Wanderers is a vision of humanity’s expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available.
Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds – and above all, how it might appear to us if we were there.
These are 3-D printed sculptures designed to animate when spun under a strobe light. The placement of the appendages is determined by the same method nature uses in pinecones and sunflowers. The rotation speed is synchronized to the strobe so that one flash occurs every time the sculpture turns 137.5º—the golden angle. If you count the number of spirals on any of these sculptures you will find that they are always Fibonacci numbers.
For this video, rather than using a strobe, the camera was set to a very short shutter speed (1/4000 sec) in order to freeze the spinning sculpture.
Pablo Palazuelo was born on October 8, 1916, in Madrid. When he was just ten years old, a portrait painter created a pastel depicting him with his sister, making a great impression on him and instilling a strong interest in drawing and painting. Palazuelo began studying architecture in Madrid in 1932 and later at the School of Arts and Crafts, Oxford, England (1934–36). While there he became familiar with the Tecton group of architects (1932–48) and the work of artists such as Jacob Epstein and Duncan Grant. He took the Intermediate Exams of the Royal Institute of British Architects before the Spanish Civil War began in 1936, and he returned to serve as a pilot in the Spanish army.
Palazuelo decided not to return to England and began to devote much time to painting, exhibiting at the Galería Buchholz, Madrid, in 1945 alongside members of the young Madrid School. In 1946 or 1947 he became enamored with Paul Klee’s work, specifically his interest in geometry and abstract geometric forms found in nature. Juan Gris, Pablo Picasso, and Daniel Vázquez Díaz, who was Palazuelo’s painting instructor in the late 1940s, also influenced his early abstracted still lifes. However, by 1948, Palazuelo had eliminated all figuration in his paintings, pursuing purely abstract forms. He exhibited his first abstract work in the inaugural Salon de Mai, Paris, in 1949. In 1948, aided by a French government grant, he had moved to Paris, where he would remain until 1969, coming into contact with artists associated with Galerie Maeght, where he had his first solo exhibition in 1955 and continued to exhibit until the 1980s. His 1950s work delved deeper into abstract form, as he explored Arabic and Eastern thought, particularly the musical rhythms of Islamic art, infinity, and the notion of the “active imagination.” In 1953–54, he participated in Younger European Painters: A Selection at the Guggenheim Museum.
Between 1954, with his first sculpture in melted bronze, Ascendant, and 1962, he gradually began creating work in three dimensions, and in the 1970s working specifically with open and closed polygonal shapes. In 1969 he returned to Spain and settled in his family’s home close to San Lorenzo de El Escorial. He developed his foundational themes of inner conscience, imagination, and transmutation in public works such as Lauda II for Madrid’s Barajas Airport, and his mural for the foyer of the Picasso Tower, Madrid, in 1990.
Palazuelo participated in the Pittsburgh International (now Carnegie International, 1955), as well as exhibitions at Galería Juana Mordó, Madrid (his first Spanish exhibition, 1964), and Musée des beaux-arts, Chaux-de-Fonds, Switzerland (1970). The Museo nacional centro de arte Reina Sofía, Madrid, presented a major retrospective of his work (1995) with a further expansion of the show a decade later. The most recent Palazuelo retrospective was co-organized by Museu d’art contemporani de Barcelona in conjunction with the Guggenheim Museum Bilbao (2005–06). He received numerous awards, including the Kandinsky Prize (1952); Carnegie Prize from Carnegie Museum of Art, Pittsburgh (1958); and the Medalla de Oro al Mérito en las Bellas Artes, awarded by the Spanish Ministry of Culture (1982). Palazuelo died on October 3, 2007, in Madrid.
I’ve been a home owner for nearly eight years, and though my home serves its purpose it’s definitely not my dream home. So, from time to time I find myself sketching ideas for the home I hope to build someday. I have a sketchbook filled with ideas for everything from the general layout to the walk in showers and concrete bookcases I hope to integrate. Lately I’ve been thinking about trying to build a scale model from some of my drawings. It would be something I can can play with to get a better sense of how the house might flow from one space to another. Having never built anything like this I began to look for examples and came across a Tumblr account dedicated to architectural models. Above are just a few of the tediously constructed scale versions of some incredible architecture.
At first, Alaska doesn’t sound much like a surf destination but this is just a matter of perception. The O’Neill team rider and adventurer, Damien Castera, sees it all the way around. For him the Last Frontier means empty lines ups and perfect waves but not only. Alaska is also about a back into the wild experience, Damien spent 2 month there surfing and hiking on self-sufficiency: fishing for food, rough encampment for accommodation and pepper sprays as self-defense against bears or any other wild life you can encounter there… Check out this flick which gives you a beautiful overview of what Damien’s has been experiencing for 60 days….
File under “New Life Goals”
The folks behind WMC Fest have finally gotten around to posting some of the talks from this year’s event. I’ve been waiting for this particular talk to go online so I could share it with EVERYONE I know. Jen and Omar, better known as These Are Things, share an honest story about the ups and downs of being in the business of creativity. It’s a story about resilience… one that rings true for most people lucky enough to make art for a living.
If you’ve ever designed and developed a typeface you know how painstaking it can be. For me, a novice type designer, it can be a challenging (read: frustrating) process of iteration upon iteration before any sort of real refinement or programming can begin. As shown in the video above, the team behind Prototypo is looking to streamline that process, making the manipulation phase rather painless. I’m looking forward to trying it out.
NOTE: If you haven’t designed a typeface, but you’re interested in seeing what goes into making one, I highly suggest watching this interview with Jonathan Hoefler and Tobias Frere-Jones.
I was fortunate to be able to attend the 2013 Weapons of Mass Creation Festival in Cleveland. Here is a small snippet of what the event is all about. I’ll definitely be attending again, and I’d like to thank Jeff Finley and Go Media for creating such a worthwhile event for all of us landlocked creatives in the Midwest.
Awhile back I posted some of Andy Gilmore’s work. Here’s a short video, produced by Ghostly, to accompany that earlier entry.
Merging technical fabrics with stylish and contemporary cuts, Berlin-based ACRONYM has quickly carved a space for itself in the world of fashion. Under the direction of founders Errolson Hugh and Michaela Sachenbacher, ACRONYM has been deftly treading the line between function and form while always taking care not to stray too far into one at the expense of the other. The military-inspired gear sticks to a simple color palette of navy, black, olive, and tan but backs it up with serious technical materials including GORE-TEX and Schoeller fabrics. On offer are shorts, tapered pants, button down shirts and plenty of outerwear. Acronym is equally at home on the streets and out in the woods.