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J.M.W. Turner: Sketchbooks, Drawings and Watercolours
ISBN 978-1-84976-386-8
Joseph Mallord William Turner Stangate Creek, on the River Medway c.1823-4
Joseph Mallord William Turner 1775–1851
Stangate Creek, on the River Medway c.1823–4
Turner Bequest CCVIII A
Watercolour on white wove watercolour paper, 162 x 240 mm
Watermark J Wh[atman] | Turke[y Mill]
Blind-stamped with Turner Bequest monogram bottom left
Accepted by the nation as part of the Turner Bequest 1856
Forming part of the Medway estuary in Kent, Stangate Creek facilitated the ‘convenient intercourse of commerce between neighbouring towns’, the author Barbara Hofland (1770–1844) writes.1 It is this enactment of composed and mutually beneficial commercial ‘intercourse’ which we find represented by Turner in this drawing.
The moored vessels depicted in the distance on the left are hulks: ships utilised for examining imported goods and quarantining potentially disease-bearing cargo and crew coming into Britain via the North Sea and English Channel. To their right, hazy in the middle distance, are decommissioned navy ships anchored near the top of the creek. In the foreground, rendered with precision in more saturated pigments, is a topsail barge, laden with barrels. A Bermuda sloop can be seen advancing behind it. Immediately in front of these vessels is a sailboat being navigated by two oarsmen. The group of logs, perhaps indicating a local woodworking industry, is probably their cargo. Floating on the placid surface of the Creek, their diagonal trajectory directs the eye towards the wide radiant sky and reflected glow of the sun on the water. Though not included in the original watercolour design, Turner replaced the bobbing logs with a buoy before the drawing was engraved.
The scene has a little of the compositional and atmospheric quality of Turner’s 1818 oil painting Dort, or Dortrecht, the Dort Packet-Boat from Rotterdam Becalmed (Yale Center for British Art, New Haven, Connecticut).2 In both works Turner recalls the handling of light and aerial perspective of the seventeenth-century Dutch landscapist Aelbert Cuyp.
According to Shanes, the watercolour drawing ‘is a dawn scene’, because ‘the hulks were stationed by Chetney Hill at the south-east of Stangate Creek, which runs along a north-south axis’, the view therefore being taken ‘in the direction of the rising sun’.3 The intervals between the moored vessels and those in languorous transit create a sense, the art historian Barry Venning writes, ‘that they maintain a permanent...vigil’, bathed in an elegiac light.4 Through Turner’s flattering lens this scene of workaday life becomes idyllic and eternal, possessing a ‘tranquil majesty’ as Hofland writes.5
The Medway is featured in a further Rivers of England subject: Rochester, on the River Medway (Tate D18156, Turner Bequest CCVIII W).
This drawing was engraved by Thomas Lupton and published in 1827 (Tate impressions T04817–T04818).
Mrs [Barbara] Hofland, River Scenery, by Turner and Girtin, with Descriptions by Mrs. Hofland. Engraved by Eminent Engravers, from Drawings by J.M.W. Turner, R.A. and the Late Thomas Girtin, London 1827, pp.3–4, pl.1.
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, p.102 – 3, no.137.
Shanes 1990, p.115, no.90 (colour).
Venning 2003, p.172.
Hofland 1827, p.4.
Technical notes:
The back of the sheet has been painted with very dilute watercolour wash in blue and pale taupe. In some areas the brushstrokes have not saturated the sheet with wash, leaving traces of unpainted paper.
Stamped in black with Turner Bequest monogram at centre and with ‘CCVIII A’ at centre towards top; inscribed in pencil ‘A’ at centre and with ‘22’ at centre towards left.
Alice Rylance-Watson
March 2013
How to cite
Alice Rylance-Watson, ‘Stangate Creek, on the River Medway c.1823–4 by Joseph Mallord William Turner’, catalogue entry, March 2013, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, August 2014, https://www.tate.org.uk/art/research-publications/jmw-turner/joseph-mallord-william-turner-stangate-creek-on-the-river-medway-r1146200, accessed 02 December 2024.
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Model : DeepaliPhotography: Uma Damle
Ramabai Ranade (1862 – 1924) was the pioneer of the modern womens movement in India.
This is an artistic take on a young Ramabai, dressed in the traditional finery of a Marathi married woman. It draws inspiration from a Zee Marathi television series Unch Maza Zoka, which documents her life and struggle.
This is a non-commercial project and has no affiliation to Unch Maza Zoka or Zee Marathi channel. The photographer doesn't claim historical accuracy in terms of costume and location. The project does not intend to glorify child marriage or belittle the serious subject.
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How to create printers marks
If you want to know how to create printers marks then look at the following diagram, and note the various elements:
The above printers marks (crop marks, bleed marks, registration marks, color bars, and page information) show how to create printers marks:
A. Crop Marks: Adds fine (hairline) horizontal and vertical rules that define where the page should be trimmed. Crop marks help to align one colour separation from another.
A. Bleed Marks: Adds fine lines that show the amount of extra image outside the defined page size is available for cropping.
B. Registration Marks: Adds small “targets” outside the page area for aligning the different separations in a color document.
D. Color Bars: Small squares of colour representing the various CMYK inks and the tints of gray in 10% increments are lined up in a row, so that colours can be verified to be accurate, and often used to adjust ink density on the printing machines.
C. Print Information: Various print information such as filename, page number, current date/time, and colour separation name. The page information normally requires about 13mm along that horizontal edge. Print information is usually printed in the font GothicBBB-Medium-83pv-RKSJ-H (Medium Gothic).
F. Offset: Specifies how far from the edge of the page (not the bleed) InDesign will draw printer’s marks. If using Macromedia InDesign, it draws the printer’s marks 6 points from the edge of the page, and avoid drawing the printers marks on the bleed, by entering an offset greater than the bleed size.
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|
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Couple centuries ago the highest mastery of the painter
was to capture the look of people and things:
the visual specificities of light and form,
optical perception hand-traced in pigmented oils.
Then photography came along
and easily surpassed the manual portrayer
at rendering with accuracy and detail,
doing a work of hours in seconds.
Still the photo never vanquished the paint.
The paint was liberated, free to explore its own properties:
Impressionism, Expressionism, Surrealism, Abstraction.
And to this day, a lot of painters still practice drawing from life.
So now robots are putting on smocks and claiming to be artists.
Makem pay royalties forever for the art they ripped off,
but let the robots show what they can do.
We artists will be liberated to do what the robots cannot.
Computers are best at doing what people are bad at.
Their value lies in complementing us, not replicating us.
A robot is missing the living soul, in its mortal form.
The deep part of art, robots don’t get that, not yet anyways.
Today we think Art is mainly about a Concept
realized as an Image or Object, in a certain Style.
But Art runs in the blood, and secretes from the glands.
An artist just sails, in a tempest or a doldrum.
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Professional Headshots
Professional headshots. Unique. Painless. Maybe even fun.
True Story!
Would you believe that seven out of ten people tell me they do not photograph well? Because they never like how they look in photographs? So they don't like being in front of the camera? And they fully believe it is impossible to create a professional headshot they will like.
It's true. This is what I hear. From so many of you.
What I want you to know is that it doesn't have to be that way. We will create images you'll be proud to use to represent yourself or your brand. It won't be torture. It'll be easier and quicker than you expect. And it will even be less painful than you've been anticipating. I promise.
Creating professional headshots was easy!
I can make that promise to you because you remember those seven out of ten people up there telling me they look awful in photographs? Those are the same ones who are more than pleased at the end and telling me, "Wow. That was easy." Some have even been heard to tell me it was fun. Which is great because when I go to work, I want to have fun. And I hope the people I'm working with have fun, too. Even when making professional headshots. Work should never be drudgery. Neither should be making a professional headshots.
So for those of you who detest being photographed, I'll talk you through every aspect of what I'm doing. We'll be partners because I'll be looking out for you. We will talk about everything, from what to wear and why, to locations or backgrounds to accomplish what you need for your professional headshot. I'll be explaining what my lights do and having you watch the editing process so you have input into the retouching elements. It will feel like we spend more time talking than you staring at a camera and feeling self-conscious. You know why? Because it's important to me that you feel comfortable and relaxed. And it's important to me to create a headshot you'll be proud to use.
For you Type A folks who speak fewer than a hundred words a day out loud? I'll match you and not clutter our conversations (or your emails) with more words than you can handle. I respect your need for being concise.
