#David kern x reader

[sub-danny]

Kinkmas #17 - Thigh riding - David Kern

“You need to calm down darling,” you tell David as you watched him pace back and forth repeatedly, reading out the lines in his book again and again and again.

“You wrote the damn thing, after all. It will be fine to read out. I get you don’t like big crowds and attention but just focus on the words and pretend you are just reading to me and that no one else is there!”

“It’s not as simple as that!” David whined, finally looking up from the book to you.

You sighed and tilted your head, narrowing your eyes at David to look at him disapprovingly. He glances away from you guiltily and finally places the book down. He ran his fingers through his hair, messing it up, which made you tut.

“Come over here, David and sit,” you tell him, pointing at your lap. His eyes flicker over you a few times and then to the doorway, but finally, he moved to sit down on your knee, facing away from you so you could run your fingers through his hair, sorting it out. He was wearing his suit, ready to go on stage in half an hour. As he sat on your lap, though, he started to move his hips slightly. Not enough that you had noticed, to begin with, until you heard him gasp.

You glanced at David curiously, but then it caught your eye. Down in his crotch, a tent was forming.

“Are you getting turned on from sitting on my knee, darling?” you asked David, smirking as you saw how deeply he blushed.

“I- I well, I was moving, and I didn’t mean to, well, you know,-”

“Keep doing it,”

David tried to turn to the side to look at you, but you grasped his hair and made him keep looking forward. David swallowed as he looked down at his shame but started to move his hips again. His breath hitched as his cock rubbed against your thigh, stimulating the underside of it slightly.

You moved your hand from his hair to his hips instead, holding them to stabilise him as you pressed kisses to his neck. David was brushing so brightly, even so, he closed his eyes and let out a few moans of pleasure as he felt his cock swell.

“Are you already so close?” you whisper against his neck.

“Yes-I’m going to come soon- I,”

“If you do, you’ll spoil your trousers before the reading.”

That made David’s eyes shoot open.

“I mustn’t!” he gasped, but it was already too late. With another snap of his hips on your thigh, he lost his control as he came, moans escaping his lips as he collapsed against your chest.

“Come on, I can find you some new trousers,” you tell him.

Taglist: @i-am-dead-inside-666, @scuttle-buttle, @fictionlandslanddreams, @lieutenantn, @greeneyedblondie44, @lov3vivian, @edencherries, @theartbooshlr, @somethingthatsaysbubbles @rumblelibrary @my-blood-is-maple-syrup @idkwhat-my-name-should-be @bruhlpng @everythingbeginsineternity-blog @foolishroach @belle82devart @anteroom-of-death @lorna-d-m @littleevilme13 @danielcmgbruhld @janine007 @creme-bruhlee @t-r-i-s-h-a-w @panickinanakin1 @droppdeadredd @wonderwoman292 @archangelproperty

Link to taglist

[quietmyfearswith]

kinktober 2021

hello! i have decided to start my own kinktober writing challenge! and i am asking for suggestions from you guys on what kind of kinks you would be interested in seeing me write. please do not proceed reading unless you are 18+, minors go away!

below are the characters i will be writing for:

bucky barnes, lance tucker, carter baizen, mobius m mobius, andy barber, jake jensen, ransom drysdale, johnny storm, steve rogers, sam wilson, syverson, august walker, clark kent, niki lauda, helmut zemo, david kern

note: the actual days may vary lmao

1 - authority kink with sam wilson

2 - car sex with august walker (sugardaddy au)

3 - public sex with niki lauda

4 - size difference with clark kent

5 - edging with steve rogers

6 - orgasm denial with bucky barnes (sugardaddy au)

7 - toys & public sex with syverson

8 - spanking with ransom drysdale

9 - praise kink with lance tucker

10 - thigh riding with helmut zemo

11 - breeding kink with helmut zemo

12 - double penetration with mobius n loki

13 - lingerie with carter baizen

14 - fingering with sam wilson

15 - degradation with niki lauda (mechanic au)

16 - handcuffs with bucky barnes

17 - blindfold with syverson

18 - a/b/o with mobius m mobius

19 - innocence kink with niki lauda

20 - virgin kink with mobius m mobius

21 - multiple orgasm with jake jensen

22 - overstimulation with andy barber

23 - somnophilia with david kern 

24 - sex pollen with helmut zemo

25 - at work with andy barber

26 - forced orgasm with steve rogers

27 - face sitting with david kern

28 - dirty talk with johnny storm

29 - humiliation with ransom drysdale

30 - period sex with mobius m mobius

31 - gang bang

[bruhlrunning]

I love this cursed fandom so much I made an account for it. Here’s the Daniel Brühl characters I’ll currently write or accept headcannons (or anything like that) for.

-Daniel Brühl himself

-Alexander Kerner (Good Bye, Lenin!)

