#Design Philosophy
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jetra4ivor · 3 months ago
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During the Minecraft Live event today they talked about the design philosophy of the movie and it just confirms one of the biggest issues people have with it.
Blocks are supposed to be 3x3 feet large and… that is just “too big” for regular sized humans to walk around in. So that’s why there are various sized blocks. To make it easier for humans to walk around in. Now I disagree 3x3 is too big because you could’ve used the fact it’s harder to traverse the environment that way as a story element, but they choose instead to be lazy and just make it easier to walk around in.
BUT… that also explains why all the elements and ingots are so fucking SMALL. They need to be able to be held in your hands and placed on a crafting table grid. So you have this massive incongruity already with the environment being large blocks that shrink into extremely tiny blocks built in to the movie because you’re trying to solve a problem that ONLY arises when you turn it live action.
I’m pretty sure someone on YouTube speculated about this when they saw the trailer and were laughing at how bad that decision was, and yeah… I agree. It doesn’t look good. It introduces inconsistencies where none existed before. It’s an interesting design challenge, but it’s not fucking MINECRAFT.
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chronivore · 6 months ago
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Design Philosophy
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author-by-night · 1 year ago
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You can't create a positive play space if all you do is punish bad behavior.
If you've been in TTRPG or LARP spaces, the unfortunate odds are you've run into bad actors or missing stairs. Many communities I've been in have attempted to combat their behaviors directly with policy or safety tools. But those things are never enough on their own. If you're a game runner and your approach to ensuring safety extends only to setting boundaries, all you have done is provide a road map for how far those boundaries can be tested. Abusers who enter your space can--and will--look for the grey areas they can operate in and you will spend your time playing whack-a-mole with the incidents that pop up. It's an issue of approach, and you have to think holistically, because the exhausting truth of curating TTRPG / LARP communities is that every little decision you make matters. Behavioral psychology teaches us, on a very basic level, that we get the behaviors we reward or make easier to exhibit. This extends far beyond what a game runner might choose to consciously encourage. What does your game system provide mechanics for? What is your lore like? What expectations are you setting for new community members, and what kind of person or player are all of those elements going to appeal to? These are all things you need to be conscious of, and that list is by no means exhaustive.
Community Standards
If what you're looking for is an inclusive community with mutually supportive members, start by setting expectations at the door. Any version of "don't be bad to people" centers the discussion around what members of your play space are "allowed" to do and what "counts" as bad, and when that's what you're focused on everyone has already lost. Instead, state the goal that members of the community will be good to each other and look for ways to be supportive. This will keep the focus on how folks in your play space can be good to each other, what their needs are, what might make them uncomfortable, and will ultimately lead toward a more constructive conversation. On the other hand, if someone takes issue with that as an up-front standard, that's a pretty solid litmus test indicator that they would have caused issues down the line.
Lore & Setting
This topic could be an entire post on its own but the setting and lore of your game world can be a critical make or break element for the whole community experience. As an example, I've been in multiple LARPs put on by a single company whose setting put virtually every player culture in fundamental conflict with each other and had players calling each other made up in-game slurs, whose runners would go on to ask why their community had minimal POC in it. Conversely, I've been in plenty of games whose lore set the players up to support each other. In my own LARP, players choose from one of five cultural backgrounds but to form essentially a witchy peace corps, finding ways to come together and promote unity and cultural understanding in the world. Players routinely explore the cultural wrongdoings in the game's history, but within the scope of treating each other as allies in a shared mission. If you boil this down to "setting your community members up roleplaying enemies makes them act like enemies and setting them up roleplaying allies makes them allies," that in a bubble is fairly obvious advice. But taking the next step here is realizing that no amount of mandates or policy will save a situation where community members have been set against each other with the lore and setting. Especially not with larger player counts. You can say that your game is inclusive of POC and LGBTQ+ folk, but if your lore mirrors real world bigotry or employs bigoted tropes and is going to focus roleplay along those lines... no it isn't. You can say that your game has no tolerance for harassment, but when you have set up players for combative relationships based on deep seated mutual wrongdoings... harassment will occur. The lore and the setting in use will shape the interactions of your community members. If you are a game runner it is up to you to really put the thought in during pre-production to anticipate how. If you are a player entering a space, be mindful of situations where painful interactions are being driven by the game lore, and take steps to insulate or protect yourself. Ask for change if you can, and leave the game if you have to.