Risk free, 100% satisfaction guaranteed
There is no sitting fee for my headshots. And there is no minimum purchase requirement. Because if I can't create an image you're proud to use, then I'm not doing my job. It's purchase only what you want and know you'll use. With that purchase, you'll receive multiple files optimized for printing, web, LinkedIn, and social media. All clearly labeled, so the plug-n-play actions are super easy for you.
We will skip the over used blue backdrop from elementary school yearbook photos carried through high school and into the professional world with fake bookcases added to the background. Let’s move into the twenty first century and create headshots that help you stand out from everyone else. That show you’re easy to work with while still being a professional.
While there are a fair amount of headshots cycling through below for you to see, you can click here to see more of the individual headshot sessions with Pear Tree Photography Atlanta if you're on the fence about updating yours.
Testimonials from Professional Headshot Clients
Our experience with Kelley was so different!
Smiling couple in blue shirts "My husband and I needed professional headshots taken and we found Kelley online. In the past I was never pleased with the outcome and tended to shy away from getting my picture taken. Our experience with Kelley was so different! Our pictures turned out great!"
- Patti W
My professional headshots turned out great!!
"Kelley was wonderful to work with. My professional headshots turned out great!!
It was such a good experience I hired her to take pictures of my family
"I had Kelley take my head shots for my business media and could not be happier with the outcome. In fact it was such a good experience I hired her to take pictures of my family. We could not be happier with the entire experience with Kelley!"
- Becky C
Kelley is wonderful to work with on creating headshots
Smiling brunette woman in black shirt "Kelley is wonderful to work with on creating head shots. She listens to you when you describe the image you would like to capture. Kelley is very patient and professional in serving her clients."
- Teresa C
She is fantastic!
Brunette woman in glasses and blue shirt smiling in front of trees"I worked with Kelley to take new headshots, and I think she is fantastic! I wanted new headshots that actually showed my personality, instead of the typical bleh background, and she gave me exactly what I wanted."
- Jennifer S
Covenant House Georgia
Outstanding Individuals
Start a conversation
Her prices are fair for the high quality work I received!
"Kelley reached out to me within 1 hour of my request. I needed professional photos taken for work, and she fit me in her schedule immediately. The photos are amazing, and her prices are fair for the high quality work I received. I highly recommend using Kelley!" - Mike S.
The finished product was amazing!
"I cannot say enough great things about my experience with Kelley! I reached out through the website looking to have headshots taken and Kelley was so quick to respond. Kelley made every step of the process so easy and the finished product was outstanding. I was amazed at Kelley's ability to provide professional headshots without looking stiff or stoic. She captured who I am in the photos and I'm extremely grateful! You will not regret hiring Kelley!" - Nick R.
Highly recommend her for anyone who is camera shy!
"Kelley was awesome! She took the time to give me the best results and made me feel comfortable during the entire process. I highly recommend her for anyone who is camera shy. I would definitely use her services again." - Christine K.
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bởi kkmberry
I have created many logos based on client needs and company use. A logo is a company's identity and I strive to create simple logos that embrace and enhance the purpose of the business. I use sketches and Adobe Illustrator in the logo process.
kkmberry Excelsior, United States
Giới thiệu
I am a creative of the digital age: give me a task & I will enthusiastically jump on in. I enjoy experimenting with new forms of arts, but have a foundation in logo, pattern, flyer, and general graphic design. I am familiar with Abode Suite, SketchUp, CSS, HTML, etc. I work & communicate quickly and would love to help with your project! //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Please view my work at [login to view URL]
$20 USD/Giờ
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Over a century of music and still going strong The Liestal Orchestra is over a century old
The Basel region has a lively classical music community and one of its most enthusiastic participants is the Liestal Orchestra.
The Liestal Symphony Orchestra, which is known to its members as OLi, has a proud and long history. As recently accessed historical documents reveal, the survival and eventual expansion of the orchestra has been the result of dedicated work behind the scenes from its various presidents and committees. Much of this information has come from the Staatsarchiv Baselland (Baselland state archives) which now holds the orchestra's historical papers.
The Liestal Orchestra was originally founded in 1873 by 19 friends. Despite getting off to a promising start, in 1885, the orchestra's progress was halted due to internal administrative wrangles – although some of the members carried on playing in smaller groups thereby keeping its core spirit alive. In 1896, the internal problems had been sufficiently resolved for the orchestra to reform, but the available resources had dwindled drastically. At this point the orchestra's stored musical equipment consisted of "a double bass, 4 clarinets, 3 horns and a viola". Apparently, the double bass had "no strings" and the horns and clarinets were described as being "unfit for use and completely useless." Fortunately, over the years, the Liestal Orchestra has been able to build up a wider range of instruments to choose from than its founders!
In 1906 violinist Julie Köchlin, who had been a founding member of the orchestra, took over the orchestra presidency. At around the same time, Karl Lüdin joined as conductor and both participated until 1919. At a time when Europe was going through dramatic political and social changes, they were commended for helping make this "extremely difficult time a happy one." The next 29 years were marked by Walter Sterk (1920 - 1949), whose period in charge is noted for putting the orchestra financially back on track as there had been a worrying drop in membership. The musical programmes of the orchestra diversified during this period, which even extended to playing music in hospitals and in nursing homes. The orchestra's talents were widely recognised, with one music critic remarking that, "a concert under Walter Sterk is a social and artistic event of the first order". In 1949, Peter Zeugin, who was a young pianist with little conducting experience at the time, took over. Adapting rapidly to his new position, the orchestra prospered and won over new audiences. It proved to be a defining period, as the organisational set up of the orchestra has remained largely unchanged ever since. A music critic at the time described the orchestra as having "left the former amateurish spelling far behind".
Based on this solid foundation the symphony orchestra has continued to thrive. Since 2003, Yaira Yonne has been the musical director of the Liestal Orchestra – the first time that a woman has held this position in the orchestra's history. The orchestra has benefitted from her wide-ranging talents – from composing music through to playing steel drums!
Today there are around 50 active members in the orchestra, extending across the cantons of Basel, Basel-Land, Solothurn, Aargau and Bern. Throughout its history, the orchestra has welcomed new members. Its friendly philosophy is illustrated by the fact that the age range of the members extends from 15 years old to 70 years old. All members are encouraged to contribute their skills to the group and help the orchestra expand. As well as contributing their musical expertise, the team members also help out in other areas such as developing and maintaining the website, creating brochures and promotional material and a range of administrative projects to support the orchestra's busy concert schedule.
Each year, the programmes are carefully selected by the conductor and the music committee, which balance the programmes between the classical and modern styles. As well as playing famous, popular pieces, the orchestra also like to try out less well known compositions. Some of these are barely known beyond specialist audiences. In addition the orchestra sometimes commissions musical works which they then premier. Each year, the orchestra concentrates on developing two musical programmes. Besides weekly rehearsals, the members get together during the busy weekend in the run-up to major concerts. These are also a fun, social highlight for the members. The last weekend meeting took place in the Walensee region.
At the moment the organising committee is working intensively on its long term strategy for the orchestra. As part of this work, the orchestra committee is looking for people or organisations interested in supporting their work through sponsorship. The orchestra intends to continue running its special programmes such as the Tango programme featuring a professional Tango-Trio and dancers, as it did in 2011, or projects with the Cantabile Choir Pratteln, which were run in 2012. Although these programmes were well received they were costly and so support from sponsors was much appreciated.
For further information about das Orchester Liestal please visit: www.orchesterliestal.ch
Author: Faiz Kermani
Originally from the UK, I live in Alsace but work in Basel in the pharmaceutical sector. I'm also on the Basel committee of the British-Swiss Chamber of Commerce. Outside the day job I have many interests. I'm part of the PR team for Centrepoint (www.centrepoint.ch) and am President of the Global Health Education Foundation (www.globalhef.org), a US-based not-for-profit healthcare charity which aims to improve healthcare in developing countries. For fun I also write children's books and have won a few awards (www.faizkermani.com)
Featured Partners Thanks to all supporting partners of Hello Switzerland
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Arts and Entertainment
M-PHS honors its artists
Trinda Berlin uses rainbows for her theme of focus in her Art Portfolio class with Karen Epperson at Marysville-Pilchuck High School. She was one of several students who exhibited an entire years worth of artwork at the M-PHS Festival of the Arts May 20 - 22. -
Trinda Berlin uses rainbows for her theme of focus in her Art Portfolio class with Karen Epperson at Marysville-Pilchuck High School. She was one of several students who exhibited an entire years worth of artwork at the M-PHS Festival of the Arts May 20 - 22.
— image credit:
Art students at Marysville-Pilchuck High School shared a year's worth of talent at M-PHS May 20 - 22, when a three-day exhibit featured the talent of the school's many art students.
