ADG Perspective

January-February 2018

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Page 15 of 123

14 P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 8 editor's note The Romance of the Analog by David Morong, Editor One of the great pleasures of editing this journal is a chance to see the wide range of images and examples of design work that are submitted with each issue. Every image is filtered from a much wider pool, and the scope of the artwork and images submitted is astounding. In the process of preparing the publication, there are examples that stand out and stay with me as I develop the feature articles. In this issue, I find myself drawn to the analog skills represented in the details of the classic painted drops revealed by the Backdrop Recovery Project, and in the pencil draftng done by Sarah Stuart for Sarah Greenwood's design of Beauty and the Beast. It may be because I spent the first 20+ years of my career pushing a pencil around a piece of vellum, but there is a quality and character to this work that is without equal in the digital pipeline that defines most Art Department workflows. My current design students may disagree, and grow to have a similar warm and fuzzy feeling when they look back on the long-ago days of working in SketchUp, push/pulling and follow-meing their way to a design. A. A detail of a painted drop of the interior of a movie theater lobby for the 1951 film THE LAW AND THE LADY, designed by Daniel B. Cathcart and Cedric Gibbons. B. Detail of a hand-drawn elevation of the ballroom in BEAUTY AND THE BEAST, by Sarah Stuart. A B

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