-Andrea Marowski (Ladies in Lavender)

-Helmut Zemo (Marvel Cinematic Universe)

-David Kern (Lila, Lila)

-Niki Lauda (Rush)

Characters I have to consume the media they’re in first:

-Laszlo Kreizler (The Alienist)

If there’s any characters I’m missing, please let me know :)

[hardlyinteresting]

daniel kern needs his LOVIN so i suggest 28 please :) (congrats on 600!!!!)

prompt list here!

yessss!!! sweet baby 🥺

David Kern x gn!reader

"How's the writing going?" you ask sweetly setting down a cup of tea and a plate of toast with hazelnut spread from him to snack on. He only shakes his head in response. "That good, huh?" "you're teasing me it's not nice," he scolds but there's a hint of a smile at the corners of his lips. He reaches out for your hand pulling you to sit in his lap. "is there anything I can do to help?" He shakes his head, letting you drape your arms over his shoulders and around his neck. "Just sit here. Hold me. please." His head rest against your collar bone and you press a kiss to the crown of his head toying with his hair. He sighs deeply letting himself relax for a minute. He presses a chaste kiss to your throat, and then one to your jaw before pulling back to look at you. "Thank you". "Anytime".

[pondering-and-wondering]

Hot Take: Daniel Brühl does not have a “Dad Bod,” he just doesn't have shredded abs and a flat stomach. Stop saying he has a dad bod.

[mypoisonedvine]

sending this in for sleepover but the yandere david kern idea we were talking about 👀

hell. yes.  this is obviously dark with implied noncon and some degradation!

It’s not like he wasn’t expecting some fallout when you learned the truth, but he was still quite shocked, almost incensed, about how ungrateful you were being.

“I did this all for you, don’t you understand that?” 

You just rolled your eyes.  He could hardly comprehend such disrespect.  “No you didn’t, David, you did it for yourself,” you frowned.

“No, I only lied so you would be interested in me, I thought maybe if I was this sensitive, talented writer--” he held up the book for emphasis, the one he’d just told you that he didn’t really write-- “that you would go out with me.  But what we have is real, I know that now, we don’t need the lies anymore!”

“But you still lied!” you reminded him.  “I can’t just let that go.”

“Yes, you can,” he tried to assure you, stepping closer, but you only stepped back again.  That went on until your back hit the wall and he stared down at you.  He always thought you looked even cuter angry, even if it was at him.  “You can,” he repeated.

“No, I can’t, and I’m leaving,” you decided, pushing him back and turning to go-- but he stopped you with a hand on your arm, grabbing you tight and pulling you back into him.  You yelped when he squeezed harder, looking up at him with watery eyes.  “David, stop-- you’re hurting me...”

“I’ll stop when you listen,” he insisted.  “Maybe I lied about the book, but everything else was true.  I love you.  You love me.  We need to be together.”

“I don’t love you anymore,” you announced, and he finally understood that saying ‘seeing red’ because he felt so much anger he couldn’t even begin to contain it.  Still holding your arm, his other hand grabbed your face and he kissed you, with everything he had, only getting more passionate every time you fought against him.

“And you call me the liar,” he growled against your lips.  “You say you don’t love me and you think I am a liar?  You fucking bitch.”

He pressed his body to yours to hold you down, surprising even himself with how much he loved the feeling of you when you were struggling so much.  He wished you didn’t feel the need to, but he didn’t mind it, either.  

“All I did for you and you’re gonna act like you hate me,” he sighed, opening his eyes to see you had started to cry a bit.  It made him soften on you slightly, in the metaphorical sense, but harden against you in the literal sense.

“What are you doing, David?” you asked weakly as he pushed your legs apart with his own.

“I’m reminding you how good we are together, baby, I know you love me,” he whispered, hoping to soothe you as he wiped a tear away with his thumb.  “I know you love me.”

“You’re scaring me,” you whimpered.  “I just you’d just let me leave.”

“I can’t do that,” he shook his head.  “I told you the truth because I couldn’t bear to lie to you anymore, but if you told anybody else, we’d lose everything.  You’re not leaving this room again until you know to keep that pretty mouth shut.”

[therunawaykind]

WIPs

Fic/Requests being worked on/edited (might just be used to write out my WIP or just random ideas that might pop into my head that I'd forget otherwise.) So watch this space if ya want!

Wanda Maximoff WIPs

Wanda Maximoff - She Looks Like Fun Fratboy!AU

CEO!Wanda - Certain Fascination

Lawyer!AU - Based off of Suits

Racer!Wanda - Life In The Fast Lane

Wanda Maximoff - The Stolen Jewels Uncharted!AU

Wanda Maximoff - fic inspired by Harry Styles Medicine

Wanda Maximoff & Milf!Reader

Boxer!Wanda & Reader

Zookeeper!Wanda

Yoga Instructor!Wanda

Esports!Wanda & Reader

Swimmer!Wanda & Reader

Diver!Wanda & Reader

Newspaper Editor!Wanda Maximoff (something newspaper related)

Leigh Shaw WIPs

Leigh Shaw x Reader - Green Eyes

Leigh Shaw x Reader - Inspired by Grizzly Bear 2 Weeks

Gerri Fields WIPs

Gerri Fields - Inspired by Songs About Jane - Maroon 5 album

Gerri Fields - R being David's sibling

Zooey Kern WIPs

Natasha Romanoff WIPs

VJ Natasha Romanoff

Wanda Maximoff x Maria Hill WIPs

Wanda Maximoff x Maria Hill x Reader - End Of The Barrel - Hitwomen AU

Unknown (TBD) Character WIPs

17 again inspired fic

Friends inspired fic this scene

[caveartfair]

Chris Martin on Breaking the Rules of Painting in the 1980s

Portrait of Chris Martin. Photo by Fredrik Nilsen. Courtesy of David Kordansky Gallery, Los Angeles.

