(via Christianne’s Art and Comics: Another Creature Post)

So I’ve been drawing this series of creatures for a role playing game this spring. Brush and ink, mostly.

(via Christianne’s Art and Comics: Another Creature Post)

So I’ve been drawing this series of creatures for a role playing game this spring. Brush and ink, mostly.

cinephilearchive:

From a terrific site called filmslie.com: “The Russian filmmaker Sergei Eisenstein was one of the first to use the term in his theory of montage. He argued that an editing of two shots has the ability to create meaning beyond the sum of the individual shots. In other words, he recognized the potential of editing to transform the cinematic language. In an interview, Francis Ford Coppola said for him editing is the defining characteristic of cinema. His description of editing sounds similar to Eisenstein’s: ‘[Cinema] combines so many other art forms, as do theater and opera, but the essence of cinema is editing. It’s the combination of what can be extraordinary images, images of people during emotional moments, or just images in a general sense, but put together in a kind of alchemy. A number of images put together a certain way become something quite above and beyond what any of them are individually.’

So here is a short clip that attempts to explain the roles of the editor in a very visual way. The idea that probably stands out the most is: ‘The less you notice our work, the more successful we have been.’ It depicts editing as the complex and arduous process, which if done well appears seamless and natural to the audience.” —What Film Editors Do, Coppola about Editing & the Basics of Eisenstein’s Film Montage

Speaking of Eisenstein, here’s a peek inside the thinking of the greatest director in the early history of Russian cinema. Sergei Eisenstein is arguably the most important single figure in the history of movies. He was certainly the most versatile. The director of the masterpieces ‘Battleship Potemkin’ and ‘Alexander Nevsky,’ Eisenstein also wrote ground-breaking essays on film art and taught classes on motion picture production. In this book (‘Notes of a film director’) Eisenstein writes about himself and his films, about film directing and about artists he has worked with. The last chapter is his own drawings and sketches. The book is available for free from the Internet Archive [pdf]. The biography of Sergei Eisenstein is also available at Internet Archive.

Walter Murch have also something to say on this matter, “Several compilations of interviews with American film editors have been published in the last decade, but ‘Fine Cuts: The Art of European Film Editing’ is notably the first collection to focus on European editors with their inspiringly diverse ways of assembling film. It also features illuminating guest appearances by a number of European directors — Godard, Varda, Tarkovsky, Truffaut, Mackinnon, Tarr — offering their insights into the editing process. What gives all of these interviews their complexity and warmth is not only the ten different nationalities, but even more so the richly diverse and ‘uncinematic’ family backgrounds of the editors collected here. Had they followed in their parents’ footsteps they would have instead become teachers, pilots, tailors, doctors, farmers, chemists, vegetable sellers, astronomers, bookkeepers, salesmen, road workers, dry cleaners, dentists or civil servants. Luckily for the readers of this marvellous book, and for world cinema, they took another route and — to use Godard’s evocative description of film editing — transformed chance into destiny, making the varied circumstances of their lives a reflection of montage at its most sublime, when accidental moments are propelled by structure into inevitability.”

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

(via Christianne’s Art and Comics: Christopher Lee (The Devil Rides Out))

I broke out the watercolors today for the first time in forever to make a portrait of Christopher Lee for a commission I’ve been procrastinating on.

(via Christianne’s Art and Comics: Christopher Lee (The Devil Rides Out))

I broke out the watercolors today for the first time in forever to make a portrait of Christopher Lee for a commission I’ve been procrastinating on.

valeriekeefe:

krelllabs:

Scarlett Johansson and Chris Evans in Captain America: The Winter Soldier

In which I dump a lot of words on Captain America: The Winter Soldier.

