sind sie das essen

nein ich bin der coolkid

luxtempestas:

when late night convos go to shit

ruingaraf:

revolverwife:

stormy-kun493:

captain-poc:

magical girl internet explorer 

"I wish I was a better browser, that people would use me for more than just downloading my browser sisters, and everyone would love me just as much as them.  That is my wish."

what’s the witch look like

ruingaraf:

revolverwife:

stormy-kun493:

captain-poc:

magical girl internet explorer 

"I wish I was a better browser, that people would use me for more than just downloading my browser sisters, and everyone would love me just as much as them.  That is my wish."

what’s the witch look like

warhammer40kdatabase:

Techpriestsinanutshell.gif

warhammer40kdatabase:

Techpriestsinanutshell.gif

chmchm:

notmadeofbeef:

improvisedchronicles:


a youtube user shares an opinion

 #can we get this on the cover of a book  #like one of those opinions from writers


The reason Photoshop was invented

This will always and forever be hilarious.

chmchm:

notmadeofbeef:

improvisedchronicles:

a youtube user shares an opinion

 #can we get this on the cover of a book  #like one of those opinions from writers

image

The reason Photoshop was invented

This will always and forever be hilarious.

sleep:

what a time to be alive

If you see me at a con:

totalspiffage:

  • Please say hi
  • Please introduce yourself
  • I want to meet you too
  • If you’d like a hug, just ask
  • Unless you’re in unsealed body paint
  • Photos are cool too.
  • I WANT TO SAY HELLO TO PEOPLE IN PERSON LIKE OMFG I LOVE MEETING PEOPLE AT CONS
blackpaint20:

Toothface helm by an unknown Italian artist from the 17th century
Pictured above.
(via TaleWorlds)
Frog-mouth helm (or Stechhelm)

It was used by mounted knights between the 14th and 17th centuries.
SEXPAND
SEXPAND
(via Azincourt Alliance, Wikimedia Commons/Albrecht Dürer and Wikimedia Commons/Metropolitan Museum of Art)
Bascinet from the 14th and 15th century
SEXPAND
By Master A, Milan, c. 1400
SEXPAND
SEXPAND
(via Wikimedia Commons/Kunsthistorisches Museum, Viollet-le-Duc and Swordmaster)
Sallet in the Shape of a Lion’s Head, c. 1475-1480
SEXPAND
The earliest surviving example of a Renaissance armor all’antica. The outer shell of the steel helmet was made of embossed and gilt copper.
(via Metropolitan Museum of Art)
An oil-painted sallet from Germany, c. 1500
SEXPAND
Worn by lower class men-at-arms.
(via Wallace Collection)
Bird Man Helmet from the early 16th century
SEXPAND
(via Pinterest/Nikolai Chebotarev)
The Horned Helmet, Innsbruck, Austria, 1511-1514
SEXPAND
Part of a suit of armor presented by the Holy Roman Emperor Maximilian I to Henry VIII, made by Konrad Seusenhofer.

Closed helmet with mask visor, by Kolman Helmschmid in Augsburg, Germany, c. 1515
SEXPAND
Grotesque human mask-like visors were really popular in Germany and Austria in the early 16th century.
SEXPAND
SEXPAND
(via Metropolitan Museum of Art)
Grotesque ones from the early 16th century
SEXPAND
SEXPAND
(via mreen)
The Maximilian armour
SEXPAND
These early 16th century German plate armours were first made for the Emperor Maximilian I.
SEXPAND

(via Cool Stuff In Paris and Wikipedia/Polish Army Museum and Marinni)
Burgonet of Guidobaldo II della Rovere, Duke of Urbino, Milan, c. 1532-35
SEXPAND
(via Taleworlds)
The ceremonial and parade helmets of Charles V
SEXPAND
Desiderius Helmschmid, c. 1540
SEXPAND
Desiderius Helmschmid, c. 1540

Filippo Negroli, 1533
SEXPAND
Kolman Helmschmid, c. 1530
SEXPAND
Filippo and Francesco Negroli, 1545

Filippo and Francesco Negroli, 1545
(via The Art Blog and Metropolitan Museum of Art and National Gallery of Art)
Burgonet with Falling Buffe and scenes of battle between the Lapiths and the Centaurs, c. 1555
SEXPAND
Probably made for Henry II of France, but passed as a gift to the Medicis.
(via Metropolitan Museum of Art)
Burgonet, created in a Venetian workshop in the late 1550s
SEXPAND
(via Heritage Museum)
Helmet in the form of a sea conch shell, 1618, Japan
SEXPAND
(via Higgins Armory Museum)
A German or Italian Savoyard Helmet, c. 1620-1630

SEXPAND

(via Liveauctioneers - 1 - 2 and Thomas Delmar)
Don’t want to meet him

(via The Modern History Tumblr)
A French face-protecting expermiental helmet from the WWI, invented by Dr. Pollack, a medical officer


Based on the M15 Adrian helmet, used by the French Army during the war. You can seemore experimental helmets and body armors here.
(via Army Navy Deals Blog, Industrial Anatomy and Wikimedia Commons/Janmad)

blackpaint20:

Toothface helm by an unknown Italian artist from the 17th century

Pictured above.

