#Animal Artist Eastbourne

[lifestyleblogeruk]

Personalised Pet Art: How Animal Artists Can Create The Perfect Piece To Match Your Home Decor?

Animal artists can create a masterpiece for pet lovers. Have you ever seen a painting of a pet? These artists create unique art pieces called pet portraits. They use colours and techniques to capture the personality of your beloved pets. Animal artists in Eastbourne are becoming very popular these days.

They can even match your home decor and make it even more beautiful. You can get personalised artwork of your pet, holding all the emotions and memories. Let's explore how animal artists bring joy and art together for pet owners in Eastbourne!

The Artistic Process of Animal Artists

Have you ever wondered how animal artists create those pet portraits? Pet artists can create arts that look just like your furry friends. Let's explore the artistic process they follow. Know how they bring your pets to life on canvas!

Connecting with Pet Owners: 

Animal artists start by talking to pet owners. It helps them understand their pets' personalities and unique traits.

Selecting the Perfect Photo: 

They help pet owners choose the best photo of their pets. Here their personality shines through.

Sketching the Pet's Outline: 

With the photo as a reference, artists sketch the basic outline of the pet on the canvas.

Adding Colors and Details: 

Next, they carefully apply colours to match the pet's fur, eyes, and markings.

Capturing Emotions: 

Animal artists pay close attention to the pet's expressions. So they can capture their joyful or playful moments.

Choosing the Artistic Style: 

Some artists use realistic techniques, while others may create a more abstract look.

Adding Background and Context: 

They may include a background that reflects the pet's favourite place or a fun setting.

Reviewing and Final Touches: 

Once the artwork is complete from their end, they review it and add any final touches or adjustments.

Delivering the Masterpiece: 

Finally, they present the finished pet portrait to the pet owner. The final artwork spreads joy and happiness.

Animal artists use their creativity and love for pets. It helps them create unique and personalised artwork. Each portrait is a masterpiece that reflects the pet's individuality. Thus, they can capture the special bond between pets and their owners.

So, when you see a stunning animal portrait, be sure about the incredible artistic process. These talented individuals bring happiness to pet owners by immortalising their beloved pets.

Creating a Timeless Masterpiece: The Magic of Pet Portraits

Pet portraits are like magical windows that bring your furry friends to life on canvas. Let's discover the enchanting process behind these timeless masterpieces!

Capturing the Unique Personality: 

Pet artists use vibrant colours and intricate techniques to capture pets' personalities. They also focus on the unique characteristics of pets.

Immortalising Emotions on Canvas: 

They skillfully paint joyful expressions or playful moments. Animal artists help freeze those heartwarming emotions in the artwork forever.

Unleashing the Power of Colours: 

Talented artists use different captivating colours to match the pet's fur. They catch expressive eyes and the surrounding environment as well.

Choosing the Perfect Pose: 

Carefully selecting the most charming pose is vital for any pet portrait. It represents the pet's essence and lovable nature.

Creating Lifelike Details: 

They pay meticulous attention to small but essential details. They focus on the glimmer in the eyes or the wagging tail, adding a touch of realism.

Celebrating the Bond with Owners: 

Pet portraits become heartwarming celebrations of the special bond between pets and owners.

Making Your Pet a Star: 

Your furry friend shines like a star, showcased artistically with an animal portrait.

Preserving Cherished Memories: 

These precious artworks help pet owners cherish their beloved memories. It is true even after their pets are no longer with them.

Perfect for Home Decor: 

Beyond being a heartfelt tribute to pets, these portraits add a personal touch. So, artwork can create warmth in your home decor.

Thoughtful Gifts: 

A pet portrait makes a heartwarming and thoughtful gift. It helps spread joy to the hearts of loved ones.

A Tribute to Unconditional Love: 

These stunning artworks are a beautiful tribute to pets' boundless and unconditional love.

Pet portraits hold a special kind of magic. With the stroke of a brush, artists transform pets into immortalised masterpieces. They capture their essence, emotions, and love. These artworks become timeless treasures that preserve joy and memories.

So, the next time you see a pet portrait, remember the magic behind it. It shows love, art, and the unique bond between humans and their pets. Celebrate the beauty that pets bring into lives.

Integrating Pet Art with Home Decor: The Perfect Match

Pet art is a way to make your home decor extra special! Imagine having a painting of your furry friend hanging on the wall or sitting on a shelf. It adds a personal touch and shows how much you love your pet.

When you have pet art in your home, it complements the design and style of your rooms. You can choose a painting that matches the colours and theme of your decor. It makes the interior look even more beautiful.

You can proudly display your pet's portrait in the living room or hallway, where everyone can see it. It becomes a centrepiece that catches attention and starts conversations about your pet.

Having pet art in your home brings warmth and joy. It makes your living spaces feel cosier and more inviting. Having it is a constant reminder of the love and happiness of your pet.

Pet art is a great way to celebrate your furry family members. They are not just pets. They are a vital part of your family. By displaying their portraits, you can honour their place in your heart.

If you have more than one pet, you can create a gallery wall with many pet portraits. It looks adorable and showcases all your furry friends together.

Not only is pet art perfect for your home, but it also makes a thoughtful and unique gift. You can surprise your friends or family who are pet owners with a beautiful pet portrait.

In conclusion, integrating pet art with your home decor is a perfect match. It adds a personal touch, complements your design, and celebrates the love for your pets. So bring the magic of pet art into your home! Make it even more special with the love of your furry friends.

The Emotional Connection: Personalised Pet Art and Pet Owners

Pets hold a place in your heart, and their portraits capture that emotional bond. Personalised pet art is a way to show how much you love and cherish your furry friends.

It brings back beautiful memories of the moments you spent with a pet portrait. The artwork holds playful antics and loving gazes. It makes you feel connected to them even more.

Pet owners feel immense joy and pride when they hang their pet's portrait on the wall. It is like having a piece of their heart on display for everyone.

Looking at the pet portrait, you remember the happiness your pets bring. It is a reminder of the unconditional love they give you every day.

Sometimes, you might feel sad when your pets are no longer with you. But having their portrait helps you feel like they are still with you in spirit, forever a part of your life.

Personalised pet art also makes you feel appreciated by the animal artist. They capture the essence of your pets, bringing out their personalities on canvas.

So, pet art has a powerful emotional connection with pet owners. It shows the love, joy, and cherished memories you share with your furry friend. Thus, it helps keep them close to your heart, even when they are not physically with you. Pet art is not just a painting. It shows the incredible bond between pets and their loving owners.

In conclusion, personalised pet art is a beautiful way for pet owners. It allows celebrating their furry friends. The arts capture the emotional bond between pets and owners. Those help bring joy, love, and cherished memories to their homes. Remember, pet art is a special and heartwarming addition to any home decor.

Final Thoughts

Personalised pet art is like a treasure that captures the love between pets and owners. These unique and colourful portraits make your homes happier and more beautiful. It is like having a window to cherish your furry friends forever. Pet art is a perfect match for your decor. It makes you feel uniquely connected to your pets. So, let's celebrate the magic of pet art and create adorable paintings of your beloved pets!

[catboynecromancy]

Yayay thank you @flitwickslittlebrotha and also @sunset-moons for tagging me, I love answering shit about myself aha

Nickname: Har

Zodiac: Libra

Height: About 5′8

Countries I’ve been to: I live in the USA. I have been to Canada (driven to Toronto a few times), the UK (London, Eastbourne, toured around on a bus to get some of the attractions, but mostly have only stayed in the Southern area of England when I have gone), and went to Paris, France! I am not all that well traveled ahaha

Last thing I googled: "What is the most effective way to cure a hangover?” I guess we’re all just doing research for shit we’re writing 

Song stuck in my head: Keeping Up  - Microwave 

Wearing: Pajama pants, t-shirt, hoodie, I got home from work and said fuck it

Favorite authors: God, this is tough, uh - Storm Constantine, Maggie Stiefvater, Becky Chambers, honestly I am not good with favorites and I tend to go in cycles or forget things I love all the time

Favorite instrument: Absolutely violin

Aesthetic: Black, torn up skinny jeans, black t-shirts with either satanic imagery or from musical artists, beanies, doc martens, black nails, winged eyeliner, bomber jackets

Home aesthetic: Dark wooden furniture, lots of color on the walls (we painted our living room lavender and our bedroom a sea glass blue), greys and neutral tones, way too much fucking art

Favorite song: I don’t do well with favorites but Civilian - Wye Oak is a top contender

Favorite animal sounds: Ummm I mean I am not sure? I guess I love listening to my dog’s little snores ahaha

What’s one thing you’ll admit to tumblr and not in real life? God honestly I am sort of a closed book on tumblr (would you believe it???) but I guess I wouldn’t really tell too many people irl that I write very explicit material??? lmfao

I’m gonna tag uuhhhh @all-or-nothing-baby, @your-void-senpai, @saf-is-bored, aannnd @absoluteradiance

[witch-of-time-and-letters]

Fantasieherz, schöner Verstand. Pt XXIII Das Ende (R).

