A modern day revolt in the way of a “Tea Party.” With obvious references to the Boston Tea Party in 1773, dissatisfied American citizens showed up in various cities across America on Friday February 27th to send a clear message to the politicians in Washington. Packing tea bags and pork rinds, these protesters showed up to protest what they perceive as a villain – the United States Congress and the Executive branch of our government. Little did they know that a metaphor for the villain himself was right in their midst. Grinning in the most evil of ways as his wallet gets stuffed with our dollars – he is not afraid to look us right in the eyes as he robs us blind. These citizen protesters will certainly have a fight on their hands. Viva la revolution!
It’s all about power isn’t it? Power is the ultimate aphrodisiac so they say. But, the way that power is grabbed by the power hungry is anything but sexy. It’s dirty, unethical and immoral even by our diminishing standards of conduct.
Today, the power hungry are making power grabs and grubbing at all the money that goes with it. And, every so often, an appropriate visual metaphor will present itself in the light of current of events. Witness the power hungry in the form of visually rhetorical trope.
Basic graphic animation is produced by a technique called stop-frame cinematography. The camera records, frame by frame, a sequence or succession of drawings or paintings that differ only fractionally from one another. The illusion of progressive movement is created by projecting the series of frames through a camera at the normal rate for sound film (24 frames a second). The same method is used in puppet or object animation; the position of the figures or objects is changed very slightly prior to each exposure. In graphic animation, the drawings may vary from the simplest outlines, as in such traditional animated films as Felix the Cat, to elaborately modeled and colored paintings, such as those produced in Walt Disney’s studios during the 1930s.
The first animated cartoons were produced before 1910 by pioneers such as Emile Cohl of France and Winsor McCay of the United States, whose Sinking of the Lusitania (1918) has been called the first animated feature film. In these early productions, a simple drawing of a mobile figure was photographed against an equally simple background, and a new drawing was required for each exposure. Relief from the labor of drawing hundreds of pictures for each minute of action came only when the figures could be made momentarily static. The evolution of cel (for celluloid) animation after 1913 enabled animators to use a single, more elaborate background for each shot or scene in the action. The mobile figures in the foreground were inked in black silhouette on transparent celluloid sheets and then superimposed in series on the background.
With the introduction of color filming early in the 1930s, animators began to use opaque paints in place of black ink. Greater efficiency was achieved when artists began to specialize in particular figures or other mobile elements of cartoons. Such teams of animators collectively created drawings for feature-length films, for example, Walt Disney’s Snow White and the Seven Dwarfs (1937) and Fantasia (1940). Most animated films are recorded by an automated rostrum camera. The many improvements made in this camera since the 1950s have contributed to the increased technical capabilities of the medium. The adjustable camera is suspended above the horizontal table on which the combination of cels, one upon the other, have been superimposed on the background and locked or pegged into position. The cels are then successively photographed to produce a precision image offering a faultless illusion of movement. Such cinematic effects as tracking, panning, and zooming may also be achieved.
Bettie Page has been called the most photographed person in the world. And, they are still saying that 51 years after she abruptly quit being a model and disappeared into a very private life far from the public eye. Bettie Page chose to remain in our memories the way she last appeared – she refused to have her photograph taken after leaving the modeling business. She did have a photograph taken when she was arrested in Florida in 1972, but that photograph was a mug shot and she really didn’t have a choice in the matter.
But then came an important celebration. A celebration of which Bettie played an important role to the host of the celebration. Bettie, of course, was one of Hugh Hefner’s first models, besides Marilyn Monroe, that helped to launch the Playboy empire. The year was 2003 and that year marked the 50th Anniversary of Playboy magazine. Since Bettie was a good friend with Hugh Hefner and she was one of his first models, an invitation was issued to Bettie to attend the 50th Anniversary gala at the famed Playboy Mansion.
Now you can imagine there were all sorts of beautiful women at this party, but it was Bettie everyone wanted to see. Bettie eventually decided to attend the anniversary party with Anna Nicole Smith, another famous Playboy centerfold. The two models made a very grand entrance at the huge gala, and as you can imagine, the two centerfolds received a lot of adoration and attention from the attending crowd. So, on that evening, the camera-shy Bettie Page had her photograph taken with Anna Nicole Smith and Pamela Anderson at the Playboy Mansion some 46 years after she quit being a model and quit having her photograph taken.
Not only is this photograph of historical interest, this is the only photograph of Bettie Page, the Pin-Up Queen, in her later years. For a woman known as the most photographed model in the world, this particular photograph, taken just five years ago, is probably the rarest of Bettie’s many photographs.
Well not actual mad men, but the Madison Avenue ad men from Sterling Cooper on AMC’s runaway hit show Mad Men. Graphic designer and illustrator Dyna Moe, from New York City, was asked by a cast member (Rich Sommer, who plays Harry Crane) to create a custom Christmas card to give to his fellow “advertising colleagues.” The style in which she works fits the design motifs and artistic sensibilities of the early 1960s that so thoroughly permeates Mad Men. There is now at least one of these wonderfully cool illustrations for each episode of the stylish television show.
To see all of Dyna Moe’s fine stylish illustrations inspired by Mad Men, please visit her Flickr site or her blog. You can get desktop wallpapers and even iPhone wallpapers through these sites. You can also purchase this art as fine art prints from Dyna Moe’s Zazzle site. Don’t miss checking out this swanky stuff inspired by the early 1960s and the AMC hit series Mad Men.
c>log Robert Rauschenberg, American artist, died May 12 at the age of 82. Rauschenberg is considered by many to be one of American’s most influential artists and he was instrumental in the transition from the Abstract Expressionism movement of the late 1950s to the Pop Art movement of the early 1960s. Rauschenberg is most famous for his series of “Combines” in which he employed non-traditional materials and objects in very unusual ways. Rauschenberg was known for collecting interesting pieces of trash on his walks through New York City for use in his works. His “Combines” are considered both painting and sculpture.
Rauschenberg’s formal art training is nearly as impressive as his storied career. Born in Port Arthur, Texas, he attended art school at the legendary Black Mountain College near Asheville, North Carolina where he studied under the rigorous teachings of famous Bauhaus artist Josef Albers. Rauschenberg also studied art with New York School artists Franz Kline and Jack Twokov as well as photographer Aaron Siskind. He met John Cage and learned about performance and its link to mulit-media art which would become an important part of his later works. Besides his works of art, Rauschenberg will also be well remembered for his fearless experimentation and unending innovation.