Software Used by Hayao Miyazaki’s Animation Studio Is Now Officially Ready to Download


FYI: Ear­ly last week, Col­in Mar­shall gave you a heads up that Stu­dio Ghi­b­li, the ani­ma­tion stu­dio behind Hayao Miyazaki’s My Neigh­bor Totoro, Princess Mononoke, and Spir­it­ed Away, was prepar­ing to release an open source ver­sion of the ani­ma­tion soft­ware used to cre­ate its films. This week­end, the software–called OpenToonz–officially became avail­able for down­load. And we can now tell you where to find it. Open­Toonz is avail­able on Github, in ver­sions made for both Win­dow and OSX. This link will jump you straight to the down­load area.

If you make any­thing great with it, please share it with us.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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Google Makes Its $149 Photo Editing Software Now Completely Free to Download

nik software

Google’s Nik Col­lec­tion, a pho­to edit­ing soft­ware pack­age designed for pro­fes­sion­al pho­tog­ra­phers, once retailed for $149. Today it’s absolute­ly free to down­load, for both Win­dows and Mac users.

Here you can read Google’s announce­ment, which includes more infor­ma­tion on the soft­ware pack­age and its capa­bil­i­ties.

Today we’re mak­ing the Nik Col­lec­tion avail­able to every­one, for free.

Pho­to enthu­si­asts all over the world use the Nik Col­lec­tion to get the best out of their images every day. As we con­tin­ue to focus our long-term invest­ments in build­ing incred­i­ble pho­to edit­ing tools for mobile, includ­ing Google Pho­tos and Snapseed, we’ve decid­ed to make the Nik Col­lec­tion desk­top suite avail­able for free, so that now any­one can use it.

The Nik Col­lec­tion is com­prised of sev­en desk­top plug-ins that pro­vide a pow­er­ful range of pho­to edit­ing capa­bil­i­ties — from fil­ter appli­ca­tions that improve col­or cor­rec­tion, to retouch­ing and cre­ative effects, to image sharp­en­ing that brings out all the hid­den details, to the abil­i­ty to make adjust­ments to the col­or and tonal­i­ty of images.

Start­ing March 24, 2016, the lat­est Nik Col­lec­tion will be freely avail­able to down­load: Ana­log Efex Pro, Col­or Efex Pro, Sil­ver Efex Pro, Viveza, HDR Efex Pro, Sharp­en­er Pro and Dfine. If you pur­chased the Nik Col­lec­tion in 2016, you will receive a full refund, which we’ll auto­mat­i­cal­ly issue back to you in the com­ing days.

We’re excit­ed to bring the pow­er­ful pho­to edit­ing tools once only used by pro­fes­sion­als to even more peo­ple now.

Once you’ve down­loaded the soft­ware, head over to the Nik Col­lec­tion chan­nel on YouTube where you’ll find video tuto­ri­als, includ­ing the one below called “Intro­duc­tion to the Nik Com­plete Col­lec­tion.” It’s a good place to start.

PS: Some read­ers have asked whether this soft­ware can work as a stand­alone pro­gram, or whether it needs to run with a pro­gram like Pho­to­shop. Here’s what PC Mag­a­zine has to say about that:  “Though you can run the sev­en dif­fer­ent plu­g­ins in the col­lec­tion as stand­alone prod­ucts, they tend to work bet­ter when you inte­grate them into an exist­ing image edit­ing pro­gram, like Adobe’s Pho­to­Shop. ‘(On Win­dows) You can make short­cuts to the indi­vid­ual .exe files on your desk­top and then just drag stacks of images onto them,’ sug­gest­ed one Google+ user.” In short, you have some options.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Muse­um of Mod­ern Art (MoMA) Launch­es Free Course on Look­ing at Pho­tographs as Art

Soft­ware Used by Hayao Miyazaki’s Ani­ma­tion Stu­dio Becomes Open Source & Free to Down­load

Down­load Free NASA Soft­ware and Help Pro­tect the Earth from Aster­oids!