Memorials

 Tolkien and the characters and places from his works have become the namesake of various things around the world. These include street names, mountains, companies, species of animals and plants as well as other notable objects.

By convention, certain classes of features on Saturn's moon Titan are named after elements from Middle-earth. Colles (small hills or knobs) are named for characters, while montes (mountains) are named for mountains of Middle-earth. There are also asteroids named for Bilbo Baggins and Tolkien himself.

Three mountains in the Cadwallader Range of British Columbia, Canada, have been named after Tolkien's characters. These are Mount Shadowfax, Mount Gandalf and Mount Aragorn. On 1 December 2012, it was announced in the New Zealand press that a bid was launched for the New Zealand Geographic Board to name a mountain peak near Milford Sound after Tolkien for historical and literary reasons and to mark Tolkien's 121st birthday.

The "Tolkien Road" in Eastbourne, East Sussex, was named after Tolkien whereas the "Tolkien Way" in Stoke-on-Trent is named after Tolkien's eldest son, Fr. John Francis Tolkien, who was the priest in charge at the nearby Roman Catholic Church of Our Lady of the Angels and St. Peter in Chains. In the Hall Green and Moseley areas of Birmingham there are a number of parks and walkways dedicated to J. R. R. Tolkien—most notably, the Millstream Way and Moseley Bog. Collectively the parks are known as the Shire Country Parks. Also in Weston-super-Mare, Somerset, England there are a collection of roads in the 'Weston Village' named after locales of Middle Earth, namely Hobbiton Road, Bree Close, Arnor Close, Rivendell, Westmarch Way and Buckland Green.

In the Dutch town of Geldrop, near Eindhoven, the streets of an entire new neighbourhood are named after Tolkien himself ("Laan van Tolkien") and some of the best-known characters from his books.

In the Silicon Valley towns of Saratoga and San Jose in California, there are two housing developments with street names drawn from Tolkien's works. About a dozen Tolkien-derived street names also appear scattered throughout the town of Lake Forest, California. The Columbia, Maryland, neighbourhood of Hobbit's Glen and its street names (including Rivendell Lane, Tooks Way, and Oakenshield Circle) come from Tolkien's works.

In the field of taxonomy, over 80 taxa (genera and species) have been given scientific names honouring, or deriving from, characters or other fictional elements from The Lord of the Rings, The Hobbit, and other works set in Middle-earth.  Several taxa have been named after the character Gollum (also known as Sméagol), as well as for various hobbits, the small humanlike creatures such as Bilbo and Frodo Baggins. Various elves, dwarves, and other creatures that appear in his writings as well as Tolkien himself have been honoured in the names of several species, including the amphipod Leucothoe tolkieni, and the wasp Shireplitis tolkieni. In 2004, the extinct hominid Homo floresiensis was described, and quickly earned the nickname "hobbit" due to its small size. In 1978, Paleontologist Leigh Van Valen named over 20 taxa of extinct mammals after Tolkien lore in a single paper. In 1999, entomologist Lauri Kaila described 48 new species of Elachista moths and named 37 of them after Tolkien mythology. It has been noted that "Tolkien has been accorded formal taxonomic commemoration like no other author."

Since 2003, The Tolkien Society has organized Tolkien Reading Day, which takes place on 25 March in schools around the world.

In 2013, Pembroke College, Oxford University established an annual lecture on fantasy literature in Tolkien's honour.

Commemorative plaques

Sarehole Mill's blue plaque

The Plough and Harrow's blue plaque

There are seven blue plaques in England that commemorate places associated with Tolkien: one in Oxford, one in Bournemouth, four in Birmingham and one in Leeds. One of the Birmingham plaques commemorates the inspiration provided by Sarehole Mill, near which he lived between the ages of four and eight, while two mark childhood homes up to the time he left to attend Oxford University and the other marks a hotel he stayed at before leaving for France during World War I. The plaque in West Park, Leeds, commemorates the five years Tolkien enjoyed at Leeds as Reader and then Professor of English Language at the University. The Oxford plaque commemorates the residence where Tolkien wrote The Hobbit and most of The Lord of the Rings.

Address

Commemoration

Date unveiled

Issued by

Sarehole Mill, Hall Green, Birmingham

"Inspired"  1896–1900 (i.e. lived nearby)

15 August 2002

Birmingham  Civic Society and The Tolkien Society[225]

1 Duchess Place, Ladywood,  Birmingham

Lived near here 1902–1910

Unknown

Birmingham Civic Society[226]

4 Highfield Road, Edgbaston,  Birmingham

Lived here 1910–1911

Unknown

Birmingham  Civic Society and The Tolkien Society[227]

Plough  and Harrow, Hagley Road, Birmingham

Stayed here June 1916

June 1997

The Tolkien Society[228]

2  Darnley Road, West Park, Leeds

First academic appointment, Leeds

1 October 2012

The  Tolkien Society and the Leeds Civic Trust

20 Northmoor Road, North Oxford

Lived here 1930–1947

3 December 2002

Oxfordshire Blue Plaques Board[229]

Hotel  Miramar, East Overcliff Drive, Bournemouth

Stayed  here regularly from the 1950s until 1972

10 June 1992 by Priscilla Tolkien

Borough of Bournemouth[230]

Another two plaques marking buildings associated with Tolkien are:-

·         On a residence in Harrogate where Tolkien convalesced from trench fever in 1917.

·         On 76 Sandfield Road, Headington, Oxford, his home from 1953 to 1968.

Artwork

In 2012, Tolkien was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork—the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover—to celebrate the British cultural figures of his life that he most admires.

Autographs

Tolkien rarely signed his works, and his autograph has become highly valued by collectors.

Unlike other authors of the genre, Tolkien never favoured signing his works. Owing to his popularity, handsigned copies of his letters or of the first editions of his individual writings have however achieved high values at auctions, and forged autographs may occur on the market. In particular, the signed first hardback edition of The Hobbit from 1937 has reportedly been offered for $85,000. Collectibles also include non-fiction books with hand-written annotations from Tolkien's private library.

Canonization process

On September 2, 2017, the Oxford Oratory, Tolkien's parish church during his time in Oxford, offered its first Mass for the intention of Tolkien's cause for beatification to be opened.

A prayer was written for his cause:

O Blessed Trinity, we thank You for having graced the Church with John Ronald Reuel Tolkien and for allowing the poetry of Your Creation, the mystery of the Passion of Your Son, and the symphony of the Holy Spirit, to shine through him and his sub-creative imagination. Trusting fully in Your infinite mercy and in the maternal intercession of Mary, he has given us a living image of Jesus the Wisdom of God Incarnate, and has shown us that holiness is the necessary measure of ordinary Christian life and is the way of achieving eternal communion with You. Grant us, by his intercession, and according to Your will, the graces we implore [....], hoping that he will soon be numbered among Your saints. Amen.

[socialpracticegrouprca]

Working with people and materials across a screen

Image Credit: Amy Leung, from MakeShiftStudio at Towner, Eastbourne

Social Practice Group Session 2: Working with people and materials across a screen

With artists and educators Amy Leung and Katie Spragg

Organised by Sadie Edginton

Tuesday February 9th 2021, 4 – 6pm

The first workshop with the Social Practice Group will explore the importance of working with 'hand-based' material processes, with other people. The two artists we've invited have a participatory aspect to their practice - working in education settings and with community groups. They have adapted to the current pandemic situation by devising interesting approaches to working with others, enabling them to continue to explore the benefits of making with hands-on materials. Whether tactile, immersive, relaxing or sensory, we will test out some workshop techniques together! Both artists have collected texts and references for us on materials and making, from 'slime', to histories of weaving with others, making connections around hand-making processes.

