Eric Pape in Illustration #53

Aug. 27th, 2016 08:47
[syndicated profile] gurneyjourney_feed

Posted by James Gurney

The new issue of Illustration Magazine has a feature on Eric Pape (1870-1938), a golden age American illustrator. He was born in San Francisco and studied under Emil Carlsen before heading to France to study in the academies. Several trips to the Egypt and the Near East cemented his love of Orientalism and exoticism, which became a key part of his work.


The article contains a welcome biography and overview of his career, replete with illustrations that range from his academic studies to his black and white decorate work to his full color illustrations.

There are over 80 images by Pape alone, mostly reproduced in color, and mostly from the original. The issue also includes features on Ellen Clapsaddle and Mel Odom.

You can learn more about Illustration Magazine #53 and preview the issue at this link.

Painting Progression - Yuki

Aug. 27th, 2016 06:00
[syndicated profile] muddycolors_feed

Posted by Vanessa Lemen

by Vanessa Lemen

 
Since my posts on Muddy Colors and EveryDayOriginal.com happen to fall on the same day this month, I thought I'd post a bit about my painting and show some progression images. This painting is oil on board, 5x7”, and is titled Yuki.
                ____________________________________________________________

beginning stages - making marks
These first 9 images (above) show the different tools I used to make some initial marks on the surface. The surface I used (shown in image 1) is a 5x7” pre-gessoed masonite panel with a smooth finish. In image 2, I covered the panel with a tiny bit of linseed oil and a combination of a few new tubes of paint that I wanted to try out made by Rublev – Transparent Mummy, Hematite, Van Dyke Brown, Ultramarine Blue (Green Shade) – I mainly used these colors because they were new tubes of paint that I just got, and they all have different consistencies/viscosity/textures/thicknesses. It was fun to first just mess around with how the different colors felt in terms of their viscosity and textures. After experimenting with that for a few minutes, I used a small spatula (shown in image 3) to scrape away and smear, making marks by picking out back to the original surface. Because the surface is smooth/slick and not porous, it wipes away very easily with the silicone spatula. To make various marks with a spatula, it's all in the pressure sensitivity (to pick out) and tilt control (to smear). Next (image 4), I used a big soft brush to soften the marks I made with the spatula using a very soft touch so as not to wipe away but just to soften. The different paint's viscosity and textures were pretty evident when using this brush to soften in this stage as well. Next (image 5), I used a faux finishing comb to pick out over the softened surface. Pressure sensitivity, tilt control and direction I pull the stroke is also key to making this tool create various marks. Next (image 6), I splattered mineral spirits with a big chip brush while the surface is laying flat. To make small splatter marks, and I flick the brush with my finger, and to make bigger splatters, I fling the brush (fling the wrist/arm that's holding the brush) or tap it with my other hand (*note* the brush appears as if it's touching the surface in this image, but it is not – it's held above the painting). Image 7 shows one of the many stages that combine the different mark-making. In this image, I should also note that I accidentally spilled the small cup of mineral spirits I had next to it onto the surface - as much as it made for some pretty interesting effects, it was very wet and messy and I ended up wiping it a bit with a towel and adding more paint to start some new marks. Image 8 shows a build-up of varying marks using all the tools mentioned above. Then (in image 9), I decided to add some marks by using a big rubber stamp as a pick-out tool by laying it on the surface with the marks from image 8. The painting needs to be at just the right wet/dryness in order for the stamp to pull paint from the surface. It was still wet, but it had paint and mineral spirits and a bit of linseed oil mixed and manipulated on it, and had been sitting for about 20 minutes or so.
              _________________________________________________________________