Game Mechanics & Player Behavior
When choosing a game system to play in, always look at what tools that system gives players, staffers, and game runners for interacting with scenes and contributing to the shared experience. Dungeons & Dragons, being a very common example, is built for wargaming. The mechanics emphasize combat and financial reward with other elements of play (or roleplay) serving in an ancillary role to encourage the central gameplay experience of: fight things, get loot. If you choose that as a system you are going to appeal to and attract players who want to… fight things, and get loot. Why expect otherwise? While that drive isn't inherently bad, there are few mechanics in that system that directly encourage collaborative play outside of maximizing effectiveness--often combat effectiveness--with party composition, to gain more loot and XP. These ultimately selfish rewards can only ever indirectly incentivize teamwork insofar as that teamwork benefits the individual. Contrast this with Masks: A New Generation, a game whose mechanics are built around exploring the experience of being a teenager through the lens of a superhero. Where character advancement is driven by failure to encourage ineffective or exploratory play and provide catch-up mechanics to less effective character builds. Where core mechanics exist for changing character stats in reaction to the personal influence one character has over another. Where character "health" is based on their emotional state and you can gain advantage on your rolls with a mechanically tracked expression of your team's cohesion. The mechanics of the system itself emphasize collaboration, emotional regulation, and paying attention to interpersonal dynamics. By choosing such a system, you have chosen to ground your experience in those things. This can be one of the trickiest things to balance when you are creating your own system, because it influences so many decisions you might make. Every step of the way, be thinking:
"How does this incentivize players to work together?"
"How can we make personal rewards also community rewards?"
"What might make this inaccessible?"
"What is the core gameplay loop and who will that appeal to?"
"What kind of scenes is this game equipped to run, and what mechanics can players leverage to interact with them?"
These are the kinds of questions that will shape play itself, which in turn shapes the community and the behavior in it.
Final Words
As I've mentioned this is by no means an exhaustive list, but it is meant to be illustrative of my ultimate point: when it comes to creating a positive play space, everything matters. Each little piece of the play experience you cultivate is a brick in the wall. It may seem exhausting to maintain awareness of the impact of seemingly trivial details, and frankly... it is! But that's the nature of the beast, and it's up to you to determine whether the reward is worth the effort and whether creating a play space is right for you. Well meaning inattention in creating a social contract for others to buy into can cause as much damage as malice. If that matters to you, if you really care about the people in the community you're trying to create, don't fall into the trap of thinking that all you have to do is set up a comprehensive policy document. You do need to have that, it is important... but it isn't everything.
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askagamedev · 2 years ago
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It seems in competitive games with a healthy pro/esport community, balance is often different between the pro and casual levels. E.g. Class A tends to dominate Class B at the pro level, but Class B tends to dominate Class A at the casual level. If you try to make Class A relatively more powerful to make the experience better the majority of players, it will only exacerbate the imbalance among the minority of pros (which damages the health of the pro community). How do you prioritize/negotiate?
In such situations, it's important to figure out why professional players are able to realize so much more potential with a particular class/character/build/etc. while more casual players cannot. Generally, that means the additional performance must come from two things at the pro level - a high bar for execution (e.g. difficult timing or physical dexterity), and/or extraordinarily complex strategy that likely changes in real time (e.g. having a huge number of moves available at a given time and needing to choose the right move to use on the fly).
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Once we identify what separates the pros from the recreational players, we can figure out what our design goals for the classes are and formulate a way to reach those goals. For example, if we wanted to make Class A from your example perform better against Class B at the casual level, we don't necessarily have to modify the power of Class A or Class B. In such a situation, I might lower the bar of execution so the optimal Class A strategy is more lenient and easy to perform. I might make UX modifications to encourage the player to choose the right move to use in the given situation. This would not necessarily change the matchup at pro levels of competition, but would have large effects at the recreational level. Similarly, if I wanted to isolate changes at the pro level, I would look to modifying game factors that have very high execution and/or strategic requirements to perform.
