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Kitchen Counter Design Kitchen Counter Design is creative interior decorating ideas and expressive decor accessories into personal living spaces. Kitchen Counter Design, offering seducing retreats where people relax and get rest, although modern innovative design ideas and unusual solutions will influence contemporary Kitchen design in August 31, 2016, creating unique, interesting and charming rooms. Image for Kitchen Counter Design Kitchen Counter Designcounter design for kitchen #kitchen counter cabinet design #kitchen counter design photos #kitchen counter designs pictures #kitchen design distance between counter and island
Together with its three neighbouring office buildings, the ‘Koszyki’ Market Hall consists of two functional components developed by JEMS Architekci in Warsaw. Our task was to design the interiors for all these facilities and develop the semi-public spaces between them. The market hall is at the heart of this concept. It was important for us to give an additional focus to its character – not as much through contrasts but breaking intuitive patterns. In this process, we made a conscious effort to reflect the context of a market hall, as defined by 19th century architecture, in a slightly different way. Our objective was to define the framework for the operating of prospective lessees. In those spaces where authentic elements, preserved from the past were missing, such as sections of floor tiling, we tried to find the right replacements with simple materials – in this case, concrete. Industrial-grade floors together with pre-fabricated elements serve as background for stall frames, made of rolled steel painted black. We used the same approach for the office spaces. The simple message conveyed via the architectural design itself, encouraged us to apply a wide range of stylizations. The common spaces in the office buildings (entrance and lift areas, as well as corridors on successive levels) have been designed with the ‘basket’ theme in mind. The expanded metal sheets used in the hall spaces (copper-gold in colour) have been developed to resemble a wicker basket, however, in its fully contemporary character. The crude pattern of the walls has been juxtaposed with elegant materials. For one of the halls, we have designed a floor made of aluminium. The idea is that it will keep changing over time, as more and more wear and scratches become visible. For another hall, we used marble. The passageways have been developed into spaces for which visual identification is inspired by street art. At the same time, the representative halls of the two office buildings surrounding the market hall, with their open-access design, have been conceived as potential art-exhibition venues, with Griffin ArtSpace as patron. For the common spaces of the staircases, we have proposed the artistic inputs from the Kolektyf group in Wrocław. Taking into account the interdisciplinary character of our studio, we have also invited Oskar Zienta to work with us. His installation will be exhibited in the semi-public spaces of the squares situated between the market hall and the office buildings. We invite you to visit the project’s page.
New research: Flash is DEAD. Yet resistance isn't futile - it's key Electro-boffin may have SAVED the storage WORLD Crossbar RRAMSponsored: Designing and building an open ITOA architecture
Call us now 855-960-6020 Amid Spending Cuts, Musical Ensembles Still Maintain their Sound Market: Education Communities and school districts continue to fight to maintain their arts programs. With budget cuts being made on both the federal and state levels, the arts are the first to go to schools and the community.Don't let spending cuts shrink your music program Upon the news of eliminating all band, orchestra, choir and performing arts programs in my school district, I watched community members scramble to create a meaningful campaign to save the arts. The art patrons, parents, and students in my community banded together to raise enough money to save the arts. Many of them worked down to the hour of the proposed cancellation to secure funding. Other school districts have not been as lucky. Even when communities are able to salvage their arts programs, the quality of the program is directly proportional to the quality of the teaching and supplies poured into the program. However, with little to no money being allotted to salaries and the purchase of equipment, the arts programs need to make their dollars go further faster. The Return of the Multi-Purpose Room Flexible and dual-use solutions are a necessity, especially when trying to convince boards or departments for approval or funds. Movable sound-absorbing dividers are a simple cost-effective solution. Their mobility is necessary, especially since many music groups do not have designated rehearsal spaces. Fitting neatly around risers or chairs, the movable dividers help direct your choir, Mobile classroom with portable dividers hiding choir risersband or orchestra’s sound. Since they are also tack-able, the dividers can be decorated to suit everything from your holiday concert to a class play. For more advanced ensembles, sound absorbing wall mounts help reduce phasing and echoes in rehearsal spaces. This not only gives your group a more transferable rehearsal process but helps students craft a clearer, crisper and body-filled sound. Wall mounts can be put on the front and sides of the rehearsal space and easily removed if you rehearse in a shared space. In using economic supply solutions such as movable dividers and sound absorbing wall mounts, arts programs are able to keep creating their unique sound in their community by staying fresh and flexible. Divide Classrooms • Reduce Noise • Display Materials Browse Educational Dividers Call Us Now: 855-960-6020
The Buccaneers came into their 2012 season with a new coach, a great draft pick and tons of optimism. We needed to translate the energy into fan engagement so we completely overhauled the brand and created a rallying cry for all of Tampa that revolved around the flag. There’s not many brands with a logo as beautiful and dynamic as a flowing pirate flag. It was an easy choice focus the entire brand around photography of the flag itself. We gave the Bucs a modern and strong look, built with dramatic flag images, aggressive athelete photography, bold use of type and luxurious negative space. The stadium got a total make over, with more than a thousand unique designs en masse. We did it all: the 170 foot tall posters on the exterior, all the stadium wayfinding / signage, and even the Buccanners branded ketchup dispensers. We also revamped the ticketing experience and created a new print, out of home, social media and television campaign, supported by a refresh of Buccanners.com and a slew of microsites. Ultimately—this didn't help them win any Super Bowls, but the franchise went from dead last in fan engagement and overall experience to number three in the entire NFL. Go Bucs! Made for: Tampa Bay Buccaneers at Mutt Industries Athlete Photography / Stadium Signage / Ticketing Experience / Branding / Strategy / Digital / Out-of-home / Advertising My role: Art direction, design lead, website strategy and design, photo retouching. Some more work ︎ © 2024 RWP
Back to Artists Parmod K Mann Born in 1960, Pramod Mann completed his Master's degree in sculpture from the College of Art, New Delhi, in 1988. Mann's bronze sculptures often evoke mythological birds of prey. The half bird and half human forms are complex, fluid, multi-dimensional and display a treatment of form and volume similar to that of Rodin. By contrast, the artist's stone sculptures depict stylised primitive ape like masks, and demonstrate that the artist is not afraid to experiment with new shapes and forms of the utmost simplicity. The artist's vision of combining natural forms, creative imagination, and a sound technical understanding of how the elements of a composition work together, bring his canvases, drawings and sculpture spectacularly to life. Mann has held several solo and group shows of his work in India and internationally. In 2005, he was awarded a two-year Senior Fellowship by the Ministry of Culture, Government of India, and in 2000, was honoured with the National Award from the Lalit Kala Akademi, New Delhi. The artist lives and works in New Delhi.
Becoming a Strategic Designer Or how I learned to stop worrying and love uncertainty There comes a time in the life of many designers when they’re faced with a professional crisis. Design is not without its challenges, and certainly not exempt from criticism. Industrial Design is even more peculiar because at some point you have to ask yourself about the consequences of all the crap you’re helping bring to the world, and yes, there’s a lot of crap being made by designers. It’s not hard to feel like a cog in a machine. I’m pretty sure that most design work in the Industrial Design field is still being done in a product centered fashion, at least that’s the absolute reality here in Argentina. I love design, I love its challenges and potential but It’s not hard to feel disillusioned, and thus I’ve been trying to move away from Industrial Design into a different design discipline that has a more meaningful impact in people’s lives. Last year I finally made the jump into Strategic Design and joined Uncommon Design Strategy. Strategic Design, like many new design fields can be a little bit vague on its definition but in the end it’s all about using design methods and approach to guide strategic development and bring innovation into products, practices and the organizations themselves. In practice it involves a bit of many Design disciplines, from Service Design, UX, Design Research, Design Ops, Futures Design and many more. These past months have been an amazing journey. While the design processes and mindset is still the same I’ve been trained and practicing as an industrial designer there’s a lot of new tools and methodologies that I’ve been incorporating, and there’s even more that I’m still learning about. I say it’s like an accelerated master’s degree. This learning process is a constant in all design disciplines, looking to learn new things and wonder at the broad scope of knowledge to be gained is a fundamental design skill. There’s a great focus on collaboration and co-creation. Not only internally between team members (and what a wonderful team it is) but also with the project stakeholders. It makes a lot of sense too. Given the systemic complexity of the problems, the traditional model of the designer coming down from the sky with a magic solution given to him by his muse makes absolutely no sense. Here design is a facilitator, it is there to push things forward, to provide a different point of view, to support others, the designer isn’t the star player. And that’s amazing, because involving others in the design only makes the solution better, it promotes cooperation, gets everyone on the same page and ultimately makes people in the organisation care about the solution instead of it being just another thing handed to them by their superiors. The biggest difference though, is not in mindset or even tools but it’s about focus. A product centered approach cares mostly about the how; how to solve a problem, how to make the thing, how to move it around, talk about it and all that. Taking a human centered approach means not only caring about the how but also, and more importantly, about the why, why should this thing exist, why will people care, why should I care. It’s a huge difference and it means that there’s real meaning behind the work, even if we have to search for it. I guess that what this change has taught me that design is design, no matter what is it you’re designing, that at it’s core it’s a way to approach problems and challenges. I also learnt the importance and difference of looking at the ‘why’ in addition to the ‘how’. I learnt that design is about bringing the best of everyone involved and ultimately it’s about growth, and no one ever stops growing. Designer with a passion for design and culture Get the Medium app A button that says 'Download on the App Store', and if clicked it will lead you to the iOS App store A button that says 'Get it on, Google Play', and if clicked it will lead you to the Google Play store
Jump to content This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. × Dancers from the past Recommended Posts I'm not sure weither I should post it here. Have you noticed that dancers on pictures from the 40s and 50s looked very different from how they look now? It seems that nobody had that amazin "swan neck" arched foot nor did they have that athletic looking legs. But still; people continue to praise dancers from the past. Isn't it possible that those dancers from the past wouldn't even make it to the corps today? The female dancers looked, well, more like women Exactly when did the dancer's body become so different? Link to comment Hi Susanne I have moved your post to the Discovering Ballet board as it is more suited to that forum:D I do agree with you, with regards to differences in dancers bodies, and yes probably none of those dancers would make it in the more prominent ballet corps of today, which I guess is a great loss, but times do change. Exactly when did the dancers body become so different, with my limited knowledge my answer would be Balanchine. I am sure if I did more research I would find it wasn't, hopefully someone on here can point the right way I know he chose dancers specifically for a certain look that he personally liked to see in a woman, and that made his visions come to life. Link to comment Susanne, you might be interested in these two earlier discussions - both stemming from photos of the Royal Ballet's 1946 production of Sleeping Beauty. http://www.balletalert.com/forum/showthrea...=&threadid=8782 http://www.balletalert.com/forum/showthrea...=&threadid=9160 It's interesting that the younger dancers have a different take on this. Xena - this discussion talks more about the "chicken and egg" question of the current look in ballet and Balanchine. http://www.balletalert.com/forum/showthrea...=&threadid=2832 Link to comment Thanks for moving it Xena! And thanks for the links to those threads with the beautiful pictures Mr Witchel! They were really interesting since I recently saw a production of the Sleepin Beauty myself! I wonder why there were very few dancers with those really high arches which are very common today. Is it possible that the reason is that pointe shoes were made differently? Link to comment I believe you are right about pointe shoes, Susanne--strong feet with low arches used to be considered ideal for a dancer because shoes offered less support. Now that pointe shoes are stronger, people with high arches are able to dance en pointe more easily--the shoe makes up for the difference. One thing has not changed: the preference for toes of even length, which spread out the weight of the dancer and do not place all the stress on one toe. However, having toes of uneven length still does not make it impossible to dance en pointe with all the products like spacers and pads. Link to comment • Recently Browsing 0 members • No registered users viewing this page. • Create New...
Flashpoint Theatre Company Closes With World Premiere of Jacqueline Goldfinger’s SLIP/SHOT April 11-May 5 PHILADELPHIA — Flashpoint Theatre Company is closing its season with the World Premiere of Jacqueline Goldfinger’s SLIP/SHOT. Goldfinger has emerged as a leading voice of playwrights in the region, with her World Premieres of the terrible girls (Azuka Theatre, 2010) and Hershel & The Hanukkah Goblins (Gas & Electric Arts, 2011) receiving critical and popular acclaim. SLIP/SHOT will run from April 11 to May 5 at the Adrienne’s Second Stage, located at 2030 Sansom Street, Philadelphia, PA. Opening night is Friday, April 13 at 8 p.m. Tickets cost $22 general admission and $15 for students/seniors For more information, please visit www.flashpointtheatre.org. Slip/Shot asks questions about family loyalty as well as the conscious and subconscious influence of upbringing on our perspectives. Set in Tallahassee, Florida in the early 1960’s, Kitty and Clem fall in love and escape from their dysfunctional families in each other. But when an ordinary night devolves into a terrible shooting, they tear themselves apart trying to figure out what went wrong. SLIP/SHOT is an exciting new work about the malleability of truth, and how we re-imagine history to protect the ones we love. This World Premiere is directed by emerging director Rebecca Wright. Flashpoint Artistic Director Thom Weaver is designing the lights. SLIP/SHOT finishes Weaver’s second season as Flashpoint’s Artistic Director. Weaver is a multiple award winning lighting designer whose tenure at Flashpoint has garnered significant critical attention, including Run, Mourner, Run, which has been nominated for an Independence Foundation Award for Outstanding New Play. Weaver and Wright are joined by an exciting cast including two-time Barrymore nominated Keith Conallen, Kevin Meehan, Rachel Camp (Barrymore winner 2011), and three-time Barrymore nominated Cathy Simpson. Rounding out the cast is Akeem Davis, Erik Endsley, and Taysha Canales. The design team includes Scenic Designer Caitlin Lainoff, Sound Designer Larry Fowler, and Costume Designer Alisa Sickora Kleckner. “The play began as a ghost story, with the characters haunted by the specters of their fathers,” said Goldfinger. “Most of the action in SLIP/SHOT takes place within the confines of small Southern kitchens where we can feel the permanence of each family’s legacy, their unseen ghosts. Although a mentor emerges as a father figure for Clem, offering him an alternative way forward, Clem is unable to shake the damaging lessons he internalized from his father, consciously and unconsciously, and so is blind to the redemption and hope within his grasp.” “What attracts me to Jackie’s work most is the unique quality of her voice,” said Artistic Director Weaver. “There’s something decidedly southern-gothic about it, along the lines of Faulkner or Berendt. In her work, you kind of taste the moss growing on trees and smell the rain. Her characters, regardless of the period, seem to be grown from their environment rather than be placed in it. Therefore their actions seem to have a certain inevitability. The power of her work is in the irrevocable consequences of her character’s actions.” About Flashpoint Theatre Company Flashpoint Theatre Company produces socially provocative and emotionally resonant works of new and contemporary theatre in the greater Philadelphia area, while giving voice to a diverse group of emerging artists.