mid stages of the painting
Image 10 shows the abstract marks I ended up settling on for what would be the marks I would paint into. (I say settling, but I really loved this little abstract, actually). Sometimes, I do several of these and let them dry in order to paint into them at any given moment. This abstract was left over night, and I worked into it the next morning. Because the painting was still wet meant that any new marks I made on top of them had to be very sensitive in order to preserve the marks that were already there on the surface. I saw a face in the marks, and began to paint into the marks in order to begin pulling the face forward from the abstract. The very beginning phase of this is shown in image 11. I painted into the large planes of the face that I saw as being the lighter areas using a thin opaque mix of slightly greyed white (using the colors I mentioned above). In image 12, I continued with the light areas and built some of the darker planes in shadow as well as some half tones. In image 13, I continued to build the light, mid, and dark planes while also trying to preserve some of the abstract marks. I was mainly just trying to keep a good balance between abstract and rendered areas as I continued to pull the realized image from what I initially saw there in the marks. To get better coverage in some areas, I mostly used my brush in a toeing fashion (tapping 'dry' paint lightly using the tip of the brush) so that it didn't wipe away the wet layer underneath.
              _____________________________________________________________________


finishing stages
In image 14, I had rendered the face quite a bit, and then decided to pick out a little across some of the area I rendered using a different rubber stamp, the spatula and a smaller pick-out tool also used for sculpting (also shown in image 16). Image 15 shows the very small brush I used to paint into the smaller areas. I used the mahl stick (on the right of the image) to keep my hand and arm steady. Image 16 shows some of the marks I made with the small pick-out tool, trying to emulate the other marks that I had made previously with different tools by using the wedge-cut end and turning it as I pulled it to create a calligraphic mark. In image 17, after losing some of the marks I had made by brushing some thin darks over the top of them, I used my spatula to pick out across the lower two corners of the painting. These made for some really nice marks because the painting was starting to dry enough in some areas from the abstract stages done the day prior that it pulled some paint off in some areas and left hints of some there in other areas. ..Aaand that about wraps it up for this painting. Here is the finish:
finished painting


selenak: (Ray and Shaz by Kathyh)
[personal profile] selenak
Starring Cecilia Bartoli as Maria; I saw it on Thursday and with one important caveat loved it. If you've read/heard about the production, you'll probably be familiar with the central gimmick; the critic of the Süddeutsche Zeitung suspected it's the result of the director anticipating cruel remarks re: the age difference between Cecilia Bartoli and the rest of the youthful cast, and preventing it by using that very age difference: the production is Maria, decades after Tony's death, remembering the events of her youth.

This I knew in advance, but what I hadn't known was that there's also a young Maria on stage, which works out surprisingly well. Young Maria does all the speaking and interacting, and the fact that older Maria (I can't write "old" Maria, because La Bartoli is a youthful looking 50 something) can't touch any of the characters (until the very end) contributes to the poignancy, though she sometimes acts as a mirror/contrast to her younger self in movements. Young Maria wears the traditional white dress until the last scene, older Maria the black dress from the last scene throughout. This concepts also changes the context/subtext of several songs: "I feel pretty", for example, is now older Maria looking back with amusement and a mixture of joy and longing to her young self, and "Tonight", in addition to being young Tony and Maria being passionately in love, is also older Maria with Cecilia Bartoli's mature mezzo soprano voice longing for what she's lost. The arrangement for "Somewhere" in this production isn't a duet between Tony and Maria, it's older Maria, having just relived the deaths of her brother and Riff and knowing what's to come for Tony, grieving and protesting fate. And so forth.

Unfortunately, where this is all working towards is my one big nitpick/caveat/complaint/what have you, the very end of the production: Which is spoilery even if you're familiar with West Side Story. )

Other thoughts: the production was firmly set in the late 50s (as indicated by the boys' hair cuts and girls' dresses), with no attempt to update, but the blatant racism shown towards the Puerto Ricans and all the "who asked you to come here?" had very present day resonance for the audience; you could tell. Which is why I regret the production uses the original arrangement for "America" (i.e. Anita and her friends), not the revised arrangement and lyrics from the movie version (all the Sharks), because I heretically happen to consider the later one better, especially in the current day situation, see also this old entry as to the reasons, complete with quotes. Otoh the production swayed me a bit on my other movie-caused perference, i.e. the switch of places between "Cool" and "Gee, Officer Kruppke". In its original place, as in this production, "Cool" contributes to working up the tension among the Jets that's about to become lethal none too much later.

