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arhamk11 · 3 months ago

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daresplaining · 4 years ago

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Hi, I have a question! I've been chatting with a friend about Matt's meditation, and I was wondering if you know of any comics that explain what his meditation actually involves. To me, the show suggests that his meditation involves reliving past mistakes, but that doesn't seem conducive to physical healing (aside from whatever mysticism may be involved) and I don't know if that's based in the comics at all anyway. Thanks!

Hi! That’s a great question. You’re right, reliving past mistakes sounds like a terrible way to meditate. I don’t remember getting that impression from MCU Matt, but it’s been two years now since I last watched the show so it’s very possible I’m forgetting.

In the comics, Matt uses meditation mainly for coping with sensory issues. Often, this means managing pain.

[ID: A panel from Bendis’s run showing Matt sitting cross-legged on a wood floor with his hands together in front of his chest. He is unclothed apart from underwear and bandages around his stomach. There are a bunch of lit candles on the floor in front of him, and behind him is a low bed in which an obscured figure (Milla Donovan) is sleeping. There are red burn marks on Matt’s face.]

Daredevil vol. 2 #48 by Brian Michael Bendis, Alex Maleev, and Matt Hollingsworth

Here’s Matt meditating after being set on fire by Typhoid Mary. (For someone with a super-sensitive nose, I’ve always questioned the number of candles he’s got going here). Based on Matt’s comments, the meditation doesn’t actually diminish the pain, but it seems to allow him to get enough of a mental grip on it to function in spite of it.

[ID: A panel from Bendis’s run. Matt is in a dimly-lit room, putting on his Daredevil costume. Milla is behind him.]

Milla: “But your hands-- the burns--”

Matt: “I-- Don’t worry, Milla. I have-- I have training and meditations-- I can control the pain.”

Daredevil vol. 2 #49 by Brian Michael Bendis, Alex Maleev, and Matt Hollingsworth

[ID: More panels from Bendis’s run. Matt is sitting up in bed and Milla is sitting on the side of the bed. Both are mostly naked and the background is in shadow.]

Milla: “Foggy and Ben [...] said you got up, got in a cab, followed them right in here and lied down.”

Matt: “Wow, I don’t remember that at all. What day is it?”

Milla: “It’s been a week or so. But look at you. You were totally out of it, and now you’re--”

Matt: “That’s how I trained my body. My sensei trained us to ‘accept the pain and to then let it go when its time is done.’”

Milla: “You don’t hurt anymore?”

Matt: “No, I hurt a lot. But I’m done with it. I have other things to do now.”

Milla: “‘You’re done with it.’”

Daredevil vol. 2 #59 by Brian Michael Bendis, Alex Maleev, and Matt Hollingsworth

You’ll notice that all of these examples so far have been from Bendis’s run. That’s because Matt doesn’t actually meditate on-panel that often, and it’s pretty concentrated to within just a few runs.

There’s also an element of hand-wavy reiki involved in Matt’s meditation, and some writers suggest that he can-- to a very minor degree-- actually speed up his healing via chi manipulation/mental willpower.

[ID: Excerpt from Nocenti’s Daredevil run. Daredevil is lying on the ground, surrounded by tall grass. Everything is depicted in minimalistic shapes and yellow and black lines against a white background.]

Stick (off-panel): “Pump that heart! Breathe in! Breathe out! Heal those cuts! Seal them up! I said beat!”

[ID: Stick whacks Daredevil with his staff. Daredevil wakes up.]

Stick: “Good! Now keep it beating. Nice and steady. That bone in your right leg needs setting-- shift it back! You hear me? Beat! Beat! Beat! Pump that heart!”

Matt: “No! Go away!”

Stick: “Listen to me, boy! This is Stick talking! Trust me! Now heal those bones!”

Matt: “I don’t wanna heal!”

Stick: “Keep beating! You’ve got to mend. You’ve got to live.”

Daredevil vol. 1 #262 by Ann Nocenti, John Romita Jr., and Christie Scheele

[ID: Excerpt from Soule’s run. Daredevil, seen from behind, is sitting cross-legged on a rocky, mountaintop surrounded my mist. Stick walks up behind him.]

Stick: “What the hell are you doing up here, kid?”

Matt: “I’m doing what you taught me to do, Stick. Meditating, centering myself, drawing on my natural energies to accelerate the healing process.”

Stick: “Sounds like a bunch of hippie-dippie crap. This isn’t what I taught you.”

Daredevil vol. 5 #609 by Charles Soule and Phil Noto

Matt certainly doesn’t have a healing factor in the traditional sense, but this sends us into that grey area surrounding Matt’s training. Fully trained members of the Chaste and the Hand have all kinds of healing powers, resurrection powers, etc. but Matt is far from fully trained. However, he did kind of bring Elektra back to life through sheer love and desperation that one time, and it’s not inconceivable for him to have some slim grasp of those powers that might allow him to heal a tiny bit faster than normal. I wouldn’t put it on a list of his superpowers, but it’s worth mentioning since it has come up a few times.

Matt also frequently has issues with general sensory overload, and he has been shown to use meditation to cope with that as well. Here’s an example from the Captain Universe mini-series, in which Matt gets possessed by the cosmic Uni-Power and his already-acute hypersenses are boosted to an unbearable intensity. He does the only thing he can do in that situation: he sits right down where he is and tries to manage the input.

[ID: Daredevil is sitting cross-legged on a rooftop, surrounded by sound effects and snippets of dialogue.]

Uni-Power: “Do not be afraid, Matthew Murdock. I am known as the--”

Matt: “Quiet! Please, I need to concentrate.”

[ID: Time passes, the sun drops toward the horizon behind him, and gradually the sounds fade.]

Captain Universe #2 by Jay Faerber, Juan Santacruz, and Rus Wooton

While Matt doesn’t meditate on-panel all that often, he does do other things that could be considered meditative. There are many different ways to enter that calm mental state, and one method is through mindless, repetitive action. We often see Matt working out, doing acrobatics or punching a heavy bag. Obviously he does this because being in-shape is important to him and he enjoys it, but it also seems to help him think (in Volume 3 #35, Matt mentions that he’s mentally at his sharpest when he’s sparring, and I’d say the continuity bears that out) and also helps him relax/focus. Even his Daredevilling might serve this purpose for him. We know that in addition to pure superhero work, he also swings around the city for fun and for his mental health, and he’s so good at it that I could imagine him managing to get into a zenlike state. It wouldn’t be the safest way to meditate, but this is Matt we’re talking about.

If you’re asking about the actual mental process Matt goes through in his meditation, I can’t think of an occasion where we’ve been given that kind of detailed information. It usually involves clearing your mind or focusing on one specific thing to the exclusion of all else, and I haven’t seen any evidence to suggest Matt does it differently-- though presumably it involves an extra element of tuning out all of that additional sensory information, which is fascinating to think about.

#Long post #ceterisparibus116 #Daredevil #Matt Murdock #Milla Donovan #Stick #Asks #Sensory Shenanigans #Adventures in Continuity

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theonceoverthinker · 6 years ago

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OUAT: Out of the Past - Dead in the Water

Hi! So, while we’re on our break between Seasons 2 and 3 of the OUAT Rewatch, I wanted to do a brief little lookback at a couple of the show’s pieces supplementary material. I can’t promise how many I’ll get to during this break specifically, but this is something I’ve wanted to do for a while and honestly, it’s a fun way to fill the time, so I’ll get to as much as I can!

If you don’t know, Once Upon a Time had released three novels (With hopefully more on the way!) and two comics that fill in some non-necessary gaps in the series and timelines. To start off with I want to talk about the comic “Out of the Past.” While it’s not chronologically first...I honestly can’t reach the other one. That’s really why I’m going for it first. XD

Here, we follow four non-connected stories starring Rumple and Belle, Killian, Regina, and Jefferson. What’s so interesting about this comic as a whole is that each of the four stories is not only distinct in their locations and characters, but in their art styles, giving way to separate tones for the different stories. I’ll do my best to link to artwork as I write these up for that reason, and believe me when I say that every part of this comic thrusts you into...a whole new world! XD (The puns can NEVER be escaped!) Additionally, each of the stories has a new original character that closely connected to someone in the main cast! I’ll explain as we go, but I generally like all of these characters. They meld into the world of OUAT brilliantly while still being memorable in their own rights.

I won’t be giving these grades like I normally do for the episodes, but rather, I want to examine the stories, the use of characters, the art, and the writing. If you want to read them for yourselves, they’re available all over online (Hey! Maybe if we buy the comics, we’ll get more of them!!!) and here’s a link to the Killian comic!. While there are a risk of spoilers up ahead, I’ll try to keep things as conceivably vague enough as I can for someone who hasn’t read to follow along.

The stories of the four pieces were created by Kalinda Vazquez and scripted by Corrina Bechko. Kalinda is a regular writer for the show while this is Corrina’s first and only bit of work for the show. Overall, I think they both did a good job, but I’ll get into that as I talk about the individual pieces.

Today, we’re going to be looking at the first piece from the comic, “Dead in the Water.” It’s Killian-focused and a pretty interesting piece! Why? Well, let me tell you!

Anyway, let’s get grooving! Join me under the cut for my review!

Link to the comic! Thank you so much to @misspo0ky for uploading the piece in it’s entirety!

Our first comic follows Killian Jones. Not long after after becoming a pirate, Killian and his crew get lost in a nasty storm. Desperate, they take refuge in the Leviathan Shoals, a seemingly safe haven with a terrifying reputation for both a deadly sea beast and mists that -- as Killian’s first mate Lewis states -- “cloud the mind...induce visions, madness...even drive men to MURDER!” Killian looks prepared to handle everything, but when he gets to the shoals, he sees the one person he never expected to: Liam, seemingly back from the dead!

