this was under a puppet history video
I'll tell you what's problematic about being over 40 and being friends with someone under 25: if you say "but I am le tired" they do not understand that they are supposed to say "well have a nap AND ZEN FIRE ZE MISSILES"
memes that did irreparable damage to my vocabulary
Lessons for me, in case I forget later.
;
-even though I've been thoroughly, dangerously, stupidly invested in my own characters for decades, this investment alone isn't enough to compel me to consistently produce. After all, no matter what I am or am not creating, the show goes on in my mind. Without some kind of external reinforcement, it's not like I stop making "content" entirely - it's just that it becomes rare, because it really is just being made for me at that point.
-Overrendering is the mind killer.
-It doesn't have to be naked to be horny.
-It doesn't have to be horny to be porn, as evidenced by the kind of pornographic shorts people often like to buy.
-It's tiring and lonely and the kind of work people will do with you, is often the kind of work you don't want to do. See: unhorny porn.
-It's important to have SOME collaborative creative outlet. I never thought I'd play Dungeons and Dragons because numbers? combat? who cares? but now I'm in two games and back making my comics, not just unhorny porn. Sure, the players probably aren't interested in my comics, but the creative buzz of them being consistently interested in some, any aspect of what I'm doing is helpful. I'm a human. Surprise. I need some kind of feedback.
-Try to stop fading out of existence when brain sucks.
-You're good at something. Take it. Push it. Run with it.
-If you're so cool, take up some fucking space and quit whining about why you shouldn't have to.
-Respect yourself enough to focus.
-Focus.
-Focus.
that normal problem where you’re like “yes this comic looks nice, yes, the character acting is great, but nobody will know what the fuck’s going on because I skipped way ahead of the webcomic plot for funsies”
I mean SOME DAY it will make sense. but for now, aside from like 3 people it’s like “stick that shit in a time capsule, man”
have I ever mentioned that modus operandi is notoriously, yes, *notoriously* difficult to make
*smokey and the bandit theme on the kazoo*
you know what? I think this'll be good
what th
I’VE BEEN TRYING TO find this again for THREE YEARS but once Free! came out I couldn’t google ANIME SWIMMING CLIP ANYMORE
This is such a god damn amazing piece of animation
Oh myfdb c
I have a cryptic need to reblog this as much as possible
Are we gonna ignore the sounds this man is making
The transition at the end is SENDING ME
for a glass cannon wizard, Bob kinda looks like he belongs at the beach, right? he should go more often.
*smokey and the bandit theme on the kazoo*
oh damn, i didn't know you were active on here.
It's very low pressure and people have actual conversations.
*smokey and the bandit theme on the kazoo*
Hey, with your figurine, would you like some product recommendations and tips on fixing it back up again or do you feel like you know where you're gonna go next with it?
I would l o v e any hints or tips on how to move forward. I think I’m doing ok on fixing it up - but still, hit me.
I LOVE messing around with plastic and making figurines and I've spent probably too much time fucking around and finding out, so don't mind me.
It’s taking some doing, but I think I’m having *some* success with the aforementioned methods. I have yet to sand this layer down completely, but you can see where it’s filled a ton of pinholes.
This is taking a desperately long time, but slowly, slowly. We are getting there.
I haven’t given up on this, by the way. It’s just been a long process. Her body stands on its own, which is kinda neat though completely unnecessary.
also sometimes you can't do shit you want in dnd so I just went and inked this old-ass pic of OG Bob because I can do anything I want in the terrible, terrible world of MO.
ah yeah I finished this . influences are ottoman and kievan rus (and Art Deco, always Art Deco)
in the whimsical world of dnd, bob is a noble and a wizard. he eats responsibility and dreams of 360 noscoping with fireball. the dm has been nice enough to allow me to manually enter graviturgy spells in Foundry so I can have bob specialize in weird shit like gravity magic
anyway his friend probably inadvertently ended bob's noble house so he likely won't have many excuses to wear this noble garb that nobody in the party has ever seen him wear
Hey, with your figurine, would you like some product recommendations and tips on fixing it back up again or do you feel like you know where you're gonna go next with it?
I would l o v e any hints or tips on how to move forward. I think I’m doing ok on fixing it up - but still, hit me.
I LOVE messing around with plastic and making figurines and I've spent probably too much time fucking around and finding out, so don't mind me.
It’s taking some doing, but I think I’m having *some* success with the aforementioned methods. I have yet to sand this layer down completely, but you can see where it’s filled a ton of pinholes.
This is taking a desperately long time, but slowly, slowly. We are getting there.
it only now occurs to me that I might be able to incorporate my 3D pen (imagine the extruder nozzle on a 3D printer, but your hand is the controller) into mold-making. It might allow me to make better, more precise vents. The wax I got for that purpose is much too thin.
“La Cigale”
Christian Dior
Fall/Winter 1952/1953
Harper’s Bazaar (September 1952) described “La Cigale” as built in “gray moiré, so heavy it looks like a pliant metal,” while Vogue (September 1, 1952) called it “a masterpiece of construction and execution.” In 1952, what has been called the Dior slouch was placed inside a severe International Style edifice. The devices customarily used to soften surface and silhouette in Dior are eschewed, and the dress becomes the housing of the fashionable posture now required by its apparent weight: the skirt is cantilevered at the hipbone—hip forward, stomach in, shoulders down, and the back long and rounded. Dior employed shaped pattern pieces to mold the bodice to the body and likewise to allow for the dilation at the hips.
American periodicals continued to promote Parisian couture lines after World War II, but they also included American design images and the ready-to-wear lines of Paris in order to make their publications relevant to a wide economic range of American women. “La Cigale” has the underpinnings of couture, but with its standard moiré, long, fitted sleeve, and smooth bodice and skirt cut, a facade of this cocktail piece could easily be adapted for the department store. American designers like Anne Fogarty and Ceil Chapman emulated the “New Look” line for cocktail wear, but used less luxurious fabrics and trims. Dior, along with French contemporary Jacques Fath and milliners Lilly Daché and John Fredericks, quickly saw the advantages of promoting cocktail clothing in the American ready-to-wear market, designing specifically for their more inexpensive lines: Dior New York, Jacques Fath for Joseph Halpert, Dachettes, and John Fredericks Charmers.
The MET (Accession Number: C.I.59.26.3a, b)
Currently on view: In America: An Anthology of Fashion


