hamburgerjack:

badgerjaw:

Do you think some pokemon evolve by trading because they think you’re giving them away forever, so in their fear of abandonment they evolve into something better than they were so you’ll love them again?

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monobeartheater:

clonesbians:

weloveshortvideos:

Guy’s Review of Right Guard Deodorant Ends Unexpectedly

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"jack dont post this video"

betrayal

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.      

sexydavestrider:

nyarrr:

horrendousscreeching:

ah

Let’s try this out





how badly did it hurt your soul to draw the “after” images?

sexydavestrider:

nyarrr:

horrendousscreeching:

ah

Let’s try this out

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image

image

image

how badly did it hurt your soul to draw the “after” images?

walkingfoxiest:

a post where I explain with images how foxes are the best thing ever, and how if you disagree you are obviously wrong

Sailor Moon RPG
Source: m2manga

creamteasandjammydodgers:

danisnotofire:

look at these boots and tell me you dont immediately want to go adventuring in them holy shit i love these shoes so much

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Awesome ink works by Kim Jung Gi

What's so bad about periods
Anonymous

mistyslay:

  • Blood comes out of your vagina for anywhere from 3-7 days
  • That blood you lose can be around 4 tablespoons to a cup
  • a cup of blood, vaginal mucus, and endometrial tissue
  • You get cramps that will make you cry. You can vomit and/or pass out from them
  • You will get horrible mood swings
  • You get headaches
  • Backaches
  • Your breasts hurt so bad sometimes you can’t even touch them
  • You get acne everywhere
  • Your actual vagina could be sore
  • Your feel constantly tired
  • You have a constant fear of soaking through your pad/tampon
  • You can’t lay a certain way in bed
  • You take pill after pill and it still doesn’t help
  • You bloat and gain weight
  • You might have anemia (iron deficiency) which can not clot your blood causing so much blood loss it’ll be deadly
  • You never feel full
  • Everything irritates you
  • You will cry a lot
  • Once you get up in the morning, your center of gravity has shifted and all the blood settling in you during the night will now rush out of you causing you to clench your legs tightly to avoid leaking
  • You get made fun of for having a period ?////?/?/
  • You’re forced to go to school/work
  • You get told that you’re overreacting

but ya know, fixing your dick discreetly in public is bad too

korranation:

we ship it

korranation:

we ship it

okarintarou:

ENGLISH DUB HALLELUJAH GET NAKED SPEECH

I feel like I still needed subtitles for the dork…

Just curious on how you approach composition and perspective. I feel as if sometimes I think too hard, not really about what to draw but how to draw it and make it look interesting. The comic panels you have been doing are amazing. Any tips/references on improving my knowledge of composition and perspective? What do you think about as you lay your pencil on the drawing paper? what goes through your mind?

jakewyattriot:

*STANDARD DISCLAIMER* I’m not handing down life lessons or trying to assert that there’s a ‘correct way’ to draw. I’m just trying to make perspective more approachable for thems that want to tackle it.

Okay. Let’s do this.

1. Understand what perspective is and what it’s for. Stay away from rulers while you get comfortable.

Everyone struggles with perspective because 1. it’s not well or widely taught and 2. artists tend to see linear perspective as a set of rules rather than a set of tools.

Linear perspective is a TOOL we use to create and depict SPACE. That’s it. That’s all it is. Your goal is not to draw in ‘accurate linear perspective.’ Stay away from the ruler and precision for as long as you can. Your goal is to create the illusion of three-dimensional space on a two-dimensional surface. Perspective is just a tool to help you construct and correct that space.

2. Know in your bones that you can ONLY learn to draw in perspective through physical practice. There is no other way.

Grab some paper and draw with me. If you match me drawing for drawing you will be more fluent in linear perspective and spatial drawing by the end of this post. Unfortunately if you don’t, you won’t be.

3. Sketch around in rough perspective. NO RULERS.

So let’s make some simple space. let’s start with a two dimensional surface…image

K. We have a flat, 2D surface. Let’s create some depth by putting a vanishing point in the middle, and having parallel lines converge towards it. Make a gridded plane inside that space.

image

Good. Let’s make that space meaningful by adding a dude and a road or something. (Again, parallel ‘depth lines’ will converge into the vanishing point along the horizon)

image

And now we have the rough illusion of some space. I didn’t use any rulers, and it’s not perfectly accurate, but we got our depth from that vanishing point right in the middle of the page. And since we have a little dude in there, we’ve got human scale, which allows us to gauge the size of the space we’ve created. Gives it meaning.

You need people or cars or some recognizable, human-scale THING in there as a frame of reference or your space won’t mean much to your viewer. Watch. We can make that same basic space a whole lot bigger like this:image

Same vanishing point in the same place, completely different scale, and a totally different feeling of space. Cool, right?

3. Sketch around in rough perspective MORE. STAY LOOSE.

See what sort of spaces and feelings you can create with vanishing points and gridded planes on a post-it or something. Super small, super rough. Feel it out. Pick a vanishing point or lay out a grid in perspective, and MAKE SOME SPACE. Do it. Draw, I don’t know, a lady and her dog in a desert. I’ll do it, too.

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Good job. LOOK AT YOU creating the illusion of space! This is how you’ll thumbnail and plan anything you want to draw in space. All of my drawings start this way. I think about how I want the viewer to feel and then play around with space and composition until I find something that works.

Once you have a sketch you like, and space that you feel, THEN you can take out the ruler and make it more accurate and convincing.

4. Draw environments from life.

I cannot stress this enough. Draw the world around you, try to draw the shapes and angles as you see them, and you will ‘get’ how and why perspective is used. Use something permanent so that you’ll move fast and commit. I usually use black prismacolor pencil.

You’ll learn or reinforce something with every drawing. I learned a lot about multiple vanishing points from this drawing:

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Learned from the receding, winding space I tired to draw here:

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Layered, interior spaces:

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You get the idea.

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Life drawing will also help you develop your own shorthand and language for depicting textures, materials, details, natural and architectural features, etc. Do it. Do it all the time. Go to pretty or interesting places just to draw them.

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Take a second and just draw a quick sketch of whatever room you’re in.

5. Perspective in formal Illustration: apply what you’ve learned.

1. I always start with research. For this particular location I looked at Angkor Wat.

2. Once I had enough reference, I did a bunch of little thumbnail sketches with a very loose sense of space and picked the one I liked best.

3. Scanned the thumbnail and drew a little more clearly over it. Worked out the rough space before using formal perspective.

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4. Reinforced the space with formal perspective. I dropped in pre-made vanishing points over my drawing. If I were drawing in real media here’s where I’d get out the ruler to sketch in some accurate space.

5. Drew the damn thing. Because I do my research, draw from life, and am comfortable drawing in perspective, I can wing it. I just sort of ‘build’ the ruins freehand in the space I’ve established, keeping it more or less accurate, experimenting and playing with details along the way. I erase a lot, too, both in PS and when drawing in pencil. Keeps it fun for me.

And that’s what I know about composition and perspective. If you want more formal instruction on perspective and it’s uses, you can use John Buscema’s How to Draw Comics the Marvel Way. Or If you want to get really intense about it, Andrew Loomis can help you.

-Jake Wyatt

melonshock:

I really wanna draw but my body doesnt wanna do anything.
My brain is awake but my body isn’t ;A;