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Onlayn Kazino Rəsmi Sayt

AOXEN — Wed, 22 Oct 2025 13:58:32 +0000

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The post Onlayn Kazino Rəsmi Sayt appeared first on #weareoca.

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The post Onlayn Kazino Rəsmi Sayt appeared first on #weareoca.

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The post Onlayn Kazino Rəsmi Sayt appeared first on #weareoca.

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The post Onlayn Kazino Rəsmi Sayt appeared first on #weareoca.

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The post Onlayn Kazino Rəsmi Sayt appeared first on #weareoca.

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The post Onlayn Kazino Rəsmi Sayt appeared first on #weareoca.

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The post Pin Up Casino Azərbaycan Rəsmi PINUP Kazino AZ appeared first on #weareoca.

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AOXEN — Thu, 02 Oct 2025 10:56:11 +0000

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The post Çerezza hangi ülkenin, kimin malı? appeared first on #weareoca.

What is your tutor up to? Garry MacKenzie

Garry MacKenzie — Thu, 18 Jul 2019 08:00:56 +0000

Last year I wrote a blog introducing myself and outlining what I was writing at the time: a long poem about a mountain and its herd of red deer, which is partly a translation from an old Gaelic poem, and partly an original piece bringing together contemporary ecological science, environmental issues and the politics of land use in Scotland. I’ve since completed the poem – you can read some of it in the online magazine The Clearing, and there’s a long article reflecting on my practice here.

I’m now working on a new collection of poems provisionally titled ring-net. In this blog I want to share some of the ideas behind this collection – I hope these inspire you to think about how you might explore a single subject or theme through an extended group of poems, stories or flash fictions.

As the title suggests, ring-net is a book about nets. I’m interested in the rise and fall of the fishing industry near where I live – the decline was caused by overfishing brought about by improvements to trawling nets. I’m writing a sequence of poems that tells the story of this industry, the men and women who worked in it, and their lore, traditions and superstitions. The sequence is both a tribute to a culture which changed rapidly over the nineteenth and twentieth centuries, and an environmental parable about the intentional and unintentional effects we have on other species. Telling this story through a sequence of poems allows me to shuttle forwards and backwards in time, focusing on key moments, ideas and images.

But I’m also haunted by something which the American poet Jorie Graham said in an interview for the Guardian: in poems, ‘things can be adjacent and the adjacency creates a glow of meaning’. I love this idea that readers find meanings in the relationships between all the different things which are brought together in a poem or a group of poems. So in ring-net the fishing sequence is interwoven with poems exploring other kinds of nets, from nets in nature (like cobwebs) to net-based technologies (such as knitting and the internet). The challenge is stimulate that glow of meaning, to find ways of bringing such discrete subject-matter together in a meaningful way. In order to do this I’m experimenting with ‘net sonnets’, brief poems which weave together words or phrases taken from longer poems in the collection.

I like working on a long poem or group of poems unified by a theme. It means I don’t need to reboot every time I sit down to write: instead I can return again and again to the same subject, coming at it from different directions and in different forms. I find that working structure helpful, as it means my subconscious is relating everything I come across in daily life to the theme.

I’m interested in how working on a group of poems over a long period of time – at least a few months – affects their content. I tend to find that when I’m working on any writing project that takes more than a few weeks to complete, the original, clear idea for the piece gets swept up into everything I’m reading, doing and thinking about. If, while I’m writing about nets, I find myself reading about wakeboarding, or space travel, or the rhythmic pattern of an Elvis Presley song, I’ll try to bring ideas and words from those subjects into contact with the original project. I love the possibility of going in unexpected directions.

Finally, I’m really interested in what nets mean to you. Do you come from a fishing background? Can you wax lyrical about the moment when a football hits the back of the net? Are you a knitter, weaver, or maker of some other kind of net-like object? Does your neighbour watch you through net curtains? Do you have a spiderweb tattoo? If you’ve any thoughts about nets, I’d love it if you shared them below…

mesh image © Garry MacKenzie

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In conversation with: Áine Byrne

Pere Bruach — Mon, 15 Jul 2019 08:00:36 +0000

Áine Katrina Byrne is a Textile Artist and Designer originally from Ireland and now based in London. After Completing her MA at the RCA, Áine spent time working as a designer in India, before returning to London to continue her work within the field of textile design. Áine woven designs both digitally and by hand for the fashion industry, supplying high end clients and the high street. Áine is based in Hackney Wick Space studio and works as a lecturer at CSVPA.

What attracted you to textiles? How was your creativity captured?

I began my time at university studying fashion design, however, I soon realised I was more attracted by colours and materials and less by the technical construction of clothing. I was fascinated by the idea that you could construct a fabric from just a thread and manipulate fabrics through dying and yarn choice. This fascination informed my decision to change courses and begin studying textile design . My imagination was captured by the various techniques and specialisms I was introduced to, including embroidery, print and weave. I was excited by how experimental textiles is as a discipline.

What Textile techniques and tools did you use at the start of your studies?

My fascination with constructing a fabric from yarn to cloth lead me to try hand knitting, machine knitting (domestic knitting machine) and working on a hand loom. Alongside the construction of fabric I was always trying and testing new ways of manipulating fabric by using machine embroidery machines, including the tufting embroidery machine and the Irish freehand embroidery machine. I love to manipulate fabric through colour and pattern so I also experimented with printing onto fabric, using various techniques to completely change the material including flocking, Devore and printing puff binder on to materials. I have always been interested in transforming fabrics from their natural 2 dimension to 3 dimensional, so they can stand alone. This is what attracted me to woven textiles, as you can manipulate the fabric from beginning to end by what fibres and yarn you weave with.