Saturn x 5, 2017. Chris Martin Anton Kern Gallery

Of all the celestial bodies in our Milky Way, Chris Martin loves Saturn best. Staring down at the floor of his Williamsburg studio—a former florist’s freezer that he’s occupied since the mid-1980s—we inspected the computer printouts of the planet that he’d glued onto an unfinished painting before us. Sure, he admires its spectral rings, but Martin’s fascination with Saturn can be, like many other things, traced back to the death of his musical obsession, Amy Winehouse.

Martin recalled the series of paintings he began in 2007 featuring images of the late pop star superimposed with talismanic signs from various cultures. Her induction, by overdose, into the dreaded 27 Club in 2011 left Martin with a twinge of superstitious resignation: “Obviously my paintings didn’t protect her,” he sighed.

Musicians in the Landscape, 2012-2015. Chris Martin David Kordansky Gallery

Winehouse’s tragic death led Martin to fixate on the number 27. Horoscope readers (including the artist) recognize a moment astrologers call the “Saturn return”—when the planet, during its orbit around the sun, comes back to meet one’s natal Saturn, a process that traditionally starts at, yes, age 27. The Saturn return is, for many, considered a moment of reckoning—or in this case, a neat syllogism for the fated, cyclical tide of youthful promise cut short.

Martin’s current show of old work, “The Eighties,” at David Kordansky Gallery in Los Angeles through April 27th, prompted the prolific—and, today, commercially and critically successful—artist to reflect on his own Halcyon days in Brooklyn during that decade. Then in his twenties and early thirties, he was scrapping around the same neighborhood, still figuring himself out.

Installation view of Chris Martin, “The Eighties,” at David Kordansky Gallery, Los Angeles, 2019. Photo by Jeff McLane. Courtesy of David Kordansky Gallery, Los Angeles.

Installation view of Chris Martin, “The Eighties,” at David Kordansky Gallery, Los Angeles, 2019. Photo by Jeff McLane. Courtesy of David Kordansky Gallery, Los Angeles.

Preparing for the show—which presents rarely (if ever) exhibited works Martin created years before his first art-world accolades—had its emotional pitfalls. “I guess I’m a middle-aged artist now,” he bemoaned. “The difficult part of looking at the ’80s and the old work is that it’s old, apparently, which must mean that I am old.”

Martin is 65 now. Yet in personality and verve, he’s a young man, an exceptionally unfenced person who continues to thrive and find inspiration in the stimulating artist communities in Brooklyn and the vivacity of younger peers in the area, some of whom work in his studio as assistants.

“Excavating” these long-lost experiments from the crowded storage racks in his studio prompted Martin to confront the difficult-to-pin-down ethos of what makes a “Chris Martin painting.” This was a particularly complicated task, considering the breadth of his largely abstract work, which references spiritual influences like Buddhism and the cosmos, as well as pop culture and music. He also incorporates an unusual range of materials (glitter, spray paint, newspapers) into his paintings, including whatever he finds around his workspace.

Chris Martin, Untitled, 1988. Photo by Jeff McLane. Courtesy of David Kordansky Gallery, Los Angeles.

Chris Martin, Untitled, 1988–89. Photo by Jeff McLane. Courtesy of David Kordansky Gallery, Los Angeles.

Contemplating these older works, some of which are characteristically monumental in size, others uncharacteristically tiny, clarified an arc of his career, and conjured for Martin the obsessions and interests that consumed him then (street art, prophetic dreams, performance) and those that have carried on through the years (spiritualism, the Catskills, music).

It was in the 1980s, however, that many—if not the most essential—aspects of his current approach were born. Forced to contend with the rigid, dominant modes of art at the time (namely Conceptualism and Minimalism), Martin emerged on the opposite end of the ’80s as an open-minded maximalist. In the previous decade, purists like Donald Judd and Richard Serra had declared painting flat dead, and had “this kind of railroad track idea that they had made the work that needed to be made, according to some art-historical inevitability.”

Many painters of Martin’s generation “made the same painting over and over again,” he said. “The feeling was that if you believed in painting a circle, that you would paint circles, because you knew what you believed in. If you made good paintings of circles, how could you paint a duck? If you believed in circles, you wouldn’t believe in ducks.” After some trial and error, the inquisitive-minded young Martin, of course, pursued his own route entirely.

Chris Martin, Seven latex colors, 1989. Photo by Jeff McLane. Courtesy of David Kordansky Gallery, Los Angeles.

Chris Martin in front of his painting from “The Artist Project: Portraits of the Real Art World/New York Artists 1981–1990” by Peter Bellamy, published in 1991. Courtesy of the artist and David Kordansky Gallery, Los Angeles.

In his early years, Martin explained, he was heavily invested in a kind of “masterpiece syndrome.” He wanted to make great works of art, but “the thing about wanting to make a masterpiece is that you’re very conscious of wanting to put everything into one painting,” he said. He certainly tried��several works from the late 1970s and early ’80s are caked in inches of paint.