What’s very interesting to me is the placement in Killian’s life they chose to focus on. Killian’s lived an extensive life to be sure, but to zero in on the point between losing Liam and meeting Milah is so bizarre to me -- not bad at all -- but given that so much of his life was spent in Neverland, one would think we’d see more of that or even just his childhood. Still again, I’m not complaining and I really like what we get!

But anyway, let’s talk story! I’d say this story is simple, and it is -- Killian and his crew get stuck somewhere, they find someone, and then they get out -- but I’d be lying if I said that’s all. Liam’s existence in this comic is ambiguous. It’s explained, but against the exposition that Lewis -- Killian’s first mate who is framed here as something of a moral compass -- provides, it’s unclear just how much Liam can be trusted. It makes the conclusion (which I won’t spoil, but I think it’s pretty obvious) equally ambiguous and thus hit a very emotional note upon further reflection. And the implications of this on Killian’s mindset throughout the rest of the series is just utterly heartbreaking! They story itself is decently paced (I’ll talk more about that in a moment), the world of the shoals is quite interesting and spooky, and the practicality of the plot elements come together well. ALSO, I love the fact that we finally get to see Killian interact with his crew members aside from Smee for an extended period of time. Killian may not always make the right call, but he definitely has good taste in crew members. Lewis is very smart and honest and you can tell just how much he cares for Killian. My only problem with the story is the pacing at the climax of it, namely when Killian has to make a certain decision. I won’t detail it for those who haven’t read, but given both the weight of the decision on a personal level to Killian and the convictions that Killian spent the past few pages on feeling so strongly about, to not have at least a panel of him processing or thinking about the decision before he goes against those convictions just feels poorly paced. Additionally, I feel like a bit more Liam in this comic -- like through a flashback with Killian -- would’ve brought home the weight of the decision more so that it could be as ambiguous as the ending. As it stands, Liam isn’t made to be nearly as likeable as he was in “Good Form” (The only Liam episode released at the time of this comic’s publication) and it makes the ambiguity of his appearance falter.

The art for this piece is so unique! Designed by Pascal Campion, “Dead in the Water” has two focuses in its art style. During the opening, to accentuate the danger of the storm, the art is much grainier and more detailed. The brushstrokes are far more visible in the environment outside the characters and while not without detail, there is more of a focus on the basic shapes for the characters. When we get to the shoals however, the art style completely changes and it persists until the end of the comic. It’s very minimalist and well-filled in. If I didn’t know any better, I’d swear it was made on a computer because I can barely make out a single brushstroke! There’s also a rather transitional shading between the environments of the comic. When Killian, the crew, and Liam are on the water, a cooler color palette is used (Blues, greens, and purples) while the shoals use a warmer palette of yellow, reds, and oranges. That said, the exact colors used flip back and forth from shade to shade without much in terms of rhyme or reason and while I like it, it’s not the most consistent style of art. It’s pretty to look at, but I do wish there was a touch more cohesion to the style.

Overall, despite my complaints, this comic still draws me in like a fly to a light. I think it comes down both to seeing Killian actually being a captain and the ambiguity of the ending as a whole. Stories like “The Lady and the Tiger” have a way of sticking with me, and if you like something a little less than clear, but in a good way, you will probably like this!

Thank you for reading this review and to @watchingfairytales for inspiring me to take on this re-read! I hope it’s okay that I’m jumping the gun a bit with the comics! XD

Next time, we tackle a piece of the tale as old as time!

See you then!

Operation Rewatch Archives

#ouat #once upon a time #killian jones #liam jones #watching fairytales #jenna reads ouat

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kathrineindeed · 7 years ago

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WillNE smut 'morning pet'

Prompt: Morning smut Warnings: obs Will x reader ___________________ You wake up to usual English weather, a dark, gloomy sky painted with fog that covered the whole of London. The mist made it nippy outside, with a slight drizzle to give the wind a bitter bite. Your curtains blowing open and flapping slightly due to the breeze that the window was letting in as it was set ajar. This kind of weather would damper your mood when trying to be productive or do something, as being cold and wet just ruins a day but this weather dose have a comforting feeling as its perfect for days like this cuddling up in duvet covers and drinking coffee watching rain hit the window. And being able to spend that with someone would make it’s so much better fortunately you have a certain someone to spend rainy days with.

Will, your sweet, loveable boyfriend of two years. You met Will at uni when you two ended up being roommates. After realising you two got along proper well. You would be inseparable, always together whether it been in your dorm watching movies or out on the piss. You instantly fell in love with his kind nature and his happy go luck personality. And those eyes, they made your heart hurt, those piercing blue eyes. You loved everything thing about him his voice, his face even if he did get bullied about his square head you thought he was so fucking hot, You two had so much in common the love for dogs, music tastes and your both pieces.

You moved down to London when Wills channel took off and you transferred to a closer uni so you could carry on with your degree. You love seeing him happy doing something he genuinely loves but you hated seeing Will at uni because he had lost his passion, lost his joy for life and that effected his social life and he turned cold and distant. So when he said he was dropping out it didn’t surprise you, you encouraged and supported his decision completely.

You look to the side to see a topless Will looking over to you while in bed covered in pillows and blankets in the bedroom which had minimalist vibe ( Allan hanging somewhere proud like ) with no clutter in the room. Will smiles at you,

“Morning pet” he says in raspy morning voice

You giggle at this nickname for you, “Morning” you replied sweetly

“Sleep, well?” He asks

“Yes, thanks” you replied

You lean up to kiss him, your lips find his. He instantly kisses back but suddenly pulls away you look up at him confused.

“I haven’t brushed my teeth yet” he says panicked

You look him dead in the eyes and say simply “I don’t care” you say and “Now get down here and gives us’ a kiss”

you pull his head down to yours connecting your lips again, he rolls on top of you. Two arms ether side of your head holding him up and a leg in between yours and one to the right of your legs. You hands go straight to his silky brown locks running your fingers through it.

He swipes his tongue over your lips asking for entrance which you willing granted and you let him take control, lips moving in sync and his tongue exploring the familiar territory of your mouth. He presses his knee up to pussy and you moan at the pressure into the kiss. He pulls away and he just gives you loving look.

“You are something lass” he says sweetly

You blush at the comment as he starts to kiss your neck immediately finding your sweet spot and abusing it with kisses and bites. You moan out his name as he continues to kiss your neck and collar bone.

“Mhhh will”

He then moves down under the covers and pushes up your shirt to leave open mouth kisses on your stomach then moving them down your thighs until he reached your clothed pussy. He places a finger on your clothed clit, the pressure alone making you cry out but then he starts to press patterns of figure eights which drives you crazy just that and you felt like you could let go but he then striped your pants and then reattaching his fingers but added two fingers in your pussy. Curling the each time he thrusts them in so they hit all the right places

“Fuck will” you moan out

Just as you thought you couldn’t feel any better he replaced his fingers with his mouth on your clit. Sucking, nibbling your swollen heat, you legs start to quiver and your back is arching, he places his hands on your hips to hold you down. You hands have the bed sheet bunched between them and your head falling back in pure pleasure, he then starts to trust his tongue in and out of your pussy triggering your climax Your vision going blurry, seeing starts and legs shaking under his touch

“Im cumming will” you let out a breathy moan

“Let go babes” he encourages

You release all over his tongue and he gives you one last suck which makes you quite sensitive from your strong orgasm. Will climbs back up from under the covers and his head pops up with a smirk plasters on his face.

“Did you enjoy that sweetheart?” He asks already knowing the answer

“Mhhhh but how about round two” you say innocently

“Sounds good to us’ ” he replied

He removes your top and unclasps your bra then removes his boxers, grabbing a condom from the bedside table draw and opening the foil packet and rolling on the condom. He then aligns him self up and slowly pushes in, and allows you time to adjust. Once you give him a kiss to signal that he can move, he starts to trust at an unbearably slow pace, enjoying teasing and how good you feel around him. He’s driving you crazy, your hands find his back.

“Will please go faster,” you beg not caring about whining

Soon after Will picks up his pace, his thrusts get faster and he kisses your neck roughly. You rap your legs around his torso which gives him a whole new angle and he can get even deeper hitting that one spot. Your nails racking up his back, his name falling from your abused lips. He is also a moaning mess, your name slipping through his teeth.

You feel a familiar knot in your stomach, your legs quivering, vision going blurry, head falling back.

“Ahh, fuck, Will” you cry out

He trusts a little harder which triggers your orgasm, and he rides it out while his trusts get sloppier and he feels himself falling over the edge his hair covering his forehead in its natural state.

I kiss him and his climax washes over him and he rides it out with a good few more thrusts. His breathing uneven, he pulls out and disposes of the condom. I get cleaned up and pop one of his tops on and a pair of his joggers while he goes to find clean clothes to put on. We both jump back into bed and cover ourselves up.

“Aye, I didn’t see this ending up like this” he chuckles “Me ether” I agree with him “I love you” you mutter “Love you too pet” he says

You spend the rest of the day, watching cringe films and eating way to much, but enjoying each other’s comfort. While rain is thrashing against the windows.

