#artist is will kimball

[diioonysus]

objects in art: instruments

[mops-of-jones]

(signed with my irl name so had to digitally edit it out if anyone’s wondering why the corner looks a tad weird)

my 3rd ever acrylic painting… n it’s of our boy kimball!!! kitsuragi!!!

strugglin with figurin out how to make the acrylics less streaky :<<

[peachetz]

Random Mentalist sketches

[queen-of-elves]

Disco elysium took over my brain for few days (but I am back on my HOTD bs again)

[precinct57]

C WING MORE LIKE CUNT WING 🎀🪩

ik i said this in the wip post too but inspo for kim’s sleeves come from @dolorianwolf :D! yay!

[itkillsmeitbringsmelife]

An attempt at The Mentalist characters (some were more rushed than others as you can tell) Anyway Lisbon is my favorite drawing

[savage-kult-of-gorthaur]

PINKIE THE PINKO-COMMUNIST-AGITATOR.

PIC(S) INFO: "Sarah Barrett Moulton: Pinkie" -- Altered painting by Kimball, based on an original by Sir Thomas Lawrence (British, 1769-1830). Lawrence painted this masterpiece in 1794, Ward Kimball transformed the subject into a militant communist activist. At the time, "Pinko" was a pejorative aimed at those who were left of center politically.

PIC #2: The original painting titled, "Sarah Barrett Moulton: Pinkie," artwork by Thomas Lawrence, c. 1794, oil on canvas, painting. Location: The Huntington Library, Pasadena, California.

Sources: https://art-for-a-change.com/blog/2013/07/ward-kimball-art-afterpieces.html & Wikimedia.

[counterintuitivecomics]

WHY WE MASK: It's Not "Just A Cold": A Handy Scientific Guide to Surviving COVID-19 Together

Here, have a free science zine with a ridiculously long title! Endless thanks to my partner and fellow disabled artist, Kimball Anderson aka @earnestattempts, who helped through the entire year-long process with art edits and image descriptions (located in the alt text). Additional thanks to my friends Dupe and Caitlin, who gave me thorough copy-edits, and every friend who read drafts or listened to me rant about COVID-19.

Feel free to spread it far and wide! And hit me up if you're interested in printing &/or distributing free copies :D

Read WHY WE MASK with Endnotes - includes working URLS so you can read the scientific papers I cited for yourself. Plus links for all the other resources, and a full transcript.

Download WHY WE MASK - Free PDFs to read, print, and share! Any donations go towards print copies &/or local mask blocs.

Can't get enough free printable COVID zines? Check out @newlevant's excellent What's Up With COVID & How To Protect Yourself: 2024 Ed! It was a huge inspiration in the final stretch.

Extra pages under the cut:

[arson-goku]

I really do wanna stress the Trocadero thing is fucked, like.

The various intro pieces across the series (Intro, Big Prize, the opening to Contact, Relay, ect.) are iconic. The Meta would not be scary without 'When Your Middle Name is Danger'. The way 'First Wave' greatly boosts the impact of the Director's final letter. And this might just be me, but 'Fifty' still fucks me up this day.

Or how some songs are just synonymous with a character. 'A Girl named Tex,' 'Another One Down' for Tucker, 'Good Fight (Instrumental)' for Wash, 'Half Life' for Kimball, 'Loom' for Locus.

Blood Gultch Blues. Contact.

And that's just Trocadero. Doesn't even touch the work of Jeff and Casey Williams, Sandy Lee Casey, Lamar Hall, David Levy, or Meredith Hagan.

The music of a show is so important to setting the tone of the work, and it greatly helps those emotional moments to hit, especially in a series where the characters physical acting is so limited. I sincerely believe that Trocadero and collaberators' work contributed massively to rvb's longrunning success, especially as the series became more dramatic in tone.

But rather than respect these contributions Trocadero has made to the series for the last 20 years, RT would prefer to hire newcomers or use stock music bc it's cheaper.

RT doesn't value it's artists' labor. When Restoration comes out y'all better be pirating that shit.