Family portraits, self portraits and pet portraits, landscapes and still lifes in many different media, from pencil and charcoal to mosaics and ceramics, the exhibit included works from studio art and portfolio classes taught by Karen Epperson, ceramics by students of Debbie McCoy and crafts by Beth Young's classes.
The studio artists of Epperson's classes explored a range of drawing and painting. They studied portraiture using pencil or charcoal. They learned different styles of painting by studying the work of masters such as Van Gogh, Cezanne, Manet and others. They learned to use watercolor paints, oil pastels and wood block printing to express what they see and value in the world. They learned about values by doing value studies and the Art Portfolio students worked on two major categories, a narrow focus, or theme, and a broad overview, or body of work.
A junior who just finished her first Art Portfolio class, Trinda Berlin said she chose rainbows as her theme, because she loves bright colors.
"I love rainbows," she said. "I wear the colors on belts and socks all the time." She said she got the idea of using rainbows as her theme when she was painting a still life of a bowl of fruit.
"See the shaded area, when I started blending the colors it turned into a rainbow and that's when I decided to focus on that."
The rainbow theme appeared in the form of colored pencils, old hippies with tie-dye shirts, lolly pops, and a self portrait of her own face peaking out from her rainbow colored scarf and hat.
Berlin said she was most impressed by the work of her fellow student, Erica Hylback, who's chosen focus was on homeless people and who also painted many versions of the Buddha.
"Look at these portraits. She took a photo of this guy on the street. I think she gave them some money to take their pictures," Berlin said about Hylback's body of work.
"We all did the fruit bowl and see how different they turned out," Berlin noted.
Chelsea Mueller, a ninth- grader who just finished Studio Art I, said she enjoyed looking at the drawings best.
"I think it's great to see everybody's artwork," Mueller said.
"It's interesting to see all the details," she added.
Another ninth-grader, Odessa Christman also enjoyed the drawings best.
"It's amazing to see all the different talent," she said.
Both of the young artists, who plan to take more art in their future years in high school, were fulfilling another art project by filling out a questionnaire on the art show.
"It's a good way to get them to really look at the stuff," Epperson said.
Prizes were awarded in each media and subject area, judged by teachers who teach other subjects than art, according to Epperson.
"We get other teachers to come and work in small groups of two or three," Epperson explained. "They don't know a lot about art, but they are more objective than me and the other art teachers."
Epperson admitted that it's very difficult to be objective about art. It's one of those facts of life: People like art that portrays the things they care about, the colors they like, the world they relate to.
"They may not be knowledgeable about technique, but they are more objective about each student."
Epperson said midway into the festival that she was a bit tired, but that everything was going well.
"These kids never cease to amaze me," she said. "They wait and wait and wait until the last minute and then they whip out amazing things. Just imagine what they could do if they worked at it over time."
Along with paintings and drawings, the exhibit also included graphic design projects, including finished hand-made books, caricatures and cartoons and a variety of crafts.
The crafts students of teacher Beth Young learned about different cultures through projects like the Spanish pinatas and pineneedle baskets. They did glass mosaic paving stones, and they learned to crochet, making scarves and hats, among other items. The art show was open to students and the public May 20 -
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Hex Color #303783
#303783 hex color information, color charts and harmonies.
RGB value of #303783 is 48 55 131
48 55 131
235°, 46, 35
235°, 63, 51
0.634, 0.58, 0, 0.486
24.1%, 0.13, -0.05
DarkSlateBlue (Closest)
Toggle page background color
Monochromatic Colors of #303783
A palette of monochromatic colors offers varying brightness levels of the same hue. This color scheme creates a balanced and professional look. The lack of diversity of hues creates less contrast than other color schemes. Tip: Use only a few shades and tints with a high amount of contrast to utilize the full potential of this color scheme.
Triadic Colors of #303783
This color formula is a basic triadic color scheme. The colors are evenly spaced around the color circle. To use successfully, the colors should be carefully balanced - let one hex color dominate, and use the two others for accent.
Split Complementary Colors of #303783
This color formula is a basic split complementary color scheme. In addition to the base color, it uses the two colors adjacent to its complement. This is often a good choice for beginners because it is difficult to mess up.
Analogous Colors of #303783
An analogous color patter consists of colors that are 30° apart on the color wheel. They usually match well and create serene and comfortable designs. Choose one color to dominate and use a second to support, the third color is then used as an accent.
Complementary Color of #303783
This color formula is a basic complementary color scheme. The high contrast of complementary colors creates a vibrant look, especially when used at full saturation. This color scheme must be managed well to avoid creating jarring effect.
#5f6084 color css codes
.forecolor {color:#303783; }
.bgcolor {background-color:#303783;}
.bordercolor {border:3px solid #303783;}
Sample text font color #303783
This sample text font color is #3037803783;">Text here</p>
#5f6084 background color
This div background color is #303783
<div style="background-color:#303783;">Div content here</div>
#5f6084 border color
This div border color is #303783
<div style="border:3px solid #303783;">Div content here</div>
HTML Input Text Box and Button Sample
HTML Table Border #303783 Color Sample
#303783 border color
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لكزس تفتح باب المشاركة في "جائزة لكزس للتصميم" للعام 2021
Lexus Design Award 2021 Call for Entries Now Open
September 2020: Lexus International has recently launched the Lexus Design Award 2021 and is calling on talented creators from around the world to submit their entries to its annual design competition. Now in its ninth edition, the prestigious award offers a unique platform for aspiring designers to develop and showcase their talents on the global stage.
Established in 2013, the program continues to evolve and inspire innovations in design from emerging creators whose works can lead to a better future. Lexus remains committed to supporting tomorrow's talented designers by providing a launchpad for their careers that offers world-class mentoring, vital prototype funding and unparalleled international exposure.
Every year, the event attracts thousands of entries from around the world. The proposals submitted span a diverse collection of disciplines, ranging from industrial design, architecture and engineering to interior and fashion design. Applicants are encouraged to develop innovative concepts and imaginative solutions that highlight the creative interplay between design and technology.
One Grand Prix winner will be selected from among six finalists by an esteemed judging panel of today's most influential figures in art, design and technology. The decision of the judges will be based on three key principles of the Lexus brand - Anticipate, Innovate and Captivate - with an emphasis on design that leads to a better tomorrow.
“We are delighted to launch the 2021 edition of the Lexus Design Award and invite emerging creatives to share their visions with the world. The award represents a unique opportunity for talented young designers to transform their ideas into exciting new possibilities with the help of seasoned industry experts,” said Kei Fujita, Chief Representative, Middle East and Central Asia Representative Office, Toyota Motor Corporation. “Pushing the boundaries and going beyond the conventional are at the heart of Lexus’ approach to design, and these awards underline our commitment to inspiring the great minds of tomorrow to anticipate the future and create amazing experiences. I would like to extend my gratitude to design enthusiasts around the world for their continuous support, which contributes to the award’s success and serves as powerful motivation in our quest to uncover creative solutions to tomorrow’s challenges through brave design.”
In early 2021, Lexus will announce the six finalists who will go on to participate in a workshop with globally-renowned design professionals acting as mentors. Each participant will receive approximately USD 25,000 to transform their designs into physical prototypes and will also benefit from continual follow-up and advice. Mentors confirmed for this year’s program include Nigerien architect Mariam Kamara, Dutch designer Sabine Marcelis and the sought-after American creative and entrepreneur Joe Doucet.
As for the judges, they comprise Senior Curator of Architecture and Design Department at the Museum of Modern Art Paola Antonelli and Head of Toyota and Lexus Global Design Simon Humphries - to be joined by two additional judges whose names have yet to be revealed. The complete list of Lexus Design Award 2021 judges and mentors will be announced in the fall of this year.
The award will conclude with the announcement of the Grand Prix winner following the presentation of prototypes by each of the six finalists on a world stage during Press Day at Milan Design Week 2021.
The judges for Lexus Design Award 2021 include Paola Antonelli, Senior Curator of Architecture & Design at The Museum of Modern Art, and Simon Humphries, Head of Lexus Global Design. They will be joined by two additional judges whose identities have yet to be revealed. The complete list of Lexus Design Award 2021 judges and mentors will be announced in the fall of 2020.
Entries to the Lexus Design Award 2021 competition will be accepted through 11 October, 2020. Additional information is available at
discoverlexus.com/highlights/entries-open-for-lexus-design-award-2021.
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Exploring a girl’s narrative within constraints of strict patriarchy
The Sanat Initiative is hosting an art exhibition featuring works by Haya Zaidi. Titled ‘Angst: Portrait of an Afterthought’, the show will run at the gallery until October 26.