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If a designer can figure out what differentiates two groups of players, they can design around those distinctions to target one specific group without affecting the other. I can tune the game experience for one group along a particular variable without necessarily touching the other group in question. This approach is the design principle I like to call "orthogonality". We don't always have to go only forward or backward along the same line - we can go sideways too.
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quotesforintellectuals · 2 years ago
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On a shelf in the library are very old books that tell of another past than the one the dreamer has known. Dreams, thoughts and memories weave a single fabric. The soul dreams and thinks, then it imagines.
Gaston Bachelard, The Poetics of Space
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jeremy-ken-anderson · 11 months ago
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Winning Without Work
People who think a good necromancer build is boring are right and wrong.
People who think a good flame aura build is boring are right and wrong.
The core disconnect?
Magic: the Gathering is two games. One of them has an opponent. One of them is more purely creative.
"A Good Necromancer Build" that lets you walk around Path of Exile or Diablo 3 just picking up treasure because your army of skelemans kill everything in a 2-mile radius? That is the fruits of your labor. You have already been playing the game you wanted to play.
To call an aura build "winning without work" is to ignore the work that goes into developing and optimizing a build.
And certainly, sometimes you not only play a work-averse build but also look up how to build the work-averse build in an online guide. Or sometimes the game's systems are clean enough or broken enough that you can get to a state of no challenge and no interaction without getting to do any actual tinkering. The "mileage" in "YMMV" here is a mix of how much work you want to do in the first place (sometimes you really are in the action RPG to turn your game off) and how much time it takes to get into the (in)action.
Like;
There's a whole subgenre of games that are optimization. Kind of like how 7 Wonders was like the Oops All Drafting to M:tG's drafting format. If you love Factorio but consider aura builds and pet builds a total waste of time I feel like there's something unexamined, there. Were your parents eaten by zombies and that's why you hate them?
If so please tell me so I know to board my windows before they arrive.
On the other end, I do feel like there's a Game Dev endpoint to this where you get to a game like Path of Exile that is both Character Optimization Game and Battle Action Game and you spend time on optimizing fun into your own gameplay experience; recognizing how much you want to press buttons during gameplay and making a situation where pressing buttons that precise amount is how you maximize your damage and gains.
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jaidonschool · 2 years ago
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Muji Design Philosophy
Empty. Natural. Home. Water. Earth.
Help people appreciate and notice the existing essence.
What comes naturally, timeless. Distanced from the trends. It is empty: out of natural behavior. You are the fill.
By looking inside, deep into what has stuck with you from internalizing the world, you can yield such a simple and pure expression with the slightest touch.
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"The copy says 'colors of earth.' We're simply showing that here. I suppose we're asking a viewer feels about it. It's not that we receive an answer. The ads message would be that this is how MUJI views the earth and that we use this as a model for what we do." - Kenya Hara
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shuppityduppity · 2 years ago
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The thing about game development
is that right now we exist in a space where games are being developed on a 5-10 year cycle. It's not unusual for games to be in development for 6 or 7 years. There was a post talking about this and I was going to reblog off of it but I can't find it so here we are.
And the issue here, right, is that our thoughts on game development-- the trends, the graphics, the tools, the mechanics-- they're all 6 or 7 years "out of date" at this point. The games that are cutting-edge, coming out right now? Those games are built off of mechanics and styles from half a decade ago. Midnight Suns [2022], the Marvel game that is pretty good? It's very bluntly based off of Xcom 2 [2016]'s central design philosophy. (I know it's also based off of Chimera Squad [2020] but that game's mechanics are also from 2016 lol.) That new Suicide Squad game that people are posting pictures of? Many people have already pointed out that it clearly resembles PUBG [2017] and the many, many games (such as Fortnite [2017]) that ape its style. We're literally experiencing the growth of the video game industry through the process of fucking time dilation.