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Sci-Fi Author J.G. Ballard Predicts the Rise of Social Media (1977)

Ballard Vogue

Say you were a fan of Steven Spielberg’s mov­ing com­ing-of-age dra­ma Empire of the Sun, set in a Japan­ese intern­ment camp dur­ing World War II and star­ring a young Chris­t­ian Bale. Say you read the auto­bi­o­graph­i­cal nov­el on which that film is based, writ­ten by one J.G. Bal­lard. Say you enjoyed it so much, you decid­ed to read more of the author’s work, like, say, 1973’s Crash, a nov­el about peo­ple who devel­op a sex­u­al fetish around wounds sus­tained in staged auto­mo­bile acci­dents. Or you pick up its pre­de­ces­sor, The Atroc­i­ty Exhi­bi­tion, a book William S. Bur­roughs described as stir­ring “sex­u­al depths untouched by the hard­est-core illus­trat­ed porn.” Or per­haps you stum­ble upon Con­crete Island, a warped take on Defoe that strands a wealthy archi­tect and his Jaguar on a high­way inter­sec­tion.

You may expe­ri­ence some dis­so­nance. Who was this Bal­lard? A real­ist chron­i­cler of 20th cen­tu­ry hor­rors; per­verse explor­er of—in Bur­roughs’ words—“the non­sex­u­al roots of sex­u­al­i­ty”; sci-fi satirist of the bleak post-indus­tri­al waste­lands of moder­ni­ty? He was all of these, and more. Bal­lard was a bril­liant futur­ist and his dystopi­an nov­els and short sto­ries antic­i­pat­ed the 80s cyber­punk of William Gib­son, explor­ing with a twist­ed sense of humor what Jean Lyotard famous­ly dubbed in 1979 The Post­mod­ern Con­di­tion: a state of ide­o­log­i­cal, sci­en­tif­ic, per­son­al, and social dis­in­te­gra­tion under the reign of a tech­no­crat­ic, hyper­cap­i­tal­ist, “com­put­er­ized soci­ety.” Bal­lard had his own term for it: “media land­scape,” and his dark visions of the future often cor­re­spond to the vir­tu­al world we inhab­it today.

In addi­tion to his fic­tion­al cre­ations, Bal­lard made sev­er­al dis­turbing­ly accu­rate pre­dic­tions in inter­views he gave over the decades (col­lect­ed in a book titled Extreme Metaphors). In 1987—with the film adap­ta­tion of Empire of the Sun just on the hori­zon and “his most extreme work Crash re-released in the USA to warmer reac­tion,” he gave an inter­view to I‑D mag­a­zine in which he pre­dict­ed the inter­net as “invis­i­ble streams of data puls­ing down lines to pro­duce an invis­i­ble loom of world com­merce and infor­ma­tion.” This may not seem espe­cial­ly pre­scient (see, for exam­ple, E.M. Forster’s 1909 “The Machine Stops” for a chill­ing futur­is­tic sce­nario much fur­ther ahead of its time). But Bal­lard went on to describe in detail the rise of the Youtube celebri­ty:

Every home will be trans­formed into its own TV stu­dio. We’ll all be simul­ta­ne­ous­ly actor, direc­tor and screen­writer in our own soap opera. Peo­ple will start screen­ing them­selves. They will become their own TV pro­grammes.

The themes of celebri­ty obses­sion and tech­no­log­i­cal­ly con­struct­ed real­i­ties res­onate in almost all of Ballard’s work and thought, and ten years ear­li­er, in an essay for Vogue, he described in detail the spread of social media and its total­iz­ing effects on our lives. In the tech­no­log­i­cal future, he wrote, “each of us will be both star and sup­port­ing play­er.”