The catalogue released by the Sanat Initiative for the exhibition quotes Haya as saying that her practice explores themes of quotidian life through a feminist lens and centres around the brown female body.
The artist points out that preceding the 20th century, female representation was often romanticised, reducing women to objects of beauty. She says she revisits historical iconographic elements from Indo-Persian miniature paintings, initially crafted for the male gaze, to investigate their relevance in today’s cultural context.
In doing so, she adds, she strives to reclaim and redefine South Asian feminine representation, addressing the critical themes of race, gender, identity and sexuality.
Haya says that her current collection being displayed at the gallery draws inspiration from Ismat Chughtai, the remarkable feminist writer and film-maker of the 20th century. The artist points out that throughout her literary career, Ismat fearlessly explored themes such as female sexuality, femininity, social norms and the constraints of middle-class gentility, all expressed with an undaunted voice.
She says the works on display are particularly shaped by ‘Lihaaf’, one of Ismat’s most notorious short stories. “They explore the narrative of a young girl navigating a world with limited agency within the constraints of strict patriarchy.”
As a punitive measure, she adds, the girl is sent to her aunt’s home, a woman ensnared in an unhappy marriage, leading a reclusive life marked by ill-fated loneliness in domesticity.
Born in 1993, Haya is a multi-disciplinary visual artist based in Karachi. She graduated from the National College of Arts in Lahore in 2017, securing a distinction in miniature painting.
Her work is an amalgamation of mixed media, collage, miniature painting and digital art. Her work centres around personal experiences while navigating the world through the vessel of the brown female body and explores subjects around race, gender, identity and sexuality within the context of the subcontinental cultural climate.
Since 2017 she has exhibited nationally and internationally, and has earned critical acclaim for her unique visual language, acquiring a distinct position on the basis of her originality, experiments and ideas.
Source: The News
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Transform the Industrial Design Workflow with Gravity Sketch
The product design discipline is a constantly evolving art form. We’ve made a workflow video showcasing a step-by-step design pipeline with Gravity Sketch, demonstrating the key areas in the pipeline where the software can transform the workflow, improve collaboration, and reduce development time.
The product design discipline is a constantly evolving art form. From the Wacom tablet to the 3D printer, for years designers have embraced emerging technologies to help with visualization and resolution of complex design challenges. Practitioners are constantly experimenting with tools to empower them to create new products better and faster. From the design of household appliances to mobile wearable technologies the challenges designers face when designing new products are ever-evolving; new materials, manufacturing processes, user experiences, and business models are just a few of the challenges an industrial designer faces when developing a product for a client. In addition, the time to market for many products has shortened, in turn reducing the length of the design pipeline. The discipline has become much more challenging: both clients and customers expect great design, a great experience, and great quality from goods and services we purchase or interact with. Now more than ever, designers turn to technology as a source of inspiration and support in this ongoing evolution.
For the past four years, we have been developing a design software and platform which will support designers with ideation and aid in the problem-solving phases of the design process. Through working and exploring ideas immersively in 3D from the onset, we have found that many design disciplines are able to not only accelerate the early phases of the design process but to collaborate and share ideas in a more effective way.
To demonstrate this, we’ve made a workflow video showcasing a step-by-step design pipeline with Gravity Sketch, demonstrating the key areas in the pipeline where the software can transform the workflow, improve collaboration, and reduce development time.
Reference Images
Mood boarding and gathering inspiration as reference images is often the kickoff for the ideation phase of a project. In Gravity Sketch you can bring in all of your images as .png or .jpeg files and create a spatial mood board, placing images anywhere in your immersive workspace.
The transition from 2D sketches to digital 3D models is one of the most challenging phases of the design process. The emotion, character, and intent of the hand-drawn line is almost impossible to carry through to the digital model; often compromises are made to accommodate the capability of the software or limitations of the CAD operator. As a result, the 3D iteration process is costly and time-consuming. Designers are able to bridge the gap between hand sketching and CAD modeling with the sketches created in Gravity Sketch, as content can be imported and exploited in a variety of file formats that are compatible with CAD software.
Over the years designers have built strong ideation skills through the use of pen and paper, and we understand the value of 2D sketching. We embrace this and build tools that can help designers leverage their 2D design skills in the 3D digital landscape while maintaining the ambiguity and flair of a hand-drawn sketch. We aim to preserve the designer’s knowledge and skills developed over years of training. Motion-tracked controllers allow us to translate hand gestures into strokes, bringing a joyful experience that closely resembles that of sketching with pen and paper.
Expressing ideas at the napkin sketch phase, at scale, in 3D, allows designers to troubleshoot proportions and explore iterations of ideas prior to any major investment of time or resources. This also promotes further creative expression as new forms and shapes can be explored directly in 3D, as opposed to being translated from 2D. The designer can focus on the user and human-factors right from the outset, in turn, reducing the need for multiple physical prototypes.
Simple Ergonomics
Every designed product has an intended user, designers must consider human factors from the earliest stages of their research and investigation. Ergonomics are considered at the early stages of the design process through 2D sketches and multiple physical prototypes. Exploring ergonomics immersively from the outset allows designers to more clearly understand the human factors and address the spatial challenges around their design virtually prior to investing time and resources downstream. In Gravity Sketch users can access poseable prefabricated mannequins which can be used to explore how the users will interact with the design or set scenarios to help simulate the product in real life situations. This allows you to integrate human factors into your design in a much richer way earlier in the workflow.
Being immersed in a sketch allows you to put yourself in the position of the user and explore the physical interactions with the product as they would. In the later stages of your workflow, pulling in the mannequins helps to showcase scenarios around the end use of the design. For design reviews, showcasing the use of your product in context, in an immersive VR environment, helps validate the decisions made during product development for you and the client.
Clean Line Drawing
After the early rounds of ideation, start blocking out forms and model a more detailed design. With the use of symmetry and point input mode, the designer can draw clean lines creating a wireframe of the product.
Gravity Sketches are easily brought into the workflow through seamlessly importing the 3D sketch into a CAD software package via the export of an IGES, FBX, and OBJ file. The resulting export will open in Alias or Rhino with like-for-like accuracy and, if exported as IGES or FBX with NURBS, each stroke and surface can be further edited and manipulated in the CAD software. Bring models made with CAD tools into Gravity Sketch via OBJ and IGES import to use as an underlay for sketch-overs.
The Surfaces tool allows for the exploration of complex concave and convex forms. Rather than laying our curves and typing in commands with a keyboard and mouse in a CAD software, drawing a NURBS or SubD surface with a gestural input allows designers to achieve a much more expressive 3D design language and explore forms in a much more intuitive way. There is also the possibility to accurately lay out characterful shapes and curves that will persist through to the final product. All of the data is carried over when the sketch is exported and imported to other CAD software packages.
Primitive Shapes and Volumes
Quickly get a better understanding of the form and volume of a design through the use of primitive shapes. You can block out the rough volume of the design, or draw freehand with the volume tool to create nondestructive solid models. All of the content created with the creation tools provided can be edited at any time allowing for the development of additional iterations.
Subdivision Modeling (SubD), is one of the latest and most powerful geometry additions to the tool. As seen in this video, this geometry method allows freeform editing capabilities. Create a surface or define a primitive shape, then edit by pushing, pulling and extruding freely. By extruding the face of a primitive shape (like a cube), develop organic or structural forms. Jump between smooth and faceted forms with a simple toggle. Edits can be made in both the smooth and faceted state, giving the designer the flexibility to define their own creative flow.
Altering the shape of a stroke is akin to altering the weight of a vector in Adobe Illustrator on but with a three-dimensional shape. Being immersed in VR allows the user to get to a three-dimensional object much faster and unlock endless iterations and spend much more time in the creative problem-solving phase of design.
Precision is a phrase that has become synonymous with millimetre accuracy more from an engineering standpoint. In Gravity Sketch, designers are achieving true creative fidelity faster and more accurately (true to the initial idea) than through the use of a classical CAD software which, in reality, was initially developed to help in the production of manufacturable 3D models.
Build Detailed Scenarios with Ease
All Gravity Sketch content can be saved and imported as a prefab or component, giving designers the ability to build libraries of content that can be reused at any time during their workflow. Loading up prefab models (alongside the mannequins provided) is an easy way to quickly build detailed scenarios which allow designs to be viewed in simulations of real life contexts. Some designers take this process quite far and use the scenes they create to hold design reviews with clients in VR. This storytelling ability is native to industrial designers. They can enhance the delivery of the concepts and bring their client on an immersive journey during the design process – a journey that is often intangible and difficult to share.
