allenai/Olmo-3-1025-7B
Text Generation
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Visualator in practice
Visualator, our iPhone and iPad app, is available to download now and is a great little tool for creating abstract compositions. With two design platforms, Triangulate and Gradulate, Visualator enables you to design on the fly and then save your art to your device's internal memory.
Although Visualator is fun to use, it needn't be just a fancy play-thing. In this tutorial I'll demonstrate how I took my Visualator compositions and combined them into my own original piece of graphic art using Illustrator and Photoshop.
The possibilities are endless, and this tutorial should act as a starting point for your own experiments. We'd love to see your Visualator creations, whether you've created them in-app or exported the imagery. You can upload your creations to the Computer Arts Visualator Flickr group.
01 To begin with you'll need an iPhone, iPod Touch or iPad with a Wi-Fi or 3G connection. Head to the App Store and download Visualator. The app is free to install, and should take no longer than a few minutes to download.
02 Once installation is complete, launch Visualator and choose your drawing mode. For the purposes of this tutorial, I'm using Triangulate, as I want to create an angular, geometric piece. Choose a background colour and a range of colours to draw with, and experiment with toggling the Pattern Modes on and off.
03 Create a number of different, random compositions, connect your device to a desktop or laptop, and import the images. Open them in Photoshop, convert to Grayscale, and up the levels and curves so that the contrast is quite severe. Save all of your black and while images in a folder for use later.
04 Switch over to Illustrator and set up a new document. Using the Pen tool and the Basic Shapes tools, begin to flesh out a rough composition that we'll later drop our Visualator comps into.
05 To create the circular parallel bars, simply draw a circle and fill it with a Linear Gradient. Now go to Object> Expand and specify 10 objects. Hold Shift+R to rotate the shape, and then select Divide from the Pathfinder palette and hit Ctrl/Cmd+Shift+G to Ungroup the objects.
06 Ensure that all your elements are on separate layers, then export your document as a PSD with Write Layers selected. Open it up in Photoshop and turn all the layers off, apart from your parallel lines.
07 Open up one of your black and white Visualator comps and copy it. Back in your main Photoshop document, use the Magic Wand to select one of the parallel lines, and go to Edit> Paste Into. Repeat this process using different Visualator comps for all the separate bars until you have something that looks roughly like the image above.
08 Switch your other layers back on, and source some imagery to drop in. I want my piece to have a surreal look so I've found a desert scene from my own iPhoto library. Hit Ctrl/Cmd+I to invert the image, and ramp the contrast right up. Now, using the same technique as before, I paste the desert image into the central circle shape.
09 Now to add some colour. Select all of your Visualator layers, and click Merge Layers in the Layers palette drop-down menu. In the Layer Styles palette choose Colour Overlay, select Multiply as a Blending Mode, and choose your Overlay colour.
10 To finish off this simple graphic piece, I've pasted a number of inverted Visualator comps into the background, with Lighten selected as the Blending Mode. Experiment with the size and scale of the comps, and try to create some interplay between the angular elements. I've also drawn some diagonal lines and a diamond shape in Illustrator, and pasted them over, knocking the Opacity of the large triangle back to 75%. There you have it: a very quick and easy way to put Visualator to use in your own work.
Luke O'Neill
Deputy art editor of Computer Arts, Luke is a graphic designer and illustrator able to turn his hand to anything from complex layouts to branding projects. He is currently broadening his skill set by working on the design of Computer Arts' next must-have iPad applicatio
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Harnessing the power of research to learn and generate new insights, enabling the arts community to be strategic, focused and adaptive.
This is how we work
Take a stroll from here to there to encounter Mass Culture’s work and process:
Creatively sharing knowledge
There are benchmark moments when knowledge needs to be shared. However, as a learning organization, generating a report tends to signal the start of something rather than an end result. We also invest time in thinking about how to share information in ways that resonate with people.
A great example is the poem written and recited by Luke Reece during the ASOs: Positioning a Future Forward event. Make your way back up to the top of the page to see what we mean by creatively sharing knowledge.
From our earliest beginnings, we have built up our knowledge base by creatively convening the arts community. This work sets our priorities and determines the issues that matter to the sector.
Here is a gallery of challenges that we crowdsourced in 2022 in preparation of ASOs: Positioning a Future Forward.
For us, It is important to document, reflect and share our processes. Creating an evaluation framework early on in collaboration with the project's partners, establishes what we hope to learn and intentionally take time during the project to review and adapt.
Click below to check out the Research in Residence: Arts' Civic Impact Evaluation Logbooks.
Knowledge, research and data exist all around us. We just feel the need to amplify and organize it in ways that feel digestible and relevant. In the past, we've hosted datathons to collect resources on particular topics so that we can house them in Artifex!
Click below to find out more about Artifex and share your resources to help it grow.
The relationships and connections that we have made with well over 1000 people who care about the arts is fundamental to doing this work well. When we talk about Infrastructure, Mass Culture's network is major part of what we are are referring to as well as some of the research tools we've been able to build in concert with arts community.
Our newest research tool is D.N.A's Arts Data Platform.
As a way of sharing knowledge to strengthen the arts sector we host learning opportunities. The T.R.A.I.N program is our largest professional development program to date. We have lots of asynchronous learning materials from T.R.A.I.N here.
Providing training opportunities also enables us to share how to use the research tools that we've created. Find out more about the D.N.A Learning Series here.
Logo designed by Sariena Luy.
We are very curious and experimental when it comes to designing processes. Our community-based approach to research often leads us to co-developing some type of convening. We thoroughly enjoy working with others to understand how best to bring people together to achieve resonance, continued engagement, and potential future action.
An example of a creative convening approach: Mass Culture’s Play-Go-Rounds.
Photography by Sariena Luy & Jazmine Snow.
Research is a living thing. Although this linear representation of our work is ending, we continue to test and apply the emergent ideas and resources from our projects.
An example of this is the Qualitative Impact Frameworks developed through our Research in Residence: Arts' Civic Impact program. Currently, we are working with the researchers and arts organizations to implement and test the usefulness of these new tools to determine impact.
Travel back to the top to see the cycle begin again.
Art by Harmeet Rehal.
Getting from here to there is by no means linear. This is just for the purpose of being neat and tidy.
Optimized by Optimole
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In the Realm of Humans: Jaroslav Kučera’s Silent Dialogues
Exhibition running till 2. 4. 2017 @ Leica Gallery Prague
One of the most significant contemporary Czech photographers, Jaroslav Kučera, has explored urban environments of ‘people on the margins’ and through his newest works, he has created intriguing Silent Dialogues. Kučera became most famous for his ‘snapshots’ of the Sudetenland during the nineties which exceptionally captured the loose atmosphere after the fall of the Iron Curtain. His newest exhibition at the Leica Gallery maps ambiguous locations around Prague and is running until this Sunday, 2nd April.
Kučera is known primarily for his unromantic profile of Czechs, including prostitutes, gold-diggers, or losers; however, due to a lack of time in his present schedule, he has made photos to capture the magic of Prague itself. As he has testified: “I began one day on my way from tennis, when I noticed how the air-supported hall is strangely illuminated by the sun, I dived into it and I have been travelling through Prague for two years already.”
When we encounter Kučera’s depictions of the most ordinary of ordinary objects, our minds are reminded of old memories, or emotional and thematic associations. All of the photos in Silent Dialogues were taken with a digital Nikon during 2015 and 2016. Some places are familiar (like the Hilton Hotel), or there are objects that remind us of things we have once seen; others only seem as obscure belongings or habitats of people we will never know. The hidden narrative essence of his black and white photos is enhanced by the curatorial decision of Daniela Mrázková’s to group them in pairs. Try for yourself: a photo of a curled top of a pipeline poking out of a hill on a golf course is hung above an image of an old, used mattress sticking out of a rooftop against a clear sky.
In his latest series, Kučera is following the tradition of Czech Surrealists, such as Jindřich Štýrský, Vilém Reichmann or Emila Medková. However, in his case it not really surrealism, but rather “surbanalism.” Instead of analysing bizarre aspects of reality, he is focusing on the totally banal. Although there are no humans captured in this cycle (except for one blurred walker), their presence seems to be in all of his photographs, anyway. The significance of these trivial images is how well they are able to reflect us, and the time that we are living in. Kučera is thus continuing his focus on people, but offering us a fresh view refined by deserted urban environments.
Jaroslav Kučera (born 1946 in North Bohemia) studied at the Faculty of Civil Engineering at the Czech Technical University in Prague and he only became a free-lance photographer right after graduation. During the first anniversary of the occupation of Czechoslovakia in 1969, he was arrested as a dissident and held in Prague’s prison at Pankrác, where he made the decision to become a photographer. Since then, he has photographed commercially for magazines and businesses, but he has also never forgotten about his artistic pursuits. For his most exceptional work he has won many awards, including the Best Photograph of the Year 2000 in the Czech Press Photo competition.
This exhibition is held in honor of Kučera’s 70th birthday, and it shows his continuous growth as one of the most preeminent contemporary photographers in this country.
For more information visit www.lgp.cz
Leica Gallery Prague
Školská 28 110 00 Praha 1
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Guy Peellaert, 1934–2008
Diamond Dogs (1974).
Many people know this classic album sleeve even if they don’t recognise the name of the Belgian artist who painted it. Guy Peellaert died this week and this is easily his most famous picture. I remember being very struck by its appearance in the local record shop window which always displayed gatefold album sleeves opened out as above. By then the notorious dog’s genitals would have been removed from the picture to protect the delicate sensibilities of Bowie’s listeners; the copy here is from a later CD reissue.
Taxi Driver (1976).
Peellaert’s work was very visible in the 1970s, especially his book of rock star portraits, Rock Dreams, a ubiquitous pop culture item along with Roger Dean’s Views and Alan Aldridge’s psychedelic whimsy. I always liked the Bowie cover, it hinted at weirder music than the rather mundane post-Velvets/Mott the Hoople rock which the album contained, but much of the work in Rock Dreams seemed garish and awkward. Far more successful was Peellaert’s painting for Martin Scorsese’s Taxi Driver, undoubtedly commissioned on the strength of his earlier work but superior to nearly everything in his book.
Peellaert’s official site has several galleries of his paintings.
Elsewhere on { feuilleton }
The album covers archive
The illustrators archive
Alan Aldridge: The Man With Kaleidoscope Eyes
I’ve never been all that keen on Alan Aldridge‘s brand of psychedelic art but it’s worth noting here the (London) Design Museum retrospective which runs from 10 October to 25 January, 2009. Aldridge’s work as a designer and illustrator for Penguin Books in the Sixties impresses me more than his subsequent illustrated Beatles lyrics and The Butterfly Ball and the Grasshopper Feast (1973), a pair of books which seemed ubiquitous in the 1970s. Flickr has a decent selection of his book covers which included a run of sf paperbacks in 1967. Ballard’s The Wind from Nowhere is the very slight debut novel which the author prefers to forget. Where Ballard in Penguin is concerned, David Pelham’s work a few years later was a far more suitable match.
Seeing Aldridge honoured with a big retrospective make me wonder why Roger Dean hasn’t yet been given the same accolade. Dean for me is by far the better artist in terms of distinctive and memorable imagery; he’s also a better draughtsman and far more imaginative designer (not to mention having always been a speculative architect). I suspect Dean’s reputation is still blighted by his associations with Yes and the general antipathy which that band’s name generates in a certain middle-aged sector of Britain’s cultural commentariat. Ballard’s name was equally blighted in literary circles by his science fiction associations and it was Barcelona, not London, which honoured him with a major exhibition recently. There may be some home-grown reappraisals in the offing but I won’t hold my breath.
Elsewhere on { feuilleton }
The book covers archive
The illustrators archive
Previously on { feuilleton }
Ballard in Barcelona
The New Love Poetry
Penguin Labyrinths and the Thief’s Journal
Penguin designer David Pelham talks
Barney Bubbles: artist and designer
Barney Bubbles: artist and designer
Image-heavy post! Please be patient.
Four designs for three bands, all by the same designer, the versatile and brilliant Barney Bubbles. A recent reference over at Ace Jet 170 to the sleeve for In Search of Space by Hawkwind made me realise that Barney Bubbles receives little posthumous attention outside the histories of his former employers. Since he was a major influence on my career I thought it time to give him at least part of the appraisal he deserves. His work has grown in relevance to my own even though I stopped working for Hawkwind myself in 1985, not least because I’ve made a similar transition away from derivative space art towards pure design. Barney Bubbles was equally adept at design as he was at illustration, unlike contemporaries in the album cover field such as Roger Dean (mainly an illustrator although he did create lettering designs) and Hipgnosis (who were more designers and photographers who drafted in illustrators when required).
Colin Fulcher became Barney Bubbles sometime in the late sixties, probably when he was working either part-time or full-time with the underground magazines such as Oz and later Friends/Frendz. He enjoyed pseudonyms and was still using them in the 1980s; Barney Bubbles must have been one that stuck. The Friends documentary website mentions that he may have worked in San Francisco for a while with Stanley Mouse, something I can easily believe since his early artwork has the same direct, high-impact quality as the best of the American psychedelic posters. Barney brought that sensibility to album cover design. His first work for Hawkwind, In Search of Space, is a classic of inventive packaging.
Update: BB didn’t work with Mouse in SF, I’ve now been told.
Hawkwind: In Search of Space (1971).
It’s fair to say that Hawkwind were very lucky to find Barney Bubbles, he immediately gave their music—which was often rambling and semi-improvised at the time—a compelling visual dimension that exaggerated their science fiction image while still presenting different aspects of the band’s persona. In Search of Space is an emblematic design that opens out to reveal a poster layout inside. One of the things that distinguishes Barney Bubbles’ designs from other illustrators of this period is a frequent use of hard graphical elements, something that’s here right at the outset of his work for Hawkwind.
This album also included a Bubbles-designed “Hawklog”, a booklet purporting to be the logbook of the crew of the Hawkwind spacecraft. I scanned my copy some time ago and converted it to a PDF; you can download it here.
Continue reading “Barney Bubbles: artist and designer”
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Spanish Flag Tattoo Designs
Spanish Flag Tattoo Designs. Actor mickey rourke has a native american bulls skull and feathers tattoo design on his right arm. Spriggs’ flag was one of the first flags to be called a jolly roger.
It was only adopted as the national flag in 1843 by queen isabel ii. Mexican tattoo designs are brash and bold. The skull theme brings an ominous look to the geometric artwork, giving it a scary and dark meaning.
Karol G Spanish Tattoo Designs On Ribs;
Since olden times, compass rose tattoos have always been the domain of sailors, and hence, they are also, at times, referred to as nautical compass rose tattoos. Find & download free graphic resources for spain flag. Swallow tattoo french tattoo design
Definition Of The Word “Tattoo”.
