Tag Archives: artist

!nsp!re – Walking Away From Your Dream

I wanted to share this article from Allison Ford on The Gloss. In it, she details her decision to “give up on her dream” of becoming an actress. Her words and perspective resonated with me; and I think anyone who has struggled with career choices could benefit from reading her story.

Here’s the thing: You can have more than one dream. So many who pursue a career in the arts become obsessed with the one thing they THINK they want that they become blind to all the other possibilities that are out there waiting to be explored.

This situation is exacerbated by parents and teachers who encourage students to “follow their dream” and “pursue their passion” despite being able to (sometimes) see that the student is poorly suited for the path they are choosing.

When I was young, I wanted more than anything else in the world to be an architect. It took a while for me to understand that unless I could muster some interest in math, my career as an architect was an empty, pointless pursuit. As it turns out, I loved the IDEA of being an architect; but not enough to put in the hard work it would take to become one.

That situation repeated itself with music. Again, I had a huge passion for music, living and breathing records, tapes, and going to see concerts. My parents bought me a guitar and after two years of practice, I had gotten to be… atrocious at playing guitar. I was unable to parse that musical dream into distinguishing between loving music and playing music.

And then, finally, there was art. Always art; since early in elementary school. I dove deep into sketching, painting, sculpture, oils, watercolors, graphics, batik, etc. I was going to be a great artist. Except for the fact that I wasn’t a great artist. I was fine but far from exceptional. That was a hard pill to swallow.

Once I got into theatre, I fell in love with scenery design. I had a teacher who encouraged that love and I made up my mind to be a set designer. My reasoning was that it was sort of like architecture and relied on my art training as well. But again, that dream died.

It died when I saw The Police on the Synchronicity tour in 1983 at the Houston Summit. That night, I saw moving lights for the first time (they were in their infancy). I didn’t know what THAT was – but I knew I wanted to do it. So on my way to becoming a lighting designer, I left at least four dead dreams in my wake; and I regret it not one single bit.

As it turns out, my chosen career combines elements of many of those discarded dreams into one pretty sweet package. Had I known that could happen 30 years ago, I could have saved myself a lot of trouble starting down paths I then abandoned.

But each of those paths added to what I ultimately became, so they were worthwhile after all. I still engage my passion and love for architecture, music, and art; in my career and in my life. So, ultimately, they don’t feel like discarded dreams – they’re just elements that added to the whole.

Pursuing your dreams has to be done with diligence, care, and thoughtful self-examination. Note that I said dreamS. You can have more than one!

!nsp!re: Rules of A Creators Life

I’m still figuring out what I want to say on the proposed elimination of the NEA and the NEH. So far everything I’ve tried to write has come out as a string of expletives; which doesn’t really further the conversation. So while I sort out my thoughts on that, I thought I’d just share a quick simple post from Creative Something.

Now, I realize few people get truly inspired by lists; and the quick format often favors somewhat cliche phrases – but every now and then a quick shot of inspiration is needed, so things like this can come in handy.

My faves on this list are:

2. MAKE YOUR OWN INSPIRATION.

Totally agree. Don’t wait to get inspired!

7. SHARE WHAT YOU LEARN

This may just be one of the most important lessons in art AND life. Share your knowledge. Share your inspiration. Share your passion. Use your talents and gifts to bring out the best in others.

8. IGNORE THE CRITICS.

With this one, I disagree. You can learn from critical commentary or analysis of your work from a qualified, thoughtful individual. A better entry might be IGNORE YOUR DETRACTORS.

You can see (and download) the whole list here.

!nsp!re: Read These Books

I get asked, pretty frequently, to recommend reading resources for my line of work (entertainment live show design). Here you will find a constantly updated list of the books and I have found useful, across a variety of related subjects. They are grouped by category.  Enjoy!

Creativity

The Accidental Creative – Todd Henry

Art Before Breakfast – Danny Gregory

The Artist Within: A Guide to Becoming Creatively Fit – Whitney Ferre

Brain Storm: Unleashing Your Creative Self – Don Hahn

The Collaborative Habit: Life lessons for Working Together – Twyla Tharp

The Creative Fight – Chris Orwig

The Creative Habit – Twyla Tharp

Drive – Daniel H. Pink

The Element: How Finding Your Passion Changes Everything – Sir Ken Robinson

One Little Spark – Marty Sklar

Start With Why – Simon Sinek

Steal Like An Artist – Austin Kleon

Taking The Leap – Cay Lang

 

