#moore college of art & design

[mybeingthere]

One of my favourite British artists - David Jones (b 1939) graduated from Liverpool College of Art in 1961 and it was here he first discovered his interest in printmaking. His tutor was the surrealist artist George Jardine. He won a John Moores travelling scholarship and spent time visiting various design studios across Europe. On returning to the UK he worked as assistant to graphic designers Jock Kinneir and Margaret Calvert. In 1965 -1967 he worked in Japan at Nakamoto International Agency, Osaka.

He returned to the UK and had a busy and successful career working freelance in graphic design, illustration and typography. He also worked as a visiting college lecturer at many of the countries leadings art schools. From 1979 he was a Senior Lecturer at Central Saint Martins (University of The Arts, London). In the last twenty years he has returned to printmaking, in particular linocuts and wood engraving. He is influenced by Outsider art and Folk art. In 1989 he helped set up Raw Vision, a journal of Outsider Art. David is also a keen Semi-pro musician and plays the soprano saxophone. He hand prints his work in small editions and many of the images in his prints come from dreams.

[balladofsallyrose]

Dennis Hopper's collection of owned and gifted books (a few are listed under the cut)

Islands in the Stream (Charles Scribner's Sons, 1970)

Magic (Delacorte Press, 1976)

Sneaky People (Simon and Schuster, 1975)

Strange Peaches (Harper's Magazine Press, 1972)

I Didn't Know I Would Live So Long (Charles Scribner's Sons, 1973)

Baby Breakdown (The Bobbs-Merrill Company, Inc., 1970)

37 (Holt, Rinehart and Winston, 1970)

Presences: A Text for Marisol (Charles Scribner's Sons, 1970)

Little Prayers for Little Lips, The Book of Tao, The Bhagavadgita or The Song Divine, and Gems and Their Occult Power.

Lolita (G.P. Putnam's Sons, 1955)

The Dramas of Kansas (John F. Higgins, 1915)

Joy of Cooking (The Bobbs-Merrill Company, 1974) 

The Neurotic: His Inner and Outer Worlds (First edition, Citadel Press, 1954)

Out of My Mind: An Autobiography (Harry N. Abrams, Inc., 1997)

The Savage Mind (University of Chicago Press, 1966)

Alive: The Story of the Andes Survivors (J.B. Lippincott Company, 1974)

The Documents of 20th Century Art: Dialogues with Marcel Duchamp (Viking Press, 1971)

The Portable Dorothy Parker, A Portrait of the Artist as a Young Man, I Ching, and How to Make Love to a Man.

John Steinbeck's East of Eden (Bantam, 1962)

James Dean: The Mutant King (Straight Arrow Books, 1974) by David Dalton

The Moviegoer (The Noonday Press, 1971)

 Erections, Ejaculations, Exhibitions and General Tales of Ordinary Madness (City Light Books, 1974)

Narcotics Nature's Dangerous Gifts (A Delta Book, 1973)

The Egyptian Book of the Dead (Dover Publications, 1967)

Tibetan Yoga and Secret Doctrines (Oxford University Press, 1969)

Junky (Penguin Books, 1977) by William S. Burroughs

Weed: Adventures of a Dope Smuggler (Harper & Row, 1974)

Alcoholics Anonymous (Alcoholics Anonymous World Services, 1976)

Skrebneski Portraits - A Matter of Record, Sketchbooks of Paolo Soleri, and High Tide.

Raw Notes (The Press of the Nova Scotia College of Art and Design, 2005)

Le Corbusier (Heidi Weber, 1965)

Henry Moore in America (Praeger Publishers, 1973)

Claes Oldenburg (MIT Press, 2012)

Notebooks 1959 1971 (MIT Press, 1972)

A Day in the Country (Los Angeles County Museum of Art, 1985)

Album Celine (Gallimard, 1977)

A Selection of Fifity Works From the Collection of Robert C. Scull (Sotheby Parke Bernet, Inc. 1973)

Collage A Complete Guide for Artists (Watsun-Guptill Publications, 1970)

The Fifties Aspects of Painting in New York (Smithsonian Institution Press, 1980)

A Bottle of Notes and Some Voyages (Rizzoli International Publications, 1988)

All Color Book of Art Nouveau (Octopus Books, 1974)

A Colorslide Tour of The Louvre Paris (Panorama, 1960)

Dear Dead Days (G. P. Putnam's Sons, 1959)

Woman (Aidan Ellis Publishing Limited, 1972)

The Arts and Man ( UNESCO, 1969)

Murals From the Han to the Tang (Foreign Languages Press, 1974)

A (Grove Press Inc., 1968)

Andy Warhol's Index Book (Random House, 1967)

Voices (A Big Table Book, 1969)

Another Country (A Dell Book, circa 1960s)

On The Road (Signet, circa 1980s) 

#dennis hopper

[disciplinethepainter]

I Ritta Redd, Jackie Curtis, and Alice Neel at her exhibition opening at the Moore College of Art and Design, Philadelphia, January 1971. Alice Neel Archive, Stowe, Vt.

#alice neel #jackie curtis #ritta redd #1971

[ququb444hm]

𝐭𝐡𝐚𝐧𝐤𝐬 𝐚 𝐥𝐨𝐭, 𝐜𝐮𝐩𝐢𝐝

profiles 01 / malnourished art students + supportive parentals ☆

masterlist

warning(s): possible typos, slight swearing

🕯️— y/n kuroo. junior year art student specializing in the fine arts at yūgen university. works a part-time job at a nearby flower shop, shinrinyoku flower shop, which is also the building of her shared apartment with cecily moore aka her older brother’s girlfriend. has a little white mouse with black spots named cheese. lives off energy drinks because “they help my uh…brain work”. known to be very somnolent almost all the time but a bright ball of energy when she does get enough sleep. currently fawning over kozume kenma.

