eastwoodwong:

Utena in Balmain Fall 2012 because it’s not enough just having pink hair.

janemba:

 me every fucken night on this website

Captain America is being replaced by a black man, Thor is being replaced by a woman. This couldn’t have come up on my dash at a better time.  janemba:

 me every fucken night on this website

Captain America is being replaced by a black man, Thor is being replaced by a woman. This couldn’t have come up on my dash at a better time.  janemba:

 me every fucken night on this website

Captain America is being replaced by a black man, Thor is being replaced by a woman. This couldn’t have come up on my dash at a better time. 

janemba:

 me every fucken night on this website

Captain America is being replaced by a black man, Thor is being replaced by a woman. This couldn’t have come up on my dash at a better time. 

Going through old doodles that I’ve posted elsewhere… Orcs Going through old doodles that I’ve posted elsewhere… Orcs Going through old doodles that I’ve posted elsewhere… Orcs Going through old doodles that I’ve posted elsewhere… Orcs

Going through old doodles that I’ve posted elsewhere… 

Orcs

Small part of a bigger thing.

rebeccasugar:

Punch line Queen, no boxer though

Strong

(via ktshy)

itscarororo:

Hey guys, just a signal boost for a pretty cool crowdfunding campaign..

The program Animation Paper’s indiegogo is live!  Animation Paper is an animation program that is streamlined and easy to use, and is meant to imitate animating on real paper using a lightboard.  You got dope sheets and onionskinning and none of the useless extra features.  The layout is intended to be clean and uncluttered.  I’ve been waiting for this campaign to launch for a while, I’m pretty excited!

So, fellow and aspiring animators, throw some dollars at this sweet program, and reblog if you can, so that we can get this cool project to reach its goal!

(via anatomicalart)

comicartistevolution:

Bill Sienkiewicz 1986: Marvel Graphic Novel #24 (Daredevil: Love and War)
From the same interview with manwithoutfear.com:

When I began drawing the first issue, I was working twice up, not one and a half times up, size-wise. I wanted to treat the Kingpin as this huge monolith, immoveable object - and regular comic size pages seemed too small. Frank, Ralph Macchio and myself were trying to keep the whole job under wraps, because we were all pretty aware that it was pretty radical although Frank and I agreed that the approach simply felt right. My treatment of the Kingpin became a rather well known secret around the office - everyone who heard about them wanted to see the pages - it seems like everyone knew about them but [former editor-in-chief] Jim Shooter. When Jim did find out about the job, he was adamant. No way was this going to see print in the regular comic. It was too radical and it veered too far afield of the established continuity. Jim called me in his office and said that he wanted to give us a chance to do the job - his solution was to turn it into a graphic novel. I was a bit disappointed in this option. I wanted to do it as a regular issue - or two - to me THAT was the arena for change. Graphic novels were outside the world of the actual comics and Frank and I wanted to see how far we could push things in REGULAR comics.
…
I hope we showed that an immoveable object could be reduced to rubble emotionally, internally by that from which his size affords no protection. Pretty classic resonance in terms of his jealousy and rage - all things readers can identify with in terms of universal emotional buttons. It’s what’s lacking in a lot of books and Hollywood fare. Character-driven action-people that you may not like, but who impact you. Not simply the latest “asteroid” movie with cardboard cutouts as characters. When I think of “cartoon characters,” oddly, I think of characters you can identify with (I still care about the Coyote in the Road Runner cartoons, I couldn’t care less about Bruce Willis in Armageddon).

comicartistevolution:

Bill Sienkiewicz 1986: Marvel Graphic Novel #24 (Daredevil: Love and War)
From the same interview with manwithoutfear.com:

When I began drawing the first issue, I was working twice up, not one and a half times up, size-wise. I wanted to treat the Kingpin as this huge monolith, immoveable object - and regular comic size pages seemed too small. Frank, Ralph Macchio and myself were trying to keep the whole job under wraps, because we were all pretty aware that it was pretty radical although Frank and I agreed that the approach simply felt right. My treatment of the Kingpin became a rather well known secret around the office - everyone who heard about them wanted to see the pages - it seems like everyone knew about them but [former editor-in-chief] Jim Shooter. When Jim did find out about the job, he was adamant. No way was this going to see print in the regular comic. It was too radical and it veered too far afield of the established continuity. Jim called me in his office and said that he wanted to give us a chance to do the job - his solution was to turn it into a graphic novel. I was a bit disappointed in this option. I wanted to do it as a regular issue - or two - to me THAT was the arena for change. Graphic novels were outside the world of the actual comics and Frank and I wanted to see how far we could push things in REGULAR comics.
…
I hope we showed that an immoveable object could be reduced to rubble emotionally, internally by that from which his size affords no protection. Pretty classic resonance in terms of his jealousy and rage - all things readers can identify with in terms of universal emotional buttons. It’s what’s lacking in a lot of books and Hollywood fare. Character-driven action-people that you may not like, but who impact you. Not simply the latest “asteroid” movie with cardboard cutouts as characters. When I think of “cartoon characters,” oddly, I think of characters you can identify with (I still care about the Coyote in the Road Runner cartoons, I couldn’t care less about Bruce Willis in Armageddon).