About that, though: seeing how skillfully Tony shames/manipulates the Jets and Sharks earlier into a one on one fist fight instead of the big rumble, it's frustrating to see him go about stopping the fight incredibly clumsily and with apparantly no plan beyond "I'll just say stop". Here, good old Shakespeare made the relevant plot point more plausible (i.e. Tybalt challenges Romeo, Romeo, newly wed to Juliet, has no intention of accepting, Mercutio is angry on his behalf and starts to fight Tybalt instead, Romeo tries to stop it, Mercutio's death happens, etc. On the other hand, I agreed, once again, with Arthur Laurents' boast that he bettered Shakespeare on the final tragic twist; Romeo simply not getting Friar Laurents' letter because the plague hits Mantua is an accident, the Jets assaulting Anita, thereby causing her not to deliver Maria's message to Tony, is directly related to the hatred and feuding that's been going on through the play. And that assault scene remains shoking and yet one of those instances where I consider it dramatically necessary and justified to have been written. (BTW, it's always interesting to see what the individual productions do with Anybodys during that scene. Most I've seen let her back off - but not intervene - when she realises where this is going; this one, taking its cue from the fact she's taunting Anita verbally early on, lets her be one of the pack assaulting Anita, the ultimate consequence of her desire to be one of the boys, and then caught up the shame when Doc puts an end to it.)

Bernstein's music remains glorious no matter how often I listen to it, and it occured to me that the lyrics for "Officer Kruppke" with their wordplay and sarcasm are classic Sondheim already. I wish these two would have collaborated more often. Then again, who's to say that more masterpieces would have resulted - maybe the uniqueness of the situation contributed to it.

In conclusion: despite my objection to the ending, a great experience in the theatre. Definitely worth a trip to Salzburg for.

Rome

Aug. 27th, 2016 08:58
goss: (Default)
[personal profile] goss
Three pics from my visit to Rome. 😊

The Colosseum



other pics below )
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Fantastic Beasts – Actors and Movies:
Photos: 'Fantastic Beasts' films' 5 new tie-in writing journals to be released this October.

Curse Child News:
• Alex Price on Playing Draco in ‘Cursed Child’.

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[personal profile] gracerene recced one Albus Severus/James Sirius fic (NC-17).
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Please send your fandom news to the Daily Snitch.

Ein Haus am See

Aug. 26th, 2016 19:28
[syndicated profile] edwardbgordon_feed
Yesterday I followed an invitation to Sacrow, which is just outside Berlin, more or less across the Wannsee. I was not here for over a year now, and again taken by this beautiful place in the evening summer light. A thank you to my charming hosts.

Gestern folgte ich einer Einladung nach Sacrow. Das liegt ein wenig ausserhalb Berlins, mehr oder weniger quer über den Wannsee. Ich war hier schon seit über einem Jahr nicht mehr, und wieder nahm mich dieser schöner Ort im sommerlichen Abendlicht gefangen. Ein Dankeschön hier auch an meine charmanten Gastgeber.


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 August 27th, 2016 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 27. August 2016 um 18 Uhr. Beachten Sie bitte die Informationen zu den Verkaufsbedingungen sowie die Widerrufsbelehrung.

© Edward B. Gordon, all rights reserved.

Pokemon GO Dreamsheep

Aug. 26th, 2016 13:08
soc_puppet: Dreamsheep on the Pokemon GO location background (Pokesheep Go)
[personal profile] soc_puppet posting in [community profile] dreamsheep
Just eight icons, but they should cover most needs pretty well :)

Cut for icons )
turlough: Gerard Way leaning his head on Bert McCracken's shoulder, Taste of Chaos tour spring of 2005 ((xover) my dysfunctional romance)
[personal profile] turlough posting in [community profile] fanart_recs
Fandom: Tolkien
Characters/Pairing/Other Subject: Aule and Yavanna
Content Notes/Warnings: n/a
Medium: pencil?
Artist on DW/LJ: n/a
Artist Website/Gallery: [deviantart.com profile] ancaxbre

Why this piece is awesome: This is such a beautiful work. The way Aule and Yavanna are depicted both as personifications of their respective elements and as people is very intriguing. And I love the myriad of details and the serenity of their faces.

