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Stacey

Live

The one where I nearly gave an injection!

I’ve been phobic about injections and hypodermic needles for as long as I can remember. Well, since I was hospitalised with pneumonia at the age of 5, which is pretty much the same thing. You dont need a psychiatry degree to realise that the two thing are related. Being given regular jabs of penicillin is also a pretty hardcore way to find out you are allergic to it.

So, since then, having any type of injection has always been a bit of a trial. Some have been worse than others – I choose my dentists based on their approach to pain jabs, but in-and-out travel clinics are less accommodating of panic attacks! Trypanophobia (as it is known, amongst other things) is pretty common, though hard to get specific statistics on. There is even some evidence cited in a pionerring paper on needle phobia by Dr. James G. Hamilton that it has an evoloutionary basis. I suppose it makes some sense that humans would try to avoid ‘stab’ wounds and skin punctures, or at least be stressed by them.

Basic research (Google, obvs) tells me that my type of phobia is ‘associative’ or ‘classic’. This is where the phobia is linked specifically to a painful medical procedure or experience and is the second most common type.

The second type of needle phobia is the classic phobia.  This results from a early traumatic experience during a medical needle procedure.  In the case of needle phobia, it is usually a medical event that occurs between the ages of roughly 3 and 6 years.

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So I’m in good company, with this affecting a large percentage of needle phobics. I don’t like having injections, being near injections, looking at needles, or even seeing them on the TV. And for those  who say ‘but you’ve got loads of tattoos’, this is a completely different thing. Tattoo needles don’t penetrate in the same way, they don’t inject deep into the skin and they don’t feel anything like an injection.

So, what’s the point of telling you all this? Well, last week I NEARLY GAVE AN INJECTION.

Only nearly, mind.

My Mum had to go into hospital at short notice for some surgery. The surgery was planned, but the timing of it wasn’t – they decided at 4pm the day before to whisk her in at 7.30 the next morning. So, it was all a bit of a whirlwind. Luckily, it was day surgery and as everything had gone well, she was allowed out that evening. I went to the hospital in the afternoon to see her and to pick her up.

She was a bit fragile and a bit woozy but quickly started to improve and within a short time they confirmed she could be discharged – we just had to get the meds and do the paperwork. So, pain relief as expected and then the nurse almost casually dropped in the bit about 2 weeks worth of injections, the first of which to be given that evening, in the stomach.

Neither of us were quite sure we had heard correctly, but yes, it’s something that protects against DVT and has to be given when the patient is not able to move around. The syringes come pre-filled with the correct dose and are ready to roll. All you have to do is inject them. All. You. Have. To. Do.

Now, clearly, it is much, much worse for the person having the injection, and I understand fully how having a fear of needles is a bit silly at my age, but this was a pretty surprising turn of events, to say the least! This was the first time I ever had to hold a syringe, let alone actually stick it in someone! Firstly, while they talk you through how to do it before you leave the hospital, the simple fact is that sticking a needle into someone’s skin is not something that comes naturally. Or without, ya know, specialist training. Especially hard, I think, when it’s your Mum and she’s just come out of surgery.

Secondly, they didn’t really say how quick or slow to do it. Either the sticking bit or the plunging bit (it’s making me feel a bit weird even just writing this), so while I did actually get the needle out of the packet and hold it, when it came to it I just couldn’t do it. It felt so alien and so like I could get it wrong that I froze. My Dad, who is much stronger than me, had to take over.

Poor Mum, a week and a bit on sounds like she’s feeling like a pin cushion (two weeks is a LOT of injections), though is recovering well. Me, well, I’m hardly cured of my phobia, but I did hold a needle, and look at it and seriously consider doing it. A few years ago it feels like that would have even been much more difficult. So, progress, of sorts!

My lovely Mum.

 

 

 

 

Design

The American Dream – pop to the present

I almost can’t believe that I’ve never been to the British Museum before. Not sure how I’ve managed to miss that. I suppose I had always assumed it only houses really old stuff, which of course it does, but when I saw that was an exhibition being staged that is dedicated to American pop artists from the past 60 years, I booked tickets.

