acceber74:

toniangelougiovannihughes:

sourcedumal:

kemetically-afrolatino:

jadescreen:

Granted the title of this post does not sound too enthralling, but trust us when we say seeing The Kingslayer in a slightly less villainous role may well be just what the maester ordered! Widely kn…

Swapping his medieval attire for some ancient robes? Yes please!

NO PLEASE

no, how about just NO, NOW.

this just hurt me in so many melanated places and third eye gland nerves from floating in a sea of whitewashing bullshit.

sign this petition to stop the mayhem

THE FUCK YOU SAY?

So let me get this fucking straight.

Blond haired white male is totally fucking okay to play HORUS, a fucking GOD OF KEMET, WHICH LITERALLY MEANS ‘THE BLACK LAND’

But we still can’t get people of color to play anything other than fucking slaves and maids?

We can’t even fucking play OUR OWN GODS?

All of y’all bitches who complained about Heimdall being Black better not ever say anything ever again.  All of y’all bitches who complain about possible Black people playing a white character better not say shit.

I just signed it. It only takes 30 seconds! Currently only need 125 signatures to reach the goal! We can do this Tumblr

Wait, let me guess, they couldn’t find any black or brown actors for this part? Not a one.  AT ALL. Well, there goes the suspension of disbelief and historical accuracy.  SMDH. 

(via racebending)

wnycradiolab:

Julie Mecoli’s “Dark Matter” is a series of artworks inspired by the University of Queensland Pitch Drop Experiment (if you want to seriously geek out about this, our story on the experiment is right here). 

Mecoli’s pieces are made of bitumen.  They start out looking like solids and slooooowly reveal their true liquid nature.  Check out some of her other work here.

(via staceythinx)

embersalamander:

Okay let me just

Sparrowhawk (Earthsea by Ursula K. Leguin)

Book Description: He is described as haging red brown skin.

Movie depiction:

(let me add here that mos of Earthsea characters are brown and in EVERY.SINGLE.ADAPTATION they’re all white. The Author of the…

bettykwong:

UHHHHHHHHHHHH

(also I just realized he has six fingers on his bottom right hand LMAO! too lazy to fix it…….. rip….. lets just say he’s mutated… )

mynameismad:

furippupauplus:

atomicbritt:

classicvampires:

Cats are far more effective than garlic. And they are warm.

I’ve got to get me a cat.

oh man

thank god for Michael the cat

What manga is this?

(Source: idealcat)

carryalaser:

WATERCOLOUR CHEAT CODES

I made really quick tutorials full of swatches to send my mom who wants to take up watercolour painting for a hobby. I’ll share them here as I find time to type what I wrote her.

—-

The first two pictures illustrate discoveries in mixing skin-tones. I try to find paints that make it faster/easier to mix skin colours - even if you’re adept at making these tones out of other colours, the right combo of purple and yellow can cut out a lot of time and money. The one I have most success with is “violet gray”, then “permanent magenta” for darker and wider ranges, and “purple lake” when I was cheap and it was on sale.

Mix these (sparingly) with raw sienna. The darker the purple the less you’ll need to add to your yellow (yellow ochre works as well). Ultimately, watercolour is tricky to mix so if you’re not confident right away make sure to paint swatches before putting a loaded brush to paper, otherwise be ready to mix with water on the paper.

For a lighter, paler, redder skin tone, raw sienna + brown madder is what I prefer, although as you can see in the first image (about half-way down the page on the left), “cadmium yellow pale hue” and “cadmium red deep hue” work just as well, and might be cheaper on you. With that combo, however, it’s easier to get stuck mixing a ton of orange. 

Back to permanent magenta, it’s great with browns to get darker tones, not just for darker skin but for shading. I keep three browns on my “skin” palette (last pic), “burnt umber”, “burnt sienna”, and “vandyke brown”. Mix it with some skin-tone, even just a little, to keep it from looking straight-out-of-the-tube.

