Fue pionera a la hora de usar el cuerpo como parte de la obra artística. Sus performances han cambiado la forma de ver el arte y su figura ha trascendido las fronteras de la creación para insertarse en las de la cultura popular. Arte, ópera, vídeo, nada le es ajeno.
I thought I would share the first part of the chapter on crewing from The Guerilla Film Makers Movie Blueprint. It’s a template for a low budget feature film crew and exactly who you will need at…
Vamos a visitar El Capricho es un edificio proyectado en 1883 por el arquitecto catalán Antoni Gaudí en Comillas Cantabria
MOMA dedicates an exhibition to Bill Brandt the 20th century modernist photographer. in News Design.
These incredible charts take you from scratch to the pre production process and to the movie release. (Infographic) These charts are provided by IndiaShoots .The Flow Chart campaign was developed at…
This course allows the student to start their own film script. It includes an overview of the process, storyboarding, outline and scriptwriting expectations each week. 5 Class sessions at 40 minute…
I am grateful to the Honourable Margaret Norrie McCain for her support of Maud Lewis: Life & Work.
Cerise Doucede, es una artista francesa que tras estudiar diseño gráfico descubrió en la fotografía la verdadera arma para transmitir y contar sus historias. En sus fotografías, crea un mundo mágic…
You have survived everything you have been through, and you will survive this too. Stay for the person you will become. You are more than a bad day, or...
Maagdenhuis, Amsterdam. 1960. Photographer: Dirk de Herder
Maria Svarbova Human space 그들의 표정과 행동 그리고 영화 속에서의 분위기처럼 뭔가의 알 수 없고 불안한 긴장감이 느껴진다. 무언가를 갈망하고원하듯하지만그것을 영원히 잃어버린 듯 ..하지만 끈임없이 그것을 갈망하는 듯 .. photo, art direction by Maria Svarbova costume: Zuzana Hudakova model: Frederika, David, Nika, Junior, Marek / M management /
Gli artisti più influenti nel panorama delle arti hanno sempre attratto notevoli folle ai musei. In questo periodo in cui i contatti sono instagram artisti
So my students have been learning about composition. It was really fun teaching this to my 3rd - 6th graders. Here are some examples I did for the classes. I used a pencil to sketch, a sharpie to outline, crayons for coloring. Finding the visual sweet spots — First I drew 3 examples on the white board. (I had them mostly drawn before the students got there. FYI.) I talked about good composition, vs. poor composition. (See photos below.) I also brought in a bunch of my landscape paintings & sketches for more examples. I had these scattered around the class room for students to look at. Then after going over the dos & don'ts of composing compositions - I had students divide their paper into thirds, using a ruler. Drawing two horizontal lines & two vertical lines across the paper, creating a nice grid. The 4 crossing points in the grid, become the "sweet spots". These "sweet spots" are generally good places to put a focal point, a change in compositional direction, a point of dark contrast or highlight, or other point of interest. I majorly stressed as students were drawing their lines that they "keep their lines LIGHT" because of course, when your drawing is finished, you erase all extra lines. Version 1. Middle? No. When designing the composition of a drawing or painting you need to make it interesting to the viewer. Try not the place your focal point dead center. It's boring. Artist's no.1 no-no rule. Version 2. A little better… Here change happens in the composition when the focal point hits a "sweet spot" in the composition. But it's not quote there - the horizon line is too close to the center of the paper. Version 3. The keeper! This composition offers a pleasing balance while being more dramatic & interesting then version 2. The horizon line 2/3rds high. Here's a couple things I said as students were drawing: DO overlap objects to add depth to your drawing. DON'T place objects that almost touch or are "tickling" each others edges. DO group objects creatively - have fun! DON'T balance equally - this is boring. THINK about where your horizon line is - should it be in the center of your paper? Below is a colored drawing I did. When I normally draw, I totally avoid creating outlines. In real life there aren't any outlines around anything, right? So why should there be outlines in realistic drawings? It instantly turns any drawing, no matter the style into a "cartoon". << that's something good to talk about with students too. I did several fast sketches, all styled like the one below, with different compositions & subjects in them. I had my student chose which drawing they wanted to do - then they copied my drawings, found the "sweet spots" & designed their composition. Then they all colored their drawings. (I dearly wish I got some photos of their work - but I always get so excited & busy, that I forget to get out my phone to take photos…) Something I need to work on I guess! Below is a really simple sketch I did of different types of composition — I printed these out & gave them to students. All my little compositions were inspired by Edgar Payne. I asked students to look at the various landscape paintings I had around the room, & see if they could spot any of these compositions within my paintings. Types of composition: If you found this helpful or inspiring, please leave me a comment! I would love any feedback! Thanks! :)
Learn about the work and career of artist Gregory Crewdson. Artworks, biography, exhibitions, editorial content, news, museum exhibitions, press, and more.
Hello my lovely intro students. Please watch the following videos, linked AND embedded in this post, on Stage Directions and Composing meaningful stage pictures. You will be assessed on this inform…
Lou Escobar è una fotografa e film-maker francese con base in California che realizza immagini NSFW dallo stile fortemente cinematografico e patinato.
A bitter-sweet coming-of-age drama from the Japanese master of family suspense!
It's Friday, our brains are tired, and words are hard. So, here are some art memes.
In homage to Rembrandt and Vermeer, Richard Tuschman makes dioramas of Jewish homes in Kraków between the wars, full of wistful, troubled families
Every story, like every sequence of memorable events in life, has its own chronology; that is, significant happenings with a beginning, middle, and end. As we have said, they may not however be told in that order, which only makes matters more interesting. Embedded in the task of designing a plot sequence is the fundamental question—how will I handle time? Cinema has considerable temporal elasticity. The time element of a story can be greatly manipulated within the film’s actual duration. So where to begin?