#Graphic Design Awards 2020/2021

[canmom]

Animation Night 189: Nonphotorealistic

There is a funny trend in animation-related terminology to define things by what they aren't. Animation is any technique for creating film that isn't live action. Limited animation is any style of 2D animation that doesn't follow the conventions of Disney's 'full animation' on 1s and 2s - a category that includes a wildly diverse range of approaches and techniques, as this wonderful history by Animation Obsessive describes.

In 3DCG circles, there is a similar term: nonphotorealistic. Which describes, naturally, anything that isn't trying to look like a photograph of a real scene. There has been a real boom in this of late, and just like the other terms, it really doesn't narrow it down very much. Other terms like 'hybrid animation' add a bit more hints.

Of course, if you've been anywhere near animation in the last few years, you'll probably know another term: 'Spiderverse style'.

There is no denying that Spider-Man: Into the Spiderverse (2018) by Sony Pictures Animation was an absolute landmark for animation. (I wrote about it way back on AN21, focusing more on the cultural angle.) The ludicrously stylish film pretty much set the direction for animation in the 2020s - making a bunch of money and awards and thus finally throwing open the door to 3DCG animation that doesn't look like the style set by Pixar/Dreamworks in the 2000s. Its sequel, Across the Spiderverse (2023), was even more ambitious and successful (despite a troubled production involving a lot of needless crunch). We'll be showing that soon in a Spiderverse double bill so look forward to it!

So perhaps not surprising that when people see the use of graphical styles, 2D elements, limited framerates and the like in 3DCG these days, Spiderverse comes to mind. In its wake have come various films and series that apply these and related techniques: 3DCG animation is more varied than ever, and it's cool.

It isn't really a style, tho.

Here I'm indebted to youtuber Camwing who has made a nice video overview breaking down the animation of recent movies in this vaguely defined paradigm. Among them we have The Mitchells vs the Machines (2021, also Sony), Puss in Boots: The Last Wish (2022, Dreamworks), and Teenage Mutant Ninja Turtles: Mutant Mayhem (2023, animated at the French/Canadian studio Mikros animation), and of course over on Netflix you got the wildly popular League of Legends spinoff series Arcane (2021, Fortiche Productions), and the romance film Entergalactic (2022, DNEG), tying in with an album of the same name.

None of these films has exactly the same style, but they all pull from a related bag of tricks. The core techniques are animating on reduced framerates for a 'snappy', high-clarity feeling, the combination of 2D and 3D elements in some fashion, and taking inspiration from traditional media such as paintings or comic books.

For example, Arcane and Entergalactic both use the trick of 2D backgrounds/projecting paintings onto 3D geometry, inhabited by 3D characters with a stylised shader. Arcane is dripping with 2D visual effects. Puss in Boots drops the framerate during its action scenes - the opposite of the old paradigm of full animation, where fast actions would get more frames. Spiderverse draws 2D expressions onto its 3D models to push them further, and is full of all kinds of colourful stylised rendering - screentone effects, kirby dots, outlines, the works.

It's tempting to link this to 2D-in-3D animation, and certainly many of these films apply this technique - this is the major niche where Blender has found its way into industry pipelines. But using 2D isn't mandatory to count here. For example, TMNT Mutant Mayhem has an incredibly striking storybook-painting style, accomplished largely by clever shader work and a strong sense of graphic design. Genndy Tartakovsky's canned 2014 Popeye project was planning to use a ton of 2D-style posing and squash-and-stretch, accomplished largely with rigged 3D models. There are many paths to take!

And mind you, I haven't even covered one of the biggest angles here. Search for nonphotorealistic 3DCG on Youtube and what you'll probably find most is information about cel-shading - aka 'anime style'. This has also advanced considerably in the last few years, with the techniques pioneered by Arc System Works in Guilty Gear such as editing the normals of characters for more precise control over shading, and minute adjustments to break up the mechanical feeling of 3D, becoming widely copied in both games and films. (And particularly, animated porn.)

Vtubers in particular have really run with this technique, generally speaking using cel-shaded models with edited normals, inverted eyes, etc. etc. to try and get the feeling of an anime character come to life. [You can see a lot of these state of the art techniques if you download Pixiv's free VRoid Studio software and import the model into Blender using the VRM plugin.]

Naturally this kind of cel-shaded approach has found a particular home in Japan. In anime, the biggest champions of it are certainly Studio Orange, whose hybrid approach involves planning out shots with 2D animation before matching them with the rigs. We've covered their adaptation of Houseki no Kuni in great detail on Animation Night 97; their Trigun reboot was perhaps even more popular. But cel-shaded techniques, 3D previs and the like have also made their way into big films like Eva 3.0+1.0 (AN66).

Although this type of rendering aims to recreate the look and feel of 2D animation as much as possible, it always ends up being something new: character models that would be too complex to draw, an ease to 3D movements and camerawork that would be challenging in 2D, and generally a new hybrid style. This is good! 2D animation is already very good at being 2D animation - it's fascinating to see what 3DCG becomes with that inspiration.

So with that brief overview, where does that take us tonight?

I'm not quite ready to do a Spiderverse double bill tonight, so instead the plan is to check out a couple of recent American franchise films that are taking on the new suite of techniques. I've mentioned them up above, but let me introduce them more fully here.

Puss in Boots: The Last Wish is a sequel to a fairly unpopular spinoff about a side character of the Shrek franchise (AN75). Not, on its face, very promising - which is why it is all the more striking that I was told on all sorts of sides that I must watch this movie. I'm finally going to make good on that.

The title character is a kind of feline musketeer type, now facing the end of his swashbuckling career as he's lost 8 of his 9 lives. Not wanting to hang up his hat, he goes on a quest to restore them. What makes it stand out its the action scenes, which go all in on the anime-influenced, extreme perspective and lighting, limited framerate style that we're discussing above. Apparently it looks sick as shit.

Teenage Mutant Ninja Turtles: Mutant Mayhem is a fresh reboot of the venerable TMNT franchise, which pretty much describes itself in the title: four turtles (named after Renaissance painters, of course!) live in a sewer as ninjas, led by their aging master who is a rat. Starting as a comic book, it became one of the iconic toyline-driven TV shows of the 80s - but it's still going! Indeed, Turtles has been on a roll of late (at least going by animator scuttlebutt), with Australian studio Flying Bark Productions turning a lot of heads with their neo-Kanada School style (and for really stretching the definition of 'storyboard').

This new film takes a different approach to the bombastic action of Rise. It focuses on a new origin story for the turtles, telling a kind of coming of age story - but what makes it unique is the animation style and cinematography. Cinéma vérité is not a phrase you really expect to be associated with ninja turtles, but the film seems to really go all out in a way you wouldn't really expect from a franchise movie, shooting the young turtles in a handheld style and focus heavily on character. Marcel Reinhard's shader work, allowing the animators to isolate lights to specific objects and characters and introducing graphical elements of cross-hatching, stippling, etc. etc. to the lighting, gives it a uniquely painting-like feeling, augmented by a lot of 2D creativity in lighting and effects.

Turtles has never really been my thing, but this film looks unique enough that I really want to see it - and I hear it's a good film too.

So that's our bill for tonight! Puss and Turtles. Let's see what the big studios have been cooking of late...

Animation Night 189 will be starting around 10pm UK time (roughly three hours hence) and carrying on til about 2-3am same! We'll be on twitch.tv/canmom as usual. Hope to see you there!

