Big Boards, Banana Stalks and Everybody in the Waves
Way before “Gidget” and the Beach Boys, surfing was a sport in Hawaii. Two new books and a film are reclaiming that story. Heritage Comic Auction: Rare Golden Age + More Feb. 25-27
There’s lots of desert in this made-for-cable caper, but not many saints. Banks (Keifer Sutherland) is a hit man for hire and Bennie (Magnolia’s Melora Walters) is the abused wife he takes on as an accomplice. She just wants a ride out of town. If it means driving the getaway car while Banks makes his next hit–so be it. As the duo drives from Arizona to Mexico for his next assignment, Banks turns…
High Quality Content by WIKIPEDIA articles Wallace Allan Wood (June 17, 1927, Menahga, Minnesota November 2, 1981, Los Angeles, California) was an American comic book writer, artist and independent publisher, best known for his work in EC Comics and Mad. Although much of his early professional artwork is signed Wallace Wood, he became known as Wally Wood, a name he claimed to dislike. Within the comics community, he was also known as Woody, a name he sometimes used as a signature.He was the first inductee into the comic book industrys Jack Kirby Hall of Fame, in 1989, and was inducted into the subsequent Will Eisner Award Hall of Fame three years later. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 100 Publication Date: 2010/08/30 Language: English Dimensions: 6.00 x 9.02 x 0.24 inches
High Quality Content by WIKIPEDIA articles Wally Jay (born June 16, 1917 in Honolulu, Hawaii) is an American martial artist of the jujutsu and judo styles of martial arts. He is the founder of the Gendai Budo martial art Small Circle JuJitsu.At age 11, he began to study boxing under a community program. In 1940, he studied Danzan Ryu jujutsu under Juan Gomez and also learned judo under the former Hawaiian Champion, Ken Kawachi . Jay and his wife Bernice were awarded on 19480222, a Certificate of Mastery by Seishiro Okazaki, the founder of Danzan Ryu jujutsu, however his wife is not currently active in training. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 84 Publication Date: 2010/08/27 Language: English Dimensions: 6.00 x 9.02 x 0.20 inches
Add color and whimsy to your room with Wally the Whale. This ocean themed piece inspires memories of the beach or underwater adventures. Canvas gallery wrapped open edition giclee print. Image extends over edges so no framing required. Wood stretcher bars with attractive 1.5 depth, Wire hanger. Archival, non-fading inks for a picture that will last for years.
The Tech Lighting LC-Wally Lite Display Light goes to great lengths (two, in fact) to provide superior lighting of artwork. From its round clamp base, the straight arm extends outward twelve or twenty-four inches. From there, the head pivots for perfectly precise, focused light. Part of the Tech Lighting line of flexible and functional Lite Clamp display fixtures. Tech Lighting, headquartered in Skokie, IL, is known for their innovative lighting systems and exquisite lighting designs. Their passion for art, sophistication and imagination is balanced by rigorous testing and quality control in the creation of their line-voltage and low-voltage lighting, including the Tech Lighting FreeJack and monorail systems and track heads. The Tech Lighting LC-Wally Lite Display Light is available with the following: Details:Chrome finishMetal basePivoting headRound clamp grips panels 1/4″ to 1″ thick; 5/16″ banner channel12 Volt 75 Watt plug-in transformer10′ cordLow-voltageETL ListedOptions:Length: 12″, or 24″.Lighting: One 75 Watt 12 Volt Low-voltage Type MR16 Halogen lamp (not included). Shipping: This item usually ships within 3 to 5 business days. Dimensions: 12 in. Option: Length 12 In. 24 in. Option: Length 24 In.
A volume of reproductions from the influential warcomics magazine offers insight into the periodicals controversial publication of antiwar tales, in a collection that includes the classic short, Landscape, in which a jaded Vietnamese rice farmer becomes a victim of circumstance. Reprint. Author: Goodwin, Archie/ Frazetta, Frank (ILT)/ Wood, Wally (ILT)/ Severin, John (ILT)/ Toth, Alex (ILT) Series Title: Blazing Combat Publication Date: 2010/05/25 Number of Pages: 207 Binding Type: Paperback Language: English Depth: 0.75 Width: 7.75 Height: 9.75
My name is Giovanni Nakpil. I am 23 years old, and currently living in Toronto, Canada.
How did you get started at 3d?
Actually, I almost never got to do 3D at all. I originally saw myself taking Creative Advertising in College, since I thought that was the field where I could best apply my love for drawing. Back then, 3D animation was not quite as big as it is today. After going through different courses the college offered, I came across a 3D animation course. It ended up becoming a draw between that or Creative Advertising, but I eventually chose the former rather than the latter. To this very day, I still thank my lucky stars that I chose what I chose because I have heard from a few friends in advertising that it is in a slump right now.
What are your main sources of inspiration?
I watch a lot of movies and read a lot of books, so the bulk of my ideas are sparked either by something I read, or something that I saw on the screen. Also, everyday surroundings can be a great source of inspiration for me. If I see something outdoors that piques my interest, I tend to translate it either on paper or through the computer.
What’s your favorite genre, theme?
I would have to say science fiction. I grew up with the Star Wars series, so the majority of my work will always reflect on my love for spaceships and weird aliens. Sci-fi is a genre that really gives an artist a chance to let his/her imagination run amok. That is why I love it so much. I also like to do imagery that deals with modern life and issues. I’ve always wanted to duplicate the many compositions of some of the grittier photographs that can be found in LIFE magazine, or National Geographic. My first attempt in this would be the RUSH HOUR image.
