Pinewood Design

—-If you came here via a stumble, and you like the this post, please press that thumbs-up button—- 

Fauxto, Picnic and other online photo editors may soon find the going very tough is Adobe is all set to introduce a very cool online version of Adobe Photoshop (called Photoshop Express or PX) that’s free and requires just a web browser with the Flash plug-in.

Bruce earlier said that the web version of Photoshop may not be as feature-rich as the desktop Photoshop but still offers better image editing options than the existing desktop image editors - Photoshop Express is something in between Picasa and Photoshop.

Hello, friend

Uploading
 

Browse others’ albums

Editing tools

Variations
 

Galleries
 

Views
 

What you can do
 

The good: Slick, attractive interface; useful retouching tools and well-done interface for using them; most operations relatively fast.
The bad: Doesn’t support photos from 12-megapixel or higher cameras; some unnattractive Terms of Service; no filtering or keywording; no printing options.
The bottom line: Though there’s a lot to like about Adobe’s first stab at online photo editing and sharing, you probably want to wait until the company fixes a few problems with the beta–and de-fangs its terms of service–before uploading scads of photos to Adobe Photoshop Express.

Ratings:
Design and ease of use: 8
Features: 7
Performance: 7
Policies: 5
Overall: 6.8

TAKE A TEST DRIVE

—-If you came here via a stumble, and you like the this post, please press that thumbs-up button—-

written by Pinewood Design \\ tags: Adobe, Beta, Express, photoshop, Screenshots, web application

—-If you came here via a stumble, and you like the this post, please press that thumbs-up button—-

The term “mile high” isn’t just for airplane action anymore- British firm Popularchitecture has proposed a mile-high eco tower for London that’s sure to be just as exciting. At a full mile tall and housing over 100,000 people, this concept tower really is just that: a cool, uber-green concept. With 500 floors would contain schools and hospitals to shops and pubs, and everything else under the sun. While it will likely never be realized, the design does push our thinking forward.The mile-high tower also illustrates the ecological advantages of living tall, as building up instead of out holds more people in a smaller footprint. This in turn reduces ecological impacts and the time needed to transport them. Close-knit living is also a way to rebuild disconnected communities, and to make life safer through the ‘natural surveillance’ created by populating areas 24/7. Water and household waste would be recycled within the tower to reduce the energy required to replace it with fresh water from the ground. Fresh water could be harvested and filtered from the clouds that would envelop the top of the tower on overcast days.

Drawn up by Popularchitecture and intended for Tower Hamlets in East London, the giant skyscraper would be three times larger than anything ever built in the capital, creating 12 new ‘villages’ in the sky. However, despite the project’s ‘almost unbelievable proportions’, practice founder Tom Teatum does not feel the scheme is that crazy, insisting there are developers who are interested, ‘in particular because of minimal land value in relation to accommodation… occupying a scale far beyond anything that currently exists in London, the tower would allow the city’s population to expand without significant impact to the architectural fabric on the ground.’

At the center of the structure would be a ‘vast internal void’ lit by circular openings every 20 storys. Each of these ‘holes’ would be used as either public squares or for specialist activities such as ice skating, botanic gardens or swimming pools. Nice idea and nice visuals but it looks like it’ll be firmly rooted in our imaginations for the time being.

Source:Popularchitecture

—-If you came here via a stumble, and you like the this post, please press that thumbs-up button—-

written by Pinewood Design \\ tags: Eco, giant, london, PopularArchitecture, Tower

—-If you came here via a stumble, and you like the this post, please press that thumbs-up button—-

Download desktop wallpaper 1028 x 728


Download desktop wallpaper 1028 x 728


Download desktop wallpaper 1028 x 728


Download desktop wallpaper 1028 x 728


Download desktop wallpaper 1028 x 728


Download desktop wallpaper 1028 x 728


Download desktop wallpaper 1028 x 728


Download desktop wallpaper 1028 x 728


Download desktop wallpaper 1028 x 728
—-If you came here via a stumble, and you like the this post, please press that thumbs-up button—-

written by Pinewood Design \\ tags: Collection, D&G, Dolce&Gabbana, summer 2008

—-If you came here via a stumble, and you like the this post, please press that thumbs-up button—-

The image and look of the Beijing Olympic torch relay was released at the Beijing Olympic Media Center.

