My Mind Palace

Welcome to my domain! I like fandoms and draw lots of fanart for fun. I hope you can get some enjoyment out of my doodles. ❤❤

[cari-ousel]

I did a Six Fanarts challenge! This was a delight to do, with character suggestions coming from friends of mine. (Thank you @padbaeamidalaskywalker for the suggestion for Alligator Loki!)

This was a great challenge to do to get back into drawing after some time not doing art, and I had fun with it from start to finish. Even the extra touch of adding their little signatures. I’m happy with the variety I have here, I hope you like it too!

[appaeve]

yeah

[cloudslou]

bear with me here…. 🧸🧸🧸<- thats the bear with me

[sophsun1]

Pooh's Grand Adventure: The Search for Christopher Robin (1997) dir. Karl Geurs

A time of hot chocolatey mornings, and toasty marshmallow evenings, and, best of all, leaping into leaves! 

[enchantedbook]

'The Lantern Bearers' by Maxfield Parrish, 1908

[sometiktoksarevalid]

[silvermarmoset]

isn’t it amazing how the width of the skirt, the heft and color and lift of it, changes the whole tone of the sculpture? Her previous tutu sagged on her body, and I remember when I saw it I thought of wilting flowers—the crushed quality of the fabric and the multilayered brown just added to that sad, wistful effect; I thought Degas was conveying a kind of loneliness, a sense of being left out in the cold, a girl not quite a ballerina.

and then the new skirt! She looks like a Dior model. She fits with other paintings Degas made of dancers, and her whole pose reads completely differently. She looks like she's about to lift off or float away. The skirt is still aged but it’s no longer tattered. She's a dandelion now, ready to happily dance away, not a girl kicked out of the ball. It’s shocking that her pose hasn’t changed at all, because the entire sculpture reads differently now.

And fascinating, too, that we don’t really know what Degas “intended.” All the changes that have happened to this sculpture over the years is a collective vision of what a Degas sculpture should be. From this video, it sounds like he didn’t plan for the bronze (which adds the tone of memory, solidity, history). He didn’t envision the skirt being dyed to match the body or its decay. It sounds like we’re not even sure how full he made the skirt originally—this conservator is going off of historically accurate looks from the time, ignoring whether degas might have intentionally flouted those to make a separate point. This is a Theseus’s ship of a masterpiece. Gorgeous and weird and totally divorced from what it started as.

[beif0ngs]

Stop-motion is an animation technique in which objects are physically manipulated in small increments. By capturing 24 frames per second, the object comes to life

The movement of each character, the speed at which they move, and lighting are all taken into account. Everything is crafted and captured manually, frame by frame. By doing everything manually, the handmade nature of this series exudes warmth filled with the unique charm only stop-motion can provide.

As the process requires extreme precision, each animator can only create up to 4 to 5 seconds of footage a day. Approximately 86,000 individual images were required to create this series.

[antoniabishop]

The Southwest and its wild horses 🐴 🖤🥲

[everydaylouie]

pigeon beats

[tenyai]

Cutey cutey romantic moment because I need the serotonin. And a hands insert shot because I apparently hate myself.

[gusaedong]

Luke skywalker

[maybelsart]

Junicorn day 3 #

THe Sunrise

[poketcg-art]

Togepi -- Yoko Hishida

[art-and-things-of-beauty]

Tigers by Antoine-Louis Barye (French, 1795-1875)

[sticker-pop]

1990's Kitty letter paper and envelope, front and back

[thelma2017dirjoachimtrier-deact]

“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”

“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”

“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”

“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”

“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”

“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”

A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.  

[curtailedwhale]

every time this shows up on my blog, I’m rescheduling it to show up again at a later date so I can keep remembering how important a child’s perspective is.

[wackom]

Bothering the beast