Tweets récents:

*1
C’est qu’elle aurait presque l’air réussi, cette tarte aux fruits qui pourrissent au fond du frigo

C’est qu’elle aurait presque l’air réussi, cette tarte aux fruits qui pourrissent au fond du frigo

Symposium schymposium II :la revanche
Unanimité de la critique : tout le monde a détesté cette suite

Symposium schymposium II :la revanche
Unanimité de la critique : tout le monde a détesté cette suite

Le pain de courgettes un peu raté…

Le pain de courgettes un peu raté…

*5
frankenchris:

Supreme Blue Rose

frankenchris:

Supreme Blue Rose

Tap that guy swimming pool edition

Tap that guy swimming pool edition

La plage de Biscarosse en août, c’est l’enfer, mais des fois y’a de jolis papas…

La plage de Biscarosse en août, c’est l’enfer, mais des fois y’a de jolis papas…

traddmoore:

- SECRET AVENGERS #11 Cover by Tradd Moore and Matthew Wilson

- Lamentation of Christ by Andrea Mantegna (~1480)

- An Italian Greyhound wearing a winter coat

SECRET AVENGERS
Written by Ales Kot
Art by Michael Walsh
Colors by Matthew Wilson

1956- Gordon Parks documented the everyday lives of an extended black family living in rural Alabama under Jim Crow segregation for Life magazine’s photo-essay “The Restraints: Open and Hidden.” (via)

(Source : vintagegal, via letroubadouravecuneporsche)

*49

(Source : degeneratorr, via yourehorrible)

brianmichaelbendis:

Bill Sienkiewicz 1992: Unforgiven movie poster
Bill Sienkiewicz discusses the project in Tales from the Edge #9
One of six color painted poster comps I did for Clint Eastwood’s revisionist western, (in addition to 12 black and white.) A photo montage was ultimately used as the poster but working on it was still an invaluable experience. I did several movie posters for European release (the American versions of those films were also photo). I came away mourning that at least for the time being in the US illustrated movie posters like those I fell in love with as a student, were dead in the water. The emphasis seems to be on giving only the absolutely essential info: in as blatant a way as possible. Subtlety or beauty of design is the kiss of death. All the posters seem to be one or two big head shots of the stars, usually side lit and cut exactly down the middle with no background or environment for the heads and the title usually only slightly larger than the star’s name. Subtle, it ain’t.
Even though a poster like that for Apocalypse Now by Robert Peak used large heads and other background elements similar to what I describe here, the final effect was one of pure artistry and intelligence. It conveyed the emotion of the film to me far more effectively than a photo could have. Add to that, the human touch that it was done by hand and extremely well thought out, instead of what feels to me like current trend of stamping out cookie cutter photo clones… ah, hell, don’t get me started.

brianmichaelbendis:

Bill Sienkiewicz 1992: Unforgiven movie poster

Bill Sienkiewicz discusses the project in Tales from the Edge #9

One of six color painted poster comps I did for Clint Eastwood’s revisionist western, (in addition to 12 black and white.) A photo montage was ultimately used as the poster but working on it was still an invaluable experience. I did several movie posters for European release (the American versions of those films were also photo). I came away mourning that at least for the time being in the US illustrated movie posters like those I fell in love with as a student, were dead in the water. The emphasis seems to be on giving only the absolutely essential info: in as blatant a way as possible. Subtlety or beauty of design is the kiss of death. All the posters seem to be one or two big head shots of the stars, usually side lit and cut exactly down the middle with no background or environment for the heads and the title usually only slightly larger than the star’s name. Subtle, it ain’t.

Even though a poster like that for Apocalypse Now by Robert Peak used large heads and other background elements similar to what I describe here, the final effect was one of pure artistry and intelligence. It conveyed the emotion of the film to me far more effectively than a photo could have. Add to that, the human touch that it was done by hand and extremely well thought out, instead of what feels to me like current trend of stamping out cookie cutter photo clones… ah, hell, don’t get me started.

(Source : comicartistevolution, via letroubadouravecuneporsche)

mikerugnetta:

darksilenceinsuburbia:

Pawel Fabjanski

Afterimages

"Untitled" series prepared for "Powidoki | Afterimages" album released by Polish National Film School

good morning. i am in love with every single one of the above photos. 

manticoreimaginary:

PACIFIC RIM CUT SCENES WITH TOPLESS IDRIS ELBA?? YOU FUCKING MONSTERS.

(Source : kisswithatear)

fionastaples:

RAT QUEENS fanart!
Looks like her blog was deleted, but I was inspired by @tmirai’s Sexy Sawyer to draw this Sexy Orc Dave. You can still see her scandalous piece on the Rat Queens FB page!
Edit: nevermind, her blog is still here: http://tmirai.tumblr.com/

fionastaples:

RAT QUEENS fanart!

Looks like her blog was deleted, but I was inspired by @tmirai’s Sexy Sawyer to draw this Sexy Orc Dave. You can still see her scandalous piece on the Rat Queens FB page!

Edit: nevermind, her blog is still here: http://tmirai.tumblr.com/

why-i-love-comics:

Catwoman v3 issue #19

written by Ed Brubaker

art by Javier Pulido