[non-sims]

sort of...

my TIMELINE:

early 2020 watching streamer: maximilian dood

learns that he is a BIG final fantasy 7 fan

deep dive through his channel to learn why

watch some of his ff7remake videos was at first indifferent to it

September 2020 ps5 event

final fantasy 16 is shown

is kinda interested in it cause it's a new final fantasy game after 7 years, liked the trailer a lot

game awards December 2020 final fantasy 7 character sephiroth gets added to smash bros

sees max freak out

understands the hype & his love for it, then decides to rent ff7remake

2021 enjoys ff7remake & claims to be a semi hardcore casual final fantasy fan

2022-2023 follows along with the press of ff16 but not too much

sees Clive & loves his character design

June 2023 final fantasy 16 demo is out

is blown away by the literal first cutscenes, music, & graphics

see & hear Clive fully

thinks he's cool

the demo prologue ruins me

is excited for the full game

July 2023 I get the game

thirsts over Clive jokingly at first cause he is a pretty video game man

plays through the game & realize that Clive is the best character of all time

finishes the game

starts posting pictures of him casually on tumblr

almost a year later something switches/snaps/shifted in my head

the Clive madness starts

& gets worse everyday🙂‍↔️...

the end.

if anybody read all of this🫡

[tejinder-singh-bhatia-sukhm]

Tejinder Singh Bhatia Sukhm - Graphic Designer

Tejinder Singh Bhatia Sukhm Bengaluru, Karnataka tejj.bhatia@yahoo.com | +91 98765 43210

Professional Summary

Creative and detail-oriented Graphic Designer Tejinder Singh Bhatia Sukhm, with over 6 years of experience in delivering visually compelling designs across various mediums. Proficient in Adobe Creative Suite and other design tools, with a strong understanding of design principles and branding strategies. Seeking to contribute artistic vision and technical skills to enhance brand identity and visual communication.

Skills

Design Software: Adobe Photoshop, Illustrator, InDesign, CorelDRAW

Web Design: HTML, CSS, UX/UI principles

Branding: Logo design, corporate identity, marketing materials

Illustration: Digital illustration, vector graphics

Soft Skills: Creativity, Communication, Time Management, Team Collaboration

Professional Experience

Graphic Designer Creative Minds Agency March 2020 – Present

Designed engaging marketing materials, including brochures, flyers, and social media graphics, resulting in a 40% increase in client engagement.

Collaborated with marketing teams to develop branding strategies and visual content for various campaigns, enhancing brand awareness by 30%.

Created custom illustrations and graphics for web and print, ensuring alignment with client branding guidelines.

Conducted client consultations to understand design needs and delivered tailored solutions that exceeded expectations.

Junior Graphic Designer Visionary Designs Ltd. June 2017 – February 2020

Assisted in the design of promotional materials and advertisements, gaining experience in both print and digital media.

Supported senior designers in developing creative concepts and layouts for various projects, contributing to a successful launch of over 20 campaigns.

Participated in brainstorming sessions, contributing ideas that led to innovative design solutions.

Education

Bachelor of Fine Arts in Graphic Design National Institute of Design, Bengaluru, Karnataka Graduated: May 2017

Certifications

Certified Graphic Designer – International Association of Graphic Designers (IAGD) – 2018

Adobe Certified Expert (ACE) – Adobe Systems – 2019

Projects

Comprehensive Branding Package

Developed a comprehensive branding package for Tech Innovations Inc., including logo, color palette, and marketing collateral, leading to a successful product launch.

Award-Winning Poster Design

Created an award-winning poster design for the Bengaluru Arts Festival 2021, which was featured in local publications and exhibitions.

Hobbies

Digital Art: Enjoy creating personal digital art projects and illustrations in my spare time.

Photography: Passionate about photography and often incorporate original photos into design projects.

Traveling: Love exploring different cultures and gaining inspiration for design through travel.

[spacenutspod]

