from Raphaël—JavaScript Library

(from MCM – Mode Creation Munich)

"Los Angeles, November 2019, Part III (I, II)" Blade Runner (1982)

“Why do you smile that way? l never know if you’re judging me, absolving me or mocking me.” 8½ (1963)

From If we don’t, remember me, via BoingBoing

I was inspired by the woodgrain detail that many of those old keyboards have. I wanted to give his site the same vintage feel, like a Southern California den from the 70s.

Thanks to George Miguel for all his excellent backend work on the project, steadfastness, encouragement and general loveliness.

Rosamond’s work is affecting because of its spareness and sureness of line, soft color palette, use of negative space, and most compellingly, the direct, unflinching gaze of her subjects. Ce Ce calls her women “beautiful, defiant, free spirited and yet vulnerable. They are both knowing and longing.” The duality of knowing and longing strikes a deep chord. I love the languid mood that her drawing style evokes.

Rosemary

Asia

Rosamond’s life story is rife with themes of identity-seeking, self-doubt, rebellion, intense passion, destructive insecurity — themes universal to many women. Her mother was controlling and violent, and stifled her nascent talent in favor of her brother’s art; the women in her work shuck off any hint of the retreating doormat that might have formed from such repression, and instead radiate confidence, sensuality, sophistication, and power. Even a woman sitting in her car in the path of a steam train blithely smokes a cigarette, showing no apparent concern for her imminent demise. No wonder Rosamond outsold Norman Rockwell and Salvador Dali in the 70s, when women were experiencing liberation and wanted visual totems of their new-found freedom.

Summer Mood

Rachel

self–portrait?

The Crossing

Rosamond died by drowning in the Pacific Ocean in 1994. She was swept away in the undertow. Interestingly, there doesn’t seem to be a Wikipedia entry for her.

Last Work (1994)

Rainn Wilson on Life’s Big Questions

Rainn is of the Bahá’í faith, which could be described as an Islamic version of Unitarian Universalism.

These two have a stark Soviet beauty to them, with a sense of the dancer being controlled by a force greater than she can handle. Is this a story about a dancer being consumed by the performance until she loses herself?

design by La Boca

design by La Boca

These two treat the dancer as a precious object who exists solely in service to her master. She is either diminished or duplicated; in both cases she is interchangeable with any other dancer. Her inner life is lost and these versions fall kind of flat for me.

design by La Boca

design by La Boca

It’s this creepy poster that says the most about the main character’s central conflict (darkness vs. innocence, the price of perfection) and alludes to an element of horror in the movie.  The theatrical styling, blown-out lighting, her flat expression and retouching of the whites of her eyes all hint that this is an intensely psychological story about one dancer’s descent into guile, or madness. It makes me want to see the movie despite my not being a fan of Natalie Portman nor Winona Ryder (also in the movie).

design by Bemis Balkind

Full article: http://www.underconsideration.com/brandnew/archives/ws_new_w.php