Bunay AD has many years of experience. They started their activity in 1952. The company produces plastic, bakelite and rubber parts, as well as tools for their production. The management turned to the Media Design Advertising Agency for the production of channel letters for their base in Panagyurishte. Bunay – illuminated channel letters Panagyurishte The channel letters Panagyurishte for Bunay are made with a face of blue Plexiglas and alurapid pages. They are mounted with aluminum spacers to the wall. The back of the channel letters is made of transparent Plexiglas and wrapped with white translucent 3M film, series 2330. This type of channel letters are made of aluminum pages, and are very resistant to weather conditions. They are most often installed on the roofs of buildings or in hard-to-reach places, where they are exposed to strong winds. Brightly illuminated and noticeable advertising The outdoor advertising of Bunay AD is illuminated with Samsung LEDs. In this way is obtained the backlit, and the face of the channel letters glows blue because of the colored Plexiglas. Quality modules significantly extend the life of any advertisement, so Media Design Advertising Agency works only with proven manufacturers in the field. Client: Bunay Date: December 2014 Warranty: 3 years City: Panagyurishte
Cemre Yeşil Gönenli, Hayal & Hakikat JTF (just the facts): Self-published in 2019 (here). Triple-hinged, triple-spine softcover book with lock and chain; unpaginated, with 107 monochrome reproductions; 8.3 x 6.25 inches. Includes a tipped-in pamphlet reproduction; an inserted monochrome photograph; a text in Turkish by Refik Akyüz, with an English translation by Orhan Cem Çetin. In an edition of 40 signed and numbered copies. (Cover and spread shots below.) A new edition of Hayal & Hakikat is forthcoming from FiLBooks and GOST Books. Comments/Context: One night, in the spring of 2019, Cemre Yeşil Gönenli couldn’t sleep. For about two weeks, the Turkish photographer had been working on a project that she needed to conclude in the following days. Her research was complete, the images were chosen, but the form was still missing. As with any person enmeshed in the process of making, Gönenli is used to creative turmoil, especially when approaching a deadline. This project, however, was different. Earlier that year, two Istanbul-based institutions – SALT Beyoğlu, a local branch of Turkey’s SALT center for contemporary art, and Kadir Has University – had launched a series of workshops and public programming tailored to a recent acquisition: the archive of Reşad Ekrem Koçu’s (1905-1975) Istanbul Encyclopedia. Monumental in scope, Koçu’s project remained unfinished and includes eleven published volumes of the letters A through G, as well as a lifetime’s worth of research material that the Turkish writer and historian compiled for both the completed and remaining letters of the alphabet. Combining historic facts with personal notes and observations, conversations and local stories – that are paired and enriched with drawings based on objects, photographs, and other memorabilia – Koçu’s encyclopedia does not follow the genre’s traditional approach to distill information and condense knowledge. Instead, it presents a colorful mélange of factual accounts and imaginative storytelling of Istanbul’s Ottoman times. To provide access to Koçu’s archive, continue its legacy, and unlock its potential for new interpretation, SALT and Kadir Has joined forces with a number of organizations, one of them specializing in photography workshops. As a result, Gönenli (along with two other artists) was invited to create and host “Interpreting Istanbul Encyclopedia via Photography”, a collectively run workshop, for which she was also asked to produce a personal body of work inspired by Koçu’s encyclopedia. Although Gönenli was given a decent amount of time to sift through the material (which she received as PDF files), choosing a subject from an encyclopedic entry wasn’t easy. “It was a beautiful, crazy project, and I wanted to read everything – but I quickly realized, if I did, that I would never make the deadline. So I had to start gazing though everything, somehow going by instinct.” Her instinct eventually led her to her own roots – and Koçu’s entry on photography, which in Turkish is spelled with the letter “F” and, therefore, among the final entries of the encyclopedia’s last published volume. “Compared to the other entries, Fotoğraf was fairly short. You read quite a bit about [the medium] itself, its history in Istanbul. Everything very interesting,” Gönenli recalls, but nothing she could work with – until a brief note sparked her curiosity. During the rule of Abdul Hamid II (1842-1918), the last Sultan to exert power over the fracturing Ottoman Empire, photography had become the preeminent tool to document and propagate the empire’s modernization. With a major photography lab set up in Yıldız Palace, Abdul Hamid II commissioned pictures of mosques and masjids, schools and police stations, army and navy regiments, and a plethora of other subjects, that were subsequently organized within albums. Among these albums were two that held a particular value for Koçu: photographs of male prisoners, who were depicted in groups of five, three, or individually – which the Sultan had commissioned in preparation for a planned amnesty to celebrate the 25th anniversary of his reign. For Koçu, these photographs presented valuable documents because of the prisoners’ clothing, which, theoretically, would allow the viewer to determine the social class these individuals once belonged to. For Gönenli, unknowingly at first, these photographs would eventually become the means and symbols of a silent protest. “I was very interested in how [these prisoners] would look, how they would respond, with their faces, to the chance of being released. But I was wondering if I could even find these albums. I assumed they had to be in some library. But, frankly, I didn’t think I’d be able to find them.” Gönenli did find them. After a few days, and with the help of one of her mother’s friends, she managed to get access to the Istanbul University’s Rare Works Library. Spending most of her remaining two weeks in front of a computer, Gönenli went through the entire collection of the digitized Yıldız Palace albums, and finally found the ones she was looking for. Among these photographs, she most viscerally responded to two groups of individual portraits. “As I was looking through them, two things caught my attention. I’ve always been drawn to hands, but in some of these photographs their poses felt unnatural, almost as if they were saying: Look at my hands, or that somebody told them to show them in a certain way. I couldn’t figure out what was going on there, but the hands, the gestures, felt more important than the expression of their faces.” The other set of individual portraits showed prisoners in chains, which seemed to have little to do with the notion of amnesty. Not yet sure what to make of these photographs and whether she was allowed to reproduce them, Gönenli requested low-res files of the individual portraits that had caught her attention, as well as a few group images. As Gönenli had never worked with archival imagery, she began to sort the photographs into two piles – hands and chains – and simultaneously investigated the men’s identities and whether some of them were ultimately pardoned. While this research led her nowhere, Gönenli, instead, was able to solve the mystery of the gestures. Communicating with a specialist on Abdul Hamid II, she learned that, along with his enthusiasm for photography, the Sultan was equally passionate about crime novels. Grounded in some pseudo-theory that he purportedly read in one of his books, Abdul Hamid II believed that “any criminal with a thumb joint longer than his index-finger joint, is inclined to murder” – and, hence, genetically incorrigible. To allude to this absurd story and to emphasize her own viewing experience, Gönenli decided to crop the prisoners’ heads out of the photographs; focusing exclusively on their bodies and the gestures they perform. As aggressive as this act might sound at first, it is crucial to the puissantly tender impact of Hayal & Hakikat. Organized as two independent, yet adjacent sections, each of them is bound at the top, as if imitating the gestural logic of a notepad. I can’t help but notice the freedom of my hands, their movements, and the space they take when flipping through the pages of each section. In Hayal, which unites a meditatively sequenced series of hands, we see gestures of humbleness and doubt, as hands silently rest upon bellies and chests, at times intersecting or barely touching; holding onto wrists or seem to hide in folds of fabric sleeves. There are moments of resignation, as they hang loosely or deliberately to the side; sometimes there’s a glint of Napoleonic pride with fingers disappearing beneath the break line of a jacket. If you didn’t know – which you don’t, unless you read the accompanying text that is part of the book’s third section and set apart from the photographs – you couldn’t tell these are the hands of prisoners. These images clash with those of the book’s second section, Hakikat – an impression that the darker backgrounds and sharper, less grainy surfaces only emphasize. Smaller in volume but more disturbing, we see photographs of torsos, legs, and feet, many of them burdened by disproportionately large and heavy chains, which are locked to the ankles, with their links, at times, curled on the ground like snakes, more often, though, held by the prisoners themselves or tied to their waists. While none of these photographs communicate anything about identity, whether personal or generic, one two questions piercingly arise – what does it feel like to be imprisoned and how do bodies dream of freedom? The essence of these questions was as pertinent in the declining Ottoman Empire of Abdul Hamid II, as it is in Recep Tayyip Erdoğan’s Turkey of today. Both men, abusing power in their own, yet similar, ways, successfully established a state of surveillance, in which opposition, freedom of speech, and protest are silenced by violence, imprisonment, torture, and death. As Gönenli was mulling over the design and concept of her book, she learned that a friend of a friend went to jail for no evident reason, for an undetermined time. She didn’t know him well, but she couldn’t stop thinking about him. “After what happened in Gezi Park [2011], we, as a generation, became more silent, I suppose. We were heart broken and hurt after a great attempt of resistance and solidarity. Then, I personally lost the point of protesting in streets, because, to me, it just felt like punching a ghost. However, becoming silent doesn’t necessarily mean we are OK with what is going on, and, perhaps, some of us started searching for alternative ways to feed our need for freedom of speech. I guess, this book became my silent protest, in which free speech was enacted through history and photograps.” Designed during that sleepless night in the spring of 2019, Hayal & Hakikat, which translates into English as Dream & Fact, became Gönenli’s means of resistance. “In putting these two sections next to each other, facing each other, I wanted to collide these two ideas, the freedom we are dreaming of and what reality actually is like – a little way of flashing this war, that we, as a generation, are facing.” There are many aspects that make Hayal & Hakikat the remarkable book it is. One being its thoughtfully conceived design – its size based on the hand of Gönenli’s husband; the chain you must unlock to open the book; the cover reproducing the original albums’ pages; the thick, tactile paper for both the photograph and text sections; minute details such as the tipped-in, reduced facsimile of Koçu’s encyclopedic photography entry; the sections’ subtitles, The Book of Punishment and The Book of Forgiveness, printed on the back of the photographic sections; and the book’s dedication “To the bright people who are arbitrarily convicted or had to depart from this beautiful land in these difficult times that Turkey is going through”. There are other books that come to mind, when looking at Hayal & Hakikat. Visually, perhaps most immediate, is the resonance of Chien-Chi Chang’s The Chain, for which the Taiwanese photographer captured a literal chain of 700 psychiatric patients, who, abandoned by their families, are tethered together in Lung Fa Tang Temple. However, I couldn’t stop thinking about Marc Garanger’s Femmes Algeriennes 1960, a disconcerting series of portraits, in which Algerian women, ordered by the French military, were forced to take off their veils in order to ‘pose’ for their identity cards. And while Gönenli’s and Garanger’s photographs couldn’t be more different – one being archival and the other original images, one depicting body parts, the other faces – there is a similar urgency to their gestures, and, hence, responsibility with which we have to interpret and regard them. Gestures are symbols. They are movements of the body that express meaning – a meaning we can rarely explain through cause or deduction, but have to interpret through empathy, that is, by our capacity of imagining our own body and mind in the same, or similar, situation. Gönenli’s photographs were originally intended to serve the Sultan’s personal interest – to demonstrate and to confirm a theory. As any image made of the powerless by (and for) those who are powerful, Gönenli’s images are difficult to repurpose, because they run the risk to either reiterate or simplify. Hayal & Hakikat doesn’t do either, but instead addresses a different viewer – one who understands, and is suffering from the same what these images depict – and, therefore, changes the context of the experience of these images. As you reach the end of Hayal & Hakikat, you’ll find an unsettling photograph, mounted with two picture corners. It shows a row of men standing in front of building, likely a prison. Soldiers on either side frame men in chains, with a dead body at their center, propped against the wall, about to fall over. I have no words for the terror that I feel when looking at it. As I take the photograph out of the book, I find these words imprinted underneath: – Would you be upset if he dies? – So much. – Then, forgive. I return to the photograph and find a face I hadn’t noticed before. Slightly blurred, it is looking out of a barred window. Its expression is ambiguous. Neither here nor there; I am left with a choice. Is it a gesture of fear or one of hope? Perhaps, a whisper that there is still enough worth saving. Collector’s POV: Cemre Yeşil Gönenli does not appear to have consistent gallery representation at this time. As a result, collectors interested in following up should likely connect directly with the artist via her website (linked in the sidebar). Send this article to a friend Read more about: Cemre Yeşil Gönenli, Self Published Leave a comment Your email address will not be published. Recent Articles Stacy Kranitz, As It Was Give(n) To Me Stacy Kranitz, As It Was Give(n) To Me JTF (just the facts): Published in 2022 by Twin Palms Publishers (here). Clothbound hardcover with foil-stamped lettering, 9 x 11.5 inches, 204 pages, with 225 color photographs and numerous drawings ... Read on. Sign up for our weekly email newsletter
PR / T 123.456.7890 / F 123.456.7899 / [email protected] / © 2023 by PR. Proudly created with Wix.com Final Portfolio Assignment (Rev 2) Instead of a paper portfolio, your final submission will be electronic For your final portfolio, you will use www.issuu.com to create a beautifully designed collection of the best work that you've done for this course. While I encourage you to be as creative as you'd like with your artwork, design, and content, it must contain the following elements. 1. Cover page with title 2. Table of contents 3. Letter from the Editor/Author (you) 4. Section divider pages 5. Poems (2) 6. Fiction 7. Creative Non-fiction 8. "About the author" with photo Optional Elements You may include any additional material that you'd like to include--art, photos, other creative pieces you've written in class or outside of class. You may include a piece of creative writing that you especially love and write about what you like about it and recommend that your audience read it. If you have any questions about something that you'd like to add, feel free to talk to me about it. About Issuu.com Issuu is an online magazine publishing and hosting website. It is free and easy to use. Just create your document in Word, Google Docs, or whatever format you like, and upload the file. You cannot edit the file once it's on Issuu, but you can easily delete a version that you want to update and reload a new edit. Check out some of the samples to get ideas for how you'd like to design your own magazine. You can order paper copies from the website if you'd like to show off your work.
Philadelphia Art Alliance Blog The News From South 18th Street Examining The Third Chopstick: A Meditation on Family and Future 1 Comment by Mat Tomezsko “Third Chopstick” by Yin Xiuzhen, Song ErRui, and Song Dong. 2013. During the installation of Chopsticks III at Chambers Fine Art in New York in 2011, 8-year-old Song ErRui approached her parents, Song Dong and Yin Xiuzhen, and expressed her interest in joining their artistic collaboration. Up until that point, The Way of Chopsticks had been a project exclusively between Song Dong and Yin Xiuzhen. It was a meditation on married life and family designed to maintain complete artistic autonomy for both of the artists involved. Chopsticks serve as a metaphor for two equal individuals coming together to form something greater. The concept shatters with a third chopstick, but they were still intrigued by their daughter’s offer. After considering the idea for some time, they decided to give it a try for their next exhibition. For The Way of Chopsticks at the Philadelphia Art Alliance, each of the three family members made a chopstick for the group called Third Chopstick. It offers three distinct points of view with each insight being compounded by the next. Taken together, the three pieces offer an impressively complex view of contemporary family life. Detail of Yin Xiuzhen’s chopstick in “Third Chopstick” For her chopstick, Yin Xiuzhen, chose to depict a dizi, which is a traditional Chinese flute. The dizi, typically made of bamboo, was commonly used in Chinese folk music and was traditionally associated with the common people. The dizi Yin Xiuzhen has made is long, thin and made of chrome with a tail pipe and a muffler attached to each end, a reference to the well-known smog crisis in Beijing, which perhaps implies that the music produced by this instrument will be toxic. The piece simultaneously evokes a beautiful and humble tradition rooted in nature and the noxious environmental consequences of expansion and wealth in contemporary China. While praising the beauty of Chinese culture, Yin Xiuzhen is also criticizing the present conditions, for fear of what her daughter and her daughter’s generation may lose in the future. Detail of Song Dong’s chopstick in “Third Chopstick” Song Dong’s chopstick reflects his interest in fake electronics, which, while making reference to the pervasive presence of cheap knock-off products in Chinese society, also reveals his affinity for good-natured trickery. The chopstick has, at first glance, the appearance of a complicated high-tech device. However, upon closer examination, it becomes hilariously implausible as a functioning object. It is covered in useless knobs and old remote controls, and there is a keyboard simply tacked onto the side. There is, however, a functioning GPS device that periodically blurts out directions. Song Dong has expressed that this sculpture was made to represent his attitude toward his daughter, whom he wishes to control, but cannot. Since all of the devices are incorrect and useless, he has endowed her with a GPS so she can at least always find her way home. Detail of Song ErRui's chopstick in "Third Chopstick" Detail of Song ErRui’s chopstick in “Third Chopstick” Song ErRui modeled her chopstick after a wolf. She saved the hair from her shedding dogs to create two bands of fur running the length of the sculpture. There are ears attached and drawn-on eyes and teeth. The sculpture essentially takes the form of an elongated wolf head. Her fascination with wolves is quite sophisticated for an 11-year-old. She identifies with wolves because they are inherently social creatures, however, as the only child of parents who both come from large families, she feels like a lone wolf. This idea can be extrapolated to the issue of the One Child policy currently in place in China. After millennia of a society based on social and communal principles, the fundamental structure of the culture is being forcibly changed by the state. Suddenly, there is a nation of individuals, and perhaps individualists. The Song family with their respective chopsticks for the piece "Third Chopstick" 2013. The Song family with their respective chopsticks for the piece “Third Chopstick” 2013. While the idea of a third chopstick may shatter the surface level metaphor presented by The Way of Chopsticks, in practice, adding another dimension expands the scope of the project exponentially. Once each chopstick is understood, they can then be understood in relation to one another, thus deepening the meaning. Yin Xiuzhen and Song Dong are commenting on Chinese society, but they are also concerned about their daughter. At the same time, you hear their daughter’s concerns, her own interpretation of society, and her view of the future. In addition, the structure of three chopsticks is maybe a more perfect resemblance of the asymmetry found in real life; when you open a drawer, you do not find your utensils neatly paired. Song Dong and Yin Xiuzhen’s dynamic as a pair was permanently altered with the addition of their daughter. Song ErRui brings a welcome and enriching change to their art as well. The Way of Chopsticks is on view at The Philadelphia Art Alliance September 12 – December 29, 2013. The Way of Chopsticks: Song Dong ＋Yin Xiuzhen is represented by Chambers Fine Art in New York City and Beijing. Mat Tomezsko is the Programs and Events Coordinator at the Philadelphia Art Alliance One thought on “Examining The Third Chopstick: A Meditation on Family and Future 1. Pingback: Week 43 \| #SinArts Get every new post delivered to your Inbox. Join 38 other followers
