#Reduce Reuse Refuse

[blurbofparadise]

"The slogan 'refuse, reduce, reuse, repair and recycle' provides us with a hierarchy of strategies for dealing with waste. Refuse means to decide not to engage in the consuming action or task in the first place because it is not necessary. Reduce means to minimize the materials and energy required or the frequency of the consuming action. Reuse means either reuse for the same purpose or put to the next best use. Repair means to use skill and very limited additional resources to restore function. Recycle means to break down into more basic elements or materials before being reprocessed for the same or other uses."

- Permaculture: Principles & Pathways Beyond Sustainability by David Holgren, page 112

[froggtogs]

doodled this really stupid looking wolfie while i was messing around and had to line and color it bc i couldn’t stop laughing at it (ft an old background bc i’m too lazy to make a new one)

(+ the og sketch)

[zerofuckingwaste]

Easy zero waste tip no. 3: Know your R's

Refuse: If you don't acquire the thing that will become waste in the first place, it won't produce further waste. Simple enough. Refuse that which you do not need. Example: All that cute stuff on that Buzzfeed article? You don't need it. Don't even click the link.

Reduce: If you need something, get the minimum. Note that this doesn't mean the cheapest option- it means the most effective and environmentally friendly option. Example: Instead of buying disposable razors, or a razor with changeable heads, try out a safety razor. Instead of using plastic toothbrushes, try out bamboo, and instead of toothpaste in disposable tubes, try out some toothpaste bits. Instead of buying chicken breasts for one thing and chicken broth for another, get a whole chicken and learn to butcher its meat, and make broth from the skin and bones.

Reuse: This means both being mindful of purchases, so you're only buying things that are reusable whenever possible (Example: use beeswax wrap instead of saran wrap), and repurposing things you've already bought (Example: use those little Oui yogurt containers to start seeds for your garden).

Recycle: Find out what your local recycling program actually recycles, and be mindful. Aluminum is a safe bet most of the time, as is paper/cardboard; but plastics, most of the time, are a dud, so try to refuse, reduce, and reuse plastic whenever possible so you don't even need to worry about recycling it. This also refers to donation- that's another valid way to recycle things!

Rot: If you have a yard, start a compost pile! Just try to get a 50/50 balance of food scraps to brown matter (paper, dry leaves, etc). If you have a freezer, you can stick a container in there to act as a compost thing until you can bring it to a compost facility, such as a local garden, or farm. If you don't have the ability to do either of these things, then you can see if there's a subscription compost service in your area (I used CompostNow for ages, they're great).

Understanding these five principles, and looking at them in this order, can make things easier. Next time you're buying something, or about to throw something away, consider which of these might allow you to reduce your waste output in the future.

[wachinyeya]

[animalcopingnewhorizons]

♻️ The Repair/Reuse/Recycle/Rot section on Praxis. ♻️

[theres-whump-in-that-nebula]

Ok so I fixed a pair of patchwork hippie pants that ripped at one of the seams way too early imo. Just did a ladder stitch… I’m gonna darn it later for extra stability because it kind of is in the crotch area, which rubs. I have my gray cargo pants with a complete crotch blowout which is harder to fix so I’m researching how to do that.

Also, cottage cheese/yogurt/sour cream containers are the BEST ADHD storage tool ever. Just wash out your plastic after you eat the food and put whatever you want in it. Label it. Make a system.

[run2u]

Starting to hate and despise typical kpop concert attire cus if u ask where its from its ALWAYS shein or aliexpress like lets be more creative than that please

[alexiphanic]

Beautiful!

I made some solarpunk soda tab jewelry!! Again. And I'm making more. (Image ID at the bottom of he post)

A choker, a pair of earrings, a belt/waist chain and some bracelets using 100% thrifted/recycled materials! The choker and the bracelets have two layers so that the sharp aluminum edges on the back of the tabs aren't making contact with skin, you can kinda see it in the pictures. Here are more pictures:

[Image ID: 8 images. The first one shows a choker made out of soda tabs, with black cord weaved through it forming x shapes. There's a silver spike charm hanging from every other tab about an inch apart from each other. Im in the picture wearing the choker, my face is not in frame but my pale as fuck neck is visible and so is my dark brown hair.

