throbbing light machine

The State of Mari's Garden

I still remember Howard [Ashman] coaching Sherri [Stoner, reference model for Ariel] on that first day, in the scene where the witch magically draws Ariel’s voice from her. Howard acted out for Sherri a way of physicalizing the loss of her voice. He showed her how her body would react as the witch’s disembodied magical hands pulled the voice from her throat. He acted out the torso drawn forward as the hands tugged, followed by the head, and then a sharper movement as the voice is pulled out of her. It was dance-like and very visual, clear and dramatic. And I still see what Howard showed Sherri when I view the actual drawn scene in the final film, animated by Leon Joosen. – John Musker

'Human Being' necklaces by Boucheron: Rain, Flower, Light, Tattoo, and Checkers.

From the 2026 Carte Blanche collection.

Redraw of ‘Don Quixote and Windmill’ (1996)

2400 year old swan plush made of reindeer felt and stuffed with reindeer wool

Elwing on the shores of Aman

reference:

the proportions on the header band have improved, but I think I maybe should have doubled the weft threads for the warp.

I started weaving the spear, penelope, and the right border via double-weave with the intent to leave the remaining warp threads unwoven (as they would be on penelope's loom on the pot), but predictably this is giving me tension problems. I either need to increase the loom weights or just weave the black layer and leave the orange warp threads unwoven, and then switch colors once I get to the heddle bars in the drawing, with the black warp threads floating on top. (I guess weft-faced tapestry would be a third option, if I add a ton more tension.)