“I find many adults are put off when young children pose scientific questions. Why is the Moon round? the children ask. Why is grass green? What is a dream? How deep can you dig a hole? When is the world’s birthday? Why do we have toes? Too many teachers and parents answer with irritation or ridicule, or quickly move on to something else: ‘What did you expect the Moon to be, square?’
Children soon recognize that somehow this kind of question annoys the grown-ups. A few more experiences like it, and another child has been lost to science. Why adults should pretend to omniscience before 6-year-olds, I can’t for the life of me understand. What’s wrong with admitting that we don’t know something? Is our self-esteem so fragile?”

– Carl Sagan, The Demon-Haunted World: Science as a Candle in the Dark 


“The ability to ‘fantasize’ is the ability to survive. It’s wonderful to speak about this subject because there have been so many wrong -headed people dealing with it…the so called realists are trying to drive us insane, and I refuse to be driven insane…we survive by fantasizing. Take that away from us and the whole damned human race goes down the drain.”

~Ray Bradbury


Over the last two years I’ve been learning a wide range of printing techniques; Etching, Lino, Collographs, Drypoint, Wood block printing and Solar plates. This exploration of techniques through the printmaking world, has allowed me to convert my drawings and sketches into works of art. I’ve gathered quite a collection over the last 24 months and I’m exhibiting a few at an upcoming exhibition at The Hazelhurst Gallery in Gymea.

21 printmaking artists will be showing a small selection of works. The exhibition will also include some of the plates that we use so that viewers can understand how the prints are made.

Here is a link to the catalog that one of the artists has put together.

The exhibition runs from the the 5th – 18th of February. Opening is at 2pm on the 7th of February 2015.

More info can be found here-



John Maeda once explained, “The computer will do anything within its abilities, but it will do nothing unless commanded to do so.” I think people are the same — we like to operate within our abilities. But whereas the computer has a fixed code, our abilities are limited only by our perceptions. Two decades since determining my code, and after 15 years of working in the world of branding, I am now in the process of rewriting the possibilities of what comes next. I don’t know exactly what I will become; it is not something I can describe scientifically or artistically. Perhaps it is a “code in progress.”


Dieter Rams

Back in the late 1970s, Dieter Rams was becoming increasingly concerned by the state of the world around him – “an impenetrable confusion of forms, colours and noises.” Aware that he was a significant contributor to that world, he asked himself an important question: is my design good design?
As good design cannot be measured in a finite way he set about expressing the ten most important principles for what he considered was good design. (Sometimes they are referred as the ‘Ten commandments’.)

Here they are.

Good Design is innovative – The possibilities for innovation are not, by any means, exhausted. Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology, and can never be an end in itself.

Good Design makes a product useful – A product is bought to be used. It has to satisfy certain criteria, not only functional, but also psychological and aesthetic. Good design emphasizes the usefulness of a product whilst disregarding anything that could possibly detract from it.

Good Design is aesthetic – The aesthetic quality of a product is integral to its usefulness because products are used every day and have an effect on people and their well-being. Only well-executed objects can be beautiful.

Good Design makes a product understandable – It clarifies the product’s structure. Better still, it can make the product clearly express its function by making use of the user’s intuition. At best, it is self-explanatory.

Good Design is unobtrusive – Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.

Good Design is honest – It does not make a product more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.

Good Design is long-lasting – It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years – even in today’s throwaway society.
Is thorough down to the last detail – Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the consumer.

Good Design is environmentally friendly – Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and Visual pollution throughout the life-cycle of the product.

Good Design is as little design as possible – Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.

An interesting article comparing Apple Design with Dieter Rams designs for Braun…
Braun vs. Apple: Inspiration Or Peculation?


“Most people make the mistake of thinking design is what it looks like. People think it’s this veneer — that the designers are handed this box and told, ‘Make it look good!’ That’s not what we think design is. It’s not just what it looks like and feels like. Design is how it works.” – Steve Jobs


Interesting insight by Robert Greene…

“…the difference between people who are successful and not are that those who are successful seemed to know from the age of 7 or 8, maybe older, they’re very in tune with what they love. I compare it to a voice inside their head, not literally a voice but something that says “you really are drawn to this subject” and they hear it throughout their lives. For me it was writing and books, since I was a kid. At any time I deviated from that love and went into something else, I was just so unhappy and I knew that I wasn’t doing the right thing. It’s just this voice that keeps drawing you back to what you really, really love.”


I’ve just finished watching Jerry Uelsmann & Maggie Taylor: This Is Not Photography. a documentary released by

and I can’t believe that I’ve never come across Jerry Uelsmann’s work before.
During the 1960s at a time when most photographers were focused on documenting reality, Uelsmann began exploring creative compositions in the darkroom with his photographs. Unlike Cartier-Bressons view, Jerry Uelsman’s decisive moment doesn’t occur at the click of the shutter, they happen in the darkroom. By using multiple enlargers, combining multi exposures and sandwiching negatives together he began making dreamscape compositions that got him his own one-man show at the Museum of Modern Art in 1967.
The fixed image on a piece of paper is an antique photographic process which he has managed to keep fresh even in todays modern digital age. I love the way he describes the magic moment when the developer reveals the image in the liquid bath. I’m so glad that I had the opportunity to experience that when I studied photography at Uni. It makes me wonder how many students if any have that chance now that we have the convenience of digital cameras.
Jerry Uelsmann

Whilst his images pre date photoshop, his partner Maggie Taylor embraced photoshop back in the early Adobe days and also creates surrealist images that are oddly bizarre and magical. She scans items and he photographs items on a light table. And together but separately they lean on each other for advice and inspire each other to work in their own mediums. He in the darkroom and she on the computer. A Lovely partnership or art, love and companionship.


Here is the preview:



Janet Echelman creates interactive artworks that are breathtaking and inspiring, watch the TED talk by Janet Echelman: Taking imagination seriously.

Excerpt from Ted Blog:

These were some of the comments heard at TED2014 about Skies Painted with Unnumbered Sparks, a collaboration between sculptor Janet Echelman and data artist Aaron Koblin. This monumental sculpture stretched 745 feet, from the Vancouver Convention Centre where TED was held, over an open-air plaza on the edge of Vancouver Harbor and up to the top of the Fairmont Waterfront hotel. Every night while the temporary sculpture was installed, from March 15-22, 2014, dozens of people could be seen across the street setting up cameras and tripods to capture the glowing spectacle. Meanwhile, underneath the sculpture, even greater numbers of people gathered, most of them with their phones out. Using a phone, they could draw lines, squiggles, webs, and water drop rings onto the sculpture’s lush purples, blues, pinks and oranges.

Aaron Koblin: Visualizing ourselves … with crowd-sourced dataAaron Koblin: Visualizing ourselves … with crowd-sourced dataKoblin, of Google’s Data Arts Team, told us a little about how it worked.

“The lighting on the sculpture is actually a giant website,” Koblin says. “It’s one huge Google Chrome window spread across five HD projectors. The content is being rendered in WebGL. It uses Javascript and shaders to render particles and sprites based on user motion, which is transmitted from mobile browser to our rendering browser via websockets. There are a lot of moving pieces here, from the local area network to the server (written in Go), to the sound system (also running in Chrome with Web Audio API) all the way through the LED light control system, which pulls pixel data directly from the browser.”

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