I am such a fan of the dark outlines, blocks of color, and muted tones. This reminds me very much of the Euro posters I am studying in class—check the Japonisme. Also, that FOX! 

I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

"We have a word for that in Japanese," he said. "It’s called ma. Emptiness. It’s there intentionally."

Is that like the “pillow words” that separate phrases in Japanese poetry?

"I don’t think it’s like the pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb."

Rogert Ebert, on Hayao Miyazaki (via shiverelectric)

(Source: improv-is-easy, via fuckyeahstudioghibli)

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Things are going very well. I’ve sold a bunch of prints and I’m totally immersed in my last fall semester. I feel like my work is making progress stylistically, but my biggest struggle (workwise) is giving it meaning and depth. 

I feel like I’ve been trained to think that killing oneself over a project is mandatory for its success, so when I actually enjoy my work and the time passes smoothly it seems that I’m not doing enough. 

PERPLEXITIES! 

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theparisreview:

Where are Hegel and Virginia Woolf now? The last in a week-long series of illustrations by Jason Novak, captioned by Eric Jarosinski.

Way late to the Interpol game, but my god

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snfprtch:

Bruce Boone’s author bio in Century Of Clouds. Attn sandyfarquhar

The Faun’s Head, Rimbaud

Among the foliage, green casket flecked with gold,

In the uncertain foliage that blossoms
With gorgeous flowers where sleeps the kiss,
Vivid and bursting through the sumptuous tapestry,

A startled faun shows his two eyes
And bites the crimson flowers with his white teeth.
Stained and ensanguined like mellow wine
His mouth bursts out in laughter beneath the branches.

And when he has fled - like a squirrel -
His laughter still vibrates on every leaf
And you can see, startled by a bullfinch
The Golden Kiss of the Wood, gathering itself together again.

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at Olde Good Things - Chelsea
We stumbled into a lot of old lamps (at Olde Good Things - Chelsea)
6:45 am || Running to the river and back again.
Morning playtime
Black Cat India Crushin // My feelings are ugly 

Loosening up on paper feels so good. When did I get so uptight? Why is this surprising? So much of my old art has been sloppy and dark, full of motion and a lot black against white. I’ve stiffened up over the years, I think trying to fit in with what I thought I was supposed to do. It feels so real to let go. It’s very important to have both for happiness. Or at least relief!
Today’s selfie
Q: Katie,I saw your paintings in the Chapter house cafe, I like them a lot! But my favors were sold, I was wondering if I can see your collection. Thanks Lucero

Hi there, Lucero! 

My website is currently under construction, but if you have a favorite from the show that you’d like more information about, I am very happy to answer all of your questions! 

All of the very best, 

Katie Kalupson


asked by Anonymous
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