asadream

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I am so serious when I say if you want to learn about light, you NEED to at least look at modeseven’s tutorials. even if you’re not pursuing a painterly style, this is all essential theory that can be easily adapted to different coloring styles. notice how none of these ever say ‘light with these colors and shade with these colors’? notice how this is teaching how light works on a mechanical level, and reminding the audience to adjust the actual colors they choose by context? THAT is good advice.

(if you’re thinking ‘wow I want to study more of this persons art!’ I encourage you to do so, but proceed with the knowledge that modeseven draws pretty much exclusively weird as hell kink art. sometimes wisdom comes from horny places)

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Fans of Avatar: The Last Airbender might like this one.

This is a proof of concept earthbender fight scene. It just goes to show what great fight choreography and a few special effects can do.

The actress is Diana Tsoy.

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A glorious fuck-ton of perspective angle references (per request).

[From various sources.]

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the minute y’all let men tell you “intersectionality” meant “feminism needs to stop focusing on the female sex class and talk about these other issues instead first” it was over

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- Society is sucking on your dick. And since I got the pussy I’M the bitch?

- Only exes that I care about are in my fucking chromosomes.

- I’m tired and angry but somebody should be.

- I wear my vag as a badge of honor.

- I’m a motherfucking woman!

WOMAN ALMIGHTY

Inspired by “Nightmare” by Halsey. An unapologetic playlist containing women positivity, women empowerment, and that is a “fuck you” to the restricting expectations enforced on women. A journey from rock to pop to alternative female artists. Sounds best when listening in order with shuffle off.

◇◇◇◇◇◇◇◇◇◇◇◇◇◇◇

♀🖕🏻🖕🏼🖕🏽🖕🏾🖕🏿♀

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Temuera Morrison as the original voice of Chief Tui, Moana's father in Moana (2016)

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Delete later WIPs

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obsessed

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JESSICA RABBIT in WHO FRAMED ROGER RABBIT (1988) dir. Robert Zemeckis

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Let me bring your attention to the new CBS TV show 'The Equalizer' starring Queen Latifah.

It's about a former CIA agent and all around badass Robyn McCall, who left the agency after being lied to about what she was working on (details unclear) and starts out to instead help those who can't call the cops. New York City has a new avenging guardian angel and she's amazing.

And yes, it's a familiar story. We've all watched that story before. It's Burn Notice. It's the first season of Person of Interest. And yeah, it's a remake of the 1980's TV show The Equalizer.

But just so we're clear from the get-go. This show is SO MUCH FUN.

It's interesting. It's got good action. It's got GREAT acting and nice writing. And what more could you want?

Also part of the team is Liza Lapira as Melody Bayani, a former Air Force sniper, now bar owner who used to work with Robyn when they were in the service.

And Melody's hacker husband Harry. He's the fun nerd (and as far as FBI is currently aware, dead). Melody and him are absolutely adorable.

Robyn also has a teenage daughter with whom she has a very loving if somewhat rocky relationship because of the absences caused by having been a CIA spook. And Robyn's Aunt Vi who's played by Lorraine Toussaint (because this show clearly loves me).

And if all that isn't enough to convince you to give this show a shot. Do it for SPITE. Do it in the name of sticking it to the assholes on the comments section of YouTube who for some reason can't comprehend how Queen Latifah is actually just as believable in the role of someone who can beat up bad guys as Denzel Washington (who is basically the same body type as her, and was actually eight years older when he first starred in his own remake of The Equalizer than she is now).

So just, do yourself a favor and check out the show.

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Human screentime of Disney PoC characters in 3 of the last 6 PoC-lead WDAS films

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Okay, I don’t know how true this is - but this is huge fucking news.

I’ve been saying this for a while now, but Disney, Amazon and co. are trying to return to the studio system of the old Hollywood days that got - rightly - discontinued in the 1960s. Those were the days when each studio owned their own cinemas that could only stream their movies, where they owned actors who could only play in their movies (unless hired out by others) - and that led to people like Judy Garland, Marilyn Monroe etc. literally being owned by studios that fed them non stop pills and driven to overdose.

