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post #841 of 1305


My friend is having a housewarming party this Saturday, and this song—and everything that it inspires—is basically the "theme" of the party. Love this shit.
post #842 of 1305
Thread Starter 
Giambologna's Samson slaying a Philistine (1550-52) at the V&A


And he found a new jawbone of an ass, and put forth his hand and took it and slew a thousand men therewith.



787,5



489



723



700,5


(last pic courtesy of neighborhoodthreat.tumblr.com)


Quote:
Carved from just one block of marble, this sculpture is a good example of the multiple viewpoints seen in Giambologna’s work; the spiralling movement of the bodies means that there is no single viewpoint. This contrasts with the work of the slightly later sculpture of Bernini, whose monumental works almost invariably have only one viewpoint. Despite the fact that the marble is weathered from three centuries outdoors, Giambologna’s sensitive carving is still apparent.






This thread is Samson-approved.
post #843 of 1305


Man, the 80s were weird.
post #844 of 1305
Thread Starter 
Graphic designer Sam Smith shares the process behind the Criterion BR edition of Modern Times


Quote:
Process: MODERN TIMES


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When Criterion asked me to try my hand at a design for Charlie Chaplin's MODERN TIMES, I was quite intimidated. It's the first Chaplin film to join the Criterion Collection's esteemed pantheon, and its one of those films you'll run into quite regularly if you're browsing through lists of the best and most beloved films of all time. I was given free reign to come up with whatever ideas I wanted to try, so after watching the movie again (it had been a while) I started doodling in my sketchbook. I don't have scans of those pages with me, but that process led to some rough drawings like these:

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And, later that night, some cut construction paper collages like this:

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I knew that it was going to be important to represent the modern city as a major character in the artwork, but also that I needed to feature Chaplin himself. The above cartoon of Chaplin's hat becoming a kind of cityscape / landscape had some potential, and it would come up again later. The yellow drawing above touched on a vision I had in my mind of a massive cartoon landscape that showed both the looming industrial city with its giant buildings and gears as well as the natural landscape, with the gears and the hills blending together, and in a more polished version of this concept I imagined a great volume of tiny details-- people, cars, shops, trains, houses, trees, a whole miniature modern world contrasting the modern city to the open American landscape. These initial sketches and doodles served as a way to explore the themes I wanted to focus on while also providing some graphic and textural templates to work with, like the above paper cityscape which would later end up serving as the template for the entire package.

This led to a cover idea that I envisioned as a landscape of gears. The images of Chaplin crawling around and through these massive factory gears are some of the most well-known in movie iconography, and I was initially hesitant to use the gear imagery just since its so obvious. At the same time, if a good design came of the gears I didn't want to rule them out, as some things are obvious because they have good reason to be. Initially, we considered the possibility of using die-cut holes in a cardboard slipcase, where images of Chaplin would slide through the die-cut openings and reveal different moments and scenes. So I made this unfinished "gearscape" layout with that idea in mind.

483


Meanwhile, I had sketched out two other simple ideas that I thought might work for the cover. The first featured the last shot of the film. I hate to spoil it for anyone reading this, and if you don't want to know what that shot is you might stop here, but I also had the thought that if there were ever a last shot to give away in a poster or cover, this would be a good contender... It's just that good. And what I really, really loved about it was that it showed both Chaplin and his wife at the time, Paulette Godard, and the film is ultimately about these two characters, as a couple. I loved that idea, and although it wasn't ultimately represented in the cover, I tried to spread this theme out through the rest of the package and menus later. This image wasn't the ideal choice for the Criterion cover because it didn't really address any of the modern or technological themes of the movie. The image of the couple walking away had also been used in existing posters and we wanted to try to create some new iconography for the film.

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Another doodle led to this concept of Chaplin's face with mismatched gears for eyes. Here I was really inspired by the Czech and Polish posters I love that used a decisively abstract style and didn't necessarily concern themselves with matching the look or story of the film they represented. The black rounded border and some of my type experiments were conceived as a direct homage to these kinds of posters.

