January roundup

Jan. 31st, 2015 23:23
tassosss: Octavia The 100 (Octavia)
[personal profile] tassosss
I haven't done this sort of thing in a while. Last year, my writing schedule felt like it went off the rails fairly quickly so I felt a little guilty and didn't bother to do progress updates. Since I have a number of progress related goals, I'm going to try and be better about that this year.

Nattering and navel gazing )

Wow! Festivids!

Jan. 31st, 2015 16:13
gwyn: (dean pelton)
[personal profile] gwyn
Wow, you guys, I got two lovely Festivids this year!! Two!!

The first one is for the movie The Fall, which, if you know it, is an incredible visual treat, but what I love about the vid is that it focuses on the emotional core of the story, the relationship that develops between Roy (Lee Pace) and Alexandra. That's exactly what I had hoped for, so I'm thrilled. It's being hosted on Vimeo, so it's not embedded in the post, but click through the link and watch To Build a Home, it's lovely.

The second vid is for the movie What's Your Number?, which is as close to a guilty pleasure as I have (I generally don't believe in guilty pleasures, but this movie…there's so much stuff that makes me cringe, yet I love it). It's adorable and funny and sweet, exactly what I love about the movie, and since the song is I Like You So Much Better When You're Naked by Ida Maria, it's a perfect backdrop for the fact that Chris Evans spends a lot of time mostly unclothed--you can see why I might like the movie. ;-) Go watch my adorable treat What's Your Naked? and enjoy the manflesh.

What a holiday challenge season I'm having--three amazing stories for Yuletide and now two wonderful vids. I feel really blessed.

Early morning

Jan. 31st, 2015 20:27
[syndicated profile] edwardbgordon_feed
The early morning in Ireland…

Der früher Morgen in Irland…

5.9 x 5.9 inch / Oil on MDF board / 15cm x 15cm / Öl auf MDF Bord

If you would like to purchase this daily painting, please send your bid by email. Startprice 150 Euro. End of sale February 1st, 2015 at 6.00 pm (local time Berlin Germany). Terms of Sale and Right of Withdrawal.

Wenn Sie dieses Tagesbild erwerben möchten, senden Sie bitte Ihr Gebot per email . Mindestpreis 150 Euro. Ende des Verkaufs gegen Höchstgebot am 1. Februar 2015 um 18 Uhr. Beachten Sie bitte die Informationen zu den Verkaufsbedingungen sowie die Widerrufsbelehrung.

© Edward B. Gordon, all rights reserved.

Events Calendar for February

Jan. 31st, 2015 11:50
otw_staff: Janita OTW Communications Staffer (Janita OTW Communications Staffer)
[personal profile] otw_staff posting in [community profile] otw_news
Banner by caitie of curtains opening to show a stage with the words OTW Events Calendar

OTW’s celebrating IFD with an author chat & short form fanwork challenge, but there are other events coming:http://bit.ly/1EWohdm


Jan. 31st, 2015 12:44
kass: Dan Rydell and Casey McCall, adorable (casey and dan)
[personal profile] kass
I got THREE festivids!

The first one I saw was the Local Hero one and it sent me over the moon and I was like, wow, my life is complete.

And then I noticed that there are TWO MORE.

Take Your Guess, a Sports Night vid -- and Pugnantos Malos Nehos Pugnetis ("We Fight Evil So You Don't Have To" -- the song is "Here Come the Mounties"), a Middleman vid!


*high-pitched dolphin noises forever*

MY CUP RUNNETH OVER. I have to go watch those and shower the vidders with rose petals and joy now.

asflkjasdfkasdf;ksadm OMG OMG OMG

Jan. 31st, 2015 12:22
kass: Standing on your shore (shore)
[personal profile] kass
OMG, y'all -- Festivids is live! Here's the masterlist on dw and here it is on lj.

And -- you are not going to believe this -- someone made me a Danny Oldsen vid. You know -- Peter Capaldi's character from Local Hero, my all-time favorite movie. This vid is SO ADORABLE, I cannot even. I am over the MOON with joy over here. I am abusing capslock, that's how happy this vid makes me!