[dorkus-mcdingus]

Here's a little fun fact about Honest John since we're all talking about Fellow rn

Honest John's actual name was never mentioned in the movie proper. He always referred to himself as Honest John. The name "Foulfellow" wasn't mentioned in the movie at all and was only known by the production team that worked on Pinocchio.

One of my earlier memories that I can recall of him being called "Foulfellow" actually came from the little Pinocchio behind the scenes segment in the Pinocchio VHS where Ward Kimball talked about how Walt Disney acted out the parts of Foulfellow and would show the team the way he would talk and strut about.

Honest John's actual name with that info in mind is "John Worthington Foulfellow" (I'm really unsure where the Worthington part came from. Sorry!)

Now how does this involve Fellow? Well, Fellow himself is more than definitely a bishounen version of the slimy con artist fox we all know and love but knowing that Honest John went by a different name than what he's called in canon to the animators and the team that worked on the movie, I think maybe my angry HC of Enersto Foulworth being his actual government name or another alias might have some merit since it wouldn't be wise to keep the same name especially in the jobs that he deals with.

Idk, I just wanted to share this little fun fact with all of you since next to Hunchback, this is my favorite Disney animated movie and I really love blabbing about it.

But imagine that Ernesto Foulworth is his full government name and Aniplex EN decided to dox him xD

[eye-merely-jest]

instead of finishing my oc's reference thing for artfight im gonna bitch about this thing thats been rotting my brain for god knows how long –

WHERE ARE ALL THE ARTISTS IN THE FALLOUT UNIVERSE ?????

i LITERALLY think about this on the daily, where are the musicians where are the writers where are the painters where are the basket weavers WHERE ARE THE FUCKING ARTISTS !!!???! in ALL the games (and the show for that matter) theres only like,, a couple that come to mind ??? and even then, at best they're bloodthirsty psychopaths. (lookin' at you pickman and redeye) ,,, (cut here as to not be obnoxious !!)

and, i mean, hey, listen. i LOVE my bloodthirsty psychopath artists as much as the next guy, but art as a whole is so scarce in the wasteland from what we see in canon that it gets to be very disappointing that this is seemingly all we've got !!!

like, you're SERIOUSLY telling me right now that theres not a single guy said "FUCK YOU BING CROSBY I'M TAKING MATTERS INTO MY OWN HANDS SO I NEVER HAVE TO HEAR ABOUT YOUR DEAR HEARTS AND GENTLE PEOPLE EVER AGAIN !!!!" or even something as simple as !! "i'm gonna draw caesar and president aaron kimball having hot steamy passionate gay sex."

and there's SO many layers to this in my noggin as well, like, HRRGHGGVBVBVM.

GRAFFITI!!! I LOVE WHENEVER WE SEE GRAFFITI!!! particularly the loading screens in new vegas is what comes to mind, since those ones are SO interesting to me. like, it varies from faction to faction what's being written, and we're able to see this visual representation of the tiniest, most indirect ways that groups like the ncr and the legion are at war with each other. its SO fucking cool and it makes me SO insane. WHICH IS WHY I WANT TO SEE MORE OF THIS !!!!

and this is just the EENSIEST POSSIBLE EXAMPLE of what could be done with artistic themes in these godforsaken games !!!! GOD its such a fascinating concept and i could go on about this for HOURS. (and who knows, maybe i will later)

FUCK MY BRAINS ALL OVER THE PLACE NOW AND I CANT THINK COHERENTLY ANYMORE !!! GOT TOO SILLY !!!! I'VE BARELY COVERED ALL I WANTED TO BUT IF I DON'T FINISH THIS NOW I NEVER WILL !!!! AUAUUGG

anyway :). I WANT BETHESDA TO DO THAT THING THAT CD PROJECKT RED DID WITH CYBERPUNK 2077 AND GET MUSIC MADE SPECIFICALLY FOR THE GAME AND ITS LORE AND ITS HISTORY AND damn i love cyberpunk's music END TWEET !!

