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JBB: An Artblog!
cherry valley forever
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Aqua Utopia｜海の底で記憶を紡ぐ
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oozey mess
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@phsycored
Hey i’m a fashion design student so i have tons and tons of pdfs and docs with basic sewing techniques, pattern how-tos, and resources for fabric and trims. I’ve compiled it all into a shareable folder for anyone who wants to look into sewing and making their own clothing. I’ll be adding to this folder whenever i come across new resources
https://drive.google.com/drive/folders/16uhmMb8kE4P_vOSycr6XSa9zpmDijZSd?usp=sharing
What Did Tim And Dick Think Of Each Other At First?
Tim:
Tim from the first moment he met Dick had been star struck by Dick.
It was because Tim knew Dick’s acrobatics so well that he deduced that Dick had to be Robin and thus Bruce had to be Batman. Tim really really looks up to Dick.
(Side Note: Tim may be smart but he’s also kind. He’s aware Dick may not take it well when he tells him about how he saw Dick’s parents death and that he believes Bruce needs him as Robin but he’ll tell him anyways because that’s what he believes is right. To me this is a very core principle of Tim Drake. He understands the emotional side and empathizes but pushes towards the most logical side because he believes that it’ll be better for the greater good. Tim is a ‘big picture’ thinker, a ‘10 steps ahead’ kind of person.)
This small interaction shows Tim doesn’t just idolize Dick, he does see him as a person, it’s just that in Tim’s head Bruce’s need for Robin supersedes Dick’s need for independence in Tim’s mind and he feels like it’s his obligation to make Dick see that too.
[Batman #441]
[Batman #442]
Of course in the end Tim becomes Robin. Again, not because he wants to (I mean it’s not like he hates the idea) but more because it makes sense. Bruce NEEDS Robin. Dick will not be Robin. Tim see’s it as his RESPONSIBILITY to be Robin. Tim throughout the story though reveres Batman and Robin highly.
Dick:
We often forget (even I forget) that Tim didn’t just show up at Wayne Manor he went to Dick first and Dick brought Tim to the Manor. And look at that incredulous smile Dick has as he introduces this very smart twelve- No THIRTEEN year old kid to Alfred.
He was baffled and amused at first but after Tim tells his tale Dick takes Tim a lot more seriously, even listens to him about how Bruce needs him, and decides to show Tim the Batcave.
[Batman #411]
It was because Dick showed Tim the Batcave that Tim had access to the Robin costume. It was because Alfred drove him to the fight he was able to help. Later Dick and Alfred both advocate highly for Tim to become Robin and Dick can’t stop smiling almost the whole time.
[Batman #442]
Dick was loving that Tim wasn’t afraid to tell Bruce what he thought. By this point Dick very obviously approved of Tim and had a lot of respect for Tim.
@thattimdrakeguy
Do it
Studio Ghibli’s animation software will be made available via open source this month.
That’s right…💯% free.
Read more on CartoonBrew.com
This is a BIG DEAL, folks.
Animation software is, by and large, very expensive and out of the range of most people seeking to get into animation. As of March 26th, this software will become open source and available to all prospective animators!
Spread the word!
Here’s a direct link to the Toonz website.
The content I’m here for
who is he
(via)
Do yourself a favor. Learn to code. Here's how.
I’ve said this to my non-techie friends countless times. It’s no secret that being able to code makes you a better job applicant, and a better entrepreneur. Hell, one techie taught a homeless man to code and now that man is making his first mobile application.
Learning to code elevates your professional life, and makes you more knowledgeable about the massive changes taking place in the technology sector that are poised to have an immense influence on human life.
(note: yes I realize that 3/5 of those links were Google projects)
But most folks are intimidated by coding. And it does seem intimidating at first. But peel away the obscurity and the difficulty, and you start to learn that coding, at least at its basic level, is a very manageable, learnable skill.