The vid is here: Gift for Kass | Walk of Life.

From the instant I saw the song title I was clapping my hands over my mouth with glee. Perfect song choice, not only because it's Mark Knopfler and because it's the right era for this film but because it just works.

This vid showcases every adorkable move and ridiculous face in the young Capaldi's repertoire. (And good God, seeing him dance? the resemblance to Matt Smith's Eleven is suddenly quite staggering. bwee!)

This vid is SO FABULOUS, y'all -- if you have any love at all in your heart for Local Hero or for Peter Capaldi, go and watch this vid! ♥ ♥ ♥ ♥ ♥
minim_calibre: (Default)
[personal profile] minim_calibre
Oh, weird little comedy of our hearts, 13 episodes was not enough. But thanks to [personal profile] sdwolfpup we have a vid to ease our pain.

This is What it Feels Like

Includes excellent use of *that* scene, plus the best possible use of the dance party. Also, warning: feels.
giandujakiss: (Default)
[personal profile] giandujakiss
Buyers of Used Cars Are Left to Find Recalls on Their Own
Buying a used car in the United States can be a dangerous proposition — if the vehicle has an unadvertised safety defect.

This month, Carlos Solis died after the airbag in a used car he bought last year from a Texas dealer exploded, sending a piece of metal into his neck. Mr. Solis, 35, was not aware when he bought the vehicle that its airbags could be defective and had been recalled, according to a lawsuit filed by his family on Friday.

A New York Times review of other vehicles listed online by the dealer, All Stars Auto Sales in Cypress, Tex., shows that close to half of those cars have also been recalled for safety defects but have not been repaired.

The Texas dealer is not an exception. Federal laws do not require used-car dealers to repair vehicles with safety defects before putting the cars back into public use. Nor are dealers required by law to disclose to customers that a vehicle is the subject of a recall. Legislation to address the issue has languished in Congress....

In Congress, lawmakers have introduced bills that would require used-car dealers and rental companies to fix recalled cars before they are put back into public use. But those measures, which auto dealers oppose, have stalled. Most major rental companies, though, now say that they voluntarily fix recalled vehicles.

Used-car dealers contend that not all recalls require immediate attention and new laws would cost companies and consumers unnecessary time and expense.
Obviously, not everyone who buys a used, rather than new, car is poor, but certainly we can safely guess that used car purchasers are disproportionately poor, as compared to new car purchasers.

The Action Art of Mort Kunstler

Jan. 31st, 2015 07:47
[syndicated profile] gurneyjourney_feed

Posted by James Gurney

On Thursday we visited the exhibition "Mort Kunstler: The Art of Adventure" at the Norman Rockwell Museum in Stockbridge, Massachusetts.  
Mort Kunstler, "Buried Alive for Four Months," Stag Magazine, 1965.

The exhibit spans his entire career, celebrating his well-known Civil War paintings, but I'd like to focus here on his earlier work for the men's action magazines, which doesn't get exhibited as often. 

When Mort Kunstler started doing illustrations in the early 1950s, he said that the field of mainstream magazine story illustration was already beginning to die away. "Color photography and television was coming in," he says, and advertising money was going to television. Dramas were broadcast on TV instead of being published in magazines.

But there were over 130 separate titles of men's adventure magazines still going strong, catering to veterans of World War II. The magazines had names like Adventure, Real, True, Saga, Stag, Swank and For Men Only

The illustrations were often printed in limited color palettes, such as red and black, and they required tight deadlines. Kunstler produced a vast output of complex images, usually staged with maximum drama and sex appeal. Most of these early paintings were executed in gouache on board.

Still at the easel in his 80s, Mort has remained busy for all these decades, with one assignment or painting idea following another. He has done it all: movie posters, plastic model box covers, commercial advertisements, and limited edition art prints.

He painted this spoof on Jaws for Mad magazine. He wasn't sure if it would alienate his fans, so he signed it "Mutz," just one of his pseudonyms.