(via TaleWorlds)

Frog-mouth helm (or Stechhelm)

The Weirdest and Fiercest Helmets from the Age of Armored Combat

It was used by mounted knights between the 14th and 17th centuries.

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

(via Azincourt AllianceWikimedia Commons/Albrecht Dürer and Wikimedia Commons/Metropolitan Museum of Art)

Bascinet from the 14th and 15th century

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

By Master A, Milan, c. 1400

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

(via Wikimedia Commons/Kunsthistorisches MuseumViollet-le-Duc and Swordmaster)

Sallet in the Shape of a Lion’s Head, c. 1475-1480

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

The earliest surviving example of a Renaissance armor all’antica. The outer shell of the steel helmet was made of embossed and gilt copper.

(via Metropolitan Museum of Art)

An oil-painted sallet from Germany, c. 1500

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

Worn by lower class men-at-arms.

(via Wallace Collection)

Bird Man Helmet from the early 16th century

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

(via Pinterest/Nikolai Chebotarev)

The Horned Helmet, Innsbruck, Austria, 1511-1514

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

Part of a suit of armor presented by the Holy Roman Emperor Maximilian I to Henry VIII, made by Konrad Seusenhofer.

The Weirdest and Fiercest Helmets from the Age of Armored Combat

Closed helmet with mask visor, by Kolman Helmschmid in Augsburg, Germany, c. 1515

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

Grotesque human mask-like visors were really popular in Germany and Austria in the early 16th century.

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

(via Metropolitan Museum of Art)

Grotesque ones from the early 16th century

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

(via mreen)

The Maximilian armour

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

These early 16th century German plate armours were first made for the Emperor Maximilian I.

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

The Weirdest and Fiercest Helmets from the Age of Armored Combat

(via Cool Stuff In Paris and Wikipedia/Polish Army Museum and Marinni)

Burgonet of Guidobaldo II della Rovere, Duke of Urbino, Milan, c. 1532-35

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

(via Taleworlds)

The ceremonial and parade helmets of Charles V

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

Desiderius Helmschmid, c. 1540

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

Desiderius Helmschmid, c. 1540

The Weirdest and Fiercest Helmets from the Age of Armored Combat

Filippo Negroli, 1533

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

Kolman Helmschmid, c. 1530

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

Filippo and Francesco Negroli, 1545

The Weirdest and Fiercest Helmets from the Age of Armored Combat

Filippo and Francesco Negroli, 1545

(via The Art Blog and Metropolitan Museum of Art and National Gallery of Art)

Burgonet with Falling Buffe and scenes of battle between the Lapiths and the Centaurs, c. 1555

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

Probably made for Henry II of France, but passed as a gift to the Medicis.

(via Metropolitan Museum of Art)

Burgonet, created in a Venetian workshop in the late 1550s

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

(via Heritage Museum)

Helmet in the form of a sea conch shell, 1618, Japan

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

(via Higgins Armory Museum)

A German or Italian Savoyard Helmet, c. 1620-1630

The Weirdest and Fiercest Helmets from the Age of Armored Combat

The Weirdest and Fiercest Helmets from the Age of Armored CombatSEXPAND

The Weirdest and Fiercest Helmets from the Age of Armored Combat

(via Liveauctioneers - 1 - 2 and Thomas Delmar)

Don’t want to meet him

The Weirdest and Fiercest Helmets from the Age of Armored Combat

(via The Modern History Tumblr)

A French face-protecting expermiental helmet from the WWI, invented by Dr. Pollack, a medical officer

The Weirdest and Fiercest Helmets from the Age of Armored Combat

The Weirdest and Fiercest Helmets from the Age of Armored Combat

Based on the M15 Adrian helmet, used by the French Army during the war. You can seemore experimental helmets and body armors here.

(via Army Navy Deals BlogIndustrial Anatomy and Wikimedia Commons/Janmad)

“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)

Lets also not forget that there’s a long-standing rumor that the stories of Tangled and Frozen take place in the same universe and—more critically—the female protagonists are linked by blood.

I reblogged it a while back, but someone actually sat down and figured it out, and the evidence was fairly convincing that the King of Arendelle and the Queen of Corona are brother and sister, which would make Anna, Elsa and Rapunzel first cousins—thus explaining the facial similarities.

While this isn’t confirmed, Pixar is notorious for linking their stories together, so it wouldn’t be surprising.

(via appropriately-inappropriate)

OH. 

Another note. How come no one has ever mentioned that Hans, Flynn, and Kristoff share similar traits? Obviously we can’t overlap their faces, but it’s almost as if, gee, they’re by the same animators.. Same lips, brows, eye style, et cetera. But you know, this is a gendered issue.

(via heterosnowflake)

The fact that it’s strongly implied that the Queens of Arendelle and Corona are sisters, and that Elsa, Anna and Punzy are all cousins, it makes all the screeching about Disney not knowing how to animate or design as well as a bunch of 19 year old college dropouts who watch cartoons all day, extra deliciously hilarious. 

(via poppypicklesticks)

dt