Old cig ad: What to smoke when you’re expecting:

One more M-Day Vintage Ad: a Philip Morris piece from a 1956 Saturday Evening Post celebrating its new packaging by inviting an association between cuddling a newborn and smoking.

There’s a good case to be made for tobacco companies as the original sinners of corporatism, with their development of this kind of advertising, not to mention their key contributions to self-serving junk science. There’s a (dotted, convoluted) line joining up the MMR scare, climate denialism, and this industry’s Mad Men, sentimental illustrators, and tame scientists.

In earlier days…

100,000 LED Spheres Flowing Down a Japanese River:





As part of the recent Tokyo Hotaru Festival, 100,000 illuminated blue LEDs were released in the Sumida River. The massive installation of solar-powered spheres was meant to mimic a swarm of fireflies that twisted and bobbed along the river by moonlight. For those of you worried about pollution or safety, the lights were later caught downstream by giant nets. See much more over at Spoon & Tamago. (photos by jeremy v, makure, and ajpscs)

Just look at this banana peel trucker hat (for a banana):

Just look at it. Contributed to the Boing Boing Flickr Pool by BB reader Laser Bread, who explains:.

My kids were grumpy at breakfast this morning, so I had this idea to make a quick banana peel trucker hat for the banana to wear using the peel of the banana. This cheered them up and it made the banana look relatively hip.

How to make:
1 or 2 bananas. One to make the hat, one to model the hat. This could also be made using one banana. Carve the shape of the hat using an x-acto knife. Leave one of the banana peel sides longer, to make the rim of the hat. Most bananas come with a little sticker. Use this sticker to serve as the logo on the hat, if you want your hat to have a logo.

Simple project, takes about 5 minutes yet the memories will last a lifetime.

Beautiful 1919 Poe illustrations by Harry Clarke:

Harry Clarke’s 1919 illustrations for Poe’s “Tales of Mystery and Imagination” are absolutely wonderful, some of the best Poe interpretations this diehard Poefan has seen. 50Watts has them at super-hi-rez, too. Looks like you can buy a 2008 facsimile edition for about $26.

Harry Clarke, Illustrations for E. A. Poe

(via How to Be a Retronaut)

[Aaaaawwww. -egg]
Joss Whedon on his success:
A beautiful note from Joss Whedon to the world, his admirers, and his past self, explaining what it feels like to have directed a movie that broke all box-office records for opening weekend:

What doesn’t change is anything that matters. What doesn’t change is that I’ve had the smartest, most loyal, most passionate, most articulate group of — I’m not even gonna say fans. I’m going with “peeps” — that any cult oddity such as my bad self could have dreamt of. When almost no one was watching, when people probably should have STOPPED watching, I’ve had three constants: my family and friends, my collaborators (often the same), and y’all. A lot of stories have come out about my “dark years”, and how I’m “unrecognized”… I love these stories, because they make me seem super-important, but I have never felt the darkness (and I’m ALL about my darkness) that they described. Because I have so much. I have people, in my life, on this site, in places I’ve yet to discover, that always made me feel the truth of success: an artist and an audience communicating. Communicating to the point of collaborating. I’ve thought, “maybe I’m over; maybe I’ve said my piece”. But never with fear. Never with rancor. Because of y’all. Because you knew me when. If you think topping a box office record compares with someone telling you your work helped them through a rough time, you’re probably new here. (For the record, and despite my inhuman distance from the joy-joy of it: topping a box office record is super-dope. I’m an alien, not a robot.) So this is me, saying thank you. All of you. You’ve taken as much guff for loving my work as I have for over-writing it, and you deserve, in this our time of streaming into the main, to crow. To glow. To crow and go “I told you so”, to those Joe Blows not in the know. (LAST time I hire Dr. Seuss to punch my posts up. Yeesh!) Point being, you deserve some honor, AND you deserves some FAQs answered. So please welcome my old friend and certainly not-on-my-payroll reporter/flunky, Rutherford D. Actualperson!

The Purple.