🍓 — morisuke yaku. has been yn’s best friend since middle school, and is also a junior year art student specializing in the fine arts at yūgen university, only difference is he is a sculptor rather than a painter. on the volleyball team; libero. has a handful of admirers due to his charming personality, which he gets from his upperclassmen friends, tooru and koushi, yet seems to be oblivious— which we all know is not true. has a golden retriever named milo. secretly in love with one of his best friends (hint: his name is rintarou suna)

🎧 — rintarou suna. met yn in their freshmen year of college. former theater kid, current junior year art student specializing in cinematography and film/video production. a drummer in a band with kozume. cliche bad boy, but his friends know he’s a real sweetheart deep down. secretly loves when people doodle on his converse. coffee fanatic. similar to yn with energy drinks except its large cups of coffee 24/7. not into relationships at the moment.

🫧 — koushi sugawara. loves kids! works as a part-time teacher’s assistant at a nearby elementary school. senior student studying to become a future teacher. tutors his friends on the side. acts like he’s tired of tooru but loves him so very much. can cook/bake and makes sure to prepare something for yn when crashing her apartment. basically the mom of the group.

🎐— tooru oikawa. senior college student studying fashion modeling. models part-time. one of the greatest lovesick fools ever for his boyfriend of 3 years, absolutely loves to show him off. cannot cook/bake for shit. has a surprisingly attentive personality when it comes to other people’s love lives, which is ironic because it took him months of denial and constant oblivion before realizing his true feelings for koushi. designated driver.

🌱 — cecily moore. has been dating tetsurou for almost a year. college dropout, yet that didn’t stop her from becoming a successful business owner aka the owner of shinrinyoku flower shop. loves what she does, loves her friends! has known yn ever since middle school (she’s only two years older than her) and was the one to offer yn a room at the apartment above the flower shop. has a fish named marigold. thinks kozume is the only right person for yn and subtly encourages him to buy flowers for the pretty girl. an older sister to yn!

☆ | masterlist | -> profiles 02

note(s): sorry for the long descriptions! have a bad habit of rambling, hope u all enjoy (*^ーﾟ)b as always, none of the pictures used are mine!!

#🐈.thanksalotcupid #kozume kenma #kenma kozume #kozume kenma x reader #kozume kenma x fem!reader #kenma kozume x reader #kenma kozume x fem!reader #kenma x reader #kozume x reader #smau #kenma smau #haikyuu #haikyuu smau #haikyuu!! #haikyuu!! smau

[regco-art]

I recently had the opportunity to design some zany heads, torsos, and legs for a special project 🌟 my alma mater(/employer) Moore College of Art & Design has a fun new feature in their digital viewbook: the “Careeracter” generator which is like an exquisite corpse style game that lets you build your own little character!! 👀 it was a lot of fun designing these!

Check it out at moore.edu/viewbook ✨

#illustration #digital art #moorecad

[grandmaster-anne]

20 February 2013 Monday Memory On this day 10 year ago! Her Royal Highness The Princess Royal, made her first visit to Air Service Training and UHI Perth (Perth College UHI) on Wednesday 20 February in her capacity as Chancellor of the University of the Highlands and Islands (UHI) to meet students and learn about the key role the college plays within Scotland’s newest university. The Princess Royal enjoyed a tour of the facilities and learned about the Dunne Aeronautical Laboratory, which is set to provide aircraft engineering students with state-of-the-art learning and research facilities in the fields of aerodynamics, propulsion and flight. They include a large flight simulator, gas-turbine rig and a wind tunnel to give students practical experience of theoretical and analytical concepts learned on the course. The facility is named after a pioneering aircraft designer, John William Dunne, who in 1907 proved the stability of a swept-wing tailless aircraft through flight tests at Blair Atholl. This configuration is embodied today in the Northrop Grumman B-2 Stealth Bomber, more than a century after Dunne’s original work. The Princess Royal ended her visit by unveiling a commemorative plaque. Pictured are Her Royal Highness The Princess Royal, Chancellor of the University of the Highlands and Islands (UHI) and Dr Thomas Moore, former Principal of Perth College UHI and Chair of the AST Board. — Air Service Training (Posted 20 February 2023)

#princess anne #princess royal #throwback #queue

[pwlanier]

LEONARD NELSON

AMERICAN, 1912 - 1993

Leonard Nelson was born Leonard Louis Nelson in Camden, New Jersey on March 5, 1912. Orphaned at the age of 16, Nelson, along with his two sisters lived on trust funds until the stock-market crash of 1929 left them destitute.

In the autumn of 1936, Nelson won a scholarship to the Pennsylvania Academy of the Fine Arts in Philadelphia, though he lacked both a portfolio and a formal art education. He was in fact the Cresson Traveling Fellowship.

After six weeks of touring both Eastern and Western Europe, Nelson returned to Philadelphia and the Academy, earning his certificate in 1939. He took classes at the Barnes Foundation in Merion, Pennsylvania from 1939 to 1941 and became friend with Dr. Barnes and Bertrand Russell, the British philosopher and mathematician.

Drafted into the Army in 1942, Nelson became a Private in the Medical Detachment at Fort Eustis, Virginia. During that time, he designed murals and humorous drawings for the hospital to which he was assigned, as well as for the Works Progress Administration.

After his Honorable Discharge from the Army on September 15, 1943, Nelson focused all his attention on his art, holding shows and participating in exhibitions in Philadelphia and New York City. During that time, he was influenced by Native American art and the Native American-inspired murals of Rufino Tamayo and Diego Rivera.

