olly johnson

On Bitty and the Football Team:

Its his freshman year and Bitty is walking around campus on his Taddy Tour™ with John Johnson, Ollie, Wicks, and some other guys on the team that Bitty doesn’t know. They are coming to the end of the tour and are walking down the frat row where all the sports teams have their respective houses. They walk past the volleyball house and the soccer house with no problem, but things get louder once they reach the football house. 

There are a bunch of hulking men gathered on the front lawn tossing a ball back and fourth. One, with short black hair and a very broad chest catches the ball, turns to the group and shouts,

“Hey hockey jerkoffs! look out!” 

He throws the ball, and it cuts through the air with Wick’s head as its target. It would have hit him straight on the nose too, if Bitty hadn’t caught it, snatching it from air as easily as anything. 

“You better keep this! you clearly need the practice!” Bitty threw the ball back to him in a perfect spiral, and when the offending player caught it, he was knocked to the ground with the force of it. 

Everyone was gapping at the mountainous man on the ground. A different player with shaggy brown hair called out in disbelief, “You just took out the school’s tight end!”

Bitty shrugged, unbothered, “I hope he’s second string.” 

All of the guys on the Taddy Tour™ starting whooping at the chirp, and the group moved onward toward the Haus, leaving a pack of slack jawed football players in their wake. The shaggy haired one offered a hand to the man on the ground.

“You good Brandon?” He asked, hoisting the other player to his feet. 

“Yeah dude, nothing hurt but my pride.” Brandon rubbed at the back of his neck sheepishly, “Who was that guy?” 

Shaggy hair shrugged, “One of the new Hockey recruits I guess.” 

Brandon smirked, “Hot.”  

i bet ollie and wicks spent the entirety of their freshman year sucking up to johnson and doing the worst shit and constantly chirping each other abt who’s gonna get his dibs and at the end of the year they find out johnson just ??? gave dibs to bitty ??? who literally had no idea what they were and did nothing at all to deserve them ???? and johnson’s just like “sorry but we gotta keep that plot moving forward my brahs! plus you didn’t do anything in any of the canonical mediums of the story so did you really do anything at all haha” and ollie and wicks are each like ????? BITCH……WE CLEANED THAT FUCKING TUB YOU MOTHERFUCKER

3

e v e r y d a y ’ s 

                       a battle and it tears her

                                                           a p a r t.

Before the 1970s, most black activism was manifested primarily in peasant and worker struggles for land, respect, jobs, and justice. The discourse and the organizations of such activists centered on the rights of blacks as farmers, rural laborers, and urban workers. Scholar Jhon Antón Sánchez highlights how four individuals played key roles in laying the foundation for explicitly black and Afro-Ecuadorian identification and organization. Saloman Chala Acosta and Alonso Tadeo from the Chota Valley and Nelson Estupiñán Bass and Juan Garcia from Esmeraldas worked as intellectuals, teachers, and activists to emphasize the ethnic and racial dimensions of the discrimination, marginalization, and oppression suffered by Afro-Ecuadorians. These grassroots leaders had more formal education than most blacks but were deeply rooted in the rural struggles of their communities. As blacks migrated in increasingly large numbers to the urban centers of Guayaquil and Quito, the influence of these leaders spread through their children, family members, friends, students, and fellow activists (Antón Sánchez 2009: 60–69, 125–143; Saloman Acosta interview; Juan Carlos interview; Oswaldo Espinoza interview; Jacqueline Pavon interview).

One of the most important examples of black activism in recent Ecuadorian history occurred in Quito in 1979. The Afro-Ecuadorian Studies Center (Centro de Estudios Afroecuatorianos; CEA) was started by black university students frustrated by their isolation at the Universidad Central; the lack of information on black history, culture, society; and the subordinate socioeconomic and political situation of blacks. These students came from various parts of the country and realized that they knew relatively little about other blacks in their own country. Some of the participants at the center later became well-known black activists, including its first president, historian Andrés Jurado; popular scholar Juan Garcia; anthropologist Oscar Chalá; economist Renán Tadeo; cultural worker Luzmilla Bolanos; and politician Victor Junior Leon (Tadeo 1999; Bolanos interview; Antón Sánchez 2007, 237).