K- I love this

#sidemen smut #simon minter #sidemen #smut #will lenney #willne #calfreezy smut #vikstar123 #zerkaa #will #mm7games

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dazedplace-blog · 4 years ago

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The Mist - Film

09/09/20- offsite

Screen play written and directed by Frank Darabont

Sci-fi/Horror, rated R (18)

Plot summery by Kevin Awty: Project Arrowhead, a military experiment gone wrong has opened an interdimensional rift setting loose unthinkable creatures in the town of Maine. After a storm rips through Maine, a local Hollywood artist, his son Billy and their next door neighbour drive into town for supplies. Whilst at the supermarket, shoppers are alerted by the presence of military convoys, emergency vehicles and the town’s emergency siren. Shortly after, the town is engulfed by a thick mist; it becomes apparent that this is no ordinary fog. Barricaded in the supermarket for days on end, frightened shoppers fight for survival against the horrific creatures that lurk outside, unaware that perhaps the biggest monster is already amongst them. Based on the Stephen King novel, the director brings to life what King is famous for with an ending that will leave you mortified.

Main Cast: David Drayton - Thomas Jane, Billy Drayton - Nathen Gamble, Mrs. Carmody - Marcia Gay Harden, Amanda Dumfry - Laurie Holden, Brent Norton - Andre Braugher, Ollie Weeks - Toby Jones, Jim - William Sadler, Dan Miller - Jeffery DeMunn, Irene Reppler - Francis Sternhagen, Private Jessup - Sam Witwer, Sally - Alexa Davalos

Quotes: David Drayton: ‘Sure as long as the machines are working and you can dial 911. But take those things away, you throw people in the dark, you scare the sh*t out of them, no more rules. You’ll see how primitive they can get.’

Mrs. Carmody; ‘There’s no defence against the will of God. There’s no court of appeals in hell. The end times have come; not in flames, but in mist.

Ollie Weeks: ‘As a species we’re fundamentally insane. Put more than two of us in a room, we pick sides and start dreaming up reasons to kill one another. Why do you think we invented politics and religion?’

Ollie Weeks: ‘You can’t convince some people there’s fire even when their hair is burning. Denial is a powerful thing.’

Original Film Poster Analysis

The original photo used for the The Mist’s film poster shows the silhouette of a man holding a young child on his hip, facing, backlit by a large glass door and window showing a foggy outside setting.

Like The Mist’s original book cover, the colours used in the poster gradient inwards to white creating contrast and a halo effect around the central man and child, highlighting them as the poster’s most prominent and what the eye is drawn to first. As the main feature, we can assume that the man and child are the main characters of the film; the man holds the child closely in a seemingly protective manner indicating that they are in a vulnerable position. The main characters positioned this way hint that the genre of film is most likely that of a action, thriller or horror.

The photo for the poster has been taken a a slight upwards angle (camera lower to the ground), this technique is often used to allow the background to loom over the foreground, inferring that it is much bigger, more powerful or dangerous. In this instance, the angle was used to make the characters look small in front of the window before them, suggesting that the danger is beyond the window and they are avoiding at or are trapped inside. Further imagery of shopping trolleys besides the characters establishes scene is probably set in a supermarket; we can assume that a supermarket is where the film, or at least its most most prominent scene/s, takes place.

Colours that dominate the poster are black, white, green, red-orange and blue. The darker black edges to the piece further simulate the ‘trapped’ state the characters are in along with the aforementioned imagery. The blurred mix of the other colours layering outside of the window also suggest something abnormal or supernatural is happening. I believe these colours and value altering were added post-production through Photoshop with filters and washes made with the brush tool.

Cloud-like smoke has seeped through the door and surrounds the feet of the characters, this along with the title The Mist on the poster point to the biggest plot point of the film: the mist. Beside the colouring, vulnerable position of characters and additional imagery, the mist has a threatening insinuation.

Alternative Film Poster Designs

This alternate film cover for The Mist features the silhouetted image of a truck and large, tentacle like form hovering above it composed centrally, instantly and simply making them the subject of the piece. This imagery, much like in many of The Mist’s covers is textured with a foggy wash of grey and black, representing the plotline’s namesake; the mist.

The completely monochrome palette used, along with the softened outlines of the imagery, give a tone of quiet mystery; contrasted with the eerie and unfamiliar tentacle, I would associate this cover with the thriller genre. This still shot of what appears to be the tentacle reaching for this truck (the truck itself almost being a stable of action movies itself) hints towards a scene of action, this tentacle now being seen as a treat to the truck and linking back the thriller genre, I can also assume that this film is apart of the horror genre also.

The text for the title of the film, quote and information is also in a central position. The particular typeface used is strict serif but is quite simple and slim, this type has been represented in many different film genres but is most often associated with less easy-going themes such as in thrillers and horrors and sets a more melancholy tone to the poster for the audience to pick up on. Positioned at the very top of the poster is the movie’s tagline: ‘Fear changes everything’, in matching font. This tagline alone suggests the horror genre instantly, however I believe the line would be more impactful if it was more dominant on the cover, simply fixable with a larger font size, but I also understand the minimalistic approach needs to be considered also. I would assume the demographic worked towards for this poster to be adults whom the horror genre appeals to as the subdued text and colour palette plus the overall frightening imagery is not commonly appealing or targeted to children.

I believe this poster consists of an edited photograph; additional contrast, colour and tentacle added post-production. This style of creation is not one I wish to explore myself as I don’t believe I could utilise my particular skills or artistic interests this way but if I were to produce this poster I would first take the picture of the truck in this environment, change it to black and white and then adjust the contrast, along with smoke-like texture added with brushes here, to give the appropriate, natural lighting effect. I would add the tentacle to the poster latterly, first drawing it up and adjusting it’s colouring to simulate depth separately. Finally the text would be added, blended between layers of the imagery and highlighted with white to give the same effect.

I assume this to be the promotional poster for The Mist in Japan. We can see a slightly different artistic approach here, instead of a choreographed photograph as seen in the previous two posters, this poster features a splice of stills taken directly from the from the production of the movie with less dramatic contrasted editing. We can once again see the image of a man holding a child, indicating a vulnerable position, but now the lead actor’s face is in full view for the audience. allowing more context for emotion; the man appears unsure, anxious. Below this image, the audience cans see further members of the cast in a group looking out of a large window, once again appearing to be unsure and shocked.

With the text (in a black, grungy typeface, setting a further horrific tone to the poster) of the information and title of the poster positioned more around the edges of it, the focus is pointed towards at the central figures displaying emotion. Focusing on the actors this way, instead of establishing the scene specifically could be a way of transcending the cultural barrier between America where the film is set, and Japan where this poster was promoted as it communicates directly to the audience that this is not a peaceful film and is more likely to be that of a thriller, horror or action without any complications due to cultural differences as any culture can understand emotion through facial expression.

The palette of this poster ranges from dark grey and blue to white; a common scheme used of The Mist’s posters and book covers, however, instead of highlighting the main features with white in a halo effect, the images blend into white representing the mist consuming the scenes. The blue and grey suggest to the audience a more depressing to the tone to the film and with a lack of bright colours and typically fun imagery, we know this film is not targeted towards children.

Japan is known as a pioneer in the horror movie genre with their influential kaiju monster films (e.g. Godzilla) and other iconic movies such as The Ring and The Grudge based off the works of Koji Suzuki. With this knowledge, the lack of typically frightening imagery and colours associated with horror (red, black etc.) leads me to believe that The Mist may not have been promoted as a horror movie and the monsters of the mist could have been left as a surprise to the preconditioned Japanese horror fandom to draw more interest instead of being the usual horror film they would expect.

This poster shows a much wider variety of imagery from differing scenes compared to the previous and original poster, however, it does follow the same colour palette and use of light blurred texture to represent the mist. This poster also includes the tag line of the film ‘fear changes everything’ and focuses on the central image of the main character.

What stood out to me on this poster is how the artist incorporated the title: The Mist into the scene using appropriate typography to appear like the name of the supermarket in the background of the piece; where the majority of the film takes place.

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gordonwilliamsweb · 5 years ago

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8 Tips for Creating a Relaxing Home

It seems like everyone wants a home that feels like a retreat: an environment that’s soothing, uplifting, and beautiful. Many of us are taking inspiration from the Danish word hygge (pronounced hoo-gah), which is all about creating a cozy home that inspires connection and a sense of well-being. Natural fibers, pale colors, and lights with a soft, warm glow are hallmarks of this style.

Others are embracing minimalism, paring down their possessions to the essentials that make them happy, as advised by Marie Kondo. As she likes to say, only surround yourself with objects that "spark joy." The idea has been so popular that charities received record levels of clothing and housewares donations in 2018 and 2019.

8 Tips For Creating a Relaxing Home

Whether you live in a studio apartment, condo, or house, it’s easy to make your home an oasis of calm by following these strategies.

1. Eliminate Clutter

There are many reasons to have an organized, clutter-free home. You’ll save time because you can find your keys and phone easily. And you won’t waste money buying duplicate items because you can't find the other one! Did you know clutter in the home can even create anxiety?[1]

Start by decluttering main areas like the kitchen, office, living room, dining room, and bedrooms. Bag up anything you haven’t used in a year or two; chances are you won’t even miss it. Tackle the closet with a good friend, and donate clothes that don’t fit, are out of style, or are unflattering.

Consider getting rid of anything that doesn’t make you smile or bring a pleasant memory or thought — even if it was a gift. You can still be grateful for the spirit behind the gift without keeping the object.

Donate everything to charity and feel good knowing someone else can benefit from your former treasures. You’ll be left with a home full of lovely items that make you feel good when you see them.

2. Embrace Cozy: The Hygge Way

The Danes have a concept known as hygge, which — while not easily translated to a single word — embraces the notion of "cozy." From a warm cup of tea to gathering around the fire, the concept of hygge makes Denmark’s long winters more pleasant.

