Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share
The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
同時也有5部Youtube影片,追蹤數超過26的網紅Sharmaine K,也在其Youtube影片中提到,Artlane - Henderson Land Development Co. Ltd. Chung Ching Street, Sai Ying Pun, Hong Kong (MTR Exit B3) Everyday from 5:00pm - 8:00pm 藝里坊 - 恒基兆業地產有限公...
「visual art element」的推薦目錄:
- 關於visual art element 在 喜劇演員 Facebook 的精選貼文
- 關於visual art element 在 AppWorks Facebook 的最佳解答
- 關於visual art element 在 Maysum藝術家/飄眉化妝師 Facebook 的精選貼文
- 關於visual art element 在 Sharmaine K Youtube 的最讚貼文
- 關於visual art element 在 白油BIO Youtube 的最佳解答
- 關於visual art element 在 白油BIO Youtube 的最佳貼文
- 關於visual art element 在 Understanding the Visual Elements - TONE - YouTube 的評價
- 關於visual art element 在 Top 10 visual elements of art ideas and inspiration - Pinterest 的評價
visual art element 在 AppWorks Facebook 的最佳解答
During the Christmas Break, I started reading a few biographies.
I love biographies. I like stories about real people, real situations, and facts. I like them because, contrary to schoolboy belief, memories and biographies and histories, in general, are very exciting.
The account of a real life can be filled with adventures that we may never encounter in our own personal experiences. Of the three biographies I have been reading, the one about the artist Lucian Freud is the most compelling. It reminded me of something I discussed with Jamie Lin once.
He told me that artists and entrepreneurs have a lot in common. Being an artist myself, I know a little about what this means, but to go on about it for thousands of words will likely bore you, so I will just focus on one element of it.
Let me first start with a quote from Freud, who, yes, was the grandson of the late psychologist Sigmund Freud, though profoundly more artistically inclined.
"The fact of your life being your subject matter doesn’t in any way change the nature of art or artistic enterprise. And therefore it seems absolutely obvious, as well as convenient, to use as a subject what you are thinking and looking at all the time — the way your life goes.”
Artists are experts in the logical pursuit and maybe even the dissection of irrational facts of life. They take this observation and they articulate it in such a way that it presents to the audience a newly envisioned life, that is so detailed and so crafted that it entices us to think and to possibly even live in a new way.
If you even slightly doubt this, look at any of the pieces of impressionist art which are famous for being able to not only depict a scene of life, but to also depict the way in which the scene is seen. Look at pointillism. Look at the frightful and pitiful sculpture work of Giacometti.
All in all, this is to say that art is the action of becoming something new through observation and visual presentation. And to create such a thing requires significant work.
And here is the similarity between artists and founders. Really great founders are perhaps the best at acute observation of human nature. They take those observations and through trial and error, and injecting a little of the uncertainty of creation, they present to us, the consumer, a new WAY of doing something.
It does not happen slap dash, or haphazardly. It happens DELIBERATELY. Despite how irrational and illogical a new thing appears to be, that new thing came into being through the logical action of pairing creativity or imagination with, one might say, the biography of the consumer. So that it fits into that life in such a way that in a short time, or over a lifetime, it simply becomes as necessary to life as breathing.
Thank you for indulging my love of art and startups in this post. Please search the web for images of Freud's work, or any of the art I mentioned here. I am including one, which, as part of a collection in the UK's Royal Academy of Art, has common use rights, and can be freely circulated.
Spend a few moments looking at it. The one thing I will note about the portrait is that, as it is a portrait of the artist by the artist himself, the eyes seem to be missing. They seem to be chiseled into a squint, almost as if shaped out of mountain or rock. To me, this is the story of the artist. Work that over time shapes the ability to see and make the work -- a talent that is critical and permanent, and created as if it is a force of nature itself.
If you are a founder, ask yourself if you are also creating deliberately, and fashioning out of a passion for reality a new reality. Of being, in that reality.
This is not easy to do. This is a life's work. It never stops. But it also has the force of nature.
Doug Crets
Communications Master, AppWorks Accelerator
Image: Lucian Freud by Lucian Freud, Royal Academy of Arts
visual art element 在 Maysum藝術家/飄眉化妝師 Facebook 的精選貼文
YEAH!我的一系列innerchild雕塑作品被選為法國Circle Quarterly Art Review Magazine 的featured artist!!
而呢一系列作品也將會在明年,日本展出!
感恩!!
