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every thing is ideal

The ide­al is inher­ent in all things. There is an under­stood idea embed­ded with­in any tan­gi­ble object. 
Sharp­ened met­al becomes the knife. Sewn leathers become a Pra­da bag.

It was the Alchemist’s meta­phys­i­cal mis­sion to trans­mute these base mate­ri­als into gold. To refine a rough object and pol­ish out its valu­able core, tak­ing that gold and then ele­vat­ing it to a greater poten­tial.
To make the ordi­nary, extra-ordinary.

For brand­ed com­modi­ties and ser­vices, the alchem­i­cal dri­ve is still rel­e­vant. To dis­cov­er core qual­i­ties and ideas, then take these often pri­mal essen­tial ener­gies and artic­u­late them into some­thing tangible.

The ele­ments that devel­op from this cre­ative caul­dron are not just sim­ple objects though, but awe­some arti­facts that invoke the impos­si­ble. Through the process­es of cre­ative strat­e­gy, brand devel­op­ment, and oth­er visu­al cul­tures. The thing, the object, the arti­fact, the com­mod­i­ty, the brand! It becomes the homun­culi beast that con­tin­ues to grow and become some­thing more dynam­ic; a cen­ter of val­ue greater than the sum of its parts.

Trans­mu­ta­tion. Syn­er­gy. 1+1= π

Lan­guage — Composition/Rhetoric — Literature

Ideas — Poetry

Mon­stres & Story

musings

Papers

Reading Lists

Narrative / Sequential Arts

  • The Art of Dra­mat­ic Writ­ing, Egri
  • The Mak­ing of a Sto­ry, LaPlante
  • Screen­play, Syd Field
  • Screen­play, Russin
  • Sto­ry, Robert McKee
  • The Writer’s Jour­ney, Vogler
  • Save the Cat!, Snyder
  • Back­wards & For­wards, Ball
  • Sto­ry Struc­ture Archi­tect, Vic­to­ria Schmidt
  • Under­stand­ing Comics, Scott McCloud
  • Mak­ing Comics, Scott McCloud
  • Screen­writ­ing, The Sequence Approach, Gulino

Humanities

  • Sex­u­al Per­son­ae, Paglia
  • Glit­ter­ing Images, Paglia
  • The Gold­en Bough, Frazer
  • The Hero with A Thou­sand Faces, Campbell
  • On Writ­ing, Stephen King
  • The Inter­pre­ta­tion of Dreams, Freud
  • The Nude, Clark
  • The Uses of Enchant­ment, the Mean­ing and Impor­tance of Fairy Tales, Bettelheim
  • The Prince, Machiavelli
  • Zen in the Art of Archery, Herrigel
  • The Art of War, Sun Tzu

Cinema and Directing

  • The Com­mand to Looks, William Mortenson
  • The Five C’s of Cin­e­matog­ra­phy, Mascelli
  • The Visu­al Sto­ry, Block
  • Shot by Shot, Katz
  • Cin­e­mat­ic Motion, Katz
  • Light­ing for Tele­vi­sion & Film, Millerson
  • The Aes­thet­ics and Psy­chol­o­gy of the Cin­e­ma, Mitry
  • Direct­ing, Film Tech­nique and Aes­thet­ics, rabiger
  • On Film-Mak­ing, Mackendrick
  • The­atre The­o­ry The­atre, Gerould

Dance, Drama, and Music

  • The Mak­ing of Dances, Humphrey
  • The Dance Tech­nique of Lester Hor­ton, Perces
  • Bal­let Tech­nique for the Male Dancer, Tarasov
  • Char­ac­ter Dance, Pagels
  • Basic Prin­ci­ples of Clas­si­cal Bal­let, Vaganova
  • Clas­si­cal Bal­let Tech­nique, Warren
  • 45 Mas­ter char­ac­ters, Schmidt
  • The Pow­er of the Actor, Chubbuck
  • Tune­smith, Jim­my Webb
  • Dance and Music, Cavalli
  • The Upright Cit­i­zen’s Brigade Com­e­dy Impro­vi­sa­tion Manual
  • A Source Book of The­atri­cal His­to­ry, Nagler
  • Act­ing, Boleslavsky
  • Audi­tion, Shurtleff
  • A Chal­lenge for the Actor, Hagen
  • To the Actor, on the tech­nique of act­ing, Chekhov
  • The Crafts­men of Diony­sus, Rockwood
  • Speak the Speech, Silverbush
  • The Per­fect Mono­logue, Friedman

Literature

  • Drac­u­la, Bram Stoker
  • The Epic of Gilgamesh
  • Let­ters to a Young Poet, Rilke
  • The Rubaiy­at, Khayyem/ Fitzgerald
  • The Great Gats­by, Fitzgerald
  • Tartuffe, Moliere
  • Pas­toralia, Saunders
  • Brave New World, Huxley
  • The Waste­land, Eliot
  • Sto­ries, Kather­ine Mansfield
  • A Hand­ful of Dust, Waugh