Every one of our actions dur­ing the day, across the entire spec­trum of domes­tic life, will be instant­ly record­ed on video-tape. In the evening we will sit back to scan the rush­es, select­ed by a com­put­er trained to pick out only our best pro­files, our wit­ti­est dia­logue, our most affect­ing expres­sions filmed through the kind­est fil­ters, and then stitch these togeth­er into a height­ened re-enact­ment of the day. Regard­less of our place in the fam­i­ly peck­ing order, each of us with­in the pri­va­cy of our own rooms will be the star in a con­tin­u­al­ly unfold­ing domes­tic saga, with par­ents, hus­bands, wives and chil­dren demot­ed to an appro­pri­ate sup­port­ing role.

Though Bal­lard thought in terms of film and television—and though we our­selves play the role of the select­ing com­put­er in his scenario—this descrip­tion almost per­fect­ly cap­tures the behav­ior of the aver­age user of Face­book, Insta­gram, etc. (See Bal­lard in the inter­view clip above dis­cuss fur­ther “the pos­si­bil­i­ties of gen­uine­ly inter­ac­tive vir­tu­al real­i­ty” and his the­o­ry of the 50s as the “blue­print” of mod­ern tech­no­log­i­cal cul­ture and the “sub­ur­ban­iza­tion” of real­i­ty.) In addi­tion to the Vogue essay, Bal­lard wrote a 1977 short sto­ry called “The Inten­sive Care Unit,” in which—writes the site Bal­lar­dian—“ordi­nances are in place to pre­vent peo­ple from meet­ing in per­son. All inter­ac­tion is medi­at­ed through per­son­al cam­eras and TV screens.”

So what did Bal­lard, who died in 2009, think of the post-inter­net world he lived to see and expe­ri­ence? He dis­cussed the sub­ject in 2003 in an inter­view with rad­i­cal pub­lish­er V. Vale (who re-issued The Atroc­i­ty Exhi­bi­tion). “Now every­body can doc­u­ment them­selves in a way that was incon­ceiv­able 30, 40, 50 years ago,” Bal­lard notes, “I think this reflects a tremen­dous hunger among peo­ple for ‘reality’—for ordi­nary real­i­ty. It’s very dif­fi­cult to find the ‘real,’ because the envi­ron­ment is total­ly man­u­fac­tured.” Like Jean Bau­drillard, anoth­er pre­scient the­o­rist of post­moder­ni­ty, Bal­lard saw this loss of the “real” com­ing many decades ago. As he told I‑D in 1987, “in the media land­scape it’s almost impos­si­ble to sep­a­rate fact from fic­tion.”

via Buz­zfeed

Relat­ed Con­tent:

In 1964, Arthur C. Clarke Pre­dicts the Inter­net, 3D Print­ers and Trained Mon­key Ser­vants

In 1968, Stan­ley Kubrick Makes Pre­dic­tions for 2001: Human­i­ty Will Con­quer Old Age, Watch 3D TV & Learn Ger­man in 20 Min­utes

Philip K. Dick Makes Off-the-Wall Pre­dic­tions for the Future: Mars Colonies, Alien Virus­es & More (1981)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Download Beautiful Free Vintage Easter Cards from the New York Public Library

NYPL Easter 3

‘Tis the sea­son when bun­nies tem­porar­i­ly upend cats as rulers of the Inter­net.

There are scores of vin­tage snap­shots in which inno­cent chil­dren are pas­sive­ly men­aced by hideous, full body bun­ny cos­tumes—hope­ful­ly an inac­cu­rate reflec­tion of the adults encased there­in…

“Medieval rab­bits that hate East­er and want to kill you”

Some edi­ble DIY fails

And mer­ci­ful­ly, a bit of sweet nos­tal­gia from the New York Pub­lic Library, who is mak­ing its robust col­lec­tion of East­er greet­ings avail­able for free down­load.