By the mid 1940s, strong relationships with dealers Peggy Guggenheim and Betty Parsons helped Nelson prosper in the fledgeling New York School. He began to exhibit in the New York galleries, in particular Parsons' gallery. His work reflected the Abstract Expressionist style made famous by this school. Jackson Pollock, Lee Krasner, Willem de Kooning, Adolph Gottlieb, and many others from the New York School were among his contemporaries.

By the late 1940s and early 1950s, Nelson was changing direction. He began taught art at the Moore College of Art in Philadelphia, and began painting in a style that was all his own; a combination of gestural Abstract Expressionism, Color Field, and landscape art. The New York art world disavowed it, nevertheless, it went onto become his signature style.

Baker Schorr

[droitsdesfemmes]

Alice Neel photographiée par Lynn Gilbert, New York, 1976.

Alice Neel (1900-1984) était une peintre américaine renommée pour ses portraits réalistes. Née à Merion Square, Pennsylvanie, elle a grandi dans une famille de la classe moyenne. Elle a commencé à s'intéresser à l'art dès son jeune âge et a poursuivi ses études à la School of Industrial Art à Philadelphie.

En 1921, elle s'est inscrite à la Philadelphia School of Design for Women (maintenant connue sous le nom de Moore College of Art and Design), où elle a développé une approche unique du portrait. Ses premières œuvres reflétaient l'influence du réalisme et de l'expressionnisme.

Dans les années 1930, elle a déménagé à New York, où elle a vécu dans divers quartiers, y compris Greenwich Village et Spanish Harlem. Cette période a été marquée par des défis personnels, y compris la perte de sa première fille et des difficultés financières. Malgré ces obstacles, elle a continué à peindre, se concentrant souvent sur les gens de son entourage.

Les portraits d'Alice Neel sont connus pour leur représentation psychologique profonde et leur honnêteté brute. Elle a peint une variété de sujets, y compris des amis, des voisins, des activistes, des artistes et des personnalités publiques. Ses œuvres offrent un aperçu des différentes couches sociales et culturelles de New York, notamment durant les époques de la Grande Dépression et des mouvements des droits civiques. Elle est célèbre pour avoir capturé l'essence des individus souvent invisibles aux yeux de la société américaine. Son œuvre, profondément ancrée dans une démarche de représentation des marginaux, des exclus, des malades mentaux, ainsi que des communautés portoricaines en proie à la pauvreté, offre un visage humain et poignant à ces groupes négligés.

Alice, qui se déclarait elle-même fascinée par les « perdants » tant dans la sphère politique que dans les tréfonds de la vie quotidienne, a produit des portraits intenses et dénués de tout artifice. Son travail se distingue nettement des mouvements d'avant-garde contemporains, souvent empreints d'abstraction, par sa crudité et son réalisme sans concession. Se considérant comme une « collectionneuse d'âmes », son art explore non seulement l'apparence extérieure de ses sujets, mais plonge également dans les méandres de la psyché humaine.

Dans son style unique, brut et authentique, elle a également abordé des sujets difficiles tels que la nudité, souvent représentée de manière crue et sans embellissement, et des thèmes sociaux poignants, y compris les femmes enceintes ou victimes de violences domestiques. Par ces représentations, elle a remis en question les conventions traditionnelles de la représentation féminine dans l'art.

Dans les années 1960 et 1970, la reconnaissance d'Alice Neel a augmenté, notamment avec une exposition individuelle à la Whitney Museum of American Art en 1974. Ses œuvres ont été saluées pour leur approche non conventionnelle et leur commentaire social poignant.

Alice Neel est décédée en 1984, mais son héritage persiste. Elle est considérée comme l'une des portraitistes les plus importantes du 20e siècle, ayant influencé de nombreux artistes contemporains. Reconnue pour son indépendance et son caractère affirmé, elle fut pionnière dans la liaison des luttes de sexes, de classes et des questions d'origine à travers ses œuvres. Aujourd'hui, elle est célébrée comme une icône du féminisme et un modèle d'engagement, continuant d'inspirer les nouvelles générations d'artistes féminines. Son travail continue d'être exposé dans des musées et des galeries du monde entier.

#Alice Neel #biographie #peintre figurative #portraitiste #feministe #libertaire #pionniere #USA #1976

[eppysboys]

Stuart Sutcliffe + Sculpture (Above are his original designs for sculpture)

“Philip Hartas, Stuart’s tutor in the sculpture class, recognised in him the rare student who arrives bearing an armoury of gifts: “There was a kind of immediacy, a certainty of touch about everything that he did. He wasn’t only a painter, he could sculpt, and we’d discuss why a piece was or wasn’t working. He was always interested in your attitude to a work, and how it originated and where it was going.” The sculptor Neville Bertram, another of Stuart’s tutors at college, was to recall him as an outstanding student who excelled in wood-carving and produced a mother-and-child ‘that could have been by Henry Moore’.”

“Mike Kenny, now a distinguished sculptor and Royal Academician, studied at the Liverpool college from 1959 to 1961 before going to the Slade School. He soon gravitated towards Stuart and John and became a regular visitor to No. 9 Percy Street. ‘One time when I went round there, Stuart had just bought a new Everly Brothers record and he played it over and over again all evening - it was like an obsession. There was a similar compulsivity about the way he worked. I remember I was working on a social-realist sculpture of a man in cloth cap, and Stuart was sculpting a very expressionist sort of big abstract thing made up of chicken-wire and plaster and metal. He worked very fast, really attacked it in a frenzy... One thing that used to impress everybody was how he used to paint to Elvis records, which seemed really way out. It was kind of presaging Pop Art... Stuart was pretty influential in many ways. He was the man with the R & B records, the one’d say, “Hey, listen to this,” in the canteen or at the flat.” (Stuart: The Art & Life of Stuart Sutcliffe)

“... there were derelict buildings and bomb sites from the war, and large parts of the shipyards were still in ruins. There were lots of bricks and metal and timber. It was in these places that Stuart used to hang around. They facinated him - a lot of his ideas about forms, about bringing things together, originated here ... Stuart also did quite a lot of sculpture at art school. The students used to go to scrap metal yards and find rusty old cars and bits and pieces which they would hammer together in college.” Astrid Kirchherr

#Stuart Sutcliffe #Stuart #Stuart's Art #quotes #Astrid Kirchherr #Stuart + Sculpture

[mybeingthere]

David Jones (b 1939) graduated from Liverpool College of Art in 1961 and it was here he first discovered his interest in printmaking. His tutor was the surrealist artist George Jardine. He won a John Moores travelling scholarship and spent time visiting various design studios across Europe. On returning to the UK he worked as assistant to graphic designers Jock Kinneir and Margaret Calvert. In 1965 -1967 he worked in Japan at Nakamoto International Agency, Osaka.