It’s such a defining part of the Danish way of life that Meik Wiking, author of "The Little Book of Hygge" and CEO of the Happiness Research Institute, wrote that hygge is to Danes what freedom is to Americans.

Hygge is about keeping things simple and inviting warmth and friendship. It’s no wonder that Denmark ranks among the happiest countries in the world! Though conceptualized for winters, you can practice hygge year-round. The decor involves a minimalist style with natural fabrics and pale neutrals.

Fire and warmth are essential components of hygge. Having a fireplace is great, but candles are an important component as well. Throw blankets are another easy, cost-effective way to add coziness and comfort to your home.

Some things don’t create a sense of hygge, such as staring at your phone all day. Instead, wrap up with your cozy knit throw around a fire, put on some thick socks, and spend the evening reading or catching up with a friend.

3. Employ the Healing Power of Nature

Let the sunlight in! Also, open the windows regularly to refresh the air in your home. The healing power of nature is one component of the hygge approach. Many of the same tenets underlie biophilic design, a science-backed approach focused on natural materials that support wellness.

Opt for pillows, rugs, towels, and clothing made from minimally processed wool, silk, cotton, and linen. Stock your kitchen with glass and ceramics, rather than plastics. Extend that same ethos to your furniture, seeking out pieces made from wood and natural fabrics, which look timeless. Plus, minimally processed natural materials won’t release harmful volatile organic compounds.

Choose cotton or silk sheets with a wool mattress topper to draw heat and moisture away from your body. A bed topped with wool, silk, or cotton will keep you cooler than foam, which holds heat. Plus, foam is made with petroleum, so it releases toxins and bad smells.

Green plants are an essential part of a soothing home environment. Just seeing ferns and other green plants can make you feel calmer and happier.

4. Decorate With Harmonious Colors

Painting your entire home with a complementary color palette helps set a tranquil tone. "If you have a lot of bright colors and there’s no continuity, it creates a clashing feeling," says Curt F., a residential developer who lives in California’s Sonoma wine country. "Each room should flow from one room to the next, so everything works together."

Some designers suggest choosing a favorite piece of fabric you like and drawing all the colors in your home from that palette. If you like pale colors, choose non-toxic white paint colors with different tints, mixed with neutrals such as tan, taupe, and wood tones.

Blue, a primary color from the sky and ocean, instills a peaceful atmosphere, and blue light during the day can help your body relax more quickly.[2]

5. Turn Your Bath Into a Spa

Even when you’re doing everything you can to stay balanced and healthy, life’s little aggravations can get to you. When that happens, unwind by turning your bath into a mini spa.

Put houseplants and naturally-scented candles in your bathroom. Draw a hot bath and add a few drops of your favorite calming essential oils like lavender, chamomile, rose, or ylang-ylang. Next, dump a cup of plain Epsom salt in the water — they’re loaded with magnesium to relax your muscles.

Dim the light, turn on your relaxation playlist, and sip some tulsi tea, which one researcher called "liquid yoga" for its calming and mind-clearing effects.[3, 4] You can also try valerian, a time-tested herb for restful slumber. Global Healing’s Organic Valerian Raw Herbal Extract™ can help you fall asleep and stay asleep longer, without any grogginess the next day.

Afterward, put on a soft cotton robe, settle into a comfy chair, and spritz your face with Aquaspirit®, our refreshing facial mist.

6. Design the Perfect Bedroom

Think of your bedroom as a sanctuary for sleep and sex — that’s it. Banish the TV from your sleeping space, and charge your phone elsewhere. Electromagnetic frequencies (EMFs) from phones and tablets can disrupt brain waves in some people.[5] Others even turn off their Wi-Fi signal during sleep hours.[6]

Consider painting the walls of your bedroom a deep, dreamy shade of blue, which encourages relaxation.[7] Up the ante with blackout curtains. As bedtime approaches, unwind by reading a book while sipping tea with a few drops of valerian extract.

Boost your relaxation level with an eye mask or a scent diffuser with lavender essential oil. And be sure to keep things cool in the bedroom, since it’s easier to drift off to sleep when the temperature is between 60 and 67 degrees Fahrenheit.

7. Set the Mood With Sound

Listening to soothing music, whether you like New Age, classical, or folk, can reduce the heart rate.[8] Create a playlist of your favorite soothing songs — anything with 60 to 80 beats per minute induces relaxation.

"To me, music really creates a mood. Life should have a soundtrack," says Curt F. "I like to start out the day with music that’s going to give a sense of peace, calm, and tranquility," he says of his playlist, which is similar to spa music.

If you want to create a soothing soundscape that’s less distracting than music, try nature sounds of wind, water, or chirping birds. Listening to sounds like these shifts the brain from the stressed-out fight-or-flight status to calm parasympathetic mode. The tenser you are, the bigger the potential drop in heart rate and blood pressure. Not to mention that listening to nature leads to better sleep.[9]

8. Prime Yourself to Relax

One of the essential steps in creating a relaxing home is priming yourself to reap the benefits — which include less stress and better sleep. Make sure you’re taking care of your mind, body, and spirit.

Eat a balanced diet with lots of organic vegetables and fruit, along with probiotics and gut-friendly foods. Did you know that having a healthy population of flora in your digestive tract can have a powerful effect on your mood and mental state? Then you can relax in your home environment, making the most of your days and evenings.

Consider resetting your system with a colon cleanse if you’ve been overeating meat, sugary foods, alcohol, or bread. Set aside time regularly for meditation, a spiritual practice, and physical exercise, such as yoga, Pilates, or a brisk walk in nature.

Remember that all these suggestions are cumulative. Once you start clearing out the clutter, bringing in nature, and making other changes, you’ll notice that you’re feeling calmer at home.

Points to Remember

There are many things you can do to create a more relaxing home. Eliminate clutter and unneeded possessions, then decorate with cooling, comfortable natural materials like cotton, wool, silk, and wood. Use green plants liberally. Paint your entire home in harmonious colors so rooms flow together seamlessly.

When tension mounts, unwind in a spa-style bath with essential oils, Epsom salt, and tulsi tea. Make your bedroom a tech-free sanctuary that’s dark, cool, and only for sleep or intimacy. Create a calm mood with a playlist of songs with 60 to 80 beats per minute.

Most of these steps will work best to relax you if you prime your body and mind for relaxation by eating healthfully and getting regular exercise. Follow these steps, and your home will become an inviting, tranquil, and healing space.

Have you tried any of these tips, or do you have your own ideas for creating a relaxing home? Share in the comments below!

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michellelinkous · 5 years ago

Text

8 Tips for Creating a Relaxing Home

8 Tips For Creating a Relaxing Home

Whether you live in a studio apartment, condo, or house, it’s easy to make your home an oasis of calm by following these strategies.

1. Eliminate Clutter

Donate everything to charity and feel good knowing someone else can benefit from your former treasures. You’ll be left with a home full of lovely items that make you feel good when you see them.

2. Embrace Cozy: The Hygge Way

3. Employ the Healing Power of Nature

Green plants are an essential part of a soothing home environment. Just seeing ferns and other green plants can make you feel calmer and happier.

4. Decorate With Harmonious Colors

Blue, a primary color from the sky and ocean, instills a peaceful atmosphere, and blue light during the day can help your body relax more quickly.[2]

5. Turn Your Bath Into a Spa

Even when you’re doing everything you can to stay balanced and healthy, life’s little aggravations can get to you. When that happens, unwind by turning your bath into a mini spa.

Afterward, put on a soft cotton robe, settle into a comfy chair, and spritz your face with Aquaspirit®, our refreshing facial mist.

6. Design the Perfect Bedroom

7. Set the Mood With Sound

8. Prime Yourself to Relax

Remember that all these suggestions are cumulative. Once you start clearing out the clutter, bringing in nature, and making other changes, you’ll notice that you’re feeling calmer at home.

Points to Remember

Have you tried any of these tips, or do you have your own ideas for creating a relaxing home? Share in the comments below!

The post 8 Tips for Creating a Relaxing Home appeared first on Dr. Group's Healthy Living Articles.

8 Tips for Creating a Relaxing Home published first on https://smartdrinkingweb.tumblr.com/

0 notes

hnd1cjorgiewendy-blog · 7 years ago

Photo

Almost Nothing Research

We have been given a new brief called “almost nothing” where we have to .. Use Strong Direct Light to create a series of images, select a format of your choice and perfect your camera, exposure and film processing technique... Explore simple Shapes and Forms on location.

We have to Produce A workbook of Research & Development, include contact sheets, film, test prints, final prints, toned; test & final prints. A minimum of 3 strong images on film Print 3 images on 10x8 FB paper Mount at least one to Portfolio standard.

We have been asked to do some research before going out to shoot, find images that match the brief and images that are you inspired by..

The first image I have picked is “Loch Ard Trees Reflecting in the Mist” ..A black and white shot of an island of trees reflecting on the water of a mist covered Loch Ard. Photo by GRANT GLENDINNING.

I picked this image as my first research image/ inspiration as I came across it when I was looking at locations near by that I could shoot minimalist work. I came across a sight that had lots of submissions of work in Scotland and Loch Lomond. I though this would be helpful as it is achievable to re create instead of images from different countries that I could not achieve. Although you could create a minimalist approach and make it your own it is nice to see local work and be influenced by others.

2nd Research image

My second research image is a minimalistic black and white photograph of a building, I found this interesting as you never see buildings the way this is photographed, and we never tend to look up and buildings or the sky when you walk past them every day. I like the the composition of this image and the way it leads your eyes to the point at the top of the building, I would like to try something like this and go around the city of Glasgow with my film camera and see what interesting building I can photograph. I also like the way the photographer has captures the reflection and the tones from white, grey to a really contrasty deep black.