Yet he also dabbled in painting as performance art, with works that seem truly cringeworthy today. For an initiative called Hit and Run Theater, audiences were asked to meet Martin and his cohort of collaborators on a subway platform or in an abandoned lot. Martin would make paintings in front of the crowds, and, despite being a “terrible singer,” croon and recite poetry. The transient nature of these works—and the intensity of their preparation—led Martin to realize that he was meant to focus only on painting.

During the early part of the 1980s, it was his discovery of German conceptual artists—especially the abject humor and wild reference points of Sigmar Polke—that liberated Martin to abandon this syndrome and “open myself to where the painting would go, and also open myself to a different identity,” he said. Distinctions between abstraction and figuration, high and low, became increasingly meaningless. “The temple of art has to be ironic if you have something popular that comes into it,” he railed, “and I hate that. That’s such a terrible lack of spirit.”

Skyscrapers, 1961. Sigmar Polke Neue Galerie, Museumslandschaft Hessen Kassel, Kassel

Horn Players, 1983. Jean-Michel Basquiat "Jean-Michel Basquiat: Now's the Time" at Art Gallery of Ontario (AGO) (2015)

Gradually, Martin’s high-minded separation between “art” and “not-art” started thinning. He took in the explosion of street art and came to admire Jean-Michel Basquiat (another member of the 27 Club). He envied Basquiat’s ability to take whatever he was interested in and incorporate it straight into his work.

Martin began to see everything around him as fair game for his art. His studio floor was covered with newspapers he used to sop up paint, and aluminum foil he used to cover buckets. “It was covered with all this junk,” he recalled, “and I started thinking, well, ‘Why does this go in the trash and it doesn’t go on a painting?’”

In the later part of the decade, Martin made several oil and acrylic paintings on tin foil. “The actual act of spreading oil paint on this smooth metal surface was thrilling and different,” he remembered fondly. “I could wipe it off. It was really fun and also a little bit scary, but very exciting.” To hear Martin discuss the excitement of trying out a new material, a new technique, even 40 years later, is to listen to someone who still believes in play.

Chris Martin, Untitled, 1989. Photo by Jeff McLane. Courtesy of David Kordansky Gallery, Los Angeles.

When he first began to approach his works with this kind of openness, Martin explained, it allowed him to accept “things that don’t make any sense.” Perhaps he was looking for orange paint but couldn’t find it; he simply used red instead. He began to allow what others might have considered mistakes to be a vital part of his art. If unwanted paint accidentally dripped on his canvas, the work was not ruined—it was just different. “You give yourself over to the process,” he said. “Then if you can suspend the judgment and say, ‘I don’t know what I just did,’ you can go somewhere new.”

It was precisely his location in the outer reaches of Brooklyn, away from the commercial art world, that enabled Martin to take this experimental approach. The 1980s Brooklyn scene seems to have been the perfect playground for the artist. “I had a lot of people in and out of the studio, and I went to their studios, and we went to weird clubs, and we hung up paintings on the street,” he remembered. “There’s a certain freedom when your audience is your peers,” he added.

Image of Chris Martin’s studio that appeared in a catalogue for his show at John Good Gallery April 6–28, 1990. Photo by Peter Muscato. Courtesy of the artist and David Kordansky Gallery, Los Angeles.

One peer whose influence on Martin is perhaps still underrecognized is the painter Katherine Bradford, a fellow mad colorist with whom he rented—for a mere $650 a month—a loft building in Williamsburg between 1980 and 1984. During their time working side-by-side, they served as sounding boards for each other’s work, even stepping in to finish the other’s painting at times. “If either one of us had a painting that was going badly,” Martin said, “we would leave it outside the other person’s studio door” to work on. The pair are still friends, and though they no longer collaborate, they continue to hold studio visits.

The fraternal nature of this nascent artist community fueled Martin’s creative ambition in a neighborhood that was not too long ago considered peripheral to the mainstream New York art world. It was also this early group of “settlers” in the historically working-class Polish, Italian, and Hispanic area of Williamsburg that helped transform the area into the vital—and deeply gentrified—art hub that it is today. “I remember when Kasia’s, the local restaurant on Bedford Avenue, got a salad,” Martin said. There were so many artists requesting a salad on the menu, that when the restaurant finally added one, “it was called the ‘art salad,’ just lettuce and tomatoes, probably,” he laughed.

Spring Green, 1988. Katherine Bradford Rago

Chris Martin, Untitled, 1987. Photo by Jeff McLane. Courtesy of David Kordansky Gallery, Los Angeles.

Yet some of his exploits back then resonate with the DIY approach and unconventional exhibitions that still characterize the neighborhood. In one very 21st-century anecdote, Martin recalled curating an exhibition in a local pizza shop, with works by friends like Fred Tomaselli, Thomas Nozkowski, Bill Jensen, Bradford, Peter Acheson, Phong Bui, Rick Briggs, and Joyce Pensato. He remembers it fondly: “It was a great show, I’ve got to say.”

By the late 1980s, at the height of the AIDS crisis, Martin developed an interest in “outsider” art. He pursued a career in art therapy, in part to meet people without formal artistic training, but who, nevertheless, “were able to make paintings—great paintings—that were very direct,” he said. The experience was “a wake-up call.” Martin realized that what his work needed “was openness and a belief in doing the thing.”