So mix your skin tones, make a few test swatches to figure out how much water you need (every brush behaves differently), and lay down some washes.

In the middle of the first piece of paper is a gradation in a skin tone (violet gray + raw sienna) from really warm (“brown madder”) to really cool (“turquoise”). This was done wet in wet, to show what kinds of tones you get from adding warm and cool colours. 

To the left on the bottom are a couple light washes of colours painted over a skin tone (same ol’ raw sienna + violet gray) to show how different colours look on this mix when applied dry on dry. Blue (I used turquoise again) is great for some shadows, implied stubble, and veins close to the skin, reds and most browns for warmer shading, yellow for jaundice or boogers… you get it.

On the bottom right is an example of really warm vs. really cool shading on the same skin tone mix (just guess). The initial skin tone wash is a bit warm for the cool side, but the contrast makes the shadows really evident. Different colours in shading will have different effects that way. The only surprise here is the use of dark blue “indigo” which is great for coming close to black when mixed with other colours.

On the second page are two more noses, different skin tones, and just three extra passes with skin tone washes - although difficult to tell because I was lazy and didn’t wait long enough for them to dry after the 2nd pass. The extra passes aren’t particularly warm or cold leaning, but simply draw off of the initial tone I placed.

IMPORTANT: These little quick studies serve to be as economical as possible, using few colours but still not looking just like an awkward mix of red and yellow or brown and yellow. For a more detailed or accurate representation of skin tones, a ton more colours might be added - for instance the darker skin tone on the right would have more pinks, and of course different parts of the body appear to be tinted differently. Also never forget no matter what colour or how dark skin is, skin is shiny. Be mindful of even diffused light. At the same time - perfect representation of skin is hardly necessary. More expressive colour treatment rules.

But ultimately - colour in skin - who cares! Just play around with colours you like, build a base that’s easy for you to mix quickly for wet on wet or however you prefer to work. Play with colours on different planes or surfaces of the body, with light, and take everything I say as a tips - not rules - ‘cause watercolour is really unpredictable and that is often the best part.

Another note: I use pencil tins for palettes, it keeps things portable, easy to mix, minimal paint waste, and I can rearrange paints easily to make mixing easier. I usually have three but you could get away with one or two. If you try it out, keep the paints and empty space clean with jut a bit of water and the wipe of a cloth/kleenex.

—-

The third picture shows a really quick, easy, natural black mix I make. It’s simply “Hooker’s Green, Dark” and “Dioxazine Violet” at almost equal quantities. You can mix it with a blue or red or yellow for a warmer or cooler black, depending on which you need. I included some gradation and overlapping swatches. Just keep in mind black can be very powerful in watercolour, or any opaque application of the paint, so use it sparingly and with a plan in mind.

—-

Despite my shitty watercolour sketches up here, I spent a huge amount of being a child working at a cooperative gallery with some contemporary and purist watercolour painters alike so I picked up a lot. If anyone wants me to be more specific about something, or maybe produce a more specific guide or sketch for a problem you have, let me know and I can try to help out.

These were things my mum asked for and that I produced with her knowledge of the medium in mind, so if it really did interest you but you’re stuck on something, or found something I said vague and confusing, let me know.

EDIT: A tutorial I made to talk about paper. It’s important stuff. [link]

(via artreferenceblog)

freshphotons:

“This exhibition was, like all our public work, a live experiment, in this case an experiment into how bees – and by extension humans – learn to see colour (in the setting of a gallery). Bumblebees lived in a Plexiglas cube called the ‘Bee Matrix’, where were set the task to learn a concept. The concept was the ‘bluest’, which is a complicated task requiring the bees to learn the relationships between objects, rather than their absolute qualities. 