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When my art director and I started talking about it though, we realized it actually worked quite well thematically as well as graphically, in that the movie is about Chaplin's Tramp becoming a part of the industrial machine and going kinda crazy in the process. I thought about the famous, amazing book cover (and later, movie poster) for A CLOCKWORK ORANGE designed by David Pelham that shows Alex with his bowler hat and eyelashes that resemble gears, but since Burgess & Kubrick's Alex owed so much to Chaplin's iconic look in the first place, I wasn't really worried about drawing the comparison. The gang at Criterion thought this was the most striking cover idea, so we proceeded with applying the famous Criterion branding and working on a title treatment. This was just matter of finding the perfect typeface to use and we had some help from a period typeface connoisseur who recommended some of these including Juanita, the typeface we ultimately used in a tiny strip along the bottom of the image. Throughout the process, we also refined the actual image of Charlie's face to make it a little less abstract than my original concept. I must have tried about 50 different type and layout variations, but we finally found one that felt just right.

482 482 482

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From there it was time to start on the menus and booklet. While Criterion Blu-ray menus are built around one image or video with an overlaid interactive menu, their DVDs use multiple menus for each special feature, chapter menu, etc. I had a lot of fun working with some cut-out paper illustrations and integrating them with images from the film. Here I had the opportunity to play with all of Chaplin's personas, sequences and locations within the movie, aside from the industrial gear & factory imagery everyone associates with it, and really create my own playful visual world. I applied this style to the booklet as well, the cover of which used my earlier hat-city idea and became a screenprint for the Belcourt's Chaplin Festival. Here are some selected images from the menu and booklet art:

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I came up with the above image as an homage to that last shot of the film, "SMILE" being the theme song of that section and the song that closes the film. This image, without the text, became the back cover of the booklet.


It was a tremendous honor to work on this release and once again I fell in love with this movie while working on the package. Sifting through hundreds of publicity stills and behind-the-scenes photos from the Chaplin Archives was as wonderful a treat as any movie lover could hope for, and I hope that all the Chaplin fans out there enjoy seeing some of those great images in the booklet and supplements. Janus Films is touring the new Chaplin prints around the country right now and I've been surprised how many people I know have admitted they've never even sat down and watched a Charlie Chaplin movie all the way through. If any are playing near you, check them out and get ready to be moved and entertained. At home, you can enjoy Criterion's MODERN TIMES Blu-ray and DVD, for sale now. Thanks again to Sarah Habibi, Abbey Lustgarden and everyone else at Criterion for this incredible opportunity.
post #845 of 1305
incidentally i came across this scene in london recently

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post #846 of 1305
Thread Starter 
Is that a PH jacket ?!
post #847 of 1305
Thread Starter 
Michaël Borremans



367,5
Trickland, 2002



615
The Pupils, 2001


634,5
Hornet, 2008


606
A2, 2004


397,5
The Ear, 2011


351
The Devil's Dress, 2011

Quote:
Originally Posted by source View Post

Whereas in his small-scale drawings, his tekeningen, he often creates larger scenarios, clinical and uncanny situations charged with deformity, unequal power relations and oppression, his paintings and more recent minimalist film works mostly focus on human beings devoid of individuality, free will or clear missions in life. The futile tasks carried out by the generic, universal types he initially found and ‘borrowed’ from old magazines and other media have by now made way for intricately planned and highly detailed scenarios the trained photographer shoots first with actual models and then translates into the unique figurative language he employs as a painter. Charged with the same surreal, unsettling and almost ‘Lynchian’ quality (Borremans’ Trickland is especially reminiscent of Benjamin Horne’s futile endeavors), his source materials, whether found or not, are the starting point for an open-ended dialogue with his artistic forbears, a reflection on the various traditions of his media, and an ongoing quest to find new ways to create illusions. Forcing the viewer to deal with philosophical questions about rituals of interpretation and meaning, the more layers and dimensions he adds, the more things become unclear, and painfully so. It is this lack of clarity, this perpetual state of suspense that makes his work endlessly captivating.

