Did you ever marvel at the wonders of the natural world, demonstrated by a paper sycamore seed? Make a wish on a flying lantern at a festival, or get rapped over the knuckles for flying a paper plane in class?

We've been feeling nostalgic about paper flying-machines, and would like to hear some of your memories too. Whether your story is funny, romantic or disastrous, drop a line to [email protected].

'The Tiger's Face' is an exhibition of paintings, sketchbook pages and prints by Cambridge based illustrator Nicholas Stevenson. It's at the Worcester Arts Workshop from July 3rd to the 29th, with an opening night featuring live music.

"My recent paintings are visited frequently by an elongated tiger-like beast", says Nicholas. "This beast is just as frequently obscured by the dream-like landscapes that it inhabits."

"In these works I'm attempting to recreate one of my most favourite sensations. The unnamed feeling you get from spotting a distant object on a beach, looking more bewildering and terrifying as you stroll towards it. Is it an old boat? Driftwood? Giant Squid? A body? Or maybe the sensation of looking in to an empty cage at the zoo. There's a sign with the Latin name of the animal, so something must be in the cage, but where?"

Keep an eye out for more of Nicolas's work in the forthcoming issue seven of oh comely. 

Summer time is wandering time. Just think of all the different festivals, camping opportunities, hiking trips and seaside visits to enjoy!

I don't think there's a better accompaniment to summer wanderlust, than a nice rucksack. It's such a practical item, yet still very fun and quirky.

Photo: Rucksacks from Ally Capellino and Paul Smith Jeans.

And they work wonders if you have to stay in the city. I'm sure it'll make you feel better and will bring a smile to your co-commuter's faces too; or at least I'll smile when I see you passing by. When someone is wearing a nice rucksack, I always assume they must be in a playful mode. So, wear one with pride and a cheeky smile!

Photo: Floral print Asos rucksack.

It’s a long walk to Folly for a Flyover, at least if you’re using the canal. The route is a bit of a jumble; on the one hand it’s one of the quieter, more gorgeous parts of East London, on the other there are those sections when it becomes a building site, with bits of the Olympics showing up here and there.

As you travel it’s difficult not to think about the way in which the area is growing and changing, mostly for the better, as it undergoes the extensive urban regeneration that will prove the 2012 Games' true legacy.

But then, as you’re walking along looking out for cormorants and feeling vaguely hopefully about the future, you reach the A12 flyover, and another building site.

This one is different to the others. Not only because it’s populated with serious-looking twentysomethings, but because of what they’re building: a cinema, made of wooden bricks and a great deal of ingenuity. Folly for a Flyover is a hand-built cinema that will sit under the A12 flyover for the next six weeks.

The project is the creation of Assemble, who last year wowed audiences in Clerkenwell with the Cineroleum, a cinema built in an abandoned petrol station. This time they have become even more ambitious.

During the day the Folly will hold workshops, performances, boat trips and dance parties, while in the evening it will screen a programme of films featuring everything from Bicycle Thieves to 2001: A Space Odyssey, with the occasional light show or silent film set to a live score. Looking over the programme the question isn’t so much what you want to see as what you don’t want to see. Which isn’t much.

We spoke to Amica Dall, one of the leaders behind the project, about its conception, construction and the challenges of building a cinema under a motorway.

What made you decide that you wanted to create a cinema under a flyover?

After the Cineroleum finished we were thinking a lot about redundant space, and we just found here and thought it was amazing. And we wanted something quieter. The Cineroleum was so unpredictable; there were police cars going by, drunk people were coming out of the pubs, now and again an articulated lorry would rumble by. We were mixing the levels live to try and steady it but it was a problem. But here the noise is actually quite incidental when you’re underneath the flyover.

Does the weather affect the experience?

Oh, the rain looks incredible. I actually think it’s better when it rains because you’re completely dry but there are these narrow stripes of rain across the canal.

How did you develop the design?

We wanted it to be something quite beautiful in and of itself, but that was also functional. A lot of the structure was dictated around the different demands of being a café space, a bar space, and an auditorium too. We wanted it to have a sympathy with the local topography and also for it to take advantage of the motorway by poking up between it.

The idea was for it to feel like the motorway had been built over the cinema, and it had been forgotten about. We work really slowly and collaborated, so it evolved over quite a long time. I think the biggest breakthrough is when Lewis − he works for an architecture firm near here − went in a timber yard and saw some pieces of wood that we cut up quite small, and we started thinking about making wooden bricks. Rather than using them decoratively, to hide things, you could actually build out of them.

Did you find there was anything you didn’t know how to do?

Basically when we can’t do something we just ask people until we find out how to do it. With the bricks we were trying to work out how to make them load-bearing, so we asked a structural engineer friend who worked on James May’s Lego House and she helped us figure it out. It’s a question of finding ways to do things rather than just outsourcing them, because then you learn as you go along.

How did you decide on which films you wanted to show − did you think about them in relation to the space, or did you just choose films you loved?

We’ve been working with the Barbican. They approached us and said they’d like to work with us next year and we said “Oh we don’t know what we’re doing next year, how about now?” They have this exhibition of animation that’s all about trickery and illusion and fairytales. As an idea that excited us because this space looks bleak but it’s also quite magical. So we thought we could do a tie-in, satellite project. They’ve put their exhibition into different categories, so we just picked them up and started playing with them and built a programme of features based around it. So our first weekend is all about fairytales.

Our first film will be Snow White and on the Sunday we’re showing Baron Munchausen. It seems quite appropriate − a teller of tall tales who lives in his own fiction, as the Folly has its own fake history. We just proceeded like that really, choosing films that we thought were approachable but interesting, that people would enjoy.