My persistent complaint about the Iron Man movies has been the incoherence of their politics. While the first Iron Man film manages to take something like a principled stand, its sequels waffle and prevaricate, as if as a mass entertainment committed to the broadest possible audience they don’t dare offend the left or the right. Captain America: The Winter Soldier makes no such concessions. It is the most pointed, most politically aware blockbuster in recent memory. Its directors compare their film to the paranoia thrillers of the 1970s, which were overtly critical of the military/industrial complex. While this follows that lead, this film is very much of its moment, also touching on the NSA spying program and Wikileaks and Edward Snowden. Sure, it casts these things as fantasy avatars, with the convenience of Hydra allowing the filmmakers to sidestep questions of partisanship, but it doesn’t take a code book to decipher their meanings. This is not a film that conceals them. The conviction behind its politics translates to a heightened sense that what we are watching is meaningful to not only its characters, but to the world beyond the screen as well. This creates an engagement with the viewer—this viewer, in any case—that the other Avengers movies have lacked.

Well how else would you think they’d get Robert Redford, I have to wonder? His presence in a film is sorta like a liberal seal of approval.

I suspect they had Warren Beatty or George Clooney on speed dial on the off chance that Redford turned them down.

xombiedirge:

The Purrfect Crime by SHAG
14” X 24” Acrylic on board, available HERE.
Part of the POP-EYECONIC art show, now on at Corey Helford Gallery

xombiedirge:

The Purrfect Crime by SHAG

14” X 24” Acrylic on board, available HERE.

Part of the POP-EYECONIC art show, now on at Corey Helford Gallery

(via Christianne’s Art and Comics: Badger, Crab, Weird Thing.)

Weird (and not so weird) drawings of creatures on my art blog this morning.

(via Christianne’s Art and Comics: Badger, Crab, Weird Thing.)

Weird (and not so weird) drawings of creatures on my art blog this morning.

Scarlett Johansson and Chris Evans in Captain America: The Winter Soldier

In which I dump a lot of words on Captain America: The Winter Soldier.

My persistent complaint about the Iron Man movies has been the incoherence of their politics. While the first Iron Man film manages to take something like a principled stand, its sequels waffle and prevaricate, as if as a mass entertainment committed to the broadest possible audience they don’t dare offend the left or the right. Captain America: The Winter Soldier makes no such concessions. It is the most pointed, most politically aware blockbuster in recent memory. Its directors compare their film to the paranoia thrillers of the 1970s, which were overtly critical of the military/industrial complex. While this follows that lead, this film is very much of its moment, also touching on the NSA spying program and Wikileaks and Edward Snowden. Sure, it casts these things as fantasy avatars, with the convenience of Hydra allowing the filmmakers to sidestep questions of partisanship, but it doesn’t take a code book to decipher their meanings. This is not a film that conceals them. The conviction behind its politics translates to a heightened sense that what we are watching is meaningful to not only its characters, but to the world beyond the screen as well. This creates an engagement with the viewer—this viewer, in any case—that the other Avengers movies have lacked.

amazonchique:

This is mostly for Wes Schneider, as he and Rob got to talking about how RPGs are invaluable for teaching vocabulary you never hear in common parlance.
And all I could think was how long I wanted a Brazier of Fire Elemental Command before finding out what it really was.

amazonchique:

This is mostly for Wes Schneider, as he and Rob got to talking about how RPGs are invaluable for teaching vocabulary you never hear in common parlance.

And all I could think was how long I wanted a Brazier of Fire Elemental Command before finding out what it really was.

Miss Daisy is a showoff when she wants attention. This is why I love working from home.

Tags: selfie

Ralph Fiennes and Tony Revolori in The Grand Budapest Hotel

Getting back on the film blogging horse today with a crabby look at The Grand Budapest Hotel.