Innovative architecture set to transform Little Rock Museum Studio Gang’s award-winning designed Arkansas Museum of Fine Arts will open to the public in May 2022 The north entrance to the new Arkansas Museum of Fine Arts under construction in March 2021. Photo by Timothy Hursley. The new Arkansas Museum of Fine Arts, currently under construction in Little Rock’s MacArthur Park, is on schedule to open to the public in May 2022. The Museum’s signature roof – a flowing, folded plate concrete structure, blossoming out to the north and south – is now complete. The new roofline spans the length of the new 133,000-square-foot building, connecting new construction and renovated spaces to establish AMFA’s new architectural identity. Daytime view from downtown Little Rock of the Arkansas Museum of Fine Arts’ new north entrance. The Cultural Living Room signals the new entrance from Crescent Drive and creates a new courtyard plaza that reveals the museum’s historic façade. Courtesy of Studio Gang and SCAPE Designed by renowned architecture practice Studio Gang in collaboration with Polk Stanley Wilcox and landscape architecture and urban design practice SCAPE, the Museum’s distinctive new architectural identity signifies AMFA’s role as a leading arts institution in the region while celebrating its significant legacy. Studio Gang has applied their exceptional talent at integrating innovative, new architecture with the thoughtful renewal of historic architecture to create a welcoming, new Arkansas Museum of Fine Arts that will serve as a source of beauty and inspiration for the region. “From the outset, the goal of this project has been to make accessible the very best of art and architecture to Little Rock,” AMFA Executive Director Victoria Ramirez said. “In working with Studio Gang and SCAPE, we are realizing the most contemporary ideas about museums and public spaces and creating a new paradigm that is both art and people-centric.” Studio Gang’s design for the new Arkansas Museum of Fine Arts creates a central axis spanning the length of the building and connecting the Museum’s various programming areas. Photograph by Timothy Hursley. For the new Arkansas Museum of Fine Arts, Studio Gang began by studying the original 1937 building and its eight additions. Studio Gang sought opportunities to knit together the various structures, building systems, and programs while renewing historically significant elements. By creating a new, central spine through the Museum, Studio Gang’s elegant design establishes new connections between programming spaces and the landscape and opens the interior of the Museum complex to natural light and extended sightlines, creating new opportunities for discovery and engagement among the Museum’s exhibition, education, and performing arts programming. The pleated roof of this new addition also creates a unique architectural identity for the institution that brings a level of prestige to Arkansas’s growing architecture scene. “By this important reinvigoration, the Arkansas Museum of Fine Arts also enhances the entire state’s character and capability as a territory of both great natural beauty and resources and great cultural depth and vitality,” said Peter MacKeith, Dean of the Fay Jones School of Architecture at the University of Arkansas. Known for a research-based design process aimed at creating places that build stronger relationships among people, communities, and the environment, Studio Gang’s award-winning work ranges from community-centered cultural and civic buildings including the Writers Theater in Glencoe, Ill. and FDNY’s Rescue Company 2 in Brooklyn, New York, as well as landmark tall buildings like Aqua Tower and Solar Carve. Studio Gang’s upcoming projects include an expansion to the American Museum of Natural History in New York; a new United States Embassy in Brazil; a new Center in Paris for the University of Chicago; and the Global Terminal at O’Hare International Airport. “What makes the work of Studio Gang distinct is the continually renewed search for the logic of each building, the process of unraveling the contingent circumstances of each project, delving into them for inspiration,” architect Mohsen Mostafavi wrote in the recently released monograph on Studio Gang’s work, Studio Gang: Architecture (Phaidon, 2020). Mostafavi is the Alexander and Victoria Wiley Professor of Design and former dean of the Harvard Graduate School of Design. Named Fast Company’s #1 Most Innovative Architecture Company in 2020 and Architecture Firm of the Year by Architizer in 2016, Studio Gang is led by architect Jeanne Gang, a MacArthur Fellow, Professor in Practice at the Harvard Graduate School of Design, and the only architect included in TIME Magazine’s 100 Most Influential people in 2019. Studio Gang’s design for AMFA has already been recognized as a winner of a Best of Design award from The Architect’s Newspaper in 2019, whose annual awards honor exceptional architecture, design and building projects throughout Canada, Mexico, and the United States. A Museum in a Park When interviewed for the project in 2016, Studio Gang stood out with their vision for “a museum in a park,” recognizing – even in the earliest stages of the project – that clarified circulation throughout the building and into the park would help the Museum’s mission continue to flourish. As the Museum’s collection and programming grew over the years, the building underwent additions and renovations, with support from the community, to increase the institution’s programming and exhibition capacities. By the 2010s, the sprawling complex was closed off from the neighborhood and the park and no longer able to meet the needs of its growing audiences, exhibitions, and programming aspirations. When the design for the new building began, Studio Gang studied the disparate structural, heating, and material systems of the AMFA’s additions as well as the collection itself, interviewing curators and staff to better understand the movement of people and art through the building over time. By cutting through existing spaces, Studio Gang was able to create a new central spine through the building that opens toward downtown Little Rock and historic MacArthur Park, creating new opportunities for visibility and access. The new building will be situated within 11 acres of public landscape designed by SCAPE and inspired by the native ecologies of Arkansas. This central space acts as a flexible atrium. Clerestory windows bring natural light into the heart of the building, and the flowing lines of the ceiling above help visitors intuitively find their way between the different interior spaces and the new entrances at either end of the building. At the north, a new outdoor courtyard opens the 1937 Museum of Fine Arts façade to view and highlights the transparent Cultural Living Room on the second level – a lively new space for gathering, programming, and events. Moving through the new central spine allows visitors to see into exhibition, education, and performance spaces, inviting further exploration of the Museum’s programs in the Harriet and Warren Stephens Galleries, Windgate Art School, and Governor Winthrop Rockefeller Lecture Hall. Within the galleries, a large window offers natural light and views of the landscape while maintaining safe environmental conditions for the art. The blossom roof, and each articulated “petal” within it, visually and experientially guides visitors into each of the major programming areas – from the galleries and event spaces to art studios, theater, and lecture hall. To the South, the new Arkansas Museum of Fine Arts opens into a renewed MacArthur Park. Photo by Timothy Hursley. To the south, the new restaurant with floor-to-ceiling windows offers views of the surrounding terrace and park. The revitalized MacArthur Park, designed by SCAPE, will be renewed with rain gardens, native and sustainable plantings, and contemplative pathways, and planted with a diverse mix of over 50 different species of perennials, shrubs, native trees, and ornamental grasses in petal-shaped gardens that respond to the form of the Museum’s roof. Stacked sandstone slabs – quarried from the region – will convey stormwater runoff from the roof into a series of lush, vegetated rain gardens, which will attract pollinators and migratory birds to the site. Renewing the Legacy Following their ethos to “start with what’s there,” Studio Gang’s design for the new Arkansas Museum of Fine Arts excavates the historic, Art Deco façade of the original Museum of Fine Arts (the precursor to the Arkansas Arts Center and Arkansas Museum of Fine Arts) to make it the new north entrance, connecting the institution’s longstanding legacy with a welcoming vision for the future. Originally designed by architect H. Ray Burks and built by the Works Progress Administration, the 1937 building featured a limestone façade designed by Little Rock artist Benjamin D. Brantley and features two carved relief figures – Painting and Sculpture personified – identifying the Museum as a space of art and creativity along with the inscription “Museum of Fine Arts.” The new building reveals the façade to the outside for the first time since 1982, when an addition enclosed it as a feature of the building’s interior galleries. Preservation of the limestone façade is being undertaken in partnership with the Arkansas Department of Parks, Heritage and Tourism. “The rich history of the institution, of MacArthur Park, and of Little Rock is celebrated through the renewal of the historic facade,” said Ramirez. “The façade is a symbol of AMFA’s legacy, reflecting the decades of community engagement and support that have allowed the Museum to build its exceptional collection and innovative programming. The institution’s new name – Arkansas Museum of Fine Arts – is a commitment to continuing this legacy of creating exceptional arts experiences for our community and the entire state.” “It’s exciting to watch the work being done as the new Arkansas Museum of Fine Arts is being constructed,” said Stacy Hurst, Secretary of the Arkansas Department of Parks, Heritage and Tourism and state historic preservation officer for Arkansas. “It is especially gratifying to see what care they are taking to make the façade of the original 1937 Museum of Fine Arts a feature of the new front entrance. This nod to history and historic preservation is inspiring.” Alongside new construction, Studio Gang’s design reuses and adapts various previous structures and materials, while renovating existing spaces to support the Museum’s programming aspirations. The most carbon-intensive elements of the building have been kept intact, and back-of-house, staff offices, and art storage have been reconfigured to streamline the visitor experience while creating state-of-the art conditions for art storage, transportation, and display. These renovated spaces, connected through new construction, improve the Museum’s programming capacity, allowing for more art to be displayed, more classes to be taught, and more events for public engagement. A New Cultural Landmark Upon its reopening in May 2022, the Arkansas Museum of Fine Arts will be a hub of cultural activity. The AMFA Foundation Collection and dynamic special exhibitions – as well as the architecture and landscape – will be a major draw for tourists and locals alike. Exhibitions, art-making classes and workshops, educational programs, and performing arts events will bring visitors from communities far and wide to downtown Little Rock. Corporate and private event rentals, a world-class restaurant, and other amenities will also draw visitors to a revitalized MacArthur Park. And admission to the Museum will continue to be free for the public. “Great architecture can transform a city,” Ramirez said. “Little Rock values the arts – and we want every member of our community to enjoy the benefits of a thoughtfully designed space dedicated to art and community. In a sense, we’re building a monument to Little Rock – a beautiful piece of architecture to celebrate our community and our future.” The project is being realized through a $142 million special fundraising campaign, Reimagining the Arkansas Arts Center: Campaign for Our Cultural Future. In January 2021, Capital Campaign Co-chairs Harriet and Warren Stephens announced that the campaign has raised nearly $136 million of its $142 million goal. The Campaign includes a $31.2 million contribution from the City of Little Rock generated through a hotel-tax revenue bond. Overwhelming support has more than quadrupled the public contribution to the project. Lead donors include Windgate Foundation, Harriet and Warren Stephens, Terri and Chuck Erwin, Winthrop Rockefeller Charitable Trust, and the State of Arkansas. The Windgate Art School, Harriet and Warren Stephens Galleries, and Governor Winthrop Rockefeller Lecture Hall in the new building are named in recognition of these gifts. The campaign now has 24 21st Century Founders of the Arkansas Museum of Fine Arts contributing gifts between $1 million and $35 million. The Campaign also has 56 Leadership Donors, individuals, families, corporations, and foundations contributing between $100,000 and $999,999, 36 Major Donors contributing between $25,000 and $99,999, and many other contributors. The Museum is set to open to the public in May 2022. Despite the challenges associated with the Covid-19, construction has continued consistently and safely throughout the past year. In close collaboration with the Chicago and New York-based Studio Gang and SCAPE teams, associate architect Polk Stanley Wilcox, based in Little Rock, was able to oversee crucial elements of the project on the ground during a time of restricted travel. Continued construction on the new Arkansas Museum of Fine Arts also served to buffer the region’s construction industry in a challenging economic time. More than 50 Arkansas companies have been employed on the project, with more than 200 workers at the site every day. While the new Museum is under construction, AMFA staff have been preparing for the opening of the new Museum by cataloguing the AMFA Foundation Collection, preparing works of art for conservation, investing in new equipment for the Windgate Art School and Theatre, and making upgrades to Museum systems and technologies.
HAPPENINGText: Jo Phirip Design Festa! vol.24” was held on December 2nd and 3rd at Tokyo Big Sight. This big event with more than 6,000 artists and 2,600 booths has been introduced several times on Shift. This time, I would like to introduce “How to Walk at Design Festa” of my own. The work of Mr. Shinobu Ishimori which was especially impressive I spoke with many people at this event. Firstly, I took a train “Yurikamome line” from Shinbashi station to the venue Tokyo Big Sight, and happened to meet a girl with her illustration who was one of the exhibitors of Design Festa. I thought she looked like an art school student, but she actually had a very unique career; she studied the gene at the university, and now drawing pictures while working as a pharmacist. Speaking with many other exhibitors at the venue, I found that they had various careers, including Illustrator, Photographer, Programmer, Theatrical company’s member and Chief executive etc.. Their home places were also various from Kyushu to Hokkaido, and also foreign countries. Speaking with various people is also one of the enjoyable features of this event, as well as watching their works. The original characters and illustration works were remarkable. Illustration works by Mr.Tomoya Ueda. Handmade commodities (Japanese taste flog, fish etc..) by Miss Meyou. This artist was single-mindedly drawing the picture on umbrellas. His usual activity base is Inogashira Park. Read more ... [Help wanted] Inviting volunteer staff / pro bono for contribution and translation. Please e-mail to us. Yuka Kasai
Aerial Photographs of the biggest Opencast Coal Mining Pit of Germany. It is one of the largest man-made holes in the world, at nearly 1,500 feet deep, and currently covers almost 35 square kilometers. Everything at the mine is at a giant scale: The machines inside, scooping out coal and moving around sand and dirt, are each the height of 30-story office buildings and twice as long as soccer fields. Photographed May Solo Exhibition at Galerie Liusa Wang Paris, 18.06. - 09.07.2015. A selection of thirteen of my Aerial Views Coal Mine images will be shown at a solo show in large format Fine Art Prints up to 180 cm. The exhibition will take place at the Galerie Liusa Wang in Paris, which is located close to Notre Dame in the middle of Paris: http://www.galerieliusawang.com 15 Boulevard Saint-Germain, 75005 Paris, FRANCE. More informations about the exhibition here: https://www.behance.net/gallery/26627459/Exhibition-in-Paris-AERIAL-VIEWS-COAL-MINE The returning to colorful school time, to the period of formation your vision of a world, perception of environment, human relations - helps us to preserve yourself in this tangled maturity. Devoted to my beloved school which nurtured in me the love to architecture, the urge to knowledge and based that person who I am now. WALKING INTO THE WOODS. Still searching for new lights and new ambients. For these shots I chose the silence of a pine forest, the last light of the day, the elegance of a long dress of the same color of the leaves of trees. And a simple, natural face. Natural as the light that I caught in these pictures, making it mine, forever. I love to work letting nature to inspire me. The shadows between trees, the glimpses of light between the leaves, these are the atmospheres I’m looking for: addictive , deep, sometimes mysterious. Project by / Natural photography - Libera Mosca/ Model Imma Policarpo По специальности художник живописец, родился в Северной Осетии. Работал с ELLE, ELLE Казахстан, MARIE CLAIRE, SNOB , GQ, INDIE MAGAZZINE. Все мои работы не до конца мною осознаны и понятные, эфемерный эффект уходящий в пустоту художественной абстракции. A Sadhu or holy man applies color on his forehead while getting ready during Maha Shivaratri festival inside Pashupatinath Temple in Kathmandu, Nepal on Tuesday, February 13, 2018. Thousands of sadhus from India and Nepal come to celebrate the festival of Maha Shivaratri by smoking marijuana, smearing their bodies with ash and offering prayers devoted to the Hindu Deity Lord Shiva. Где есть сила там же где- то рядом находиться и страх. Не может существовать одновалентной среды, ,.может я и зря постулирую, но мне так кажется что я удачно, подвел под мои рассуждения Brian Haider. Fashion Photographer .São Paulo, Brazil(born 1987 in Sao Paulo, Brazil) photographer, specializing in erotic femininity, makes fashion, editorial, and advertising photographs. Working for five years with my father (Gilberto Haider, adv photographer) and with my mother Adriana Zselinszky (ex top model,now fashion producer) in our studio, HzStudios.Thanks to my parents' experience, many sleepless nights, and much effort, I could now develop my own photographic style and now I have my own clients, hand-picked by me. I also must credit Paul Khalil (photographer) and Celso Ferrer (makeup/hair), both also taught me much about the technique and the visual arts of photography. My style is influenced by the work of David LaChapelle, Steven Klein, Ellen Von Unwerth, Taka Mayumi,... I trust on originality and creativity, and always ask God to give me a lot of imagination on the day of the photoshoot.
Melissa Fox film director / Photographer melissa-fox.jpg Melissa Fox is a director, cinematographer and editor. She earned her BFA in video and photography from the University of Illinois at Chicago in 2004. A teammate since January 2005, Melissa has directed and shot a wide range projects for fig films from documentaries, commercials and non-profits to large corporate brands and marketing campaigns. We simply do not have enough titles to accommodate all of Melissa’s talents. She is a perpetual student that understands the value of keeping her skills sharp while teaching and leading the teams she works with toward creating inspiring work. Her understanding of how to bring a brand to life makes her a valuable asset to our clients. Melissa grew up on the South side of Chicago attending a Chicago Public School for the arts and credits this as the source for her diverse view on the issues and causes she believes in. To Melissa, everyone is interesting and deserves to have their story told. She is a 3 time Telly Award winner for directing and cinematography and won best branded film in the original iphone film festival as Best Director. Veuve Clicquot. Moet Hennesy. International Truck and Engine. Starwood Hotels. Peninsula Hotel Chicago. The Resort at Paws Up. Rock for Kids. Center for Conflict Resolution. Circesteem. Aids Foundation. Chicago Committee. Center for Economic Progress. Alternatives. BUILD Chicago. GNMAA. Teach for America. Chicago Yacht Club. Ruth Rothstien Core Center. Ardbeg. Chicago Social. Astellas. Interlake Mecalux. twitter + Instagram: @Melissafoxmedia artist: @melissafoxmedia.com
A Magical Installation Combines Rube Goldberg With Shadow Puppets Who needs a perfectly balanced egg in the era of digital projection? Cartoonist Rube Goldberg sketched some of the zaniest, complicated machines that have inspired countless real-life imitations. And no matter how many times you see one, their absurdly over-complicated designs are no less satisfying. Mécaniques Discursives, or “mechanical discursive,” is a work-in-progress art installation that combines Rube Goldberg logic with light, shadows, wooden shapes, found objects, and full motion video. But interestingly enough, co-creator and video specialist Yannick Jacquet had never heard of Rube Goldberg before this week. “To be honest we discovered the work of Rube Goldberg (who seems to be better known in the U.S.) a few days ago in an article about our project,” Jacquet writes Co.Design, who cites Peter Fischli and David Weiss, creators of Der Lauf Der Dinge, as major sources of inspiration. “I discovered a big community of people passionate about crazy machines devoted to Rube Goldberg. It’s very funny. Of course they will also become a source of inspiration.” That said, Mécaniques Discursives is quite different from any Rube Goldberg project you’ve seen before. In fact, it’s almost an anti-machine in that Mécaniques Discursives doesn’t appear to move. Rather, stagnant objects imply movement when their shadows interact. And by removing the mechanical component from the project–or at least, digitizing it–Jacquet and his illustrator partner Fred Penelle can build the project in a far more free-form manner (independent of the painstaking margin of error on a typical Rube Goldberg machine). “We work very spontaneously, a bit like exquisite corpse,” writes Jacquet. “We want this project to be constantly evolving, adapting to different exhibition spaces, never be the same, stay fresh. We create a bit like a jazz band. We know some little elements that work well together but the overall composition is improvised.” Penelle has several woodcut objects that he places on the wall. Jacquet has a bank of short videos that he can map through three projectors. And together, they get, well, whatever you want to call their playfully artful take on Rube Goldberg aesthetics. As of now, Mécaniques Discursives is still being finalized for its first showing May 12th at Geneva’s Mapping Festival. And given the team’s penchant for tinkering, it sounds like wherever Mécaniques Discursives ends up next, it may be a totally different, equally complicated experience. About the author Mark Wilson is a senior writer at Fast Company. He started Philanthroper.com, a simple way to give back every day.
Dezeen Magazine Architectural imagery pioneer Alan Davidson dies Scottish architectural visualiser Alan Davidson, who pioneered the use of computers to create realistic digital images of buildings, has died aged 58. Davidson founded London visualisation studio Hayes Davidson in 1989, making it the first company dedicated to producing computer-generated imagery for the architecture industry. He later pioneered the production of verified images – accurate digital representations of proposed structures set in real photographs that are created using survey data combined with realistic representations of the building's material and light-reflecting qualities. Verified images – so called because they are verified by the visualisation studio as being accurate – became a vital way for architects to explain to both planners and the public what their creations would look like when built. They can also be used as evidence if a proposed building is subjected to a public enquiry. Davidson studied architecture in Edinburgh and moved to London in 1986, where he worked for Richard Rogers Partnership (now Rogers Stirk Harbour + Partners) before starting his visualisation firm to pursue his interest in the emerging field of computer modelling, which at that time was used only by the advertising and movie industries. Architectural imagery at that time was produced manually by individual artists working in pen and ink or paint. Using Apple Macintosh computers, the Electric Image motion graphics software used by Hollywood studios and a brand-new image manipulation package called Photoshop, Hayes Davidson started out producing imagery for his former employer Richard Rogers Partnership. He was soon working for leading architecture studios around the world. Key London projects that were visualised by Hayes Davidson during the nineties (but completed the following decade) include The Shard by Renzo Piano Building Workshop, 30 St Mary Axe – better known as The Gherkin – by Foster + Partners, Tate Modern by Herzog & de Meuron and the London Eye by Marks Barfield. Davidson was diagnosed with motor neurone disease in 2012. In the last years of his life he fundraised through his charity Alan Davidson Foundation for the Motor Neurone Disease Association, organising a fun run in London's Hyde Park earlier this year that raised £52,000 for the charity. A fund has been created in his memory. He died on Tuesday 28 August surrounded by family and friends.