Screenshot of Copernicus with the Artemis I trajectoryNASA/JSC Copernicus, a generalized spacecraft trajectory design and optimization system, is capable of solving a wide range of trajectory problems such as planet or moon centered trajectories, libration point trajectories, planet-moon transfers and tours, and all types of interplanetary and asteroid/comet missions. Latest News August 13, 2024: Copernicus Version 5.3.2 is now available. December 18, 2023: Copernicus Version 5.3.1 is now available. This is a bugfix release. November 15, 2023: Copernicus Version 5.3 is now available. This update includes many bug fixes and various new features and refinements. Including: a new Copernicus mission file format, updates to kernels, a significant expansion of the beta Python API, and various new integration methods. In addition, we have upgraded to Python 3.10, and all dependencies are now obtained via conda. January 21, 2022: Copernicus Version 5.2 is now available. This update includes many bug fixes and various new features and refinements. June 17, 2021: Copernicus was selected as winner of the 2021 NASA Software of the Year Award. March 4, 2021: Copernicus Version 5.1 is now available. This update includes many bug fixes and various new features and refinements. June 26, 2020: Copernicus Version 5.0 is now available. This is a significant update to Copernicus and includes: A new modern Python-based GUI that is now cross-platform and fully functional on Windows, Linux, and macOS, 3D graphics upgrades including antialiasing and celestial body shadowing, a new Python scripting interface, many other new features and options, and bug fixes. May 1, 2018: Copernicus Version 4.6 is now available. The release includes the following changes: a new cross-platform JSON kernel file format, various new reference frame features, including new capabilities for user-defined reference frame plugins, and numerous bug fixes and other minor enhancements. January 24, 2018: Copernicus Version 4.5 is now available. The new version includes a new experimental Mac version, faster exporting of segment data output files (including the addition of a new binary HDF5 format), some new GUI tools, new plugin capabilities, and numerous other new features and bug fixes. October 1, 2016: Copernicus Version 4.4 is now available. The new version includes 3D graphics improvements and various other new features and bug fixes. February 8, 2016: Copernicus Version 4.3 is now available. The new version includes updates to the plugin interface, a new differential corrector solution method, updated SPICE SPK files, updates to the Python interface, new training videos, as well as numerous other refinements and bug fixes. July 21, 2015: Copernicus Version 4.2 is now available.  The update includes further refinements to the new plugin feature, as well as various other new features and some bug fixes. April 13, 2015: Copernicus Version 4.1 is now available.  This update includes a new plugin architecture to enable extending Copernicus with user-created algorithms.  It also includes a new Python interface, as well as various other new features and bug fixes. August 13, 2014: Copernicus Version 4.0 is now available.  This is an update to version 3.1, which was released in June 2012.  The new release includes many new features, bug fixes, performance and stability improvements, as well as a redesigned GUI, a new user guide, and full compatibility with Windows 7.  The update is recommended for all Copernicus users. Development The Copernicus Project started at the University of Texas at Austin in August 2001. In June 2002, a grant from the NASA Johnson Space Center (JSC) was used to develop the first prototype which was completed in August 2004. In the interim, support was also received from NASA’s In Space Propulsion Program and from the Flight Dynamics Vehicle Branch of Goddard Spaceflight Center. The first operational version was completed in March 2006 (v1.0). The initial development team consisted of Dr. Cesar Ocampo and graduate students at the University of Texas at Austin Department of Aerospace Engineering and Engineering Mechanics. Since March 2007, primary development of Copernicus has been at the Flight Mechanics and Trajectory Design Branch of JSC. Request Copernicus The National Aeronautics and Space Act of 1958 and a series of subsequent legislation recognized transfer of federally owned or originated technology to be a national priority and the mission of each Federal agency. The legislation specifically mandates that each Federal agency have a formal technology transfer program, and take an active role in transferring technology to the private sector and state and local governments for the purposes of commercial and other application of the technology for the national benefit. In accordance with NASA’s obligations under mandating legislation, JSC makes Copernicus available free of charge to other NASA centers, government contractors, and universities, under the terms of a US government purpose license.  Organizations interested in obtaining Copernicus should click here. For Copernicus-based analysis requests or specific Copernicus modifications that would support your project, please contact Gerald L. Condon (gerald.l.condon@nasa.gov) at the NASA Johnson Space Center. Current Version The current version of Copernicus is 5.3.2 (released August 13, 2024). References Publications about Copernicus C. A. Ocampo, “An Architecture for a Generalized Trajectory Design and Optimization System”, Proceedings of the International Conference on Libration Points and Missions, June, 2002. C. A. Ocampo, “Finite Burn Maneuver Modeling for a Generalized Spacecraft Trajectory Design and Optimization System”, Annals of the New York Academy of Science, May 2004. C. A. Ocampo, J. Senent, “The Design and Development of Copernicus: A Comprehensive Trajectory Design and Optimization System”, Proceedings of the International Astronautical Congress, 2006. IAC-06-C1.4.04. R. Mathur, C. A. Ocampo, “An Architecture for Incorporating Interactive Visualizations into Scientific Simulations”, Advances in the Astronautical Sciences, Feb. 2007. C. A. Ocampo, J. S. Senent, J. Williams, “Theoretical Foundation of Copernicus: A Unified System for Trajectory Design and Optimization”, 4th International Conference on Astrodynamics Tools and Techniques, May 2010. J. Williams, J. S. Senent, C. A. Ocampo, R. Mathur, “Overview and Software Architecture of the Copernicus Trajectory Design and Optimization System”, 4th International Conference on Astrodynamics Tools and Techniques, May 2010. J. Williams, J. S. Senent, D. E. Lee, “Recent Improvements to the Copernicus Trajectory Design and Optimization System”, Advances in the Astronautical Sciences, 2012. J. Williams, “A New Architecture for Extending the Capabilities of the Copernicus Trajectory Optimization Program”, Advances in the Astronautical Sciences, 2015, volume 156. J. Williams, R. D. Falck, and I. B. Beekman. “Application of Modern Fortran to Spacecraft Trajectory Design and Optimization“, 2018 Space Flight Mechanics Meeting, AIAA SciTech Forum, (AIAA 2018-1451) J. Williams, A. H. Kamath, R. A. Eckman, G. L. Condon, R. Mathur, and D. Davis, “Copernicus 5.0: Latest Advances in JSC’s Spacecraft Trajectory Optimization and Design System”, 2019 AAS/AIAA Astrodynamics Specialist Conference, Portland, ME, August 11-15, 2019, AAS 19-719 Some studies that have used Copernicus C. L. Ranieri, C. A. Ocampo, “Optimization of Roundtrip, Time-Constrained, Finite Burn Trajectories via an Indirect Method”, Journal of Guidance, Control, and Dynamics, Vol. 28, No. 2, March-April 2005. T. Polsgrove, L. Kos, R. Hopkins, T. Crane, “Comparison of Performance Predictions for New Low-Thrust Trajectory Tools”, AIAA/AAS Astrodynamics Specialist Conference, August, 2006. L. D. Kos, T. P. Polsgrove, R. C. Hopkins, D. Thomas and J. A. Sims, “Overview of the Development for a Suite of Low-Thrust Trajectory Analysis Tools”, AIAA/AAS Astrodynamics Specialist Conference, August, 2006. M. Garn, M. Qu, J. Chrone, P. Su, C. Karlgaard, “NASA’s Planned Return to the Moon: Global Access and Anytime Return Requirement Implications on the Lunar Orbit Insertion Burns”, AIAA/AAS Astrodynamics Specialist Conference and Exhibit, August, 2008. R. B. Adams, “Near Earth Object (NEO) Mitigation Options Using Exploration Technologies”, Asteroid Deflection Research Symposium, Oct. 2008. J. Gaebler, R. Lugo, E. Axdahl, P. Chai, M. Grimes, M. Long, R. Rowland, A. Wilhite, “Reusable Lunar Transportation Architecture Utilizing Orbital Propellant Depots”, AIAA SPACE 2009 Conference and Exposition, September 2009. J. Williams, E. C. Davis, D. E. Lee, G. L. Condon, T. F. Dawn, “Global Performance Characterization of the Three Burn Trans-Earth Injection Maneuver Sequence over the Lunar Nodal Cycle”, Advances in the Astronautical Sciences, Vol. 135, 2010. AAS 09-380 J. Williams, S. M. Stewart, D. E. Lee, E. C. Davis, G. L. Condon, T. F. Dawn, J. Senent, “The Mission Assessment Post Processor (MAPP): A New Tool for Performance Evaluation of Human Lunar Missions”, 20th AAS/AIAA Space Flight Mechanics Meeting, Feb. 2010. J. W. Dankanich, L. M. Burke, J. A. Hemminger, “Mars sample return Orbiter/Earth Return Vehicle technology needs and mission risk assessment”, 2010 IEEE Aerospace Conference, March 2010. A. V. Ilin, L. D. Cassady, T. W. Glover, M. D. Carter, F. R. Chang Diaz, “A Survey of Missions using VASIMR for Flexible Space Exploration”, Ad Astra Rocket Company, Document Number JSC-65825, April 2010. J. W. Dankanich, B. Vondra, A. V. Ilin, “Fast Transits to Mars Using Electric Propulsion”, 46th AIAA/ASME/SAE/ASEE Joint Propulsion Conference & Exhibit, July 2010. S. R. Oleson, M. L. McGuire, L. Burke, J. Fincannon, T. Colozza, J. Fittje, M. Martini, T. Packard, J. Hemminger, J. Gyekenyesi, “Mars Earth Return Vehicle (MERV) Propulsion Options”, 46th AIAA/ASME/SAE/ASEE Joint Propulsion Conference & Exhibit, July 2010, AIAA 2010-6795. J. S. Senent, “Fast Calculation of Abort Return Trajectories for Manned Missions to the Moon”, AIAA/AAS Astrodynamics Specialist Conference, August 2010. D. S. Cooley, K. F. Galal, K. Berry, L. Janes, G. Marr. J. Carrico. C. Ocampo, “Mission Design for the Lunar CRater Observation and Sensing Satellite (LCROSS)”, AIAA/AAS Astrodynamics Specialist Conference, August, 2010. A. V. Ilin, L. D. Cassady, T. W. Glover, F. R. Chang Diaz, “VASIMR Human Mission to Mars”, Space, Propulsion & Energy Sciences International Forum, March 15-17, 2011. J. Brophy, F. Culick, L. Friedman, et al., “Asteroid Retrieval Feasibility Study,” Technical Report, Keck Institute for Space Studies, California Institute of Technology, Jet Propulsion Laboratory, April 2012. A. V. Ilin, “Low Thrust Trajectory Analysis (A Survey of Missions using VASIMR for Flexible Space Exploration – Part 2), Ad Astra Rocket Company, Document Number JSC-66428, June 2012. P. R. Chai, A. W. Wilhite, “Station Keeping for Earth-Moon Lagrangian Point Exploration Architectural Assets”, AIAA SPACE 2012 Conference & Exposition, September, 2012, AIAA 2012-5112. F. R. Chang Diaz, M. D. Carter, T. W. Glover, A. V. Ilin, C. S. Olsen, J. P. Squire, R. J. Litchford, N. Harada, S. L. Koontz, “Fast and Robust Human Missions to Mars with Advanced Nuclear Electric Power and VASIMR Propulsion”, Proceedings of Nuclear and Emerging Technologies for Space, Feb. 2013. Paper 6777. J. Williams, “Trajectory Design for the Asteroid Redirect Crewed Mission”, JSC Engineering, Technology and Science (JETS) Contract Technical Brief JETS-JE23-13-AFGNC-DOC-0014, July, 2013. J.P. Gutkowski, T.F. Dawn, R.M. Jedrey, “Trajectory Design Analysis over the Lunar Nodal Cycle for the Multi-Purpose Crew Vehicle (MPCV) Exploration Mission 2 (EM-2)”, Advances in the Astronautical Sciences Guidance, Navigation and Control, Vol. 151, 2014. AAS 14-096. R. G. Merrill, M. Qu, M. A. Vavrina, C. A. Jones, J. Englander, “Interplanetary Trajectory Design for the Asteroid Robotic Redirect Mission Alternate Approach Trade Study”, AIAA/AAS Astrodynamics Specialist Conference, 2014. AIAA 2014-4457. J. Williams, G. L. Condon. “Contingency Trajectory Planning for the Asteroid Redirect Crewed Mission”, SpaceOps 2014 Conference (AIAA 2014-1697). J. Williams, D. E. Lee, R. J. Whitley, K. A. Bokelmann, D. C. Davis, and C. F. Berry. “Targeting cislunar near rectilinear halo orbits for human space exploration“, AAS 17-267 T. F. Dawn, J. Gutkowski, A. Batcha, J. Williams, and S. Pedrotty. “Trajectory Design Considerations for Exploration Mission 1“, 2018 Space Flight Mechanics Meeting, AIAA SciTech Forum, (AIAA 2018-0968) A. L. Batcha, J. Williams, T. F. Dawn, J. P. Gutkowski, M. V. Widner, S. L. Smallwood, B. J. Killeen, E. C. Williams, and R. E. Harpold, “Artemis I Trajectory Design and Optimization”, AAS/AIAA Astrodynamics Specialist Conference, August 9-12, 2020, AAS 20-649