This has to be one of the more popular skull tattoo designs for men. It’s a truly unique tattoo design. Jams cross tattoo design on chest.
Read Also: Sleeve Cloud Tattoos Designs
Genital Double Headed Dragon And Hip Tattoo Work.jpg 2,592 × 1,944;.
1 tattoo ideas for men. Whether you want it on your arm, leg or as part of a sleeve, tribal skull tattoos are amazing pieces that can be designed in a variety of ways. This cool sleeve mixes in monuments from all over the county as well as a buffalo.
This One Is A Large Cross Tattoo Design In Which Has Some Wings.
Seamen believed that these tattoos would bring them good luck, and at the same time ensure that they made it. Simple filipino sun tattoo source: Puerto rico cover coloring page 2.
Old San Juan La Garita 7.
It was only adopted as the national flag in 1843 by queen isabel ii. However, it lacks almost all of the symbols we’ve come to associate with jolly rogers. There’s the trash polka style, and there’s the skull that seems to be hiding behind its skin.
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We're now in Judging week: Winners of Collection 35 to be announced soon...
This Is How: ‘From The Veil Shot To An Intimate Moment’ by Melissa Suneson
Excited to have the fantastic Mexico-based TiR member Melissa Suneson of Car & Mel Photography on the site today, taking us behind the scenes of this beautiful capture for our ‘This is How…’ series of pieces. Melissa’s advice about patience – how waiting just that little bit extra can really elevate an image (in this case from a ‘detail’ shot of the veil, to a beautiful moment) – is priceless.
I am based in Puerto Vallarta, Mexico; what used to be a fishermen’s village in the 60’s has turned out to be an international beach resort destination thanks to movie director John Houston who filmed the “Night of the Iguana” which was nominated for the Academy Awards for best cinematography and best art direction; featuring Ava Gardner and Richard Burton who brought Elizabeth Taylor to the set, and whom he was going to marry shortly after. With all this and throughout the years Puerto Vallarta has grown and developed so much that is now one of the top locations for beach destination weddings in México, having couples from the United States and Canada all the way to Australia.
With this background I am a “destination wedding” photographer, I do not travel that much but my couples do, 95% of my couples are the ones doing their destination wedding here, and most of them have their wedding ceremony and reception at the beach in a resort, at a villa or a combination of both. The other 5% which are mostly Mexican or from Mexican backgrounds living abroad that have their wedding here have their ceremony at a church; so church weddings are rare for me.
This wedding was one of those rare weddings at a church and another rare one for me was that the bride had very long and beautiful veil. Having elements I do not encounter in most weddings I was excited to see what would turn out. Once I got at the church I saw I needed to set up a flash as it was a time of the day where natural light and the lights of the church were both competing for their “not working for you” scenario. I only set up one off camera flash as I had driven with the bride and her father and had no more time to set another flash before the processional started. Talk about rushing at weddings, this was one of those times!
Once the mass started I felt I was ok with that single flash, the time came for the chorus with the Mariachi band and would last some 2-3 minutes, it is when I decided to get a veil shot as the mother of the bride had fixed it for her very neatly and I knew I wanted a shot of those veils I don’t get very often. So I went in back of the bride and groom and started building the shot, first shot was just ok but I noticed the videographer on the left as well as my flash, something I didn’t want in my shot, so I went a bit lower to hide them and it still did not work out, got another shot which was good for what I wanted. But still I stayed there a bit more.
The bonus I got for staying there to take 2-3 more shots, instead of just settling for what I had already gotten, was that suddenly the bride and groom had a little intimate moment between them when I saw them tilting their heads towards each other, so for me that was the shot, otherwise it would have been just a nice shot of the bride and groom sitting down with the long veil I wanted to get, but having that little moment made the image more meaningful with their gesture, once I got it I knew I had something special instead of what could have been just another standard shot from that perspective.
With this, once again it comes to be true that sometimes staying a bit more after we think we have the shot can pay off with a better image. Sometimes it works sometimes it doesn’t but we never know if we don’t try and be patient in the crazy wedding environment we always work in, trying to capture all the safe shots, other times trying to be more creative paying attention more to a composition than to a moment, but sometimes in between it all we will be able to get that more meaningful shot that we can be happy and proud of.
Nikon D810
Aperture 4.5
Shutter 1/200
ISO 640
Lens 20-35mm
You can see lots more of Melissa’s work on her website, or here on her This is Reportage profile.
Also, if you enjoyed this piece, you may be interested to see more of our ‘This is How’ pieces.
Want to join This is Reportage?
Join Here
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Commemorative Stamps History Behind a Stamp New Stamps News Stamps Themes World
Hungary Issued Stamp on 50 Years of Zugliget Chairlift
As early as 1930, drawings for a technical solution similar to today’s chairlift were submitted to the Budapest decision-makers by the engineer István Hantos Jr, and in 1933 documents for a cable car from Zugliget to János Hill to enable people to get to the green hills above Budapest faster in order to go on excursions and do sport were drawn up.
The Leipzig engineering firm of world repute Bleichert & Co was consulted in the planning process, which gave a positive response to the Zugliget plans, and soon the procedure began with the Hungarian authorities.
Ministerial approval for construction to start was granted but the works were slow to begin and then the outbreak of World War II scuppered the plans.
The idea of a chairlift similar to the one designed by Hantos was raised again in 1967. Construction began on 24 March 1969. The special cables and the hanging chairs were obtained from Austria, but whatever could be made locally was produced in Hungary. As the result of a competition to find a name that would attract passengers, the chairlift was called the “libegő” in Hungarian, which suggests floating through the air. It was opened on 20 August 1970.
Issue Date:11.05.2020 Designer:Glória Hefelle Printer:ANY Biztonsági Nyomda Nyrt. Process:Offset Colours:4 Colours Size:30 x 40 mm
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Balletto di Roma, Italy, 2011
Tour Dates
• 21 May - 4 Jun, 2011
Tour Dates: 21 May - 4 Jun, 2011
[…] flexible and energetic, Bledi Bejleri, doesn't loose his depth even giving into his beloved without reservation."
Balletto di Roma Biography
Balletto di Roma was founded in 1960 as an artistic joint-venture between two Italian ballet icons, Franca Bartolomei, principal and choreographer of the main Italian Theatres and the étoile Walter Zappolini, who was Director of the Ballet School in Teatro dell'Opera di Roma from 1973 to 1988. The company has produced more than one hundred ballets in Italy and abroad, both the company’s own works and those by national and international contemporary artists.
Balletto di Roma today combines its own traditions with those of the prestigious Balletto di Toscana, founded in 1985 under the directorship of Cristina Bozzolini, first dancer at the Maggio Musicale Fiorentino, Original and innovative choreographies by well established Italian artists in the contemporary dance scene marked the beginning of this new artistic era during the 2001/02 season. In the 2003/04 season the ballet staged Milena Zullo’s Don Chisciotte, starring André De La Roche, and the following year a production of Serata per Tre was choreographed by the established trio of Bigonzetti, Sciliano and Cannito. The 2006/07 season saw Cenerentola, choreographed by Fabrizio Monteverde, featuring an extraordinary performance by Monica Perego, while Mario Piazza’s The Nutcracker again featured the fantastic André De La Roche, and brought more than 10,000 audience members to the Teatro Quirino di Roma. This season will see the realisation of Bolero, Serata d’Autore, featuring four works by Bigonzetti, Scigliano, Zullo and Monteverde. Fabrizio Monteverde’s also penned Giulietta e Romeo, first staged in 1989 and reprised several times since due to the exceptional audience and critical reaction. In the latest production Romeo was portrayed is Raffaele Paganini, and its success can be measured by the exceptional audience numbers.
Thanks to the quality of the performances and the high public demand, Balletto di Roma presented an extensive repertoire in the 2009/10 season, with new productions such as Otello (cor. by Fabrizio Monteverde), Contemporary Tango (cor. by Milena Zullo) and the new staging of Bolero, Serata d’Autore. Balletto di Roma has stayed true to its traditions, upholding the history and quality of its past glories, suggesting it will continue to hold a prominent and important position amongst Italian dance companies in the future.
Juliet and Romeo
The decrepit wall, the strewn ruins, indicate the tragedy left behind: a worldwide conflict that had erased forever 'the age of innocence', reflecting themes of moral convention, surging energies and emotions. It's a background that signals watershed and the want to be reborn to total passion in order to taste until the last breath- every small moment that is life.
We are transported to an Italy that existed shortly after the Second World War, thirsty for passions previously tempered by the horrors of the past. It is still a small, quaint, and provincial Italy, whose existing ecclesiastical culture and pastoral setting nonetheless gives birth to a new bourgeoisie. She, Juliet becomes a symbol of the irresistible desire to escape from the rules of this world. The obligations that such a world imposes on her are mysterious and ambiguous, and will create in her an unstoppable want to escape of which she will find herself a victim. Romeo, on the other hand, is a shy, lonely and timid youth; totally open to the desire and curiosity that love offers, a knowing victim of the volatile impetuousness of his legendary love.
So far, yet so close to the traditional Shakespearean archetypes; all triumphantly crystallized in the classical dance traditions and scoring of Prokofiev. The two lovers as imagined by choreographer and mise-en-scene director Fabrizio Monteverde for his first 'evening' production, created in 1989 for the renowned Ballet of Tuscany, notes an important landmark for Dance Theater in Italy.
For the first time this production affirms- in an arduous challenge of producing a re- composition of a complete ballet. This writing of a completely new dance was not subject to terrible'historical' references, but is an autonomous and fiery interpretation of the Shakespearean plot, that delves with 'inspired fury' in it's sentiments and character if it's protagonists. The production's Roman choreographer, strongly influenced by the cinematic influences of the Italian neorealist (one feels Rossellini and Visconti in the production's interpretation of environment and wardrobe), explores the more constant and raw sides of human nature, drawing also from literary references (one feels the refrains of Brancati in Monteverde's interpretation of Juliet's governess). The ballet's streetscapes become a kind of human whirlpool depicting Southern Italy: lusty women showing their 'wares', a lifeless Juliet dressed with white the virginal purity of a bride ready for the wedding ceremony. At which point enter two protagonists fundamental to Italian culture, the mothers of Romeo and Juliet…
In an autonomous and dramatic rewriting of this story by Montverde, these two women become the true and absolute unmovable engines of their children's demise. The viewer is transfixed by their obsessive, cloying, dark manner: their hate, clothed in silence. These women are both the oppressors and the oppressed: the first being a kind of 'female-object', repressed and superficial the second confined to a wheelchair- bigoted and suffocating. These women become the dea ex machina of the event, with fatal consequences in the death of Mercutio. The production magnifies the strong characters of its protagonists, translates their personalities into nervous choreography that twitches with energy and suspense: it's feel is pure and without frill or ornament. The power of this production's expressivity is owing to its continuing tie to modern choreography in the tradition of Neoaccademic Dance.
"[…] a bold and well-made version […]
Juliet [is] spirited and revolutionary […]
[…] flexible and energetic, Bledi Bejleri, doesn't loose his depth even giving into his beloved without reservation."
"A rigorous production, where the choreographic research - combining classic and contemporary dance – embraces to a high quality a directing and dramatist vision.
[…] powerful dance which goes straight to the heart, enriched by literary and film quotes. Azzurra Schena (Juliet) and Bledi Bejleri (Romeo) are excellent, both aimed and vibrating as all the company is while they are all close and compact in giving the audience the Shakespearian tragedy emotions.
Azzurra Schena is a determined and passionate Juliet who offers intense pas des deux with Bledi Bejleri."
Payday Loans In Texas. Moreover, to order Cialis Daily online is highly advantageous because it interacts well with the small portions of alcohol and food.
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Diego Rivera, communist and Mexican icon, honored with Google Doodle
Mexico's most famous mural painter, Diego Rivera, is honored posthumously on his 125th birthday with a Google doodle.
The Google homepage pays tribute to Mexican muralist Diego Rivera.
Google pays tribute today to Mexican mural painter Diego Rivera, one of the great artists of the early 20th century. The search engine replaced its normal logo with an industrial landscape in honor of what would have been the artist's 125th birthday. So who was Rivera? What made his art special?
Rivera was brought up by a middle class family in Mexico. Beginning at the age of 10, he studied at the Academy of San Carlos in Mexico City, then continued his studies in Europe.
Early in his career, he learned to apply mathematical principles to his art. This led to a long period of Rivera producing Cubist paintings. The style involved twisting normal reality – while most paintings are inherently 2-D, Cubism mixes in 3-D elements. Viewers get to see multiple sides of the same object, even though they're staring at a flat canvas. The result often looks like peering into a shattered mirror. While Rivera spent two decades painting in this style, many people forget this period in his life and only remember him for what came next.
Around 1920, he began moving away from Cubism, finding inspiration in the Russian Revolution. His work turned toward realism. It leaned heavily on politics, and his work still drives debates on how public art helps shape the social and economic crisis.
For example, take a look at his mural "Frozen Assets," painted in 1931 and 1932. The painting is divided into three sections. The top shows the familiar New York City skyline, brimming with construction, innovation, and prosperity. The middle section shows dozens, if not hundreds, of homeless people packed into tight sleeping quarters. On the bottom sits an interior of a bank lobby.
"In Frozen Assets, Rivera coupled his appreciation for New York’s distinctive vertical architecture with a potent critique of the city's economic inequities," writes the Museum of Modern Art in New York.
Picture this 1930s scene. Now picture the current "Occupy Wall Street" movement. Seem familiar?
In its review of the current Rivera exhibit at the MOMA, The New York Times called the painter "one of the great artists of his time."
He also shared the spotlight with his famous wife, artist Frida Kahlo. Google created a doodle celebrating Kahlo in 2010. In 2002, Salma Hayek starred in a movie on Kahlo's life. The film, called "Frida," included Alfred Molina as Rivera.
If you are unfamiliar with Rivera's work, or need a refresher, check out the video below, which runs through slides of his work.
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About Representation Matters
We see them every day. They're in ads, magazines and websites. They're stock images - the pre-taken photographs and illustrations that businesses use in their marketing, advertising and blogging.
Watch these photos pass by for a few days, and you'll notice that they only represent a very narrow range of the human experience. The (mostly professional) models in these photos are almost always white, thin and able-bodied.
Big stock photo sites now offer group photos with the obligatory one or two people of color, but how often do you see a doctor, or dancer, or banker who's plus size or has a disability?
This narrow ideal affects us. A recent study found that "70% of teen girls agreed that magazines strongly influenced what they thought was the ideal body type." Also, "Numerous correlational and experimental studies have linked exposure to the thin ideal in mass media to body dissatisfaction, internalization of the thin ideal, and disordered eating among women."
The more we see unrealistic, idealized people in advertising and the media, the more it makes us doubt the worth of our own bodies, skin colors, looks and orientations.
