splinterend:
The boundary between reality and fantasy is porous and unstable; everything, including inanimate objects, is alive and responds magically to wishes and fears. There are mysteries and secrets everywhere, as in the lives of children, who are kept in the dark about fundamental realities – sex, death, money, and the whole complex mystery of their parents’ desires and disappointments – Elizabeth Dalton, from the Introduction to Grimm’s Fairy Tales, published 2003 by Barnes & Nobles Classics
Disney is a staple to American cinema. The name itself is a brand, hailing nearly fifty animated theatrical releases with its recent film, The Princess and the Frog, it’s 49th, and another unveiling this fall, Tangled, it’s golden 50th.
But these recent films come nowhere near to the dare and darkness of some of the original Disney animated films, the fears evoked so deeply by fairy-, folk- and morality tales. Yes, they began the tradition of integrated musicals into animation that lasted for decades until arguably the turning of the 21st century, but these films – from Snow White to Sleeping Beauty – are in a class of their own, films that will likely stand the test of time because they tap into the subconscious of our childhood that we will never fully understand or ever let go of.
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alwayswithhonor:
We’re happy to announce the launch of the Cloudy Collection featuring our work- Vol II Edition II, with the theme Teeming Up.
This edition features work by art/design duos, and we are proud to be featured among the ranks of Aesthetic Apparatus, Eight Hour Day, Ghostshrimp + Pendleton Ward, The Little Friends of Printmaking, Lab Partners, Sonnenzimmer, and Becky & Frank.
It’s a beautiful set and a great value for that amount of prints, we hope you enjoy and go grab one of your own!
/AWH
It’s a beautiful set, I got one.
The Incredibles is my favorite Pixar movie of all time, both for storytelling ambition and technical & artistic mastery. So, as a fun side-project, I went and did a visual compositions study of different shots throughout the movie.
(Disclaimer: I’m no student in film, nor can pretend to be a master at dissecting shot construction. But hey.)
“People often think that editors are there to read things and tell people “no.” Saying “no” is a tiny part of the job. Editors are first and foremost there to ship the product without getting sued. They order the raw materials—words, sounds, images—mill them to approved tolerances, and ship. No one wrote a book called Editors: Get Real and Ship or suggested that publishers use agile; they don’t live in a “culture” of shipping, any more than we live in a culture of breathing. It’s just that not shipping would kill the organism. This is not to imply that you hit every sub-deadline, that certain projects don’t fail, that things don’t suck. I failed plenty, myself. It just means that you ship. If it’s too hard to ship or you don’t want to deal with it, you quit or get fired.
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Naoki Terada’s insanely detailed paper models.
“Take your pleasure seriously.
“Which means they don’t surprise us. They don’t take us out of our comfort zone. A recommendation engine isn’t the spouse who drags you to an art film you wouldn’t have been caught dead at but then unexpectedly love. It won’t force you to read the 18th century canon. It’s no substitute for stumbling onto a great CD just because it has cool cover art. Recommendation engines are the enemy of serendipity and Great Books and the avant-garde. A 19th century recommendation engine would never have said, If you liked Monet, you’ll love Van Gogh! Impressionism would have lasted forever.
“What we needed to know about cars … is not how to use them but how they use us. In the case of cars, what we needed to think about in the early twentieth century was not how to drive them but what they would do to our air, our landscape, our social relations, our family life and our cities.
Neil Postman
Grafik magazine discontinues printing.
Day 8 of 1 Day, 1 Headline. (Read more about this project.)
