“The Animated Archive. Work in progress ” the current exhibition at the Fondazione Cirulli, the archive and collection of Massimo Cirulli, is a “real laboratory” of history and culture of the twentieth century established to tell the story of the century of modernity. This is a story told through design artifacts of Italian creativity as we know it today. The story is through an exhibition kaleidoscope that ranges from figurative arts to industrial design , from advertising to cinema, from photography to television, from fabrics to magazines. http://en.fondazionecirulli.org/exhibition/larchivio-animato-lavori-in-corso/
If you are in Bologna (or in Italy and can get yourself to Bologna), this is a venue not to be missed and a collection to savor. And speaking of savor, spend extra time with Cirulli’s pasticceria papers.
http://weboffers.atspace.co.uk “The Animated Archive. Work in progress ” the current exhibition at the Fondazione Cirulli, the archive and collection of Massimo Cirulli, is a “real laboratory” of history and culture of the twentieth century established to tell the story of the century of modernity. This is a story told through design artifacts of Italian creativity as we know it today. “The Animated Archive. Work in progress ” the current exhibition at the Fondazione
21 Top Motion Graphics Templates for Adobe After Effects in 2020
A good template can not only save you time, it can add professionalism and appeal to your project. Here, we show you 15 of the best Adobe After Effects Motion Graphics Templates from Envato Market and Envato Elements
(where everything is included within your monthly
subscription) you can do just that. Here are some great examples of what you can find.
Top Motion Graphics Templates From Envato Elements
Perfect if you're an avid Youtuber—this After Effects
pack contains lower thirds, an intro, titles, text inserts and much
more. You'll also be able to make use of 15 animated elements and 10
looping backgrounds.
Instagram
Stories is an After Effects template packed full of energy and with 30
different options to choose from, you'll easily find something that
suits your project.
Original
Titles is a title sequence for After Effects, with MOGRT files included
for use with Premiere Pro, too. The template contains 30 text
animations and boasts a fast render time.
With 20 animated call-outs and five measurement lines,
this motion graphic template for After Effects is perfect for a wide
range of video projects. The template is full adjustable and you won't
need any plugins to use it.
Use
photos or video footage with this After Effects template designed
especially for creating event promotions. It's easy to customise the
text to suit your music event.
15 Best Adobe After Effects Motion Graphics Templates
Clean Flip Logo is,
well, clean! Enjoy a minimal, simple, corporate sting for After Effects
that will give your logo a clear, professional look. The optical flares
are pre-rendered so you won’t need any plugins to use this template.
Pop your shades on because Showtime is seriously bright. Grab your viewers’ attention as you stun them with your project using this epic, motion graphic template.
199 Transitions contains,
well… 199 transitions – you knew that. What you might not know is
there’s a nifty preview of them all to make it easy to find one you want
to use, and each is super-easy to customise!
Cinematic Trailer Titles is
big-time movie title drama, complete with flying particles, lens
flares, camera shake, and moving lights. There are two versions of the
project and with pre-rendered elements you’ll be good to go quickly and
easily.
Equalizers aren’t just for the club, enjoy Logo Equalizer for
After Effects and add some uptown funk to your project. The EQ reacts
to your chosen audio and you can customise colours, camera animations
and backgrounds.
With a huge variety of styles, 35 Animated Titles really
is a one-stop-shop for your project title needs. Edit text, colours and
animation timing and simply drop your own images in as a
background—easy peasy!
Get
ready to make just about anything with this enormous After Effects pack
of over 3,600 elements including typography, emojis, lower thirds,
call-outs and much, much more.
Create
movement in your stills with Volumax for After Effects using the
popular parallax method. There are comprehensive tutorials included with
the download to help you get the best out of the template.
Great
for less confident After Effects users, many of these presets can be
applied in one click. They can also be used in conjunction with one
another, for a variety of unique looks!
These
hand-drawn FX animations include effects like fire, smoke, and liquid.
Apply them to your film to create an instant comic book style, or just
to add a dash of fun.
Create
realistic and engaging movement with your still photographs with
Photomotion X. Five categories ensure that you can choose the method and
movement that best suits your picture and desired outcome.
Ready
to use graphic elements and sound FX are in Graphics Pack, with full
colour control and a fast rendering time. Tutorials are included with
the download if you need a little extra help.
If you're part of a club or group, you're probably always looking for new ways to engage with existing members, and encourage new people to join. Try making...
Brightly coloured neon effects are so popular right now. With popular programmes like Bates Motel and Stranger things making use of the retro look, why not...
You can keep it simple and still have something that looks creative and professional when it comes to letter logo animations. Here are 10 of our favourite...