What are your strong points?
Modelling and animation would be my strong points. Modelling, for me, is the ultimate kick when doing 3D. I get the most of my satisfaction through that part of the process. Animation, even though I havent done it in a while, is something that I really devote my time to in order to make sure everything looks right.
Tell us a little about “Rust”.
“Rust” is supposed to be a title for this series I had in mind. My original plan was to create little 2 minute animated shorts that took place inside this Rust world. Its your typical post-apocalyptic world where all its inhabitants wear worn leather and look weird…very Mad Max-ish. The main character (the one in the picture) is a loner type who travels the land on his hoverbike. He’s basically your archetypal hero who wanders around and gets himself in trouble. I wanted to give the model a very weary appearance. He should at least have the look of someone who has been travelling thousands of miles while fighting evil.
How much time did you spend on it?
I worked on him whenever I came across a break from the job that I was doing at the time. I devoted at least 2-3 hours everyday for one month modelling and texturing him.
What kind of reference material did you use?
I created the Rust character after a year of not modelling anything remotely human in 3D Studio MAX. Because of that, I wanted to make sure that I had enough reference material so that the model would progress fairly well. I ended up buying a lot of books by Burne Hogarth. The one that I really used was “Burne Hogarth’s Drawing the Human Head” since the references inside had more of a comic-bookish quality to them. It offers a very extensive look at the head as a structure. I love how the author reduces the head into simple geometric blocks to show the readers just how exactly it would look when each section of the face is broken down. For other references, I also checked out many drawings by Frank Frazetta and Simon Bisley for muscular and defined faces.
How did you model the face?
For the face of this particular character, I decided to use the very popular method of Surface Tools modelling. I started off by drawing the face on paper. I did several drawings, each of them with varying degrees of detail. After I decided on a particular look, I then drew highly detailed views of the front and side of the head for reference. From there, I saved out the two drawings as bitmaps so I can place them inside 3D studio Max as a visible texture. Once each textures were placed on their respective viewports (front and side), I then proceeded to draw the main countours of the face via splines. Its basically like tracing the drawing and connecting the dots. After each spline is placed accordingly, and while making sure all spline corners were set as CORNERED for easier manipulation, the next step was to pull out the structure in 3D space. From there, it was just a matter of tweaking, and converting certain areas of the spline into bezier to give the model a smoother, organic look.
Once you have all the vertex of your spline cage placed, do you transform directly corner vertex to bezier vetex or do you also use smooth vertex in order to save time adjusting all the bezier control points?
Once I have all the vertices connected, I make sure everything is set to CORNER. This is because it is a lot easier for me to pull it out into 3D space. Having the corner vertices as smooth, or bezier can be a pain when pulling out because of the way they sometimes interact with each other. Set to cornered verts makes for easier and faster manipulation. It is only when I have all the vertices placed in 3D space that I turn the corners into SMOOTH. From there, I tweak the individual points, turning some into bezier, to get the features of the character out.
Do you have your spline cage on paper, or do you imagine it as you move on?
I just create the spline cage on the program itself rather than on paper. I think it has something to do with the fact that I’m pretty anal about the separation between where the traditional aspect of the process ends, and where one begins. I get a better feel of where to place the splines when the reference drawing is staring at me up in my monitor, instead than on paper. Although it shouldnt matter at all if you do it on paper or in the program itself.
How did you model the other parts of the body?
I would say at least 80% of the character are composed of splines. The rest, like the utility belt, the strap, and other parts of the gear, are composed of lofted geometries. For the straps and belts to conform, I just took the lofted objects, and added a path modifier with a spline guide that followed the contour of the character’s body. From there, it was just a matter of using the free form modifier to move sections of the belt so it would look like it fit snug on him.
How did you texture him?
Since the style of the character is somewhat stylized, and comic book-ish, I avoided using photographs for textures. For the face, I used a tile-able skin map. I first unwrapped the mesh in MAX, and brought the wireframe guide into Photoshop where I placed the skin map on him. From there, I used tools such as dodge and burn to give the skin some variation. After everything was pretty much finished, I then created a black and white image of the texture to be used for bump mapping and specular mapping. For his suit, I used a mixture of procedural noises and texturemaps to give it a very layered look.
How big do you usually paint your textures?
I dont usually create my textures below 1000×1000. Very large texturemaps lend to the image and gives it a very crisp and rich appearance. Of course, computer resources tend to suffer, but for the final output, its definitely worth making your maps HUGE!
What are the maps to pay attention to in order to have a realistic looking skin?
From my experience, the most important part of making a texture look realistic is through a good mixture of specular mapping and bump mapping. Also, the bump map should not be overly high setting-wise. Sometimes people make the mistake of putting in a high number for their bump map, making the image look somewhat irregular. Subtlety goes a very long way when making skin maps look realstic.
Which coordinate system do you think is best to use, when dealing with characters?
When mapping characters, I like to use cylindrical coordinates. It makes creating the texture in Photoshop that much more easier because once you unwrap the mesh with the cylindrical coordinates, the wireframe image is neatly laid out for you to paint on. This pretty much depends on the form of the character though. If, say, I was going to map a fish, I would use a planar map instead. I would then create the texture by using the profile render of the fish as reference in Photoshop. If a little bit of stretching happens in the middle area of the mesh, I just apply a mask with a top texture to blend it together seamlessly.