General

Backstage Handbook – Paul Carter

The Business of Theatrical Design – James L. Moody

Careers in Technical Theatre – Mike Lawler

Digital Technical Theater Simplified – Drew Campbell

Stagecraft Fundamentals – Rita Kogler Carver

Starting Your Career as a Theatrical Designer – Michael J. Riha

 

Audio

Live Sound Mixing – Duncan R. Fry

Sound Check: The Basics of Sound and Sound Systems – Tony Moscal

Sound Systems: Design and Optimization – Bob McCarthy

 

Automation

Automation in the Entertainment Industry – Mark Ager & John Hastie

Mechanical Design for the Stage – Alan Hendrickson

Theatre Engineering and Stage Machinery – Toshiro Ogawa

 

Concert/Touring/Event

Access All Areas: A Real World Guide to Gigging and Touring – Trev Wilkins

Concert Lighting: Techniques, Art, and Business (third edition) – James L. Moody

Freelancer’s Guide to Corporate Event Design – Troy Halsey

 

Control/Data

Control Freak: A Real World Guide to DMX512 and Remote Device Management – Wayne Howell

Lighting Control: Technology and Applications – Robert S. Simpson

Practical DMX – Nick Mobsby

Show Networks and Control Systems – John Huntington

Rock Solid Ethernet – Wayne Howell

 

Costuming

Costume Design – Barbara Anderson & Cletus R. Anderson

Costume Design: Techniques of Modern Masters – Lynn Pecktal

Costume Designer’s Handbook – Rosemary Ingham & Liz Covey

Costume Craftwork On A Budget – Tan Huaixiang

Character Costume Figure Drawing – Tan Huaixiang

 

Design/Drafting

Autocad: A Handbook for Theatre Users – David Ripley

Computer Visualization for the Theatre – Gavin Carver & Christine White

Designer Drafting for the Entertainment World – Patricia Woodbridge & Hal Tine

Drawing and Rendering for the Theatre – Clare P. Rowe

From Page to Stage: How Theatre Designers Make Connections Between Scripts and Images – Rosemary Ingham

Fundamentals of Theatrical Design – Karen Brewster & Melissa Shafer

Scenic Design and Lighting Techniques: A Basic Guide For Theatre – Chuck Gloman and Rob Napoli

Showcase: Developing, Maintaining, & Presenting A Design-Tech Portfolio for Theatre and Allied Fields – Rafael Jaen

The Handbook of Techniques for Theatre Designers – Colin Winslow

Scene Painting Projects for Theatre – Stephen Shirwin

 

Electricity

Electricity for the Entertainment Electrician and Technician – Richard Cadena

Ugly’s Electrical References – George V. Hart

Wiring Simplified – HP Richter and WC Shawn

 

Lighting

Automated Lighting: The Art and Science of Moving Light – Richard Cadena

The Automated Lighting Programmers Handbook – Brad Schiller

Basics: A Beginner’s Guide to Stage Lighting – Peter Coleman

A Practical Guide to Stage Lighting (Second Edition) – Steven Louis Shelley

Stage Lighting Design: The Art, The Craft, The Life – Richard Pilbrow

Media Servers for Lighting Programmers – Vickie Claiborne

The Assistant Lighting Designer’s Toolkit – Anne McMills

 

Makeup

The Makeup Artist Handbook – Gretchen Davis & Mindy Hall

Special Makeup Effects for Stage and Screen – Todd Debreceni

Wig Making and Styling – Martha Ruskai & Allison Lowery

 

Rigging

Entertainment Rigging: A Practical Guide for Riggers and Designers – Harry Donovan

An Introduction to Rigging in the Entertainment Industry – Chris Higgs

Stage Rigging Handbook – Jay O. Glerum

 

Scenery

Stock Scenery Construction Handbook – Bill Raoul

Scenic Art for the Theatre – Susan Crabtree & Peter Beudert

Structural Design for the Stage – Alys Holden & Ben Sammler

 

Special Effects

Basics: A Beginners Guide to Special Effects – Peter Coleman

Sharing: “How Creative Achievement Eases Your Fear of Dying”

Quick share of an interesting article  on “symbolic immortality”, which refers to an individual’s creation of a lasting figurative relationship with life that shapes culture. It’s based on a study published in the Journal of Creative Behavior.

The article, “How Creative Achievement Eases Your Fear of Dying” helps explain why some people create; driven by a fear of death which is then somewhat assuaged by the art they produce.

The Stories Behind Aulani, a Disney Resort and Spa

Today marks the fifth anniversary of the morning I stood on the balcony of the Maka’ala and saw a glorious rainbow emerge above Waikolohe Valley. In Hawaiian, rainbows suggest transformation and that’s certainly an accurate word to describe my experience here.