Thankfully, the world is changing. Customers are demanding better from the companies they interact with, and more businesses are focusing on diversity and inclusion in their stock image use. This expansion is good for all of us: Companies are able to appeal to more potential customers, and we all get a healthier mix of representation in the media-driven atmosphere in which we live.
Representation Matters is the world's first and best site for high-resolution, royalty-free, diverse stock images for commercial use. You'll find images focused on inclusion and diversity in all walks of life, perfect for bloggers and graphic designers and priced for small business owners.
About Lindley
Hi there! I'm Lindley Ashline, and I'm a professional photographer who specializes in working with larger people of all ethnicities and genders. I also run Sweet Amaranth, a Seattle-based boudoir and portrait studio.
I'm here in part because I spent ten years telling myself I couldn't be a photographer.
As a child, I was bullied. I wasn't even fat -- that came later, when puberty and my German peasant genes kicked in -- but a variety of mean kids found a variety of things to tease me about instead. It was a very difficult period of my life.
When those peasant genes kicked in and I spent high school as a size 18, the bullies had found other things to do, but I carried that terrible shrinking feeling in the pit of my stomach with me. It found a new target: my body.
Me at 17ish, in the beginning of the baggy-clothing era
I spent my teens and early 20s wearing the cheapest, baggiest clothing I could find, semi-consciously ashamed of my body and certain I needed to hide it. But someday, when one of my diets finally worked, I'd be "good," worthy of wearing normal clothes, worthy of being seen.
It was a pretty miserable existence.
At 27, I discovered body positivity and my entire world changed. It was the first time anyone had ever told me that I might just be a worthy human being even with my fat body. That I didn't have to hate myself. That I didn't have to dedicate my life to changing my appearance.
I realized that I could be beautiful.
Have you ever heard someone say "Oh, I'd just rather be behind the camera" or something similar to get out of having their photo taken? That was me. My photography developed (pun intended) in part so I never had to be in front of the camera.
When I decided to no longer treat or think about my body negatively, I realized how sad that was. I was using my talent to hide from myself, avoiding being in front of cameras for a decade. There are very few photos of me from that time period.
I started deliberately seeking out the spotlight, even in small ways. I finally took those voice lessons I'd been too afraid to start. I took hundreds of selfies (sorry, Facebook friends). I had portraits taken by a professional photographer. I pursued photography as a career myself. (Yes, I'd spent years believing I was "too fat" for my dream career.)
This is me in 2016, at 36. Celebrating after moving 3,000 miles. Being awesome while unskinny. Knowing people were staring and not really caring because I was having fun and being myself.
Now, I'm a crusader for the worth of *all* bodies.
Representation Matters began as an offshoot of my body positive portrait work. To be honest, it started as a bit of an impulse project; I thought I'd throw together a small collection of plus size stock images and see what kind of response they got.
The response? Overwhelming. There is such a need for this work. I'm glad to be the one here fulfilling it.
Got questions, or want to chat? Email me (lindley@representationmatters.me), or sign up for my mailing list and get occasional free photos and updates.
About Representation Matters
Are these images right for me and my business?
Some of the people who buy images at Representation Matters are:
• Graphic designers
• Outfit of the day (#OOTD) bloggers
• Diet recovery coaches
• Body positivity and fat acceptance bloggers
• T-shirt designers
• Body image and body acceptance coaches
• Magazine publishers (both paper and digital)
• Eating disorder recovery specialists, therapists and centers
• Health at every size (HAES) and intuitive eating (IE) coaches and trainers
• Diverse and inclusive workplaces, and those working to improve diversity
Who's in these photos?
Most of the people in these photos are not professional models. They have no training in modeling and are the kind of people you pass in the street and have over for dinner. You know. Regular folks.
As often as possible, the people in these photos have the actual traits displayed or described in the photos. That man using a cane has an actual disability. That woman described as struggling with mental illness has actual anxiety and depression. That black software developer is an actual programmer. That plus size weightlifter is an actual powerlifter using real, ridiculously heavy weights.
OMG, I know that person!
Some of the models who've posed for Representation Matters are sort of famous on the Internet. I try not to ask them for their autographs.
What if I can't find what I need?
Hop over to the Contact page and let me know what you're looking for, and I'll try to work it into an upcoming shoot. If you need something specific on a timetable, shoot me an email (lindley@representationmatters.me) and I'll give you a quote for custom work.
I want to model for stock photos!
If you're in the Seattle metro area (or willing to travel to said lovely geographic location) and want to be a stock photo model, email me (lindley@representationmatters.me) and we'll chat.
I want a portrait or boudoir session with you!
You should check out Sweet Amaranth, my Seattle-based boudoir and portrait studio! Portrait info is here, and boudoir info is here.
I want headshots/photos for my website!
Email me (lindley@representationmatters.me) and I'll send you my commercial/headshot portrait rates.
Plans & Pricing
What currency is your pricing in?
All prices are in U.S. dollars (USD).
What's a credit?
Credits are the currency used here at Representation Matters. Credits allow you to purchase and download images.
One credit costs $1 or less, depending on how many credits you buy at once. See the Plans & Pricing page for current pricing on credit bundles and subscriptions.
Please note that credits do not cover shipping costs. If you order an item that requires delivery, credits will be deducted for the item itself and you'll need to provide an additional payment method for shipping costs at checkout.
What's a subscription?
Representation Matters subscriptions automatically give you a certain number of credits to spend each month on the best stock image site for social and cultural diversity. That's here, by the way. (Insert your own joke about spending them all in one place.)
Should I buy credits or a subscription?
If you're jonesing for a specific photo or don't use stock images very often, buying credits outright is your best bet. However, if you use stock images regularly -- say, on your blog, website or social media channels -- then you'll want a subscription so that you can snag an image whenever you need one.
What happens to any leftover credits? Will my subscription roll over?
Yes, all credits are good for one year from the time you purchase them (or the time they're sent to you if you've got a subscription).
Any credits you purchase as part of a credit bundle will remain in your account until you use them; there's no expiration date.
How much do images cost?
The cost of each image in credits is the same no matter which subscription or credit bundle you've purchased. Not all credits are made equal, though! Here are some ways you can get discounted credits.
Note that purchases under $10 are charged a 50-cent processing fee.
For digital downloads:
• Web size: 5 credits
• Medium resolution: 15 credits
• High resolution: 25 credits
• Original image: 50 credits
Can I get a refund?
Since digital items are downloaded to your computer, there are no refunds, sorry.
Search, Downloads & Files
How does the site search work?
Typing into any search box on the RM website will match at least one of the words you enter. For example, typing the words diverse yoga will find all files that match either "diverse" OR "yoga."
If you want to find files that match "diverse yoga" exactly, type in that phrase and include the quotes.
But what if you want to find images of only diverse men doing yoga? Try searching for diverse +yoga +men. To find images that don't include men, try diverse +yoga -men.
Short version:
• Site search automatically uses "OR" operator
• Use + and - to narrow your search
• Use quotes for exact matches
What are the image download dimensions?
You've got four sizes to choose from when downloading images. The smallest - web size - is the perfect size for including with a blog post or on a landing page, and it goes up from there.
Web size: Approx. 640x480
Low res: Approx. 1200 pixels on long side
High res: Approx. 2500 pixels on long side
Original: Approx. 4,000+ pixels on long side
How do I remove the big watermarks across the photos?
As you browse the site, you'll notice that the stock photos have a watermark -- a translucent word across the center of the photo. These watermarks prevent image theft and are automatically removed when you purchase the photo.
What if I need a bigger size photo than what I bought?
Please don't try to stretch the photos to fit; they'll get all pixelated and weird, and no one wants weird pixellations. It gets awkward.
If you purchased a small size photo and need a bigger one, you'll need to go back to that photo's page and purchase it again in the larger size. Two exceptions: if you're upgrading from the smallest size all the way to the largest, and if you're upgrading more than five photos. In those cases, email me (lindley@representationmatters.me) for a discount.
License Terms & Restrictions
RM photos come with a perpetual, commercial use license. The short version: use them as you wish on your website, blog, marketing, or printed materials, but don't claim them as your own work or resell them.
You are also prohibited from using these photos for or to illustrate the following subject areas: negative or critical body messaging, health warnings, or weight loss.
Please see the License page to review the license you'll receive in detail.
"Royalty free" means I don't have to pay for it, right? It's free!
Unfortunately, no -- it's a common internet misconception that "royalty free" just means "free." What "royalty free" actually means is "you don't have to pay the artist a royalty every time you use their work." Take a look at the Quick Guide to Licenses to see which license is right for you.
Can I use these photos any way I want?
The license applied to these photos outlines what you can and can't do with the photos. The short version: use them as you wish on your website, blog, marketing, or printed materials, but don't claim them as your own work or resell them.
You are also prohibited from using these photos for or to illustrate the following subject areas: negative or critical body messaging, health warnings, or weight loss.
Please see the License page to review the license you'll receive in detail.
Do I ever have to pay to renew the license for my photos?
Nope! You'll enjoy a perpetual use license.
Quick Guide to Licenses
All rights reserved:This is a creator's way of telling you that you can't use this image in any way, shape or form. In other words, they've reserved all the rights. You often see this on photos over at Flickr.
Copyright: When you purchase the rights to use an image, you're not purchasing the actual copyright. Except in very specific circumstances, the copyright remains with the creator of that artwork.
Beyond the fact that it would make you a terrible person, this is also why you can't license an image and then claim it as your own work.
Creative commons: This kind of license is one way some creators make their works available for other people to use. There are a number of variations on these licenses, so you can read more about them over at creativecommons.org.
Google: Like "royalty free" down below, the internet has done some strange things to the concept of copyright. No matter what you've seen or heard online, just because you can google up an image and then right-click and save it doesn't make it free to use. Read more about why it's not okay.
Public domain: These works include those whose copyright has expired and those deliberately released into the public domain. 99Designs defines public domain as, "a photo, clip art or vector whose copyright has expired or never existed in the first place. These images can be used by almost anyone for personal and commercial purposes."
Rights managed: "With rights-managed images, your right to use the image is typically restricted, with limitations placed on things such as duration of use, geographic region, industry, etc., as established by your license agreement." (Thanks for the definition, StockPhotoRights.com!)
Royalty free: A license that doesn't require you to pay the creator every time you use the work. These are generally paid licenses, though some websites do offer royalty-free images for, you guessed it, free.
Right now, all images offered at Representation Matters are royalty free.
@2017 Representation Matters | About | Become a contributor | Contact | Privacy Policy
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Creative Resources for Creative People
Search Features:
Alun Heslop - chaircreative
by Angie Boyer
Published: January 2008
Paul and I run from the car park, through the gardens, heads down against the driving rain. We’re heading for the long barn beyond the kitchen garden, where we have arranged to meet Alun Heslop in his chaircreative workshop. Alun throws the door open to welcome us in from the deluge. A warm golden glow comes from the recently lit stove, the earthy smell of burning wood mingles with the enticing aroma of coffee brewing. And there, on the floor between us and the stove, we see a huge, perfectly formed wooden ball, with an equally huge, hand crafted cricket bat resting on it.
The ball that has been turned to 460mm in diameter fits snugly into the underside of the oak bat. Together they become a beautifully proportioned seat, 3 metres long, which dominates the floor space in Alun’s workshop. This Cricketer’s Bench is a special commission that he’s working on, to be sited beside the cricket pitch at Belmont Park, the peaceful country setting where Alun’s workplace is located, surrounded by lush gardens and wide open spaces. Alun tells me that he usually cycles to this workshop, near Faversham in Kent. “I live about ten miles away and would rather be on two wheels in the open air that sitting inside a tin can!” He tells us about this substantial piece of craftsmanship, “I have designed the seat with an incline along the length of it for comfort and rain relief, it follows the line of the wood. It’s important that a piece like this works ergonomically, it has to perform its function as well as look good, it’s much more than just a sculptural object.” Like much of Alun’s work, this seat is made from oak. “I like to use air dried seasoned oak, which comes from Lenham oak saw mill, a place about five miles from here,“ he explains. “That means the material costs are fairly substantial, but it’s more dependable to work with than green oak, which in some instances can distort and move on outside pieces. Weather will degrade wood, sunlight and rain; oak is naturally resilient, but it does help to give it a basic weather seasoning treatment. The oak in any outdoor piece like this will eventually turn a silvery grey with age and weather,” continues Alun, “but that’s okay really, the piece is about form rather than fancy wood!”
Alun’s woodworking skills have a foundation based on his extensive knowledge and experience of green woodworking techniques. He tells me that “having recognised that maths and physics were not for me, I went off to do basic interior design, leaning towards product design as well. It was really good, but I soon knew that I didn’t want to be an interior designer, so I decided to study Fine Art Alternative Practice. For me, that involved looking at environmental issues, many of the things that are coming up again now. I realised then that art isn’t about what you do, it’s more about who you do with it, so that wasn’t for me either.
“I wanted more of a hand to eye element in what I did. So after my degree course I went more towards green woodworking. I still hold the ethics of that type of work today, it’s very important to me. I don’t do much pole lathe turning now, but I still use many green woodworking techniques in my work. More and more I want to create my own designs using traditional techniques, to make one-off sculptural pieces, a transition to much finer and sophisticated work that’s more suited to galleries and ‘exhibiting’ shows.” We visited Alun at a time when he was busy preparing for Origin in London, having already exhibited at shows like Craft in Focus and Art in Action earlier in the year. He showed us some of the pieces that he would be exhibiting at Origin; flowing, balanced designs that are not only pleasing to the eye, but also entirely suitable for their purpose. Sometimes a piece may have a hint of fragility, which totally belies the stability and strength of the structure, qualities that are created not only in the actual design, but also in the careful attention to detail in the making. I asked Alun where he found his inspiration for this delicate aspect of his chair designs, which are very different from his robust and sturdy outdoor seating. “My wife is an entomologist, so maybe it’s the images of stick-like insects that surround her work that bring these designs to mind, it’s probably why some of my interiors work looks frail but (like insects) the pieces are strong in structure”
A delivery van pulls up outside the workshop as we chat and two people from the local woodyard unload some rather spectacular pieces of wood, which Alun is drawn to like a magnet, checking its suitability for the work he has in mind. As the couple turn their attention to the magnificent cricket bat seat, Alun tells us more about his interiors work.
“I like making very dainty things that look very fragile with refined lines.” This quality may be echoed in the stick-like legs of a chair, or perhaps in the fine lines of his rather eccentric ‘Apple Holder – Waiting for Temptation’, a tripod-like arrangement, which temptingly clutches a polished stainless steel apple. That final touch, a shiny piece of perfectly formed fruit specially made by fellow craftsman David Meredith “accentuates the extravagance of it all,” says Alun about this delicate looking piece, the design for which was in reality inspired by the shape of the ventilation shaft at Dartford Tunnel!