During the experiment, the flight of the bee was tracked in three dimensions with an accuracy of 1mm. The flight path of the same bee was then etched into large crystal glass blocks, and the blocks staked into five 2-metre towers that were illuminated from below. Each tower 2 minutes in the learning history of the same bee, which means what viewers were really seeing is the process by which we all learn to behave: First our behaviours are random, following a process of trial-by-error; then we become accurate but tentative; finally our confidence grows in what we believe and thus our behaviour more directed. And yet we can never know what is really there; only what was useful to know before.” Via.

(via staceythinx)

sourcedumal:

rigelandsirius:

closet-racists like to claim that they’d be totally fine and dandy with traditionally white characters being portrayed by actors of color whilst they’re casually dismissing the prevalence of white-washing in hollywood. hate to break it to you, but that is NOT the typical response that actors of color receive, and if you can’t acknowledge that, then you’re only adding to the problem.

remember that time hunger games fans flipped their shit because rue, who IS actually black in the books, was rightfully cast as black in the film? apparently their rose-colored white-is-default glasses made their eyes gloss over that tidbit of info. (let’s not even get wholeheartedly into the fact that katniss was described as having olive skin and jet black hair but her casting call specifically asked for only white actresses…because non-whites could never be expected to have dark hair and tan skin amirite?!)

remember that time people actually boycotted thor because idris elba was in it? http://www.comicsalliance.com/2010/12/16/racists-thor-idris-ebla-racism/

remember that time donald glover got hoards of letters calling him the n-word because there were rumors about him possibly being the new spiderman?  http://www.youtube.com/watch?v=Lgko-xReFSs

or that time the film adaptation of avatar: the last airbender (a show with OBVIOUS asian inspiration) was almost an entirely caucasian cast except for the “bad guy”, who, in the cartoon is actually light-skinned?                                      http://io9.com/5111680/avatar-casting-makes-fans-see-white

or remember that time all those fans said it was wrong to have angel coulby play the role of gwen in merlin because it wasn’t era-appropriate. because, ya know, being era-appropriate in a made-up story about magic is srs bsns.

so that’s why i don’t give a shit if you think i’m “overreacting” about jj abrams having a white actor play khan noonien singh. i’m not that surprised by it, since actors of color are routinely dismissed, but i still reserve the right to be pissed.

Remember that time when executives said that they wouldn’t fund a movie because it didn’t have enough white people in it?

http://afp.google.com/article/ALeqM5i_e3UYOiNEhW03rcVTpcB2e15IMg

Remember the time when executives said that they wouldn’t allow a show with a majority POC cast because “Black people don’t see themselves in the future?” despite Geordi, Uhura, Sisko, Tuvok, Tyr, Zoe and so many other BLACK sci fi characters existing as past precedent?

http://www.bleedingcool.com/2012/07/12/black-people-dont-see-themselves-in-the-future/

Remember when it took 20 years to get a movie about Black people out because distributors BLATANTLY REFUSED TO PUT IN THE WORK TO PROPERLY ADVERTISE A BLACK MOVIE?

http://www.huffingtonpost.com/2012/01/10/george-lucas-hollywood-di_n_1197227.html

Remember when writers had  Batman choose a French/African representative in a comic book and people FLIPPED THEIR SHIT because how dare he choose a Black Muslim to represent FRANCE!!!!

http://www.racialicious.com/2010/12/27/bats-in-their-belfry-dc-comics-new-muslim-hero-angers-islamophobes/

But we’re overreacting when we say we’re tired of the bullshit that is systemically entrenched in damn near every form of media…..

Oh, ok…. 

(via racebending)

areaofinterest:

Michael Chase

(via everydaygambols)

literaryreference:

You know how it is, right, ladies? You know a guy for a while. You hang out with him. You do fun things with him—play video games, watch movies, go hiking, go to concerts. You invite him to your parties. You listen to his problems. You do all this because you think he…

(via whattheskell)

eschergirls:

I often tell people that I’m the biggest self-aware misogynist I know.