What we really need, see, is a form of game development that takes like... one year. Maybe two. Even the indie sphere's greatest hits are known for taking around 3 years to develop (a better number, but still not a good number). Can you imagine if games iterated off of each other on a yearly basis? We'd see industry growth and design philosophy shifts nearly FIVE TIMES as fast if you think about everything iterating at the same "rate." Can you fucking imagine??
Anyway. I think that you should make a cool little game. Something tiny and niche and awesome that doesn't take you that long to make. Please. I want to play it so badly. Send it to me. Let's make weird flash-like games again. Let's make silly platformers again. Let's make clicker games again.
I'm tired of all this.
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konayeon-lasalle · 1 month ago
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CTS B Compulsory Question 1
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Most people wish to share a part of their life with others. This is not something that can be explained simply; they hope to express it in a 'language of their own'—one that captures the insights and experiences uniquely shaped by their personal journey.
This longing is closely linked to the essence of a manifesto. While a manifesto is an act of documenting one’s goals or thoughts, it goes beyond merely listing ideas, as it is a way for an individual to boldly declare their beliefs, values, and goals to the world.
The reason for having a manifesto is clear: when a vision for change and growth is shared and agreed upon, people feel a stronger sense of unity and purpose. A manifesto provides direction and clarifies the values people should pursue within this journey.
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Among them, artists' manifestos are deeply connected with various art movements. Movements like Futurism or Surrealism used manifestos to express their determination to break from the boundaries of traditional art. For example, André Breton’s Surrealist Art Movement is one such case.
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This week, our group had a valuable opportunity to create a manifesto as designers. Our manifesto reflects our passion for design and declares our goal of bringing positive changes to the environment through our work.
I believe this act is born from the combination of 'creative practice' and 'critical thinking' that we learned in CTS B, Week 1. Creative practice drives an artist to break beyond existing forms to try new expressions, and critical thinking makes this creative direction clearer.
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One of the manifestos I found interesting through this experience is Dieter Rams' Ten Principles of Good Design. His manifesto provides concrete guidelines on what ‘good design’ should be, emphasizing both functionality and aesthetic balance. Compared to our group's manifesto, his is clear and actionable, inspiring us to incorporate more specific and achievable goals into our own.
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Taking this as a reference, I was able to create a new manifesto focused on clear, practical actions that reflect a designer's mindset and are embedded within design work.
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This manifesto activity has positively influenced other modules of my work as well. For example, in Materiality & Techniques module, I created a zine on the theme of 'Memory,' reflecting these design values. I minimized the text and added graphic elements to convey the meaning more clearly.
Additionally, following the principles outlined in my manifesto, I began learning Blender to take on new challenges of my own. This has allowed me to create 3D characters, animate them, and apply them to additional programs like the AR feature of Studio B modules.
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This experience reminds me that design should pursue meaning beyond mere beauty or function. Moving forward, this manifesto will deeply anchor my design philosophy and my work overall. I aim not only to create works but to design with a purpose of making a better world, and I will continue to work towards that vision.
(~488 words)
References:
Mineo, Liz. “Relationships make us happy — and healthy.” Harvard Gazette, 10 February 2023, https://news.harvard.edu/gazette/story/2023/02/work-out-daily-ok-but-how-socially-fit-are-you/. Accessed 6 November 2024.
Yanoshevsky, Galia. “(PDF) Three Decades of Writing on Manifesto: The Making of a Genre.” ResearchGate, 22 October 2024, https://www.researchgate.net/publication/249880020_Three_Decades_of_Writing_on_Manifesto_The_Making_of_a_Genre. Accessed 31 Oct 2024.
Liebergall, Molly. “Author Talks: Robert Waldinger on "The Good Life."” McKinsey & Company, 16 February 2023, https://www.mckinsey.com/featured-insights/mckinsey-on-books/author-talks-the-worlds-longest-study-of-adult-development-finds-the-key-to-happy-living. Accessed 2 November 2024.