The first guests were welcomed to Aulani, a Disney Resort and Spa, located in Ko Olina on the island of O’ahu five years ago today. In that time, the resort has quickly become one of the most popular family vacation destinations in the world. What happens when Disney, a company of storytellers, comes to Hawaii, which is full of storytellers?

Magic. That’s what happens.

So, while much has been written in the travel press about the resort and it’s amenities, I want to give you an artists look at Aulani, and share some of the ideas and concepts behind it. In other words, it’s time to “talk story”…

Ahupua’a

Ahupua'a
Ahupua’a

Central to Aulani was the concept of “ahupua’a“, a complex system of land division dating back to when the islands were ruled by chiefs. An island would have multiple ahupua’a – wedge shaped plots of land that stretched from the mountains to the sea. Within each ahupua’a were most of the necessities to sustain a community – water from mountain streams, koa and other trees in the upslopes for building structures and canoes, farmland in the valley for animals and crops of taro, the lowland and beaches for living, and the sea for fishing. Whatever could not be found in one ahupua’a might be traded for something of value from another; enabling trade and commerce. While this certainly seems a practical approach, it’s actually rooted in Hawaiian spirituality. The Hawaiians believed in the interrelationship of humans and the elements. The ahupua’a infused all of the elements of nature into the activities of daily and seasonal life. Not only were all of the elements necessary and important but so was each person and their contribution to the community. You hunted, or built, or gathered, or cooked, or fished. Each person had value. Each contribution to the community had value.

Waianae Tower
Waianae Tower

If you look at Aulani, you’ll see that the hotel towers begin far from the beach. They represent the mountains, and just like the mountains, decrease in height as they approach the water. Large timber elements grace the facades of the towers, representing trees in the upper reaches of the mountains.

Waikolohe Stream
Waikolohe Stream

In the Waikolohe Valley below, multiple sources of water meander through areas thick with lush, overgrown foliage; spanned by “old” bridges. Dark-colored textures and stones appear within this area of the valley.

As you get closer to the beach, the landscaping thins and the stonework becomes more arid, similar to the Ewa plain upon which the resort is built; and as you get closer the beach, small structures begin to appear as they would have in the lowlands of old Hawaii.

DUALITY

Another element underlying Aulani is that of gender duality; acknowledging that everything has a masculine and a feminine side. This is expressed primarily in two areas. First, on either side of the Maka’ala as you enter through the front doors of the resort, there appear two streams. The one on the left (the Ewa side) is tranquil and calm (feminine). The one on the right (the Waianae side) is lively and boisterous (masculine). Further representation of this concept can be found on the towers themselves. The Ewa tower features rounder, softer graphic elements. The Waianae tower’s graphic elements are sharper.

Waianae Tower Detail
Waianae Tower Detail

Additionally, the sides of each tower capture, in magnificently oversized bas relief, key Hawaiian legends

Maui Bas Relief
Maui Bas Relief

LOOK TWICE

Aulani is suffused with the Hawaiian concept of “look twice, see three times”. This is perhaps most evident in Pu’u Kilo. At first glance it appears to be a caldera. Upon closer inspection, there appear to be discernible shapes. An even closer look reveals silhouettes of island animals carved into the face of the caldera.

Do you see the whale?
Do you see the whale?

A HALE (or home) FOR ART

Guests are welcomed to Aulani through Maka’ala. Maka’ala is distinguished on the exterior by three large arches, echoing the inverted hull of a canoe (which is how the first polynesian settlers arrived). The interior of the lobby features a wraparound mural telling the story of the islands, from its pre-contact days through the present. The mural, along with the rest of the art on the property, was created by Hawaiian artists. The resort houses the single largest collection of original Hawaiian art (outside of a museum) in the world.

Maka'ala
Maka’ala

SMALL TOUCHES

Hundreds of details abound across the property. Instead of tiki torches, the resort has custom designed torches inspired by one of the Hawaiians first sources of artificial light – the Kukui nut. At the entrance, you aren’t greeted by tiki figures (tiki is not Hawaiian) but by Hawaiian Ki’i figures). The guest room carpet features sculpted Taro leaves, one of Hawaii’s original food sources. Everywhere you look, graphics and design elements rooted in Hawaiian history tell a story.

Kukui Nut-inspired fixtures
Kukui Nut-inspired fixtures

CULTURAL SENSITIVITY

None of this would have happened without a concerted effort and outreach to local leaders, artisans, elders, Auntys, and Hawaiian historians and scholars. They shared their history, their knowledge, their stories, and their hearts with the Imagineers who were tasked with designing and building Aulani. That desire to honor Hawaii and its people is abundantly clear; and the resort delivers on its original intent which was to be authentically Hawaiian, yet distinctly Disney.

