yay855:

pettyartist:

rookstheravens:

sigma-enigma:

mygenderissushi:

There’s something about Studio Ghibli’s Water physics that I love

While it is a liquid, it tends to behave more gelatinously

It’s so beautiful while almost being awkward *bloop*

Gravity? Surface tension? No? Well, just let me hug her!!

Not even seeming to make skin or cloth wet

It looks so satisfyingly bouncy

Tell me what you guys think and what’s your fav movie thing about Ghibli

I remember hearing/seeing a post where Ghibli’s water always -looks- like how water -feels-.

Like when you’re crying it just feels like

And when it’s raining it’s like

Like Ghibli has that perfect look of water where yeah, it’s not exactly -realistic- but they capture the perfect feeling.

I love this and now I need to find a collection of gifs oh Ghibli hair. I love when it does the poof thing. None of this is realistic, but it is wonderfully emotive. Emotions usually feel more talk than physics anyways.

Ghibli movies tend to exude an almost dreamlike feeling or a feeling like nostalgia– like, the general mood of the films feel like summer in the country when the sun is shining and it’s quiet and there’s a breeze going, or the smell of fresh cookies from the oven or the way a freshly-laundered quilt feels when it’s wrapped around you by someone you love.

They just FEEL good.  Even the sad movies still give off that same feeling.  It’s almost tangible, but still feels like a fond memory.

It’s really hard to describe kfjhsfjk.

Ghibli films are literally art in motion. Beauty and meaning and depth all portrayed through not a single picture, not words, but through motion.

Violence, Abusers, and Protest

fabulousworkinprogress:

My grandfather was a generally peaceful man. He was a gardener, an EMT, a town selectman, and an all around fantastic person. He would give a friend – or a stranger – the shirt off his back if someone needed it. He also taught me some of the most important lessons I ever learned about violence, and why it needs to exist.


When I was five, my grandfather and grandmother discovered that my rear end and lower back were covered in purple striped bruises and wheals. They asked me why, and I told them that Tom, who was at that time my stepfather, had punished me. I don’t remember what he was punishing me for, but I remember the looks on their faces. 

When my mother and stepfather arrived, my grandmother took my mother into the other room. Then my grandfather took my stepfather into the hallway. He was out of my eye line, but I saw through the crack in the door on the hinge side. He slammed my stepfather against the wall so hard that the sheet rock buckled, and told him in low terms that if he ever touched me again they would never find his body. 

I absolutely believed that he would kill my stepfather, and I also believed that someone in the world thought my safety was worth killing for. 

In the next few years, he gave me a few important tips and pointers for dealing with abusers and bullies. He taught me that if someone is bringing violence to you, give it back to them as harshly as you can so they know that the only response they get is pain. He taught me that guns are used as scare tactics, and if you aren’t willing to accept responsibility for mortally wounding someone, you should never own one. He told me that if I ever had a gun aimed at me, I should accept the possibility of being shot and rush the person, or run away in a zig-zag so they couldn’t pick me off. He taught me how to break someone’s knee, how to hold a knife, and how to tell if someone is holding a gun with intent to kill. He was absolutely right, and he was one of the most peaceful people I’ve ever met. He was never, to my knowledge, violent with anyone who didn’t threaten him or his family. Even those who had, he gave chances to, like my first stepfather. 

When I was fourteen, a friend of mine was stalked by a mutual acquaintance. I was by far younger than anyone else in the social crowd; he was in his mid twenties, and the object of his “affection” was as well. Years before we had a term for “Nice Guy” bullshit, he did it all. He showed up at her house, he noted her comings and goings, he observed who she spent time with, and claimed that her niceness toward him was a sign that they were actually in a relationship.

This came to a head at a LARP event at the old NERO Ware site. He had been following her around, and felt that I was responsible for increased pressure from our mutual friends to leave her alone. He confronted me, her, and a handful of other friends in a private room and demanded that we stop saying nasty things about him. Two of our mutual friends countered and demanded that he leave the woman he was stalking alone. 

Stalker-man threw a punch. Now, he said in the aftermath that he was aiming for the man who had confronted him, but he was looking at me when he did it. He had identified me as the agent of his problems and the person who had “turned everyone against him.” His eyes were on mine when the punch landed. He hit me hard enough to knock me clean off my feet and I slammed my head into a steel bedpost on the way down.