The Art Story Contributors, "André Breton Artist Overview and Analysis". [Internet]. 2024. TheArtStory.org, edited and published by The Art Story Contributors, https://www.theartstory.org/artist/breton-andre/ First published on 01 Jul 2009. Updated and modified regularly Accessed 5 Nov 2024
Impressionist & Modern Art, “100 years of Surrealism 1924-2024.” Christie's, 13 September 2024, https://www.christies.com/en/stories/centenary-of-surrealism-1924-2024-833c59c4ab544664a2c08a85759c6ff2. Accessed 6 November 2024.
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fashion-education · 11 months ago
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Find Your Design Philosophy with Minimalism vs. Maximalism
In the world of interior design, finding your design philosophy is akin to discovering your personal style – it's a journey of self-exploration, experimentation, and self-expression. Two prominent design philosophies that often polarize enthusiasts are minimalism and maximalism. While minimalism embraces simplicity, restraint, and clean lines, maximalism celebrates abundance, eclecticism, and bold expression. Let's delve into the essence of minimalism and maximalism, and explore how you can find your design identity amidst these contrasting philosophies.
Embracing Minimalism: Less is More
Minimalism is more than just a design aesthetic; it's a way of life that advocates for simplicity, clarity, and intentionality in every aspect of design. Minimalist interiors are characterized by clean lines, uncluttered spaces, and a neutral color palette, creating a sense of calm, serenity, and balance. Minimalism encourages us to focus on what truly matters and eliminate excess, allowing space for thoughtfulness, mindfulness, and appreciation of the beauty in simplicity.
Celebrating Maximalism: More is More
On the other end of the spectrum lies maximalism – a design philosophy that revels in opulence, extravagance, and abundance. Maximalist interiors are bold, vibrant, and eclectic, featuring an eclectic mix of colors, patterns, textures, and styles that exude personality, creativity, and joie de vivre. Maximalism encourages us to embrace our individuality, express ourselves boldly, and surround ourselves with objects and spaces that bring us joy, inspiration, and a sense of adventure.
Finding Your Design Identity
So, how do you find your design identity amidst the contrasting philosophies of minimalism and maximalism? The key lies in self-reflection, exploration, and experimentation. Take the time to consider your lifestyle, preferences, and values – do you gravitate towards simplicity and order, or do you thrive in environments filled with color, texture, and energy? Explore different design styles, aesthetics, and influences, and pay attention to what resonates with you on a visceral level.
Embracing Balance and Harmony
Ultimately, the beauty of design lies in its ability to evolve and adapt to the unique needs and tastes of individuals. While minimalism and maximalism represent two extremes on the design spectrum, there is room for nuance, hybridity, and personal interpretation. Strive to strike a balance between simplicity and complexity, restraint and abundance, order and chaos, creating spaces that reflect your personality, values, and aspirations.
Your Journey Begins at IIFD
At the Indian Institute of Fashion and Design (IIFD), we celebrate diversity, creativity, and individuality in design, empowering students to find their unique design identity and express themselves authentically. Our interior design courses offer a supportive and nurturing environment where students can explore different design philosophies, experiment with diverse aesthetics, and hone their skills as designers. With a curriculum that encourages critical thinking, creativity, and hands-on learning, IIFD prepares students to embark on a journey of self-discovery and innovation in the dynamic world of interior design.
Ready to explore your design philosophy and unleash your creativity? Explore interior design programs at one of the best Interior Designing Colleges in India IIFD and discover the path that resonates with your unique vision and style.
Contact on at +91 9041766699 today to learn more about our courses and start your journey toward a fulfilling and rewarding career in interior design. Together, let's find your design identity and create spaces that inspire, delight, and reflect who you are.
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dollskill-is-trash · 1 year ago
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From The Video: A) I actually didn't realize Balenciaga got its designs from theft facilitated by fashion school teachers... the fuck?! That's a dark ass hole to go down.
B) This video is hard to follow for me but they do cover fast fashion well. C) They cover and comment on the major issue Dolls Kill has with plagerism and art theft. Even after getting called out they're still at it. D) They cover how Dolls Kill glamorizes drug usage. Fucking ew. E) Fuck Blackbear and his usage of a cashmere noose. (side note) F) DK has put even more fucked up shit out there mocking mental health, anxiety, and now Asian people. The video calls it a polite hate crime. In summary this video sayd DK is cohesive branding wasted. Not wrong at all.