!nsp!re – An Evening at MorYork

Text Tile Art
Text Tile Art

Recently, I had the opportunity to spend the evening at MorYork. It’s tempting to call it an art gallery (which it is) or a studio (true also) but a better description might be what Los Angeles magazine describes as a “modern day cabinet of curiosities” in this article from March, 2015.

Lighthouse Mirror
Lighthouse Mirror

Located at 4959 York Blvd in Highland Park, in a building that formerly housed a Safeway and a roller rink before falling into dereliction in the mid-80’s when it was purchased by artist Clare Graham, it serves as gallery, studio, incubation, and event space.

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The building, with high ceilings and wonderfully creaky original wood floors, is packed to the rafters with Clare’s work and collections of ephemera.

Floor Detail
Floor Detail

 

Furniture made from soda can pop-tops sits next to a display case filled with primitive carved sex toys. A whole series of art features stuffed animals sealed in plastic and bound together with twine.

An armoire inlaid with teeth
An armoire inlaid with teeth

Still other corners reveal furniture inlaid with human teeth, woodblock art, armoires covered in scrabble tiles, and display cases filled with animal skeletons and doll heads.

Skeleton and Vials
Skeleton and Vials
Caged Doll Head
Caged Doll Head

One enormous section of shelves near the entrance is filled with vintage carnival knock-down dolls while the opposite end of the space is dominated by a stunningly gorgeous lighthouse mirror.

Carnival Doll
Carnival Doll

It’s a mind-boggling, fascinating, and intoxicating environment. Added to the mix is Clare’s recent decision to invite music artists in to perform at MorYork. Alma Sangre (a trio with flamenco) and Edith Crash (LA-based French singer-songwriter) provided a lively evening during our visit, interspersed with drinks and munchies, all surrounded by this incredible collection.

Edith Crash
Edith Crash
Alma Sangre
Alma Sangre

The mix of art and music works, especially because neither is held up as being particularly “precious”. Clare’s work (which has often used recycled materials) is as much about craftsmanship as it is about anything. He’s an approachable artist who has a tremendous respect for, and love of, craft. That’s evident by his work on display at MorYork, and in the musicians that are selected to perform there.

If you’re looking for a deliciously surreal place to spend some time, I’d suggest taking a trip down the rabbit hole that is MorYork.

 

!nsp!re – Guillermo del Toro: At Home With Monsters @ LACMA

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Several weeks ago, I had the opportunity to attend the member preview for a new exhibit at the Los Angeles County Museum of Art (LACMA) – GUILLERMO DEL TORO: AT HOME WITH MONSTERS. The exhibit focuses on the artistic life and influences of filmmaker Guillermo del Toro (Crimson Peak, Pan’s Labyrinth).

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Costume detail from "Crimson Peak"
Costume detail from “Crimson Peak”

For those who have read his book, “Cabinet of Curiosities“, this exhibit is especially thrilling. In the book, readers get a view inside Del Toro’s suburban Los Angeles home (named “Bleak House”). The home is packed with all manner of unusual oddities, props, artwork, and collections.

Satan and Death with Sin Intervening by Henry Fuseli
Satan and Death with Sin Intervening by Henry Fuseli

 

Arm of Hosts by Dave Cooper
Arm of Hosts by Dave Cooper
Illustration from "Don't Be Afraid of the Dark"
Illustration from “Don’t Be Afraid of the Dark”

In this exhibit, those collections have been placed on view for the public; and it is horribly magnificent. The show is not a retrospective of Del Toro’s work; but a look at his influences and inspirations. In keeping with that idea, the exhibit is laid out thematically. Paintings, drawings, maquettes, full size sculptures, and more bring Del Toro’s unique visions into full relief in this exhibit that surrounds and immerses you into one mans fever dream.

A Life-sized sculpture of Schlitzie and Johnny Eck, both by Thomas Kuebler.
A Life-sized sculpture of Schlitzie and Johnny Eck, both by Thomas Kuebler.
Life-size sculpture of Ray Harryhausen by Mike Hill.
Life-size sculpture of Ray Harryhausen by Mike Hill.

The work of many artists is on display, and its easy to see where Del Toro derives his inspiration.

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Sculptures by Mike Hill
Sculptures by Mike Hill

Taking its inspiration from the tone and architecture of Bleak House, the exhibit is housed in an architectural shell, with long hallways that twist and turn, opening into room after room. The walls and other elements are in muted tones of black, gray, and blood red. The use of rafters overhead is enhanced by lighting that casts shadows onto the ceiling and surrounding walls.

