André Valente

Caipira de cabeça redonda

mikmaus #096

trabalhar com arte é constantemente não deixar seu coração ser contaminado com o desdém de uma força maior

Blind Alley No. 421

Patinho adolescente.

mikmaus #095

Um porquinho irado de boné fazendo manobra radical num skate.

mikmaus #094

once your email storage is full you should be allowed to graduate from it. no more emails for you. you’ve seen enough emails. you’re free now

não é chocolate, é chacdate

Je rêve tous les jours de la collection The Complete Beuville.

Um homenzinho sem graça de gravata. Bigode. Papel na mão. Olhando pro vazio.

mikmaus #093

Increíblemente, en Francia esta película se llama "Lolita a pesar de sí misma"

Um gatinho.

mikmaus #092

Carrinho amarelo com olhos e sorrisinho. A antena parece um mickey.

mikmaus #091

mikmaus #090

problema 1: elas só começam a pegar as coisas direito com uns três anos, então lá vai 3 anos e 9 meses
problema 2: mais de uma, depende do tempo entre cada uma, multiplica-se quanto tempo vai demorar pra finalmente estar livre pra usar a coisa que será pega (Ex.: 3 de 2 em 2 anos = 10 anos)

como alguém que tem filhos, acho que dá mais trabalho que trabalhar

YouTube video by Tim Maia - Topic Me Dê Motivo

la conocí en esa versión:
www.youtube.com/watch?v=PDQr...

eu já vi rinha de férias aqui. "Ah, mas você foi pra Florença? Mas foi quando? Porque se não for pra ver a primavera em Florença não adianta ir". "Como assim, foi à Grécia de avião? Só vale a pena se for de barco."

mikmaus #089

Wim Wenders e aprendenders

mikmaus #088

mikmaus #087

Very good advice for when you really wanna do a thing, but are afraid. <3

mikmaus #086

watercolor is less 'painting' and more of putting down a stroke and going wow i really shouldnt have done that

Text: "Planes" are a depiction of anything that exists in a drawing at a FiXED spatial distance from the viewer, with each grouping of subjects at a shared distance overlapping the next in order to suggest the spatial relationship of each element in the drawing to the others. This image has three planes: (Image of a drawing with a scorpion on a rock, a cowboy sitting on a rock, and a mountain in the background). Each plane in an image signifies a different degree of distance, with the foreground SHARiNG the viewer’s spatial plane, and the background being the farthest from it. There’s clear distance between each plane; no plane “touches” another.

Text: why is overlapping the planes necessary? (image: a cowboy apparently close to the viewer, one a ways back, and then a saloon behind him). Unless one plane directly overlaps another, there’s no sure clarity that they are, in fact, suggestive of different distances. (image: the cowboy appearing to be closest is shown to be a giant, swinging the apparently midground cowboy by the head into the two-story saloon that's only about as tall as a person). it’s also important to suggest scale in each plane using subjects whose size the audience is likely to know. when that isn’t possible, try repeating the element-of-unspecified-scale (a) from one plane in another and have it (B) interact there with a subject whose scale is clear. (image: a small round cactus in the foreground, and farther off a cowboy sitting on a similar cactus)

Text: A perspective grid composition (A) suggests depth by progressive recession in space, while planar composition (B) suggests it with staggered recession in space. (image: a receding grid and a series of staggered planar elements) The principles of overlapping planar composition can be used with a perspective grid, especially if there are elements with right angles (like buildings). Rough your panel with plane elements in place first... ...then make/place a grid that fits your layout... ...then utilize the grid to make the receding angles match.

(image: a wanted man hiding against a wall while a cowgirl crossed the street, looking around). One of the most useful* aspects of a foreground element is to create a sense of immersion for your audience. by putting it on essentially the same plane as the audience itself, the audience becomes a part of the story, seemingly able to touch the foreground, to lean around it for a better view. (image: the wanted man is now decidedly a foreground element). *it also means less time spent drawing all of the detail in the midground or background planes without ever aesthetically shortchanging your audience.

Hey, friends! Here are some thoughts on using planes in your compositions.

Inondations à Angoulême vues du ciel : la vidéo de Renaud Joubert Voici une vidéo vue du ciel réalisée par notre photographe Renaud Joubert et permettant de se rendre compte de l’ampleur de la crue à Angoulême

Like you said, mostly everywhere along the river (even in other cities, all the way to Cognac). The water's almost getting to the Corto Maltese statue.

www.charentelibre.fr/societe/inon...

No meu leito de morte quero que me devolvam todos os minutos que eu perdi atendendo telefonema de robô

[Scene is a domestic kitchen. Night time. The room is all blue apart from warm orange-pink light streaming in from a streetlight outside. In the center of the room stands a woman named BRANDI, standing in pyjamas looking contemplative, the light cast dramatically on her face. At the doorway, leaning against the frame, her partner JOEL stands has woken up and found her in the kitchen.] JOEL: Honey… what are you doing? BRANDI: Can’t sleep Guess I just like standing in the kitchen at 3am thinking about the supernatural threat we temporarily defeated last year. While saying that out loud in a manner which sounds casually ironic but is actually just blatant exposition. JOEL: Brandi… you're talking strange... BRANDI: Dammit Joel. It’s time you knew. You're a Netflix character. [Joel looks shocked] BRANDI: Everybody you know has been forced to speak to you in second screen dialogue. Second screen dialogue helps the people scrolling their phones in front of the TV to follow the - JOEL: Stop explaining, Brandi! [Hands on head, emotional expression, warm pink light cast on his face against the cool blue darkness of the room]. JOEL: So that's why my entire life has looked so glossy and... BRANDI: Yep... Warm/cool colour graded. [Cut to a TV show TITLE SCREEN]: SECOND SCREEN - A Netflix original - [Ends]

The museum was constructed anticipating the floods that would occur every 100 years (the largest until then had been in 1982). In 10 years we've already had 3.