[rubykgrant]

Imagine RvB characters with superpowers. But just one each, like in RWBY or My Hero Academia. Could totally see Sarge being an unstoppable force, or Tucker being the center of attention, or Caboose being able to make things not work properly. Church splitting off parts of his psyche as clones. Maine having permanent copies of powers. Wash making a memory fog. Kimball having a speed buff for herself & others. Jax making videos of his memory. Just so many possibilities!

There are a handful of RVB Super Power AUs out there that are all very interesting (the two I'm more familiar with are the "Villain AU" by @smilysstuff , and "We Didn't Even Kiss Until Issue 26" by @cinaed . I've also seen some cool Spider-Man/Spider-Verse concepts from @leonardalphachurch and @donut-entendre ~)

You've got some cool super power ideas for them too! The characters are all so weird, it is easy to take the various talents or certain personality traits and turn them into super abilities, either ones that fit easily with them, or perhaps ones that seem like the "opposite" of what is typical.

If I was going to put them into a Super Hero setting, but maybe try to make it a little different from some of the others I've seen... I might put them in a Batman scenario! Except it doesn't totally follow the same formula... because NONE of these dudes are a billionaire playboy who is also a scientist and expert martial artist. So instead...

"Blood Gulch" is actually the name for a small area of the city (basically, Crime Alley), and through some random (or perhaps connected) events, a lot of people have had an unpleasant experience there... Church woke up with no memory besides his name and a few vague bits of info of his life. Tucker was attacked, and his child was kid-napped. Caboose lost his penny (everybody thinks this is stupid, but you don't understand; it was the GIANT penny!). Donut got nailed with a grenade. Grif got ran-over by a tank (followed by Simmons agreeing to give up some organs to try and save his life at a hospital, but when doctors insisted Grif wouldn't survive the surgery, Simmons followed a very shady tip that somebody from that area could help them both... and so Simmons got a back-alley operation, then woke up a Cyborg. Grif is OK). Sarge got shot in the head. Tex "died" for the first time, and discovered she doesn't STAY dead. A strange villainous voice seems to "haunt" the area, but is only ever heard when Doc is around. Nothing bad happened to Kai, but she got busted for throwing a rave in an old warehouse there once.

Not all of this happened on the same day or anything, but it sure is a COINCIDENCE that all these people hurt somehow in this general area, isn't it!? Anyway, Church meets Tucker after Junior got kidnapped, and despite seeming so unfriendly, he's the only guy that listens to Tucker's weird story (because the group that took Junior didn't seem... human). The cops won't help, and Tucker doesn't want to leave the city unless he has a lead, so... Church takes him to where he's been crashing.

Which turns out to be a HUGE mansion, that has sat abandoned for years. Church may be a hobo, but he's a hobo with standards (also, he seems to know all the combinations for the locks. wonder why). Eventually, they run into Caboose out on the streets, sobbing over his penny. He follows them around all night, and Church finally agrees to let him com back to their mansion. Once inside, Caboose's clumsiness and nonsensical luck allows them to discover SECRET PASSAGEWAYS! There is a whole underground lair below the mansion! With some very interesting (and suspicious) technology. Oh, and it seems to be OCCUPIED as well?

So, while all that was going on, Sarge has been running around Blood Gulch at night, being a weird vigilante about it (he still has his own shotgun, but after it got damaged, the thing doesn't actually fire anymore. instead, he carries it around for the AESTHETIC, and a lot of people in the city start rumors about a guy who has a gun he doesn't shoot for some "metaphorical" reasons, but it really isn't that deep; it broke, he doesn't want to throw it away, he can't afford to get it fixed, and he's too stubborn to just get a new one. on the plus side, various bad guys have gotten the idea that if they don't use guns, the vigilante won't shoot them, so everybody has gotten less lethal in general). Sarge also collects weirdos who have gone through their own odd incidents...

He likes the idea of having a cyborg on his team, and Grif seems to be good at... not dying? That comes in handy. Donut just kinda invited himself and stuck around. Sarge finds an abandoned robot one night, so now they have a robot! His speech functions are stuck on Spanish, but Lopez is very capable at just about any task (he will still complain the whole time). Sarge decides to call their group... The Red Hood Gang! He still wears the red hoodie he had on when he got shot when doing vigilante stuff (plus a mask, and other gear). They move into what they THOUGHT was an old cave system outside the city... and find it has LOTS of interesting tech inside!

