i'm an illustrator, concept artist, cosplayer, and nerd with a penchant for femininity and love of all things childish. this tumblr mostly consists of art, cute things, fandom stuff, costumes, and feminism.




First thing I must say: I apologize if I animated the wrong person talking but I can EXPLAIN!! SO.

For Color Theory our final project was free choice so I chose to animate something! It was due in 3 weeks. Then, just before we turn it in I realize I could’ve just coloured an old animate (nuggets!) so I chose this one but decided that I needed to add more. Than I thought adding audio from this podcast could make it make sense.. all in all, I had 5 days to make this so it’s unfinished (as you can see), so… yes. SORRY! LESSON LEARNED… (in other words, NOT ENOUGH TIME)

Also the quality is.. ignore the quality

I’m reblogging this again because I love it


Anonymous:  I have a quick question about the disney same character design problem that's going on. Whenever people show different designs of characters it's usually from Pixar but Disney has it's own specific style so maybe that is a reason that many characters look alike (not counting Anna Elsa and the queen because they all had the same hair that was just lazyness)


Hello! Thank you for approaching this amiably and not just straight up yelling at me, as I’ve seen some people do to my friends. ‘Cause y’know, that doesn’t get anyone anywhere.

I believe that most people use PIXAR characters as examples of good character design because it’s the best visual aid to make that point. The usual rebuttal to showing a hand drawn character as an example of diverse design is claiming that it’s harder to design a CG character than a hand drawn one. This is and isn’t true. Yes, some things don’t translate from flat drawing to 3D model. However, this doesn’t mean it’s impossible to make diverse models. One medium is not harder than the other. Both have their pros and cons. Saying that modeling a character is too hard is insulting the artists’s skills that created those characters and is glossing over the fact that other characters, minor characters within the same film are capable of more diversity in design than the characters we turn all this attention to.

Also keep in mind that the animation industry is a small one. People that worked at Disney could very likely work at PIXAR. Just as they could work at Dreamworks, Reelfx, Sony, etc. They may be adapting themselves to the style of the film, but film is a collaborative medium that shows a little bit of what everyone’s capable of. What someone learned at PIXAR about modeling and design could be just as easily applied to their work at Disney. Using any studio at all as examples of do’s and don’t’s in animation is completely valid.

On to the Disney “style” in general. The Disney style is a myth. There is no such thing as one set look that Disney defaults to in all their movies and if it’s starting to look like that (*cough* Frozen’s character designs *cough*), then this is a problem and something a studio should be critiqued for. Meet the Robinsons doesn’t look anything like Tangled and Hercules looks absolutely nothing like Brother Bear. They could have similar style themes. Tangled is a very rendered, lush style and so is Tarzan, but the two still look nothing alike. Frozen is more graphic with super bright colors, but so is The Emperor’s New Groove and again, they still look nothing alike. This isn’t just nitpick stuff, either. There are entire teams dedicated to the development of the look of a movie. They do research, artistic experiments, everything necessary to set each film apart from each other and make the style lend itself as fully as possible to the story.

Don’t worry. It’s a common misconception that people even at the company seem to refuse to let go. Most of the merchandising franchises that don’t adhere to these styles and make characters more generic to be more “marketable” is not helping this misconception. What most people probably perceive as the Disney “style” is probably the work of animators like Freddie Moore, Marc Davis, Milt Kahl, Glen Keane, Eric Goldberg, and Mark Henn. They were responsible for animating some of the most memorable Disney characters and the inspiration for succeeding generations of Disney artists, myself included, but they were not the only ones at the studio showing their unique visions.

Does any of that make sense? I know I have a tendency to ramble and everything doesn’t always add up. I’d be happy to answer further questions.




Distributor GKIDS has set Friday, December 19, as the North American release date for the Irish hand-drawn feature Song of the Sea. The film will open on the 19th at the IFC Theater in New York and the TIFF Bell Lightbox Theater in Toronto, before expanding to Los Angeles and other major markets throughout the holidays. (x)




Even Jimmy Olsen gets a bit tired of Superman.


James Lopez, a veteran Disney animator (The Lion King, Pocahontas, Paperman), is currently trying to raise money for his traditionally animated project Hullabaloo. Hullabaloo is a steampunk short film which Lopez is hoping will help save the cause of 2D animation, and possibly lead to a TV series or film. So, if you’re interested in badass steampunk ladies or traditional animation, may I recommend you give a dollar or two. Hullabaloo's IndieGogo page is over here, visit to donate and learn more! And I’ll conclude with the plot: 

Hullabaloo is the story of Veronica Daring, a brilliant young scientist who returns home from an elite finishing school to find her father—the eccentric inventor Jonathan Daring—missing without a trace! The only clue left behind points Veronica toward Daring Adventures, an abandoned amusement park used by her father to test his fantastical steam-powered inventions. There she discovers a strange girl named Jules, a fellow inventor who agrees to help Veronica in locating her missing father and discovering the secrets of his work.