Please note:

For this session, you will need to come prepared with some materials, as we will be mixing dough together whilst on the zoom call. Make sure you have a space set-up in front of your screen, and have your ingredients listed below ready before we start at 4pm. Perhaps have a plastic bag at hand to protect your keyboard. We will be experimenting with recording the session, and would like to film some of the collective making processes, but we will alert you beforehand.

Materials to collect beforehand:

a cup of flour (plain / self raising / gluten free – whatever you might have)

half a cup of water

handful of loose grains (ie. rice, couscous, oats, lentils, dried beans, herbs ...)

a bowl

Optional: tablespoon of oil, half a cup of salt

Amy Leung is a London based artist and art educator working across sculpture, drawing and workshops to explore the articulation and communication of joy. She is interested in the intersections in which community, craft, objects and cultural identity meet. Amy is currently studying on the MA in Art and Design in Education at the Institute of Education, UCL and is also part of ‘Surface Matters’. She has delivered projects with Towner Eastbourne, South London Gallery, MK Gallery and Firstsite and is currently Artist in Residence at Harris Girls Academy, East Dulwich. https://amyleung.hotglue.me/

Katie Spragg is an artist and educator, graduating from the MA Ceramics & Glass at the RCA in 2016. Katie's practice combines clay with a range of processes including animation and installation. As well as teaching at the RCA on the MA Ceramics & Glass and the Teaching Fellowship Scheme, Katie is a founding member of Collective Matter, an outreach group who pioneer collaborative practice through clay. She has developed a Clay for Dementia programme with the Garden Museum and has work held in collections and has created commissions for international institutions including the V&A Museum, British Ceramics Biennale and Sotheby’s. https://www.katiespragg.com/

Further reading around the topic: For every session we will be asking practitioners to add to our collection of resources around this topic. These will be added to the Social Practice Group blog, please see the links and texts at the end of the email, for further interest in this topic and if you have any recommendations feel free to send them over.

Suggested reading, quotes and links on this topic

Peter Dormer Lecture: Deirdre Figueiredo (Director of Craftspace)

https://www.rca.ac.uk/news-and-events/events/peter-dormer-lecture-2021-deirdre-figueiredo-mbe/

Donna Haraway, Staying with the trouble - sympoiesis

“a simple word; it means “making-with.” Nothing makes itself; nothing is really autopoietic or self-organizing … Sympoiesis is a word proper to complex, dynamic, responsive, situated, historical systems. It is a word for worlding-with, in company. Sympoiesis enfolds autopoiesis and generatively unfurls and extends it.”

THOMPSON, Tonika Sealy and HARNEY, Stefano. Ground provisions. (2018). Afterall: A Journal of Art, Context and Enquiry. 120-125. Research Collection Lee Kong Chian School Of Business.

“Reading together, silently or aloud, belongs with dancing together, cooking together, drinking together, watching movies together, building and cultivating together – and making together. Rather than understanding making as the result of successful social reproduction, we practise it as a temporary emanation, a stepping out without stepping away, where art remains part of the life-giving arts, not a superior comment on them or achievement based on their repro- ductive support. Support is our thing, as Shannon Jackson might say. Support is as Fania and Angela Davis say, the process of creating the society we want right now.”

Diana Coole and Samantha Frost: Introducing the New Materialisms

Introduction: Towards a New Ontology: Matter, Agency and Posthumanism

For materiality is always something more than ‘‘mere’’ matter: an excess, force, vitality, relationality, or difference that renders matter active, self-creative, productive, unpredictable. In sum, new materialists are rediscovering a materiality that materializes, evincing immanent modes of self-transformation that compel us to think of causation in far more complex terms; to recognize that phenomena are caught in a multitude of interlocking systems and forces and to consider anew the location and nature of capacities for agency.

One could conclude, accordingly, that ‘‘matter becomes’’ rather than that ‘‘matter is.’’ It is in these choreographies of becoming that we find cosmic forces assembling and disintegrating to forge more or less enduring patterns that may provisionally exhibit internally coherent, efficacious organization: objects forming and emerging within relational fields, bodies composing their natural environment in ways that are corporeally meaningful for them, and subjectivities being constituted as open series of capacities or potencies that emerge hazardously and ambiguously within a multitude of organic and social processes. In this monolithic but multiply tiered ontology, there is no definitive break between sentient and nonsentient entities or between material and spiritual phenomena.

Tara Page: Teaching and Learning with Matter

Bodies and things are not as separate as we were once taught, and their intra-relationship is vital to how we come to know ourselves as humans and interact with our environments. The body is pivotal to new materialism, it is a complex intra-action (Barad 2007) of the social and affective, where embodiment is a process of encounters, intra-actions with other bodies (Springgay 2008). Thinking about matter matters—if bodies and things are produced together, intertwined, then ‘things’ and how they act on bodies are co-constitutive of our embodied subjectivity1.

3. Material Pedagogy

As I stated previously, through bodies with matter, we are always making, performing and learning. So I put forward that we learn through and with embodied histories and pedagogies but also with matter. It is the intra-actions, the between of bodies and matter that is pedagogic, as ceramic artist De Waal (2011) explains:

Centering the clay, bringing the small ball into perfect reactivity for throwing, involved a ripple of different movements from hand and wrist, an inclination in the head and neck a slight tautening in the shoulders. It was . . . learning that I could not articulate. (p. 1)

This creative act of learning, of body with matter (clay, wheel, water), is what van der Tuin (2014) asserts is an example of Barad (2003) practices of knowing in being (p. 262).

Hillevi Lenz Taguchi (2010) Going Beyond the Theory/Practice Divide in Early Childhood Education: Introducing an Intra-Active Pedagogy.

'The child's hand is grabbing a handful of sand and then slowly letting it go above the bucket. The light wind carries the grains, spreading them out across the surface of the sandbox ... the glittering flow of sand, swirling in the wind and catching rays of sun: the grains spreading, dancing, and gently ascending towards the sandpit surface to become part of the greater whole.'

Juliette Kristensen RCA Lecture

'SLIME: That Hinterland Substance; This Material of the Moment' RCA: Urgency of the Arts Lecture series. Available at: http://research.gold.ac.uk/id/eprint/27506/

Hillevi Lenz Taguchi (2010) Going Beyond the Theory/Practice Divide in Early Childhood Education: Introducing an Intra-Active Pedagogy.

'The child's hand is grabbing a handful of sand and then slowly letting it go above the bucket. The light wind carries the grains, spreading them out across the surface of the sandbox ... the glittering flow of sand, swirling in the wind and catching rays of sun: the grains spreading, dancing, and gently ascending towards the sandpit surface to become part of the greater whole.'

Juliette Kristensen RCA Lecture

'SLIME: That Hinterland Substance; This Material of the Moment' RCA: Urgency of the Arts Lecture series. Available at: http://research.gold.ac.uk/id/eprint/27506/

[cooperhewitt]

Merging Craft and the Modern

In celebration of Women’s History Month, March Object of the Day posts highlight women designers in the collection.

This sidewall, with its medallions and stylized animal imagery, brings to mind medieval and Renaissance brocades made centuries earlier. However, its two-tone blue gray color scheme has little in common with the vibrant colors of those rich textiles, reflecting the paper’s modernity. The rough quality of the line work reflects its maker’s curiosity about folk art, an interest born from her childhood in Chile, as well as her life in rural Scotland and her knowledge about the culture of the Romany people. It also reflects her belief in the importance of handcraft. The paper is block-printed by hand, a process Angus preferred to machine production.