He returned to the UK and had a busy and successful career working freelance in graphic design, illustration and typography. He also worked as a visiting college lecturer at many of the countries leadings art schools. From 1979 he was a Senior Lecturer at Central Saint Martins (University of The Arts, London).

In the last twenty years he has returned to printmaking, in particular linocuts and wood engraving. He is influenced by Outsider art and Folk art. In 1989 he helped set up Raw Vision, a journal of Outsider Art. David is also a keen Semi-pro musician and plays the soprano saxophone. He hand prints his work in small editions and many of the images in his prints come from dreams.

https://rcaconwy.org/.../david-jones-rca-from-my-imagination

[glcssylies]

ashley moore.     she / her.     cis female.      ›spotted   at   the   met   steps   ,   naomi   king   ,   most   likely   listening   to   i’m   so   into   you   by   swv   with   their   airpods   pro   .   the   twenty-six   yearold   gained   quite   a   reputation   ,   known   to   be   -cutthroat   yet   +genuine   to   anyone   who   knows   them   .   you’ll   easily   spot   them   when   you   hear   about   smoking   weed   on   the   patio   while   stargazing   ,   closing   the   dance   studio  doors   long   after   dark   ,   and    the   overwhelming   rush   of   nostalgia   after   looking   at   home   videos   followed   by   cucumber   melon.   latest   nepoupdates   article   talks   about   sleeping   with   a   higher-up   to   get   her   recent   choreographer   role   ,   but   i   guess   any   reputation   is   good   reputation   .   

𝐏𝐑𝐎𝐅𝐈𝐋𝐄

name: naomi jasmine king gender: cis female birthday: august 14, 1996 ethnicity: black, white & cherokee age: 26 sexuality: pansexual occupation: dancer, choreographer & internet personality birthplace: bronx, new york city, new york current residence: manhattan, new york city, new york family: josie king (mother) & martin king (father) pets: 2-year old lizard, jade

𝐇𝐈𝐒𝐓𝐎𝐑𝐘

born a scorpio in the bronx to 2 very loving parents ! naomi was raised surrounded by love of her large extended family, filled with cousins, family friends, and anyone who's lives somehow intertwined w the kings.

her family has always been one that had a love for the arts. her dad was an elementary school music teacher. her mom was a chef, but her food was an art in itself. naomi was raised on her parent's favorite songs from their era, dance, and was always encouraged to self-express. the family didn't have much, but whatever they lacked in money they made up for with love and affection.

so it really came as no surprise that naomi practically danced her way out her pull-ups, always waking her parents up in the middle of the night to show off some new choreography she'd designed.

thankfully, she was raised by parents who fostered her love of dance, enthusiastically getting her enrolled in dance studio even if it meant spending their last. even though the lessons took a big toll on them, they never told naomi, wanting her to find her life's purpose over everything else.

naomi danced every genre, but was predominately a ballerina all the way through high school. her first big dance break happened for her when she earned the role as sugar plum fairy.

by the time she graduates high school, she's already got eyes on her and what she'll do next. she ends up attending howard university as a sports medicine major on a full-ride, where she becomes a majorette, furthering her love of dance.

while there, she starts to lose her passion for ballet, as the overwhelming pressure has her completely overwhelmed. however, she does gain a stronger love for hip hop, and begins experimenting creating her own choreographies, eventually becoming captain of the rec team.

out of college, she takes up a temporary job as a dance instructor at the dance studio she attended as a kid. in the meantime, she posts youtube videos, showing off her original dances.

one day at age 22, for fun she posts a pic of her choreo w/the kids she teaches, and boy does it go viral. naomi's teaching style is v animated and uses a lot of phrases associated w the moves, so people found it super entertaining. before she knows it naomi's being flown out to talk shows, asked to start an entire series, and even open her own studio.

her fame doesn't stop there, though. little by little, she receives increasingly bigger jobs. she eventually gets to be back dancer for some major celebrities, something that had been a dream of hers since she was a kid.

as she got bigger she got encouraged to model for her unique features, but was never really into the idea. however, she did agree to for a handful of maor brand deals w fitness brands such as adidias and nike.

most recently, this year, she's been hired as the choreographer for [ major musician - leaving open bc it could be a potential connection ?? ] . when she got the news she literally SOBBED since it's her first major job as a choreographer. however, she's been getting a lot f hate for it, even being rumored to have slept with higher-ups for the position since people couldn't understand why the ob would have been given to someone without much experience.

in between all this, she maintains her youtube channel that's been met w much success, where she teaches dances and posts her own covers.

now, naomi's been enjoying the spoils that finally making a name for herself has brought. however, the closer she gets to her dreams the further she gets from her roots. now that she's moved to a wealthier neighborhood and is constantly on the move w her job, she's started seeing her family less and less, making her wonder struggle as she's deciding what's more important - fame or family.

