'Odyssey Revised' by The Fabulous Three
courtesy of Truth & Soul Records
For the ninth installment of Curated by Arkitip, artist Romon Kimin Yang, aka Rostarr, explores human nature via a series of geometric paintings applied to Incase’s signature protective cases.
Rostarr for Curated by Arkitip features original artistry inspired by the 2009 Tour de France through which the artist explores the nature of competition between individuals, the energy and emotion of the race as it happens and, ultimately, the reward. The series of polymorphic paintings combines hard architectural lines with a soft palette of grey and a pop of orange, exemplifying a visual language Rostarr calls “Graphysics,” which characterizes the geometric dynamism found in his work.
So, here, after many months of delays (I know, I know, I promised this film would be ready for the end of March), is Kite Making Three.
In a way the delays have proved a Godsend. You'll probably notice that there're a distinct improvement in the time-lapse shots as the film progresses. Those in the first third of the film were all shot using my home-made dolly, with which I had been more than satisfied. But during an (all-too-brief) improvement in my finances, I finally invested in a rig from TL Pro, one which came with the ability to "move-shoot-move". That, and the ability to perfectly time the travel of the dolly and number of shots taken, meant that I was able to exercise control over my time-lapse shots in a way I hadn't considered before. The result was that for the first time I was able to conceive a shot and know how to execute it; rather than just set up the dolly and "see what happens".
As is generally the case with my films, KM3 is no different in being part and parcel of a wider project - predictably one involving another kite!
I started this kite back in October 2010 and fresh from finishing the last in my Calvin & Hobbes series, was searching for a new look.
As you'll know, if you've seen any of my previous kites, cartoons have a special place in my heart. But this time I wanted something a little more contemporary; something that spoke to a wider audience than Calvin.
Of the plethora of choices Family Guy stood out head & shoulders above the rest: it has a synergy with the Calvin strips of Watterson, not visually perhaps, but more in the way it comments on our world. Perfect fodder for a kite then.
I knew from a very early stage that there was only one image I wanted to adapt; something from a scene in which Lois, dressed in fetish gear, says "the safe world is Banana", before smacking Peter, fully bedecked in a leather gimp outfit, in the mouth.
That wasn't quite enough though. Great for one side of a kite; but what of the other?
In stepped Quagmire: who better to be on the reverse of the kite, watching Lois & Peter at play?.
Knowing what I wanted to do, I then needed to think about the kite to use as the basis of the build. My love affair with Ozone's snowkites is well known, and so it was only natural that I expand my quiver: this time though I evicted the moths from my wallet and splashed out on a brand new 12m Manta M3.
Two days after the kite arrived it was deconstructed into its component parts (having never been flown), and adorned the every available space in my flat.
Very shortly after dismantling the kite the delays started. I blame my friend Mark for the first of them.
We were in my study one afternoon, looking at a few of the time lapses I'd shot for the early parts of Kite Making Three, and discussing our plans to visit Nevada in early 2011, when Mark pipes up "you should build one of these for the guys at NABX you know".
That conversation was responsible for diverting my attention (I'm easily distracted) for at least three months!
January rolled round as the NABX kite progressed and brought some excitement with it, in the form of an ambulance ride to A&E. A week in hospital, and strict instructions to take it easy after that, meant more delays. I finally finished the NABX kite in March, and was looking forward to getting back to work on my own kite, when yet more hospital time beckoned. Two weeks this time.
My health improved to the extent that NABX was back on the cards and during the event I meet so many wonderful people, and started so many video projects, that it was not until the end of May 2011 that I picked up work on the Family Guy kite.
All the delays proved a boon though. I'd been through a steep learning curve on the NABX kite, and with the video work, so much so that when I came back to this project I found that I was able to progress very quickly - whilst filming the entire process without undue delay. Even so, it was still several month's work until the day finally arrived when I closed the trailing edge.
Now it's over I'm still glad I did it, still happy with the design and quietly proud of the result. I do think this is my last cartoon though. Time to move on I think!
Trentemoller "Take Me Into Your Skin" from the album "The Last Resort"
The Chemical Brothers "Container Park" from the album "Hanna"
I am now able to offer Arri Amira hire at significantly reduced rates for projects where I can accompany the camera and either assist or shadow an experienced Director of Photography. Please don't hesitate to contact if you have an interesting project for which you need equipment.
East London designer Phil Cuttance describes the messy process of casting an extra-large version of his Faceture vase.
Cuttance explains how he had to bolt a special casting jig to his garden fence to cast the 7-kilogram vase. The process was "definitely not as clean as it looks in the images," he admits.
The litre-and-a-half of resin used to create the vase "went everywhere - I think I swallowed some of it," he says.
To make the vase, Cuttance first hand-scored a 0.5mm sheet of plastic with a triangular pattern. He then rolled and taped the plastic into an irregular tube to create a mould, manipulating the faceted surface to create a unique pixelated surface. After pouring resin into the mould, it was rotated on a jig as the resin cured.
This special version of the vase is 80cm tall and features an extract of a poem by Lilian Bowes Lyon, a poet who wrote about her experiences of living in Stepney during the Second World War, cast into its base.
The Stepney Green Design Collection consists of 10 products selected by Marcus Fairs of Dezeen from creatives who live near to VIVO, a new housing development in the east London district. The project also includes objects chosen by east London bloggers Pete Stean of Londoneer and Kate Antoniou of Run Riot.