Yuko Kaseki & Megumi Eda After the performance on May 26: Audience discussion in collaboration with Theaterscoutings. > Link Theaterscoutings Two dancers from ballet and Butoh meet; starting from their polarity and through their shared female experience, DIVINE is created. Butoh dancer Yuko Kaseki and ballet-based Megumi Eda present their first collaborative dance work, DIVINE, inspired by tragic tales of two wronged and resilient women: ballet’s “Giselle” and the classic Kabuki ghost story “Oiwa.” These two dancers, with their radically different approaches to movement, assume characters plagued with discomfort and instability in unfamiliar, distorted bodies. As these two figures from different worlds meet, they cross paths in sympathy with each other but are filled with confusion and feel the dissonance of their different realities. Their suffering and persistence echo the paths of Giselle and Oiwa and countless other women whose divine spirits have endured objectification, coercion, and violence in images and lives not of their own choosing or making. Concept, Direction, Performance: Yuko Kaseki & Megumi Eda Music Composition: Reiko Yamada Photo: Mona Buck Language: Japanese, English, German Duration: 70 Min. This work is supported by a commission from CRS (Center for Remembering & Sharing), and Theaterhaus Mitte.
special offer for craftsy.com members only dvd class Startup Library: Learn to Draw (DVD + Streaming) Master the foundational drawing skills every beginning artist should know. Want to learn how to draw but not sure where to start? This is the class for you! Gain the basic skills you need to create realistic, accurate drawings with expert guidance from internationally acclaimed artist Patricia Watwood. Follow along with Patricia as she guides you step by step to complete four projects, each one designed to help you use different techniques such as hatching, shading, rendering form and more. By the end of class, you’ll have four finished works and a new set of skills show off with pride! NOTE: If you’d like to purchase only the DVD for this class, you may do so through this link. (Please note, any class PDF materials are not on the DVD itself. You must have streaming access to download those materials associated with the class.) Class Sessions The Leaf: Setup & Block-In (31:37) Meet Patricia, your expert guide to drawing, and begin by going over everything you’ll need for your first drawing project: a leaf. Start with a block-in, which will serve as the foundation for each of your projects, as you learn to map out lines and angles using techniques such as enveloping and subdividing. The Leaf: Contour (18:35) Continue blocking-in your leaf by creating clean, linear contour lines on top of it. Work your way around the shape as you connect the points in between; you’ll see how the block-in acts as a roadmap for the contour. Also, find out how to render realistic shapes. The Leaf: Dimension & Detail (41:43) Complete your leaf by cleaning up the contours and adding graphic details. Learn how to use hatching and shading techniques to make your drawing more dimensional. Understand the difference between soft and hard edges, and how line quality affects the appearance of objects in space. The Skull: Building a Geometric Framework (17:55) Patricia goes over the measuring tools you’ll need for your second project: a deer skull. Start by laying down geometric lines to create the framework. Discover how a knitting needle (or similar object) helps ensure accurate proportions, curves and shapes. The Skull: The Block-In & Measured Contour (28:34) Develop your skull drawing by blocking it in, similar to your first project. Keep in mind that for this one, it’s important you take the time to check the accuracy of your measurements, angles and curves to create a realistic drawing. The Skull: Tones & Shadows (38:50) Complete your skull drawing by adding dimension, details and visual interest. Accent your drawing with contour and tone to make your skull really pop off the geometric background. Onion & Leeks: Block-In of Organic Shapes (29:23) Start your third project, a still life drawing of an onion and some leeks, on a piece of colored paper. Patricia discusses the importance of lighting, then shows you how to block in mass tone and value in addition to shapes. Onion & Leeks: Light & Rendering Form (27:56) Once you’ve blocked in the tones and values for your drawing, develop your shapes by learning to refine light and shadows. Patricia will show you how to use both light and dark values to make your onion look more round and voluminous (rendering form). Onion & Leeks: Local Color & Adding Detail (27:47) Complete your onion-and-leek still life by refining the shape of your leek and adding final details and contour lines. Learn how to shape a cylindrical form and approach local color changes with success. Pitcher & Mason Jar: Block-In of Geometric Forms (21:17) If you like order and precision, you’ll love your third and final project: a pitcher-and-mason-jar still life. Start by exploring the basics of perspective and structural drawing. Find out how to block in symmetrical shapes as you create the contour of the pitcher, taking into account the spout and handle. Pitcher & Mason Jar: Ellipses (23:49) Turn your attention to the ellipses you see in both the pitcher and mason jar. Learn helpful tips and tricks for crafting these notoriously challenging shapes, how to prevent, spot and correct common mistakes and create guidelines for realistic results. Pitcher & Mason Jar: Creating Dimension (50:17) You’re almost done! Once you’ve made contour drawings of the pitcher and mason jar, add in highlights, shadows and details to complete your still life. Patricia even shares her tips for refining, finishing and presenting your work so you can proudly show it off. Your Instructor Patricia Watwooderspective in Landscape Drawing Perspective in Landscape Drawing Master linear perspective and learn to draw landscapes accurately using simple tools and classic techniques. Drawing Anime Style Drawing Anime Style Learn the skills to create incredible anime drawings and gain the creative confidence to invent your own original characters! Traditional Portrait Drawing Techniques Traditional Portrait Drawing Techniques Draw an expressive charcoal portrait using the time-honored techniques of Rembrandt and da Vinci!
By Barbara AllenThe book provides all the templates for the projects. pages112 pages Ashford Book of Needle Felting
Doubleknot Creative 4311 11th Ave NE, Seattle, WA 98105, USA Agency: Doubleknot Creative Creative Principal: Jim Carey Creative Direcor: Jim Craig Senior Designer: Susan Phillips Senior Designer: Vanessa Garbini Account Executive: Kelsey Carey Brand Strategist: Zak Menkel Location: United States Project Type: Produced Client: Foley Family Wines Product Launch Location: Global Packaging Contents: Wine Packaging Substrate / Materials: Glass, paper label, cork Printing Process: Offset Lithography Oh boy was this a fun one. El Pino Club isn’t so much a wine brand as it is a fan club for Pinot afficionados. It’s a curated collection of Pinot Noir (and some Pinot Gris) from different producers and different regions. This is a full-throated celebration of this varietal in all its forms and with all its quirks. The challenge was to create a shapeshifter brand that could morph to reflect the unique wines in the portfolio and elevate the different flavors and regions. Our client was clear from the beginning that the only thing we absolutely could not do was be conservative. Step one was naming. We dug deep into the stories and terroir of the initial SKUs to find names that were bold and unexpected while telling a unique story about the growing region or flavor profile. We then dove into label design, exploring wildly different looks, anchored by the core brand, which is based on a rad vintage neon sign. Every facet of the brand is oozing with personality, just like the grapes they represent. It’s an invitation to Pinot lovers and the Pinot-curious to discover the multifaceted personality of this quirky grape. We created El Pino Club because we freaking love Pinot. It’s fickle, it’s funky, it defies expectations, and we wouldn’t have it any other way. We curate exceptional Pinot Noir from around the globe, so that you can see the world through the eyes of this wonderful little grape. Every member of El Pino Club is a unique and lovably-quirky character, bursting with personality, and undeniably true to itself. As individual cast members, they are an ode to the lands and the hands that produce them, and as an ensemble, they celebrate the full range and charm of this legendary varietal.
Hello everyone! In this blog post, we will tell you a bit of our story, and how this project has started! Well, it’s only me, Cristina, behind this project, but I can’t help and I mostly say “we/our” when communicating with you! This is because I feel that this is not a project run only by myself, but a collaborative project of so many people… Firstly, there are our unwind studio Artists to whom I’m so thankful for believing in this project as much as I do! Then the super talented Inês Silva: with her beautiful photos and videos, and Leonor Violeta who does all the graphic design. This passion for needlepoint started when I was about 9 years old… My mother says that I spent all my childhood vacations stitching, and now I can see that it was a time very well spent! Below you can see my first ever needlepoint project, that I did when I learned this embroidery technique at school. Nowadays it is hanging on my kitchen. needlepoint of apple and pear in kitchen I gave up stitching when I went to college, and I remember that it was mostly because I didn’t like the designs available in the market at the time… I think there are a lot of us in the needlepoint community that can relate to this! Then, almost 20 years later, when I was on my maternity leave, I decided to finish an old canvas, and the “stitching bug” reappeared. Why creating a needlepoint small business? Well, I needed a change in my life. I was pretty successful working on the data engineering field in a very cool company, but I was feeling overwhelmed despite loving my work. In Portuguese we have a saying "Trabalhar por gosto não cansa", which translated means that when you work with joy and motivation, you can never get tired. But we can... we can get tired without even realizing it, despite all the joy and flow we feel at work! So, I decided to take care of myself, taking a short break. During this break, this idea of creating a small business where I could mix art & illustration (other passions of mine) with needlepoint emerged! So, here we are! Hello 👋 xo, Cristina Below you can find the first needlepoint piece that I did when I started to stitch again recently. It has a modern geometric design, and it is available for purchase as a kit, or digital download, here! framed needlepoint in the wall with plant
“Innovation has nothing to do with how many R&D dollars you have. When Apple came up with the Mac, IBM was spending at least 100 times more on R&D. It's not about money. It's about the people you have, how you're led, and how much you get it.” - Steve Jobs Why I’m excited about IxDA Interaction08 \| Savannah We are less than 3 months away from the big IxDA conference and everything about this conference is kickin’. We are a month away from the early registration deadline and I’d like to share with people why I’m so excited about Interaction08. This might get a little long, so I’ll summarize: The program – From keynotes to invited speakers to the lightning round speakers, we have gathered an amazing international and diverse array of speakers speaking on topics that will inspire and teach. Savannah – Like New Orleans, Montreal and San Juan, Savannah is an historical treasure in North America. Our host, the ,a href=”http://scad.edu”>Savannah College of Art & Design (SCAD) has put us in the middle of the historic district. Visiting this city alone is worth a weekend getaway. The community – For people who are part of the IxDA discussion list, you know how special our virtual community is. My experience of doing face-to-face meetups around the country confirms for me that it translates to the real world just as well. Intelligent, fun, provocative, inspiring–DESIGNERS. Antenna Design has been featured @ the Cooper-Hewitt Smithsonian Design Museum’s Triennial and has won many awards including the IDSA/BusinessWeek IDEA Awards. The other person I’m excited about is the author of my favorite Interaction Design book of 2005, “Digital Ground”. Malcolm McCullough as a Profressor of Architecture at the University of Michigan will be speaking on the new nature of technological interaction as more and more of it is carried, worn and embedded within and into our environments. It makes us look more closely at the foundations of interaction design as we build our discipline and our practice. While these two are my favorites, I have to say that I’m also very excited about our other two keynotes, who are much more familiar to our User Experience/Interaction design community. Alan Cooper and I had a chance to talk when I was in SF for the IDSA conference in October. He is very excited about opening this conference and promised me that he’ll be presenting new material that he has been thinking about lately. His current activity on the IxDA discussion list demonstrates his dedication to our community and I’m confident he will open the conference with inspiration and provocation as is his charismatic style. The reason I must mention Bill Buxton, his is my favorite book of 2007. Sketching User Experience in my mind is the biggest kick in the butt I have read in a long time. Bringing DESIGN practice back into user experience. His talk for us on designing our eco-system will continue this track. The program continues with invited speakers and lightning round speakers. Out of these mix of talks I really can’t go over them all. These are the ones I am most looking forward to. Aza Raskin will be talking about designing for the inevitable mistakes we all make. It isn’t the topic that excites me so much as the passion for his father’s (Jef Raskin) provocative and compelling work in interaction design and HCI. His products Enso and Songza are great examples of exploration of this work and I just can’t wait to sit down and chat it up with him at some point during the conference. Aza – beware. ;) Another speaker that I’m really excited about is Chris Bernard. It’s all about his topic–“Classic Design Movements and IxD: Kissing Cousins?” I’m not a huge student of design schools, but I love the idea of design movements. I mean the Bauhaus has been so influential to so many disciplines of design, and if we are indeed a design discipline and not an engineering discipline there should be similar influencers within our practice and discipline building as well. The whole lightning round is just amazing. We received 80 tremendous submissions, all worthy of being accepted. We practically doubled our initial allocation for lightning round speakers so that we can increase the total speaker pool we can accommodate. Still only 25% were accepted. We wanted to be representative: diverse types of interaction design topics, theory vs. practice, and of course we wanted to represent the international community–China, Australia, Europe, India, and North America are all pretty well represented. The quality of speakers here was also quite amazing. Some of the submissions came from people whom we considered for invited speaker spots. This is something they never knew, and they submitted on their own. This is a testament to the community that these expert speakers would want to contribute to our community so strongly. The location Savannah is an amazing city. SCAD is an amazing host. Unlike must of the south that was destroyed (especially in Georgia), much of Savannah was spared and that history going back to 1733 remains. (For people outside of the US, 1700’s is old for non-Native American USers.) The historic district is walkable and friendly and beautiful. The spanish moss off the willow trees line the many squares throughout the district and River Street where our conference will be held is a bustling cobblestone way with views of the river and many great eating, entertainment and shopping establishments. Our host, SCAD, has been going above and beyond. Providing us with an incredible warehouse space, negotiating a great hotel and providing us assistance in every way will make our stay in Savannah that much more special. One item that hasn’t been added to the program yet, is an event that will happen after the reception. A guide from the Historical Architecture department from SCAD will be taking us on a walking tour of Savannah’s Historic District highlighting the history and architecture (old and new). Who knows, there may be other surprises brought to you at the conference, bringing the special local culture(s) of coastal Georgia to our design community. The community Local face to face groups have been on a roll lately. In the 2nd half of 2007 new activities in Chicago, Bangalore, Mumbai, Boston, and Toronto have energized the entire community both virtual and real. Coming together as a global community is just fantastic and I am so looking forward to meeting all the people I only get to talk with online. Our sponsors I wish I could say more about our sponsors. But right now we are not ready to fully announce all of them yet. Hopefully early next month we’ll have a more complete list on the site. But it is so affirming to see these generous organizations demonstration their support of IxDA and the program that we have put together. I can’t wait to share this list. So as you can see, I’m very excited about it. I wish I could do more to conjole you all into coming to Savannah with me in February. What I can do for folks in NYC is the following: Dec. 11th, IxDA NYC will be co-organizing a UXmas Holiday party (like we’ve done the 2 years previous). At that event, I’ll have my iPhone w/ me. If anyone registers for the conference at the event, I’ll personally buy them a drink. How about that?!? Well what are you waiting for … Register Now! Be Sociable, Share! The archives run deep. Feel free to search older content using topic keywords.
Sunday, 12 December 2010 More Tonal Studies Some more tonal studies this week, all John Singer Sargent. Some didn't photograph so well as I took them in a bit of a rush, sorry. Some more successfull than others, in general all are still way too overdone, really they are supposed to be simple maps of the tonal values in a picture but I can't quite stop myself making them into finished little drawings. And little they are, comming in at A6 in size. I had originally thought that this would keep me from trying to finish them too much but nope...still do. I have to stop myself being so fussy with them. Trying to add too much detail at this size with charcoal is just too difficult, the third drawing was a real problem and took way too long for what it is. But I enjoy these, they're very good for learning, my next sketchbook might go up a size to A5 to help but I'll have to be quite diciplined that this doesn't lead to me putting in even more detail. A recent class taken by painters Linda and Barry Atherton suggested breaking the whole picture into three basic tones and that's the way I've tried to start these. I find my darkest dark and block that in fairly early; it means that if you get it wrong your drawing is hosed but I find although you're meant to build a drawing upwards in gentle steps, if you don't commit at some point you never will. I don't however block in the lightest light until the very end, in fact a lot of paintings I've looked at are quite restrained in how they use highlights. Sunday, 5 December 2010 Still here Just a quick update to let everyone know what I have been up to recently. Apart from digging a lot of snow I'm glad to say that I'm still drawing; I finished my first sketchbook in years last month and have started another. On a recent trip home I found a lot of old sketchbooks from art college that were unused, so I decided to put them to good use (one can be seen in the backround of the picture). I'm trying to move away from just anatomy study and get into painting more and I think some more masterworks studies in charcoal. Life drawing in Leith kind of fell on it's butt a bit. I knew there was a period in the middle of the term that I wouldn't be able to attend due to other commitments and after that it was difficult to go back. In fairness I had already pretty much decided that class wasn't for me, the time (Saturday afternoon) wasn't good with a 6 month baby to look after and I hated the fact that they didn't have decent equipment. The atmosphere wasn't amazingly friendly when I was there, I prefer Maryhill- just a shame it happens to be in a different city :/ When I went to wasps in the evening last year I liked the time of the class but not the format, anyway that class got cancelled. The search for a figure drawing class continues. It's also been a hell of a month for books, not only animation but I splashed out and bought a set of John Singer Sargent books. He's my favourite painter by far at the moment, I think I can learn a lot from him. They are beautiful books but it just so happens that some of my favorite things in them are little study sketches and thumnails that aren't very large in size, bit of a shame. Nothing better than putting the feet up with a cuppa and flicking through them for inspiration. There are little nuggets/ hints to his working methods which are really interesting, He seems to use a yellow ochre/raw umber mix for his ground which I like and will be trying out. Thursday, 14 October 2010 Influence Map Doing the rounds on Deviant Art at the moment is the notion of doing an influence map of the artists that inspire you. I recommend doing one, it's good fun and a nice trip down memory lane. Though, I admit looking through all my Disney reference was kind of depressing as my dream was to work for them...and I didn't get there. Write ups are comming, they take a while- keep checking back :) 1. Bruce Timm- Originator of the Warner Brothers Batman Animated style, Bruce Timm is heavilly influence by the work of Jack Kirby but is a true original. The two things I love the most about him are the fluid quality of his inking line and his marker sketches in colour. Do you know how good you have to be to colour in marker? His skills are off the chart. I hate him. 2.Glen Keane- Is a supervising animator with Walt Disney studios and when I was at college studying animation was pretty much my all time hero. I love the energy in his drawing, a lot of animation drawing can be quite tight and technical but his is the polar opposite. The Art of Disney's Tarzan is above my desk and I still read it all the time...I don't quite know what to say about him except that his talent is sickening. When I was finding animation difficult I'd look at his drawing and it would remind me to persevere. 3. Star Wars- Being born in 1978 I am a Star Wars baby. I've specifically shown Empire Strikes back as it was my favorite movie and also one of the first movies I saw in the cinema (I remember my Dad having to read the title sequence because I couldn't read). When I was younger I wanted to build space ships for movies like Star Wars when I grew up. It hasn't been bettered, all the design work in the Star Wars originals is stunning and hasn't dated in 30 years. Empire still looks more impressive than most modern sci fi movies, including the terrible prequels. 