These fabulously detailed and beautifully lit horror paper models use famous buildings from horror films and are kirigami works by Marc Hagan-Guirey, also known as Paper Dandy.
These are from his debut exhibition Horrorgami…appropriately enough for All Hallow’s Eve.
Can you spot which films they’re from?
In my opinion, the best Halloween film ever made is John Carpenter
‘s original Halloween. It heralded a genre of slasher horror films that gradually deteriorated over the years but Carpenter’s original made-on-a-shoestring film still is the benchmark for this genre.
Subsequent Halloween sequels never really hit the mark, although Rob Zombie’s 2007 ‘re-imagining’ was pretty brutal and visceral it doesn’t come close to matching the sheer atmosphere and tension built up in the original 1979 version. This was the first ‘x rated’ film I ever saw at the Odeon in Leeds and I’ll never forget the screams and tension in the theatre as a teenager. We’d not seen anything like it – perhaps that’s why it still works for me.
After countless viewings, Halloween has never lost its power to draw you in and it’s arguably Carpenter’s finest hour. It’s aged pretty well too and the surprisingly contemporary score (written by Carpenter) never fails to raise the hairs on the back of your neck. Carpenter employs all manner of movie tricks that have since become standard practice. The opening shot is masterful using a handheld camera – a technique that was groundbreaking at the time.
Jamie Lee Curtis created the template for the geeky small town teenage babysitter who is relentlessly stalked by the killer – who in this instance is ‘the shape’ aka Michael Myers
, who happens to be her brother. Myers is unforgettably portrayed as a chilling, rubber masked automaton hell bent on death and seemingly unkillable.
The brilliant Donald Pleasance plays the killer’s doctor, Loomis – full of portents of doom. He is predictably not taken seriously by the local police until it’s too late. He gets all the best lines of course:
I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized what was living behind that boy’s eyes was purely and simply…evil.
I’ll give Halloween a spin on the Blue Ray tonight and see if it can still generate the chills…
Standing on the beach together,
Sand between our toes,
Watching the Cornish sun slip below the horizon,
Glass of champagne in hand,
As part of a work project we were asked to think about where we’ve had the most perfect time ever, anywhere in the UK.
We had to select the perfect place, hotel and restaurant. I chose Cornwall as we’ve enjoyed so many amazing experiences there.
What would be your favourite place, hotel and restaurant?
The Place: Porthtowan Beach at sunset
The Hotel: The Scarlet Hotel, Mawgan Porth
The Restaurant: Rick Stein’s The Seafood Restaurant, Padstow
In an attempt to dispel the various myths, misconceptions and outright lies that permeate the industry of design, New York-based British designer and art director Craig Ward has written a book called ‘Popular Lies About Graphic Design’.
The author 10 years of experience tackles everything from design fetishists, Helvetica’s neutrality and ‘urgent’ briefs to more worthy topics such as design education, the supposed death of print, client relationships and the perfect pitch.
Sounds like the kind of book that would be good for both designers and clients alike to read. It looks great too.
I love the smell of books.
The paper, the ink, the print finish on the dust jacket, the dust jacket itself even the glue that binds it all together all have a unique aroma that is part and parcel of the book reading experience. So I delight in the sensory experience of buying a physical book in an actual bookshop.
But it’s a hard thing to do these days.
Even in a big city like Leeds there’s only one bookshop of note – Waterstones. The low cost and convenience of Amazon has meant that the book buying experience has been transformed into a remote, transactional act that is all about cost and nothing to do with value. I’ll be honest – I’m partly to blame too. It’s hard to see a book half the price online and not buy it. But I do try where possible to buy my books from Waterstones in Leeds, if they don’t have a book in stock then their ordering service is excellent. Also when I’m in a bookshop, I always buy more than I intended to buy…I can’t resist a well designed cover or an unusual format or a tactile cover.
But Waterstones aren’t going down without a fight. They’re running a superb awareness campaign right now that’s really caught my eye – it’s an interesting and engaging angle focusing on selling the bookshop and not the contents of the bookshop. Will it make more of us buys books from a shop and not a website?
Take a look and let me know what you think…
A work colleague excitedly presented this unusual annual report to me the other day and I have to say in the printed flesh, it really is a thing of great loveliness.
It’s not everyday that an annual report uses a world class artist to tell its shareholders the good (or bad) news. But I have to admire its scale of ambition which, unusually in our world, is completely matched by the output.
The exceptional quality of the large format print is a joy to behold, it really showcases the stunning abstract imagery. It’s a kind of design / fine art crossover hybrid and it’s a delight. And it smells good too.
I loved these images and the back story to them when I read them in Fast Co Design. Here’s the full story behind the striking photographs:
New York-based photographer Daniel Kukla has traveled the world for his work, but earlier this year he had the opportunity to explore the wilds of a locale that was entirely new to him–southern California. In March, he took to the terrain of Joshua Tree for the first time to complete an artist’s residency awarded by the United States National Park Service, and captured the unique contrast of two perspectives for The Edge Effect
In order to familiarise himself with the surroundings, he set out solo, taking time to explore the craggy earth and consider what his as-yet-unplanned project would become. “Being in a completely foreign environment made me incredibly curious, and I spent hours each day hiking and poking around” he said. Inspiration was everywhere, but it was surprisingly tough becoming accustomed to the solitude. “The isolation was quite a challenge at first. Adapting from a life where I am constantly around people to an existence where I was on my own took some time.”
Sussing out how to translate his findings into photographs was another matter. “I knew I wanted to work with the landscape and alter it in some fashion, but the idea of mirrors didn’t occur to me until I was driving in the park as sunset one night and the rearview mirror captured the sun and the coming night lay ahead of me,” he says. From there, it was a matter of figuring the logistics of the concept on a completely different scale. “I experimented with a set of small mirrors at first but moved on to a large mirror so that I could fully expose the contrasting landscape, and truly insert an image within an image.”