Advanced Ergonomics
Foam mockups have been a standard prototyping tool of the industrial design profession for decades. With any object larger than two by two feet, 1:1 scale model-making is almost a given, designers will use the physical model to make more informed decisions about the design and user experience, evaluate its scale, and potential manufacturing challenges. Many organizations invest in laser cutters, 3D printers, and CNC mills to create physical models from CAD data (e.g. a model made in SolidWorks) to create more dimensionally precise mockups. Iterations of the CAD model for subsequent physical models require a bit of back and forth between editing the CAD model and preparing the design for digital rapid fabrication. This is the most common method we see designers employing for working through ergonomic constraints or challenges.
In Gravity Sketch, poseable mannequins can also be used to explore more advanced ergonomic challenges, showcasing user interactions, or even how end-users or customers will use the product. Here, we see a lever underneath the table to showcase the user interacting with one function of the product. The manipulatable joints on the mannequin extend not just to the limbs, but the individual extremities as well, allowing for an infinite number of poses. Additionally, Gravity Sketch allows for the quick mock-up retail scenarios and product usage or rough digital environments to showcase products and ideas in context from very early on in the design process.
Quickly take screenshots of work inside the application, from any angle and any stage of the development. The screenshots are saved as .pngs which can be easily brought into Photoshop and used as an underlay for sketch-overs or detailed renders. The benefit is that the designer will know the exact proportions are correct, with the correct perspective used everytime.
Design Reviews and Collaboration
Rather than evaluating 2D renders behind a screen, teams can immerse themselves in the product at any stage of the development. Design reviews are an excellent way to utilize the tool; invite colleagues and other stakeholders into the VR environment to allow them to experience your proposal at 1:1 scale from their own vantage point. This clears up a lot of miscommunication that could result from the poor 3D translation of a 2D sketch.
The collaboration feature allows team members from different geographical locations to meet in the same virtual studio to ideate, review and collaborate on the same design in real-time. Users collaborating can edit a design live, working together for true creative collaboration, no matter where they are in the world.
Designs from Our Community
We’ve elaborated on one possible workflow, although there are many different variations as designers explore with Gravity Sketch to find their own personal workflow. We always look to the wealth of creativity that we find in our community of designers for possible examples to share.
In this video, Fed Rios designs a bike frame in just a single sitting. From an imported reference image, he sketches out the form to get the proportions of the bike frame first, before adding in the wheels, then detailing the form using the surface tool.
In another video, Fed creates a chair by sketching over a pre-existing model. In his caption, he describes the frame as “bent steel” topped with “bent plywood” and a cushion. Check out more of his work on his Instagram @fedriosdesign.
Lukas Hilfiker created this design for power washer by sketching out the rough form and placing the design in the context with a mock-up using the poseable mannequins. After this he created a more detailed design, focusing on the more elaborate ergonomics when users are interacting with the product.
Check out more of his work on Instagram @lukas.hilfiker.
Nick Baker creates around 300 iterations of a lamp idea in the same scene with only a couple of the tools offered. He can then explore the few designs he is satisfied within Keyshot or even make more informed and confident 3D physical prototypes.
Check out more of his work on Instagram @nickpbaker
If you’d like to find out more about how Gravity Sketch can improve your workflow, contact us via email, on our social channels, or speak to us directly on our Discord; we’d be happy to arrange a demonstration.
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Words in the wind
It sounded like the wind in my ear. It said my name in an airy tone. It spoke to me not once, but twice. I turned to the person standing next to me; he gave a friendly smile but didn’t seem to have called for my attention. I became a very attentive listener, waiting for the call yet again. I know I heard my name twice, but the words that came afterwords are what I missed.
In the mist of the mental chaos I missed a word…a word that was significant and exclusive to me. I want that moment back, but the time has passed.
I can only open my ears, sit in the silence, and wait to hear that mysterious, airy voice again.
I Am An Apple Addict!
apple-keyboard-concept-1
via Design Blog
Keyboard is one of the most integral part of a PC or a notebook and designers are working round the clock with new ideas to make it more user-friendly and hi-tech. Encouraged by the response that the Eee Keyboard PC by Asus – the 21st Century Commodore 64 with side-touchscreen instead of function keys – received at the CES, the Apple Keyboard Concept is yet another accessory for die-hard Apple fans that will allow users to dock and revitalize their iPhone/ iPod through computer. The Apple Keyboard will possibly allow the users to connect their iPhone and use the screen as a control surface while displaying the buttons and small apps, quite similar to the Asus Eee Keyboard.
apple-keyboard-concept
Luke Chueh
Born in Philadelphia, but raised in Fresno, Luke Chueh (pronounced CHU) studied graphic design at California Polytechnic State University, San Luis Obipso where he earned a BS in Art & Design (Graphic Design concentration). He was employed by the Ernie Ball Company, working in-house as designer/illustrator where he created several award winning designs and was featured in the design annuals of Communication Arts and Print Magazine. Meanwhile, he also created, produced, wrote, designed, edited and published “E.X.P.”, a ‘zine dedicated to the “Intelligent Dance Music (IDM)” genre.
Francoise Nielly
Untitled 508
Untitled 505
Françoise Nielly is a passionate woman who loves life, wide open spaces, sushi, blue lagoons, the Internet, humor, books, Paris, New-york and Vancouver. Resolutely inscribed in her epoch, she is an accomplished artist ; 20 years of artistic expression explain the maturity of her work and the perfect mastery of her art.
She lives and paints in Paris near Montmartre; shows and sells her work in Europe, in Canada and in the United States.
What Makes Us Stray?
As a child I was big into fashion. I loved designing clothes for Barbie as well, as well as designing for myself. I would customize my shoes as well as my clothes. Just like the picture above, I would take magazines and ads and cut them out and call it a wishlist. It was all the things I wanted to have or desired. After a while, I stop doing it; I would say after highschool.
I went into college with the attitude of becoming a doctor. That was my mindset, that was what I aspired to be. It was about the money, it was always about the money. I convinced myself that I really wanted to do this and I didn’t. I found biology to be boring and I doodled in my classes. I was an artist at heart…am an artist at heart. I slowly have found my way back in some sense. Graphic design and occasional modeling allow me to be near the fashion world.
My point is what caused the deviation in the first place? If the art is a part of me why would I leave it? That question is relative to a lot of things in life. Why do we stray away from God when he is a part of us? Why do we stray from each other? Is it that we in fact don’t really have that desire? Is it that we have blinded our minds and lost sight of our dreams and goals? Ah, but what makes up come back?
I am still a bit on the fence with this. Why do you think we stray from the things we love or that are apart of us?
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Saturday, 20 August 2011
Paris - Delhi - Bombay
We went to see the temporary exhibition at the Beaubourg yesterday. It's called Paris - Delhi - Bombay and contains the work of around 50 artists, divided more or less equally between France and India. It's a fascinating exhibition for many reasons, not the least being that it's small enough to deal with in half a day or less and not feel that the crux of it has been lost. India's relationship with France is very different to its relationship with Britain and it would be interesting to see what kind of tensions a similarly themed show might have if Paris were replaced by London (and, for the sake of correctness, Bombay by Mumbai). Here, the tensions of colonialism and its aftermath, which might have darkened, and enlivened, such a show or, for that matter, one that examined the cross-cultured visions of artists in France and, say, Indo-China, are attenuated to the point of invisibility. The mood of the show can sometimes be respectful to the point of discomfort, particularly so in the work of the French artists. The tone is established by a large piece at the entrance, a flag made of sequins that combines the flags of the two countries and is animated by a fan. It shimmers and twinkles and is altogether a thing of great decorative charm, the last thing one might expect from its creator, Orlan, but it's also an acknowledgement that the kind of equality such a melding represents can only be decorative, and a nod de haut en bas from a culture that doesn't do decoration in the same colourful, glittering way.
This sounds more critical than I intend, because I'm not quite sure exactly what line should have been taken, other than Orlan's, and the show, in one sense, is riddled with doubts about stance and appropriacy. The opening image to this post is of the exhibition's centrepiece, a massive female head by Ravinder Reddy. It's the kind of thing, on a smaller scale, that can be found in Indian villages. This size, it's both Koons-like and not. It's monumental kitsch to us, but that might be because we have no sense of what it might otherwise be if it were small. Kitsch runs through the show in one way or another, with its masters Pierre and Gilles occupying an attractively camp corner with their usual stuff, as though Bollywood were something they'd thought of first (and perhaps it was).
