diaemyung:

Free! x Pokemon (Click the images for larger size).

Story of Nagisa and Pikachu

This is the last comic of Free Pokemon!AU, but I will draw more Pokemon!AU or other AU in the future. I enjoyed it a lot. I’m so glad many people like this AU, Thank you again! (◡‿◡✿) (◕‿◕✿)

(via zawehzaweh)

cringing:

weloveshortvideos:

tapped the breaks

Vine by Lauren Lavoie

tHE GAGGING NOISE

(via jazzumon)

dubiousculturalartifact:

A lot of people are asking what exactly Jared and Aisha said and I am literally too angry to want to retype it all but I just tweeted about it, so here:

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And that’s basically the summary of it, there was more but I was a bit distracted by rage to catch all…

I don’t want to upset him, but I do. I always upset him. And other people too. I guess that’s what I do. And I upset you too. I know that. And I’m sorry. I’m doing the best I can, okay? So if I don’t write as many letters as you do, don’t be upset. I’m not doing it to upset you, okay? This is my problem. I want other people to tell me how they feel. But I’m not so sure I want to return the favor.

I think I’ll go sit in my truck and think about that.

Aristotle Mendoza in Aristotle and Dante Discover the Secrets of the Universe by Benjamine Alire Sáenz (via nicejewishqueer)

(via tearitar)

megamadridista4life:

Over the Garden Wall - Behind the Scenes

Here are behind the scenes of a new show that will air on Cartoon Network in fall 2014. The series is created by Patrick McHale.

(via ohcorny)

kunaigirl:

SUPERJAIL’S FLAWLESS ANIMATION APPRECIATION POST
•Average frame rate for this show - 34-40 fps
•Average frame rate for general (flash) animated TV series -20-24 fps
———-
ok I’m going to freak out for a second and just say as an animation major I study this show constantly based on it’s mastery level of using the principles of animation in action in motions. There are a large number of people who can’t stomach the content of the show (which is ok) but those of us who can watch it know how it’s basically porn for aspiring animators. While only being paid an Adult Swim salary, the Superjail crew display an overwhelming amount of talent and skill that people would normally expect to see in the old hand-drawn department of Disney or something. Also, IT IS MADE WITH FLASH. DO I EVEN NEED TO GET INTO WHY THAT’S SO STUNNING AND SIGNIFICANT!?

The first season was produced in Augenblick Studios in 2008 and is now being produced in Titmouse Studios since season 2. The animation in this series has been described as “barouque and complicated and hard to take in at a single viewing” since day one. I think I’m going to stop now otherwise I’m never going to. Ally out.      

(via unsafebet)

oddbagel:

Fruit Goth is the new Aesthetic. It’s a mixture of Seapunk and Witch house. Goths and vampires in Hawaiin t-shirts dance the night away to fruity synth pop on an deserted beach on a deserted island

(via creativecunt)

toocooltobehipster:

3 year old death grip!

(via butt-zombie-butt)

jon-snow:

god bless sdcc

(via thehappysorceress)

fuckyeahsources:

Nope. But the real story is better. Bolding mine:

The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.

The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.

Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”

Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.

Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.

Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.

The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.

Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.

She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.

(via seriouslyamerica)