The Torch Relay Graphic of the Beijing 2008 Olympic Games

Torch Design

         A general view of the torch 　　　　　　　　 3D animation

The Beijing Olympic Torch boasts strong Chinese characteristics, and showcases Chinese design and technical capabilities. It embodies the concepts of a Green Olympics, a High-tech Olympics and the People’s Olympics.

The Key Facts about the Torch

The torch is 72 centimetres high, weighs 985 grams and is made of aluminium. The torch is of a curved surface form, with etching and anodizing being used during its production. A torch can usually keep burning for approximately 15 minutes in conditions where the flame is 25 to 30 centimetres high in a windless environment. The torch has been produced to withstand winds of up to 65 kilometres per hour and to stay alight in rain up to 50mm an hour. The flame can be identified and photographed in sunshine and areas of extreme brightness. The fuel is propane which is in accordance with environmental guidelines. The material of its form is recyclable.

The Artistic and Technical Features of the Torch

The torch of the Beijing Olympic Games has a very strong Chinese flavour. It demonstrates the artistic and technical level of China. It also conveys the message of a Green Olympics, a High-tech Olympics and the People’s Olympics. The shape of the paper scroll and the lucky clouds graphic, expresses the idea of harmony. Its stable burning technique and adaptability to the environment have reached a new technical level. The torch of the Beijing Olympic Games is designed, researched and produced in China. BOCOG owns all intellectual property rights.

The Fuel for the Torch

Under the concept of a Green Olympics, environmental protection was a key element listed in the invitation documents to the design companies, by BOCOG. The fuel of the torch is propane, which is a common fuel which also comes with a low price. It is composed of carbon and hydrogen. No material, except carbon dioxide and water remain after the burning, eliminating any risk of pollution.

The Burning System

Its stable burning technique and adaptability to the environment have reached a new technical level. It can stay alight in severe weather conditions such as strong wind, rain, snow, hail, etc. The flame can also be identified in sunshine and areas of extreme brightness so as to satisfy the requirements of capturing photographic images and video footage.

The obverse side

The middle part

The upper part

The lower part

The Design Timelines

2005 August            BOCOG developed the design concepts and requirements of the torch.

2005 December       BOCOG recruited potential torch designs from the design society. In total, BOCOG received 388 pieces of works.

2006 June-August    BOCOG selected the structural designer and the burning system designer.

2007 January          Beijing Olympic Torch was approved by IOC

Lantern Design

The Torch Relay lantern will be used to store the Olympic flame. Its main purposes will be to receive the Olympic flame kindled in Olympia, to light the Olympic torch and to exhibit the sacred flame.

The International Olympic Committee (IOC) requires the flame remain lit during the entire course of the Torch Relay in order to protect the sanctity of the Olympic flame and the purity of the Torch Relay. If the torch flame should be extinguished, it must be relit using the mother flame stored in the lantern. This is to ensure that the flame used to light the Olympic cauldron at the Opening Ceremony comes from the sacred Olympic flame kindled in Olympia.

The inspiration for the original design of the Beijing Olympic Torch Relay lantern comes from the traditional lanterns used inside ancient Chinese palaces. The silver luster of the lantern coupled with crystal-clear glass serve as a foil to the flame and communicates the Olympic flame’s sanctity and purity.

Cauldron Design

The Olympic cauldron plays a major role in the Olympic Torch Relay. The lighting of the Olympic cauldron symbolizes the end of the Olympic Torch Relay and the beginning of the Olympic celebration.The Beijing Olympic cauldron is based on the concept of a “round heaven and square earth” and takes after a typical cauldron from the Chinese Bronze Age. The cauldron shares with the torch and lantern the design element of the “lucky cloud.”

The 56 “lucky clouds” hollowed out of the curved plate of the Olympic cauldron symbolize well wishes to the world from the 56 ethnic groups in China. The base of the cauldron has four legs with eight faces, symbolizing that the Beijing Olympic Games welcomes friends from all directions across the world. The Olympic cauldron stands 130 centimeters high, symbolizing the 130-day duration of the Beijing Olympic Torch Relay. The cauldron plate is 29 centimeters deep, symbolizing the 29th Olympiad. The cauldron post is 112 centimeters tall, symbolizing the 112 years that have passed between the staging of the first modern Olympic Games in 1896 and the 2008 Olympic Games.

Torch Stand Design

The torch stand is used to display and support the torch, and its design borrows from the architectural styles of the Han and Tang dynasties. The base design of the torch stand shows “lucky clouds” drifting away, as if gently calling out to the torch.