Peggy Angus’ greatest inspiration was the British Arts & Crafts designer William Morris (1834-1896). With Morris, she shared a belief in the redemptive and moralizing quality of craft-based design, a love of medieval works, and an intense dedication to socialism. Also like Morris, she achieved more in her fifty-year career as a designer than most individuals achieved in their lifetime. Fiercely independent, she was criticized in her lifetime for being a divorced working woman and for her attraction to Soviet culture and Constructivist design. She was a friend of influential artists and designers such as Eric Ravilious and Edward Bawden, who she went to school with. Her cottage in the hills near Eastbourne, Scotland was a veritable artistic hotspot. Named Furlongs, the cottage, though dilapidated, was visited by such individuals as the architects Serge Chermayeff and FRS Yorke. From 1930 until 1971, Angus was a dedicated children’s art teacher, believing that art education was a necessary aspect of all children’s upbringing. She modeled her art courses on the ideal of the Renaissance workshop and treated her students as apprentices who were always involved in her work. Whenever possible, she created projects where her students could develop pride as artists by decorating their own school with wallpapers and murals based on patterns developed through linocuts and potato stamping. The architect Yorke, a close friend, saw some of these patterns and persuaded Angus to have them produced commercially as tiles.

Angus’ career as professional designer began in 1948 when she was already 44-years old and continued until her death. During this time, she continued to work as a children’s art teacher, and she was criticized for attempting to maintain these two careers side-by-side. For most of her career, she specialized in tile design, particularly for wall murals. She fulfilled multiple commissions in collaboration with Yorke and designed commercially for the tile manufacturer Carter’s of Poole. Her most famous works include the tile murals for the Susan Lawrence School in London (a rare commission that is still standing), a tile wall in Heathrow Airport, and an enormous mural at the British Pavilion of the 1958 Brussels World’s Fair. Her belief that mural-making should be a more widespread fixture of the postwar environment allowed her to momentarily set aside her dislike of mass-production and industry. However, by the mid-60s, when she turned from tilework to wallpaper production, she had largely severed her industrial connections. Her wallpapers were, with extremely few exceptions, produced by hand as bespoke commissions, in a small workshop called Angus Designs.  Thew workshop also produced limited ranges of floor tiles. Designs for papers dominated the last years of her production.

Angus’ practice for designing tiles and wallpapers largely remained unchanged throughout her life. She created her patterns through linocuts, and as a result, they often had a rough, hand-worked appearance. Like many other modernist pattern-makers, she used simple, two- or three-tone color schemes and her patterns were extremely simplified, using geometric or medieval-inspired motifs. Medieval motifs, in particular, became more prominent as she turned to wallpaper production. This sidewall, made just a year before her death, showed how active she remained even late in life. There is no doubt that Angus until the end was a 20th-century counterpart to Morris, not only in her practice, but also in the extraordinary intensity of her career.

Nicholas Lopes is a student in the History of Design & Curatorial Studies graduate program at the Cooper Hewitt, and is a Master’s Fellow in the Wallcoverings Department.

from Cooper Hewitt, Smithsonian Design Museum http://ift.tt/2H2rv65 via IFTTT

[lunarcoeur]

Thank you so much for the tag @a-hobbit-in-hogwarts! Sorry it took me so long to post this I’m a perfectionist as well as a procrastinator! Also this is my first time doing one of these so hang in there with me please!

So you answer 20 questions then tag 20 people you want to get to know better.

1) Name: Melody

2) Nicknames: For now it’s Mels but I’m open to suggestions ;)

3) Height: 5′ 9″ and not at all proportionate

4) Orientation: Straight

5) Nationality: American, again just for now I’m open to suggestions on this as well.

6) Favorite Fruit: MANGOES ARE MY SOUL!

7) Favorite Season: All of them, except summer. You know what you did summer.

8) Favorite Flower: Well in particular there is this one flower in Rudyard Kipling’s garden near Eastbourne that I absolutely love, but it’s probably dead now. In a more general sense I’d have to go with sunflowers.

9) Favorite Scent: The smell of free food that I didn’t have to cook! Also horses and the ocean.

10) Favorite Color: Midnight Blue, it’s easiest to see just after a sunset.

11) Favorite Animal: Either a Wolf or a Horse I really can’t decide between the two and this question is giving me way too much anxiety just thinking about it. Is there like a combo of the two? Worse? Holf? Nope. That wouldn’t work. Don’t combine those two animals.

12) Coffee, Tea, or Hot Chocolate: MORE ANXIETY! How do people choose?! I guess I’d have to go with tea right now because my coffee maker is broken.

13) Average Hours of Sleep: 0-3 (this is also the answer to the question: Why does this girl seem mad, crazy, bonkers?)

14) Dog or Cat Person: Dogs, I still like cats just not as much. Unless they’re cats that act like dogs then they would be equal.

15) Favorite Fictional Character: Okay wow this is teaching me I’m very indecisive. I guess it would have to be The Doctor I love all versions of him equally (but you know I love 11 just a little bit more than the rest).

16) Number of Blankets you Sleep With: However many blankets are in the building I am sleeping in.

17) Dream Trip: Ooh! I had this amazing dream once where I rode a horse to the moon! And when I got to the moon I met Dodie Clark and we got ice creams and she asked me to be her friend and I got so excited that i couldn’t breathe and then I woke up because my body didn’t want me to suffocate. If instead you mean dream as in realistic dream then I’d honestly like to visit every peaceful country/nation and immerse myself in every one of their cultures. Then afterwards I’d visit every country ruled by a dictator and I’d give them advice on how to run their country better and how to stop being horrible people.

18) Blog Created: I honestly can’t remember. A long time ago. I was in high school and gifs and memes weren’t really a thing yet.

19) Number of Followers: 130! Wow! I can’t actually believe I have that many!! Could one more person follow me though? Or unfollow me? I just have this thing where I hate numbers and times ending in 0. No idea why I’m like this, probably some suppressed childhood trauma (I’m a psychology student so this is my answer for everything).

20) Random Fact: I was once stabbed while giving a hug.

Okay so like I said I’m a huge perfectionist, also I’m a student, so when I realized I needed to tag 20 people I did a ton of research to see who I should tag. Then I ended up with 23 people and I couldn’t decide who to cut; and because I don’t know how particular the tumblr gods are with the rules of this I am answering 3 extra questions in order to appease them.

21.) Favourite thing you own: My bookshelf, it folds up and holds all of my favourite books, cds, and movies; so basically it holds all of my closest friends.

22.) If you had a million dollars you: Would buy land and open up a dark sky park with hammocks that would run as a horseback riding tour trail by day.

23.) Comfort food: Microwave edamame beans with children’s wine.

Tags:

@smolgerardway (who’s profile picture is not a guinea pig in a party hat!) @wouldntyoulichentoknow @mg-bsl381 @lalalyds2 @onthebroadway @sixpenceee @arwens @now-theres-a-spoiler-for-you @peonies-and-poppies @soundsofmyuniverse @thesongandthesunset @orionrose @lecompanion @savedher @hippyelfchick (awesome name by the way!) @hernamewasriversong @riversongsmelody @riveralwaysknew @mrsrobinsong @lizziecorday @queensarahparish @eddieholly (I want to grow up to be as good of an artist as you someday, unfortunately I’m already an adult so I think I will just have to settle for knowing artists like you exist.)

My final tag is someone who I don’t expect to respond, she is most likely very busy because she is filled with talent (and everyone reading this should check out her stuff). But I just wanted to tag her because if she ever does read this I’d like her to know that I think she is one of the kindest human beings who ever lived. Also I’d like to thank her because her music and videos have made me smile on the worst of days, and that is truly an accomplishment. Thank you @dodieclarkofficial

[grantmkemp]

Born Eric Arthur Blair, 117 years ago today, 25th June, 1903, George Orwell is best known for the allegorical novella Animal Farm, and the dystopian novel Nineteen Eighty-Four. His non-fiction works, including The Road to Wigan Pier, documenting his experience of working-class life in the north of England, and Homage to Catalonia, an account of his experiences soldiering for the Republican faction of the Spanish Civil War, are also widely acclaimed.

Below are some of the lesser known facts about the man behind "Big Brother", "Thought Police", and "Newspeak"

1. Prep school was an experience he hated, and inspired an essay that couldn't be published during his lifetime.

Eric Blair spent five years at the St. Cyprian School for boys in Eastbourne, England, which inspired his melodramatic essay Such, Such Were the Joys. In the essay, he called the school’s proprietors “terrible, all-powerful monsters” and labeled the institution itself "an expensive and snobbish school which was in process of becoming more snobbish, and, I imagine, more expensive." Deemed too libelous to print at the time. It was finally published in 1968 after his death.