When I shook off the stunned confusion, I saw that two of our friends had tackled him. I learned that one had immediately grabbed him, and the other had rabbit-punched him in the face. I had a black eye around one eyebrow and inner socket, and he was bleeding from his lip. 

At that time in my life, unbeknownst to anyone in the room, I was struggling with the fact that I had been molested repeatedly by someone who my mother had recently broken up with. He was gone, but I felt conflicted and worthless and in pain. I was still struggling, but I knew in that moment that I had a friend in the world who rabbit-punched a man for hitting me, and I felt a little more whole.

Later that year, I was bullied by a girl in my school. She took special joy in tormenting me during class, in attacking me in the hallways, in spreading lies and asserting things about me that were made up. She began following me to my locker, and while I watched the clock tick down, she would wait for me to open it and try to slam my hand in it. She succeeded a few times. I attempted to talk to counselors and teachers. No one did anything. Talking to them made it worse, since they turned and talked to her and she called me a “tattle” for doing it. I followed the system, and it didn’t work. 

I remembered my friend socking someone in the face when he hit me. I recalled what my grandfather had taught me, and decided that the next time she tried, I would make sure it was the last. I slammed the door into her face, then shut her head in the base of my locker, warping the aluminum so badly that my locker no longer worked. She never bothered me again. 

Violence is always a potential answer to a problem. I believe it should be a last answer – everything my grandfather taught me before his death last year had focused on that. He hadn’t built a bully or taught me to seek out violence; he taught me how to respond to it.

I’ve heard a lot of people talk recently about how, after the recent Nazi-punching incident, we are in more danger because they will escalate. That we will now see more violence and be under more threat because of it. I reject that. We are already under threat. We are already being attacked. We are being stripped of our rights, we are seeing our loved ones and our family reduced to “barely human” or equated with monsters because they are different. 

To say that we are at more risk now than we were before a Nazi got punched in the face is to claim that abusers only hurt you if you fight back. Nazis didn’t need a reason to want to hurt people whom they have already called inhuman, base, monsters, thugs, retards, worthless, damaging to the gene pool, and worthy only of being removed from the world. They were already on board. The only difference that comes from fighting back is the intimate knowledge that we will not put up with their shit.

And I’m just fine with that.

fandomsamazing:

zeconster:

languageloveaffair:

audre-w:

lokiagentofasgard:

knittedace:

janothar:

animatedamerican:

feminismandhappiness:

giandujakiss:

teapotsahoy:

survivablyso:

xparrot:

fluffmugger:

vmprsm:

darkseid:

freebismuth:

moonsandstarsandmagic:

vintagegalpal:

emilievitnux:

there-is-irony-everywhere:

jmenfoot:

scavengerridley:

Natalie Portman being confused by the fact that you have to say “hi” to someone before starting a conversation in France got me like ?????

“I feel there’s a lot of rules of politeness and codes of behavior there you have to follow. […] A friend of mine taught me that when you go in some place you have to say “bonjour” before you say anything else, then you have to wait two seconds before you say something else. So if you go into a store you can’t be like “do you have this in another size,” or they’ll think you’re super rude and then they’ll be rude to you.” [X]

#wait you don’t do this is other countries??

So that’s it guys. French are not rude, we just don’t like it when people don’t say “Hello” or “Hi” when they start a conversation. 

Don’t everyone say “Hi” before they ask something to someone? What’s next? Saying please is also a french thing or others countries does that too? 

Canada is similar. We say sorry and please. The Hello thing seems strange, but it actually makes sense.

Bro, this threw me for a loop when I moved up north. Like in the southern United States you say “Hi, how are you?” And then make a few seconds of small talk before you ask your question or order your food and when I went to Connecticut they were like “What do you want?” Without any hello or anything. In other places they just STARE at you waiting on you to place your order and gtfo.

I laid my hand over my chest the first time, and the only way to describe my look was “aghast” before I said “Good lord!” My husband said it’s the most southern thing he’s seen me do. He thought it was hilarious. But…. Like??? That’s rude as fuck??????? Don’t y’all say say “Hello” before throwing your demands at someone??

maybe this is why everyone thinks new yorkers are rude

this is absolutely why ppl think new englanders r rude. no one has any fucking manners

african culture, at least in ghana, demands you greet a person before you ask them something. if youre in an open market they may even ignore you if you dont.

We do this in Australia as well. If you just started straight off saying “yeah I want XXXX” we’d think you’re rude as all fuck.  You say hi, then make your request.  It’s basic acknowledgement of the other person as a person rather than some random request-filling machine.

