#I would have finished my digital art & culture bachelors

[astralazuli]

??????????

[disillusioneddanny]

If It Makes You Happy (then why the hell are you so sad?)

Tim took a bite of his ravioli and looked around the table at his family. It was Sunday dinner. A monthly tradition where every member of the family adopted or otherwise came to spend a few hours together. It didn’t matter who was arguing with whom, or how estranged from the family you were at the time. You still had to attend the monthly family dinner. However, there were times when Tim wondered if anyone would notice if he stopped attending. If he no longer came to the dinners where he sat mostly unnoticed by the rest of his family. Where he typically sat in silence, having not uttered a single word throughout the entire event. Would they ever realize he was gone? Did they even realize he was there in the first place? 

A part of Tim truly doubted it, if he was being completely honest with himself. Maybe that was why he hadn’t been able to share with the family his upcoming exhibit. 

Tim was in his fourth year of college. Where he was getting a degree in Art, Technology, and Culture. It was a major that allowed Tim to immerse himself in photography, video art, creative coding, and so much more. He had gotten to work in traditional analog and digital photography. Played around with film and art in ways he had never thought of before while also learning about cultural theory, the expression of ideas, and cultural practices which gave him the chance to truly discover himself. It was the first time he had ever chosen something for himself. 

His entire life he had been groomed to run a business. To at first take over Drake Industries one day and then later Wayne Enterprises where he was unfortunately CEO. But then he had learned about the ATC program at Gotham University and he had fallen in love with it.  He had always been obsessed with photography and even film later on as he grew older and spent his days alone in dusty old Drake Manor. And he had always loved to learn about cultures, he ate up the stories from his parents and their trips abroad. Had spent countless nights watching the people of Gotham and how they did things, and had absorbed it all like a sponge to make up for the fact that he was just a lonely boy living in a manor by himself. 

Even when he had joined the Bats and had made his tiny little place with them, he still fell back on his love for learning about others and his desire to tell their stories. It had just become an intrinsic part of Timothy Drake. 

And now here he was, slowly creeping to the finish line. He had his senior showcase coming up. A requirement for all students who were receiving a bachelor of fine arts. He was to show off all of his best work from the last four years. It was a chance for him to show everything he had learned, and to display his work with pride. 

He had toyed with the idea of inviting everyone to it. To let them see the love that Tim had cultivated over the last four years. He was set to graduate in just a few months and the pride he felt for himself was tremendous. And if Tim invited the Wayne family to his senior showcase, then maybe they could come to his college graduation and share the achievement with them then too. 

It was a big time in Tim’s life and he wanted to share it with them. 

He listened as a lull came in the conversation and carefully cleared his throat, drawing the attention of the others. 

“I have a senior showcase this weekend for my BFA. It’s at six in the evening in the Wayne Arts Center on Gotham Campus. I would be happy to see you all there,” he said hesitantly, eyes firmly trained on his plate of food. 

“That sounds nice, Tim. I’ll try to be there,” Bruce said politely before going back to his conversation with Jason and Dick. Tim felt eyes on him, though, and slowly looked up to find his little brother giving him a curious look. 

“What?” He asked, still trying to calm his heart just a bit. He still wasn’t sure why he came to these things, why he was even here. Just talking to the Waynes gave him anxiety. Just being here reminded him how much he didn’t belong. How other he was compared to the rest of the kids that Bruce had adopted? 

Damian tilted his head to the side. “I was not aware that you were getting your Bachelor's in Fine Arts. Will you tell me about your degree program? I have been thinking about getting an Art History degree but have been torn between that and a business degree.”

Tim gave him a small smile and rested his chin on his hand as he started to tell Damian all about his degree and how he was enjoying the program at Gotham University. The rest of the family went on to their own conversations while Damian listened with rapt attention to Tim describing the ATC program at Gotham U. 

The rest of the week was a whirlwind as he prepared for his senior showcase, he had sent out invitations to everyone he wanted to come see his work. The Team had already made a reservation to take Tim to lunch before the showcase before helping him get everything ready. And as the day came to be, they had made good on their word, taking him to his favorite Vietnamese restaurant in Gotham before taking him to the gallery. He blushed as he listened to his three best friend gush over his artwork, as they listened to him explain each piece. They asked questions and made remarks about what their favorite pieces were and even tried to buy a few pieces only for Tim to promise to give each of them prints of his photos. 

The three had left with quick goodbyes, each one giving Tim a hug and congratulating him before they made their way from the gallery. The rest of the evening dragged on as people came by and asked Tim about his photos and the small films that played on the movie screen on one wall. He smiled and explained each photo to anyone who asked. He had wanted to showcase his vigilante photos of the bats and birds but it had been too much of a risk to do so. 

Instead he had shown off his photos that showcased all of his favorite parts of Gotham. From the beautiful gothic architecture, the gargoyles that looked out over the city. He showed the photos from the last time Ivy had thrown a fit in Robinson Park and covered the entirety of the grounds with flowers. He showed the pictures of community from Crime Alley and the beauty of the strength of Gothamites who had managed to survive the worst of the worst. 

He also featured pictures of his family, of Dick hanging from a chandelier, of Damian training Titus to do a trick. He had a picture of Bruce, Alfred, and Jason sitting side by side as they each read a different book. One showed Cass as she posed for the camera in her favorite ballet form. They were some of his most treasured memories, there for everyone to see and enjoy. Tucker between the one of Damian and the one of Dick was a photo of Tim. He had taken forever to set up the camera and get the timer right. Alfred had simply chuckled the entire time as he continued to offer to take the picture for Tim but no one was meant to be behind the camera for that picture. It was the only family portrait of his entire family. Cass, Damian, Tim, Dick, Jason, Bruce, Alfred, they all sat smushed into a single couch together, wide smiles and laughs on each of their faces as Tim beamed from the far side, leaning into Alfred’s side. 

The gallery was meant to showcase culture that was important to Tim. To showcase the life that he loved and treasured. And even if he never felt like he quite fit in the Wayne Family, even though he knew that he was the expendable one, the replacement, he still treasured his family. It was why he had invited them, he had wanted them to see just how important they were to Tim. And maybe they would realize he was important to them too.

Only, the rest of the evening seemed to drag on, and not a single person from his family ever stepped through the door. He waited, shoulders tensed and smile polite. Every bit the gentleman that Janet Drake had trained him to be as he stood with his hands clasped in front of him. He kept glancing at the clock, waiting for Bruce or Dick or someone to walk through the doors, to say hello and look at all the work that Tim had put in the last four years in college. The hours ticked by until it was nearing ten pm and the gallery started to clear out, custodians came in and started to clean up around him. 

Tim cast one final look at the doors before he turned to his photos and started to take one off of the wall. 

“Master Timothy! I am so sorry that we are late,” a voice said and Tim quickly to find Alfred and Damian walking through the doors of the gallery. A small smile spread on Tim’s face as Damian bound forward. 

“I apologize,” Damian said softly, staring up at Tim with disgruntled eyes. “I got into an argument with Father and then Titus scared Alfred the Cat and we spent the last three hours searching for that blasted cat and when we realized the time we came straight here,” he said. “What did the others think of your exhibit?”

Tim’s smile fell and he scratched the back of his neck awkwardly. “They uh, they didn’t show up,” he said quietly. “But if you’d like, you guys are the last ones to show up. I’d love to show you everything.”

Alfred’s face fell at that as he stepped forward and clasped a hand on Tim’s shoulder. “That is their loss, my dear boy. I would love to see your work,” he said. Before he could stop himself, Tim pulled Alfred in for a tight hug, burying his face in the old butler’s chest as he held him close. 

“Thank you,” he whispered before pulling away. He glanced down at Damian and smiled. “How about I show you my work and then if my advisor is still here you can meet her and talk to her about the ATC program.”

The fourteen-year-old nodded his head once. “I would appreciate that,” he said before grabbing Tim’s hand hesitantly. He followed quietly as Tim showed them his pictures of Gotham, explaining the stories behind each one before he showed them his favorite pictures. His pictures of home and both men let out soft gasps as they looked at them. 

“Master Timothy, these are beautiful,” Alfred said, stepping forward to take in the picture of him, Bruce, and Jason. 

“The lighting for this is amazing, I did not know that I even smiled like that,” Damian said softly as he took in the picture of him smiling at Titus. 

“Oh Tim,” Alfred said quietly, losing all strict politeness that Alfred held so dear to his heart as he took in the family portrait. “This is amazing, Timothy. So absolutely perfect. I remember when you took this photograph. It was right after Thanksgiving dinner last year.”

“I was so irritated, Todd had gotten mashed potatoes in my hair,” Damian said with a huff, a small smile tugged on his face. 

“I did not even realize that Master Richard and Master Jason were hugging in this picture,” Alfred said, a soft smile sti on his face as he took in the way Dick had his arms wrapped around Jason’s shoulders, a wide smile on his face as he laughed at something Jason had said. A small smile sat on Jason’s face, his eyes brighter than Tim had seen since the older man had come back from the dead. 

Alfred tore his eyes from the picture. “How much?” he asked. 

Tim blinked. “What?”

“How much for the picture?” Alfred asked him, turning back to the family portrait. 

“For you?” Tim asked, blinking again in surprise. “Free of charge, considering it a thank you for coming to my senior showcase.”

“I would like this one of Titus and me,” Damian piped up. “It would be lovely on my desk in my bedroom.”

Tim sniffed, his chest tightening slightly. “I would be more than happy to give you both the original copies.”

“Timothy,” Alfred said, turning back to Tim, that soft, kind, smile on his face once again. “I am so incredibly proud of you.”

The vigilante’s eyes burned furiously. “I-I thank you,” he said, a soft sob slipped out of his mouth before small arms wrapped around him. Damian hugged him tight, his face pressed against Tim’s chest. 

“I am so sorry that our family forgot to come to your showcase, Timothy,” he said stiffly. “You are incredibly talented and it is their loss for missing out on this.”

Tim pressed a hand to Damian’s back, feeling tears building behind his eyes that threatened to spill over. “Thank you,” he whispered. He took a deep breath and let it out slowly before he looked around and spotted his advisor. “There’s Professor Maheshawen. She’s my advisor. We can go talk to her and you can ask your questions, okay?”

Damian nodded and pulled away carefully, smoothing down the front of his sweater before he followed after Tim to meet his professor. Leaving Alfred to continue staring at the pictures with a kind smile on his face.

Alfred Pennyworth looked at the smiles on his charges faces and let out a breath. One of these days, Bruce and the others would realize just how important Timothy was to their family, how he was the one who held them all together. He only hoped that they would not realize that lesson too late in life. At the very least, Damian was now starting to understand just how wonderful Timothy Drake was. 

[a-very-fond-farewell]

The forbidden crack! Untamed prompts: 18/?

University AU: “Negative Space”

[ok so, self projection is a bitch, but I am petty to myself on a regular basis so it’s ok]

[title is from the Japanese concept “ma”, which Wikipedia describes as:

“a Japanese word which can be roughly translated as ‘gap’, ‘space’, ‘pause’ or ‘the space between two structural parts.’ In traditional Japanese arts and culture, ma is more carefully defined as the suggestion of an interval. It is best described as a consciousness of a sense of place, with the ‘intervals’ suggested often being more than simple gaps, instead focusing on the intention of a negative space in an art piece.

Ma is not necessarily an art concept created by compositional elements, such as the literal existence of a negative space. Instead, the intention is often to create the perception of an interval in the viewer experiencing the elements forming an art piece, making maless reliant on the existence of a gap, and more closely related to the perceived experience of a gap.

Ma has also been described as ‘an emptiness full of possibilities, like a promise yet to be fulfilled’, and as ‘the silence between the notes which make the music’.”

Fun fact: “ma” also means “but” in Italian, which is what usually follows whatever intrusive thought may plague my mind. Eg: “I may be useless now, BUT just you wait until I get some dopamine to get me through this shitty times.”]

*

Wei Ying never asked for much in his life. He’s content with cleaning classrooms and toilets and nobody can beat him at wiping the marble floors if he works hard enough. Granny Wen, his supervisor, is slightly impressed with his ability to make the wood shine for ages to come. His nephew Jin Ling sometimes comes to check on him when he’s done with senior classes or cram school in the evening, and together they sit down and listen to whatever his older friends in music production came up with during the day. Jiang Cheng occasionally would ask him to keep him company while he grades papers and they bitch about ZiXuan and his inability to dote on their sister. The cafeteria ladies are always nice to him and they give him extra congee because they worry for his questionable consumption of spice products.

He’s fine, really.

So why can’t he stop wandering over to the science building these days? Looking for a clean board to use, for an equation to finally solve? Even if in the end he just takes the chalk in hand and simply stares down at the inky surface in front of him, unable to write. His mind working on a software too advanced for the hardware that constitutes his brain.

Thirteen years. It has been already thirteen years and yet it feels like yesterday, or like it never happened at all. Like it has yet to be. Time blindness is a bitch to deal with, yet dyscalculia and ADHD makes a joke out of you when you love math on a visceral level... but you burned too bright too fast and now you function on no data and with an even shittier signal. Having a burnout at 23 should have taught him humility instead of pride, but Wei Ying has always worked out of spite and certain habits are difficult to forget.

Couldn’t put the number in the right order, switching digits left and right since he was young? Fine. Numbers were concepts anyway, entire civilizations working their magic without even knowing what “zero” stood for. A brain steaming with a million ideas per second? Good. New connections brimming with ideas he could use to better the world.

It worked fine until he let himself down. Until he became a useless empty lighter, a wet match tossed out, carbon monoxide in the air.

Dropped out before finishing his very ambitious, highly dangerous for his psyche, thesis project. Aunt Yu never forgave him for that, not after paying for his advanced classes, not after trusting Uncle Jiang and supporting him despite his many flaws. What good is being first of your class every year, poster child of a teaching system done right, graduating bachelor at 21, if you can’t finish your master at 23 and get your PhD at 25 and start teaching by 27 and drive yourself insane in the process?

Wei Ying dropped out and didn’t finish his master, didn’t enroll in the teaching program, and let everyone down. His Uncle and Aunt looking down on him, whether out of pity or shame. Jiang Cheng may have been the one leaving him behind, but he used to be the one saying “you should have tried harder”. YanLi worrying over him when she should have focused on her career first. Jin Ling growing up with stories of his uncle “not being worth the money put into his education”, taught to not disappoint and make his family proud. The Jin side, that is.

And now the kid comes crawling in defeat to him instead of Jiang Cheng after bombing a test in high school. And they chat of what he would like to do and how much he likes sports and how much he despises the idea of getting a scholarship for that and being called stupid or something by his classmates. And he cries when he thinks Wei Ying cannot see him as he leaves the campus late at night.