Link: Aule and Yavanna

Multifandom recs

Aug. 26th, 2016 17:03
selenak: (Servalan by Snowgrouse)
[personal profile] selenak
Discworld:

The BBC is currently broadcasting a radio version of Night Watch, available on iplayer for us non-British folks, and I'm listening, enthralled, to the first episode.

Blake's 7:

If you're a B7 fan, chances are you've already read this, but if you have not: a great new essay, on B7, Blake, Gareth Thomas and Chris Boucher. It's passionate and highly enjoyable to read. (Minus a few unneccessary swipes at non-B7 topics such as John Crichton, Clara Oswald and David Tennant's performance as Richard II. But it would be a boring internet life if we agreed on everything with the people we agree on some things. :)

Stephen King:

Handy and amusing flowchart showing how all the novels and characters are connected.

MCU

The Lingering Reminders: hands down one of the best, most even handed post-Civil War stories, in which Tony Stark runs across one of Peggy Carter's old mates. No, not that one. The author's take on old Jack Thompson feels extremely plausible, and there's a hilarious inside gag if you're familiar with the Spider-man mythology. (If you're not, you'll still be amused.) Great mixture of humor and angst all around.

Shakespeare:

Sons of York: Great take on Shakespeare's version of the York family, specifically the two Richards, father and son.
musesfool: Garnet (i am a conversation)
[personal profile] musesfool
After watching the Mets game - every game a rollercoaster! - I went to bed and fell asleep right away. And then was awake from 2:30 - ~5 am. Blergh. Why?

***

Steven Universe: Mindful Education
spoilers )

***

There's Still Time to Change the Road You're On (at AO3)
Star Wars; Anakin, Leia, Luke; AU; 3,690 words
"Time travel? Are you kriffing kidding me?"

As I said yesterday, once I gave myself permission to not have to figure out (let alone write!) the alternate timeline created when Anakin goes back to his own time, this story basically wrote itself. I mean, I'd been stuck at like 200 words for a couple of months, and then I was like, "eh, I don't have to show what he does when he goes back" (or, more euphemistically, I leave it up to the reader to decide what he does) and suddenly I'd written 3000 words in two days.

Once the writing started happening, there were two main questions I asked myself (and [tumblr.com profile] angelgazing) and those were:

1. How much drama is too much? I mean, there's a reason #the skywalkers have no chill is a tag that exists; and
2. Can I really have Anakin Skywalker say, "Don't call me Shirley" or is that too self-indulgent?

And the answers were:

1. Slightly less than there was in the original draft (Leia was a lot meaner before revisions; taking out some of her scathing remarks was like removing that one extra thing before leaving the house) and
2. It's self-indulgent but it made me laugh so what the hell.

On the other hand, I think that while he probably does avoid some pitfalls and maybe doesn't become Vader (someday later) this time around, he's still Anakin Skywalker: walking catastrophe, so he probably fucks up some other things along the way, and I'm sure he's not able to defeat Palpatine, so the Empire happens anyway. But maybe Alderaan doesn't end up blown up twenty years later, and Leia would certainly see that as a net win, I think.

It was also fun (and easier) to write from his POV since even though Luke and Leia don't actually know very much, he knows even less at this point (in my head it takes place between Mortis and Umbara somewhere, probably after the Padawan Lost arc, which is where Anakin is at his most mature, really; even Yoda's pleased with how things are going with him), but I also didn't have to write Luke and Leia arguing over what he should be told, if anything. And I keep switching back and forth in my head over who would be more adamant about protecting the timeline, but for real, Leia is always going to try to save Alderaan if she can, so she's the one who goes "fuck the timeline!" in the end.

So yeah, I guess that's my entry into the time travel fix-it genre in this fandom, though really for me, it's all about people yelling at Anakin to look at his life! Look at his choices! I could read (and write) millions of words of that and never be bored of it.

***

Adding Smog to Kiddieland

Aug. 26th, 2016 09:05
[syndicated profile] gurneyjourney_feed

Posted by James Gurney



I brought my sketch easel to the edge of Kiddieland at the county fair on Tuesday. 


I used a limited palette of gouache—Prussian blue, carmine red, raw sienna, and white. The scene had a lot of blue in it, so I started with a step in the opposite direction: a warm underpainting in raw sienna. 