𝐓𝐑𝐈𝐕𝐈𝐀 ::

super super into spirituality & well, any way of living that makes her feel good ! unashamedly the crystal bitch friend ( this isn't slander btw bc well - same LMAO )

complete different person in and out the studio. naomi is one of the most laid-back, down for whatever, non-judgemental people u could meet. but if she's in the studio ?? takes everything extremely serious, high expectations, not afraid to call you out if she thinks you're not doing your best.

it's not that she wants to be mean, but that's how she learned and it worked so it's how she does things. however, it doesn't mean see doesn't like to have a good time. she's definitely the type of choreographer to be like "kick the boy, slam the door, and walk, walk, walk !!" LMAO !! plus if she sees your genuine effort she will not let you leave without thinking you're the hottest shit.

she does teach similarly to how she learned, however wants to eliminate the toxic parts of dance she hated as a learner.

proud stoner, u know those pics of the girls w cute acrylics rolling up w pink rolling paper ?? yup literally her !

chronic flirt. dates more for sport than commitment, but to because she wants to be a bad person. she's ust in a very casual era of her life where she wants to just have fun !

she is chill, don't get me wrong. buuuut she also has strong opinions and is unafraid to argue them ?? so she's usually very calm but if she feels like someone is challenging her / not taking her opinion seriously she definitely won't hesihtate to check them LMAO

very vocal in disliking the privilege nepo babies have & the overall snooty nature of many celebs she deals w now. which ... was valid, until just a couple years in the business and she's already starting to act like one.

she swears she hates it, but the truth is, naomi now has a fully furnished penthouse in the heart of nyc, eats whatever she wants, and has started attending all the snobby parties she supposedly despised.

so she's really at war with herself right now, unsure of who she's become and ... if she even wants to go back to who she used to be ??

 𝐖𝐀𝐍𝐓𝐄𝐃 𝐂𝐎𝐍𝐍𝐄𝐂𝐓𝐈𝐎𝐍𝐒

other people who had to work their way to the top ?? either they grow close over their shared experience or maybe they have problems w her because they think she's becoming a sellout!

weed-friendly smoke buddies who will be down to listen to music and have good convo w her !

dance partners / former dance buddies ?? or musicians she's worked for ! this could even turn romantic if there's ~tension~

the artist she's currently choreographing for !! they'd have to be pretty well known since that's part of the plot but that's really the only qualification ! it could either be a uper efficient dynamic or not working well at all dijoidoidj it's up to us !

exes ??? love a good messy plot i swear but be warned naomi is a PETTY ex .. but also holds such strong attatchments she might still be in love w them a little </33

fwbs ! even if it's casual naomi strives to make the experience v romantic so if ur muse is a romantic she won't disappoint !

friend who also doesn't like the celebrity lifestyle who she can talk shit with LMAO ?? like they both see through a lot of the lies & deception and confide in each other when they can't to anyone else.

sibling vibes ! maybe someone who doesn 't have a family or a strong bond w the one they do have ?? naomi will gladly pass on some of her family's love to ur muse and look after them in any way she can <33

nepo baby frienemy ?? someone who's v much into the privilege and lifestyle they've been raised in, and even though their lifestyles & opinions are vastly different they have a sort-of friendship that somehow works ??

i will add more later <333

#quite literally running out the house but #more plots for her & elliot's intro will be out soon ! #nepofm.intro

[dweemeister]

Spider-Man: Across the Spider-Verse (2023)

When Columbia and Sony Pictures Animation released Spider-Man: Into the Spider-Verse in late 2018, the film’s daring visual style brought the art of a comic book to life. For a major American studio that had arguably the thinnest track record in terms of animated features and shorts (yes, I am counting Columbia’s association with UPA), it was a stunning achievement. And it appears its visual influence is only beginning to ripple across cinema, if The Mitchells vs. the Machines (2021) and Puss in Boots: The Last Wish (2022) are any indication. Directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, Spider-Man: Across the Spider-Verse cannot hope to match the first impressions of five years ago, but what a hell of an impression it leaves. Visually, it exceeds its predecessor, but, due to the necessity of its heavily expository multiverse-based screenplay (this film is first part of two), it is the weaker of the extant Miles Morales Spider-Verse movies. When considering the bar set by the previous film, ATSV remains one of the finest superhero films ever made.

Sixteen months after the events of ITSV, Gwen Stacy (Hailee Steinfeld) must contend with the situation that she must keep secret her Spider-Woman identity while her policeman father (Shea Whigham) hunts Spider-Woman down. An incident concerning a villain from a different universe introduces her to the Spider-Society – a group of Spider-People from thousands of universes who assist each other, as well as maintaining the space-time order of their respective universes. Earth-1610 is Miles Morales’ (Shameik Moore) world. There, Miles is still pining for Gwen, as the college admissions process draws near and his parents, concerned about his grades, ask for a conference with the counselor. But the mysterious appearance of The Spot (Jason Schwartzman) seems to be Miles’ more immediate concern. Gwen arrives on Earth-1610 not necessarily to see Miles, but to monitor the Spot’s movements. Miles, not invited to the Spider-Society, falls into the group and learns more about “canon events” and the manner in which he became Spider-Man.

Brian Tyree Henry and Luna Lauren Vélez reprise their roles of Miles’ parents, as does Jake Johnson as Peter B. Parker. Issa Rae, Karan Soni, Daniel Kaluuya, and Oscar Isaac play other prominent Spider-People in this film. The cameos from across Spider-Man media are too numerous to list here.