When Church's group finds out the Reds are basically living in their basement and hoarding all the cool junk, and the Reds realize these guys have an upstairs with actual bathrooms and a kitchen, they proceed to have a whole war over who gets to keep everything. As they fight and claim certain things for themselves, one of the big computers comes online... and a strange, high-pitched voice who introduces himself as Vic starts giving them info and "advice" on how to find the people that have caused their problems. Begrudgingly, the two groups decide to work together (Church's team calls themselves Blue Birds, since the gear they get is blue, and themed after birds; also, they get a cool vehicle! Sheila is their Batmobile~).

So, now the Reds and Blues are all doing vigilante stuff. They still bicker with each other, but no longer enemies. Other people in the city do not know how to deal with these chaotic weirdos. They eventually meet up with Tex, and Grif's sister figures out what her brother is up to. Doc has a brief time being "kid-napped" by the :evil voice" as O'Malley tries to be a full-on villain like the Joker, but eventually he settles down, accepts that he's really part of Doc, and they other accept Doc is part of their group too. Tucker even gets Junior back, and Caboose finds his GIANT PENNY! Things seem to being well... but THEN-

A corrupt police force doesn't like all these vigilantes exposing their own criminal activity, and hire outside help of a special agent; Washington. He initially tries to very seriously solve some of the problems in the city, and when he gets framed for even BIGGER problems, he just has his own villain-moment, taking it out on the Reds and Blues... but they win him over. New vigilante hero! He moves into the mansion with the rest of them, but one night when they return, the place has a new guest; Carolina, who informs them that this is HER FAMILY'S HOME. She's been away, doing all kinds of cool secret martial arts training around the world (that's right, she's the REAL Batman~), and comes back to to find a whole circus moved in while she was gone?

She also explained that the underground caves were where he father once had a whole secret project going on, with people being part of several experiments that claimed to make them "super heroes", but those running the show had ulterior motives (some of them were selling tech to other groups, thus creating lots of criminals with a huge advantage). Wash had been part of this program, but like the Reds, he never knew about the mansion above ground or the connection to Carolina's family. Tex was part of it too, but she kind of forgot some of it. Church... well, it seems that one the plans of Carolina's father was to try and bring her mother back to life, and one attempt involved a sample from a supernatural pool of energy, which he tested on himself first. The result was Church (this is a bit like all the R'as al Ghul/Jason Todd stuff).

More Batman-tastic shenanigans ensue... meanwhile, over in Metropolis, all the Chorus problems are happening! Instead of a surviving child of Krypton coming to Earth, a ship containing the collective history and technology landed on the planet. In secret, a group has been slowly using the advanced tech for personal gain, and some people are also stealing it for themselves. Two sides of a "war" break out, each being manipulated into fighting because once they're all gone, nothing will stop a certain rich business man from taking everything for himself (Hargrove is basically Lex Luthor. Felix and Locus use lots of Krypton tech, and also have access to the temporary Super Serum that gives them small doses of powers).

Sorry, that was a LOT for a basic "Batman/Superman" AU haha

[sianagrace]

Bedknobs and Broomsticks and the Beautification of War and Witchcraft: Siana’s Panel Presentation

Robert Stevenson and Ward Kimball’s 1971 fever dream of a musical combines action and animation, war and witchcraft, feminism and effemination, and a classic Disney fantasy touch. Based on the books by English children's author Mary Norton, the story follows Miss Price, the town's "crazy lady", "spinster", and secret witch, as she takes in three young siblings displaced from London during World War II. The four join with scammer/magician Emelius Browne to search for a spell that could “end the war”. Let’s take a closer look!