Research image 3

Above is my 3rd research image, I came across it when looking at minimalistic photography. I love this image as its so simple. I love the black and white contrast and the shape of the stairwell and stairs, I find it really interesting that you can make something as simple as someone walking up a flight of stairs so intriguing and beautiful. I also like that there is a lot of white and negative space in the image, drawing your eye to the shape of the stairwell, and making it stand out. I like this image but can’t think of anywhere I could photograph something like this or even how the photographer achieved this image.

#almost nothing

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marauders-groupie · 8 years ago

Note

(I really tried not to send too many. I fought valiantly against that urge) 2,3,12,13,14,19,20,36,41, 47,63,69,84,90,93 =D

OH MY GOD JINALI!!!!!!! I LOVE YOU?????

2: do you like the feeling of cold air on your cheeks on a wintery day?

Yes, especially if it’s sunny!

3: what random objects do you use to bookmark your books?

I usually just dog-ear them.

12: what's your favorite planet?

I prefer stars so I don’t have a fave planet, sorry!

13: what's something that made you smile today?

A joke my mom made.

14: if you were to live with your best friend in an old flat in a big city, what would it look like?

It’d have a lot of breathing space and billowing curtains. Also, it’d have a big kitchen so we’d have to learn how to cook. There’d be stacks of books everywhere and candy and blankets definitely! A hookah probably, too. Sometimes we’d just sit by the windows and chill, look at people and talk.

19: do you keep a journal? what do you write/draw/ in it?

I keep a travel journal and it’s one of those typical ones - an ancient world map design and travel quotes inside. I usually stick boarding passes and stuff like that to the pages, write about the highlights of a trip I’ve taken. There is, however, a tag of a brand of chorizo that I really liked when I was in Spain, and a poem or two.

20: what's your favorite eye color?

Green.

36: which band's sound would fit your mood right now?

Twenty one pilots, probably. I’m in a very weird mood.

41: what's the last book you remember really, really loving?

A Court of Mist and Fury! God, it was the best and I’ll probably reread it soon. Trust me, read it if you haven’t already. I don’t think I’ve ever felt the way I felt while reading ACoMaF, not even with HP.

47: what food do you think should be banned from the universe?

Pineapple on pizza. Shit, that ish just isn’t sane.

63: are you fussy about your books and music? do you keep them meticulously organized or kinda leave them be?

Oh, I just leave them be. I mean, every now and then I’ll go and rearrange the bookshelf I’ve got in my living room, but mostly I just let them be. I know where to find the stuff I need. :)

69: what are your favorite board games?

Monopoly, and I think that’s probably the only one I’ve ever played.

84: are you planning on getting tattoos? which ones?

Yeah, but I’m still not sure about the designs. I’d love minimalistic waves, that type of thing, and in the future, I’m gonna get my entire thigh tattooed with a galaxy bursting in colors, but I’ve still got no definitive plans on when’s a tattoo gonna happen.

90: talk about your one of you favorite cities.

I’ve talked so much about Barcelona but I’m gonna talk about it again because it has all of my heart and soul. It’s so much, you know? It’s history and hidden away plazas with the best food and La Boqueria with fresh juice and it’s absolutely insane in August - so hot it makes you feel like goo all over but you kind of roll with it because you’re feeling so much. It’s sensual, you can’t ignore it. It won’t let you.

And then there’s the bohemian quarter where you can legit imagine you’re an artist who’s come here to finish their masterwork and Montjuic with its fountains and the way the city seems to be lit up from somewhere deep within when you walk the steps leading towards the centre.

It’s everything and I am so, so in love with Barcelona.

93: what's the hairstyle you wear the most?

Hair down, a mess. Or hair up in a messy bun that’s not cute. No, that shit shows my despair and exhaustion.

#I LOVE YOU SO MUCH JINALI #mcpricekissed #asks

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connorrenwick · 4 years ago

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A Colorful Danish and Swiss Collaboration Spans a Runner’s Distance

When luxury Danish audio brand Bang & Olufsen went to the drawing board to design their first dedicated sports earphones, the Beoplay E8 Sport, it was with the sweaty duress and demands of daily runners in mind shaping the earbuds’ most integral features. To further emphasize its bona fides as a runner’s essential, Bang & Olufsen recently announced a limited edition collaboration with Swiss sports brand On to offer the “ultimate running kit”.

The $199 ON Cloudboom features twin CloudTec cushioning, a single layer of engineered breathable and lightweight mesh, and a carbon-fiber infused Speedboard, technologies aimed at half and full marathon runners seeking a fast and supportive.

The highly limited Beoplay E8 Sport On Editions differentiates itself from the standard edition and its more luxuriously leather-wrapped counterpart, the Beoplay E8, with subtle detailing; emblazoned on each side are Bang & Olufsen’s and On’s respective minimalist logos, highlighted with hued aluminum rings and a cloud pattern, with a translucent Leaf Green colorway complementary to its matching footwear equivalent, the On Cloudboom.

Intricate design elements such as a ridged gripped detail on the earphones helps adjustments when fingers are wet and sweaty. The case is also Qi-enabled for wireless charging.

Like the standard Beoplay E8 Sport, the On Edition’s USB-C charging case is protected in rubber and textured silicone, a functional and aesthetic detail intended to serve sweaty hands by providing a secure grip. Inside Bang & Olufsen’s trademark anodized aluminum is subtly etched with On’s own cloud pattern, an inlay offering a corrosion resistant nest for each earbud to securely rest while charging.

To avoid unnecessary stopping or distraction while running, the earphones can switch between tracks, take calls and activate Transparency Mode all with a simple tap or swipe of the finger.

Unlike the Danish brand’s more significant signature audio and video designs, Bang & Olufsen credits the Beoplay E8 Sport as the product of their in-house studio rather than a singular designer.

While most runner’s won’t test the limits of the Beoplay E8 Sport’s battery life while training, the wireless Bluetooth earbuds are rated for up to 7 hours of playback, with an additional 3.5 charges via the carrying case for a total playtime of up to 30 hours (almost enough time for us to finish a marathon).

A set of 4 sizes of Silicone Ear Tips (XS, S, M L), 3 sizes of Silicone Earfins (S, M, L), and one set Comply tips are included.

If you didn’t get your hands on the highly limited quantity limited editions, note Bang & Olufsen’s Beoplay E8 Sport is available in black or Oxygen Blue for the same price of $350, as are the Beoplay E8 3rd Generation Earphones available in black or gray mist.

>>> To see more of what Bang & Olufsen offers, visit the Design Milk Shop here! <<<

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2020/08/13/a-colorful-danish-and-swiss-collaboration-spans-a-runners-distance/

#Uncategorized

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micaramel · 5 years ago

Link

Artist: Ree Morton

Venue: Institute of Contemporary Art, Los Angeles

Exhibition Title: The Plant That Heals May Also Poison

Date: February 16 – June 14, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images and works courtesy of © The Estate of Ree Morton; courtesy Alexander and Bonin, New York and Annemarie Verna Galerie, Zurich. Photos by Jeff McLane.

Press Release:

The Plant That Heals May Also Poison is the first major United States exhibition of artist Ree Morton (1936-1977) in nearly four decades. The exhibition features several rarely seen works, including a selection of installations, drawings, sculptures, paintings, and archival materials which span a single decade of artistic production before Morton’s untimely death in 1977.

Throughout her career, Morton produced a philosophically complex body of work rich in emotion. Though celebrated by peers and younger artists, Morton’s influence on contemporary art remains considerable yet muted, her legacy widely underrecognized. The eclectic arc of Morton’s practice was rooted in Postminimalism, the inclusion of personal narrative—through literary, theoretical, and autobiographical references—and use of bold color and theatrical imagery infused her objects with sly humor and a concern with the decorative, generating a feminist legacy increasingly appreciated in retrospect. Reimagining tropes of love, friendship, and motherhood, while radically asserting sentiment as a legitimate subject of artmaking, Morton’s conceptually rigorous work demonstrates generosity towards the viewer, its spirit of playfulness and joy inflecting all aspects of the exhibition.

Organized by the Institute of Contemporary Art, University of Pennsylvania, the exhibition is accompanied by a fully illustrated catalogue co-published with Dancing Foxes Press with texts by Kate Kraczon, the exhibition’s curator; artist Nayland Blake; Kathryn Gile; and scholars Roksana Filipowska and Abi Shapiro.

Ree Morton’s initial engagement with drawing influenced much of her early work. While living in Jacksonville, Florida, with her three young children, Morton took evening drawing classes at a local museum; she later committed to focusing on being an artist, completing a BFA at the University of Rhode Island in 1968 and an MFA at the Tyler School of Art in Philadelphia in 1970. Wood Drawings (1971) is the earliest work in the exhibition and marks a transition from the minimalist and loosely gridded forms she produced while in graduate school. These intricate small sculptures covered in felt-tip markings signal both an interdisciplinary approach to drawing and Morton’s nascent fascination with wood as a material, both the natural structure of found branches and logs as well as commercially cut wood. Paintings and Objects (1973), installed adjacent to Wood Drawings, features four wooden armatures that prop and push at a canvas pinned to the wall—one of the few remaining sculptural works from this period of Morton’s practice. Nearly all of these early pieces were repeatedly reconfigured into various formations that she leaned against the walls and corners of her studio, rejecting traditional systems of medium specificity and combining elements of painting, drawing, and sculpture.