What I didn't like about the scene was that the air seemed too crisp and clear. I actually like a bit of smog and haze when I'm painting. It adds so much more depth and mystery. So I added some atmosphere by lightening the sky, the far tree, and the tall blue tent. 

In the video you can see that I restated them a couple of times. I also added a little white chalk at the end to add to the feeling of glare.

Movie Posters!

Aug. 26th, 2016 06:00
[syndicated profile] muddycolors_feed

Posted by Greg Ruth

by
Greg Ruth

I grew up in front of the Creature Double Feature, Planet of the Apes Sunday Spectaculars, and Saturay morning westerns and have always adored movies and the Dollar Cinema was a bike ride away and a veritable museum of film art inside. IF you asked nice enough on Thursday afternoons when they were taking them down for the next run of films, they might even give you one. Now all grown up, one of my favorite aspects of my job is getting to tackle book covers, and lately even more so, movie posters. Some are fully licensed public ventures, others private individual commissions, some still are via directors or publishers... but all of them are opportunities to take a big narrative, and reduce it to a single image or theme. It's a challenge to do this and each one is challenging in a different way. It prods me to really filter down to the heart of a given film narrative, or take a single aspect or moment, and the more iconic the film, the harder this can be. And the more fun. Here below are a handful of some of the ones from the last two years.


One of the most powerful films of my life and one of the greatest films in history, To Kill a Mockingbird, has and remains one of the most successful posters I've done, and was in fact the very first to do for the commissioned silk screen efforts. I had no idea what I was meant to consider with regards to separations for this silkscreen poster, nor whether or not my original drawing would upscale in an un-horrible way, but somehow thanks to help from Mo at Last leaf, Dayan and I managed to get it to come out pretty well.




Breakfast at Tiffany's was a totally different direction to swing the bat for me and was a chance to really go for something closer to the french poster designs of the 1930's, It gave me the opportunity to try a full sumi ink style effort, and a sense of playful color and design that went outside of my usual wheelhouse. It was also the first moment I really started to realize, unlike with book covers where the AD held the power staff of title and text treatments, that I now had this particular power.



One of my favorite films and one of the trickiest images to create was this one for One Flew Over the Cuckoo's Nest. Primarily because in many ways the film requires and demands a Nicholson portrait, but also wants to be something weirder and more psychological. For this I looked to the truly bizarre Yugoslavian and Polish film posters of the 1960's and went right to this one. I thought it would be fun to let the cracks be the negative space for the drawing and well.. it wasn't. Since the original drawing is on a cream colored bristol, and was slotted to go to a buyer I didn't want to wreck it with paint or white out to cheat these crags. It came together in the end but not without a few tears and hand aches.




 The John Carpenter film, The Thing, is a perfect film to tackle and the easiest to get wrong. For me a film poster should be graphic and immediately recognizable and for this film it's too common to go after the image of the mutated anthropomorphized creature. So invoking my "before or after" rule of comics storytelling I decided instead to go with something before that and make it a more totemic thing to express the film, And got to do two versions of it to boot. Turned out I much prefer the alternate piece at top here.





Andrei Tarkovsky is one of my all time favorite directors, so getting to tackle his first film, Ivan's Childhood for Black Dragon Press, was a pure delight. I originally went for something to take on one of the most perfect moments in film history, the battlefield kiss, but the estate wanted to go in a different direction and so we did.






For some where there was never a majorly catching poster created for Good Will Hunting. It's largely a character piece and all about conversation and in a way lacking in any major visual cues or distinctive moments other than the core characters. Since the first thing I want to avoid in doing these is replicating the typical headshot poster you get from the studio ad houses, this went through many different approaches before we got to where it belonged.


For me personally the Hitchcock films are the most exciting and the most intimidating. They're so iconic and there's been so many incredible posters created, both in their original production but also in the more recent silkscreen poster craze bringing in some of today's best artists going to the 9s. Plus Saul Bass.... friggin Sal Bass is a mountain no one wants to fight with. This ongoing series is a special one to me as a personal project and I can't wait to tackle more on the coming months.