2. He moved from job to job, for rent, and research.

Orwell worked as a police officer for the Indian Imperial Police in Burma (present-day Myanmar), a high school teacher, a bookstore clerk, a propagandist for the BBC during World War II, a literary editor, and a war correspondent. He also had stints as a dishwasher in Paris and as a hop-picker (for breweries) in Kent, England. Apart from paying the rent, these jobs were also for research purposes. Orwell also spent some time “living as a tramp” and wrote his first book about these experiences, Down and Out in Paris and London.

3. Orwell deliberately got himself arrested to experience some time behind bars.

In 1931, while investigating poverty for his aforementioned memoir, Orwell intentionally got himself arrested for being “drunk and incapable.” This was done “in order to get a taste of prison and to bring himself closer to the tramps and small-time villains with whom he mingled,” biographer Gordon Bowker told The Guardian. At the time, he had been using the pseudonym Edward Burton and posing as a poor fish porter. After drinking several pints and almost a whole bottle of whisky, Orwell was arrested. He was released after spending 48 hours in custody.

4. His knuckles were tattooed.

While working as a police officer in Burma, Orwell got his knuckles tattooed. Adrian Fierz, who knew Orwell, told biographer Gordon Bowker that the tattoos were small blue spots, “the shape of small grapefruits,” and Orwell had one on each knuckle. Orwell noted that some Burmese tribes believed tattoos would protect them from bullets. He may have gotten inked for similarly superstitious reasons, Bowker suggested, but it's more likely that he wanted to set himself apart from the British establishment in Burma.

5. He volunteered to fight in the Spanish Civil War.

Like fellow writer Ernest Hemingway and others with leftist leanings, Orwell took part in the Spanish Civil War. Orwell (then aged 33) arrived in Spain, shortly after fighting had broken out in 1936, hoping to write some newspaper articles. Instead, he ended up joining the Republican militia to “fight fascism” because “it seemed the only conceivable thing to do.” The following year, he was shot in the neck by a sniper, but survived. He wrote about his war experiences in the book Homage to Catalonia.

6. A Doodlebug nearly destroyed his early draught of "Animal Farm".

Near the end of WWII, Orwell’s home at 10 Mortimer Crescent in London was struck by a German V-1 flying bomb. Orwell, his wife Eileen, and their son Richard Horatio were away at the time, but their home was demolished. During his lunch break at the British newspaper Tribune, Orwell would return to the foundation where his home once stood and sift through the rubble in search of his books and papers, most importantly, the manuscript for Animal Farm. Fortunately, he found it, Orwell then piled everything into a wheelbarrow and carted it back to his office.

7. He was the owner of a goat named Muriel.

He and his wife Eileen tended to several farm animals at their home in Wallington, England, including Muriel the goat. A goat by the same name in Orwell’s book Animal Farm is described as being one of the few intelligent and morally sound animals on the farm, making her one of the more likable characters in this dark work of dystopian fiction.

8. The "Cold War." was first described by Orwell.

The first recorded usage of the phrase “cold war” in reference to relations between the U.S. and Soviet Union can be traced back to Orwell’s 1945 essay You and the Atom Bomb, which was written two months after atomic bombs were dropped on Hiroshima and Nagasaki. In the essay, he described “a state which was at once unconquerable and in a permanent state of ‘cold war’ with its neighbors.

9. Charlie Chaplin,John Steinbeck, George Bernard Shaw were reported as Communist sympathisers by Orwell.

In 1949, Orwell compiled a list of artists he suspected of having communist leanings and passed it along to his friend, Celia Paget, who worked for the UK’s Information Research Department. After the war ended, the branch was tasked with distributing anti-communist propaganda throughout Europe. Orwell's list included Charlie Chaplin and a few dozen other actors, writers, academics, and politicians. Other notable names that were written down in his notebook but weren’t turned over to the IRD included Katharine Hepburn, John Steinbeck, George Bernard Shaw, Orson Welles, and Cecil Day-Lewis.

10. While writing Nineteen Eighty-Four, Orwell almost drowned.

One day in 1947 while taking a break from writing Nineteen Eighty-Four, Orwell took his son, niece, and nephew on a boating trip across the Gulf of Corryvreckan in western Scotland, which happens to be the site of the world's third-largest whirlpool. Unsurprisingly, their dinghy capsized when it was sucked into the whirlpool, hurling them all overboard. Fortunately, all four survived, and the book that later came to be called Nineteen Eighty-Four (originally named The Last Man in Europe) was finally published in 1949, just seven months before Orwell's death from tuberculosis.

This is my colourised version of a black, and white photograph taken c. 1944

Restoring Your Past  … Website

Restoring Your Past … on Facebook

[inexpensiveprogress]

Elsie Marian Henderson

 Elsie Marian Henderson - Landscape - Watercolour and Ink

Henderson was one of the great shining students of the early twentieth century. Her works are in the collections of  the Tate, British Museum, Victoria and Albert Museum’s in London, the Fitzwilliam Museum in Cambridge, Manchester City Art Gallery, Guernsey Museum & Art Gallery and The Whitworth Manchester.

 Elsie Marian Henderson - Black Panther & Snake - Linocut

Henderson was born in Eastbourne, Sussex and studied art with the encouragement of her mother. Henderson was a student at the Slade School of Art under the strict Henry Tonks from 1903 to 1905. She continued her art education in the tradition method of the time, by doing a European tour. She moved to Paris and took lessons at various ateliers in the city including the Academie Moderne, Académie Colarossi, Cercle Russe and the Académie de La Palette (studying with cubist painter Amédée Ozenfant and André Dunoyer de Segonzac) under Henri Le Fauconnier. In 1912 Henderson also studied with Othon Friesz before spending 1913 in Italy observing master paintings and works.

 Elsie Marian Henderson - The Towers of San Gimignano, Italy - Watercolour 

In 1914 at the start of the First World War Elsie moved to Guernsey, living with her sister but in 1916 she enrolled at the Chelsea Polytechnic, where she was taught lithography by the artist Francis Ernest Jackson, one of the pioneers in British lithography. In London she became a frequent visitor to London Zoo and animal drawings and paintings became a major theme of her early work. While still a student London Transport commissioned a poster from her to promote travel to the Zoo, which was, despite its unusual design for the time of a selection of animal studies, was well received.

 Elsie Marian Henderson - Moorhen - Linocut 

Henderson started her own press and became a member of the Senefelder Club for printmakers. Between 1921-1924 she joined Lucien Pissarro’s short lived art society, the Monarro Group, one of only two women members. In 1924 Henderson had her first solo exhibition at the Leicester Galleries in London. The exhibition consisted of drawings, lithographs and bronze sculptures of, often savage, animals such as Jaguar Tearing its Prey and Leopard Killing a Parrot. She had a joint exhibition with Paul Nash. Between 1927 and 1938 she exhibited with the Society of Graver Printers in Colour.

 Elsie Marian Henderson - Tiger - Charcoal and pastel 

In 1928 Henderson married Emmanuel Edouard Marie Henri de Coudenhove the French consul to Guernsey. The couple lived on the island during World War Two and throughout the German occupation. Baron de Coudenhove died towards the end of the war and in 1946 Henderson moved to Hadlow Down in Sussex.

During her lifetime Henderson exhibited at the Royal Academy, with the Women’s International Art Club and the Society of Women Artists. A joint retrospective exhibition of Henderson’s work, with that of her friend Orovida Pissarro, was held in 1985 at the Michael Parkin Gallery. Sally Hunter Fine Art subsequently held exhibitions of her work.

To Elsie Henderson, stone is a living thing, hence her joy in lithograph. No other process gives such range from velvet-black, profoundly deep to delicate silver. - The Prints of Elsie Henderson - C A Nicholson 1928

All the works in this blog are for sale as part of my Christmas Collection of Pictures.