She presented Souvenir Piece (1973), inspired by a summer in Newfoundland, Canada with her three children, as an installation for her fall 1973 solo exhibition at Artists Space, New York. Only two sections of this work remain, one of which is included here. Like many of Morton’s pieces, the numbers three and four can be counted among the objects—four split logs on the low green platform, for example—and she references her three children by name, as well as friends and family, in many other works. The wood and stones assembled on the table may allude to an accumulation of mementos and memories from that period of her life. She would continue the wood motif from this body of work in the sculpture See Saw (1974) and her later Woodgrain drawings (c. 1974).

Of the artist’s surviving drawings from the early 1970s, many gesture toward a form of mapping that became increasingly explicit in her early installations. With borders and fences, dashes that enclose, and silhouettes or tracings of objects both present and absent, works such as Game Map Drawings (c. 1972–73) and the series Newfoundland Drawings (1973) reveal concerns with landscape, limitations, and organic shapes that she maintainedthrough her final bodies of work. Game Map Drawings depicts aerial views of pathways and hills in a countryside. Morton created the Newfoundland Drawings (1973) after her vacation on the Canadian island, which Morton told her friend Marcia Tucker (former Whitney Museum curator and founding director of the New Museum in New York) was the happiest summer of her life. The drawings’ cartographic references are rooted in the knobby texture of logs and branches Morton sketched in the notebook she kept during her trip.

Looking to other disciplines outside of the arts, such as philosophy, literature, and botany, Morton’s work often referenced her personal life. Before pursuing an arts education, she studied nursing, which greatly influenced the Line Series (1972–74), one of which are included in this presentation. These drawings feature soft, lyrical lines that roam across the surface of the paper around an array of other shapes, reminiscent of the chromosomes that Morton recalled observing under a microscope during her studies.

In the summer of 1974, Morton discovered two horticultural texts that were highly influential, Weeds of the Northeast: Aids to Their Identification by Basal-leaf Characteristics (1970) and Wildflowers Worth Knowing (1917). Drawings of this period, such as Untitled (Woodgrain, Scaley Bulb), Yellow Clintonia, Bitter Buttons, and Broom-Rape Family (all works produced in 1974) depict wildlife species from nature and outline the names, images, and descriptions of various flora; The Plant that Heals May Also Poison, a wall sculpture which opens the exhibition, names plants that have medicinal qualities yet have some toxic properties. While Weeds of the Northeast became the namesake of a series of Morton’s drawings, installed here on woodgrain wallpaper as Morton did for their debut presentation in 1974, the comical Victorian moralism of the 1917 publication became a primary source of text for many of her drawings and sculptures.

Morton worked with celastic, a textile infused with plastic that becomes malleable when wet with solvent, for the first time in spring 1974 while teaching at the Philadelphia College of Art. After a male colleague’s snide remark that “women should stick to bake sales” in response to her participation in the school’s Women’s Faculty Show, she used the material to create bows and drapery decorating the wall behind a platform where she and her students displayed cookies and cakes as the work Bake Sale (1974).

She continued to experiment with celastic as a visiting artist at the University of Montana, during a period that seemed unproductive to the artist initially but signaled an important turn in her work. For Bozeman, Montana (1974), created during this time, Morton applied celastic to clay letters and painted the surface once hardened. The playful, celebratory wall piece names her students as well as various activities, such as playing pool, fishing, and drinking beer. The work marks two important milestones in Morton’s developing practice: in addition to using celastic with text for the first time, she also introduces the use of electric lightbulbs to the sculptures.

Morton’s practice expanded to incorporate performance and public works that reflected upon her community of friends and fellow artists. In June 1975 Morton installed the ambitious outdoor project Something in the Wind (1975), a collection of over one hundred nylon flags strung across the rigging of a nineteenth-century sailboat docked in New York’s East River. This was a public project with the South Street Seaport Museum, and each flag was dedicated to family members and friends, including many New York-based artists, such as Laurie Anderson, Gordon Matta-Clark, and Cynthia Carlson. These flags celebrated her wide-ranging personal and social relationships; for Morton, sentimentality was a critically important component of her work, visually articulating her role not only as an artist, but also a teacher, a mother, and a friend. This exhibition presents a selection of the flags from Something in the Wind, as well as a short film documenting the exhibition at the South Street Seaport.

Maid of the Mist (1976) responded to a Native American folktale of the same name about a maiden’s annual voyage in a fruit and flower-covered canoe over Niagara Falls as a sacrificial bride to the river. In her outdoor performance, Morton, alongside other artists-in-residence at Artpark in upstate New York, carried a large yellow celastic ladder to a hillside leading into the entrance of the Niagara River, joining it with a life preserver adorned with celastic florals. Morton stood at the edge of the water with an additional life preserver tied to her waist with rope, and after throwing the preserver into the river, she cut the connection of the rope so it could float free. In performing a symbolic rescue of the maiden using a ladder and life preservers, Morton established a contemporary continuation of a narrative of feminine love and sacrifice.

Morton kept an extensive archive of materials, including a collection of notebooks now housed at the Museum of Modern Art, New York, and accessible online through the Franklin Furnace Archive. Presented here are select drawings, sketches, and studies alongside documentation that reveal the evolution of her practice, from slides of experimental work in her Philadelphia studio to installation images from exhibitions and projects throughout the United States.

Morton’s final project, Manipulations of the Organic (1977), focused on Chicago-based architect Louis Sullivan (1856–1924) and was developed as a frieze-like installation of fourteen paintings. She was a guest artist at the School of the Art Institute of Chicago that spring, surrounded by Sullivan’s architectural influence throughout the city and fascinated by his portfolio of drawings A System of Architectural Ornament, which was commissioned by the school’s library in 1924. The Institute of Contemporary Art, Philadelphia, created this installation in the originating presentation of this exhibition to approximate the drawings and studies she made leading up to her death in April 1977. Here, Manipulations of the Organic is represented by a series of drawings similar to those featured in the completed work.

The shapes Morton used in several celastic works, all produced in 1974, veer from the celebratory to the funerary—glittery banners and ribbons vying with the melancholic symbolism of gravestones. The pithy phrasing of Terminal Clusters mixes with more personal references such as those in Maternal Instincts, which includes the initials of her three children. Noting her experience as a housewife, Many Have Run Away, to Be Sure explores feminine clichés and the bow motif (or beaux, a homonym evoking the Beaux-Arts, a highly decorative, neoclassical architectural style) that began with Bake Sale. Similarly, Don’t Worry, I’ll only read you the good parts (1975) similarly radiates the dark humor that infuses much of this body of work.

The series Regional Pieces (1976) are paintings of various seascapes and sunsets produced during a winter spent as visiting faculty at the University of California, San Diego. The diptychs are framed by curtains made with celastic, adding a decorative flourish that is both theatrical and domestic. The top panel depicts a sunrise, culled from postcards the artist collected, and the bottom features images of local fish. Highlighting Morton’s time spent on California’s beaches, the Regional Pieces are also in dialogue with historical painting tropes such as still life and landscape painting.

Link: Ree Morton at Institute of Contemporary Art, Los Angeles

from Contemporary Art Daily https://bit.ly/2SWCOVF

#micaramel

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jmgonzaga-blog · 7 years ago

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Beauty of Art

by Jessa Mae Gonzaga (12-Orosa)

“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.” - Leonardo da Vinci

Last Friday, September 29, 2017, the class of 12-Orosa went to a trip in an Art Gallery found inside the Miriam College building. It was a long walk before you could finally reach the museum but nonetheless it was fun. At first glance, you could say that it was an old building. After all, it was established a long time ago but still, they were able to preserve the beauty of it. The place where the art gallery was held is kind of crowded and small, especially when there is still another section wandering inside. Because of that, we weren't able to look at the paintings properly until they went out. Although I could say that the lightings were nice and were able to give focus on the paintings. I could also say that the use of light was good and it gives the right atmosphere for the gallery. The color of the walls is minimalist and it complements the architectural features that were used. Actually, I was really stunned when I saw the inside of the gallery despite the people. All I could see was the wondrous paintings displayed accordingly. It was magnificent. The drawings and paintings were absolutely perfect and were able to portray stories. I really like art, that is why I enjoyed looking at every piece inside. The space between each artwork were all right, and distributed fairly and equally. It was arranged in a specific manner in accordance to its size and shape. It was also aligned straightly and eye-level (for some), that is why it looks soothing in the eyes of a perfectionist. In addition, the artworks were placed in one room only.

There are 42 artwork pieces, in estimation, inside the art gallery. 3 of them are painted as a series, which is considered as only one artwork. The common thing about these artworks is that they portray a specific meaning that entails to capture the heart of the audience. It also depicts a story about life and human person. One example is the picture of a girl, with wings, who is painted with the use of the colors in the Philippine flag. In my own perspective, I can say that it is about the people who attained their freedom during the reign of the former President Marcos; wherein the wings (of an eagle) represents freedom and peace, while the women represents the people of the country. This portrait was painted by Jade Navarro Bengco.

Another artist that was featured in the gallery was Anabel Velasquez Alejandrino. Her painting was my favorite because of its details. It makes you feel like you’re inside the painting itself. The calmness and serenity of the things that were used is like a mist of reality. The colors were perfectly chosen, and its green background does really gives an impact to my eyes. It was wonderful to look at.