What do you think of 3D Studio MAX texturing features?
I havent really explored the material editor to its fullest extent, but from what I have used, I think that it is one hell of a powerful tool. Its filled to the brim with options…from unlimited material channels, to its awesome procedurals, its pretty safe to say that its probably one of the most powerful editor of its kind in the industry.
Tell us a little about “Logan”.
I created the Logan image for a contest that was held at 3dluvr.com. The contest called for me to make a 3D composition with a comicbook superhero as its subject matter. I chose the Logan character because I have been a big fan of the X-men ever since I was in elementary school. For the contest though, I did not want to create your typical spandex clad superhero. To increase my chances of winning, I decided to create the character in a realistic manner thru the use of real world clothing. Since I could not really afford any of the cloth plugins for 3D Studio MAX 3, I decided to model the clothes via vertex pushing and Meshmooth (NURMS). Needless to say, I encountered a lot of problems and headaches, but I am very happy with the results. From a composition standpoint, I wanted to create a scene that was dramatic, yet simple. The juxtaposed images of the Logan character ready for attack, and the peaceful, almost serene background, turned out to be an interesting contrast.
What technique did you use to model the face?
I used a combination of Surface tools and Polygon modelling. This technique, I find, gives users a lot of control when adding detail to the model. I created the base structure of the face through the use of splines, then turned it into an editable mesh for further editing. Once an editable mesh, you can cut, chamfer, extrude faces to your hearts content. Those features were heavily used when adding details such as folds on the skin, or a defined area such as the jawline. After the detail work was done, I added NURMS on top of the stack to smoothen things out.
Have you ever tried NURBS for characters?
No, I have never tried that method of modelling.
Could you compare Polygon Modelling and Patch modelling?
Polygon Modelling is great for getting a mixture of organic, and hard edged look. You have a lot of control in terms of what to do with the mesh. You are not limited to having tri or quad corners when you are using it (although it might be a good practice to keep your meshes as quad, so that it will look clean). Editing with polygon modelling is, for me, one of its highlights. You can do numerous methods of adding detail. Methods such as chamfering edges to make it look hard edged, extruding faces to add different branches to the existing core mesh, cutting and splitting areas for designated detail, adding weights to the vertices, and the list goes on. The only drawback is, if you get carried away with the detail work, your polygon number can get really high once you subdivide the mesh cage. When that happens though, you can always modify/animate through the mesh cage, and just have it set up so that during render time, it would render out the Subdivided version. As for patch modelling, to be honest, now that I have tried out polygon modelling, I dont think I will ever go back to it. All the pros that I can think of is outweighed by everything that polygon modelling can offer. I just use this method for when I construct the rough mesh cage through splines.
How did you texture it?
The method of texturing used was pretty much similar to that of the RUST character. I used cylindrical mapping as the dominant coordinate type.
How did you model the clothes?
For the clothes, I applied the same method I used while modelling the face. I created the mesh cage through splines. After I created the basic structure, I then collapsed the splines (with a SURFACE modifier set to zero steps) into an editable mesh where I could then use the cut tool to create patterns on designated areas. These patterns formed the subtle indentations and creases of the fabric. It was just a matter of pushing and pulling the vertices to give the mesh the needed detail in order to convey the folds and such.
How did you model the razor wire?
The barbed wire was fairly simple to model. They were actually just individual circles (with sharp geometries spread out along its surface) rather than a one continuous helix-like mesh.
How did you create the hair?
The hair was a mixture of texturemaps, and actual modelled hair. Since Logan’s hairdo is somewhat out of the norm, I did not want to worry about having to re-create it as a separate geometry, rather, I decided to incorporate the shape into the form of the head mesh. This made things a lot easier for me during the mapping stage. All I had to do was paint both the hair texture and skin texture into one map. To add some extra dimension and mass to his hair, I lofted several clump like patterns, and stuck it on his head.
For characters, do you prepare your models for 3D animation in the modelling process?
Yes. I always make sure that all the joints deform properly once the appendeges are bent. You want to make it look like there is an actual bone underneath the skin and clothing.
How did you achieve such realistic looking snow?
Through the use of noise procedurals. Just playing around with the procedural tools in MAX can really get you the results that you want. For the displaced geometry underneath Logan’s legs, I used just that -displacement mapping. I tweaked the areas by pushing and pulling vertices so that it would conform properly to the character’s pose.
What kind of lightning did you use in this scene?
I believe I have four different lights on the scene: One fill, two spotlights that are directed at him from the back and front, and one coming from beneath the model.
Did you in anyway simulate the reflective light from the snow?
The light reflected from the snow was actually simulated through a spotlight placed under the character.
Tell us a little about “Rush Hour”.
Rush Hour was my very first full composition in 3D. I created it back when I was still attending school and learning 3D MAX. Being my first true personal project, I took the extra step of taking pictures of subway interiors at the subway station near my house. The decision for the scene to take place inside a subway is integral in showing the overall theme of the piece, which is loneliness. I tried to inject many symbolism and imagery in the composition through the use of the windows, and several others elements in the scene. I can remeber adding the tiniest details that no one will ever pick up on. I dont know if its as noticeable in this particular resolution, but I actually modelled a gum that was spit out on the floor. Unfortunately, I lost all the max files and texture files that I created for this scene. Luckily I was able to salvage the image found in this article.
How did you model the character?
I modelled him through the use of patches. This was back when I did not know Surface Tools even existed, so I was pretty much pulling out my hair out frustration at one point.