Tell us a bit about your processes and techniques and how you use them.

My chosen textiles specialism is Woven textiles and I usually work on a hand loom. I love the freedom you have on a hand loom to manipulate the fabric from beginning to end by what fibres and yarn you weave with. As I am drawn to chunky more 3 dimensional constructions, I usually work with quite thick yarn which enables the fabric to grow quickly with a more instant result, rather than the slow process of working with really fine delicate yarns. I am currently working on a large scale tapestry loom I have built in my studio, I find working on a frame loom sometimes gives me the freedom and is less restriction than working on an arm loom, as I can built out and use even more experimental materials.

What Inspires you today?

My surroundings and the city landscape are always an inspiration. I have always been interested in the behind the scenes construction that goes on in the city, the making and the fabrication of the city. The trains, the cranes and the scaffolding. London is constantly growing and full of building sites. I am really inspired by colour and try to keep a camera with me at all time to document colour combinations in the city, especially bold and bright industrial colours that can be seen everywhere in the city. I love to keep up to date with art exhibitions in London and this also acts as a constant inspiration. I have always been interested in objects or materials built to be purely functional and adding aesthetic value to them.

Tell us about an aspect of your work that holds particularly fond memories and why?

My collection during my MA holds a particular fond memory, mainly because at the time I had more time and dedication to one collection, researching experimenting and creating the work for the entirety of the final year. It was inspired by a trip to a wooden mill visited in Bradford, the machinery in the mill but also the products it produced including pool table felt and biodegradable coffins. This lead to a collection comprising of large pieces woven from rope, prints bonded with builders netting alongside jacquard silk suits.

How has your work developed since you were a student to today and how do you see it changing in the future?

I believe my work has developed through introducing new methods and materials along the way. I like to experiment with a variety of materials and these investigations lead to the development of the quality of the work also through working in industry and having more constraints in what can be produced this leads to more refined and considered design choice and making.

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Student stories: New Designers 2019

Mary-Joyce Davis — Thu, 11 Jul 2019 08:00:55 +0000

It has been a roller coaster of emotions from the time I was invited by the Open College of the Arts to participate in the New Designer show 2019 in London. I was excited that I had been presented with such an opportunity to showcase my work and very proud to have my work exposed to and put amongst so many people in the industry. It was also an opportunity to meet a few members of the OCA staff such as my tutors, in which throughout the whole process, I hadn’t met in person, It was lovely to put faces to the names that have been helping me along the way.

Without a doubt, the displaying of my work at such an event, and mingling with like-minded people was definitely a highlight in my career thus far! The displays from the numerous universities were so varied, rich in colours, textures, skills and the narration of their work was so unique to each participate.

My favourite part of the show was being able to talk to people about my work face to face, which is not an opportunity we often get as OCA students. An instant response was quite gratifying. Of course some participants got more attention or awards than others but it is a wonderful learning curve that I embraced and it only fuelled the possibilities out there. Paired with this incredible event, I was one of a few OCA graduates who made the journey to London and received my diploma in-hand at the gorgeous venue of the Royal Festival Hall and got the experience the buzz of everyone collectively celebrating the end of a stressful yet rewarding journey, but the beginning of a new one. The week as a whole was an eye-opener as well as a fitting and memorable celebration of the completion of my first in BA (Hons) Textiles with OCA. It has been an honour to be a part of OCA and I am glad that I had chosen to go forward with OCA all those months ago.

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Study event review: OCA Photography Midlands

Allan O Neill — Tue, 09 Jul 2019 08:00:01 +0000

OCA study visit with Stephen Burke at Blast! Festival of Photography, Sandwell

10 of us Midlands OCA photography students spent a highly enjoyable afternoon with Birmingham based artist Stephen Burke at the Blast! Festival of Photography Sandwell, West Midlands.

The festival featured 40 contemporary artists including Erik Kessels, Liz Hingley and Mahtab Hussain and celebrates the everyday lives of the people and communities of the post-industrial towns to the west of Birmingham known as ‘The Black Country’.

We began the day by visiting Stephen Burke’s current project The Lords My Shepherd which was specifically commissioned for the Blast! Festival.

The project honours and celebrates the fans of West Bromwich Albion FC exploring the emotional connection and the role the club plays in the identity of West Bromwich and the wider Black Country. Accompanying the portraits was an audio work of interviews with fans, recordings of the crowds at matches and music associated with the club. The exhibition was showing at The Vine which is an Indian family run curry pub and grill long associated with supporters of WBA.

Much of the work exhibited in the Festival was people and portrait based so for myself, as a Landscape student I assumed that, visually at least, there might be less relevant works but as always there was huge amounts to learn in so many different ways.

There was a continual sense that Blast! Festival’s relationship with the people of Sandwell has genuine depth and integrity and this commitment ultimately shows strongly in the quality of the visual projects and exhibitions. There was also a whole programme of community based activities throughout the Festival month to engage and involve the local population.

I particularly enjoyed Girl Gaze: Journeys Through The Punjab and The Black Country which were the exhibitions situated in the old British Muslim School building.

These exhibitions focused on the stories and experiences of young girls and women and illustrated the gender inequalities between the female members of the community and their privileged male counterparts, brothers, fathers, sons and husbands.

Dawinder Bansal’s multi-media installation celebrates the lives of first generation South Asian women living in Sandwell and included a short film Asian Women and Cars: Road to Independence in which the women describe their very first experiences of learning to drive.

The film uses oral interviews and narratives and through these recordings the independence that learning to drive gave these women suddenly became real and very moving, demonstrating just how this methodology can add real depth and authenticity to a visual project.