Phil Lord and Christopher Miller (2009’s Cloudy with a Chance of Meatballs, 2014’s The Lego Movie) and Dave Callaham’s (2010’s The Expendables, 2020’s Wonder Woman 1984) screenplay is hamstrung by the very fact that this film has no resolution. Because this is by design, I will hold most of my fire. However, the pile-up of subplots – Gwen’s relationship with her father, Miles’ relationship with his parents and him missing his late uncle, his developing relationships with the other Spider-People, a reveal that throws into question Miles’ self-belief he is a worthy Spider-Person, Peter B. Parker’s newfound fatherhood and relationship with Mary Jane Watson, tensions between the leader of the Spider-Society and Gwen, etc. – is overflowing, uncontainable, and impossible to treat each one with the developmental (because I understand that not all of these can be resolved yet) respect they deserve. The appeal of Spider-Man is rooted deeply in the ordinariness and day-to-day struggles of whoever dons the suit. Not the spider powers, not the villains, not the multiverse shenanigans, not the humor (of which there is plenty, don’t worry). Those multiverse shenanigans overshadow most of the movie. Only during Gwen’s scenes with her father (ATSV’s strongest moments) and Miles at the very beginning and in the closing chapters of this film does the viewer ever feel the pull of those central Spider-Man themes.

Miles, this series’ primary star, must reckon with the realization that his becoming Spider-Man was a multiverse-related accident, rather than what constitutes as the “normal” way to become Spider-Man – you know, being bit by a spider that came from your universe instead. Through Miles, Lord, Miller, and Callaham are clearly attempting to establish a message that one should reject determinism and wrest control of one’s future for themselves. For me, the execution of that messaging relies too heavily on the metatextual elements related to Spider-Man lore to be as resonant in the first movie, when Miles was addressing more grounded personal problems. But Shameik Moore mostly sells Miles’ doubts in another solid voice acting turn, especially when confronted with the most disapproving of the Spider-People.

Far more effective are Gwen’s troubles with her police captain father. In their universe, her father is undertaking a zealous campaign to find and bring Spider-Woman to justice in the belief that Spider-Woman murdered Gwen’s friend, Peter Parker. Meanwhile, Gwen – living a sort of second life she hides from her father, is beginning to become more emotionally distant from him, and (like Miles) is having difficulty finding a place in her world. The tension-filled scenes between daughter and father, recalling the first issues of the Spider-Gwen series, raise the questions of morality and responsibility that Spider-Man lore is known for. As such, they are the emotional highlights of ATSV – lifting Gwen almost to a co-lead in this movie, and enlivening her storyline beyond her infamous and still-controversial deaths in the mainline Spider-Man comic series and The Amazing Spider-Man film series (2012-2014).

The cutting-edge animation of 2018’s Into the Spider-Verse was breathtaking. For Across the Spider-Verse, the variety of styles somehow make the preceding film look safe by comparison. The multiplicity of styles in ATSV truly allows the viewer to inhabit the idea of a multiverse – better than any multiverse-centric offering Disney’s Marvel Cinematic Universe (MCU) has to offer, and perhaps more convincingly than The Daniels’ Everything Everywhere All At Once (2022; although that movie worked wonders on a fraction of ATSV’s budget). The company logos for Sony, Columbia, and Marvel – flickering in stylized fashion and, in Columbia’s case, brief glimpses of older renditions – provide only the first hint of the animated radicalism to come. Like ITSV, ATSV is also a CGI movie that exemplifies a remarkable fidelity to certain aspects of traditional hand-drawn animation – see character designs and movements. Including blink-and-you’ll-miss-it footnotes during bits of unfamiliar dialogue are a cheeky touch. The fluidity and clarity in which characters move through space during action sequences far surpasses the choreographic incoherence that is endemic in recent MCU films. ATSV takes the very best of comic book and graphic novel artistry and translates that beautifully on the big screen.

Let us take the best-case example in the film. As Gwen’s universe contains the most appealing subplot of the film, so too is it the most aesthetically interesting. ATSV may be a computer-animated film, but Gwen’s Earth-65 appears as impressionist brushstrokes. Gwen, her father, and all those who inhabit that Earth, are animated similarly to those in Miles’ universe. The major difference is the backgrounds. With shades, gradients, brushstrokes, dots, and splashes of off-whites, pinks, and blues, the backgrounds change with each cut – reflecting the direction and moods of a conversation or an action scene. As the dramatic intensity of a conversation increases, the more abstract the backgrounds look. These background changes are but a suggestion; Gwen and her father do not see the dazzling colors flying around and behind them. It is thrillingly experimental stuff for a major Hollywood studio animated work.

Some viewers of ATSV have interpreted Gwen’s story as a transgender allegory (at the very least). The presence, above her room’s door head, of a transgender flag reading “protect trans kids” has fueled further speculation – and bans from cinemas in Saudi Arabia and the United Arab Emirates – that Gwen herself might be transgender. Her universe is emblazoned with the trans flag colors (the whites/off-whites, pinks, and blues mentioned earlier), and the language she employs in her final conversation with her father in this film almost sounds like a coming out. No matter how one interprets this aspect (and there is nothing in the film to prevent one from interpreting her scenes allegorically or literally), it is the finest reinforcement of one of the film’s central theses: that anyone, regardless of gender identity, race, religion, or sexual orientation can be a Spider-Person.

Like ITSV, much of ATSV’s soundtrack comprises of numerous hip hop songs that are used not so much to complement what is occurring on-screen, but to instead serve as background vibe noise, lyrics barely discernible. This musical direction goes against my beliefs that original and non-original film music have an expressive power. To mute such music so consistently is to deny an opportunity to enhance the expressivity of both the motion picture and music. It just becomes sonic wallpaper, there only to sell soundtracks and pump up music streaming numbers. Either cut the songs or be more selective of the placement of these non-original songs.