Uniform Design

Design of the torchbearer uniform for the Torch Relay

Design of the escort runner uniform for the Torch Relay

Design of the escort staff uniform for the Torch Relay

The Convoy

Aircraft

—-If you came here via a stumble, and you like the this post, please press that thumbs-up button—-

written by Pinewood Design \\ tags: 2008, Beijing, China, Design, Olympic, Relay, Torch

From marcofolio.net

Graffiti (or spray paint) often regarded by others as unsightly damage or unwanted vandalism. But some times, the boring wall is supplied with a true piece of graffiti art, making it a joy for the eyes. A new game from Atari, Getting Up, is based on tagging.

I made a collection of pictures showing these fine spray paint creations. By looking at them and studying the details, you could boost your (Photoshop) design inspiration. If you’re not in to design, just sit back and enjoy this amazing form of art.

Click on the images to enlarge.

Sources

01 -02 -03 -04 -05 -06 -07 -08 -09 -10 -11 -12 -13 -14 -15 -16 -17 -18 -19 -20 -21 -22 -23 -24 -25

Actually, the last one indeed is a tag. I just had to post it here, the flames and colors are absolutely beautiful.

I still can’t believe some of them are actually graffiti. Huge respect for those artists who create it. Now start designing!

If u like this, please visit http://www.marcofolio.net

written by Pinewood Design \\ tags: Art, Graffiti, inspiration, spray paint, tags

The Happening is a 2008 American film written, co-produced and directed by M. Night Shyamalan. It stars Mark Wahlberg and Zooey Deschanel. The Happening will be released on Friday, June 13, 2008.

International Teaser (3.20.08):

Trailer (2.18.08):
QuickTime, High Definition
QuickTime, Hi-Res
QuickTime, Med-Res
QuickTime, Lo-Res
iPod Video

 Official Website: TheHappeningmovie.com

written by Pinewood Design \\ tags: Happening, Movie, Teaser, Trailer

New Globe Sinclair Coverage

New National Enquirer Sinclair Coverage

written by Pinewood Design \\ tags: drug, gay, larry sinclair, OBAMA, SEX SCANDAL

Alfred Hitchcock left a peerless legacy of the stylishly macabre. In this year’s Hollywood Portfolio, Keira Knightley, Javier Bardem, Seth Rogen, and other stars channel iconic moments from the director’s greatest hits. Here are the results; click the link under the photos to see the original still.

Dial M for Murder, 1954
Charlize Theron. Photograph by Norman Jean Roy.
The scene in which Charles Alexander Swann (Dawson) attempts to strangle Margot Mary Wendice (Kelly), only to be himself stabbed with a pair of scissors, caused Hitchcock great anxiety. Although the entire film was shot in just 36 days, this single scene required a full week of rehearsals and multiple takes to get the choreography and timing right.
The original still: Anthony Dawson and Grace Kelly. ©Warner Brothers.

Rear Window, 1954
Scarlett Johansson and Javier Bardem. Photograph by Norman Jean Roy.
The film has been called a superb commentary on watching films, on loneliness, and on obsession, as well as a sharp critique of the male psyche. But at its essence, Rear Window is a paean to old-fashioned snooping. “Sure he’s a snooper, but aren’t we all?” said Hitchcock. “I’ll bet you that nine out of ten people, if they see a woman across the courtyard undressing for bed, or even a man puttering around in his room, will stay and look; no one turns away and says, ‘It’s none of my business.’ ”
The original still: Grace Kelly and James Stewart. Paramount/Neal Peters Collection.

Marnie, 1964
Naomi Watts. Photograph by Julian Broad.
It seemed to many on the set that Hitchcock was concerned less with the production of Marnie than with his efforts to woo its star. He sent champagne to her dressing room every day, and freely confessed his love. After Hedren finally rejected him, he dropped her, and refused ever to utter her name again. Did we mention that Marnie is a psychodrama about frigidity?
The original still: Tippi Hedren. Universal/Photofest.

Rebecca, 1940
Keira Knightley and Jennifer Jason Leigh. Photograph by Julian Broad.
Rebecca was the first film Hitchcock made after producer David O. Selznick lured him to Hollywood with promises of a large budget and a high salary. Hitchcock proposed several alterations to the ghost story, adding elements of irony and dark humor. Selznick demanded a re-write faithful to the novel. Although Hitchcock later dismissed the film as “not a Hitchcock picture,” it was one of his most successful, and the only one to win best picture at the Academy Awards.
The original still: Joan Fontaine and Judith Anderson. © United Artists.

