Okay, I made it through 3 weeks of notifications before my browser’s cache (or whatever) crapped out.

If you reblogged something from me, tagged me in a post, or commented something on one of my posts/reblogs and I never responded, I wasn’t ignoring you, specifically, but rather tumblr notifications in general. For, like, over a month, maybe even two months, I don’t remember. Anyways if you still want a response/want me to see it go ahead and tag/reblog/etc. again, I’m gonna try to check notifications at least once a week going forward.

Worm bloggers could learn a thing or two from mlekk

The world if the popularity of worm and Star Wars was switched

I love animation history and one of the things that always baffled me was how did animators draw the cars in 101 Dalmatians before the advent of computer graphics?

Originally posted by madeleineengland

Any rigid solid object is extremely challenging for 2D artists to animate because if one stray line isn’t kept perfectly in check, the object will seem to wobble and shift unnaturally.

Even as early as the mid 80’s Disney was using a technique where they would animate a 3D object and then apply a 2D filter to it. This practice could be applied to any solid object a character interacts with: from lanterns a character is holding, to a book (like in Atlantis), or in the most extreme cases Cybernetic parts (like in Treasure Planet).

But 101 Dalmatians was made WAY before the advent of this technology. So how did they do the Cruella car chase sequence at the end of the film?

The answer is so simple I don’t know why it didn’t occur to me sooner:

They just BUILT the models and painted them white with black outlines 🤣

That was the trick. They’re not actually 2D animated, they’re stop motion. They were physical models painted white and filmed on a white background. The black outlines become the lineart lines and they just xeroxed the frame onto an animation cel and painted it like any other 2D animated frame.

That’s how they did it! Isn’t that amazing? It’s such a simple low tech solution but it looks so cool in the final product.

Originally posted by madeleineengland

In the final analysis, the best part of Bat-Fam was evil grandpa R'as al-Ghul, and the second best part is how stinkin cute Damien is

naan before beer you’re in the clear. beer before naan ghengis khan

A few decades ago, navigation meant paper maps stored in your glove compartment. When GPS devices and smartphones emerged, the obvious next step might have been to digitize those maps; to scan them, store them as images or PDFs, and allow users to pan and zoom.

Instead, modern navigation tools look nothing like paper maps. They automatically detect your location, incorporate live traffic data, provide contextual insights, and reroute you dynamically. You can travel from point A to point B without ever touching the device.

Now consider how we engage with the Quran digitally. We moved from physical mushafs to images of their pages on a screen, still flipping page by page. Some enhancements such as search and audio playback have been layered on, but fundamentally, the experience has barely progressed. We are still changing the medium, not rethinking the experience.

At Tarteel, we are reimagining how Muslims engage with the Quran from the ground up. Doing this well requires solving a problem that most digital products never face: rendering a sacred text with absolute textual fidelity, deep interactivity, and strict spatial consistency, all at once. This post explains why existing digital approaches fall short and how we built a new rendering system to overcome those constraints.

I have seven words that will destroy every Saw fan in a five mile radius and I'm about to share them

I'm actually from Baltimost, Merrierland so forgive me if I'm less than impressed

Oh ma gawsh more birds