I was having a conversation with a friend of mine after seeing Wes Anderson’s new film, The Grand Budapest Hotel (2014), when he mentioned that he found the film’s structure to be ungainly. He called it a matryoshka doll, one of those Russian dolls that nest progressively smaller dolls inside themselves. As a literal description of the film’s structure, he’s right. It’s a narrative constructed of flashbacks within flashbacks—needlessly, my friend thought, because only one of the framing narratives has any real connection with the main thrust of the film. I think this is only a marginally useful description of the film. I prefer to think of it as a dollhouse, a comparison that has occurred to me before while watching Anderson’s films: In the sequence in Moonlight Kingdom, for instance, when the house becomes a series of panels and the film turns into a kind of comics page, for instance, is a lot like a dollhouse that’s been opened so that you can get to the rooms inside. Like that film, a lot of the humor in The Grand Budapest Hotel is predicated on dressing up its actors in elaborate costumes (no Harvey Keitel in short pants this time, unfortunately—Keitel plays a role more in keeping with his screen persona). I don’t really know what it says about Anderson that he sees in film a huge dollhouse where Orson Welles saw a train set. Both directors see a vast toybox in any event.

ladiesmakingcomics:

Is it self-ghettoization for women comics creators to have their own spaces, either in anthologies, panels, or *gasp* blogs? Is there really a sexism problem in comics, actively keeping women creators out? How much of this issue is just the nature of the market?

Saturday…

I’m not sure how I wound up on a wikipedia page for “traumatic insemination." Suffice it to say, i was researching insects for a drawing. What I got, though, was this bit of nightmare fuel. This is a penis. While many of Lovecraft’s horrors are vulvic at their corre, this seems truer to Lovecraft than any horror I’ve seen in nature. My god, that thing is terrifying. This belongs to a bean weevil, one of many species of insects who reproduce by raping their partners by puncturing their carapaces with their penises and indiscriminately inseminating their inside parts . There are even bugs who don’t care about the gender of their partners. 
The things you learn when doing your due dilligence, eh? I don’t think I’m going to be sleeping well tonight.

I’m not sure how I wound up on a wikipedia page for “traumatic insemination." Suffice it to say, i was researching insects for a drawing. What I got, though, was this bit of nightmare fuel. This is a penis. While many of Lovecraft’s horrors are vulvic at their corre, this seems truer to Lovecraft than any horror I’ve seen in nature. My god, that thing is terrifying.

This belongs to a bean weevil, one of many species of insects who reproduce by raping their partners by puncturing their carapaces with their penises and indiscriminately inseminating their inside parts . There are even bugs who don’t care about the gender of their partners.

The things you learn when doing your due dilligence, eh? I don’t think I’m going to be sleeping well tonight.

Here are some more drawings for my current RPG contract. I’m drawing a lot of insects and dinosaurs for this commission, which would please the hell out of the twelve year-old me. I drew a lot of dinosaurs when I was a kid, and now I’m getting paid to do it. Dream big, kids. They come true some of the time. I’ll be doing drawings for this assignment for a while. I think there are 47 drawings all told, of which I’ve done about a quarter of them. The brief on these: the ant is an ant, obviously. In the game, it carries an electrical charge, hence the glowing spots on its carapace. The big critter is a variety of ankylosaur, used by the game’s lizard people as a draft animal. This is an example of combining existing animals in a drawing to make the resulting fantasy animal credible. This draws from several types of turtles and lizards. It has the head of a snapping turtle and the legs and feet of a Galapagos tortoise, along with some other influences from horned lizards and ankylosaur fossils. It turned out better than I expected. The caterpillar is described as a “crawling wig,” and when I went looking for references for such a thing, I turned up this! I went to pains to avoid just copying the real thing. The ant is brush and ink and Pitt pens on Bristol board. The dino and “crawling wig” are entirely brush and ink on Bristol board.


