “Uncreative Writing” and appropriation—the idea that “writers don’t need to write anything more … they just need to manage the language that already exists”?
UbuWeb, Kenneth Goldsmith’s sprawling and undefinable web archive of all things “avant-garde” is a project that I completely look up to. Over 2,500 full-length film works alone are accessible here. That’s a lot of stuff to encounter! It is an immense resource, and has been an extremely important self-education tool for me. It offers multiple entry points for users across a large spectrum of usages. And that, for me, opens up all kinds of different problematics that we’ll need to begin to learn to address, about how we see issues of copyright and distribution alongside what we produce. In light of this, I’ve also decided to restage one of Goldsmith’s novels, Day (2003), by appropriating an entire newspaper when I turn forty. I’m really looking forward to spending an entire year doing it. I guess there has been a lot of talk in the last couple of years about artists and archives and it does seem a little jaded to be talking about it right now, even though there is still a lot to think about in terms of a method of utilizing existing material, throwing light on certain details within it, or locating certain idiosyncratic threads in how the archive was put together. I recently also produced a project for the The 7th Asia Pacific Triennial of Contemporary Art (APT7) where the brief from the museum was to primarily think about their twenty year old archive and how it has defined our way of thinking about Asia and the notion of what is produced in Asia as being art. I chose not to place any judgement value on it, to avoid saying that it was good or bad, or retarded or intelligent, but to rather break it down in a manner that would allow for, again this phrase, “multiple entry points” into what we think can and cannot function as an archive.
Similarly, the day that we spent at Asia Art Archive with Nadim Abbas, Mimi Brown, Yuk King Tan and Chantal Wong as part of Moderation(s) in January 2013 was very much about providing these kinds of doorways into how we can come to terms with the huge amount of material that is found in their space. We used three entry points on that occasion—“Influence”, “Itinerary” and “Moderation”—from which we extracted forty-three quotations from the archive that might allow for further readings into that material via our own very limited experience with the archive. In a way I feel that “A Day At Asia Art Archive” has the capacity to open up a kind of wild zone, not unlike the one found in Arkady and Boris Strugatsky’s 1971 novel Roadside Picnic. Sifting through debris. Looking for details. Scavenging in some kind of post-ideological, post-traumatic landscape of information. I like that image.
We’ve been focusing here more on your curatorial and collective activities rather than on your exhibitions or art works per se, although the borders are clearly very permeable. Lets conclude by discussing the recent exhibition you made at Wilkinson in London, Interview(s), itself a collaboration with the artist and writer Anthony Marcellini around “the social life of objects.” You both agreed to gather or produce one hundred objects in the months leading up to the show, then with no prior knowledge of the other’s choices, installed them together on mirror-topped tables in the week before the opening. As you both describe, it began “with a series of assumptions about the social life of objects. 1. Objects can represent words or sentences in a conversation. 2. An object moves from insignificance to significance (and vice-versa) when transferred from one person to another. 3. All objects have power by way of their relationships with other objects, ourselves included. 4. There are other levels of value to objects, on top of the values certain systems attach, personal, monetary, symbolic, nostalgic, which shift and change over time, sometimes quickly and sometimes very slowly. 5. Time slows down and speeds up due to our relationships with objects. 6. Objects tell stories. 7. Stories are also objects.”
The staging of the exhibition seemed concerned to emphasize correspondence in terms of the dialogue you had between the two of you, whether during the discussions you doubtless had at distance over Skype beforehand, or when negotiating how to arrange the objects on the tables in the gallery. It also presents correspondence in terms of the correlations between the two sets of objects. Two questions related to this: Were the assumptions you began with “proven”? From your point of view, how has the internet changed our relationship with proximity and the social lives of (art) objects?
Perhaps Anthony can interject at this point …
Anthony Marcellini
At the risk of sounding evasive, I think Interview(s) was the answer to the first question, so I will move onto the second one.
I think our relationship to objects has certainly changed with the internet becoming the central repository of knowledge. It is certainly not the most expansive, but for those with access it is the first place people turn to for information. Bruno Latour has described our current virtual era as kind of the opposite of Plato’s “Allegory of the Cave.” In Plato’s cave we have to go outside the cave to understand that the shadows, which we mistook for reality in the cave, are simply shadows of reality. But now we go inside the internet for information, we do not go outside the cave to see reality, for when we go outside we see nothing. In a way Latour’s perspective is a bit of a stretch, and perhaps a bit technophobic, but it is clear that our way of sourcing information has shifted, from several instruments and several communication devices into basically one. And thus our relationship to these instruments, to these objects, to the objects which they refer, to changes—they are no longer the most direct source of information. Although this is true for any of the great advances in information technology. That is interesting for me is when certain objects quit being necessary they become in a way autonomous, more independent and more mysterious. Heidegger has an idea about objects that is related, and is referred to by another philosopher named Graham Harman as Heidegger’s “Tool-Being.” Heidegger says that a thing only comes into being to us, as an autonomous object, an object in and of itself, when it breaks or ceases to function. When a doorknob no longer opens a door we investigate it, and question: what is this thing? How does it work? Why is it shaped like it is? When the internet becomes a library where we can read full books, we start to question what a book as an object is. Furthermore, when it becomes a place where we can watch lectures by artists, writers or philosophers, where we can attend classes, or go to the theater, we start to question what these experiences are. So in the sense that the internet has broken our relationship to certain objects and experiences, it has changed our understanding of objects. Perhaps objects become less familiar and then perhaps more strange, more curious to us. As an artist who was quite active in socially engaged practice and theory in the early 2000s, and studied in a program centered on “social practice,” I think it is not simply the internet that has changed our relationship to objects but also our experience with more relational/participatory aesthetics that has significantly changed how we approach objects. Sculptures are no longer static objects, but things that can be played with and which play back. Paintings are not just wallpaper, neither is wall paper for that matter, but fields that shift and structure how we see the world afterwards. We have also seen a dramatic increase in the ways audiences have changed in how they relate to artworks, much more damage has been inflicted by audiences on more static artworks, sometimes deliberate, sometimes not, I think basically because they have been trained to think about these things as not static, but fluid objects or gestures. I think, in a sense, this is correct way to be, these objects are much more autonomous than art history or their authors have lead us to believe.