“Inspiration can come from anywhere, civil engineering, rivers and bridges, landscapes as well as any entomological influences,” he says. “And I like to use local and native hardwoods such as ash, oak, cherry and elm, harvesting from sustainable, managed woodlands. I work with the grain of the wood using many traditional hand tools and techniques - it’s honest work, you can see the functionality of it. I like the whole sense of the integrity of the material as well as the making. Gradually people are waking up to that.” As Paul and I chat to Alun about the sentiment behind his work we realise that, at his invitation, we are sitting on one of his prototypes, a bench seat with the title of ‘Peapod’ “because the design is all about things fitting in with each other”. That sense of ‘fitting in with each other’ extends to the design and making of the Peapod as well; this is a collaborative project that Alun is working on with Sixixis from Cornwall. Together they are developing the steam bending of the wood to perfect the flowing compound bend that is at the heart of the design. “The shape dips in and rolls out, the edges roll and taper, it’s quite subtle; if it were flat it would not be so comfortable to sit on. Simplicity appeals.”
This notion of collaboration on projects follows through to another piece that Alun is making in the grounds of Belmont House. Once more dodging the rain, the three of us go out into the gardens to see the ongoing work on his Hedgehog Seat. Protected from the elements under a tarpaulin, the seat is at a low level, fitting over an old, but stable ash tree stump. Using traditional hand tools familiar to him from his green woodworking days, Alun saddle carves each section of wood into a hollowing to form comfortable seating before securing it to the tree stump with stainless steel fittings. “The whole piece is a continuation of form and line with a concentric dished hollowing, it’s very subjective, deciding when something does or does not look right,” says Alun. There are oak seating planes radiating out, creating a whole that, when completed, will have at its centre a bronze hedgehog, again specially made by David Meredith. “The hedgehog is part of the coat of arms for Belmont, so it seemed ideal for the design.”
Alun gives each of his designs a title, some appear at first to have been chosen in a fairly abstract way, but when he explains that these names are “poetic, descriptive of a location perhaps, or to do with word play and association” it begins to make sense. I get the impression that nothing happens in his workshop without reason. He continues, “I like it when pieces evoke emotions and thoughts - so they can ‘walk and talk’ on their own. Sometimes I make pure sculptural elements, to explore the relationships of shapes and curves and edges.”
The pieces we see at his workshop illustrate well the contrasts in Alun’s work; delicate chairs for indoors, sturdy seating for outdoors; some pieces made to commission, others made speculatively simply to suit himself – each piece always marked with his signature emblem and the date stamp.
“I’m working on more and more bespoke seating projects now and I really like the work I’m doing at the moment, big outside projects. The next piece is an 8.5 metres curvaceous flowing form to be placed near a pond at a private residence near Northampton. Each one is unique and a lot of fun. The bigger the piece is, the more impressive it becomes. But projects like this need to be balanced with a variety of types of work. The variation between large exterior work and finer interior pieces is a good balance. The buzz of it for me is to have the idea, bring up the drawings and see the manifest reality of the project. I keep pushing out the boundaries!”
Alun Heslop, chaircreative
The Workshop, Park House, Belmont Park
Throwley, Faversham, Kent ME13 0HH
T: 07740 644715
People thinking about pushing out their own boundaries may be interested to learn that Alun also holds chair making courses, which run for 7 days on a 1 to 4 basis. “I encourage and help participants to make pieces to their own designs,” he explains, “I don’t replicate a set pattern, it’s much more enjoyable for each person to think about what they want to make and where they’ll place it. The first morning of the course is the design assessment. I gauge it for people across the board, considering individual ability to what they’re proposing and work with them to fit it to the 7 days of the course. Working on their own individual projects, participants have a much broader learning and it’s ultimately really good fun - each chair can be as imaginative as the individual who creates it. Any teaching is exhausting, as you’re giving out so much, but part of the skill from the outset is fitting the participant’s ability to their design proposal and linking it realistically with the time scale of the course. People can stay at local B&Bs or there is camping within the grounds.”
Full details of Alun’s chair making courses are available on his website www.chaircreative.com
Where trees grow, so does the spirit of the imagination. Where inspiration flows, light, life and energy radiate in abundance. We move through space and time, dynamic and fluid. Occasionally we may rest or pause, and perhaps sit down for a while. And there is the moment of contemplation. A moment to deliver a truly unique experience; to sit and feel welcomed, comfortable, elevated and perhaps even astounded. A timeless elegance encapsulated within an innovative work of wonder. By its very nature chaircreative seeks to produce outstanding and unique chairs and seating whilst minimising the environmental impact of doing so. A grounding philosophy at chaircreative is ‘working with the wood – not against it’. We design and create with sustainability in mind, as a natural part of the process. Using and understanding the material properties of locally sourced native hardwoods. It’s all about choices! Creating single pieces, site-specific installations, ‘multiple’ chair family groups or bench type seating for interior and exterior spaces. Producing dynamic, sculptural centrepieces and focal points. A pure form, accentuated. Connecting life lines through generations, bequeathed. Just a chair? No, it is a reflection of desire.< br /> Alun Heslop
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Different people give different answers to the question “what is contemporary interior design”. Most people confuse contemporary design with modern or minimalist. The truth is that contemporary interior design is the only ever-changing design style, permanently connected to the present and forward-looking, always adapting to emerging trends and new design movements.
What Contemporary interior design means
Contemporary interior design ideas began to appear even before the end of the new millennium. The contemporary style took shape starting with 1970s, at the same time as post-modernism.
With influences such as Art Deco, Futurism and Deconstructivism, contemporary style is often seen as a mix of styles, without a specific aesthetic, each day bringing a new twist on current trends. Contemporary interior design style is a bridge between modern and minimalism, with a more neutral color palette that highlights the architecture of a space.
Contemporary design elements
The contemporary style of interior design is versatile, which means there is a lot of room for experimentation and spontaneity. However, there are a few key elements that make this design style stand out from the rest:
• blend of neutral and vibrant colors
• mix of different textures and materials
• simple geometric shapes and clear lines
• merge of industrial and natural elements
• decorative lighting (candelabras, suspended fixtures), as well as indirect light (spotlights, LED strips, etc.)
• large, open spaces with a hint of minimalism
Spaces furnished in contemporary style are not, however, as empty as true minimalist interiors. Contemporary designers use minimalism as a way to highlight the key elements of a space, but are more liberal when it comes to decorative objects, variations in texture and different colors in a room.
Contemporary design vs. Modern design
Contemporary interior design style favors wide and open layouts to create a sense of space in a home, as well as modern and industrial design styles. Contemporary style homes also have large windows to let in as much natural light as possible. Unlike contemporary interiors, which are much more fluid and ever-changing, modern homes incorporate specific qualities and elements, often derived from or inspired by the mid-century modern movement of the 1940s and 1950s.
Contemporary design vs. Scandinavian design
The goal of the Scandinavian design style is to create an environment that promotes contentment and simple happiness, with a focus on simple and functional elements. Similar to the contemporary design style, Scandinavian interiors use natural materials, minimalist decor and large, open spaces. However, Scandinavian design features almost exclusively light and neutral colors, while contemporary design has bright and contrasting color palettes.
Contemporary design vs. Rustic design
The two interior design styles are similar in their use of natural materials as a means of breaking the monotony of a space. But rustic interiors focus on rugged, natural and raw elements to create a space that exudes refined roughness, while contemporary-style rooms have modern, polished wood furniture that exudes a more luxurious feel.
Found in residential, office or commercial spaces, contemporary interior design is the chameleon of interior design styles, constantly changing and adapting and extremely versatile. While it has its key elements, such as contrasting color palettes and geometric shapes, this style doesn’t really set any boundaries. All it takes is creativity and the support of an interior designer who can bring life to any construction.
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Wedding Photography Pricing & Packages
Welcome to the heart of the action – our Pricing Page! At Kuva Wedding Photography, we believe in making your journey of capturing precious moments as delightful as the memories themselves. Here, you’ll find our wedding photography packages tailored just for you in Chesterfield, Derbyshire and South Yorkshire.
Unlocking Smiles, Not Safes: Our Photography Packages & Pricing.
No mysteries, no surprises – just transparent pricing that won’t play hide and seek. We’re all about bringing your dream wedding photos within reach without breaking the piggy bank. So, grab a cuppa, get comfy, and let’s explore the perfect package for your unforgettable day.
Full Day
Upto 11 hours coverage
• Unlimited coverage with 2 photographers
• Approx 8-11 hours
• Online Gallery (12 months access) with your fully edidted images (typically minimum of 500)
• Beautiful bespoke USB in wooden box with your edited images
Half Day
Upto 6 hours coverage
• Unlimited coverage with 2 photographers
• Approx 5-6 hours
• Online Gallery (12 months access) with your fully edited images (typically minimum of 300)
• Beautiful bespoke USB in wooden box with your edited images
Micro Day
Upto 3 hours coverage
• Approx 2-3 hours
• Online Gallery (12 months access) with your fully edited images
• Beautiful bespoke USB in wooden box with your edited images
Play Video about Wedding videography
Add Hybrid Video Coverage for £400
Enhance your wedding photography package with our captivating hybrid video coverage for just £400. With two photographers on hand, we dedicate one entirely to capturing your story in motion. This ensures nothing is missed. Your hybrid package seamlessly blends stunning photographs with a beautiful highlight film, a 3-6 minute masterpiece set to music, that captures the full spectrum of emotions and tells the complete story of your unforgettable day.
Why Kuva Wedding Photography is The Perfect Choice
Complimentary engagement photoshoot and benefit from the expertise of two photographers on your wedding day, all at no extra charge.
Free Engagement Photo Shoot £350
We’re thrilled to offer a complimentary Engagement Photo Shoot with every package. It’s also a chance to get comfy in front of the lens, explore stunning locations, and create memories that’ll make your heart skip a beat.
Natural Documentary style Photography
No endless posing, we capture all the candid moments without dominating your day.
Get Your Wedding Gallery Quick
The vast majority of our wedding galleries are delivered within a month, We also provide some sneak peak photos within the first few days after your wedding.
Free Second Photographer worth £300
A second Photographer is included in our full and half day packages meaning we can see to both wedding parties in the morning so you don’t have to compromise on those awesome getting ready pictures.
Don't Just Take Our Word For It
Were rated 5 stars on Hitched, Facebook and Google. Find out what some of our happy couples think about us.
“Couldn’t be happier with our experience!”
Being the type of people who do not enjoy being photographed, we really deliberated over whether we wanted wedding photos. I’m SO happy we did. We went for the mini 3 hour package Stephen arrived an hour before the ceremony and left just as we started the wedding breakfast. It was perfect for us and the photos really do speak for themselves. It was a dull December afternoon but he really captured the magic of the venue and the relaxed vibe we wanted for our pictures.
Bianca Butler
Makeney Hall Hotel
“We could not have asked for a better photographer than Kuva! ”
We could not have asked for a better photographer
than Kuva! From our engagement shoot to the wedding day, we felt completely comfortable and in safe hands. We couldn’t be happier with our wedding photos which completely captured our day perfectly.
Richard Pilling
The Maynard
Pick Your Package & Get in Touch
Choose your preferred package and drop us a message using the contact form below or you can email: kuvaweddings@gmail.com or WhatsApp: 07746327768, and we will get back to you within 48 hours. Dates fill up quickly, so get in touch as soon as possible to avoid disappointment.
Book to Secure Your Wedding Date
So you’ve decided Kuva Wedding Photography is for you. That’s amazing! To secure your date, we will provide an online booking form to supply all your details. Once this is complete, we will send an invoice and contract for a £200 deposit. Congratulations! Your wedding day is now secured!
Arrange Your Engagement Photo Shoot and Wait For The Big Day
If you want to take your free engagement photo shoot, simply drop us an email or WhatsApp with your preferred date. We recommend waiting until spring or summer for the best weather.
We will be in touch a few weeks before the big day for a video call or in person meetup to go over all the plans and timings for the day.
Complimentary £350 Engagement Photo Shoot with Half Day & Full Day Packages
Join us on a journey to capture the heartwarming moments of your love story with Kuva Wedding Photography! We’re all about keeping it real and genuine. Our awesome team is here to snap up every little detail, making sure your special day is as unique as your love. Take your pick from our laid-back half day, full day and videography packages, and guess what? We’re throwing in a cool engagement shoot worth £350 RRP for free! Let’s create some magical memories together and tell your love story the way it deserves to be told.
What areas do you serve?
We are based in Derbyshire but are happy to travel across the country but our main areas are Derbyshire, Staffordshire, Yorkshire, Nottinghamshire and Leicestershire.
Our half day and full day wedding photography packages come with the special inclusion of two Derbyshire Wedding Photographer, ensuring that every significant moment of your big day is captured from multiple angles and perspectives. This dual-photographer approach allows us to create a comprehensive and diverse collection of images, providing you with a more detailed and memorable visual narrative of your wedding.
However, please note that our micro wedding package, designed for more intimate celebrations, is an exception to this rule. While it still offers exceptional coverage, it includes the services of a single photographer to perfectly suit the scale and dynamics of smaller events.
We believe that having two photographers for our standard wedding packages enhances the overall quality of your wedding album, providing you with a richer and more complete representation of your special day.
To secure your wedding date and our photography services, we require a £200 non refundable booking fee. This non-refundable booking fee is a commitment to reserve our professional services exclusively for your special day. The booking fee ensures that our team is dedicated to capturing the unique moments of your wedding.
By submitting the £200 non-refundable booking fee, you are taking the crucial step of securing our availability for your chosen date.
We understand the excitement of reliving your special day through the photographs, and we strive to deliver your edited images promptly. We deliver a sneak-peek gallery, which includes a handful of images, within the first week. The editing process of our full gallery takes approximately 8 weeks. However, please note that this is a maximum timeframe, and in many cases, we are able to provide the edited images much sooner.
Our dedicated team works diligently to ensure that the editing process is thorough and that the final collection reflects the uniqueness of your wedding day. Factors such as the complexity of the editing and the volume of images captured may influence the timeline, but rest assured, we make every effort to deliver your images promptly without compromising on quality.
We appreciate your patience and understanding as we craft a stunning collection of memories that you’ll cherish for a lifetime. If you have specific concerns or require a more prompt delivery, please feel free to discuss this with us and should this be achievable we will do our best to accommodate your needs.
The final payment for our photography services is due in total no later than 30 days before your wedding day. We understand that wedding planning involves careful budgeting and coordination, so we’ve set this deadline to ensure all financial aspects are settled in advance, allowing you to focus on the joyous moments leading up to your wedding.
The total amount owed for our services, excluding the initial £200 non-refundable booking fee, is to be paid in full by this 30-day mark. This non-refundable booking fee serves as your commitment fee to secure our services on your wedding date. The remaining balance that is due, in total, before the specified deadline, is the total cost excluding the non-refundable booking fee from the total cost provides the remaining balance that is due before the specified deadline.
