H-hey!
Bring that back!
Ch-Ch-Ch-Check it out 🌟
AnasAbdin

Andulka
Misplaced Lens Cap
KIROKAZE
d e v o n

PR's Tumblrdome
todays bird
tumblr dot com
Mike Driver

shark vs the universe
will byers stan first human second

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titsay

oozey mess

Janaina Medeiros

Love Begins
hello vonnie
Jules of Nature
One Nice Bug Per Day

Origami Around
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@paloma-puntoycoma
H-hey!
Bring that back!
Ch-Ch-Ch-Check it out 🌟
Forest Fairies 🌴
This was one of my personal favorite pieces I made for my solo exhibition at Gallery Nucleus in 2023 🥰 This and a few more originals are available through their website ✨
Universities love to make their websites completely unusable and impossible to find things on it's their favourite activity
#3 Komorebi
I like it comic series
The X owner has no time for a democratic experiment dedicated to knowledge. He would rather yell puerile ‘jokes’ into the ether, writes Zoe
“…the sight of Elon Musk charging towards Wikipedia with his trademark guile and delicacy was so predictable that it was almost relaxing. He saw a collective resource that people prized and he wanted to hurt it.”
Thoth knows Wikipedia’s not perfect, but I’d sooner have it handy than not have it.
Something very sad and dumb is happening. During the slow collapse of the Roman empire we lost many "luxury" trades and techniques due to them not being sustainable in a post-roman less connected world. People didn't get dumber, and they kept using and inventing new things to improve their quality of life, but, to take an exemple out of many, the recipe of the seawater concrete that was so closely tied to Rome's monumental architectural projects was forgotten for over a thousand years simply because for quite some time there just weren't cities vast enough to attract the kind of patrons to fund them, which stopped the process known as euergetism to take place. Somehow we have been going through the same process again over the past hundred and so years, not because there's no upper class to chase civic recognition by sponsoring the arts, but because the upper class has lost interest in sponsoring the arts at all. It seems like rich people have become more and more into the idea alone of accumulating money, and just can't think of ways to spend it that wouldn't also be thought off by the most basic dudebros around. Not to glorify rich people at any point in time but it used to be that when you had an insane amount of money you'd use it to foster a court of artist, build gigantic public baths or commission a rank in the navy to discover new continents. Nowadays it all goes towards a dick measuring contest of yachts, mansions and what just seems like the least satisfying way one could ever spend their money. This wouldn't be so much of a problem considering the lower class has had more spending money than ever before in history, but aside from that and in lock step with exponential capitalism, rich people seem to take personal exception to the arts existing at all, opting instead to commodify everything, copy it and sell it for cheap. We're staring down the barrel of losing thousands of crafts honed over dozens of generations simply because the mercantile hellscape we live in does not, for whatever reason, value having the best possible teapot ever produced, or the best knife, or the best brush, etc... instead these products are undermined by cheap imitations sponsored by rich assholes wanting the appearance of quality over the real thing for revenues' sake, possibly because the idea that an ultra-skilled artisan class getting paid insane amounts of money completely proportional to their labor feels alien to this bunch of parasites. And I don't think that trickle down economics has ever been a thing, but it sure as hell feels like we went from being the paid monkeys of the elite, to them not being willing to spend the piss it would take to save us from a fire.
Pikachu’s Vacation (1998)
I feel like when I say ‘relatable’ what I really mean is ‘resonant.’ I don’t want characters who I feel are like me, I want characters who have emotions so strong I can feel them through the page.
I think this is important because a lot of us forget the power of stories to make us feel things about characters who are not like us, who have experienced things that we never will. The purpose of listening to someone else’s story should not necessarily be identification, but understanding.
Opens my palm to show you a bird man
Have my OC, Weiro 🦜
Drawing for you
sakuranbobaby
1000 creatures challenge (72/1000)
In the wake of a string of visual effects disasters, such as ‘Cats’, ‘The Call of the Wild’ and ‘Dolittle’, Bessie Yuill investigates the highly skilled, over-worked life of a VFX artist
When the first trailer was released in April, Sonic’s eerily human teeth and unsettlingly muscular legs prompted a merciless Twitter backlash. Director Jeff Fowler promised to make drastic changes to the CGI design, creating the hashtag #gottafixfast, and the film’s release was pushed back. Fowler tweeted in May, “Taking a little more time to make Sonic just right. #novfxartistswereharmedinthemakingofthismovie.”
Behind the scenes, however, animators at Moving Picture Company Vancouver were reportedly working 17-hour days and weekends to get the redesign done in time. And then, on 12 December, the studio division announced that it was closing. Around 80 employees, who had also worked on The Lion King and The Call of the Wild, were left jobless, as the company allegedly cited tax incentives elsewhere as the reason.
A pattern seems to emerge here. When something in the design goes wrong, creating a furry Lovecraftian horror who repulses the human eye, all the blame lands on the VFX. And when something goes right (like Sonic’s cuddlier redesign) the team sees no reward, not even job security. Even Rhythm & Hues, the team that won an Oscar for Life of Pi, was forced to file for bankruptcy after the film came out.
Joe Pavlo, Chair of the Animation and VFX Union branch at BECTU, has worked in visual effects for decades. Those who work in post production are “much more vulnerable than almost any other industry”, he tells me. “No one has job security, not even the higher-ups. No one knows where they’re working next year, or three months from now. The industry is in a race to the bottom – everything has to be done quicker and cheaper than the last project. And we’re treated as a disposable short-term workforce.”
When I ask Pavlo what the way forward is for VFX, his reply is firm. “Organising the workforce. Unions are the only thing that will benefit employees and employers, and prevent this kind of race to the bottom.”