4. Disney- 5. Darwyn Cooke- 6. John Singer Sargent- 7. Andrea Del Sarto- 8. Aliens- 9. Paul Felix- 10. John Watkiss- Sunday, 3 October 2010 Don't Stand Directly In Front of the Model A slightly unsuccessful life drawing session this week, though I think mostly due to feeling ill than the usual artistic reasons. I had a problem this week in that everyone turned up early and booked their spot on the quick pose floor- so no quick poses- darn. I decided to go for a long pose and set up pretty much directly in front of the model. I had an inkling this was a bad idea but it got worse once the model was set up and posed. At home I've been enjoying drawing twisting torsos and dynamic poses but today....completely flat pose and it kicked my butt back to 800 BC. Of course if I had the abiltity I could twist the drawing a bit to make it more interesting but I'm still focused on getting a fairly accurate drawing on the canvas so I'm not there yet. Pelvis and torso where straight as an arrow and at my particular angle quite a few of the landmarks where hidden by cloth. Eventually I will make these up out of my head when I can't see them but at the moment that really threw me. Oh yes and I got my leg muscles mixed up, I thought I was looking at tensor when I was looking at the Satorius; that's odd I thought, how it doesn't connect to the trocanter...em that would be because it's not remotely the right bloody muscle you dimwit. The drawing below is from the week before. It's not the best drawing in the world but it does have something that I'm trying to get into my work. In true me style it was done in the last 15 minutes of the 4 hour day after struggling quite a bit. I figured out I wasn't enjoying how pastel handled on my cartridge pad so I switched to newsprint and...there it was. I do seem to get quite badly affected by the materials I use, sometimes it just doesn't feel right and it all goes downhill. My thought process is a lot better now though, I constantly think about what I'm doing, I know what I'm looking for, I don't always get it right but it's in there and it's getting easier gradually. In the beginning I just drew without knowing what I was doing. Sunday, 12 September 2010 Life Drawing week 1 So I finally got off my butt and started some untutored Life classes in Edinburgh. Not going to say too much about these except that most of them aren't very good but there are positives to be taken from the day. One is that most of these are short 5 minute drawings and I plan to continue that way for quite some time- interestingly I was pretty much the only one doing this, everyone seems to love long poses. The idea is that this drums in a drawing process that I should be following, making sure that I'm actually thinking about what I'm doing and that I don't loose focus, which is all too easy to do. So when I started the first drawings I found that I wasn't paying attention and I defaulted back to my old habits- I stopped myself doing this and tried to address it in the next drawing. Then when I found myself making other mistakes I just stopped and thought about what it was I should be looking for- the gesture, not the details. In fact all of these drawings are taken too far towards finish, which is why they don't work, the goal is to get gesture and measurement/ proportion down, then I will progress to other stages when I'm ready. It's amazing just how nervous you can be sitting in a room surrounded by people you don't know, I can find it quite intimidating and part of of my progress will be learning how to relax at the drawing board. My confidence is still shot but I have to say considering it was only a year ago I was scared to pick up a pencil, I have to be pretty pleased, there is a long road ahead but I could have given up drawing for good. Tuesday, 17 August 2010 Lieutenant N A little delay on the art side of things due to the arrival of this little fella. Luca Nolan arrived on July 17th, weighing 7 pounds 15 ounces but is unfortunately ill and therefore gets priority I'm afraid. I have begun to pick up the pencil again after quite a stressful month of being in hospital and staring at the walls with worry. So some sort of update is comming soon- but don't blame me, blame: Sunday, 11 July 2010 Masters Thumbnail Studies So here's the start of another sketchbook on Great Masters tonal studies. I've done a few of these thumbnails before but they weren't in a sketchbook. All of these are very small; fitting into an A6 book. They're not designed to be exact copies, rather more a method of studying how they laid out tonal values accross a picture. The small size really prevents you from doing any detail work, which is ideal. These are in order from left to right; a Titian, a Bourguereau and (I think) a Rubens. The Titian was drawn first and is quite tight, in the other 2 I tried to loosen things up a bit. These thumbnails are great for experimenting with what materials work best together- the second drawing uses Conte for the darkest darks and the third uses compressed charcoal. I enjoy doing these, they're quick to do and remind me what I should be looking out for on larger drawings. So if I get up in the morning and don't know where to start I will do a few of these. Considering a baby is due this week (should have been last week) I need things like this to keep me going when everything goes crazy. Friday, 2 July 2010 Tone Studies Following my pretty unsuccessful self portrait and a class last week where the light changed regularly all afternoon I decided that it might be a good idea to study how light affects the head a bit more. Any Art tutor will probably faint/ hurl into a bucket but I decided to start a sketchbook of tonal studies from TV shows/ movies etc- cue Mad Men season 3. This isn't a replacement for life drawing, it's just one sketchbook out of the many that I'm trying to keep. Personally I feel it's a valid thing to do in order to understand light and shade. Of the 3 I like the second one (top right) the best, the third one didn't start off well and has just about turned out OK. I now have 3 simultaneous sketchbooks: Anatomy study, light and shade/ tonal and a small sketchbook that is more for very basic tonal study and composition- I realised last week that composition is a bit of a weakness. I'll probably add another sketchbook for cafe studies and for keeping in my bag all of the time. Then I intend to start some weekly life drawing when the new term starts up in September. Added to that I'm mulling over buying a full size easel for home- drawing at one in class is still uncomfortable and doesn't feel natural. I still need to understand how to use charcoal without getting into a mess, so there'll be a bit of exploration of that I think. Maybe some small skin tone oil studies as well. That is my sock btw, bit windy for taking photos. Sunday, 30 May 2010 Abandoned self portrait Ok, I really didn't want to post this but since I have to post the failures as well as the successes it's going up. There are 2 problems; 1- it doesn't look like me and 2- it's terrible. In actual fact this started off quite like me and fell off a cliff the more I struggled with it. I'm told the average drawing time is about 3 hours. Well this took 6, I can't believe it took that long but it did and as I write this I am well and truely shattered and defeated. I went through to see the Glasgow Boys exhibition at the Kelvingrove yesterday and at the moment I couldn't feel more opposite to the enthusiasm I had last night after seeing it. I know what went wrong, for the life of me I still can't control charcoal. I totally get why it is a great medium but it's erasability is it's achilles heel to me. I put construction lines down and very soon they've disappeared, it's smudgy, it's blunt (even with breaking the sticks) and willow charcoal only goes grey at it's darkest. And by 6 hours in my eyes just don't want to see anymore and I'm done. I'd come back to it but I want to try and manage these in 1 sitting. Sometimes I wonder why I do this to myself. Must repeat and do better. Sunday, 23 May 2010 Break Through Number 2 So.....for the last couple of weeks I' ve been concentrating on keeping an anatomy sketchbook. It seems pretty technical and boring but I' ve been quite enjoying it. I am aware that concentrating too much on this type of drawing is probably bad so I will move on when the time is right but my thinking is to do it just enough to have a better grasp of anatomy and to always keep the sketchbook going on the sidelines. But the drawings below aren't the breakthrough, in fact some of them are plain wrong- that's OK right now, the main breakthrough is that I have figured out an approach to tackle figure drawing in a logical order. This had previously been a big problem; where to start? Added to this, I seem to have figured out how to draw open handed with the pencil on it's side- another breakthrough, the pencil grip in figure drawing is a big deal IMO. Why? Well, in the weekend classes I've been to this year I've been given all sorts of great tutoring, ideas, tips and tricks, I've even bombarded the poor teacher for even more info on the train home. I did this because I'm so eager to learn something. I soaked all of these things up like a sponge and pretty soon all I had was a long list of techniques, not necessarily a logic in how to use them. I realised this in my first class when I totally froze up and couldn't draw and interestingly I've seen other people do the same; they come in with a checklist of what they've been told and end up being confused. I think that this happens because you get shown so many new tecniques in a class, often without repetition- you try one and then quickly move onto the next one, sometimes it has been hard to see how one fits into another, sometimes it plain doesn't make sense. Added to this, different tutors have different styles of teaching and opinions on the subject and really when you are a beginner you are slightly at the mercy of the person teaching you. But what I've realised is that in order to progress you have to lean less on waiting to be told what to do and find your own way to understanding all of this. My approach lately has been to get less upset at my lack of ability and try and analyse what it is I wasn't doing right, then try and figure it out. So number one was getting the first marks on the page, the gesture, using the pencil. I'm a big believer that when people get upset over their drawings it's not that they can't draw, it's that they don't know how to use the tools. It's a practical thing and it has taken me over a month of drawing simple geometrical shapes to learn how to use the pencil open handed- I am convinced this is a majorly important step. Next was taking all of this information and putting it in an order I can use, so I have taken some things, discarded others for the meantime and I feel that it's starting to make sense. In one particular class the tutor was more keen for you to draw what you see. This was good in the sense that using your eyes to see is majorly important and usually taken for granted but with a room full of ambient light often these things are very subtle and they forget beginners can't see what they see. This is where having some sort of anatomy knowledge is useful- to show you what you should be looking for. Wednesday, 12 May 2010 Normal Service Will Resume Shortly No updates in a couple of weeks but I have been up to quite a bit, I promise. First of all I have started an anatomy sketchbook which I can't really show on the blog because it's quite a technical type of drawing and may not be that interesting but it has taken up quite a bit of my time. I've been following the Glen Vilppu lectures that I bought last month and so far I think he's excellent and really explains things very well. I have however noticed a few things that he leaves out when I cross reference him with Bammes or Loomis so I still believe learning from a few different sources is the way to go. Secondly I was on holiday in Skye. I don't think I've ever used the word 'wow' so much on a holiday, it's an unbelievable place and to top things off we had amazing weather. But there is a slight snag as I had intended to do some sketching up there and that would form the basis of this week's post, except.....I failed miserably. I sat on a hill in front of the Quirang mountains, dusted off the watercolor set that I've never used and then proceeded to paint worse than a 6 year old. My water fell over, my paper blew away and my leg fell asleep from having no seat to sit on. Yes, I looked pretty pathetic as I limped back to the car, dragging my leg behind me, tail between my legs. Not good. Never mind, I can draw a stone bridge right? Er no...no I can't it seems. Pretty horrific just how far my drawing has fallen by the way side but I guess I have to be practical about it. Ok, I couldn't do it, now let's log it in the (rather large) art to do list. It does show you that if you concentrate too hard in one area you really neglect other skills you should be developing. One other big interest of mine is photography, so here are some of my photographs from Skye to browse. Self portrait next I think. Sunday, 18 April 2010 Cast Drawing Here we have a cast drawing that took roughly 4 hours to complete. It is in sanguine chalk and wax pencil and roughly 8x10". Against the big taboo this one is from a photograph but only until I can source a real cast for myself. I had one of those days (which happens a lot) where you wake up and haven't a clue where to start. During the week I purchased some Glen Vilppu drawing videos, I like him quite a lot, he draws open handed (which I still can't do) and teaches in a similar way to how I have been taught. So I didn't want to do a still life this week, I wanted to do something related to the figure. One of my biggest problems right now is how to structure my home learning. I can't afford more than a couple of classes per term and yet I need to progress, it's very hard to know where to go. I don't think I need weekly tuition so much now as I've been given plenty of teaching to go on but I do need regular practice. Added to this pressure is the fact that my actual job can really drain my energy, I am often very tired when I get home during the week, this is before I mention there is a baby on the way in 11 weeks :) One thing I am going to do is look for some weekend figure drawing classes in my home city of Edinburgh. Hopefully that will give me a chance to experiment a bit more with what I am learning. This drawing was useful to do. I discovered that it is best to lay down the chalk pencil first and then use the waxy version on top to give your darkest darks. These pencils are quite permanent and don't erase as easilly as willow charcoal. At my last class I had a problem where I was rubbing off the charcoal from my drawing with the palm of my hand. This caused a problem because just when I had got some of the drawing about right, I then accidentally got rid of it later on causing me too keep chasing my tail. I love the way you can constantly keep knocking back willow charcoal but I'm starting to think that sometimes something more permanent is not necesarilly a bad thing. Monday, 12 April 2010 Studio MK 2 I don't have any art this week but for good reason. I spent all of my Saturday art time putting up shelving and re-organising my home studio. Well... it's a small room really but it's my studio none the less. I used to have everything including my PC on the one desk but for 3D work that doesn't cut it and so I decided to bite the bullet and buy another desk. This means I can have everything 3D related on one desk and have another table for drawing- it works really well. I've mainly been concentrating on drawing since Christmas and this will continue but recently I've been getting the itch to do something in zbrush, just to remind myself that I can still sculpt and now that we don't use it in work I miss it a lot. I'm hoping that my recent MAS classes in anatomy will will help with my sculpting. I have a lot of books, in fact I was a little disturbed when I saw them all in the one place like that. There's some Graphic Novels, Art of books, lots of animation books from years ago which I absolutely love and quite a bit of photography. But I love books and I look at them for inspiration all the time. The drawing board has various small still life studies on it at the moment. I find that posting up your work somewhere and being able to see your progression is really helpful. Next week's post will have some artwork I promise! pic name pic name pic name Monday, 5 April 2010 M.A.S Weekend Course This week I have a few examples of work done from the weekend classes I am attending. The Black and white charcoal drawing is most recent. It's not quite as finished as I would have liked but it does represent some progress on my part. For example I am now using willow charcoal comfortably and able to stand at an easel and draw- I used to hate easels. It was a tough one to do, a real battle back and forth but I was trying trying out various things with this and they all worked. I was seeing things happening in front of my eyes, knocking back areas, ballancing the whole picture, recognising the errors and not panicking (all too easy to do). The paintings don't quite work but I'm not going to be too hard on myself because this was the first time that I have painted in about 15 years and also the first time I've attempted these techniques. We were drawing with large Filbert brushes and the model was moving quite a lot- I found this quite hard. About 3/4 through each of these I started to get the idea, so I'm going to try it again with the benefit of hindsight and see how it goes in round 2. But right now I'm content, you learn to be pleased with the progressions that you have made, whatever they are and even if they are small; I don't think it's likely that you would master these techniques first time. It wasn't so long ago that I was in that first weekend class and came out with nothing. I'm starting to get it, I just need to keep going. pic name pic name pic name Sunday, 28 March 2010 Small Still Lives- Part 2 So... More still life value studies this week and I think a bit of a turning point. The more I do these the more I realise how useful they are. The third drawing isn't as successful as the 2nd one; I struggled to draw it that small and could probably have used going up a size, that meant I got a bit too fussy with it and lost my way about half way through. But the second one I like quite a bit, I think it's the first drawing where what I'm trying to learn has actually started to work. I've finally dialled back that intense graphic line I seem to have and it looks much more natural to me; I am drawing more with value and tone, not line. More to the point whether I'm there or not, I seem to be following a much better process for drawing in general and I'm pretty happy with that, it means progress and this is quite a personal step forward. pic name pic name pic name The 2 drawings below have been drawn in the space of 1 week and it's amazing how many different things I have been able to try just by keeping the drawing small and the subject simple. The proof is in the pudding, these small studies are definitely working. Not only that but I feel that this will help a lot the next time I go to a class- I have a tendancy to not know what approach to use or even what pencil- these small studies help me figure out what works best. pic name Friday, 19 March 2010 Squeeze My Lemon Just when you think you're progressing, you try drawing a lemon and it all goes to hell. I'm still directing all my attention to studying tonal values which is why I've moved to these small charcoal studies. These drawings are about 4"x3", part of me thinks this might actually be too big as I still catch myself getting bogged down in the details; even though I know not to do this. To be fair I'm a lot better at this than I used to be , I at least have some sort of approach now and I know what I'm looking for. The first lemon is quite honestly a complete crime against humanity, moving to the second I had started to feel that maybe my paper was too dark. I had to add chalk to lighten the ground to the correct value and I'd prefer not to do this as the more chalk you add the greater the risk of everything getting mushy. On the 3rd try I moved to white paper; much better but I think I got the local value of the lemon too dark. pic name pic name pic name Below is a step by step of how I'm handling these sketches. Step 1 is the basic line drawing and shadow block in, Step 2 develops these shadows slightly and adds the objects local colour values and Step 3 is where I introduce black pastel to really bring out the darks. My Step 2 is a bit overworked and I'm overblending the final product a bit but because I'm mostly concerned with tonal value at the moment I'm not too worried about this. I'm sticking to willow charcoal for the time being though I'm finding it wipes off too easilly, so when it comes to placing the darkest darks I use pastel or conte crayon so that it stays whilst I work on the rest of the picture. Not too pleased with these but I am happy with how I'm starting to see all the different tonal values- this is improving and I think it has clicked. pic name pic name pic name Sunday, 14 March 2010 Masterworks Tone Study Thumbnails This week's update is a couple of small thumbnail studies from 2 of the Masters of painting; Rembrandt and Vermeer. These are only a few inches accross and are really designed as quick studies in how the Masters structured tone in their paintings. As I am mainly concerning myself with the study of tonal values at the moment it seemed liked a good idea (that and my teacher suggested it). I'm not sure how many of these I'll do, maybe just a couple more and then onto still lives. What's interesting is that not only do you have tone to contend with in the object you are painting but also in the picture as a whole. Both of these pictures have lost edges and sharp edges if you notice and this is something I will be using in my own paintings. pic name pic name Saturday, 6 March 2010 Boring Old Spheres? Well no, what you are looking at here is the palette system for skin tones (previous post) put into pratice. You can attempt to paint a portrait without any kind of system but it helps a lot to pre mix the palette like this because it tells you exactly what value should be placed on any given plane of the head. pic name pic name pic name I felt that I had painted the first sphere too yellow with too high a saturation/ chroma. So I decided to go and look at some paintings both in a gallery and online. Now I'm not saying online portraits have accurate colours, they don't but as an exercise I felt it was quite useful- just to get an idea. I picked portraits from a few different artists and analysed the colours and values. I am sure some of the values on these are wrong but it did show me that I was closer than I thought, especially on the Sargent painting. pic name pic name pic name Sphere 3 is meant to to be closer to the De Laszlo portrait colours. I did this one slightly differently by painting an underlayer in white first. I wasn't really trying to do a Grisaille, I had found with the first sphere it was difficult to paint the lighter value colors without the dark canvas showing through. Half way through painting I struggled to get close to his choice of colours which tells me that he might be using a different red and maybe yellow- I couldn't get the bright orange you can see just before the face goes into shadow. There's a lost edge on this sphere too as it goes into shadow, which I think really helps it look three dimensional. Next up is some rough small portrait copies I think.