I suppose you could also argue that the proliferation of relational/participatory practices coincides or is influenced by the growth and aesthetics of the internet, and I would not disagree with this, one of Nicolas Bourriaud’s arguments is that “Relational Aesthetics” serves to decrease alienation and the loss of social bond produced by the society of the spectacle, which the internet could be argued as an extension of, a commodity generating engine. But what I think is more clear, and perhaps much more interesting, is that they are two sides of the same systems–theory–coin which flipped in the 1960s and 70s. Mark Leckey makes similar arguments in his amazing lectureMark Leckey in the Long Tail (2009), which I have only seen online. This coin likely has more than two sides; there are other advances in ways of seeing and gathering information that are also affecting how we think of things, research into the relationships between the human body, bacteria and viruses, or the body as a brain or animal–human relations and animal–vegetable relations to name a few. All these ways of understanding are making the world into a much stranger place which just simply shifts how we think about all the things that occupy it, and our relationships with and through them.
Heman Chong
Photo: Joan Kee
Moderation(s) emblem by Heman Chong
Moderation(s) workshop at Witte de With, Rotterdam, October 2012
Participants: A Constructed World (Geoff Lowe and Jacqueline Riva), Nadim Abbas, Defne Ayas, Mimi Brown, Heman Chong, Amira Gad, Natasha Ginwala, Latitudes (Max Andrews and Marina Cánepa Luna), Michael Lee, Christina Li, Pages (Nasrin Tabatabai and Babak Afrassiabi), Vivian Sky Rehberg, and Saelemakers
Photo: Witte de With
Poster for PLURAL Workshop (2) by Joanne Pang
Poster for PLURAL Workshop (3) by Heman Chong
Cover of PHILIP, 2006
A novel, PHILIP was collectively written by Mark Aerial Waller, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt, Steve Rushton, Heman Chong, and Leif Magne Tangen, based on a concept by Heman Chong.
“A Day at Asia Art Archive” within Moderation(s) at Asia Art Archive, Hong Kong, January 31, 2013
Photo: Spring Workshop
Heman Chong in collaboration with Anthony Marcellini, Interview(s) exhibition view
Photo courtesy of the artists and Wilkinson Gallery, London
Heman Chong in collaboration with Anthony Marcellini, Interview(s) exhibition view
Photo courtesy the artists and Wilkinson Gallery, London | {
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8724b6e5-cf7c-4165-a2d1-b8c9a1fe0830 | New! Unlimited audio, video & web asset downloads! Unlimited audio, video & web assets! From $16.50/m
1. 3D & Motion Graphics
2. 3D Rendering
Studio Rendering with 3ds Max and Vray
Where 3d product visualization is concerned, one of the most important techniques for achieving realistic high quality images, is your ability to create studio renders. In this detailed 4 part tutorial you will learn every step necessary to create your own high quality studio renders with Vray and 3ds Max.
This tutorial is divided in 4 parts: Scene setup, materials, lighting, and rendering. In the first part, we will set up the scene, create a base, and import our models, in the second part, we will be assigning materials and using Vray lights to light our scene, and in the last part, we will adjust the Vray settings for the final render.
Note: This is a lighting and rendering tutorial. You will need to supply your own model in order to follow along.
Step 1
Open 3ds Max and set our scene units to meters by going to "Customize>Unit Setup>Metric>Meters.
Step 2
Now lets create an environment for our scene. Create a "C" shape with the line tool and convert it to an editable spline.
Step 3
Select the corner points and choose "Fillet" with a .187m value. Also, set the "Interpolation Steps" to 10.
Step 4
Select the line again, and in the rendering tab, check "Enable in Viewport" and "Enable in Renderer". Select "Rectangular" for the type, and enter the values shown below.
Step 5
Now convert the line to an editable poly, and your base for the lighting setup is done.
Step 6
Import or merge your model, and scale it according to the size of the base. In my case i am importing a furniture model.
Step 7
Create a free camera in the front view. Now, click on the top left side of the view port, go to views, and select the camera view.
Step 8
Enable the safe frame, and adjust the camera according to your scene and model.
Step 9
Press f10, and under production, choose Vray from the assign renderer tab. This will enable Vray as your renderer, and also enable Vray materials in the material editor.
Step 10
Press 'M' to open the material editor, then click standard, and then Vray mtl. The VRayMtl is provided with the V-Ray renderer. This allows for physically correct illumination in the scene, faster rendering, and more convenient reflection and refraction parameters.