In the 1970s, after the era of men's magazines was over, he painted paperback covers, such as "The Kansan," above. He switched to oil paint, and found his main calling painting scenes from American history, particularly documenting epic moments from the Civil War. 

All these aspects of his career are well represented in the three large rooms of the exhibition, along with examples of his preliminary sketches, comprehensive drawings, and tearsheets that show his process.

The exhibition "Mort Kunstler: The Art of Adventure" will be on view at the Norman Rockwell Museum in Stockbridge, Massachusetts through March 8. 


Salem's Lot

Jan. 31st, 2015 06:00
[syndicated profile] muddycolors_feed

Posted by D Palumbo

David Palumbo

Last year, I had the opportunity to work on several really fun properties/projects, but the just recently revealed special edition of Stephen King’s Salem’s Lot by Cemetery Dance might take the prize. 

To begin, I’ll say that the illustrated novel as a concept is possibly my favorite niche of the sprawling illustration world.  It’s a tiny niche these days, but the old classics have always grabbed my attention.  Mead Schaefer, Howard Pyle, and Frazetta made some of my favorites, but N.C. Wyeth’s Treasure Island is my pinnacle.  I’ve looked at those paintings for inspiration and guidance time and again, and never more than when working on images in a series. 

In modern publishing, you can count on one hand the number of imprints making illustrated novels with any consistency and they are generally created as limited collector's editions.  Which is to say, jobs like that don’t come along too often.  This has been my second to date.  In a strange coincidence, the offer came in within a week of my having finished reading The Shining (love love loved it) and MAN was I on their wavelength.

One of the really exciting aspects of an illustrated novel is that, unlike so many typical jobs, most of the artwork is hidden inside.  This means that the images are not just trying to grab a potential customer's eye from the rack, but more to reward the reader as they enjoy the book.  The images are not chained to type and design elements either, giving you total control over your composition without compromises.  Most importantly though, the interiors need to be on tone with the story and hopefully unfold at a pace which adds to the experience rather than diminish it. 

The first thing to figure out was what scenes to depict.  Salem’s Lot is fairly crowded with great visual moments and I wanted to choose those which most spoke to my own natural aesthetic.  I also had to be mindful of them not being too bunched together so they would be reasonably distributed through out the book.  My assignment asked for only four interiors, but I started with a list of about a dozen that stuck in my memory.  I noted page numbers and began boiling it down to help divide the four final scenes into early, middle, middle, and late.  There was one scene in particular (Ben with hammer and stake in the Marsten house cellar) which I knew had to be included, and so I built outward from there.

A theme began to surface in my thumbnails.  As I came to the final selection, it seemed clear to me that each of the four interiors would reflect a moment of dread.  Though I wanted to make the four moments relate to the four most important characters, spacing them out was problematic and in the end I decided to let Ben, Matt, and Father Callahan have their scenes and give Mark’s (which was only ten or so pages away from Father Callahan’s) to a minor character early in the book which better fit the progressing visual storyline.  Additionally, I am a big believer in the “don’t show the monster” theory of horror, so I aimed to keep the focus on our human victims and place the monsters and gore out of frame (and still firmly in the imagination of the reader).  I absolutely did not want to show Barlow.

This first scene ended up being Mike Ryerson, the grave digger, looking up the hill at the ominous and lonely Marsten house.  Waking from a strange trance, he realizes that the day has passed and a feeling of dread seizes him. 

I wanted for the scene to have the muted blue tones of dusk.  The figure stands out in silhouette but the dark is closing in on him all around and beginning to swallow him in the lower portion of the picture.  Also, to add to the mystery and stillness of the moment, I turned his face away from us as he looks hopelessly at the gloomy distant house.

The next scene shows Matt, our first hero to encounter the vampires, preparing to climb the stairs to his 2nd floor guestroom where he knows something horrible is waiting for him.  He holds a small crucifix but is overwhelmed with dread.