Although the Library exhibition space was closed on the day of our visit I had seen Erik Kessels’ Comeback on a reconnaissance trip to the festival. Comeback consisted of a number of large scale portraits that had been re-appropriated from the archives of the former Tipton Carnival Queens competition. These were hung around the old town hall dance floor, an idea which was absolutely inspired, supported by a backing soundtrack of mashed up disco hits from the 70s and 80s. It was all very effective.

Stephen Burke was excellent value throughout the afternoon; he was enthusiastic and supportive throughout and constantly offered his insights and ideas. Stephen is a young artist who is progressing well in his career so this really was a unique opportunity to gain an insight into what could lie ahead by sustaining our practice beyond a student career.

We talked about how we, as students, could begin to establish ourselves in photography and arts communities by being more visible by attending relevant events, striking up conversations, making contacts, building relationships, creating networks as well as the process of commissioning; we even managed to fit in an informal viewing of Hazel’s impressive BoW photobook.

It was also a great learning opportunity to organise the event; from developing a relationship with Stephen Burke who is also the Project Producer for Grain contemporary photography group in the West Midlands.

The aim was to bring an OCA group of students together with the Midlands arts community and so the idea to involve Stephen in his capacity as a participating artist at the Blast Festival was just very opportunistic.

As always with these OCA gatherings the social interaction with our student peers was fantastic and we all got that motivational lift that is so required to get us through the trials and tribulations of distanced learning.

Jenny Stork (EYV) was attending her very first study event after only 6 weeks as a student and saw the immediate benefits of attending the study visit as,

“Networking with other students, learning more about the process involved in creating a body of work, finding out about new artists I have never heard of, also organisations such as GRAIN and the Pride Of Place Project Inspiration for future assignments”

Big thanks to Anna Goodchild for travelling all the way up from Paignton to support the visit just a week or so ahead of her own SYP exhibition. Good luck Anna!

Also for other reviews of the day visit L3 (HE6) Judy Bach’s learning log at:

https://judybachbodyofwork.wordpress.com/2019/06/25/study-visit-blast-festival-of-photography/

and L3 (HE6) Hazel Bingham’s learning log at:

https://hazel281660.blogspot.com/2019/06/blast-festival-west-bromwich-22-june.html

If you would like to receive any information about OCA Midlands Photography events in the future please email Allan O’Neill at allan513287@oca.ac.uk and we will add you to the mailing list.

We will of course advertise all activities via the OCA forum and the OCA study event diary and students from all regions and disciplines are more than welcome.

Image taken from The Lords My Shepherd by Stephen Burke (2018-19)

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Ask the librarian

Helen Barrett — Mon, 08 Jul 2019 08:00:24 +0000

What is plagiarism?

Plagiarism means deliberately or accidentally using someone else’s work or ideas as if they were your own. Work means any intellectual output, and typically includes text, data, images, sound or performance and includes material downloaded from electronic sources. Deliberately plagiarising work whilst you are at OCA can have very serious consequences, which is why it’s important to follow good academic practices and to reference your work properly.

Plagiarism and Collusion

Plagiarism is deemed to have occurred where:

A student copies another person’s work without acknowledgement of the source; simple changes to words or the order of presentation of sections or paragraphs does not avoid this categorisation.
A student copies some or all of another person’s art and design work, including work of other students, without acknowledgement.
A student substitutes another’s work as though it was their own.
A student appropriates another’s research work or ideas without acknowledgement.
A student sources work from the Internet or contracts with another party for work to be done.

Collusion is where a student either:

Submits work done in collaboration with another as entirely their own; or
Collaborates with another student to complete work which is submitted as that other student’s work.

Where students are instructed or encouraged to work together in the pursuit of an assignment or other assessed task, such activity is regarded as approved collaboration and not collusion, although there may be a requirement for each student to identify their own contribution.

Unintentional plagiarism

Unintentional plagiarism happens when you do not have a clear understanding of what plagiarism is. It is also often attributed to poor referencing, citing and quoting skills.

Unintentional plagiarism occurs when:

You have not been taught how to paraphrase properly – paraphrasing takes skill and practice.
When you try to put information from a source into your own words (paraphrasing) but fail to do so completely.
You have cut and pasted a reference from a source but have forgotten to reference the source.
You have failed to indicate that some text is a direct quote.
You have paraphrased a chapter and included the source in the reference list, but not acknowledged the source in the text.
You have composed a paragraph by joining sentences from a number of sources together and not acknowledged the sources in the text.

Visual plagiarism

Remember, it is just as important to reference your visual work.

This is a type of plagiarism in non-text-based practice, i.e. when using images in your studio and written work. While most public visual forms of communication have some sense and regulation of copyright, the particular issues of visual plagiarism in an academic context are much less visible. The information contained in these pages gives useful advice on what is/is not acceptable and links to teaching materials that will help explain the boundaries to students.

How to avoid plagiarism?

The most effective way to avoid an accusation of plagiarism is to reference correctly using the UCA Harvard Referencing system, making sure to cite all of your sources and have a bibliography at the end of your work.

use quotation marks around the words and cite the source, or
paraphrase or summarize acceptably and cite the source.
Plagiarism can be intentional or unintentional so be careful to reference all your sources. You can also use referencing management software to help you.

Referencing correctly is a skill which takes time to develop. If you need help or support with referencing and improving your academic skills, speak with your tutor or contact the Librarian at library@oca.ac.uk

What happens if I plagiarise?

Plagiarism will be treated as academic misconduct.