But there's western kitsch, which is necessarily deliberate at this level of high culture, and perceived kitsch, which may not be. Tejal Shah has a series of elaborately set-up photographs designed to express the dream lives of India's transgender community (and here the word may be appropriate), the hijra; one of them (on the left) is entitled You Too Can Touch the Moon; another has a glamorously undressed hijra lying on a sort of raft, being punted along by a young man naked except for a gilded loincloth complete with impressively large prosthetic penis. It's contrasted with the adjoining installation, also by Shah, which depicts a hijra lying bleeding on the ground after having been beaten up and raped by a urinating policeman. What we can't know, finally, is how much the first image itself establishes a sort of fond, but also cynical and knowing, distance between the dream fantasy and some more genuine and complex freedom, as yet unimaginable, in which prostitution and the violence it appears to provoke are no longer the only option. Another example of what must surely be unintentional kitsch, in my eyes at least, is a large piece by Riyas Komu, composed of eleven pairs of footballer's legs supporting a hollow tube bearing the words God is Great in Arabic. Hmm. It's one of those pieces that does what it says on the tin so blatantly that, once looked at, the work comes to an abrupt end. Which is sad, because the legs themselves are rather splendid.
Tejal Shah isn't the only person to worry about sex, and it's interesting to see how Indian artists take advantage of this dialogue with France to talk about who and how we fuck, and what the whole business entails. Like Shah, Kader Attia looks at the fate of transgender people in a bracing and often touching video of three transsexuals, in India, France and Algeria, while Sunil Gupta produces a kind of fotoromanzo, as they say in Italy, of an Indian gay man in Paris, who enjoys the freedom to display his relationship with an older man, while betraying him by night in one of Paris's most popular gay saunas, Sun City, itself a kitsch recreation of India and its iconography. There's a lot going on in this work, but also not very much, as though the freedom of the artist to deal with his issues were as unsatisfactory and superficial as the freedom his protagonist enjoys to both live life openly with an (extremely good-looking) lover and then shag all kinds in an ersatz dark room. But maybe, as we say, I'm projecting here.
Talking about heterosexuality and the social constraints imposed on women - a major theme of the show - one of my favourite works was that by Atul Dodiya, Devi and the Sink (shown here), which uses quotation and montage to talk about women's lives and the ways in which they are represented and conditioned. The neatly reproduced Leger in the top left-hand corner, where the slab of colour applied to the woman's face is both abstract and a sort of blindfold, is a particularly successful correlative to the central figure, whose ability to speak - or express anything other than bewilderment - has been suddenly removed by the no doubt affectionate attentions of her partner. Horns, it should be noticed, are also forbidden. A darker work by the same artist shows a store-front shutter bearing the image of the goddess Mahalakshami, bearer of prosperity, half rolled up to reveal an image of the suicide of three sisters whose parents were too poor to provide them with a dowry. It's not the most subtle work in the exhibition but that's no bad thing when one of the roles of a show like this is didactic, as the rather textbook-like introduction to the catalogue makes plain, and one of its strengths is the way it finds two contrasting, and antipathetic, pictorial languages to make its point: the brightly coloured icon of the god and the neutral, almost crude depiction of the suicide, like something from a Victorian penny-dreadful.
Two of the works that most impressed me were by women and they confirm my feeling that for sheer edginess and emotional discomfort women artists these days are streets ahead of their male counterparts. (Bourgeois and Messeger are obvious examples.) Anita Dube, who lives and works in New Delhi, takes human bones she has 'found' (as the catalogue chillingly states) and covers them in red velvet, sequins, lace and pearls, transforming them into objects that might be necklaces or household ornaments, musical instruments or fans, except that, of course, they aren't. The ability of art to transform and the limits of that ability are being interrogated here, to unnerving effect. Sheela Gowda is also drawn to red. She has made heart-shaped patties from cow-dung (holy shit...), covered them in vermilion, and strung them up to hang like those strings of embroidered elephants or birds you find in charity shops in the west. Another artist, a man this time, to use red is Sunil Gawde, in a piece called Virtually Untouchable - III (see left), composed of garlands of painted razor-blades. Red is the colour of blood, but it's also the colour worn by Hindu women on their wedding days and I wonder if the catalogue's gloss on this work, that its subject is the assassinations of three members of the Gandhi family, is what the work might actually be saying, or whether it might not have more in common with the other two pieces that use vermilion so effectively. One of the best things about a well-curated exhibition, as this certainly is, is the way disparate materials, in this case bones, cow-dung and razor blades, can be united in conversation.
There's much more to be said about this show. The take of some of its contributors on consumerism, for example, with works like Krishnaraj Chonat's wall of waste computer products, manufactured in the developing world and dumped back there as soon as they're no longer fit for purpose, which reminded me of one of my favourite works, a wall of battered suitcases by the Italian artist, Fabio Mauri, or the more ambiguous and thought-provoking bazaar of stainless steel kitchen goods, an emporium of cooking utensils of the kind used in every Indian home and a gleaming, highly reflective reminder that what counts is not the pot but what it contains, which is often, as we all know, very little. But my favourite comment on recycling is the work shown here, two vertical panels made of recycled waste and reproducing in hallucinatory detail a part of Mumbai called Dharavi, the largest slum in Asia, and also constructed in its entirety of materials no one else has any use for. The work, entitled Think Left, Think Right, Think Low, Think Tight, is an indictment of the living conditions within the slum, the verticality and narrowness creating a sense of oppression, as the catalogue rightly says. But it's also a massively ingenious and detailed monument to the human ingenuity of what it represents and for something that represents life at the lowest economic level imaginable, the kind of life most of us can't even contemplate, it's a work of extraordinary vitality and, even, optimism in the face of endurance, like those African toys, and coffins, so elaborately fashioned from discarded beer and petrol cans. As such, it goes dramatically beyond its creator's intentions, as good art should.
A final thought. Most of the work that impressed and provoked me was made by Indian artists, perhaps because they were telling me something I didn't know, or didn't know I knew, or didn't know I had the right to know. Perhaps if France's relationship with India had been more conflictual, or explicitly compromised by history, the work produced by its artists would have had more bite to it. As it was, the two artists who seemed to me to have dealt most successfully with the challenge the show offered were Stéphane Calais, who preferred to stay at home and use Indian ink to cover large sheets of paper with flowers and abstract designs on the principle that his 'Orientalism was as mutant as flu' and thus required isolation, and Leandro Erlich (interestingly, an Argentine artist who lives and works between his country of origin and Paris, and is thus neither French nor Indian), who has given us an installation of a typical Parisian bedroom (designed, incidentally, by Jacques Grange, who lives in the apartment that once belonged to Colette), through one window of which can be seen filmed images of a street in Bombay. They're fascinating to watch, as of course they would be; they're elsewhere and their otherness is reinforced by the frame of the window, which is both a limit and an aperture. As metaphors go, Erlich's installation, entitled, almost too neatly, Le Regard, is as apposite as they come.
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Just starting out? Take our Brand Style Quiz to get inspired today!
Simple websites that make a HUGE impact
There is a massive amount of content on the internet, but not every website is worth coming back to time and time again. These 9 sites I list below have helped me gain stability in my career, and continue to inspire me on a daily basis. I have used them to continue my education, find inspiration, and entertain me through my workday. This is a tribute to these fine companies and the ways I have found to use (and misuse) their services.
1. Lynda.com
This one is a BIG one. It’s number 1 on here for a reason, and that’s because when I first graduated from University of Miami I came to the harsh realization that I had learned nothing. Yes, I played around with photography, light room printing, lithography, illustration, and poor layout designs that I look back on now and shudder. But did I learn how to code? Did I know the first thing about web design and framework construction? Not even remotely.
Thank goodness Lynda saved the day. I split the membership with my friend and used every penny to teach myself HTML, CSS, JavaScript, Actionscript 3, how to use Photoshop for web… just everything. When I contacted Acotel after my interview and requested a sample project to show them I was worthy of hire, they asked me to do a Flash banner advertising their phone services. After 5 days and 35 hours of tutorials I crafted something that was so impressive, they called me back the next day to make me an offer.
2. Shutterstock.com
Some websites you use for more than what the company intends. Not only have I developed myself into a “graphic hacker” that takes vector images and tweaks them to suit the project I’m on, but I have also learned a great deal about constructing graphics from the people who upload the vectors in the first place. I’ve learned so much about Illustrator from playing around with Shutterstock vectors that I’m now able to make my own from scanned drawings and pictures. I also use it almost every day for my job, and have amassed a library of thousands of photos and vectors that I keep secured on a portable hard drive for whenever I need it.