The thing that first catches your eye when you arrive through the main entrance isn’t a collection or exhibition at all; it’s the vast Norman Foster designed Great Court. A two-acre light and airy enclosed space, with the reading room at the centre and a selection of eateries and shops, making it the largest covered public square in Europe.

The impressive ceiling is the only thing I was allowed to take a photo of, as there were no cameras allowed in the actual exhibition.

‘The American Dream – pop to the present’ is as much about the skill and nature of the medium of printmaking as it is about the pieces on show. All of the greats of printed American pop art are represented in this collection – Warhol, Johns, Rauschenberg, Rusha, Litchenstein and more. As you move through the pieces you follow the story of modern-day America, told through a series of, in some cases, quite stunning artworks.

It’s a superbly large collection, with 12 rooms of exhibits. The journey kicks off with a heavy hitter straight away; two separate Warhols set against a blood red wall. From the moment you enter, there is not one room that doesn’t contain something outstanding, and there is way too much to mention (or for me to do justice to). The warm orange ‘Made in California’ section is a favourite of mine and the Edward Ruscha ‘Standard Station’ print which has been used on much of the marketing materials for the exhibition is breathtaking in its simplicity and graphic brilliance.

This exhibition is being staged at a time where it feels like the ideals of the American Dream are under closer scrutiny than ever before, where the dream seems to be fading, if not dying. In that way this collection is even more interesting and relevant. I can’t recommend it enough.

It’s so good I might go and see it again.

The American Dream – pop to the present, on until 18 June 2017.

 

Live

Photography Course London

While we were in Hong Kong at Christmas, it occurred to me that we never take a camera on holiday anymore. Or anywhere. Obviously we’ve got cameras on our phones and obviously I am always snapping all sorts of nonsense to stick on Instagram, but the (quite expensive at the time) DSLR camera we have at home sits in its bag, never leaving the house. There were so many amazing sights on that holiday which could only really be captured with justice by a decent camera with actual settings, that it made me realise that even if I had brought the camera with me, I don’t actually know how to use it.

A shout out on Twitter and a few course providers were quickly recommended. I liked the sound of the Photography Course London’s ‘Intense Foundation of Digital Photography – Level 1’. It looked comprehensive and even better, it was a Saturday course. With all the best intentions, I know that it is impossible to do anything intense after a day’s work, so a Saturday suited me perfectly. I booked up. The course is aimed at ‘complete beginners who own a Digital SLR camera and want to maximise its potential’, so it sounded perfect. I didn’t want anything with post-production as I can learn that from Madge (or make him do it for me…!!)

We had to bring an image along for discussion, so I set off bright and early up to Shoreditch with my camera, my 2 images (I couldn’t choose) and a notepad. The course is set in a small classroom environment, with everyone around a long table. I think there were 11 people; it’s nice that the classes are kept small, because it means that there is time for questions and it doesn’t feel too rushed.

Once we had all talked through our images we got on with the learning. The course itself is very much focused on how the camera works – the basics of getting the camera off the ‘auto’ settings and starting to understand how you can change things to get the best picture. There was a lot to take in and at some points it felt quite overwhelming. I felt a definite dip after lunch and by the time we got to fully manual settings at the end I was a bit at maximum information overload. But there were lots of very helpful and practical set up routines and tips. It was great to learn how to take depth of field pictures, as these are a particular favourite of mine.

There is not that much actual taking of pictures on this course, the focus is definitely on the theory and mechanics, though we did get out a couple of times for some shots in the courtyard.

It was a very cold and rainy day, so it was quite hard to enjoy the outside bits and we weren’t able to be out too long really. By the later point of the afternoon we were losing the light. We also took shots in the classroom, of eachother and of props – trying out the different settings and techniques we were being taught.

I really enjoyed the day. It was quite tiring and it is very intense. I’m glad I took lots of notes but I think I’d also like to buy a good book, to read and practice with in my own time. I’d definitely recommend the course, although if you are looking for a creative photography lesson this is not it. I might look at a follow up session in a few months, once I’ve got some practice under my belt. With a short trip coming up, I should get plenty of chance for that. This time, the camera is definitely coming 🙂

For those interested, the course covered:

  • Buttons and functions
  • Menus and settings
  • Aperture
  • Shutter-speed
  • ISO
  • Exposure
  • Introduction to White Balance
  • Auto Focus and Focus Points
  • Manual Focus
  • Exposure compensation and exposure lock
  • Basics of RAW
  • The light meter
  • Metering modes
  • Aperture and shutter speed priority
  • Manual mode
  • Depth of Field
  • Freezing and blurring motion
  • Basics of composition
  • Optimising the camera settings

All pictures here are all as they were taken – no colour correction or post production, all I’ve done is resize them for the internet.

