Was ist rund, braun und riecht unangenehm? Ein Stuhlkreis! Nicht so dein Humor? Dein Papa findet es bestimmt witzig.
"I don't necessarily want the viewer to have the same response to my painting as I have. Instead, my hope is that the expression I paint on the board through hours of observation and execution of detail will speak to them in a way that ignites thoughts and feelings unique to them..." ~ Heather Theurer. Some stories begin on well-defined roads or with billboard accomplishments. But the story of an artist usually begins somewhere less noticeable, perhaps even unrecognizable to most. It is just such a beginning that gave life to the art of creator, Heather Theurer. Paintings were born from 5:45 a.m. mornings during summer breaks from school in Paradise, Utah, waking up to breathe in the crisp air and watch the sun rise and glow through the blades of grass in the lawn. Ideas sprung from thunderstorms, the struggles of working on a small farm and from the loyal companionship of pets. Personal experiences combined to shape the narrative behind each forthcoming creation. From that vantage point, life itself became the paint on the brush and the guiding force behind everything Heather made and from as early as her pre school years she knew that making art was what she wanted to do for the rest of her life. However, receiving extra training or attending an acknowledged art school were not to be part of her story. Yet, it was from her own father that she learned one of her most valuable lessons: observe. It was a simple enough concept, but it stuck. Heather's paintings are the product of decades of observation of people, of environments, of animals and of textiles, as well as the convergence of every scrap of knowledge that came attached to them. The wonder and magic of Disney movies, both the imagery and the music, also helped cultivate the ideas that began to take form in painting, and now, boldly recreating Disney characters in a way that brings them into the realism of our world has become an exciting new passion. Shared and collected around the world, Heather Theurer's paintings are constructed in the midst of a bustling family with five children in Las Vegas, Nevada. And although that poses a multitude of challenges of its own, her art has gone on to get the attention of USA Today, the LA Times and received recognition and awards from respected organizations such as Art Renewal Center, Artist's Magazine and Spectrum, among others. To Heather, every painting is personal, but not necessarily in the way most might think. "I don't necessarily want the viewer to have the same response to my painting as I have. Instead, my hope is that the expression I paint on the board through hours of observation and execution of detail will speak to them in a way that ignites thoughts and feelings unique to them."
Memories
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Tips on how to take a relaxing ritual bath.
Susan Ryder is a Portrait Artist and Interiors Painter, born in 1944. Since the age of 18 she has exhibited often in The Royal Academy and in many oth
[1/2] today i bring you fluff sbi content 👍👍 #sbifanart #technofanart #philzafanart #wilbursootfanart #tommyinnitfanart
Christmas gift (Part2) 1/2 Another comic of age swap AU with #Klee #Razor #Bennett from #GenshinImpact #原神
Erich Heinemann / Wichtelhausen Märchenbuch Bilder: Fritz Baumgarten Carl Werner Verlag (Reichenbach i. V./Deutschland; 1946) ex libris MTP
Coffee is to coffee drinkers what petrol is to cars – they break down if they don't have enough.
Get ready for another delightful adventure with Samuel MB and his ever-growing collection of Disney friends!