It’s also an inspiration engine, helping me to browse the limitless possibilities when searching for a place to begin a web design or logo creation. The most difficult thing about navigating Shutterstock? Putting your graphic desires into actual words for search.
3. Turntable.fm
In the beginning, there was Pandora. I fondly remember my first winter up north, working for Saga Electronics and bookmarking every other song on my Rusko playlist. But then they “evolved”, removed the bookmarking function, and (despite my attempts to sway the algorithm otherwise) started playing the same 10 songs over and over again. I became frustrated and my working day felt longer than it needed to.
After starting my job in interactive design at Acotel, my project manager Vitaliy (the king of finding these kinds of awesome startups) introduced me to this gem.
It’s a music-playing chat room, where you can listen to tracks played by people all over the country. It sounds like it could be a huge distraction, and without self-control, it is. You can go into one of several themed rooms, listen to other people play the latest music, and actually give them feedback on what the room likes, dislikes, and has heard entirely too often. The result is a fantastic mix of chill morning music, energetic afternoon beats, the occasional “troll” round (i.e. only Will Smith remixes), and the ability to actually “lame” a song off the playlist.
Unfortunately Turntable.fm is now defunct, but it had a good 4-year run. I collected so much music as a result of finding new stuff on Turntable that I owe a great deal of my workplace satisfaction in the past year and a half to this one website. Did I mention that David & I have hosted real-world Turntable meetups to go to concerts?
4. Dafont.com
Tons of free fonts listed in several categories. Can get silly at times, so I’ve since turned to several other sources (including *gasp* actually paying for worthy fonts), but while I was first tossing together logos and building my portfolio, this site was invaluable.
5. Abduzeedo.com
Fantastic tutorials, daily inspiration from artists & designers all over the world, free wallpaper & texture packages, and posts spanning a huge variety of themes, from architecture to typography (and everything in between!). Their photoshop tutorials in particular I found myself flying through, since they are some of the more advanced I’ve seen. The format allows you to work and read simultaneously, instead of the Lynda format which requires you to watch a movie, making flipping back to previous steps a lot harder than simply scrolling up.
6. Codrops.com
For web tutorials and source code, this site is the first place I go. Part web / tech news blog and part tutorial archive, the contributors to this site manage to condense the most difficult parts of jQuery & JavaScript and spell it out in a way that a lowly designer such as myself can understand. And for when you get completely lost and just want to play around with the sample’s code, you have the option to download the source. Codrops: helping aspiring web programmers dissect complicated blocks of code since 2010!
7. The Oatmeal
I was partly inspired to pick up vector comic illustration thanks to Matthew Inman, aka “The Oatmeal” guy. This simplistic yet visually attractive style, coupled with LOL content and skillful web coding makes this guy my design idol. His comics range from the pointedly profound (How to Suck at Religion) to the delightfully silly (My Dog: The Paradox). He also tackles issues that hit home to all designers, and convey them so hilariously that even the most depressing client interaction is given a witty, sarcastic twist (How a Web Design Goes Straight to Hell). That one I go back to a lot.
8. Monster.com
My favorite job posting site. I applied to 20 jobs, sent out 20 resumes, and got 5 actual, real, email responses. 1 of them never responded to my follow-up, 2 of them gave me a sample project right off the bat, the other 2 called me in for interviews. 1 of the interviews landed me the job I am currently occupying, while the other interview actually DID contact me for a follow up, but was located in NJ. And 1 year of NJ was enough NJ. I used 5 other websites and never heard back from any of those postings (I replied to 20 postings at each). The entire process from apply to secure was 5 weeks. Not bad at all.
9. Laurabaurealis.com
The initial version of my website took me 2 weeks to design and program. It was a challenge but a necessary one, since almost all the jobs I applied to required online portfolios. Now it’s looking a lot better and I enjoy using it as a guinea pig to test web technologies (without angering a client). I love looking back to the first portfolio site I constructed in Flash the year I got my Mac & tablet. It is a delightful abomination that thank goodness never found its way online. I’m fairly certain that the website will never be completely “done”, and will continue to evolve as I do.
Which websites have helped you shape YOUR career? I bet you can think of at least 2!
Yours in pixels,
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Chamber Music Review
Carolina Summer Music Festival: No Ill Winds Blew in an Imaginative Program
Event Information
Winston-Salem -- ( Sat., Aug. 10, 2013 )
Carolina Chamber Symphony Players: Dvořák and Mozart Serenades
Adults $18; Students $5 -- James A. Gray, Jr., Auditorium, Old Salem Visitor Center , (336)721-7350 (Tues-Sat) , http://www.carolinachambersymphony.org/ -- 7:30 PM
August 10, 2013 - Winston-Salem, NC:
Despite earlier heavy downpours throughout the Triad, there was a good turnout of music lovers in the James A. Gray, Jr. Auditorium within the Old Salem Visitor Center for the third concert of the Carolina Summer Music Festival. Founded by the Carolina Chamber Symphony, it consists of members of the Greensboro and Winston-Salem Symphonies, the UNC School of the Arts, and local freelancers. For this concert twelve players, mostly woodwinds and horns, supplemented by percussion and strings, were arranged in different configurations. The first and last work on the program was conducted by Peter Perret who prefaced their performance with germane comments.
Estonian born composer Arvo Pärt (1935) was initially influenced by the music of Soviet composers Prokofiev and Shostakovich before taking up the serial principles of Schoenberg in 1960. This was quickly dropped in favor of applying musical collages and quotations before he found his creative voice after a deep study of medieval and Renaissance composers such as Ockeghem and Josquin. Conductor Perret, in his comments on the wind octet version of "Fratres" (1977), called Pärt’s mature style “mystic minimalism” while the composer himself has called it “tintinnabulation” from the Latin word for bells. The original version was composed for string quintet and wind quintet. This performance was an octet version of 1990 (approved by the composer) by Beat Briner for pairs of oboes, horns, bassoons, and clarinets (one on bass clarinet) and percussion. An austere hymn-like theme of eight measures is played above a continuous drone on the interval of an open fifth. Over the eight repetitions, which include inversions, an extraordinary and fascinating tapestry of colors and harmonies is woven.
Perret and his players fully conveyed the rapt, almost hypnotic quality of this piece. The wind players, oboists John Hammarback and Anna Lampidis, horn players Joe Mount and Tim Papenbrock, bassoonists Saxton Rose and Marian Graebert, clarinetists Oskar Espina-Ruiz and Ron Rodkin, were joined by percussionist Beverly Naiditch. (During intermission Perret told me he corrected a wrong note in the printed score, an error which can be heard on Telarc CD-80387 Fratres, twelve versions).
Festival co-director and horn player Joe Mount referred to the popularity of Harmoniemusik, wind music to serve as background for indoor or outdoor entertainment by the nobility when he introduced Serenade No. 12 in C minor, K. 388 by W. A Mozart (1756-91). Most of his serenades are light-hearted, in over a half-dozen movements of which many are either dance or character pieces. Mozart is always serious when he composes in the minor keys and K. 388 stands out among his serenades for its darker mood and musical depth and having only four movements. While it is unknown for whom or exactly when it was composed, clearly its dramatic nature and sophisticated scoring, such as the canon and reverse canon of its third movement, means it was intended for a very sophisticated audience. It is effectively a symphony for wind octet.
The players: oboists Hammarback and Lampidis, horn players Bob Campbell and Mount, bassoonists Graebert and Rose, and clarinetists Espina-Ruiz and Rudkin, gave a beautifully judged and stylish performance without conductor. The drama of the first movement was strongly conveyed by the horns with some remarkable efforts from the bassoons. The give-and-take between players was as satisfying as that of an established touring string quartet.
The Serenade for Winds, Op. 44 by Antonín Dvořák (1841-1904) was composed in two weeks in January 1878. Among other works he composed during the year was the piano duet version of Slavonic Dances. The foundation of cello and string bass lends a symphonic quality to the overall sound produced by wind group of pairs of oboes, clarinets, and bassoons, plus three horns. The composer had Brahms Second Serenade in A in mind when he filled his four-movement piece full of Czech nationalistic temper with a weighting toward the wind-instrument tone colors.
Conductor Perret stylishly led oboists Lampidis and Hammarback, clarinetists Espina-Ruiz and Rudkin, bassoonists Rose and Graebert, horn players Campbell, Mount, and Tim Papenbrock, cellist Jennifer Alexander Johnston, and double bassist John Spuller in a deeply satisfying performance. Tempos and balance were excellent and there was a marvelous sense of spontaneity throughout, especially the last movement in which successive returns of its polka-like theme can lose its sparkle. The close ensemble work of the three horns was especially impressive, not least in the third movement. The first movement’s march was homage to the sound of Mozart’s serenades while the second movement featured two Czech dances, the “sousedska” (similar to the Austrian “Ländler”) and the rousing “furiant” as its trio section. This performance was a constant delight from start to finish.