Wei Ying didn’t even want to solve that impossible theorem he fixated on in his early twenties. His thesis project was inconsequential in the great scheme of things and his professor only wanted him to be his one trick pony in the end. No. Wei Ying wanted to teach math in elementary school, hell... even in kindergarten. He wanted to change the approach to the subject. Because numbers cannot be taught like language is and there are many ways to teach how to sum up digits and divide quantities and there are no rules on how to make sense of space either.

But how can he teach when even time eludes his senses?

Something that nobody can define, but certainly most perceive as linear... but not him. Not since his brain fried up in his attempt to function like a normal human being.

After thirteen years nothing has changed.

Until one day he hears something else aside from his usual intrusive thoughts and burdensome memories. A melody so quiet he almost mistakes it for the wind, coming from the music building.

He walks slowly, night surrounding him like the embrace of a friend as he makes his way to the traditional musical instruments room. The one where Jin Ling’s friends meet sometimes as they wait for the younger boy to join them. Wei Ying holds his breath as he spies through the gap of the door left ajar, neon light slicing his face like moonbeams as he peeks in and recognizes Jin Ling’s friends and another figure sitting on the ground, guqin on their knees.

But before he can lean in and breathe in the vibrant sounds all around, the door opens and music theory Professor Lan finds Wei Ying clutching his mop for dear life.

They said the man could see colors within the notes, that he despises language outside of his class or office and that only his brother, the history of art TA, could convince him to talk every now and then.

If numbers were created to measure space, Wei Ying firmly believed music had been invented to make sense of time and count its seconds in rhythm and notes, pauses and beats. Yet, time seems to stretch to a stop as the janitor focuses all of his attention on professor Lan’s stern face and his heart quickens its pace.

Wei Ying takes a rushed breath and dives right in with a weird sense of hope pumping in his veins. A small, timid voice whispering that life is not made to be atoned, but to move on and grow.

One step at a time.

“I’m Wei Ying, Professor Lan. May I listen while you play?”

Yes, maybe it will be enough just to let time flow at its pace.

Whatever rhythm that may be.

*

[some hcs down below]

WWX does not magically solve the math theorem. he may or may not help kids figure out how to use numbers on the long run tho. no, he will still work as a janitor and there’s nothing wrong with that.

yes, LWJ is autistic and stimms and finds WWX’s honesty soothing. yes, you can add your hcs on the matter. he has synesthesia, but more on the grapheme-color side of the deal than anything else and he sees certain letters/numbers/notes in different colors. people think he can see colors in music, but they misunderstood and thought he could recognize different hues while listening to music instead of reading it.

JC has grown since his uni years and doesn’t resent WWX anymore. he teaches astrophysics as a TA and doesn’t pressure his brother to pick his studies up anymore. WWX has mixed feelings about this: he feels he’s a lost cause, to the point not even his brother spurs him to best himself anymore, but he is grateful for the patience anyway.

LXC is the official LWJ translator of the campus along with their cousins SiZhui and JinGyi. he bonds with WWX and JC over how tired they are, seldom staring at flies roaming above them in the cafeteria bc none of them can even move. he lives on caffeine and regrets, but he’s getting better as he develops a love for his plant babies and tries to not let them die on a daily basis.

Wen Ning and Wen Qing are little overachievers and adrenaline junkies, hence their competitive streak on their way to their third master degree just for funsies. they scare people with how driven they are, but the juniors love them.

NMJ is the one to go to if you need to get away with murder, but JGY will actually be the one helping you dispose of the body. the fact that they both work in criminal law is somewhat both reassuring and disquieting. they hate each other and yet cannot stop hang out, they are close to 40 and need the rivalry to keep going anyway. nothing beats a good nemesis. not even sex. maybe.

NHS has failed his entrance exam to become a nurse too many times to count, but he is determined to see the end of it. even if he could potentially work in the family business, but he doesn’t know anything about managing an empire of bricks and he doesn’t care. if NMJ could run away, well, so can he.

MianMian is Wei Ying’s bestie and has the biggest crush on JGY’s sister A-Su the kindergarten teacher, but since they are childhood besties she doesn’t know how to approach her. she is Jin Ling’s idol and a certified boxer and refers to herself as a useless bisexual. Wei Ying boxes with her sometimes, she always win.

YanLi is an equestrian mum, but in the best way possible: she coaches children for shows and teaches them horses should be loved and feared equally and that if you want to shoot arrows from a running horse you should always, ALWAYS let go of the stirrups the moment the beast gets too unhinged to ride. JC fears her, WWX is only glad she didn’t train police dogs for a living.

ZiXuan actually loves his wife, but WWX and JC question his career choices and the fact that he’s a retired lawyer spending his family fortune while he’s a stay-at-home dad and does all the housework. WWX and JC believe he should give their sister a better life and work his ass off to deserve her, but he does make amazing rice cakes and keeps up with Jin Ling’s studies and is very supportive of his dreams.

A-Qing and Song Lan are siblings and sometimes bring JC food from the campus cafeteria where they both work at, while Xiao XingChen and his carer Xue Yang work with LXC for a project on accessibility for visually impaired visitors of the local museum. JC and LXC work to make Song Lan and Xiao XingChen fall for each other, but the youngsters are too protective to let them play matchmaker so easily.

[this is all for now. please, if you want, add your own headcanons!]

[cumulohimbus]

100 things I want to do in my lifetime

So, I had a really good conversation today with friends, and I opened up briefly about my stay in a psych ward a few years ago. It came up because I am acutely aware that I haven't been doing well, and am scared to return to a situation anything like my previous stay at said ward despite knowing that being hospitalized would probably be very beneficial at this time in my life. Talking about it did make me remember something though, something that gave me a lot of hope. While my experience with a psych ward was overwhelmingly negative, there was a part of treatment that really got through to me at the time. It especially helped with my suicidal ideation, which is something that's been really problematic for me again lately. Since I remembered it, I'm going to revisit the exercise, and I encourage anyone and everyone who also struggles with suicidal thoughts, thoughts of self harm, mental health issues, or even if you're just having a bad day, to give this a try. It's simple. Make a list of 100 things you want to do in your life. They can be as realistic or unrealistic as you want them to be. They can be big, long-term goals, or small, silly goals, and everything in between. The only rules are to write 100 things, and to avoid sarcastic or pessimistic things like saying one of your goals is to die or something like that. Save the list! Then someday you can go back and cross off things that you've accomplished or edit as you see necessary. Without further ado, here is my list:

1. I want to get my name legally changed to Larkspur Emmett so my dead name is no more

2. I want to get top surgery

3. I want to rekindle relationships within my family, especially with my cousins

4. I want to get scuba certified

5. I want to dive over the "sunken island" location on the lake my family had a cabin on that I visited frequently while growing up

6. I want to go diving in general, seeing a coral reef in person is an especially huge dream of mine

7. I want to rekindle my knowledge of the Spanish language and eventually become fluent

8. I want to continue learning American Sign Language

9. I want to learn more about my ancestry; I know I'm a vast mix of probably mostly European blood, but my family comes from so many different places and I'd like to know more about them

10. I want to finish the art commission I started for my close friend

11. I want to travel to places like Costa Rica, Japan, Chile, and Australia

12. I want to go on exotic travel adventures with a future romantic partner or close friend

13. I want to get my Bachelor's degree

14. I want to earn enough money to live comfortably, probably with pets

15. I want to adopt a pembroke welsh corgi

16. I want to beat my eating disorder(s) for good and be able to stop taking medication to help if at all possible

17. I want to go ziplining

18. I want to go skydiving

19. I want to hike through the Monteverde biological cloud forest reserve in Costa Rica

20. I want to develop a drag persona and perform as my persona on a regular basis

21. I want to make a fursuit (yes I said it, fite me)

22. I want to finish an entire animated music video

23. I want to learn more about plants and successfully keep one alive for longer than a year

24. I want to try my hand at raising an ant colony

25. I want to go swimming more often

26. I want to learn more martial arts

27. I want to learn to be a leader in my community

28. I want to work harder in my college classes

29. I want to learn to not fear loneliness and abandonment, and to appreciate my alone time

30. I want to get (many) more self-designed tattoos

31. I want to continue learning how to appreciate my body without caring about other people's opinions on what is considered "attractive"

32. I want to eat more whole foods both because they're healthy for me and taste far better than anything with chemicals in it

33. I want to meet a few famous people in person, can't think of many off the top of my head though, but I know there are a couple

34. I want to take dance classes again

35. I want to learn how to play a musical instrument (I mean, I took 7 years of piano and can kinda read music, but I wanna learn an instrument that's better suited for short fingers lolol, maybe french horn?)

36. I want to finish the paintings I've started

37. I want to learn how to digitally render things realistically

38. I want to finish the fanfiction piece I started a couple years ago

39. I want to become more patient and less envious

40. I want to heccing fly, okay?

41. I want to feel like relaxation is deserved and expected, and not a luxury only for those who can afford it

42. I want to reassemble an animal skeleton

43. I want to dig up a fossil (specifically of some sort of mesozoic creature, that'd be so cool)

44. I want to get back to using my planner

45. I want to play more (board, card, video, etc.) games with my friends

46. I want to disassociate less and be present in the real world more often

47. I want to be more informed about what is going on both in general, but especially in my more immediate environment

48. I want to take up better drawing habits (more life drawing, warm ups, breaks, etc.)

49. I want to try a real goddamn piña colada, bonus points if it's on the beach

50. I want to try existing in a portable living situation, like a renovated bus or van, for a while

51. I want to learn basic wilderness survival skills

52. I want to learn how to identify many different species of all types of organisms, especially plants and animals

53. I want to get my vehicle fixed up nice and maybe hand paint some things on it

54. I want to learn more about different cultures because they're fascinating and I want to be as respectful of all people as I possibly can be

55. I want to paint the waterfall jungle mural of my dreams in my future house

56. I want to gain better control of my emotions and my responses to them

57. I want to fabricate a working pair of wings for human beings

58. I want to learn/do more embroidery

59. I want to get a cerulean blue Corvette stingray

60. I want to get better about not procrastinating

61. I want to go to more events/be more involved wherever I am

62. I want to go for more walks to places I haven't been to before, bonus points if it's in the middle of the night and/or in the rain

63. I want to do things like play in inflatable obstacle courses and ride on roller coasters without caring about whether other people judge me for doing those things as an adult

64. I want to regain the physical strength I have lost from being sedentary while my mental health has been at its lowest

65. I want to spend more time laying in the sunshine, preferably with the bare minimum of clothes on because I enjoy the warmth on my skin

66. I want to cuddle more with others that feel comfortable enough to participate in that with me

67. I want to learn more about the fabrication of clothing and design/make some outfits for myself

68. I want to cosplay, maybe go to a convention sometime

69. I want to go skinny dipping >:3 (look, it's number 69 on the list, okay?)

70. I want to try all sorts of foods I've never had before

71. I want to see a butterfly leaving its cocoon in real life again

72. I want to read more of the books I own

73. I want to be kissed by someone again...it's been over 4 years...

74. I want to eliminate my habit of requiring a Youtube gaming playlist to be playing in order for me to fall asleep

75. I want to learn more about the history of the lgbtqia2s+ community

76. I want to learn how to cook for myself better, and like, actually use those skills on a regular basis

77. I want to learn how to take care of my vehicle better on my own, like how to change a tire and such

78. I want to learn to communicate better, and just, in general how to be the best friend I can be

79. I want to stop using all substances for the purpose of drowning out my surroundings and messing with my temporal senses, if I'm going to drink/smoke/get high/whatever, I want it to be because I want to for fun, not because I want the chemicals to take the edge off my mental illness(es)

80. I want to start taking better care of my dental hygiene

81. I want to learn more about my legal rights and finances and other "adult" stuff that doesn't really get taught to you unless you specifically go looking for it

82. You know the somewhat obnoxious game Bop It? Yeah, I want one of those again, keeps me entertained for a long time

83. I want to design more things in general, more characters and their outfits and personalities and the worlds they live in, I enjoy that

84. I want to spend more time outdoors with my friends, watch sunsets and collect miscellaneous objects from the universe and such

85. I want to teach someone something, sit down and maybe teach someone how I draw or about something that I am at least somewhat knowledgeable about

86. I want to go to more aquariums; if/when I travel more I want to go to every aquarium I come across

87. I want to start a legit collection of something and like, build it up over a long period of time so it gets pretty impressive

88. I want to get my eyes surgically corrected so I don't have to wear glasses or fiddle with contacts

89. I want to learn more about Greek and Latin roots and just words and symbolism in general

90. I want to lose the embarrassment I have about my hyperfixations because I deserve to not feel ashamed of the things that bring me satisfaction and joy, and it's okay if other people don't share my enthusiasm about such things, I just want to learn to not be embarrassed that I like stuff

91. I want to get over my fears/discomfort re: nudity, especially for life drawing classes; see, it's one thing to see someone nude and divert my eyes but for life drawing I'm kinda forced to look...

92. I want to understand myself better and learn to love me instead of the opposite; I want to be full of love for the beautiful people around me and I want to really solidify in my brain that I am one of those beautiful people

93. I want to do more things for others that are meaningful because that makes me happy, and I want to learn to do those things while also respecting everyone's, including my own, boundaries

94. I want to develop a sleep schedule that is healthy and appropriate, and that I'm able to maintain

95. I want to run in the rain more often and jump in puddles (edit: while typing this it started storming out and I had to run outside in my bunny pajama short-shorts, winter boots, and a sweatshirt, to grab my box of silly plant seed experiments before they blew away, so progress is already being made)

96. I want to get over my intense fear of making phone calls

97. I want to learn how to sing better with my new and improved deeper voice from being on Testosterone

98. I want to get my first tattoo fixed up and hopefully renew the meaning it had to me at the time that I got it -- I want to try to keep that promise

99. I want to spend more time actively working on improving my mental health

100. I want to see more, I want to learn more, I want to do more, I want to be the version of myself that is genuinely amazed and curious by all manner of things, and I know that part of me is still there

And now, once you've finished your list, you have 100 reasons to not give up, because there's no way of knowing what you're capable of doing if you don't exist to try.

[dailythranduilproject]

DTP Interview #6 Elbenherzart

Hello to all our friends and followers of Daily Thranduil Project!

Today it’s @elbenherzart‘s turn for our fandom interviews. She is a really talented professional illustrator, who has produced many beautiful artworks inspired by the world of Tolkien. She works with traditional media as well as with digital ones and has a lot of other creative talents, like sewing awesome cosplays. I hope you are curious to find out more about her, so without any further delay, I present you here with her answers to the questions we had asked her:

General Questions: 


Username(s) we can find you under: 



Either ElbenherzArt or my real name, Christina Kraus. :)




What Media do you create? 



For digital paintings I use Photoshop and for my traditional stuff mostly inks or ballpoint pens. I almost never use pencils, because I find myself erasing all the time. 

Are you self-taught or did you go to art school? 



