i love writing out numbers and then putting them in parentheses like "one (1)" even when i dont need to i think its funny

ellievsbear
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Game of Thrones Daily
AnasAbdin
h
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sheepfilms

JBB: An Artblog!
TVSTRANGERTHINGS
Misplaced Lens Cap
Alisa U Zemlji Chuda
almost home
KIROKAZE
trying on a metaphor

blake kathryn

祝日 / Permanent Vacation
we're not kids anymore.
Cosmic Funnies
One Nice Bug Per Day
dirt enthusiast
seen from Türkiye

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seen from T1
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seen from United Kingdom
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seen from Australia

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@boschmillennium
i love writing out numbers and then putting them in parentheses like "one (1)" even when i dont need to i think its funny
Wally Wood’s 22 panels That Always Work have been passed around like cartoonist samizdat for decades now, and this is a good thing. But keep in mind, they aren’t a lesson in how to make good comics, they’re something to keep handy in case of emergency. The emergency in question is when a writer has handed you a non-visual script. (Read this letter from David Mamet to his writing staff for more about such things.)
Comics are a visual medium, and work best when they use pictures to advance and enrich the narrative. Sometimes a script doesn’t do that, but an artist still needs to communicate the impression that there is something dramatic taking place. Tv and film have sound and movement to help accomplish this goal. In comics, we’ve got variations in gesture, lighting, and composition.
At six or seven panels a page, you can run through a lot of clever shots very quickly trying to keep the reader’s eye engaged. When you’re all out of good ideas, that’s when you need to break the glass and deploy some of Wood’s 22.
Poison Ivy 46 Swimsuit Variant Cover
Drawn by me, coloured by Frank Martin.
fox thingy?? fox thingy,,
alright I've got to do some quick math to explain attitudes towards AI to my boss.
we're looking to create an AI policy, and when we were talking about this, my boss (older millennial) was genuinely shocked to hear that younger people do not (seem) to view AI positively (a la the recent commencement speakers being booed)
please rb for larger sample size!
Question 1/3
What is your age, and do you feel AI is a net positive or net negative in our lives today?
under 18, AI is a net positive
under 18, AI is a net negative
18-29, AI is a net positive
18-29, AI is a net negative
30-45, AI is a net positive
30-45, AI is a net negative
46-60, AI is a net positive
46-60, AI is a net negative
over 60, AI is a net postive
over 60, AI is a net negative
Question 2/3
How often do you visit or interact with museums/archives (whether in person or online)?
Frequently (multiple times per month)
Often (multiple times per year)
Occasionally (a couple times per year)
Rarely (once every couple of years)
Never :(
Question 3/3
If you saw a museum was using AI in exhibits, marketing, research, etc., would you be more or less inclined to visit that museum?
under 18, more inclined
under 18, less inclined
18-29, more inclined
18-29, less inclined
30-45, more inclined
30-45, less inclined
46-60, more inclined
46-60, less inclined
over 60, more inclined
over 60, less inclined
Thank you for helping with this data collection. Please rb for as big a sample as possible!
🫶
idk anything about this but I love it
If any competition needed to be on Tumblr, it's this one.
Competitive shenanigans. High-stakes tomfoolery. Olympic-level doo-hickeys and gizmos.
Illustration inspired by this fic I really liked 🥰
From Veronica Tucker via Pinterest
@ibrithir-was-here
some justice league panel redraws
(original panels under the cut <3)
An Indulgent Rant After a Frustrating Meeting
I've been doing this for sixteen years. I've seen with my eyes that giving people art, letting art move, letting stories breathe, allowing them to travel: it changes people. Those stories go places and lodge in people's hearts in ways you can't predict. That can't happen if you keep it all close to the chest, behind a paywall, locked in bureaucracy. It can't happen if you're afraid. If you operate from a place of ownership and grasping and the fear that there might be money left on the table. We want a piece of this, they say. We want to make sure we get our share. You wouldn't have made this without us. True. Of course. But who will move the story? Who will connect with the audience? Is it you? I don't think so. That's why you hired me. If you give someone something freely with intention, it carries gratitude in it like a seed. It's nonlinear. I've been saying this for years.
The "money left on the table" isn't thousands, or even hundreds. Often it's a loss! I pay to print comics to put out into the world because they will go places I can't. People will find their way back to me. If my life changed because of one college student's weird photocopied tall ship-themed zine I found in a bookstore in 2005, who knows where my work will go and what it will do.
It infuriates me to run up against this mentality because it is so hard to share anything in the world today. It is so hard to get stories into the hands of people who need them. You have to give everything a fighting chance—print it out, leave it in the library, share it on social media, post it on your blog. Yes, publish it. Put it in a book. Put that book up for sale. Of course. Of course. I want to eat. I'm not a fool. But if people don't find the story, they won't want to buy the book. That's how it works.
I'm tired of working in a system that operates on that fear. It feels juvenile. "What if someone steals my idea?" "What if someone reads my work and doesn't pay me for the privilege?" GREAT. SOMEONE HAS READ MY WORK.
I don't know how to sit in the seat of this power while also championing the fact that artists must be paid. Our work has value, but much of that value is slantwise. It doesn't come in linear channels. So yes, pay me, but also trust me. Trust that I know what I'm doing. Trust that art moves in mysterious ways. Trust in the story. If it is good and true, people will value it. They will bring that value back to you.
People have written a lot of touchy-feely pieces on this subject but I thought I’d get right to the heart of the matter
[The artist, putting a simple cake next to a much fancier one: “Aw man, that guy’s cake is way better than mine.” The Audience, gleefully holding up a knife and fork “HOLY SHIT! TWO CAKES!”]
additions from the og artist (credit)
The original pride flag and the sewing machine it was sewn on