Chris Martin, Griffin, 1987–88. Photo by Jeff McLane. Courtesy of David Kordansky Gallery, Los Angeles.

During his art therapy sessions, Martin discovered the myriad joys of glitter—a material that enlivens many of his most recent paintings. He loves “everything that everybody likes about” glitter, especially that “it’s a great mess.” (His studio is a beautiful, splintering color field of lost glitter shards—in the paintings; in rugs on the floor—on every surface.) Being an art therapist also led Martin to recognize that everyone, artists and non-artists alike, faces the same fear when approaching a work. “They don’t want to embarrass themselves by making a bad painting,” he realized. Ultimately, he said, “one finds courage by acknowledging exactly all those fears.”

Martin always enters his studio without preconception, and with a mission to enjoy himself. If he finds himself not having fun in the studio, feeling bored, or struggling with a physical task, he steps back and asks himself: “Okay, Chris, what is going to be more fun? What’s going to be more exciting? What gives me joy to do?” Doing this, he explained, is an important way to gauge “whether you can be paying attention and be really there, really alive.”

Untitled 24, 2015. Chris Martin Rodolphe Janssen

Untitled, 2017. Chris Martin VNH Gallery

This process of self-discovery has never left Martin, and is perhaps the key ingredient to his success—commercially, but more importantly, as an artist continually engaged with and committed to pushing his work forward. Asked what advice he’d offer to the younger, 1980s version of Chris Martin, he replied: “I guess if I went back to my old self, I’d just give myself a hug and say, ‘Relax, kid, it’s gonna be alright.’”

from Artsy News

[mycatisanalien]

MY CAT IS AN ALIEN contribute to the first book entirely focused on THURSTON MOORE:

“Thurston Moore - We Sing A New Language” by NICK SOULSBY Omnibus Press (UK/ USA) OUT MARCH 13, 2017

From author Nick Soulsby: For “We Sing A New Language: The Oral Discography Of Thurston Moore”, I wanted to use the experiences and perspectives of the people who have played on the numerous records he’s featured on outside of Sonic Youth, to paint a picture of his development and his interests in music across the years. It’s notable how much of his energies, very early on, were on gaining this wider experience while – since the mid-Nineties – there’s a veritable explosion of effort devoted to other scenes which then feeds back into Sonic Youth in the form of the SYR records, releases with Mats Gustafsson, the presence of Borbetomagus on the Murray Street album, their choices of support acts when touring. There’s even a specific character to Moore’s efforts during Sonic Youth’s peak of commercial success in the early-to-mid-Nineties with Moore evangelising and paying tribute to the underground bands who he felt was important – so much of that era is spend on covers and tributes. It’s that kind of pattern that speaking to the people involved was able to tease out.

The book includes a comprehensive Contributors section in which each of the 170 people involved summarises their personal creative urges and expressions – the hope being that it gives the reader a sense of who they’re speaking to and a starting point for further exploration. Frankly, if you enjoy the work of Thurston Moore then there are a lot of people in here worth finding!

In first name alphabetical order:

Aaron Dilloway, Adam Golebiewski, Adam Kriney, Alan Bloor, Alan Licht, Alan Read (Krayon Recordings), Alex Ward, Amanda Kramer, Ambrose Bye (Fast Speaking Music), Andrew Clare, Andrew Kesin, Andrew MacGregor, Andrya Ambro, Andy Moor, Anne Waldman, Anne-James Chaton

Balazs Pandi, Benoit Bel (Mikrokosm Studios), Benoît Bourreau (Film Maker), Bill Nace, Brett Robinson, Brian Kinsman (Deathbomb Arc), Britt Brown, Bryn Harris, Byron Coley, Byron Westbrook

Campbell Kneale, Carlos Giffoni, Carlos van Hijfte (Tour Manager), Chris Corsano, Chris Gollon (artist), Chris Pottinger, Christian Marclay, Colin Langenus, Cory Rayborn (Three Lobed Recordings), Cris Deison, Cristiano Nunes (ZDB Venue)

Dagobert Sondervan, Daniel Sandor (Producer), Dave Keay, David Markey, David Newgarden (Manager to Yoko Ono), David S. Blanco (Blank Editions), Deb Goodge, DJ Spooky, Don Dietrich, Don Fleming. Dylan Nyoukis

Evan Parker, Frank Rosaly, Frans de Waard, Gene Moore, Giancarlo Schiaffini, Glenn Branca, Greg Vegas, Hal Rammel, Hanin Elias, Heath Moerland (Fag Tapes)

J.D. King, Jim Thirlwell, Jack Rabid, James Nares (Artist), James Sedward, James Toth, Jane Scarpantoni, Jean-Marc Montera, Jef Whitehead, Jeff Hartford (Bonescraper Recordings), Jeremy Miller, Jim Dunbar, Jim Sauter, Jim Sclavunos, Joe McPhee, Joe Tunis (Carbon Recordings), Johannes Buff (Mikrokosm), John Clement, John Corbett, John Howard, John Moloney, John Olson, John Russell, John Tye (Lo Recordings), John Wiese, Jon Forss (Lo Recordings), Josh Baer (White Columns), Justin Pizzoferrato (Sonelab)