I loved this moment of a character dragging himself towards something that scares the crap out of him.  I think I particularly related to this scene because of the universal experience of kids (and adults) facing a scary basement or attic or any other spooky place.  I actually still get creeped out every single time that I vacuum my staircase (which is semi-regularly with three cats in the house) because I feel that weird sensation of a figure standing at the railing above and behind me, watching. 

So for Matt’s big moment, I saw an opportunity to box him into this prison of bars and shadows, thrown off balance with a Dutch tilt.  He is leaving the warm comforting light of the known (the only warm and comforting light in the series) and stepping to darkness and unknown.  The upstairs has the same purple/blue tinge as the rest of the series, which means terror.

And now we come to the scene of Ben in the cellar, hammer and stake in hand, confronted with doing the unthinkable.  For me, this is the purest moment of dread in the whole book.  Terrible things happen to everyone else, but those are generally external circumstances or events beyond their control.  This one, this moment, it is a choice and so he must take the guilt along with the pain of it.

I wanted to really drive home that this is not a triumph.  In most stories, staking the vampire is grim but also has a sense of victory.  In this case, it is only regret and sorrow.  My initial sketch was not quite finding the emotion, so I pulled in closer.  In the final, I removed the figures from the background to keep the focus on Ben and his pain.

For the final interior, Father Callahan learns that, as he had feared, his faith is brittle.  There is hope in the beginning but, as he faces off with Barlow, he hesitates and knows in that moment of dread that he will fail.

This painting was one that I was very excited for.  I loved the idea of the priest lit by the glowing cross.  He is small, weak, and alone in a sea of shadow.  There was a problem though which I was not sure how to solve until I shot my reference (always shoot reference!).  I wanted him to be consumed by the shadow of Barlow, but in the sketch it is not entirely clear.  It looks a bit like the shadow is his own, which not only ruins the story of the image but also is inconsistent with the light source.  On shooting my reference, however, I saw how I could layer the actual cast shadow of Callahan over the shadow of Barlow and, in the end, it became my favorite piece of the whole project.

Besides the interiors, I was also asked to create two wrap-around covers: one for the regular edition and a second for the deluxe edition.  A panorama showing the Marsten house with the town in the distance was something which the publisher and I both felt should be one of them.  The second cover wasn’t as easy to nail down though.

For awhile, I wanted to do a companion piece to the view of the house and show the town streets full of undead with the house looming in the distance.  I still really like the concept of this, but my sketches never found that right beat.  Some ideas looked cool, but felt off tone.  After a healthy pursuit in this direction, I decided to step back and, instead, focus entirely on the tone.


The vampires of Salem’s Lot are not sexy.  They are beasts.  They are violent, merciless, and hungry.  So many modern vampire stories romanticize the monsters, but that was not King’s choice.  I wanted to find a concept that spoke to that.  This was how I ended up with my second cover.  I wanted an image which was abstract enough to represent not a specific character or scene (the interiors already did that) but present the overall story.  I wanted it to be simple and on a human scale.  What better than an anonymous vampire exposing the throat of an anonymous victim, half a second before the kill.


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minim_calibre: (Default)
[personal profile] minim_calibre
What, my fellow scent-lovers, should I try?

Other than my own bottle of vintage Youth Dew, because I tried it at Jilli's, and wow. Hello, sensual bottle of Coca-Cola with a nice herb infusion. Come to me and live on my arm for a while. Oh, and other than a full bottle of Miller et Bertaux A Quiet Morning, the perfume I basically used as scent therapy during the last few months.
[syndicated profile] linesandcolors_feed

Posted by Charley Parker

The Railway Station, Redfern; Arthur Streeton
The Railway Station, Redfern; Arthur Streeton

Link is to zoomable images on Google Art Project; high-resolution downloadable version on Wikimedia Commons; original is in the Art Gallery of New South Wales.

The more I see of Streeton’s work, particularly in high-resolution detail, the more impressed I am — rich, subtle color, lively brush marks, beautiful economy of notation, and striking, inventive compositions.