While we have a lot of visual cues to the Godfather films, we never really saw much of set of posters for them that ever did the film justice. The logo design itself became the iconography for the films, and the books alike, so in many ways there was a lot of freedom to taking the trilogy on. The characters are so mythic at this point, it's hard to avoid just executing head-shots, or the dreaded, horrible head-flower approach. So instead I decided to pin down the iconography specific to each film and make a more surreal symbolist approach. These are still among my favorites, but we caught hell like you would not believe on the outset for them... after the initial shock though, everyone pretty much came around.




Sometimes I get assigned a gig, like I did with King Hu's epic wuxia films, A Touch of Zen and Dragon Inn for Criterion. I'd done work for their release of Zatoichi and Tree Outlaw Samurai, but this was the first time they were making big full scale posters out of my work, so it had to really come together well. Plus it was a killer deadline to make the screening release. They are among the few companies today that will actually make a special edition series of printed full scale movie posters to accompany their short run screenings or releases and it's always an honor to work for them and with the insanely prolific and brilliant Eric Skillman.



I was commissioned by Jason Blum and Ethan Hawke to do a series of posters for their forthcoming spaghetti western, In a Valley of Violence by Ti West. This was a film I knew of and watched develop from script to final so had a much deeper and more intimate perspective on it as compared to others. I can't remember whether it was Ethan or myself, (as per usual probably both simultaneously), who came up with the idea of stringing them altogether so the doggy footprints tracked across them when lined up alongside... but of course it was a perfect notion.






Rosemary's Baby remains one of my favorite Polanski films, (following closely to The Tenant of course) and turned out to be one of my most enjoyable and instantly achieved posters to date.This is the one my manager/agent/spirit animal, Allen Spiegel really dislikes the most- "it spoils the ending!" he would cry. My reply being "It's been fifty years, I think we all know how the movie goes". And round and round we tumble. 



I was commissioned by by childhood chum, Stiles White and his wife/creative partner Juliet Snowden, the writers for The Possession, (previously known as Dibbuk Box) as a giveaway to Sam Raimi after the film wrapped up. Sam is a huge comics enthusiast so Stiles thought it would be fun to do a splashy garish EC comics style comics cover for it complete with logo bar and CAC imprint. 



Needless to say of all the work I do professionally, or even when it's simply a private commission or for myself, I cannot express how much I enjoy taking these on. it marries two of my favorite things in this world together, but I also find it a supremely effective thought experiment and the kind of challenge that helps feed back into my usual labors. Plus as a bonus I get to revisit these movies and see them as if new, which is of course, fantastic. Most of these were generated only within the last two or so years and a lot more are currently forthcoming, so keep on the lookout.
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Happy (belated) Birthday, Rupert Grint!

Joanne K. Rowling:
• J.K. Rowling original sketches on Pottermore.

Harry Potter – Actors and Movies:
Happy Birthday, Rupert Grint!.
• Tom Felton in first trailer for 'A United Kingdom', to premiere at BFI Film Festival.

Fantastic Beasts – Actors and Movies:
Wizarding Wednesdays: Win Signed Fantastic Beasts Prizes!.
Costume Designer Colleen Atwood on Working With Eddie Redmayne.
'Fantastic Beasts' Carmen Ejogo discusses President Picquery's unique purple wand.

Pottermore News:
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Hot Rec:
Dream Boy by Anon (Harry Potter/Tom Riddle | R | 2,181)
Summary:Self-preservation is what Tom was created for. So when he discovers the Horcrux in Harry’s scar, he decides to preserve that too. Of course, that doesn’t mean that he can’t enjoy himself in the process.

Observing the Proprieties by Anon (Albus Severus Potter/Draco Malfoy | NC-17 | 7,000)
Summary:Professor Malfoy is determined to teach his students to follow his instructions to the letter. The problem is that Albus enjoys detention just a little too much.

Right Into My Hands by Anon (Ron Weasley/Teddy Lupin | R | 2,927)
Summary: Harry has played right into his hands, and Teddy is thrilled – while Ron is just bemused that he’s at the heart of it all.

Mixtapes and Mistakes by Anon (Harry Potter/Teddy Lupin | NC-17 | 12,700)
Summary:eddy has always wanted Harry, but he can’t seem to convince Harry it’s a good idea. In the end, all it takes is a long, hot summer, a year and a half of waiting and a mixtape with a magical twist.