Karl Hofstetter (Joyful Noise), Keith Wood, Kevin Crump (Wintage), Kim Rancourt, Kommissar Hjuler

Lasse Marhaug, Lea Cummings, Lee Ranaldo, Leslie Keffer, Lin Culbertson, Loren Connors, Lydia Lunch

Mani Mazinani, Manuel Mota, Marc Urselli, Marco Cazzella (My Dance The King), Marco Fusinato, Margarida Garcia, Martin Bisi (Producer), Massimo Pupillo, Mat Rademan (Breathmint), Mats Gustafsson, Matthew Saint-Germain (Freedom From), Maurizio Opalio (My Cat is an Alien), Michael Chapman, Michael Gira, Mike Gangloff, Mykel Board

Nathaniel Howdeshell (Fast Weapons), Neill Jameson, Nels Cline, Nolan Green, Pascal Hector, Patrick Best, Paul Flaherty, Paul Smith (Blast First), Pete Nolan, Phil Blankenship (Troniks), Phil X. Milstein

Rafael Toral, Rat Bastard, Rhys Chatham, Richard Hell, Richard Kern (Film Maker), Rob Hayler, Robert Meijer (En/Of), Robert Poss, Roberto Opalio (My Cat is an Alien), Ron Lessard (RRRecords)

Samara Lubelski, Sanford Parker, Sarah Register, Sérgio Hydalgo (ZDB), Shayna Dulberger, Sonny Vincent, Stavros Giannopoulos, Steve Lowenthal (Vin Du Select Qualitite), Stuart Braithwaite, Susan Stenger

T. Mortigan (Destructive Industries), Terri Kapsalis, The New Blockaders, Thurston Moore, Tim Foljahn, Tom Moore, Tom Smith, Tom Surgal, Toshi Makihara, Trumans Water

Venec Miller, Vice Cooler, Virginia Genta, Wally Shoup, Walter Prati, Warren Defever, Wharton Tiers, William Hooker, William Winant, Yoko Ono

--------

NICK SOULSBY: https://nirvana-legacy.com/

OMNIBUS PRESS: http://www.omnibuspress.com/Product.aspx?ProductId=1127389

[justforartstuff]

What are the basics of Typeface?

I have been babbling about the typefaces that are hated because of bad design but also bad usage by the general public. I didn’t exactly explain what it means to make a typeface good or bad in specifics. In this blog I will give you some examples of the basics of typeface and explain what it means to use a typeface.

Joshua Johnson. 2017. 8 Rules for Creating Effective Typography. [ONLINE] Available at: https://designshack.net/articles/graphics/8-rules-for-creating-effective-typography/. [Accessed 16 November 2017].

This article tackles many basic aspects of typeface such as Kerning, font communication, alignment, secondary font, size, art and inspiration. 

“If you’re not used to looking for kerning issues, the problems may be subtle, but they’re there. Notice how the uppercase “D” in the example above stands out significantly from the rest of the word. By default, many typefaces, especially those with pronounced serifs, can possess inconsistent letter spacing. This is usually not a huge problem in a paragraph or sentence as the inconsistent spacing sort of blends out in blocks of smaller copy. However, when you’re dealing with only a few words, such as in a headline or logo, sloppy kerning issues can destroy the entire aesthetic.”

Kerning is different for each letter so it comes down to the details and how optically it looks. For example comic sans has a kerning (spacing between letters) problem when it comes to the letter ‘f’ so when viewed from afar the word with f looks more clumped up than others. This can lead to the disturbance of taking the reader out of the flow of reading the text and instead trying to figure out the word instead. It is different if the font is meant to be look clumped up meaning that consistency is the key to success in the world of typeface. 

Vladimir Gendelman. 2015. 13 Tips for Avoiding a Font Kerning Disaster. [ONLINE] Available at: http://www.companyfolders.com/blog/13-tips-for-avoiding-a-font-kerning-disaster. [Accessed 16 November 2017].

Vladimir explains that kerning is a very important part of the typography and it has many steps to making the perfect kerning for each typeface. This was not possible for Comics Sans because it was developed in 3 weeks. That is one reason why it has inconsistent kerning. 

But this video explains why Comics sans was made this way. 

Great Big Story. (2017). Comic Sans: The Man Behind the World’s Most Contentious Font. [Online Video]. 19 January 2017. Available from: https://www.youtube.com/watch?time_continue=214&v=5l4sCaw71NE. [Accessed: 16 November 2017].

“The typeface was meant to be different and go against the rules of the basics of Typeface design that was established and therefore making people look at it then decide to use it or not but when they don’t look at it and ignore it then the typeface will cause disasters” said Vincent Connare. Comic Sans was used because there were no playful and ‘edgy’ typeface that people could use to differentiate themselves from other but instead everyone had the same idea making it counterintuitive. 

The age changed but the typefaces that continue to be used by people is timeless, in a sense that if its purpose is continuously fulfilled it is can continue to be ‘great’. 

Mathew Carpenter. 2011. 10 Iconic Fonts and Why You Should Never Use Them. [ONLINE] Available at: https://www.webdesignerdepot.com/2011/02/10-iconic-fonts-and-why-you-should-never-use-them/. [Accessed 16 November 2017].

