Inching along on Elephas
Fabulous Ms. Jen Overstreet installing the roof for Gates And Balance this morning. Thanks for all the help and for driving the project pieces over. It’s so wonderful when a day’s schedule goes smoothly.
It’s me!
Gates and Balance and all the other Figment sculptures are gonna be super rad guys, you should all go to Governor’s Island!
Sketching out a new painting…
Crap guys, Sean Bean is in this. This can’t end well.
Ever dedicated to being the last one to the party, I just got really into the game Oblivion (Skyrim was too expensive on Steam, ok?), and it’s soooo great.
Nevermind that all I ever want to do is sidequest and the game gives you sidequests IN ABUNDANCE, I just love that I get to go around being lauded as the much-rumored hero all while looking like a scary-sexy lizard monster. Super great shift from almost every other game I’ve ever played, where I’m stuck in a tweeny boy body, and I get a lot of “YOU TINY BOY CHILD YOU COULDN’T BE A HERO”
Michele Caragher
Embroidered details in Game of Thrones
‘Michele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on film and television productions for over 15 years. She studied Fashion Design at The London College of Fashion, where the course incorporated design, pattern cutting, garment construction, embroidery, millinery and illustration. At the same time she attended a three year evening course in Saddlery at Cordwainers College learning skills in leatherwork.
After leaving college Michele worked in Textile Conservation, repairing and restoring historical textiles for private collectors and museums, specialising in hand embroidery. She then moved into a career in costume for film and television, initially working as a Costume Assistant/Maker on productions such as the BBC’s Our Mutual Friend, ITV’s David Copperfield and Mansfield Park. She soon gravitated towards the decoration and embellishment of costumes, using skills in hand embroidery and surface decoration, taking inspiration from the many historical textiles she had encountered working as a Textile Conservator.
The first production that saw her undertake the role of a Principal Costume Embroiderer was for HBO’s 2005 Emmy Costume award-winning production of Elizabeth 1. Her most recent work has been on HBO’s 2012 Costume award-winning television series Game of Thrones, working on all three seasons.
As a Costume Embroiderer Michele specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques, smocking, beading and surface decoration. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. She also works on existing machine embroidery designs that are not too dense, adding some hand stitching and beading to give a more authentic, hand-finished look.
Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine, as there is a greater variety of thread choice and colours to use. It is also possible to work more easily on garments that are already constructed. However, machine embroidery in combination with hand work can be very useful when completing many repeats by creating light outlines or a less dense machine stitch, work can then be completed by hand and again can be carried out on a finished garment.
Michele is a highly creative Costume Embroiderer, producing original designs as well as working closely to a costume designer’s brief to create their desired look.’
Text and images from http://www.michelecarragherembroidery.com
God, that embroidery is so gorgeous! I had no idea that third dress was so detailed after seeing it on the show… Amazing work.
unnnnggggghhhhh you guys
(via queerlyhypersensitive)
So I am making a large-scale sculpture for the first time in 4 years. I am making it for Figment’s summer-long Interactive Sculpture Garden on Governor’s Island to open on June 8th 2013. It is both exciting and nervous work. The description for the sculpture as found on Figment’s website is:
…
BOB IS SO COOL
feet and hands and shoes and feet
practice practice practice
And just to speak for myself, modesty was never a factor. I never approached storm’s, or psylocke’s, or spiral’s design with the sole intention of hiding their skin. The amount of real estate that ended up being covered or not was ENTIRELY dictated by my attempt to respect the character. There was no “psylocke has to be fully covered because it would be indecent for any of her skin to be showing”. I wanted to have her covered because I felt that a character who is performing stealth assassinations would want as little wound-able flesh showing.
My go-to example of a character that should be showing skin is, of course, Emma Frost. Here is a character who prides herself on her looks. She is an incredibly confident character mentally, and likes to show off herself physically. Emma Frost flaunting it works because it works for HER. She likes control, she likes power, and one of the best tools for that is her body. She can turn heads with her body, she can command attention with it. She wouldn’t even need to use her telepathy to have someone lose focus. Emma Frost is incredibly intelligent, she knows what she is doing. There has to be a REASON for the skin.
And that is how you do sexy AND ALSO give your female characters agency. More great thoughts on true-to-character costume design and artists’ responsibility in the full article.
Laundry Story (excerpt pgs 5-8)
I’m sorry for dumping so many posts all at once guys! Its just that everything is happening at once this week. Laundry Story is a 12-page comic I drew after a conversation with Aimee Fleck about our mutual love of laundromats. I drew this during stolen hours late at night and between projects. A small edition is being printed just for TCAF! Come see me and Maritsa Patrinos at table 242 :)
this is beautiful
(via mareodomo)
