#Sketch Artist II: Hands that See

[bijoumikhawal]

Planning a Mallory Grace cosplay: The Ironwood Tree Dress, but more medivaler

This came about for two reasons: one, recently I've been making fabric flower corsages, mostly to wear on my head, and two, I was reminded of the imagery of green clad young women from medieval times.

If you know Mallory, you probably know this image. We have a few more useful images as well, but we won't be sticking to them; they'll just be inspiration.

From there four images we get the details that

the dress is mostly white with deep green accents

it has the princess cuffs over the back of the hands on the under sleeves

the over sleeves are angel sleeves

Mallory's hair is in a little ribbon cage with two silver flower pins

there may be a subtle flower brocade on the skirt

The skirt has two tiers of bottom ruffles and a border above them with three stripes

There appears to be a white underdress peaking out of the sleeves and skirt

I loved this dress design as a kid, but I think the bodice is actually rather unflattering. It reminds me of some armor breast plates, which is cool, but doing what's basically a paned sleeve as a bodice... makes me think of a pumpkin. This artistic difference led to me sketching a new design

This design is a houppelande underneath a boat necked cotehardie/kirtle with a shortened hem. I did another pass on the cotehardie design (see the left). I'm going to do the embroidery with silver clon cord and beetlewings I already have from another project. The neck is going to be cut even lower, and I'll make a lattice pattern out of ribbons or fabric strips over a sheer fabric to stabilize it. The embroidery isn't period, but it covering the bodice is inspired by some miniatures depicting that composition.

I also needed to scrap the ruffle on the houppelande- the fabric I wanted to use is an old dark green Ralph Lauren flat sheet with a rose jacquard pattern, and I don't have enough of it for a houppelande already. My solution to this is that I'll be color blocking the houppelande, and making up the difference with a complementary green fabric. The houppelande will be working with the circle theory.

I planned to use silver curtains I already had for the overdress, but it has this evil rubber backing fused on so it won't behave for this. I'll be in the hunt for an appropriate silvery fabric.

The original dress has no clear and specific historical source imo, other than it does resemble a boat necked cotehardie a bit. The hair, however, is clearly a coazzone. The most well known depictions of this are from 1490s Italy. However, in Spain it was worn at least between the 1360s and the 1530s. There are multiple theories about what exactly these were, including a veil that's been wrapped around a braid or ponytail with ribbons. I'd probably make a "fixed" version, so I wouldn't have to re-wrap the ribbons every time.

However, the cotehardies and houppelandes i was looking at were moreso mid to late 1300s. While the coazzone does fit that time in Spain, it has a late "feel". So I kind of want to make a bycocket in addition to a coazzone and flower corsages, to give me options for headgear. The bycocket is also called the "Robin Hood" hat, and it was worn by people hunting, traveling, hawking, etc. It seems to me like it functioned to protect the eyes and direct rain away from the face. I think it fits because the dwarves had a sword in with Mallory, which to me indicates some respect for her running about as a fencer. Additionally, one analysis of women depicted as wearing this hat by R. L. Pisetzky (Storia del Costume in Italia, vol. II, 1964-69) referred to it as a "rude oddity", "masculine/ambiguous", and that women wearing it had a "diabolic essence". The place I found it said this was too harsh, but I find it funny and it reminds me of the reaction the Pooka had to Mallory.

I may make a foam sword for photos/if I ever wear this to a con, but it's not pressing to me right now (this project will probably take awhile). I do want to make this as wearable as possible so various elements can be worn on their own or in combination with other things, which is why I didn't plan to make a single dress that just looks like two layered on top of each other, and why the over dress with be silver and not white (also I hate sewing white fabrics).

[anangelwhodidntfall]

Picasso II: Dad!JakeSully

Avatar Masterlist

word count: 1.4k

Request: Part Two of Picasso Part I, about how after they leave and arrive at the reefs. Like how would they react when they see Y/n's style and dyed hair? How they start living, adapting, and how both chiefs are with them and stuff. Just everything, let your imagination run wild!

A/N: This was supposed to be Ao'nung x reader, but I could help but think about what if Daughter reader fell in love with an original character from the Metkayina clan who loved her for how different she was.

OC: Äeka Te Veha Toi'itan

After nearly weeks of traveling on their ikrans, y/n's family had finally arrived in Awa'atlu, desperately seeking Uturu to get away from war. With an inaudible sigh, she shuffled closer to her twin, his heavy arm immediately coming to wrap around her tense shoulders, effectively grounding her as she wondered what was going to happen here. As she listened to her parents trying to plead for their sanctuary when her eyes landed on a boy about her age staring at you and your family. Y/n had to admit he was very pretty, he offered her a small smile as she smile back at him before turning back towards her family, hoping she would get to see more of him soon.

"These children aren't even true Na'vi." The Tsahìk said harshly as she held one of Lo'ak's hands in the air making y/n and Neteyam glare at her.

The following weeks had been a struggle for the whole family, but especially you and your siblings as some of the clan kids liked giving you guys a hard time for being different from them but not Tsierya she had become your best friend and the beautiful boy that y/n saw during their arrival was named Äeka he was a warrior in training like Neyetmam and he was so kind to them especially her. He would often seek her out during chores, or after training loving to sit and talk with her while she painted or drew, he has a lot of her artwork.