 

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Play

Hair by Sam Mcknight

I wasn’t quite sure what to expect from an exhibition about hair, but I thought it might be fun to go and find out before it closed on 12 March, so I went along to Somerset House a couple of Thrusdays ago to see the Sam McKnight show.

It’s a major retrospective celebrating a 40-year career of one of fashion’s top image makers, and the first to showcase the role of the hairstylist on the catwalk and in creating iconic editoiral shoots. McKnight has worked on more Vogue covers than anyone else, styling supermodels and working with international fashion designers such as Chanel and Vivienne Westwood.

When we went it was very quiet, we were the only 2 people in the gallery and it felt like we had the place to ourselves. There are some amazing shots – Tilda Swinton, Kate Moss, Diana and all of the supermodels – and to be honest I got lost in the photographs, almost forgetting about the hair.

One thing that did amaze me though, were the shots of the models being styled backstage at the catwalk shows. It looks almost brutal – I don’t know how they put up with being pulled about by so many people!

It was a nice way to while away 45 minutes or so, and at £13 a ticket it wasn’t over-priced. And by the time we got to the bar at One Aldwych, we really felt like we deserved those cocktails!

Design

Design hero: Frank Pick

On my recent visit to the London Transport Museum, I was fascinated to see the design system and assets in one place, but also reminded how brilliant some of the graphic design – in particular the posters – has been over the years.

According to the Museum website, the modern graphic poster came into use in the 1890 and when Frank Pick was given responsibility for London Underground’s publicity in 1908, he recognised the potential of this powerful medium. Pick commissioned established artists such as John Hassall to design posters, and of course he went on to commission Edward Johnston to create the iconic typeface.

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Pick’s vision was that rather than focussing on the tube journey or transport, that people could be enticed to use the Underground by the attraction of the destination. This approach was soon adopted by bus and tram companies, featuring pictures of countryside scenes to encourage people to leave London for visits. Pick had a ‘passionate commitment to good design and an enlightened approach to the commercial application of art’, according to the London Transport Museum, and he commissioned artists and illustrators to fulfil his vision. Many younger and lesser-known artists went on to become famous.

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It is amazing that Pick trained and qualified as a solicitor, and as far as I can tell didn’t have any formal design qualifications. Yet his influence in steering the London Underground corporate identity, his vision in commissioning artists, illustrators and graphic designers and the establishment of an iconic brand language – the typography, the roundel and the visual style is still evident in London today, over 100 years since he first took on responsibility for the marketing of London’s Underground. Pick’s influence does not only extend over the graphic but also the architectural history of London.

“The test of the goodness of a thing is its fitness for use. If it fails on this first test, no amount of ornamentation or finish will make it any better; it will only make it more expensive, more foolish.” Frank Pick.

 

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Design

Tattoo: First session of 2017

That red heart. Yeah, that hurt. But the girl head is fully finished and it’s only the painful fleshy bits to go! I’m really pleased with how this is coming along, only a few more months to go!

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Design

Designology late debate, London Transport Museum

‘Designology’ at the London Transport Museum is a year-long programme of events, focussed around design and London’s transport – exploring how design makes London better. Subject matters include wayfinding, mapping, data, social behaviour, service design, street furniture design as well as branding and principles of one of the leading design systems in the world.

It’s been ages since I visited the London Transport Museum, so I was really pleased to go again, and booked specifically for the Late Debate, which also gets you entry to the Designology studios.

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Until you see all of the design system and principles together, you don’t fully realise how the persuasive identity of London’s transport system is actually, in large part, the visual identity and language of London.

All Londoners and visitors know the iconic typeface and brand assets, but seeing it there together, on signage, bus stops, and literature – in it’s earliest form and in modern digital – you get a true sense of how well this important London artefact has been cared for and protected, and how it is still as vital and relevent today as it ever was.