Strangers on a Train, 1951
Emile Hirsch and James McAvoy. Photograph by Art Streiber.
Hitchcock may have exaggerated when he called “the ineffectiveness of the two main actors” one of the film’s main flaws, but had Guy (Granger) been played by a stronger figure (Hitchcock’s first choice was William Holden), he might have been more sympathetic as a hero. It’s hard not to root for the villain (Walker), especially when he has his hands around the neck of Guy’s fat, loathsome, unfaithful wife, and begins to squeeze. Then again, that may have been Hitchcock’s intent all along.
The original still: Farley Granger and Robert Walker. Warner Brothers/Photofest.

Vertigo, 1958
Renée Zellweger. Photograph by Norman Jean Roy.
Hitchcock’s blackhearted valentine to San Francisco is perhaps his most fully realized portrayal of the themes that haunted his films—obsession, paranoia, the transference of guilt, spurned love. And, of course, necrophilia: “I was intrigued by the hero’s attempts to re-create the image of a dead woman through another one who’s alive,” said Hitchcock when asked to describe the plot.
The original still: Kim Novak. © Paramount Pictures.

To Catch a Thief, 1955
Gwyneth Paltrow and Robert Downey Jr. Photograph by Norman Jean Roy.
Grace Kelly was the quintessential cold Hitchcock blonde. Hitchcock called her sexual appeal “indirect.” “Sex should not be advertised,” Hitchcock said. “An English girl, looking like a schoolteacher, is apt to get into a cab with you and, to your surprise, she’ll probably pull a man’s pants open.”
The original still: Grace Kelly and Cary Grant. Paramount Pictures/Photofest.

Lifeboat, 1944
From left: Tang Wei, Josh Brolin, Casey Affleck, Eva Marie Saint, Ben Foster, Omar Metwally, and Julie Christie. Photograph by Mark Seliger.
Lifeboat presented a difficult challenge to Hitchcock’s determination to appear in a single shot in each of his films. “I thought of being a dead body floating past the lifeboat, but I was afraid I’d sink,” he said. Hitchcock was sincerely worried about his weight at the time, and had undertaken a strenuous diet. His solution to the cameo problem: he appeared in a newspaper read by one of the boat’s passengers, photographed before and after his diet in an advertisement for a fictional weight-loss drug.
The original still: From left: Walter Slezak, Mary Anderson, Hume Cronyn, Tallulah Bankhead, John Hodiak, Henry Hull, Heather Angel, William Bendix, Canada Lee. Twentieth Century Fox Film Corp./Photofest.

The Birds, 1963
Jodie Foster. Photograph by Norman Jean Roy.
Hitchcock said he made the film in order to “scare the hell out of people,” but Hedren may have been more scared than any audience member. During the filming of the movie’s climactic bird-attack scene, Hitchcock put Hedren in a giant cage and had two men throw live birds at her face. He shot the scene all day long, every day, for an entire week. It was only when she suffered a gash underneath one of her eyes that filming was stopped. “Really the worst week of my life,” said Hedren.
The original still: Tippi Hedren. © Universal Pictures.

North by Northwest, 1959
Seth Rogen. Photograph by Art Streiber.
The idea for the famous cornfield scene came about when Hitchcock determined to reverse, as dramatically as possible, the clichéd movie trope in which a man is forced to run for his life from some sinister force. “How is this usually done?” asked Hitchcock. “A dark night at a narrow intersection of the city. The waiting victim standing in a pool of light under the street lamp. The cobbles are ‘washed with the recent rains.’?” So Hitchcock instructed his production designer to put his hero in a wide-open expanse in which he couldn’t hide—a completely flat cornfield in the middle of nowhere.
The original still: Cary Grant. MGM/Photofest.

Psycho, 1960
Marion Cotillard. Photograph by Mark Seliger.
A lot is made of the influence on Hitchcock’s films of his father, “a rather nervous man” who once locked his six-year-old son in a local jail for misbehavior. Less is known about Hitchcock’s mother. We do know that they had a close relationship; so close, in fact, that she accompanied him on holidays with his wife. Older women in Hitchcock’s films are rarely treated with kindness, however, and tend to be scolding, obnoxious, doddering. But it was not until Psycho that a mother was treated as a homicidal maniac, even if by proxy.
The original still: Janet Leigh. Paramount Pictures/Photofest.

written by Pinewood Design \\ tags: Classics, Hitchcock, Hollywood, Issue, Portfolio, Vanity Fair