也大大感謝大家的支持呢:)
Circle Quarterly Art Review Magazine - Issue 4 - Fall 2019
An Examination of Current Trends & Official Practices in Visual Art
Published by CFA Press
Presenting a wide range of media and an even broader variety of styles, we investigate the diversity of practices and perspectives in contemporary art. Although at first glance, juxtaposed works can appear radically different, we have found that a bold, recurring element across all the artists’ approaches, is a kind of 6th sense, an intense sensitivity to observation and detail. Reading the artist’s statement it becomes evident that the drive behind their work is about noticing, whether that refers to an aesthetic observation, a social, political, intellectual or emotional observation.
In this issue we have included a selection of 107 visual artists from Austria, Bulgaria, Canada, China, Finland, France, Germany, Hong Kong, Israel, Italy, Japan, Latvia, Mexico, Norway, Norway, South Korea, Spain, Sweden, Syria, The Netherlands, the UK, the USA, Uzbekistan, Vietnam.
A note from the curator:
“I always urge the viewers to spend time with each artwork, examining the technique, examining the material, circling the edges of the piece, following the visual lines toward the point of emphasis and taking that extra slow moment to feel; to be confronted with. For me, the point is not understanding or evaluating something, but simply listening to what each work might speak to you. And if you like what the work is telling you, go ahead, take it home with you!”
Flip through the pages of the magazine to discover currents trends and original practices in visual art.
Featured Artists
GARY AAGAARD ∙ ILONA ABOU-ZOLOF ∙ EMIKO AIDA ∙ HOUDA BAKKALI ∙ PAMELA BECKER ∙ IRENE BELKNAP ∙ ANDREW BINDER ∙ R. GEOFFREY BLACKBURN ∙ THORSTEN BOEHM ART ∙ KORNELIA BOJE ∙ GIORGIO BORMIDA ∙ IOANA BOROS ∙ ADRIAN BRADBURY ∙ JESSICA BURKE (J.B.) ∙ HAIMENG CAO ∙ CLARACARAT ∙ JOJO COMMANDAROS ∙ LARRY CORBETT ∙ BARBARA CRIMELLA ∙ ELEONORA D'ERME ∙ KRISTOFER DAN-BERGMAN ∙ DAVID DEJOUS ∙ JOCELYNE DESCHAMPS-KUS (JIDEKA) ∙ PAUL DETTWILER ∙ GLORIA DI MODICA ∙ DONELLI J. DIMARIA ∙ CARLA J FISHER ∙ SUSAN FITZSIMMONS ∙ FONG FAI ∙ INEZ FROEHLICH ∙ CARIN GERARD ∙ MICHAEL IAN GOULDING ∙ EDMUND IAN GRANT ∙ AUDUN GRIMSTAD ∙ MATIKA HALLEDAY ∙ HOWARD HARRIS ∙ RONNA S. HARRIS ∙ LYNETTE K. HENDERSON ∙ IBRAHIM JALAL ∙ HYUN JUNG JI ∙ MICHAEL JICHA ∙ JERRY JORDAN ∙ JØRAN JUVELI MARSTRANDER/JUVELI FOTO & DESIGN ∙ KOMILBEK KABILOV ∙ RONALD KATZ ∙ SHUNSUKE KAWASAKI ∙ BARRY S. KORNACKI ∙ BEA LAST ∙ ERIK LAURAEUS ∙ GABRIELL ∙ GAETANNE LAVOIE ∙ DEBORA LEVY ∙ JINGFENG LI ∙ ANSON LIAW ∙ SUSAN LIZOTTE ∙ MONICA LONCOLA ∙ TAGE LUNDIN ∙ DITA LŪSE ∙ HUI MA ∙ ANN JAMES MASSEY ∙ CLAUDIA MAYER-MALLENAU / CMM ∙ KAREN NAIM ∙ JOHN NEWCOMB ∙ MIUMILKOEOE ∙ FRANCIS O TOOLE ∙ LEON OKS ∙ WAYNE PAIGE ∙ TSELET SHAVIT PARNAS ∙ IRENE PÉREZ ∙ NEELA PUSHPARAJ ∙ ERA - ELVIRA RAJEK ∙ ROLAND REINERT ∙ OTO RIMELE ∙ JOE M. RUIZ ∙ STEFAN SCHIFT ∙ GRETA SCHNALL ∙ SANDVIA ∙ CORRINA SEPHORA ∙ LAILA SHARMEEN ∙ MERJA SIMBERG ∙ LILIANA STAFFORD ∙ LUANA STEBULE ∙ BERND STEINERT ∙ VICTOR STEVEN ROSENBERG ∙ KEIKO SUGITA ∙ TIMKA SZŐKE ∙ REGINE TEMMEL ∙ JAN TEUNISSEN ∙ WILLIAM H. THIELEN ∙ MARGERY THOMAS-MUELLER ∙ SILVIJA TREICE ∙ SCOTT TROXEL ∙ MARION TUBIANA ∙ POL TURGEON ∙ JENNY VAN GIMST ∙ CONSTANCE VEPSTAS ∙ MAYSUM ∙ SINCLAIR WEBSTER ∙ LAURA WEINDORF ∙ NAOMI WHITE ∙ HOLLY WILMETH ∙ MICHAEL HARRIS WILSON ∙ MIKOŁAJ WŁODARCZYK ∙ TRACI WRIGHT MARTIN ∙ WENDY YEO ∙ YEON GYUHYE ∙ SHU YU
To inquire about purchasing a featured work or working with the artist, please contact info@circle-arts.com
https://el2.convertkit-mail.com/c/r8uw95zlg8hohm34nxi2/kkhmh6her5vn90/aHR0cHM6Ly9jaXJjbGUtYXJ0cy5jb20vY2lyY2xlX3F1YXJ0ZXJseV80Lw==
visual art element 在 Sharmaine K Youtube 的最讚貼文
Artlane - Henderson Land Development Co. Ltd.
Chung Ching Street, Sai Ying Pun, Hong Kong (MTR Exit B3)
Everyday from 5:00pm - 8:00pm
藝里坊 - 恒基兆業地產有限公司
西營盤忠正街 (西營盤地鐵站B3出口)
每日晚上五點到八點
Artist: Sharmaine Kwan
Website: www.sharmainekwan.com
IG: sharmainekwan_art
The visual symbolism of neon has long been a significant part of Hong Kong's culture. By transforming everyday objects from the streets into a neon aesthetic, the work highlights the casual and overlooked side of the vibrant lifestyle within the district of Soho where it is full of energy and comes to life at night. The neon glow gives off a unique iconic ambiance to its surroundings which enhances its chic, urban, and stylish attraction. Scaled to life size, they also have their own presence and element of interaction. Like traditional neon signs, the 'Artlane' sign serves to name the place where it will become the heart of the area and an artistic Soho of its own...
visual art element 在 白油BIO Youtube 的最佳解答
#演出完整實錄
2017台北藝穗節【 次元感官 DIMENSION SENSE 】
手碟HANDPAN ╳ 油水投影PROJECTION ╳舞蹈DANCE
/
跨越音樂與視覺,舞蹈跟肢體的想像
穿越次元連結,超越時間的感官體驗。
/
二次元是點線面,三次元有了空間,
四次元則打破了時間的規距,透過情感跟意念理解這個世界。
/
我們試著將繪畫從製作到完成視作一支長時間的舞蹈,將舞蹈移動的線條視作凝結的一幅畫,將聽到的歌比喻為顏色,將老式建築的場域渲染成一幅幅探討視覺、聽覺、觸覺彼此間不同次元的感官對話。
/
The second element is the point line surface, three yuan with space, four yuan is to break the time of the distance, through the emotional and understanding of the world.
To the visual arts as the basis, combined with dance and music and other elements, to create life and organic art of cross-domain performing artists.