The clothes as well as the face have a very particular look (crumpled). How did you achieve that?
It was done through a mixture of textures and manipulation of the points on the patch grid which made up the clothing.
When creating your textures, do you rather start from real world photos, other textures or from scratch?
Depending on the kind of style I am doing I guess. I think that in order to get a fairly realistic looking texture, you really need photographs as reference…basically a base to start off your texture on. I usually take a photograph, and then just modify it in photoshop so that it looks fairly flat, and without any shininess reflected from a particular light source. I leave all the specular and bump effects work to MAX’s material editor.
Could you explain the lightning used in this scene?
If I remeber correctly, I think I placed a row composed of several omni lights in the middle to illuminate the environment. For the character, I placed three spotlights that focused on him. One was directly in front, and the others on the side and top. Almost all the lights were colored to give it a painted look.
Tell use a little about “Scout” and “Surveillance Ship”.
These were renders taken from a game that I was contracted for. Luckily my employer gave me permission to use them for my website.
What inspired you to find such original shapes for these ships?
I based the design on ancient jewelries. Basically, I wanted these ships to have a very Egyptian-like look to them. I also wanted them to have a very elegant feel…like something that a highly sophisticated race of aliens would create.
As someone wrote in a critique about these ships, they look organic: grown, not built. How did you achieve that?
For the design of these ships, I wanted to use very irregular and organic shapes. I guess through the mixture of organic and streamlined shapes, I was able to achieve a certain look that departs from your typical X-wing or TIE fighter design.
Are you fed up of traditionnal 3d space ships everyone has seen thousands times?
I would not really say fed up. It has just reached a point where it does not interest me much anymore when I see the typical Star Wars scene with the typically huge lens flare in the background. Mind you, there is absolutely nothing wrong with creating scenes like that. Its just some artists might benefit from creating ships off their own designs rather than doing Star Wars stuff. I love spaceships that have a particular design where you do not know what is up from down, or front to back. Something that has more of an abstract design, for me, is so much more interesting to look at.
Do you make the whole scenes in 3d or do you composite them?
I usually make all my scenes in 3D. For stills, I should really think about compositing them just so I can have more control over each layer.
Do you retouch or edit your renderings afterwards?
Yes I do. There are always flaws that I want to fix after I hit the render button. Photoshop is great for that.
Do you have everything clear in your mind, lights, textures, color, etc when you start an image or it develops as you move on?
I have a pretty vague idea as to how the final image would look during the rendering stage. What I do lock down on is the composition and the theme. From there, it is just a matter of fleshing it out through sketching and the actual creation in 3D. There are a lot of hit and misses along the way.
What are the most important points in a scene to make it look good?
In my personal opinion, it all has to come down to subtlety. Not overdoing something in a 3D scene is definitely important. When putting a lense flare for example, do not place one on your scene just for the sake of having it there. Have it there only if its truly essential to the image. I once saw a space scene that had at least five different lense flares going off on different angles (which is fairly impossible in the real world). Also, some make the mistake of bombarding their images with lights, just to make sure that every detail on the scene is accounted for. Looking at compositions by some of the artists at the 3D Artists gallery, you’ll find that what makes their compositions so successful is that they are not afraid to hide parts of their images in the shadows. Having a dramatic play between light and shadow is definitely something that can help elevate an image. You do not have to show off every single detail on the mesh you worked so hard on (although I know how tempting it is to do so).
How important are sketches, drawings, … to your artworks?
For me, they are just as important as the 3D creation process itself. I always make it a point to sketch out the elements that I will be doing in 3D just so I can familarize myself with whatever it is I will be doing. Plus, it gives me a visual reference, which is a lot better than trying to see it inside my head.
What is the most improtant aspect of 3d graphics, and why did you chose this medium to express yourself?
For me, the most important thing about 3D graphics as a medium is the ability it gives me to express myself through the images that I create. Invoking some form of response from the viewers (may it be negative or positive) is something that I really like. It is the same with all the different mediums of art…the difference is very minimal. What sets 3D apart for me though is that it gives me the ability to create the image, and then have it conform easily to whatever I want it to do. The varying styles you can create are limitless. With 3D, I can create something that has a photorealistic look, and then without hesitation, have that transform into something very stylized through the use of different rendering filters, or any other techiniques one might have up his/her sleeves. The ability to control something like that with such ease is, for me, what gives 3D an edge over the other mediums. It makes creating something a very exciting process.
Some people believe that in order to be a good 3D artist, you don’t have to have traditional art skills… what are you thoughts on this?
I really believe that having good traditional skills in art is very important when doing 3D. Being traditionally trained means you have proper knowledge of perspective, anatomy, good composition, and, are quite adept with whatever art tools used. Those are the very same elements that are needed in order to produce a cool 3D image. Now in contrast to someone who does not apply any of the stuff mentioned, more likely than not, his or her image will always end up missing something in terms of vision, and the wow factor.
What is the best way of getting started in 3D imaging?
Learn your stuff. Spend hours with whatever software you intend on using in the industry, and just explore it inside out. You can do this either by taking a course in school, or by buying the software and locking yourself inside your room with a good supply of food and water for several months (kinda joking hehe). Also, I believe that everything happens for a purpose. So whatever first job in the industry that might land on your lap, take it. From there, its just a matter of meeting and knowing people in the industry. Having a wide number of connections to fall back on is invaluable. Keep in touch with the people you meet, because they are the very ones who will be passing along contract work your way, or vice versa. One of the main reasons as to why I’m working now is because of the people who I’ve met along the way who have helped get me this far. Keeping yourself grounded is also very important. No matter how good you are in 3D back in school, or how much of a hotshot you were then, do not let it get to your head cause most likely companies will not hire you anyway if you’ve got a pretty negative, and stuck-up attitude.
