I Sometimes Hate the LGBT Community. And I’m a Member.

I Sometimes Hate the LGBT Community. And I’m a Member.

TURBODERP:

Whether or not you agree with this (I mostly do), read it.

Originally posted on Nihilism is Pointless.:

Recently, huge fights have spawned between different camps within the LGBT community.  The fights are born around the use of certain words, different roles, opinions, outlooks, philosophies of life as an LGBT person, and quite simply wounded egos.

And I have had just about enough of…

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infinity-imagined
alexriesart:

To see how I painted this creature, head over to Pheonix Atelier and sign up! I shall be instructing a class there from the 21st of October in creature design.
http://www.phoenixatelier.com/program/designing-alien-life#.UlQpdhB6pu4
The Kirrabilli 
The kirrabilli are a sentient hexapodal species about four and a half feet high, living on a small, warm world orbiting a slow burning star.
Although now technologically advanced, the kirrabilli evolved as environmental specialists who hunted for both animal and plant food across the extensive moss-like forest floors of their subtropical home. This soft sponge-like substrate played a key role in the evolution of the kirrabilli and their unusual needle like feet: The thin tips, unable to support themselves on the moss, sink into it several inches and are stopped from slipping deeper by a ring of tough, fibrous hairs. This provides some extra traction, but more importantly allows the thin and highly sensitive tips to detect vibrations passing through the denser ground beneath. By sensing the substrate in this way the kirrabilli can detect large creatures moving a considerable distance away while also communicating with one another via rhythmic vibrations through the ground.  As their evolution progressed towards more complex intelligence, entire long range conversations could be carried on this way and thus the groundwork was laid for co-operative hunting and intertribal communication.
Whilst their stable environment made thermoregulation largely unnecessary, the kirrabilli are able to maintain an elevated body temperature when necessary by concentrating warm blood near the central organs and withdrawing it from the long slender limbs. Weather falling outside of their range of tolerance was met by moss matt shelters and communal huddling until the discovery of fire and limited clothing.
Sensory input comes from several highly specialised organs and is dominated by sight. Two stalked and densely packed compound eyes extend from the front of the head, below which hang sensitive olfactory organs to detect scents and changes in humidity. In keeping with their well-developed vibration detection abilities, their hearing is acute and is mediated through mobile ears at the tip of the abdomen.
As omnivores, the kirrabilli possess mouthparts and manipulators of a generalised and adaptable design. The arms, derived from the lips, lack a solid skeleton and collect fruits or carry weapons for subduing small prey. Equipped with their own basic sense of taste, these arms pass food up the mouth that lies between them.
Their most critical adaptation, however, may be their linguistic abilities which encompass visual, aural and infrasonic components. Various configurations of the limbs and body reveal the colourful blue patches on the legs and abdomen, the different combinations conveying meaning and intent. Sound is generated through a combination of stridulation using the rough inner surfaces of the arms, and air expelled and modulated through the twin breathing spiracles on either side of the abdomen. Dramatic punctuation and long range communication can be supplemented by beating on the substrate. 
Currently a technologically advanced and relatively peaceful people, the kirrabilli have developed sustainable high density agriculture and their population continues to grow.

alexriesart:

To see how I painted this creature, head over to Pheonix Atelier and sign up! I shall be instructing a class there from the 21st of October in creature design.

http://www.phoenixatelier.com/program/designing-alien-life#.UlQpdhB6pu4

The Kirrabilli

The kirrabilli are a sentient hexapodal species about four and a half feet high, living on a small, warm world orbiting a slow burning star.

Although now technologically advanced, the kirrabilli evolved as environmental specialists who hunted for both animal and plant food across the extensive moss-like forest floors of their subtropical home. This soft sponge-like substrate played a key role in the evolution of the kirrabilli and their unusual needle like feet: The thin tips, unable to support themselves on the moss, sink into it several inches and are stopped from slipping deeper by a ring of tough, fibrous hairs. This provides some extra traction, but more importantly allows the thin and highly sensitive tips to detect vibrations passing through the denser ground beneath. By sensing the substrate in this way the kirrabilli can detect large creatures moving a considerable distance away while also communicating with one another via rhythmic vibrations through the ground.  As their evolution progressed towards more complex intelligence, entire long range conversations could be carried on this way and thus the groundwork was laid for co-operative hunting and intertribal communication.

Whilst their stable environment made thermoregulation largely unnecessary, the kirrabilli are able to maintain an elevated body temperature when necessary by concentrating warm blood near the central organs and withdrawing it from the long slender limbs. Weather falling outside of their range of tolerance was met by moss matt shelters and communal huddling until the discovery of fire and limited clothing.

Sensory input comes from several highly specialised organs and is dominated by sight. Two stalked and densely packed compound eyes extend from the front of the head, below which hang sensitive olfactory organs to detect scents and changes in humidity. In keeping with their well-developed vibration detection abilities, their hearing is acute and is mediated through mobile ears at the tip of the abdomen.

As omnivores, the kirrabilli possess mouthparts and manipulators of a generalised and adaptable design. The arms, derived from the lips, lack a solid skeleton and collect fruits or carry weapons for subduing small prey. Equipped with their own basic sense of taste, these arms pass food up the mouth that lies between them.

Their most critical adaptation, however, may be their linguistic abilities which encompass visual, aural and infrasonic components. Various configurations of the limbs and body reveal the colourful blue patches on the legs and abdomen, the different combinations conveying meaning and intent. Sound is generated through a combination of stridulation using the rough inner surfaces of the arms, and air expelled and modulated through the twin breathing spiracles on either side of the abdomen. Dramatic punctuation and long range communication can be supplemented by beating on the substrate.