NYPL Easter 2
NYPL Easter 1

Each card comes with pub­li­ca­tion infor­ma­tion. Images of the flip sides reveal that the sender often con­sid­ered the pub­lish­ers’ preprint­ed sen­ti­ments cor­re­spon­dence enough. (It’s some­thing of a relief to real­ize that social media did not invent this kind of short­hand.)

NYPL Easter 4

Bun­nies are not the only fruit here… sea­son­al flo­ra and fau­na abound, in addi­tion to more explic­it­ly reli­gious iconog­ra­phy.

NYPL Easter 5
NYPL Easter 6
NYPL Easter 7
NYPL Easter 8

View the entire col­lec­tion here. Down­load as many as you’d like and do with them as you will.

Relat­ed Con­tent:

The New York Pub­lic Library Lets You Down­load 180,000 Images in High Res­o­lu­tion: His­toric Pho­tographs, Maps, Let­ters & More

New York Pub­lic Library Puts 20,000 Hi-Res Maps Online & Makes Them Free to Down­load and Use

Down­load 2,000 Mag­nif­i­cent Turn-of-the-Cen­tu­ry Art Posters, Cour­tesy of the New York Pub­lic Library

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Hayao Miyazaki’s Sketches Showing How to Draw Characters Running: From 1980 Edition of Animation Magazine

Miyazaki Running 4

Ear­li­er this week, we let you know about the ani­ma­tion soft­ware used by Hayao Miyaza­k­i’s Stu­dio Ghi­b­li com­ing out in an open source ver­sion free to down­load. While this makes avail­able to you a piece of the tech­nol­o­gy used in the ser­vice of such mas­ter­pieces as Princess MononokeSpir­it­ed Away, and The Tale of Princess Kaguya, it won’t, alas, get you any clos­er to pos­sess­ing the artis­tic skills of the Ghi­b­li team. To attain those, you’ve just got to engage in the same long, cycli­cal process of obser­va­tion, repli­ca­tion, and refine­ment that you would when mas­ter­ing any­thing.

Miyazaki Running 3

Luck­i­ly, Miyaza­ki has pro­vid­ed plen­ty of exam­ples to work with, and even, now and again in his long career, bro­ken down his tech­niques for all to under­stand. Here we have four of his sketch­es, orig­i­nal­ly pub­lished in a 1980 issue of Ani­ma­tion Mag­a­zine (月刊アニメーション), which pro­vide visu­al expla­na­tions of how to ani­mate a char­ac­ter run­ning — not an uncom­mon task, one imag­ines, for the Ghi­b­li ani­ma­tors in charge of what the Cre­ators Project calls “the con­stant run­ning Miyazaki’s films are known for.” If you’ve ever tried to ani­mate run­ning your­self, you’ll know that what might at first seem like a sim­ple, every­day phys­i­cal action requires a great deal of sub­tle­ty to get right.

Miyazaki Running 1

The ear­ly motion pho­tog­ra­ph­er Ead­weard Muy­bridge gave the world a sense of this when he cap­tured the mechan­ics of both men and hors­es run­ning back in the 1880s, but to take those real-world obser­va­tions and ren­der them con­vinc­ing­ly in ani­ma­tion — much less with the char­ac­ter­is­tic Ghi­b­li smooth­ness — takes things to anoth­er lev­el alto­geth­er. “Only Miyaza­ki man,” said ani­ma­tor LeSean Thomas when he tweet­ed these images. “Such effort­less lines and sil­hou­ettes. Years of hard work & learn­ing on dis­play in these sketch­es!”