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Welcome, one and all, to one of the greatest truimphs in the careers of Isao Takahata and Hayao Miyazaki. This is the first episode of 1974's Heidi, Girl of the Alps. I'm afraid that no English subtitles or dub exist for this show. We'll just have to soldier on as best we can. Perhaps, even, this would be a great opportunity for all devoted fans to work on translating the script. The internet is perfect for something like this. working together, editing a collective work that otherwise would be lost. The fansub community does so much, but still there's much of anime's rich history that remains beyond their reach. So share and pass along, kids! This series marked a triumph after many years of struggle and toil. The starting point, as always, was Horus, Prince of the Sun, in 1968. After the movie's failure at the box office, Takahata was ousted from the director's chair at Toei. He would not direct again until he and Miyazaki joined the rest of the gang at A Pro with Lupin III in 1971 and '72. Even then, the two served as the "directing team" - although you can pretty easily tell which of the Lupin episodes were Miyazaki's, and which were Takahata's. Takahata wanted to bring anime into the realm of literature, of character drama, and away from the American Disney formula. Several projects aimed to move in this direction, and I suppose you could include the infamous Pipi Longstockings project, which fell through and brought back to live as Panda Kopanda. But they were really only steps to that final destination, movements towards the promised land that Horus (and Hilda especially) proclaimed. With Heidi, Takahata finally had the means to achieve his goals. A rich literary work from Europe, known to all the world, and paced just perfectly for a 52-episode television series. Heidi is perfect for adaptation; the ideal test for the skilled filmmaker to draw upon its pages and pull out all those necessary details that bring it to life. Which is to say he or she must also interpret a work, for they must build upon it and stretch it out. I don't believe that a film or tv adaptation that follows a book to the letter, and nothing more, would be poor. But it would be missing...something. The animation medium aims to bring us into these worlds, deeper and more immersive than ever before. With Heidi, Takahata Isao demonstrates his mastery of this form. It is no coincidence that nearly all of his works have been adaptations from outside. Only Pom Poko, Ghibli's 1994 film, was an original. Horus really got the ball rolling, but it's Heidi that earns the title "masterpiece." From here, it's only a matter of connecting the dots; from Heidi to Marco; from Marco to Anne; from Anne to Ghibli. I don't think it's possible, really, to get to the depth of Studio Ghibli without getting to depth with Heidi, Marco, and Anne. You're hearing the notes, but not the music. A little bit about who did what. Heidi is often regarded as a Takahata-Miyazaki work alone, or sometimes credited solely to Miyazaki. This is just ignorance rearing its head, since the master filmmaker who gave us Spirited Away and My Neighbor Totoro is the most easily recognized. We're still piecing together their history in 2008. Hayao Miyazaki's role in Heidi was a crucial one, and it shaped his own work immensely. He served on layout and continuity. Incredibly, he worked the layout on every episode of the entire series! This was unprecedented, and demonstrates to his single-minded obsessiveness towards his work. He would perform the same duties in 1976 with 3000 Leagues in Search of Mother, and the first 13 episodes of Anne of Green Gables, before leaving for Telecom, where Castle of Cagliostro awaits. Layout is pretty simple. It means you create the landscapes and environments for each scene. You're the set designer, of sorts. This is necessary for creating a believable landscape; you need to believe that you're inside the home of Heidi's grandfather, and know where everything is placed. Likewise, you need to believe you really are in Frankfurt, as a three-dimensional place, and not simply a series of drawings. Takahata's documentary neo-realism is totally dependent on successful layout. And Miyazaki provided that in droves. He created endless drawings, from every conceivable angle, and all in immense detail. We've seen Miyazaki's drawings for storyboards and e-konte at Ghibli. Now imagine that level of attention brought to a 52-episode series, not a 2-hour movie. Then add in the level of creative input this degree of creative control permits. The result is almost staggering. No single person has ever repeated the same feat. And remember, Miyazaki performed this not once...but twice. Yasuji Mori, the "soul of Toei Doga," was originally part of the team, but illness forced him to withdraw. He did, however, make one notable contribution, and that's the shot of Heidi and Peter dancing at the opening. He filmed Miyazaki and Yoichi Kotabe and then animated from there. It's too bad that Mori couldn't continue, since he was such a towering giant at Toei. If he had stayed, the look