#Websites to reference

[why-animals-do-the-thing]

Pssst... something new is coming...

...this weekend!

Free, non-AI animal art references.

[statementvsbackgroundproject]

"Self Portrait with Fried Eggs 1996 (P78447), Lucas appears in the macho pose she has claimed as her own. Clad in old jeans and heavy footwear, she sits with her legs wide apart and her feet planted firmly on the ground. Androgynous t-shirts and leather jackets feature in many of the images."

[flaringk]

INTRODUCING: QUADRANT MAKER

A Gif generator for all your shipping needs. :3

Do whatever the fuck you want to do with it I don't care

[alhexiyansfist]

[fugitiverabbit]

Fat Photo Ref just got an update!

New photos are up now to help you draw some beachy babes this summer. I'm hoping to update a little more frequently this summer and get to access requests quicker too. You can apply for access or login by going to fatphotoref.com (follow the link on the splash page to request access.)

[tutorialdrawix]

RESOURCES FOR FONTS

KernClub

FREEFACES

FontShare

DirtyLineStudio

FontsGoogle

Velvetyne.FR

Dafont

FONTBA.SE

CALLIGRAPHR (to create your own fonts)

ADOBE FONTS

[carideekawaii]

A fan-made “Static” Miku reference. (Static by Flavor Foley, a group of wonderful creators.) I heavily used screenshots from the mv as reference and as a base so that it was as accurate as it could be. You do not need to credit me. 😀👍👍

Cyan: #00FFE2

Skin: #FF9566

Blue: #2400C8

Red: #FF2A2C

Yellow: #FFF30B

Green: #3EFF1E

Magenta: #FF1EEB

Edit: I’ve been made aware that there is an official reference!! I just don’t have X so I wasn’t able to find it lol. I’ll still be using mine since it has a lot more for me to look at when it comes to accuracy. Thanks for the people that let me know! (Also fixed the colors)

[squidinu]

SOME design ref-sheets from last year

[haunted-pool-noodle]

euclydia was destroyed, what, a few trillion years ago? we can joke about it by now, right?

(audio is of course from john mulaney's "The One Thing You Can't Replace")

[Video description:

Bill Cipher is shown, heavily zoomed in so that only the top half of his eye is visible.

The speaker in the audio says, "And I had that thought, that only blackout drunks, and Steve Urkel, can have." The audience laughs.

It zooms out to show that Bill is floating in front of the remains of Euclydia, the rest of his body covered in blood.

"Did-" The speaker is cut off as the audience continues to laugh and clap.

Bill looks at his blood-covered hands, then turns to look behind him. He glances back at himself, and jumps back as he notices the blood all over him.

"Did I do that?"

It zooms in on Bill's haunted expression, sharply contrasted by the humorous tone of the words. End description]

[slimetony]

composition with all the stuff i traced/doodled today

[daclium]

Happy anniversary DECT

[clumsypuppy]

xīn yá 🌱

[statementvsbackgroundproject]

Artists statement by Zanele Muholi

(The correlation that this statement has with my personal project isnt incredibly strong, since my take will not involve commentary on race.. but I enjoyed an explanation from this perspective)

2012 - 2020 Zanele Muholi Somnyama Ngonyama

With the series Somnyama Ngonyama, I have decided to turn the camera on myself. In contrast to my life-long project of documenting members of my black LGBTI community in South Africa and beyond, one in which I normally have the privilege of witnessing participants’ presentation of themselves according to their own self-image, with this new work I have created portraits in which I am both participant and image-maker. Somnyama Ngonyama (meaning ‘Hail, the Dark Lioness’) is an unflinchingly personal approach I have taken as a visual activist to confronting the politics of race and pigment in the photographic archive. It is a statement of self-presentation through portraiture. The entire series also relates to the concept of MaID (‘My Identity’) or, read differently, ‘maid’, the quotidian and demeaning name given to all subservient black women in South Africa. Experimenting with different characters and archetypes, I have portrayed myself in highly stylised fashion using the performative and expressive language of theatre. The black face and its details become the focal point, forcing the viewer to question their desire to gaze at images of my black figure. The visual variety depicted in the series references the histories of black and white fashion photography and of black and white portraiture. Each and every photo captured in this series is a commentary on a specific event in South Africa’s political history, from the advent of the mining industry, to the fame or infamy of the ‘Black Madonna’, to the recent massacre of miners at Marikana; from family to society and back again. By exaggerating the darkness of my skin tone, I’m reclaiming my blackness, which I feel is continuously performed by the privileged other. My reality is that I do not mimic being black; it is my skin, and the experience of being black is deeply entrenched in me. Just like our ancestors, we live as black people 365 days a year, and we should speak without fear. As Audre Lorde so eloquently put it in her poem, ‘A Litany for Survival’:

and when we speak we are afraid our words will not be heard nor welcomed but when we are silent we are still afraid So it is better to speak remembering we were never meant to survive — Audre Lorde, The Black Unicorn: Poems

One of the realities that I face as a South African visual activist is being forced to make a living outside this country. For a project to be well executed I have to live on the road where most of the work in this series was produced – dashing from New York to Florence to Nottingham, then to Oslo and Liverpool, back home for a week in Johannesburg, and then off to Ann Arbor, Detroit and New York – as was the case over the past three months. This shuttling around sometimes make me feel disoriented, disconnected and almost homeless. The culturally dominant images of black women start to infiltrate my soul and function as a constant reminder that such images still inform how black women are perceived here and now. One way that I deal with this exoticised self/other is to exorcise those images through my photography. These self-portraits have been captured in different continents: America, Africa and Europe; in the cities of Amsterdam, Charlottesville, Oslo, Umbria, Syracuse, New York, Malmo, Gothenburg, Johannesburg, Paris, Durban, London, Mayotte, Florence and Gaborone. My aim is to mark memories and connections I made with those places and through my interactions with people there. I created materials and used found objects that expressed my moods. All the materials utilised in the portraits have their own primary functions. I focused on senses such as hands touching and eyes penetrating (unsettling eye contact) while producing the work. In Somnyama Ngonyama, I have embarked on a discomforting self-defining journey, rethinking the culture of the selfie, self-representation and self-expression. I have investigated how photographers can question and deal with the body as material or mix it with objects to further aestheticise black personhood. My abiding concern is, can photographers look at themselves and question who they are in society and the position/s that they hold, and maintain these roles thereafter?

[hadrianblackwaters]

If Tumblr gets shut down we should take this party to the comment sections of Warrior Cats books on www.barnesandnobles.com

[cockroachesunite]

The Belgica wardroom

[n-anon]

thanks Alex, I hate it.