Elsewhere, composer Daniel Pemberton’s (2015’s The Man from U.N.C.L.E., 2020’s Enola Holmes) score for ITSV was riddled with heavy-handed electronic manipulation and record scratching, with nary any acoustic elements. Pemberton’s background is in avant-garde electronic music. Appropriate, perhaps, for Miles’ Brooklyn soundscape, but it is deeply unpleasant to listen to outside of the film’s context. With the universe-jumping of ATSV, one musical mode cannot serve the entire film. Gwen’s universe opens with understated, ethereal synth in “Spider-Woman (Gwen Stacy)”. Unfortunately, the musical ideas of Gwen’s universe are never quoted as wonderfully again. Reintroducing Miles and opening his storyline in ATSV is “My Name Is… Miles Morales”, which utilizes Latin American rhythmic complexities in its unmanipulated percussion – already a notable departure from ITSV – alongside Miles’ three-note motif (“SPI-der-MAN!”) from the first film. The traditional orchestra has a larger presence in ATSV, perhaps due to Pemberton’s success in his predominantly orchestral score to Enola Holmes. “Nueva York Train Chase” is one of the major beneficiaries of that orchestral integration. The cue’s thrilling string runs accompany the action magnificently and, combined with enormous hits in the bass brass in the climactic moments, is one of the best action cues in superhero film scoring in some time. Pemberton still resorts to many of his worst habits in his excessive manipulation, but this is a far better score than ITSV’s.

As this write-up heads towards publication, the Writers Guild of America (WGA) is on strike with the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) perhaps soon to follow. Labor practices in Hollywood are under scrutiny as streaming and artificial intelligence (AI) pose to change how studios make movies. Though Sony Pictures Animation is covered under The Animation Guild (TAG), there are reports that artistic input from co-screenwriters and co-producer Phil Lord and Christopher Miller have engendered an unsustainable and unhealthy working environment. Lord and Miller, in their capacity as producers, have a reputation in the animation industry for coming onboard as producers late in production and forcing animators to partake in wide-ranging changes on complete or near-complete work. Their laborious revisionism, say some of ATSV’s animators, comes without a set artistic vision – it is trial-and-error for the sake of it.

In American animation, considerable artistic changes during production are commonplace, but they often take place early on, most typically during storyboarding. Any changes coming later than the storyboarding stage can be a financial boondoggle for a studio and can result in a chaotic animating process. If these anecdotes are true, Lord and Miller are responsible for the film’s high turnover rates and widespread burnout. This behavior should prove incentive for the artists at Sony Pictures Imageworks – despite sharing a corporate parent with Sony Pictures Animation, Vancouver-based SPI is non-unionized and worked on all the physical animation on ITSV and ATSV – to unionize. Scheduled for a March 2024 release, Spider-Man: Beyond the Spider-Verse, due to the alleged aforementioned issues surrounding Lord and Miller, may not be ready in time for its slated debut.

A thunderbolt of animated innovation, Spider-Man: Across the Spider-Verse’s true value will be unknown until Beyond the Spider-Verse’s release. Fast-paced and overstuffed to a fault, ATSV might not have the freshness that ITSV brought. But for a major American animated studio in the early 2020s, this is bewilderingly wonderful work. One just wonders what the animators possibly could have left up their sleeves.

My rating: 9/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Spider-Man #Spiderman #Across the Spider-Verse #ATSV #Joaquim Dos Santos #Kemp Powers #Justin K. Thompson #Phil Lord #Christopher Miller #Dave Callaham #Shameik Moore #Hailee Steinfeld #Brian Tyree Henry #Luna Lauren Vélez #Jason Schwartzman #Issa Rae #Daniel Kaluuya #Oscar Isaac #Daniel Pemberton #My Movie Odyssey

[canvas-cat]

ABOUT ME ⚔️

Hello~!

You can call me Canvas (she/him), and welcome to my art blog!

I'm currently in college, pursuing a degree in animation, whilst running this blog in my spare time.

I've always had a deep interest in animation and film-making, especially character design, cinematography, and storyboards.

My other art-based hobbies include illustration and writing.

As for aesthetics, I'm a sucker for gothic art, especially the theatrical, dark, and eerie!

I'm a huge fan of Shakespeare, as well as the Victorian era, gothic literature, swords, anything supernatural, and of course, tarot cards >:)

Like seriously, I would rant about how much I love tarot imagery for hours.

(fun fact, my banner is actually a reference to my favourite tarot card; 9 of swords)

My biggest inspirations would be Harry Clarke, Caravaggio, Tom Moore, Ross Stewart, and Jamie Hewlett.

God bless Tank Girl, my beloved🤘😔

TAGS... ☀️

#my art ~ (my personal/original art)

#my ocs ~ (Everything that features OCs)

#canvas chats ~ (My text posts/rambles/asks, tends to feature art with my cat persona, Canvas!)

#other people's art - (art by others!)

#inspiration - (things that inspire me)

STORIES/OCS

#Wolf of Wellwood 🌕🍂

Main story, set in 1890s, in the fictional town of Wellwood, Wales.

Supernatural thriller/mystery, werewolves.

Characters; Charles, Elisa, Patrick, Clyde

[Link to story summary post]

#RP rift 🎭

A text rp group with a few friends of mine.

Ragtag bunch of idiots become friends via interdimensional shenanigans.

Includes an abridged version of the lore from my story, essentially an AU.