Cursing in French by Anon (Hermione Granger/Severus Snape/Hermione Granger | NC-17 | 9,600)
Summary:Hermione didn’t know why she was so fixated on Severus Snape. When she had the chance to go back in time, she decides to teach herself a thing or two.

Fandom Recs:
[personal profile] mywitch recced one Severus/Hermione fic (M).
[personal profile] madeleone recced one Severus/Hermione fic (?).
[personal profile] capitu recced one Harry/Draco fic (NC-17).
[profile] melodyssister recced one Severus/Hermione fic (?).
[profile] williamsnickers recced one Harry/Lucius/a> fic (NC-17).

Discussions:
[info]xdarkfaex posted Ask the Marauders!.(Vid)

General News:
Universal Orlando Resort rumored to have new Harry Potter video game ride coming.


Please send your fandom news to the Daily Snitch.

I have Imzy invites

NSFW Aug. 25th, 2016 22:47
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[personal profile] petra
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Stan Miller

Aug. 26th, 2016 01:20
[syndicated profile] linesandcolors_feed

Posted by Charley Parker

Stan Miller, watercolor and tempera
Spokane Washington based painter Stan Miller works in both watercolor and egg tempera, taking as his subjects portraits, landscapes, and in particular, scenes of Venice.

The play of light across textural surfaces plays a key role in all of his compositions, whether revealing the turn of form in a face and head, illuminating the textures of weathered clapboard or dancing off the water in a stone-lined canal.

Within these contexts, Miller explores subtle transitions of color, sophisticated variation in edges and a range of dramatic and muted value relationships.

Miller teaches workshops in Washington State, as well as in other parts of the country. He also has a series of short instructional videos on YouTube (there is an alternate listing of them on Parka Blogs, arranging them by subject).

 
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Im Sommer Wald

Aug. 25th, 2016 19:27
[syndicated profile] edwardbgordon_feed
At the Wuhlheide, the forest near my studio…


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

Sold / Verkauft

© Edward B. Gordon, all rights reserved.

Malory Beazley Guest Post

Aug. 25th, 2016 10:20
otw_staff: 'Comms' and 'Claudia' written beneath the OTW Logo (Claudia)
[personal profile] otw_staff posting in [community profile] otw_news
Banner by caitie of an OTW-themed guest access lanyard


"I’ve been most inspired by the compassion and generosity of fan creators. I’ve read incredible fics that have shifted my view on what makes great storytelling and inspired me to be a better writer. I’ve seen fan art that has moved me on a profound level and ignited my creative spark. I’ve watched fan films and theatrical productions that remind me that joy is the best motivator, not “shoulds” or “oughts.” "

Malory Beazley discusses FAN/FIC Magazine plans, her fanfic trilogy, and the tag whose growth she’s followed at AO3: http://goo.gl/nMaFff
musesfool: darth vader saying "He said what about his sister? Gross." (he said what about his sister?)
[personal profile] musesfool
There's Still Time to Change the Road You're On
Star Wars; Anakin, Leia, Luke; AU; 3,690 words
"Time travel? Are you kriffing kidding me?"

Once I realized I only cared about the family drama, I figured I didn't need to worry about the mechanics or results of time travel. Let's just pretend it makes sense! *hands* Title & cut-text from Led Zeppelin.

Or read it at AO3.

Yes, there are two paths you can go by, but in the long run / There's still time to change the road you're on. )

~*~

Feedback is adored.

~*~

Art Behind the Movie Logos

Aug. 25th, 2016 08:35
[syndicated profile] gurneyjourney_feed

Posted by James Gurney

Behind famous movie branding you'll find hard-working artists and models. Here is 28-year-old model Jenny Joseph resting after posing for the Columbia logo.

Logo ©Columbia, photos  ©Kathy Anderson
Artist Michael Deas painted the original in 1991. It's oil on panel, 21.5 x 40 inches. The painting was digitized and animated so that the clouds move and the light shimmers.