and style of Heidi would be greatly different. Instead, that role was fulfilled by Yoichi Kotabe, and his equally talented wife, Reiko Okuyama, by his side. Takahata gave Kotabe the title of Character Designer, the first for anime. It's safe to say that this remains his best-known work...unless you included Pikachu, I guess. Is there a more universal, iconic anime character than Heidi? One more immediately known around the world? Kotabe's style is fairly iconic, working with simple gestures, but it's extremely effective. It's also very diverse, as the series shows Heidi and everyone else in an endless array of poses and angles. This isn't the simple cartoon drawing style of, say, Hanna-Barbara. Westerners still tethered to the Walt Disney paradigm of animation will complain, but if you can get past that, and understand another paradigm, one that is more natural, one more resembling manga and comics, you'll come to appreciate this show. I think Kotabe outdid himself on Marco, with an even larger and more diverse case, but it's hard to top Heidi, Peter, and Clara...and the Grandfather, and Joseph the dog, and...well, you get the idea. The pilot episode is, as I've said, a triumph. It is nothing less than Isao Takahata's vindication, his final definitive victory over the Toei studio, those clueless suits who could never imagine anything beyond Disney. But Takahata saw beyond that, to the modern anime era, and with Heidi he exploded those boundaries further, ushering in an era of literary anime shows, emotionally complex character drama, and a documentary realism and attention to detail unsurpassed. Heidi unleashed the annual series World Masterpiece Theatre, a jewel of Japanese animation for 25 years. For me, this pilot episode is a thrill to watch - as thrilling as the opening scene with the wolves in Horus. All of the elements of the series are on display, all the main characters are introduced, and we quickly find that these are people we like. We're going to like Heidi and Peter, and Heidi's Grandfather, for once, is not an ominous creature to be feared, but a strong, resilient man of few words. The dramatic scene between Grandfather and Heidi's aunt will be replayed again at the end of Act One, with all the expected emotions and tears. And hardcore Ghibli freaks will have a field day spotting all the riffs. I counted around a half-dozen. Maybe you'll find more. There's Heidi running up the hill, which was later quoted in the openings for Future Boy Conan and Anne of Green Gables. There's a closeup of grinning goats that reappears in My Neighbor Totoro. There's Heidi throwing her clothes all around and running up the hill, which we see again in Pom Poko and Nausicaa. There are pillow shots of nature, including one of bees over flowers that I also saw in Anne. And there's the best Heidi riff of them all: The Heidi Tree - that low-angle shot of the giant trees near the episode's end. From Heidi's view, she is greeted with a massive trunk and branches stretching to the sky. It's an iconic shot, which reappears numerous times over the course of the series. And it's quoted and riffed again and again and again. Where else can you find The Heidi Tree? Future Boy Conan. Anne of Green Gables. Gauche the Cellist. Nausicaa of the Valley of Wind. Laputa: Castle in the Sky. My Neighbor Totoro. Umi ga Kikoeru. There may be more. You'll just have to see for yourself.
Kay Nielsen knew his way around a fantasy. The Danish illustrator was raised in a “tense atmosphere of art” (his words) during the Golden Era of Illustration – a time when folks one-upped each another with books bearing golden spines and marbled end papers; elaborately illustrated copies of Grimm's
Watching and dreaming 👀🌟#TheOwlHouse #toh
High school student Haru rescues a cat that was about to be run over by a truck and discovers the cat is actually a prince named Lune. Out of gratitude, Lune's father, the Cat King, asks her to marry Lune. Haru is brought to the Cat Kingdom, where she starts to develop feline features. When she is p
im bones, a queer Filipino illustrator & comic artist 🖤✨ id love to work on more comics, covers, books, posters, and ttrpgs!! #PortfolioDay
Susan Ryder is a Portrait Artist and Interiors Painter, born in 1944. Since the age of 18 she has exhibited often in The Royal Academy and in many oth
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baby I fall in love again come every summertime #Nimona
Random House, which is a sponsor of Cartoon Brew this month, has provided us with FIVE copies to give away of their new book A Mary Blair Treasury of Golden … Continued
Owl at Home (1975) is a children's picture book by Arnold Lobel an author and illustrator. The book consists of f...
Schinako Moriyama is an illustrator as bunny art from Fukushima, Japan. She paints amazing illustrations with acrylic paint.
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I love that classic childhood storyline of, "do I kill my best friend or not?"
Dear oafish Kronk from Disney's zany 2000 animated film "The Emperor's New Groove" . All he ever wanted to be was a chef. And a ...
family <3 #Nimona #nimonafanart