The main objectives of the center were to organize blacks, research Afro-Ecuadorian history, and raise consciousness about the unjust circumstances of overwhelming black poverty. The group met every two weeks at their headquarters in Quito. At these meetings, the participants discussed the situation of their home communities, the situation of blacks in Quito, and the situations of the places where they studied. By the early 1980s, the center was a legally recognized group with officers and special work committees. Tadeo argues that the center had the positive effect of improving understanding between blacks from the highlands and the coast. Because they had shared their life, work, and study experiences with each other, members were better able to confront racial discrimination (Tadeo 1999; Bolanos interview).


Founders of the CEA explored the city of Quito, interviewed Afro-Ecuadorian elders, and began to document the experiences and traditions of black people. The group created an archive of interviews and materials and wrote short, accessible essays and pamphlets on Afro-Ecuadorian history and culture. CEA members reached out to black youth, especially high school students, and encouraged them to work to improve their communities and to take their education seriously. Juan Garcia was one of the leaders in recognizing the beauty and originality of Afro-Ecuadorian culture. He later became a respected advocate, scholar, and defender of black cultural manifestations and traditions, including the poetic storytelling art form of la décima (Bolanos interview; Garcia 1988; Sánchez 2002).


Passionate about what they were doing, many CEA members were influenced by socialist and leftist views popular in Ecuador and Latin America in the 1970s and 1980s. These were decades when students, workers, activists, and some armed insurgents were fighting against military dictatorships and authoritarian regimes in South and Central America. But by the mid-1980s, the center began to decline as members returned to their provinces and communities after their university studies. At home, they often formed new organizations that continued the work of the center in new settings (Tadeo 1999; Bolanos interview). Tadeo suggests that the CEA was a seminal experience in the history of black activism in Ecuador. It confirmed the importance of organizing around and affirming black identity and culture.

—  Ollie Johnson, “Black Activism in Ecuador, 1979–2009,“
Comparative Perspectives on Afro-Latin America
(2012)

The Four Musketeers

Porthos (Matt Jess), Athos (Tom Johnson), D’Artagnan (Olly Woodburn), And Aramis (Haydn Thomas) Ride To The Rescue!

All For One, And One For All, Baby!

1. How do you pronounce your name?

I think a lot of people get confused between my URL and my actually name, my real name is Méabh, with the D in my URL standing for the first letter of my second name; Deloughry. Méabh is pronouced exactly the same way as the English spelling, Maeve. (‘BH’ in the Irish language is more often than not pronouced like a 'V’). More literally, it’s pronouced like, May-vh.

2. How long have you been drawing?

Well both of my parents are designers (product designer and graphic designer) so they were very into getting myself and my younger brother Lúach into being creative. So I’ve been painting and drawing and making things probably since I’ve been about 1 or 2 years old. I started doing fanart and character design when I was 16.

3. Have you ever taken art classes?

Yes. I did for about two years when I was about twelve. I got bored of it very quickly though and felt like it wasn’t helping me anymore, so I quit. I have also always done art in school, unfortunately, art isn’t taken as seriously as it should be so they were never that helpful either. The VAST majority of knowledge I have about drawing has come from following other artists on Tumblr and Deviantart.

4. Do you go to Art College?

Yes, I do. I am currently a first year student in Limerick School of Art and Design where I am studying Animation.

5. Who are your biggest inspirations?

I have so many! Both professionals and people from Tumblr, so I’m going to put it into two sections.

Professionals:

I have been a fan of both Tony DiTerlizzi and P.J. Lynch for as long as I can remember, with my mom working for Candlewick Press in MA when we lived in America we always had hundreds of children’s books growing up, but those two illustrators have always stuck out in my mind.