Step 11
Click on the diffuse color and make it pure white and apply it to the base. This will help in bringing out the details and
getting diffuse reflections.
Step 12
Now lets texture the upper part of the stool. The basic parameters that will be used in the material are:
• Diffuse - The diffuse color of the material.
• Rougness - Can be used to simulate rough surfaces or surfaces covered with dust.
• Reflect - The reflection color.
• Reflection glossiness - Controls the sharpness of reflections. A value of 1.0 means perfect mirror-like reflections, while lower values produce blurry or glossy reflections. Use the Subdivs parameter to control the quality of the glossy reflections.
• Apply a fall off map in the Diffuse slot (as you can see in the image). Also change the reflect color and bring down the reflect glossiness to .7 Apply this material to the cushion of the stool. Note: You will need to adjust the colors and various settings described to suit your own model.
Step 13
Now add a bump map, with a bump value of 60, in the maps area of the same material.
Bump mapping makes an object appear to have a bumpy or irregular surface. When you render an object with a bump-mapped material, lighter (whiter) areas of the map appear to be raised, and darker (blacker) areas appear to be low.
Step 14
Apply a UVW map modifier on just the cushion, and select box as the type of mapping style. Also, scale the gizmo so that it can fit the bump map properly.
Step 15
Time to create the shader for the metallic legs and the base of the stool. Here are the important parameters you will need to adjust:
• Fresnel Reflections - Checking this option makes the reflection strength dependent on the viewing angle of the surface. Some materials in nature (glass etc) reflect light in this manner.
• Max Depth - The number of times a ray can be reflected. Scenes with lots of reflective and refractive surfaces may require higher values in order to look right.
• Exit Color - If a ray has reached its maximum reflection depth, this color will be returned without tracing the ray further.
• Step 16
Now create 3 Vray lights in the scene. Change the multiplier, the color to white, and check invisible. The important parameters you should know are:
• Color - The color of the light.
• Multiplier - The multiplier for the light color. Also the light intensity is adjusted by the Intensity units parameter.
• Invisible - This setting controls whether the shape of the VRayLight source is visible in the render result. When this option is turned on, the source is rendered in the current light color. Otherwise it is not visible in the scene.
• Step 17
Create a simple plane, rotate it as shown, and apply a Vray light material to it. Add a gradient map on the Vray light material, and set the intensity of this material to 2.
• VRayLightMtl - A special material provided with the V-Ray renderer. This material is used for producing self-illuminated surfaces, and allows faster rendering than a Standard 3ds Max material with self-illumination enabled. It also allows you to turn an object into an actual mesh light source.
• Color - The self-illumination color of the material.
• Multiplier - The multiplier for the Color.
• Step 18
The following steps will be dedicated to the render settings for Vray. Press F10, and under "Global Switches",
uncheck "Default Lights". "Default Lights" allow you to control the default lights in the scene.
Step 19
For the "Image Sampler" type select "Adaptive DMC", and "Catmull/Rom" as the filter. Also, change the "Min" and "Max Subdivs". Here is a description of the important settings:
• Image Sampler - An algorithm for sampling and filtering the rendered image.
• Fixed - Always takes the same number of samples per pixel.
• Adaptive DMC - Takes a variable number of samples per pixel, depending on the difference in the intensity of the pixels.
• Adaptive Subdivision - Divides the image into an adaptive grid-like structure, and refines depending on the difference in pixel intensity.
• Step 20
Under the "Environment" tab, check on "GI Override", which will allow you to override the 3ds Max Environment settings for indirect illumination calculations. The effect of changing the GI environment is similar to that of a skylight.
Step 21
Under "Indirect Illumination", select "Irradiance Map", and "Light Cache" as the "Primary" and "Secondary Engine".
Also, change the preset to "High hsph", the "Subdivs" to 50, and the "Interp Samples" to 20. Below is a description of the important settings:
• Irradiance map - Computes the indirect illumination only at some points in the scene, and interpolates for the rest of the points. This is very fast compared to direct computation, especially for scenes with large flat areas.
• Current Preset - this dropdown list allows you to choose from several presets for some of the irradiance map parameters.
• Hemispheric Subdivs (HSph. subdivs) - Controls the quality of the individual GI samples. Smaller values make things faster, but may produce a blotchy result. Higher values produce smoother images.
• Step 23
For the "Light Cache" set the "Subdivs" to 1500, and for "No of Passes" set the value to 8.
• Light Cache - The light map is built by tracing many eye paths from the camera. Each of the bounces in the path stores the illumination from the rest of the path into a 3d structure. This is very similar to a photon map.
• Subdivs - Determines how many paths are traced from the camera. The actual number of paths is the squared value of the subdivs (the default 1000 subdivs mean that 1 000 000 paths will be traced from the camera.
• Number of Passes - The light cache is computed in several passes, which are then combined into the final light cache. Each pass is rendered in a separate thread independently of the other passes. This ensures that the light cache is consistent across computers with a different number of CPUs. In general, a light cache computed with a smaller number of passes may be less noisy than a light cache computed with more passes for the same number of samples. However, a small number of passes cannot be distributed effectively across several threads.
• Step 24
Hit render, and you're done. You have just created your first studio render !!
Looking for something to help kick start your next project?