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It was fascinating to see original handrawn/marked up fonts.

IMG_8565And seeing individual pieces of film brought back memories from my print design and production days.

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I don’t know if there is any urban design language that is as influential as the London one, or as recognisable. What struck me was also not just the very recognisable brand assets, but also the wealth of graphic design generated by or for London Underground/Transport for London over the years. That’s a whole separate post!

But to the debates. So, the talks started at 8pm for an hour, and there were 4 to choose from:

Off the rails: Expert historians, authors and contemporary designers explore designing for the railways, sharing from the past and debating recommendations for the future.
Secrets behind the Tube map: Tube obsessed Londonist Video Journalist Geoff Marshall to explores the history, anomalies and oddities of our much loved London Underground Map.
Delight and surprise: Explore how our journeys can be impacted through moments of delight and surprise, and how such moments make London a world class leader in design.
Connect or forget: New London Architecture and a panel of expert speakers consider how the Tube and wider transport network has the ability to connect or forget regions and communities.

We chose the ‘Delight and surprise’ stream and heard interesting presentations from the team who curate the Art on the Underground programme, a new innovative scheme to use plants and bio installations in tube stations, how advertising has changed over the years and about how events are an important element in community programmes. The presenters were very interesting, especially the Art on the Underground one, but it never really felt like a properly curated debate. There wasn’t really enough in the subject matter to debate and with an hour to cover 4 topics it didn’t feel like any went into enough depth to get a robust discussion going.

That said, I really enjoyed the evening. I got to spend time with my friend Paul, immerse myself in lovely design things and drink wine in a superb venue. What’s not to like 🙂

 

 

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Design

Maison et Objet, Paris – part deux

There was so much to see at the show that it was almost impossible to cover in one day, let alone one blog post. So this second post focuses more on furniture and objects.

There were distinct themes and trends coming through. My favourite was the natural, scandi-influenced furntiure and styling, using natural palettes, fabrics and textures.

This table was a stand-out piece for me. It reminded me of long-lazy summer lunches and made me wish for a mediterranean terrace to set like this. The picture probably doesn’t do it justice, but it really was wonderful. I could imagine an outdoor wedding or birthday party full of friends and family around this table.

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There were lots of dusky pinks and slate colours, and light blues as accents.

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There was also some quirky stuff, which, in small doses in the right place could look quite cool. This bird and the weird wooden lamps were fun.

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This is literally a drop in the ocean on the items on display and the beautiful roomsets to view. You could easily spend a couple of days taking in the vastness of the show and spending time talking to the designers, but all too soon our whirlwind tour was over! I think we covered about 5 miles in the exhibition centre alone, so if you do go next year, wear comfy shoes!

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Design

Maison et Objet, Paris – part une

I was invited to attend Maison et Object with a friend who is an interior designer. I had never heard of the show before as the worlds of digital and interior design don’t really cross that often, but I was excited to find out what it was all about and learn a bit more about interior design.

An early start from home to London then a hop on the train across (well, underneath) the channel and we were soon in Paris. The Maison et Objet international trade fair is held in a huge, multi-hall complex out near the airport. There were (I think) 8 halls in total, covering sectors such as ‘Eclectic’, ‘Cosy’, ‘Elegant’ and many others, right through to ‘Fashion’ and ‘Beloved’, and many more. Quite a daunting prospect to cover that much ground in one day, but that’s all we had, so we dived straight in – starting at the very first row.

Immediately I saw much that caught my eye. These beautiful metal lamps and lightshades looked wonderful together, throwing out warm and homely light. They are from a company called Zenza, based in the Netherlands, and I wanted them all!

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There were some real standout themes for me; silver coloured metals, drop lighting and coloured glass, along with North African inspired colours, set against natural palettes and fabrics really worked.

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Talking of metals, there were pinapples everywhere – though not many in silver, like this one.

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There was lots of lighting at the show, and these ones from Le Deun really stood out for me. I’d love to use these somewhere – I assume you can place them on walls or ceilings. They looked stunning together on the stand, and they are designed and manufactured with low energy consumption in mind.

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