electricbreath

fuckyeahsources:

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.

jenovasilver
eccecorinna:

hemipelagicdredger:

mermaidskey:

mermaidskey:

oxidoreductase:

Lavoisier is having none of your shit.

Heeeey so fun fact: the woman in that painting is Lavoisier’s wife, Marie-Anne Pierrette Paulze, who not only acted as Lavoisier’s lab assistant but also translated English and Latin texts into French so he could read them. But she didn’t just translate, she pointed out errors in the chemistry in some of the texts. Her observations of these errors convinced Lavoisier to study combustion, which led to his discovery of oxygen. She was also critical to the publication of Lavoisier’s Elementary Treatise on Chemistry in 1789. She kept strict records of every experiment they conducted together and drew detailed diagrams of all their equipment. She also threw amazing parties and invited all the brightest minds in science so her husband could pick their brains. After Lavoisier was guillotined she secured all of his notebooks and equipment for posterity.
In short: NOBODY KICKS MADAME LAVOISIER OUT OF THE LAB.

Also, a side note: My historian husband-to-be pointed some things out to me about this painting. Notice that Madame Lavoisier is looking at the viewer, and all the light is on her, while Lavoisier himself is physically smaller than her, in shadow, and looking up to her in reverence. This isn’t a candid photograph- all of these choices are deliberate. The painting isn’t of Lavoisier- Madame Lavoisier is meant to be the central subject. 
I can just imagine Lavoisier telling all his colleagues that his wife is really the one with all the clever ideas, and them patting him on the back and telling him he’s sweet for saying so.

more like


Rebloggin’ for the fantastic commentary and the edit :)

eccecorinna:

hemipelagicdredger:

mermaidskey:

mermaidskey:

oxidoreductase:

Lavoisier is having none of your shit.

Heeeey so fun fact: the woman in that painting is Lavoisier’s wife, Marie-Anne Pierrette Paulze, who not only acted as Lavoisier’s lab assistant but also translated English and Latin texts into French so he could read them. But she didn’t just translate, she pointed out errors in the chemistry in some of the texts. Her observations of these errors convinced Lavoisier to study combustion, which led to his discovery of oxygen. She was also critical to the publication of Lavoisier’s Elementary Treatise on Chemistry in 1789. She kept strict records of every experiment they conducted together and drew detailed diagrams of all their equipment. She also threw amazing parties and invited all the brightest minds in science so her husband could pick their brains. After Lavoisier was guillotined she secured all of his notebooks and equipment for posterity.

In short: NOBODY KICKS MADAME LAVOISIER OUT OF THE LAB.

Also, a side note: My historian husband-to-be pointed some things out to me about this painting. Notice that Madame Lavoisier is looking at the viewer, and all the light is on her, while Lavoisier himself is physically smaller than her, in shadow, and looking up to her in reverence. This isn’t a candid photograph- all of these choices are deliberate. The painting isn’t of Lavoisier- Madame Lavoisier is meant to be the central subject. 

I can just imagine Lavoisier telling all his colleagues that his wife is really the one with all the clever ideas, and them patting him on the back and telling him he’s sweet for saying so.

more like

image

Rebloggin’ for the fantastic commentary and the edit :)

tikistitch

thehauntedemporiumofthespook:

raynrvzjr:

voldemortshideousnipple:

sixpenceee:

PREHISTORIC SHARK: MEGALODON

Megalodon is an extinct species of shark that lived 1.5 million years ago and as you can probably tell from the above pictures it was HUGE, here are some few facts

  • It’s teeth were over 7 inches long
  • It’s bite can deliver from 10.2-18.6 tons of force, enough to crush a prehistoric whale’s skull like a grape
  • It feasted on prehistoric whales, dolphins, squids, fish, and even giant turtles 
  • It’s fossils have been found all over the world
  • No one knows why it went extinct

SOURCE

because those motherfuckers were scary as fuck and god said no that’s why

my friend’s really into sharks and she told me that she was watching a documentary that said they might not actually be extinct

fuck no

rukafais

art-of-swords:

Flyssa Sword with Scabbard

  • Dated: circa 1900
  • Place of Origin: Algeria

The sword has a slightly curved blade, decorated for the entire length with brass inlays depicting geometrical motifs. The back surface is decorated en suite. It has a brass hilt with iron base, engraved, while the pommel is shaped as a animal head. The wooden scabbard is richly sculpted with geometrical motifs.

Source: Copyright © 2014 Czerny’s International Auction House S.R.L.

iwatchyousleepinanoncreepyway
third-round-charm:

distraction:

Not many people know the stereotypical heart shape was meant to be two hearts fused together

Hey there. History nerd here… not many people know this “fact” because it’s not true. The universal heart shape we recognize today has nothing to do with the heart, actually. It has to do with early Roman birth control.The Romans used a plant called silphium to prevent pregnancy. It was so effective that it became a critical part of Rome’s economy and daily life. It was literally so important to their culture that the image of it’s seed were even imprinted on currency. It’s the exact shape of the heart we know today, and this is the first time it’s visage was ever recorded in history. It was so important to them, and so highly prized that they actually drove the plant into extinction by over harvesting it for use. This shape was so ingrained in their society’s conscious as a symbol of sexual liberation that it became associated with all aspects of intimacy, eg. sex, unity, and love.TL;DR: It’s not two hearts sewn together. It’s an ancient plant that Romans used to have gratuitous amounts of sex before condoms were around.

third-round-charm:

distraction:

Not many people know the stereotypical heart shape was meant to be two hearts fused together


Hey there. History nerd here… not many people know this “fact” because it’s not true. The universal heart shape we recognize today has nothing to do with the heart, actually. It has to do with early Roman birth control.

The Romans used a plant called silphium to prevent pregnancy. It was so effective that it became a critical part of Rome’s economy and daily life. It was literally so important to their culture that the image of it’s seed were even imprinted on currency.

It’s the exact shape of the heart we know today, and this is the first time it’s visage was ever recorded in history. It was so important to them, and so highly prized that they actually drove the plant into extinction by over harvesting it for use.

This shape was so ingrained in their society’s conscious as a symbol of sexual liberation that it became associated with all aspects of intimacy, eg. sex, unity, and love.

TL;DR:
It’s not two hearts sewn together. It’s an ancient plant that Romans used to have gratuitous amounts of sex before condoms were around.