[sunaleisocial]

Copernicus Trajectory Design and Optimization System - NASA

New Post has been published on https://sunalei.org/news/copernicus-trajectory-design-and-optimization-system-nasa/

Copernicus Trajectory Design and Optimization System - NASA

Copernicus, a generalized spacecraft trajectory design and optimization system, is capable of solving a wide range of trajectory problems such as planet or moon centered trajectories, libration point trajectories, planet-moon transfers and tours, and all types of interplanetary and asteroid/comet missions.

August 13, 2024: Copernicus Version 5.3.2 is now available.

December 18, 2023: Copernicus Version 5.3.1 is now available. This is a bugfix release.

November 15, 2023: Copernicus Version 5.3 is now available. This update includes many bug fixes and various new features and refinements. Including: a new Copernicus mission file format, updates to kernels, a significant expansion of the beta Python API, and various new integration methods. In addition, we have upgraded to Python 3.10, and all dependencies are now obtained via conda.

January 21, 2022: Copernicus Version 5.2 is now available. This update includes many bug fixes and various new features and refinements.

June 17, 2021: Copernicus was selected as winner of the 2021 NASA Software of the Year Award.

March 4, 2021: Copernicus Version 5.1 is now available. This update includes many bug fixes and various new features and refinements.

June 26, 2020: Copernicus Version 5.0 is now available. This is a significant update to Copernicus and includes: A new modern Python-based GUI that is now cross-platform and fully functional on Windows, Linux, and macOS, 3D graphics upgrades including antialiasing and celestial body shadowing, a new Python scripting interface, many other new features and options, and bug fixes.

May 1, 2018: Copernicus Version 4.6 is now available. The release includes the following changes: a new cross-platform JSON kernel file format, various new reference frame features, including new capabilities for user-defined reference frame plugins, and numerous bug fixes and other minor enhancements.

January 24, 2018: Copernicus Version 4.5 is now available. The new version includes a new experimental Mac version, faster exporting of segment data output files (including the addition of a new binary HDF5 format), some new GUI tools, new plugin capabilities, and numerous other new features and bug fixes.

October 1, 2016: Copernicus Version 4.4 is now available. The new version includes 3D graphics improvements and various other new features and bug fixes.

February 8, 2016: Copernicus Version 4.3 is now available. The new version includes updates to the plugin interface, a new differential corrector solution method, updated SPICE SPK files, updates to the Python interface, new training videos, as well as numerous other refinements and bug fixes.

July 21, 2015: Copernicus Version 4.2 is now available.  The update includes further refinements to the new plugin feature, as well as various other new features and some bug fixes.

April 13, 2015: Copernicus Version 4.1 is now available.  This update includes a new plugin architecture to enable extending Copernicus with user-created algorithms.  It also includes a new Python interface, as well as various other new features and bug fixes.

August 13, 2014: Copernicus Version 4.0 is now available.  This is an update to version 3.1, which was released in June 2012.  The new release includes many new features, bug fixes, performance and stability improvements, as well as a redesigned GUI, a new user guide, and full compatibility with Windows 7.  The update is recommended for all Copernicus users.

The Copernicus Project started at the University of Texas at Austin in August 2001. In June 2002, a grant from the NASA Johnson Space Center (JSC) was used to develop the first prototype which was completed in August 2004. In the interim, support was also received from NASA’s In Space Propulsion Program and from the Flight Dynamics Vehicle Branch of Goddard Spaceflight Center. The first operational version was completed in March 2006 (v1.0). The initial development team consisted of Dr. Cesar Ocampo and graduate students at the University of Texas at Austin Department of Aerospace Engineering and Engineering Mechanics. Since March 2007, primary development of Copernicus has been at the Flight Mechanics and Trajectory Design Branch of JSC.

The National Aeronautics and Space Act of 1958 and a series of subsequent legislation recognized transfer of federally owned or originated technology to be a national priority and the mission of each Federal agency. The legislation specifically mandates that each Federal agency have a formal technology transfer program, and take an active role in transferring technology to the private sector and state and local governments for the purposes of commercial and other application of the technology for the national benefit. In accordance with NASA’s obligations under mandating legislation, JSC makes Copernicus available free of charge to other NASA centers, government contractors, and universities, under the terms of a US government purpose license.  Organizations interested in obtaining Copernicus should click here.

For Copernicus-based analysis requests or specific Copernicus modifications that would support your project, please contact Gerald L. Condon (gerald.l.condon@nasa.gov) at the NASA Johnson Space Center.

The current version of Copernicus is 5.3.2 (released August 13, 2024).

Publications about Copernicus

C. A. Ocampo, “An Architecture for a Generalized Trajectory Design and Optimization System”, Proceedings of the International Conference on Libration Points and Missions, June, 2002.

C. A. Ocampo, “Finite Burn Maneuver Modeling for a Generalized Spacecraft Trajectory Design and Optimization System”, Annals of the New York Academy of Science, May 2004.

C. A. Ocampo, J. Senent, “The Design and Development of Copernicus: A Comprehensive Trajectory Design and Optimization System”, Proceedings of the International Astronautical Congress, 2006. IAC-06-C1.4.04.

R. Mathur, C. A. Ocampo, “An Architecture for Incorporating Interactive Visualizations into Scientific Simulations”, Advances in the Astronautical Sciences, Feb. 2007.

C. A. Ocampo, J. S. Senent, J. Williams, “Theoretical Foundation of Copernicus: A Unified System for Trajectory Design and Optimization”, 4th International Conference on Astrodynamics Tools and Techniques, May 2010.

J. Williams, J. S. Senent, C. A. Ocampo, R. Mathur, “Overview and Software Architecture of the Copernicus Trajectory Design and Optimization System”, 4th International Conference on Astrodynamics Tools and Techniques, May 2010.

J. Williams, J. S. Senent, D. E. Lee, “Recent Improvements to the Copernicus Trajectory Design and Optimization System”, Advances in the Astronautical Sciences, 2012.

J. Williams, “A New Architecture for Extending the Capabilities of the Copernicus Trajectory Optimization Program”, Advances in the Astronautical Sciences, 2015, volume 156.

J. Williams, R. D. Falck, and I. B. Beekman. “Application of Modern Fortran to Spacecraft Trajectory Design and Optimization“, 2018 Space Flight Mechanics Meeting, AIAA SciTech Forum, (AIAA 2018-1451)

J. Williams, A. H. Kamath, R. A. Eckman, G. L. Condon, R. Mathur, and D. Davis, “Copernicus 5.0: Latest Advances in JSC’s Spacecraft Trajectory Optimization and Design System”, 2019 AAS/AIAA Astrodynamics Specialist Conference, Portland, ME, August 11-15, 2019, AAS 19-719

Some studies that have used Copernicus

C. L. Ranieri, C. A. Ocampo, “Optimization of Roundtrip, Time-Constrained, Finite Burn Trajectories via an Indirect Method”, Journal of Guidance, Control, and Dynamics, Vol. 28, No. 2, March-April 2005.