Are there any artists at 3D Artists you particularly admire?
Yes. There are a lot of artists on your site that continually put me in a state of awe. One of them would have to be Jeremy A. Engleman for the way he treats 3D like a canvas to paint beautiful images on, Eni Oken for the way she uses digital light to illuminate her scenes in such a surreal (yet very realistic) way, Timur Baysal for his awe inspiring modelling skills and texturing ability, and Victoria Brace for the fantastic imagery that she creates.
What will be your future plans?
Besisdes hitting it big and eventually buying out ILM and Pixar, I plan to focus more on developing my style and experimenting with the medium as I try out new and different things with it. I also want to expand my knowledge and learn other fantastic software packages such as Maya, Lightwave, and Softimage. To sum it up, I plan to continue learning what I need to learn in the coming years so I wont get left behind. Its survival of the fittest out there, and I plan to keep fit.
Thanks.
About the Author
Hi, I am Hina Khan, I am a student of 3D Max and CG (Computer Graphics), for more information about my work please visit at : 3dleaks.com
Classic comedy album that features the actual taped voices of President Dwight D Eisenhower, Senator Robert Kennedy, President Lyndon B. Johnson, Governor Nelso Rockefeller, Vice President Richard M. Nixon, Senator Everett Dirksen and Senator Barry Goldwater. At some time they gave the answers you hear — but never to these questions! This method of creating fake comedy interviews was later used b…
Set of 3
Frazetta Figures from the Master Artist Series
Brand New
Set of 3 plastic figures are based on the art work of Frank Frazetta,
a well know fantasy art illustrator. 8 yrs +.
Set of 3 Frazetta Master Artists Series figures includes:
Destroyer – 7-3/4″ tall
Snow Giant – 8″ tall.
* This 9″ tall statue is in brand new condition and has never been Removed from the original package
Author: Frazetta, Frank Series Title: Vanguard Classics Publication Date: 2011/04/01 Number of Pages: 192 Binding Type: Hardcover Language: English Depth: 0.75 Width: 9.00 Height: 11.25
Author: Fenner, Arnie (EDT)/ Fenner, Cathy (EDT)/ Frazetta, Frank Subtitle: Selected Paintings and Drawings by Frank Frazetta Publication Date: 2008/04/28 Number of Pages: 189 Binding Type: Paperback Language: English Depth: 0.50 Width: 9.00 Height: 12.00
Journey to the fantastic worlds of Frank Frazetta in this oversized, limitededition hardcover that collects four epic Frazettainspired tales Enter a distant world in Moon Maid, as a sheltered young woman finds herself torn between good, evil, and her destiny. Take a trip to the past in Neanderthal, a tale of prehistoric life fraught with danger at every turn, while Freedom is a classic western set in Deadwood three months after the murder of Wild Bill Hickock Return to the Land of Iparsia in Sorcerer, an essential story of the Frazettaverse set 900 years before the epic Shadows of Mirahan storyline from Frank Frazettas Death Dealer. Also featuring new, neverbeforeseen bonus material gallery, this second volume of The Fantastic Worlds of Frank Frazetta is a musthave for any fan of epic fantasy, high adventure, and horror Author: Frazetta, Frank Series Title: Fantastic Worlds of Frank Frazetta Series Number: 2 Binding Type: Hardcover Number of Pages: 178 Publication Date: 2009/12/01 Language: English Dimensions: 12.20 x 8.30 x 0.70 inches
A volume of reproductions from the influential warcomics magazine offers insight into the periodicals controversial publication of antiwar tales, in a collection that includes the classic short, Landscape, in which a jaded Vietnamese rice farmer becomes a victim of circumstance. Reprint. Author: Goodwin, Archie/ Frazetta, Frank (ILT)/ Wood, Wally (ILT)/ Severin, John (ILT)/ Toth, Alex (ILT) Series Title: Blazing Combat Publication Date: 2010/05/25 Number of Pages: 207 Binding Type: Paperback Language: English Depth: 0.75 Width: 7.75 Height: 9.75
Author: Fenner, Cathy (EDT)/ Fenner, Arnie (EDT) Subtitle: A Celebration of The Life Art of Frank Frazetta Publication Date: 2008/04/28 Number of Pages: 160 Binding Type: Paperback Language: English Depth: 0.50 Width: 9.00 Height: 12.00
A contributing editor at Wired examines the way entertainment has shifted in the face of new media and discusses the way that people such as Will Wright, James Cameron and Damon Lindelof are changing how we play, relax and think. Reprint. Author: Rose, Frank Subtitle: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories Publication Date: 2012/03/05 Number of Pages: 354 Binding Type: Paperback Language: English Depth: 1.00 Width: 5.50 Height: 8.25
The teaching program of Frank J. Reilly consisted of communicating an accumulation of knowledge and skills beginning with the elementary and building to the complex. He primarily taught the craft of drawing and then painting the nude figure. Each step in his teaching followed logically upon the step that had been previously taught. This is an honest account of the substance of his teaching as experienced by the author, Doug Higgins, during the four years or so that he was his student and monitor during the 1960s. Author: Higgins, Doug Binding Type: Paperback Number of Pages: 88 Publication Date: 2007/08/01 Language: English Dimensions: 10.00 x 7.00 x 0.18 inches