Booking our photography services for your wedding is a simple and straightforward process. To secure your date and choose the perfect package for your needs, follow these steps:
1. Contact Us: Reach out to us through our website’s contact form or use the provided contact details. Feel free to include any initial questions or specific details about your wedding plans.
2. Provide Wedding Date: Let us know your wedding date to check our availability. This step is crucial in ensuring that we can dedicate our services exclusively to your special day.
3. Select Your Package: Browse through our photography packages and choose the one that best suits your preferences and requirements. If you have any questions about the packages, we’re here to help guide you.
4. Confirmation and Deposit: Once we confirm our availability for your wedding date, we’ll guide you through the booking process. A £200 non-refundable booking fee is required to secure our services for your date.
5. Finalise Details: As your wedding day approaches, we’ll work closely with you to finalise any remaining details, ensuring that we capture all the moments that matter most to you.
Ready to Say I Do?
Fill in our contact form today to start a conversation about capturing your special moments.
Schedule a Free Video Consultation
Simply fill in the below form and i’ll get back to you ASAP to arrange your free Video call.
Download our packages and pricing guide
Simply fill in the below form to download our packages and pricing PDF.
Valentines day Special Offer
Thanks for your interest in our special offer, fill in your details below to receive your discount. I will get in touch with you as soon as possible
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[ot] more touching stuff.
Jul 28 2006 | 8:31 pm
I stumbled upon something which I thought would be very interesting to many artists on the list. http://www.k2.t.u-tokyo.ac.jp/members/alvaro/Khronos/
near the end of this video, it describes a method of interaction with a projection. what they do is project an image from behind, then shine infra red light at the back of the screen. a IR camera apparently is able to sense depressions in the screen.
this sounds right up "our" ally. has anyone tried it?
at the very least its fricken amazing. -matt
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New Museum Presents: IdeasCityBronx
New Museum Presents: IdeasCityBronx
« All Events
The New Museum is pleased to announce IdeasCity Bronx, a free public festival taking place the afternoon of Saturday, September 21, 2019, at Concrete Plant Park in the Bronx.
IdeasCity Bronx will feature conversations, artist talks, performances, and activations by an array of cultural agents engaging the physical, social, and economic forces that define the Bronx and other cities. Highlights will include keynote conversations by Teddy Cruz and Fonna Forman and Jon Gray of Ghetto Gastro, and a series of participatory workshops organized by Xaviera Simmons, Torkwase Dyson, Oscar Oliver-Didier, Coco June, Marquita Flowers, and Monxo López and Libertad Guerra of South Bronx Unite. Pop-up activations by Bronx-based art and activist groups and food vendors will operate throughout the afternoon, organized with DreamYard, a nationally recognized community organization that works with Bronx youth, families, and schools to build pathways to equity through the arts.
Themed New Ecologies 3755, this iteration of IdeasCity focuses on the effects of climate change faced by communities in the Bronx, and the inextricable link between the conditions of our planet and the state of culture and society. IdeasCity has invited locally and internationally recognized practitioners to design interactive workshops focused on key areas of inquiry pertaining to the theme of New Ecologies. Workshops are centered on topics ranging from Waterfront De-Industrialization, Divesting from Whiteness, Borders and Migration, Housing Production and Preservation, Public Health and Pleasure, and Food Justice, and highlights include a somatic movement workshop on strategizing Resources for Resistance, storytelling performances combating Food Apartheid through agricultural autonomy, and a livestream conversation on the Architecture of Diaspora between South Bronx activists and allied groups in Santurce, Puerto Rico.
“The number 3755 refers to the 3,755 days between IdeasCity Bronx and the start of 2030, noted internationally as the deadline for irreversible climate crisis. The number also evokes a distant future, over a millennium away, one that we might imagine shaped by the Bronx and by communities that were erased or marginalized in the last millennium,” stated V. Mitch McEwen, Curator of IdeasCity. “Inspired by the urgency around climate change, artists and organizations in the Bronx are working to address structural inequality, real estate development models, and even national politics, topics that will take center stage at IdeasCity Bronx.”
Prior to the festival, IdeasCity will release a podcast produced in collaboration with Gesso, members of NEW INC, the New Museum’s cultural incubator, who have developed a free location-based mobile app for innovative audio content. The podcast is designed to accompany visitors en route to the festival, expanding on the program’s themes with additional information, conversations, and interviews with IdeasCity Bronx speakers and community leaders.
On Friday, September 20, 2019, IdeasCity and the Bronx Museum of the Arts will cohost a workshop for local and emerging practitioners that will consider the inequalities produced and reproduced by urban spatial relationships, and the shifting approaches devised by artists, designers, planners, and architects engaging with public space in the Bronx’s contemporary landscape.
IdeasCity Bronx will be held at Concrete Plant Park, located on the Bronx River between Westchester Avenue and Bruckner Boulevard. Home to a functioning concrete plant from the late 1940s to 1987, Concrete Plant Park’s revitalization began in 2000 under the stewardship of the Parks Department and the Bronx River Alliance. In addition to salt marshes, greenways, a promenade, and boat-launch, Concrete Plant Park is also home to the Bronx Foodway, a pilot project examining how a sustainable food landscape can be integrated into a public park.
IdeasCity Bronx follows IdeasCity New Orleans, which took place in April 2019 and was centered on the theme of “Everyday Festival,” and IdeasCity Toronto, which took place in September 2018 and was centered on the theme of “City of Cities.”
New Museum
212-219-1222
info@newmuseum.org
View Organizer Website
Concrete Plant Park
Concrete Plant Park
The Bronx, NY United States
+ Google Map
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Saturday, December 19, 2009
Going Home
This was a piece that sold over the Halloween show, but I wanted to post it and talk about it a little bit. It is a departure from the last posting because, with that one, I knew the concept and the look I wanted to achieve from start to finish. But with this rabbit, I wasn't quite sure what she was going to look like until I was almost done. I knew I liked this quizzical pose, with the body turned sort of awkwardly, but as I was working one night, the clay was a little too wet to support the weight I was adding on top, and she started to sag downward. Hence the big butt and pregnant belly, which I had no idea that she would have, but once I saw it, that became a great element to her story. (More the belly than the butt.) After that her story took shape around this element. I decided she needed a strong, erect posture, hinting towards some pride and determination. The ear pose reflects this as well. Her eyes convey nothing of her inward emotions, just looking back at her wagon to make sure everything is as it should be.
Now, the wagon... I wasn't sure what she should be pulling until after she was completely done, but I settled on this as a way to convey her fortitude and emotional capacity. The wagon itself is a slapped together vessel with weird 'wooden' slats of all shapes and sizes, and rickety wheels helping it to teeter along. But the contents are all manner of little treasures I had collected while growing up, and I borrowed a few from friends who had done the same thing as kids. This was stuff like part of a honeycomb, a skeleton key to nothing, a cartoon character plastic ring, a broken light bulb, etc. To me, these things say, yes, this rabbit is a little crazy, but she also, for whatever reason, holds these things very dear and has plans for them in her (and the baby's) future.
I wish I had a few more detail shots to show you inside the wagon and some other views of momma rabbit, but this one is no longer mine so you'll just have to settle for my description.
Tuesday, November 10, 2009
They'll Be Lining Up
Here finally, is the finished sad dog piece. This guy went through a number of changes before I settled on what you see here. First was a minor catastrophe when I took him out of the kiln for what I thought would be the last time, and I looked on in horror as his "skin" was popping off in large flecks before my eyes. So the really crusty, kind of amazing surface treatment you see on this guy now is a result of me frantically rubbing off all the slip that was going to shed, and hitting the bare spots with an iron oxide stain, and throwing him back into the kiln one day before he was supposed to be shown. Luckily, that all worked out and he serendipitously looks better than I had hoped!
The second change was a departure from my original idea, which was to have malicious little puppies chewing on his house while he sat stoically. So he was displayed a few times on a large wooden platform with these puppies rolling around and bits of glass and "wood" from the house around them. But it was just too much and the puppies were goofy looking. Finally I decided that his pained expression, sturdy posture, and the decay of the house told the same story without the pups. I have a picture from one of those early showings so I'll post that and see what you think, but I'm afraid I won't be able to do much about it if you think I'm wrong since those pups are now somewhere in the garbage.
And here's the back view. Here you can really see the straining of the house on his muscles and skin, and the broken roof and beams. This is where the puppies were chewing and playing, but it just looked silly.
Seen Show Update!
So the show at The Seen Gallery in Decatur went really well. We had a big turn out on Halloween eve and I had a chance to meet a lot of new fans. We've had a few pieces sell already, and hopefully more to come!
Next up is the annual Callanwolde Holiday Sale starting Friday night Nov 20 and ending the following Sunday. I will have a few new pieces in this one, and the Seen has graciously let me borrow back some from them, so if you missed it there you can still see 'em at Callanwolde!
And finally, I just got my photos back from Walker Montgomery and he's done a bang-up job once again. I can't seem to create a link to his name without resigning to all italics. Hmm... Anyway, I'll be posting new pics again soon now that these are done. Enjoy!
Tuesday, October 27, 2009
Seen Gallery Show
After a lengthy hiatus, here's a post to tell you that I'll be hosting a show at the Seen Gallery in downtown Decatur on October 30 at 7 pm till around 10. I've got lots of new pieces that I'll be posting here after the show. Come drink wine and check out all the new work!
Thursday, May 14, 2009
Spring Sale at Callanwolde!
Tomorrow is our annual spring sale in the greenhouse at Callanwolde! We'll be there hanging out from 7 til 10 for the reception with cheap wine and art snacks. Then the show will be up all weekend until about 5 on Sunday, so come check out my newest works and all the various forms in clay that the assistants and instructors have made.
Tuesday, May 5, 2009
Here's his droopey underbelly and his sinewy neck where he turns away from the house being pulled off. I love his belly and it's a bummer you can't see it unless you're really looking. But as a treat for you internet viewers I'll point you right to it!
This is another dog in progress. This one sits stoically, but wincing in pain as his house is pulled from him by silly little pups (not yet pictured). I like to use dogs as characters who represent loyalty and power, much like the fierce and skinny dog who protects his house. But this dog recognizes it is time to surrender, although it is painful for him. He's still a muscular and formidable figure, but the things we create must pass on to a new generation. I want him to show he has faith in a principal, and that is his loyalty.
The Price of Safety
And the professional shot, so you can see a different angle. This was the first sculpture I made standing up on thin little legs, and I had to fire it with a large clay support on his stomach to hold him up while he dried. Getting this into the kiln was really dicey, but successful in the end!
Here's the finished version on display at the Callanwolde Holiday Sale '08! Red and Orange and dirty and angry! The sinews in his neck are my favorite part.
Here's a shot of an emaciated dog, scared and angry, protecting the house on his back. I wanted his body to look taxed from holding this house up, and the house to look like a tiny mansion, something many of us would strive for and maybe lose sight of the cost of getting there or holding on to it.
Thursday, April 2, 2009
Left To Burn
One vain rabbit with a once nice two story little house, now all burnt out. This one's got a provocative little pose going and a contented grin on its face, unaware of the problems it holding on its back. By the way, if you want a closer look at any of these, just click the picture.
Side view
and a close up of the house
Foolish Bird (the cynic)
and here is the second one. I wanted him to look older and grumpier. He resigned himself long ago and has really crumbled under the weight of his tower. You can't see the back view, but his ribs and spine slowly become the beams and siding of the tower. I wanted the line of distinction between animal and structure on this figure to be especially obscured, to convey the length of their symbiosis.
Foolish Bird (defeated)
This is the finished first bird: Foolish Bird (defeated). He has a dopey kind of look on his face and some nice big fat rolls from his lack of movement. He's a lazy and sad character, content to sit and dumbly ponder his fate.
Sunday, March 29, 2009
The second piece in the series - a fat, lazy bird. Grounded by the tower he's got on his back, he just sits dopily. I wanted to make three bird, one fat and lazy (this one), one old and cynical, and one stupidly optimistic. They would all be tethered to each other by bridges connecting the towers. I have yet to make a stupid optimistic one I'm happy with, so the two I finished have just been displayed alone and flightless.
A Beast Submits
The finished piece: A Beast Submits
Clay work was done, so now just drying it out for the glazing!
Back view after the slabs were added for the house.
and the front. They were still pretty soft when I put them on so it would look more like they were melding with the skin. I thought this was important for the concept - not that the houses were just built there or fastened on, but that they grew from the animals and their relationship was symbiotic.
This was the first piece in the series I've been working on lately. The basic idea of most all my artwork has been trying to find a balance with basic human nature and the modern world. So these animals, which I try to use to represent raw emotion (ie: dog = loyalty, anger ; pig = sloth, defeat) are burdened by the structures that grow from their backs, but are ultimately responsible for them because they are attached. So the sculptures are the resulting struggle of that playing out. Weighted down birds get fat, vain rabbit ignores the house and it ends up burning... that sort of thing.
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Partly Cloudy 52.0F | Forecast »
Art as an Adventure
Tony Foster Blurs the Lines Between Creative Work and Play
(page 3 of 3)
“Generally, I simply draw the colour areas and have my own shorthand for the colour to be applied (PG, BU, AC over YO for example: Paynes Grey, Burnt Umber, Alazerian Crimson over an undercoating of Yellow Ochre) or “sick”—an eau de Nile Green with a touch of Chrome Yellow.
In the end, it’s all about aesthetics—what looks right when applied. My eye tells me immediately if, when a colour is applied, it strikes a false note, so I may completely ignore my notes when I get back to the studio, and use my memory and judgment instead.”
The work then is hauled back to Tywardorth, the small village in Cornwall where he and his wife, Ann (also an artist), reside. There, tucked up against the fierce winters that visit that wild coast, he completes each painting.
Once I ask him, with his awards and acclaim, if he was considered famous in his hometown.
Foster says his mates at the local pub in Tywardorth (once described by Daniel Defoe as “a village of little note”) are mostly unaware of the sometimes exhausting and dangerous nature of his work. Or the esteem in which he is held by the larger world. And, after a prolonged absence, they might chide him about “the missus” keeping him away from his pint. Never mind that he may have just returned from an expedition to the Amazon, freezing in Greenland, baking in the Grand Canyon or suffering altitude sickness near Everest, all in the pursuit of his art. A fact he is unlikely to enlighten them with.
