community, klbc is ms.K, Travel, Vietnam

Vietnamese Arrange

Người nước ngoài Học tiếng TQ:

– Nên nhớ rằng TQ thích đặt những gì quan trọng ở cuối cùng. Suy ra, để đặt câu thì cứ tướng ngày giờ, ba thứ linh tinh lên trước rồi mới tới chủ ngữ, vị ngữ, động từ tính từ….

– TQ đi từ lớn đến nhỏ, nên người ở độ tuổi khác nhau thì xưng hô khác nhau.

– TQ đi từ tổngquan vào chi tiết, nên thời gian sắp sếp sẽ là yyyy/mm/dd

PBK: trời quơi bao nhiu nem qua teo ở đai giờ teo mới phát hiện ra chân lý nài!!!!!!!!

SC: Ờ trong khi tụi teo (là Pháp) xài dd/mm/yyyy

K: người Vn của teo xài dd/mm/yyyy – Thứ/ngày/tháng/năm nhưng mà tụi teo rất biết phân biệt lớn nhỏ nên tuổi khác nhao đều xưng hô khác nhao zà thứ tự trong gia đình bự cũng khác nhao dù tuổi teo khác nhao =)) zà câu của VN thì….tụi teo là người thích gây bất ngờ nên thường yếu tố bất ngờ zà quan trọng tụi t để sau cùng!!!! CÀNG  QUAN TRỌNG càng đặt ở cuối câu =)))

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art, community, Things to Do, Travel

Cirque du Soleil’s Zaia | ĐOÀN XIẾC MẶT TRỜI VÀ HÀNH TRÌNH TRÁI ĐẤT

Zaia theo tiếng Hy Lạp nghĩa là Cuộc sống và đó cũng là tên vở diễn được kết hợp thể loại ca – vũ – nhạc – kịch – xiếc của gánh xiếc Mặt trời (Cirque du Soleil). Zaia đã được dàn dựng lần đầu tiên trong nhà hát Venetian Macau.

Zaia là câu chuyện về ước mơ chinh phục không gian vũ trụ của một cô gái trẻ, ước mơ vươn tới một cuộc sống thanh bình, tươi đẹp, khi khoảng cách giữa cuộc sống thực và những dài ngân hà không còn quá xa. Tại Venetian Macau, người xem sẽ được sống và cảm với những tinh hoa văn hóa của nhân loại…

ZAIA is the dream of a young girl who journeys into space on a strange, yet familiar voyage of self-discovery. As she travels, she encounters the beauty of humanity and eventually brings it back with her to share with the inhabitants of earth.

ZAIA presents a young girl’s perception of the stars and planets, space and infinity, all populated by a panoply of fantastic, literally out-of-this-world creatures. The title, ZAIA, comes from a Greek name meaning life and is also reminiscent of Gaia, the living, self-aware, spirit of earth.

ZAIA is a show that highlights dance, movement and aerial acrobatics, soaring to the farthest reaches of space and human beauty.

HISTORY

A marvelous idea began to take shape in the early 1980’s in Baie-Saint-Paul, a charming village nestled on the north shore of the St-Lawrence River, east of Quebec City. Les Échassiers de Baie-Saint-Paul (‘The Stiltwalkers of Baie-Saint-Paul’), a theatre troupe founded by Gilles Ste-Croix, walked on stilts, juggled, danced, breathed fire and played music. These young entertainers, among whom was Cirque du Soleil-founder Guy Laliberté, constantly impressed and intrigued Baie-Saint-Paul’s residents.

In 1984, during Quebec’s 450th anniversary celebrations of Jacques Cartier’s discovery of Canada, the province sought an event which would bring the festivities to all Quebecers. Guy Laliberté convinced organisers the answer was a provincial tour of Cirque du Soleil performers and it hasn’t stopped since!

From then on, Cirque du Soleil tale is that of a remarkable bond between artists and spectators from around the world. And it is the latter who feed the sacred fire of Cirque du Soleil.

CREATIVE APPROACH

Cirque du Soleil was built on values and deep convictions which rest on a foundation of audacity, creativity, imagination and our people: the backbone of our success.

Cirque du Soleil places creativity at the core of all its endeavors so as to ensure limitless possibilities. This is why the creative challenge is of the utmost importance with each new business opportunity, wether it is a show or any other creative activity.

