from the website:
Gunakadeit is a mythological supernatural being, a sea monster, who they say brought wealth. The moment I heard the entire backstory from my mentor and legendary Master Artist Nathan Jackson, I was intrigued. The short version is somebody actually captured this sea monster. He skinned it out and placed the skin over himself. There was an orb in it that presented the man with a caveat - he would be granted the privilege of being the supernatural being if he promised to be back by sunrise the following day. The man agrees and transforms into the sea monster. He spends his day by doing good and serving his people, delivering to them food and wealth from the ocean. Gunakadeit starts falling in love with the praises bestowed upon him from the people. He doesn’t want to leave the prominent position he is in. This eventually leads to his demise, as he does not fulfill his promise.
This design speaks to that side of human nature that is the battle of our intentions. It is meant to remind us to be mindful of what motivates us. Is it to genuinely help people or is it driven by the lure of praise and adoration?
by Robert Mills
This design was featured in Smithsonian Magazine. The full story can be found here:
LYRICS/SONGS THAT RELATE TO THE SHOW TRIBUTE VID- ‘WAYS TO BE WICKED’
Song: 'Ways To Be Wicked' by the Descendants cast
(The amount of hours and effort I put into this edit is quite honestly insane. But I hope you like it!)
The fact that these lyrics fit so perfectly with these four is just amazing.
'With us, evil lives on. The right side of wrong, there's so many ways to be wicked.'
Today we’re taking a look at our 1987 Limited Editions Club release of poet, diplomat, and Nobel laureate Octavio Paz’s (1914–1998) Three Poems. Published as a bilingual Spanish-English edition of selections from The Collected Poems of Octavio Paz, 1957-1987 (translated by Eliot Weinberger, the primary translator of Paz’s work into English), this prodigious publication measures 56 cm and features lithographic illustrations by abstract expressionist painter and printmaker Robert Motherwell (1915-1991). The text was handset at Stamperia Valdonega (Verona, Italy) in Bauer Bodini Bold and Bauer Bodini Bold Italic typefaces, both of which were cast by Fundicíon Tipográfica Neufville (Barcelona, Spain). Lithographs were printed at Trestle Editions on hand-made Japanese papers and text was printed at Wild Carrot Letter Press (Hadley, MA), Stamperia Valdonega, and The Heritage Press on mould made paper from Cartiere Enrico Magnani (Pescia, Italy). It was hand-sewn and bound at the Garthegaat Bindery.
The book was designed by Benjamin Shiff, LEC book designer and son of Sidney Shiff, who had purchased the debt-ridden Limited Editions Club in 1979. Under the leadership of Shiff, a one-time Wall Street broker, the LEC gained a broadened subscription base, increased the quality of their publications, diversified their roster of artists, and returned to profitability.
Though minimal and modern in presentation, the production of this edition plumbed the depths of printing history. The Magnani paper mill was established on the banks of the Pescia river (known for its clear water- a necessity for paper production) in 1404, half a century before Gutenberg’s printing press was first put to commercial use. And the Fundicíon Tipográfica Neufville (operational 1885-1995), also known as Neufville Typefoundry, was the biggest 20th century supplier of the printing industry in Spain. After a number of ownership transfers, the company, alongside Bauersche Gießerei (a German typefoundry, operational 1837-1972), was succeeded by Bauer Types, which would leverage ownership of the rights to many of the original typefaces from both foundries to lead the way from lead type production to digital typography.
from the website:
It is common to regard dark spaces as just that - purely negative. Actually, some dark places can be places for immense growth and change. An eagle understands this and has learned to be maneuverable. We are always shifting, changing, evolving and rebirthing ourselves.
The eagle illustrated within the embryo is represented in a non-conventional way, depicting how we may be in uncomfortable situations, but those situations can foster something new and exciting.