I am mostly self-taught. Tho I have a bachelor degree in Intermedia Design. This gave me a few design and composition fundamentals I can apply to my images, but didn't teach me to draw or to paint. Also I have a lot of other professionals as friends who help me with critiques and reflection of my art. I always wanted to go to Art School but the programs in Germany are pretty shitty for it. All you learn is like drawing with a pencil bound to a stick, drawing with your not-drawing hand or drawing with a blind fold. It's complete garbage and I envy people who can afford programs such as the Swedish Academy of realistic Art where you actually learn useful drawing and painting fundamentals instead of fooling around. 




Which artists have influenced your style?



That is a tough question. I admire a lot of artists but I guess my digital work is mostly influenced by Magic-the Gathering or Dungeons & Dragons artists, since this is the direction my work is heading too. 



Which are your favourite artists? 



I'd say Peter Mohrbacher, Jana Schirmer, Cynthia Sheppard, Jason Rainville...but hell, there are a lot. I can't pick a favourite.



Where can we find your work? 



On my website, Tumblr, Instagram, Twitter, Facebook, Deviantart, Artstation and on Behance. 



What would you say you are best known for in the fandom? 



I'm not even sure I'm known for anything in this fandom. XD But the work I did based on the Silmarillion so far sells the best on Conventions and I get the most comments on it.  




Do you have a favourite pairing? 



Yes of course, but it's kind of controversial I'd say. ;)



Do you have a favourite creation of yours you are especially proud of? 



I'm kind of proud of my latest piece, Celebrimbor's Smithy. It was a tough one, since interior scenes are very hard in general for me. The work on this piece took a whole month with a few breaks of course. 



Do you have a favourite fictional character, besides Thranduil of course?



That would be Kylo Ren/Ben Solo from the Star Wars Universe. 



What other fandoms are you part of?

 

The Star Wars Fandom, tho I'm barely active there. I have a Tumblr blog dedicated to it, but I mostly just reblog stuff and did only one Star Wars related painting so far. The fandom is kind of toxic with its stupid ship wars and anti culture going on.



Do you do commissions?

 Yes. :)

Any advice/words for others in the fandom? 



That is such a general answer, but stay true to yourself, do what you love and don't give others shit over characters/pairings you don't like. Treat people the way you want to be treated. Be kind and respectful, you don't know what people are going through.
If you are an artist, or want to be one; only self reflection, critiques and hard work will get you moving forward. You need to be able to see your own flaws.  For that you need to seek out people who can give you an honest opinion about your art. (Not your friends or family.)
Vanity is the downfall of every professional artist. You can be proud of your work, but never vain. 
(You can always ask me for porfolio reviews or advice if you want by way. :))



Personal Questions: 


Favourite Book? 

The Silmarillion. 



Favourite movie? 

Currently Star Wars-The last Jedi.




Do you have a pet peeve? 



Littering. When I see people throwing their trash onto the walkways or streets I get furious. Take it to the next trash bin or home! It's not difficult.



What country are you from? 

Germany! 



Who do you think you might have been in a past life? 



Probably a cat. Sleeping and eating is all I want to do. :)



What do you like to do in your spare time other than create the media you work on?



When I'm not drawing or painting I'm either binge watching series on Netflix (currently Outlander <3)  or I'm with my friends/boyfriend. Sometimes I write Fanfiction, but mostly I'm reading it. I also try to travel as often as possible and sew my own costumes when time allows it.

 

When did you join the fandom?



I think back in 2007. Not really sure actually.  Definitely more than 10 years ago.

Follower Questions:

@floranocturna asked: 

You are a very versatile artist and I have been admiring your very cool cosplays already for a while, especially your Celebrian and Celeborn are amazing! Do you sew all the cosplays yourself?

 

Thank you and yes, I sew them usually by myself :).

What inspires you to cosplay a specific character? 



Honestly it's mostly the robes. If I like the aesthetic of a character, I want to cosplay him/her. XD Of course I also have an eye on the character and need to like him/her.



You are very ardent about being vegan. Will you tell us a little bit about your reasons and why is it important to you and should we maybe all think about how can we help to preserve nature instead of destroying it? 



This is a loaded question and I'm unable to answer it with just a few words. Feel free to ignore this text if you are not interested. 
As I learned that raising livestock for meat, eggs and milk generates 14,5% of global greenhouse gas emissions, the second highest source of emissions and greater than all transportation combined and that it's the leading cause of deforestation, biodiversity loss and water pollution, I knew that I had to act and change my diet, because I simply couldn't live with that knowledge and not doing something about it. And of course the killing of millions of sentinent animals every single day. The meat industry is the most powerful industry in the world and they try literally everything to make us continue to buy meat, to make it cheaper and to leave people in the dark about the consequences for our planet and our health. Here the Pharmaindustry comes in. The meat industry is their biggest customer (80% of their money is made from antibiotics they sell to farmers and animal factories) and sponsor, feeding billions of pills to animals each to day to alter their flesh. It's all about money, control and very fucked up. Like always.
 If the grain that is used to feed our first world country livestock would be given to people in Africa or other third world countries where children starve to death, no one on this planet would need to suffer from hunger anymore. It's all pretty messed up and a paradox. 
The only way of preserving nature in the long run is going vegan actually. I know that a lot of people don't like this thought, but that's mostly because they are misinformed (I was too, everyone is in the beginning) and fear either deficiencies or they think they can only eat vegetables and fruits. But that's not true. There are so many vegan dishes and sweets out there people are not even aware of. Oreos for example are completely vegan. A lot of junk food is. Cake, Ice cream and chocolat can be vegan too. It's all just a matter of replacing the eggs and there are plenty of alternatives. When people think about going vegan, they think about all the things they can't have anymore. Instead, think of the things you gain from it. You support the environment, save lifes and it's beneficial for your health. You are less likely to get cancer or diabetes. You don't have to give up your beloved sweets or junk food. I mostly eat the same things I ate before, just with egg replacement and almond or oat milk instead of cows milk. The only thing you have to keep in mind is B12. I take a pill everyday for it and you should too if your are vegan. If you do that you are completely safe and won't suffer any deficiencies if you live on a wholesome diet. 
This wall of text may imply that I try to preach or what ever, but I simply state facts. It's up to everyone if they choose to act or not. I don't judge people for not going vegan. It takes a bit of effort, research and people will judge you for it. If you want to have more information I recommend the Netflix documentaries „What the health.“ and „Cowspiracy“. They are all based on researchable facts and explain a few statements I've given here. Also you might want to take a look at „Why we love dogs, eat pigs and wear cows“.




@beelovesbutterfly asked: First of all, thank you for sharing your lovely artwork. What is your favourite art medium?

@themirkyking asked: Which method of creating do you prefer? Digital or traditional, and why?

For my personal taste and fun I prefer traditional mediums. It's much more relaxing than digital art where I have to stare at a screen all day. Also I love the smell of paint and texture of paper. But for client work I definitely prefer digital since it's easier to change mistakes and I'm able to finish something faster. What makes the pay a lot better. 

Thank you so much Christina for taking the time to participate in our series of fandom interviews for @dailythranduilproject. It was a pleasure having you!  

Please check out Christina’s blog and her page at DeviantArt for all her awesome artwork! And if you happen to be in Cologne on May 12/13th 2018 you can go and visit her booth at the RPC Germany!

@floranocturna ^^

[oliviapedigo]

Working as a designer inspires album cover appreciation

Up until my freshman year of college, I considered myself quite a boring person. I often struggled when people would ask me what I liked to do for fun. School and work were the only things I gave my attention to. However, it all turned around when I discovered Adobe Photoshop.

A class I was taking introduced me to the program and taught me the basics. When I realized I enjoyed learning about making my own designs, I dove in headfirst. I began dedicating all my time to the program, watching YouTube tutorials and posting my finished pieces on my social media accounts.

Before I knew it, local musicians were contacting me to design their album covers, merchandise and promotional materials. At first, the task of listening to music and translating it into an accurate, intriguing visual was challenging. So, I started doing research on iconic album covers to guide me through the process.

Throughout my research, I learned about the people and meaning behind legendary album covers, such as Pink Floyd’s “The Dark Side of the Moon.” Although their designs have a permanent place in pop culture, I found it interesting that the creators and symbolism very rarely get spoken about. This thought stuck with me ever since, and that is why I chose to write my blog about album covers that have left a wider impact on the design community.

On my blog, I plan to specifically focus on rock albums from the 1970s. This decade is significant because designers generally began to steer away from the patterned, vibrant aesthetic of the 1960s. They adopted a more minimalistic style, and these clear-cut designs were easy to recognize and recreate.

In each post, I will highlight a different album cover and describe the designer who created it, the symbolism used, how it affected pop culture and my opinion on it. Because I am concentrating on rock albums from the 1970s, I plan on writing about Pink Floyd’s “The Dark Side of the Moon,” the Grateful Dead’s “History of the Grateful Dead, Volume One,” the Sex Pistol’s “Never Mind the Bollocks” and Joy Division’s “Unknown Pleasures.” All of these album covers possess iconic imagery that appears in pop culture to this day. I can’t wait begin unpacking what makes them so special!

Caption: Because I am originally from Miami, Fla., I spend all the free time I can at the beach. When I am not out enjoying the sun, I am working towards my bachelor’s degree. I am a third-year public relations major and digital arts and sciences minor. Photo was taken by Olivia Pedigo.

[itssiennatheasian]

Art for All: Celebrate Diversity in Design—Volume 27

What You'll Be Creating

Welcome back to another edition of our Diversity in Design series, here on Envato Tuts+! This is a collection of designers, illustrators, and creatives—each from different disciplines, cultures, and backgrounds. 

There can be such value in celebrating and observing the unique, creative voice of our peers. Join me in observing these inspiring works, insights, and comments from this wonderful collection of inspiring content creators!

4 Artists You Should Know: Diversity in Design

So let's dig right in with a look at this month's featured creators, their insights, their perspective, and their creative vision. 

Jessica Kwong

Meet Jessica Kwong—a designer and illustrator with a passion for visual communication. Check out some of her inspiring work and insights.

Hi! My name is Jessica Kwong. I’m a New-Zealand born Chinese communication designer with a focus on graphic design and illustration.

I’m passionate about art and design because it can have so many different meanings for different people. It calls forward buried emotions and memories and provides a visual language beyond spoken or written words. If eyes are the windows to the soul, then art is the message that gets through those windows.

"Koi" by Jessica Kwong

I’ve always been interested in art and design since I was young, and am currently finishing up my second year in Bachelor of Communication Design, majoring in graphic design. At the moment, I’m on exchange at Royal Melbourne Institute of Technology (RMIT) University in Melbourne, Australia, but my home university is Auckland University of Technology in New Zealand.

I would describe my work as quite varied and influenced by my Chinese culture and my surroundings. My personal illustrations are rather soft, nostalgic and dreamy. I also quite enjoy creating portraits. My commercial work can be quite varied depending on the brief but are often rather graphic and vibrant.

"Ice Cream" by Jessica Kwong

I want to make a difference in society with my work, through a cultural or environmental lens. 

I hope that my work will be used to inspire viewers to make thoughtful and impactful choices. As a second-generation immigrant, attempting to bridge the gap between the two cultures I’ve grown up with, New Zealand and Chinese, has been quite important to me. In terms of creative goals: I want to continue developing and refining my personal style, build up my design experience and continue growing in my skillset. 

I’m actually currently doing a secret series of illustrations to improve my skills in digital illustration — except I can’t really call it secret anymore, can I?

"TYPOGRAPHICA'20" by Jessica Kwong; prototype for a conference focusing on female type designers

My creative process is quite methodical. I do background research on context/iconography, then brainstorm ideas, come up with a few concepts and finally refine my work. Most of my work is done in Procreate, InDesign and Photoshop, although I do also enjoy using gouache and pencil for traditional illustrations.

However, I wouldn’t say that there’s an overarching inspiration for my work. There are things that I am interested in, such as florals, and environmental or cultural issues. My graphic design aims to communicate a concept and message based on the brief, so the thinking behind each work is different.

For my personal work, I find inspiration from other creatives such as James Jean, Hieu (kelogsloops), and Lauren Tsai.

"A Dog's Brunch" by Jessica Kwong

I’m still in a phase of growth but one thing that’s stuck with me is that growth is more important than perfectionism. I’m a total perfectionist, and this sometimes leads me to expect to get everything, including my work, perfect on the first try. 

However, I’ve learned that this attitude tends to lead to disappointment and doubting your own skills when the outcome doesn’t reach your expectations. I’m learning to let go of my expectations to nail everything first time and focus on enjoying the process, doing as many iterations as possible, taking risks, being open to critiques and learning skills I didn’t know before. It’s always so much worth going the extra mile.

"A Satellite Commute" by Jessica Kwong

Check out more of Jessica's wonderful work at:

Behance | jessicakwong

Instagram | @jessicakwongdesign

Jordana Adams

Jordana's work is sophisticated and beautiful. Take a look at these beautiful works from her portfolio—as well as her inspiring insights!

I am a graphic designer living in Melbourne with my 17.5 year old dog, Gucci. Past talents & triumphs include: butterfly swim champion, cellist and trained dancer, but I can’t hula-hoop? Quite frankly, I’m stumped…

My intrigue and passion for design sparked in high school, where I spent hours fascinated with Photoshop & Illustrator and taught myself the ropes. I remember I submitted a digital artwork once for my assignment and the teacher almost failed me because she couldn’t believe I’d managed it on my own. It was both very frustrating and flattering. I’m now in my final semester after studying both a bachelor in interactive & visual design, and communication design. 

"Human Error" by Jordana Adams

Social and environmental progression is something that motivates me and my work a lot. I always want to consider how I can make design beneficial and supportive for people and the planet. 

As designers we have such an incredible opportunity to ignite change and leave a positive impact. For me it’s so important that design is not just pretty - it has to be POWERFUL as well. 

"Abbotsford Convent Foundation" by Jordana Adams

My inspiration comes from many different facets. Sometimes it’s a shape or a texture. A lot of the time it's Halloween with ideas that are slightly off-beat or eerie. Other times an issue I think needs attention, something that made me laugh, or the way a song made me feel. 

My Human Error branding was a project inspired by a Galen Hooks choreography piece to ‘Human’ - Sevdaliza. I loved the way it made me feel very eerie and preternatural, and I wanted to inject that into a design work. I’m also currently finessing a campaign design that spotlights the power of transgender and gender-diverse people in the workplace. 

"Smith & Daughters" by Jordana Adams

“Create. Even if it sucks - keep creating.”

This is a quote that I saw once and it really struck a chord with me. When I was starting out, I was very self-critical and I would get bogged down by perfectionism. But you don’t have to be perfect to begin - just keep at it, reflect, grow, and work hard. Creating is an incredible and constant process. 

"INSIGHT Photobook" by Jordana Adams

You can take a look at more of Jordana's inspiring work here:

Behance | JordanaAdams

Gabriela Bellarosa

I absolutely love Gabriela's work—beautiful, organic patterns—her uplifting perspective is very inspiring, and I love her passion for continued learning! Take a look!