The second image shows a pair of clip-on earrings laying on a sage green background. Each earring is made of 6 soda tabs weaved into a flower shape with green yarn, and three dangles hanging from the bottom. The dangles are made of a wire link with a black bead on in and a silver spike charm hanging from that. The same spike charms I used for the choker.

The third image shows a 2 ft 7 inch long belt chain made of the soda tab flowers from the earring image. Each flower is made of six tabs weaved together with the same green yarn but they yarn fades to yellow towards the end of the chain. 16 soda tab flowers are linked together with large jump rings and there are large silver clasps on each end to attach to a belt.

The forth image is my hand wearing a black compression brace and two soda tab bracelets. They are weaved together the same way as the choker, with the cord forming x shapes, but the cord is orange and not black. The bracelets are the same size, 8 inches long when laying flat including the clasp. There are two layers of soda tabs which makes the bracelet a little thicker.

The next 2 images shows a dress form wearing the belt chain from two different angles. It had a black skirt with a soda tab belt, with various spikey chains hanging from it. There's a black strip of grommet tape hanging on the right side of the belt and my soda tab flower belt chain hanging on the left side.

The next image shows one of the bracelets at and angle so the double layers are visible, and the last image shows the bracelets, the choker, and an unfinished soda tab choker with green ribbon weaved through it all laying flat on a sage green background. End ID]

[guidebest]

The 5 R’s: Refuse, Reduce, Reuse, Repurpose, Recycle

Understanding and Implementing Key Principles for a Greener Future

Adopting sustainable practices is more important than ever in a world that is experiencing enormous environmental difficulties. The Refuse, Reduce, Reuse, Re-purpose, and Recycle (or “5 R’s”) provide a strong foundation for reducing waste and encouraging environmental stewardship. This blog delves deeply into each of these ideas, offering real-world applications and emphasizing how they work together to promote a sustainable future.

Refuse: The First Step towards Waste Reduction

Refusing entails making any conscious decisions to stay away from goods and resources that increase waste. We can drastically cut down on the amount of garbage we produce by purposefully refusing needless things.

Reduce: Minimizing Waste Production

Reducing involves conscious efforts to minimize the amount of waste we generate. This can be achieved through thoughtful purchasing decisions, resource conservation, and opting for durable products.

Reuse: Extending the Life of Products

Reusing is giving objects that may otherwise be thrown away a new use. We can cut waste and the requirement for additional resources by prolonging the life of things.

Re-purpose: Giving New Life to Old Items

Re-purposing, also known as up-cycling, is the process of creating new, useful things out of objects or resources that have been abandoned. This innovative method decreases the amount of waste that ends up in landfills while adding value to rubbish.

Recycle: Creating New Materials from Waste

Recycling is gathering, preparing, and repurposing waste resources to create new goods. This procedure minimizes environmental pollution while lowering the demand for raw materials.

To read more about how the 5 R’s: Click Here!

Visit our Website: Klimrus.in

Mail us: klimrusinfo@gmail.com

Contact Us: +91 87880 62942

[ssaa08]

Benefits of going Zero Waste

We must significantly reduce the amount of waste we produce by using resources wisely and consuming less. For example, we need to minimize packaging. Reducing waste will not only protect the environment but also lower costs and expenses for disposal. Additionally, by recycling and reducing waste, we can minimize the need to extract resources and decrease the risk of contamination, benefiting the…

[scriptzol]

🌍 Happy International Plastic Bag Free Day 2024! 🌍

Embrace the 4 R's: Reduce, Refuse, Reuse, Recycle! Let's fight plastic pollution together for a cleaner, greener planet. 🌿♻️

[gaylienz]

The 7 R’s of Sustainability:

Did you know that ‘recycling’ is step 6 of the 7 Rs of sustainability? The other R’s are just as important even if they are often forgotten.

Rethink- Do I really need to buy this? The point of this step is to stop and think.