That’s the end point. That’s not the point we’re at now. But you’ll notice that in the last 3 or 4 years, every major production company now has a streaming platform. Much like up until the late 1960s in America, you can only see movies on company-owned platforms. This, with Johansson, is a huge step further - the largest production company in the world - who breached contract, not the other way around - are now essentially blacklisting Johansson from working with them for speaking out against them. Sure, this isn’t a blacklist on the level of the red and lavender scares - but if they can do this to Johansson, the biggest actor in the world, it sets a huge fucking precedent for blacklisting anybody who stands up for workers’ rights.

It also sees Disney - and other companies will follow suit, as they always do - moving a step closer to owning their stars. What Disney is trying to say is that Disney and Johansson are not equal partners in the contract, but that Disney has the ultimate say over everything. This idea that the contract is a formality is absolutely fucked, because it means that artists have no rights under the corporations, and if they want to continue to work they have to obey. Nobody is signing exclusive contracts yet, but you bet this is reverting to Judy Garland times. 

We are not going forwards. The movie industry is going backwards to the days of Louis B. Mayer (and it’s capitalism’s fault) and we all need to boost the fuck out of this. The courts will handle the Disney case - but we must support ScarJo (I say as very much a non ScarJo fan) and make sure that she continues to have a career after this, to set the precedent that audiences will not stand for future blacklisting.

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#Condola Rashad #Hieroglyph tv series

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I made a video about everything culturally right and wrong with Mulan 1998!

What you can expect from this video:

PS when I first liveblogged this movie on Twitter, two actual artists who worked on Mulan showed up and added their commentary!

(all included on screen in the video!)

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Director Brad Bird opted to give the film’s animators portions to animate entirely, rather than the standard process of animating one character, in a throwback to the way Disney’s first features were created. The exception were those responsible for creating the Giant himself, who was created using computer-generated imagery due to the difficulty of creating a metal object “in a fluid-like manner.” They had additional trouble with using the computer model to express emotion. The Giant was designed by filmmaker Joe Johnston, which was refined by production designer Mark Whiting and Steve Markowski, head animator for the Giant. Using software, the team would animate the Giant “on twos” (every other frame, or twelve frames per second) when interacting with other characters, to make it less obvious it was a computer model. Bird brought in students from CalArts to assist in minor animation work due to the film’s busy schedule. He made sure to spread out the work on scenes between experienced and younger animators, noting, “You overburden your strongest people and underburden the others [if you let your top talent monopolize the best assignments].“ Hiroki Itokazu designed all of the film’s CGI props and vehicles, which were created in a variety of software, including Alias Systems Corporation’s Maya, Alias’ PowerAnimator, a modified version of Pixar’s RenderMan, Softimage Creative Environment, Cambridge Animation’s Animo (now part of Toon Boom Technologies), Avid Elastic Reality, and Adobe Photoshop.

The art of Norman Rockwell, Edward Hopper and N.C. Wyeth inspired the design. Whiting strove for colors both evocative of the time period in which the film is set and also representative of its emotional tone; for example, Hogarth’s room is designed to reflect his "youth and sense of wonder." That was blended with a style reminiscent of 1950s illustration. Animators studied Chuck Jones, Hank Ketcham, Al Hirschfeld and Disney films from that era, such as 101 Dalmatians, for inspiration in the film’s animation.

The Iron Giant (1999), dir. Brad Bird

— Cinematography by Steven Wilzbach

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absolutely fascinated by this raw pixels on an emulator vs how the game was actually supposed to look on old tvs twitter

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great mouse detective saving disney animation studio’s ass is so fucking funny imagine being the executives of that branch of the studio and you’re being threatened with closure after black cauldron got the shit beaten out of it by the motherfucking care bears movie and you go to the creative team (the only ones who actually care about making good shit) and you’re like “okay guys we need a HUGE hit to save us, what have you got” and they’re like “mouse sherlock holmes with a striptease scene. vincent price is here,”