Glen Keane, Ollie Johnson, Frank Thomas, Milt Kahl are all animation heroes in my opinion, but I have such a huge soft spot for the company Cartoon Saloon, who are an Irish based animation company who created 'The Secret of Kells’ and 'Song of the Sea’, obviously because of Irish pride but also because I was lucky enough to go to the studio and meet all the lovely people there who were nothing but kind and supportive of my work.

Gustav Klimt is my favourite painter because of the emotion he is able to capture with such subtlety.. that’s what I want my drawings to show.

Tumblr Artists:

@brittanymyersart @may12324 @alexis-page @corvuxredux @petitrequin @thomkemeyer @cranesketch @celialowenthal @perplexingly @lazyleezard @batcii @kathuon @norhuu @andiree @loish @elephantfist @cassandrajp @nesskain @missyserendipity @starpatches @lilabeanz @jmeemarie @cla-ray @pheberoni @johannathemad @quillery @franco-e @lexlambs @bellemrdch @jociemamacie @galaxyspeaking

6. How much time do you spend on a piece?

It depends on the day, if I’m flowing I might get a full drawing done in an hour or two, but if not, could be anything up to eight hours.

7. What materials do you use?

I use plain lead pencils or watercolour pencils or drawing pens for sketching or for traditional drawing.

8. What software do you use?

Photoshop CS5

9. What tablet do you use?

Wacom Bambo tablet CTL-460

10. Do you scan your drawings or draw them directly onto Photoshop?

I very rarely will scan my drawings, I tend to do that if I have to change computer or if I haven’t drawn on the computer in a long time. Colouring in traditional drawings can be very good for getting used to the feeling of drawing digitally again. But for the most part, everything is done directly onto photoshop.

11. Do you take requests/commissions?

Not right now. I need to figure everything out and find some spare time before I set all that up.

12. Can I re-post your drawings on Tumblr or on another website?

No. Please don’t. Just reblog it.

13. Can I make edits/colour in your drawings?

Absolutely! I would love that! As long as you give me credit that’s completely okay.

14. Can I use your drawings as an avatar/header image?

Feel free.

15. How old are you?

I was born on the 24th of April 1996

16. How do you go about creating character designs?

Well every time I read a book I will keep a notebook beside my bed to take down all the descriptions of the characters. Of course it is not enough to just have the physical descriptions of characters in my opinion. I always take into account the characters background/personality/settings etc. All of these elements contribute to a better and more interesting design. For example; if a character has a job working outside doing physical labour, they will probably have stronger bodies, more scars, freckles, sunburn or tans.

17. How can I get my characters to look more diverse? 

Same-facing characters is one of the hardest habits to break and I struggled with it for such a long time! Still do. My advide would be to use references of multiple ethnicities first. After that you would be surprised how different a character can look if you change eyebrows, hairlines, jawlines, cheekbones, noses, lips and bodyweight. If you are relying on a different hairstyle to distinguish between each of your characters it wont work. Also adding features like scars/moles/freckles/facial hair can really make your characters unique.

18. Do you have any OCs?

Yes I do, though they are very under developed. I tend to be quite shy about posting about them because they are more personal than fanart, it’s almost intimate to me. They are under they tag 'meabhd’s ocs’.

19. Do you have any other blogs?

I have one for my college work @meabhd-art but it is very different to this one. Much more traditional work and a lot more abstract..

20. Why don’t you leave the anon option on for asks?

I have always been quite private and prefer when I feel like I’m talking to someone rather than a thing? I also have anxiety and it makes me nervous not knowing who is talking to me. I answer every single question, though I only publish them sometimes and I am more than happy to answer questions privately if you are not comfortable having a question published.

2

Lady and the Tramp + The Iron Giant 

i knew i’d recognized a headline like that before and in one of my all time favorite movies, The Iron giant. Brad Bird, the director, studied in CalArts under the original 9 old men; some of wich had probably worked on Lady and the Tramp. Bird even gave Frank Thomas and Ollie Johnson speaking roles as the train conductors, while the license plate featuring the famous animation number A113 is eaten by the giant in an early scene

this is really cool!