girled cheese sandwich

I hate when I drink all of my drink and there's no drink left. What the fuckkkkkkk. #sickandtwisted

hot artists don't gatekeep

I've been resource gathering for YEARS so now I am going to share my dragons hoard

Floorplanner. Design and furnish a house for you to use for having a consistent background in your comic or anything! Free, you need an account, easy to use, and you can save multiple houses.

Comparing Heights. Input the heights of characters to see what the different is between them. Great for keeping consistency. Free.

Magma. Draw online with friends in real time. Great for practice or hanging out. Free, paid plan available, account preferred.

Smithsonian Open Access. Loads of free images. Free.

SketchDaily. Lots of pose references, massive library, is set on a timer so you can practice quick figure drawing. Free.

SculptGL. A sculpting tool which I am yet to master, but you should be able to make whatever 3d object you like with it. free.

Pexels. Free stock images. And the search engine is actually pretty good at pulling up what you want.

Figurosity. Great pose references, diverse body types, lots of "how to draw" videos directly on the site, the models are 3d and you can rotate the angle, but you can't make custom poses or edit body proportions. Free, account option, paid plans available.

Line of Action. More drawing references, this one also has a focus on expressions, hands/feet, animals, landscapes. Free.

Animal Photo. You pose a 3d skull model and select an animal species, and they give you a bunch of photo references for that animal at that angle. Super handy. Free.

Height Weight Chart. You ever see an OC listed as having a certain weight but then they look Wildly different than the number suggests? Well here's a site to avoid that! It shows real people at different weights and heights to give you a better idea of what these abstract numbers all look like. Free to use.

Homie gonna share this

always kind of funny when you wake up from a dream and your first thought is "that symbolism was kind of heavy-handed wasn't it."

dungeon meshi i love you

barbie had INCREDIBLE production value, set and costume design, directing etc and i think those were among the best of the year and deserved the highest accolades. but ultimately in terms of writing and acting it's a toy commercial and a silly popcorn movie and frankly it's DEEEEEEEPLY corny and beyond those aspects above it wasn't excellent enough to stand with the big dogs. idk call me a snob but i felt the same way about top gun maverick and avatar 2 getting nominated. the inverse of this is that i feel like some movies try SO HARD to be "oscar bait" without any actual substance or artistic cohesion (like the whale) that the end result is contrived and equally undeserving.

i am quite honestly very exhausted with this starbucks feminism that preoccupies itself with the centering of rich white feminine women in the neoliberal capitalist lens and typically no one else.

criticizing buying 100 stanley cups is misogynistic. criticizing taylor swift is misogynistic. margot robbie not getting nominated for an oscar is misogynistic. saying you dont like pink is misogynistic. not wanting to wear makeup is internalized misogyny. not liking romcoms or romance novels is internalized misogyny. thinking self-infantilization on the basis of it being an inherent trait of your gender is bad is internalized misogyny. these are the most pressing manifestations of misogyny. can we spare a thought for any woman not waiting in line at starbucks.

no rizz. just insane music taste & a peculiar amount of knowledge about very niche topics and historic events

ryoko kui is hands down the queen of character design

you can see the hours of thought and hard work poured into her art... her passion shines through and through

simply the best

I’m beginning to get very annoyed at all the changes that are happening in the PJO show.

I get that adaption changes need to be made, but there have been so many of them big and small that they are beginning to really annoy me as they pile up.

For example, it really annoys me that they sought the Lotus Casino out. The whole point of it is that it’s a trap that lures unsuspecting people in.

It’s suppose to be a mistake they make that Percy has to use his street smarts to realise is a trap and get them out of, the Lotus Casino is supposed to show the ways that Percy is smart and perceptive that Annabeth with her book smarts is not.

Instead the way they did it in the show strips agency from these characters.

Now instead of making a mistake they are tricked by Ares into going into a time trap to delay them stopping the war.

Instead of Percy being smart and getting them out, Hermes gives them the answers.

It feels much less a story about the demigods and more a story about the Gods themselves.

It was the same last episode. While I liked Percy sacrificing himself, it became a story where the demigods need to be saved by the Gods.

Instead of Percy, Annabeth and Grover working together to save themselves from Hephaestus trap, Percy gets stuck in it and Annabeth has to plead to Hephaestus to save them.

I want to watch my favourite books - where the demigods overcome the odds often despite the help of the Gods.

I don’t want to watch whatever this is - where the demigods get themselves stuck and then have to rely on the capricious Gods to save them.

This may seem a bit overly critical but with each passing episode I become more and more annoyed with the changes in the pjo show. Like I started not loving some changes in ep 4, but with these last two eps I've realized I really dislike the changes and don't understand why they're making them over keeping what was already there in the books.