One room in particular is modeled after Del Toro’s writing room, in which a perpetual rainstorm falls outside the “windows” of the room.

007The exhibit is truly wondrous. It’s a through and detailed examination of artistic inspiration and process. A good example is that there are several of his notebooks on display. Since they could easily be damaged by the public, all the pages have been scanned and patrons can flip through them virtually on a touch-screen adjacent to the actual notebook. It’s a great way of revealing the artist while preserving the work.

El Velo Negro by Pedro Meyer
El Velo Negro by Pedro Meyer

I have only two small quibbles with the overall exhibit. The first is that it appears to have been put together quickly. The finishes on the display vitrines are somewhat slap-dash, with visible paint brush marks and drips. One would think that an exhibit with this sort of “draw” in the marketplace would have warranted a greater attention to detail. My other minor negative comment is that I would have loved to seen LACMA embrace a greater degree of theatricality through lighting and video. The black costume from “Crimson Peak” is especially poorly lit, diminishing its detail and beauty.

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003Finally, there’s also a great book/catalogue that has been published in conjunction with the exhibit (Guillermo Del Toro: At Home With Monsters: Inside His Films, Notebooks, and Collections). The book goes into even more detail about Del Toro’s process, journals, and inspirations.

The exhibit is on view through November 27, 2016. Admission is free to members (which I highly recommend by joining here) or with regular admission ($15) to the museum.

!nsp!re – 19 Daily Habits To Unlock Your Creativity

Today’s share comes from Katherine Brooks at Huffington Post. It’s a list of brief reminders/habits/thoughts from fellow artists than can help with getting out of a creative rut. Here are a few of my favorites:

#10: When in doubt, ask for help.

I’m absolute crap at asking for help, so this one is good for me.

#11: Find inspiration in mundane places.

This one fits perfectly into one of my core beliefs – inspiration is everywhere. We have to work hard sometimes at seeing it, but it’s always there.

#14: Let yourself be impulsive.

This one can be tough. Between deadlines and other obligations, we often feel we can’t just go off and see/do/experience. But every now and again, it’s creatively rewarding to break away from the routine.

I hope you find some new favorites on the full list.

!nsp!re – Thomas Lauderdale’s Portland Loft

Pink Martini with Storm Large
Pink Martini with Storm Large

I recently saw Pink Martini in concert at the Segerstrom Concert Hall. Even though I’ve seen them six times previously (dating back to 2002), this was my first with singer Storm Large (who now shares lead vocals with original singer China Forbes). It had been a while and I had forgotten what a great experience it is seeing and hearing them –  such an incredibly talented group of musicians who seem to genuinely enjoy what they do.

I went to the show with a great friend and, during intermission, was telling her about this article I had read in Portland Monthly about the loft that Thomas Lauderdale (Pink Martini’s bandleader and pianist) lived in.

Thomas Lauderdale at home
Thomas Lauderdale at home – Photo: Lincoln Barbour

The article (here) details how Thomas and his then-partner, Philip Iosca, a notable designer and artist, remodeled Thomas’ 9,200 square foot loft in the Harker Building.

The Harker Building and designer Philip Iosca
The Harker Building and designer Philip Iosca –
Photo: Lincoln Barbour

Thomas was renting the building early on for $400 per month but was able to buy it once Pink Martini’s first album became successful. In the article, Thomas says, “The message with this building is that you can do something fantastic and not go broke. It just requires problem-solving, ingenuity, and a certain sense of humor”.

The Harker Building - Living Room
The Harker Building – Living Room – Photo: Lincoln Barbour

Philip opened up the space which was a warren of hallways and bookcases, allowing light in; and creating large rooms for entertaining.

The Harker Building - Dining Room
The Harker Building – Dining Room – Photo: Lincoln Barbour

What I enjoyed most was seeing how a designer known for his minimalist approach worked with an avid collector to curate his home into a beautiful design statement. When two artists work together, the results can be even more incredible, as this project demonstrates!

 

 

!nsp!re – 12 Days of Cre8tivity: Incomplete Manifesto For Growth

Day 3 of 12 Daily Posts, sharing inspiration from around the web.

Bruce Mau is a global design firm specializing in brands and environments, comprised of graphic designers, architects, writers, and managers with backgrounds in fine arts, multimedia, advertising, music, film, and business. In 1998, Bruce Mau wrote a design manifesto for growth, articulating his beliefs, strategies, and motivations; using it as a basis for his company’s design process.

It’s a great statement of creative purpose; and one I keep bookmarked as a reminder for when I get stuck. Take a look at it here.