In this article Mathew says “As with Comic Sans, avoid this typeface if you want to be taken seriously. Unlike other reviled typefaces, though, Papyrus isn’t bad because it is overused: it’s bad because it just doesn’t look good. Kitschy, cheap and vile, Papyrus has no place in your designs.” and didn’t give specifics why it looks kitschy, cheap and vile. So I looked into other sources. 

David Lange. 2016. Fonts You Need to Stop Using. [ONLINE] Available at: http://bydavidlange.com/fonts-need-stop-using/. [Accessed 16 November 2017].

David says that the font has become edgy to those who don’t know anything about design and specifically pointing out some technical problems such as “ Lowercase letters have a nice uniformity but a compressed x height combined with elongated ascenders and descenders create a distracting flow. Uppercase letters on the other hand, are stingy and disproportionate, with unbalanced, angular bowls and pinched features”. 

As I am not too familiar with the terminology of typeface I don’t exactly know what he means by disproportionate and unbalanced but what I know is that because of these traits of the typeface and the availability made it so that those who were trying to be different in personal business all gravitated to this ‘edgy and disproportionate’ typeface making it not edgy but rather overused and ‘normal’ because of it. When the movie Avatar used similar type of typeface for their movie logo the backlash came from how a ‘revolutionary’ movie used such a generic and ugly typeface for their movie.  

So this teaches me that the basic of typeface is to retain its original purpose which in this case ‘Papyrus’ didn’t really have one causing even the designers not being able to give any excuses to this typeface. Without a clear theme or purpose the typeface is missing one of the main basic ingredient. 

Addition video that may peak your interest is that the ‘Comic Sans’ is hated because it is in the ‘Uncanny Valley’ in the world of typeface.

Vsauce. (2013). A Defense of Comic Sans. [Online Video]. 11 February 2013. Available from: https://www.youtube.com/watch?v=GUCcObwIsOs. [Accessed: 16 November 2017].

This video shares a lot of the ideas I had about the hated typefaces are hated because of its availability and also because of the knowledge of a good typeface has been widely spread throughout the world. It is propelling the world toward better and more creative typeface because of the hate of these fonts. 

[iat235ideajournalthreechuru-blog]

Idea Journal Three by Michelle Churui Mao

Experimentation and inspiration for the design process:

Experiment will be influenced by the designers’ daily interests and experiences, their situations and circumstance, what they saw, what they heard from the world around us, and while designers are experimenting they are asking questions and seeking answers, do the problem-solving. Different individual has different experiences, opinions, inspirations and influences towards life; also, the context that we grew up, the political, the social and economic climate, our point of views and beliefs, will be the sources of inspiration and will be the engagement while we doing the creativity.

During the creative process, lateral thinking plays an important role which means we are not just finding out the problems or the difficulties, but also seeking how to solve them or change them, which engage us to come up unique solutions and ideas and it’s useful in the process of visual exploration.

(”Think outside the box” https://www.123rf.com/stock-photo/lateral_thinking.html)

Different inspiration will cause different experiment, and inspiration can be found everywhere such as the environment that we live in, the culture from different countries, the buildings or the unique philosophy and beliefs. On top of that, designers should be looking, recording, collecting, drawing and photographing the things around us. Besides, according to David Carson, designers should put themselves into the work since our background and life experiences won’t be the same.

Example:  My hobbit is drawing, and I have a series of drawing which are those different cafes that I have been, the inspiration are come from the outlook of the store and the little cutey stuffs in the store.

The project of William Cottam and Holly Langford is a case study by showing how personal interest can provide the basis for interesting and compelling visual communications. By using the interactive interface to do the project and is the good example of a combination of research, experimentation and development. (Introduction to Information Design: Chapter 6 p219-220)

Editing data for inspiration is the most important job for the information designers which is to edit and interpret the stories, the messages, the data visually for the audience to clearly understand, which to filter the unnecessary information but keep the interesting points. (Introduction to Information Design: p223, 2010-2011 annual report by Nicholas Felton)

Visualizations of the data should:

Have clear purpose

Show data clearly let audiences know what the data means

Don’t distort the information or mislead

Permit the viewer discover the data from general to specific detail without confusing

Let the viewers have comparison on data and facts

Let the viewers remember the data and facts clearly

Appreciate the user’s intelligence

(http://www.freepik.com/blog/infographics-the-benefits-and-why-we-all-love-them/)

Analysis:

This infographic can be an example for data editing and make it visualize. The proximity in this graphic is nice since it group different parts together which conceptually belong together, And the repetition is good since the color and he patterns recur regularly, and the color, the shape and the scale of the patterns are have great contrast. The shape and volumes are match to the concept very well and the negative space is balance. However, the alignment in this graphic don’t have a strong leading line for audiences to read through.

Information design in practice: print, interactive and environmental:

Information design in print have many forms, which can be the books we read; the city’s newspaper; the timetable at the bus stop; the advertising at the sky train station and can be the information on the food productions.

Example:

(http://www.chkamerica.com/print-products/)

Interactive information design which turns the audiences into users, requires them participant into the information presented and interact with it by choosing different options to control and experience the work.