Miyazaki Running 2

To those who wish to fol­low Miyaza­k­i’s method of ani­mat­ing run­ning in order to go on to mak­ing the kind of lav­ish cin­e­mat­ic sto­ries he and his col­lab­o­ra­tors have, best of luck; to those who’d rather not put in the decades, well, you can still learn his method of mak­ing instant ramen.

via LeSean Thomas

Relat­ed Con­tent:

Soft­ware Used by Hayao Miyazaki’s Ani­ma­tion Stu­dio Becomes Open Source & Free to Down­load

Watch Hayao Miyaza­ki Ani­mate the Final Shot of His Final Fea­ture Film, The Wind Ris­es

The Essence of Hayao Miyaza­ki Films: A Short Doc­u­men­tary About the Human­i­ty at the Heart of His Ani­ma­tion

How to Make Instant Ramen Com­pli­ments of Japan­ese Ani­ma­tion Direc­tor Hayao Miyaza­ki

Ear­ly Japan­ese Ani­ma­tions: The Ori­gins of Ani­me (1917–1931)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Quentin Tarantino Picks the 12 Best Films of All Time; Watch Two of His Favorites Free Online

Every decade, when the British Film Insti­tute (BFI) announces the out­come of its Sight & Sound Poll of the Great­est Films of All Time, cinephiles lis­ten; no less a seri­ous movie per­son than Roger Ebert called it, among the count­less polls of great movies, “the only one most seri­ous movie peo­ple take seri­ous­ly.” When the BFI con­ducts the poll, it divides those polled into two groups: one for crit­ics like Ebert, and one for direc­tors like, say, Quentin Taran­ti­no, whose thor­ough knowl­edge of cin­e­ma and absolute seri­ous­ness as a movie per­son almost makes him a crit­ic as well, albeit one who does his crit­i­cism in the form of movies.

In the 2002 poll, Taran­ti­no named these as the great­est films of all time:

You can watch two of Taran­ti­no’s 2002 picks, the for­mal­ly exper­i­men­tal caper com­e­dy Hi Did­dle Did­dle as well as His Girl Fri­day, the cap­stone of the screw­ball com­e­dy sub­genre, for free online. Once you’ve enjoyed the both of them, why not have a look at Taran­ti­no’s selec­tions a decade on, for the 2012 Sight & Sound direc­tors poll, to com­pare and con­trast, with the new titles bold­ed:

Taran­ti­no’s 2012 selec­tions reveal a clear increase in appre­ci­a­tion, or at least will­ing­ness to vote his appre­ci­a­tion, for high-pro­file pic­tures of the 1970s — Apoc­a­lypse NowJawsTaxi Dri­verThe Bad News Bears — a decade whose cin­e­ma to which the direc­tor has made no lack of homage. We’ll have to wait six more years, until the 2022 poll, to get a full sense of how Taran­ti­no’s idea of the canon has changed. Will the grim, satir­i­cal, and lurid films of the 70s con­sume most of his list by then? Will he favor a dif­fer­ent era of film his­to­ry entire­ly? I’d only put mon­ey on one thing for sure about the pref­er­ence of this film­mak­er who loves dia­logue even more than vio­lence: His Girl Fri­day isn’t going any­where.

You can find His Girl Fri­day and Hi Did­dle Did­dle on our list, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Quentin Tarantino’s 10 Favorite Films of 2013

Quentin Tarantino’s Top 20 Grindhouse/Exploitation Flicks: Night of the Liv­ing Dead, Hal­loween & More

Quentin Taran­ti­no Lists His 20 Favorite Spaghet­ti West­erns, Start­ing with The Good, the Bad, the Ugly

Quentin Taran­ti­no Lists the 12 Great­est Films of All Time: From Taxi Dri­ver to The Bad News Bears

Quentin Tarantino’s Hand­writ­ten List of the 11 “Great­est Movies”

Quentin Taran­ti­no Lists His Favorite Films Since 1992

Watch His Girl Fri­day, Howard Hawks’ Clas­sic Screw­ball Com­e­dy Star­ring Cary Grant, Free Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

A Young Jim Henson Teaches You How to Make Puppets with Socks, Tennis Balls & Other Household Goods (1969)

By the time he filmed this video archived on Iowa’s Pub­lic Tele­vi­sion’s YouTube chan­nel, Jim Hen­son was just about to strike gold with a new children’s show called Sesame Street. The year was 1969, and he already had 15 years of pup­petry expe­ri­ence under his belt, from children’s shows to com­mer­cials and exper­i­men­tal films.