If you’re looking to create an eye-catching demo reel for your video footage and photographs, then why not try one of these easy-to-use templates from Envato...
https://weboffers.atspace.co.uk A good template can not only save you time, it can add professionalism and appeal to your project. Here, we show you 15 of the best Adobe After Effects Motion Graphics Templates from Envato Market and Envato Elements
(where everything is included within your monthly
subscription) you can do just that. Here are some great examples of what you can find. A good template can not only save you time, it can add professionalism and appeal to your
Canon's RF 70-200mm F2.8L IS USM will get a firmware update to fix the focusing issue next month
Next month, Canon will release a firmware update that fixes an autofocus problem reported by RF 70-200mm F2.8 L IS USM telephoto lens owners. The company says it's confirmed this lens may produce a 'slightly front-focused' image when the photo is captured at close range with the focus distance set to around the 200mm end of the scale.
Canon will release the firmware with a bug fix for this problem in January 2020, the company revealed on its US website. The new firmware will be intended for RF 70-200mm F2.8 L IS USM lenses running firmware version 1.0.5 or earlier, something that can be checked within the camera's menu.
The Canon RF 70-200mm F2.8L IS USM telephoto lens is available from B&H Photo and other retailers for $2,699.
https://weboffers.atspace.co.uk
Next month, Canon will release a firmware update that fixes an autofocus problem reported by RF 70-200mm F2.8 L IS USM telephoto lens owners. The company says it's confirmed this lens may produce a 'slightly front-focused' image when the photo is captured at close range with the focus distance set to around the 200mm end of the scale.
Next month, Canon will release a firmware update that fixes an autofocus problem
Impossible Cityscapes by Benjamin Sack Draw Inspiration From Cartography and Musical Compositions
“Astrum”, 11 x 14 inches. All images courtesy of the artist
At the Direktorenhaus Museum in Berlin this past week, a solo exhibition of detailed architectural drawings by Virginia-based artist Benjamin Sack (previously) opened to the public. Titled Labyrinths, the collection of new works features vast cityscapes comprised of impossible inner-geometries. The maze-like urban maps reference musical compositions and various symbols found in cosmology.
Often creating based on what he calls a “fear of blank spaces,” Sack tells Colossal that his starting point for each drawing is different. Finding inspiration in history, cartography, and his own travels, the artist starts with a general concept and builds his intricate worlds intuitively as he goes. Star-shaped buildings and pathways meet with rows of houses that spiral out from clusters of skyscrapers. The pieces in Labyrinths range from 11 inches by 14 inches (a standard photo print size) up to 90 inches wide and 69 inches tall. A work titled Library of Babel is drawn on the surface of a globe measuring 16 inches in diameter. “Generally, a large piece is begun with a few very broad and simple demarkations in pencil,” Sack explains. The rest of the lines and spaces are filled in with pen.
“Over many years my interest in architecture and cityscapes has evolved,” Sack tells Colossal. He adds that drawing such intricate pieces has “become a way and means of expressing the infinite, playing with perspective and exploring a range of histories, cultures, places.”
Labyrinths will be exhibited through January 22, 2020. For more of Sack’s imaginative maps, follow the artist on Instagram.
“Library of Babel” (globe piece), 16 inches in diameter
“Library of Babel” detail
“Library of Babel” detail
“Library of Babel” detail
“Library of Babel” detail
“Canto IV” 70 x 70 inches
“Eden” 14 x 11 inches
“Peregrinations” 68 x 93 inches
“Samsara” 12 x 18 inches
“Stella Aurora” 11 x 14 inches
http://weboffers.atspace.co.uk “Astrum”, 11 x 14 inches. All images courtesy of the artist
At the Direktorenhaus Museum in Berlin this past week, a solo exhibition of detailed architectural drawings by Virginia-based artist Benjamin Sack (previously) opened to the public. Titled Labyrinths, the collection of new works features vast cityscapes comprised of impossible inner-geometries. “Astrum”, 11 x 14 inches. All images courtesy of the artist
At the Direktorenhaus
Ferris Plock, Kelly Tunstall Bring ‘PMA’ to 111 Minna Gallery
KeFe
Ferris Plock and Kelly Tunstall offer collaborative and solo works in their new show at 111 Minna Gallery in San Francisco, where they're based. "PMA," which stands for "Positive Mental Attitude," applies their vibrant characters and patterns to their viewpoint of the changing city (or “living beast,” as they refer to it) around them. The show runs through Dec. 20 at the space. In their collaborative mode, the pair becomes "KeFe."
http://weboffers.atspace.co.uk
KeFe
Ferris Plock and Kelly Tunstall offer collaborative and solo works in their new show at 111 Minna Gallery in San Francisco, where they're based. "PMA," which stands for "Positive Mental Attitude," applies their vibrant characters and patterns to their viewpoint of the changing city (or “living beast,” as they refer to it) around them. The show runs through Dec. 20 at the space. KeFe Ferris Plock and Kelly Tunstall offer collaborative and solo works in their new
A “Monastically Inspired” Workspace Designed for One
If social media is any indicator, Autonomous’ popularity for affordable and contemporary home office goods has spiked noticeably in recent months. But while a comfortable office chair, desk, and task lighting offer a mandatory baseline in regards to daily WFH needs, the announcement of the Zen Work Pod presents significantly higher (and aspirational) tier, addressing the possibility of working remotely indefinitely.