High Quality Content by WIKIPEDIA articles Otto Heinrich Pim Frank (12 May 1889 19 August 1980) was the father of Anne and Margot Frank. Born in Frankfurt am Main, Germany, Frank was a son of Michael Frank (died 1909), a prominent Jewish banker who owned a coughdrop factory and coowned an art gallery, and his wife, the former Alice Stern. His childhood was spent in considerable comfort, with what he called parties every week, balls, festivities, beautiful girls, waltzing, dinners. As the tide of Nazism rose in Germany and antiJewish decrees encouraged attacks on Jewish individuals and families, Frank decided to evacuate his family to the safer western nations of Europe. As the sole member of his family to survive the Holocaust, he inherited Annes manuscripts after her death, and arranged for the publication of her diary in 1947. Otto Frank died of lung cancer on 19 August, 1980. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 72 Publication Date: 2010/07/28 Language: English Dimensions: 5.98 x 9.01 x 0.17 inches
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Frank Dicopoulos (born January 3, 1957, Akron, Ohio) is an American actor. He is the oldest of three children. Dicopoulos played the role of Frank Achilles Cooper Jr. on Guiding Light, a character he has played since 1987, until the shows cancellation on September 18, 2009. The son of Catherine and Harry Dicopoulos, Frank Dicopoulos majored in psychology and minored in art and drama at Kenyon College in Gambier, Ohio. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 156 Publication Date: 2011/02/16 Language: English Dimensions: 5.98 x 9.02 x 0.36 inches
girls gags & giggles – this was publisher robert harrison’s recipe for dishing up the american pin-up to the U.S. male. in the 1950′s his girlie magazines sold by the millions before becoming icons of pulp and trash culture. these skilfully illustrated girls with their curvaceous forms and inviting lingerie soon became extraordinairily popular and even developed considerable potential as a cultura…
This stunning, authorized collection of works by legendary illustrator Vargas includes a large number of previously unpublished paintings and drawings. This is the first book on Vargas in more than a decade….
The spry and devilishly creative pinup elderstatesman Archie Dickens is back with a new compendium of cuties to delight an appreciative public. A contemporary of such artistic greats as Elvgren and Vargas, Mr. Dickens is still kicking, still making naughty portraits of young ladies in various states of undress all with a sly smile and an innocent demeanor. Each illustration features a delightful damsel doing something perfectly ordinary, but in such an extraordinary way Whether on the phone, on the beach, or on the prowl, Dickens makes these girls shine Author: Dickens, Archie Binding Type: Paperback Number of Pages: 48 Publication Date: 2005/03/01 Language: English Dimensions: 11.96 x 8.40 x 0.18 inches
Robin Yount Autographed Andrew Goralski Original Art Renowned Sports Artist Andrew Goralski hand crafted this Milwaukee Brewers Robin Yount Original Art piece. This is the original art piece measures 26.5"x34.5"" and is truly one of a kind. Robin Yount has hand signed this original in silver paint. Andy began by sanding a heavy-weight museum-quality paper until he achieved the proper tooth. He then meticulously layered pigments to achieve the desired effect.His unique layered style allows his works to take on a three dimensional quality. Pastels are pure pigment, the same pigment used to manufacture oil and acrylic paints, without a liquid binder. Since they are not composed of liquid, pastels can last virtually forever. Artist Andrew Goralski has hand signed and dated this piece in the lower corner.
1 Each 2 Both Side 30% 48 48 of 4″ x 6″ Portrait Itoya Art Profolio The Original Art Profolio protects your artwork, photographs or documents from virtually any office or household elements. The only storage/display book of its kind. Accept no imitations. Completely acid-free through its polypropylene, PVC-free construction and quality crafted, black acid-free mounting paper provided in each page. Archival safe for all your art storage needs. Top-loading, clear polypropylene sheets will not stick to copier toner and is also ideal for storing a vast array of artwork and memory projects. A reversible spine insert; which allows for customized titling and organization. 24 sleeves for 48 views. Acid-free Art Profolio Original Presentation Book Black IA-12-4 ITOYA ITOYA of America, Ltd Original Photo Album Polypropylene Yes www.itoya.com
Sunnywood has captured the radiant beauty of American women in the styling of the recognizable cultural icons of the 20th century in these chips. This chip captures the pin up art that inspired so many young men throughout the decades and will entice players young and old and from the sophisticated to novice players alike. This chip is available in a series of six colors and denominations. All the chips weigh 11.5 grams and are solid packed by color of 50 pieces to the roll. Purple included only additional colors sold separately.
Sunnywood has captured the radiant beauty of American women in the styling of the recognizable cultural icons of the 20th century in these chips. This chip captures the pin up art that inspired so many young men throughout the decades and will entice players young and old and from the sophisticated to novice players alike. This chip is available in a series of six colors and denominations. All the chips weigh 11.5 grams and are solid packed by color of 50 pieces to the roll. Red included only additional colors sold separately.
Sunnywood has captured the radiant beauty of American women in the styling of the recognizable cultural icons of the 20th century in these chips. This chip captures the pin up art that inspired so many young men throughout the decades and will entice players young and old and from the sophisticated to novice players alike. This chip is available in a series of six colors and denominations. All the chips weigh 11.5 grams and are solid packed by color of 50 pieces to the roll. White included only additional colors sold separately.
