Some of the Illustrated Horror Film Posters
January 17, 2010
i am tempted by these posters. perhaps i’ll spend summer watching these. : ) also, i want the poster of THE BLOB!
The Blob
The Kindred
Fright Night
Death Race 2000
The Thing
Forbidden Planet
House
Planet of the Vampires
Day of the Dead
The Island of Dr. Moreau
Road Games
Equinox
Nosferatu
Alligator
The Alpha Incident
Up From the Depths
Zardoz
The Changeling
Invaders From Mars
Plan 9 From Outer Space
Mortuary
Marooned
Destination Inner Space
Garden of the Dead
Piranha
The Shape of Things to Come
The Day It Came to Earth
Burial Ground
Rollerball
Atragon
TerrorVision
LP Player Concept by Charlie Pyott
January 6, 2010
Stamps Are Back
December 26, 2009
I used to collect stamps like these when I was in first grade. Along with big, shiny pieces of fashionable stickers. I’d carry them around with me obsessively. Can’t remember when I dropped that habit. Now, thirteen years later I don’t have the patience to collect anything. However I might reconsider if I ever get my hands on these little babies 
Iconic Tennis Girl
December 5, 2009
Well, ladies and gentlemen, most of the time aging does not come with a pleasing sight; however it may influence some crazy ad people to come up with a creative poster.
Original Image – The Tennis Girl (1976)
The Ad – The Tennis Girl 33 Years Later
created by London ad agency ISOBEL
A Minimalist Gmail Skin
December 1, 2009
Are you looking for a simplistic gmail skin? Anyone? Here is Helvetimail…
Please note that this is originally Jon Hicks’ design for Helvetireader. Josef Richter applied it to Helvetimail and Helvetwitter. See also Ad Taylor’s Helvetical.
WHAT TO DO:
Select “Minimalist” theme in Settings>Themes in Gmail.
Helvetimail makes use of the icons from that theme.
For any possible complications with your browser, visit and follow the steps.
Good News for all the Polanoid People!
August 17, 2009
After Polaroid, Keeping Instant Photography Alive -by Henning Hoff
(Time.com, Tuesday, July 21, 2009)
To read the original post, clicky-clicky!
first polaroid camera ever made. Model 95.
When the Polaroid film factory in the Dutch town of Enschede shut down in June 2008, it seemed to signal the end for one of the most ingenious and iconic innovations of the 20th century. Almost 60 years after American inventor Edwin H. Land sold the first Model 95 of his new instant-picture camera in Boston in November 1948, the troubled Polaroid Corp. halted its cassette-film production for good. Demand was still relatively high — the plant churned out 30 million cassettes in 2007 and 24 million in the first half of 2008 — but the plant had run out of its allocated amount of the chemical components needed to make its famous instant film, and Polaroid’s decision to move to digital meant there was no point in ordering more. The film stocks will last a little while longer. When they run out, though, the Polaroid camera — once the world’s most popular, with about 1 billion sold — could be history.
But two men attending the factory’s closing ceremony had other ideas. Florian Kaps, an Austrian entrepreneur and Polaroid enthusiast, and André Bosman, until then the engineering manager of the Enschede plant, met by chance on that fateful day. Together they decided to find a way to bring instant photography back to life. (See “Who We Were: America in Snapshots.”)
“We quickly agreed that there was a great market opportunity for a new instant film,” remembers Kaps, who switched tracks after getting a biology Ph.D. to enter the retro-photography business. First he worked as an executive with the Lomographical Society, founded in Vienna in 1992 to celebrate the Russian Lomo camera, a very basic snapper that conquered some bohemian corners of the West after the fall of the Berlin Wall. Then, four years ago, Kaps fell in love with Polaroid and founded a company specializing in selling equipment for analog instant photography. An official partner of Polaroid, the company still operates via the website Polapremium.com, where enthusiasts can buy the camera, related equipment and some of the remaining film stock. (See pictures of historical photos on Google Earth.)
In October 2008, Kaps, 39, and Bosman, 55, took $2.6 million in private capital and started what they endearingly called the Impossible Project, with a view to reinventing the traditional Polaroid film. They founded a company named Impossible, leased a small building on the site of the closed Enschede plant, secured some key production machinery and hired nine former Polaroid employees to come up with new formulas for both a monochrome and a color version of the instant film. The new films would have unique characteristics but still maintain some of the best bits of Polaroid, like the square shape, the white frame and that familiar warm chemical smell. Since then, the impossible has become the highly likely. “Two weeks ago, we cleared the last of about five major road blocks,” Kaps tells TIME. “We have now proven that it is possible.”