Huh. Speaking as a New Englander, I usually go with “Excuse me,” but sometimes “hi” or “hey,” but with no pause – it’ll be, “Excuse me, hi, I was looking for X?” From my POV, it seems rude to get too chatty and waste some stranger’s time; I assume they have better things to do than make small talk with me, so I just get my request out there so they can answer me and get back to whatever needs doing. I always thank folks for their help afterwards, if that helps?

(The rules of etiquette are strange. People say New Englanders are rude and cold, but once during an unexpected snowstorm here in Seattle, my car got stuck and I was standing by the side of the road at a busy intersection in the snow for half an hour waiting for my housemate to come pick me up, and not a single person stopped. Back in Massachusetts, every other car on the road would’ve been pulling up to check to see if I was okay, if my phone was working, did I need a lift, etc.)

No but this was the first thing my cousin told me in France? you never ever ever start a conversation with anyone, not even like “Nice weather today, huh?” without saying Bonjour first. You HAVE to greet them or, just like Ghana, they’ll ignore the shit out of you, you rude little fucker

(And “excuse me” or “pardon me” doesn’t cut it. you still have to open with bonjour)

[and I can’t speak for New England but coming from Chicago and then moving Out West where the culture is VERY influenced by the South and DETERMINED to think of themselves as small town folk… I HATE when I have to make small talk before ordering food??? Like, if it’s a coffee shop that’s pretty much empty I’ll chit chat for a few seconds, but I’m still not going to make inane conversation about the weather unless the weather is extreme.

In a big city it is rude as fuck to waste my time making small talk with me when we are not even friends or neighbors??? I am here to get shit done. There are four other people in line behind me, and I don’t want to waste their time. I am here, I HAVE MY ORDER ALREADY DECIDED BY THE TIME I GET TO THE FRONT BECAUSE I AM NOT A CAVE WOMAN, and I am being polite by saying both Please and Thank You and not wasting other people’s daylight.]

I live in a small northern city, and I feel it would be rude to engage someone in more than maaaaaybe a sentence of small talk before placing my order. In addition to feeling I was wasting their time, I’d feel like I was demanding emotional labour (small-talk is emotional labour for *me*) that they weren’t being paid to give.

so bizarre.  New Yorker here.  Saying hi, how are you, etc before these kinds of commercial interactions is what’s rude to me – because ffs, there are people in line behind you, we have lives, move it along.  It’s really just a dramatic cultural difference – but borne of a real practical necessity.

Oh my god saying ‘hi’ takes less than A SINGLE SECOND YOU ARE NOT WASTING ANYBODY’S TIME

In Spain you have to say hello to people before you talk to them even people who work in retail deserve that bare minimum courtesy hello??

Transplanted New Yorker here, and the feeling here is: people who work in retail deserve the bare minimum courtesy you would afford anyone else, which is to not waste their time.  You maybe say a half-second “hi” and/or possibly “excuse me” to be sure you have their attention, then you get to the point as quickly and concisely as possible.  You don’t wait to get a “hi” back, you probably don’t ask “how are you”, you definitely don’t talk about the weather.  You smile and keep your tone of voice courteous-to-friendly, you say please, you thank them when you’re done, and you do. not. waste. their. time.

Except ”time” is really only shorthand for the concept:  you don’t intrude on their lives more than you have to.  NY is a very very crowded city which allows for very little personal space, so New Yorkers have developed a form of courtesy that involves minimizing our unavoidable intrusions on each other.  Which is why we hold doors without making eye contact, and why we tend to feel that in any interaction with a stranger, it’s actively rude to do anything but get to the point immediately.

I’ve had long talks with people about how “polite” in NYC/NJ/New England and polite in the Midwest are very, VERY different, and this thread nails it.  The Midwest (and the South, and apparently France) are very hung up on the forms of politeness, including the fake caring about other people’s days and making smalltalk.  NYC-folk, instead, are focused on the effects for politeness.  Am I intruding on your day? How can I make this as efficient as possible so that you can do what you want/need to be doing?

The big example I use is a tourist with a map.  If you stop in the middle of the sidewalk in NYC, people get annoyed and sometimes angry (I’ve seen this happen at the top of an escalator in Penn Station…) but if you pull out of the way, someone who has a moment will come and offer to help you, generally fairly quickly.

This is really interesting commentary on politeness.