Envato Market has a range of items for sale to help get you started. | {
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98f9f021-ce81-4f3e-88ac-d1af5b7a1e36 | Robert Swain Gifford
Robert Swain Gifford
Naushon Island, Massachusetts
New York, New York
Active in
Linked Open Data
Linked Open Data URI
Artist Biography
Robert Swain Gifford received his first instruction in drawing during the late 1850s from Albert van Beest and William Bradford at New Bedford, Massachusetts. Later, Walton Richetson, a New Bedford sculptor, shared his studio with Gifford. In 1864 Gifford opened a studio in Boston, but in 1866 settled in New York City. One year later, he was elected an associate of the National Academy of Design and was made a full academician in 1878. In 1869 he sketched in Washington, Oregon, and California, and in 1870 made an extensive trip abroad, visiting England, France, Spain, Italy, Morocco, and Egypt. Four years later, he made a similar journey that included Corsica, Algeria, and parts of North Africa seldom visited by tourists. About ten years later, he returned for a third visit to the Middle East.
After this, Gifford divided his time between his New York studio and his summer home at Nonquitt, Massachusetts, with the exception of a three month voyage to Alaska in 1899 with a scientific party led by E. H. Harriman. Beginning in 1877 and for nearly thirty years thereafter, he taught art classes at the Cooper Union School in New York. Gifford won medals at the Centennial Exposition of 1876 in Philadelphia, at the Universal Exposition of 1889 in Paris, at the Pan-American Exposition of 1901 in Buffalo, and at the Charleston Exposition of 1902. One of the earliest Americans to take up the technique of etching, Gifford helped to establish the New York Etching Club in 1877.
Born on a small New England island under the most difficult cirumstances (seven of his ten siblings died in childhood), Gifford's early paintings, which featured dramatic seascapes with storm-tossed boats, reflected his natural respect for this subject as well as his lessons with the Dutch painter van Beest. During his second trip abroad in 1874, Gifford visited the art museum in Marseille, whose "fine collection of modern French paintings" may have reinforced his admiration for the Barbizon artists he had first seen in Boston several years before. Within a few years after his return, Gifford's style was largely purged of his previously overblown romanticism, which was replaced by stark, simpler compositions, wide spacious vistas, and, most typically, a cold, somber mood drawn from the barren dunes and rugged cedars of the New England coast. The Metropolitan Museum's Near the Coast, variants of which can be found in several other Gifford paintings and etchings, was awarded a $2,500 prize in the first Prize Fund Exhibition held at the American Art Gallery in 1885. In May of 1974, seventy years after his death, Gifford was given a full retrospecitve exhibition by the New Bedford Whaling Museum.
Peter Bermingham American Art in the Barbizon Mood (Washington, D.C.: National Collection of Fine Arts and Smithsonian Institution Press, 1975) | {
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aee7a12a-74d4-44c8-a838-1e8483d104fb | Saturday 15 July 2023
Frank Bellamy in Rugby Exhibition
Information panel by Paul Holder
I was going to write about a great exhibition entitled "KAPOW –The Art of Making Comics and Films" which runs until 9 September 2023 at the Rugby Art Gallery and Museum, Little Elborow Street, Rugby, CV21 3BZ which has been reviewed on DownTheTubes
James Bacon has not only done a better job than I would have done, but his photos are better too. Respect James!
Here are some of my images which at least record which Bellamy artwork what was displayed along with my ramblings.
"Sequential visual storytelling is the art of our time" it says on one bit of blurb on the wall, and film and comics go so nicely together but have differences - so well shown here. "Colour is like the soundtrack of a film" The exhibition's strength is that it really set me thinking when 'exclaiming' like this but also demonstrating what it meant. I couldn't help but think Mike Noble's excellent example would have worked well here to show sketch to finish to colour and how colour added so much more. "Thumbnails and roughs are like the building blocks of a story"...but of course not everyone needed to do either of these. Bellamy drew rough sketches and then went straight to inks. There are some great examples of comic art methods, styles, workings using artwork by Jock, Ian Churchill, and fantasy artist Bob Cheshire in this exhibition and the artists' generosity has made this an excellent exhibition.
Bellamy's Thunderbirds at Rugby
The double-page spread is a high quality print from the original art (TV Century 21 # 125 10 June 1967) and the single page is the original art from TV Century 21 # 217 15 March 1969
Models and Supermarionation
I felt this information panel would have been better placed near the "Dan Dare" board by Frank Hampson et al (but with that common error "The Eagle" corrected to "Eagle") as his studio used many maquettes and models to draw from. But we do know Frank Bellamy also had puppet heads to draw from and also visited the APF studio in Slough when the filming of "Thunderbirds" took place - so I suppose this works here too.
Round the corner we see the section labelled "Comic Styles" with a wonderful selection to illustrate the many forms of comics (including "Danger Mouse" with an "Unknown Artist" attribution - isn't this Arthur Ranson, who is credited later with "Duckula"? It is indeed - checked with Arthur!). I suspect Bellamy, in his usual modest style would have been awed to be right next to Berni Wrightson and one of the latter's most famous works! I remembered copying one of those panels in my A Level art class!
"Comic Styles"
"Comic Styles" explained
The two pieces here are both from "The Wolfman of Ausensee" 'Garth' story. F170 + F171 are the consecutive strips, for those who want to know and below them, the Hampson "Dan Dare".
