ask
That place where LivinDaVidaLoki stores all their surplus shit.
"Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art."

Brian Eno (via jessiethatcher)

I could reblog/post this every day as a constant reminder.

(via notational)

And I’m sticking it up here for people who define the “good” in Make good art in ways that I definitely didn’t intend…

(via neil-gaiman)

maruti-bitamin: 共食い sepia ink + watercolour + sketchbook

maruti-bitamin:

共食い

sepia ink + watercolour + sketchbook

lucyeldridgeillustration: I painted some rooftops of Paris to post to someone. 

lucyeldridgeillustration:

I painted some rooftops of Paris to post to someone. 

mrcontro:

anthonyholden:

What are studios looking for? How can I get into a good animation school? What should I be studying?

I get a lot of these types of questions now and again, and I never know how to answer them. I can’t be sure of what studios are looking for, I don’t control admissions policies to schools, and I have little idea what makes for a current and relevant curriculum. There are a lot of variables in your bid for a career in animation, and it’s kind of impossible to control most of them. You must be crazy to want this job!

I find it helpful to focus on the things I can control. Among those things are your study habits and how you spend your personal time. It’s good to work hard and have goals—without them we would get nowhere. Study hard and make decisive strides towards achieving your art goals. But in the heat of that pursuit, don’t forget to go out and live your life!

If you spend any amount of time looking at artists online, you’ve probably figured out by now that there are about a million dudes and dudettes in internetville who draw better than you (I relive this realization daily). Once your have done your best to rise to their level, the only tool you have to compete with these crazy talents is your background, your personal character—is you!

Consider developing your whole self with the same raw focus and intensity that you develop a particular skill set. Get focused. Go out, have adventures. Run, jump, skin your knee, fall in love, root loudly for the away team at a baseball game, barely escape a crash of stampeding rhinos, live to see another day. Experience things big and small. Go for a walk. The world is full of wonders.

I know this advice is not particularly animation-specific, but maybe that’s for the best. At any rate, it is something I feel strongly about. Animation is great, and there are few things that I enjoy doing more than drawing and storytelling. But in order to have stories to tell, first you have to live them.

Be good, and see you soon!

PS, if you were looking for advice on draftsmanship you should probably be reading this.

Definitely worth a reblog.  

(Source: destroyed-and-abandoned)

ohmeganisaraw: Joseph Lorusso, Soft Eyes 

ohmeganisaraw:

Joseph Lorusso, Soft Eyes 

cirae-x1:

Sergi Brosa {x}

technicolordisney:

A giant post that has everything we’ve seen of Frozen inside of it.

fancysomedisneymagic:

I adore this 101 Dalmatians sequence, and since then I always try to see the resemblance between dogs and their owners.

The gorgeous story sketches are by the amazing Bill Peet

fydisneymisfits:

Requested by pinkieshy