ART OF THE TITLE

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Simply stated, “carving bones” may sound like a morbid activity. Yet, there’s both an elegance and hypnotic nature to the work of Jason Borders, an artist who creates intricate patterns and designs on animal skulls by hand. Borders was last featured on HiFructose.com here, and he appeared in Hi-Fructose Vol 40. The artist currently has a solo show at Screaming Sky in Portland, titled “The Art of Jason Borders.” The show kicked off on July 28 and runs through Aug. 22.

More on HiFructose.com.

Pictured Items for Sale or Trade:

  • “Chakra” incense
  • Mini packs of varying inscense (if interested I can tell you what scents they are)
  • Celtic Cross chalice
  • Open but unused tarot deck (I forget the title of it, but the art work is lovely. I lost the book for it, but it’s based on the Rider-Waite deck)
  • Open but unused mermaid oracle deck, w/ book
  • Wooden tarot or spell box with tree and moon symbols (it’s not the Tree of Life, just a little ol regular tree)
  • Three scent oils (rose, french vanilla, and liliac. you can choose one, two, or all three)
  • Black velvet tarot bag with Goddess symbol
  • Black silk tarot bag with cat face
  • Green altar or tarot cloth

Not Pictured Items for Sale or Trade:

  • Encyclopedia of Magical Herbs by Scott Cunningham
  • Practical Candleburning Rituals by Raymond Buckland
  • the Good Cat Spell Book by Gillian Kemp (it’s got some cool spells to be done with your kitty, but I never got around to using it so it’s time for it to go)
  • A bunch of medium and large intact sea shells found along the shores of New Jersey (I also have some XL ones that I could possibly be persuaded to part with)
  • A small leather bound witch book that I got at my local faire and never used
  • Open but unused Goddess Tarot deck with book and small box for cards
  • Small, blue tea candle holder with silver Goddess symbol

Wanted Items:

  • Jars!! Big jars, little jars, medium jars, any jars as long as they didn’t used to be salsa or pasta jars. Honestly, I just don’t want the lid to say BARILLA on it.
  • Ethically sourced animal bones (like ones that you’ve found. I’ve looked myself but never been able to find any near me)
  • Feathers
  • Herbs
  • Ocean themed stuff (just no shells, I have more than enough of them)
  • Sea Glass
  • Candles
  • Candle holders

Listed by:  abbadons-little-witch

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It’s Throwback Thursday! Let’s revisit the insanity of a ‘typical’ day in the life of The Beatles, in the opening titles for Richard Lester’s 1964 film A Hard Day’s Night.

A Hard Day’s Night on Art of the Title

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Art of The Title: Juno

By: Garreth Smith and Jenny Lee

Excerpts from an interview with Garreth Smith

Many people think we developed a computer-based technique to produce the colored Xerox look. It was, in fact, created entirely by hand.

Each frame of her in the sequence was created using the following process:

  • The frame was printed on an Epson inkjet printer, in black and white, onto heavy weight matte paper
  • Using a ballpoint pen, we drew the black outline around Juno onto the print
  • The frame was Xeroxed
  • Then it was Xeroxed again for that extra degraded look
  • The double-Xeroxed frame was then hand-colored with color pencils
  • Finally, the colored image was cut out with scissors

Needless to say, this part took quite a while, but was an absolute joy to do. We held a couple of “cutting parties” where we invited a bunch of friends over to help us get through a bunch of frames.

Jenny and I did much of this part in our apartment. The floor was covered with paper debris. Our small dining room became the shot board wall which helped us track the progress of each shot. Netflix kept us company during the long hours.

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New this week!

For Captain America: The Winter Soldier, Sarofsky Corp. craft one of Marvel’s boldest title sequence efforts to date.

Watch the Captain America: The Winter Soldier sequence on Art of the Title

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Art of the title: Se7en

The notebooks themselves were created by designers Clive Piercy and John Sabel, who filled the pages with large blocks of text, broken only by the occasional macabre photograph or ambiguous artifact taped in place. 

[The team] photographed books and shadows and mapped it all out with stills to get an idea of what it would look like when you see through the pages and you see the shadows behind the page and the backlight.

The typography itself was hand-etched into black-surface scratchboard and manipulated during the film transfer process to further smear and jitter it. This transfer was then cut up and reassembled during post production to add a final layer of temporal distress.

“[Fincher] knew that he wanted it to be drawn by hand, because it was from the mind of the killer, and I was taking that further, wanting it to be like the killer did the film opticals himself.”

Even though digital editing and compositing were already commonplace in Hollywood and especially in post-production, Cooper and his team opted to assemble the majority of the sequence by hand, giving it an analog warmth and randomness which may have otherwise been cheapened by digital effects.