[ukbdsm123]

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[londontheatre]

RGM productions today announces the full cast for the West End première of The Hunting of the Snark, a brand-new family musical inspired by the creator of Alice in Wonderland’s beloved classic poem. From the lead producer of the international smash hit musical, Priscilla Queen of the Desert The Musical, The Hunting of the Snark made its world première in Cardiff at the Sherman Theatre last year followed by a run at the Hong Kong Academy for Performing Arts. Gemma Colclough directs Will Bryant (The Baker & The Bandernatch), Ben Galpin (The Bellman), Jordan Leigh-Harris (Boy), Simon Turner (The Banker) and Polly Smith (The Butcher). This family musical adventure opens at the Vaudeville Theatre on 28th July, with previews from the 26 July and runs until 2nd September. Following the West End run the show will continue a national tour around the country from 25 September to 19 November.

All aboard! The ship is departing! All children, animals and silly people welcome! The impossible voyage of an improbable crew to hunt an imaginary creature is brought magically to life in this sparkling musical comedy adventure for 4 to 94-year-olds.  

Enter the imaginative world of Alice in Wonderland creator, Lewis Carroll, in this brand new, highly original, ultra-modern adaptation inspired by his beloved classic poem. This show features five high-energy actors, a life-like puppet, fantastical characters, and lashings of daft humour.

A riotous ragtag gang of bold adventurers including The Boy, The Banker, The Butcher, The Baker, The Bellman and The Knitting Beaver set off on a quest to catch the mythical Snark… on the journey they encounter the Jub Jub Bird, the sly Bandersnatch and the dastardly Boojum… Can a Snark be caught with soap?  Will the Beaver escape the hungry Butcher’s clutches? Will the Baker remember his name? Does anyone know what a Snark actually looks like?

Side-splittingly funny, joyful, fast-paced and bursting with a soundtrack of witty songs by an award-winning songwriter, The Hunting of the Snark will delight, excite and entertain.

Annabel Wigoder is a graduate of the Royal Court Young Writers programme and Studio Group. She has a diploma in Script Development from the NFTS affiliated Script Factory and an MA in Creative Writing. Her short plays have been staged at Theatre 503, Southwark Playhouse, Riverside Studios, Soho Theatre and The Old Red Lion.

The Hunting of the Snark – Photo credit Mark Douet

Gareth Cooper is a writer and performer, specialising in musical comedy (with some stand-up, sketch and poetry thrown in for good measure). From 2008-13, he wrote and performed with award winning, critically acclaimed sketch group, Delete the Banjax, and now splits his time between acting, writing and stand-up. His recent acting work includes Three Keepers, Dracula and the award-winning short film, The Three of Us, for which he also wrote the title track. In addition, in 2016 Gareth came second in the International Songwriting Competiton (Comedy category).

Will Bryant plays The Baker & the Bandernatch. His theatre credits include, Incident at Vichy (Finborough Theatre, Kings Head Theatre), The Lost Boy: Peter Pan (Catford Broadway Theatre), A Midsummer Night’s Dream (International tour), Dracula (UK tour), Rope (Brockley Jack Theatre); The Shakespeare Conspiracy (Chelsea Theatre), Hound (Riverside Studios Hammersmith) and Othello (The White Bear Theatre). Film credits include Tenants (Sophistic), The Last Day, Nightshade, On Seeing, Kindness and All Seasons Burn in Hell.

Ben Galpin plays The Bellman. For theatre his credits include Potted Sherlock (Vaudeville Theatre), The Tempest (Thick As Thieves), Twelfth Night (Open Bar Theatre), A Christmas Carol (Open Book Theatre), Bite-Size Plays (St James Theatre) and Romy & Julian (Vienna’s English Theatre). Jordan Leigh-Harris plays Boy. She previously performed in The Hunting of the Snark at the Pleasance Courtyard, Edinburgh Fringe Festival.

Polly Smith plays The Butcher. Theatre credits include Table Manners (UK tour), Sleighed to Death (UK tour), Portrait of Murder (Devonshire Park, Eastbourne), Secondary Cause of Death (UK tour), Helga Philby (UK tour), A Bedfull of Foreigners (UK tour), Daisy Pulls it Off, Love’s A Luxury and A Touch of Danger (UK tour), Titus Andronicus and Henry VI part 1 (The Rose Playhouse, Bankside).

The Hunting of the Snark – CUTTY SARK Promo

Simon Turner plays The Banker. His previous credits include Blood Brothers (Phoenix Theatre), The Railway Children (UK Tour), Aladdin (Carriageworks Theatre, Lovegrove Theatre), A Body To Die(t) For (Landor Theatre), Henry VI Part 1 (The Rose Theatre, Bankside), That’s Love (The Mill at Sonning), Jazz in Club Class (Waterside Arts Theatre), The Gamblers, Blue Remembered Hills (Crescent Theatre, Birmingham) and Frank and Dean in Legends (UK Tour).

Gemma Colclough directs. She has been Artistic Director of Idle Hands Productions since 2007, and Associate Director of the Rose Theatre since 2008. Her credits include The Last Great Lady (Strawberry Hill House, Twickenham), The Beat My Time Machine Skipped (Soho Theatre, Blast Off!), If A Ten Ton Truck (Theatre 503), NewsRevue (Canal Café Theatre, Run 1 and 5, 2012), The View From Here (Theatre 503, RWR), My Love (Lion & Unicorn Theatre for Giant Olive) and Titus Andronicus (The Rose Theatre, Bankside).

RGM Productions Founded by Garry McQuinn and Rina Gill, previous credits for the company include Through A Glass Darkly (Almeida Theatre, Atlantic theatre New York) and The Two Worlds of Charlie F (UK Tour).

RGM is also developing a number of new productions including the fully updated re-launch of the international hit, Gumboots, Midnight in Havana a musical set in Cuba on the eve of the revolution; and a musical adaptation of the iconic Australian film Starstruck. Independently, McQuinn has had a career spanning 40 years with credits including Disney’s Beauty and the Beast, The Boy from Oz, Fosse and Showboat. He has produced, managed and toured international shows including Tap Dogs, Slava’s Snowshow, Mums the Word, Gumboots, Shaolin Monks of China, Matthew Bourne’s Swan Lake and Circus Oz. Most notably, McQuinn is lead producer and managing partner for Priscilla Queen of the Desert the Musical, the West End and Broadway show which has played extensively around the world.

The Hunting of the Snark Listings Vaudeville Theatre 404 Strand, London WC2R 0NH Booking to 2nd September 2017 Press performance: Friday 28th July at 2pm

http://ift.tt/2p9AJ78 LondonTheatre1.com

[lifestyleblogeruk]

10 Unique Approaches of Animal Artists for Pet Portraits

Do you love pets and their adorable pictures? In Eastbourne, some pet artists are there to create quality pet portraits. An animal artist draws or paints pets, making them look lovely. They have unique ways of doing it, like using colours, pencils, or technology! You can get a portrait of your pet that shows its true personality and feelings. These artists can make the pet portraits look very simple or very detailed. 

So, if you want a picture of your furry friend, an animal artist in Eastbourne can help you!

I. The Artistry of Animal Artists in Eastbourne

Animal artists in Eastbourne are super talented! They create extraordinary pet portraits that look real and lovely. They make pets come alive on paper with colours, pencils, or technology. These artists have a way of capturing the feelings and personalities of pets. 

Some make portraits simple, while others add lots of details. Their artistry is unique and wonderful, and pet owners love their work. If you want a picture of your furry friend, an animal artist can help you get the perfect portrait!

II. Realism Redefined: Hyper-Detailed Pet Portraits

Get ready to be amazed by hyper-detailed pet portraits. Talented pet artists create these with utmost care and perfection. These artists have skills in making pets look incredibly real in their artwork. 

Thus, only they can create a more live and perfect portrait. From fluffy fur to shiny eyes, they capture it all. These hyper-detailed pet portraits are like looking at a photograph. An artist in Eastbourne can create a masterpiece for you!

III. Abstract Expressions: Capturing the Soul of Pets

Imagine pet portraits that are like colourful dreams brought to life. Talented artists create abstract animal portraits that capture the soul of pets. They use shapes, colours, and textures instead of making everything look real. 

So, their artworks show the feelings and personalities of pets. These portraits are like beautiful puzzles that make you feel happy and curious. Abstract pet portraits are full of imagination and creativity. If you want a unique and expressive one, an artist in Eastbourne can make it happen!

