Автор - sakimichan

[Urania]

Оригиналы по клику.

+ Jelsa - Gender bender

@темы: Кроссовер, Эльза, Арт, Филиал тумблера, Спасибо интернету за наше счастливое детство, Джельза

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[Urania]

клик

Автор - Lisa Keene

@темы: Эльза, Арт, Филиал тумблера, Спасибо интернету за наше счастливое детство

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[Urania]

male!Elsa, fem!Jack Frost
Автор и полноразмер - по клику.

@темы: Эльза, Арт, Спасибо интернету за наше счастливое детство, Джельза

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[Urania]

Автор - по клику на рисунок.

@темы: Эльза, Арт, Спасибо интернету за наше счастливое детство

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Снежная Королева

[OhMyGau]

Я боюсь, здесь бессильны чары, холод в сердце – недуг серьезный.
В самых страшных твоих кошмарах, Анна тоже давно замёрзла.
И ничто не поможет, помнишь? Ни огонь, ни любовь, ни время.
Пред тобою почти покойник, твоё сердце, семья и бремя.

Лёд волшебный, но тоже хрупок, что не так – разобьётся сразу.
Получилось ужасно глупо, как когда-то с хрустальной вазой.
Люди разом вокруг замолкли, ведь такое ничем не склеить.
Пред тобою её осколки. Нет сестры твоей, Королева.

Восседая на снежном троне, ожидаешь девчушку Герду.
Сердце Кая ничто не тронет, ни любовь, ни тем более верность.
- Оставайся, девчонка, в замке, раз так хочешь повысить карму.
Я верну тебе Кая, Герда, когда он соберет мне Анну.

@темы: Кроссовер, Эльза, Сделал сам

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Косплей

[der Autor]

Найдено в контакте, вестимо.

@темы: Косплей, Олаф, Спасибо интернету за наше счастливое детство

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[Настасья Филипповна 2.0]

Как говорится, "Предупреждение: смерть персонажа"

Предупреждение: берегите свой мимимиметр

@темы: Эльза, Анна, Олаф, Арт

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[asiaticbunny]

Краем глаза цепляла арты с Эльзой в Слизерине и Анной в Гриффиндоре, но вот иное предложение:

Картинка

©

@темы: Эльза, Арт, Филиал тумблера, Спасибо интернету за наше счастливое детство

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Теперь весна точно придет!

[Настасья Филипповна 2.0]

Это вы уже видели, но оно здесь для полноты картины

И не могла не...

@темы: Эльза, Анна, Ханс, Филиал тумблера

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Ледяной Король

[OhMyGau]

Закрой все двери, забудь про чувства и будь хорошим, прилежным парнем.
Пусть будет больно и будет пусто, отныне сердце – холодный камень.
Не будь холодным, не будь открытым, ты скоро станешь Король народа.
И бог услышит твои молитвы, когда в костре полыхнет свобода.

Твой замок – это большая клетка, и птицей бьется о ставни окон
Большая сила не человека, большая сила почти что бога.
Забудь про чувства, забудь про Анну и будь хорошим, прилежным парнем.
Ты не достоин её бокала, ведь твое сердце – холодный камень.

Ты так желаешь костра-свободы, ты хочешь казни и крыльев ветра,
Ты не Король, ты другой породы, что творят магию до рассвета.
Но ты не можешь и жгут оковы, и выжигают твоё же сердце.
Но ты холодный, всегда холодный и ты не в силах уже согреться.

И вот стоишь; пред тобою горы и ледяное твоё бессмертье.
Ты бросил толпы и тьму народа. Так будет лучше, Принцесса, верьте.
Твой лёд не жжется и не кусает, и ты обрёл, наконец, покой.
Ты спишь во льдах, что тебя спасают. Кого ты ждёшь, Ледяной Король?

Кого ты ждешь, посреди сугробов? Вокруг зима, но открыты двери.
Ты наконец-то от всех свободен и нет законов, оков и цепи.
Тебя не трогает ничего – ни лед, ни снег, ни огонь и пламень.
Но есть одно только слово «Анна»
Чтоб камень в сердце твоем
растаял.

@темы: Эльза, Сделал сам

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[Urania]

Удалённые сцены. Из Blu-ray Extra.

+++

@темы: Эльза, Анна, Свен, Кристофф, Спасибо интернету за наше счастливое детство, Видео

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Brittney Lee - Frozen - Costume Design

[Urania]

Художница Бриттни Ли про дизайн костюмов

английский текст + картинки

When we think about animated films, and specifically costumes in animated films, we tend to identify characters by 1 or 2 signature costumes. Cinderella had her peasant dress and her magical ball gown. Briar Rose had the same, though her ball gown was constantly shifting from pink to blue (to pink!) Alice has her iconic blue dress, and Peter Pan would not be Peter Pan without his feathered cap and tights!