Tuesday, November 3, 2009 the Museum of Jewish Heritage - A Living Memorial To The Holocaust About 3 months ago I was contacted by exhibit designer, Dan Fouad, from C&G Partners, LLC , an internationally-acclaimed design firm located in Union Square. Dan was working on a project for a new exhibit at the Museum of Jewish Heritage in Battery Park and needed a sustainable furniture designer/builder to collaborate with in order to deliver something truly worthy of the exhibit's message and the amazing views the exhibit space provided of the Hudson River, the Statue of Liberty, and Ellis Island. Over a period of 2 months I worked with the C&G team comprised of exhibit designer, Dan Fouad, project manager, Laura Koo, partner-in-charge Jonathan Alger, and partner-in-charge/graphic design Emanuela Frigerio. Together, we arrived at an amazing, eco-friendly design utilizing Neopolitan Plyboo (bamboo plywood) and steel fabricated by the artisans at Metal Dimensions in Williamsburg, Brooklyn. The design incorporated a 120 degree angle into each piece, which coordinates with the angle found at the end of the room where the glass walls look out onto the Hudson River. Our eco-friendly materials were also finished in a very "green" way: The Plyboo was finished with a hand-applied, water-based formula so not only is the product earth-friendly, but it wasn't sprayed into the air so no airborne pollutants were created. The steel is 100% recyclable and was painted with a low VOC semi-gloss. The 10 benches, 1 desk, and 1 kiosk will be in place for approximately 18 months with many thousands of visitors expected to use them so they need to be very durable. Fortunately, Plyboo is a very dense and reliable material that is more than capable of holding up to the repeated use much better than a typical veneered plywood and the steel base is made of 3/4" solid square tube, not hollow, so it too will last for many years to come. Every project I undertake is important to me and I thoroughly enjoy every one of them. This project, like those before it, brought many challenges and many victories. What sets this project apart is that this exhibit is a living memorial to the Holocaust and the Museum it's housed in sits only steps away from Ground Zero. Being of Jewish heritage (on my father's side) and a New Yorker who not only lost friends on 9/11 but also worked recovery at Ground Zero this project hit very close to home for me. I can only hope each visitor to this exhibit feels the love and gratitude I put into each piece of furniture and takes a moment to reflect while sitting on one of my benches. *Special thanks to everybody at C&G Partners who are an amazingly creative, brilliant, and organized team of professionals with whom I would eagerly work on any future project. Huge thanks to Alice Rubin at the Museum of Jewish Heritage whose attention to detail and kindness was ever-present and very much appreciated. Thanks to my friends at Soliemoves who did such an amazing job delivering all 12 of the pieces safely and quickly. Thanks to my friends Robyn Mierzwa and Kenon Perry who lent a big hand in the completion of these pieces. A big thanks to Avi Kendi at Metal Dimensions whose expertise and vision were an asset to this project. And thanks to my friends at Eco Supply Center who delivered the Plyboo for this project. Please enjoy these pictures and let them inspire you to visit the museum and this amazing exhibit... (photo credits: C&G Partners, LLC)
Show Horses Frisian, Spanish, Portuguese, thoroughbreds, Barb, Shetland... The show horse is flexible and docile; there are several breeds and morphologies They have to be in harmony, horse and rider. This harmony is the result of a long and perfect work with the horse. Then the show is full of elegance and meets the wonderful world of the imaginary The Great Stables The Great Stables were built between 1719 and 1740 by Jean Aubert, at the request of the Prince of Condé, Louis Henri de Bourbon. The legend tells that the Prince convinced that he was going to reincarnated as a horse; he built these majestic stables hoping to dwell on them in the afterlife. But the reality is he wanted to build these huge stables for hunting crew. And 240 horses and 500 dogs were housed in the stables. The stunning architecture, both in size and sculptural decoration was admired for everyone. Military barracks, equestrian club, the Great Stables were always occupied by horses, which allowed the preservation of the buildings. For over 30 years, the Museum occupies the Great Stables Horse. The representation of equestrian entertainment allows the Dome to become a magical place. Horse show, Dressage demostrations and visit the Horse Museum. For the Show see calendar. The Great Stables are open everyday from april to november. Form november to march are closed on Tuetsdays. Closed in January. Show tickets: 21 € Three years of work required for a horse show. This is the average time to teach high school figures (figures more technical equestrian expression). We must habituate the horse to the public, lighting and music, to become a professional of the equestrian representation. This is the result of daily training. When a horse reaches the Great Stables, he’s often scary. Time and patience to get used to his new world and to the show, is needed. Dressage demostration – everyday at 11am and 2.30 pm (except on show). Closed on tuesdays from November to March. Closed on January. The show arena located in the «Dome» of Great Stables, measures 13 meters in diameter. This is a major challenge for horses and riders, because this classic circus arena is too small to work with horses. There are two great creations per year under the majestic dome of the Great Stables, the first from April to October, and the second for the Christmas season from December to January. Christmas Show: November & December Rates: 22 € - Book in advance: 03 44 27 31 80 A hypnotic new equestrian show From 3 April to 23 October 2016 The riders of the Great Stables will transport you to a whole new world... The world of Metamorphoses. Metamorphoses of time, of souls, reworked objects, equestrian transformations… Each number evokes these metamorphoses with a magical blend of horses, dance and shadows. With a nod to The Metamorphoses by Ovid, the Latin poet who recounted the legends of mythological figures and their transformations. Nymphs, muses, Diana the huntress, Jupiter, Europe, Galatea and Pygmalion – to name but a few – make brief appearances. © Domaine de Chantilly This original artistic creation will present acts including music specially composed to the rhythm of the horses’ steps. Passage, piaff, Spanish walk, pirouettes, caprioles, flying changes, all the Haute Ecole figures are featured in this show full of poetry and mischief. Spectators will be dazzled by the rhythm, emotions and sensations in this highly original show. Metamorphoses - key figures: 3 musicians, 7 riders, 1 dancer, 15 horses, 6 ponies, 2 donkeys Duration: 1 hour Schedule of performances (show starts at 2.30 pm): April: Sundays: 3, 10, 17, 24 – Thursdays: 7, 14, 21, 28 May: Sundays: 1, 8, 15, 22, 29 – Saturday 7 - Thursdays 5, 12, 26 June: Sundays: 5, 19, 26 - Thursdays 2, 9, 16, 23 and 20 September: Sundays 11, 18, 25 - Thursdays 15, 22, 29 October: Sundays 9, 23 - Thursdays 6, 13, 20 Horse Museum Open in June 2013, within this architectural masterpiece of the XVIII century are the Great Stables, the new Museum of the Horse, has more than 200 objects and works of art related to the horse and its history. Both art museum and ethnological museum, this new Horse Museum is aimed at a wide audience, kids & adults. His contemporary form with many interactive and visual tools, allows visitors an approach that is educational and fun. Open everyday from april to october. Closed on tuesdays from November to March. Closed on January
Min Price Max Price 203 Properties Overview of Salt Lake City Young families and professional couples looking to settle down in Salt Lake City will love 2 bedroom apartments for rent in the Federal Heights, East Central area. Aside from being close enough to downtown that people will be able to walk to work without breaking a sweat, the neighborhood has a variety of other aspects that renters will find appealing.The neighborhood is only about five blocks east of downtown Salt Lake City, but the area is residential with plenty of trees, parks and green space. Whether you're an active couple, pet owners or parents, there are plenty of nearby outdoor activities. Liberty Park, just on the other side of Route 71, offers miles of walking paths, a scenic pond and 16 tennis courts, while Sunnyside Park to the east has nearly every other type of athletic field. In addition to all of the outdoor offerings, the area is rich with culture. Museums, theaters and festivals are just some of the many opportunities that people living in 2 bedroom apartment rentals will be able to take advantage of. Arts at the University of Utah to the East Renting in East Central will place residents in proximity to art venues such as Pioneer Theatre Company and Utah Museum of Fine Arts, a University of Utah facility. The UMFA has art from a variety of periods and styles, stretching as far back as 5,000 years ago. In the past few decades, the museum has greatly expanded both its wall space and collection, giving East Central residents a great place to explore. The Pioneer Theatre Company doesn't produce small-town performances, it goes big with Broadway hits, old classics and top-notch quality. Some past shows include 42nd Street, My Fair Lady, Chicago, as well as David Auburn's Proof and Wendy Wasserstein's An American Daughter. The theater also has workshops and more interactive events. Other nearby art centers include Plan-B Theatre Company, which focuses on developing and producing new plays by Utah playwrights. The Off-Broadway Theatre is also a prominent name in Utah's performing arts scene. It's home to Utah's longest running improv comedy show, Laughing Stock. Laughing Stock has been entertaining residents for decades with character-based shows and audience participation. Better known across the U.S., the Mormon Tabernacle Choir is also near East Central 2 bedroom apartment rentals. The choir's Music and the Spoken Word weekly program is the longest running continuous network broadcast in the world. Although based in religion, the choir only preaches peace and joy through its music. Another renowned musical institution calls Salt Lake City home - the Utah Symphony. In addition to concerts, the symphony runs music outreach programs for audiences of all ages. Other artistic events in Salt Lake City include the Utah Arts Festival. Held on the fourth weekend of June every summer at Library and Washington Square downtown, the festival features outdoor booths showcasing a range of artworks in different mediums. The artistic event attracts around 80,000 people each year.
Incredibly Realistic Animal Sculptures Made of Pipe Cleaners California-based artist Lauren Ryan skillfully constructs life-like animal sculptures using nothing more than pipe cleaners (also known as chenille stems). The bent, curled, and woven into one another to produce these remarkable figurative structures. The fuzzy materials also add to the believable texture of each creature, mimicking the respective animal’s fur. The sculptor’s subjects range from a lone wolf and an exotic okapi to a nearly extinct thylacine and the fictional spirit creature known as Okami Amaterasu. Constantly improving on her technique and trying to stray from using additional materials. Ryan says, “I never use glue (to me that is like cheating), and only occasionally use scissors.” In addition to honing her craft, the self-proclaimed animal lover seeks to represent some of her favorite members of the animal kingdom who are lesser known creatures. Lauren Ryan: deviantART \| Blog via [Ian Brooks] All images via Meg Biddle.
Entertainment & Arts Review: Los Angeles Ballet dances through its growing pains Leah McCall dances her solo in “Untouched,” one of three pieces in Los Angeles Ballet’s season-opening program. Leah McCall dances her solo in “Untouched,” one of three pieces in Los Angeles Ballet’s season-opening program. (Reed Hutchinson / Los Angeles Ballet ) Los Angeles Ballet ended its benchmark 10th season in June as the first American company to dance Frederick Ashton’s distinctively intimate and poetic “Romeo and Juliet.” Unfortunately, that season left the company fiscally overextended, so the 11th season, which opened Saturday, has cutbacks in the roster and the repertory. That’s disappointing, of course, but the situation forced artistic directors Thordal Christensen and Colleen Neary to capitalize on their bedrock artistic strengths in an invigorating program at the Alex Theatre in Glendale. From Christensen’s Danish birthright came August Bournonville’s antique Pas de Six and Tarantella from “Napoli.” From Neary’s career at New York City Ballet came an authoritative staging of George Balanchine’s wondrous “Stravinsky Violin Concerto.” The directors’ longstanding commitment to new work brought Canadian modernist Aszure Barton’s quirky, challenging “Untouched” to the program too. Kenta Shimizu and Julia Cinquemani. Kenta Shimizu and Julia Cinquemani. (Reed Hutchinson / Los Angeles Ballet) SIGN UP for the free Essential Arts & Culture newsletter » The celebratory Bournonville divertissement began with a classical abstraction of folklore and then unleashed a nonstop barrage of bouncy, heel-and-toe folk steps. Technical strain from the women and hard landings from the men marred the opening section. But those shortcomings soon yielded to spot-on contributions from the excellent Julia Cinquemani and Kenta Shimizu, as well as Javier Moya Romero and Madeline Houk (replacing the injured Allyssa Bross), plus a stellar newcomer, Tigran Sargsyan, able to project Bournonville style effortlessly at opera house scale. Dustin True flanked by Ashley Millar, left, and Madeline Houk in the Dustin True flanked by Ashley Millar, left, and Madeline Houk in the "Napoli" excerpt. (Reed Hutchinson / Los Angeles Balley) The “Napoli” excerpt also confirmed the growing importance of Dustin True, a versatile soloist previously seen in subsidiary roles but given major assignments in all three works Saturday. In the Bournonville and Barton pieces, you could admire his skill and spirit without feeling he’d outclassed his colleagues. But in the “Stravinsky Violin Concerto,” opposite Elizabeth Claire Walker (replacing Bross), the almost contemptuous force and sensuality of his dancing made it impossible to watch anyone else — even Shimizu and Cinquemani, efficient if subdued in their duet. In a tribute to his friendship with the composer, Balanchine initially reshuffled soloists and small ensembles, then explored two moody, intricate duets before launching a folk-accented finale requiring extraordinary precision from the whole cast. It is one of the prime neoclassic creations of the 20th century and, discounting a few lapses in stamina, the Los Angeles Ballet performance delivered its greatness impressively. Crammed with musical and movement eccentricity, Barton’s 2010 “Untouched” looked at the tensions between group identity and individual expression. For much of the work’s length, the title proved prophetic: Everyone danced in juxtaposition but with no contact. And even when fleeting interactions occurred, the participants remained untouched in a fundamental sense: locked in their own pain and processes. With everyone wearing Fritz Masten’s floral prints, the piece evoked an upscale party at which everyone expected relationships to form but nobody really connected. Bianca Bulle and Laura Chachich in Bianca Bulle and Laura Chachich in "Untouched." (Reed Hutchinson / Los Angeles Ballet) Along the way, newcomer Leah McCall dominated the stage in a dramatic solo, and Bianca Bulle endured partnering assaults stoically, but everyone in the 12-member cast took to Barton’s twisty, wiggly, off-kilter style as if ballet dancing always incorporated such oddities. Nicole Pearce designed the claustrophobic set (borrowed from Hubbard Street Dance Chicago). Obviously, few would rejoice at Los Angeles Ballet’s cutbacks. But the company’s value stayed resplendent Saturday with no need for more of anything — expect possibly live music. Indeed, this is why we need these dancers in Los Angeles, not for hand-me-down stagings of Russian warhorses but for sustaining the living legacy of modernism (even 19th-century modernism) that has distinguished it for the last decade. The L.A. Ballet program will visit other Southland venues in weeks to come; no doubt, other audiences will see what the Alex audience witnessed: an invaluable community resource suffering growing pains, perhaps, but still near the top of its game. Los Angeles Ballet In Redondo Beach: 7:30 p.m. Oct. 22 at the Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd. In Westwood: 7:30 p.m. Oct. 29 at Royce Hall, UCLA Tickets: $29.50-$104 Info: (310) 998-7782, www.losangelesballet.org Follow The Times’ arts team @culturemonster. An ode to an avant-garde Japanese dance legend USC celebrates the opening of a $46-million building for dance 40 years of Martin Scorsese movies, mashed up as a concert-musical
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Architect Drawings Required - 2 floor fitness centre (Personal Training Studio) There are several parts to this job - you may be able to do one or two parts of maybe all 1) Create the drawings for existing building - 2 x plan, elevation, side 2) Design options to suit the new use of the building (personally training to fitness classes) 4) Design extension to the front of the building where car forecourt is 5) Remove all offices, showers, kitchen from downstairs to open floor 5) Create a 3D animation to show the new designs Pre planning drawings required for 2 floor fitness centre (currently set up as a Personal Training Studio) Rough drawings attached. The building consists of two floors, ground and first. First floor is mainly open plan with a corridor and WC separating them. Ground floor is broken into changing room, small studios, showers, kitchen and office. Its very messy and not a good use of space. The plan is to make both floors completely open plan and set up for fitness classes Plan for first floor: First floor will be made into one large room with a folding door to section off when needed Remove / replace supporting wall Integrated music system installed with wall mounted controls - wired to comms under stairs Ground floor Remove all offices, showers, kitchen from downstairs to open floor Car forecourt Convert car forecourt and make into one large studio A juice bar which could seat 5 people to be included in the design Maybe space for tables outside Showers and toilets We want the best use of the space we have The importance is max space when doing the fitness classes Happy to move the WC if it makes sense Showers could be moved to the back room on ground floor What type of classes in each room? Cycle Studio Cycle studio will be on the ground floor to the front This will have 20 bikes with monitors The current idea is to have rows of 4 facing the front of the building Each row gets higher toward the back of the room (so they can see instructor) Instructor slightly elevated at the front Juice bar to the right (against the wall as you look in) 2nd Studio - ground floor Multi purpose open plan Dance, yoga, box fit 3rd Studio - first floor Multi purpose open plan Dance, yoga, box fit Strength training with some weights and machines 4th Studio - first floor Multi purpose open plan I've also attached a number of photos of the building to make sure all is clear Timing - first set of drawings this week - design next 3 weeks to complete and finish Kemahiran: Penerapan 3D, Kejuruteraan Bangunan, Lakaran, Lukisan Kejuruteraan, Reka bentuk Dalaman Lihat lagi: required process international call centre, architect drawings glass extensions, joomla template fitness personal training, gym floor plan with dimensions, gym layout ideas, gym floor plan dwg, gym layout pdf, gym floor planner, home gym floor plan examples, home gym layout planner, 3d gym design software free download, architect drawings toilet, software required interactive floor plans, project report fitness centre, washroom architect drawings, convert architect drawings images, cad drawings required, logo fitness centre, autocad drawings required, business plan personal training studio Tentang Majikan: ( 9 ulasan ) Co Dublin, Ireland ID Projek: #19776491 Dianugerahkan kepada: Hi, have a nice day, I interest your project, I read your details, if I have chance to work on your project, I will try my best, and realistic work. 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When an unfinished penthouse on top of Hamburg’s striking new concert hall was sold last year, the buyer faced a thorny challenge: extensive construction work was banned on the site, now dedicated to more harmonious sounds. The solution: Build the interior off-site and assemble it afterwards in the apartment’s shell. The construction ban was meant to prevent noise, as well as any dust and debris, from entering the Elbphilharmonie, a landmark building by Swiss architects Herzog & de Meuron, built on the remnants of a 1960s redbrick warehouse. The hall officially opened in January—more than $500 million over budget and six years behind schedule. Now, at least one concert is performed on most days, demanding a certain level of respectful silence. More: Click to Tour a Hamburg Home With Views of a Changing City Skyline Situated in the upper reaches of the 335-foot-tall Elbphilharmonie, the penthouse is Hamburg’s highest apartment. Its floor-to-ceiling walls offer a panoramic view of Europe’s third-busiest commercial port and the Elbe river. When completed—sometime in autumn—the 2,475-square-foot unit also will be one of the city’s most expensive. The shell alone was marketed for about $8.5 million, or $3,457 per square foot, an unusually high price in the market even for a turnkey property. The building’s other three penthouses and its 41 other residences, most on lower floors, were completed before the hall opened, as was its 244-room hotel. The Elbphilharmonie concert hall, in Hamburg, has banned further construction on the site. The Elbphilharmonie concert hall, in Hamburg, has banned further construction on the site. PHOTO: AGENCE FRANCE-PRESSE/GETTY IMAGES The buyer, who wishes to remain anonymous, commissioned architects Susanne and Laurent Brückner of Munich-based Brückner Architekten to design a cavelike room, avoiding straight edges or sharp corners. "The buyer asked us to evoke the instinctive cocooning of childhood for which there is no place in our optimized, pragmatic world," said Mr. Brückner. One large room, a bright amorphous space, will fill most of the penthouse. Its rounded shapes will create a continuum of ceilings and walls without seams or edges. A staircase will lead to the sleeping area on the gallery and to the bathroom, which also features curved forms. More: A German Couple Plans Their Own Retirement Village The Brückner architects teamed up with interior decorators Schotten & Hansen, based in Peiting in Bavaria state, to make the interior from lightweight, aerated concrete. The pieces are being cut in the decorators’ workshops with the help of robots. Schotten & Hansen Co-Chief Executive Torben Hansen said technological advances in robotics and laser scanning allow him to prefabricate custom interiors with great complexity, yet with precision down to the millimeter. "I’ve been dreaming of handling a project like this for the last decade," he said. In all, some 1,000 separate modules—all white—will be cut small enough to travel up the Elbphilharmonie’s elevators, to be fitted in the penthouse over a wooden substructure with completed utilities. Once they are assembled in the penthouse, the pieces will be coated in a fine-grain plaster to give all surfaces a homogenous appearance. More: A Duplex Penthouse Loft By London’s River Thames With a History of Seafaring Mr. Brückner said he doesn’t know the owner’s plans for the interior’s final color scheme or furniture. Despite its long gestation, largely caused by disputes between the city administration and construction company Hochtief over costs, the concert hall has received overwhelmingly positive reviews, for its acoustics and for the aesthetics of its ethereal crystal top on the rugged brick pedestal. The building is located at the western tip of HafenCity, a modern development on the grounds of Hamburg’s former city-center harbor. Many historic warehouses have been preserved and now sit alongside buildings by such luminaries as Rem Koolhaas, David Chipperfield and Hadi Teherani.