Together, Veronica and Jules learn that Jonathan Daring has been kidnapped by a mysterious group of influential persons, who seek to use his latest invention for nefarious purposes. These villains are wealthy and influential and neither Veronica nor Jules can stop them openly. But determined to save her father and holding true to the family creed that technology should be used for the good of all, not the greed of some, Veronica assumes the secret identity of “Hullabaloo”, a goggled crusader who uses wits and science to combat evil and oppose the nefarious conspiracy that has taken her father.


Oscar nominees Best Animated Feature 2014

Earlier today this article was brought to my attention, in which it becomes clear that some of the Academy voters have little to no respect for the animation industry. They openly admit not having watched the nominated films and/or claiming that animated films are for kids, so they didn’t vote. Even the ones shown in the article that did vote barely motivated their choice.

I find this extremely disrespectful of the animators who poured their heart and soul into making these movies, only to have their work be pushed aside without a second glance by the judges of one of the most prominent and well known film awards out there. As an aspiring animator, I am deeply insulted.

Please note that in this post I am expressing no opinion on whether Frozen should have won or not. I think it’s a wonderful film, just as all the other nominees. I am simply saying that we deserve better.

What they did is disrespectful to the creators of every single one of these films, even Frozen. By barely motivating their choice, they make it look like they voted for Frozen simply because of Disney’s status in the industry. Because it’s Disney, and it made a lot of money, so it had to be at least somewhat good. To me it seems like some of the voters just defaulted to voting for the Disney film, and nobody likes to win by default.

Don’t get me wrong, I too have been guilty of loving Disney simply because it’s Disney, but there is so much more beautiful animation out there and it deserves to be taken into consideration. And if Frozen won, it should have won because the majority of the voters thought it was the best film, not because part of the voters was too lazy to even watch the nominated films.



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.


From the Animation Scoop website :

On September 24th, Shout! Factory will theatrically release the animated feature Jack and the Cuckoo Clock Heart in theaters across the U.S.. The film will play on the big screen Los Angeles, San Francisco, Scottsdale, Denver, Atlanta, Detroit, Houston, Miami, Orlando and Tampa, Florida.

For the rest of the article:




This is the first peek at the new Disney show “Star vs The Forces of Evil”

It’s created Daron Nefcy, who is only the second lady ever to get a show on Disney.  She also just happens to be my old college house mate!  She was working on this show all the way back when we lived together, I can’t tell you how exciting it is to see it become a reality!!

So yeah, Jump on this bandwagon with me!!

This looks so good!!

You know, I feel that even though Cartoon Network shuns girls for the most part from watching it’s cartoons, Disney tends to embrace. I enjoy that.

Anonymous:  too bad you dont understand that SMC does not have the budget that the original series had becuase it's only being broadcasted on the internet, therefore they're not getting any TV sponsoring. if the animation is really that awful for you then you probably shouldn't be subjecting yourself to anymore torture. Toei is doing what they can with what they've got and I wish more people like you would understand that.




No, I understand. Here’s what you don’t understand: Number one, I don’t buy that one of the biggest anime companies in the world doesn’t have the money to put down a decent budget for one of the biggest name animes in the world. Second, you’re confusing budget with quality. The problem SMC is having is poor drawings (KEYFRAMES not just inbetweens, although even inbetweens should be a much higher quality than what is displayed here), characters flying off model, as well as limited expressions and clean movements. You don’t need a massive budget to make a good show, you need careful, devoted directors and animators. So far, I’m seeing sloppy keyframes and movements that I would expect out of a college level student. And for something like Sailor Moon, this is unacceptable.

An art product shouldn’t be viewed with “Oh well I guess they tried their hardest even if it is bad!” No, if it’s shit, it’s shit. That’s how the business goes. No one gives you a pass just because you tried your best. 

So yes, I will keep watching it, if just because now I’m more amused than disappointed by all the fantastic errors and poor drawings, and also because hey I really love Sailor Moon. And I have the slightest sliver of hope that maybe they changed key animators during the course of its run and we’ll see an improvement.

I hope people know when they try to talk this kinda nonsense at someone who is actively responding to them from an animation studio is being mocked by by ALL their co-workers as well.

As someone who is still giving SMC as much of my hope as positive…I’ll just add my two cents that their issues exist outside of budget issues. Despite what people want to believe, budget does NOT equal quality. Take a gander at Disney’s dark ages. Their budget was shit, they were tracing drawings and taking every short cut but they had solid drawings. Or hell! Look at huge budget movies like Frozen that everyone likes to complain about? They had serious money behind Frozen! Why was the character animation and texturing kinda meh in that movie then? Why were the designs bland? Why was the script weak? They had money, right?? Throwing money at something doesn’t default that the product will be the best thing you’ve ever seen in your life. Budget =/= Quality

Also it’s totally fair to enjoy something and point out it’s flaws. I enjoy Frozen and SMC both..but I will %100 point out when it’s a disappointment and full of shit.

One of my favorite coworkers laying down some truths.