My work has changed over time, but I believe everything inside the rich universe of our own minds is connected, whether it's conscious or not. At first it was focused on illustration, then for 10 years it was all about textile and surface design, later product and graphic design, now business design, sustainability, and creative entrepreneurship. I just keep adding things! I have a degree in Fine Arts, then studied to be a Garment Technician. I later got a graduate study degree in Design Management. I also do a lot of research, read nonfiction books and articles to keep learning.

 Artwork/Design by Gabriela Bellarosa

I like to create and design things that make people happy, that also have some kind of practical purpose. [I want] to make a good impact. 

[I want to create] emotional design that connects and speaks to people that identify with it. I want to empower people to be themselves, to connect with other people. It can be through a product they love [that makes] them feel good, something unique that expresses an identity, an idea or experience they can share, lifestyle or art.

Floral Pattern by Gabriela Bellarosa

I'm Brazilian of Portuguese descent, and I try to incorporate a multicultural identity in my work, and also as we call it a "brasility" feel. Along with feminine (and feminism!), whimsy, in a kind of magic, dreamlike universe. Nature is [my] primary source of inspiration, always. I also draw inspiration from art history, fashion, the work of creators I admire, and a broad range of other fields. 

My creative process is an "organized mess", moodboards full of references, pieces of written paper, collages, notebooks and sketchbooks. 

 Artwork/Design by Gabriela Bellarosa

We live in the best of times to get our work out there through internet and social media. But that can also create the illusion that it's easy. Resilience would be my strongest advice. 

Along with discipline, constancy and hard work. There will always be room for growth, there is no "final destination". Let go of perfectionism (I know the ideas are always so much cooler in our heads! I'm a healing perfectionist myself) it only weights you down and prevents your true potential to flow. Be gentle, surround yourself with positivity and a supportive network. Take care of your mental health. Each story is unique and you should never compare to anyone but your past self.

 Floral Pattern by Gabriela Bellarosa

You can take a look at more of Gabriela's beautiful works here:

Gabriela's Portfolio

Instagram | @gabibellarosa

Rose Besch

Meet Rose—an illustrator and designer with a flair for detail and ornate, expressive works. I loved listening in on her insights; take a look at some of her inspiring work!

hi! my name is rose, and i'm a korean-american illustrator with experience in concept art, graphic design, and product design. i've worked on apparel, books, films, games, and toys with clients like mattel, loot crate, and gaia online, and my work has been featured in exhibitions in new york, los angeles, atlanta, and tokyo. i also have a personal brand of prints and merchandise featuring original characters.

"fizz" clear pouch by Rose Besch

my work is about exploring things i love—color, design, fashion, manga and manhwa—in stylish combinations.

a huge part of my work is just aesthetics: i want my work to stand out, look good, and feel good to experience. i hope to keep evolving my work in terms of visuals, pioneering new styles and concepts. creativity and a unique voice have always been central to my goals—why create copies of what's already been done? i'm excited to see how far i can push myself in this regard.

"Don't Give up" by Rose Besch

because of my upbringing, i always had a hard time verbally expressing myself with confidence. my art is a safer, more beautiful way to communicate my feelings and dreams. this was something i was ashamed of for a long time, but lately i'm embracing it and i think it's improved my work quite a bit.

 "no regrets" large tote by Rose Besch

my process is impulsive and difficult for me to put into words. i didn't have a formal art education, so i've always felt my way through creating, using whatever was available to me at the time. it makes me a terrible teacher, but i think it does lend a lot of personality to my work, as well as a little mystery.

i think that once you're obsessed with creating art, literally everything is inspiring. everything becomes a possibility, a tiny alternate universe.

"mjp-101" clear pouch by Rose Besch

find out what you love. this may involve trying many different things. once you figure out what excites you most, it'll be much easier to find the motivation to work on that thing. for professional goals, you'll need to spend a lot of time practicing, and you'll need to find your voice; both will come more naturally when you're in a place of true enjoyment. for personal goals, well...life is short, why spend it on things that don't make you happy?

 "temptation" zipper pouch by Rose Besch

and as long as it doesn't hurt anybody, don't be ashamed of what you love, there is always room for it in this universe. be confident in it, sell it, live it, don't wait for permission. the universe will follow.

Check out more of Rose's wonderful work here:

Artstation | barachan

Instagram | @shifuusakurai

Rose's Portfolio

Send Us Your Favorite Artists!

I'd like to extend a big thank you and warm wishes to Jessica, Jordana, Gabriela, and Rose for sharing their work and their thoughts with us! Again, you can check out more of their work, right here:

Jessica Kwong

Jordana Adams

Gabriela Bellarosa

Rose Besch

Do you know of an artist or designer that you think we should feature? Let us know down below in the comments, or use the hashtags #tutsplusdesign and #artforall on Instagram and Twitter!

Check out the previous entries in this series:

Global Influences

Art for All: Celebrate Diversity in Design—Volume 26

Daisy Ein

Diversity

Art for All: Celebrate Diversity in Design—Volume 25

Melody Nieves

Art

Art for All: Celebrate Diversity in Design—Volume 24

Melody Nieves

Illustration

Art for All: Celebrate Diversity in Design—Volume 23

Melody Nieves

Global Influences

Art for All: Celebrate Diversity in Design—Volume 22

Melody Nieves

from Envato Tuts+ Design & Illustration https://ift.tt/32PskcQ via http://www.webmasterforum.ws/rankwyz-discount-code-2015-coupons/

[doodledialogue]

Interview series - What after B.Arch? #14

Interviewee: Ar. Gaurav Goel Post-graduation: Master in Digital Architecture and Tectonics | University of Nottingham, United Kingdom

What prompted you to take up this particular program? What about the school/program appealed to you?

During My Architecture graduation in India, I was always inspired by the new face of international architecture. I was always curious about how modern architecture is being shaped today and what technologies architects are using for architectural design research in their studios. It was evident that training in technology for new architectural thinking cannot be avoided for the future discourse of Architectural practice. So, with all these curiosities I listed out universities that aligned my research interests in Architecture. Eventually, the University of Nottingham offered an intensive program for M.Arch in Architecture Technology (Title Currently modified to Masters in Digital Architecture and Tectonics), which aligned to my interests for higher education in Architecture. The course content, faculty, University ranking for research output, its campus, previous work from student’s handbook and international competitions appealed to me in selecting this program. Nottingham University also offered a chance for a scholarship to students from Commonwealth countries, which was a sigh of relief from expensive education tuition fee in England.  

When did you take up Masters?

I took a break for two years after my bachelor’s in India because sometimes the Academic specialisation we aspire to gain does not work in an architectural ecosystem present in our country due to various constraints. Therefore, it was a wise decision to analyse current design trends and the need for specific knowledge required in the domain of current Architecture in India. The break from academics also provided me with some time to travel and reflect on my experience of architecture acquired over the years. During this time, I interned with an architectural firm handling Airport and University designs for Indian government. I was also handling some independent architectural projects to gain insights into the challenges of working as an independent Architect in India. Along with this, I used this time to attend a summer school with Architectural Association London and learned their novel computational techniques for producing new architectural spaces. That was a huge influence on my Masters in Architecture. Due to the reasons stated above, I would recommend all future students to take a break from academics before masters unless you get some exceptional opportunity right after your graduation.

When did you start with the application process considering the time for application, scholarship/bursary deadlines, etc.?

I started the application process around 6 months before. It was a long process because I wanted to apply for scholarship also. I did not want to rush and therefore I arranged recommendation letters, prepared an exclusive portfolio, wrote an essay for the scholarship with much time and attention. It also allows the university to assess your work better if you apply early to these programs.  

What preparation did you do before starting Masters?

Getting into a higher university abroad can be pretty daunting. I was paranoid about a lot of stuff related to academics, different culture and place. For academics, I studied the course content beforehand and did some reading to acquire a glimpse of the topics I was about to study. But in Architecture its more about the studio exercises, so I tried to explore how design studios and architectural discourse works in England. Many online resources, student videos, and previous student architectural projects helped me clear out my doubts. Other than this, social media groups from the university, some seniors from the course and university student support prepared me in advance to deal with the cultural shock. The first induction week at Nottingham University was amazing. There were student mentors who showed us around, along with some conferences and lectures about working at Nottingham University. I made some of the best friends that week. I would strongly recommend attending induction week before any masters as it will act as a catalyst to adjust you into a new environment and engrain you into the student fabric of a particular university.

Did you have to give any entrance tests? How did you plan for them?

Yes, I appeared for an IELTS exam scoring a 7.5 to make my visa application stronger. But at Nottingham University I was not required to appear for a Language proficiency test because I scored above 90 per cent Marks in English for my CBSE 12th-grade exam in India.

How long was your program?

Masters in Digital Architecture and tectonics at Nottingham University is an intensive 1-year program including 3 months of dedicated research writing of about 30000 words. This program starts in September every year and finishes after 12 months. After the course duration, University runs student competitions and organise a year-end show that is attended by experts in Architecture from England. This is the best time to showcase your work and catch the eye of an architect aligning your interest. There were not many direct job opportunities through university, but those year-end shows helped me to grab some job offers from current architects who saw my work.

Did you have post-masters plans in mind when you took up masters? Or did you go with the flow?

I was very clear about my future plans after Architectural masters. I wanted to come back to my country after completing my research and contribute to the academic and real architecture domain of the Indian market. India is progressing nation and specific clients and organisations want to experiment and invest in modern architecture. Therefore, I have a keen interest to practise Architecture in India using local resources and my specialised skills.    

Did you have to apply for a visa?

My visa process was very smooth. I applied it myself with the help of the Embassy website. All documents required were listed on the website clearly along with the procedure. After my CAS letter the visa process took around a month and I was granted a student visa for a year along with an additional 6 months of post-study work in the UK.

How was the experience at the school?

Architecture department of Nottingham University is a highly respected institution in the UK. It has one of the best research output and infrastructures along with state-of-the-art labs with 3D printing, vacuum forming, CNC machines, Digital 3d scanners and carpentry tools. I had an intensely immersive and international experience at this University. By international I mean there were students from every nationality and they brought in their cultural views into design studios along with expert international mentors. Other than this for the first time in my life I studied architectural research methods, which opened my eyes towards researching in Architectural field in a planned fashion. It was a big surprise for me to learn that there is so much that could be researched and written about Architecture. There was a strong culture of collaboration for inter-departmental research. For example, if we are designing a building façade, we can involve the mechanical department for its physical development and details. That helped us in understanding architecture as a collaborative process, which is vital to practise in the current realm.

Moreover, there was a planned schedule of the program that we followed the whole year. At the start of the course we knew the exact date when we will have our last lecture and submission, a crisp academic plan like that provided us with a clear path of studies. University also provided lectures by an industry leader on current developments in the latest building trends. It provided an exposure that was difficult to gain elsewhere. Along with this, they had field trips which were great in understanding realities of complex forms and their fabrication pedagogy to instil our interest in computational design.  Finally, a big opportunity I got was to involve myself in clubs and knowing likeminded people from around the world. I was a member of Architects society, gliding and kayaking club. I used to attend architect socials, fly gliders every month for our training along with kayaking lessons from experts. These clubs helped me to enhance my experience at the university. Overall my experience at school of architecture was very rewarding and fruitful in terms of knowledge and skills I gained during my academic discourse.    

Tell us more about the mentors.

Mentors at Nottingham University are very professional in terms of mentoring students. It was exciting to know about their research and work in the field of architecture. Every mentor was very responsive on emails and I never faced problems meeting with them. They were very supporting and always open for informal discussions too. Some of the professors used to invite students for dinners also at their house. Moreover, Professors always used their industry contacts to introduce us to experts with our research interests.

Eventually, all my professors had an impact on my learning as an architect but few of them motivated me personally. I was very influenced by the work and guidance of Dr John Chilton who is an expert in shell structures and has written many international publications on this subject. Along with this Dr. Paolo Beccarelli who is a leading expert on fabric and tensile structures influenced me to research my master’s dissertation on tensile structures. I was also inspired by the research work and knowledge of Dr Philip Olfield who was the mentor of Tall Buildings studio. He is currently an active member of the Chicago-based Council on Tall Buildings and Urban Habitat (CTBUH).  Lastly, I would like to mention my studio mentor Tom Bennett who is an expert in computational design. He was part of the design team for winning proposal of UK pavilion for Milan expo 2015. He was seminal in introducing me to computational design and programming. Currently, he works with a collaborative design practice called Studio Bark in East London.  

What kind of support system did your institute/university have in place for international students considering a different learning environment from that of Bachelors?

International students at university are supported by the International student office at Nottingham University. They are dedicated to helping you deal with the new environment, emotional concerns along with academic hurdles you face during your studies at the university.

Were you involved in research projects/competitions while studying?

Yes, during our course we participated in national conferences, research projects of our faculty members and architectural design competitions. Along with my Mexican colleague, I won an Architectural award from Benoy Architects London for our project “UK Pavilion- Milan expo 2015”. This project was displayed at the end of the year show along with RIBA exhibition in England.

Could you tell us in brief about your dissertation?

My masters concluded with my dissertation research under Dr John Chilton and Dr Paolo Beccarelli. It was titled "INVESTIGATING THE ROLE OF COMPUTER SOFTWARE FOR CONCEPT DESIGN OF TENSILE MEMBRANES IN ARCHITECTURE: A COMPARISON OF PHYSICAL AND DIGITAL MODELLING PROCESS”. This research was awarded merit marks along with appreciation from the industry. Through this research, I investigated how form active structures are being designed using computational power in the current era.

Tell us about the process.

I had a discussion with my supervisor while we were on a field trip to Milan. Our informal discussion helped me understand my topic and methodology that I needed to write a dissertation. Along with formal supervisor meetings, the University of Nottingham organised workshops to demonstrate how to write academic research. These workshops were highly professional and helped me in writing quality research.

We had a clear time table defined from the start of the research. There was a fixed number of times we were supposed to report our progress to the supervisors, but they were always available on mail to answer any queries. My initial meetings with my supervisor were long and intense as they laid the foundation of my research. I used to mail the work before meetings and my supervisor examined and gave his feedback during the office discussions.  

There were several challenges during the research. The main challenge was time. In just 4 months we had to write 30000 words for our dissertation. Along with this my first-hand exposure to academic research posed me a problem of setting research goals. It was very tough to organise a vast amount of reading data and experiments into functional research that imparts a meaning to the profession. One of the other challenges was reading, while in India I never read a lot. But during dissertation library was a second home and they had all the academic resources available in the world to support our research material at the Library in Nottingham University.

We had a final presentation before final dissertation writing to include expert feedback into our research. That was followed by intense weeks of writing and submitting our dissertation to the university department as per the deadlines.

How did you manage the finances?

For my masters, I had a scholarship for 50 per cent of tuition fees. Rest of the expenses of academics and living were covered with the help of my parents. A restricted amount of travelling, self-cooking and budget accommodations were some of the things that helped me to cut down my expenses.