Narratives and Myths: The Disney-fication of Witchcraft

Stevenson and Kimball Disney-fy witchcraft through Angela Lansbury’s character, Miss Price. Storytellers throughout history often present witches as antagonists or villains: Hansel and Gretel (1812), Snow White and the Seven Dwarfs (1937), and The Sword in the Stone (1963), to name a few. Of course, by 1971, people worldwide could associate “Good Witch” with Glinda (1939), but she was not a catalyst for similarly-natured witches. Miss Price embodies a sense of normalcy and country charm that makes witchcraft seem more like a hobby rather than an all-encompassing characterization of evil. More broadly, Bedknobs and Broomsticks presents magic as realistic, providing the audience with an “anything is possible” mindset.

Depictions of Femininity and Masculinity: Just Feminist Enough

Being a witch simply slots into Miss Price’s identity: she is a single, private, middle-aged woman who lives alone in a large home fairly far from the town center. From our first encounter with her character, we can tell that she does not conform, and has no interest in conforming, to 1940s societal expectations regarding how a woman her age should present herself.

In her article “My Fair Lady: A Voice for Change”, scholar Marcie Ray notes that as America and Western Europe called in second-wave feminism, there came a filmic trend of musicals “[employing] the single girl character to depict the changing nature of (white) female sexuality” (293) as opposed to following a strict love plot. In a later section, “Eliza as the ‘Other’”, Ray discusses the tool of othering the lead female protagonist so she appears to have room for improvement, growth, and assimilation into proper society. Miss Price follows this formula, presenting palatable white femininity and feminism, but ultimately reverting to heterosexual expectations: Mr. Browne, once her anonymous professor of witchcraft, quickly becomes her love interest.

Aligning with the ongoing feminist movement at the time of this film’s production, Mr. Browne’s masculinity, and attached agency, come into question rather than being accepted as fact. His introduction in the film establishes him as a trickster, con artist, and coward. Miss Price turns him into a bunny multiple times, to which he replies “Miss Price, a word about your tactics: if I know I’m being changed into a hawk or a tiger, or something with a bit of flash, but always a fluffy white rabbit? It’s incorrigible!” This power dynamic cements Miss Price, and her playful, modern take on femininity, as the authority and lead throughout the film.

Class and Racial Subtexts: “Portobello Road”

The backdrop of World War II connects all the characters in this film through an environment devoid of abundance, and an expectation of having “less than”. Any hints of wealth or a British upper class can only be seen in what’s left behind during the height of the war rather than through individual characters.

The over ten-minute-long “Portobello Road” musical sequence demonstrates this time of unity through scarcity through color, music, and performance. The street, either through set building or editing, appears gray in itself and tinges everyone walking along the street similarly. This area of London feels communal and bustling while simultaneously being economically disadvantaged. The song, sung by all five of our lead protagonists and by the large ensemble, speaks of riches, fantasy, and possibility: the Portobello Road market is a symbol of hope, even if momentary and unfeasible.

There is little racial or ethnic subtext in this film - past, of course, the significance of WWII and all those groups ostracized, interned, and killed during the time. Portobello Road, however, curiously introduces a densely diverse enclave of London, including spotlight moments of Sikh soldiers, Scottish dancers, and Trini performers. Past their brief musical moments, we do not analyze or revisit these characters. We are, however, shown our five white protagonists interacting with these minority groups in a normalized, meaningful way: dancing, playing, and smiling alongside each other in this utopian street fair. This scene aligns more with the decade of the film’s production (late-60s and early-70s) than it does with the period in which it’s set (1940s). 

Significance to the Audience and Temporality

As briefly mentioned earlier, the character development in Bedknobs and Broomsticks is critical to ensure the comfort of 1970s audiences. Miss Price is just feminist enough, the children as just boisterous enough, Mr. Browne is just crass enough, and everyone is just poor enough. There are many things a contemporary audience can problematize about this film: Miss Price’s reverting to patriarchal expectations of marriage, love, and motherhood; the romanticization of war and, specifically, WWII; Mr. Browne’s sexist remarks about women's memories and professional capabilities. At its core, however, this is still a Disney fantasy with loveable, quirky characters, catchy musical numbers, and an entire additional animated world to fall in love with. There’s a steadfast formula that makes this film enjoyable despite its generational immobility.