At OCA, an act of plagiarism or other form of academic misconduct constitutes a breach of our Plagiarism and Malpractice Policy as set out in the OCA’s Student Regulations, and as such will be treated very seriously.

If you need additional help, feel free to contact me directly (email library@oca.ac.uk)

Photo by jancarlo vazquez from Pexels

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Breaking into the boys’ club

Julia — Thu, 04 Jul 2019 08:00:06 +0000

For centuries, women have fought against adversity to pursue artistic careers in what was (and arguably still is) a man’s world. They have suffered the humiliation of having their works passed off under someone else’s name, of being barred access to training, of struggling to do what men have taken for granted (simply represent themselves on canvas or celluloid) and of having their pieces relegated to dark corners of museum and gallery storerooms.

And then there is the issue of cold, hard cash. Having trouble getting fairly compensated for your work? Spare a thought for Artemisia Gentileschi, one of the most renowned female painters in seventeenth century Europe, who in a letter to an underpaying patron wrote: “I was mortified to hear that you want to deduct one third from the already very low price I had asked. I am displeased that for the second time I am being treated like a novice…” One wonders what she would have thought of the £3.6 million paid by London’s National Gallery last year for her Self-Portrait as Saint Catherine of Alexandria. The painting, only the twenty-first artwork by a female artist to enter the Gallery’s collection of more than 2,300 works, has been painstakingly restored (an in-depth YouTube series documents the process) and is currently touring UK schools, libraries, doctors’ offices and a women’s prison. (It goes back on display at the National Gallery in December, ahead of the first major exhibition of Artemisia’s work in the UK in April 2020.)

Artemisia’s skill as an artist has often been overshadowed by the details of her life. Aged seventeen, she was raped by Agostino Tassi (her painting instructor), and then subjected to intense questioning and torture (metal rings were tightened around her fingers by strings) during the seven month trial that followed. Overcoming enormous personal and professional challenges as a result of her gender, Artemisia’s dramatic, dynamic images, with their strong contrasts between light and darkness, are now justly regarded as masterpieces.

Beale, Mary; Self Portrait, Holding an Artist’s Palette; St Edmundsbury Museums; http://www.artuk.org/artworks/self-portrait-holding-an-artists-palette-10557

Self-portraits by women undeterred by the restrictions of ‘femininity’, have also been on display at Lyon & Turnbull in London (until 6 July). “Bright Souls”: The Forgotten Story of Britain’s First Female Artists has explored how three women in seventeenth century Britain conquered prejudice to become pioneering artists. (See this short video for more on the show.) Forced to operate in a profession whose assumptions and standards were set by men, the creativity of Joan Carlile, Mary Beale (supposedly one of the first portrait painters to encourage her sitters to smile) and Anne Killigrew (who died of smallpox at the age of just twenty-five), is finally being recognised.

Today, many female artists are working in a way that undermines the very idea of the self-portrait. Cindy Sherman, for instance, known for inventing fictitious characters and photographing herself in imaginary situations (using elaborate costumes, make-up, props and prosthetics) produces complex images that are anything but self-portraits. Sherman’s first UK retrospective at the National Portrait Gallery (until 15 September) includes the seminal Untitled Film Stills series (1977-80) that cemented her reputation (in which she posed as archetypal characters from American B-movies and European art house films), and more recent works such as Clowns (2003-2004) and Society Portraits (2008). Sherman, who started out painting but went on to reject the medium (its prevailing visual mode was dominated by ‘bad boy’ artists), uses photography to scrutinise the facades we all adopt – think projected identity, artificiality and selfies. Her captivating, unsettling art of disguise also comments on the role of women in society and how fully we have digested cultural images of femininity.

Untitled Film Still #15 by Cindy Sherman, 1978. Courtesy of the artist and Metro Pictures, New York

It is easy to see why, for some, women artists have assumed an almost symbolic role as ‘heroines’, breaking into the closed male universe and bringing to it their own values and experiences. It takes a lot for women to make it in the art world, but that does not mean they have to be one of the boys. The work of talented, ambitious women like Artemisia Gentileschi, Mary Beale and Cindy Sherman, demands our attention and challenges us because we feel the seriousness and conviction of their compositions. The images speak for themselves. Or, as Artemisia once said, “now I’ll show you what a woman can do”!

Further reading tip: Borzello, F. (2016) Seeing Ourselves: Women’s Self-Portraits (2nd revised edition). London: Thames & Hudson

Image Credits:

Artemisia Gentileschi, Self-Portrait as Saint Catherine of Alexandria, 1615-17 © The National Gallery, London

Mary Beale, Self-Portrait, Holding an artist’s palette, c. 1675 © St Edmundsbury Museums

Cindy Sherman, Untitled Film Still #15, 1978. Courtesy of the artist and Metro Pictures, New York

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Jenny Saville on Rembrandt

Bryan — Wed, 03 Jul 2019 08:00:18 +0000

I have always thought that serious art is not just something put into the world by its makers to express their feeling or point of view or as a reaction to some external stimulus. It’s also in conversation with work made in the past, sometimes reluctantly, sometimes in spite of the artist’s intention. To a greater or lesser extent, all works of art join a continuum that stretches back to prehistory.

The OCA acknowledges this through the inclusion of ‘context’ as part of its assessment criteria. Students are expected to find out about the territory in which they work and to be articulate when writing or talking about the work of others. Art is not made or understood in isolation.

Look at this short film of Jenny Saville talking about what she gets from a single self-portrait by Rembrandt.

https://gagosian.com/quarterly/2019/05/15/video-interview-jenny-saville-rembrandt-self-portrait/

It has to be remembered that this is a great painting and its richness is part of its greatness. Don’t be under the impression that every painting is such a gateway. But let’s deal with what Saville speaks about.