There are a lot of resources out there to teach you. I’ve found a couple to be particularly successful. Here’s my list of resources for learning to code, sorted by difficulty:
Novice
Never written a line of code before? No worries. Just visit one of these fine resources and follow their high-level tutorials. You won’t get into the nitty-gritty, but don’t worry about it for now:
Dash - by General Assembly
CodeAcademy
w3 Tutorials (start at HTML on the left sidebar and work your way down)
Intermediate
Now that you’ve gone through a handful of basic tutorials, it’s time to learn the fundamentals of actual, real-life coding problems. I’ve found these resources to be solid:
Khan Academy
CodeAcademy - Ruby, Python, PHP
Difficult
If you’re here, you’re capable of building things. You know the primitives. You know the logic control statements. You’re ready to start making real stuff take shape. Here are some different types of resources to turn you from someone who knows how to code, into a full-fledged programmer.
Programming problems
Sometimes, the challenges in programming aren’t how to make a language do a task, but just how to do the task in general. Like how to find an item in a very large, sorted list, without checking each element. Here are some resources for those types of problems
Talentbuddy
TopCoder
Web Applications
If you learned Python, Django is an amazing platform for creating quick-and-easy web applications. I’d highly suggest the tutorial - it’s one of the best I’ve ever used, and you have a web app up and running in less than an hour.
Django Tutorial
I’ve never used Rails, but it’s a very popular and powerful framework for creating web applications using Ruby. I’d suggest going through their guide to start getting down-and-dirty with Rails development.
Rails Guide
If you know PHP, there’s an ocean of good stuff out there for you to learn how to make a full-fledged web application. Frameworks do a lot of work for you, and provide quick and easy guides to get up and running. I’d suggest the following:
Cake PHP Book
Symfony 2 - Get Started
Yii PHP - The Comprehensive Guide
Conclusion
If there’s one point I wanted to get across, it’s that it is easier than ever to learn to code. There are resources on every corner of the internet for potential programmers, and the benefits of learning even just the basics are monumental.
If you know of any additional, great resources that aren’t listed here, please feel free to tweet them to me @boomeyer.
Best of luck!
Twitch is the world's leading video platform and community for gamers.
Check out Derek Stephen Prince, voice of Ken Ichijouji in Digimon Zero Two, presenting Ken’s track from the 02 audio drama “Original Story: 2003, Spring!” I wrote him a dub-consistent adaptation of the original translation, and he read it on his Twitch stream earlier today!
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art cheats
hello i am here today to not lose track of the art cheats i have discovered over the years. what i call art cheat is actually a cool filter/coloring style/way to shade/etc. that singlehandedly makes art like 20 times better
80’s anime style
glitch effect
glow effects
adding colors to grayscale paintings
foreshortening ( coil )
foreshortening ( perspective )
clipping group (lines)
clipping group (colors)
dramatic lighting ( GOOD )
shading metal
lighting faces
that is all for today, do stay tuned as i am always hunting for cool shit like this
guys stop reblogging this these are cheats the CIA will come for you
reblogging so i dont lose this
@ all trans people about to attend online school:
This will visually remove your deadname from any webpage. Obviously switch it off if your parents wanna check up on your work, but yee here's the link fam!!!! BOOST THIS!!! SEND THIS TO ANY TRANS PERSON YOU KNOW WHO WILL NEED THIS
An easy to use Google Chrome plugin to automatically remove and replace deadnames
This is really awesome!