Example: (https://cias.rit.edu/faculty-staff/159/student/734)

Environmental information design takes many factors and it’s essential that the design is appropriate for its function, its audience and also its location. During designing environmental information, we need to consider about the materials and it should be longevity; and the solutions should be user-friendly and durable; and should consider about the distance and scale, legibility and readability, which is achievable in the space or site.

Example:

(Introduction for Information Design: Chapter 7 p296, Environmental information design and way-finding)

[quietmyfearswith]

kinktober day 1 — somnophilia

kink — somnophilia  pairing —david kern x fem!reader warnings — MINORS DNI, somnophilia (in my head it’s consensual and a usual occurrence since david always sleeps late at night), dirty talk word count —842 words taglist —

main masterlist | kinktober masterlist

“Come to bed now, David,” Her voice reached the writer’s ears faintly as she called for him from where she comfortably laid in bed. “Hold on, love,” He called out from the study desk he had put on the opposite side of the bedroom’s wall. Standing up from where she was laying down, she made her way to his desk and pouted as she looked over at him with crossed arms, “I miss laying in bed with you, love.” Looking up from the computer screen, he then smirked at how she was pouting.

“I know, I miss laying in bed with you too,” He pointed to the current page he was working on that was only filled with two short paragraphs, “But only a few more pages before I lay beside you okay, love?” Sighing, she nods understandably and kisses his forehead before greeting him goodnight, “Goodnight, David. Don’t tire yourself too much, okay”

Silently nodding, David’s brow furrowed once more as he busied himself in continuing his story which involved two lovers who find themselves framed for a robbery they didn’t commit. After an hour spent in writing, he took his blurry and blinking eyes as a sign of exhaustion and saved his recent progress — which thankfully led to five whole pages being written — and shut off his computer.

As he walked towards their shared bedroom, he was surprised to see her completely naked — with the exception of the white, thin sheets that covered her torso — as she peacefully lay down. She is probably punishing me, he thought to himself as he felt his cock harden at the sight of her flaunting her bewitching assets. As he walked on over to where she lay, he sat down and gently caressed her ankles, “Love? Love, are you waking up?”

When there was no response, David thought that it was high time he gave her the attention she deserved. Removing the thin cloth from her frame was rewarding as it granted him full access to her body that he familiarized himself with over the course of a year. As he was removing his clothes while he stared at every inch of her skin, images of the differents ways in which he could please her flooded his brain — exciting him even further of what’s to come.

Once he had removed all of his clothes, the bed dipped as he knelt down and parted her legs. “Oh schatz, I’m sorry I haven’t been paying attention to you.” The pad of his thumb rubbed her clit which throbbed after a few hard rubs. A small moan escaped from her mouth which made the writer feel cocky; his other thumb wiped the precum of his tip before sliding in her pussy, which immediately was hugged tightly by her already damp walls.

“It seems like you are more than eager already,” He observed with the way his thumb struggled to slither out of her cunt, “Good thing I’m more than ready to soothe that need.” He quickly slid his cock inside her wet pussy, causing him to exhale sharply once he felt her walls close in on his cock, “Fuck schatz, you’re so tight; I guess that’s what happens when I don’t fuck you as often as I’d like to.”

With his hands clawing on her thighs, he dragged his cock in and out of her harshly as he took in her face that wrinkled in pleasure. “You must think this is all a dream, schatz,” He thought out loud with a grunt as he felt the tip of his cock graze her sweet spot repeatedly, “I cannot wait for you to wake up and see how wet you have become.” He swipes some of her juices that creeped their way onto the base of his cock and licked it off his finger, “Perhaps my tongue and fingers will wake you up instead huh?”

Cock throbbing and heart thumping, David panted loudly as he felt her wet walls grip his cock like a vice and covered his cock with her sweet juices, “I am cumming now, schatz. Take all of my cum and keep it in your pretty pussy.”

Every time he thrust in her pussy, an additional stripe of cum added to the collection that was already in her pussy. His nimble fingers pulled and twisted on her nipples as he slowly rammed his cock in her, relishing in the wet sounds that their combined juices made. “David?” She sleepily questioned after feeling a tug on her chest, after a few blinks she was surprised to see him towering over her with his half erected cock still very much planted deep inside her.

“Hello schatz, I noticed how much you needed my cock and saw to it I satisfied your needs,” Bashfully her hand grabbed for his wrist and sucked on his thumb as she batted her eyelashes at him, causing the writer to smirk, “And looks like you still have an itch that needs to be scratched.”

[hardlyinteresting]

Daniel Brühl Characters as Starbucks drink part 2

okay because yall liked the FIRST PART so much, here's part 2

Ernst Schmidt

2 shots of espresso, 4 pumps of mocha sauce, steamed milk, whipped cream topping.

bitter, but in a weirdly sweet way.

Andrea

2 shots of espresso, 4 pumps of vanilla syrup, milk.

sweet, vanilla flavour. Endearing. Innocent.

Niki Lauda

4 Shots of Espresso on ice.

Sharp. Simplifed. To the point.

David Kern

4 shots ristretto, 3 honey blend, steamed almond milk.

Soft, warm, sweet but subtle.