Cirque du Soleil dream is also an integral part of its philosophy: To take the adventure further, step beyond its dreams and, above all, believe that our people are the engine of our enterprise.Cirque du Soleil offers its artists and creators the necessary freedom to imagine their most incredible dreams and bring them to life.

The International Head Office, located in Montreal, wishes to be an international laboratory of creativity, where our world’s best creative minds, craftsmen, experts on various domains and performers can collaborate on creative projects. By assuming the roles of catalyst and unifier, Cirque du Soleil is able to reinvent itself with each new chapter of its history.

ZAIA SHOW CREATORS
http://www.cirquedusoleil.com/zaia/en/show/creators.asp
(Visit link for more detailed information on the Creation Team for ZAIA)

  • Guy Lalibert – Guide – “Cirque du Soleil began with a very simple dream. A group of young entertainers got together to amuse audiences, see the world, and have fun doing it.”
  • Gilles Ste-Croix – Senior Vice President, Creative Content
  • Neilson Vignola – Director of Creation – My role is to bring people to the creative challenge and go beyond it. I love what I do. I don’t think the job exists anywhere but Cirque.
  • Gilles Maheu – Writer and Director – We have to rediscover the art of troubling, of overwhelming. I believe in a theatre of the emotions of the body. The stage is the centre of fire, of a hurricane, of a storm where forces alive and dangerous confront each other.
  • Guillaume Lord – Set and Props Designer and Theater Concept – I don’t really have any regular visual signature. It’s always the show that drives my designs.
  • Dominique Lemieux – Costume Designer –  I have a penchant for noble fabrics and natural materials, such as linen and silk, that accentuate the natural beauty of the artists.
  • Violaine Corradi – Composer and Musical Director –  In circus, the music envelops the audience. It makes the audience feel the difficulties, the danger, the lightness or dizziness, and, sometimes, it can even reassure.
  • Martino Müller – Choreographer –  Dance is simply about people expressing themselves, moving and revealing their emotional energy. And it is this energy that connects the dancers to the acrobats. In turn this energy also connects with the audience, linking human emotions in an inspiring way.
  • Jeff Hall – Acrobatic Choreographer –  Circus choreography is very physical theatre centered around the artists’ skills while driven by the emotions of theme.
  • Rob Bollinger – Acrobatic Performance Designer – “A little fear is good because it keeps you alert. You don’t want to be careless when you’re diving 100 feet. That’s something I stress with the acrobats.
  • Guy Lemire – Acrobatic Equipment and Rigging Designer – In acrobatics we have the artists lives in our hands so their safety is our primary concern.”
  • Axel Morgenthaler – Lighting Designer –Beyond revealing the magic of the artist’s expression, light has the power to make us believe we are elsewhere and transport the audience outside of the physical performance space into the realm of imagination.
  • Jimmy Lakatos and Raymond Saint-Jean – Projections Designers – “Given the expressive power and narrative complexity of the images that are used by artistic creations today, designers are employing video to tell stories rather than simply create textures or make backdrops for the stage.
  • Steven Dubuc – Sound Designer – “Sound design is one of the places where technology meets art. And with a Cirque du Soleil production, when you first walk into the lobby you’re already in the show, thanks to the sound environment.
  • Nathalie Gag – Make-up Designer – “Makeup is a reflection of the character’s soul. It’s also a magic wand that sweeps away inhibitions.
  • Leonid Leykin – Clown acts Designer – “I can stand on the stage and do nothing, and everybody understands what I want to say.

https://i0.wp.com/www.av.net.au/downloads/bonus_material/issue_3/zaia_3.jpg

Set rising up on the three stage lifts

https://i1.wp.com/www.av.net.au/downloads/bonus_material/issue_3/zaia_4.jpg

Height and more height: performers on the set, flown from the grid and on the proscenium wall

https://i0.wp.com/www.av.net.au/downloads/bonus_material/issue_3/zaia_1.jpg

Fibre star cloth and projected constellations behind the cityscape by night

https://i2.wp.com/www.av.net.au/downloads/bonus_material/issue_3/zaia_2.jpg

Cityscape

 

trời quơi tui đã bỏ lỡ huhuhuhu!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

 

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art, community, contest, Exhibition, hand made, illustration, klbc, painting, sketch & draw, Travel, typography

K’ Sketchbook 2012

Finally – DONE

Sleep all day

Here is my work: klbc’s Sketchbook 2012

Look forward the Beginning day  of the TOUR!!!!!!!!

