- The constant fear of bleeding through clothes
- The constant cramps
- Having to change pads/tampons every 2-4 hours
- Having to deal with mood swings
- Having to deal with boys going ‘Oh someones on their period’
- When you stand up its like a waterfall from your vagina
- Craving food to calm you down
- The constant fear that you smell of blood even though you dont
- Feeling over emotional
YOU MEAN I DON’T ACTUALLY SMELL LIKE BLOOD?!
we all know it’s true
Perhaps it doesn’t seem like the biggest of deals, but our willingness to accept the casting of anyone with a tan as a
generic ethnic/exotic look is what got us Angelina Jolie as Mariane Pearl (A Mighty Heart), Ben Kingsley as The Mandarin (Iron Man 3), and Janina Gavankar as Luna Garza (True Blood). People of color aren’t as interchangeable as Hollywood would like us to believe, but Infinitely Polar Bear‘s casting calls prove that that belief has yet to successfully challenged.
Beck reminds us that this systematic problem in casting doesn’t boil down to the idea that all directors, producers, and casting directors are evil racists that need to be stopped. Yeah, something needs to be stopped, but it goes beyond shaking up the people making decisions. We need to shake up our school of thought. We need to stop finding excuses and loopholes for monochromatic casting, even if that means that I crawl through breakdowns every day with the sole purpose of publicly shaming those who deserve it. We need to stop defaulting to white.
Well, if you ever wondered about the mechanics of casting—and how Hollywood casting directors, producers, and directors miss the boat on casting people of color—Racialicious staffer Kendra James demystifies the process in a new column called “The Racialicious Casting Couch.” (via racialicious)
excited about this new column!
Dear fantasy artists and people who draw the covers to fantasy novels: This is what women look like in armor. Note the lack of boob plates and chainmail bikinis.
This is the bday present I made for my best friend ! It’s a Harry Potter themed gift box :D
It contains :
- Butterbeer from the Hog’s Head Tavern (which is actually Leffe beer)
- Butterbeer from the Three Broomstick (which contains Guinness beer)
- Pumpkin Juice (Bacardy Breezer Peach)
- Jelly Bellies in a Bertie Bott’s box
- Fizzing Whizzbees (some sweets)
- Jelly Slugs (sweets looking like rolled up worms)
- Cockroaches Clusters (Chocolate covered pop corn)
- A bookmark, homemade with a picture of us in the car, as well as a picture of Harry and Ron in the car on the other side.
- A Platform 9 3/4 train ticket, which is actually a birthday card !
I found all the labels for free by googling around, I own not right to them, and I haven’t made them myself. My friend is celebrating her 22nd birthday so she’ll legal to drink all the alcohols in the box (which are legal at 16 in my country anyway).
I think it’s a fun way to give a gift to a Harry Potter Fan :)
Drawing from films
Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.
The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.
Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.
Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.
What to look for:
- Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
- Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
- Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
- Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
- Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
- Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?
This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.
Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning.
Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…
Since I’ve had people asking me about storyboarding and how to learn it or what exercises to do. Emma Coats tells you all you need to know in this post.
Reblogging because it IS a very useful exercise! You can even do it as a warm up drawing exercise before you start the day. It will get your brain (and hand) in the right mindset.
Love this poem. I’ve had it tacked to a cork board for about 7 years.
nah, he ran into her knife
he ran into her knife ten times
he had it coming
he had it coming
he only had himself to blaaame
if you’d have been there
If you had seen it
I betcha you would have done the same.
i love this site