Did you volunteer/work part-time job/intern while studying?

No.

How did you choose your accommodation? Did you have to commute to reach lecture halls?

I took an off-campus accommodation at the university. It allowed me some flexibility in terms of living. It was a large house shared by other students with common amenities. It was nearby university and cheaper than university accommodation.

Did you travel while/after studying?

Yes, during studies, we travelled to many cities as part of architectural field trips in the UK. I covered many British towns along with a Europe trip with international student travel society. All my travel was motivated by curiosity to witness architecture and experience new places. During my travel, I visited some of the architectural marvels in Europe and the UK.

Are there any notable incidents/ anecdotes from post-grad studies that you wish to share?

There are many incidents to share, but one particular I would like to mention. When I started my course at university during initial lectures, I was very participative in studio and interactive with faculty members. So, one evening after my lecture one of my Latin and Chinese friend asked me how come you speak such good English, does India have such a good education in English. I was amazed by the imagery of India in their mind and I laughed and said that in India most of us learn English from kindergarten itself. I told them to read about India and its current development. It is no longer a land of snake charmers only.

How do you think doing a master’s degree helped you?

My master’s degree enriched my career in multiple perspectives. The first and most important thing I gained from my masters was an international exposure in the field of design. It gave me multiple skills to be a part of an international community of design professionals. I presented my designs among a group of international design jurors and participated in design competitions. It gave me courage and confidence as a professional to practise architecture anywhere around the world. Another aspect of international university was learning to work in a team with people from different ideologies and culture. I learned how to embrace these ideas and keep your mind open towards novel thinking, which is vital in the Architectural profession. Due to my masters, I gained the ability to think critically and holistically about architecture. I learned how to discuss and debate ideas academically in intensive studio exercises with experts, how to navigate existing research and most importantly how to research your own ideas using the existing academic resources. At Nottingham university, I was constantly challenged in terms of my ability as an architect and they always guided me professionally to overcome those challenges without spoon feeding. In all, it was worth pursuing masters at the university of Nottingham to explore and equip myself with skills that are helping me in my career as an Architect.  

Did the city/country you studied in play a major role during your postgraduate study?

Nottingham as a town is full of history and enriching past in terms of architecture. During my time at Nottingham university, I had a chance to experience this town as a resident. And due to this, I had a significant impact on my design education. I became more sensitive to history, context and climate while designing buildings. Also, public spaces and urban infrastructure is very impressive in England. It gave me an insight into how the quality of urban architecture can influence a citizen’s experience within an urban community. Eventually, I tried to incorporate all these learning into my designs while PG.  

Could you please tell us about your current work and future plans?

After returning from the UK my research interest in computational design lead to the creation of an educational blog called PARAMETRIC CURIOSITY. Over the course of years, it has become a community of people from all around the world to witness and talk about computational trends in architecture and design industry. Our current Facebook blog has more than 4600 followers who are engaged in an active community of architects and engineers interested in computational and digital architecture. Eventually, I launched Studio Parametric Curiosity India inspired from my blog’s success, it is an Architectural practice headed by me. We are Involved in developing a sensible urban built fabric by designing multiple architectural projects ranging from residences, commercial, recreational architecture and interiors in Delhi and NCR. Our recent projects include a ceiling Installation in Kenya, a sustainable eco-house in Delhi, a Hotel in Lansdowne along with other building projects. Most of our work stresses upon User functionality, architectural sustainability and integration of computational techniques during the design process.

What message would you like to give to students/professionals planning to take up your program in your school?

For all the prospective students who want to pursue higher education in Architecture, I would like to advise for deep self-introspection for the reason of higher education. Eventually, decide your passion and interest in the current architectural profession to specialise in. Thereafter, find a university that has most research output, facilities and association with experts in the field you want to pursue a master. University is all about soaking the best academics available in the field you want to specialise. One should assess their opportunities carefully and analyse the impact of their education in the future architectural practice.    

Looking back, was there anything you would have done differently?

International university education is appealing. New places, people and academic environment all fills you with great spirit and zeal. I would like to warn students to not get carried away from all the new changes that come in your life as a student. Remember your main goal of education and take your academics seriously. All the universities abroad are very serious with quality and timely submission of your assignments along with your performance. Make sure you take full support of university facilities and faculty to get across your academic challenges.

ABOUT THE INTERVIEWEE:

Ar. Gaurav Goel holds a master's degree in architecture from the University of Nottingham, and a master's diploma in parametric design from Spain. He is a gold medallist in B.Arch. from Amity University. Goel founded Parametric Curiosity in 2016, an architecture studio and a social media blog for sharing digital explorations in the field of parametric design. Besides, he has attended many international workshops such as Summer School with Architectural Association - London and Master in Parametric Design at Control Mad - Spain to learn nuances of algorithmic design processes. Goel’s research interests lie in form finding, temporary and permanent pavilion installations, form optimisation, digital fabrication with CNC, 3D printing, architectural façades and other geometrical explorations using computational tools such as Rhinoceros and Grasshopper 3D.  His studio's latest projects include a ceiling installation in Kenya, a hotel in Lansdowne, a holiday home in Uttarakhand and a sustainable eco houses in Delhi and Gurgaon.

You can reach him at their Facebook, Instagram and YouTube channel called Parametric Curiosity. For more details about his work and him as a professional visit his LinkedIn account.

[complexmagrparchive]

                                   JE SUIS PARTIE LÀ-BAS

NAME › Im Sowon D.O.B. › 02 18 1992 (25) OCCUPATION › Picture Editor at Complex INSTA › @sowonim

PORTFOLIO

EMPLOYMENT

The Star – Assistant Picture Editor (May 2015 - July 2015) Complex – Picture Editor (November 2015 - Present) INTERNSHIP

The New Standard Edition – Photographer/Social Media Intern (December 2013 - February 2014) Blanc Magazine – Fashion Assistant Intern (June 2014 - July 2014) 10 Magazine – General Editorial Intern (August 2014 - December 2014)

SKILLS

Proficient in using latest photo editing software and high-end digital cameras

Ability to handle multiple projects simultaneously and independently

Excellent coordination and communication skills

ACCOMPLISHMENTS

Completed summer intensive in Paris at Parsons The New School

Traveled through Europe for fashion trend research

Various humanitarian experience working with and leading diverse teams

EDUCATION

Paris College of Art – Bachelor’s Degree Study Abroad Program FIT (Fashion Institute of Technology) – Bachelor of Fine Arts in Photography

DETAILS

She’s born to a young but ambitious couple: a woman in her late 20′s who works as an English teacher and a man in his mid 30′s who works as a U.S. diplomat. Their career choices has brought them together on this joyous day to not only celebrate their Parisian experience, but also their first and last child: Im Sowon.

The first decade and a half of Sowon’s life is spent as a traveler, as she doesn’t have a place to really call home. They’re always moving, leaving–and it happens so frequently that eventually, Sowon just stops trying to make a home out of places altogether.

Her parents value cultural diversity, so she’s given private lessons about heritages, languages, and everything in between. Somewhere along the way, the United States becomes a mandatory subject because “That’s where our home is, back in New York City.” But before Sowon can even process that there had been a Statue of Liberty before an Eiffel Tower, she was already taking in Spanish verbs and conjugations.

Sowon’s heart breaks every three years. Because it is every three years that their family has to relocate, because it is every three years that Sowon loses friends and loved ones, because it is every three years that she is reminded, agonizingly so, that nothing for her is permanent.

They’re snuggling on the back of a pickup truck when she realizes that Prince Charming does exist and he’s right here, in Bali. He’s only sixteen–a year older than her–but he already has life figured out and wants her to experience it all with him. Sowon is taken aback by the concept of commitment, however, and dismisses his proposal for the stars above. (“They’re so pretty.”)

Memories are kept by her in photographs. On her last day in Jakarta, she uses her father’s digital SLR camera to take sentimental shots of the people and places of Indonesia. Despite it only being her first attempt, her mother considers–and even insists–that Sowon take up one or two photography lessons as soon as they land in Italy.

Italy is short-lived, but it’s also where circumstances for Sowon begin to change. Here, she falls in love with the culture, the scenery, the wide avenues, and then ultimately, photography–all within a year. It’s only meant to be a hobby, really, but Milan Fashion Week kicks off and she finds herself sitting in front of the television, gaping at the magic unfolding right before her eyes. Maybe this is her calling. Sowon decides she wants to study fashion photography.

They return to the States shortly after. She finishes the last two years of high school in New York and attends the Fashion Institute of Technology the following semester. By then, her parents are already abroad. It’s in these crucial years of independence that Sowon develops a sense of identity, all the while balancing school and internships.

Although her mind is in the right place, her heart is not. She wants to stay committed, find something worthwhile to keep her in New York–but alas, Sowon is ultimately homesick. Not for France, Brazil, or Indonesia, but possibly for somewhere she’s never been to. (Her heart doesn’t break anymore. It’s still in pieces, waiting to be put back together, and maybe that’s why she can’t stay still.)

10Mag hires her and she leaves for Seoul the morning of.

Lesson One: Sowon le Fou.

“They’re stealing my shit.”

It’s one a.m. when Sowon phones her friend from New York. Their conversation is supposed to go something along the lines of, ‘You’re getting married?’ and ‘No way, congratulations!’, but the festive atmosphere quickly fades ten minutes in and all that’s left, really, is a distressed Sowon, who isn’t much of a happy person to begin with.

“Who?”

“The picture editor at The Star. He’s taking advantage of me because I’m only an assistant.” Sowon emphasizes the word ‘assistant,’ because she knows that’s the root of the problem. “They would respect me more if I wasn’t new.”

“Have you tried confronting him?”

Sowon laughs, dryly. “You really think he’d admit it? That guy? Anyway, the company has his back,” she deadpans, sinking into her couch, “I hate the seniority customs they have here. He’s older than me, so I don’t know if I can do much.”

“Right,” her friend responds, “and it’s The Star you’re working for as well. I doubt anyone has the time to deal with image theft.”

“I should still do something about it though, right?” Sowon asks, seeking moral support.

A short pause, and then: “Yes.”

Lesson Two: Le Mépris.

Seoul is expected to have a thunderstorm sometime around noon. Sowon suspects, as lunchtime is approaching, that maybe that’s a sign for doom–a foreshadowing that her confrontation with the editor-in-chief won’t end too well.

She almost backs out of the plan too, until her thief throws a look her way that screams ‘Tu es completement débile.’ – And that’s all it takes for her to barge into the editor-in-chief’s office, honestly.

“Sajangnim,” Sowon begins, and she feels her confidence withering the longer she waits for a reply.

The editor-in-chief looks up from his desk and gives her a pointed look. (The disrespect.)

Sowon continues, “My work has been stolen by Mr. Lee for the third time. I wish you would say something about it to the staff so that I don’t always look like-”

“But aren’t we all working together?”

She swallows her words.

“We’re in the same team, Sowon-ssi. I don’t see a problem when our number one goal is to attract our readers.”

“Excuse me?” Sowon asks. She has to mentally run through a list of French conjugations to diffuse her anger, but the more she stares at the editor-in-chief, the more aggravated she becomes. “I just want credit, is all.”

“Is this really something we should be talking about right now?”

Sowon doesn’t answer.

“Yah, why aren’t you working? Is it even your lunch break yet?”

It’s one thing to be disrespected by her colleagues, but to have her boss of all people stare at her and treat her with disdain is both damaging and degrading.

Sowon hates the way he looks at her–hates the way all her seniors look at her, as if she hadn’t worked hard enough to get here.

Her employment status is still fairly new (three months since she’s been with The Star), but the lack of recognition irks her, gets under her skin. She can’t stand the seniority customs, the mindset that elders are automatically right, no matter how wrong they are. They say it’s best to pay no heed to their words, because what do they know? But sometimes, ignorance isn’t bliss. Sometimes, it just hurts.

Sowon feels herself crumbling. She wonders, for a split second, if Korea is the right place to be.

(Will there ever be a ‘right place’?)

“Merde!” she exclaims, “C’est des conneries! Va te faire foutre!”

There’s a downpour in Seoul for the next hour.

Lesson Three: Tout Va Bien (Pas Vraiment).

They tell her she’s such an American Girl, like it’s supposed to hurt. You Americans are so spoiled. And if it hadn’t been for the pojangmacha over her head, she’d have mistaken this situation for a night out in France. (The French people badmouth Americans, too.)

It’s all so amusing to her, though, how different people around the world think of Americans in the same light–as if there’d been an international consensus that the majority are utter babies.

Sowon can’t deny that her six years in New York has made her pompously entitled, especially in situations where things don’t go her way. And, maybe–as her friends had put it–she was being a little too sensitive that day.

“What do you suggest I do then, oppa?” Sowon is genuinely curious.

“You’re how many years old? 23?”

She nods.

Her female friend chimes in, albeit tipsily, “I think you need to grow up.”

Lesson Four: Hélas Pour Moi.

August and September disappear as quickly as they arrive. October settles in quietly.

Lately, everything feels humdrum blue–empty and eerily still, like the calm before a storm. Days of isolation and desperation turn to hours, weeks, months, driving nothing but schisms and fissures into her chest, hollow where her heart is. It’s all so draining, and it doesn’t help that Seoul feels lonelier than usual.

Maybe she’s homesick again.

“Or unemployed?”

The cheeky remark earns a playful smack from Sowon.

“No, oppa. It’s something about the cold,” she says, honest, “feels… nostalgic.”

He half-chuckles, stares off into the distance like something’s there. “What are you homesick for anyway? France?”

Sowon doesn’t say anything, because she also doesn’t know. Not really. Not yet.

—

“When are you leaving?”

“What, all of a sudden you care now?”

“Maybe I can give you some advice.”

“Soon, like in-a-few-weeks-soon.”

“Oh.”

—

Something is missing.

Sowon realizes this on the morning of oppa’s departure, when her apartment is colored blue and indigo. Something is always missing, and she can’t figure out what it is.

Lesson Five: Faut Pas Rêver.

November rushes in with new beginnings and miracles.

And a letter from Bern.

Grüezi, it reads, I know you probably hate me more than anything right now—in fact, I’d be lucky to have you even read this. But Sowon, listen to me. My moving had nothing to do with you. I couldn’t tell you this in person because I thought you needed some time alone, and—

Sowon skims through the first half of the letter, drops her gaze toward the very last sentence.

I learned a little French for you. “Faut pas rêver.” I hope you never give up your dreams of being a picture editor.

Yours truly.

She stills momentarily–and then trashes the letter altogether.

[utrechtcentral]

Liselotte shows her love for Utrecht

As promised last year, we have the chance to showcase the talents of photographer Liselotte whose work I have known and admired for some time. I will let her introduce herself: I’m Liselotte, Dutch and am 29 years old. I moved to Utrecht when I was 19 to start my student life. But in the end, I did not attend the University of Utrecht for long and finished my Bachelors in European Studies in Amsterdam and my Masters in European Studies in Enschede and Münster in Germany. I continued to live in Utrecht though as I simply was not ready to leave this city yet. Eventually after 7 years, I did feel like starting a new chapter of my life and moved to Finland for half a year and I am currently living in Brussels.