Self-taught – although he calls Baroque portrait master Diego Velázquez his teacher – he keeps returning to the human figure and the sometimes unbearable weight attached to human existence: the fears, the flaws, the futility, the terror, the turmoil, and the tragedy. Luckily, all of this weight is ultimately counterbalanced by a heavy, bittersweet chuckle and a thick puff of smoke – and when it lifts, this cloud of smoke, Borremans is already gone, off to create the next set of illusions, in his free hand, ideally, a glass of champagne.



And a documentary if you feel like it, skip to 33:00 or so for the part where Borremans talks about Velazquez, cool stuff

post #848 of 1305
Thread Starter 



394










Quote:
in the very waters where melville’s pequod gave chase to moby dick, leviathan captures the collaborative clash of man, nature, and machine. shot on a dozen cameras — tossed and tethered, passed from fisherman to filmmaker — it is a cosmic portrait of one of mankind’s oldest endeavors.

Leviathan is a new film by directors Véréna Paravel and Lucien Castaing-Taylor. Paravel was the co-director on the 2010 documentary Foreign Parts while Castaing-Taylor co-directed the well-received 2009 documentary Sweetgrass.
post #849 of 1305
Wallace Stevens' The Idea of Order at Key West

She sang beyond the genius of the sea.
The water never formed to mind or voice,
Like a body wholly body, fluttering
Its empty sleeves; and yet its mimic motion
Made constant cry, caused constantly a cry,
That was not ours although we understood,
Inhuman, of the veritable ocean.
... (Click to show)
The sea was not a mask. No more was she.
The song and water were not medleyed sound
Even if what she sang was what she heard.
Since what she sang was uttered word by word.
It may be that in all her phrases stirred
The grinding water and the gasping wind;
But it was she and not the sea we heard.

For she was the maker of the song she sang.
The ever-hooded, tragic-gestured sea
Was merely a place by which she walked to sing.
Whose spirit is this? we said, because we knew
It was the spirit that we sought and knew
That we should ask this often as she sang.

If it was only the dark voice of the sea
That rose, or even colored by many waves;
If it was only the outer voice of sky
And cloud, of the sunken coral water-walled,
However clear, it would have been deep air,
The heaving speech of air, a summer sound
Repeated in a summer without end
And sound alone. But it was more than that,
More even than her voice, and ours, among
The meaningless plungings of water and the wind,
Theatrical distances, bronze shadows heaped
On high horizons, mountainous atmospheres
Of sky and sea.
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the single artificer of the world
In which she sang. And when she sang, the sea,
Whatever self it had, became the self
That was her song, for she was the maker. Then we,
As we beheld her striding there alone,
Knew that there never was a world for her
Except the one she sang and, singing, made.

Ramon Fernandez, tell me, if you know,
Why, when the singing ended and we turned
Toward the town, tell why the glassy lights,
The lights in the fishing boats at anchor there,
As night descended, tilting in the air,
Mastered the night and portioned out the sea,
Fixing emblazoned zones and fiery poles,
Arranging, deepening, enchanting night.

Oh! Blessed rage for order, pale Ramon,
The maker's rage to order words of the sea,
Words of the fragrant portals, dimly-starred,
And of ourselves and of our origins,
In ghostlier demarcations, keener sounds.
post #850 of 1305
love me some Wallace Stevens. I actually worked a line of his (from a different poem) into my wedding vows.
post #851 of 1305
Thread Starter 
Gettin' down on Friday



post #852 of 1305
nod[1].gif this is my favourite scene of the film
raf used also this song for F/W 2009
post #853 of 1305
So good out of context
post #854 of 1305
a friend of mine is visiting the V&A in London, she took these!
edit: sorry, i didnt rotate redface.gif

Soft Little Heavy chair by Ron Arad


Design overlook


Dries 2006
post #855 of 1305
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