Sunnywood has captured the radiant beauty of American women in the styling of the recognizable cultural icons of the 20th century in these chips. This chip captures the pin up art that inspired so many young men throughout the decades and will entice players young and old and from the sophisticated to novice players alike. This chip is available in a series of six colors and denominations. All the chips weigh 11.5 grams and are solid packed by color of 50 pieces to the roll. Green included only additional colors sold separately.
Sunnywood has captured the radiant beauty of American women in the styling of the recognizable cultural icons of the 20th century in these chips. This chip captures the pin up art that inspired so many young men throughout the decades and will entice players young and old and from the sophisticated to novice players alike. This chip is available in a series of six colors and denominations. All the chips weigh 11.5 grams and are solid packed by color of 50 pieces to the roll. Blue included only additional colors sold separately.
Sunnywood has captured the radiant beauty of American women in the styling of the recognizable cultural icons of the 20th century in these chips. This chip captures the pin up art that inspired so many young men throughout the decades and will entice players young and old and from the sophisticated to novice players alike. This chip is available in a series of six colors and denominations. All the chips weigh 11.5 grams and are solid packed by color of 50 pieces to the roll. Black included only additional colors sold separately.
0% 22″ Height x 28″ Width x 0.19″ Depth 5 / Carton 5557 Original Foam Core Graphic Art Board Paints Original foam core graphic arts board is made with polystyrene extruded foam laminated between two sheets of paper to form a lightweight but strong and rigid surface. Ideal for crafts, school projects, framing, mounting, displays and exhibits. Fome-Cor has a smooth surface that can accept a wide range of media, including paints. Sheets are easy to cut, warp-resistant and dent-resistant. Fome-Cor Foam Board is 3/16″ thick. Classroom Classroom – Projects Dent-resistant Mounting Mounting – Boards No Original Foam Core Graphic Art Board Pacon Pacon Corporation Polystyrene Poster Board Warp Resistant White www.pacon.com
WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won’t damage your paint or l…
WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won’t damage your paint or l…
WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won’t damage your paint or l…
Large 3″ x 3″ Stamper on Wooden Base features Lucy Van Pelt as the Psychiatrist in her Mood Booth. The printed signs on her booth: “Psychiatric Help 5 Cents” … and …. “The Doctor Is In” – Deluxe Quality Stamper by Stampabilities….
Each fullcolor volume combines scores of photos and illustrations with simple instructions to explain a particular area of arts and crafts, designed for the person that wants to begin creating right away. Author: Bunkers, Traci Subtitle: 52 Ideas for Handmade, Upcycled Print Tools Publication Date: 2010/04/01 Number of Pages: 144 Binding Type: Paperback Language: English Depth: 0.75 Width: 8.75 Height: 8.50
Assorted Rubber Stamps with a hardwood base and a contoured edge make the stamp easier to hold. A precisely cut rubber design layer. Clean clear contour lines within the stamp print deeply etched into the rubber dies for clean, clear images.
Assorted Rubber Stamps with a hardwood base and a contoured edge to make the stamp easier to hold. A precisely cut rubber design layer. Clean, clear contour lines within the stamp print deeply etched into the rubber dies for clean, clear images.
0% 0.93″ Width x 1.75″ Length 1 1 Each 4.80 oz 40330 Plastic, self-inking message date stamp delivers three popular phrases: Paid, Faxed and Received. Frame copy prints in blue; month, day and year print in red. Date band ranges 12 years. Impression size is 15/16″ x 1-3/4″. Blue FAXED Message/Date Stamp No PAID Plastic RECEIVED Red Self-Inked Stamp Self-inking Stamp Shachihata Shachihata, Inc www.shachihata.co.jp/english/
This licensed image was printed on premium heavy stock paper and is ready for framing or hanging.. Artist: Gillian Fullard. Title: Designer Stamp I. Product type: Poster. Format: Vertical. Dimensions: 20 inches x 16 inches. Printed in the USA
1 1.31″ Width x 2.12″ Length 64% 66213 Xstamper VersaDater “Faxed” Impression Frame offers a fully pre-inked, eight-year message dater. Re-inkable stamp prints month, day and year. Easily converts to a line dater by removing Impression Frame and snapping onto the line dater frame. All Impression Frames print in blue, and date prints in red. Impression size is 1-5/16″ x 2-1/8″. Stamp contains more than 50 percent recycled material. Blue FAXED Message/Date Stamp No Pre-inked Stamp Re-inkable Red Shachihata, Inc VersaDater VersaDater Pre-Inked Stamp Xstamper www.shachihata.co.jp/english/
Observe and watch Jonah Hex Rapidly | Get a hold of The Jonah Hex Complete Motion picture In Hd/dvd Quality
Hex’s facial injuries might be traced back to getting sold into slavery by his father to some Apache for risk-free passage. Jonah sooner or later saved the main from getting killed by a mountain lion and was built an honorary member of the tribe. He was quickly betrayed by the envious son of the main whilst on a raid. He returned many years later to challenge him inside a sacred tomahawk fight, but the chief’s son sabotaged Jonah’s tomahawk. Jonah utilized his knife in self-defense when the tomahawk broke. The tribe saw this as breaking the guidelines of the sacred fight and sentenced Jonah to wear the mark of the demon by pressing a searing hot tomahawk to his encounter. They mentioned his honorary relationship to the main was the only point that saved him from death.