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fortunatelyperfectcreator · 7 months ago
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designverse97 · 2 years ago
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Designer Spotlight: Interview and Highlight Talented Designers from Around the World
Designers have the power to shape the world around us, fusing artistry with functionality. In this section, we will feature interviews with remarkable designers who have made significant contributions to their respective fields. Through their unique perspectives and experiences, we aim to inspire and educate fellow designers, fostering a sense of camaraderie and shared growth.
1. Breaking Boundaries: An Interview with Anna Rodriguez
Anna Rodriguez, a visionary graphic designer known for her bold and vibrant designs, shares her insights on pushing the limits of creativity, breaking boundaries, and embracing experimentation. With her passion for visual storytelling, Anna has crafted remarkable works that captivate audiences worldwide.
2. Bridging Art and Function: A Conversation with James Thompson
James Thompson, an industrial designer with a penchant for blending art and functionality, takes us on a journey through his design philosophy. From elegant furniture pieces to innovative household gadgets, James has mastered the art of creating objects that seamlessly integrate aesthetics with usability.
3. Crafting Digital Experiences: Unveiling the Mind of Sarah Turner
Sarah Turner, a talented UX/UI designer, opens up about the intricacies of designing digital experiences that are intuitive and visually engaging. She shares her creative process, emphasizing the importance of user-centric design and the role of empathy in crafting memorable interactions.
4. Architectural Marvels: Insights from Daniel Mason
Renowned architect Daniel Mason enlightens us with his architectural vision and the process behind his awe-inspiring structures. From conceptualization to execution, Daniel's approach revolves around merging form and function to create spaces that evoke emotions and leave a lasting impression.
5. The Art of Fashion: A Glimpse into Alice Parker's World
Alice Parker, a fashion designer extraordinaire, invites us into her world of style and glamour. Through her unique designs, Alice showcases her ability to blend tradition with contemporary flair, creating garments that make a statement on runways and in everyday life.
6. Sustainable Design: A Conversation with John Collins
John Collins, an advocate for sustainable design, sheds light on his commitment to creating environmentally conscious solutions. From upcycling materials to incorporating renewable resources, John's designs not only inspire but also contribute to a greener and more sustainable future.
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spotsupstuff · 2 months ago
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Echo by CrusherP except the P stands for Pebbles
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seraphim-eternal · 5 months ago
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Your people shall be my people, and your God my God. Where you die I will die, and there I will be buried.
Ruth 1:17
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poorly-drawn-mdzs · 1 year ago
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Welcome to the Dungeons of Fear and Hunger.
#Fear and Hunger#D'arce Cataliss#Cahara#Ragnvaldr#Enki Ankarian#Unlike Dungeon Meshi - I cannot in good faith recommend this game to a broad audience.#My background with F&H goes as follows: I am hanging out with a friend. He says “hey try this game I've been playing.” I say “Okay!”#I have never heard of this game. I pick the mercenary. I go through 5 min of character history and background. I am mauled to death by dogs#It took me 4 resets to even get in the dungeon. But I finally get there. I am caught by a guard. He cuts off all but one of my limbs#I am forced to crawl around in a blood and corpse pit until the game tells me 'give up idiot'.#I reset. I am mauled by dogs again. I realize this is not for me but I am intrigued enough to go home and watch some playthroughs#And WOW what an interesting game it is! I really do appreciate games that blend their design philosophy with the theme it wants to set#This is a game about fear and hunger. And persevering. And penis (my god is there a lot of penis)#I recommend this to people who like extremely challenging games and can handle the many *content warnings* within this series#If the idea of Bloodborne/eldenring and undertale having a little RPG maker baby sounds appealing to you - give it a shot#It's made by ONE GUY and it's a great horror game. I am just really bad at it.#My friends just enjoy putting me in situations where I scream and yell. We don't talk about the corn mazes. Or the other horror game nights#Apparently I'm funny when I'm Scared!#As people who follow me on twitter might know; I am deep in the pits of this series right now. I will be back with more art.
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