Deas says, "I start with a wooden panel, which is carefully primed and sanded. Then I begin drawing out the image very carefully, in pencil, using a full range of grays — it’s essentially a 19th-century technique called grisaille. Over that I gradually begin applying thin layers of color. It takes forever."


The revamped logo followed decades of earlier versions of the Torch Lady. Deas says: "The concept of draping The Lady in an American flag was dropped, either for legal or trademark issues, I don’t recall exactly."

©Paramount
As a bonus, here is Dario Campanile with his painting of the Paramount's 75th Anniversary logo from 1986. 
----
Read more: 
The Amazing Shrinking Torch Lady (how her legs were digitally stretched)
via Reddit

Chasing Dragons

Aug. 25th, 2016 00:00
[syndicated profile] muddycolors_feed

Posted by Donato

-By Donato

Puff the Magic Dragon - animated TV film still   1978

This evening as we discussed what new (or old) films we would be interested in viewing together as a family, the subject of Puff the Magic Dragon came up.  As I browsed through the lyrics and had a listen to the song by Peter, Paul and Mary for the first time in nearly 15 years (a song my wife cannot stand, but I love!), I reflected upon how powerful a simple statement like this song can be as a motivator and mirror to the choices and passions we have in our lives.  In light of a recent award from the Association of Science Fiction and Fantasy Artists I was going to post today about undertaking  challenges in art in order to achieve great goals and recognition.

But what I realized is that the driving force behind much of my critical success was not the sole need to achieve great things (awards, sales, etc), but rather the desire to bring forth and share the passions I have grown with since being a child. Obviously I have enjoyed the recognition and praise that comes with peer awards, but true critical, artistic excellence is founded on the deep desires of expression.  It is from these wellsprings that the perseverance, determination, and sacrifices needed to bring forth bold expressions in our art are found, sustained and nurtured.

The notes to this song and story are fixed deep.  For inside me is that little boy who listened to this song as a child, grew up with it as a young man, and now contemplates it as an aging adult - forever feeling joy at 'frolicks in the autumn mist' and sadness creeping as 'Puff ceased his fearless roar.'

I think of the rollercoaster ride my life and career has been, alternating between the ups and downs of emotions, developments, choices, celebrations, defeats, etc... You cannot select only the high points and live for those.  The journey is unpredictable, unknowing.  What keeps me coming back to the drafting table again and again, is the unending passion and joy in sharing a story I care about.

Chase your Dragons.  Seek them out and continue to play with them, no matter how, no matter where you are at in your career.  For when you put aside your joy of play, the dragon creeps away to silently die...

Beren and Luthien in the Court of Thingol and Melian -  Donato Giancola  -  114" x 60"  Oil on Linen   Chesley Award for Best Unpublished Work 2015

Peter, Paul & Mary 

Puff, The Magic Dragon

Puff, the magic dragon lived by the sea
And frolicked in the autumn mist in a land called Honah Lee,
Little Jackie paper loved that rascal puff,
And brought him strings and sealing wax and other fancy stuff. oh

Puff, the magic dragon lived by the sea
And frolicked in the autumn mist in a land called Honah Lee,
Puff, the magic dragon lived by the sea
And frolicked in the autumn mist in a land called Honah Lee.

Together they would travel on a boat with billowed sail
Jackie kept a lookout perched on puffs gigantic tail,
Noble kings and princes would bow whene'r they came,
Pirate ships would lower their flag when puff roared out his name. oh!

Puff, the magic dragon lived by the sea
And frolicked in the autumn mist in a land called Honah Lee,
Puff, the magic dragon lived by the sea
And frolicked in the autumn mist in a land called Honah Lee.

Dragons live forever but not so little boys
Painted wings and giant strings make way for other toys.
One sad night it happened, Jackie Paper came no more
And Puff that mighty dragon, he ceased his fearless roar.

His head was bent in sorrow, green scales fell like rain,
Puff no longer went to play along the cherry lane.
Without his life-long friend, puff could not be brave,
So puff that mighty dragon sadly slipped into his cave. oh!

Puff, the magic dragon lived by the sea
And frolicked in the autumn mist in a land called Honah Lee,
Puff, the magic dragon lived by the sea
And frolicked in the autumn mist in a land called Honah Lee.

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