kittehkats:

Delicatin Mai Tai, a smiling Devon Rex kitten. © Heikki Siltala
 Found on catza.net

kittehkats:

Delicatin Mai Tai, a smiling Devon Rex kitten. © Heikki Siltala

Found on catza.net

(via quillery)

marvellous-hunting-hootowl:

"Why he lick me" compilation

(via skitzosworld)

seisans:

traceexcalibur:

"who cares about representation in video games, video games are meant for escapism"

how exactly is it escapism to switch from a world where white cis men are in charge to…….. a world where white cis men are in charge

also what does that say about you when you want to “escape” to a world completely devoid of poc and women

(via my-kismet)

tutmart:

chesschirebacon:

why not both?

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because of this kind of monster

minionslayer:

~Spooky Island~

(via yabasha)

missisanfi:

Choco Cat in all his British Shorthaired Majesty

missisanfi:

Choco Cat in all his British Shorthaired Majesty

(Source: catteryrinacci.be, via quillery)

pensacosi:

How to make comics

My first vine

(Source: vine.co, via omagawolf)

wolf playing in the snow

(Source: woodser, via slothmunster)

iggadore:

shirtsnshorts:

MIKE ROUSH / The Hidden Life of the Burrowing Owl / 5:16

I have always been fascinated by wildlife documentaries. As a kid I would take my mom’s camera and try and get as close to the neighborhood animals as I could. Most of the time this would mean long hours sitting motionless on the back deck with bird seed sprinkled on my lap and shoulders. I never got the shot I wanted, so when Chris and Shannon  asked me if I wanted to make an animated film for Titmouse, I said yes before they finished asking. 

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Chris and Shannon Prynoski, Dik Pose, and I Line up a shot in the middle of nowhere. photo by Steve Kellener.

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Early thumbnails of the burrowing owl.

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Rough turnaround.

"Owl" was animated in Flash. I used a technique where I would animate traditionally very rough, then I would take a second pass cleaning up symbols that I would be able to reuse later. Most of the final animation you see in "Owl" is puppeted symbol animation with hundreds of symbols and a different puppet for each shot. This way I could get the detail and animation quality I wanted.

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The Flash break-down on one of the owl puppets. Lots of feathers!

One of my favorite parts of making this film was having to get out of the studio and go on location. I found an amazing place in central California called The Carrizo Plain using google maps. I spent the weekends driving all around taking pictures and exploring. Fun fact: The burrow used in the short was an actual owl burrow. On one of the days I was taking photos of the burrow one hissed at me from inside the burrow with it’s rattlesnake like call. It scared me nearly to death.

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This is how I made all the “live action” backgrounds. I drew a storyboard of what I wanted and photo collaged lots of pictures together to make it look like what I drew. Unfortunately these places don’t exist in real life.

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Whenever the owl had to touch the flower or fork, I took hundreds of photos, cut them out in photoshop and animated them. Fun.

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On location I used a couple stand-in models to get the lighting right and a maquette when animating for inspiration.

I had a great time making this film and when I was done we were lucky enough to show it at festivals around the world. After 4 years the “Owl” showed at more than 40 festivals, in over 25 countries. 

Can’t wait to do another one.

Mike’s Tumblr

Looks amazing.

(via wildscare)

ifyouaintdutchyouaintmuch:

NOOOOOOOOOOOOOOOOO

(Source: puppiiies, via wildscare)