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A festive shop of gorgeous books in a mid-century Førest, dreamed up by Sabrina Lee Hammon.
If Visual Editions grew trees, they would be covered in fluorescent wool, with books falling from the trees like ripe fruits ripe for giving.
A festive December shop of great looking stories, where the Førest fairies never bite.
Førest London
115 Clerkenwell Road
EC1R 5BY
Photography by the very talented Andrew Corrigan.
2012 © Visual Editions
having fun doodling and drawing in one of my Strathmore Visual Journal with Mixed Media paper. Love the finish of the paper. playing with watercolor and oil pastels
Three boys without hearing show off the visual art projects at The National Rehabilitation Center in Vientiane Laos.
Prints: daniel-eskridge.artistwebsites.com/featured/lone-wolf-dan...
A lone gray wolf stands atop a pile of snow covered boulders. Seen in profile, this alert hunter looks across a wintry landscape in the North American wilderness. He stands next to a twisted old oak tree almost as if he is guarding its gnarled trunk. A few fir trees can be seen in the distance and dark clouds fill the winter skies.
This is a lone wolf. Lone wolves are wolves who, for some reason or another, don't run with a pack. The concept of the lone wolf has come to stand as symbol for people who do things as an individual rather than as part of a group.
This is the latest addition to my wolf themed series of artworks. For this one, I wanted to create a proud looking wolf standing tall on a natural pedestal, not just any lone wolf, but the epitome of one. I used a vertical format with a very low horizon line to give him a heroic look. Just to add a bit of visual interest and to break up the sky, I added the gnarled old tree, but I made it as such that it makes the wolf appear to be gigantic.
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Nuevos Caminos de exploración visual
La imagen en movimiento sucumbe los espacios desintegrados por un sistema modular de imagenes que se interlanzan y crean un bit secuencial de paranodia visual.
Mama quiero un contralador para mezclar en esta navidad.
Cámara: NIKON CORPORATION NIKON D3000 + Nikkor 105 mm VR
Exposición: 0,01 sec (1/100)
Aperture: f/5.0
Lente: 105 mm
Velocidad ISO: 400
Examining the central visual field (VF) grey scale of the right eye alone may be confusing, as there is no specific pattern to the field defect. However, looking at the two grey scales together reveals a left central field defect, signifying optic neuritis. In this case, looking at the rest of the printout data (statistical package) may be useless, as it is designed to analyse glaucoma defects only.
Published in: Community Eye Health Journal Vol. 25 No. 79.80 2012 (Online only) www.cehjournal.org
CONCRETE POETRY AND ITS CONTEXTS.
edited by Nicholas Zurbrugg.
Brisbane (Australia), Museum Of Contemporary Art, 1989. ISBN 1-86267-oo8-o.
8-3/16 x 1o-9/16, 38 sheets white bond perfectbound in white claycoat card wrapprs, all except inside cvers printed blck offset with grey, blue & red additions to front cover.
cover by Robert Lax.
7o contributors ID'd:
Pierre Albert-Birot, Davida Allen, Ronaldo Azeredo, Gordon Bennett, Max Bense, Dusan Bojic, Jean-François Bory, Peter Burgess, William S.Burroughs, Lourdes Castro, Guglielmo Achille Cavellini, Henri Chopin, Laurie Clark, Thomas A.Clark, Bob Cobbing, Francesco Conz, Augusto De Campos, Guy Debord, Paul De Vree, Jas H.Duke, Malcolm Enright, Ian Hamilton Finlay, Pierre Garnier, Diena Georgetti, Jochen Gerz, Paul-Armand Gette, Eugen Gomringer, Brion Gysin, Michael Harvey, Raoul Hausmann, Gary Hincks, Dom Sylvester Houédard, Jeanelle Hurst, Isidore Isou, Kitasono Katué, Robert Kinder, Shane Kneipp, Robert Lax, Peter Lyle, Chris Mann, Zeliko Maric, Hansjörg Mayer, Edwin Morgan, Maurizio Nannucci, bpNichol, Pi O, George Oliver, Tom Phillips, Decio Pignatari, Alan Riddell, Bridget Riley, Luke Roberts, Mimmo Rotella, Gerhard Ruhm, Isaia Sarenco, Alex Selenitsch, Michel Seuphor, John Sharky, Madonna Staunton, Thalia Stormborn, Richard Tipping, Hiram To, Shimizu Toshihiko, Ben Vautier, Edite Vidins, Edgard Antonio Vigo, John Waller, Mark Webb, Adam Wolter, Nicholas Zurbrugg.
includes:
i) Le Chien Bleu (p.42; concrete poem)
also includes:
ii) B.P.NICHOL, by Nicholas Zurbrugg (p.42; prose with quotes by Nichol from "concrete can become as big a trap as anything...")