Critical Discussion Questions

How do we create lovable characters whose backgrounds are classically/traditionally/stereotypically rooted in horror, antagonism, and/or villainy (ex. witches, con-artists, monsters)?

What generational differences do you see embedded in your film / what changes should/would be made in a remake?

Are love plots actually necessary to the plot of your film or other musicals? What would look different about the trajectory and public reception of the film without a love plot?

@theuncannyprofessoro

[partiallypearl]

anyway. artists i think lucy stone listens to in 2007-2010 before she moves to la to be an artist:

cheyenne kimball

paramore

all time low

the linda lindas (they were her intro to alt/rock music and she will forever and always cherish them. claudia kishi is her song™️)

everlife

allison iraheta

fefe dobson

avril lavigne

early demi lovato (yes she is embarrassed about this. yes she does own demi’s first two albums on cd)

the veronicas

lesley roy

joan jett

skye sweetnam

[paintermagazine]

‘Non-fatal Attraction!’

Artists: Ward Kimball and Forney Mumford

‘Smiles’(1945)

[byneddiedingo]

Irene Dunne and Myrna Loy in Thirteen Women (George Archainbaud, 1932)

Cast: Irene Dunne, Myrna Loy, Ricardo Cortez, Jill Esmond, Mary Duncan, Kay Johnson, Florence Eldridge, C. Henry Gordon, Peg Entwistle, Harriet Hagman, Edward Pawley, Blanche Friderici, Wally Albright. Screenplay: Bartlett Cormack, Samuel Ornitz, based on a novel by Tiffany Thayer. Cinematography: Leo Tover. Art direction: Carroll Clark. Film editing: Charles L. Kimball. Music: Max Steiner. 

Myrna Loy was born Myrna Williams in Helena, Montana, but you wouldn't know it from the way Hollywood often cast her at the start of her career in the '20s and '30s. Her role in Thirteen Women is probably the purest example of her work as the stereotypical sinister Eurasian. She plays Ursula Georgi, whom the cop played by Ricardo Cortez scorns as "Half-breed type. Half Hindu, half Javanese, I don't know." (Actually, Cortez himself knew something about crossing ethnic lines: He was born Jacob Krantz in New York, but Hollywood changed his name to capitalize on the vogue for Latin lovers like Rudolph Valentino and Ramon Novarro, and later claimed first that he was French and later that he was born in Vienna.) Ursula seeks revenge on the women who belonged to a sorority at a girls' college and blackballed her when she sought admission. She seeks out a phony seer known as Swami Yogadachi (C. Henry Gordon), whose horoscope readings the girls sought out, and hypnotizes him into sending them poison-pen readings that predict dire events. Two of the girls, the sisters June (Mary Duncan) and May Raskob (Harriet Hagman), have become trapeze artists, and June is so unnerved by the fake reading that she lets May fall to her death during a stunt and goes mad as a consequence. As others fall prey to Ursula's schemes, some of the survivors gather at the home of Laura Stanhope (Irene Dunne), who thinks that their hysteria over the deaths is absurd. Laura is the single mother of a son, Bobby (Wally Albright), who is one of those cloyingly cute movie children -- he calls her "Mumsy." But even Laura's calm vanishes when Ursula makes Bobby her next target. In addition to being stupidly racist, the movie is sheer hokum, a cockamamie blend of revenge thriller and police procedural, and it was not much of a success at the box office, even after RKO cut 14 minutes from it after test screenings -- one of the reasons why we learn the fates of only 10 of the 13 women. One of the performances cut to only four minutes was that of Peg Entwistle, who played Hazel, the one who kills her husband and goes to prison. Entwistle was reportedly so despondent about her movie career that she climbed to the top of one of the letters on the Hollywood sign (reports vary on whether it was the H or the D) and jumped to her death. As for Loy, this was her last outing as a Eurasian vamp: The Thin Man (W.S. Van Dyke, 1934) changed her screen image to that of the witty and soignée wife, most often of William Powell.