This piece, with its Degas-like almost empty foreground, geometric arrangement of buildings, marvelous sense of scale and atmospheric evocation of a wet day, is a beautiful case in point.

For more, see my previous posts on Arthur Streeton, below.

tassosss: (Katara)
[personal profile] tassosss
Korra was one of those shows, I watched and enjoyed but didn't really talk about much here. I'm really happy with how the series turned out -- my watching buddies will tell you that I was rooting for Korra/Asami all during the fourth season.

I really like the quiet nature of this vid. It's a character study of both Korra and Asami of their separate trials and how they come together. Quite lovely.

Home by Yuki no Haru


Jan. 30th, 2015 21:36
kass: glass of wine (wine)
[personal profile] kass
It's been a nice evening. We watched this week's ep of Top Chef, which was pleasing. Now we're listening to the new Nick Zammuto album, which -- while it does not entirely convince me that I want to go see him play on my birthday -- does have some lovely, textural, interesting tracks.

And I'm not working tomorrow. And tomorrow seems as though it will be a lovely day. Y and Mr. Kid are going to run errands in the morning, which should give me a few hours to do my own thing, which is always appreciated. And then Mr. Kid is having a buddy over for a sleepover, which, w00t.

Also there is a fuzzy cat beside me. And the fire is glowing. And these are happy things.

Mosaic Imps Sweater

Jan. 30th, 2015 18:58
[syndicated profile] gurneyjourney_feed

Posted by James Gurney

Yoo hoo, knitters! Jeanette says: "I began this sweater in 2011, and almost frogged it, but I persevered and 4 years later it’s done.

I usually knit in the round, and this flat knitting really slowed me down! Mosaic knitting requires flat pattern pieces, done on straight needles. But I HAD to do that tessellated imp mosaic pattern!

The tessellation pattern includes both white and black imps. The imps are both right side up and upside down.
I was intrigued by Barbara Walker’s “shadow patterns” in her book “Mosaic Knitting”, and I chose to use her little black and white imps for my fabric. She was a genius.

I adapted a basic modified drop-shoulder pullover pattern, by Heather Lodinsky in Knitter’s Mag.#57, winter 1999. She named it “Woven Weekenders”, and also used a mosaic stitch pattern, but I wanted those imps. I used her pattern schematic as a base, for stitch counts and measurements.

I did corrugated ribbing (red and black) on the cuffs, bottom hem, and neckline, because the sweater needed a red color accent. The rest of the sweater is garter stitch in black and cream. The mosaic imp pattern is all slip-stitch. The sweater is heavy and warm, but not as impossibly heavy as stranded worsted-weight would have been.

Today when my husband wore it into the library, it stopped the librarian in her tracks. She was a knitter, and those imps definitely got some attention."

For more info about yarns and needles on this sweater, visit this page of Jeanette's Ravelry account


Jan. 30th, 2015 18:38
kass: A fire in the fireplace (fire)
[personal profile] kass
1. Big fluffy snowflakes

2. Crackling fire

3. Shabbat

4. red wine

5. spouse bringing home a pizza and salad \o/


The long and winding road

Jan. 30th, 2015 20:03
[syndicated profile] edwardbgordon_feed
Another long road through the Irish country side...

Eine weitere lange gewundene Strasse durch die Irische Landschaft…

5.9 x 5.9 inch / Oil on MDF board / 15cm x 15cm / Öl auf MDF Bord

Verkauft / Sold

© Edward B. Gordon, all rights reserved.

I remarked on Tumblr

Jan. 30th, 2015 14:58
giandujakiss: (Default)
[personal profile] giandujakiss
I've been watching Miss Fisher's Murder Mysteries, and I keep having this dissonance over seeing people in 20s-style wardrobe openly drinking - publicly - even in front of police.