(via Making Light)

(Image: Joss Whedon, a Creative Commons Attribution Share-Alike (2.0) image from 35266893@N08’s photostream)

[Demoscene is alive and well 🙂 -egg]

4kb of code generated this amazing video:

And Akronyme Analogiker wrote the code. [Creative Applications]

Turning kids’ art into plush toys:

Wendy Tsao will take your child’s drawing and turn it into a plush toy. Her gallery of work is amazing.

Child’s Own Studio (Via Twisted Sifter)

Joss Whedon on his success:
A beautiful note from Joss Whedon to the world, his admirers, and his past self, explaining what it feels like to have directed a movie that broke all box-office records for opening weekend:

What doesn’t change is anything that matters. What doesn’t change is that I’ve had the smartest, most loyal, most passionate, most articulate group of — I’m not even gonna say fans. I’m going with “peeps” — that any cult oddity such as my bad self could have dreamt of. When almost no one was watching, when people probably should have STOPPED watching, I’ve had three constants: my family and friends, my collaborators (often the same), and y’all. A lot of stories have come out about my “dark years”, and how I’m “unrecognized”… I love these stories, because they make me seem super-important, but I have never felt the darkness (and I’m ALL about my darkness) that they described. Because I have so much. I have people, in my life, on this site, in places I’ve yet to discover, that always made me feel the truth of success: an artist and an audience communicating. Communicating to the point of collaborating. I’ve thought, “maybe I’m over; maybe I’ve said my piece”. But never with fear. Never with rancor. Because of y’all. Because you knew me when. If you think topping a box office record compares with someone telling you your work helped them through a rough time, you’re probably new here. (For the record, and despite my inhuman distance from the joy-joy of it: topping a box office record is super-dope. I’m an alien, not a robot.) So this is me, saying thank you. All of you. You’ve taken as much guff for loving my work as I have for over-writing it, and you deserve, in this our time of streaming into the main, to crow. To glow. To crow and go “I told you so”, to those Joe Blows not in the know. (LAST time I hire Dr. Seuss to punch my posts up. Yeesh!) Point being, you deserve some honor, AND you deserves some FAQs answered. So please welcome my old friend and certainly not-on-my-payroll reporter/flunky, Rutherford D. Actualperson!

The Purple.

(via Making Light)

(Image: Joss Whedon, a Creative Commons Attribution Share-Alike (2.0) image from 35266893@N08’s photostream)

Using Super Mario to explain the internal logic of Gothic manuscript illuminations:

Carl Pyrdum’s 2010 essay on the internal logic of Gothic manuscript illuminations uses a delightful series of illustrations and sprites from Super Mario Brothers. History at its finest:

If you look carefully (the image above–and all the images in this post–should expand if you click it), you can see that the two initial capitals on the page form separate platforms, not quite touching. The uppermost capital provides support for two vine-like borders, one growing upward and another that downward toward the lower capital. And the vines in turn provide support for little birds who sit atop them.

If it turns out that the hound can leap, too, the rabbit still might be able to get away if he can convince Mario to give up one of his precious oak leaves. Flying creatures are allowed to ascend into the open white space of the medieval manuscript page, as this moth is doing in the top left margin of this very same page:

The poor insect enthusiast beneath can only gaze up wistfully at the moth, unable to get any higher on the page because he’s run out of platforms.

Now, this attention to gravity is a general tendency, not an ironclad rule. If you poke around Gothic manuscripts long enough you’ll find many exceptions, but probably a lot fewer than you might expect. In fact, I’ve found that the fancier the manuscript, the more consistently its artists tend to respect gravity’s role on the page. Deluxe manuscripts like the Yale Lancelot or the Bodleian Alexander are scrupulous about making sure everything is resting on something that’s attached to something that’s attached back to one of the anchor points. In fact, the better manuscripts purposefully play with the expectation of downward gravity, creating elaborate and fanciful connections between the objects on the page. Next time I get around to this subject, I’ll try to show you some of my favorite examples.

Gravity in the Margins (Mmm… Marginalia #55)

(via Making Light)