Banner Externo - 185x428cm.
Projeto de comunicação visual desenvolvido para a Exposição de Arte e Tecnologia LIFE on LINE of LIFE, realizada da Galeria Olido - São Paulo.
Softwares: Corel Draw
Autores: Edineide de Oliveira e Nathália de Sousa Costa.
I love graphic design, but I also love decorating interiors from the finishes to the furniture to the colors on the wall, and of course, the accessories, too! I had a good time working with my client, Dr. Rajul Patel, DDS, in developing the look of her new dental office.
To see more custom design projects, visit www.designwithchon.com
Like me on Facebook! www.facebook.com/DesignWithChon
.............................
Design With Chon (DWC), a boutique design studio with defined niches in (1) visual communication, (2) event design and (3) interiors. Each of these industries are huge in themselves, but DWC has an understanding that bridges them together — color, balance, texture, order and a good eye for design. DWC’s goal is to achieve good design in all its various forms, whether it’s from the branding of your business to saying “I do” to transforming a dwelling in your home. Let me, “Chon," be your go-to person for good design, color, great photography and art. A balanced environment makes you feel good, and I am here to inspire your surroundings.
If you’re interested in sharing an idea or a project, drop me a line at designwithchon[at]gmail.com to start the conversation.
©Design With Chon. All Rights Reserved.
This first brief requires you to play on the idea of gender reversal and visual puns. The brief is set to challenge and enhance work that you have created within your vintage-themed personal ‘style’ in the past. Themes of irony should run through a series of four images which are displayed collectively on one final piece to be submitted. You should interpret the brief in relation and response to recent practitioner’s work of a similar style.
Amongst other practisioners, I looked at the work of YBA's; Tracy Emin and Sarah Lucas for inspiration.
Each of the four images I created is based on or around a visual pun and/or gender reversal.
This is a favorite area for students to sit at a table. You can reach out and take a look at oddities or clip art or figure reference.
A festive shop of gorgeous books in a mid-century Førest, dreamed up by Sabrina Lee Hammon.
If Visual Editions grew trees, they would be covered in fluorescent wool, with books falling from the trees like ripe fruits ripe for giving.
A festive December shop of great looking stories, where the Førest fairies never bite.
Førest London
115 Clerkenwell Road
EC1R 5BY
Photography by the very talented Andrew Corrigan.
2012 © Visual Editions
VISUAL LIBRARIES - Leave your Mark.
A collaborative, visual project which encourages you to sign out a Visual Library Book and ‘Leave Your Mark’.
A Visual Library Book is whatever you want it to be, a sketchbook, a journal, a diary, a notepad.
You can ‘Leave Your Mark’ in whatever way you want, ranging from drawing, writing, sewing, adding photographs, markings, printing and sticking. How you make your marks is entirely up to you. All we ask is that you have fun with the different themes. Just borrow it on your library card with other books and materials. If you are not already a member, just ask the staff to help you.
45 Visual Library Books have been placed in Portsmouth Central Library and each has its own theme ranging from; Portsmouth, My City, When I Open My Eyes, Whilst I Was Waiting, Love, What’s in My Pocket and Memories. The intention is for you to feel free to explore the Visual Library Books and choose a theme that you like.
In Association with: Rhodia, Seawhite, Portsmouth City Council, University of Portsmouth, COPIC Pens
For Further Details: claire.sambrook@port.ac.uk
Tony Seiniger believes in simplicity. At its base, his poster for Jaws is an advertisement to entice audiences to see Steven Spielberg’s movie. Jaws is a horror film and the poster uses the genre’s greatest trope of creating intrigue and suspense through suggestion. An inductive analysis shows that the singular focus of the shark and the unawareness of the swimmer signals an alarm in the viewer. There is no attack, but the dagger-like teeth are a code for danger and the thick, red lettering signifies blood. Both the size of the shark and the depth of the ocean make the slight swimmer insignificant, creating tension through spatial orientation. Ultimately, the poster wants you to fear this shark, but it also wants to interest you enough to buy a ticket to see Jaws in action. But he film, and the poster, also became a part of the myth of the dreaded great white shark.
Sources
“Jaws Poster.” Movieposter.com. Movieposter.com, n.d. Web. 13 Sep 2011.
“Interview with Tony Seiniger.” cnn.com. CNN, 25 Jul 2003. Web. 13 Sep 2011.