IV. Digital Delights: The Fusion of Technology and Art

Get ready for a fascinating blend of technology and art in Eastbourne. Artists are using digital tools to create amazing pet portraits. They can draw and paint on a screen with special software and tablets. This digital approach gives them lots of flexibility and allows them to make changes. They can create different versions of the same portrait and add special effects. 

Digital pet portraits are like magical creations that look vibrant and beautiful. If you want a unique and modern portrait of your pet, an artist in Eastbourne can create a digital delight for you!

V. Mixed Media Magic: Blending Techniques and Materials

Prepare to be amazed by the magical world of mixed-media pet portraits. Pet artists use different materials and techniques to create stunning artwork. They blend paints, pencils, papers, and even fabrics to make pet portraits come to life. It is like making a beautiful collage of textures and colours. These mixed-media pet portraits are unique and full of surprises. 

The artists' creativity knows no bounds. Artists can create a masterpiece using mixed media magic for extraordinary animal portraits.

VI. Whimsical Wonders: Illustrative Pet Portraits

Step into a world of whimsy. Wonder with illustrative animal portraits in Eastbourne. Artists create magical artwork that tells a story. They bring pets to life in charming and playful ways. Professionals use their imagination and drawing skills. These illustrations are like pictures from a fairy tale, making you smile and dream. 

Each portrait is unique and especially captures the pet's personality. An artist can create a whimsical wonder to create a pet portrait with joy and magic.

VII. Minimalist Marvels: Simplicity and Elegance

Discover the beauty of simplicity and elegance with minimalist pet portraits in Eastbourne. Artists create stunning artwork using clean lines, simple shapes, and a colour palette. These portraits have a calm and sophisticated vibe, making them marvellous. They capture the essence of pets with just a few elements, showcasing their unique charm. 

Minimalist pet portraits are like fresh air, creating a sense of peace and harmony. If you want a pet portrait that is stylish and timeless, hire an animal artist in Eastbourne. They help create a minimalist marvel for you!

VIII. Collage Creations: The Art of Assemblage

Get ready to explore the fascinating world of collage pet portraits in Eastbourne. Artists create artwork with cutouts, fabric, and textured papers. It is like making a puzzle of textures and colours to create a beautiful picture of pets. These collage pet portraits are unique and full of creativity. They have a layered and three-dimensional look, making them truly special. 

Each pet portrait is like a masterpiece of artistry. Work with a top animal artist in Eastbourne if you want a pet portrait full of surprises and creativity.

IX. Watercolour Wonders: Vibrant and Fluid Pet Portraits

Prepare to be amazed by the vibrant and fluid pet portraits. Top animal artists create these with watercolours in Eastbourne! Artists use special paints and brushes to bring pets to life in beautiful and colourful ways. 

Watercolour pet portraits have a magical quality, as the colours blend and flow on the paper. They capture the energy and liveliness of pets with their dynamic brushstrokes. Each portrait is like a burst of joy and happiness. Work with a renowned artist if you want a pet portrait full of life and vibrancy. Only they can create a watercolour wonder just for you.

X. Custom Commissions: Personalising Pet Portraits

Animal artists offer custom commissions to personalise pet portraits according to your preferences. They take time to understand your pet and the bond you share. 

Professionals ensure all their artworks reflect the unique personality of pets. These custom pet portraits capture the love between you and your furry friend. An artist can create a personalised masterpiece to make a unique portrait.

In conclusion, the world of animal artists in Eastbourne is amazing. They have unique approaches to creating pet portraits that bring joy. Each artist has their style, i.e. hyper-detailed realism to whimsical illustrations. They bring pets to life on paper through digital art, mixed media, or watercolours. They can even customise portraits to make them extra special. 

So, if you want to create a beautiful portrait, an animal artist can turn your vision into reality. Get ready to cherish a masterpiece that celebrates the love for your pet!

[ivisitengland]

iVisit.... I Want! I Want!: Art and Technology

This exhibition features work by artists made over the last 20 years who have all been influenced by the rapid development of technology. The approach of each of the 26 artists and collectives to their practice is different, resulting in a rich and contrasting view of the world and the culture that surrounds us.

The artists have used computer animation, video, computer graphics, audio, photography, drawing and gaming technology to create films, moving image, sculptures, paintings, interactive games and small and large scale drawings. The artworks themselves tackle a range of themes such as human relationships and behaviour, surveillance and the habits of modern society.

The title is inspired by ‘I Want! I Want!’, an etching created by the artist William Blake over two hundred years ago. It depicts a tiny figure standing before a celestial ladder that leads up to the crescent moon. The image acts as a metaphor for humankind’s ability to dream and turn ideas into reality.

Works selected date from the mid-1990s to the present day and are drawn from the Arts Council Collection, Birmingham’s museum collection and other public and private collections.

Artists and collectives include: Daria Martin; Dryden Goodwin; Rachel Maclean; Julian Opie; Brian Griffiths; Stefan Gec; Michael Fullerton; Thomson and Craighead; Cao Fei; John Gerrard; Paul Pfeiffer; Aleksandra Mir; Iain Forsyth and Jane Pollard; Edwin Li; Ryan Gander; William Blake; Ed Atkins; Shezad Dawood; Toby Ziegler; Fiona Rae; Eddy Kamauango Ilunga; Rose Finn-Kelcey; Gary Perkins; Massinissa Selmani; Alan Currall; Marcus Coates; and Clare Strand.

I Want! I Want! is part of the Arts Council Collection National Partnership Programme which sees four major UK galleries working together to curate, host, and share a series of exciting and innovative new exhibitions with works drawn from the Arts Council Collection. The National Partner venues are Birmingham Museums Trust, Walker Art Gallery National Museums Liverpool, Yorkshire Sculpture Park and Towner Gallery, Eastbourne.

[byrowanbailey-blog]

PROJECTION MAPPING

Brief: create a short animation, exploring the theme of autumn, that will be part of a live projection light show featured on Eastbourne town hall tower.

In collaboration with Eastbourne Borough Council and West End Studios, this project focuses on projection mapping, a technique unfamiliar to myself. Agreed by the client and Council the theme issued was “Eastbourne through the Seasons”, Spring, Summer and Winter elements were to be covered by W.E.S, leaving Autumn to be explored. The final outcome would be included in the Eastbourne christmas light show which will be projected onto the town hall tower, along with opportunities to work with W.E.S on a placement.

My initial research took me into investigating the basics of projection mapping, as a completely new visual technique to me, I wanted to understand and grasp the workings and effects that projection mapping offers. Also known as video mapping and augmented reality, this visual tool uses projected light to turn objects into a display surface for video projection. These objects range from buildings to theatrical stages, using software such as Ae and Autodesk Maya a 2D or 3D object is mapped on the virtual program which mimics the real environment it is to be projected on. Combined with audio input, projection mapping is used by creatives to describe a narrative explorations in image, type, colour, light and sound.  

Continuing my research I visited Eastbourne and the town hall, where the final projections would be held. I gathered a series of drawings and photographs of the tower and building, helping myself grasp the scale and physicality of the building which in turn gave me a better understand of the practicality and visual sides of what the animation could become. In addition seeing the tower in reality puts into perspective the elements and textures of the building; for example the majority of the brick was a burnt red colour, so anything thats red projected onto the building would not be visible. Also there was a lot more curves and bumps to the tower that I hadn't noticed previous, I felt this was something to engage with and not to dismiss, experimenting with the buildings layout and architectural features might offer a more visually exciting and impactful projection.

After visiting the tower and grasping the process and techniques of projection mapping, in turn  learning the visual effects that can be created using the process, I began to brainstorm initial ideas and themes surrounding the brief and the season of Autumn. First draft ideas ranged from exploring the patterns and visual playfulness of fireworks, to the spooky atmospheres of halloween and describing the ever changing and preparation of wildlife in Autumn. Along with drafting first stage concepts and themes, I also started thinking about the animation technique, wether to create a vastly digital narrative, or go with a more traditional and hand drawn approach. My decision was made to go with a hand drawn animation technique, when during the briefing and research I found a lot of existing projection mapping consists mainly of digital and 3D animation; I wanted to explore and challenge mixing a traditional technique with the modern process of video mapping. With the animation process established, I looked over my initial ideas and decided to choose Autumn wildlife, I felt out of the three the wildlife theme offered a stronger narrative to play with, with opportunities to experiment with subjects such as change, preparation and evolution.  

