freshly brewed

Motion Design Presentation for Ubuntu Mobile

(celebrateubuntu)

This is a presentation of our ‘Paper’ Motion theme which has been applied to some of the core movements on Ubuntu Mobile. In developing this motion style we have sought to accentuate the theme of paper wherever possible. Rather than using more overt effects like page curling and folding, we have hinted at the theme by using multiple layers, stacking and suggestive effects. Multiple layers of sliding paper can be observed during the animation of the switch button, stacking can be seen occurring on the icons in the launcher and an example of a suggestive effect - hinting at a page-turning motion - can be seen in the ‘App Stacking’ options.

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Fri, 24 May 2013 14:35:44 +0100

splashmama: catbountry: racebentdisney: coelasquid: snoozlebe...

Fri, 24 May 2013 14:34:23 +0100

splashmama:

catbountry:

racebentdisney:

coelasquid:

snoozlebee:

leidis:

penciltests:

“Lilo and Stitch” 2002

Deleted Scene

Lilo plays a trick on the tourists.

IF YOU LIVED HERE YOU’D UNDERSTAND

I desperately need to understand

WHY

WHY WHY WHY WHY WHY WHY

Was this scene cut from the movie??!!

Fucking christ, do you know what this would have done? What this would have meant to SO MANY people?? The truth of this is devastating. And to think it almost found it’s way into a DISNEY film??

The inclusion of this scene alone would have made it the greatest animated feature the company ever produced. Easily. And if you think that’s hyperbolic clearly you don’t understand.

No, really, if anyone knows why this was cut PLEASE let me know.

oh man WHY WOULD they cut this, this is so great, holy MOLY

It was clearly something the crew was very reluctant to get rid of if it made it all the way to rough-clean (and in a few scenes clean!), fully inbetweened animation. That is like, thousands and thousands of dollars and weeks (months?!) of labour. Maybe a reluctant producer decided they would alienate their white middle-class American audiences by making them feel “too guilty” and pressed them to drop it? It’s unfortunate, it’s one of the most honest accounts of racism in a Disney movie (which is why it’s believable that someone got uncomfortable and made a case to get it chopped)

Designing entertainment by committee for maximum marketability is probably the most heartbreaking process in Hollywood.

I’ve been seeing this around my dash and think it deserves some more recognition!

This shit is hilarious, too.

NO WAIT SHIT

I GET IT NOW

I GET WHY SHE WAS PHOTOGRAPHING TOURISTS AS A HOBBY

SHE WAS BEING FUCKING SATIRICAL AND OBJECTIFYING

IT’S NOT BECAUSE SHE’S A DUMB KID WITH A WEIRD HOBBY IT’S BECAUSE THEY DO THAT TO HER AND HER FRIENDS AND FAMILY LIKE SHE’S SOME KIND OF FUCKING THEME PARK CHARACTER AND SHE WANTS THEM TO KNOW HOW IT FEELS

HOLY FUCKING DICKS DISNEY WHY WOULD YOU CUT THIS

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Fri, 24 May 2013 14:32:30 +0100

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Fri, 24 May 2013 14:31:17 +0100

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Fri, 24 May 2013 14:31:01 +0100

actegratuit: Raymond Lemstra

Fri, 24 May 2013 14:30:44 +0100

actegratuit:

Raymond Lemstra

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Fri, 24 May 2013 14:30:34 +0100

bitforms: And here’s another! Nude, No. 1 (My Albers), 2010....

Fri, 24 May 2013 14:29:42 +0100

bitforms:

And here’s another!

Nude, No. 1 (My Albers), 2010. Yael Kanarek.

wood, the word “white” in silicone in nine languages: Amharic, Arabic, English, German, Hebrew, Japanese, Chinese, Latin, Russian

31.5 x 31.5” / 80 x 80 cm

The universalism of Josef Albers’ “Homage to the Square” is examined in Nude, No. 1. It also identifies the body as a space of negotiation located between cultures. Melanin and speech are both physical attributes of the body. Each piece in the series is a linguistic composition loaded with social tension. The underpainting of these works is a pigmented glue that represents a tone that is different from that on the surface. Bleeding into the top layers, this root level of the picture’s composition symbolically acknowledges difference. Playing with the relationship of simultaneous perceptions, these pieces activate a dense system of human struggle that is orchestrated by language, regardless of one’s skin tone. As an Israeli-American, Kanarek’s perception of space is tempered with an awareness how arbitrary borders are. Employing modes of authorship such as storytelling and multilinguialism, Kanarek manipulates the biographical predisposition of a viewer’s associations (which are dynamic). Her work enters spaces of meaning determined by a global network and the negotiation of identity that occurs when confronted by multiple systems.

curioos-arts: Julien Cabane (France)via @Hellobank by...

Fri, 24 May 2013 14:29:29 +0100

curioos-arts:

Julien Cabane (France)
via @Hellobank by #JulienCabane

curioos-arts: Mathieu Clauss (France)via @Hellobank by...

Fri, 24 May 2013 14:29:12 +0100

curioos-arts:

Mathieu Clauss (France)
via @Hellobank by @icimathieu