Well, no such beast was Frozen. While we definitely identified "hero" costumes for our lead characters, the narrative required many, many more costume changes than what is typical for an animated film. Between the sheer number of costumes and the complexity of them (we're talking layers of petticoats, pantaloons, tights, gloves, hats, etc) Frozen is probably the most clothed animated film of all time.



The costumes in this film kind of have a life of their own. Whenever possible, they tell a visual story that supports the narrative. The cut, color and detail work on every piece of clothing is designed the way it is for a reason. Anna begins with a bright yellow palette, and she stays in the warm greens throughout the entire time she is growing up. When you meet her as an adult for the first time, she is back in that yellow - the same tenacious girl you met as a five year old.



Elsa, on the other hand, changes rather drastically. You meet her in her pale blue nightgown, and her palette gradually gets deeper and darker as she grows up and closes herself off from the world. Her sleeves get longer and she puts on gloves so that her skin is no longer exposed at all. Even her hairstyles evolve to be more tight and binding.



As adults, the girls are still costumed to reinforce their personality. Elsa's coronation gown is regal and restrictive, while Anna's coronation gown has inverted pleats for happy, hopeful twirling. Since the coronation is such a formal event, it seemed only fitting that Anna's hair be in an updo. To keep her playful, though, we added ribbons to her hair so that she could have a lot of great secondary motion. That same idea of added secondary motion on Anna is present in her traveling cape, where we added pompoms to the seams of the heavy wool fabric that (along with her rosemaling) reinforce her playfulness.



The bulk of my contribution to Frozen was definitely in the costume department. I ran the gamut from working on the sisters, clothing the King and Queen, and dressing the royal guard to refining Oaken's fabulous sweater/suspender combo and figuring out what troll clothing looks like I tell you, I will never look at a lining the same way again!





It was actually a little bittersweet to work on the costuming for this film because I frequently realized that while a lot of these clothes would be made into real-life costumes for children, there was slim to no chance that they would ever be manufactured for adults. Like myself. Anna's boots?! Come on.

Прошлые посты [x] [x] [x]

@темы: Эльза, Анна, Арт, Спасибо интернету за наше счастливое детство

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[Серпентария]

А тут пару раз проскальзывала мысль, чтоб пойти на ФБ...

Если кто надумает собрать, то вот на Инсайде предварительный пост набора команд.

@темы: И прочая, и прочая

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Аннушка

[Настасья Филипповна 2.0]

Большая картинка. Но очень прекрасная

@темы: Анна, Спасибо интернету за наше счастливое детство

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[Urania]

[х]

@темы: Анна, Арт, Филиал тумблера, Спасибо интернету за наше счастливое детство

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Рок-кавер

[Настасья Филипповна 2.0]

@темы: Аудио, Спасибо интернету за наше счастливое детство

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Brittney Lee - Frozen - Elsa and Her Ice Palace

[Urania]

Художница Бриттни Ли про разработку Ледяного дворца

английский текст + большие картинки

I was so lucky to be able to touch many different aspects of the film. This one, though - she is very near and dear to my heart. The more Elsa's character evolved, the more I felt like I was looking in a mirror. While I can (and probably will) go into more detail about the eerie similarities between the lives of the sisters of Arendelle and the Lee sisters, the thing that really hit home for me immediately was this: Elsa is an artist. She expresses herself through creation.

Well, hey! I know that girl.

This characteristic presented an interesting problem. Not only did we need to design Elsa and the world around her, but we needed to design what she would design. Just like her character, this visual language evolved over time, eventually settling on a lyrical rosemaling-inspired treatment for her magic and a sharp-yet-delicate snowflake-inspired treatment for her final creations. I had the great pleasure of working on the interior of the Ice Palace, where a few of these principles went into play.

These are a few of the pieces I did while working on the palace - This first one was done before we figured out the rules of Elsa's design language. It is ethereal for sure, but not quite right for her.



The rest of these pieces actually reflect the final design. The snowflake was the key to this world: once we started to base the design around her snowflake (specifically the one on the floor) , the palace was able to grow like snow/ice crystals around her.

@темы: Эльза, Арт, Спасибо интернету за наше счастливое детство

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Brittney Lee - Frozen - Elsa

[Urania]

Художница Бриттни Ли про разработку образа Эльзы

английский текст + картинки

I'm an Ariel girl. That really isn't news to anyone who has frequented this blog, but if you are a new visitor - there you go! The Little Mermaid landed on my lap when I was very small and deeply and profoundly changed me. Everything about her was everything that I wanted to grow up to be, and it thoroughly annoyed me for most of my life that I did not have luscious red locks with anti-gravity bangs. Or fins.

And then Elsa. When I initially started working on Frozen, Elsa was a very different character. She was moody, more jealous, and the only part of her that I could really relate to was the fact that she was an older sister. The more the story team finessed her and her motivations, though, the more I realized that I am more like Elsa than I ever was like Ariel. When you have fancied yourself as a bubbly mermaid for most of your life, the realization that you are actually more of a snow queen kind of hits you like a ton of ice-bricks.



