leviathans-in-the-tardis:

crime-andpunishment:

starkky:

are oranges named oranges because oranges are orange or is orange called orange because oranges are orange

The colour was named after the fruit. Before that, people would just use the colour red to describe something that we consider orange now. It’s why we call gingers red-heads and why robins are red breasted, when really they’re an orange colour.

image

shaburdies:

Senshi Study Sesh!
This was the piece I submitted to the Meatball Head Sailor Moon art show in LA at Meltdown Comics! The show was this past weekend and was curated by the wonderful Nico Colaleo, who had a bunch of amazing artists in the industry contribute to the show! I heard that it was a blast, and wish I could have been able to make it.
So many thanks to my friends Gyimah, Ben and Scott for helping me out! I have much to learn, but was eager to try something new with environment, perspective, and colours. The colours have been tweaked since, but otherwise the drawing is the same :)
I’ll post some close ups later! Enjoy!
Zoom Info
shaburdies:

Senshi Study Sesh!
This was the piece I submitted to the Meatball Head Sailor Moon art show in LA at Meltdown Comics! The show was this past weekend and was curated by the wonderful Nico Colaleo, who had a bunch of amazing artists in the industry contribute to the show! I heard that it was a blast, and wish I could have been able to make it.
So many thanks to my friends Gyimah, Ben and Scott for helping me out! I have much to learn, but was eager to try something new with environment, perspective, and colours. The colours have been tweaked since, but otherwise the drawing is the same :)
I’ll post some close ups later! Enjoy!
Zoom Info

shaburdies:

Senshi Study Sesh!

This was the piece I submitted to the Meatball Head Sailor Moon art show in LA at Meltdown Comics! The show was this past weekend and was curated by the wonderful Nico Colaleo, who had a bunch of amazing artists in the industry contribute to the show! I heard that it was a blast, and wish I could have been able to make it.

So many thanks to my friends Gyimah, Ben and Scott for helping me out! I have much to learn, but was eager to try something new with environment, perspective, and colours. The colours have been tweaked since, but otherwise the drawing is the same :)

I’ll post some close ups later! Enjoy!

laylainalaska:

fuckyeahsources:

Nope. But the real story is better. Bolding mine:

The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.”
The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed. 
Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.” 
Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.
…
Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.
…
Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen. 
The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.
Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward. 
She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.


Also, here’s an interesting article about female cel painters at Disney. I am now fascinated by the idea of writing something with a Depression-era cel painter as a protagonist.
Zoom Info
laylainalaska:

fuckyeahsources:

Nope. But the real story is better. Bolding mine:

The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.”
The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed. 
Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.” 
Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.
…
Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.
…
Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen. 
The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.
Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward. 
She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.


Also, here’s an interesting article about female cel painters at Disney. I am now fascinated by the idea of writing something with a Depression-era cel painter as a protagonist.
Zoom Info

laylainalaska:

fuckyeahsources:

Nope. But the real story is better. Bolding mine:

The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.

The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.

Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”

Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.

Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.

Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.

The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.

Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.

She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.

Also, here’s an interesting article about female cel painters at Disney. I am now fascinated by the idea of writing something with a Depression-era cel painter as a protagonist.

thegreyninja:

uppin’ the ante on my kickstarter project “Scribbles”, by also giving you the option to snag this comic I wrote and illustrated about an innocent mariachi band that is unexpectedly hurled back in time to Ancient Japan. check it: https://www.kickstarter.com/projects/thegreyninja/scribbles/posts/955373
3 days left - Sketchbook, plus comic, plus potentially even MORE COMIC. also I think the comics are rad and that you will dig them. Same goes for the sketchbook ;)  Your move.
Also, we’re over $3,000. we’re sooooo close, but I need some more help to get the word out and push this thing!!!!!!! reblog, repost, share it on facebook or instagram, have a lovely conversation with your mother and just mention it in passing… OH, PEOPLE OF TUMBLR, HEAR MY CRY!!! I think we can totally pull this off!!
Zoom Info
thegreyninja:

uppin’ the ante on my kickstarter project “Scribbles”, by also giving you the option to snag this comic I wrote and illustrated about an innocent mariachi band that is unexpectedly hurled back in time to Ancient Japan. check it: https://www.kickstarter.com/projects/thegreyninja/scribbles/posts/955373
3 days left - Sketchbook, plus comic, plus potentially even MORE COMIC. also I think the comics are rad and that you will dig them. Same goes for the sketchbook ;)  Your move.
Also, we’re over $3,000. we’re sooooo close, but I need some more help to get the word out and push this thing!!!!!!! reblog, repost, share it on facebook or instagram, have a lovely conversation with your mother and just mention it in passing… OH, PEOPLE OF TUMBLR, HEAR MY CRY!!! I think we can totally pull this off!!
Zoom Info
thegreyninja:

uppin’ the ante on my kickstarter project “Scribbles”, by also giving you the option to snag this comic I wrote and illustrated about an innocent mariachi band that is unexpectedly hurled back in time to Ancient Japan. check it: https://www.kickstarter.com/projects/thegreyninja/scribbles/posts/955373
3 days left - Sketchbook, plus comic, plus potentially even MORE COMIC. also I think the comics are rad and that you will dig them. Same goes for the sketchbook ;)  Your move.
Also, we’re over $3,000. we’re sooooo close, but I need some more help to get the word out and push this thing!!!!!!! reblog, repost, share it on facebook or instagram, have a lovely conversation with your mother and just mention it in passing… OH, PEOPLE OF TUMBLR, HEAR MY CRY!!! I think we can totally pull this off!!
Zoom Info
thegreyninja:

uppin’ the ante on my kickstarter project “Scribbles”, by also giving you the option to snag this comic I wrote and illustrated about an innocent mariachi band that is unexpectedly hurled back in time to Ancient Japan. check it: https://www.kickstarter.com/projects/thegreyninja/scribbles/posts/955373
3 days left - Sketchbook, plus comic, plus potentially even MORE COMIC. also I think the comics are rad and that you will dig them. Same goes for the sketchbook ;)  Your move.
Also, we’re over $3,000. we’re sooooo close, but I need some more help to get the word out and push this thing!!!!!!! reblog, repost, share it on facebook or instagram, have a lovely conversation with your mother and just mention it in passing… OH, PEOPLE OF TUMBLR, HEAR MY CRY!!! I think we can totally pull this off!!
Zoom Info
thegreyninja:

uppin’ the ante on my kickstarter project “Scribbles”, by also giving you the option to snag this comic I wrote and illustrated about an innocent mariachi band that is unexpectedly hurled back in time to Ancient Japan. check it: https://www.kickstarter.com/projects/thegreyninja/scribbles/posts/955373
3 days left - Sketchbook, plus comic, plus potentially even MORE COMIC. also I think the comics are rad and that you will dig them. Same goes for the sketchbook ;)  Your move.
Also, we’re over $3,000. we’re sooooo close, but I need some more help to get the word out and push this thing!!!!!!! reblog, repost, share it on facebook or instagram, have a lovely conversation with your mother and just mention it in passing… OH, PEOPLE OF TUMBLR, HEAR MY CRY!!! I think we can totally pull this off!!
Zoom Info

thegreyninja:

uppin’ the ante on my kickstarter project “Scribbles”, by also giving you the option to snag this comic I wrote and illustrated about an innocent mariachi band that is unexpectedly hurled back in time to Ancient Japan. check it: https://www.kickstarter.com/projects/thegreyninja/scribbles/posts/955373

3 days left - Sketchbook, plus comic, plus potentially even MORE COMIC. also I think the comics are rad and that you will dig them. Same goes for the sketchbook ;)  Your move.

Also, we’re over $3,000. we’re sooooo close, but I need some more help to get the word out and push this thing!!!!!!! reblog, repost, share it on facebook or instagram, have a lovely conversation with your mother and just mention it in passing… OH, PEOPLE OF TUMBLR, HEAR MY CRY!!! I think we can totally pull this off!!