Imagine a minimalist-designed 68-square-oot shed upgraded with the finishes and amenities of a modern detached home office, all appointed with built-in shelving and a coordinating automated standing desk and chair – a space to check-in…and perhaps check out from the distractions of the household for working or working out. That’s the entirety of the premise behind the Zen Work Pod.
Aimed at “creators and freelancers” (not to mention homeowners with a backyard to call their own), the “monastically-inspired design” is just large enough for one person to work within, a prefabricated design that arrives in a 20-foot container and only requires 72 hours to assemble. “Ommm” not included.
The Zen Work Pod construction is comprised in a 4-layer design: a faux wood plastic composite exterior, a soft coal waterproofing layer underneath, and insulation foam covering a steel frame with tempered glass walls finishing up the exterior. The construction is covered by a 5-year warranty, and can be situated on “soil, brick, concrete, gravel, patio, grass area” all without any ground fixtures.
The design also incorporates electrical wiring to plug into an outdoor wire connecting to an existing power source from your home, which may entail requiring a permit(s) in some jurisdictions.
Autonomous has already pre-sold a limited quantity units at $5,400, with prices increasing incrementally all the way up to $14,900 – no small amount, but arguably, for some a worthwhile investment if our temporary solutions must adapt to become a permanent one.
http://weboffers.atspace.co.uk
If social media is any indicator, Autonomous’ popularity for affordable and contemporary home office goods has spiked noticeably in recent months.
If social media is any indicator, Autonomous’ popularity for affordable and
Today’s Photo Of The Day is “Aspens in the Snow” by Kevin Tempelman. Location: Sleeping Bear Dunes National Lakeshore, Michigan.
“The high contrast of the aspen trees against the freshly fallen snow caught my eye in Sleeping Bear Dunes National Lakeshore,” says Tempelman.
Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
http://weboffers.atspace.co.uk Photo By Kevin Tempelman
Today’s Photo Of The Day is “Aspens in the Snow” by Kevin Tempelman. Location: Sleeping Bear Dunes National Lakeshore, Michigan.
“The high contrast of the aspen trees against the freshly fallen snow caught my eye in Sleeping Bear Dunes National Lakeshore,” says Tempelman. Photo By Kevin Tempelman
Today’s Photo Of The Day is “Aspens in the Snow” by Kevin
LONDON — Over the course of its 250-year history, the Royal Academy has often been a byword for traditionalism. The historic London institution does not have a reputation for being radical. It’s thus surprising to see it tackling the contentious subject of the climate crisis in its current exhibition, Eco-Visionaries: Confronting a Planet in a State of Emergency, which is sponsored by Octopus Energy, a renewable energy company. After a recent controversy around big oil sponsorship at other London cultural institutions, it’s refreshing that money for the arts could come from more ethical quarters.
The exhibition starts boldly. The gallery texts make it clear that climate breakdown is forcing the world to a crisis point: “We are facing an ecological emergency,” the curatorial statement declares. There is talk of global warming, extreme weather, and mass extinction. It suggests, rightly, that although interest in “sustainability” has increased recently, “these measures have not proved to be enough and in order to avoid further damage to nature, we need a renewed creative thinking.”
On entering the exhibition, visitors are faced with “Domestic catastrophe No3: La Planete Laboratoire” (2019) by artist collective HeHe, in which a revolving globe in a tank of water is gradually wrapped in a murky green dye. It evokes both the smothering of the planet by greenhouse gases and humanity’s disproportionately slow response.
Virgil Abloh’s “Alaska Chair” (2018) conveys a similar message. Originally designed (ironically) for IKEA, the chair tilts, as if it is sinking in flood waters, highlighting the effect of mass consumption on global warming and sea-level rise. A doorstop is wedged under one of the legs, which the artwork label argues is a metaphor for stop-gap solutions to climate breakdown. The label states:
This work is inspired by the concept of acqua alta, an Italian term used to describe regular floods in Venice caused by high tides and warm winds. The chair is partially submerged by the rising flood waters, with a doorstop wedge symbolically representing the short-term, makeshift solutions we have for tackling climate change.