She explains how she has learned specific things from looking at the painting – how to paint a nose, for instance – but also more subtle things like the tension between figuration and abstraction. She also sees Rothko in the work. That might seem fanciful, but why not? Looking hard reveals stuff and making connections is important.

Standing in front of a painting like this one it is clear – and Saville talks about this – that Rembrandt has used lots of different ways to put paint on the canvas. Big marks, small ones, quick, slow, and scratches made with the handle of the brush. In other work (perhaps even in this one, he used his thumb to drag paint across the canvas). That liveliness and invention keeps the eye moving; decoding and interpreting as it goes. Saville’s own work is dense with colour and gesture and in places – as explained here – at odds with reality (whatever that is). Paintings like these aren’t made in a single way. In the Rembrandt there are thin, barely sketched parts, and others that are thick and oily. From what Saville says, she got that variety – ‘turning up the volume’ – from immersing herself in Rembrandt.

In terms of contextual understanding, she clearly identifies how Bacon drew on Rembrandt (and Velasquez) and, by implication, places herself in that mix. It’s not difficult to link Rembrandt to Rubens and Caravaggio and both of them to Michelangelo. So now we have a short chain that starts with Michelangelo and ends with Jenny Saville. That’s context.

It’s a short film that contains much. I tell students (and I’m sure you’ve all heard this form someone) that you should embrace and learn from the work of others and forget about being ‘original’. If you’re lucky, you’ll get there, but I think you’ll only do that by talking to experts. We might not be able to speak to Rembrandt (or Beethoven, or Shakespeare), but we can listen to them through their work, and the work we make can – kind of – speak back.

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Join the new OCA Book Group!

Vicky MacKenzie — Tue, 02 Jul 2019 08:00:57 +0000

We had a brilliant response to our online OCA Book Group in June – thanks to all those who attended or expressed an interest. As a result of the high levels of interest we are having more pilot sessions in July. Those who took part before are welcome to attend again, as are new faces.

The next sessions will run on Tuesday 23 July from 6.00 to 7.30pm, and again on Wednesday 24 July from 7.30-9.00pm. Please sign up for just one session (we discuss the same book at each session).

We use Zoom (similar to Google Hangouts but better) which requires you to have a camera and a microphone on your computer.

Each session is open to a maximum of 10 participants. Please sign up using the link below.

https://forms.gle/KMuqZ86zvJiWbzGy9

Our chosen text for July is A Month in the Country by JL Carr. Participants will need to obtain the book themselves, but your local library may stock it and it’s widely available second-hand.

We have also set up a new topic on the OCA Forum for participants and anyone else interested in the Book Group to share their thoughts about the chosen books or any other reading-related topics: https://discuss.oca-student.com/t/book-group-discussion/10081 Please feel free to start a conversation!

Here are a few comments from participants in the June sessions:

“I really enjoyed the ambience and the general set up worked well. It’s nice to have a space where open discussion is welcome. I learnt so much in this first session and realised that being in a group like this will really assist me with my writing skills. I learnt a lot about point of view and thoroughly enjoyed the different perspectives and analysis. I look forward to the next session.”

“Great to be part of a discussion about three short stories I enjoyed and would not normally have known about. The technology worked fine and it was so good to be able to do it from home rather than travel.”

“I really enjoyed being part of it. It helps to see each other face to face. I learned from the other participants’ comments and enjoyed hearing their thoughts.”

Image: Vincenzo Malagoli from Pexels

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Interior Design and the use of model-making.

Catherine Byrne — Mon, 01 Jul 2019 08:00:08 +0000

As a way of exploring the use of model-making in Interior Design Tutor Mike Fairbrass – a very experienced professional model maker, and Programme Leader Catherine Byrne – a spatial designer, have had a conversation about their own experiences of the uses of model-making in spatial design:

First Catherine posed some questions to Mike:

CB: How did you begin your career in professional model making?

MF: I was studying Creative Arts in Nottingham and needed part time work – I found a local modelmakers through a friend and took to it like a duck to water.

CB: Have you worked with designers from different disciplines (for example exhibition designers, film production designers, theatre designers, retail designers) or predominantly interior designers and architects?

MF: Mainly interior designers and architects but a fair bit of exhibition design through working with Ab Rogers Design on our architectural touring exhibition which travelled widely, some retail experts, one of whom told me a curved mall makes people spend more, though I’m not sure if this is actual science. I have also done a little theatre/film work, I once created a range of futuristic weaponry props for a film which was fun!

CB: How small is the smallest model you’ve made?

MF: The smallest I recall was a range of mini models we made from fluorescent acrylics including one of the Millennium Dome (now the O2), each were just 10cm square. Another small one was a concept model for a new Spy Museum in Washington DC – that was about the size of James Bond’s bug detector.

CB: I love the idea of the O2 being just 10cm square in plan!

Dome/O2 mini model

Barcelona Bullring

CB: How large is the largest model you’ve made?

MF: The largest was as big as a super-kingsize bed. A masterplan scheme on the old Renault factory island in the Seine, Paris, it contained 3km of fibre optic lighting and took several ‘all-nighters’ to complete to the deadline and also took years off me.

CB: Could you provide three short ‘golden rules’ of model making?

MF: 1: ‘Measure twice and cut once’ An old saying but saves so many mistakes. 2: Establishing the correct scale to model (and therefore level of detail) for what you want your model to investigate or communicate – and crucially, so you and your client know how big it will be so that it fits through doors etc.. 3: Deciding which materials and finishes to use from the vast array of possibilities.