Aside from paintings, there were also sculpture that were displayed inside the art gallery. One if it was carved by Julie Lluch which she named as “hubad”. It did really shown a literal piece of a naked women. I think the meaning behind this is sexual abuse. I know it’s kind of absurd to see it that way but it does really portray at first glance. If you would take a look at her position, her hands were at her back and she was sitting like as if kneeling. She was also looking at the ceiling which means she was as if hoping for the pain to stop while she was tied up. There are also abstract paintings that were featured inside. An example of this was the painting of Angelica Verzosa. I don’t quite understand the concept of her painting although I could say that it was nice because she was able to incorporate shapes and lines that make up the whole work. It was simple yet beautiful. Another artwork was of Lita Puyat. Although it is not an abstract painting but it looks like a photography because of its fine details that seem to be real. If it was really a drawing, I could say that she is really an artist and that is a kudos for her. It was absolutely stunning, either being a photography or a painting.

I had fun during the visit and if ever I would be given a chance to go back again, I would gladly take the offer. Although, I hope they will make the room bigger so that they could add more paintings too. I’m looking forward to see artworks that include sceneries, life form, universe, and the like.

Click the link below to see the video of the visit:

https://www.youtube.com/watch?v=Ms43MxdwFc4&feature=youtu.be

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nightmareonfilmstreet · 7 years ago

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IT'S ALIVE! for Horror Fans in Salem, MA This Fall

New Post has been published on https://nofspodcast.com/its-alive-horror-fans-salem-ma-fall/

IT'S ALIVE! for Horror Fans in Salem, MA This Fall

Can’t get enough of the weird world of vintage horror? Then Salem, MA is the place to be this fall! The Witch City is currently home to It’s Alive! Classic Horror and Sci-Fi Art from the Kirk Hammett Collection. The exhibit is showing at the Peabody Essex Museum until November 26th, and it’s a must see for horror fans.

“It’s Alive!” is a showcase of the personal collection of Kirk Hammett, best known as lead guitarist of Metallica. Hammett is a dedicated fan of vintage horror and Sci-Fi memorabilia, and his collection is stunning.

Kirk Hammett at the opening of It’s Alive! at the Peabody Essex Museum

The exhibit revolves primarily around Hammett’s collection of vintage film advertising — from massive three sheet posters, to teaser posters, lobby cards and standees. These larger than life pieces dominated the early film-going experience; gracing theater facades, lobbies, and sidewalks to draw in patrons. But as film advertising changed over time, this art was deemed obsolete and indiscriminately trashed. The pieces on display from the Hammett collection are both gorgeous and tragically rare.

Visions of Horror’s Past

The iconic staircase scene from Nosferatu (1922) is one of several scenes featured as projections throughout the exhibition

Immediately upon entering It’s Alive!, it’s clear that any horror fan is in for a treat. The lighting is dark and atmospheric, and the famous staircase scene from Nosferatu (1922) is projected eerily on the wall. The exhibit uses projection creatively throughout. A specter of a scene featuring Bela Lugosi’s Dracula (1931) appears later to creepy effect. He approaches you slowly, seemingly through mist, his hypnotic stare getting ever closer before he disappears into darkness.

A UFO beam streaks across the wall above a collection of vintage Sci-Fi posters, and a lightening projection appears on the floor beneath a “Zapatron” prop, a piece of mad scientist equipment created by Kenneth Strickfaden, father of the most iconic mad scientist sets in films. His work can be seen in Frankenstein (1931) and Bride of Frankenstein (1935). Creepy sound effects and clever displays bring an added layer of fun and discovery for horror fans. But the lifeblood of the It’s Alive! is the posters, works of art that embody the wonderful intersection of Gothic and sci-fi that defined early horror.

The Art of Terror

Illustrated poster design is a lost art, and It’s Alive! celebrates it in all its weird beauty. The creativity employed by poster artists resulted in designs that can be humorous and campy one moment, haunting and frightening the next.

Poster for Dracula (1931) on display at It’s Alive!

It’s mesmerizing how the same film could be advertised with posters of such diverse styles. One art deco poster for Dracula (1931) has a creepy, voyeuristic vibe, heavy on the sexual undertones of the vampire myth. A pair of yellow eyes stare from darkness at a beautiful sleeping woman, and the tagline reads “The story of the strangest passion the world has ever known!” Other posters for the same film share the tagline, but show the titular vampire and the horror promised more clearly, creating an odd juxtaposition. One even shows Bela Lugosi’s Dracula menacing a frightened sailor aboard a ship — a scene that never appears in the film.

Three sheet poster for Frankenstein (1931) on display at It’s Alive!

Frankenstein (1931) has a similarly diverse array of poster art on display. A gorgeous three sheet poster of the film greets visitors, and it remained a favorite of mine among all the incredible art on display. It shows Boris Karloff’s signature monster looming in the background, over a swooning woman in white. She is draped in a composition clearly inspired by Henry Fuseli’s 1791 painting, The Nightmare.

The Nightmare by Henry Fuseli (1781)

The connection between the famous painting and Frankenstein dates all the way back to the original novel by Mary Shelly. Shelly used the painting as inspiration for the scene in which the monster murders Victor Frankenstein’s bride. The unknown poster artist was clearly highlighting this connection, demonstrating the direct connection between the legacy of fine art and the history of horror.

A French poster for the same film looms like a landscape. A funeral procession that takes up only a few minutes of the film forms the centerpiece. Karloff’s monster appears menacingly above the mourners like a vision in the sky. The poster may not reflect a scene in the film itself, but it manages to evoke the themes and mood of it with haunting success.

French poster for Frankenstein (1931) on display at It’s Alive!

It’s Alive! also showcased several teaser posters for Frankenstein. Like the teaser trailers and posters of today, they feature limited text and minimalist imagery. Displayed with the vintage posters we are used to seeing, these minimalist designs were a window into a side of vintage film art I was intrigued to discover!

One of the greatest takeaways from It’s Alive! is that vintage film advertising was a unique art, requiring serious creativity and talent. But during it’s golden age, it wasn’t considered anything worth celebrating or preserving. Sadly, we don’t even know the names of most of the artists who created these incredible pieces! The exhibit does a good job putting this lack into context while highlighting and celebrating the few artists whose identities we do know.

Horror in the Flesh

Poster art isn’t the only thing on display at It’s Alive! I was particularly elated to see some classic horror props and costumes firsthand. The costume worn by Boris Karloff in The Black Cat (1934) was a highlight. The suit is in incredible condition, and it was fascinating to see something worn by the legendary actor onscreen in one of my favorite horror films.

The suit worn by Boris Karloff in the Black Cat (1934) on display in Salem

More prop highlights included alien costumes from Invaders from Mars (1953), Invasion of the Saucer Men (1957), and Gil-man’s head, worn in Revenge of the Creature (1955)! As a massive fan of Creature from the Black Lagoon (1954), seeing the Gil-man in the flesh — so to say — was unforgettable! Many of these props bridged a gap between horror and Sci-Fi — two genres that modern audiences find more difficult to reconcile. But It’s Alive! demonstrated how linked these seemingly separate genres have been from the start.

Monsters and Martians

It’s Alive! is organized in a thematic rather than a strictly chronological order. Sections highlight gothic inspired films, female driven films, monster movies, trends in poster design, and cold war era Sci-Fi. The layout encourages a better understanding of the emotions and contexts that built the horror genre.

Prop from Invasion of the Saucer-Men (1957) on display at the It’s Alive!

The science fiction of the 50’s and 60’s was more often within the realm of horror than it is today. Tales of alien invasions and monstrous threats spoke to the fears of the era. It’s Alive! did a wonderful job presenting the current events that were fueling these fears in an original and fun way.

A recreated 50’s den serves as a setting for an exploration of the Cold War context of mid-century horror . A television plays cold war era news and the coffee table is full of recreated reading materiel on how to prepare for nuclear survival. These reminders of the very real horrors that Atomic Age audiences faced in their daily lives provides essential context for the horror and Sci-Fi films of the era. The exhibit strives to celebrate the historical and social significance of horror; something horror fans have always understood, but are unused to seeing in mainstream arenas.

For the Love of Horror

The Peabody Essex Museum clearly took great care when collaborating with Kirk Hammett for the exhibit. The curators took the material very seriously, showing a level of respect for horror not always expected from a major museum. As PEM Director Dan L. Monroe and Deputy Director Lynda Roscoe Hardigan explain in the forward to the exhibition’s companion book;

“Rather than delivering traditionally styled exhibitions, we embrace experiences that reframe expectations of what art and other forms of creative expression can be and what can happen in a museum. Let’s face it — have you thought about an art museum as a setting for surprising confrontations with monsters, vampires, and creatures from outer space?”

Horror fans may not expect to see their favorite films celebrated by a major museum, but we certainly know they deserve to be recognized. I can’t help but feel overjoyed to see the Peabody Essex Museum embrace horror with such dedication.

Hammett’s collaboration was visible throughout, not only in his stunning collection, but through several interviews played throughout the exhibit. In these videos, Hammett reflects on his love of horror, his childhood encounters with the genre, and finding a feeling of belonging among the weird world of aliens and monsters.

The passion and respect that Hammett has for horror is apparent in more than just his impressive collection. When he talks about the films he grew up with, he lights up with a unique joy and reverence that horror fans will instantly recognize. The curators at the Peabody Essex Museum took that joy and infused every aspect of It’s Alive! with it. From the presentation, to the pieces themselves, seeing It’s Alive! made me feel like a kid again. If you’re a horror fan and are near Salem this fall, it’s an experience you cannot afford to miss.

It’s Alive! Classic Horror and Sc-Fi Art from the Kirk Hammett Collection, runs at the Peabody Essex Museum through November 26th. For more information, visit www.PEM.org.

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nofomoartworld · 8 years ago

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Hyperallergic: Patricia Satterlee’s Painterly Silence

Patricia Satterlee, “Already Gone 03” (2015), Flashe on linen panel, 60 x 60 inches (all images via satterlee.com)

ALLENTOWN, Pennsylvania — Patricia Satterlee is a superb painter whose work hasn’t quite achieved the level of visibility it deserves. And so it was worth a trip to Allentown to catch her five large paintings now on display at the Martin Art Gallery of Muhlenberg College.