Also a fashion designer for his own label, Off-White, and Louis Vuitton menswear, Abloh has previously taken on social issues in his artwork. However, it’s unclear here if the curators have considered the conflict between the chair’s message and the carbon footprint created by Abloh’s fashion companies and the additional social and environmental byproducts of mass consumption.
Studio Malka Architecture, “The Green Machine” (2014), architecture project (courtesy of the artist)Dunne & Raby, “Designs for an over populated planet: Foragers” (2009), Lambda print mounted on aluminum (courtesy of the artists. Photo: Jason Evans)
Utopian and dystopian futures collide in works such as Alexandra Daisy Ginsberg’s “The Substitute” (2019), which brings viewers face-to-face with a life-sized digital reproduction of the functionally extinct northern white rhinoceros. Stomping around a white-cube CGI room, this AI-assisted “substitute” animal fluctuates between stylized pixels and photorealism, pointing to the imaginative power of AI technology — and its total failure to meaningfully stand in for nonhuman life.
In the same section, Basim Magdy’s “Our Prehistoric Fate” (2011) presents Duraclear prints of a prehistoric creature and of a text that reads “the future belongs to us,” clamped onto Yugoslavian military lightboxes. The work effectively links anxiety about nuclear war with anxiety about climate breakdown, while two works from Pinar Yoldas’s series An Ecosystem of Excess (2013-17) reimagine a biological future in which organisms are able to live on humanity’s plastic waste. In these sculptural pieces, strange invented specimens are suspended in liquid and illuminated from below; it is a sci-fi dream for a weirdly consumption-focused utopia.
Basim Magdy, “Our Prehistoric Fate” (2011), mixed media. Ed. 3 + PA (courtesy of the artist and Gypsum Gallery, Cairo. Photo: Anna Souter for Hyperallergic)Pinar Yoldas, “P-Plastoceptor: Organ for Sensing Plastics” (2014), mixed media; “Stomaximus: Digestive Organ for the Plastivore” (2013), mixed media (Photo: Anna Souter for Hyperallergic)
The exhibition abounds in speculative science-fiction-like approaches to a post-carbon or newly eco-conscious future, from designs for floating cities and machines for regenerating deserts to biogas power plants and tools to develop the human digestive system. These works address important issues regarding environmental consciousness and the future. But Eco-Visionaries presents a very specific image of environmental art and design. The overall aesthetic is overwhelmingly technological — as are many of the proposed “solutions” to the problems facing our world. The selection of works in the exhibition suggest that technology is our main hope for a better future, generally ignoring the current discourse around natural climate solutions.
I felt Eco-Visionaries was missing embodied, hands-on explorations of ecology and open-ended inquiries into cross-species experiences — for instance, collaborative experiments such as “Golden Snail Opera: The More-than-Human Performance of Friendly Farming on Taiwan’s Lanyang Plain” (2017) by Yen-Ling Tsai, Isabelle Carbonell, Joelle Chevrier, and Anna Lowenhaupt Tsing; Anais Tondeur’s work with philosopher Michael Marder exploring plant consciousness; or Marcus Coates’s respectful inhabiting of nonhuman viewpoints in his performance pieces. Perhaps such artworks might be considered outside the remit of an exhibition about “confronting a planet in a state of emergency,” as the show’s subtitle puts it; but, directly or indirectly, such ecological art inevitably deals with climate breakdown and extinction, because such interconnections are integral to contemporary ecology.
A sense of confrontation between humans and the earth, of an Anthropocene where humanity is conceived of as an unstoppable, worldwide force, is central to Eco-Visionaries, which fails to addressthe many ways in which human lives are entangled with nonhuman creatures and systems because it privileges technology. The exhibition does briefly recognize that that technology comes with its own environmental problems: for example, “The Breast Milk of the Volcano” (2016-18), by research studio Unknown Fields, questions the sustainability of the lithium-based batteries that power most modern electronic devices.
I was confused, too, by the decision to block natural light from the exhibition space. This created a bunker-like atmosphere, as if the predicted climate apocalypse had already arrived. Furthermore, these controlled, dramatically lit spaces make it hard to imagine how the speculative ideas expressed inside are relevant to the wider world.
While some of the artworks in this exhibition are exciting and valuable, they don’t necessarily offer a full sense of the “renewed creative thinking” the curators argue we need to get us out of our current (self-)destructive trajectory. Eco-Visionaries makes an interesting contribution to the discussion, but it barely scratches the surface of a global problem that will only become more urgent.
Carolina Caycedo, “Serpent River Book (extract)” (2017), Artist Book, 72-page accordion fold, offset, printed canvas hardcover, elastic band. 22 x 31 cm (courtesy of the artist)