11+ Full Sleeve Tattoo Womens Ideas That Will Blow Your Mind! by Tori Jones Looking for beautiful full sleeve tattoo designs but can’t find them anywhere? Here’s the list of the best full sleeve tattoos for women for you. Check it out! Sleeve tattoos are those, that has a single theme running through the whole piece of work; whereas a normal arm covered with many different styles of tattoos without any interconnected theme is not a sleeve tattoo. A full sleeve tattoo is a single or a cluster of tattoos, which cover your entire arm from the shoulder to the wrist. There are also other types of sleeve tattoos, like half-sleeve tattoos and quarter sleeve tattoos, which only covers half and/or part of the arm. Sleeve tattoos are usually a collaboration between the tattoo artist and the customer to come up with a personal and unified artistic theme for the customer. It takes a lot of time and lots of appointments with the tattoo artist to come up with a design that expresses your deep feelings and innermost values through the tattoo artwork and designs. It takes an even bigger time period to actually get the tattoo done on the body in its entirety, it takes weeks to months to even years. Beautiful Floral Full Sleeve Tattoos Flowers have always been an important symbol of natural beauty. Delicate and colourful floral tattoos often represent life, love, spirituality and femininity. In modern tattoo designs, flowers often represent the love between two people. Floral sleeve tattoos look both feminine and sensuous on any womens’ arms. They exude confidence and power. The tattoo artist has done this exceptionally beautiful tattoo in a beautiful black and white shading. There are various shapes and sizes and patterns of different flowers in the tattoo, all interlocking with each other and at the same time giving this tattoo as a whole, a nice woven flower-basket feels. If you want to tattoo your flowers in very vibrant and bright colours, then you check out this eye-catching tattoo as well. Different types of flowers represent different kinds of things to different sorts of people. It depends on you, about what you want to show people through your floral full sleeve tattoo. You can choose a Gladiolus flower that symbolises strength or a red rose that represents love and passion. Half Sleeve Tattoo Inspired By The Squid Game This massive Netflix hit series has inspired fans from all over the world. And, as a result, a lot of tattoo artists have come up with beautiful Squid Game inspired tattoos in the tattoo community also. Squid Game was released on Netflix on September 17, 2021. It is a South Korean survival, thriller and horror drama TV series. The tattoo in the picture is of one of the main characters in the web series, Kang Sae‑Byeok, aka Player 067, played by the popular South Korean actress Jung Ho‑Yeon. The tattoo artist has used bright pastel colours to bring out the tattoo’s rich 3D look. You can also try other half sleeve tattoos of some other characters from the show, that you liked a lot, e.g. Seong Gi‑Hun, Player 456, played by Lee Jung‑Jae or Cho Sang‑Woo, Player 218, played by Park Hae‑Soo or Police Officer Hwang Jun‑Ho played by Wi Ha‑Joon. If you are not interested in the characters then you can tattoo the creepy doll from the first episode, or the guards with their head-masks. The possibilities are endless here, really. So, are you in or are you in? Tribal Tattoos The meaning of tribal tattoos differs from culture to culture. Tribal tattoos of such kinds tell the story of the tattoo wearer’s heritage and culture story. They can also be a symbol of protection, power, and strength to the person wearing them and to their families. The tattoo in the above picture is of a Native American full sleeve tattoo with very intricate designs and patterns on the arm. The tattoo artist has only used the colour black to outline and then fill in and shade the whole tattoo. Tattoos of this scale can easily take up to two or more days of work for the artist to complete. Though keep in mind, getting a Native American tattoo or any of the Native American symbolism like Indian headdress, dreamcatchers, and spiritual animals like eagle or bear, without actually belonging to the culture, heritage, and tradition is oftentimes considered to be offensive and disrespectful towards that culture. A Beautiful Black And White Full Sleeve Tattoo On Gothic Surrealism Skulls tattoos are a cult favourite among gothic tattoo lovers. These kinds of dark-themed gothic surrealism tattoos are very popular in gothic culture as well as in mainstream tattoo-works nowadays. Tattoos like devils, demons and fallen angels are some of the most common themes in these kinds of tattoo genres. The tattoo in the picture depicts a cracked skull with light points in the eye socket at the very top, and then a howling demon screaming onto the dark night while cradling its head. Then there is a tattoo of a dark angel in at last the tattoo finishes off with a hissing snake with its forked tongue out ready to attack. This tattoo can be interpreted in various ways, for example, the individual elements in the tattoo can mean separate things to different individuals. But as a whole, the tattoo stands for the classic good versus evil storyline, or you can look at it along the protector vs destroyer theme. His And Hers Couple Tattoo With Some Asian Mythological Twists If you are looking for a matching sleeve tattoo to get for yourself and your partner, well look no more. This is a great tattoo to get together if you like spirituality themed tattoo designs. Buddha is a God in the Buddhist religion and it is customary in that religion and culture to hang pictures of Buddha at the highest place in the house and treat it with respect. The tattoo in the image depicts only the face of Buddha on the woman’s arms and the whole body of him sitting on a lotus flower while meditating on the man’s arms. The rest of the hands are covered with beautiful cityscape tattoos and interesting swirl-like patterns. Bird Wings Sleeve Tattoo Wing tattoos are very popular among women. Wing tattoos generally mean freedom, breaking away from your shackles, be it something physical, mental or emotional. The tattoo in the picture depicts a bird wing that covers the whole arm, as well as the shoulder area and the chest area as well. The artist has drawn the bird’s feathers very meticulously and with great detail. The primary colour black is used here with various types of light and dark shadings. If you want, you can add your own mix of colours to this design as well. You can try the tattoo in other forms as well, like angel wing tattoos, fairy wing tattoos or other bird’s wing tattoos like a peacock or kingfisher. Webtoon And/or Manga Inspired Sleeve Tattoos In this age of rising popularity of Korean movies, dramas, and songs, which is lovingly called “The Korean Wave” by fans; webtoon is another platform that has gotten very famous. This tattoo is inspired by manga which means comic book. The artist has used bright, sensual pastel colours to draw out the beautiful faces of the characters within. This full sleeve tattoo features a lot of flowers drawn in-between the faces in bright pink and red colours. Religious Sleeve Tattoo With Budha And Cobra Buddha is the one who has attained Bodhi, which means wisdom. Buddha represents the idea of an enlightened being, a knower, a wise one. Religious sleeve tattoos of Buddha usually means love, devotion, peace, life and spirituality. The tattoo depicts a meditating Buddha sitting on a lotus flower with his eyes closed, while a huge venomous snake has gone all around him and is getting ready to attack with its mouth open, and fangs at the ready. The tattoo has a deep meaning and symbolises concentration and focus. If you want something in life, then go for it no matter what. Do not look back or stumble, even though there is a huge snake (metaphor setback of distractions), just go for it and fight against all odds with your inner strength like Buddha. Half Sleeve Tattoo Inspired By Japanese Surrealism Japanese tattoos are one of the oldest tattoo styles in the world. Japanese tattoo artists can choose to keep the tattoos black and white or they can have beautiful bright colours on their designs. But one thing that’s common for all Japanese tattoos is that it always has their subject matter rooted in Japanese heritage and culture. The beautiful tattoo in the above picture is of a geisha, who are a class of female Japanese performing artists and entertainers trained in traditional Japanese performing arts styles, such as dance, music and singing, as well as being proficient conversationalists and hosts. Geisha tattoos are very popular in the Japanese tattoo genre. Some other popular Japanese tattoos are Koi fish tattoos, dragon tattoos, samurai tattoos, and tiger tattoos. Full Sleeve Tattoo With Depicting A Powerful Social Message Tattoos have always been a source of standing up for yourself, what you believe in, your passion, values and feelings and things like that. By tattooing, something on your body that you truly believe in is the ultimate form of rebellion you can do. It is true that in this world in today’s day and age, everything seems inequal and corrupt or just negative; but if you are one of those brave souls who more often than not likes to mess with authorities and the age-old corrupt world order, then these kinds of tattoos will impress you a lot. Sleeve Tattoo Design For Women The tattoo in the picture shows a woman completely surrounded by money, only her eyes and eyebrows are visible and she seems to be crying. The design has hauntingly kept her mouth shut and invisible with the cloak of money. It is like even if she wants to say something, she can not and hence the tears of silence. It powerfully depicts the daily struggles of women in this world and the amount of inequality they face. This tattoo can also be used to symbolise oppression, inequality, feminism, class differences and various other socially important messages. Feature image from Pinterest – Want your tattoo to look brighter? Try “Tattoo Balm You may also like
"Ultimate Painting" in front of Drop City's Theater Dome, photo by Richard Kallweit. Slide show: View images from West of Center West of Center is more a cultural documentary than an art show The art of the West's introduction to the world came in the 1970s, when paintings and photos from the late nineteenth and early twentieth centuries suddenly became highly sought after in the marketplace. By now, this kind of emblematic Western work — stunning landscapes, charming scenes of cowboys and Indians — has solidified the region's worth in the hierarchy of world art. But there's been something in the wind carrying the idea that the culture quotient in the American West is due for an upward reevaluation. Efforts in this campaign have been undertaken by a critical mass of disconnected individuals from Colorado to California — scholars, historians, critics, theorists, artists, curators, donors and others — who have approached the topic from many angles. In Southern California, for instance, museums, galleries and art centers have coordinated exhibits under the guidance of the Getty Museum to highlight work done in greater Los Angeles from the mid- to late twentieth century. This blockbuster series of shows, collectively called Pacific Standard Time, successfully makes the claim that L.A.'s visual culture was never inferior to the New York scene — as has been taken on faith for over half a century — but was simply a worthy alternative to it. West of Center West of Center Through February 19, MCA Denver, 1485 Delgany Street, 303-298-7554, www.mcadenver.org. Such a strong claim is bound to incite controversy, but I was struck when these shows in Southern California provided an unlikely opportunity for star art critic David Hickey to insult Denver. "It's corny," he said in the New York Times. "It's the kind of thing Denver would do. They would do Mountain Standard Time." This quote has gotten a lot of mileage, but it brings up two issues. First, one of the big problems with Denver is that the major institutions here don't really promote the local scene, so it really isn't like something we'd do at all. Second, Hickey's wife, Libby Lumpkin, mounted her own version of Mountain Standard Time at the Harwood Museum in Taos last spring called New Mexorado. The show generated hardly a ripple, however, in comparison to the commotion that Pacific Standard Time produced — something that makes me question Hickey's motives. Though not part of an ambitious series of events like Pacific Standard Time, our own MCA Denver is participating in the same zeitgeist anyway, with West of Center: Art and the Counterculture Experiment in America, 1965-1977. The show, organized by director Adam Lerner and his wife and co-curator, Elissa Auther, sprawls throughout all three levels of the museum. Lerner and Auther also co-edited a scholarly catalogue on counterculture in the West, the scope of which is far greater than that of the exhibit. The show isn't sequential; rather, it's made up of autonomous displays, each devoted to a different part of the topic. That means there's no particular order in which to see it. I'll start upstairs, because that's how I walked through the show with Lerner and Auther. The first vignette we arrived at was "Life Theater: The Cockettes & the Angels of Light," devoted to the San Francisco street drag-queen collective. Since most people would think first of hippies, communes and psychedelic posters when discussing the counterculture, putting drag queens here first struck me as being the intellectual equivalent of a pie in the face. Yet when you think about it, the curators were right: The Cockettes, who lived communally, were a part of the counterculture. In this section there are glamour-shot and candid photos of the guys, along with posters, memorabilia, a charming glitter-filled scrapbook and a spectacular costume and headdress. Next is the section "Social Encounters: The Dance of Anna Halprin," which comprises video transcriptions of films and photos, many in black and white, that record Halprin's radical choreography as seen in workshops she held on the California coast. The wife of the late Lawrence Halprin, a premier landscape designer who did Denver's now substantially lost Skyline Park, Anna Halprin created works that completely align with the performance-art movement of the '70s; in them, performers closely interact with one another, though in a free-associative way. Unlike most of the others in this show, Halprin extensively documented what she did. It's a very different spirit that informs the handful of pieces in "Political Graphics: The Posters of Emory Douglas," featuring broadsides done by this Oakland Black Panther. About half are related stylistically to the contemporaneous psychedelic posters, but in a few, Douglas delves into a Rodchenko-esque montage approach using photos combined with drawing that step it up into something else. One disappointing thing about this part of the show is that the posters are digital re-creations instead of originals. This shortcoming stands out all the more because the faux Douglas posters are displayed right around the corner from lots of period artifacts in the form of photos, pamphlets and magazines related to the next section of the show, "Feminist Collectives: Womyn's Lands of Southern Oregon." For whatever reason, many feminist and lesbian separatist communes were established in rural Oregon, where they produced volumes of political and philosophical literature and staged demonstration-like performances and events meant to take apart the patriarchy by eschewing male-defined femininity. That meant that few members, if any, shaved their legs or put on makeup. Interestingly, the guys from the Cockettes did plenty of that — and actually performed at the Womyn's Lands. The crescendo on the second floor is "Dome Architecture: Drop City and Beyond," a look at Drop City, an artists' collective established outside of Trinidad, Colorado. The show puts Drop City in a seminal position in the proliferation of domes in communal settlements and clears up a prime misconception I had about the name, Drop City. I always thought "drop" referred either to the idea of dropping acid or to dropping out of college, since both activities were standard features in the biographies of the founders. But it actually descends from "Droppings," the idea of integrating art into everyday life, exemplified by the small painted stones that Clark Richert and Gene Bernofsky dropped out of the window of their studio in Lawrence, Kansas, shortly before they came to Colorado. To explain Drop City, there's a re-created dome fragment on which moving images of the place are projected. The domes at Drop City, some conceived by Richert, were made of cut-up car bodies and were covered with patterns created by the relationships between the different colored automotive lacquers used on the various parts. There's a wall panel with an interwoven triangular structure that's dotted with photos mapping out Drop City's influence on other collectives. And there are showcases in which items lay out the origins of the domes in a set of "Zome Tools," in the theories of Buckminster Fuller and in ads and articles in the Whole Earth Catalogue. The salute to Drop City continues on the first floor with "Expanded Cinema II: The Ultimate Painting," a re-creation of a collaborative circular painting done by Richert, Bernofsky, Richard Kallweit and others. The original, which was lost after an exhibition in New York, survives only in a photo. Richert oversaw the creation of a full-sized digital image of the painting, which is mounted on a mechanism that allows it to rotate at a high speed. Reproduction or not, seeing it twirl is a great visual experience. Across from the "Ultimate Painting" and housed in its own darkened gallery is "Expanded Cinema I: The Single Wing Turquoise Bird," a spectacular project that's a facsimile of a light show. The original members of the group made a new light show with a hard-driving soundtrack. And they outfitted the gallery with cushions, benches and a random placement of baffles. It's very hypnotic — though few will choose to watch the whole thing, as it runs close to an hour. Still, it is memorable. On the lower level, there's a multi-part display devoted to "Nomadic Experiments: Ant Farm Inflatables," a collective that advocated for a mobile lifestyle facilitated by vans, trucks and inflatable buildings made of transparent plastic. This part of the show includes many notebooks, photos, back-lighted transparencies and publications, along with a re-created inflatable building and a model of a video van. In truth, West of Center is more of a cultural documentary than an art show. Reproductions are rarely acceptable in a museum setting, but I fully understand why they were necessary here. The casual and roving lifestyles of many in the interlocking counterculture crowds didn't encourage the preservation of artifacts — Drop City, for example, is gone without a trace — and even much of what did survive the initial period was ultimately lost to the ages. Slide show: View images from West of Center All-access pass to the top stories, events and offers around town. • Top Stories All-access pass to top stories, events and offers around town. Sign Up > No Thanks! Remind Me Later >
Ivan Vyrypajevas "Sunny Line" one part of the play N - 16 Vesta Šumilovaitė and Justas Tertelis, the creators of the Open Circle Theater, are using the play's creative team to invite the spectators to one part of the performance based on the play "Sunny Line" by one of the most popular contemporary Russian playwrights Ivan Vyrypaev. Although I. Vyrypajevas is very well acquainted with the Lithuanian audience, the play for this play in Lithuania is being created for the first time. The central theme of the play is the relationship between the two people in the family. How to create an open relationship with another person? How to remove all masks and get rid of formal, domestic relationships? How to hear each other and grow together? And in general, is it possible? The play's fable is based on the conflict of two spouses, which seeks to resolve and reveal the complexity of the relationship between man and woman, the accumulated grievances and unfulfilled expectations, ever deepening the gap between two people. Through tragicomic and perfectly recognizable situations, I.Vyrypaev, in this unpredictable comedy, seems to lead the audience a kind of therapeutic meeting - how to happily interact with his wife, husband, partner and the world? An extraordinary author's humor, masterfully structured dialogs, an active play of rhythm. "Sunny Line" is a bold and open experiment of an actor duet, which not only continues the theatrical laboratory's desire to speak with its theatrical language with its viewers and contemporary issues, but also invites to recognize itself in the theater through the light autoirony, the sense of humor and the joy of cognition. Performers and actors: Justas Tertelis and Vesta Šumilovaitė Set designer and costume designer: Liuka Songailaitė Light artist: Ignas Lungevičius Duration - 1 hours 15 min Posted on: 2018 Aug. 21 GTranslate Your license is inactive or expired, please subscribe again!