'Garth' F170 & F171
I came away having been challenged to think further about comic art -and I've been no slouch over the last 60+ years! There are many models and TV elements I haven't mentioned as well. Wallace & Gromit artwork and models brought a smile to an older man, and the 'Van Gogh' room as I called it was excellent!
Go and read James Bacon's review | {
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77a9c8c2-d2d1-4339-97d3-a036ea57c102 | luxury of freedom
Alex Baams' creative pop-up paintings
Alex Baams is a young artist from the Netherlands whose feeling of being stuck in his own development brought him a new creative idea. Baams stopped painting on canvasses for a while and started researching ways of combining movement and painting, which has been an undiscovered passion of his until then. After months and months of researching it was time to get serious and Baams started working on his first pop-up painting "Monkeys on my back" which combined pop-up art and painting. As he found out during his research starting the pop-up painting with sketching as almost impossible. So Baams grabbed knife and siccors and started cutting cardboard. The most exciting part was painting and assembling the cardboard pieces. The pop-up painting idea came around the corner just in the right time - the work seemed to create itself, so Baams.
"Monkeys on my back" shows everything that you have to accept about yourself and that you have to let go to be able to move on.
Ideas like this make art even more interesting for people. Maybe BIG BERRY would be a subject for one of these paintings?!
Source: boredpanda.com
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427e8f71-0f61-4960-b732-771d53acc1b9 | Edward Hopper
Born 1882. Died 1967.
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Works by Edward Hopper at Sotheby's
Past Lots
Edward Hopper Biography
Dealing with themes of isolation and solitude, but within contexts generally recognized as sites of interaction or sociability, the work of Edward Hopper has come to be iconic within American visual lexicon as well as lent inspiration to countless younger generations of artists and movements. Hopper was born in 1882 in Nyack, New York, less than an hour north of Manhattan. Following high school, he began studying art in New York City, first briefly at the Correspondence School of Illustrating before spending nearly six years taking classes at the New York School of Art, where he was taught both by William Merritt Chase, an Impressionist painter, and Robert Henri, a painter and member of the Ashcan School.
Following his training, Hopper first garnered some work as an illustrator before undertaking three separate trips to Europe between 1906 and 1910; although he visited various locales across the continent, he frequented Paris on each occasion. Despite the numerous avant-garde styles proliferating in the city of light at the time, he was largely indifferent to leading movements such as Cubism and Fauvism. Nevertheless, he found inspiration from the French Modernists—namely Edgar Degas and Édouard Manet—whose modern life subject matter and stylistic approaches resonated deeply with the artist.
After settling in Greenwich Village in the 1910’s, Hopper’s career initially floundered. Although he showed in numerous group exhibitions in the city, and was included in the seminal 1913 Armory Show, it was not until 1920 that he was subject of a solo exhibition at the Whitney Studio Club (the progenitor of the Whitney Museum of American Art). Unfortunately this exhibition resulted in zero sales, but, a few years later, he had a second solo show at Frank K. M. Rehn Galleries, which sold out. This marked a turning point for Hopper, as his career subsequently gained momentum. Additionally, his personal life took a happy turn when he married fellow artist Josephine Verstille Nivison in 1923; Jo, as Hopper called her, would be the model for nearly all of his subsequent female figuration, and she also acted as a registrar of sorts for his career.
By the 1930’s, Hopper had developed his now iconic mature style, which was recognized by a career retrospective at the Museum of Modern Art, New York, in 1933. His work reflected a deep psychological interrogation of modern life, and, more specifically, concepts of alienation and loneliness. Hopper masterfully created visual tension by illustrating common settings, such as a diner in his now iconic Nighthawks (1942), but portrayed in an austere, uncanny manner—casual scenes are executed almost too formulaically, belaying their inner contrivance, which is seemingly at odds with their comfortably recognizable subjects. Hopper died in May of 1967, and when Jo died less than a year later, his entire estate was gifted to the Whitney Museum of American Art.
Hopper was not a prolific artist, only averaging about two paintings a year. Notwithstanding, his work has come to be housed in a number of prestigious institutional collections, including the Museum of Modern Art, New York; National Gallery of Art, Washington, DC; Museum of Fine Arts, Boston; and the Art Institute of Chicago.
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Museums with Works by Edward Hopper | {
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30eb780c-d6ee-46c1-b7d6-82818e50673c | In blossom
Society & Culture
Zeng Siqin gives colors and shape to human personality
This article was originally published on Neocha and is republished with permission.
People are multilayered, and no two individuals are the same. This also stands true when it comes to flowers, and it became the line of thinking that sparked the idea for Chinese artist Zeng Siqin’s Flower: Portraits of Personality. The project features different forms of floral life, and they were all created based on computer-generated palettes matched up with different personalities. It all began with a question: “Is there way to give shape and form to human nature?”
With this question as the starting point, she found inspiration from the likes of Xiang Fan and Laurie Frick, data artists whose works offered a eureka moment: data can presented in beautiful, visually engaging ways.
Using WeChat, China’s most popular form of social media, Si invited strangers to take part in a personality survey, creating a database of personalities that she then organized, analyzed, and assigned with ratings. Feeding this information into a program that she designed specifically for this project, the algorithm churned out different colors based on each participant’s personalities.
