i dont get offended at white people jokes even though im white because:
- i can recognize white people as a whole have systemically oppressed POC in america, which is where i live
- most people when they make white people jokes only mean the shitty white people and i am not a shitty white person
- im not a pissbaby
my white friends that have reblogged this give me life
4. Sometimes I am a shitty white person and the jokes remind me to FUCKIN STOP
The Wicked Witch of the West is always seen as the primary villain of the Wizard of Oz but she’s such a minor character in the books. The real “big bad”, the Emerald City’s arch nemesis… is Roquat the Red also known as The Nome King.
Because my redesign of Witch was quite comical, I really wanted Roquat to be genuinely scary.
Anonymous said: What is 50 shades of grey about? And what's so bad about it?
50 Shades of Grey was originally fanfiction based on the Twilight series, which was then published as a novel (along with 2 subsequent books). It sold over 100 million copies around the world and topped best-seller lists everywhere. It’s about to be adapted into a film, set to come out early next year.
It follows a college student named Ana Steele, who enters a relationship with a man named Christian Grey and is then introduced to a bastardised and abusive parody of BDSM culture.
While the book is paraded as erotica, the relationship between Ana and Christian is far from healthy. The core mantra of the BDSM community is “safe, sane and consensual”, and 50 Shades is anything but. None of the rules of BDSM practices (which are put in place to protect those involved) are actually upheld. Christian is controlling, manipulative, abusive, takes complete advantage of Ana, ignores safe-words, ignores consent, keeps her uneducated about the sexual practices they’re taking part in, and a multitude of other terrible things. Their relationship is completely sickening and unhealthy.
Basically, “the book is a glaring glamorisation of violence against women,” as Amy Bonomi so perfectly put it.
It’s terrible enough that a book like this has been absorbed by people worldwide. Now, we have a film that is expected to be a huge box-office success, and will likely convince countless more young women that it’s okay not to have any autonomy in a relationship, that a man is allowed to control them entirely. It will also show many young men that women are theirs to play with and dominate, thus contributing to antiquated patriarchal values and rape culture.
Boycott this fucking movie, for the love of god. These kinds of ideas are dangerous and set us back as a society
Anonymous said: Hi John! I'm a recent graduate and the work that makes me happy in my sketchbook looks completely different than it did 8 months ago when I was in school. I have a better idea about my voice now, but I have no idea how to take these doodles and visual ideas and make them feel like "finals" anymore. Do you have any suggestions about how to take things out of your sketchbook and getting them to a professional level? As always, thanks for the wise words.
I forgot who said it at the Illustration Academy, but someone had offhandedly mentioned that James Jean ruined sketchbooks for everyone. We all laughed knowingly, candidly recognized that we too had gone through a “James Jean phase,” and then hid our ballpoint pens while no one was looking.
The point being James Jean’s sketchbooks are beautiful and wonderful, and we all want to have sketchbooks like that to show everyone and publish through Adhouse. However, the problem is that we are, shockingly, not all James Jean.
The majority of us have sketchbooks to help us figure things out. They’re probably not going to get published, and they probably don’t make a lot of sense to someone else thumbing through it. And that’s OK! That’s what they should be. As kind of backwards at it seems, think of your sketchbook as an additional computer. It’s ideal for:
- Visual problem solving (thumbnailing, sketching.)
- Making connections between the information that you input (writing, diagramming, juxtaposition, etc.)
- Experimentation (with media, subject matter, etc.)
Note that I don’t necessarily recommend going for more “finished” pieces, ala your instinct after thumbing through a Process Recess book. I think the strength of one’s sketchbook lies in its volume. Who do you think will have a more comprehensive knowledge of drawing? A guy who does 1 giant drawing, or a someone who does 100 small ones?
Now, what I think you’re really asking is: that’s great and all, but what constitutes a finished piece? I think my criterion for a final is if the piece “speaks for itself” (Again, stolen from the Illustration Academy.) Do the formal elements of the piece support what you’re trying to say? (Design) And is it executed in such a way so as none of those formal elements are lacking? (Craft)
For example, have you ever wondered why you love your sketches way more than the finals? How many times have you said, or heard someone else say, “I liked the sketch a lot better.”? If you placed the sketch next to final drawing and took a hard look at both, you’d probably see a few differences: perhaps the energy in the linework was more evocative in the sketch, or the value scheme you had planned fell apart, or maybe it’s just simply not as well drawn in the final! The point being is that they are separate drawings, with their own identities. If you (or others even) consider the final a failure, then somewhere in your process, there was a breakdown in either your craft or design.
So take a look at what you’ve got in your sketchbook. Take any of the little germinations of ideas, and ask those same questions: Do the formal elements of the piece support what you’re trying to say, and is it executed in such a way so as none of those formal elements are lacking?
If the design is good, but the craft is lacking, find the medium that fits the message. Maybe to make it representationally real, you need to paint and render the crap out of it. Or maybe to make it retain some looseness, you need to use a medium that forces you to lose control a bit, like monotype. If you’re not comfortable with any medium really, then use your sketchbook to do studies and practice!
If you feel pretty good about how you’re going to execute it, but the design is lacking, then you need to, you guessed it, use your sketchbook. Thumbnail, plan, research, and sketch until you get your composition working just the way you need it. And then be sure to retain your design throughout the execution (but you’re such a hotshot that you know how to do that, right?)
If neither is up to snuff, just go for it anyway. It’ll give you a benchmark from which to measure from. Remember: failure is your friend. He’s the friend you’re really embarrassed to know because he’s kind of loud and still wears cargo shorts, but he’s been there since like elementary school, and deep down you know he’s an important part of how you’ve turned out as a human being.
One last thing: for me, there is a pretty thin line between what constitutes a “sketch,” or an experiment, and a final piece. I’ll pull stuff from my sketchbook, and crank on it just to see what comes out pretty frequently (that last mouse piece, for example.) I think what really separates something like that from a final is intent. If my intent is to just mess around, then there are no real rules really; but if my intent is the conveyance of some specific information, emotion, narrative, etc. then I’m going to really need to work to find that sweet spot of craft and design so that my illustration can speak for itself.