Thus the experience of working with her throughout the making of this film was an extremely personal one. Elsa walks a fine line between being a distant and a sympathetic character, and I wanted to contribute in any way that I possibly could to make sure that audiences would love her and understand her the way that I already did. In a weird way working with her was an exercise in self-preservation.



One of the first assignments I received on Elsa was a redesign of her hair. She had initially been designed with a sharper silhouette, but as her character changed it became apparent that her style needed to be refreshed. We wanted something for her that was more approachable, more romantic, but that still retained some Norwegian ethnicity. Oh, and magical - it would be great if it was magical, too.




After many passes and many meetings spent discussing what hairstyles say about personalities, the above braid emerged as the winner. There is a flame-like quality to it that I loved when put into juxtaposition with her ice-powers. It is fragile but sharp (like she is), and also no-nonsense. Elsa doesn't have time to fuss with her hair - she just freezes it in place and gets on with the show.



And then there is that dress. What I wouldn't give for someone to ice-magic me that dress. Just like Elsa herself, her dress went through many, many iterations until it finally felt right for our girl. When this dress materializes, Elsa is at her most confident. She is open and free after years of controlling and containing all of her emotions. Since costumes should be designed to support the character, this dress needed to be a glorious breathe of relief.




Once we had snow queen Elsa figured out, we had to work backwards to establish who she is when we first meet her. Before her coronation, Elsa holds everything in. She is controlled and contained. Her initial braided bun reflects that, as well as her coronation dress and cape. She is quite literally the pillar of strength that the people of her kingdom need her to be, and yet she is completely closed off from them.



Two years passed from the first time I worked on Elsa until the actual release of the film, and she went through a tremendous amount of changes during that time. I am so happy about where she landed and so honored to have been given the chance to work with her. Ariel still holds a special place in my heart, but if I am honest with myself... I am an Elsa girl.

@темы: Эльза, Арт, Спасибо интернету за наше счастливое детство

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Brittney Lee - Frozen - Rosemaling

[Urania]

Художница Бриттни Ли про норвежские узоры - rosemailing - при разработке Frozen.

английский текст + картинки

Research is a huge part of what we do. Once the team had decided that Frozen would take place in a kingdom that was based on Norway, a group was sent to Norway to gather as much first-hand reference as possible. While there were many things learned on this trip, the one thing that the team came back with that directly affected my work on the show was the art of rosemaling.



Rosemaling is a type of decorative folk-painting that can be seen just about everywhere in Norway - it is used on everything from architecture to clothing. My fantastic art director, Mike Giaimo, (if you don't know who he is, do yourself a favor and look him up!) decided that we needed to develop our own library of rosemaling for Frozen - and that is where I came in!

My first month or so on Frozen was dedicated solely to creating rosemaling for the world of Arendelle. I worked on everything from wallpaper to tapestries (like the ones above) to painted architectural designs to costumes (there will definitely be more on those later). The great thing that we discovered about our rosemaling was that nothing went to waste. We needed so much of it to propagate throughout the film that even if a design didn't get picked in the first round, we ended up using it later.



For costuming, we wanted our rosemaling to reinforce each individual character's personality traits. Anna is bright and bubbly, so her rosemaling is always effervescent and floral. Elsa is poised and refined, so she has long, elegant designs with a hint of crystal-like geometry. Since Kristoff is a bit of an outsider, his patterns are much more geometric and banded, reflecting design elements seen in the clothing of the Saami people of Norway.




The tapestries that hang throughout the castle in Arendelle were a fun challenge. They had to be approached with the design language we established with Arendelle's rosemaling, but with an added element of storytelling. The tapestries below were initially requested as a set of two: one representing Spring and the other representing Winter. Eventually it was decided that we should have all four seasons, so Summer and Fall were added to the mix.

@темы: Эльза, Арт, Спасибо интернету за наше счастливое детство

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[северная пчелка]

22.02.2014 в 13:57

Пишет  птенец бабочки-крылатки:

арт от ASAMESHII

r9kElsa - Fun brigade by ASAMESHII on deviantART



Lady thieves by ASAMESHII on deviantART


powers by ASAMESHII on deviantART


r9kElsa - rules of engagement by ASAMESHII on deviantART


Dark room by ASAMESHII on deviantART


r9kElsa - selfie by ASAMESHII on deviantART


Do the magic! by ASAMESHII on deviantART


beauty fuller by ASAMESHII on deviantART


Snow kiss by ASAMESHII on deviantART


She wants you to tell her it will be okay by ASAMESHII on deviantART


r9kElsa ch. 32 by ASAMESHII on deviantART


On the counter by ASAMESHII on deviantART


Don't piss off the snow queen by ASAMESHII on deviantART


The way she smiles by ASAMESHII on deviantART

@темы: Эльза, Анна, Фемслэш, Арт, Спасибо интернету за наше счастливое детство, Эльзанна