Still in the experimental stage, Impossible’s instant pictures have a look that’s reminiscent of the early days of photography, “but this will be part of their charm,” says Kaps. While the company is still in negotiations with Polaroid over the use of the Polaroid name, it has been given permission to make film that will work in Polaroid cameras. The trial monochrome version of the film will go into production at the end of October and, if all goes according to plan, should be available to the masses in time for Christmas, “before people start to throw away their old Polaroid cameras,” says Kaps. In 2010, when the color version should hit the shelves, Impossible hopes to sell 1 million new films, with prices likely to range from $23 to $28 for a 10-shot cassette. The company predicts worldwide demand will eventually reach up to 10 million films a year. (See pictures by the acclaimed Richard Avedon.)
Building on his growing empire — Kaps also runs Polanoid.net, the Web’s biggest Polaroid community, and the Polanoir gallery Polanoir.com in Vienna — Kaps is hoping a new instant camera will go on the market in 2010, to be built by a partner company (he won’t reveal which just yet). “It will be high quality rather than a mass product, with a good lens and manual focusing,” he says.
Despite the dominance of digital, Kaps sees a bright future for old-fashioned photography. “More and more people are rediscovering the fascination of Polaroid,” he says. “They are seeking the analog adventure. Just opening a film packet — the smell alone has something sensual to it. And the pictures have a certain worth, unlike digital images, where one takes 10,000 pictures of the same event.”
And it seems there’s still a market for instant pictures. “Polaroid cameras and film were becoming more and more popular with our customers, and we were disappointed when we found out last year that Polaroid was to cease manufacturing film,” says John Buckle, bookshop manager at the Photographers’ Gallery in London. “People like the look and feel of Polaroid analog photography. They have a retro look with lovely colors compared with the often bland look of digital photography. [Instant pictures are] also sociable, allowing for the sharing of a real photograph rather than just a small image on a screen.” (See pictures of Barack Obama on Flickr.)
So far, the Impossible Project has been greeted with enthusiasm from Polaroid fans, art photographers and the international media. “It has been unbelievable,” Kaps says of the response. “If we are successful, then this has wider implications. We are no art project, not a venture of some madmen — we want to be a thriving business for at least 10 years.” Which should give instant-photography lovers plenty to smile about.
The Flappers of 1920′s
May 13, 2009
Those of you who have seen Chicago musical by Rob Marshall would surely remember the song “All That Jazz”.
“…I’m gonna rouge my knees
And roll my stockings down
And All That Jazz…”
The term flapper in the 1920s referred to a “new breed” of young women who wore short skirts, bobbed their hair, listened to the new jazz music, and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles and otherwise flouting social and sexual norms.
Flappers had their origins in the period of liberalism, social and political turbulence and increased transatlantic cultural exchange that followed the end of the First World War, as well as the export of American jazz culture to Europe.
Flappers’ behavior was unheard of at the time and redefined women’s roles forever. Flappers went to jazz clubs at night where they dance provocatively, smoked cigarettes through long holders, sniffed cocaine (which was legal at the time) and dated freely. They rode bicycles and drove cars and drank alcohol openly, a defiant act in the American period of Prohibition. Petting became more common than in the Victorian era. Petting Parties, where petting (“making out” and/or foreplay) was the main attraction, became popular.
Flappers also began taking work outside the home and challenging women’s traditional societal roles. They also advocated voting and women’s rights. With time came the development of dance styles then considered shocking, such as the Charleston, the Shimmy, the Bunny Hug and the Black Bottom.
In addition to their irreverent behavior, flappers were known for their style, which largely emerged as a result of jazz and the popularization of dancing that accompanied it. Called garçonne in French (“boy” with a feminine suffix), flapper style made them look young and boyish. Short hair, flattened breasts, and straight waists accentuated the look.
Despite all the scandal flappers generated, their look became fashionable in a toned-down form among even respectable older women. Most significantly, the flappers removed the corset from female fashion, raised skirt and gown hemlines and popularized short hair for women.
Dancing Charleston
Flapper dresses were straight and loose, leaving the arms bare and dropping the waistline to the hips. Silk or rayon stockings were held up by garters. Skirts rose to just below the knee by 1927, allowing flashes of knee to be seen when a girl danced or walked into a breeze, although the way they danced made any long loose skirt flap up to show their knees. Flappers powdered or put rouge on their knees to show them off when dancing.
Vintage – Retro Influence
March 18, 2009