As for the visual motif that would serve as the vessel for this data, that took a lot of deliberation. She eventually settled on flowers. “When we talk about someone’s personality, it’s easy to generalize,” she explains. “It’s either you have a bad personality or you have a good personality, but it’s not this black and white. Everyone is unique and I believe there’s no set standards to judge someone by. It’s like flowers, they come in all shapes and forms, but it’s hard to objectively say whether one is more beautiful than another.”
Flowers are also often viewed in a positive light, and Si believes that these positive connotations are very much in line with the message she wanted to convey about human personality. “The main theme of my art is about the kindness of men,” she says. “Everyone is a flower in their own right. No matter the personality, humans bloom into their own and add color to the world. Because of every person’s existence, the world is brighter. Everyone should feel confident about themselves.”
This optimistic outlook can perhaps be traced back to her teenager years, where the encouragement of her parents and teachers set her off on the path of art. Si was taught traditional Chinese painting at a young age, but she only pursued it as a hobby. Making art was hardly anything of lasting interest. In her sophomore year of high school, Si’s mom decided to send her off to Changsha with her brother to finish her studies, but the school didn’t have an art course. She decided to attend art classes outside of school once a week. As time went on, her artistic abilities caught the attention of her teacher. “He said that I had a talent and that he was sure I had the potential to go to Tsinghua University’s art program one day,” Si recalls. “But I still wasn’t really interested in it at the time.”
Surprisingly, another teacher further encouraged her to follow her artistic talents. This support was what gave Si a change of heart, and consider art as a viable path. For her, switching her main area of study to art with only one year left to the Chinese national exams was a road paved with difficulties. Her parents stood with her every step of the way.
She eventually landed a spot at Tsinghua University, which hosts China’s most sought-after art program. There, she completed a graduate degree before heading overseas to further her studies at the Tokyo University of Arts. This trajectory might make it seem like her success came without hindrance, but this isn’t the case. Even with her academic success, self-doubt kept creeping in.
She often questioned herself: “Am I truly an artist?”
This doubt is actually nothing new. It’s a question that’s popped up in her head time and time again throughout her six years of art studies. Although she excelled academically, she didn’t feel like she was a particularly gifted artist. “Exams at art school are just practice for technical skills,” Si says. “It’s about building a foundation, but we’re not really creating art. I hadn’t drawn anything of my own in a long time, and exams are just about drilling repetitive knowledge.”
Si says that these methods may sometimes feel detrimental to true artistic development. There is a certain energy and spirit to artistic creation, which she believes can’t be taught. “To a certain extent, art school and exams may even stifle creativity,” she says.
To her, there are major differences between a “creator” and an artist. To be classified as the former, they must have a strong concept or emotion, and that must be passed on to viewers. “To be an artist, the work must facilitate an open dialogue between artist and audience, one that’s spiritually resonant,” Zeng says. “It must also come with a sense of originality, and the work must be creatively fulfilling.”
To her, Flower: Portraits of Personality meets a number of these criteria. There were a lot of hurdles to overcome in achieving her vision though. “It was hard to make everything cohesive because there was so much I wanted to include,” she recalls. “I had to think about how to solicit the personality data, how to quantify it, how to turn that data into a floral motif, and how these images would be presented. These were just some of the issues I had to keep in work out.”
A pragmatic approach was her earliest method. Collecting and analyzing the data were the first steps, and, surprisingly, was one of the most enjoyable parts of the project for her. She surveyed people using the Big Five personality traits, a theory that identified five factors of an individual’s personality to form a picture of their personality. This system scores a person based on their openness to experience, extraversion, agreeableness, and neuroticism. This method-driven approach seemed to make the most sense at the time, but little attention was given to how the data could be shown in more interesting ways.
“It was all about expression!” Zeng says. “I thought it was enough to have a strong theme in a piece of artwork, so I didn’t think about how to make it even more visually expressive. ”
This methodology was criticized by her teacher at the time. “He said I was too logical, and that artworks should not be so rigid. He said this isn’t scientific research; this is art, and that art should focus a lot on visual expression,” she recalls. “It was more important to work from the heart.”
This also made her acutely aware of the differences between her creative process and that of many of her peers. Other artists, as she observed, often worked with artistic intuition, which she felt like she lacked. This doubt led to a lot of second guessing and confusion about how she would rework the project from the ground up. In the end, she decided to break each flower into five sections, which was in line with the Big Five personality traits.
Yūzen, a resist dyeing method that originated from Japan’s edo era, was chosen as the medium Zeng would work with for this project. Unlike traditional dyeing, this method not require cloth to be dipped in a solution before dyeing. Instead, yūzen artisans would work on silk directly with a brush, creating delicate and airy textures. “It has very distinctive line work and share some parallels with traditional Chinese painting,” she explains of the method. “Because of the similarities, that was what I decided on.”
After designing the initial patterns for the flowers, she dyed and washed the silk all by hand. This DIY process felt tremendously rewarding, as it allowed her to be fully in the moment and immersed within each piece. Yūzen can be incredibly time consuming, but there are still many artists in Japan who work with it. She feels that this perseverance in traditional craft is something that every country can learn from.
After the artworks were completed, she was equally eager in being involved with how they’d be displayed. In her exhibition at the Tokyo University of the Arts, these works were arranged in a chromatic gradient that made for a stunning rainbow-like arrangement. “When the show was on display, I was there the whole time,” she recalls. “It was amazing being able to watch the visitors, seeing them come, stopping in front of a certain flower, and telling a friend how much it resembles them.”