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11 clever ways to promote your arts business
When it's time to stop making art for your own enjoyment, here's how to find clients who pay.
Whatever your brand of creativity – visual artist, photographer, writer, performer, drag star – there comes a time when you want to stop doing it for your own enjoyment and start doing it for clients with real money. So how do you promote yourself in a way that is both creative and cost-effective?
Clearly a smart and sophisticated digital presence is important. You’re a creative so your website and digital assets need to reflect your work and your brand values. This will often be the first time someone sees your work, so you want to make a strong first impression.
Unlock this content?
Access this content and more
Dr Diana Carroll is a writer, speaker, and reviewer based in Adelaide. Her work has been published in newspapers and magazines including the Sydney Morning Herald, The Australian, Woman's Day, and B&T. Writing about the arts is one of her great passions.
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Kim Stockx
Historical Bassoons & Recorders
A sparkling evening and afternoon full of early baroque surrounded by nature. Be embraced by the pure and warm sound of the dulcian.
An Instrumental Songbook by Florens ensemble
Be inspired by the latest program of the Florens ensemble build around the most famous songs of the early baroque.
In dialogo by Concerto Foscari
A dialogue between Jewish and Christian early baroque.
©Wouter Jansen
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2e7d8685-b9b9-4e21-8e37-9dd79a94ace7
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Mobirise Web Maker
Digital Fantasy Portraits
by Dale Ziemianski
Digital Fantasy Portraits start out with just a simple photo of the person you want as your subject - your partner, child, parent, friend, business associate, whomever. Using the lighting direction in the photo, and the angle the person is facing, I import the photo into an image editing program then compose a full color Fantasy scene around it.
All you need to provide is a photo - and all I use from the photo is the person's face.
I can change the hair style and the pose of the body as long as the head is facing the same direction as it is in the photo.
The final image is poster size, and is provided as a digital download.
It can be then emailed, added to websites and social media, printed as greeting cards, wall art, even full size banners
or wallpaper via the various wallpaper printing sites online.
They're the most personal gift you can give.
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New Reshidev RK Mural Is A Bright Spot For Summer
The PDX Rotating Art Program is thrilled to unveil a colorful and fascinatingly complex new large-scale mural this summer pre-security in North Baggage Claim. By Portland, Oregon based artist and designer Reshidev RK, this exciting new mural titled PDXPLORE pops with Portland’s intricacies, people, personalities, and the vibrant flavor of the city and the Pacific Northwest.
Born in Kerala, India, Reshidev RK is an incredible artist and graphic designer. His journey between continents has been a unique one, both satisfying and a great learning process. While growing up in India, Reshidev discovered a passion for art very early on in his childhood taking to watercolor painting and clay modeling.
Quick to recognize Reshidev’s potential, his father was very supportive of the idea of him pursuing art as a serious career. Reshidev’s teachers encouraged him to enroll in competitions and school festivals across India to provide him with new outlets and access to opportunities for honing his creative skills and visual practice. It was only natural that Reshidev chose the visual arts for his higher education, graduating with a degree in Sculpture from Trivandrum College of Fine Arts in Kerala, India.
“I have been living and working in Portland, Oregon since October of 2018. The city welcomed me with a chill, some rain, and a lot of silence. As months passed by, and as the seasons changed, it felt like the city was finally warming up to me just as I was warming up to it. I began to get familiar with my new life. I was blown away by all that was being revealed to me. Talking to strangers like old friends, looking at smiling faces everywhere, cute pets, runners, joggers, cyclists, coffee shops, flowers. It felt like a theatrical experience. Different characters, different backgrounds— everything thoughtfully crafted. I wanted to translate my experience into this wall mural.” —Reshidev RK
While studying sculpture at Trivandrum College, Reshidev also rekindled his interest in painting and illustration, making way for him to pursue a professional career as a graphic designer. Along with advertising and design, Reshidev worked diligently towards building his individualistic artistic style.
His paintings were morphing into intricate digital illustrations where Reshidev took the leap into producing highly stylized, colorful contemporary digital artworks. These paintings, illustrations, and mural works have introduced a whole new world of art and design opportunities for Reshidev in his skilled visual art and design practice, and they have further strengthened and expanded his unique artistic voice overall. Reshidev RK is currently working for Wieden+Kennedy in Portland as a Graphic Designer.
Reshidev RK’s PDXPLORE mural will be on view in North Baggage Claim at Portland International Airport for six months. For more information about this mural and artist Reshidev RK, please visit Reshidev’s website, Instagram, or contact Reshidev at:
rkreshidev@gmail.com
Website: reshidevrk.com
Instagram: @reshidev_rk
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Chesford Grange Wedding Photographer
Kevin and Mandeep Mixed Faith Wedding
I had the honour of being the wedding photographer for Kevin and Mandeep.
They decided to have their wedding ceremony and reception at Chesford Grange Hotel, which is situated between Leamington Spa and Kenilworth.
Mandeep looked stunning in her traditional Asian wedding dress, adorned with bright jewellery and henna tattoos on her hands and feet. Kevin also looked very smart, all suited up for the occasion.
This wedding was truly a photographer’s delight and presented a wonderful opportunity to capture some amazing bridal photos.
Chesford Grange Hotel Wedding Venue
Nestled on 17 acres of picturesque countryside along the tranquil River Avon, Chesford Grange Hotel offers a serene getaway. The hotel is conveniently located just 2.5 miles away from the stunning Kenilworth Castle and Elizabethan Garden, and 3.4 miles from the historic Warwick Castle, making it a perfect base for exploring the area’s rich history and natural beauty.
Wedding Photography Light Painting
Thank you for letting me experiment with some light painting.
It was an absolute pleasure to capture your special day
Kevin and Mandeep I wish you both a very happy life together and want to express my gratitude for choosing me as your wedding photographer.
Thank you for your kind hospitality, for being great fun and for making me feel like one of the guests.
If you’re interested in booking me for your Wedding Photography then please don’t hesitate to GET IN TOUCH.
Please feel free to add comments – thank you!
Chesford Grange Wedding Photographer
Chesford Grange Wedding Photographer
Local Wedding Photographer based in Stratford upon Avon covering Warwickshire and the Cotswolds
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full_CC
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v0
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How to Draw a Cute Cockatiel
In this quick tutorial you'll learn how to draw a Cute Cockatiel in 7 easy steps - great for kids and novice artists.
The images above represent how your finished drawing is going to look and the steps involved.
Below are the individual steps - you can click on each one for a High Resolution printable PDF version.
At the bottom you can read some interesting facts about the Cute Cockatiel.
Make sure you also check out any of the hundreds of drawing tutorials grouped by category.
How to Draw a Cute Cockatiel - Step-by-Step Tutorial
Step 1: First, you'll draw the round eyes, one larger than the other.
Step 2: Then draw in the small beak below and in between the eyes, giving it a hook at the tip.
Step 3: Next you'll draw the circular head with spiky feathers on top and two small ovals under the eyes.
Step 4: Then draw in a round hook shape for the body, making sure to leave a large space for the back and wing.
Step 5: After that, draw the back and wing with three lines at the bottom of the wing for the feathers.
Step 6: Next draw two tapered tail feathers under the wing.
Step 7: To finish, draw the short legs and feet with three toes under the body.
How to Draw a Cute Cockatiel – Step-by-Step Tutorial
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full_CC
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v0
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Double glazed facade
Double glazed facades areEfficiency of production is a Danpal characteristic, one which is appreciated by architects and clients alike.
Double Glazed Facades Reinforce Protection From The Elements
Danpatherm is a Danpal product that possesses superior thermal properties, making it particularly adept at storing and transmitting heat. It also possesses the level of strength that is wind-resistant, keeping out those parts of nature that belong outside, not in.
Double Glazed Facades Bring In Natural Light
Another special attraction of the Danpal facades is the way that natural light is incorporated into the interior of the structure. Controlite, which is made of translucent glazing materials, has internal louvres which adjust in order to maintain a no-glare interior space within the rooms. This provides natural light that results in better visibility, contributes to the comfort of the interior, and spares the occupants from the glare that would be present outside. No need for sunglasses inside, even if the sunlight is present!
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41b14548b89d01367dba9d2dcad470872161b32b4e8f4cad95f4be9efc779afe
| 234
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