I’m from England, and from a big city, and I’d say that we fall on the “effects” of politeness scale. We’d generally say “Excuse me” or “Hi” to people and go straight into the question. We don’t really do small talk unless you end up waiting around for something. And of course you say please and thank you and smile and are generally courteous throughout the following conversation.

… there should be a website for people to describe politeness etiquette in their local areas. I’m off to New Orleans soon and I’d really like to know the etiquette over there before I go…

*cribs ideas for worldbuilding*

I’m from england too, small town/country side, and you always open with “hi, can i get x?”
the idea of opening with “how are you” is… weird. so weird. they are a stranger. Unless you’re starting a longer interaction, like sitting down with an estate agent, or knocking on someone’s door for something, and even then it would be a “Ms X? Hi, I’m Y, nice to meet you. so I’m looking for…”
the maximum interaction would be a “nice to meet you”. otherwise you’re wasting everyone’s time. because they don’t care and neither do you. a polite “ excuse me, sorry, hi, i was wondering if” is the maximum preamble you need.

this is useful info tho. it explains a lot about some interactions I’ve had.

Eh les  frenchies, look what just come back to us, with two wonderful New Yorker Comment on how saying “bonjour” is a huge waist of time.

love it.

Interesting chat on politeness!

I can see both sides of this (having lived in New York City, different parts of France, and currently living in the middle of the East Coast in the US).

I am personally an introvert, so it’s lovely when I don’t have to waste anyone’s time with small-talk (like in the south), and I just say, “Hello, I would like” “please” and “thank you”, and the transaction is over.

At least saying “bonjour” is very important in France, but I don’t think that’s so different from here in the US. I think American tourists and ex-pats don’t realize that’s a thing, and they don’t think about the fact that they have to say “hello” in French first wherever they go in France.

But I see the other side of things as well, where it’s nice when your fellow humans care about you and want to pass on some good vibes in making a nice comment or sending a “Hello” with a smile your way when you pass on the sidewalk in a small town.

You just have to know which level of politeness to use where!

I would think that the “bare minimum courtesy” you owe a retail worker is to acknowledge their existence by greeting them, but hey, I’m not a New Yorker.

i’m not a new yorker, but i was raised by one, and here in pennsylvania, you’d generally say (to a worker) “excuse me….”, and when talking with my friends i’ll go, “hey!” and then immediately start in on the conversation.

like, if you’re doing something that won’t be longer than five minutes maximum, you say “excuse me”. if you’ll know the person for two weeks, then you’ll get to the polite “how are you”s.

personally, i wouldn’t know how to make small talk with a worker. it’s seen as weird and very rude and foreign here. you’re wasting their time.

wannabeanimator:

Notes on Animation: Cats Don’t Dance (1997) | Marc Hendry

“A look at the design and animation of forgotten 90’s gem Cats Don’t Dance.”

via Cartoon Brew:

“There’s nice insights throughout, but one of the most useful pieces of information comes toward the end of the video when video creator Marc Hendry talks about what compelled him to make this animation analysis video in the first place.

Hendry explains that a while back he posed this question to Disney animators through a Facebook page: What questions should an animator ask when studying another animator’s work? Contemporary master Eric Goldberg wrote him back with this list of things he asks himself when studying animation:

  1. How are the different attitudes expressed using the entire body?
  2. What kind of shape design is used to graphically support the idea of the pose?
  3. How are secondary items like hair and cloth, used to support the overall design and movement?
  4. What kind of shape manipulation is going on, particularly in the face, to better feel the expressions and lip-synch?
  5. What’s a key, what’s a breakdown, and what’s an inbetween?
  6. How are internal and external features defined in the animation? (What’s hard bone, what’s fat, what’s muscle, what’s loose hanging flesh, what’s squishy, what isn’t?)
  7. How is the use of one or two frames of distortion effective in defining the action?

Goldberg is basically explaining the difference between the passive act of watching cartoons and the active task of seeing cartoons. Seeing transforms the viewer into a student; as a student, one analyzes the choices that were made by the artist and tries to understand why a piece of animation looks and feels the way it does.”

giancarlovolpe:

naokiaraiza:

Scale, hierarchy, impacts

From image 1 to 5 we have 5 different scales of different impacts, notice how the shapes of the smoke are all different from small to huge, this is very important in order to communicate the force of the impact.