A Life In The Theatre
This post is for those of you who have considered working in theater. For perspective, I am a gay Asian man who is 38 years old (and yes, I am well aware that that makes me ancient by Tumblr standards but whatever), and I have been lucky enough that I have been able to have a more professional career in theater for more than 15 years, working in marketing and fundraising for a handful of major institutional theaters in this country. And I come to you with some important messages: 1. The American theater industry is built on white supremacy. Full stop. (Quick definition of terms: for the sake of simplicity I will group regional theaters and Broadway as “the American theater industry”. Community theaters, black boxes, artistic co-ops, etc. are part of this, but operate on slightly different measures.) When I say white supremacy, I am not talking about the kind of white supremacy that is police brutality, or even that kind of Amy Cooperism described by Griffin Matthews, I am talking about the quiet kind of reinforcement that comes when you program season after season of plays by predominantly white authors featuring predominantly white casts for a predominantly white audience. If art is to reflect life, then predominantly white art supports the notion of a predominantly white society as the “ideal”. It manifests in so many ways that people aren’t aware of. I have sat in countless meeting where we are looking at photos for a season brochure and I have been told to find a photo from a “diverse” show. What the audience sees: oh look! they employ people of color! good for them. What this actually means: brown/black/Asian/Latinx doesn’t matter, they are all interchangeable, just get me a photo with ethnic people. Again, reinforcing the grouping of an entire collection of communities as the non-descript “other” against the standard “white”. Or how about the whole idea of “audience development”, where you decide to do community outreach because you have a Black show, so you offer discount tickets. This creates the assumption that Black people can’t afford full price tickets, that they need some kind of a handout, and it reinforces a class bias against people of color. 2. The industry is exactly that. An industry. It is a business. It is a capitalist enterprise. It exists for the purpose of commerce. The reason you do not see more taped shows is because it is not profitable, and no amount of internet discourse will change that. It is not interested in accessibility except as a point of future revenues. Full stop. 3. Theater as an art form is capable of extreme good. What I think many of us cling to are the outcomes: that intangible, oft inexplicable warmth in your soul that comes from experiencing theater, whether that experience is reading text, watching a performing, or performing yourself, and, related to that, the feeling of shared understanding, humanity, and community that is inevitably the result. Those moments that open our minds and inspire us to change and to try and better to ourselves and others. To create and to share. 4. 1 and 2 have always been at odds with 3. This is why so many theaters have trouble issuing a stance on Black Lives Matter, and also committing to follow through. They aspire towards the good, but the mechanism that has been created (the industry) is flawed by design. I say all this because over the years I have known so many early-career artists and administrators who just wanted to be part of this. I once got a resume of a person whose cover letter opened with - and I kid you not - “The moment I stepped off the bus from Ohio, exited Port Authority, and saw the lights of Broadway, I knew I was home”. Working in theater today requires more than just luck, or talent, or knowing the right people. It requires sacrifice. It requires a constant moral check about whether you are doing good vs. doing right, and in addition to that, asking yourself - good to who, and right by who. Or if you see something that doesn’t feel right, even if it doesn’t involve you, you speak up. This is one of the hardest things to do in the theater industry, because it is so small, and so incestuous, and once you’ve had a taste for the room where it happens, for some people, it can be hard to give up. Remember that big New York Times expose about sexual harassment in the theater world? Yeah, me neither. Guess why. But this brings me to: 5. I choose to believe that change is possible. But it doesn’t come because we programmed more writers of color or hired more POC actors or lowered ticket prices. It comes because enough people recognize what has gone wrong in the past, call it out in the present, and commit to change in the future. It is not easy, especially not on the salary that we’re offering. But if you read this far, and your heart is still in it, then welcome. We need you.
Hey jsyk it’s 2018 and if you’re still drawing characters with big lips like THIS, even if they’re pale/not black, it’s fucking racist. Stop doing it.
No excuses. “It’s a stylistic choice!” It’s a RACIST stylistic choice.
“Idk how else to draw big lips!” That’s because you relied on racist caricatures and are a bad artist. Teach yourself. Learn. If you’re not willing to do that, then you are a bad, racist artist.
“But it’s part of the character design!” Yeah, and it’s racist. If it’s your OC, then change it. If it’s not your OC, make the right choice and draw them with normal looking bigger lips instead of this racist monstrosity.
And if this post makes you uncomfortable because it’s calling you out for stuff you’ve done, good. Fix it. Own up to it. Grow.
If you see this and you’re first thought is to defend this: you are racist. You are part of the problem. Congrats. Now work on yourself and unlearn that.
Here’s how to do it right:
(some troll gave me shit about only providing overly “feminine” examples. I would have been happy to ignore them…but there are so many great examples on how to draw perfectly acceptable (not racist) full-lipped male characters, in the end, I couldn’t resist.)
Since this is making the rounds again, I’m reblogging the version with both sets of examples.