T. Polsgrove, L. Kos, R. Hopkins, T. Crane, “Comparison of Performance Predictions for New Low-Thrust Trajectory Tools”, AIAA/AAS Astrodynamics Specialist Conference, August, 2006.

L. D. Kos, T. P. Polsgrove, R. C. Hopkins, D. Thomas and J. A. Sims, “Overview of the Development for a Suite of Low-Thrust Trajectory Analysis Tools”, AIAA/AAS Astrodynamics Specialist Conference, August, 2006.

M. Garn, M. Qu, J. Chrone, P. Su, C. Karlgaard, “NASA’s Planned Return to the Moon: Global Access and Anytime Return Requirement Implications on the Lunar Orbit Insertion Burns”, AIAA/AAS Astrodynamics Specialist Conference and Exhibit, August, 2008.

R. B. Adams, “Near Earth Object (NEO) Mitigation Options Using Exploration Technologies”, Asteroid Deflection Research Symposium, Oct. 2008.

J. Gaebler, R. Lugo, E. Axdahl, P. Chai, M. Grimes, M. Long, R. Rowland, A. Wilhite, “Reusable Lunar Transportation Architecture Utilizing Orbital Propellant Depots”, AIAA SPACE 2009 Conference and Exposition, September 2009.

J. Williams, E. C. Davis, D. E. Lee, G. L. Condon, T. F. Dawn, “Global Performance Characterization of the Three Burn Trans-Earth Injection Maneuver Sequence over the Lunar Nodal Cycle”, Advances in the Astronautical Sciences, Vol. 135, 2010. AAS 09-380

J. Williams, S. M. Stewart, D. E. Lee, E. C. Davis, G. L. Condon, T. F. Dawn, J. Senent, “The Mission Assessment Post Processor (MAPP): A New Tool for Performance Evaluation of Human Lunar Missions”, 20th AAS/AIAA Space Flight Mechanics Meeting, Feb. 2010.

J. W. Dankanich, L. M. Burke, J. A. Hemminger, “Mars sample return Orbiter/Earth Return Vehicle technology needs and mission risk assessment”, 2010 IEEE Aerospace Conference, March 2010.

A. V. Ilin, L. D. Cassady, T. W. Glover, M. D. Carter, F. R. Chang Diaz, “A Survey of Missions using VASIMR for Flexible Space Exploration”, Ad Astra Rocket Company, Document Number JSC-65825, April 2010.

J. W. Dankanich, B. Vondra, A. V. Ilin, “Fast Transits to Mars Using Electric Propulsion”, 46th AIAA/ASME/SAE/ASEE Joint Propulsion Conference & Exhibit, July 2010.

S. R. Oleson, M. L. McGuire, L. Burke, J. Fincannon, T. Colozza, J. Fittje, M. Martini, T. Packard, J. Hemminger, J. Gyekenyesi, “Mars Earth Return Vehicle (MERV) Propulsion Options”, 46th AIAA/ASME/SAE/ASEE Joint Propulsion Conference & Exhibit, July 2010, AIAA 2010-6795.

J. S. Senent, “Fast Calculation of Abort Return Trajectories for Manned Missions to the Moon”, AIAA/AAS Astrodynamics Specialist Conference, August 2010.

D. S. Cooley, K. F. Galal, K. Berry, L. Janes, G. Marr. J. Carrico. C. Ocampo, “Mission Design for the Lunar CRater Observation and Sensing Satellite (LCROSS)”, AIAA/AAS Astrodynamics Specialist Conference, August, 2010.

A. V. Ilin, L. D. Cassady, T. W. Glover, F. R. Chang Diaz, “VASIMR Human Mission to Mars”, Space, Propulsion & Energy Sciences International Forum, March 15-17, 2011.

J. Brophy, F. Culick, L. Friedman, et al., “Asteroid Retrieval Feasibility Study,” Technical Report, Keck Institute for Space Studies, California Institute of Technology, Jet Propulsion Laboratory, April 2012.

A. V. Ilin, “Low Thrust Trajectory Analysis (A Survey of Missions using VASIMR for Flexible Space Exploration – Part 2), Ad Astra Rocket Company, Document Number JSC-66428, June 2012.

P. R. Chai, A. W. Wilhite, “Station Keeping for Earth-Moon Lagrangian Point Exploration Architectural Assets”, AIAA SPACE 2012 Conference & Exposition, September, 2012, AIAA 2012-5112.

F. R. Chang Diaz, M. D. Carter, T. W. Glover, A. V. Ilin, C. S. Olsen, J. P. Squire, R. J. Litchford, N. Harada, S. L. Koontz, “Fast and Robust Human Missions to Mars with Advanced Nuclear Electric Power and VASIMR Propulsion”, Proceedings of Nuclear and Emerging Technologies for Space, Feb. 2013. Paper 6777.

J. Williams, “Trajectory Design for the Asteroid Redirect Crewed Mission”, JSC Engineering, Technology and Science (JETS) Contract Technical Brief JETS-JE23-13-AFGNC-DOC-0014, July, 2013.

J.P. Gutkowski, T.F. Dawn, R.M. Jedrey, “Trajectory Design Analysis over the Lunar Nodal Cycle for the Multi-Purpose Crew Vehicle (MPCV) Exploration Mission 2 (EM-2)”, Advances in the Astronautical Sciences Guidance, Navigation and Control, Vol. 151, 2014. AAS 14-096.

R. G. Merrill, M. Qu, M. A. Vavrina, C. A. Jones, J. Englander, “Interplanetary Trajectory Design for the Asteroid Robotic Redirect Mission Alternate Approach Trade Study”, AIAA/AAS Astrodynamics Specialist Conference, 2014. AIAA 2014-4457.

J. Williams, G. L. Condon. “Contingency Trajectory Planning for the Asteroid Redirect Crewed Mission”, SpaceOps 2014 Conference (AIAA 2014-1697).

J. Williams, D. E. Lee, R. J. Whitley, K. A. Bokelmann, D. C. Davis, and C. F. Berry. “Targeting cislunar near rectilinear halo orbits for human space exploration“, AAS 17-267

T. F. Dawn, J. Gutkowski, A. Batcha, J. Williams, and S. Pedrotty. “Trajectory Design Considerations for Exploration Mission 1“, 2018 Space Flight Mechanics Meeting, AIAA SciTech Forum, (AIAA 2018-0968)

A. L. Batcha, J. Williams, T. F. Dawn, J. P. Gutkowski, M. V. Widner, S. L. Smallwood, B. J. Killeen, E. C. Williams, and R. E. Harpold, “Artemis I Trajectory Design and Optimization”, AAS/AIAA Astrodynamics Specialist Conference, August 9-12, 2020, AAS 20-649

[abigailshorel6]

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[ousooo]

out now: SVETLANA MARAŠ - LIVE PERFORMANCE 2019-2020

Release: May 12, 2023 Format: cassette + digital Buy on Bandcamp / Kudos Stream via Spotify / Apple Music

«The nearly infinite improvisational potential in my performances is a result of tweaking the technology, using it in unpredictable ways, musically exploiting it, and maybe even misusing it.» - Svetlana Maraš

Composer, sound artist & musician Svetlana Maraš has spent years developing her unique setup for live performances. She builds her live sets as frameworks for exploration by emphasising the sculptural and improvisational potential, rather than reproducibility. The core of Maraš’ performative practice lies in the accessibility of all layers of what a ‘musical image’ at any given point consists of, and the gestural manipulation of these layers.