What will happen to the building once you've finished?  

Everything will be used somewhere else. The entire structure is a dry fit − there’s no mortar anywhere, so all the struts and things can just be lifted out at the end. The actual fixings remain useful, unlike mortar where you’d have to chip it off and you’d be starting from scratch. You’ve already still got the holes there so you can build new things out of them really easily. We’re giving some materials to the business over the canal, and others are scattering around. Some of the bricks are going to an adventure playground, some are going to make an outdoor waiting room − all sorts of stuff. People keep e-mailing us, asking if they can have one of our curtains, or some of our seats. It’s really great: the building will be absorbed into the community.

Folly for a Flyover opens this weekend and continues until 31st July. During our talk Amica mentioned how tickets for the Cineroleum had sold out within hours. While being elated at its success, they were disappointed that members of the local community would miss out. Learning from that, this time around the ticket releases have been staggered and will be released throughout the season. It’s well worth checking the website to see what’s on, and when you’ll be able to get them.

Well, festival season is officially upon us. While some brave the muddy crowds of Glastonbury, others prefer a more intimate setting. That's where The Festival of the Nine Muses comes in; an arts festival that takes place in early July in the wooded parkland grounds of the beautiful Milton Manor in Oxfordshire. The festival, now in its second year, was founded by "Milton Manor's own Zeus" Anthony Mockler, to help raise money for the protection and upkeep of the historic building.

As its name suggests, the event is a celebration of Calliope (the Muse of Epic Poetry) and other Greek deities. Fittingly, you can expect the day to be full of music, poetry, theatre, drawing, dancing and stargazing - along with lazy picnics and cocktails in coracles. There will be workshops, talks and games throughout the day, and live music from a host of folksy favourites, including Johnny Flynn and Marques Toliver. The dress code is "Divinely Elegant (circa 300 BC)," so expect to see some well-worn togas.

Photo: Jonny Flynn performing at last year's festival.

We are probably most excited about The Festival of the Nine Muses because this year we'll be taking part by hosting ‘Tea With Oh Comely': a space to relax, chat, play some board games or browse through our magazine library. There will be plenty of tea and cakes on hand too - you'll probably need refreshments after that all-day Monopoly tournament.

The frivolities take place on Saturday the 9th of July. For tickets and a full programme, please visit the festival's website.

Photo: Theatre Borscht, the Russian vegetable theatre, performing last year.

Surely you all love cycling on a beautiful summers day, with your dress flapping in the wind, and hair getting in your eyes in the sweetest possible way.

Now there's another reason to fall in love with cycling. A brand new family of push bikes, called BEG Bicycles, has been launched just two months ago. A small, family run company based in Cambridge, BEG Bicycles offer custom made bicycles from Belgium. 

They also make hand-built sit up bikes, and vintage inspired cycling accessories. Their website is full of great pictures too, which almost smell of the best things that the British countryside has to offer.

My choice from their accessories would be the robust and roomy wooden delivery crate, or perhaps it's all the lemonade in it that I want! I think it's a very original alternative to the usual willow basket look. Although the BEG baskets are made in Somerset, and definitely worth a look.

You can also treat yourself to a lovely picnic rug with straps, classic leather satchel or, my favourite, the adorable mini flask.

Plus, rumour has it, and you've heard it here first, that they are almost done with their autumn collection featuring more accessories for men and stylish helmets. 

Our Issue six Spotify playlist has laid down its welcome mat for your ears. You can find it here. The songs we listened to as we put this issue together included:

I Don't Want Love - The Antlers 
Death Cloud - Cloud Control 
River - Akron/Family 
Alibi - The Mountain Goats 
Rip It Up - Orange Juice 
A New England - Billy Bragg 
Colours - Group Love 
The Good Times Are Killing Me - Modest Mouse 
Afterburner - Panda Bear 
Me and My Friend - Julie Doiron 
Kind of Man - Alessi's Ark 
Hanging from a Hit - Okkervil River 
Charter Magic - Marques Toliver 
Riding for the Feeling - Bill Callahan 
Lorelai - Fleet Foxes 
Milkshare - Yuck 
One the Bus Mall - The Decemberists 
Pull The House Down - Stricken City 
Backyards - Broken Social Scene 
The Lonely Doll - Cass McCombs

Drop us suggested song inspirations for the next issue on facebook.

Agatha A Nitecka shot the cover of issue six. Here she describes how the photo came about:

Last summer I went to see the fashion degree show at Central Saint Martins. I enjoyed it greatly: CSM students never fail to impress me with their ideas and skills. When I was preparing the shoot for our June/July issue, I wanted to keep all the looks quite simple and comfortable, yet soft and feminine. There was one piece that I remembered very well, a dress by Heidi Leung. It was exactly what I had in mind for my shoot. Made in wool gauze, it looked light and delicate yet felt very comfortable, and rather organic. Heidi later on told me that her BA collection was "about romance for a woman who doesn't look like she needs it, but wants it."

The dress from a distance looks almost like a simple, classic long shirt, but closer you notice the slightly thicker fabric, which forms a shell-like form embracing the breasts. I love its texture. It's a heartwarming dress, almost literally. It's a dress that makes you smile and think of Californian sun (where Heidi is originally from, maybe she poured her warmth and loveliness into her collection?).

Later on in February Heidi mentioned that she has been working on her second collection, which she wanted to submit to this year's Fashion Fringe. I never doubted that she would get in, and I now have some great news: Heidi is the finalist of the Fashion Fringe.

The model was Stacy Martin, and her hair was styled by Sergio Renis, who was interviewed by Agatha about the art of hair in issue six.