bailamos?
I talk mostly in tags and generally blog whatever I want. My art is in tagged/mine . More about me is in tagged /personal, /about_me and /asks . Welcome!






Online Users
1 of 10 »

vylla-art:

She-Hulk. No more needs be said.

nerdgerhl:

I feel like there are probably too many people just scrolling past this so let’s go through everything that’s going on here. 

1. With Roger’s voice actor standing off camera, Bob Hoskins acts into empty air and frantically sawing at his handcuff, continually looking up and down at different visual marks of various depths. Look at the slow pan up of his eyes in gif 4, and then the quick shift to his side. Think about how, on set, he was looking at nothing. 

2. Starting in gif 2, The box must be made to stop shaking, either by concealed crew member, mechanism, or Hoskins own dextrousness, as he is doing all of the things mentioned in point 1. 

3. In all gifs, Roger’s handcuff has to be made to move appropriately through a hidden mechanism. (If you watch the 4th gif closely you can see the split second where it is replaced by an animated facsimile of the actual handcuff, but just for barely a second.)

4. The crew voluntarily (we know this because it is now a common internal phrase at Disney for putting in extra work for small but significant reward) decided to make Roger bump the lamp and give the entire scene a constantly moving light source that had to be matched between the on set footage and Roger. This was for two reasons, A) Robert Zemeckis thought it would be funnier, and B) one of the key techniques the crew employed to make the audience instinctually accept that Toons coexisted with the live action environment was constant interaction with it. This is why, other than comedy, Roger is so dang clumsy. Instead of isolating Toons from real objects to make it easier for themselves, the production went out of its way to make Toons interact more with the live action set than even real actors necessarily would, in order to subtly, constantly remind the audience that they have real palpable presence. You can watch the whole scene here, just to see how few shots there are of Roger where he doesn’t interact with a real object. 

The crew and animators did all of this with hand drawn cell animation without computerized special effects. 1988, we were still five years out from Jurassic Park, the first movie to make the leap from fully physical creature effects to seamlessly integrating realistic computer generated images with live action footage. Roger’s shadows weren’t done with CGI. Hoskin’s sightlines were not digitally altered. Wires controlling the handcuff were not removed in post. 

Who fucking Framed Roger fucking Rabbit, folks. The greatest trick is when people don’t realize you’re tricking them at all. 

(Source: teflonly)

januariat:

all these big ass trees

rfmmsd:

Artist & Sculptor:

Yoshitoshi Kanemaki

"空的時刻 勿忘死亡"

H122 cm x W27 cm x D23 cm

楠木上色

2013

 

(Source: bunkyo-art.co.jp)

After getting sucked into the Song of Ice and Fire series of fantasy novels by watching HBO’s “Game of Thrones,” I became intrigued by author George R.R. Martin’s in-depth descriptions of each major character’s heraldry, and the ways in which their symbols seemed to establish a “brand” for each of the story’s families.

I hadn’t seen a design take on the sigils that I was fond of, and so a personal mission to craft an icon for each of them began. Of course, there’s hundreds of crests, so some lesser houses didn’t quite make the cut. Sorry Manderlys of White Harbor.

Darrin Crescenzi

(Source: typographie)

speightbrigade:

xenotone:

april-fools-eve:

After a few attempts, I finally got my Yami Yugi makeup the way I want it. \o/

how is that wig even real

i think a demon deal may have been involved in this…

and bring the fight to them! Today, we are cancellin’ the apocalypse!”

(Source: firstenchanters)

(Source: sappycas)

October 12th, 1985. Tonight, a comedian died in New York.

(Source: biancajaggers)

peterfromtexas:

Rebecca Mock, a Brooklyn-based illustrator, is one of a handful of artists who have done GIF work for the New York Times

bookshop:

seraphica:

This is a set of chocolates made to look (and somewhat act) like a set of paints. Alas, this limited-edition set is only available in Japan, and it’ll run you 4,200 yen (around $43 US).

That’s probably for the best, though, because I would refuse to ever actually eat something that perfect.

CARAMEL NO. 6 oh my god *wants*

yaoi-cosplayers:

Cosplayers: Keiya/Mahiru

danthinkthispretty:

azertip:

Claude Weisbuch

http://dunon.blogspot.be/

Wow

icoulduseinsouciantmaybe:

valarauka:

kkatkkrap:

fujisalci:

inkcaviness:

the-lonely-scottish-guy:

silent-cannibal:

absolut-niemand:

In Germany we don’t say “I don’t care” we say “Das ist mir Wurst” which roughly translates as “This is sausage to me” I think that’s beautiful.

no you don’t understand we actually do say that

i crashed my car into a bridge

THIS IS SAUSAGE TO ME

We also say “That’s not my beer” for “That’s none of my buisness” and I think that’s beautiful

is germany even real

My roommate dated a German.  When I was making dinner one night, he asked my roommate, “this food… does it taste?”

At our confusion, he explained that in Germany, food either “tastes” or “does not taste”.  Which he then said he supposed said something about German food.

To be fair we do say “it tastes good” and “it tastes bad” and many variations thereof, but when we want to be succinct, then yes, it just tastes or doesn’t taste. 

Other fun turns of phrase in German include:

  • "Ich versteh’ nur Bahnhof" = "I only understand train station" for when you’re confused
  • "Hast du Tomaten auf den Augen?" = "Have you got tomatoes on your eyes?" for when someone’s not seeing the obvious
  • "Auf die Schippe nehmen" = "Take someone on a shovel", basically means to take the piss out of someone
  • "Du gehst mir auf den Sack" = "You’re walking on my sack" for when you’re pissed off

the world is beautiful

(Source: absolutniemand)

ratak-monodosico:

Carol Beckwith & Angela Fisher

"Thirty years of work on the African continent have carried Carol Beckwith and Angela Fisher across 270,000 miles and through remote corners of 40 countries in exploration of more than 150 African cultures. In the process, this team of world-renowned photographers has produced 15 widely acclaimed books and made four films about traditional Africa.

While the lifeways they document may appear timeless, these committed explorers are driven by a sense that they work against the clock. They view Africa’s traditional cultures as threatened, the ancient ways in danger of being lost in a vast melting pot of modernity. According to Fisher and Beckwith: ‘These unique cultures possess a wealth of knowledge that should be celebrated, shared, and honored. It is our life passion to document and create a powerful visual record of these vanishing ways of life for future generations.’”

(Source: likeafieldmouse)

T H E M E