Old furina I found laying in my gallery

cruelty is so easy. youre not special for choosing it

"The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist; a refusal to admit the banality of evil and the terrible boredom of pain."

-Ursula K. LeGuin, The Ones Who Walk Away from Omelas

"Evil is boring. Right? I kinda believe in the banality and mundaneness of evil. Evil is just selfish impulses, which at the end of the day are really easy to understand. It’s easy to understand why people do bad things. It’s like “yeah, ok, you’re selfish and scared and cruel, I get it”. Being good is complex and beautiful and hard." - Brennan Lee Mulligan

“Imaginary evil is romantic and varied; real evil is gloomy, monotonous, barren, boring. Imaginary good is boring; real good is always new, marvelous, intoxicating.”

- Simone Weil

One of the most fascinating pieces of movie analysis I've ever read is J.B. Kaufman's thesis of the "two different Snow Whites" in Disney's Snow White and the Seven Dwarfs.

He writes about this in both of his two books on the making of the movie, The Fairest One of All and its companion piece Snow White and the Seven Dwarfs: The Art and Creation. His argument is that Snow White's two leading animators, Hamilton Luske and Grim Natwick, each gave Snow White a slightly different personality when they drew her. A close look at the movie, and knowledge of who animated which moments, reveals subtle differences in Snow White's expressions and body language. Luske, her head animator who handled the majority of her scenes, portrayed her as a more purely innocent, childlike character, while Natwick, the creator of Betty Boop, gave her a little more maturity, sophistication, and sauciness.

You can see the difference, for example, when comparing her girlish interactions with the animals in "With a Smile and a Song" and "Whistle While You Work" (animated by Luske) to her flirtatious smiling at the Prince from the balcony, or her "mothering" of the dwarfs as she examines their dirty hands (animated by Natwick). Or her responses to Grumpy in the scene before the Washing Song: as she asks "What's the matter? Cat got your tongue?" she looks at him with a devilish grin (Natwick), but then when he sticks out his tongue at her, she reacts with the most wide-eyed, girlish shock (Luske).

Now, I don't know if these two men really held different views of Snow White's character, or if it just worked out that Luske drew Snow White's more innocent scenes while Natwick was assigned her more grown-up moments. But either way, Kaufman argues that this "tension," the movie's constant push-and-pull between "Snow White as a wide-eyed innocent girl" and "Snow White as a self-assured young woman," makes her an especially interesting Disney Princess. I tend to agree, especially because, miraculously, there's no sense of inconsistency in her character. She comes across as a young girl on the verge of womanhood, who naturally can still be naïve and childlike in some ways, but more grown-up and clever in others.

This thesis makes me wonder if certain "tensions" in other movies are the result of different viewpoints within the creative team.

For example, in Beauty and the Beast.

Linda Woolverton has often talked about her feminist goals in writing Belle's character, which sometimes clashed with her collaborators' visions of Belle as a more traditional fairy tale heroine. It just might have been those clashing viewpoints that created the dichotomy in Belle that I personally think makes her interesting. On the one hand, she's a strong-willed misfit rebel, partly inspired by Jo March in Little Women and by Katharine Hepburn's screwball comedy heroines, who longs for adventure, isn't looking for romance until she unexpectedly finds it, stands up to men (and beasts) who abuse their power, and refuses to let anyone dominate her. On the other hand, she's a sensitive dreamer with delicate beauty and balletic grace, who wears pretty, ladylike dresses, adores fairy tales and love stories, and is sweet, nurturing, and almost motherly to her friends and loved ones. Yet somehow these two sides of her character co-exist with no sense of inconsistency between them.

There's also the dichotomy between the two different views of the Beast that the movie seems to present at once. On the one hand, there's the Beast as an unseemly brute, who's beastly form is both a just punishment for his flawed character and an outward symbol of it, and who needs to be "tamed" into proper "human" behavior, culminating in his physically turning human again. On the other hand, there's the Beast as a suffering, self-loathing outcast, unfairly hated, feared, and dehumanized, whose plight under the spell can easily be read as an AIDS allegory, and who needs to be accepted and loved as he is. I suspect that this also stems from different goals and viewpoints in the creative team. (For example, Howard Ashman's clash with the directors over whether the Prince should be a child or a man in the prologue – the former would make him more "tragic" but the latter would make his punishment more "fair.")

I'd like to read an analysis of these "tensions" similar to Kaufman's analysis of the "two different Snow Whites."

i think about this edit at least 50 times a day

I change my hair every week and a half dude get used to it