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Took the kids to see this exhibition last week. It really was excellent. I recommend that you allow yourself plenty of time though. We found that three hours flew past and it cost about £25 for the three of us. Better to go in the morning and make a day of it. There is so much to do and see. It's a pity they don't seem to do a year long pass. I'd happily pay for it. Needless to say my kids and this big kid loved it and we might even try and go back this weekend as they're offering workshops with some of Aardman's animators.
I particularly enjoyed the jam splatting workshop and the plasticine forest. Good to se the Wallace and Gromit sets. Buddding stop frame animators will be interested to see the scale and intricate level of detail in the set designs. Great contraptions and interesting information on intellectual property issues too.
Highly recommended!
From the GSC website:
Wallace and Gromit present...A World of Cracking Ideas
We are proud to announce that we have secured the first opportunity outside London to host “Wallace and Gromit present . . . A World Cracking Ideas”. This is a fabulous interactive exhibition stuffed full of crazy innovation, some amazing examples of ideas that have gone from a twinkle in someone's eye to reality and a huge range of activites, fun and games which stimulate your creative juices. (Oh and, of course Wallace and Gromit!)
"Wallace and Gromit present... A World of Cracking Ideas" is sponsored by the Intellectual Property Office, presented by Aardman Animations and produced by SGA.
The exhibition will be here from April 2nd until November 30th 2010.
Who are these guys, anyway?
Why are they interested in MY wife?
Why are they brazen enought to go public with it?
Use the TAG wife to see who's interested in YOURS!!!
It may come as quite a shock !!!
Ahead of the Baltimore Comic-Con this weekend, British comic book artists Brian Bolland and Mark Buckingham visited the Library of Congress in Washington to see the original artwork from the first appearance of Spider-Man in Amazing Fantasy 15.
In the 1980s, a number of British writers and artists started producing work for American comics and brought a fresh take that appealed to fans and critics alike. This has been coined the ‘British Invasion’. To celebrate this longstanding theme, the British Embassy will be exhibiting at the 13th annual Baltimore Comic-Con, showcasing what is GREAT about the comic book, science-fiction and creative industries in Great Britain and Northern Ireland. British creativity in the industry is kept alive today by creators including Brian Bolland, Mark Buckingham, and Barry Kitson. All three will speak on a panel themed around the ‘British Invasion.’
When I want to pass the time & dab into my creative "bug", I make bracelets...aka Arm Candy:)) I find myself spending up to an hour or more, browsing the bead isles in Michaels & Hobby Lobby. I LOVE coming up with unique pieces & have passed this hobby onto my kiddos (esp. my 13-y/o son).
This is the result of a fun and creative scrap "game" that I invented, blogged at gefiltequilt.blogspot.com/2013/06/scrap-heaven-come-as-yo.... I like it vertical and horizontal!
Ejemplo del funcionamiento de mi nuevo currículum "interactivo/creativo" de marzo de 2012. Sólo permite un minuto y medio, así que se corta. El vídeo completo lo puedes ver aquí: youtu.be/eNH4JSaGnQg
I can't tell you how happy I am in a white room. There is something so calming and "fresh slate" feeling about it. The room was painted by the previous owners a dark, dark gold with dark brown trim and dark brown painted floors. Uggg!
A friend and I experimented with wetting old books, shaping and cutting them, then drying them (http://theshoppingsherpa.blogspot.com/2011/01/books-in-bath.html ).
These are the results...
"Creativity can get you on the frontpage."
(Slimme advertentie van reclamebureau Doom & Dickson in vakblad Adformatie.)
Squadra #Conflutech augura un #matrimonio molto felice di Carmine e Antonella #weddinglogo #logodesign #logo #creative #unique #minimal #clever #cleverlogo #logooftheday #unique #design #vector #vectorlogo via Conflutech ift.tt/2jRKvMN
The web dev/design section of our shelves. There are others on the desks not shown, including mad "cookbooks" and lots more typography books etc.
Sorry this is such a bad photo! I'll get the proper camera out and replace with a crisper one soon.
If you are on the shelf, add your name and book title as tags, and/or say "hello".
My second effort. Lately, I love to freehand letters with just scraps of paper or cardboard and a nice sharp pair of paper snips. I've also tried to recycle and use scraps and bits. I started saving 'stuff' to use on my weekly list challenge. I have found so much cardboard and chipboard in the way of boxes and packaging, both plain and beautifully embellished. My storage space for these goodies is overflowing.
The base of this piece is the cardboard backing from Prima embroidered pieces. Most of the letters are cut from patterned paper, but some are from other sources. The 'E' was cut from a USPS flyer and the 'A' from a woodgrain finished Kleenex box. The label shaped piece was also a scrap saved from an earlier project. Inked the edges and used a TH mini attacher to attach a piece of ropey trim for hanging.
Also inked all edges cuz I just have to!