Page:Catholic Encyclopedia, volume 13.djvu/125 This page needs to be proofread. A complete list of his writings is given in Retana, "Vida y escritos del Dr. Rizal" (Madrid, 1907). Ckaiq, The Story of Jose Rizal (Manila, 1909); El Dr. Rizal y su obra in La Juventud (Barcelona, Jan., Feb., 1897); Pi, La muerte cristiana del Dr. Rizal (Manila, 1910); Craig, Los errores de Retana (Manila, 1910.) Philip M. Finegan. Robber Council of Ephesus. See Ephesus. Robbia, Andrea della, nephew, pupil, assistant, and sharer of Luca's secrets, b. at Florence, 1431; d. 1528. It is often difficult to distinguish between his works and Luca's. His, undoubtedly, are the medal- lions of infants for the Foundling Hospital, Florence, and the noble Annunciation over the inner entrance; the Meeting of S. Francis and S. Dominic in the loggia of S. Paolo; the charming Madonna of the Architects, the Virgin adoring the Divine Child in the Crib and other pieces in the Bargello; the fine St. Francis at Assisi; the Madonna della Querela at Viterbo; the high altar (marble) of S. Maria delle Grazie at Arezzo; the rich and variegated decora- tions of the vaulted ceiling, porch of Pistoia Cathedral, and many other works. Andrea had several sons, of whom Giovanni, Girolamo, Luca the Younger, and Ambrogio are the best known. Giovanni exe- cuted the famous reliefs for the Ospedale del Ceppo, Pistoia; and Girolamo worked much in France, where he died. The Della Robbia school gradually lost power and inspiration, the later works being often over- crowded with figures and full of 1^7 conflicting colour. Uif See bibl. of Robbia, Luca di Simone ^ . DELLA. M. L. Handley. Robbia, Luca di Simonk DELLA, sculptor, b. at Florence, 1400; d. 1481. He is believed to have studied design with a goldsmith, and then to ha\c worked in marble and bronzi under Ghiberti. He was earl\ invited to execute sculptures t< t the Cathedral of S. Maria del Fiore and the Campanile. The latter — representing Philosophy Arithmetic, Grammar, Orpheus, and Tubalcain (1437) — are st in character. For the organ-gallery of the cathe- dral he made the famous panels of the Cantorie, groups of boys singing and playing upon musical in- struments (1431-8), now in the Museo del Duomo. For the north sacristy he made a bronze door; figures of angels bearing candles and a fine glazed earthen- ware relief of Christ rising from the tomb over the entrance are also of his execution. Above the en- trance to the southern sacristy he made the Ascension (1446). From this time on, Luca seems to have worked almost entirely in his new ware. The medium was not unknown, but by dint of experimenting he brought his material to great perfection. The colours are brilliant, fresh, and beautiful in quality, the blue especially being quite inimitable. The stanniferous glaze, or enamel, contained various minerals and was Luca's own secret; in the firing, it became exceed- ingly hard, durable, and bright. Luca's design is generally an architectural setting with a very few figures, or half figures, and rich borders of fruits and flowers. He excels in simplicity and loveliness of composition. His madonnas have great charm, dignity, and grace. In the earlier productions colour is used only for the background, for the stems and Detail from the fresco by Vasari, in the Palazzo Vecchio, Florence somewhat Gothic leaves of lilies, and the eyes; an occasional touch of gold is added in coronal or lettering. Later Luca used colour more freely. The Delia Robbia earthen- wares are so fresh and beautiful and so decorative that even in Luca's time they were immediately in great request. They are seen at their best in Florence. A few of the principal ones are: the crucifix at S. Miniato and the ceiling of the chapel in which it is found; the medallions of the vault (centre, the Holy Ghost; corners, the Virtues) in the chapel of Cardinal Jacopo of Portugal, also at S. Miniato; the decora- tions of the Pazzi chapel at Sta. Croce; the armorial bearings of the Arti at Or San Michele; the Madonna of S. Pierino; the exquisite street lunette of Our Lady and Angels in the Via dell' Agnolo ; the tomb of Bishop Benozzo Federighi at the Sta. Trinity ; and, in the Bargello, the Madonna of the Roses, the Madonna of the Apple, and a number of equally fine reliefs. Of his works outside Florence may be mentioned: the Madonna at Urbino; the tabernacle at Im- pruneta, the vault panels of S. Giobbe, Venice (sometimes said to be by the school only) ; medal- lions of Justice and Temperance, Museum of Cluny, Paris; arms of Rened'Anjou, London, South Kensington Museum, and other works in Naples, Sicily, and else- where. The admirable and much disputed group of the Visitation at S. Giovanni Fuor- civitas, Pistoia, is attributed both to Luca and to Andrea. Barbet de Jouy, Les Della Robbia (Paris, 1855); MOntz, Hist, de I'Art ■pendant la Renaissance (Paris, 1895); Reymond, Les Della Robbia (Florence, 1897); Crutwell, Luca and Andrea Delia Robbia (London, 1902). M. L. Handley. Robert, Saint, founder of the Abbey of Chaise-Dieu in Auvergne, b. at Aurillac, Au- vergne, about 1000; d. in Au- vergne, 1067. On his father's side he belonged to the family of the Counts of Aurillac, who had given birth to St. G<iraud. He studied at Brioude near the basilica of St-Julien, in a school open to the nobility of Auvergne by the canons of that city. Hav- ing entered their community, and being ordained priest, Robert distinguished him- self by his piety, charity, apostolic zeal, eloquent discourses, and the gift of miracles. For about forty years he remained at Cluny in order to live under the rule of his compatriot saint, Abb6 Odilo. Brought back by force to Brioude, he started anew for Rome in order to consult the pope on his project. Benedict IX encouraged him to retire with two companions to the wooded plateau south-east of Auvergne. Here he built a hermitage under the name of Chaise-Dieu (CasaDei). The renown of his virtues having brought him numer- ous disciples, he was obliged to build a monastery, which he placed under the rule of Saint Benedict (1050). Leo IX erected the Abbey of Chaise-Dieu, which became one of the most flourishing in Christen- dom. At the death of Robert it numbered 300 monks and had sent multitudes all through the centre of France. Robert also founded a community of women at Lavadieu near Brioude. Through the elevation of Pierre Roger, monk of Chaise-Dieu, to the sovereign pontificate, under the name of Clement VI, the abbey reached the height of its glory. The body of Saint Robert, preserved therein, was burned by the Hugue- nots during the religious wars. His work was de- stroyed by the French Revolution, but there remain
Save 40% today! code: JAN1840M Stretched Canvas Modern Lines Contemporary White Classical Baroque Unframed print SnapitNow MaBeam Member Since October 2009 Artist Statement Everything on earth must change. Nothing remains the same. The young become the old and mysteries do unfold. I find this applies to animals, vegetables or minerals. Some things start out small like an infant or a puppy or flower. Some things start out huge like a mountain or rock, but wither with time. Photography technology has changed through the years by leaps and bounds. When using still photography, or videos, to make a visual record of something, I find the best remembrance of the subject should be made at its’ peek time of beauty. If you happen to be around at that time with your camera, Snap It! Snap a shot of the beauty. How long the beauty last, will vary with each object. Beauty could last a few seconds, days, or centuries. When you find yourself in the right place at the right time SnapitNow! You may not get another chance later on. I love the outdoors! Product No 2622339 Subjects Caribbean, Motivational, Spiritual & Religious, World Culture Style Traditional Tags MaBeam, SnapitNow, caribbean sunset, spiritual, sunset, sunset on the water, surrealisum
BE OPEN Art launches the third stage of the regional competition to support emerging artists of Southeast Asia LONDON, July 26, 2023 /PRNewswire/ — BE OPEN Art, an online art gallery set up by BE OPEN think tank, a humanitarian initiative founded by international businessperson and philanthropist Elena Baturina, is running a new competition for emerging artists, aimed to support those whose art best represents their regional, cultural and ethnic identities – BE OPEN Regional Art. With the beginning of year 2023, BE OPEN expert community team started selecting those of the artists who best represent the artistic tradition of a certain region to feature in the BE OPEN Art gallery and offer them greater visibility. The third stage of the programme covers the countries of Southeast Asia over July – September 2023: Brunei, Cambodia, East Timor, Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand, and Vietnam. Each regional stage lasts three months, therefore four stages are run a year, with a winner named for each of them. Works by 20 emerging artists are posted at the online gallery every month, and a public vote selects the Regional Artist of the Month. At the end of each stage, one of the monthly winners becomes the Artist of the Region, based on the amount of votes by the public and the BE OPEN art community members. The regional winners get the money prize of EUR500, while a selection of artwork best representing the region form an exhibition, in order to share the art with the wide public and celebrate the artists involved. The first stage of BE OPEN Regional Art was dedicated to the art of the Eastern Mediterranean. A selection of works formed an exhibition that was held in June 2023 in Nicosia, Cyprus. The second stage just ended for the artists of the Caribbean, and the winners will be announced shortly. The focus of the competition will move to Central Africa at the end of the year. The regional competition runs alongside the regular ongoing work of BE OPEN Art, whose experts every month select 20 new artists for the gallery, using online voting to name the Artist of the Month and the Artist of the Year. Please enter your comment! Please enter your name here
Close Menu Lyra Sans & Script Custom Fonts — 2021 Script Light 36 Boulevard Jeannin Paula-Schreiber-Gasse 95 Passeig de la Diputacio, E-70 Paseo Catherina Urquiza, 3 560 Orange Summit #77 343 Cider Orchard 8 Villa Mouffetard Oranienburgerplatz 57 Ackerzeile 48 Wienstrasse 86 871 Bailey Av C-75 Puerta Mayte Sosa, 35 Thomasring 44 787 Blossom Expw #70 Plaza Ruelas, 61 Judengasse 69 Script Regular Schonlaternplatz 17 304 Donna Lewis Grove No. 14 Script Thin 72 Tunnel Lafleche Placa de Merce Vilaret, B/87 The Lyra Sans and Lyra Script typefaces were created specifically for use in the visual identity and packaging design of the Slovak chocolate manufacturer Lyra. The typefaces use an unorthodox inverted contrast, Lyra Sans is available in seven styles from Thin to Black, Lyra Script has three styles - Thin, Light and Regular, corresponding to the three thinnest styles of Lyra Sans. The main characteristics of the Lyra typefaces are directly inspired by chocolate, its visuality and properties. Each terminal is rounded and strokes widen slightly towards their end, all outer and especially inner corners are rounded, evoking melting chocolate. Both typefaces are intended for use in headlines, which has affected the principles and solutions used. Whether it’s the unconventional construction of characters like a, s, B or R, significant differences in character widths (c, d, e, o vs. n, m, u) and tight letter-spacing in Lyra Sans or seamlessly connecting letters and expressive capitals of Lyra Script. Both fonts support pan-European diacritics, contain alternate versions of selected glyphs, two sets of figures, and many symbols. Agency: Michal Slovák, SK Client: Lyra, SK Date: Sep 15 2021
Firma has been ESADE’s branding, advertising and media planning agency since 2008. We have lead several projects related to a variety of disciplines, from brand architecture and design to advertising, trying to reach the highest standards in communication for one of the most renowned Business Schools in Europe. Our specific motivation derives from our strong involvement with the school, since many of the people working at Firma studied at ESADE and some of us teach there. Times change, and so do tools. We have been evolving and learning together with one of our most loyal clients to find the best strategies to grow together - a challenge we have always been happy to accept. Amongst the many ESADE projects, we developed the master design for the brochures of several programs, designing one or two brochures for each category. We also carry out ongoing work on the design of digital materials such as websites, landing pages and newsletters. In addition, we have designed specific projects such as signage, info graphics displayed on some of the buildings' walls, Christmas cards, program videos, etcetera. Last but not least, we are responsible for ESADE's whole advertising strategy, both for print and online, always with a strong focus on results. We have designed all the creative elements and have taken care of media planning: from strategy to implementation and analysis.
Color Effects Colorize Per Easily colorize B & W photos and trendy new creative looks for hair color motifs, Munich, 08.01.2013 – X color effects per 9.0 Franzis brings the new version of the image processing software to colorize black and white photos, graphics and drawings as also for new creative color looks of current color motifs. See Philippe Lavertu for more details and insights. The new processing algorithms in the X color effects Pro 9.0 provide much more precise results in the automatic selection of edges and smoother transitions between the intervals. The default palettes has been extended for different subjects and also facilitate the search for the right choice of color. The Integrated GPU graphics types acceleration provides real-time results. Ingeniously simple he is workflow in X color effects per 9.0. With just a few mouse clicks, each photo can individually re – and be transformed. This eliminates the usual lengthy creating pixel precise selections or difficult times over by brush function. The selected areas are simply with the corresponding shade outlined, with the software the Subject / object automatically detects and it exactly fills the selected colour. Corrections and changes are possible at any time during the working process, until you have the desired result. Light effects, like reflections and even texture/surface structures are taken into account and in the new shade with included. For example, can be subsequently red inked in a s / w portrait recording only the lips or discolored desired areas. In addition to the colorization of old photographs, such as wedding or baby pictures of bygone days, the retro photography, as well as artistic image editing, the software is also used for the colour redesign like the quick color change of any objects on a photo. Otherwise inconspicuous photo motifs get a new expressiveness in the new retro style. Easy and almost automatic for photos in the style of art, design and advertising photography X color provides a platform for old and new styles each photographer effects per 9.0.
How many design categories are there and what is the “composition” of contemporary Lithuanian design? Does the Lithuanian design identity exist and if so, what is it like? What is the best form of design education in Lithuania? Representatives of the Lithuanian Design Forum and the design sector raise and try to answer such and even more complicated questions in the latest project “Design Documentary – Short Stories on Contemporary Lithuanian Design”. LRT Mediateka\|“Design Documentary – Short Stories on Contemporary Lithuanian Design” According to the Lithuanian Design Forum team, this project is designed to document contemporary design, using the normally closed doors of designers’ creative kitchens. In the documentary, representatives of Lithuanian design and various studios are sharing the creative process, experience, thoughts on the Lithuanian design sector, key challenges, and inspiration for the younger generation. The main aim is that the totality of these videos would reveal the culture of contemporary Lithuanian design and become valuable documentation of the creative heritage of the time and a rich source for the formation of the concept of national design identity and further research in this field. The design documentary, about the distinguished designers, consists of 10 short-meter episodes that are complemented by a separate, introductory, video. In the latter, the representatives of the design sector talk about the identity of Lithuanian design, the necessary changes in order to unite the design sector and at the same time develop a common design policy. “Such an initiative aims to present the ideas of Lithuanian designers, their maturity, as well as to expand the understanding of design. – says Gabija Vanagė, Executive Director of the Lithuanian Design Forum. – Today’s concept of design has expanded considerably: from product, fashion and interior design to the design of social services, moving graphics, user experience (UX) design, which is more visible to the modern generation. The speed of innovation forces us to adapt in a variety of areas, and it is designers who are at the forefront of creating and promoting the latest solutions. They are the first to contribute to the ideology and practice of sustainability that is needed today, and their ideas, in the daily life of society and in business, enable them to choose greener and more sustainable solutions to problems. Lithuania can be truly proud of the works of Lithuanian design creators, their ideas, which are interesting in the context of new European and world design trends and thus glorify the name of Lithuania. Therefore, in this documentary cycle we try to contribute to the glorification of the name of Lithuanian design creators ”. Julius Bučelis, a representative of the product’s industrial design who has filmed the documentary, considers that “the biggest benefit of this type of project is the dissemination of the design profession to the society itself. Design is a very broad field with many different branches of design. What about the different approaches of designers to work … Even designers themselves are constantly changing the boundaries of their professional responsibilities. Therefore, I think it is important for people to get to know and criticize the work of designers, because it is the designers who are responsible for how things work, how they look and what they are made of. And I, personally, will be very interested to see the problems faced by designers in various fields. ” “This project immortalizes contemporary Lithuanian design, attitude of creators’ and their experiences. The project – like a capsule of time – not only shows what is important today but also documents the challenges and joys of designers, which we will be able to remember and analyze after many years. – says Gintarė Černiauskaitė, a designer of products and their systems, who was filmed in the project in terms of concept design. Therefore, these short films provide an opportunity to see the life of designers up close, to recognize the differences and opportunities of individual design areas and to assess how design is beneficial for Lithuania. ” Jonas Liugaila (designer, Critical design agency), who agreed to take part in the project, says that “when most people think of the user experience as an artificial, man-made environment, including various products and services, when most brand identities start, values, ending with visual identities interpreting values will be consistent, then I will understand the two most important things in the field of design. First, that the potential of the design was recognized and it was adequately recruited. Second, it is equally important that designers are able to deliver what the design has promised. So far there is a room for improvement. It is these two target audiences that I think will serve the content of the design documentary. It will help some to recognize the design and the added value it creates, while others will broaden the horizons of design and the perception of possibilities. ” 138 – this is the amount of questions that were asked during the filming of the documentary. “Coordinating the entire documentary project was one huge challenge! How to fit contemporary Lithuanian design and the whole universe of its fields into the documentary of 11 short metro (up to 10 min.) episodes? Imagine how hot discussions arise when you start considering what and how to film, what (enduring) questions to ask …, – says the project coordinator, documentary director and art critic Aistė M. Grajauskaitė. – I am glad that even such a complex and difficult-to-cover topic as the identity of Lithuanian design has managed to be considered extremely organically. And while we still can’t find a common answer – who or what our identity is – this documentary reveals fantastically possible synonyms and not only raises this rather professional question to the public, but also breaks the long-standing silence about design identity and self-awareness.” In the ideas of the Lithuanian Design Forum team, which has implemented the project “Design Documentaries – Short Stories on Contemporary Lithuanian Design”, many more notions are dedicated to the presentation of Lithuanian design creators and their concepts. An even wider circle of design representatives, art critics and critics is expected to cover even more topics. The creative team of the project hopes that this, the first cycle of documentaries on Lithuanian design, will become a popular and high-quality tool for the dissemination of Lithuanian design in Lithuania and abroad, revealing the most important creative processes of designers from different fields. Contents of “Design Documentary – Short Stories on Contemporary Lithuanian Design”: Identity of Lithuanian design – Simonas Tarvydas, Jokūbas Jurgelis, Povilas Daugis, Ugnė Balčiūnaitė, Marija Puipaitė, Jonas Liugaila, Tomas Bartninkas, Justina Muralytė-Kozlovė, Ignas Kozlovas, Evelina Kudabaitė, Julius Bučelis, Gerda Liudavičiūtė Furniture and lighting – Simonas Tarvydas (sustainable design studio “Indi”). Interior – Jokūbas Jurgelis (architectural studio “2xj”) and Povilas Žakauskas and Povilas Daugis (architectural studio “Heima”). Concept – Gintarė Černiauskaitė (design studio “Creatus”). Fashion design – Agnė Kuzmickaitė and Morta Nakaitė. Publication – Ugnė Balčiūnaitė; Drasida Žemaitė and Adelė Galdikaitė (publishing house “Tvi tylos”), Viktorija Urbonaitė, Viktorija Aprimaitė, Lina Vyšniauskaitė. Fashion accessories – Marija Puipaitė and Gerda Liudinavičiūtė (jewelry studio “Celsius273”). Service and social design – Jonas Liugaila and Deividas Juozulynas (strategic design agency “Critical”). Design of industrial and interior products – Julius Bučelis and Evelina Kudabaitė. Visual identity – Tomas Bartninkas (creative agency “Truth.”), Ignas Kozlovas and Justina Muralytė-Kozlovė (design agency “Folk”). Moving graphic design – Otilija Morozaitė and Dovilė Macijauskaitė. Project creative team: Gabija Vanagė (project manager), Aistė M. Grajauskaitė (director and project coordinator), Gediminas Struckas (producer), Mikas Zabulionis (cameraman and video director; post-production), Simona Žutautaitė (photographer), Aušra Jankauskaitė (translator), Lina Šiškutė (visual identity), Gabrielė Balčiūnaitė (communication coordinator and designer on social network). The project is funded by Lithuanian Culture Council. Project initiator and implementer: Lithuanian Design Forum. Main information sponsor: LRT. Lead partner: public institution “Meno genas” (VoxArt – current art platform). Other project partners: portals “Interjeras.lt” and “Pilotas.lt“; magazines “Centras” and “Literatūra ir menas“.

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The 160K subset of AllenAI's common_crawl-art_and_design Pretraining dataset split into train a valid saamples.

Train set size: 159436
Valid set size: 160

Direct usage in MLX-LM-LoRA:

python -m mlx_lm.lora \
--train \
--model Qwen/Qwen3-0.6B-Base \
--data mlx-community/dolma3_mix-common_crawl-art_and_design-160k \
--num-layers 4 \
--iters 1000 \
--batch-size 1 \
--steps-per-report 50 \
--max-seq-length 1028 \
--adapter-path path/to/adapter

Direct usage in MLX-LM:

python -m mlx_lm.lora \
--train \
--model Qwen/Qwen3-0.6B-Base \
--data mlx-community/dolma3_mix-common_crawl-art_and_design-160k \
--num-layers 4 \
--iters 1000 \
--batch-size 1 \
--steps-per-report 50 \
--max-seq-length 1028 \
--adapter-path path/to/adapter

Downloads last month: 21

Size of downloaded dataset files:

471 MB

Size of the auto-converted Parquet files:

471 MB

Number of rows:

159,596