Directed by Jimmy Hayward and played by popular artists including Josh Brolin as Jonah Hex, Megan Fox as Leila, John Malkovich as Turnbull, Michael Fassbender as Burke, Julia Jones as Cassie and Aidan Quinn as President McKinley. Curse comes having a wound that even now scars on his encounter, on this film he is faced with the challenge of the federal police who promised to release Curse if he could track a harmful terrorist named Quentin Turnbull (John Malkovich) who can release the hell that heading to change an old enemy of Jonah Hex, if he fails then he should sacrifice his head. To view the total story of Jonah Hex just View Jonah Hex movie for fully no ask for in legal way.
Appointed from the American superhero comic, below the Warner Bros, Jonah Hex has built turn out to be a movie in 2010, the movie tells about the thrilling action of the hunter who named Jonah Hex, the hunter is incredibly quickly recognized from the scars on his encounter that Curse the moment assisted a main from lion attack, so the main built Curse turn out to be an honorary member of the tribe, but when Jonah was performing fight secretly with the chief’s son, groups of tribes punish Jonah Hex by giving a mark on his encounter. Desire to know about how the hunter encounter? Observe Jonah Hex movie for free of cost in legal way.
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Jack Lemmon and Julie Andrews, two screen legends with eleven Academy Award nominations between them, grace the screen in Blake Edwards’ human comedy “That’s Life!”. Lemmon frantically portrays Harvey Fairchild, a wealthy California architect, father of three successful children, husband to a beautiful wife and neurotic as hell. Confronted with his 60th birthday, Harvey is coming down with a sever…
Color motion picture film refers to motion pictures in color. The first motion pictures were made with silver halidebased photographic emulsion on a clear base. The resulting image was projected in a range of blacks to whites, depending on the luminous intensity of the original subject. With color motion picture film, not only is the luminance of a subject recorded, but the color of the subject, too. Whether the color is photographed on separate pieces of film or within the same emulsion, all color photography is synthesized through various parts of the image recording discrete spectra of light. The earliest motion picture stocks were orthochromatic and recorded cyan light, but not red light. Recording all three major wavelengths of light required making film stock panchromatic to some degree. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 112 Publication Date: 2009/11/24 Language: English Dimensions: 5.98 x 9.01 x 0.26 inches
The Law Of The Motion Picture Industry By G. A. Rogers Author: Rogers, Gustavns A. Binding Type: Paperback Number of Pages: 56 Publication Date: 2008/08/01 Language: English Dimensions: 8.50 x 5.50 x 0.13 inches
Experience the groundbreaking graphic novel, Watchmen, in a whole new way with the Watchmen: Motion Comics on DVD, where each of the original 12 chapters are brought to life with mild animation, music and voice over. Artist: MOORE,ALAN Genre: Animation Rating: NR Release Date: 31MAR2009
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. The Genie Award for Best Motion Picture is awarded by the Academy of Canadian Cinema and Television to the best Canadian motion picture. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 18 Publication Date: 2011/04/15 Language: English Dimensions: 5.98 x 9.02 x 0.04 inches
High Quality Content by WIKIPEDIA articles The Society of Motion Picture and Television Engineers or SMPTE, (pronounced / s mpti/ and sometimes / s mpti/), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is an international professional association, based in the United States of America, of engineers working in the motion imaging industries. An internationallyrecognized standards developing organization, SMPTE has over 400 standards, Recommended Practices and Engineering Guidelines for television, motion pictures, digital cinema, audio and medical imaging. In addition to development and publication of standards documents, SMPTE publishes a journal, provides networking opportunities for its members, produces conferences and exhibitions, and performs other industryrelated functions. Membership is open to any individual or organization with interest in the subject matter. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 84 Publication Date: 2010/08/17 Language: English Dimensions: 6.00 x 9.02 x 0.20 inches
After an introduction about the film creating process, the paper deals with the financing strategies commonly adopted in the motion picture industry, with a focus on the taxmotivated innovations. Then, the document evaluates the empirical evidences of the impact of the financing structures based on fiscal incentives over the stock market trends, by computing the historical series of the correlations between the media industry index and the other sub indexes of the Eurostoxx50, through an econometric model. Subsequently, the work pays attention to the financing structures available in the Italian legal frame, to the most relevant solutions for the foreign producers and for the external investors. In addition, three interviews give a broad overview on the Italian motion picture industry, on the fiscal incentives and on the future perspectives. Gianfilippo Pedote, an Italian independent producer, Alessia Ratzenberger, the President of APictures S.r.l and Andrea Pietra, the responsible of Tax Credit desk at ANICA answered to the Authors questions. Finally the author gives his own view about the next future steps of the Italian legal frame concerning the motion picture industry. Author: Ronzoni, Alessandro Binding Type: Paperback Number of Pages: 96 Publication Date: 2011/04/01 Language: English Dimensions: 5.98 x 9.02 x 0.23 inches
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. The National Association of the Motion Picture Industry (NAMPI) was a regulatory body created by the Hollywood studios in 1916 to answer demands of censorship. The system consisted of a series of Thirteen Points, a list of subjects and storylines they promised to avoid. The organization tried to prevent New York from becoming the first state with its own censorship board in 1921, but failed. NAMPI was ineffective and was replaced when the studio hired Will H. Hays to oversee censorship in 1922. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 76 Publication Date: 2011/05/30 Language: English Dimensions: 9.02 x 5.98 x 0.18 inches