Characters; Charles (mine), Krumb (mine), Quinn (@just-a-small-snake), Observer (Alex), Emil (@moffie-moff)

#text post #artist intro #artists on tumblr

[vanillelavendernotes]

campus tour —> second day of classes. ya boi is officially a Professor, teaching Poetics of the Screen aka Screenwriting I at Moore College of Art & Design as part of the Inaugural Film Major/Department. Professor Jay (after my Grandma, who went by Mrs. Jay when she was a teacher)/ Professor Vee / Professor Moon(flower), pls. ✨🤍🖤💜 here are some Ws from today with my small, mighty and beautiful class: —class audibly went “oooooo” when I explained the homework for this week — One student said “you’re the best” when I shared the editable class playlist — the student who’s been the quietest in class came up to talk to me afterwards. — we’ve been studying #IfBealeStreetCouldTalk & they noticed how Fonny & Tish were wearing Blue & Yellow in the opening + in the next scene Tish wears Green, the mix of the former colors. They said, “it’s like she’s carrying both of them with of her” 🥺 — i reflected on one conversation we had, and offered that we’d been talking about “a bunch of gay shit” & they smiled & laughed. today’s been great. here’s to the rest of the sweet and tender semester. 🙏🏿 https://www.instagram.com/p/Cia2haCvK8m/?igshid=NGJjMDIxMWI=

#ifbealestreetcouldtalk

[jonathanferraragallery]

KRISTIN MOORE, a native Texan, completed her MFA at Otis College of Art & Design in Los Angeles in 2016. She has been named one of Saatchi Art’s 20 Artists To Watch in 2020, and a top 10 finalist in the New Western Talent juried exhibition with Western Gallery. Kristin’s paintings can be found in collections across the U.S. and Europe. Her work has been shown at The Other Art Fair in Dallas, and in group exhibitions with Jonathan Ferrara Gallery in New Orleans, Gallery 1988 in Los Angeles, and SHOWFIELDS New York (curated by The Jealous Curator). She has had solo exhibitions in Los Angeles, Austin, and Lockhart. Kristin currently lives and works in Dallas, TX and is a studio artist at The Cedars Union.

Her love for capturing the aura of a location through painting was amplified when she first visited Marfa,TX. While living in LA, Kristin often would travel to and from Austin in-between semesters. Marfa became a transitional pitstop for her to shake off the edginess of LA and take a breath in the open landscape of West Texas. “Being in the landscape of West Texas is almost like visiting another planet. You can see for miles and miles with no building in sight; the landscape slows down time and calms your mind.” - Kristin on Marfa.

Upon moving back to Texas from California in 2016, Kristin continued exploring the landscapes and highways around her through painting. The experience of living outside her home state had sparked a sense of wanderlust into Kristin’s work; a longing for endless landscapes and wild sunsets was juxtaposed by a desire to capture Americana and architecture of the cities around her. Today, Kristin’s work continues to oscillate between the landscapes of California and Texas, with a continued expansion to the Western U.S. 

#kristin moore #painting #women artists #acrylic #jonathan ferrara gallery #jfg artist

[oflowtides]

⸻  OWEN TEAGUE. HE/HIM / have you ever heard of BABY, YOU WOULDN'T LAST A MINUTE ON THE CREEK by chiodos, well, it describes ZIGGY MOORE to a tee! the twenty two year old, and GRAPHIC DESIGN STUDENT / STREET ARTIST was spotted browsing through the stalls at portobello road market last sunday, do you know them? would you say HE is more skeptical or more CREATIVE instead? anyway, they remind me of worn holes in the knees of your jeans, paint spattered converse, permanent sneers at family dinners, and the rattling of a spray paint can, maybe you’ll bump into them soon!

time in notting hill: seven months

drug (selling/trafficking) mention tw

Ziggy wasn’t sure if he was planned, or just a happy accident, but either way, right from the get go, he was at a disadvantage.  His parents weren’t hurting for money, but they weren’t exactly in a legal business, either.  They were fairly prominent drug dealers, the Moore family well known for their ability to get things most other dealers couldn’t.  JD and Chelsey were very business oriented, and while they did love their kids - even if they were often used as pawns - Ziggy and his two older brothers, Riley and Cosmo, were left with their aunt Domino a lot.  While she was also in the business, her role wasn’t as hands on, so she had more time to spend with the Moore brothers, teaching them the types of street smarts they’d need in the future.

Ziggy loved Domino, and was even more attached to her than his own mother, which often caused high tension fights as the years went on, but despite it all, he never stopped being left in her care.  Even when Ziggy started calling Domino ‘mom’ instead of Chelsey, she was never told to leave.  Her role in raising the kids was too important, especially since Ziggy and Cosmo were too little to be anything more than a distraction.

Despite being the son of actual drug traffickers and sellers, Ziggy was encouraged to go to school and behave, and while that wasn’t exactly easy for him, he tried his best to make Domino happy.  While she wasn’t his real mother, Ziggy had far more affection and respect for her over his biological one, and as far as he was concerned, she was his mom and whatever she wanted him to do, he would do.  It wasn’t easy though; Ziggy was often picked on in school, and while he wasn’t above fighting back, he rarely ever won.

Art was something he excelled in, always sketching when he had the chance, taking as many art classes as he could, filling his schedule with what he wanted to take rather than what he was supposed to take.  He just managed to squeak by, graduating on time, but with barely enough courses to qualify getting him into college.  He opted to start working part time at an art supply store, which let him take whatever he wanted, and it’s how he got into street art and tagging.

While the basics of school weren’t his strong suit, both Domino and his oldest brother Riley saw that he had a lot of potential, and while Riley was already entrenched in the family business, he wanted better for his baby brother.  After a long talk, Riley and Domino decided that Ziggy should be sent as far away from his parents as possible to be given a chance to live a normal life, away from all the drugs and violence that usually followed the Moore family.   He was extremely upset to find out they did all this behind his back; it felt like a betrayal, a punishment that he didn’t understand why it was being inflicted upon him.

Ziggy is making himself a holy terror around Notting Hill; while he absolutely loves his classes, he often can be found roaming the city at night, looking for new buildings to tag and claim as his own in the only act of rebellion he can think of.  Domino instilled a very healthy fear of hard drugs into him, but he’s known to smoke a bowl or two at a party or before bed, but would never turn down the invitation to try something harder, if only out of spite at this point.

#nottinghillintro #ziggy moore ; biography #drug mention tw