  • Brooklyn, NYApril 14th-30th
    Brooklyn Art Library
    103A N. 3rd St
    Brooklyn, NY 11249
  • Chicago, IL
    May 3rd-5th
    Hyde Park Art Center
    5020 S. Cornell Avenue
    Chicago, IL 60615
  • Portland, OR
    May 11th-13th
    The Cleaners at the Ace Hotel
    1022 SW Stark St
    Portland, OR
  • Vancouver, Canada
    May 15th-16th
    W2 Media Cafe
    111 W Hastings St.
    Vancouver, BC
  • Los Angeles, CA
    May 24th-26th
    iam8bit
    2147 W. Sunset Blvd.
    Los Angeles, CA
  • San Francisco, CA
    June 2nd-June 23rd
    Pop-Up Shop
  • Greater Boston Area
    July 6th-8th
    LynnArts
    25 Exchange Street
    Lynn, MA
  • Portland, ME
    July 11th-14th
    SPACE Gallery
    538 Congress Street
    Portland, ME 04101
  • Toronto, Canada
    July 18th-22nd
    The Gladstone Hotel
    1214 Queen St. W
    Toronto, ON
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community, hand made

Mergulho na imaginação (via inconstante)

I’m trying to do something small

Gulp. The world’s largest stop-motion animation shot on a Nokia N8. from Nokia HD on Vimeo.

Não dá pra deixar de ver o vídeo e o making of do clip Gulp, stop Motion em sua essência. Uma passadinha pelo site dos produtores é um mergulho na imaginação. O que eles dizem sobre o projeto: “Temos alguns clips exclusivos olhadinha nos bastidores na sessão de fotosNokiaGulp #, onde Aardman Animations e Nokia estão tentando definir um novo recorde mundial com “Gulp” o seu grande filme. No ano passado, com sucesso quebrou o recorde de menor de an … Read More

via inconstante

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art, community, contest, decoration, hand made, illustration, klbc, painting, sketch & draw

The Sketchbook Project 2012

The Sketchbook Project
It’s like a concert tour, but with sketchbooks.

___________________________________

Resources, rules, and other things to know

Details and overview

We recommend you read all the rules before e-mailing us with questions! Don’t let the rules scare you – they’re just here to help clarify the details!

Please send your sketchbook to:

Art House Co-op
C/o Sketchbook Project
103A N. 3rd St
Brooklyn, NY 11211

Project Overview

After you sign up to participate in the project, we’ll send you a package containing a custom-designed Sketchbook Project sketchbook with a barcode on it, your chosen theme, and detailed instructions about the project.

Themes

When you sign up for the project you will be able to choose from a list of 40 themes. You can select one for your book, or choose to have a theme randomly assigned to you. However, once you choose your theme you’re stuck with it – so please choose carefully. If you select the “random theme” button, the theme will be indicated on the sketchbook when you receive it (so please don’t email us about it prior to receiving your sketchbook in the mail). The themes are supposed to be a starting point, not a restriction, so remember to keep an open mind and consider the theme to be a guide.

The Exhibitions and Permanent Collection

After receiving the completed sketchbooks, the entire 2012 collection is exhibited on an international tour. Every completed sketchbook that we receive back in time will be included on the 2012 tour and cataloged and displayed in our permanent collection at the Brooklyn Art Library.

All dates and cities for the tour are subject to change.

The Digital Library

For a $20 fee, we will digitize your sketchbook and upload it to our online Library website. This means that people will be able to view your entire book online, leave comments, and tag it with subjects, media and other attributes. Sorry, but we cannot accept your own scanned images for upload to the website. This is a long process and the $20.00 goes toward the costs of manually scanning each page, building and maintaining the online database, and hosting the website.

Your Book

Don’t forget that your sketchbook is touring the country with us – we don’t want to be stuck in a car with your book if it’s covered in foul-smelling chemicals or constantly dispersing glitter! Please try to avoid the use of ties, sharp metal objects, random plastic things, art materials that could smudge, glitter, or any hazardous materials. Please note that although participants are welcome to rebind the books, the overall dimensions should not change and the width of the book should be not more than one inch across.

Notifications

Follow your book as it journeys across the continent! As a participating artist, you’ll be able to receive e-mail or text message notifications each and every time your book is checked out and read! Follow your sketchbook from city to city and connect with other artists and visitors as they experience your work. We’re not responsible for dropped texts, e-mail notifications that get sorted to the junk folder, or the costs associated with receiving text messages. Please note that notification settings can be changed at any time by logging in to your account.