comicartistevolution:

Bill Sienkiewicz 1986: Marvel Graphic Novel #24 (Daredevil: Love and War)
From the same interview with manwithoutfear.com:

When I began drawing the first issue, I was working twice up, not one and a half times up, size-wise. I wanted to treat the Kingpin as this huge monolith, immoveable object - and regular comic size pages seemed too small. Frank, Ralph Macchio and myself were trying to keep the whole job under wraps, because we were all pretty aware that it was pretty radical although Frank and I agreed that the approach simply felt right. My treatment of the Kingpin became a rather well known secret around the office - everyone who heard about them wanted to see the pages - it seems like everyone knew about them but [former editor-in-chief] Jim Shooter. When Jim did find out about the job, he was adamant. No way was this going to see print in the regular comic. It was too radical and it veered too far afield of the established continuity. Jim called me in his office and said that he wanted to give us a chance to do the job - his solution was to turn it into a graphic novel. I was a bit disappointed in this option. I wanted to do it as a regular issue - or two - to me THAT was the arena for change. Graphic novels were outside the world of the actual comics and Frank and I wanted to see how far we could push things in REGULAR comics.
…
I hope we showed that an immoveable object could be reduced to rubble emotionally, internally by that from which his size affords no protection. Pretty classic resonance in terms of his jealousy and rage - all things readers can identify with in terms of universal emotional buttons. It’s what’s lacking in a lot of books and Hollywood fare. Character-driven action-people that you may not like, but who impact you. Not simply the latest “asteroid” movie with cardboard cutouts as characters. When I think of “cartoon characters,” oddly, I think of characters you can identify with (I still care about the Coyote in the Road Runner cartoons, I couldn’t care less about Bruce Willis in Armageddon).

comicartistevolution:

Bill Sienkiewicz 1986: Marvel Graphic Novel #24 (Daredevil: Love and War)
From the same interview with manwithoutfear.com:

When I began drawing the first issue, I was working twice up, not one and a half times up, size-wise. I wanted to treat the Kingpin as this huge monolith, immoveable object - and regular comic size pages seemed too small. Frank, Ralph Macchio and myself were trying to keep the whole job under wraps, because we were all pretty aware that it was pretty radical although Frank and I agreed that the approach simply felt right. My treatment of the Kingpin became a rather well known secret around the office - everyone who heard about them wanted to see the pages - it seems like everyone knew about them but [former editor-in-chief] Jim Shooter. When Jim did find out about the job, he was adamant. No way was this going to see print in the regular comic. It was too radical and it veered too far afield of the established continuity. Jim called me in his office and said that he wanted to give us a chance to do the job - his solution was to turn it into a graphic novel. I was a bit disappointed in this option. I wanted to do it as a regular issue - or two - to me THAT was the arena for change. Graphic novels were outside the world of the actual comics and Frank and I wanted to see how far we could push things in REGULAR comics.
…
I hope we showed that an immoveable object could be reduced to rubble emotionally, internally by that from which his size affords no protection. Pretty classic resonance in terms of his jealousy and rage - all things readers can identify with in terms of universal emotional buttons. It’s what’s lacking in a lot of books and Hollywood fare. Character-driven action-people that you may not like, but who impact you. Not simply the latest “asteroid” movie with cardboard cutouts as characters. When I think of “cartoon characters,” oddly, I think of characters you can identify with (I still care about the Coyote in the Road Runner cartoons, I couldn’t care less about Bruce Willis in Armageddon).

comicartistevolution:

Bill Sienkiewicz 1986: Marvel Graphic Novel #24 (Daredevil: Love and War)
From the same interview with manwithoutfear.com:

When I began drawing the first issue, I was working twice up, not one and a half times up, size-wise. I wanted to treat the Kingpin as this huge monolith, immoveable object - and regular comic size pages seemed too small. Frank, Ralph Macchio and myself were trying to keep the whole job under wraps, because we were all pretty aware that it was pretty radical although Frank and I agreed that the approach simply felt right. My treatment of the Kingpin became a rather well known secret around the office - everyone who heard about them wanted to see the pages - it seems like everyone knew about them but [former editor-in-chief] Jim Shooter. When Jim did find out about the job, he was adamant. No way was this going to see print in the regular comic. It was too radical and it veered too far afield of the established continuity. Jim called me in his office and said that he wanted to give us a chance to do the job - his solution was to turn it into a graphic novel. I was a bit disappointed in this option. I wanted to do it as a regular issue - or two - to me THAT was the arena for change. Graphic novels were outside the world of the actual comics and Frank and I wanted to see how far we could push things in REGULAR comics.
…
I hope we showed that an immoveable object could be reduced to rubble emotionally, internally by that from which his size affords no protection. Pretty classic resonance in terms of his jealousy and rage - all things readers can identify with in terms of universal emotional buttons. It’s what’s lacking in a lot of books and Hollywood fare. Character-driven action-people that you may not like, but who impact you. Not simply the latest “asteroid” movie with cardboard cutouts as characters. When I think of “cartoon characters,” oddly, I think of characters you can identify with (I still care about the Coyote in the Road Runner cartoons, I couldn’t care less about Bruce Willis in Armageddon).

comicartistevolution:

Bill Sienkiewicz 1986: Marvel Graphic Novel #24 (Daredevil: Love and War)
From the same interview with manwithoutfear.com:

When I began drawing the first issue, I was working twice up, not one and a half times up, size-wise. I wanted to treat the Kingpin as this huge monolith, immoveable object - and regular comic size pages seemed too small. Frank, Ralph Macchio and myself were trying to keep the whole job under wraps, because we were all pretty aware that it was pretty radical although Frank and I agreed that the approach simply felt right. My treatment of the Kingpin became a rather well known secret around the office - everyone who heard about them wanted to see the pages - it seems like everyone knew about them but [former editor-in-chief] Jim Shooter. When Jim did find out about the job, he was adamant. No way was this going to see print in the regular comic. It was too radical and it veered too far afield of the established continuity. Jim called me in his office and said that he wanted to give us a chance to do the job - his solution was to turn it into a graphic novel. I was a bit disappointed in this option. I wanted to do it as a regular issue - or two - to me THAT was the arena for change. Graphic novels were outside the world of the actual comics and Frank and I wanted to see how far we could push things in REGULAR comics.
…
I hope we showed that an immoveable object could be reduced to rubble emotionally, internally by that from which his size affords no protection. Pretty classic resonance in terms of his jealousy and rage - all things readers can identify with in terms of universal emotional buttons. It’s what’s lacking in a lot of books and Hollywood fare. Character-driven action-people that you may not like, but who impact you. Not simply the latest “asteroid” movie with cardboard cutouts as characters. When I think of “cartoon characters,” oddly, I think of characters you can identify with (I still care about the Coyote in the Road Runner cartoons, I couldn’t care less about Bruce Willis in Armageddon).

comicartistevolution:

Bill Sienkiewicz 1986: Marvel Graphic Novel #24 (Daredevil: Love and War)

From the same interview with manwithoutfear.com:

When I began drawing the first issue, I was working twice up, not one and a half times up, size-wise. I wanted to treat the Kingpin as this huge monolith, immoveable object - and regular comic size pages seemed too small. Frank, Ralph Macchio and myself were trying to keep the whole job under wraps, because we were all pretty aware that it was pretty radical although Frank and I agreed that the approach simply felt right. My treatment of the Kingpin became a rather well known secret around the office - everyone who heard about them wanted to see the pages - it seems like everyone knew about them but [former editor-in-chief] Jim Shooter. When Jim did find out about the job, he was adamant. No way was this going to see print in the regular comic. It was too radical and it veered too far afield of the established continuity. Jim called me in his office and said that he wanted to give us a chance to do the job - his solution was to turn it into a graphic novel. I was a bit disappointed in this option. I wanted to do it as a regular issue - or two - to me THAT was the arena for change. Graphic novels were outside the world of the actual comics and Frank and I wanted to see how far we could push things in REGULAR comics.

I hope we showed that an immoveable object could be reduced to rubble emotionally, internally by that from which his size affords no protection. Pretty classic resonance in terms of his jealousy and rage - all things readers can identify with in terms of universal emotional buttons. It’s what’s lacking in a lot of books and Hollywood fare. Character-driven action-people that you may not like, but who impact you. Not simply the latest “asteroid” movie with cardboard cutouts as characters. When I think of “cartoon characters,” oddly, I think of characters you can identify with (I still care about the Coyote in the Road Runner cartoons, I couldn’t care less about Bruce Willis in Armageddon).

So, this is relevant now. 
a lesson in keeping shit consistent. I need/aspire to be as meticulous as this.  a lesson in keeping shit consistent. I need/aspire to be as meticulous as this.  a lesson in keeping shit consistent. I need/aspire to be as meticulous as this.  a lesson in keeping shit consistent. I need/aspire to be as meticulous as this.  a lesson in keeping shit consistent. I need/aspire to be as meticulous as this. 

a lesson in keeping shit consistent. 

I need/aspire to be as meticulous as this. 

(via thegreatpromiseproduction)