spongeboy me bob
spongeboy me bob
… Did they bring back the monitor lizard just to make it eat Eugene
HAS IT BEEN HIDING IN THE SCHOOL THE ENTIRE TIME
WAIT THE EMPEROR’S NEW GROOVE IS DIRECTED BY THE SAME GUY WHO MADE CATS DON’T DANCE
THAT MAKES SO MUCH SENSE
Kazuo Umezu (or how I learned to stop worrying and love shorthand symbols)
Back when my primary drawing style was more “illustrative” than it is now, I used to never use shorthand comics symbols like action lines/speed lines, strikes across a mirror or glass pane to indicate reflectiveness, or (my favorite) sweat beads and “startle lines” that fly off a character’s head to show emotion. I wanted to try them out once I started to read a lot of Kazuo Umezu’s horror comics and was inspired to emulate the way he used them.
Umezu uses shorthand symbols liberally, certainly more than any other artist that I regularly look at. They give his work such massive energy. Since he’s usually writing about grade school kids, his action lines give the perfect sense of the energy and restlessness of a young child. In the Drifting Classroom, Sho is meant to be a sort of a disrespectful rulebreaker, but ultimately a kid with a good heart. You can see that in his body language— angry eyebrows, hands in pockets, dramatic gestures— but also in the way he moves. Showing the way a character moves is tricky in a static medium! Sho zips around the house like any kid his age would. He’s impatient, he’s in too much of a hurry to pay attention to how he’s treating others. He runs everywhere.
Umezu created an entire book about mirrors, and the way he shades the reflective glass is unrealistic to the point of ridiculousness. No mirror in the world has a surface like that—but it works. It heightens the drama and makes the mirror otherwordly and ominous. In other books by Umezu, glass surfaces are not played up this way. They are given a lot of “slash” lines to show the reflective property and some have areas of solid black. But they generally don’t hold the intricate depth that Umezu renders in the mirror in this story. Since the mirror is a supernatural object in the book, he sets it apart from mere surfaces of glass. This mirror is a malevolent entity, and it gets the visual treatment of a gaping maw.
(I am also impressed with the way he uses a diagonal highlight to “cut” across the girl’s throat in one of those mirror illustrations. A very subtle but violent touch.)
Gah, I always set out to say just a couple of things and then I end up writing a whole essay! I also am amazed at how many different sources have found their way into influencing my work. Umezu certainly loosened up my hand and got me to start using symbols, but looking at his work now, I’m sure he also had something to do with the way I like to draw mouths and expressions. I will always look up to his incredible draftsmanship and prolific body of work. (Plus, look up his crazy house that he built— he’s a total nut!)
It’s an OUTFIT DESIGN CONTEST!
The Objective: design an outfit for Ruth and one for Annabel!!
The Prize: FUN IS ITS OWN REWARD. oh and also I will use your outfit design in chapter 3 of Ruth & Annabel Ruin Everything!!
(I will also draw something for the winner and the two runners up if I get enough entries hah!)
Ryan Jude Novelline: Couture designer, dressmaker, and all-around fashion expert
Madeline Mary Eagle: the Ruth to my Annabel
and me cause… cause… cause shut up, it’s my comic!!
The Deadline: before chapter 3 comes out. Which won’t be for awhile. For now, let’s say you have until December 27, 2012. Because that’s my birthday.
The Criteria: I need outfits that will be used for the duration of chapter 3! Which means, despite the highly misleading header, nothing fancy/special occasion. They should be everyday clothes, but interesting, specific and unique!!
- Ruth wears cute, feminine outfits— nothing so complicated or cumbersome that she couldn’t sprint in it if she had to, but she likes to look nice. Cute, classic patterns appeal to her. She is artistic and aesthetics are important to her. She always looks put-together.
- Ruth usually has some kind of headband or scarf or tie to hold back her hair.
- Ruth is defined by the color yellow. It doesn’t have to be the most-used color in her outfit, but it should define the outfit.
- Annabel wears casual, boyish outfits. She wouldn’t choose to wear a skirt or dress. T-shirts with a graphic or slogan and jeans or shorts are common. She usually looks a little scraggly or dirty.
- Annabel usually wears her red and white sneakers.
- Annabel is defined by the color red. It doesn’t have to be the most-used color in her outfit, but it should define the outfit.
You don’t have to draw it if you can’t/don’t want to— but it would be super nice to see how you envision the clothes fitting on the character, etc! I don’t know if I’ll accept polycore coordination or things like that, cause I think it’s more fun if you design the clothes yourself! But just ask if you’re unsure!
Will edit this with updates if people have questions, if I think of other stuff, or if I wanna expand on something!! <3 Please reblog if you have fashionista buddies and please have fun!!!
(Ruth’s dress in the header shamelessly stolen and modified from one of Ryan Novelline’s designs!!)
*shamelessly signal boosts myself*
The idea of an imaginary friend and its creator being opposite personalities that complement each other is often used to set up conflict and comedy in Foster’s Home. But it’s not just a plot device; it is used so consistently that it becomes part of the bedrock of the show’s concept.
See what cartoondom did right there? I’d like to do that for a living.
You know, analysing media such as books and cartoons, how they play a part in our current society, how they could improve, how the characters represent ourselves… Like, is there even a name for that?
If you ever find out how to make money off that, let me know. Sounds like the best job ever :’)
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