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These great, fake covers by Butcher Billy, based on songs by The Cure, caught my eye today. The Brazilian artist created a great set of Black Mirror comic covers a couple of years back, as well as countless other pop culture mashups.
Kisses and scares. Hearts and skulls. Giggles and graves. Romance in the shadows. This frightening series of strange tales is a homage to the goth legend who truly taught us love and darkness.
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Two terrific posters for Darren Aronofsky’s forthcoming film mother! starring Jennifer Lawrence and Javier Bardem—the first by artist James Jean (shared by the director on Mother’s Day), and the second credited to powerhouse agency LA.
Thrillist has a list of the 100 greatest film props, and the stories behind them, edited by Matt Patches and illustrated by Jason Hoffman. No costumes or vehicles allowed, just real, physical props—and pretty hard to argue with that number one. From the introduction:
They are sketched out, improvised, or placed in scenes by the fate of logic, existing to serve the performances or action around them. But while iconic movie props make us laugh, gasp, scream, and/or sit in absolute silence, they rarely start iconic; as a property master will tell you, the best on-screen objects go unnoticed, silently winning you over with truth.
I thought Brad Silberling did a pretty commendable job of remixing Daniel Handler’s first few books for his 2004 film adaptation—and I suspect Jim Carrey will be hard to beat in the Count Olaf role—but the trailer looks solid, so count me in as cautiously optimistic for this next month.
Here’s Handler answering one of a series of unfortunate questions for Boing Boing, this one on the necessity of good story:
There is a wave of American fiction, ascendant now, with charms to which I am immune, in which all strangeness, in story and language, has been seemingly purposefully scrubbed. Nobody—author, character, reader—seems to be having any trace of fun. There is an overemphasis on character-building at the expense of plot or even incident, such that we know everything about a person to whom nothing is happening. This is boring. It is also not like life.
Straight talk from Zendesk’s chief creative officer Toke Nygaard on this week’s rebrand and accompanying design system:
Now, selling this crap internally is an art form in its own right. A lot of people joined [Zendesk] because they saw themselves in the bubbly buddha character and were not prepared to give that up for some artsy, faux mid-century Bauhaus shit. Luckily for us, all of our founding fathers agreed it was time for a radical change—working for a truly design-appreciative company sometimes does have its benefits!
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Artist Kyle Lambert (well known for his 200-hour recreation of a Morgan Freeman portrait) was commissioned by Netflix to produce the key art for its Stranger Things series, and asked to pay tribute to the great poster artists of the 1980s, including Drew Struzan. Lambert used Procreate on an iPad Pro to produce his initial compositions, final detail and colour blocking, completing the work in Photoshop. His digital paintings of the main characters were printed onto canvas and given to cast members at the completion of the shoot.
A short profile of Grace Rawson, a hand colourist at Whites Aviation during the 1950s, by directors Greg Wood and Peter Alsop.
The hand-tinted photographic landscapes of Whites Aviation have become celebrated icons of New Zealand’s mid-century culture. But few still know that each photograph was individually coloured by hand.
(via PetaPixel)
Some time during the late 1800s, an adventurous L. humile crept away from the swamp where giant river otter played and capybaras cavorted. She stowed away on a boat that sailed to New Orleans. And she went to war.
Evolutionary biologist Suzanne Sadedin backgrounds the largest war ever to take place on this planet, currently being fought on six continents. (via David Cole)
Gary Hustwit (director of Helvetica and Objectified) is making the first feature-length documentary about the life and work of German industrial designer Dieter Rams. Equally important: part of the campaign total will be put towards preserving Rams’ design archive — a majority of which has never been seen by the public. The Kickstarter campaign has reached its goal, but there’s still 24 hours left to become a backer and contribute to this effort.
Dieter Rams at work at Braun in the 1970s, photographed by Abisag TĂĽllmann.
We’re making a “book”. We’re printing — using a microscopic ion-etching process — the entire website upon a 2" × 2" nickel plate, giving it a fire- and saltwater-resistant shelf life of 10,000 years.
Craig Mod on his plans to archive location-aware publishing platform Hi.co.
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Typographica has published its tenth-annual collection of typeface writing covering 2015’s notable releases, and among the selections is my review of Commercial Type’s Sanomat Sans. Stephen Coles explains how the selections are made:
Who decides what meets that standard? No single writer. No editorial board. No consensus by committee. No superstar-studded jury (though there are some luminaries in this bunch). Those formats all have value. But what makes this list different — and maybe a little weird but, to me, always insightful — is that each contributor makes their own pick.
The Decemberists covered Hoodoo Gurus’ “Death Defying” on their recent Australian tour. I saw the Sydney Opera House show where it preceded an epic rendition of “The Mariner’s Revenge Song” in the second of three encores. Perfect choice.
The new brand system for the Sydney Opera House is a collaboration between Interbrand, Collider (for motion work) and Studio Laurenz Brunner (for typography), and includes an InDesign plugin for turning regular text into Utzon, a custom dimensional typeface developed as part of the project. Brand New takes a look at the process, including motion tests and plenty of example applications.
New book coming in the (northern hemisphere) fall from James Gleick. Great cover.
Art of the Title interviews Dan Perri, creator of the iconic opening title crawl for George Lucas’s Star Wars. Dan talks about how he came to be involved, the technical details of the sequence, and this small financial detail:
Somewhere in the middle of all this, while I was still putting it together, Jimmy Nelson called me up and said, George wants me to ask you: Would you be willing to take a half a point of the movie instead of your fee? And I said, “Are you crazy, no way in hell! No way!”
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Wired takes a look at the visual effects work for Ridley Scott’s The Martian performed by MPC and Framestore. See also: FXGuide’s comprehensive write-up and Territory Studio’s graphics for all of the screens and terminals (they also worked on Ex Machina).
Well-adjusted kids from stable two-parent homes don’t go on hero quests.
From Lynn Messina’s NY Times piece on child-proofing the Harry Potter books. At the rate we’re reading them to Ms. 7 and Ms. 6 they’ll almost be teenagers before we get to the really pointy stuff, but some good suggestions here nonetheless.