And, if I may add a fourth: 4: Who is your audience (see next question)? All these factors will shape the style and character of your model and help you get the most from it without wasting time later, possibly finding out you are working at the wrong scale or using the wrong material to effectively model a particular detail intrinsic to the success of the whole exercise.

CB: I think it’s really important that you’ve highlighted the ‘audience’. Effective communication is fundamental to good design, and it’s vital that both you and the person reading your model are talking the same language.

Leadenhall foam sketch models

Pompidou concept model

European Court of Human Rights

CB: It is often thought that a model is an illustration of the ‘end’ of a body of design work – something to ‘show off’ the finished job.

Can you give a brief description of different ways that model-making can be used throughout the design process?

MF: Models can (and should) be used from conception through to when whatever it is has been created – and often beyond that. A model has different audiences (from point 4 above) – It could be just you alone if you are designing with it. Or an experienced client being shown a concept model to get excited by an idea. The planning authorities being talked through a detailed final model to sign off the design, or it could be for the general public in consultation or exhibition.

CB: Would you equate 3D design development model-making to 2D design development sketching? What have you found to be the pro’s and con’s of each – if any?

Do you ever work with both together, and if so – how?

MF: You might sketch a room plan and copy it to cut up and extrude it up into a model or similar with an elevation or a sectional sketch turned into a relief. Sketch models, for me, are simply sketching but in 3D so they are very similar indeed, embodying that loose energetic vibrancy.

CB: How long did it take to make the quickest model you’ve ever made?

MF: Probably about 20 minutes – although this would literally have been some rigid foam block cubes arranged into a fast massing idea on a flat foamboard base – but sometimes that is how a £100m tower block is born.

CB: How long did it take to make the slowest model you’ve ever made?

MF: A large model might take 6 to 8 weeks but rarely longer as deadlines are tight, unless a project is stopped and model parts are literally ‘shelved’ until it comes back to life – sometimes years later. The really lengthy modelmaking is undertaken by the guy who makes a ten-foot-high Eiffel Tower from matchsticks over his whole working life. I am deliberately gender specific here too, as I’ve never seen or heard of a woman doing this! However, there are many female professional modelmakers across the industry now which has been a welcome correction.

CB: Have you ever noticed something about the design of a space in a model, that you think you may have missed if you’d been designing purely using two-dimensional tools (such as drawing in plan, section and elevation, or even perspective drawings and visual sketches).

MF: Back in the day, many 2D drawings were often completed before a 3D model was made and many discrepancies were discovered between drawings – this is now rare as most schemes are drawn in 3D CAD programs. Drawing in plan is a favourite for most but a 2D plan alone can allow you to forget about the available height. For instance; realising you can squeeze in a half mezzanine with a bed in a high room leaving room for a home office below. The best way to check spatial decisions with modelling is the 1:1 mock up – say you’re planning to add an en-suite in a bedroom, stack up large cardboard boxes to the extent of it – only then you can really feel how it will impact the space.

Timber & acrylic model with lighting.

CB: Have you ever used model-making as a collaborative process with others in a design team?

MF: Always – I’ve never worked any other way. Creating any model of a building, interior or stage set etc, is part of a larger collaborative process to build the real thing. The sooner you cross examine your model with your collaborators the sooner bad design, or indeed great design, is identified.

CB: What is the most common material that you’ve used to make a model?

MF: Acrylic or timber or a combination of the two. With sustainability a crucial issue now, we must be mindful of material provenance. Timber can be sourced sustainably but Acrylic is one of those materials that is horrible to make in terms of the chemicals put into the environmental – but it is amazingly sustainable once it is produced. Acrylic is 100% recyclable and has a very long lifespan – so it needn’t stop being used, as long as emissions can be dealt with at time of manufacture.

CB: What is the most unusual material that you’ve used to make a model?

MF: There are so many but the interesting answer to this is not the initial material chosen to make a model, but what was used to repair one. In the far east and stuck for materials, I replaced damaged ducting on a timber model of the Lloyds of London building with tea stained chopsticks. Another time far from home at an exhibition launch, I spotted damage to a bridge on a model after all our tools were locked away for the champagne reception, so I quickly and discreetly fixed it with a little bit of my colleagues chewing gum.

CB: Colour, texture and a broad range of different materials are often used in model-making for theatre and film set production design. Also 3D renders (CAD models – if you like) of built spaces are becoming increasingly life like and almost photo-realist. Have you ever made a ‘photo-realist’ physical scale model with accurate colour and texture? If not – could you say why you think it has not been appropriate?

MF: If you try to use the real bright green colour of grass on a scale model it looks like a cheap toy – like model railways often do. The trick to approaching realism is not to ape it but to mute colours and textures to suit the scale at which they are modelled.

CB: Are there any model-makers who’s work you admire; or is there a particular designer who’s work you believe exemplifies good creative-process through model-making?

MF: The best example is architect Antoni Gaudí. He preferred modelling architecture over drawing it; especially models made of chains hung from a ceiling and viewed in a mirror on the floor, or his plaster upside down models for the Sagrada Família in Barcelona. He dipped thin rope in plaster and hung it loosely between two points so that it formed a natural curve, then, once solid, he inverted them to form the perfect structural catenary arch and incorporated a series of these into his models of the larger scheme – a touch of modelmaking and engineering genius.

Sabadell front elevation

CB: Do you have a particular favourite material for making a quick sketch/process model with?

MF: Foamboard, thin card and double-sided tape – all you need is a scalpel and you’re off!

CB: Do you have favourite materials for making ‘finished’ scheme design/display models with?