I was writing a scene last night between a woman general and the man she helped put on the throne. I started writing in some romantic tension, and realized how lazy that was. There are other kinds of tension.

I made a passing reference to sexual slavery, which I had to cut.  I nearly had him use a gendered slur against her. I growled at the screen. He wanted to help save her child… no. Her brother? Ok.  She was going to betray him. OK. He had some wives who died… ug. No. Close advisors? Friends? Maybe somebody  just… left him?

Even writing about societies where there is very little sexual violence, or no sexual violence against women, I find myself writing in the same tired tropes and motivations. “Well, this is a bad guy, and I need something traumatic to happen to this heroine, so I’ll have him rape her.” That was an actual thing I did in the first draft of my first book, which features a violent society where women outnumber men 25-1.  Because, of course, it’s What You Do.

I actually watched a TV show recently that was supposedly about this traumatic experience a young girl went through, but was, in fact, simply tossed in so that the two male characters in the show could fight over it, and argue about which of them was at fault because of what happened to her. It was the most flagrant erasure of a female character and her experiences that I’d seen in some time. She’s literally in the room with them while they fight about it, revealing all these character things about them while she sort of fades into the background.

We forget what the story’s about. We erase women in our stories who, in our own lives, are powerful, forthright, intelligent, terrifying people. Women stab and maim and kill and lead and manage and own and run. We know that. We experience it every day. We see it.

But this is our narrative: two men fighting loudly in a room, and a woman snuffling in a corner.

This is a really interesting article about the way media, fiction and narratives repeated in society shape the way we see and assume reality to be, specifically (in this case) about how narratives about women being victims, or supporting men, but not being fighters or soldiers create the idea that women never did that, and it’s only a modern new thing that we think they could, when in fact that’s not true at all.

Also, specifically relevant to this blog are the parts about how that affects us when we create stories ourselves, and can end up adding to this narrative consciously and subconsciously.  It’s the same with how women are depicted in illustrated fiction.  I honestly don’t think a lot of the boobs and butt poses, or women in bikini armor, are drawn by people consciously thinking sexist thoughts, I think they’re just doing What You Do.  This is a female character, this is just the pose we’re used to seeing women in.  We don’t think twice about drawing her like that, because it’s just how we’ve become conditioned to seeing women pose in the medium.  Same with stuff like this.  It’s how we’re used to seeing female armor, and when we think “female warrior”, our imagination just instinctively runs in the direction of what we’re used to seeing.  It’s just What You Do with female armor, and female characters, and female poses.

Since starting Escher Girls, I’ve gotten quite a lot of mail from people telling me that they never realized just how often they put their female characters in boobs and butt poses, or gave them bikini armor, just because that’s how they saw women drawn in video games and comics and never thought twice about it.  It’s just what seemed “right” to them, and that they’re now a lot more conscious of it and try to have more variety in the way they depict women, and often in ways that make more sense to the story. :)

I think it’s just important to catch ourselves sometimes and think are we creating something because this fits what we’re doing, and this makes sense, or are we just doing What You Do?  (This applies to all sorts of tropes and stereotypes too.)

(via whattheskell)

John Cho (x)

yo my heart is racing at the guts it takes to say something like this knowing full well what could happen. damn!!!!

(via strugglingtobeheard)

WELL GODDAMN!!!!

John Cho has become my favorite fucking actor ever……

(via sourcedumal)

John has been growing bolder and bolder as of late. I’m loving the fuck out of this man as of late!

(via contentkiller)

But can you imagine? This may be the result of all the fuckass racist bullshit he’s had to put up with in the industry and especially probably while filming the movie.

And don’t think he probably ain’t catch that segment of Zoe’s mess saying “color doesn’t exist” and that “people are pink”. I bet he side-eyed the fuck out of that too.

(via heirofmedusa)

John Cho snarks more about Star Trek Into Darkness

(Source: itreallyisthelittlethings, via racebending)