Sometimes we choose to focus on a particular aspect of photography. “I do black and white” ... “I take photos of people”... “I’m into macro.” After all, photography covers a very broad territory. People like to carve out their niche, specialize in a particular type of photography, and hone their skills in that area, rather than become a jack-of-all-trades and master-of-none. They want to develop their individual style and establish their unique identity within the vast territory of people doing photography. In some cases, people are purists about sticking to what they do. They’re sure their type of photography is the real thing.
We also slip into certain habits without even realizing it. Maybe you’re always shooting outdoors, or from a standing position, or using a high contrast method of post-processing. Usually they’re methods that produced good results in the past, so you keep using them. If it ain’t broke, then why fix it, right?
I’d like to suggest that these routine behaviors might limit our skills and visions as photographers, whether we’ve deliberately chosen these areas of focus, and especially if we’ve slipped into habitual patterns without even realizing it.
Stated simply, it’s good to try something new. Not many people are going to argue with that suggestion, unless they’re hardcore purists, stubbornly elitist, narrow-minded, or afraid to try something different for fear of failing.
The more important issue is this: how do you go about trying something different?
The first step is to identify your habits and style. It will be relatively easy to make a list of the subjects and methods that you’ve chosen consciously, deliberately. The harder task is pinpointing your routine behaviors that have developed without your realizing it. You might ask your colleagues for feedback. They often can see the habitual patterns in your work that you don’t. If you also look at the photography of other people, you’ll discover subjects and techniques that are very different than your own. Make a note of how their work is different than yours, even if you don’t like what you see.
Then you could start experimenting, in whatever way strikes you as interesting. Do something that’s different than what you typically do. If you’re using other people’s photos as a guide, you’ll be tempted to emulate the photos that you like. But don’t limit yourself that way. Also try to recreate the images that you didn’t fancy.
That last point is important, because it leads to the idea that I’d like to emphasize in this article: REVERSALS. When you identify a particular way that you’re doing photography, reverse it. If you always shoot color, try black and white. If you prefer portraits of people, start shooting non-human subjects. If all your photos maintain horizontal lines, try shooting with diagonal tilts.
There are interesting psychological as well as philosophical reasons why I’m suggesting reversals – reasons why it might be a better method than simply experimenting on a whim. Our mind operates based on polarities. We understand color because we know what black-and-white is. We recognize sharpness because we've seen blur. If you don't understand and appreciate one, it's hard to fully understand and appreciate the other.
The dynamic relationship between opposites runs deeper than these mechanisms of perception. Consciously, we dislike and avoid something, but on an unconscious level, there’s often something about it that entices us, or that we need, even though we might not think so. If you're always creating peaceful, soft-focus photos of nature, might there be something about sharp conflict situations that you need to understand and embrace? If you've always insisted on shooting black and white, what is it about color that you might be overlooking, that might benefit you? Eastern philosophies like Taoism, as well as some western psychological thinkers like Carl Jung, talk about how a healthy personality embraces the interaction and balancing of its internal opposing forces, like love and hate, strength and submission, happiness and sadness. We become stagnant, locked up, and limited in how we think, feel, and perceive when we repress one side of the dynamic polarity. Allowing ourselves to open up to the expression of opposing forces results in fresh insights and a wider field of view. Dialectical philosophy would describe it as challenging a premise with a counter-premise in order to arrive a higher truth that synthesizes the best insights of these opposing views.
So identify the ways you usually do photography, then try reversing them. You might reverse your shooting techniques, your post-processing methods, or your subject matter. Reverse one element at a time, or several at a time.
Figuring out a reversal can be a challenging and instructive process unto itself. For example, what’s the opposite of doing sports photography? Shooting people who are cooperating rather than competing, or perhaps people who are engaged in some quiet, relaxed, solitary activity? Often there will be more than one way to create a reversal. Try them all. If you usually use sepia tones, try different color tints, black-and-white, or full-spectrum color. If you like nature photography, try shooting buildings, machines, and people. By identifying different ways to reverse what you usually do, you will be exercising your artistic, technical, and conceptual muscles by activating the polarities of your photography mind.
Tackling the conceptual reversal will be particularly rewarding in understanding what your photography means to you. If you specialize in portraits of children, the obvious reversal would be shots of adults. But consider what “child” means to you. Youth, innocence, play, a need for love, protection, or nurturance? Reversing those ideas will enrich your understanding of why and how you do your usual type of photography.
As a result of your experimentations, you might decide to continue exploring these other styles of photography. Or you might not necessarily like the photos that emerge from your reversals. In fact, some people who know your photography won't like them, even if you do, because they expect certain types of images from you. Try not to let that discourage you from experimenting. If you do decide to go back to your familiar way of doing things, that’s OK. You nevertheless will learn from the reversal process. No longer a slave to your old habits, you will expand your range of seeing, shooting, processing, and understanding. You will find that you’re bringing new insights and skills that will enrich your old way of doing things. Allowing the polarities of your photography mind to engage each other will teach you not just about your work, but about yourself and why you’re a photographer.
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Another more easy to navigate version of the book is located at this web site
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