I’m trying out Patreon as a means of funding my blogs. They don’t have a widget yet, so this link will just have to do. If you like my writing and art and if you’d like to support Krell Laboratories and Christianne’s Art and Comics, please come on over and pledge. Thanks.

bluedelliquanti:

So remember how there was supposed to be a special announcement today instead of a regular comic update? Well, here it is - today is the launch date for my brand new Patreon campaign!
If you aren’t familiar with it yet, Patreon is a crowdfunding platform where folks contribute funds to an individual’s ongoing work instead of one particular project. Depending on how much you choose to pledge per month, you will get access to certain cool things, like Patreon-exclusive sketches, sneak-peeks and PDFs. And if certain monthly milestone goals are met, I get to do awesome things that will make everyone happy.
Now, I need to emphasize, O Human Star will always be free to read online, for everyone. This Patreon will just give me the chance to create the best comic I can, at a pace that makes sense for my schedule, while still being able to communicate with my readers and show them cool stuff. This will also give you a chance to help support my work, if you so choose, in a way that really does make a huge difference to me. No matter whether you can pledge or not, I appreciate your enthusiasm and your support. Thank you so much.

bluedelliquanti:

So remember how there was supposed to be a special announcement today instead of a regular comic update? Well, here it is - today is the launch date for my brand new Patreon campaign!

If you aren’t familiar with it yet, Patreon is a crowdfunding platform where folks contribute funds to an individual’s ongoing work instead of one particular project. Depending on how much you choose to pledge per month, you will get access to certain cool things, like Patreon-exclusive sketches, sneak-peeks and PDFs. And if certain monthly milestone goals are met, I get to do awesome things that will make everyone happy.

Now, I need to emphasize, O Human Star will always be free to read online, for everyone. This Patreon will just give me the chance to create the best comic I can, at a pace that makes sense for my schedule, while still being able to communicate with my readers and show them cool stuff. This will also give you a chance to help support my work, if you so choose, in a way that really does make a huge difference to me. No matter whether you can pledge or not, I appreciate your enthusiasm and your support. Thank you so much.

spaceykate:

krelllabs:

Here’s the next page of “The Exile of Natalie Rios”. Mostly brush and ink on Bristol board. I don’t think I used pens for much of this. I should be finishing this project up pretty soon. I hope. This is another relatively safe-for-work page. This is getting to be a habit. This page is considerably different from what Katie wrote for me. It’s one of the pages I re-wrote in order to draw it more easily. As always, the master post for this story is here if you need to catch up.
 I’m trying out Patreon as a means of funding my blogs. They don’t have a widget yet, so this link will just have to do. If you like my writing and art and if you’d like to support Krell Laboratories and Christianne’s Art and Comics, please come on over and pledge. Thanks. (via Christianne’s Art and Comics: Exile page 13)

Dear me, two pages in a row with no sex! I don’t have the script in front of me, but I’m going to pretend I didn’t script it that way and blame Christi. ;)
Doesn’t everyone look fantastic in their 40’s? Alyx has aged terribly well I think, and Wayne has turned out adorably dapper in a radically different way than I imagined him.
Almost certainly lots of hot sex on the next page, I think. Promises, promises!

Yeah. Pretty much every panel of the next page has sex on it. Makes it a challenge to draw, but at least I’m not drawing any more airports. ;)

spaceykate:

krelllabs:

Here’s the next page of “The Exile of Natalie Rios”. Mostly brush and ink on Bristol board. I don’t think I used pens for much of this. I should be finishing this project up pretty soon. I hope. This is another relatively safe-for-work page. This is getting to be a habit. This page is considerably different from what Katie wrote for me. It’s one of the pages I re-wrote in order to draw it more easily. As always, the master post for this story is here if you need to catch up.


I’m trying out Patreon as a means of funding my blogs. They don’t have a widget yet, so this link will just have to do. If you like my writing and art and if you’d like to support Krell Laboratories and Christianne’s Art and Comics, please come on over and pledge. Thanks. (via Christianne’s Art and Comics: Exile page 13)

Dear me, two pages in a row with no sex! I don’t have the script in front of me, but I’m going to pretend I didn’t script it that way and blame Christi. ;)

Doesn’t everyone look fantastic in their 40’s? Alyx has aged terribly well I think, and Wayne has turned out adorably dapper in a radically different way than I imagined him.

Almost certainly lots of hot sex on the next page, I think. Promises, promises!

Yeah. Pretty much every panel of the next page has sex on it. Makes it a challenge to draw, but at least I’m not drawing any more airports. ;)