At the show, some visitors would approach Zeng and ask for explicit explanations on the personality types shown in specific pieces. Even though each work does have a corresponding personality, she hoped for there to be some ambiguity. Giving a concrete explanation for each work seemed to defeat the purpose, as she had also envisioned for this project to promote the message of admiring the beauty of every person’s individuality, looking past prejudices and generalizations.
The exhibition ended up being a hit, with her receiving a nomination in the Emerging Young Artists category from the Kuma Foundation, a Japanese non-profit organization dedicated to empowering the next generation of creatives . The Tokyo University of Arts even ended up paying 30,000 yen to purchase a portion of the project for its personal collection. Though Zeng was initially hesitant, since it means that these works would no longer be available to the public for a period of time, she eventually agreed.
“I was a bit sad because I poured a lot of blood and sweat into finishing this series, and it was only on display for five days,” she says. “I’m proud of how it was received, but I’m also a bit conflicted because I want these works to be shown to more people. My friends convinced me, since not a lot of artists have had the honor of entering its collection, so I said yes.”
As for whether Zeng has found the answer as to whether or not she can be truly considered as an “artist,” it’s hardly important. Regardless of how she’s classified, there’s never time for complacency. She’s more ambitious than ever. She says that she has little interest in commercializing her art in the future, and she ever returns to China, she hopes to work in a university as a teacher, so that she could help nurture the next generation of Chinese artists. “With my experiences, I now realize that everyone has a lot of potential for art,” she says. “They just need their potentials to be stimulated.”
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Contributor: Senki Yu | {
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Venini "Calza" Murano Chandelier by Ludovico Diaz de Santillana
SellerBusiness seller
SOLD for €9,250,-
Item not as advertised, money back.All items are curated and 100% authenticHave it delivered hassle-free or pick it up yourselfShop only from Trusted Sellers
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Milaan, Italy
Product description
The current chandelier dates from the 1960s, a decade in which Venini and several architects and designers collaborated fruitfully, such as Ludovico Diaz de Santillana, Paolo Venini's son-in-law. After Venini's death in 1960, he took over the artistic and creative direction of the Venini oven. Among other things, he created the so-called "Calza" style, with glass tubes that faded from an intense color (in this case violet) to transparent. The chandelier has a diameter of 85 cm and a height of 45 cm from the hook to the lowest hanging cylinder. It has been preserved in very good condition, with only the expected patina on the frame and cylinders due to time. It is in perfect working order, recently serviced by a professional electrician. An engraved signature on the frame reads "Venini - Murano - Italy".
ConditionExcellentColorsGold, White, BeigeMaterialMurano GlassNumber of items1StyleModernHeight45 cmWidth85 cm
Seller information
Business seller
Milaan, ItalyWhoppah since March 2022
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4e0d4fef-feb4-436d-b7c3-613fd15f6bb0 | Showing posts with label Gandhi – Beyond Borders by K M Madhusudhanan. Show all posts
Showing posts with label Gandhi – Beyond Borders by K M Madhusudhanan. Show all posts
20 Dec 2019
Gandhi – Beyond Borders by K M Madhusudhanan
Artist K M Madhusudhanan’s solo show in Dubai is currently on at 1x1 Gallery, and it has melancholy and a sense of foreboding, as it explores the undercurrents of violence in today's times, writes Deepa Gopal
Gandhi IV
K M Madhusudhanan’s was part of The Radical Movement, an avant-garde movement of the 80s, which has gradually acquired a disparate meaning than that it had at the time of its inception. It was formed as a student body that wanted to be united to fight against the injustice and aberrations of the system at the time. They had just finished their studies and it was a significant phase for them, and friendship was an important unifying factor; to stay united for a cause and they unwaveringly discussed contemporary art. The social aspect of such a group, at any point of time, has a strong rooting. Art is meant to be social and should influence the mass all the same. It resonated with the philosophy of The Third Cinema, an aesthetic and political cinematic movement in the Third World countries of the 60s and 70s and the ideas propounded by its makers like Fernando Solanas that decried capitalism and neo-colonialism and emphasized on topics like national identity, poverty, tyranny and revolution, class and cultural practices.
As you enter the spacious and aptly lit 1x1 gallery the air becomes grave, all you can but see are the dark frames oozing with the history of a colonial past interspersed with the current times threatening violence and abuse of power which is still current as it was a century ago.
A multi-faceted artist proficient in various mediums that seem to flow seamlessly into one another be it art, cinema that includes video art and feature film Madhusudhanan’s works are brilliant particularly for the colour scheme that strikes you - a mix of sombre charcoal works and dark tones with a touch of white, red and some light and fire. It has melancholy attached to it and a sense of foreboding, at the cusp of revelation. It does have the Hopperian feel of ‘something just happened or something is about to happen’ particularly in his newer series.
Refugees II
The Gandhi series (2019) are 10 in total; Gandhi looks despondent and immersed in his own world, often his head substituted for a globe, a lantern, a clock while in some other works his limbs are substituted with a goat, books, weapons etc. They are loaded with symbolism as with his other works and we are meant to put the pieces together as we gradually move from one to another. One can see the recurrence of lighted bulbs similar to the presence of an almost invisible thread/wire that perhaps has a chance to manipulate to what it’s attached to. Refugees series from this year stands out the most.