There is not enough room here to compile the list of Tony Foster’s accomplishments, adventures, travels, and works of art. In keeping with the British (and Foster’s) penchant for understatement, just the list of his catalog titles and major journeys from 1982 to the present may testify to the passion and dedication he brings to his work, and to the world:
“Travels without a donkey in the Cevennes—in the footsteps of Robert Louis Stevenson”; “Thoreau’s Country—walks and canoe journeys through New England, U.S.A.”; “John Muir’s High Sierra-—a 250-mile walk in the Sierra Nevada, U.S.A.”; “Exploring the Grand Canyon—400 miles walking the Grand Canyon, Arizona, U.S.A”; Rainforest Diaries—watercolours from Costa Rica”; “Arid Lands-—watercolour diaries from journeys across deserts”; “Ice and Fire—watercolour diaries of volcano journeys”; “After Lewis and Clark—explorer artists and the American West”; “The Whole Salmon”;“Watermarks—watercolour diaries from swamps to icebergs”.
Foster’s current project (his most ambitious yet) is titled “Searching for a Bigger Subject.” With it, the artist brings huge (6’x6’) iconic works painted on site of several sides of Mount Everest and the Grand Canyon from both rims. The next major exhibition for those works is scheduled for October of 2008 at galleries in San Francisco and New York, with a show in Sun Valley being negotiated. At the same time, Foster’s large-format, four-color book, Painting at the Edge of the World, will be available.
The list above and the work before him are almost as exhausting as the journeys, presenting to us an extraordinary man leading an extraordinary life.
So we come back around to truth! And whether or not we should believe Mr. Foster when he denies the importance of his reputation as adventurer versus that of artist. Knowing Foster, first as a comrade of the trek, and now as an artist and writer, I feel qualified to say his real truth is in his work, his humanity, and his heart. The rest being moot because, fortunately for him (and for us), when the artist departs, be it for the Arctic or the Amazon, he will be unable to leave the adventurer at home.
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Born and raised in the small Iranian city of Sari surrounded by the Alborz Mountains and the Caspian Sea, architect Nastaran Mousavi grew up appreciating the vast differences between the rich natural landscape and the heavily populated city. With a houseful of architects, it’s no surprise that it’s the career she landed on as well. Mousavi earned her undergraduate degree in Architectural Engineering from the University of Tehran before moving to the United States in 2011 to study for a Master of Architecture degree at the California College of the Arts (CCA). She remained in San Francisco after school and co-founded Studio BANAA, an architecture practice focused on innovative urban infill and adaptive reuse projects for real estate developers, local businesses, and community organizations. The firm is also a certified Woman-Owned San Francisco Local Business Enterprise (Micro LBE). Over the years, Mousavi has taught architecture for the Young Artist Studio program and undergraduate students at CCA, while also acting as a guest reviewer at Academy of Art University, CCA, and UC Berkeley. Today, she joins us for Friday Five to share places, designs, and things that inspire her.
Photo: Esghali Iranmanesh
1. Mazandaran
I grew up in a small but dense city in the province of Māzandarān. This chunk of land in Northern Iran is unique in many ways. It is bounded on one side by the Caspian Sea, and by the Alborz mountain ranges on the other. Through the history of Iran and the many invasions it has undergone, this land has remained majorly intact due to its geographical setting. The language (now considered a dialect – Tabari) and the culture remain mainly untouched and unaltered. The fertile lands close to the sea and the giving and rich forests along the mountains made this jewel a diverse ecosystem. My life has been split between the dense urban setting of my hometown and the rich, lavish setting of villages where my farmer relatives lived. The juxtaposition of these two very different lifestyles have always raised a question in my head on which lifestyle is really better for us and our planet? I continue my obsession with villages and micro-living and anywhere I go, my first pick is to visit a village. I believe that’s where you really learn about an ethnicity, their culture, art, and way of living. Where globalization and industrialization are ruining all these unique and rich pieces of land and their culture.
From the book: “The Beautiful Brain: The Drawings of Santiago Ramon y Cajal” \ Photo taken from book: Nastaran Mousavi
2. Brain Cells, biological microscopic forms/geometry in nature
One of my biggest inspirations is natural forms, especially the microscopic ones. I dig deep in those and love to study their structure and materials. I’m obsessed with collecting books that depict natural forms and compositions. There is something in nature that we as human beings have not yet been able to realize and replicate. Compositions that work so perfectly in terms of color and structure, functions that are harmoniously creating an ecosystem that’s self-sufficient and works on its own.
Tala Madani, Projections, 2015. Oil on linen, 80 x 98 1/4 x 1 3/8 inches. Courtesy the artist; David Kordansky Gallery, Los Angeles; and Pilar Corrias Gallery, London \ Photo: Josh White
3. Tala Madani
I became familiar with Tala Madani’s work at multiple museums in the US and Japan. She’s an Iranian-born American artist and her art has a satirical theme. Her sketchy but exaggerated style through which she describes delicate relationships between people and themselves and their body, some things you might not see or touch on in everyday life are very inspirational to me. It’s always a discovery process looking at her work, which is what I like!
Photo: Nastaran Mousavi
4. Handwoven Rugs
I come from a world of rugs, and I’m obsessed with them. Every time I travel home, I bring at least one rug back with me. I sometimes spend hours sitting on my rugs at my apartment, and it just takes me all the way back to Iran and to my childhood memories. All the effort and thought behind creating these masterpieces are invaluable. From Gabbeh to Farsh to Gilim and Namad, there are thousands of years of history, culture, art, and heritage in these pieces. I can’t get enough of them.
Photo: Maryam Moqisé
5. Locally Crafted Jewelry
I am not a jewelry designer or maker in any way, but I sure am a collector. I am particularly interested in jewelry made by indigenous people from all over the world. It is a type of art that really comes from people and is something that I feel should not be “designed” in the contemporary term. Any place I travel to, I try to buy jewelry from local artisan markets, where the opportunity is given to local and indigenous people to showcase their arts and crafts, not from fancy museums. One of my favorite jewelry makers is mim accessories, an online jewelry store founded by Maryam Moqisé from Iran. What I love about her mission is that she collaborates with indigenous women from different tribes of Iran (Balochi women in particular), using their craft such as Suzan Duzi (embroidery) and weaving to create authentic handmade jewelry. Suzan Duzi is a crafting technique carried over for hundreds of years amongst the Iranian tribes using natural dye to create vibrant fabrics.
Work by Nastaran Mousavi:
Photo: Mike Sanchez
Voyager The Square
This kiosk for Voyager had to be built in just 45 days. But not only that, being a small space within a much larger one at San Pedro Market in San Jose required creative solutions for brand visibility and ease of use in a high traffic area. Challenge, accepted. We positioned most of the glass windows to overlook the street and created a round bar that would stop people in their tracks from any angle (long enough to smell the coffee). Arched metal shelving echoes the broader context and colored triangular dowels shift and change with your line of sight – creating movement where there isn’t much space to move.
Photo: Danny Le
The fitness tech company, Zenrez, calmly sits on the cutting edge of a crowded industry. So, for us, the headquarters needed to harness that spirit and inspire its workers every time they jogged through the door. We designed the entire space – that sits within a historic building in downtown San Francisco – around a central piece we call the “spine” (no idea why). Curving and flowing through the center, it separates focus areas and collaboration spaces, while guiding people through the space. Inspired by Eastern philosophies at the heart of the brand, we kept the interiors full of light, air, ergonomic shapes, and hints of nature. Perhaps most importantly, we designed this space to grow as the company does – with the opportunity for more desk space and collaboration areas as needs change.
Mini Living
Finding new ways to house more people in a city of diminishing space, is a challenge that’s always on our minds. A Dezeen x MINI Living Future Urban Home competition asked us to consider how we will live in cities 100 years from now and propose an innovative solution for a “big life, small footprint.” We brainstormed hard, threw ideas at the wall, and worked with fellow architect and urban designer, Sarah Estephan, to consider how we could add density to a low-rise landscape. The crux of our solution was to create a self-contained mini village where work and play coexist, and space is shared like never before. We proposed utilizing backyard spaces as extra land lots to house more homes. And embracing rooftop gardens, close neighbors, small business hubs and affordable housing that feels modern, vibrant and community minded.
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News and Opinion from Sisters, Oregon
Wattenburg strives to keep the arts alive at college
Lauren Wattenburg is helping to keep the performing arts alive during a time when live performances are not possible.
This Thursday, she will participate in virtual performances put on by Utah Ballet and the University of Utah School of Dance.
Wattenburg — 2017 Sisters High School graduate — is a senior at the University of Utah pursuing her bachelor’s degree in fine arts in ballet, as well as doing prerequisite courses for physical therapy.
This past year, her livelihood and way of life has shifted due to the COVID-19 pandemic; she is no longer able to perform or have a normal studio life.
“The entire dance world has had to adapt because we have been taken out of our studios and dancing from kitchens and living rooms and we have to get creative to keep moving and training,” said Wattenburg.
In March, Wattenburg returned home to Sisters and finished her junior year from home, using her living room and kitchen as her dance studio.
Virtual classes and intensives were made available from all over the world over the summer for dancers. Wattenburg completed a virtual summer intensive with Alonzo King’s LINES Ballet, a contemporary ballet company based out of San Francisco.
“We were all sort of out of our element, not being in the studio surrounded by people as usual in the dance world,” she said.
For her senior year, she is back at the University of Utah with her academic classes all online. Her dance classes are now in person with modifications and mask wearing and social distancing in class.
“It has been really nice to be able to be back in the studio for classes, even with the modifications,” she said.
Wattenburg and her peers in dance are putting on virtual live performances streaming from the Marriott Center for Dance Theater in Utah. Every year, the School of Dance at University of Utah puts on a set of choreographed performances with a live audience, but this year, they will be doing the same type of performance with a virtual audience watching on a livestream.
The event was made possible by the School of Dance faculty striving to give their dancers the opportunity to perform.
“They decided to go with doing virtual performances and to adapt to the situation as best as they can and get us to still have these performances,” said Wattenburg.
The performance will consist of four unique pieces, all with original choreography by faculty. The shows run for three nights, with all four pieces featured each night.
Wattenburg is performing in the third piece, entitled “Maybe Tomorrow,” choreographed by professor Melissa Bobick.
“The performance is a reflection on thoughts and feelings during this immense uprooting of reality and a chance to experience that reality,” said Wattenburg.
Wattenburg and four of her peers will be performing live on stage, wearing masks and livestreaming the performance out to audience participants.
The livestream event also gives people from Wattenburg’s hometown of Sisters the opportunity to see her perform live for her university.
“The people that previously couldn’t see these performances can now, and it reaches a broader audience — hopefully inspiring a deeper interest and appreciation for the arts,” she said.
As for Wattenburg’s post-graduation plans, she is currently figuring out how to adapt to a changing livelihood.
“My pre-COVID plans are out the window,” she said.“I was originally supposed to be graduated by now and dancing in a professional company. I have become OK with the change and being able to expand my work with the university and the academic course work as well.”
Wattenburg is currently trying to adapt to a changing world in performing arts and is excited to see how the future will unfold for the profession as a whole.
“I am learning to accept and appreciate the uncertainty of the future and will hopefully be auditioning in a professional environment in the near future,” she said.
The virtual performances put on by Utah Ballet and the School of Dance, will be this Thursday, October 22, at 4:30 p.m., Friday, October 23, at 6:30 p.m. and Saturday, October 24, at 1 p.m. and 6:30 p.m. These times are PST, but on the website, they are listed in mountain time. The show consists of four sets within each performance. The livestream for the shows can be found at https://www.dance.utah.edu/virtualshows.
These live streams are free of charge and open for anyone to watch. There will also be a donation button where patrons can donate to supporting the work of the faculty, staff and students at the School of Dance at University of Utah.
“The goal of the event is to bring together as best we can and it gives a chance for people outside of Utah to see the performances from anywhere,” said Wattenburg.
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Besides baseball, in my youth I was enamored with all kinds of art and loved to sketch, but was especially drawn to the places where people lived and worked. In my spare time I would redesign homes, churches and schools imagining how they could be improved, yet observing that every one of them had a particular character and place in history. As a preacher’s kid, I also learned that every person has a unique story worth hearing and appreciating. Now an architect, I believe every place has a story and I search for that dialogue between person and place in every project.
During high school, I worked as a custodian cleaning and maintaining a nearby church and school. There, I became intimately familiar with how buildings functioned and the importance of material durability. I have also had wonderful opportunities to learn the craft of building and design along side many talented architects throughout the country and internationally since 1979. Shortly after graduating from the University of Cincinnati, College of Design, Architecture, Art and Planning in 1983, I moved to the Washington DC area earning my license in 1986. I have since worked on residential, commercial and institutional projects including Reagan National Airport. Also highlighting that period was twelve years working with Hugh Newell Jacobsen on many elegant residential and institutional projects located across the country, serving as his Chief of Staff for four of those years.
“There are not different kinds of architecture, but only different situations which require different solutions in order to satisfy man’s physical and psychic needs… Man dwells when he experiences the environment as meaningful…Architecture means to visualize the ‘spirit of place’ and the task of the architect is to create meaningful places, whereby helping man to dwell.”
-Christian Norberg-Schulz
Favorite Quote
Travel, photography, theology, parenthood, volunteering with Food For Others, Homestretch and Rebuilding Together
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Surviving the mission to Mars in Netflix’s Stowaway
Stowaway writer and editor Ryan Morrison discusses his remote workflow on the new Netflix film.
Image Source: Netflix.
Starring Anna Kendrick, Daniel Dae Kim, Shamier Anderson and Toni Collette, Netflix’s Stowaway follows a space mission that is headed to Mars when an unintended stowaway accidentally causes severe damage to the spaceship’s life support systems. Facing dwindling resources and a potentially fatal outcome, the crew is forced to make an impossible decision.
The film’s co-writer and editor, Ryan Morrison, relied on Adobe Premiere Pro, After Effects, and Photoshop while editing remotely. We asked Ryan about his favorite scenes to write and cut together, how Productions in Premiere Pro allowed his team to work more efficiently, and his advice for aspiring filmmakers. Ryan has been editing on Premiere Pro since his days as a YouTube creator and we were excited to hear about his experience as he transitioned into feature filmmaking, first with Arctic and now with Stowaway.”
How and where did you first learn to edit?
I first learned to edit pretty late in the game. I was taking some basic production courses in college. It was great to learn the basics there, but I did most of my learning from trial and error. Shooting and editing my own projects for fun.
How do you begin a project/set up your workspace?
I’m often editing on set, so my setup and workspace are usually dictated by the location. For Arctic, I brought the bare essentials into the snow with me and assembled much of the film from a cold trailer in the middle of the Icelandic wilderness. For Stowaway, I had the great fortune of setting up my suite in an office only a few steps from the stage. At some points my desk was literally in the soundstage next to the set pieces.
See also How Bridgestone re-aligned its digital marketing with Adobe Experience Cloud
Tell us about a favorite scene or moment from this project and why it stands out to you.
My favorite scene is the launch at the very beginning. It was the first thing [director and co-writer] Joe [Penna] and I wrote and didn’t change very much from that first draft all the way through the final edit. We both had such a clear picture of what that should look, sound and feel like right from the beginning. It was so much fun seeing every layer being added. Words on the page, to previsualization, to production, the cut, sound design, music, VFX, then color. The final product was better than we imagined.
