wallacepolsom

oozey mess
let's talk about Bridgerton tea, my ask is open
AnasAbdin
will byers stan first human second

pixel skylines

祝日 / Permanent Vacation
Acquired Stardust
noise dept.

izzy's playlists!
Monterey Bay Aquarium
sheepfilms

JVL
we're not kids anymore.
$LAYYYTER
hello vonnie
cherry valley forever

ellievsbear

JBB: An Artblog!

seen from Netherlands
seen from Germany

seen from Australia
seen from United Kingdom

seen from Malaysia
seen from Germany
seen from Brazil

seen from United Kingdom
seen from United States
seen from United Kingdom
seen from Türkiye
seen from Singapore

seen from Japan

seen from Türkiye
seen from Malaysia
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@captainkirk13

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Tracking Service, as helpfully as possible: Your order is out for delivery! It should arrive by 8 PM today!
Me, sitting by the door at 8:12 AM: pakige
Me opening my apartment door anytime I hear the outside door open despite it being 10AM: Böx?
Tracking Service: Your package is still in Russia.
Me, in the US: *checks mail* what if sPeEdY ??
I can’t believe the 2005 pride & prejudice completely understood that the ONLY correct characterization for Darcy was having him look mortifyingly uncomfortable in literally every situation he’s placed in. his body language is just. horrifying. this man wants to crawl into a hole. not to mention he’s like 6 and a half feet tall which is just. he’s so uncomfortably Large that you can’t ignore him even though he Desperately Wants You To Ignore Him. thank GOD they didn’t try any of that Dashing Gentleman bullshit. awkward nerd is the only correct Darcy.
I call the game, Real Ray, or Fake Ray? I will say a phrase. You tell me if I made it up, or if it’s something that Captain Holt actually said in real life, to an actual human being.
This scene was so fucking cute and wholesome
i hate the fanbase of nearly everything im into and for a minute i thought i was pretentious but a quick search through tumblr tags reminds me that no, yall are just fuckin weird lmao

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Fanfiction is awesome because you can watch your otp fall in love a thousands times , in a thousand different ways
Unless your otp is a rare pair, in which case you can watch them fall in love six times, in six different ways.
And you wrote four of them.
writer vs. muse: the animation
I tried to scroll over this
i saw this a few times but I just realized what was happening, this is sick
something: *is none of my god DAMN business* me: 🔍👀📝
amazon bring me….my child
SON???????????
He’s ok just wrinkly
he was vacuum sealed
There’s a new girl in my kindergarten class who’s autistic and it’s like she’s barely / not really verbal but like idk she opened up to me a little, I don’t tell people I’m on the spectrum at work because they already treat me horribly because I’m the only poc there but like she’s a little Latina girl who I know exactly how she feels and like I was like “hey Nina, If you don’t wanna talk it’s okay, just thumbs up or thumbs down if you understand the (math) problem? Okay?” So we sorta made like a thumbs up and thumbs down thing between us and today it was the most surreal thing because I like “I know they tell you to make eye contact but I’m gonna tell you a trick, look at their neck, chin, hair, and whatever is behind them, I don’t like eye contact very much either? Thumbs up?” And she said with the smallest voice “Thankyou , for not saying I’m dumb” I wanna be the person I needed when I was her age

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Nope. But the real story is better. Bolding mine:
The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.”
The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.
Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”
Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.
…
Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.
…
Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.
The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.
Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.
She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.
Also, here’s an interesting article about female cel painters at Disney. I am now fascinated by the idea of writing something with a Depression-era cel painter as a protagonist.
Nope. But the real story is better. Bolding mine:
The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.”
The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.
Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”
Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.
…
Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.
…
Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.
The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.
Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.
She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.
Also, here’s an interesting article about female cel painters at Disney. I am now fascinated by the idea of writing something with a Depression-era cel painter as a protagonist.
full offense but none of you would have ever survived fanfiction.net in 2009
The Naruto Experience TM is liking one character or a handful of characters because you found the idea of their personalities and backstories compelling and then clinging to those characters and ignoring everything else for ten years
help me
“naruto phase” my ass, once you watch rock lee drop his weights you’re in for life

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
while writing a d&d campaign
naruto self insert fic im a social worker and i kill the third hokage with my bare hands and make sure all these children graduate high school
@lusheeheartfilia