Entry Fees

This is a massive, international project and there are many costs associated with its operation. Your entry fee isn’t paying for a sketchbook – you’re helping to offset material and shipping costs while supporting the Brooklyn Art Library. Your entry fee also helps cover expenses related to the maintenance of the website and digital library, supports our dedicated team of librarians, and allows thousands of sketchbooks to travel more than 20,000 miles. Phew! Unlike many galleries, we do not jury work. Everyone who sends us their completed sketchbooks postmarked by February 1st, 2012, will be included in the tour and our permanent collection.

Refunds

We do not offer refunds for artists who do not finish a sketchbook, regardless of the reason for incompletion.

Group Discounts

We offer group discounts for any group over four. We also offer discounts for educational groups – please contact us directly for more information.

Mailing your work to us:

  • Postmark your work by February 1st, 2012. We’ll do our best to get books into the tour that are mailed after this date, but we CANNOT guarantee it.
  • Please do not send packages that require us to be there upon arrival or require a signature. If you do, we will do our best to receive the package. However, we are not responsible for packages returned to sender if we are not able to receive them.
  • We try to check in work as quickly as possible. However, it is a lengthy process, especially close to the deadline. Please be patient while waiting to receive a notification that your book has been received and cataloged. Everything we receive will be checked in at least one week prior to the first exhibition date.

Your sketchbook will not be returned

We do not return sketchbooks. Your work will be included in the permanent collection of the Brooklyn Art Library and will always be available for viewing.

NFS

The Sketchbooks are not for sale.

Images on the Art House website

All the images in artists’ profiles and the project photos section are uploaded by the artist. Art House does not, and can not, upload or take photos of your work with the exception of official project digitization. If you want to upload your own images, make sure you take photos before you mail us your work.

Unforeseen Circumstances

Here at Art House, we do everything we can to keep your work in pristine condition. Unfortunately, unforeseen problems sometimes arise. We are unable to replace your work in the event of loss or damage. We are not responsible for missing, stolen, or destroyed artwork, but we’ll do our best to fix anything that happens. We know sketchbooks are a bit like children and we’ll treat them with care and respect!

Copyright rules

Your work is your work. We will never ever sell your physical work without your express permission. We retain the rights to use your work in promotional materials and advertising across all formats. We also reserve the rights to publish your work in an exhibition catalog or other Art House publication. We reserve all copyright to any published materials. Please note that digital images may be shared and disseminated under a noncommercial Creative Commons license, in order to better share the Sketchbook Project with a global audience.

Emailing

We will do our best to respond to your email in a timely manner. However, please remember to read through our FAQs and rules before contacting us. The best way to ask a question is to visit our support board. We cannot respond to all emails, especially around deadlines when things get extremely busy. Our thanks for your patience!

Exhibition Photos

We document each exhibition and encourage participants and visitors to take photographs of the Sketchbook Project tour. Photographs of submitted books may not be used commercially without the consent of both the artist and Art House.

Summary of rules

Everybody likes to skip this part, but we recommend you don’t! We’ve kept it short and sweet:

  • If you didn’t complete last year’s sketchbook, we cannot accept it for this year’s Project. Please sign up for the 2012 project to participate!
  • Your book must remain within the dimensions of 1 x 5.25 x 7.25 inches. It can open up to something wonderful (of any size), but it must fold down to the original dimensions. You are welcome to unbind, rebind or alter the book in (almost) any other way. If you want to use a thicker stock of paper, go for it, but please do not make the book larger than one-inch thick.
  • Your barcode must remain in place on the book – no moving or covering it. An altered or unreadable label means we have to disqualify you from the tour.
  • You are free and encouraged to alter, design, and work on the cover of the sketchbook!
  • The theme is a great starting point, but in no way is meant to be a restriction. If you feel limited by it, just loosen up and have fun. It’s just a guide!
  • Your book must be postmarked by February 1st, 2012. No exceptions.
  • We do not offer refunds (including the fee for digitizing) for people who do not finish a sketchbook.
  • All sales are final! Please read the rules if you are unsure about signing up.
  • If you do not receive your sketchbook due to a shipping issue, you have until November 15, 2010, to notify us. After that date, we are unable to issue refunds or resend sketchbooks.
  • We reserve the right to switch sketchbook books, brands or sizes at any time without notice.
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art, comic, Comic Contest, community, contest, illustration, painting, sketch & draw

“Design the Polish edition of your favorite book”

“Design the Polish edition of your favorite book”

For reference, check out the many examples of book cover design in Poland on 50 Watts. You could also dig through sites like Terry Posters.