Refuse- Does this product damage the environment? If so, refuse to spend your money on it. i.e. single use plastics, harsh chemicals

Reduce- How much of this do I really need? Buy less! Buy in bulk when you can as it often equals less packaging to throw out.

Reuse- Can I use this product again? Can I fix what I have so that I don’t need to buy something new? Reuse that plastic water bottle a few times. And instead of buying new, try thrift shopping, flea markets, yard sales etc.

Repurpose- Unlimited creativity! Does this item have another use? i.e. old torn clothes can be rags or plastic cups can be planters.

Recycle- Can I recycle this? Not everything can be. There are also some important steps to making sure your recycling is done properly. If unsure, look up local recycling regulations.

Rot- Can I compost this? Food waste, yard clippings, newspapers and many other items can be composted instead of being tossed in the trash. Composting is surprisingly simple and helps reduce harmful greenhouse gasses from entering the atmosphere.

What is the point of the R’s? The number one benefit of the 7 R’s are the reduction of the amount of waste sent to incinerators and landfills. The EPA website provides a lot of useful information. Other benefits that we can reap from implementing these concepts in our life are (as listed on the EPA website): • Prevents pollution caused by reducing the need to harvest new raw materials • Saves energy from not making a new product • Reduces greenhouse gas emissions that contribute to climate change • Helps sustain the environment and natural resources for future generations • Saves money from processing our waste • Increases economic security by tapping a domestic source of materials • Helps create jobs in the recycling and manufacturing industries in the United States

https://www.northglenn.org/government/departments/public_works/trash/recycling.php https://www.nrdc.org/stories/composting-101 https://www.epa.gov/recycle https://www.northglenn.org/Recycling%20Article.pdf

[attheideality]

Going Zero Waste: Practical Tips For A More Sustainable Tomorrow

[eyeballplanets]

It’s More Than Just Words: An Analysis of Changes to Anissa and Conquest’s Characters and Roles

(This essay is just under 3.5k words. I hope you have as much fun reading it as I had writing it!)

Invincible has now adapted Anissa and Conquest’s introductory storylines, spending far more time on them than their comic counterparts. Each of these plots were defined by noticeable deviations from the comics, incorporating novel scenes and interactions, and changing their ideology and thematic roles in the greater Empire. The show has made the conscious choice to avoid the comic’s gratuitous acts of trauma that pulled Mark away from the superhero plot, instead conveying its themes through the conflicts themselves and the identities of those involved. I believe that the changes made to Mark, Anissa, and Conquest are significant within these subtextual languages, and that their identities and interactions can parse what the story is suggesting about these two; I believe, specifically, that these changes tell us that Invincible has already referenced its most controversial plotline while indicating that these two Viltrumite characters have very different relationships to it.

(I won’t spend much time describing the comics. I don’t need people to have engaged with two different stories to understand the points that the show alone makes. Part of this is to avoid the awkwardness of the entire analysis being a back-and-forth with another medium, and part is to respect the wishes of the creators, who discuss the two works as if they are different. Discussions of Anissa, particularly, are colored by the assumption that the show will converge with the comics just for her, when it has already diverged for her and for characters who existed in similar contexts such as Amber and Allen. I emphasize moments unique to the show, particularly as the story relates to race, an innovation of the series.)

This version of Anissa is not white: this is not an accident. Anissa’s skin is noticeably always darker than Mark’s (even as inconsistently as she is illustrated in the scenes where they interact, though it is clearer thereafter). This already challenges and reduces any of the representational merit that the assault if portrayed unchanged could have had: though there is a long history of superhero media framing brown women as abusers (see: DC Comics), this change should at least inform the discussion around her. All of the characters who are no longer white have had revised stories that are influenced by the racialized subtext of the stories. She is the only Viltrumite to be changed this much, and stands out from all the others: even her eyebrows and hair set her apart from the Viltrumite women we’ve seen in flashback and in the main narrative. (The character designers are quick to reuse features, too: she does not have so many distinct ones on accident.) Even if you dismiss her features, her skin color could not be a tan, either, as no other significant character shares it, and she is noticeably darker than any of the white Viltrumites in the same or similar lighting conditions. This change already places her in the same context as all of the other characters whose races have changed. Just as Mark’s conflict with the other Viltrumites, Debbie’s relationship with Nolan, Amber’s relationship to her community and to the dangers of heroism, Paul’s comforting familiarity to Debbie, Rex’s relationship with the government, are all painted in this light, we see a young brown woman in service to an empire whose agents are mostly white men.