Using micro samples as a basis of her musical vocabulary, Maraš treats her live setup like an acoustic instrument. Using tablet controllers running a self-built Touch OSC interface, pedals and different pressure based interfaces, she manipulates and morphs the material with the mindset of a sculptor, while exposing herself to the audience and the room. Her focus lies with the musical form and the structure, while the shape of the sounds projected into the performance space define which turn she might take next.

Maraš explains: «I am interested in how sounds fill up the room, how they spread, how near or far they are, how ‘big’ or ‘small’ they seem, how they morph and move». With the set she played from 2019 to 2020, Maraš reached the apotheosis of her practice, regarding the handling and manipulation of micro samples and micro-collaging. -OUS is releasing a live recording of this set as a deep dive into the vast possibilities of live sound manipulation.

Svetlana Maraš is composer and artist active in the field of experimental music. Her work, which she presents internationally, encompasses variety of formats such as live performance, electro-acoustic composition, sound installations and works for the radio. She is the winner of the most prestigious Serbian composition prize «Mokranjac», awarded by the Serbian Composers’ Association. From 2016-2021, she was composer in residence and artistic director at Radio Belgrade’s Electronic studio, where she established numerous programs such as artistic residencies, educational courses and most notably, restoration of EMS Synthi 100. Currently, Maraš is Professor of Creative Music Technology and Co-head of Electronic Studio at Hochschule für Musik FHNW, Basel. 

___CREDITS

Music by Svetlana Maraš Recorded at Il Circolo del Frattempo, Zurich, 2019 Mastered by Manuel Oberholzer Artwork by Marko Vuleta-Djukanov Graphic design by Rebecca Morganti-Pfaffhauser

This live set was recorded at Il Circolo del Frattempo, Zurich, a co-production between -OUS and MADAM.

The set was additionally performed at: HEK, Basel CAN, Neuchâtel Galerie Weisser Elefant, Berlin

___SHOPS

Bandcamp / Kudos / Boomkat / HHV.de / Juno / Bleep / Newtone / Spotify / Apple Music

[laurenfutcher02]

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GFsmith (2023a) Evermore London. Available at: https://www.gfsmith.com/evermore-london (Accessed: 22 January 2023).

GFsmith (2023b) G . F Smith Extract. Available at: https://www.gfsmith.com/gf-smith-extract-shell (Accessed: 22 January 2023).

GFsmith (2023c) GFsmith instagram. Available at: https://www.instagram.com/gfsmithpapers/ (Accessed: 22 January 2023).

GFsmith (2023d) MTHK. Available at: https://www.gfsmith.com/mthk (Accessed: 22 January 2023).

GFsmith (2023e) Paper Bank. Available at: https://www.gfsmith.com/paper-bank?filters[classification][0]=Projects&q=packaging (Accessed: 22 January 2023).

Gorny, L. (2022) XXIX flips classic insurance “disaster” scenes on their head for an illustrated brokerage identity. Available at: https://www.itsnicethat.com/news/xxix-modern-life-graphic-design-230822 (Accessed: 23 January 2023).

hay Grath (2023) joy of baking. Available at: https://www.haygarth.co.uk/work/the-joy-of-baking (Accessed: 29 January 2023).

Illustrator X (2021) Zoe More Oferrall. Available at: https://www.illustrationx.com/uk/artists/ZoeMoreOFerrall (Accessed: 1 February 2023).

Jeong, H. (2018) Everything You Need to Know About Granulated Sugar and When to Use It. Available at: https://spoonuniversity.com/author/hyeinjeong (Accessed: 28 January 2023).

leon (2023) leon bookstore. Available at: https://leon.co/bookshop/ (Accessed: 30 January 2023).

Sanchez, R. (2020) Milky Almonds Stands Out By Not Shouting With A Minimal Package Design. Available at: https://thedieline.com/blog/2020/1/8/milky-almonds-stands-out-by-not-shouting-with-a-minimal-package-design? (Accessed: 19 January 2023).

sliver spoon (2021a) field to spoon. Available at: https://www.silverspoon.co.uk/field-to-spoon (Accessed: 22 January 2023).

sliver spoon (2021b) how are sugar is made. Available at: https://www.silverspoon.co.uk/how-our-sugar-is-made (Accessed: 22 January 2023).

sliver spoon (2021c) our history. Available at: https://www.silverspoon.co.uk/about-us (Accessed: 22 January 2023).

tate & Lyles sugar (2023) about us. Available at: https://www.tateandlylesugars.com/about-us (Accessed: 22 January 2023).

[investigatingconpractom]

Bibliography

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‌

[galleryyuhself]

~Galleryyuhself~ GREAT NEWS FOR 2021! 1. All entries are DIGITAL! NO SHIPPING OF ENTRIES! 2. We now have more time. NEW DEADLINE IS WEDNESDAY, JANUARY 20TH. https://enter.americanadvertisingawards.com/.../04-CAF/Home

[anabruni]

alternative poster for the father (2020) dir. florian zeller

[kingstylesdaily]

Meet the Paris-based Designer Who Made Harry Styles‘ Sequined Look in ‘As It Was’

The high-waisted trousers and sleeveless top worn by the British artist in the music video are the works of 28-year-old Spanish designer Arturo Obegero.

By LILY TEMPLETON APRIL 4, 2022, 10:20AM

LOOK OF THE TIMES: “I still have all those sequins all over my place,” said Paris-based designer Arturo Obegero as he watched Harry Styles stride forward in his creations, a red top and matching trousers, in the freshly released music video for “As It Was,” the lead single of the British artist’s new album.

Although he’d been expecting the reveal since he started working on these designs in late 2021, he still found being part of Styles’ latest work to be “mind-blowing, a great experience and, ultimately, a privilege” — especially as a young designer.

“The fact that Harry Styles and [his stylist] Harry Lambert both believed in me, supported me, not just with exposure but by buying the clothes, is insane. They could have gone to so many big brands but they believed in a young designer struggling with a 70-year-old sewing machine in a five-square-meters corner of my place,” said the designer, who considers the British artist “the Mick Jagger of our generation.”

Obegero, 28, who describes himself as “a young Spanish designer who launched a Parisian label a week before [France’s March 2020] COVID-19 lockdown,” hails from Tapia de Casariego, a town in the country’s northern region of Asturias.

As a teenager, he watched fashion shows on YouTube — Alexander McQueen, Balenciaga and Riccardo Tisci for Givenchy — as a form of escapism from his countryside town. Dancing gave him the awareness that costumes are intrinsically connected to building a character to go on stage, but it took receiving a book on Yves Saint Laurent for his interest in fashion to solidify.

After studying pattern-making and confection at Escuela Superior de Diseño y Moda Goymar, a technical school in northwestern Spain, Obegero headed to London and Central Saint Martins. After graduating in 2018, he arrived in Paris for a first experience at Lanvin before making the jump to working solo as the pandemic hit Europe.

Working from home led him to use materials he had on hand, a practice that he felt natural and continued even when businesses reopened. This approach culminated in using old theater curtains for his fall 2021 debut on the Paris Fashion Week calendar.

The designer, who is sold at e-tailer Ssense and independent retailers like Paris-based Elevastor, noted that while 95 percent of his clients were male, he ultimately was designing “for someone who is not afraid of [turning] their vulnerability and sensitivity into one of their main strengths,” playing with the codes of formfitting and almost second-skin outfits of flamenco dancers and matadors.

“It’s all about the lines of the body. That’s one of the reasons [Styles and his team] called me — they were really about the body. There’s no big volumes, no ruffles, nothing extravagant,” he added.

He worked on the assumption that Styles would be performing in the clothes — live or in front of a camera — so he angled toward making something that was as comfortable for movement as it is eye-catching.

With that in mind, he reworked his signature silhouette of high-waisted trousers and a structured sleeveless top for Styles, adding “a little bit of pizzaz using sequins panels graphically cut to catch and reflect the light. It’s the disco, joyful part of the looks.”