Prizes:
First: $400 USD
Second: 1000 Polish Book Covers and Born Modern: The Life and Design of Alvin Lustig
Third: Pioneers of Spanish Graphic DesignJudges:
—Aleksandra and Daniel Mizieliński, editors of 1000 Polish Book Covers, founders of Hipopotam Studio, and book collectors
—Peter Mendelsund, book cover designer and the man behind Jacket Mechanical
—Will Schofield aka 50 Watts aka the guy writing this

Details:
Submission deadline: Friday May 20th
Artwork: jpgs, about 600 px wide, sent to 50wattsContest[at]gmail[dot]com
—The submission fee is zero dollars, made payable to the Ghost of Jan Lenica
—Does the title need to be in Polish? That would be really fun, wouldn’t it? (But if you can’t quite master Google Translate or the accents, don’t worry about it!)
—Who is eligible?: Anyone in the entire universe, not just Poland.
—What do you mean by the “Polish edition”? I’m asking you to create a fake cover in the style of the Polish book designers featured in this post and elsewhere on 50 Watts. Do I have a preference for styles from 1920 to 1985? I do, but don’t let that “cramp your style.”
—What is your ulterior motive? Pierogi endorsement.
—How to describe the contest to your friends to get them to submit: 50 Watts is a website giving $400 for a book cover design.

For an extremely literal example of what I’m talking about (and this is also where I got the idea for the contest), the Spanish illustrator Javier Olivares created a fake Polish book cover for one of his whimsical side-projects. The cover on the left is a real Polish book cover (I featured it in this post) and the cover on the right is Javier’s fake cover. Javier kept the title/author of the Polish book, something I DON’T want you to do. For this contest, I hope contestants will look at all the many styles of Polish book design featured on 50 Watts, and design a cover for their favorite book (if I was participating, I would design a cover for my favorite book Jakob von Gunten by Robert Walser) in one of those styles.

This post is also the last of a series on the incredible, I-can’t-believe-it-exists book 1000 Polish Book Covers. (The first post focused on the covers of Daniel Mroz, the second on 1970s-80s covers). Edited by husband-and-wife illustration/design team Aleksandra and Daniel Mizieliński of Hippopotam Studio, the book is a fat brick of inspiration (dimensions: 4-5/16″ x 6.5″ x 3″): 310 designers and illustrators, 1040 pages, 2.4 ounces, covering 100 years of Polish book cover illustration.

Here are some of my favorites.

1945, Franciszka Themerson, The Strange Duckie

1947, Franciszka Themerson, Mr. Tom Builds a Home

1954, Bohdan Bocianowski, The Good Soldier Svejk

1956, Janusz Stanny, The Lost World

1956, Jerzy Jaworowski, For the Young

1956, Jerzy Srokowski, The Story of Palemon the Pirate

1957, Jan Mlodozeniec, Tortilla Flat

1957, Janusz Stanny, My General

1957, Jerzy Tchorzewski, Smiles

1958, Andrzej Czeczot, Karol Xi’s Vision

1958, J. Zbijewski, The Life of Ants

1959, Ignacy Witz, Wedding in Atomice

1959, Stanislaw Zagorski, Hole in the Sky

1960, Adam Kilian, Dragon’s Battle

1961, Janusz Stanny, Brain Puzzles

1961, Jerzy Flisak, I Didn’t Tell You

1961 Konstanty Sopocko, Solaris

1962, Bohdan Butenko, And You Will Be an Indian

1963, Roman Cieslewicz, The Circus or the Emotions of Great-Grandparents

1963, Waldemar Andrzejewski, The Strange Case of Colonel P

1964, A.A.Kowalewski, The Enchanted Sound

1964, Barbara Pochwalska, The Battle on the Bzura

1964, Janusz Stanny, Past the Ninth Mountain Past the Ninth River

1964, Szymon Kobylinkski, Fables for Robots

1965, Jerzy Kepkiewicz, The Fourteen from Werbruta

1968, Franciszek Starowiejski, A Child Carried by a Bird

1968, Jerzy Jaworowski, The Little Feather

1971, Andrzej Strumillo, The fiancee from the Sea

(I actually featured this book before)

1974, Jozef Wilkon, Tiny

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