youmightfindyourself:

“The 4 Layers of Design”, part of a broader discussion of “The Dribbblisation of Design” written by Paul Adams

Design is a multi layered process. In my experience, there is an optimal order to how you move through the layers. The simplest version of this is to think about four layers.

I see designer after designer focus on the fourth layer without really considering the others. Working from the bottom up rather than the top down. The grid, font, colour, and aesthetic style are irrelevant if the other three layers haven’t been resolved first. Many designers say they do this, but don’t walk the walk, because sometimes it’s just more fun to draw nice pictures and bury oneself in pixels than deal with complicated business decisions and people with different opinions. That’s fine, stay in the fourth layer, »

chrismohney:

When you bring to my attention a Nigerian movie whose plot concerns  “a group of women with supernatural powers they use to seduce men and turn them into BlackBerry Bold 5 smartphones” you can expect I will want to see the “money shot” so to speak

Obviously, p=3.

sharkchunks:

Diffusion and white lights often simulate the outdoors (or something like it) in Kubrick’s color films. Eyes Wide Shut favored deep blue translights as the film took place mostly at night, and in a dreamlike world. But in general, this is how Kubrick’s films are lit, even to the point of favoring the solid blown out lights as sources and even backdrops for entire scenes, relying minimally on fresnels (Which are apparent in Clockwork Orange and Shining) and bounce (Likely some in Full Metal Jacket).

The importance is in the approach- Kubrick did not crowd his sets with every light in the van, he flooded them from single bold sources and filled in the blanks. Yielding an easier, cheaper shoot and a more realistic, artful film, this is a superior methodology in every possible respect to modern Hollywood’s excessive »

rovingrube:

From “A Conversation With Marie Windsor”, by Michael Mills:

Kubrick had all his shots laid out before he started, all sketched out by his wife, who was quite a good artist. He had them all around his office. I guess that’s why we made it in 21 days, with very few takes. The scene where I took my eyelashes off we did in two takes.

He didn’t direct in front of anybody else. He’d say, Marie. Come over here a minute. We’d go behind the scenery, and he’d say, In this scene I want you to be really tired and lazy. I’d had some stage training, and he was trying to get me not to use my big voice…

When I won the Look award for Best Supporting, Kubrick wanted to shoot publicity shots with his house for »

futurejournalismproject:

Short Enough to be Interesting

Summers come. Summers go. And this summer we were fortunate to have Kat and Gabbi join us for our summer internship program.

We’re getting smarter about these things. Where we previously brought people in and threw them into our general mix, Jihii made sure we did things differently. Differently means we basically said, What interests you? What subject do you want to do a deep dive in to? Let’s talk about that and hone your focus. Got it? Now go.

Kat chose the evolution of college newspapers for her research. Gabbi chose the evolution of documentary film and its distribution as hers. We, hopefully, challenged them on their assumptions and provided additional ideas on how they should and could follow up on their topics. My personal hope is that they learned as »