Gandhi becomes a prominent subject in our times not only in India but globally due to several factors especially the prevalence of violence in our daily lives across media. From religious tugs, caste and creed, to amassing power and wealth; Gandhi remains the searing and indulgent spot and that’s what makes Gandhi a forever subject.
Madhusudhanan’s art is just not for the senses alone, it’s for the intellect as well. The artist is crystal clear when he says that everything we do is political whether it be in our home or in out street. Everything resonates to it and we can’t push it to the back drop.
Red Street, Arrival and Penal colony (2017) will unsettle you. Most of his works are multi-panelled where every section is a story on its own. Penal Colony though reminds us of Kafka’s title it’s a historical probe into the heart-wrenching tragedy, the ‘Wagon Tragedy’ that happened during the British rule in 1921 at Northern Malabar. It’s a reminder of the tortured death just like Colonization which was in itself a torture and a sport. The Archaeology of Cinema is placed diagonally opposite to where his movie History is a Silent Film (2008) plays. It reminded of lives that remained stuck in the mute net of forgetting. It was awarded the Outstanding Short Films from International Festivals, The Museum of Modern Art, New York in 2007. It was at this point that I noticed the artist enter the gallery in his black dress and I thought that he might as well have descended from one of his displayed paintings. People flocked around him to converse and discuss.
Homage to Ustad Bade Gulam Ali Khan 2-2018
One of the participants of 2014 Kochi Muziris Biennale, Whorled Explorations where he displayed The Logic of Disappearance - A Marx Archive, one can see a similar strain of works in charcoal in 1x1 gallery as well. If it was 90 frames in the nostalgia-seeping walls of the Aspinwall, it was 8 frames here along with an oil painted Ustad Bade Gulam Ali Khan at the pinnacle in Homage to Ustad Bade Gulam Ali Khan 2. One could not help but notice the microphones, gramophone and megaphone invoking the sound as the Ustad himself is in the mid-way of his gayaki not to forget that he himself had borne the brunt of Partition.
'Gandhi-Beyond Borders' is on at 1x1 Art Gallery till 31st Dec 2019
All images are courtesy 1x1 Art Gallery
Deepa Gopal is an artist and author of the art blog, HuesnShades, an award-winning blog, she currently resides in Dubai.
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06f498a8-42e0-4dba-9818-2ce937bdf187 | Unlimited AE and Premiere Pro templates, videos & more! Unlimited asset downloads! From $16.50/m
1. Photo & Video
2. Video
Invisible VFX: How to Add Composite Trees and Foliage in After Effects
Adding elements into a scene is a very common task in Adobe After Effects. In this lesson, we are going to dive into some compositing tips that will help you when you are adding in trees or foliage into a video clip—these techniques work for still images, too.
Composite image of a truck in the woods with extra trees
Director David Fincher often utilizes compositing like this in his projects. Here is a great breakdown showcasing the Invisible VFX that were used in his Netflix series Mindhunter.
How to Pick the Right Video Clips
First, you'll need to make sure you start with some quality video clips. In our case, this means clips of trees with an alpha channel. (An alpha channel video clip has a transparent layer included with it.) Here is a great example of a Birch Tree on Videohive.
Recording a video clip of a tree, isolated like this one, would be quite difficult. So more often than not, these assets will be computer generated. This is perfectly fine, and in some cases it is even better, because the clips are loopable. We just need the asset to look some-what realistic, and ideally our compositing skills will help sell the final shot to our audience.
Tracking or Static Shot?
It is much easier to composite elements on a static shot, mainly because you won't have to worry about perfecting the track for each element you add. The focus of this tutorial is on the effects that help with the final composite, so I'll be working with a static shot.
However, if you do decide to use a shot with movement, such as handheld, I highly recommend using the Camera Tracker in After Effects. I always get smoother results with the Camera Tracker, opposed to the Track Motion feature, and you can place each tree element at different depths in 3D space for your shot.
Compositing Effects to Use
Here is a list of the compositing tricks and effects I often use, and a brief description for the benefits of each one.
• Interpret Footage: Use this to ensure your tree element frame rate matches your composition frame rate.
• Lighting and Shadows: Be aware of the lighting and shadow direction in your footage, then place your elements into your shot accordingly.
• Hue / Saturation: Use this effect to de-saturate your elements to look more realistic. You can also shift the colors to more closely match other elements in your scene.
• Gaussian Blur: Use this effect to add a subtle blur on to your elements so that they match the softness of the footage shot on location. It also helps reduce aliasing.
• Noise: Use this to add a subtle bit of natural looking grain onto your element.
• Tint: Use this effect to select a dark color and a light color from the original shot, then dial up the tint to add a gradual amount of color atmosphere back on your element.
• Camera Lens Blur: Use this effect to emulate shallow depth of field for elements that are located closer to the camera.
Differentiate Your Elements
When you are dealing with multiple copies of the same element, it is important to differentiate them so they don't all look identical. Here is a list of a few common tricks you can do.
• Offset your elements on the timeline. This helps insure they are not all moving identically in the same manner, if they have any movement.
• Adjust the scale of each element.
• Mirror or flip your elements using the Flop After Effects preset.
Hopefully these compositing tips will help you on your future projects!
Mentioned in this tutorial
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