Stranger Things theory knows what Eleven really is

Eleven is easily one of (if not that) most compelling characters in Stranger Things. She is deceptively powerful — and powerfully deceptive — despite her disarming appearance. And for this reason a new fan theory has popped up that makes a whole lot of sense. It links her directly to the show’s other big mystery.

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Oh boy

Um I been a SU fan for a while and have followed the Ronaldo Fryman tag since the crack theory days. I have never seen any post from the fandom excusing Ronaldo’s shortcomings.

While in a logical sense, everybody has the right to tag what they want even if it’s repetitive character hate. But unlike other SU character tags, the Ronaldo Fryman tag is less active. So it’s understandable long time Ronaldo fans are annoyed to see old beef constantly posted. Luckily since Season 3 and Ronaldo getting more exposure, the character hate posts has died down compared to those Season 1 and 2 days.

Thank you to the small but amazing Ronaldo fans (#TaterSquad) for posting content from theories, art, and positive comments. Here’s to having more content in the canon show soon.

grangersdragon  asked:

I can't think of any tv shows right now, but have you read The Hitchhiker's Guide to the Galaxy? Because I love that series 💖

Hey Jo, I haven’t read or really heard of that series so I’ll check it out! :)

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Disney's Pool of Light and Background Theory

Something I’ve been reading up on recently in my quest to provide backgrounds for my drawings is Disney’s focus on pools of light in backgrounds, the idea being that backgrounds, while important and containing valuable information, are set pieces. A background on its own isn’t really complete - it’s a stage without actors. The pool of light refers to the area that is supposed to catch the viewer’s attention, it’s where most of the action in the scene will take place and where the majority of the important information for the viewer is located. Essentially, to continue the theater stage metaphor, it’s the spotlight of your composition.

Cinderella has some really, really excellent examples of this in its background paintings:

These are some more blatant examples, but will work for what I wish to talk about, in that this theory comes down to two things: color and shape.


The pool of light deals not just with making an area in the scene brighter or lighter than another, it focuses on contrasts. While dark/light is part of this, there’s also the contrasts of tone, hue, and saturation. In Cinderella’s palette, this is consistently different warm grays used as the light, while dark blues are used as the shadow. When viewed on a color wheel, the colors are often near-complementary, but not exactly:

What’s important to take away from this is that these colors blend into every object, which allows the whole composition to appear consistent. 

Of course, the shadows/hilights don’t have to be the traditional warm light/cool shadows. This is just what the example uses.


Secondly, and just as important, is the shape of the light itself - because it shows exactly where the character will be moving, and what we should be focusing on. Even when not in animation, this is surprisingly effective. For example, look at the two screenshots of the stairs - would you expect Cinderella to go down the stairs, or across towards the rafters? Would she bring the breakfast up the stairs, or across the hall?

What’s fascinating is that this is absolutely everywhere in old Disney movies and shorts. Literally every background uses this concept. It’s not something you really think about while viewing the film, but as an artist, the ideas employed by these movies are incredibly useful.

(All screencaps used in this post are from disneyscreencaps, which is also a great place to research this further.)

The idea put forward in this article is so smart and elegant it makes my brain fizz. Pulling lines off a profile to draw a front-on view of a face with the same proportions is something that I think every artist has done at least a few times… but! 

If you pull the lines out at an angle, down or up, you can accurately derive the proportions for low and high view shots. Brilliant.
12 pro tips to improve your artistic composition
From the Golden Ratio to implied lines, Dan Dos Santos shows you his favourite tricks for creating strong compositions.

May possibly expand this to a masterpost! Paying attention to your compositions is important! Keeping your compositions varied, dynamic, and powerful will help your work stay fresh and impactful. 

Thanks for looking! Please consider reblogging to support this blog & the artists featured within it or following my art blog @astrikos​​ to support @art-res​​!

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‘Cause they say home is where your heart is set in stone
Is where you go when you’re alone
Is where you go to rest your bones
It’s not just where you lay your head
It’s not just where you make your bed
As long as we’re together, does it matter where we go?

Voltron Week Day 3: Home/Family

I like the idea of Keith growing up in a culture based on war and hate, eventually coming to find love and safety with team Voltron. His family. :’)

(Please don’t tag with any ships. Thank you.)

“Judith Slaying Holofernes” - Artemisia Gentileschi

I have been waiting to write about this painting.  Clearly Baroque has and will forever be my favorite movement. Dat Side-lighting.  But to be earnest, I cried at this painting.  It finally is in town for the first time in its existence.  The artist herself was raped and this is by far the most vengeful and female dominant version of this tale.  Most paintings, in contrast - Caravaggio for example - the women shy away from the blood, which tends to be more minimum.  They aren’t exerting force.  Here, we see the two women immersed in the act, almost to the point of bloodlust.  She grips at Holofernes’ hair with total force and control.  It is easy to project the personal experience of Artemisia’s young rape onto this painting as the artist reaping revenge in the best way.  These theories are just starting to form, however.  As an understudy of Caravaggio, Artemisia has been dismissed until the 1970s by the male-centric academia as just a ‘copy’ of her mentors.  I am so happy to finally see her growing recognition and appreciation.  Female Renaissance artists are few and far between so this one deserves her new found, travelling fame.

Art does not reside in the artwork alone, nor in the activity of the artist alone, but is understood as a field of psychic probability, highly entropic, in which the viewer is actively involved, not in an act of closure in the sense of completing a discrete message from the artist (a passive process) but by interrogating and interacting with the system “artwork” to generate meaning. This field provides for transactions to take place between the psychic system “artist” and the psychic system “viewer”, where both are, to use Umberto Eco’s phrase, “gambling on the possibility of semiosis”.
—  Roy Ascott, Towards a Field Theory for Postmodernist Art (1980)