I keep having to remind myself that Australia didn't have Prohibition. And it makes me realize how, as an American, 20s costumes are inextricably linked in my mind with concealed flasks, speakeasies, and jokes about bathtub gin.
musesfool: Joan side-eyeing Sherlock (none of us can catch up with ourselves)
[personal profile] musesfool
I'm 98% packed. I will need to remember to bring my phone charger, since it's a different cord now from my iPad charger, and I was undecided about my cab situation - I knew I didn't want to have to schlep to a corner and hail a cab, because the corners are disgusting with ice and slush, and also I am not going to wear a heavy coat or boots and tomorrow's supposed to be the coldest day we've had so far, and I just want to wait in the vestibule and have the car pull up. Nothing I've read about Uber or Lyft made me feel comfortable, and the traditional car service companies (666, 777, etc.) have terrible reviews (I mean, I'm sure they're no worse than regular taxis? But I do need to actually get to the airport, so...). So I went with Go Green Ride, which has a $32 flat fare to LGA (not including tolls and tip), so hopefully that will work out. They have shockingly good reviews on Yelp. (Please don't share any horror stories if you have them. I repeat, I need to get to the airport tomorrow somehow.)

Meanwhile, Boss2, who isn't even here today, is being a pain in the ass. No, Boss2, I can't order your lunches on Monday, BECAUSE I WILL BE ON A BOAT. So I sent the menu to the person designated to do the ordering on Monday, and she's like, "We can't order from here, there's no turkey sandwich like Boss2 wants." IT'S A DELI. I'M PRETTY SURE THEY CAN SLAP SOME TURKEY ON SOME BREAD WITH SOME MUSTARD. (The first item on the menu is a turkey club! IJS)

Man, I will be so happy to be away for a while. Because people! How do you even function in the world like this?

In other news, I can only imagine that if Joe Manganiello is cast as Deathstroke, the incidence of Deathstroke/Nightwing will suddenly increase (especially if you imagine Matt Bomer as Nightwing). I don't ship it (I didn't ship Slade/Oliver either), but I can see why some people would (in both cases).

(I am not even capable of contemplating Jared Leto as the Joker. I don't even know, guys. I don't even know.)

Speaking of the DCU, Joan Watson is totally Batman, right? I had such a strong feeling she was going to say something like, "Criminals are a superstitious and cowardly lot!" in last night's episode, while she was all dressed up at that fundraiser.

spoilers )

Lastly, [personal profile] unfitforsociety has been updated for January 2015 with 21 recs in 4 fandoms:

* 17 Avengers
* 2 Miss Fisher's Murder Mysteries
* 1 Legend of Korra and 1 Pacific Rim


I may post from sunny Florida tomorrow, via my iPad, but if not, arrivederci miei amici, and I'll see you on the other side. Try not to blow up the internet while I'm gone.


Chapter 7, Milestone 1 reached!

Jan. 30th, 2015 09:36
[syndicated profile] daniellieske_feed

Posted by noreply@blogger.com (Daniel Lieske)

Alright, I've finally reached the first milestone of the Chapter 7 final illustration production. I originally expected to arrive here a little bit ealier but what are you gonna do? Fortunately the delay is not due to the amount of work but to the fulfillment of the kickstarter campaign, which really has been (and still is) a LOT of work:

A lot of books to move around!

A lot of books to sign!

A lot of books to pack!

A lot of books ready for shipping!

The great majority of books has now been shipped but I'm still packing rewards in the evenings together with my wife. We hope to send out the last remaining packages next week. By the way, as soon as the books have been shipped for the kickstarter backers, you'll be able to purchase the first English Wormworld Saga book at the Wormworld Shop. I'll keep you updated on that.

Ok, so my plan still is to finish Chapter 7 by the end of March which effectively means 4 more milestones in 2 months. That's two weeks for each milestone and while this isn't completely impossible it will mean a lot of work for me. But I'm eager to share the latest installment of the Wormworld Saga with you and I'm doing my best to present it as soon as possible.

And to raise your anticipation, here's the first preview image from this milestone:

And as always I'd like to remind you that members of the Attic get to see two extra preview images at each milestone!

Alright, so hopefully you'll read again from me in two weeks!

January 2015



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