Did you study Photography or are you self-taught? Photography has been a part of me for most of my life. As a kid I usually borrowed my parents’ camera to take pictures on holidays or they let me use one of their older cameras so I could do my own thing. I bought my first digital camera when I was around 15 years old and started taking pictures with a DSLR around 6 years ago. Despite always wanting to go to an art academy to study photography or design when I was younger, ultimately, I decided to study something completely different. So this makes me a self-taught photographer.

Do you have heroes or is your work unique? I don't think my work is necessarily unique, but that’s also not too important for me. As long as I like my pictures and feel good shooting them, that is my primary focus. But, of course, it’s always awesome when others also like my work. Photographers I look up to are those who are able to make a living out of travelling around the world by photographing all the beautiful places and cultures they come across.

What inspires your work? What inspires me most is nature, it’s beauty, intensity and the fact that nature is so dynamic, it’s different at any moment of the day. Something else what sparks my creativity is great light, preferably natural lightning, and wonderful shadows. Finally, I also love to simply stroll around cities and take in the energy of the city.

Is Utrecht a particularly artistic city? Is there somewhere special you like to photograph in Utrecht? In my opinion Utrecht is indeed a very artistic city. In general I prefer the vibe in older city centres compared to modern places, even though modern architecture does have its wonderful features as well. Utrecht has great historic squares, alleys, canals and of course the Dom church and tower which make it an exceptional and charming city. Those historic places in Utrecht are then also the areas I prefer to take pictures of. But on the other hand, I also enjoyed capturing many gorgeous sunsets from my studio at the Uithof. Another advantage from living on the outskirts of the city was that nature was close by. So I spent many hours photographing around “Rhijnauwen”.

What piece of work are you most proud of? I’m most proud of my picture of a snowy Utrecht with a view of the Dom tower which is on the cover of your “Utrecht Snow” novel.

I have to say, I love this as well!

Does Utrecht inspire you as a person, not as an artist though it must be hard to separate the two? This question is not easy to answer without sounding cheesy by saying that the person is the artist. In my view, Utrecht inspires me in general, so this is as a person and artist. Because of this I still like to come back to Utrecht occasionally, to visit friends and to simply walk around the city and of course photograph anything that attracts my attention.

Where is your favourite place in Utrecht? It’s difficult to choose a favourite place or location in Utrecht, but if I have to pick one, I would go for the “Pandhof”, the monastery garden next to the Dom church. I think it’s a great place to wind down. if it’s not too crowded, in this somewhat hidden place in the middle of the city.

Does Utrecht do enough for creative arts?  As I moved away early 2017, I unfortunately cannot really answer these questions. Broadly speaking I think Utrecht is doing quite a bit for the creative sector, there are many festivals, activities and several art centres.

Who should take the lead, Municipality, Artists, Schools, Universities? Generally, I think municipalities should first provide opportunities and room for artists to develop themselves and for schools to set up innovative and creative courses.

Website: http://www.ligiphotography.com Tumblr: https://ligiphotography.tumblr.com

Instagram: http://www.instagram.com/ligi_photography Read the full article

[molliebfrazier]

Competence 8: Administration and Management

8D. The concepts behind, and methods for, developing partnerships, collaborations, networks, and other structures with all stakeholders and within communities served.

My interview with Gwynn Thayer, Associate Head of Technical Services and Curator for Special Collections, gave me insight into how relationships with stakeholders and donors function.

Interview with Gwynn Thayer (GT), Associate Head and Curator of Special Collections

Mollie B. Frazier (MBF)

MBF: Thank you for meeting with me. To start, I just want to ask about your personal experiences within the academic library setting. Firstly, what is your background and how did you become involved with Special Collections?

GT: I received my bachelor’s degree in Art and Architecture History and English. Then, I went back to school for my Master’s in History and History of Architecture because I wanted to do Public History and thought about doing historic preservation. Afterwards, I went to get PhD in historic preservation and decided it wasn’t for me. Meanwhile, I was doing an internship at a main street program, which was historic preservation type work, such as revitalizing downtown fabric rather than that of a big city. With them, I worked to organize the American Association of State and Local History. I did class projects on register nominations and things of that sort. Then, I found an entry-level job at the state archive in Nashville, Tennessee as an assistant archival processor. Eventually, I was promoted to a processing job and taking classes in public history such as material culture, historic preservation, historiography, non-profit management, etc. So, that is all to say I was getting my PhD in public history while working full-time as an archivist. While working as an archivist, I was helping counties in Tennessee set up their archives. One of the projects was about the Civil War and included digitizing the records that people had been storing in their homes, relating to their family’s involvement in the war. Then, to finish up my PhD, I published my dissertation, which is “Going to the Dogs: Greyhound Racing, Animal Activism, and American Popular Culture” by Gwynn Anne Thayer. So, with all that background in archival work and wanting to work with primary sources, due to my interest in history, I ended up here as the curator for Special Collections at N.C. State.

MBF: What are your main responsibilities as associate head and curator for Special Collections? When I talked to Linda [Sellars, Head of Technical Services for Special Collections], she said that you do most of the interaction with the donors.

GT: My main responsibility is mostly to bring in new collections and to communicate with donors. For example, my book focused on animal rights which was one collection that we pursued for years. Eli and I have the most correspondence with the donors. If the donors don’t seek me out, they usually end up at me through the process eventually.

MBF: That was going to be my next question! What does your interaction with donors typically consist of and what happens to sensitive materials?

GT: A lot of it has to do with building diplomacy and understanding the person and what their needs are. Sometimes donors want to donate because they are retiring, sometimes they just want to donate off a whim, but there are many reasons. As for sensitive materials, the deed indicates if you want materials back or if you want to keep them. It’s going to stay at Satellite Services if they want them back or if they want us to shred them.

MBF: What about tax cuts?

GT: That’s a big one. If they want to claim more than $5,000, they have to hire an appraiser. We cannot estimate how much a donation is worth, even though we are asked sometimes.

MBF: So, most materials are acquired by donation? Are the donations usually permanent or loans?

GT: We’ve had some loans but they’re almost always ours after the donation, which we prefer.

MBF: Why is that?

GT: Well, once you work on a collection for a long time-- going through the process of getting it, processing the materials, and adding it to the collection-- the library wants to keep that hard work.

MBF: That makes sense. Are materials ever purchased?

GT: Sometimes we use endowment money to purchase materials. For example, if a faculty member really wants us to add a particular book to our collection, but our collections usually come from donations.

MBF: What is the most challenging part?

GT: Oh well, having to say “no” to donors is a big one. For example, someone may want to donate their architecture work that they are really proud of and want to donate here because they love N.C. State, but then we have to think about if that is a collection that anyone is going to look at. There are a lot of emotions involved because, like we talked about, sometimes people are retiring, or there are other big life events associated with the materials and it can really bring out emotions in people.

MBF: I never thought about that. It can be so easy just to focus on the materials and not the personal experiences that go along with them. Alright, just a few more questions. Are there any trends you’ve seen in academic libraries throughout your career? Where do you see the future of libraries heading?

GT: They’re becoming very focused on “the entire research life cycle”, meaning that it is focused on data management and how to present/store the data. It’s definitely moving towards moving towards digital and technical aspects.

MBF: With that move to digitization, what advice would you give anyone pursuing a career in academic librarianship/archives?

GT: I would say that those tech skills are going to be very important to know. They already are now, but with the changing face of what a library is, they’ll only become more important. That being said, I wouldn’t lose sight of knowing the materials.

[kitsproject6]

Architecture

Arts university Bournemouth

Studying Architecture at AUB is the first step towards becoming a creative architect. On this unique and exciting course, you’ll work within the context of a studio-based arts university, where everyone shares an interest in different forms of making. BA Architecture (Part 1) is accredited by ARB and RIBA, so on the course you’ll prepare for professional practice. This professional validation means that upon graduating, students will have fulfilled the first of a three-part process required to become a registered architect in the United Kingdom.

What you will study You will investigate the ways we live in the world, individually and collectively, through our spatial relationships with materials, to make places that make a difference. You’ll be exposed to a wide range of skills that will form the foundation of your career in Architecture, including: making, collaboration, designing and doing. You’ll develop an understanding of the practice and theory of architecture, grounded in making, along with critical thinking and a familiarity with the material nature of architectural ideas. You’ll explore the reflective practice of making thoughtful, tangible, inhabited places that mediate between the individual, the world we live in and the others we live with.

Through a process of ‘making and thinking’ you’ll come to understand works of architecture as places that house our lives and challenge our expectations. As well as architectural design, you’ll experiment with drawing, photography, printmaking, modelmaking, video and electronic media. You’ll learn the importance of collaboration with other disciplines by working with students from art, design, media and performance. To bring theory alive you’ll travel to see examples of excellence in architectural design in Britain and beyond. Likewise, you’ll be given insights to innovative professional practice through lectures, visits and studio projects led by practising architects, engineers, and designers.

Approximately 45% of your time will be contact hours, including scheduled teaching sessions, but also supervised time in the workshop or studio. The remainder of your time studying will be independently. 100% of assessment for this course is coursework based.

Entry requirements

Qualification requirements

Qualification

Offer

Further information

**Please see AUB's website for a full list of our entry requirements, including tariff points where applicable.** We are happy to accept a wide range of qualifications, including but not limited to: A Levels, BTEC Extended Diploma, OCR Cambridge Technical Extended Diploma, BTEC Subsidiary Diploma(s), Access to HE courses, Scottish Highers, IB Diploma Programme, Foundation Diploma in Art and Design. We can also accept many EU and International qualifications. See website for details. Email Admissions (admissions@aub.ac.uk) with any queries about entry requirements. We welcome applicants who are currently studying or who have gained a Foundation Diploma in Art and Design and this qualification meets our level three entry requirements. This is a recommended qualification for many of our courses but it is not a compulsory qualification. Other relevant and equivalent Level 3 qualifications are considered on an individual basis and we are happy to accept applicants with a combination of Level 3 qualifications. Please check your qualifications using UCAS Tariff calculator and remember we are looking for the equivalent of 3 A levels if you are combining Level 3 qualifications. AUB tailors its offers to the qualifications an applicant is studying and looks for applicant to be studying a relevant creative subject. AUB makes offers based on up to three A Levels or equivalent Level 3 qualifications with the most UCAS Tariff points attached to them to give applicants the best chance possible at achieving our required tariff (120 UCAS Tariff points in most cases).

Additional entry requirements

Other

This course does not expect you to attend an interview or provide a portfolio. Instead we will make a decision on your application based on the information in your UCAS application. You will be invited to an Applicant Day; these are designed exclusively for undergraduate applicants holding offers at AUB. The event will give you the opportunity to find out more about the course, meet staff and have a tour of the AUB campus. However please note in the event we are unable to make a decision based on your application we may request additional information from you, such as a digital portfolio, or may invite you to attend an interview. If this is the case we will contact you to advise you.

English language requirements

Test

Grade

Additional details

Cambridge English Advanced

C

Overall score of 180

Cambridge English Proficiency

C

Overall score of 200

IELTS (Academic)

6.0

6.0 overall with a minimum of 5.5 in each component (reading, writing, speaking and listening)

PTE Academic

54.0

A minimum of 51 in each component

AUB can also accept International Baccalaureate English Language B or English Language and Literature A at Higher Level grade 4 or Standard Level grade 5. We may also accept TOEFL iBT scores of 80 or above for entry to degree courses; however we would prefer one of the above qualifications. TOEFL is a test of American English and is not classified as a Secure English Language Test (SELT) for Tier 4 Visa applicants. IELTS, Pearson and TOEFL scores must be less than two years old at the start of the course to be valid.

English language requirements

I wouldn’t want to study this course as i haven’t got the entry requirements and i am also very content on the current subject that i am studying. I also am not sure whether i want to go to University at this moment in time i feel that i am more interested with going down the route of a apprentice ship.

Fashion Photography

University of the arts london

BA (Hons) Fashion Photography will prepare students to be professional and original image maker. This course gives a practical and theoretical study of fashion photography and its place within media and communications.

What can you expect?

BA (Hons) Fashion Photography explores analytical and critical approaches to photographic imagery. You will learn the technical skills of photography with together with study of the ideology, politics and context of fashion. Students on this course will explore images from haute couture to street style, from advertising campaigns to designer look-books, from art gallery to shop window and from fanzine to glossy magazine. This will allow them to develop an analytical and critical view of global style and the cultural landscape of the fashion industry.

You will have the opportunity to take part in industry collaborations. Recent projects have been with River Island, Elizabeth Arden, the V&A and the English National Ballet. BA (Hons) Fashion Photography will allow you to explore a range of imagery for commercial and editorial use.

Students on this course will gain experience in location and studio shooting using the excellent photography studios within the College. You will also explore digital image production and manipulation. You will experience working with stylists, make-up artists, model agencies and art directors. Students are encouraged to develop their own authentic take on fashion photography. By the end of the course you will be fully equipped to enter the industry as a professional and original image maker.

London College of Fashion (LCF) undergraduate courses develop your personal and professional skills. On this course you will develop skills in your discipline until you are an independent creative thinker. Your skills will make you capable of making an effective contribution to this sector of the fashion industry. We embed Personal and Professional Development (PPD) skills in all units on every course. Speaker programmes with contributions from alumni and members of industry are a part of many courses. We encourage graduates who wish to continue their education at postgraduate level to progress to suitable courses within the College, the University or elsewhere.

Duration- 3 years

Qualification-Bachelors of Arts

Entry requirements

Qualification requirements

Qualification

Offer

Further information

UCAS Tariff

TBC

Additional entry requirements

Interview

Portfolio

I would consider maybe applying for this course once i have finished my current course as i may have the correct UCAS points. So i will have to wait another year but yet again i am still considering what i want to do. I would like to do this as i have some unrest in going into the world of fashion but am still trying to find my way.

Photography FdA

Barking and Dagenham College

Barking & Dagenham College offers an established first-class undergraduate and postgraduate experience with a vocational emphasis that will equip you with the skills and expertise you need to achieve your career goals. Our commitment to personalised support also helps to keep you focused on your goals and motivated to achieve.

The spirit of business innovation in London is moving ever eastwards, and with it comes a wealth of opportunity. Barking & Dagenham College is on the doorstep of central London, offering you an educational experience that will deliver the skills you need to take advantage of these opportunities.

Photography has helped shape our perceptions and attitudes over much of the last two centuries. Now, with the development of global mass communication, it is becoming even more important in commercial and creative practice.

This Foundation Degree in Photography is a career-focused course. You will develop a strong understanding of visual culture and artistic freedom in art and commercial practices.

