Posted by Notcot on Jul 15, 2012 in Steampunk
Fancy designing your own classic and contemporary movie posters, books and magazine covers? Feel like turning your photographs into works by Turner, Matisse and Magritte? Want to create illustrations in the styles of “The Simpsons”, steampunk and Victorian engravings? Then you need “Art and Design in Photoshop”. In this unique book, acclaimed master of photomontage and visual trickery Steve Caplin shows you how to stretch your creative boundaries. Taking the same tried-and-tested practical approach as his best selling “How to Cheat in Photoshop” titles, Steve’s step-by-step instructions recreate a dazzling and diverse array of fabulous design effects. You’ll learn how to design everything from wine labels to sushi cartons, from certificates to iPod advertising, from textbooks to pulp fiction.Written by a working pro, the clear guidelines pinpoint exactly what you need to know: how to get slick-looking results with minimum fuss, with a 16-page Photoshop Reference chapter that provides an at-a-glance guide to Photoshop tools and techniques for less experienced users. Steve explains both typography and the design process in a clear, informative and entertaining way.All the images, textures and fonts used in the book are supplied on the accompanying CD-ROM. Imaginative, inspirational and fun to use, this book is a must-have for every creative Photoshop user, both amateur and professional. Learn to quickly and ingeniously create fantastic graphic effects in Photoshop, from graffiti to classic art, newsprint and stained-glass windows. This book is easy and fun to use with clear step-by-step instructions and hundreds of screenshots. It is backwards compatible: fully up-to-date with the latest Photoshop release but also relevant for use with previous versions of Photoshop.
Price : £ 23.16
Posted by Notcot on Apr 16, 2011 in Cult Film
When Dr Ben Goldacre saw someone on daytime TV dipping her feet in an ‘Aqua Detox’ footbath, releasing her toxins into the water, turning it brown, he thought he’d try the same at home. ‘Like some kind of Johnny Ball cum Witchfinder General’, using his girlfriend’s Barbie doll, he gently passed an electrical current through the warm salt water. It turned brown. In his words: ‘before my very eyes, the world’s first Detox Barbie was sat, with her feet in a pool of brown sludge, purged of a weekend’s immorality.’Dr Ben Goldacre is the author of the Bad Science column in the Guardian. This book will be about all the ‘bad science’ we are constantly bombarded with in the media and in advertising. At a time when science is used to prove everything and nothing, everyone has their own ‘bad science’ moments – from the useless pie-chart on the back of cereal packets to the use of the word ‘visibly’ in cosmetics ads. This book will help people to quantify their instincts – that a lot of the so-called ‘science’ which appears in the media and in advertising is just wrong or misleading. It will be satirical and amusing – exposing the ridiculous – but it will also provide the reader with the facts they need.Full of spleen, this will be a hilarious, invigorating and informative journey through the world of Bad Science.
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Posted by Notcot on May 22, 2010 in Cult Film
One of the most famous, most shocking and, for much of its existence, most elusive of cult films, Tod Browning’s Freaks remains worthy of its dubious top billing by literary critic Leslie Fiedler as the greatest of all Freak movies. At the centre of the story are two circus midgets, Hans and Frieda (already well known in the 1930s through film and advertising appearances as Harry and Daisy Earles), whose marriage plans are blasted when Hans becomes the target of the aerialist Cleopatra’s plot to marry him then kill him off for his money. During what is certainly one of the most notorious scenes in cult film history, the wedding party of freaks ritually embrace Cleopatra as one of us. Through her undisguised horror at this and her gruesome punishment by the freaks, the film bluntly confronts viewers about our awkwardness about different bodies while simultaneously stirring up fear and alarm in familiar horror-movie style. Better known for the Bela Lugosi version of Dracula (1931), Brownings showmanship was equally a product of the circus (he was himself an adolescent contortionist in a travelling show). His meshing of circus and cinema–two dangerous entertainments–produces Freaks‘ uniquely disquieting effect.
Startled and indignant preview audiences forced the producers to add an explanatory foreword to the film but even this crackles with sensationalism as it veers between sideshow-style sympathy and fright warning. None the less, protests and local censorship ensued and the film never reached the mass audience for which it was made. Still, some of the real stars of the midway Ten-in-One shows of the 1920s and 30s (Johnny Eck, Daisy and Violet Hilton the Siamese twins, Prince Randian, the Hindu Living Torso) are showcased here as themselves and it is their undeniably real presence in what is otherwise familiar fictional terrain which is still so provocative. –Helen Stoddart
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