![]() ![]() In addition to the I Heart Revolution x Disney The Little Mermaid Storybook Palette, the Ariel Collection also includes a pretty heart shaped highlighter and a lip gloss too, and they’re all available right here.īUY HERE: Revolution US / Revolution UK All images belong to Revolution. I think the shades within this palette are my favourite from the four Princess palettes, and they look like they’d all work nicely as eyeshadows, blushers or highlighters depending on your skintone. ![]() I love the look of the face powders within the I Heart Revolution x Disney The Little Mermaid Storybook Palette. Flotsom (think they made a typo on this – it should be Flotsam).The I Heart Revolution Collaboration Palette features the following face powders The I Heart Revolution x Disney The Little Mermaid Storybook Palette is £15, just like the other three other Storybook palettes, and features six large face powder pans, and eighteen powder shadows, all of which are inspired by The Little Mermaid film.Īll of the Storybook palettes have cardboard packaging, which has been designed to look like a bound book, and it’s so beautifully presented, especially if you own the other ‘books’ as they have their names printed in gold on the ‘spine’ just like a real book. ![]() On the other page, you’ll find three matte blushers in light pink, peach and rose, and three shimmer highlighters in champagne silver, bronze, and pearl pink.“ Open to reveal a page of matte and shimmer eyeshadows from gorgeous golds to mermaid reds and deep sea blues. The I Heart Revolution x Disney Fairytale Palette Ariel is an all-in-one face and eye palette that has been inspired by the Disney classic collectible fairytale books. “ Get Ariels ‘heart of the sea’ look with the I Heart Revolution and Disney Ariel collection, featuring a fairytale book palette (starring 18 eyeshadows, 3 matte blushers and 3 highlighters), a shimmer lip topper and a heart-shaped powder highlighter. I Heart Revolution x Disney The Little Mermaid Storybook Palette ![]() I Heart Revolution already have a Cinderella, Beauty and the Beast, and The Princess and the Frog collections, and now we have The Little Mermaid too. To further problematize this scenario, imagine the Herculean task of an artist attempting to give visual voice to the memories of a sightless narrator.The I Heart Revolution x Disney The Little Mermaid Storybook Palette has been unveiled as one of three products which have launched today as part of the Ariel Disney Princess Collection. What then? What becomes of the narrative of memory? It might pose a daunting task for such a narrator to guide us through his/her experiences. Buy a discounted Hardcover of The Mirror and the Palette online from Australias leading online bookstore. But what happens if this process of seeing and remembering is radically interrupted? What becomes of memory if that primal sense-vision and its wide-ranging implications informations-is removed from embodied experience or extracted from our stories and language and backed out entirely as a perceptive power. Booktopia has The Mirror and the Palette, Rebellion, Revolution and Resilience: 500 Years of Womens Self-Portraits by Jennifer Higgie. Sight largely provides the narrative link to fuel our power of speech as well as our ability to take in that of those around us, whether in a face-to-face encounter or a mediated experience. When we recollect past experiences, we tell tales, recount incidents, and share information based on what our eyes tell us. As a consequence the afx mingle with and shift the content of representations. Digital afx are present when two competing aesthetic strategies remain equally visible within sequences of images. The term ‘digital afx’ is used to describe manipulations that produce imagery allowing these two modes of engagement to coexist. The second is understood as an intensification whereby a viewer reacts but that reaction is not yet gathered into an alignment with meaning. One mode is embedded in a meaning system, linked to a specific emotion. Brian Massumi suggests affective imagery can operate through two modes of engagement. Framing a discussion around the terms ‘affect’ and ‘emotion’, this paper argues that the digital technologies used in Sin City and 300 modify conventional interactions between representational and aesthetic dimensions. In Sin City (Robert Rodriguez, 2005) and 300 (Zack Snyder, 2006) extensive post-production work has created stylised colour palettes, manipulated areas of the image, and added or subtracted elements. ![]()
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