-
感謝這三天陪伴我們一起在雨中天井度過的每個人
雨水、手碟的旋律、沙子掉落的聲音、油與水的色彩
舞者移動的聲音、呼吸的氣息、所有人的毛細孔作用
讓我們在老式建築的場域中穿越了次元連結了彼此
第一場有人說了好感動
第二場有人哭著在謝幕時說謝謝
第三場我們擁抱著彼此說
其實我們在出生之前就存在於同個次元
我就是你,你就是我
我們擁有彼此的感官,所以誕生在同一個世界
不論你們聽到了什麼、看到了什麼、觸碰到了什麼
那都是獨一無二,唯有一次的知覺體驗
屬於你的感知跟你的世界
如果有任何回饋都歡迎留言或跟我們聯繫
我們會非常欣慰並成為我們繼續前進的動力
-
謝謝你們喜歡我們的表演
謝謝所有工作人員為了演出不辭辛勞
謝謝所有創作者跟藝術家的情感意念
讓我們能度過如此美好瑰麗創作時光
次元感官,希望不遠的未來我們能夠再見
下台一鞠躬
。
-
▲演職人員
共同編創|謝欣翰、李承宇、廖筱婷
音樂設計|李承宇(聽覺/手碟樂手) Angus Lee
視覺設計|謝欣翰(視覺/油水投影) 謝 欣翰 バイオ
肢體設計|廖筱婷(觸覺/舞者) Hsiao-Ting Liao
舞台顧問|鄭仕杰
燈光設計|陳芓錂 (Zi-Ling Chen)、馮祺畬
票務行政|黃健濤 黃健龐
前台經理|陳君芃 (Muse Chen)
前台人員|楊詩音、 曹桀 (Cao Jie)、王俐心 Liz Wang
幕後黑子|余碩、 蕭子強、張佳翔 Allez Alexandre
劇照攝影|謝岱汝 、 林彥廷 (Chace Lim)、 張嘉輝 (Ahuei Zhang)
活動攝錄|薩禾豐 (Leo He Fong Sa)、 邱亮 (Liang Chiou)、涂瀚勻
影像剪輯|轉轉影像
-
▲主辦單位
白油 BIO
蒐SoulDays Studio
臺北藝穗節 Taipei Fringe Festival
▲協辦單位
地衣荒物 Earthing Way
青藝埕
▲特別鳴謝
場地協力|世代文化創業有限公司、 小城外、 戲台咖 Theater Cafe
服裝協力|Omake Taiwan
影像協力|轉轉影像 Shift Studio
舞台協力|鄭惠中布衣工作室
-
Follow BIO :
► https://www.facebook.com/BIONOW
► https://www.instagram.com/bioxie
visual art element 在 白油BIO Youtube 的最佳貼文
2017台北藝穗節【 次元感官 DIMENSION SENSE 】
手碟HANDPAN ╳ 油水投影PROJECTION ╳舞蹈DANCE
/
跨越音樂與視覺,舞蹈跟肢體的想像
穿越次元連結,超越時間的感官體驗。
/
二次元是點線面,三次元有了空間,
四次元則打破了時間的規距,透過情感跟意念理解這個世界。
/
我們試著將繪畫從製作到完成視作一支長時間的舞蹈,將舞蹈移動的線條視作凝結的一幅畫,將聽到的歌比喻為顏色,將老式建築的場域渲染成一幅幅探討視覺、聽覺、觸覺彼此間不同次元的感官對話。
/
The second element is the point line surface, three yuan with space, four yuan is to break the time of the distance, through the emotional and understanding of the world.
To the visual arts as the basis, combined with dance and music and other elements, to create life and organic art of cross-domain performing artists.
-
【演出者Performer】
▲視覺// 油水投影 PROJECTION
《 BIO HSIEH 謝欣翰 》
▲觸覺// 舞蹈 DANCE
《HSIAO TING LIAO 廖筱婷 》
▲聽覺// 手碟 HANDPAND
《 ANGUS LEE 李承宇 》
【時 間 Event Time 】
2017.9.1 (FRI.) 20:00 - 21:00
2017.9.2 (SAT.) 20:00 - 21:00
2017.9.3 (SUN.) 20:00 - 21:00
【地 點 Location】
地衣荒物EARTHING WAY
【地 址 Address】台北市大同區民樂街34號1樓
1F, No.34, Minle St.Datong Dist., Taipei City Taipei, Taiwan.
//票 價 Price | $600,
//優 惠 Discount | 早鳥8折(7/30前);學生9折
//購 票 Buy Ticket | https://goo.gl/Udhdro
//主辦單位|臺北藝穗節 Taipei Fringe Festival 白油 BIO
//協辦單位|蒐SoulDays Studio 地衣荒物 Earthing Way 青藝埕
//聯繫窗口|愛寶 0978217818
_______________________________________________________________
▲宣傳影片拍攝工作人員
導演|謝欣翰 Bio
樂手|李承宇 Angus
舞者|廖筱婷 Ting
投影|謝欣翰 Bio
攝影|黃泰誠 Ami
剪接|黃泰誠 Ami
調光|黃泰誠 Ami
攝助|周禹承
妝髮|李茗治
場務|李茗哲Aibo、余碩
visual art element 在 Top 10 visual elements of art ideas and inspiration - Pinterest 的推薦與評價
Line Pattern Handout One Page Elements of Art Principles of Design Visual Arts. This is a one page line patten handout that will help students get ideas to ... ... <看更多>
visual art element 在 Understanding the Visual Elements - TONE - YouTube 的推薦與評價
This video is the fourth in a series about the Visual Elements of Art and Design. Every work of Art & Design contains at least one of these ... ... <看更多>