We have a very small transparent round shaped smoke for image 2 vs a very dense with shadows and lots of little details for image 5. If you want to animate a very big explosion you have to keep in mind that the bigger it gets the more details you have to draw (debris, fire, lights and shadows, etc.), also, massive smokes are more dense and move slower. We are always trying to avoid these huge epic smokes because they are very time consuming, so it’s better to think about ways of showing big scale without actually having to draw it all. For example on image 5 the camera is following julith for a couple of seconds so all the big smokes on the bottom doesn’t need to be animated because they are out of the frame. 

this question was asked by @maginpanic:

can you advice how to handle epic scenes? (Like tsunami flooding the city, or village in fire).

If you want to communicate effectively that something is huge you need to: draw tons of details, they have to move slow, you need something small so the audience can compare and tell how big is the thing you are showing. And I recommend that the scenes don’t last too long, unless you want to spend all your life in front of the computer drawing tiny slow lines… We actually avoid this scenes at Ankama because we are a small team, so I can’t really tell you anything more useful.

Sorry about the late response! 

!!!!

Emotion and Pacing in comics

faitherinhicks:

One of the reasons that I love comics so much is that there are many valid ways to approach the medium. When I make comics, the parts I’m most concerned with are character and story. Everything I draw on the comic page is in service to character and story. Because of my focus on those two elements over, say, experimenting with my art and page structure, I will sometimes get criticism that my work is safe or boring. This is probably fair criticism! I don’t do a lot of experimenting with paneling or challenging storytelling or explicitly challenging artwork in my comics, because right now that’s what I’m not interested in. Maybe I will be more experimental someday, but not right now, with the kind of stories I want to tell. 🙂

When I make a comic, my goal is for my readers to be engaged with the story I’m telling, and the characters in that story. That’s also what I look for when I want to read a good comic. I want characters to love, I want a story to be engaged with.

For the most part, I struggle with drawing comics (most artists do, if we’re honest ;)), but there are some parts of comics I think I have a good handle on. I feel like I’m strongest when portraying emotion on the page, and I’m good at drawing those scenes out and making the reader feel what my characters are going through. Some of the techniques I use to convey emotion came from being obsessed with movies when I was a teenager, and some techniques are stolen from my holy trinity of influences: Jeff Smith (Bone), Hiromu Arakawa (Fullmetal Alchemist) and Naoki Urasawa (Monster, Pluto, 20th Century Boys). 

Of the three artists I’ve mentioned, I consider Urasawa especially to be a master of emotion and pacing. When I first started reading his comics, it was like light struck my brain; finally I saw what I’d been trying to do for years right there on the comic page in front of me! I like the way he lays out his emotional scenes a lot. Here’s an example (read right to left): 

image

Urasawa uses repeating panels and decompression to draw out the emotions of a scene. In this single page there isn’t a lot of movement. It’s literally just two characters staring at each other, but the tension rises going from panel 1 to panel five. Gesicht (the man)’s expression doesn’t change between panels two and five, but we literally feel his anger rising off-panel, concluding in the close up in panel 5.

There’s an excellent You Tube channel called Every Frame a Painting (I’m sure you’ve heard of it, but if you haven’t, please go watch all the videos! There aren’t many, and they’re all really informative). My favourite video is this one, about editing:

This video hit on something that I strive for in my comics: emotion takes time. When I draw a scene that is emotional, when characters are struggling with something, or celebrating something, or being challenged, I want my readers to feel what the character is feeling, and one of the best ways to do that, for me, is to take my time. To give that emotion time to breathe on the page. 

I’m going to use some scenes in The Nameless City to illustrate how I use decompression and pacing to underscore the emotion in my comics. To avoid spoilers and because this is getting a little long, I’m going to put it under a cut. Please read on! 🙂  

Keep reading

leothaerin:

YouTube has been allowing a bunch of cool people to make a lot of really
fascinating videos about anime recently, so I thought I might share
some of them and the channels I follow over here. This is #4 of 4!

Although RCAnime doesn’t upload as much as some of the other channels I’ve been linking to, his explorations of specific aspects of works are surprisingly accessible! He seems to be pretty inspired by the incredible work of Tony Zhou on Every Frame A Painting, so if you like those videos, and you like anime, this is probably a channel for you!

The second video of RC’s that I’m going to link is absolutely mandatory viewing for anyone who wants to really understand where anime comes from. Not, like, the ideology behind the animation, but literally, where the drawings come from, and what makes those great shots look, well, great. In short, it’s about sakuga.

I hope you have enjoyed this little selection of some of my favourite anime-related YouTubers!