MF: I really liked the bright fluorescent acrylics. They refract light from their flat surfaces forcing it out of the cut edge. I used these ‘live edge’ acrylics in innovative ways such as stacking laser cut layers to create vibrant concept models. These had the best effort-to-effect ratio by far! I co-created a font based on building footprints for an art exhibition celebrating collaboration and used ‘live edge’ acrylics to make a model of the design spelling the name of the font ‘Avec’. I believe you can still download and use the font.

And then just for balance Mike asked a few of his own in response:

MF: Do you use models? If so at what stage of your design process?

CB: I have always used models, both throughout the design process and also as 3D representations of ‘finished’ designs (if there ever is such a thing?).

At the beginning stages of a design project I have often found it more productive to ‘think with my hands’ – creating very rough small sketch models to hold up close to my eye and have a look into. It’s a quick way of trying to imagine what it’s like to be inside the physical space.

When doing this I’ve also found it useful to place scale figures alongside these sketch models as a way of experimenting with scale and space – different sized figures can completely change the feel of a space and also its’ proposed purpose. A photo of the same model with a range of scale figures can push your design idea in a completely different direction! Sometimes just turning the model upside down unlocks a creative block…

MF: + If so from what materials?

CB: If it’s a rough ‘figuring-it-out’ model I’ll just use whatever is to hand and quick and easy to work with. Sometimes that would be card or foam board (easy to cut and then re-cut – hack away – if necessary) with glue. Or sometimes it has been the back page of a sketchbook (the card backing – out of desperation) and magic tape. I’ve always had this kind of approach with models for designing interior spaces.

When I’ve made ‘finished’ models – mostly for film set designs – it has always been a strict regime of the ‘white card model’ (best for the cinematographer and director to look at in terms of lighting and filming) using varying thicknesses of thin card, thick card, mount board, and even paper – when the finest detail required it.

MF: Do you make them yourself?

CB: Sketch design development models I always make myself as I use the process as a way of thinking. I have also made ‘finished’ presentation models too – but I suspect my standards of finish are probably less professional than yours!

Film set models I have made myself – both white card extra-detailed models, and also photo-realist textured, coloured models. I’ve also worked collaboratively (big feature film art departments) with others on some super-detailed film set models that took days, and sometimes weeks, to complete.

MF: Do you see models surviving the rise of digital tech such as 3D printing, VR and AR?

CB: Yes. Absolutely yes.

3D printing, VR and AR are fantastic tools – but they are still tools. I believe that designers should use all tools available – and more importantly the most appropriate tool for the particular design job. Of course each job is different – so different modelling techniques may be more appropriate at different times.

I also fundamentally believe that people like to hold and look at physical models – it is a very engaging way of accessing a three-dimensional space. No matter how good a digital render is you are still looking at it on a two-dimensional screen, so it is a picture – you can’t look ‘into’ it. VR and AR are amazing, but again they are not ‘tangible’ in the same way that something solid is; and I think that resonates with ‘ordinary’ people – who are most often your client. You don’t just ‘see’ a real space – you ‘feel’ it with other senses and physical models allow for this kind of experience where VR and AR cannot.

Spy museum

MF: ‘Thinking with my hands’ is a great summation of the sketch modelling process and it’s so true what you say about using different scale figures. When teaching, I have so often seen models with no scale figure – if you don’t have a person in your model, you don’t have scale!

CB: …and if you don’t have scale you don’t have a space – it is just a collection of materials making up a model; probably more akin to sculpture. It might be awkward to place a person in your model – but I’d rather work out accommodating a person in a model than a fully built space when it is too late for mistakes…

MF: I agree with your belief that models will survive. AR could mean less block massing models as these are so easily generated and can appear quite ‘real’ because you move around them as you would a model. They are also easier to change at the touch of a button, so I can see that happening in design meetings with more ease than when I used to rush back and forth to the bandsaw, chopping blocks around for Richard Rogers!

CB: You’re right in that there is definitely a place for AR and VR too – I’m sure the immediacy of them as tools can be a brilliantly creative way to develop a design. It will be really interesting to see how the use of them develops as the technology becomes cheaper, faster and more accessible to all.

MF: Perhaps models may become less of the fashion as new tech flourishes and dazzles but I’d hope that models surge back in the way that Vinyl has done after being wiped out by CD’s. We can all stream anything these days but so many now love the physical interaction of dropping the needle on a record and the particular sound quality. Grab a scalpel and get cutting!

CB: That’s so funny that you use the analogy of Vinyl versus streaming – because I almost mentioned exactly the same thing yesterday. There’s a tactility to model making, in exactly the same way that there is a tactility to Vinyl and analogue sound; so hopefully both will be around for many years to come.

Images: Mike Fairbrass

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OCA & SANE: A new partnership

Craig Dewis — Fri, 28 Jun 2019 08:00:37 +0000

We are very pleased to announce that we are working in partnership with the leading mental health charity SANE to support mental health.

SANE was set up in 1986 to improve the quality of life for anyone affected by mental illness. Its three main aims are to raise awareness and combat stigma about mental illness; to promote and host research into the causes and more effective treatments for mental illness; and to provide guidance and emotional support for people with mental health problems, their families and carers through its helpline, SANEline, Textcare and other services.

We are working together to deliver SANE’s new Creative Awards Scheme, a new initiative to enable people suffering from mental health or caring for people with mental health issues to access the visual arts and harness their creativity.

The scheme will make grants to individuals to enable them to engage in creative and educational activities such as taking an evening course in photography, or creating a piece of art.

The scheme is open to anyone with a diagnosed mental health condition or anyone acting as a full-time carer to submit proposals for works of visual art.