Currently a technologically advanced and relatively peaceful people, the kirrabilli have developed sustainable high density agriculture and their population continues to grow.

jtotheizzoe

jtotheizzoe:

theparisreview:

“Jump off the cliff and build your wings on the way down.” The secret of life and love, according to Ray Bradbury. (via)

"[Ray] makes the future now by the way he writes and by his awareness of… vitality." Yes, yes he does.

I could watch this every day. Simply brilliant stuff from Mr. Bradbury.

Accompany this with Ray reading his beautiful poem “If Only We Had Taller Been” alongside Carl Sagan and Arthur C. Clarke…

talk-to-the-hands

norsegodsforjustice:

sixpenceee:

This is beautiful and it’s amazing to me that it had such a positive outcome and not lifelong hateful grudges, which is probably what these attackers deserved. 

FOR MORE PORTRAITS AND THE OFFICIAL WEBPAGE

I honestly have no words for how beautiful this is. Forgiveness and love - they’re powerful things. 

-Tyr

To forgive and love is the most liberating thing of all.

contrapositivity
Animating female characters are extremely difficult. They have to go through a range of emotions, and having a film with two female characters and building distinguishing aspects was hard.

Michael Lee on animating Frozen

So that’s their (blatantly misogynistic) excuse for scrapping all but two of the female characters; that they’re too hard to animate? Those emotional female characters, they’re all the same, right? Here’s a hint: their “femaleness” isn’t what’s making them indistinguishable.

image

(via moopflop)

Frozen keeps getting better and better.

(via pinstripehourglass)

You morons do realize that less than ten years ago, it was considered next to IMPOSSIBLE to animate HAIR with CGI? I mean, ANY type of hair. When Pixar was making the Incredibles, they were so worried they wouldn’t be able to properly animate Violet, and went on and on about how her hair was so ridiculously hard to animate. VIOLET’S HAIR.

They had to develop and create entirely new programs to animate Rapunzel. Those programs are brand new, literally less than 4-5 years old. It takes TIME to develop new animation techniques, especially in a field of animation that is so new.

And you wonder why the protagonists of Frozen look so similar to Rapunzel. It’s because Rapunzel is their baseline. She’s their first big CGI female character (the only other CGI films Disney had done before Tangled were Treasure Planet, a animation-CGI hybrid, Chicken Little, Meet the Robinsons, and Bolt). She’s their first major CGI project with the technology they used in Tangled and Frozen. It takes Pixar literally YEARS to create each new project that they do. And you’ll notice, that the only Pixar character to have significant amounts of hair since Violet was Merida, and they had to develop like three COMPLETELY NEW programs to animate her hair.

Basically, this stuff takes time and money to develop, and stylistically, it should not come as a surprise to anyone that Anna looks similar to Rapunzel, given that Disney often uses the same default facial structure from decade to decade (Wendy and Alice, Aurora and Anita, Ariel and Belle, etc) while their new animation style is in development.

I swear, it’s like you people have no clue how animation actually works, or how freaking ridiculously hard it actually is. Show some respect, please.

(via fantastic-nonsense)

I’m going to reblog myself to add some context.

This is the article that the quote is from. The quote is unattributed.

Also included in this same article are these gems:

"Depending on the shot, it can take up to 4,000 computers and 30 hours just to complete one frame."

"Just in effects alone, it took over 50 people to make the the scene of Elsa building her ice palace during her musical number. According to the directors, it took “forever” to render."

"One of the challenges of Frozen was that the TD department had to populate the entire kingdom with people. In this case, the department ended up building 312 character rigs, 245 cloth rigs, and 63 hair rigs. It’s more rigs the department has build than any of the other Disney films.

  • To put that into perspective Anna’s character had 420,000 strands of hair; that’s 4.2 times more than a human.
  • Just in case you care keeping count, in Tangled, Rapunzel had 27,000 strands of hair.”

(remember how I said earlier that the animators talked loads about animating Rapunzel’s hair, body, and face, and how they basically created the programs they animated Tangled with from scratch? Yeah….)

"To cope with Anna and Elsa’s challenging Scandinavian hair braid style, the TD department built a new software called Tonic, which harks back to the hold barbershop days. Tonic used hair volumes and clumps, which would help build the strands and translate it into the vision. How the hair fell into place or if the character “had a bad hair day” helped the animators get an idea of how hair would work."

The TD Department approached the cloths from a real world perspective. Using a pattern based approach. The team built new software called Flourish to capture the sheer, stretch, and gravity  in a more convincing way so they can best represent silks, wools, and other clothing based materials. For example, by adding motions to a horses’ stirrups or tassels, they can dictate its behavior or the way it moves.

"The effects team were even conscious of how the wind would flow through hair and cloth. A variety of controlled simulations were done with the strength and length of the wind varying."

"Acting coaches were brought in to help animators create major and subtle character movements. So when you see Anna bite her lip, or Elsa’s diaphragm move, this is something both Kristen Bell and Idina Menzel, respectively, do in real life. Basically if it made it more believable, the animators put that in.”

…have fun guys.

(via fantastic-nonsense)

Just a side note though, I think the original post was complaining about how their FACIAL STRUCTURE was exactly the same, not talking about the hair.
Personally, I consider the cousins theory canon so I don’t mind the resemblance.
Annnd last of all, I thought the info about all of the work and programs were interesting, gosh animation is hard.

(via gullivergorre)