The next stage of the project was researching into the range of wildlife in and surrounding Eastbourne, whilst exploring the process of change and preparation that wildlife goes through during Autumn. From this I gathered a series of initial sketches and drawings highlighting a range of wildlife, from owls, foxes and badgers to mushrooms, meadows and trees; these basic samples established the framework to build my animation upon. After a storyboard was settled I created a rough animatic using my initial sketches which I converted into .gif files, this offered the first visual perspective of what my animation would look like on the tower.

From then I began creating the final animation drawings, using the technique of rotoscoping I mixed mediums working  from pencil to ink, in turn generating  variable textures, patterns and visual emotions. Once I had finished all the single framed rotoscoped drawings I scanned each of them into the computer, then editing them in Ps along with generating single .mp4 files for each scene, which I then took into Ae to composite each single animation into a narrative. Furthermore using Ae I was able to digitally map my wildlife animations onto the Eastbourne Tower, using a template supplied by W.E.S.

With the single animation .mp4 files composited and mapped onto the digital template of the tower, I focused on introducing elements of colour. I initially experimented with a variety of different layouts and process’s to generating colour, ranging from converting my black and white animations to different autumn colours to overlaying whole sections of colour onto the tower. In the end I found myself blocking and masking certain architectural features of the tower out with changing colour, the final outcome being a colour generated template of the tower that I could then overlay my animations, adjusting the opacity so that the animations blend with the autumn themed colours and shades.

With the animation and compositing elements of my projection completed, it was time to input aspects of audio to bring the silent animatics to life. Initially I thought about featuring a song with an natural/wilderness atmosphere to it, artists such as Bob Dylan and Neil Young. However once overplayed with the animation sequence the audio and visual didn't work together, I felt it was the input of vocals that wasn't quite right. So I decided to make my own soundtrack for the narrative, using garage band I mixed a sequence of sound that is fairly muted in order for the animation to speak for itself.

With the soundtrack to the animation completed, I finalised some touches to the order of structure to make the narrative a little clearer, then exported the final animation projection sequence to a .mp4 file. On exporting I created three versions of the same piece, a black and white, coloured inverted overlay, and coloured overlay version, with in mind that the black and white version would work better with the projection setup, but I still wanted to explore the coloured elements.

Overall I am very happy with my final outcomes, looking back I feel my black and white version works the best for the reason that the wildlife animatics are much more visible, in turn making it easier for the audience to understand and read the narrative. However the coloured versions emphasise the change in elements and wildlife but ultimately highlight the architecture to the tower, yet I feel the single animations get lost within the changes in colour making for a visually exciting and interesting piece but with a misunderstood narrative structure. The music is subtle and peaceful, allowing the moving images to speak for themselves and relax within the sequence. On reflection the final scene is engaging, playful and stimulating but ultimately challenges the concept of projection mapping. The next stage of the project was to await a decision from W.E.S and the Council to see if my projection animation would make it into the light show.

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Capturing the Essence of Your Furry Friend: Pet Portraits in Eastbourne

Our pets hold a special place in our hearts, offering us unconditional love, companionship, and endless joy. Whether you have a loyal dog, a playful cat, a chirpy bird, or any other furry or feathered companion, you know that they are more than just pets; they are cherished members of the family. If you're in Eastbourne and looking for a way to immortalize your pet's unique personality and charm, consider getting a pet portrait. In this blog post, we will explore the world of pet portraits in Eastbourne and how they can beautifully capture the essence of your beloved animal companion.

The Art of Pet Portraits

Pet portraits are a timeless and heartwarming way to celebrate the bond between you and your pet. These custom artworks are created by talented artists who specialize in capturing the unique characteristics and expressions of your furry friend. Whether you want a lifelike oil painting, a detailed pencil sketch, or a vibrant digital illustration, there are artists in Eastbourne who can turn your vision into reality.

Why Choose Pet Portraits?

A Lasting Tribute: Pet portraits provide a lasting tribute to your pet. Long after they are gone, you will have a beautiful reminder of the love and joy they brought into your life.

Unique Artwork: Each pet is one-of-a-kind, and a custom pet portrait reflects that uniqueness. It's a piece of art that is as special and individual as your pet.

Personal Connection: The process of commissioning a pet portrait often involves working closely with the artist. You can provide input on the style, pose, and any special details you want to include, ensuring a personal connection to the artwork.

Finding the Right Artist

When it comes to pet portraits in Eastbourne, finding the right artist is essential to ensuring a masterpiece that truly captures your pet's personality. Here are some tips for finding the perfect artist:

Browse Portfolios: Look at the portfolios of local artists or studios specializing in pet portraits. Pay attention to their style, as different artists may have different approaches to pet portraiture.

Ask for Recommendations: If you know someone who has had a pet portrait done in Eastbourne, ask them for recommendations. Personal experiences can be valuable in finding a trusted artist.

Meet the Artist: Arrange to meet with the artist or have a conversation to discuss your vision, expectations, and budget. This will help you gauge if they are the right fit for your project.

Preserving Precious Memories

Pet portraits in Eastbourne offer a beautiful way to preserve the precious memories of your beloved pet. Whether you want to hang the artwork on your wall, create a custom calendar, or share it on social media, a pet portrait is a heartwarming and artistic tribute to the furry or feathered friend who brings so much joy into your life. So, why not consider commissioning a pet portrait in Eastbourne and immortalize the unique charm of your pet for years to come?

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The Artistry of Landscape Painting: An Eastbourne Perspective

Landscape art has a rich and vibrant history, and in the coastal town of Eastbourne, it takes on a unique and captivating form. Here, landscape artists find inspiration in the stunning natural beauty that surrounds them, making Eastbourne a hub for landscape painting. In this blog post, we'll delve into the artistry of landscape painting with an exclusive Eastbourne perspective, celebrating the talents of local Landscape Artists in Eastbourne.

Eastbourne, nestled on the south coast of England, is known for its picturesque landscapes, from the dramatic chalk cliffs of Beachy Head to the tranquil beauty of the South Downs National Park. It's a place where the sea meets the sky, and where rolling hills merge seamlessly with the horizon. For local artists, these landscapes serve as an endless wellspring of inspiration.

Landscape Artist Eastbourne: A term that echoes through the town's art galleries and creative communities. These talented individuals are masters of their craft, capturing the essence of Eastbourne's natural beauty in every brushstroke. Whether it's a serene sunset over the English Channel or the gentle sway of wildflowers in the countryside, Eastbourne's landscape artists transform these scenes into works of art that resonate with both locals and visitors.

One remarkable aspect of Eastbourne's landscape artistry is its diversity. Here, you'll find artists who work in various mediums, from traditional oil paintings to contemporary digital art. Each artist brings their unique style and perspective to the canvas, offering a wide range of artistic expressions. From classic realism that meticulously recreates the landscape to abstract interpretations that evoke emotions and impressions, Eastbourne's landscape artists have something for every art lover.

Visiting Eastbourne's art galleries provides an immersive experience into the world of landscape painting. The pieces on display showcase not only the natural beauty of the region but also the talent and creativity of the artists. Whether you're a seasoned art enthusiast or simply appreciate the allure of Eastbourne's landscapes, these galleries offer a glimpse into the town's artistic soul.

For those seeking to bring a piece of Eastbourne's natural beauty into their own homes, commissioning a landscape artist is a wonderful option. It allows you to work closely with a local artist to capture a specific scene or memory that holds personal significance. Many landscape artists in Eastbourne welcome commissions and are eager to create a piece that resonates with you.

In conclusion, the artistry of landscape painting in Eastbourne is a vibrant and integral part of the town's cultural identity. Landscape artists in Eastbourne capture the essence of this stunning coastal haven, offering a unique and captivating perspective that reflects the natural beauty of the region. Whether you're strolling through an art gallery or commissioning a custom piece, Eastbourne's landscape artists invite you to experience the magic of their craft. Contact us!