This racialization influences the distinct tone of Anissa’s interactions with Mark. The two of them logically spar, engaging with each other on intellectual grounds, Mark not meeting her with the same vociferous refusal with which he has met other Viltrumites. Notably, unlike other Viltrumites, who have attributed Earth’s flaws to all people on Earth, she attributes it to a specific group of people: Mark is more receptive to this, even hesitating to rebuke her points outright. Her ideas are no less authoritarian than the others, but Mark’s difficulty disagreeing comes shortly before a season whose conflicts are rooted in interactions with authority, and his wrestling with his place in these systems. She does not consciously attempt to appeal to this visual similarity, instead reminding Mark that she is the logical one and speaking to him in a stiffer tone and idiolect than the other Viltrumites; rather, it is the context behind and beyond Anissa’s words that makes him more receptive to her ideas. It is easier for the Mark to accept the Viltrumite woman of color’s ideology than any other before or since.

Contrast this with Nolan, who appeals to Mark by separating him from Earth, hoping to place him above and outside of Earth and the racial context that still defines his life there. He tries to remove Mark from his race, offering him an ‘alienness’ rooted in Mark’s Viltrumite ancestry. The language makes Mark uncomfortable—the discomfort is familiar, especially when the words are directed at Debbie. Despite Nolan’s insistence that they are each beyond Earth, Mark sees a white man saying things we have heard before; that is, his objection is a result of the racialized context wherein Earth has placed each of them, just as Nolan’s insistence that Mark not help Titan and Debbie’s affront to this were each framed by Titan’s race and the racial context of his conflict. Nolan relents only when Mark appeals to his fatherhood, reminding Nolan of the undeniable connection between them, while Nolan’s abuse in that sequence is predicated on insisting that the connection was not strong enough. Nolan sees him as too much like other people on Earth, until he could not ignore their familial connection.

Kregg’s interaction with Mark is briefer, but demonstrates the absoluteness with which he adheres to Viltrum’s principles. He does not give Mark an option to align himself with anything other than Viltrum: Mark cannot get out a word without being struck. The scene’s framing, too, evokes Mark’s conflict with Nolan, another Viltrumite man kneeling over him and talking down to him as he lays bleeding. Their focal distance reinforces the impersonal weight behind Kregg’s threat and Mark’s inability to reach him with words, a key characteristic of his that defies the Viltrumite prinicple that might always makes right. He is forced to listen, until Kregg chooses to leave. Kregg replaces Nolan’s barbed offer to assimilate with a demand that he do so: Viltrum punishes the pretense of familiarity with a naked threat. He is yet another white man demanding that an imperial subject join or die, without even consideration to Mark’s context.

Anissa comes and similarly appeals to his Viltrumite identity, but her evocation of it is surrounded by her acknowledging Mark’s desire to protect people. (Compare this to Conquest’s refusal to acknowledge Mark’s connection to Earth until he sobs over a dying Eve, noticeably removed from the civilians and population centers in which they had been fighting until that point.) This time, he challenges individual points, and not the Empire outright: there is an attempt to convince her, based in Mark’s preference for words over violence, but the length and framing of their conversations suggests a proximity in their base ideologies: they each provoke slight emotional reactions in each other, as seen in Anissa’s “No it isn’t,” and Mark’s, “We needed to make choices for ourselves.” This time, he does not outright reject it until she mentions his father: the tone changes as he is taken out of the color-blindness implicit in their interactions and back into the assimilation that Nolan offered. It is when she deliberately represents all the other Viltrumites he has seen, and the coded hurt that they have brought with him, that he refuses to negotiate. Where he begs Nolan to change, and curses at Kregg, he asks her to leave. There is, at that moment, a revelation that Mark thinks—or had thought—of this conversation as happening between peers.