You will also be given significant professional engagement opportunities. You will make national and European trips to creative individuals and companies; learn from visiting guest lecturers; undertake work experience and internships; and benefit from our affiliation with Paris photography studio Studio Rouchon.

On successful completion of the FdA you can progress to the BA (Hons) Photography at Barking & Dagenham College.

Entry requirements

Qualification requirements

Qualification

Offer

Further information

UCAS Tariff

48 points

UCAS Tariff 48 Points (a portfolio of creative work).

A Level EEE or DD

Maths and English Level 2 Functional Skills or Grade 4 and above.

Pearson BTEC Level 3

National Extended Diploma (QCF or RQF) PPP

National Diploma (QCF) MP

Subsidiary Diploma (RQF) D

(Or any other combination of level 3 qualifications to achieve 48 points).

Access to HE Diploma Overall pass in a relevant subject

Applicants should normally be at least 18 years of age at the start of the programme. Applications are welcomed from candidates with a subject specific Level 3 course such as a National Diploma / Extended Diploma, A Level, Access to Higher Education Course, or a work-based course, such as NVQ 3 or Advanced Apprenticeship with a minimum of 48 UCAS points achieved.

Mature students may present a more varied entry profile of achievement that may include relevant work experience and a range of qualifications that may include professional qualifications.

When making a decision on your academic suitability, we will make an assessment of you as an individual and will make use of information other than just academic qualifications; which may include previous academic performance, relevant work experience, personal statement, references, and any portfolio, written or mathematics test or interview, to make our decision.

A level

DD

A Level EEE or DD

Pearson BTEC Level 3 National Extended Diploma (first teaching from September 2016)

PPP

National Extended Diploma (QCF or RQF) PPP

National Diploma (QCF) MP

Subsidiary Diploma (RQF) D

(Or any other combination of level 3 qualifications to achieve 48 points).

Ideally you will also have GCSE English and Maths at grade C or above. Our main focus will be on your creative work so you can still apply even if you don't have 48 UCAS points but do have a strong portfolio of work. You will need to attend an interview and bring your portfolio.

English language requirements

Test

Grade

Additional details

IELTS (Academic)

5.5

Students are expected to be able to demonstrate English language comprehension at a level equivalent to International English Language Test System (IELTS) 5.5, with no less than 5.0 in any skill.

This college could be good for me as i wouldn’t mid doing a foundation and i will also have the entrance requirements to get in apart from my maths but if i work for it next year i will get it.

Filmmaking

Nottingham Trent University

Explore all aspects of filmmaking on this hands-on degree to set yourself up for a career as a producer, director or writer. Develop professional and innovative work through the production of dramas, documentaries, adverts, music videos, client work developed through research, practice and experimentation.

Alongside the storytelling skills you’ll learn the technical and production skills to enable you to produce a professional portfolio tailored to your career goals. Throughout your degree, you’ll undertake the roles of writer, director and producer while working on live briefs with our industry partners or entering industry competitions.

Learn from staff with expertise in areas such as directing, producing and scriptwriting, plus technical skills such as editing, lighting, sound and camera operating. Use industry-standard facilities and equipment such as high-end cameras, sound recording booths and green-screen studios, along with industry-recognised software.

Assessment Assessment is 100% coursework. You’ll be assessed at the end of each module and awarded a grade, receiving feedback throughout.

Career prospects This course will prepare you to work in the digital media field in areas such as independent film, television, heritage interpretation, advertising, music and games production. You will also develop transferable skills for alternative careers in teaching, retailing, media and freelance design.

*Please note that if your application is successful, you'll be invited to an interview where you'll need to bring with you your portfolio.

Entry requirements

Qualification requirements

Qualification

Offer

Further information

UCAS Tariff

112 points

A level

BBC

112 UCAS Tariff points from three A-Levels or equivalent qualifications.

Pearson BTEC Level 3 National Extended Diploma (first teaching from September 2016)

DMM

Access to HE Diploma

Pass your Access course with 60 credits overall with a minimum of 45 credits at level 3

GCSE/National 4/National 5

GCSE English grade C/4 or equivalent

GCSE Maths grade C/4 or GCSE Science grade C/4 or equivalent

Pearson BTEC Level 3 National Diploma (first teaching from September 2016)

112 UCAS Tariff points from your BTEC level 3 National Diploma and one A-Level or equivalent qualification.

Pearson BTEC Level 3 National Extended Certificate (first teaching from September 2016)

112 UCAS Tariff points from your BTEC level 3 National Extended Certificate and two A-levels or equivalent qualifications. 

I would consider this course as i love photography but also have a great passion for filming i love the foundations of it and would love to learn more about the course. At this current period of time i wouldnt get onto the the course but maybe after next year i may have a shot.

Fine Art

Nottingham Trent University

Explore what it means to be an artist in the 21st Century, considering the role of contemporary art in modern society. Develop your artistic work across the full range of contemporary fine art media, studying in Nottingham – a city internationally recognised as a vibrant hub for new and emerging artists and design initiatives.

Be inspired by Nottingham’s artistic community and creative places to visit, including Nottingham Contemporary, New Art Exchange and Lakeside Arts. Take part in local and international exhibitions and events, including, in recent years, the Tilburg project in The Netherlands, and internships at the Venice Biennale. Visit galleries across the world through a series of optional study trips; in the past our students have been to destinations such as Berlin, New York, and Copenhagen.

Exhibit your work as part of our Degree Show with the opportunity to exhibit externally in local, national or international spaces.

Assessment

Assessment is 100% through coursework. You will receive feedback throughout each module and will be awarded a grade.

Employability

Employability for this course is excellent, with 96% of our students going on to employment or further study within six months of graduating. (DLHE survey 2016/17)

A high proportion of our graduates choose to stay in Nottingham to further establish their creative network. Many go on to become artists or work in roles such as curators, teachers, gallerists, animators, musicians, community artists, photographers and filmmakers.

Qualification requirements

Qualification

Offer

Further information

UCAS Tariff

112 points

A level

BBC

112 UCAS Tariff points from three A-Levels or equivalent qualifications.

Pearson BTEC Level 3 National Extended Diploma (first teaching from September 2016)

DMM

Access to HE Diploma

Pass your Access course with 60 credits overall with a minimum of 45 credits at level 3

GCSE/National 4/National 5

GCSE English grade C/4 or equivalent

GCSE Maths grade C/4 or GCSE Science grade C/4 or equivalent

Pearson BTEC Level 3 National Diploma (first teaching from September 2016)

112 UCAS Tariff points from your BTEC level 3 National Diploma and one A-Level or equivalent qualification.

Pearson BTEC Level 3 National Extended Certificate (first teaching from September 2016)

112 UCAS Tariff points from your BTEC level 3 National Extended Certificate and two A-levels or equivalent qualifications

This course was just and idea im not sure whether i would apply for it but think i would enjoy the course as i am passionate for art and any other subject that is related to it. I wouldn't be able to get onto the course at this current period of time.

[aicarzu]

‘You really have to take things one at a time’

Santa Fe mayoral candidate Joseph Maestas, a city councilor and former mayor of Española, talks to people at one of his campaign events at Java Joe’s coffee shop. (Eddie Moore/Albuquerque Journal)

SANTA FE, N.M. — “I’ve always gravitated to public service,” said Joseph Maestas, who has spent more than 30 years working for the government and has served nearly 14 years in elected positions.

He’d like to extend that streak as the next mayor of Santa Fe.

“Now that we’ve gone from a stronger mayor form of government, I think it’s critical that someone gets the keys to City Hall and hits the ground running – someone with proven leadership,” said the former city councilor and mayor of Española, who was elected to the Santa Fe City Council in 2014.

When it comes to public service, he says he feels like he’s standing on the shoulders of his ancestors. His maternal great-grandfather, Jose Amado Lucero, was one of the signers of the state constitution when New Mexico joined the union in 1912 and one of the founders of Española.

A brief biographical sketch of Lucero in the archives of the Office of the State Historian indicates that he was a businessman in Mora County, Santa Fe, Santa Cruz and Española. He served as schools superintendent in Rio Arriba County and as a Santa Fe County commissioner and probate judge prior to becoming a member of the state House of Representatives.

“And his son, Alfredo Lucero, was a Santa Fe County commissioner and clerk,” he added. “I came from a family with deep roots in the area.”

Maestas’ father was a standout athlete and his mom a cheerleader at Santa Cruz High, where his dad later worked as a science teacher. The family also operated a liquor store and had a 2½-acre farm where they raised animals for slaughter.

“So I was exposed to a business environment, even though it was family owned, since a young age,” he said.

Santa Cruz High closed after Maestas’ freshman year, so he finished up at what became Española Valley High School in 1978, playing football, and running cross-country and track.

City Councilor Joseph Maestas, who’s running for mayor in the March 6 municipal election, speaks to supporters of ranked-choice voting before a council meeting in December. Maestas was among the councilors who were against appealing a judge’s order mandating RCV to the state Supreme Court, a move approved by a slim council majority. (Eddie Moore/Albuquerque Journal)

Maestas said he “had” to leave the state after he graduated the University of New Mexico with an engineering degree. The country was in recession, the private sector wasn’t hiring and the better jobs were with the government, he said. A 27-month internship with the U.S. Department of Transportation’s Federal Highway Administration got his foot in the door. He earned a master’s degree in civil engineering from Arizona State University while still working his day job. He worked in five states and Washington, D.C., before a Highway Administration job opened up in Santa Fe in 1996.

It was a difficult time in his life. He and his then-wife, who was originally from El Paso, had just lost a child during childbirth.

“We were devastated. We wanted to go back home,” he said.

The couple had a second child, Joey, who is now a senior at Texas State University majoring in communications.

Maestas has lived through tragedy. Years later, his father died during his campaign for mayor of Española.

“That was hard. He never did get to see me sworn in as mayor,” he said.

Maestas is going through another tough time. Last month, he took a break from his campaign to visit his sister, currently a cancer patient in Austin.

“Right now, her prognosis is not good. She has probably a matter of weeks, if not a few months,” said Maestas, who made the trip with one of this three other sisters. “We drove over because we felt the window was closing in terms of saying our goodbyes.”

Maestas has talked about his sister, Carla, at some of the mayoral forums, usually when the topic turns to opioids and drug addiction.

“Carla had a history of drug abuse,” said Maestas, the lead sponsor of a resolution to pursue legal claims against opioid manufacturers and distributors that was passed by the council in December. “It takes a heavy toll on the family, and we went through all phases of dealing with a family member that’s addicted to drugs – the detox, family counseling, out-patient care. It’s not easy.”

His sister’s cancer was discovered during a physical exam she was required to take before entering a drug rehabilitation facility.

“My heart breaks for my mother because you’re not supposed to bury your children and she potentially could lose two children within a year’s time,” he said.

That’s because his brother Ben died last summer. Like their father, Ben had issues with alcoholism and he may have dabbled with drugs.

Ben died weeks after Maestas’ divorce from his second wife, U.S. District Judge Martha Vázquez, became final.

“I’ve learned that you really have to take things one at a time. When you lump it all together, the burden is much too heavy,” he said.

Maestas took a hiatus from government work during part of his term as mayor of Española from 2006 to 2010, where he was elected as a reformer. And in 2008, he ran for a Public Regulation Commission seat. But Jerome Block Jr. – whose PRC term was cut short by a scandal that included drug use and criminal charges for misuse of a state credit card and public campaign financing – won the seat.

Maestas took a job with the U.S. Census Bureau, then one as a division manager with the Bureau of Reclamation in Albuquerque. The commute from Española to the Duke City was too much, he said, so he didn’t run for re-election as mayor and moved to Santa Fe.

Maestas is building a home here that’s designed to accommodate his 88-year-old mother.

“She’s my best friend,” he said. “My goal is get my mom to live here. All her medical providers are here.”

Exercise has helped him cope with what life has thrown at him, too. The 57-year-old Maestas is a triathlete who usually makes the podium in his age group. Campaigning has cut into his training time. But he still manages to get in a workout nearly every day, be it a three-mile run, a 1,000-meter swim or a 30-mile bike ride.

The routine doesn’t just help him physically, it helps his him mentally. “When I exercise, I’m able to really think through things,” he said. “I can not only sort through whatever I’m dealing with, but I have better clarity navigating through it.”

Now he’s hoping his training, and experience as a public servant, will help him win the five-way race for mayor.

AGE: 57

EDUCATION: Bachelor of Science Degree in Civil Engineering, University of New Mexico; Master of Science Degree in Civil Engineering, Arizona State University.

OCCUPATION: Business Development Manager, Souder, Miller & Associates; and Santa Fe City Councilor for District 2.

1. Why are you running for mayor? What distinguishes you from your opponents?

As mayor, I want to help businesses and families thrive with a shared vision of a united Santa Fe and city government that facilitates the creation of jobs and affordable housing. A lifelong public servant with 33 years of federal civil service and 14 years as a municipal elected official; my engineering skills; and proven leadership distinguish me from my opponents.

2. What is the biggest issue facing city government and how would you address it?

The biggest issue is changing the culture at city hall to one of a 21st-century government and reforming its financial management. I would address it by:

A. Conducting a forensic financial audit;

B. Modernizing processes and policies;

C. Implementing an employee performance management system;

D. Developing a balanced 2019 budget; and

E. Updating economic development and land use plans.

3. How would you encourage more affordable housing in Santa Fe? Do you support development of more rental apartments in town?

I would encourage more affordable housing by issuing bonds as a permanent funding source; developing a sustainable city support (land donations, etc.) plan for tax credits; incentivizing higher density developments; funding programs in the capital improvement plan; and addressing Tierra Contenta’s infrastructure needs. With almost 100% apartment occupancy and approximately 2,000-4,000 additional units needed, I support more context-sensitive apartment developments. 4. What uses would you support for the city-owned campus of the Santa Fe University of Art and Design, which the school is vacating?

I support building on existing assets (e.g., Fogelson Library, Garson Theater, The Screen, etc.) and creating a model for sustainability in affordable housing, green building design, renewable energy, research and development, and higher education. I also support its use as a post-production facility and film school to support an expanding film and digital media industry while leveraging its broadband system.

5. Do you support the city’s living wage ordinance – which currently sets the minimum wage at $11.09 per hour – and its mandatory annual cost of living increases?

Yes. As Santa Fe city councilor, I sponsored Resolution 2014-103 to strengthen the enforcement of the Living Wage Ordinance. This led to the enactment of Ordinance 2014-38 that requires businesses to self-certify their compliance prior to receiving a business license, and improves notification when the consumer price index is released and determines changes to the living wage.

6. Did you vote in the May “soda tax” election? If so, did you vote for or against it? Please explain your vote or your opinion of the failed tax proposal.

I voted against the soda tax in the May election. I support more pre-K funding, but did not support a wasteful, $80,000 special election. The unwillingness of soda tax advocates to work with the beverage industry and their efforts to make it a moral imperative doomed the effort. It was government over-reach in the absence of public trust.

