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A close-up view of a music production interface featuring control buttons such as tempo, pitch, and gain settings.
International festival of contemporary dance, IIC, Delhi; Groups from Australia, Israel, India and Taiwan
Game On by Theatre of Rhythm and Dance, Australia
Concept & Direction: Annalouise Paul Choreography: Annalouise Paul and Miranda Wheen
Classical Indian Tabla: Bobby Singh Contemporary Dance Miranda Wheen
© Fahad Al-Hasan.
This was done for my Visual Design for Digital Media module for my course. This charity website interface incorporates many elements that I learnt from the module, including rule of thirds, logo design, typography and colour schemes.
International festival of contemporary dance, IIC, Delhi; Groups from Australia, Israel, India and Taiwan
Game On by Theatre of Rhythm and Dance, Australia
Concept & Direction: Annalouise Paul Choreography: Annalouise Paul and Miranda Wheen
Classical Indian Tabla: Bobby Singh Contemporary Dance Miranda Wheen
INTERFACE TO GOD
Kunsthalle zu Kiel.
Collaboration with BjarneMelgaard and Snorre Ruch [music]. 2 CD’s, picture disc, four posters, 6 huge PVC banners, floor-texts, three tents with three videos
(Vortex, Nullo, Anim RMX), 132 page catalogue: Societé Anonyme.
©Halvor Bodin/Bjarne Melgaard/Snorre Ruch 2002
Some results of my "physical constructive discussion". The audience is claying the human figure that would correspond ideally with a given (natural) user interface.
Photos by Aldo Hoeben taken at Design by Fire 2010
20" wide - $7.99 / yd
Pellon SF101 Shape-Flex is an all purpose, woven, fusible interfacing. It provides crisp support for collars, cuffs, yokes, pockets, facings, and other detail areas of a garment. It can also add body and permanent stability when used as a backing for needlework and punch embroidery. Shape-Flex is intended for light to medium woven and knit fabrics, including oxford cloth, chambray, gingham, madras, tattersall, pincord, flannel, and polyester/cotton blends. To pre-shrink, fill a sink with warm water. Place interfacing in water for about ten minutes. Do not put in washer or dryer by itself or you may loosen the adhesive. Gentle squeeze out excess water and allow to dry.
Attendees mingle before the commencement of the panel discussion.
Credit: Jan Rieger/clever pictures
The Design Revolution spreads to Hyderabad. The first ever Dive Into User-Interface Design and UX workshop in the cybercity of India. Powered by NASSCOM 10000Startups and hosted at 91Springboard. Participants included Co-founders, Developers, Directors, Vice-Presidents, and IT, design, and tech geeks. From Olivo Health, Custom Furnish, Hitachi Consulting, Paradigm Creatives, Bradsol, and more. 25-26 April 2015. Nurtured by SHEROES India.
INTERFACE TO GOD
Kunsthalle zu Kiel.
Collaboration with BjarneMelgaard and Snorre Ruch [music]. 2 CD’s, picture disc, four posters, 6 huge PVC banners, floor-texts, three tents with three videos
(Vortex, Nullo, Anim RMX), 132 page catalogue: Societé Anonyme.
©Halvor Bodin/Bjarne Melgaard/Snorre Ruch 2002
So here we are, on the road again, and I hadn't sorted out the Sony A6000 to Snapseed interfaces.
I shoot RAW and my image transfers from this trip look meh. After 4 weeks it finally occurred to me to look at the file size. Lo and behold, thumbnail jpgs were transferred. Ugh.
This is why my cellphone images look sharp on Flickr and the A6000 images do not.
I tested shooting RAW + JPG and the good, full Rez JPG does transfer. Lesson learned.
Next thing is image processing.
I read about how Norman Seeff used to print high contrast works with a twist. He used a black stocking between the enlarger lens and paper to give a interesting softness to some of his images.
He wasn't by any means the only one to do this.
When I worked at Samy Cameras photo lab on Sunset Blvd in Hollyweird we used to do this at client request. It was really no big deal.
What was a bigger deal was our use of Agfa Portriga Rapid 111 Glossy paper. It gave a gorgeous deep walnut brown tone. We used this for may of the gallery shows we printed for various then famous photographers.
Taking the black stocking idea and borrowing tones from Portriga Rapid, it turns out, expresses pretty well how I feel about Rome.
So, here is a series of images done in an old, outdated, likely not very hip manner.
INTERFACE TO GOD
Kunsthalle zu Kiel.
Collaboration with BjarneMelgaard and Snorre Ruch [music]. 2 CD’s, picture disc, four posters, 6 huge PVC banners, floor-texts, three tents with three videos
(Vortex, Nullo, Anim RMX), 132 page catalogue: Societé Anonyme.
©Halvor Bodin/Bjarne Melgaard/Snorre Ruch 2002
INTERFACE TO GOD
Kunsthalle zu Kiel.
Collaboration with BjarneMelgaard and Snorre Ruch [music]. 2 CD’s, picture disc, four posters, 6 huge PVC banners, floor-texts, three tents with three videos
(Vortex, Nullo, Anim RMX), 132 page catalogue: Societé Anonyme.
©Halvor Bodin/Bjarne Melgaard/Snorre Ruch 2002
INTERFACE TO GOD
Kunsthalle zu Kiel.
Collaboration with BjarneMelgaard and Snorre Ruch [music]. 2 CD’s, picture disc, four posters, 6 huge PVC banners, floor-texts, three tents with three videos
(Vortex, Nullo, Anim RMX), 132 page catalogue: Societé Anonyme.
©Halvor Bodin/Bjarne Melgaard/Snorre Ruch 2002
Barbara Webb, Professor of Biorobotics at University of Edinburgh, gives a seminar in the Robotics Interfaces series on her work uncovering how ants remember and plan their paths, and her group's attempt to mimic those behaviors in robotics.