nil desperandum

...a ponderous effort to make a simple affair, when rightly understood, a matter of transcendental mystery. -Richard Owen

This is totally how I look when I’m rocking out on the ukulele. Totally.

This is totally how I look when I’m rocking out on the ukulele. Totally.

(Source: theperksofbeingateengirl, via this-too-too-sullied-flesh)

— 2 days ago with 57265 notes
#ukulele 

onasolosaxophone:

This is why I love the theatre.

(via reachmouse)

— 2 days ago with 6231 notes
unexplained-events:

Devil’s Fingers
The picture above is of a mushroom thats thought to be a specimen of Clathrus archeri right before its fingers open up. It closely resembles a hand coming out of the ground. It even has the remnants of its tattered sleeves attached to the wrist.

unexplained-events:

Devil’s Fingers

The picture above is of a mushroom thats thought to be a specimen of Clathrus archeri right before its fingers open up. It closely resembles a hand coming out of the ground. It even has the remnants of its tattered sleeves attached to the wrist.

(via ronbeckdesigns)

— 3 days ago with 9923 notes

meghannnleighhh:

I have a huge fascination with cool lights and lanterns.. Anyone else..???

(via brsis)

— 4 days ago with 225048 notes

knitmeapony:

suzie-guru:

familiaralien:

xtattooedheart:

birdologist:

I can’t even hear what this dude’s saying but look at how ineffectually angry this bird is.

I’ve had days where I’ve wanted ti shriek like this at people too.
As a side note, I love that barn owls are used to often in art, and considered the most beautiful species, yet they make a noise like Satan’s chalkboard.
Majestic.

So much for owls saying hoot :U

"Are we ready, little one?"

*SCREECH OF MURDEROUS RAGE*

I’ve got nothing but love for folks who call angry, screeching predators ‘little one’.

(via brsis)

— 1 week ago with 42410 notes

laylainalaska:

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.

Also, here’s an interesting article about female cel painters at Disney. I am now fascinated by the idea of writing something with a Depression-era cel painter as a protagonist.

(Source: timblanks, via plesiosaurbones)

— 1 week ago with 13910 notes
amazign:

djprincessk:

stop-hammerkind:

srsfunny:

Glass Blower: Sculpting A Horse From Molten Glass

WHAT

#this bitch just said let there be horse and there was

i thought this was a gif of a man fighting a giant angry slug

amazign:

djprincessk:

stop-hammerkind:

srsfunny:

Glass Blower: Sculpting A Horse From Molten Glass

WHAT

#this bitch just said let there be horse and there was

i thought this was a gif of a man fighting a giant angry slug

(via toxicnotebook)

— 2 weeks ago with 244188 notes