The end of their fight gives more proof to the similarities between them. Cecil asks Mark to yield to her; he refuses, and she presses her foot onto his neck until he is unconscious. This posture puts her the farthest from Mark of the three other Viltrumites that have confronted him while he lays injured. As any posture involving her hands would have evoked the comics, the distance here does the opposite. “Killing you is not my task” is more circuitous than her wording has been until that point: she does not say, “I was told not to kill you,” but implies, “I was not told to kill you.” Invincible has created a tonal language that emphasizes the moment a character hesitates in their singular-minded task. Nolan looking at his bloodied hands and later turning away from the pull of the black hole, Angstrom pulling off the helmet, even Rick fighting his brainwashing, are all in dialogue with this scene. The only Viltrumite who has outright avoided civilian collateral, pulling him away from the fight and even throwing him into the water, focus given on the civilians unharmed by her attacks, which approach them without ever reaching them, chooses again not to kill.

The framing reinforces this, too. Viltrumites’ bodily subjugation of Mark (including the infamous scene) put the aggressor on the left and Mark on the right. At times, they are closer to centered, but ninety-degree shots always ultimately fall into this paradigm. The series inverts this for Anissa alone, placing her at the right, and Mark at the left. Cecil worries for Mark’s life; Mark does not. He is not the one who is losing control: “Either you need me, or you don’t” challenges Anissa’s place in the hierarchy. Viltrumite ideology has conditioned her to expect to have the final say here. Mark’s words invert this as much as the camera: of the two of them, he is the one with the choice here, to defy Cecil’s orders and Anissa’s violence, while she will remain subordinate to her masters regardless.

It is the complete loss of his autonomy that pushes her from this task. (Her comic counterpart is defined inversely by seeking this theft.) It surprises the GDA, but not Mark. Cecil’s conversation with Mark clarifies this. “All over a few words,” met with Mark’s “It’s more than just words” takes the focus away from what Mark said, i.e. the typical argument that Anissa relented purely because of the logical need to keep him alive. “It’s more than just words” puts the focus on what went unsaid. Anissa's actions asked Mark if he was willing to face the consequences that would come from refusing to betray himself. Yes, he said: he was ready to die, and would never surrender Earth. On a smaller scale, her choice to spare him (the concomitant chastisement revealing how this defies the Viltrumite mission) and Mark’s understanding that it was the implications of his words that reached her, answers that same question the same way. It was more than words: it was an understanding of each of their places in their respective hierarchies. Previously, she tried to reinforce the Viltrumite hierarchy, even her appeals to him placing herself above him: “You dare interrupt your education?” frames their interactions in hierarchy. General Kregg’s treatment of her and the framing thereof takes this further to imply a need to frame their interactions in hierarchy. To maintain her place, she must be above someone. Mark’s successful contact with her morals, pierces this assumption of superiority. She nearly reached him speaking of the planet, of society at large, while revealing her ignorance about Mark’s circumstances, while he successfully reached her by demonstrating a complete understanding of their respective places. Once again, his words push a Viltrumite from the imperial course, but this exchange is now rooted in an acknowledgment of their sameness.

This is not the last time the show suggests that they have similar experiences. The framing of her confrontation with General Kregg directly references Mark’s meeting Nolan. In each of these interactions, the closed fist is their pushing against authority. Anissa is, at this point in the show, the only Viltrumite in an unambiguous superior–subordinate relationship. The difference is in the other’s posture: Nolan stands beneath the Thraxans, and faces him; Kregg stands above the alien crew members, and keeps his back to her, turning and facing her without fully opening himself to her. Nolan allows Mark’s anger, and the two approach in the middle, Mark’s interactions again defined by meeting someone at the same level; Kregg keeps her at a distance, and she struggles to meet his eye. The unambiguity of the framing tells us that Anissa’s being chided and the perceived youth of her new design are not accidental: she is visually compared to a son angry at his father. Even if this iteration of Anissa is revealed to be some centuries older than Mark, this communicates that she is at least seen as far younger, and far less respected, than the other Viltrumites. (These moments are only three episodes apart: they would have been made with the other in mind.)