Although the process took place through Zoom calls and exchanged images, he most enjoyed the sensation of a balance between his design vision and the artistic one of Styles — and the very principle of a creative dialogue leading to a bespoke design.

Obegero is gearing up for a busy year: He’s applied for the ANDAM fashion award and is mulling a bridal offering. And though he started it on a high note, he’s not letting the experience go to his head.

“Harry Styles was definitely in my top five people that I wanted to dress. But it’s also a double-edged sword for young designers, where it can seem that you only count or are relevant if you dress celebrities. There is much more to learn about style, creation and the art of fashion [in these experiences] than just the connection to a famous person,” he said.

[thegreatimpersonator]

Hey everyone! Here’s this weeks (july 4 - july 11) addition to my Creator Shoutout Series! For info about the series, I explained it in the first post here, but generally, it’s to show appreciate to editors and their creations that i love from the past week. To track this series or look at previous shoutouts, please check out the tag on my blog *creatorshoutouts. Have a great week everyone!

taylor swift renegade graphic by @cruellesummer

lorde solar power graphic by @badreputation

the neighborhood artwork by @mads-schubert

taylor swift lover themed headers by @nobodynocrime

olivia rodrigo graphic by @itconsumesyou

atonement gifset by @fionagallaqher

red (taylor’s version) graphic by @mylover

what we do in the shadows gifset by @gregory-peck

taylor swift folklore songs as personality types graphic by @sadbeautifutragic

halsey artwork by @mads-schubert

taylor swift wildest dreams music video gifset by @favoritecrimemp3

the good place eleanor shellstrop gifset by @yelenafbelova

jack antonoff/bleachers parallel gifset by @ramonapest

taylor swift coney island edit by @glorious-sunrise

olivia rodrigo gifset by @naiey

taylor swift ‘timeless’ rock album design concept by @wildestdream

euphoria: the game gifset by @hunterschafer

reputation (taylor’s version) - cover art concept design by @lostinaflimscene

wolf alice no hard feelings gifset by @julienbakr

halsey: if i can’t have love i want power graphic by @finallybeautifulstranger

taylor swift 2021 grammy awards headers and icons by @longlist

olivia rodrigo sour + elements graphic by @dancearoundallalone

taylor swift renegade graphic by @ruedecornelia​

bo burnham inside artwork by @hirscheyskisses

taylor swift lover photoshoot gifset by @calmfolklore

clairo gifset by @sersh

taylor swift champagne problems gifset by @treacherousdemo

halsey: if i can’t have love, i want power gifset by @queenofbadlands

taylor swift the 1 graphic by @moonshalf

schitts creek + relationship dynamics gifset by @roseapothecary

taylor swift 2020 acm awards performance outfit by @corqeliastreet

if i can’t have love i want power but make it pre-raphaelite edit by @finallybeautifulstranger

taylor swift graphic by @cellphonehippie

halsey lp discography gifset by @demonzplay

taylor swift last kiss gifset by @thebooklife

lorde solar power graphic by @phobiafridge

taylor swift folklore: favorite songs gifset by @favoritecrimemp3

clairo gifset by @izzienewton

lorde solar power art by @pijamakills

taylor swift favorite folklore song edit by @corqeliastreet

the road to el dorado gifset by @inejz-ghafaz

olivia rodrigo good 4 u graphic by @paolaortiz11

taylor swift the 1 gifset by @midsummerknife

olivia rodrigo gifset by @favoritecrimes

fear street part one: 1994 soundtrack gifset by @monae

taylor swift ‘the unrequited love chapter’ concept gifset by @tis-thedamn-season

taylor swift graphic by @dyingday

grease + pink gifset by @vintageblr

brooklyn 99 gifset by @damnsarge

taylor swift gifset by @cametotheshowinsd​

the driver era heaven angel gifset by @miriammaisel

taylor swift last kiss gifset by @hermionegrangcr

fear street part two: 1978 gifset by @hunterschafer

taylor swift august gifset by @wishfulthinkinglove

natasha richardson in the parent trap gifset by @humanveil

taylor swift willow art by @swifttosaturn

fear street part one: 1994 gifset by @neve-campbells

taylor swift 2021 grammy awards performance outfit graphic by @newrcmantlcs

maneskin gifset by @hunterschafer

the characters of folklore as mbti types graphic by @uptothepodium

music in film: fear street part two: 1978 gifset by @madeline-kahn​

taylor swift lwymmd gifset by @fromthepedestals

fear street part one: 1994 gifset by @samaraweaving​​​

taylor swift the tupelo tales: character playlists gifset by @tibby​

[felipeandletizia]

Felipe and Letizia retrospective: April 8th

2007: Easter procession in Madrid

2010: 6th Luis Carandell Awards of Parliamentary Journalism

2012: Easter Mass (1, 2)

2013: Meeting of the Scientific Council of the Royal Institute of International and Strategic Studies

2015: Trip to Lebanon (1, 2).

2018: Visited King Juan Carlos at La Moraleja Hospital.

2019: Military audiences & Visited the School of Engraving and Graphic Design of The Royal Mint. (1, 2, 3)

2020: Videoconferences: WHO; Calí Program (Gypsy Women) & Audience with the Minister of Justice, Juan Carlos Campo

2021: Delivered the 8th Awards of the Spanish Confederation of Small and Medium Business (CEPYME)

F&L Through the Years: 732/??

[amphtaminedreams]

MARCH 2018->OCTOBER 2021: Photo Dump No.14

DATE SAVED, L-R BY ROW:

1. 14th September 2021, 14th March 2021, [Bella Hadid for Miss Sixty S/S21 campaign], 26th April 2019 [The Viktor Wynd Museum of Curiosities, Bethnal Green], 23rd July 2021 [source: instagram account @charli_xcx], 12th August 2021, 14th February 2021, 21st July 2021 [The Stable, Bournemouth Centre], 10th August 2021 [source: instagram account @yolanda.pdf], 10th August 2021

2. 15th September 2021 [Miu Miu Resort 2021], 19th September 2021 [Borough Market, Southwark], 12th March 2021 [Lana Del Rey for Italian Vogue, June 2019 issue], 21st September 2021, 3rd September 2021, 20th November 2020, 9th September 2021, 12th August 2021 [source: instagram account @sophfloyd], 4th July 2021 [source: graphic by Mehmet Geren, instagram account @mehmetgeren]

3. 29th August 2021, 10th September 2021 [source: instagram account @secondsapart], 19th September 2021 [Brewer Street, Soho], 24th September 2021, 12th September 2021, 17th December 2019 [Max Greenfield as Schmidt, New Girl, Season 7 Episode 3], 18th September 2021, 20th March 2021 [source unknown], 5th September 2021

4. 5th June 2021 [The Temple of Flora, Robert Thornton, 1812], 26th September 2021 [Haider Ackermann RTW S/S18], 26th September 2021, 14th March 2021 [Aquaria photographed at Paris Fashion Week, September 2019, wearing Vivienne Westwood], 10th September 2021, 18th August 2021, 27th September 2021, 29th September 2021, 17th September 2021 [The Fire Station, Waterloo]

5. 12th September 2021, 8th November 2020, 22nd September 2021 [Southwark Sreet, Bankside], 27th February 2021 [Lorde photographed for “Perfect Places” promotional material, release. June 2017], 15th March 2021 [Beyonce photographed in Schiaparelli for the 2021 Grammys], 6th September 2021, 21st September 2021, 26th March 2021 [Daphne Groeneveld for Jean Paul Gaultier’s “The Belle” fragrance campaign, August 2019], 18th September 2021 [East Street, Walworth]

6. 2nd June 2019 [Russell Cotes Museum & Gallery, Bournemouth], 29th March 2018 [source unknown], 1st January 2021, 28th September 2021 [East Street, Walworth], 10th September 2021, 6th June 2021 [Lana Del Rey photographed by Chuck Grant, June 2010], 21st March 2021 [Zuhair Murad Haute Couture S/S17], 8th September 2021 [David Koma pre-fall 2021], 29th September 2021 [Monument, City of London]

