2014-07-23 : 10,434 notes


gemmacorrell:

This is being shared all over the internet with my © and signature removed at the moment… good times.

gemmacorrell:

This is being shared all over the internet with my © and signature removed at the moment… good times.


2014-07-23 : 18 notes



fyeahlouisck:

Charles Grodin Final scene from episode 6 season 4 of LOUIE

This quote right here:

"You know the only thing happier than a three-legged dog? A four-legged dog."


2014-07-21 : 2 notes


weirdshitblog:

Hey everybody. There’s an update on my short story collection, Other Gods, on IndieGogo. Go read it. http://buff.ly/WoeMTI

New update features my cover art for Asher’s book. Go check it out! (And check weirdshitblog, it’s very funny!)


2014-07-18 : 12,600 notes


noelarthurian:

electricalice:

while this is mostly about facts, there are a lot of opinions in this tutorial (namely my distrust on several brands marketing strategies, and my opinion that’s better to start with cheap student quality stuff. LOTS of people disagree on that point) as well that you should take as what they are: personal opinions.

here is slightly more readable than on tumblr

this is the result of several years of research on creating a cheap but high quality palette that would help me.

other things to be aware of: pigments are generally more resistant in oil and acrylics than they are in watercolor. but there are a couple of pigments that work well in watercolor but really badly in oil.

resources
pigments through the ages
a comprehensive guide to watercolor pigments and a lot of tests on popular brands
about van gogh’s bedroom
Blue and Yellow don’t make green by Michael Wilcox

Very good infographic!

I would like to add the Daniel Smith brand to that tiny chart in the third image. They can be a little hard to find save ordering them from Daniel Smith, but they have a lot of really unusual and unique pigments in their artist quality watercolor collection, including interference paints and other cool shit. These are what I use, save a few W&N Cotman colors I haven’t replaced yet.

(via chriddofsitemsofinterest)


2014-07-18 : 7 notes


mrchriddof:

For some time now I’ve been fascinated with On Kawara, the Japanese conceptual artist and painter. And now, I’ve only just found out, he is no longer with us. There now follows a brief tribute and primer to Mr Kawara.

He was mainly known for his date paintings, on which every day from the mid 1960s right up until his death, he painted nothing but text displaying that day’s date (in a perfect hand-drawn font, which resembled Futura) on a plain coloured background, either black, gray, red or blue. (If he didn’t manage to complete a painting before midnight, he would destroy it.)


These were just one part of his whole life’s work, which was to do with the passage of time, and existence. There was also stuff like the following (taken from the article I linked to above):

Between the late 1960s and 1979, Mr. Kawara sent telegrams as regularly as possible to a rotating selection of friends and colleagues that announced, “I am still alive.”

During the same period, his “I Got Up” series consisted of mailed postcards rubber-stamped with the time he had risen and the address where he was staying on a given day. For “I Met,” he typed lists of all the people he encountered in the course of a day. In the mid-1990s he typed lists of one million years — one reaching back in time, the other forward — that were read aloud in performances in New York, Paris, London and elsewhere. This work was published in a limited-edition two-volume set that ran to 2,012 tissue-thin pages per book.



Of that last thing mentioned there, a relatively small 73 minute long extract of the One Million Years project, which involves the span of years lasting from 1994 to 2613, was recorded and released as a CD, which can be downloaded or streamed over here.

Also, there’s a whole bunch of videos by various people on Youtube about him.

In recent years there were also a number of digitally-orientated tributes to Kawara. I recall that someone wrote a script to automatically recreate the entire text of One Million Years, which could be viewed online. I can’t seem to find that now, though. Also there was a blog on Google’s Blogger service which automatically recreated the “I Am Still Alive” thing, by checking RSS news feeds for any mention of his death, and when it came up with nothing, the blog would create a post stating that he was still alive. However, I can’t seem to find that either.

The latter seems to have been replaced by an unofficial On Kawara Twitter account doing the same thing. Only it’s ruined a bit by the needless hashtagging of “ART” at the end of each daily post (possibly betraying the actual attitude of the account’s maker, giving a vague air of a sneery, “lol would you believe this shit” irritatingness - hopefully I’m reading too much into that), and whoever it was that set it up doesn’t seem to have realised that Mr Kawara is dead, meaning that the last several days have gone by with “I AM STILL ALIVE” being (presumably) automatically posted.

So, that’s On Kawara. I thought he was great, and he is no longer alive.

Fascinating!


2014-07-18 : 55 notes



plebcomics:

1:24 should be the response everyone gives to someone who has one of them there trendy genders

just patronizing sarcasm followed by questions of sucking dogs dicks


2014-07-18 : 380 notes


"One of the things that was great for David Byrne when we did Stop Making Sense was that David really got to design the lighting for the show—and by extension for the movie. He hadn’t got to do everything he wanted to do lighting wise with the stage show because of the limitations of technology at that point. But David got a chance to work with Jordan Cronenweth who shot Blade Runner and was a great master of American cinematography, and he could do all the little tweakings and brushstrokes that he had dreamed of doing with the stage show. […] It’s great working with [Cronenweth] because he’s an absolute tight-ass perfectionist. You can’t get Jordan to back away from anything he’s doing until he’s got it perfect, and that can be exasperating because you’ve got one eye on the clock and you’re desperate to get moving. But then when you see the dailies and you see the extra level Jordan was taking it to when he was driving you nuts, you go, ‘Thank God he did it.’ He’s a painstaking artist.”

"I’d just as soon it didn’t occur to people that they’re watching a concert, but rather a band performing without the distancing factor of it being an event that happened once. That’s why there’s no audience in the film until the very end. I thought it was important if the film was to be as effective for filmgoers as it was for me watching the concert. I wanted to capture the energy and the flow and that unrelenting progression of music."

"We were minutely prepared. David had storyboarded the concert in a series of close shots. Not for the film, but for a tour. From this storyboard, I started to develop a model of the film, which by the way never stopped being modified. I worked closely with my visual advisor Sandy McLeod, who made sure I was in constant contact with the Talking Heads while they were on tour. I traveled with them myself for one week in Texas, then, before our concert, I followed all their performances on the West Coast. So on D-Day, I had a precise idea about the best camera placements. Having said that, 50 percent of the shots were conceived on the spot. […] This was the first multiple-camera situation I’d ever been in. The first night was pretty disastrous. Suddenly it was all happening, and all the preparation and planning was put up against the reality of the show. Cameras ran out of film, the band was real nervous and uptight having cameras stuck in their faces. We kept getting each other in the background of shots too much. It was a mess, but a superb camera rehearsal. The next three nights were spectacular." — Jonathan Demme on Stop Making Sense

Even if you don’t like or care for Talking Heads, Stop Making Sense is one of the greatest films of all time. Everything about it— cinematography, set design, lighting, costume design, etc.— is superb. And I bet you’ll end up loving the music anyway, for all the passion in the performances of the band, and the powerful sum of images and sound. Go check this out pronto.

(Source: strangewood)


Theme by M Janet Mars