Originally conceived as a interior design exhibit for Singapore's Saturday InDesign Expo, origami butterflies are suspended from the ceiling, in flight patterns that resemble butterfly group migrations.
Wouldn't this be a fantastic decor for a wedding or party? Maybe a nursery? Oh, the possibilities!
Each origami butterfly in the circular path represents a dream in various stages-the emergence of an idea to the idea being in transit and then taking flight. Every butterfly has its own character and destination, but when flying together, new dreams are created and celebrated.
The use of translucent paper allows light to pass through the wings of the origami butterflies, thus creating a beautiful weave of colours.
Read more about the project at Elixr . Ambitious paper-folders can try their hand with this tutorial at Go Origami:
If you have ever taken your journal on the road with you, you have likely considered what supplies to bring and what to leave behind. If you only write in your journal, the question is infinitely easier - grab a favorite pen and you're all set! But if you like to sketch, draw, and paint in your journal, as many travelers do, you'll need to pack a bit more in your suitcase.
A travel journal is the surest way to record all the memories of a trip. While photos capture the look of a place, you'll need to dig deeper to really capture the feel of it. What do you smell? What do you hear? What is your mood? What do you think about what you are seeing? These questions and countless others are better answered through the written word.
Artist Oona Leganovic shares some helpful thoughts on how to gather what you need, ditch what you don't, and how to edit your supplies down to those you'll really want when inspiration strikes on the road!
"Assembling the art supplies for my journey is quite a challenge: On the on hand I want to pack lightly, but on the other hand I find it hard to predict what I will need or not.There’s just so much I don’t know! For example I don’t know if the means I use to depict Berlin and London are as well suited to depicting other places, especially places with different light, different landscape, and other materials used in buildings. I’ll be gone for so long that I’m not sure if I will grow bored, say, with pencil or watercolor, or … or I might get into an especially experimental mood and suddenly want oil pastels or start missing my acrylics or whatever."
"But whatever I’ll take, I’ll have to haul around for more than three months. So here are my criteria for what stuff not to take:
Don’t take anything that needs fixative and/or smudges a lot.
Don’t take anything that doesn’t dry overnight.
Don’t take anything with a messy set-up or clean-up.
So out go pastels of any kind, conté crayons, charcoal, very soft graphite, oils, and acrylics. Phew. That leaves only pens, pencils, colored pencils and watercolors/gouache (and maybe ink & dip pens). Sounds manageable, right?"
Filmmaker Guillermo del Toro put all his ideas for "Pan’s
Labyrinth" in a notebook — then lost it.
The heavyset man ran down the London street, panting,
chasing the taxi. When it didn’t stop, he hopped into another cab. “Follow that
cab!” he yelled. Guillermo del Toro wasn’t directing this movie. He was
living it. And it was turning into a horror tale.
The Mexican filmmaker keeps all of his ideas in leather
notebooks. And Del Toro had just left four years of work in the back seat of a
British cab. Unlike in the movies, though, Del Toro couldn’t catch the
taxi. Visits to the police and the taxi company proved equally fruitless.
Del Toro’s films — “Chronos,” “The Devil’s Backbone,” “Blade
II,” “Hellboy” — typically feature magical realism. Fate was about to return
the storytelling favor.
The cabbie spotted the misplaced journal. Working from a scrap of stationery that didn’t even have the name of Del Toro’s hotel (just its logo), the driver returned the book two days later. An overwhelmed Del Toro promptly gave him an approximately $900 tip.
The sketches and the ideas in that misplaced journal — four years of notes on character design, ruminations about plot — were the foundation of “Pan’s Labyrinth,” a child’s fantasy set in the wake of the Spanish Civil War.
The director, who at the time wasn’t even sure he’d actually
make “Pan’s Labyrinth,” took the cabbie’s act as a sign, and plunged himself
into the movie.
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Think you know who is Britain’s most prolific writer? Is it Charles Dickens? William Shakespeare? Not even close.
Retired English agriculture consultant John Gadd has spent 20 minutes each day of the past 66 years chronicling whatever captures his imagination, and the result is 20,000 pages of thoughts, drawings, photos and even wine labels spread across 151 volumes. His journals have significance that go beyond capturing the memories of one family as he has immortalised some of the most influential events of the past half-century through notes and newspaper clippings.
December 8, 1980 – Beatle John Lennon is shot dead John writes: “Very dense going-home traffic around Luton. Got lost in Letchworth.”
July 29, 1981 – Charles and Diana’s marriage John writes: “Spent morning in front of the goggle box. Had a cold lunch when it was over. “Princess of Wales is a stunner. Princess Anne looked a bit of a mess. Queen looked cheerful.”
November 9, 1989 – Fall of the Berlin Wall. John writes: “Beastly wet. Worked until it was time to collect Barbara from station. “Stopped for a feed at King John pub to save her cooking.”
-from The Daily Mirror article“Pig expert writes four MILLION word diary that’s eight times size of War and Peace”
What began as a whim has turned into a bit of an obsession for the now-retired Gadd, who takes the time to record every detail of his daily life, right down to when and where he walks the dog. While he spends less than half an hour on the entry for each day, he annually takes a two-week break to create an index for that year’s diary.
During the seventeenth and eighteenth centuries, silver bookbindings were made to cover the personal copies of small bibles, songbooks and prayerbooks belonging to the upper classes. The manufacture of this type of silver bookbinding took place almost exclusively in Holland, Germany, Switzerland, and Scandinavia.
This binding covers one of the most popular German devotional books of the time, the "Paradijs Gartlein" of the Lutheran theologian Johann Arndt, first published in 1612. The binding was possibly engraved by Philipp Holeisen of Augsburg, and the images were probably inspired by contemporary printed engravings. Both covers of this binding have a silver panel peirced and engraved with floral scrollwork enclosing five cartouches on a ground of sheet silver, formerly gilt. The silver spine is pierced and engraved in a similar manner. There are two silver clasps on the foredge, the boards of the book are wooden, and all edges of the textblock are gilt.
Illustrated: engraved silver bookbinding, late 17th century; German
Although the silver is not hallmarked, this exquisite openwork binding may have been created in Amsterdam where the book of Psalms it contains was published. The scrolling grotesque decoration includes medallions with The Annunciation (front) and The Adoration of the Shepherds (back) while King David playing before Saul is engraved on the spine.
This precious object eloquently illustrates the esteem in which Dutch Protestants held the hundred and fifty Psalms, their oft-invoked hymns of lament and praise.
Illustrated: engraved silver bookbinding, ca. 1610–20; Dutch, possibly Amsterdam