Nothing that she says saves her from the Empire’s disappointment. The show further illustrates that sparing him was her choice, in defiance of the wishes of the Empire, in the form of General Kregg’s condescension. If nearly killing him and choosing not to was aligned with the Empire’s goals, she would have mentioned it. Instead, after struggling to find words, and after the camera framing evokes the vast ocean of age between the two, she claims that he was impossible to convince. The interaction divorces her from the cold logic and anger she has displayed up until that point. Her skin color is the least ambiguous here: she is smaller, and darker, than the tall white general berating her. The promise of meritocracy that she implicitly offered Mark, as seen in her wearing the Viltrumite symbol, is rendered false: despite everything, she is still spoken to like a disobedient childhood. This is neither the first nor the last time the show has portrayed characters of color as being held to high standards for refusing to betray their values.

If the show’s version of Anissa is meant to be read as opposed to this kind of coercion and existing in a similar marginalized context as Mark, then the show has placed the violent loss of bodily autonomy fundamental to the Empire and to imperialism as a whole onto Conquest. Between the forced intimacy of his fight, the subtext of the ‘I am so lonely’ speech, and visual parallels to Anissa’s interactions with Mark in the comics, the coding suits Conquest’s role in the Empire, and shows an improved understanding of the relationship between imperial violence and the loss of bodily autonomy and how race factors into it than the comic’s poorly-handled equivalent (in which the assault is ordered, and the reproductive coercion the women experience goes unacknowledged).

On its own, Mark’s altered conflict with Anissa contrasts even the unaltered scenes of Mark’s conflict with Conquest. Where his steadfast refusal to abandon his moral code against orders and even at risk of his own death left an impression on Anissa, neither his desire to fight nor his momentary willingness to surrender spares him Conquest’s brutality. Conquest will not serve any purpose other than that which his name applies. Where Mark is able to reach Anissa with ‘more than words,’ Conquest’s “I take the good with the bad” denies Mark his characteristic willingness to reach people verbally, i.e. nothing Mark says can make him feel shame, as he has already felt shame, and is unwilling to stop.

The ‘I am so lonely’ speech deepens these contrasts: where Anissa stopped at Mark’s blacking out, Conquest adopts an uninvited intimacy while we are reminded—audibly and visually—that Mark is still being choked, to the point of tears. Compare, too, how Mark stopped pushing Anissa’s foot before daring her to kill him, while Mark keeps his hand on Conquest’s wrist, even reaching up for him. The imagery, even at first glance, reveals the truth of the guilt. Given that the show has established language around the importance of turning away from cruelty, Conquest’s ability to make and watch cruelty happen without stopping makes it clear that, for all he denounces the Empire and feels excluded from its core, he will not stop representing its imperial aims. It challenges everything Mark has experienced up till this point. Just like this, the Viltrumite way overwrites Mark’s persistent moral code; now he believes that sometimes might will make right. It is, just as much as a corporeal violation, a violation of ideology.

The framing puts the exchange in the context of the two other times Viltrumite men knelt over him. The violently intimate nature thereof—Mark’s endless choking, the focus on his eyes, the posture Conquest assumes—adds depth to the racial and imperial nature of those interactions. Mark was first offered, then demanded assimilation; here, he loses complete control of his body, and even as Conquest expresses his fraudulent lament, makes clear that the succession of these violations are intrinsic to the Empire: he takes the blame from himself, who could do so much more, but not from Mark. At no point in his speech does he express sympathy for the victims. The constant framing on his scarred eye reminds us just how many victims there were. In this singularity of Mark’s resistance, and with the Conquest’s immense lifespan, Mark is made to represent all his victims, and Conquest, in turn, represents all of the countless agents of imperial will who felt terribly victimized for how many others they had to slaughter in service of an empire who didn’t thank them for it. Does he lament the death, or the lack of a reward for what he willingly set out to do?

