ME AND my friend darcy’s gemsoners! i’m onyx and she’s howlite and we’re really cute mmmg
safe n sane
Michael Wolf - Corner Houses
It looks like one of those incredibly detailed pieces of isometric pixel art that somehow made it into real life without anybody realizing.
TF2: Its a Small World Demoman
another open canvas drawing i liked
solen belongs to sonia
A few photos from the Secret Rose Boudoir tea party I attended~ It was my first tea party and my first lolita coord. I had an amazing time!
Dress: Innocent World
Blouse: Krad Lanrete
Head Dress: Handmade
pchat dump w/ sonia
cept for the last one, she drew the sketch and i inked it!!!!!! suuni and cidrel draw each other
"Defendants took up arms and, in militaristic displays of force and weaponry, engaged U.S. Citizens as if they were war combatants," the suit claims.
WASHINGTON — A multi-million dollar lawsuit was filed in federal court in Missouri on Thursday, seeking compensation for “excessive force” by the police in Ferguson, Missouri, in the days after the shooting of Michael Brown.
According to the suit, the excessive force included false arrest, assault and battery; led to intentional infliction of emotional distress; was the result of negligent supervision and discipline; and resulted in a violation of the plaintiffs’ constitutional rights.
The lawsuit, filed by three out-of-state lawyers — including Malik Shabazz from Black Lawyers for Justice, who participated in the protests in Missouri — seeks multi-million dollar judgments against the City of Ferguson and St. Louis County, as well as one specific ands several unknown officers on behalf of Tracey White, Dewayne A. Matthews Jr., Kerry White, Damon Coleman, and Theophilus Green.
In addition to the city and county, the chief of both city and county police are named as defendants, as is Justin Cosma, a police officer with the Ferguson Police Department.
The general reason for the lawsuit:
The facts underlying Tracey White’s claim:
The facts underlying Dewayne A. Matthews Jr.’s claim:
The facts underlying Kerry White’s claim:
The facts underlying Damon Coleman, and Theophilus Green’s claim:
Source: Chris Geidner for Buzzfeed News
wet haired grumpy king :—-D
OH these colours are gorgeous!! he is the king of eyelashes
Beautiful Fül Spring/Summer 2014
PLEASE WATCH THIS
Then read this and possibly sign this.
My tribe isn’t federally recognized, so we’re basically invisible to the government (you can read about that here). This dam raise is a super huge threat to our culture; stopping it from happening is really important.
IF YOU CAN’T SIGN THE PETITION, PLEASE AT LEAST REBLOG THIS POST. IT WOULD MEAN A LOT TO ME AND MY PEOPLE. LIKE, PLEASE.
This is unforgivable. These people have already had most of their land flooded and stolen from them, and now we want to take more. I know a lot of people are afraid of water shortages in California right now, but this dam will not help. Dams don’t create water, they just store it, and they store it in a way that can actually cause water to be lost due to evaporation. We have no right to take these people’s homes and history and culture. We didn’t have the right in the first place. There is nothing okay about this.
Elie Saab - Fall Winter 2014 2015
commission for client on FA
see here for my commission offerings
How the crap can you make those kinds of panels? Does it work with circles/ellipses too?
Honestly I’m probably not using the panel tool as efficiently as possible, but I’m only using it as a rough framework to lay things out because I ultimately ink the panels by hand to make them look less mechanical. I don’t know how to do ellipse panels really because I don’t use them so I’ve never bothered trying to learn. anyway, this is roughly how I lay out Platinum Black pages;
Start with a new page with safe area cutoff
Drop in the thumbnail
select the “rectangular frame tool
Draw a frame in the safe area
Select Divide Frame Border
Roughly cut up the page along the panel lines
Hold “ctrl” and click on the panels to use the sliders and binding boxes to fiddle with their size and placement
Once I’ve gotten them how I want I hold right click on the layer the get the rasterize option
Then I can use the line tool and eraser to futz with panels that aren’t overlapping the way I want.
Then I ink the panels by hand to make them look a little less mechanical
Drawing from films
Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.
The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.
Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.
Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.
What to look for:
- Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
- Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
- Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
- Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
- Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
- Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?
This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.
Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning.
Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…