7. 14th October 2021, 12th October 2021, 15th March 2021 [Aquaria photographed for RuPaul’s Drag Race, “Pharmarusical”: Season 10, Episode 2, aired March 2019], 28th March 2021 [Miu Miu RTW F/W17], 5th September 2021 [Christian Lacroix Haute Couture F/W95], 16th July 2021 [source: instagram account @theopeninvite], 22nd May 2021, 19th September 2021 [Van Gogh Alive Exhibition, Kensington Garden, Knightsbridge], 17th October 2021

8. 12th October 2021, 20th May 2021 [SNL: Thanksgiving Special, 'Whiskers R We" sketch, aired November 2016], 19th September 2021 [Borough Market, London Bridge], 26th August 2021 (Velo Domestique, Southbourne High Street, Dorset], 6th October 2021, 16th September 2021 [Off-White, Resort 2021], 30th December 2020 [Bosca Nova, Boscombe High Street, Dorset], 3rd October 2021, 4th April 2021 (Natasha Lyonne photographed for Interview Magazine, December 2018 issue]

9. 17th September 2021, 15th March 2021 [Taylor Swift wearing Oscar de la Renta on the Grammy Awards red carpet, 14th March 2021], 25th September 2021, 30th March 2021 [Hailey Bieber photographed in West Hollywood wearing vintage Vivienne Westwood, 30th May 2019], 10th September 2021, 21st March 2021 [source unknown], 7th September 2021 [source: instagram account @kiracyan.design], 28th July 2020, 3rd September 2021

10. 18th February 2021 [Lana Del Rey in “Video Games" from the album Born to Die, released June 2011], 22nd September 2021 [corset designed by Joyce Spakman, image source: unknown], 6th October 2021 (Westminster Bridge, Lambeth], 10th October 2021 [Cavernous Resonance by Jade Fadojutimi, Mixing it Up: Painting Today Exhibition @ The Hayward Gallery, Southbank], 11th October 2021, 15th October 2021 [graphic by The Pulp Girls, instagram account @thepulpgirls], 18th September 2021 [Declan McKenna live @ The 02 Academy, Brixton], 6th October 2021, 12th October 2021]

[noramoya]

XIAO ZHAN : OR SEAN XIAO, WAS BORN ON OCTOBER 5th, 1991 IN CHONGQING, CHINA. HE IS AN ACTOR AND SINGER, KNOWN FOR CHINA’S BIGGEST HITS DRAMA “THE UNTAMED” (2019)" •••

“While we admit Xiao Zhan wasn’t completely on our radar prior to his role as the mischievous and carefree Wei Wuxian, we have now devoured all of the content starring Xiao Zhan that we can find. Here are some of his best roles, besides our all-time favorite, Wei Wuxian in The Untamed.”

THIS WAS THE FIRST SERIES STARRED BY XIAO ZHAN, ON 2016, SAME YEAR HE DEBUTED AS SINGER, PART OF THE BOYS SINGERS GROUP “X–NINE”. THE SERIES ABOVE WAS RELEASED ON SEPTEMBER 2016, ON THE SAME MONTH HE HAD HIS FIRST STAGE PERFORMANCE ON THE SHOW OF THE ZHEJIANG TV NEW YEAR CONCERT, WHERE HE PERFORMED THE SINGLE “FREEZE”, AS WELL AS THE THEME SONG “BE A MAN”, ALONGSIDE HIS TEAMMATES •••

BIOGRAPHY: “Xiao Zhan (English name: Sean Xiao) is a Chinese actor, singer, and former member of the male idol group X NINE. He worked as a photographer and graphic designer, prior to his debut. In 2015, Xiao Zhan participated in the reality program "X-Fire" where he trained to be an idol alongside 15 others. Xiao Zhan's first performance stage was at the 2016 Zhejiang TV New Year Concert, where he performed the single "Freeze" as well as the theme song "Be A Man" alongside his teammates. Xiao Zhan debuted alongside eight other trainees in the idol group X NINE in 2016. X NINE released their first mini-album X Jiu in September 2016.

• On September 29, 2019, it was announced that Xiao Zhan had established his own studio, "XZ Studio". On October 16, 2019, Sina Entertainment has announced the list of nominations for the Best Actor of China 2019, with Xiao Zhan being the first nominated male actor on the list. Forbes China listed Xiao Zhan under their "30-Under-30-Asia-2019" list, which consisted of 30 influential people under 30 years old who have had a substantial effect in their fields. On November 3, 2019, Xiao Zhan won “The Golden Tower Award” for “Best Actor” in a web drama, counted as the most loved TV actor by college students who participated in the voting process. He won many awards for his excellent performance in "The Untamed", both nationally and internationally, including the “Starmometer-Asian-Drama-Actor” of The Year (2019).

• In June 2020, Xiao Zhan's single 'SpotLight' officially got listed as the 2nd best-selling digital single of all time in the world, within one month of its release, making him the only Asian artist to be within the top 10 of the list. For this song, he entered GUINNESS WORLD RECORDS for the fastest-selling digital single. In October 2020, 'SpotLight' became the best-selling digital single of all time. At the end of that same month, he won 1st place in "The 100 Most Handsome Faces in Asia" hosted by TCCASIA as part of TCCandler beating out over 600 other men from various countries in that region.

• On March 9, 2021, Xiao Zhan was chosen 7th out of the Top 10 from 2020 in IFPI.org's single music chart for his song "SpotLight" making him the first male Chinese Singer to enter since the chart's inception in 1933. On Twitter, the official post read "#7 Xiao Zhan - Made to Love (SpotLight). Fans of the Chinese actor, singer, and idol rallied behind the release of Made To Love at the end of April 2020, breaking records for fastest-selling digital release within 24 hours."

• On April 22, 2021, Xiao Zhan made his inaugural theatrical debut in a play, "A Dream Like A Dream", in Wuhan. He plays Patient No. 5. He has since continued to act the role for many more cities such as Qingdao, Chengdu, and Shenzhen. The last stop of the entire tour was in Beijing at the end of December 2021.

• On November 14, 2021, Xiao Zhan was declared the winner of the “Global Actor Of The Year Award” in the Global Nubia Awards (GNAs) 2021 event. On December 25, 2021, Xiao Zhan was announced as the winner of “The Man-in-Fashion-World” for 2021, by The World List (TWL).

• On January 11, 2022, it was announced that Xiao Zhan won the “2021-Fashion-Man-Icon” of the Year, at the 2021 World’s Choice Awards (WCA) in conjunction with The Editor's Choice, beating out over 20 internationally known male fashion icons. • On January 17, 2022, Beijing Daily Film & Television announced that Xiao Zhan had won the “Popular Actor Award” of 2021 for his role in "Doulou Continent". • On February 3, 2022, WETV Thailand announced that Xiao Zhan won the WETV Best Actor Award for 2021. • On April 5, 2022, JOOX Thailand Music Awards named Xiao Zhan as the “Top Social Global Artist” of The Year for 2022. • On April 21, 2022, Best of the List chose Xiao Zhan as the “Most Handsome Actor” in the World of 2021 with 33.2% of the overall votes. He also picked up this same award on May 30, 2022, with 40% of the overall votes. • On June 11, 2022, the "A Dream Like A Dream" tour scheduled for Dec., was announced with Xiao Zhan reprising his role as Patient No. 5. • On July 20, 2022, Nubia Magazine announced that after a very lengthy poll spanning 141 countries, Xiao Zhan was chosen as The World's Most Handsome Man of 2022.

LIST OF XIAO ZHAN’S ACTING WORKS, STARTING ON THE YEAR 2016 (start reading from bottom up to top):