Image source: Netflix.
What were some specific post-production challenges you faced that were unique to your project? How did you go about solving them?
The pandemic hit while we were in the middle of post. Joe and I were in LA and were not allowed to travel to Europe at the time.
We ended up coming up with a workflow where Joe and I were in LA and could remotely monitor the colorist and DP who were in Germany. We used calibrated iPad Pro’s to ensure uniform color representation. Then we managed to review some exports at a local color house.
Image source: Netflix.
What Adobe tools did you use on this project and why did you originally choose them? Why were they the best choice for this project?
I relied heavily on Premiere Pro, After Effects and Photoshop. Productions in Premiere Pro offered us a platform for a very efficient workflow involving multiple users. After Effects integrates seamlessly with Premiere Pro and it was critical for me to be able to mockup effects in order to feel the truest rhythm of a scene. Photoshop was an essential tool for Joe and I to mockup and communicate complex visual concepts to our VFX team.
What do you like about Premiere Pro, and/or any of the other tools you used?
I love that all of the Adobe products I use are constantly evolving. Most NLEs serve the same basic functions, but Premiere Pro stands out to me because Adobe is always listening to the users. Every project has different needs and problems. In the years I’ve been editing professionally, I’ve had a laundry list of features that were at one time wishes and now are part of my daily workflow.
What’s your hidden gem/favorite workflow hack in Adobe Creative Cloud?
Productions in Premiere Pro was an absolute gamechanger. It allowed myself and my assistant to be able to work simultaneously without fear of overwriting or undoing anyone’s progress. It also eliminated wait times on opening large projects.
Who is your creative inspiration and why?
It might seem a bit odd, but my creativity is heavily influenced by a phrase my dad would always say to me when I was growing up: “Use the right tool for the job.” Looking at things that way makes me take a step back from whatever I’m working on (writing, shooting, editing) and remember to ask myself “what are you trying to achieve?” In my YouTube days, frenetic editing was the right tool for an off-the-wall MysteryGuitarMan video. For Arctic, the right tool was stark, slow shots to feel isolated. For Stowaway, it’s focusing on tension, both externally and internally. That phrase has really shaped me as a filmmaker.
What’s the toughest thing you’ve had to face in your career and how did you overcome it? What advice do you have for aspiring filmmakers or content creators?
The toughest challenge I’ve ever faced in my career was when our YouTube channel was no longer sustainable for Joe and I to make a living. We were left with a choice to go get stable jobs in advertising or we could go all in and take one big swing at jumping into the big league with a feature film. The film was Arctic.
People often ask what advice I would give to aspiring content creators. I would tell them to start making things. If you’re already making things, then keep making them. Make them with friends. I think it’s better to look back and have an assortment of small projects that each carried a lesson with them, then to have a handful of great ideas that only live in your mind.
Share a photo of where you work. What’s your favorite thing about your workspace and why?
Image source: Ryan Morrison.
I love working from home because I don’t need to commute, I can start and finish as early or late as I’d like. And it’s so easy for my best friend (who happens to be the director) to come by and get some work done. That said, I’d love to someday have a space dedicated purely to my setup. The Arnold poster is a modified prop from the film with my face pasted onto it, courtesy of the art department. This photo is indie filmmaking in a nutshell. My living room doubling as our edit suite.
Stowaway is streaming on Netflix today.
Source : Adobe
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How to kiss a girl step by step video,how to find a birth record,relationship quiz are you happy,relationship advice searchquotes com - Videos Download
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1000+ ideas couple drawings pinterest art, How to draw step by step drawing drawings of couples, anime couple drawings, tumblr couple drawing drawing cute kiss, cute couple drawings,. How draw chibi characters - cute chibi couple love heart cc, How draw chibi characters - cute chibi couple adorable chibi great valentine' day drawing draw anime couple. How draw hugging people animals loving embraces, How draw hugging people animals loving embraces easy step step valentine' day hugs drawing draw couple learn draw anime.
My "How to Draw Realistic Lips" is power packed with plenty of sketches, tips, and techy info on the lips and mouth.
Now when you draw lips, the line which separates them needs to be drawn first and defined (dark). Look for generalities (like the top lip is thinner than the bottom lip) and uniqueness (when lips are shaped differently, like top larger than bottom). The two parallel lines in gray are to give you ability to compare where the red intersecting lines go.
I made this line drawing especially for you if you don't want to do the pencil shading and blending part. The picture that goes with this step shows two different ways to hold your pencil to acquire certain effects.
PENCIL STROKES & TONE, SHADING, TEXTURE -- For your convenience, I have inserted this step with different pencils, strokes to use. Now technically this is your first step and what you will do to start it off is draw two circles the exact same size for the heads.
In this step you will start the sketching process of the hair style in the front and then the shaping of their faces. In this fourth step you will start drawing out the rest of the hair style for both the anime female and male.
Well this is your last drawing step and all you will have to do here is add the hair definition lines to their heads, and then draw out the shape of his ear. You will now draw her one eye that is showing closed, and make sure the lid is thick, bold and dark. I did not create shading for this drawing, but if you would like to draw Jessie J, I have a tut on her.
Another thing to mention is lips tend to get thicker when the mouth puckers up as presented at the bottom line of sketches. Also the cylinder shape in the picture represents the direction and perspective of the lips. And you can study the shapes that make up this drawing universe, along with tone, shading, and texture. If I were to do the whole picture in a pencil sketch,(sketching in small circles, lines or crosshatching to shade the areas, it would take hours upon hours to cover all that area with a pencil.
The easiest way to start these steps is to draw two faces with one on top of the other and then just erase the lines of the females nose and top lip.
You will then add the face guidelines which are two dash like lines and then the line of position for their necks.
Once that is done you will draw out and thicken the closed eyes and draw out the front of the necks.
How many of you have always wanted a tutorial on drawing these two Mario characters embraced in a moment of love and affection? Again, draw the profile of Mario's face, then draw in the hair line as well as his large ear. From the artist point of view, it is important to know the parts of your subject to convey a more knowledgeable and realistic art piece. Check out the different shapes (nicknamed) lips can come in, even some that don't have that Cupid's Bow shape.
Practice drawing them within the semi-cylindrical surface, this represents the jaw bones and follows the rules of perspective. Just like my guidelines, imagine a line between the mouth’s corners, then everything will be clear. UNDERHAND: Holding the pencil at a 45 degrees or near level to the table with end of pencil under your palm with pencil on the flat side, gives you large shading coverage. You can put out some subtle signals that you’re angling for a kiss without coming right out and saying it. There was this one position that I never drew before and I thought that it would make a cool tutorial because if you really think about it you can’t find this pose anywhere.
In the second step start first with the inside outline of the mouth and progress to draw her teeth and tongue. Follow the pictures to learn how the lip shape is formed through 3-dimensional and block lines.
Are there any celebrities, family, friends or even your lips that match any of these shapes? Also at the bottom line you have a mouth opened, a snarl, and one perhaps blowing out a candle.
As a general rule, the upper lip is usually thinner then the lower (samples in the previous steps give unique lips that don't apply to that rule). When you rotate this picture to the right 90 degrees (clockwise), you get that archer's bow shape. It’s an area where the top and bottom lips intersect, so make sure they have a fair amount of volume. I really had a lot of fun drawing out the concept of this project and I think that they came out beautifully.
I have to admit, I didn't know that drawing Mario and Princess Peach kissing was going to be so fun. Make sure you don't forget that since the teeth are under her upper protruding lip that makes the shadow. ORAL (LIP) COMMISSURES are the corners of the lips and are always darker since it's away from the light.
The way that their lips are locking really makes it look like that these anime people are in love. ANOTHER TIP: For the profile view, the top lip normally protrudes more than the bottom lip or as much as it. The 3 lips in the lower right-hand corner are sketches of unusually positioned lips, puckering, lick, biting on lower lip.
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The Simple Things
In their element
EARTH Kanchan Dawn Hunter connects with the soil as a gardener
“What I teach is to spend two thirds of your life as close to the earth as possible. If you work in an office, you need to plug into the planet after work. The earth gives us everything we need, but we need to start extracting less and living in balance. We don’t have to go back to the stone age, but we can devise better models. Small changes are easy, I wish people would get rid of their lawns and instead plant pollinators to give back to the creatures that keep us alive. I watch our garden carefully for a decrease in bees and butterflies. I feel so connected to the planet; I hope that we’re going to be fine but I get so upset sometimes thinking about the people being affected by climate change who had nothing to do with making that problem.
The majority of my work is focused on our non-profit nursery, Spiral Gardens, where we sell plants to the community at low cost. I’m working with soil, with plants, watering, transplanting and answering questions from people new to gardening. About 10 years ago it dawned on me that plants are the true currency. I think that it’s a revolutionary viewpoint for humans to take because it goes against capitalism. Access to food is a natural right for all living things and it shouldn’t be regulated and monetised.
Understanding how to use the soil and learning how to work in collaboration with the natural elements gives us a deeper understanding of life. Gardening and growing your own food and plant medicine is a way of unplugging from a system that, in my view, is totally broken. The big agricultural organisations are such a top heavy, male-dominated model. The people actually doing the heavy lifting and planting on farms like those are eating that produce the least. More women are growing food, especially women of colour, so we’re steering the resources to the communities that need it the most. We’re trying to teach these communities how to grow their own food: it should be taught in schools really.
People ask me how I keep working so hard, but it’s the only thing keeping me sane. I am outside all day and I’m sure it’s the soil, the plants, the creatures – they all make me incredibly happy.”
AIR Gretchen Kimball navigates the skies as a hot air balloon pilot
“When you fly a hot air balloon, you’re surrendering yourself to the elements. There’s something so primitive and simple about it. It’s quite otherworldly, being able to levitate off the ground and to float without really being able to steer, but also having to be very accurate; there’s a sort of mystery to it, you really only have control of up and down.
I don’t think I’d have pursued this career if it hadn’t been the family business, but I grew up with it, it was fun, and I was good at it. I tried other careers but a few years ago my brother needed extra pilots and asked if I would come back and fly the small balloons.
Sometimes you have to make difficult decisions, but you can’t work from a place of fear. There’s a fine line between what we have control of and what we don’t. You need a tremendous amount of respect for nature, it’s always stronger and smarter than us. Understanding the dynamics and laws of nature allows you to feel humble in its presence. I think that anyone who does extreme sports understands the harmony that’s created when you understand the winds, the atmosphere and gravity. You may not understand it in mathematical form on paper, but you can feel it intuitively.
The sensation people have just as you lift off, when they suddenly realise that we’re off the ground and we’re lighter than air, floating away, is actually really tranquil. Passengers sometimes expect more of an adrenaline rush but it’s tranquillity and peace that buoyancy gives you, just floating on the currents. And when you touch back down, everyone realises they’ve just been on a very special adventure. The most wonderful moments are when people tell me it’s something they’ve wanted to do their entire lives, and I’ve made that possible and taken them into a realm they’ve always wanted to experience. Sometimes people joke, ‘You call this work?’ I’m glad I make it look easy!”
“You need a tremendous amount of respect for nature, it’s stronger and smarter than us”
FIRE Cjay Roughgarden harnesses heat as a welding fabricator
“I’m totally a fire person, when I work with it, I feel like I’m in contact with a raw element. It’s a direct bodily experience, when I’m using my own weight to pull against a piece of metal to bend it, or looking at the colour of steel to tell how hot it is. The man who taught me how to weld said,
‘These are the elements on the periodic table, you are manipulating them with light and heat.’ I can’t think of anything more spiritual than that.
I’ve always been crafty, but that first time I got to cut through metal with an accelerated jet of hot plasma, I was in love. I’ve done desk work, but I love working with my hands – the outcome is so tangible. I had Lyme disease in my twenties, which affected my capacity to work. Coming into metalwork my first thought was that I probably wouldn’t be able to do it; you walk into a workshop, there’s sparks flying, you don’t know how any of the big tools work. I learned that I could do it, but that I had to pay real attention operating equipment, because these things could kill people.
I’ve worked as both a teacher and a writer and found that if you make a mistake, you apologise and then shuffle around looking a little embarrassed.
But if you’re operating equipment, no one cares about apologies. You have to own your mistakes, it’s a different type of strength and confidence.
It’s not a very healthy job; without a lot of protective gear I’ll come home looking like a chimney sweep. And it’s dangerous: I’ve sat on a hot weld, fallen from a great height and sometimes pieces of steel fly in my eyes and I have to remove them with a magnet. It gets hot wearing a hood and leathers and it’s uncomfortable, but I think most people who are drawn to working in the trades are kind of used to pushing through physical conditions.
I’m part of an artist collective called Five Ton Crane. We make large art pieces for Burning Man, an experimental festival in the Nevada desert that showcases huge art installations. I’m one of the only female builders. It’s been a great exercise, as a human being, to get to know myself and what my capacity is. I am very grateful to the group – the women for being so inspiring, and the men for being excited to support us.”
WATER Aylana Zanville works the waves as a surfer
“I live in Santa Cruz, California –
I grew up here and learned to swim before I could walk. The ocean’s cold but exhilarating – you can’t stay out for long but you can surf every day of the year.
I moved to Hawaii for a while, around 15 years ago, and discovered that the water was warm and comfortable. I’d always surfed in a wetsuit before that, and I hadn’t realised that women’s swimsuits just don’t stay on when you surf. I was teaching surfing and right next door was a seamstress, so I brought one of my bathing suits to her and asked
“That first time I cut through metal with hot plasma, I was in love”
her to make a few adjustments; now
I have my own brand of swimwear suitable for surfing in (olachica.com).
In 2018, I got the right crew together to take over running ‘Women on Waves’, an amateur surfing event. It’s such a positive experience for young girls, less gnarly competition and more supportive. The surfing scene is still a bit of a boys’ club, although I feel pretty welcome, especially here in Santa Cruz, because people recognise me. However sometimes, when I travel, some guys still think a girl can’t surf. I’m not afraid to show them we can!
It’s never the same, day to day, that’s what keeps it interesting. Some waves are big and scary and you wonder if you can handle it. But there’s nothing like being barrelled – it’s almost like time slows down when you’re surfing inside the curve of a breaking wave and it’s super peaceful. People tell me I look young and I say, it’s the ocean. It keeps me youthful. It’s such a de-stresser. I have to swim or surf or kite-surf or something.