The awards will range from £75 to £300 to cover or contribute to the cost of materials such as paints and frames, attending training courses, or supporting the provision of replacement care in the case of carers who apply.

To apply for the scheme, applicants will need to provide the following:

A letter about themselves, the reason for applying and the potential benefits of an award;
An application form containing personal information;
A reference from a mental health professional or in the case of a carer, a personal reference; Examples of previous work where applicable.

Recipients of the award will be selected by a panel of experienced artists, OCA tutors, and mental health professionals.

Marjorie Wallace, Chief Executive of SANE, says: “Exploring the relationship between art, mental illness, creativity and human experience is central to our ethos.”

“There is no doubt in my mind that people who are mentally fragile can find hitherto undiscovered reserves of skill, talent and other creative resources which they can usually only harness if given encouragement and financial support to develop.”

Will Woods, Principal of the Open College of the Arts, says: “We are proud to collaborate with SANE on the launch of this new scheme. Mental health affects all of us, be it sufferer or carer, and is particularly topical for students in higher education. As a provider of high-quality creative courses we see the benefit accessing creativity can have, and we are confident that this scheme can have a real impact on people’s lives”

About Sane creative awards scheme

SANE creative awards scheme flyer

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Art in the Anthropocene

Andy Hughes — Thu, 27 Jun 2019 08:00:33 +0000

International conference Art in the Anthropocene, Trinity College Dublin, 7-9 June 2019

OCA tutor Andy Hughes and Lizzie Perrotte (Christies Education) recently co-presented at the conference “Art in the Anthropocene”

https://artintheanthropocene.com

The conference was organised in collaboration with Trinity Centre for Environmental Humanities, and the Science Gallery’s exhibition on Plastic. Papers and presentations on visual and non-visual art, theatre, performance, film, and new media included such diverse connecting topics including artistic activism, artificial intelligence and art, art and ecology, bioart, microbial art and object-oriented art.

The word Anthropocene combines the root “anthropo”, meaning “human” with the root “-cene”, the standard suffix for “epoch” in geologic time. Whilst the term is widely used across many discourses it is important to recognise that the term has spread with great speed often dislodging familiar terms like nature and environment. The notion of the Anthropocene raises important questions that concern the sustainability of the planet to support human life.

In a spirit of resistance Hughes and Perrotte presented a paper called A Plastic Pilgrimage that was dialogic. The two speakers discussed two photographic art works; one by Hughes and one by the Japanese photographer Shomie Tomatsu. They explored and raised questions about the transmutations of waste matter, the significance of post-apocalyptic imaginings and the animism of waste. Their discussion ended with a conversation about Hughes’ wider holistic practice of making contemplative pilgrimages to experience and engender states of liminality.

To conclude, they showed a reel of clips from Hughes new film Plastic Scoop. This film is about to be released. It’s been co-developed with Dr Mandy Bloomfield and English students from the School of Humanities and Performing Arts and has been funded by the Sustainable Earth Institute at the University of Plymouth. The avant-garde nature of the film deals with contemporary narratives to express the ways in which our anxiety and fears about ocean pollution and global heating are presented. As seen in much of Hughes’ work, plastic pollution and associated matter often takes centre stage, this film explores the complex relationships between plastic, nature, the natural and the virtual. His film features gleaned archival material and cinema footage from early exploration, NASA archives and his own recorded and directed in-game machinima.

The session titled: A Plastic World was chaired by Cordula Scherer. Other presentations were by Katarzyna Proniewska-Mazurek from the Academy of Fine Art, Warsaw, Poland: How to talk about the Anthropocene: The Laboratory of Plant Bodies and Nicole Seymour from California State University, Fullerton, USA presented her paper titled: Plastic Ambivalence.

Notes and further research links:

Book of abstracts:

https://artintheanthropocenecom.files.wordpress.com/2019/06/book-of-abstracts-combined-1-1.pdf

https://www.plymouth.ac.uk/research/institutes/sustainable-earth/creative-associates/creative-associates-2019

https://en.unesco.org/courier/2018-2/lexicon-anthropocene

Attendee at the conference was supported by

Open College of Art / UAL

Truro-Penwith College

University of Plymouth

Images

Featured: Author: Andy Hughes

Media: C-Type Digital Print

Title: Hermosa Beach 2004

Author: Shomei Tomatsu,

Title: Bottle Melted and Deformed by Atomic Bomb Heat, Radiation, and Fire, Nagasaki, 1961

Media: Gelatin silver print, 13 15/16 x 12 15/16 in. (35.4 x 32.86 cm)

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What is your tutor up to? Garry MacKenzie

In conversation with: Áine Byrne

Student stories: New Designers 2019

Study event review: OCA Photography Midlands

OCA study visit with Stephen Burke at Blast! Festival of Photography, Sandwell

Ask the librarian

What is plagiarism?

Plagiarism and Collusion

Plagiarism is deemed to have occurred where:

Collusion is where a student either:

Unintentional plagiarism

Unintentional plagiarism occurs when:

Visual plagiarism

Related Links:

How to avoid plagiarism?

What happens if I plagiarise?

Plagiarism will be treated as academic misconduct.

Breaking into the boys’ club

Jenny Saville on Rembrandt

Join the new OCA Book Group!

Here are a few comments from participants in the June sessions:

Interior Design and the use of model-making.

OCA & SANE: A new partnership

Art in the Anthropocene

International conference Art in the Anthropocene, Trinity College Dublin, 7-9 June 2019

Notes and further research links:

Book of abstracts:

Attendee at the conference was supported by

Images