The exhibition space, housed inside the college’s Philip Johnson-designed Center for the Arts, is configured for maximum public exposure, spread across angled white brick walls facing a wide, skylit corridor. But the arrangement also requires that the artwork be hung fairly high, which prevents a close reading of Satterlee’s beguiling painterly details and lushly matte surfaces.

This is an obstacle, but it hardly detracts from the paintings’ magnetism. Satterlee uses Flashe, a water-based vinyl paint, with virtuosic skill — soaking, scraping, and sanding it through multiple applications on panel-backed linen. Despite the labor that goes into these paintings, their imagery remains clean, simple, and fresh, with clearly articulated forms against shimmering fields of stains and abrasions.

For the categorically minded, Satterlee’s canvases are an unbroken string of contradictions: abstract and representational; painterly and linear; graphic and colorist; biomorphic and geometric; formalist and Pop. The exhibition is called Already Gone, and each of the five paintings bear that title along with a number. In “Already Gone 04” (2016), which opens the exhibition, the composition is divided into three horizontal sections. The top tier consists of a pair of identical silhouettes in the shape of an urn against a pink field. The middle is a slate-gray band covered in off-white curves evocative of churning waves, and beneath them, smeared black forms poke their heads up from the bottom edge like stylized snakes.

Patricia Satterlee, “Already Gone 04” (2016), Flashe on linen panel, 72 x 68 inches

If anything, Satterlee’s art rewards slow looking. The silhouettes at the top of the painting, like the horizontal band behind the black snakes, appear to be raw linen, but after a while you realize that the urns are tinted green: the one on the left is fully pigmented while on the right, the color rises only about two-thirds of the way up, where it gives way to a more canvas-like ecru. The full/not full pairing is an intuitive leap, one of many throughout the show (the artist’s decisions governing the choice and hierarchy of forms can seem all but inscrutable), but it is also a compositional masterstroke, subtly wrecking the symmetry of the two shapes and unbalancing an otherwise too-stable structure.

Soon you’ll notice two short, wriggling black lines adjoining the base of the urns and the upper border of the slate-gray field. An inch or so beneath them, a long, wriggling white line traverses nearly the breadth of the canvas. The inclusion of the lines is curious but not whimsical, an injection of the absurd that helps unlock the hidden-in-plain-sight illogic of the composition, in which a straightforward, three-part construction is assembled not as a vehicle for cohesion, but as a cluster of antagonists in forced detente.

The top portion, with its pink field and green tints, is painted with a flat, poster-like rigidity, while the undulating curves in the middle increase in size as they reach the band’s bottom edge, creating a pictorially dissonant, perspectival illusion of receding space. Beneath them, denatured shapes squirm across the narrow, blackened linen like minimalist reductions of damned souls in hell.

The composition, therefore, quickly slips from the grandeur of the impassive, Apollonian urns into a stylized, rippling sea before its charred descent into the irrational. And yet, at first glance, everything looks poised and formal, if a little off-kilter. The disruption is in the details.

“Already Gone 04” is the only painting of the five that is demarcated so schematically. In the others, figures float across the ground as if they were underwater or in outer space. In the three odd-numbered canvases (“Already Gone 01,” 2014; “Already Gone 03,” 2015; “Already Gone 05,” 2016), the action takes place against a turquoise field. “Already Gone 01” features another urn, or perhaps more precisely a stele, with a rounded, four-thumbed top, a motif that belongs to a group of works Satterlee made in 2012 under the collective title Gloria. A second Gloria, lacking a base and tipped on its side, rests on a rotated kettle-like shape on the left.

Patricia Satterlee, “Already Gone 01” (2014), Flashe on linen panel, 60 x 60 inches

Gloria is one of the many recurrent elements that make their way from painting to painting, transferred from dozens of drawings the artist keeps for that purpose. These forms — a love knot; a humanoid blob; a circle divided into facets of black, white, and gray — create continuity across Satterlee’s body of work, but they also undermine precious Western notions of painting as a unique object. And yet they depart from Andy Warhol’s adoption of silkscreen techniques, which had similar motives, in that her repetitions are entirely hand-wrought, a small but crucial distinction that shifts their agency from the mechanical to the tactile. They are less signs or symbols than characters returning to the stage, or snatches of melody woven through the movements of a string quartet.

These forms are limitlessly varied and undeniably strange: the stylized trunk and branches of a black, white, red, and brown tree dematerialize into a network of ghostly white strokes barely grazing the canvas (“Already Gone 03”); another tree, this time green and leafy, rising above a patch of grass (“Already Gone 02,” 2014), floats across a mottled turquoise-and-ochre expanse like the island in the last scene of Andrei Tarkovsky’s Solaris (1972); elsewhere, two stacked composites jam together an incompatible mix of linear, painterly, and solidly colored shapes, with the one on the left resembling a cartoonish water-bearer, and the one on the right sprouting a set of mutated Glorias in orange and pink (“Already Gone 05”).

Satterlee puts these motifs through their formal paces — rotating and mirroring them; reducing them to line; casting them into shadows; locking them into patterns and then clouding them over with mists of color — and in the process convinces us of their efficacy. Shapes that might have initially appeared to be simultaneously incongruous and anomalous, the phrasings of a private, hermetic vocabulary, are in fact adaptable and resilient combinatory forms transferable across new painterly contexts and new strings of ideas.

Satterlee’s paintings, having eluded the categorical distributions of abstract art, are ultimately couched in their own terms, a syntax that can feel a step outside the precincts of language. Their domains of pigment, shape, line, and support, with a common currency and open borders, are stubbornly “Not Ideas About the Thing but the Thing Itself” — to cite the title of one of Wallace Stevens’ most famous poems — with the purity, complexity, and silence that “the Thing itself” suggests.

Patricia Satterlee: Already Gone continues at the Martin Art Gallery of Muhlenberg College (2400 Chew Street, Allentown, Pennsylvania) through May 26.

The post Patricia Satterlee’s Painterly Silence appeared first on Hyperallergic.

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titoslondon-blog · 8 years ago

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New Post has been published on Titos London

#Blog New Post has been published on http://www.titoslondon.in/fond-of-zendaya-bella-hadids-look-from-met-gala-style-yourself-just-the-same-in-simple-steps/

Fond of Zendaya, Bella Hadid’s look from Met Gala? Style yourself just the same in simple steps

Here’s how to style yourself like Zendaya and Bella Hadid. (Source: AP)

The 69th annual Met Gala brought together the who’s who of the entertainment industry opting for some bold make up and hair choices. From sleek bobs to minimalistic makeup, its time for you to get hands on some of these trends straight from the red carpet.

Indira Schauwecker, Global Hair Ambassador of brand TONI&GUY, and Sushma Khan, National Creative Director, Makeup, Lakmé Salon decoded the top looks from the Met gala.

ALSO READ | Met Gala 2017: From Katy Perry to Rihanna; here are the best and worst dressed celebs

Indira Schauwecker, Global Hair Ambassador of brand TONI&GUY, and Sushma Khan, National Creative Director, Makeup, Lakmé Salon decoded the top looks from the Met gala.

Actress Zendaya’s massive hairdo was a big hit at the red carpet so one can get her voluminous and super classy hair in these simple steps.

Zendaya’s tantalizing tresses:

* The key to this look is volume, so ensure you prep your hair with a shampoo and conditioner suitable for your hair

* Gently comb and part your hair into as many manageable locks as possible.

* Apply a texturizing spray to the roots and mid lengths for a boost of body and texture

* Blow-dry for voluptuous, shiny hair. Tease your hair and back-comb each lock a couple of times to maximize the volume. And voila! Your Zendaya-inspired hair and make-up is ready to make heads turn

Her statement make-up was also to the point. Get that look too in simple ways.

* Prepare your skin with a hydrating moisturizer and apply a water-based foundation. Blend it well so that it looks flawless and natural

* Next, conceal your under-eyes especially if it is a troublesome area. Apply a soft beige cream eyeshadow and blend it outwards towards the lid.

* Contour the socket line with a dark brown shadow and shape the brows with a shade that matches your hair colour. Add single lashes and a voluminous mascara to enhance your lashes.

* Use a soft apricot cream blush on your cheeks and a creamy warm coral shade on your lips. To end, dust a lightweight HD powder over your face

Bella Hadid’s bob hair cut.had made heads turn and take notice so why not try this look too in simple steps.

* As always, begin by prepping your hair with a suitable shampoo and conditioner. This will help reduce frizz for a smooth, moisturized feel.

* Next, towel-dry your hair and gently comb through. Use the pointed tail of your comb to draw a middle parting and spray a heat protection mist evenly on your hair. Use a flat iron to straighten your hair and turn the ends of your hair inwards.

* Apply 2-3 drops of shine serum drops. Work the product through mid-lengths and ends of your hair. And you are ready to rock the bob!

Bella Hadid’s minimalistic makeup look:

* Opt for a dewy foundation base and use nude eyeshadow that matches your skin colour on your eye lid.

* Apply an eyeliner starting from the mid lash line and extend it towards the outer edge.

* Next, smudge a soft brown eye shadow on the lower lash line and add a voluminous mascara to your lashes.

* Use a soft gold rose blush on your cheeks and top up your lips with creamy deep rose lip colour to achieve a perfect pout

Actress Zendaya’s massive hairdo was a big hit at the red carpet so one can get her voluminous and super classy hair in these simple steps-