On the cusp of suc­cess, Hen­son, along with fel­low pup­peteer Don Sahlin (the cre­ator and voice of Rowlf) ven­ture to teach kids how to make a pup­pet out of pret­ty much any­thing you’ll find around the house. Such vision appears easy, but it real­ly shows the genius of Hen­son, as he and Sahlin make char­ac­ters from a ten­nis ball, a mop, a wood­en spoon, a cup, socks, an enve­lope, even pota­toes and pears. (There a lot to be said for the inher­ent com­e­dy of goo­gly eyes, and the impor­tance of fake fur.)

An unknown assis­tant takes some of these pup­pets and brings them to life while Hen­son and part­ner cre­ate more–funny voic­es, per­son­al­i­ties, even a bit of anar­chy are in play. Sur­pris­ing­ly, Ker­mit does not make an appear­ance, although his sock ances­tor does.

The man who saw poten­tial pup­pets in every­thing is in his ele­ment and relaxed. Check it out, smile, and then raid your kitchen for sup­plies for your own pup­pet show. And although Hen­son promis­es a fur­ther episode, it has yet to be found on YouTube, or else­where.

Relat­ed Con­tent:

Watch Twin Beaks, Sesame Street’s Par­o­dy of David Lynch’s Icon­ic TV Show (1990)

Jim Henson’s Ani­mat­ed Film, Lim­bo, the Orga­nized Mind, Pre­sent­ed by John­ny Car­son (1974)

Watch The Sur­re­al 1960s Films and Com­mer­cials of Jim Hen­son

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at and/or watch his films here.

A Hulking 1959 Chevy Bel Air Gets Obliterated by a Mid-Size 2009 Chevy Malibu in a Crash Test

The auto indus­try con­tin­ues to take steps for­ward, some­times big, some­times small. They’re tin­ker­ing with elec­tric and dri­ver­less cars, and they’re find­ing ways to improve the safe­ty of every­day vehi­cles already on the road. How much incre­men­tal progress have we made? Just watch the video pro­duced by the Insur­ance Insti­tute for High­way Safe­ty. A 2009 Chevy Mal­ibu crash­es into a colos­sal 1959 Chevy Bel Air at 40 miles per hour. And despite its “Safe­ty-Gird­er” cru­ci­form frame (a safe­ty inno­va­tion Chevy devel­oped dur­ing the 1950s) the big­ger Bel Air did­n’t fare well at all. The same applies to the dum­my inside.

Here’s how the Insti­tute described what hap­pened to the Bel Air to The New York Times:

This car had no seat belts or air bags. Dum­my move­ment wasn’t well con­trolled, and there was far too much upward and rear­ward move­ment of the steer­ing wheel. The dummy’s head struck the steer­ing wheel rim and hub and then the roof and unpadded met­al instru­ment pan­el to the left of the steer­ing wheel.

Dur­ing rebound, the dummy’s head remained in con­tact with the roof and slid rear­ward and some­what inward. The wind­shield was com­plete­ly dis­lodged from the car and the dri­ver door opened dur­ing the crash, both pre­sent­ing a risk of ejec­tion. In addi­tion, the front bench seat was torn away from the floor on the dri­ver side.

The Bel Air got a “Poor” rat­ing in every safe­ty cat­e­go­ry; the Mal­ibu a “Good.”

Although a lot of Amer­i­ca seems stuck in reverse, car design is one area where we’re mov­ing for­ward, hope­ful­ly with even bet­ter days to come.

via Kot­tke

Relat­ed Con­tent:

178,000 Images Doc­u­ment­ing the His­to­ry of the Car Now Avail­able on a New Stan­ford Web Site

Jack Nichol­son Puts His Star Pow­er Behind “Green” Cars, 1978

Young Robert De Niro Appears in 1969 AMC Car Com­mer­cial

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