Debbie’s speech with Mark puts emphasis on the racialized aspect of this encounter. (To break my rule, this is in marked contrast with the exchange in the comics, wherein her emotions and she runs away crying.) There is an understanding between Mark and Debbie here: Debbie does understand the corporeal struggle that Mark has endured. There is a similarity between what Nolan represents and how he saw and spoke of Debbie and what Conquest represents and how much control he exerted over Mark’s body with little remorse. That these men came for the same reason, on behalf of the same Empire, strengthens the imagery of how these men treated Mark and Debbie: they are each victims of the same imperial ideology. This incarnation of them is allowed to be angrier, and stay truly hurt: this Mark and this Debbie recognizes what the violence upon them represents.

Anissa rejects the coercion inherent to the imperial system. The dynamic before and after she leaves Mark references and subverts her actions in the comics—this time, she refuses to take part in the loss of bodily autonomy, against the wishes of her masters. The framing posits this stress against the Empire as being equivalent to Mark’s conflict with his father, though while Mark was subsequently able to approach his father, to test their relationship, Kregg keeps her at a distance. She has known nothing but imperial control. There is no freedom for her within this system. Refusing to take part in this violation, even if she claimed that it was because of an external force, leads to her being berated. Mark understands that their circumstances are linked, beyond anything they said to each other.

The Empire did not assign Conquest’s violation in turn. Conquest’s parameters were open ended. It was his choice to confront Mark this way. Yet his understanding of his place in the empire makes it clear where these acts of violence exist in imperial systems. The Empire will never ask him for it, nor will they ever forbid it. The Empire will only push back against the refusal to allow it. The Empire lets it be. The Empire takes the good with the bad.

[genericpuff]

Sorry if you answered this already but what canvas size do you use for your regular drawings AND the comic 🌷🌷

Most regular drawings I do at either 8.5 x 11 (350 dpi) so that I can print them without too many sizing / cropping issues. Otherwise I use the standard B4 size at 10 x 14 (350 dpi).

For Rekindled, I always have my base files set to 2400x15000px. The height doesn't matter so much as that's just the length of a scrolling vertical webcomic, it can be as short or long as I need it to be. The width is always 2400px regardless of the length as it's a higher quality multiple of 800px which is a standard acceptable size for most webcomic platforms such as Webtoons (I don't post Rekindled to Webtoons, but I maintained the habit from when I worked on my previous comics there).

When I export my pages as PNG's, I reduce them down 50% to 1200px width so that they won't load too slowly on Tumblr or be refused by Dillyhub's size restrictions. That said, I always keep my original files at full size, the only thing I reduce is the PNG/JPG export, not the file itself. This means that if I do ever want to reuse the art for other things or share higher definition images, I can do so without forcefully scaling up the image exports.

When I create a brand new episode of Rekindled from scratch, it typically looks like this:

And then when an episode is finished, it looks like this!

Hope that helps!

[clotheshorsepodcast]

Just a REDUCE REFUSE RESIST check-in! How's it going for you?

As a reminder, it’s a boycott, but it’s also…a new way of life that includes

★ Shopping small and local ★ Looking for things secondhand FIRST ★ Revisiting our relationships with marketing, advertising, influencers, and shopping ★ Repairing, mending, and reusing ★ Learning new skills ★ Getting involved with our communities in an even deeper way!

I have to say that so far the "buying less stuff" has been kinda easy for me because I've been sick with the flu! I did mask up and go to a local grocery store on Saturday for things like juice and yogurt. The arrival of spring also makes me feel like "who cares about shopping?" because our yard is filling up with birds and it's just so nice to go sit outside. For the past few days, I have been able to hang laundry outside to dry, which makes me giddy when I think about the energy air drying saves.

So how's it going for you? One of the best ways to get others involved is to show that we're actually having a pretty great life without Target hauls and Amazon orders. So tell us how great you are doing!

If you're looking for more details and more info to share about REDUCE REFUSE RESIST you'll find it in the pinned post on my profile.