I surf in a helmet now because I was in an accident in Indonesia. The waves were great, but I’d been travelling for 24 hours and I definitely made a couple of mistakes, which is not the way I normally work. As I was pushing myself up to stand, my board dropped away from underneath me and the wave threw me around eight feet down, headfirst into my surfboard. I knew straightaway that I’d broken my nose, blood was gushing down my face. It turned out my cheek was broken, too. I needed plastic surgery and had to stay in hospital. When I eventually got home, I was out of the water for three months recovering. Once I was ready to surf again, I bought a helmet with a retractable faceguard. I felt a bit dorky at first, but I was just so happy to be surfing again, it was like coming home.” This feature was originally published in Oh Comely, issue 49.
“It’s like time slows down when you’re surfing inside the curve of a wave”
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One Day x One Eighty
13 August 2020
One Day x One Eighty
We are committed to assisting organisations with our One Day initiative. This is an initiative where Visual Domain supports one organisation per month who will benefit from our expertise in video production!
Supporting your cause, your voice and your community.
To break it down the initiative comprises of providing a worthwhile organisation one day of creative planning, one day of filming, and one day of post production.
If you know of a business that should be considered please fill out this form and hopefully we will be able to assist them next!
Visual Domain has partnered with One Eighty
which is an organisation that fills a gap currently in Australia's current suicide prevention strategy, based in Sydney, run by young people for young people with a vision of a future free of youth suicide.
After sitting down with One Eighty and discussing what type of video would be best suited to assist, Lauren Burgueno, Producer and Adam Moorhead, Relationship Manager pitched 3 creative ideas. Initially they all decided on a concept that involved filming with their facilitators in Sydney. Over this time COVID-19 reached Australia and One Eighty decided to post-pone until after lockdown.
"Being able to use our skills to make an impact and give back to organisations like One Eighty who are doing so much good in their communities is such a privilege" - Lauren B, Creative Producer
However Lauren believed, their message about 'Opening Up' was more crucial during this time than ever so she proposed an idea of animation that would serve the same purpose as the in real life filming. After sharing some examples and assuring the message everyone was on the same train of tough.
Lauren fleshed out the script and developed the concept on the video featuring real people to flow throughout the video, Adam then refined the script and shared it with Josh (Legend Animator) to get input on the visuals from the outset.
Once the script was approved, Josh worked through the animation and he was focused on trying out a different style of animation that would work well for the concept. Josh then worked his magic with a workshop on a few of the visuals the video was then ready for the client to review.
The aim of the video was to create something that showcase One Eight's 'Open Up' program, however on a deeper level communicated the messaged behind the program that are so relevant in this climate and how important it is to communicate with each other and be there to listen.
One Eighty were so ecstatic with the video that there were no changes.
"Thank you SO much!! We really love it!Thanks for your time and support, we really appreciate it"
To find our more about One Eighty and what they do please go to their website. If your business or a business you know might be suitable for our One Day Initiative please let us know and contact us here.
One Day x One Eighty
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5c7a9b13-70ac-42e7-8ae1-629dd89687aa
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Artist says Thinx underwear campaign ripped off their memes (updated)
Bunny Michael says Thinx was familiar with their work.
Nayomi Reghay
When period underwear company Thinx released a new campaign last week, artist, musician, and “higher self” meme-creator Bunny Michael was shocked to find that the images resembled their own art.
Featured Video
Michael, who is nonbinary and uses they/them pronouns, created a side-by-side comparison of the images and posted their concerns to Instagram.
Thinx’s photographs feature “doubles” of comedian Ilana Glazer promoting the company’s Crimson line. In one image, Glazer relaxes on the sofa as her body double and triple serve her tea and cakes, all in red underwear. In another image, Glazer forms a massage train with her many selves. In a third image, Glazer embraces herself from behind while resting her chin on her other self’s shoulder.
According to Michael, the images closely resemble the signature concept of their own “higher self” memes, in which they use double-exposure portraits to illustrate the relationship to the self. Michael acknowledges that they are not the first person to create “double” photos but found the similarities alarming because Thinx reached out to work with them in April. Michael documented what happened in an Instagram Story.
“[Thinx] knew my work, especially in the context of self-care,” Michael told the Daily Dot.
According to Michael, Thinx offered them $700 to be a contributor for a book project. Michael said Thinx sent a contract and coordinated a phone meeting, during which Michael shared creative ideas with Thinx employees. But Thinx failed to follow up on the meeting, and when Michael reached out again, they were told Thinx would no longer be doing the book project. The company invited Michael to write a blog for its website instead.
“I felt it was kind of shady,” Michael told the Daily Dot. “I wouldn’t have voluntarily given creative ideas to a company unless I knew that they had hired me.” Michael expressed their frustration and Thinx apologized, again offering a blog assignment. Michael did not respond.
“It’s an unethical practice that happens all of the time, and the more awareness and more consequences are built around it, the more companies will step back,” Michael said. Since their post about Thinx, Michael has received tremendous support from fans and followers. They said they exchanged messages with Glazer, who had previously reposted Michael’s memes. “She apologized,” Michael said. “She was like, ‘I’m gonna think about this and thank you for posting this.’ She was very sweet and supportive and she always has been.”
Michael has been creating double exposure self-portraits since as early as 2015, when they exhibited such portraits in New York City. The artist said they were inspired in 2016 by Evil Kermit memes to create their now widely-shared “higher self” memes, which invert the joke of an “evil self” who encourages you to make terrible, self-destructive choices. In Michael’s memes, the self is instead greeted by a “higher self” who encourages compassion and self-love.
Update 6:50pm CT, Nov. 11: Thinx responded to Michael’s accusations via email on Monday. It maintained that the campaign is not a plagiarism of Michael’s work, citing the images with three and four Ilanas as key differences. Of their response, Michael said, “It’s a bummer and I feel gaslighted.”
Michael has over 111,000 Instagram followers, including famed astrologer Chani Nicholas and artist Stephanie Sarley, who recently accused Miley Cyrus of plagiarizing her art. Michael has two self-published two books, Me and My #HigherSelf: A Book of Memes to Channel Your Inner Wisdom, and Love Notes from Your Higher Self.
“Finding your higher self is a process of remembering who you truly are and remembering your worth,” Michael told the Daily Dot. Michael also noted that they don’t have a problem with others expanding on the “higher self” theme. “I’m totally excited when people come up with their own ‘higher self’ content,” Michael explained. “That’s so cool to me. I love that it inspires other people’s work.”
However, Michael added, “When it comes to corporations that are not being forthcoming—especially when their values are supposed to be to uplift people like me, a nonbinary person of color, I embody what they’re saying they support—I feel like that hypocrisy needs to be pointed out.”
Thinx and Glazer did not immediately respond to the Daily Dot’s requests for comment.
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Artisan Apartments
EME Design has taken out the Building Designers Association of Victoria 2016 Building Design of the Year award for the Artisan Apartments development in Heidelberg in Melbourne.
It is the first time a multi-residential project has won BDAV’s top gong, with the project also winning awards for energy-efficient design, multi-residential design and environmentally sustainable design.
“The team at EME Design have ‘designed for the future’, creating a true exemplar of sustainable living and ticking all the boxes in a convincing and credible manner,” judging panel chair Timothy Ellis said.
“Through features such as carefully detailed building fabric and internal daylighting, water efficient plumbing fixtures and a 20,000 litre rainwater tank, as well as energy-efficient lighting, occupants will benefit from lower running costs and healthier spaces.”
The development’s design also ensures high levels of natural cross-ventilation through the relationship between the apartments and common areas. Internal thermal mass, a well-insulated building fabric, framing and shading the glazing to optimise thermal performance, and energy-efficient lighting all contributed to the apartments achieving an average NatHERS rating of 8.6 stars and a STEPS rating of 339.9.
“Truly sustainable design is a challenging exercise, as it actually has many dimensions to address: energy and water efficient performance, prudent material usage and durability, social liveability, even aesthetic attractiveness,” the jury citation said.
The judges also noted the use of Universal Design principles, including a continuous accessible path of travel throughout the building and pre-planning to ensure adaptability within the apartments if the needs of residents change due to ageing or disability.
EME Design also took home another award in the residential design: new houses up to $300K category for its Cathedralette project in Brunswick.
The judges said the “budget makeover” of a small cottage using a simple, robust palette of finishes including lime-washed walls and timber ceiling claddings created a “light-filled and airy modern home”.
“The home reflects the client’s passion for sustainability, love of nature and Australian materials. It is a brave little building.”
Other award-winners also highlighted a growing trend for sustainable design.
The Culvert House in Trentham by Maxa Design won the residential design: new houses $300K-500K category. The home has been sited to maximise the outlook and winter solar access and “demonstrates the essence of passive solar design principles”, the jury citation said.
Culvert House, Trentham
“The design provides the occupants a zero energy and zero water future through low-tech integrated systems, allowing them an uncomplicated lifestyle in a beautiful rural setting.”
The Culvert House was also highly commended in the best environmentally sustainable design category “because of the comprehensive and effective steps taken in the design process to address sustainability criteria”.
“At a relatively modest capital cost, the Culvert House demonstrates the leading-edge resource management features that reflect best practice,” the judges said.
“Energy neutrality and water management self-sufficiency are not only highly appropriate to the Trentham setting of this property, but also point the way ahead for residential buildings in sprawling coastal cities where a large number of Australians live.”
The judges also commended the project for its use of local materials, including spotted gum, and an attention to embodied energy, “an initiative that is actually well in advance ahead of national building code considerations.”
The judges noted that overall it was gratifying to see how many submissions to the awards recognised the importance of good energy performance as an “integral feature of any building laying claim to design excellence”.
“However, many claims for passive solar design and high insulation levels were not supported by solid evidence such as accredited NatHERS energy ratings,” they said.
The award for best environmentally sustainable design – non-residential was won by NRG Systems for the Winton Wetlands Hub.
The Winton Wetlands Hub
“The client brief called for the Winton Wetlands Hub to be environmentally sensitive, technically innovative and socially engaging for the local community. This criteria can actually been read as code for sustainable design in its purest sense,” the judges said.
The Hub addressed this design brief in an effective and credible manner, they said.
Its “comprehensively worked” sustainability features and its function as a community resource to heighten the awareness of visitors and locals to the significance of the surrounding wetlands and the area’s Indigenous cultural heritage were also said to be “particularly commendable”.
• Read the full list of 2016 BDAV Awards winners here
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Matt + Marcy: "Alice in Wonderland" Whimsy & Snapdragons, Agua Linda Farm Wedding | Part One
What do you get when two artists/graphic designers get married?
Creative overload; details galore; an "Alice in Wonderland" themed wedding that kept us jaw-dropped the whole day. Flowerbeds. Daffodils and larger-than-life Snapdragons. Pocket watches. Bronze trinkets. Antique chandeliers suspended from ivy. An incredible farm in the middle of Nowhere, Arizona with more sunbeams, butterflies and whimsy than I knew what to do with. (I was positive Anne of Green Gables was going to come out of a nook or cranny and belt poetry at any moment...)
Nearly every detail was designed/collected/hand-crafted by the bride and her ensemble of friends and family who helped create this wonderland.
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Listen on Spotify Listen on Apple Podcasts
Show Notes
I was so stoked to get Cennydd on the show. As a former designer myself Cennydd was always someone I looked up to. Not just because of his design chops, but also because he always came across as a very principled designer.
When I looked him up recently in researching guests for the show I was therefore thrilled to see that he’d completely shifted focus to evangelising ethical and future design.
My conversation with him did not disappoint.
On the practical level we cover some specific approaches to how designers can do their job better from a climate point of view. But we also discuss how these topics can lead to personal burnout and down periods and how to deal with them.
Here are the direct links to resources mentioned in the episode:
Video Version
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• Chiharu Shiota: Uncertain Journey
Chiharu Shiota: Uncertain Journey
Shiota returns to Berlin with an installation of red thread that begs to be instagrammed. On through Nov 12 Sun at Blain|Southern.
The Berlin-based Shiota was dubbed the “most Instagrammed artist” by Sleek at last month’s Art Week for a reason. Uncertain Journey, which picks up where her showstopping Japanese Pavillion installation at last year’s Venice Biennale left off, is profoundly complex, utterly beautiful and a total must-see. Bright red thread interlocks hundreds of thousands of times in 3D triangulation, arching down to the hollow iron frames of what could be sunken ships. Awe, confusion, sadness and connectedness are woven into the random yet sophisticated structure, which brings form to everything from neural synapses to the circulatory system, the internet to infinity. In eight pieces upstairs, the same threaded triangles find their way onto canvases and houseshaped metal frames. At this smaller scale, lines and density can be more tangibly contemplated. But ever-lingering is the subconscious terrain of the consuming installation, which, when seen from above on the first floor, is so dense it’s pure red. A video of the installation process, which took 10 people three weeks to complete, will make its way onto Blain|Southern’s website soon.
Uncertain Journey, Sep 17-Nov 12 | Blain|Southern, Potsdamer Straße 77–87, Tiergarten, U-Bhf Bülostr.
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End of preview. Expand
in Data Studio
⚠️ NOTE: FULL Dataset Coming very Soon! ⚠️
Dolma 3 Mix (6T)
The Dolma 3 Mix (6T) is the collection of data used during the pretraining stage to train the Olmo-3-1025-7B model. This dataset is made up of ~6 trillion tokens from a diverse mix of web content, academic publications, code, and more. The majority of this dataset comes from Common Crawl.
For more information on Dolma, please see our original release here.
Dataset Sources
Source Sizes
This dataset contains the full mix of documents used to train Olmo 3 7B.
| Source | Doc Type | Tokens | Bytes (uncompressed) | Documents | License |
|---|---|---|---|---|---|
| common_crawl | web pages | 4.51T | 18.0TB | 3.15B | ODC-BY |
| olmocr_science_pdfs | academic papers | 805B | 3.22TB | 83.8M | ODC-BY |
| stack_edu | code | 409B | 1.64TB | 525.8M | ODC-BY |
| finemath-3plus | mathematics | 151B | 607GB | 95.5M | ODC-BY |
| rpj-proofpile-arxiv | research papers | 50.9B | 203GB | 9.10M | ODC-BY |
| dolma1_7-wiki-en | encyclopedic | 2.51B | 10.0GB | 4.24M | ODC-BY |
| Total | 5.93T | 23.7TB | 3.87B | ODC-BY |
Mix Compositions
| Source | 6T | |
|---|---|---|
| Source % | Mix % | |
| common_crawl | 76.07% | 76.07% |
| olmocr_science_pdfs | 13.57% | 13.57% |
| stack_edu | 6.89% | 6.89% |
| finemath-3plus | 2.56% | 2.56% |
| rpj-proofpile-arxiv | 0.86% | 0.86% |
| dolma1_7-wiki-en | 0.04% | 0.04% |
Licensing Information
Dolma 3 mix is licensed under the Open Data Commons Attribution License v1.0 (ODC-By). It is intended for research and educational use. For more information, please see our Responsible Use Guidelines.
Citation
A technical manuscript is forthcoming! Find the paper at: https://allenai.org/papers/olmo3
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