7. Should the city continue to grant a permit and provide police support for the annual Entrada event held on the Plaza that is opposed by Native Americans and others?

The city should no longer grant a permit for the Entrada event. It’s naïve to re-enact a peaceful, historical event that was preceded and succeeded by violence and oppression. All parties must agree, in advance, on appropriate, historical activities respectful of all perspectives to ensure we continue the longest-running community celebration in America without civil unrest and “free speech” zones.

1. Have you or your business – if you are a business owner – ever been the subject of any state or federal tax liens? No. 2. Have you ever been involved in a personal or business bankruptcy proceeding? No.

3. Have you ever been arrested for, charged with or convicted of drunken driving, any misdemeanor or any felony? No.

SANTA FE MUNICIPAL ELECTIONS

NOW: Absentee voting is already underway.

Request an absentee ballot by stopping by the City Clerk’s Office, 200 Lincoln Ave., or by calling 955-6521, 955-6519 or 955-6326.

FEB.14: Early voting begins

Vote early at City Clerk’s Office, Room 215, 200 Lincoln Ave., Santa Fe, from 8 a.m. to 5 p.m. Monday through Friday, or at Genoveva Chavez Community Center, 3221 Rodeo Road, Santa Fe, from 9 a.m. to 6 p.m., Tuesday through Saturday, except March 2, when polls close at 5 p.m.

MARCH 2: Early and absentee voting ends at 5 p.m.

MARCH 6: Election Day

Polls open at 7 a.m. and close at 7 p.m. See the city’s website, www.santafenm.gov, for polling locations and addresses for voter convenience centers around town.

Source Article

The post ‘You really have to take things one at a time’ appeared first on Find Apartments For Rent In Santa-Fe.

Learn More: http://www.aicarzu.com/you-really-have-to-take-things-one-at-a-time/

[swes13-blog]

Samantha Western is a multimedia artist from Opotiki, currently studying and living in Auckland. Predominantly working in digital design, craft, painting, and video; her work seeks to examine the concept of femininity. What it is, how it is constructed and both its historical and contemporary affiliations. Technology plays a large role in her practice, used as both a drawing device and for finished pieces. She was awarded best 3D artwork in the 2013 National Youth Art Awards and is expected to graduate with a Bachelor of Fine Arts from Whitecliffe College of Arts and Design in 2018. How has technology enabled you to develop your artistic style? Technology is always improving so there constantly new things to learn and experiment with. Being able to add and remove aspects of artworks cleanly without surface disruption is definitely an attribute to my practice and the overall finishing standard of my work. How has technology influenced your evolution as an artist? Technology and software has made art portable, both in creating and in viewing. There are things you can do on a digital platform that you cannot do with the physical form. It opens up so many opportunities in construction and accessibility that were not there previously. What are some of the difficulties you have encountered with your projects Digital drawing can be extremely time consuming. As computers provide so many options for creating work, it can be hard to determine when a piece is truly finished. I find myself going back over works many times to ‘polish’ that could otherwise be left as they were.  How do you think technology influenced art effects culture? Given that a majority of life is spent with some form of technology, it seems only right that there be a way to experience art and art making on these platforms. Art is more accessible now than at any other point in history. I think it would be naïve to assume that culture and art hasn’t been effected by technology. Where do you see technology influenced art heading in the future? Technology influences art, just as art influences technology. Both will continue to develop with the aid of the other. What is possible in the future is depends on people creating and interacting with these platforms.

bio and interview for Art of Technology exhibition in Tauranga 18th October- 5th November

[historicalsp17-blog]

Interview with Heather Wetzel

MM: I noticed you attended the Visual Studies Workshop, and was wondering if you wouldn't mind talking a little about your experience there and how that colors your work today. I'm thinking I'm drawing parallels between the VSW curriculum (on their website, they talk about 'combining disciplines and techniques') and an interview of yours where you discussed your attraction towards combining the historic processes with newer digital processes. Even if that's off base, I'm still interested to know how your time there affected your skill sets and creative development, and if, or how sharply, it affects your contemporary work.

HW: I think my inclination to cross disciplines goes back into my childhood. I was fortunate enough to have very supportive parents, and I grew up taking ceramics, painting, and drawing classes at a local arts center. This interest in various mediums continued through undergrad, where I began school thinking I would be a ceramics major; I ended up majoring in metals and jewelry, while taking every printmaking class offered. I didn't take my first photo class until the spring semester of my senior year. I previously had no interest in photography, but the newly hired photography professor, Judith Taylor, introduced the class to large format cameras and early photographic processes. (Not that we did any historic photo processes in our classes, but just the introduction of these objects and knowing that photography wasn't always the film we were accustomed to at the time, and that images were made on all sorts of different materials, was enough to get me hooked.) I worked as a jeweler for a few years after graduating with my bachelors degree, and then decided to go back to school for my Master's in Art Ed and, concurrently, my Master's in Humanities. I quickly dropped the Art Ed - I just didn't connect with the program. But I was very interested in the Humanities program - loved it! - and continued to study art and the humanities while as many photo classes as I could. Once I graduated, I was employed by a non-profit arts center outside of Philadelphia. There was a ceramics, painting and drawing focus there, so I continued to explore and mix media. (I had, by this time, set up my own darkroom in my house.) I even took a hand papermaking workshop while there. It was because of this interest in cross disciplinary work that I chose to attend VSW for my MFA. (That, and it operated as a non-profit as well.) I liked that the program was very small and intimate, that it focussed on three related media - photo, books, and film - and that it was located in a place rich with photographic history. The more independent nature of the program also appealed to me, having been through one Master's program already, and having an, albeit young, studio practice, I was drawn to the opportunity to have more of a say in the direction of my studies, as compared to some other programs that are a bit more structured. I was very fortunate to be in the right place at the right time, working part time at the Eastman Museum, to be able to work with the Osterman's, as France's assistant, for the duration of my degree program. Also, being at the Eastman Museum afforded ample access to the collections and library, people, and exhibitions, which was tantamount to my interests and growth as an artist. For example, when I came to VSW, I had been attempting to make images on thing hand-made porcelain tiles I had made before leaving Philadelphia. The liquid emulsion I was experimenting with was not providing the results I desired. My boss in the museum shop suggested I speak with Grant Romer, who in turn, pointed me towards, Mark Osterman. It was he who suggested I explore wet plate, and informed me his wife was looking for an assistant, which I became and worked with her and Mark for the duration of my MFA. That is how my journey into wet plate and other historic process began. Of course, I also became interested in books and book structures while at VSW. Joan Lyons was a great influence - not only did she introduce me to books, but she had worked extensively with a variety of historic processes in the 60s and 70s. Not to mention, all the amazing artists who would come through VSW teaching workshops, like Scott McCarney and Keith Smith (who actually live in Rochester). Douglas Buebe was very influential in my interest in the book as object and sculptural form. Learning from other artists, like Judy Natal, and of course, Nathan Lyons, has also helped formed the way I think about images and object. I continued to work at Eastman Museum full time after graduating until I was offered a full time temporary teaching position at Edinboro University of PA. Here, I was afforded the opportunity to take classes at not charge other than the studio fee, so I took the wood furniture class, since I had already been delving into building structures to house images and create interactive experiences for viewers. I also took advantage of my time at the Penland Artist and Educators retreat in 2011 to work primarily in the woodshop there, continuing my interest in working with wood. In 2008, when the financial collapse occurred, my course load was reduced and I took the opportunity to apply to the University of Iowa Center for the Book after meeting Julie Leonard while we were both teaching at Penland School of Crafts that summer. She encouraged me to apply to the program, I was very interested, so I did. I was accepted and was awarded a stipend to attend. I relocated to Iowa City in January of 2009 and began a more intense study of all things book related - bookbinding, structures, printing, history, and another love, hand papermaking. Again, being in the right place at the right time, I was fortunate enough to work for and study under Timothy Barrett, gaining a very strong understanding (though not compared to him!) of both eastern and western styles of papermaking. After finishing the certificate program with 45 credits, I was awarded the Fergus Family Post MFA Fellowship in Photography here at OSU and moved to Columbus in 2011. Since being here, I have continued my exploration of melding different media and techniques in my work. In fact, I am currently beginning research and tests incorporating wet plate collodion and enameled surfaces, an old process not commonly used in the late 19th C. Of course, I continue to work with paper, book structure, photographic processes, wood - really whatever material is going to best allow me to convey my ideas. I am very much drawn to working with my hands. The sounds, textures, smells - all the senses that are engaged when working with materials is, in tandem with wanting to share something with the world, what keeps me working. I do incorporate digital media in the working process when it seems to be appropriate, and I am interested in finding more ways in which I can engage with these newer platforms in my personal work. The honest truth is, however, that I find it very difficult to spend many hours at the computer and find the work there to be personally unfulfilling thus far. I am still seeking an avenue in which I perhaps I will find a more satisfactory experience working digitally, but I very much doubt that will become my main method of working. I do feel strongly that there is some import to keeping traditional and historic processes alive and working in today's technological society, something rather wonderful about slowing down to work at a different pace, especially now, when we are becoming so accustomed to nearly instant access to information. It is, at the very least, a good reminder for me.

MM: I was interested to know what your initial exploration process is for yourself when you embark on learning a new discipline. Do you decide to work on one specific one, or do you just know you want to learn something new?

HW: Oh, this can be motivated in many different ways. Sometimes I am interested in a certain process, material, or technique and that inspires me to go about learning it, which leads to conceptual ideas that incorporate that process, material or technique. Other times, it is the other way around. I have an idea, and need to learn a new process, material or technique in order to have it come to be the way I envision it. And sometimes, it is just because I want to learn something new and whatever it is has caught my interest somehow! 

MM: Do you stumble upon them, or is it conscious? 

HW: It is definitely a mix of both. Sometimes I am inspired by a visiting artist at the University, or something I see in a museum, or a class that is offered at the Cultural Arts Center, where I also teach. Or it may be something I see or someone I meet while teaching at Penland. Or a friend may introduce me to someone or someone's work that they think I would find interesting. And sometimes it is from reading or browsing though old publications or books. Or simply playing around in my studio. 

MM: And once you decide on a new discipline, when you don't have a mentee (or get to work as an assistant) for the discipline, how do you go about that self-education? Do you have a process for that type of thing, or is it different for you every time? I guess this is in reference to your 'research and tests' comment, both on a conceptual level but also on a practical level.

HW: I would say it is different every time and depends on the circumstances and process. If it is a new photographic process, I now feel well experienced to explore and figure it out myself. I love taking workshops, so if there is one that appeals to me and is supportive of either process, technique, or will support a concept I have for a piece - and I can afford to take it, and make it work in my schedule, then I will take a workshop to get my feet wet. For example, a few summers ago, I applied for a Greater Columbus Arts Council professional development grant so that I could go take a two week, off the grid workshop with Jim Croft on old ways of book making. While I have book binding, paper making, and tool making skills, this was a wonderful opportunity to work with Jim, and deepen my understanding and appreciation of old techniques, from start to finish. I learned new skills there too, like processing and spinning flax for thread and cord. And, since being at the Cultural Art Center, I have taken advantage of a few of the classes there too. Like enameling, where I then have easy access to the materials and kilns, that wouldn't be as easy to set up at home at the moment. This way, I can continue my exploration, with the added bonus of having someone well versed in the medium there to answer any questions about the enameling side of things. Sometimes it is simply talking to people I know who have experience in whatever it is I am learning, just asking for tips and pointers. To summarize, it is really different every time, depending on circumstances, but involves a variety of approaches - self learning and experimentation, classes, and workshops. 

MM: Also I'm interested in how the different disciplines you work with speak to you - do you feel they tend to stick to conceptual themes across your work, or do they take on different applications and meanings from work to work?

HW: Different disciplines speak to me on multiple levels - the feel of the material, the tools that are used, the smell or sound of working with them, and of course, how the use of those materials supports any conceptual ideas, which certainly takes on different meanings from work to work. Here's an example of how all these pieces fit together for a specific work. In Salvage, I use recycled can lids to create camera-less ferrotypes to talk about the environment. (I believe you read the SRO interview about that work.) Since that interview, there is another component of Salvage, a grid of 3" square photo litho plates. These are a repeating series of 30 images that were digitally captured. I turned those digital images into fine half-tone screens and output the film using an imagesetter (something used in the letterpress print world to make films for photopolymer plates.) I then contact printed these on the aluminum photo litho plates.I liked the connection between the history of the medium I am using and the parallels that can be made to our farming practices. Specifically, photo litho is a process historically used to easily replicate an image many times and disseminate to the public more easily. The halftone screen references images in newspapers, something that is also used to disseminate information to large numbers of people for mass consumption. Using the same 30 images repeatedly to make up this large grid that represents big ag farming practices, where we farm one product (in this case, corn) on mass scale, and consume corn in so many ways - feed for animal feed lots, fuel, food filler, high fructose corn syrup that finds its way into everything - makes a nice connection between the history of the processes I am using and the issue at hand. These plates contrast in color and shape to the ferrotypes. First, they are made on recycled materials. Each one is unique, even when using the same botanical specimens as the image source. The materials used in making ferrotypes come from the earth - metal for the lids; asphaltum, mineral spirits, canada balsam for the japanning lacquer; collodion is made from cotton; developer is an iron developer; varnish is made from the gum of the sandarac tree, grain alcohol, and oil of lavender. Where those two contrasting shapes intermingle in the installation, the image on the ferrotypes is disappearing, indicating big ag and GMO's propensity for crowding out the indigenous flora and fauna.In another body of work, Mapping | Mending | Missing Memory, the process of making the work is supportive of the concept. Like I write in my statement:Memories are fragile, fleeting, incomplete, inaccurate. Like this broken glass, memories are held together by delicate threads while other aspects are hazy and indecipherable. Easily broken and sometimes irretrievable, memories become fragmented with time. We seek to fill in the missing pieces with fabricated information, working to keep those fragments together, to keep our memories whole. In an effort to put the pieces back together, maps must be made, so we can know how the remnants fit back together as we go about mending them and filling in the holes. Perhaps the missing pieces are there, simply inaccessible, stored in some other part of the brain with no pathways to connect and make them complete once again.

This is as much about mending memories as it is about mending broken relationships.These images are made using old family slides taken by my grandparents. Every summer, my granddaddy would put on a slide show for my sister and I after some enthusiastic nagging. All of the images depict my sister and I. We had been going through a rough patch in our relationship and and weren't on the greatest of terms. The act of smashing the glass and then tenderly mapping it out, drilling thousands of holes, making the images in each fragmented piece one at a time, painstakingly hand tinting each one, sewing it back together and knitting patches using sewing needles in place of knitting needles, was symbolic of what was going on between the two of us, and I think, something many people can relate to. I could go on and talk about Gravity, or (in)security & exchange, or Impractical Library, but I think you get the idea. I do think through the materials, process, and techniques, and how they connect to the concept of the work. 

http://www.heatherfwetzel.com