Speaking of her artistic abilities, y/n more often than not was in the artist's tent working on her drawings or learning about their styles and how they do the tattoos that they have. One day y/n had been in there after her chores roughly sketching a tattoo when Ronal saw it.

"That is very good my child, would you have any interest in learning how to do the tattoos on the skin?" She asked the young girl.

"I would love to actually." Y/n said as Ronal motioned for her to follow her over to her station where she already had a client.

A few days later Äeka had been searching all over for y/n, the young warrior had grown quite fond of the girl since her and her family arrived and not to mention how pretty she was and how different she was from the other Na'vi. He finally found her playing on the beach with her younger sister Tuk, who was building a sandcastle with a bucket of shells sitting by you two and as he got closer to you guys, he noticed that the pink was missing from your hair which made him frown.

"Hi y/n, hi Tuk. What are you girls up to this evening?" He asked as you looked up at him with a smile.

"Hi Äeka, we're just working on building a sandcastle and we're gonna decorate with these shells. Would you like to join us?" You asked him as he nodded his head taking a seat next to you.

"No pink today?" He asked you as you guys worked on the sandcastle.

"Uh no, I took it out. Not many people here are fond of it, as they like to remind me." You said quietly as Äeka frowned wondering who dared to say anything to you about your hair because he loved it.

"That's a shame, I always thought it made you the prettiest girl here." He said as y/n felt her cheeks warm at his word making her lower her head.

"Really?" Y/n asked him.

"Really, don't listen to what others say. They fear what they don't understand." He said brushing some of her hair out her face.

"You know my dad said the same thing to me." Y/n said.

"Well, he's right, so please consider putting the color back in your hair." He said as y/n nodded her head.

They spent the rest of the afternoon playing with Tuk and talking with each other until the eclipse started to happen and the two girls had to head home much to their dismays but Äeka offered to walk them home just to squeeze in a few more minutes with y/n.

Meanwhile, Jake had been outside the Mauri waiting for his kids to return when he saw y/n and Äeka laughing and talking while they walked home with Tuk a few steps in front of them, while it made him happy to see his baby girl smiling...it also stressed him a bit to think about her dating already.

"So you and Äeka?" Jake asked y/n not so subtly making Neytiri shake her head at him.

"Relax Dad, we're just friends nothing more. So please calm down." Y/n said making her mom laugh as she entered the Mauri.

"Hey, Mom?" Y/n asked her mother as they cleaned up from dinner while her dad was out of the home.

"Yes, sweetheart?" She asked.

"I was wondering if maybe tonight or tomorrow you could help me put the pink back in my hair? If you don't mind." She asked.

"Of course dear, we can work on it tonight while your dad is asleep, so it just stays between us and we don't have to hear how right he is." Your mom said making you laugh.

That night after her dad went to sleep, her mom helped her put the pink back in her hair promising not to out to let her dad know that he was right and that  Äeka may or may not have played a hand in it as well. Y/n woke up that morning and ate her breakfast feeling her father’s eyes on her as she ate. 

“Babygirl, I’m glad to see you put the pink back in your hair.” He said. 

“Thanks dad. I just missed having it there and plus it’s kinda annoying how many times people have thought I was Nete.” She said as she finished up.

“So this had nothing to do with what I said?” He asked her as her and her siblings shared a look. 

“Umm not really no! Look at the time, I got chores to do! Bye mom, bye dad!” She said running out laughing as Jake shook his head in disblief. 

“Nice try! You know I was right about your hair!” He yelled after her making her laugh.

"Y/n." Tonowari said causing the young girl to turn and look at Chief and bow her head at him.

"Tonowari, how may I help you?" She asked wondering what the chief wanted from her.

"Your father and  Äeka  have both come and told me about your artistic skills and I was coming over here to see if you would have any interest in becoming one of the clan's artists?" He asked shocking y/n.

"You want me to do the tattoos and everything?" She asked making sure she was understanding him right.

"Yes in addition to your father and Akea, my wife has always told me about how you have been studying the art of our clans and learning how to tattoo. I think you would excel in this area if you wish." He said.

"I would love to. Thank you so much for this opportunity!" Y/n said shaking his hand.

"Of course. Tomorrow morning just head to the artist's tent and they will get you all set up." He said before leaving.

Äeka had been finishing up his daily chores when he heard footsteps approaching making him look up and see y/n approaching him making him smile as he greeted her.

"You put the pink back in your hair." He said with a smile.

"Yeah I did...turns out you and my dad were right..but don't tell him I said that." She said making him laugh as he agreed.

"So Tonowari offered me a job today." She said making him listen with interest as he had been speaking highly of her art skills to the Olo'eyktan.

"He did? What kind of job did he offer you?" He asked her softly holding her hand.

"He offered me a job as an artist for the clan, thanks to recommendations from you, Ronal, and my dad about my art." She said with that smile that he swore he never get tired of seeing on her face.

"That's amazing sweetheart! Congratulations, I know that you are going to do so well." He said hugging her.

[vodika-vibes]

(You know who this is)

May I have Sev x female IT Ambrosia and Corriander a nsfw/steamy scenario for Sev's reaction and thoughts to what he sees and what he reads in the filthy sketchbook/journal please? 🥺🥺🥺🙏

(Lol, I keep picturing him just holed up somewhere for three days, reading, sketching and getting off and it makes me giggle x3)

Thank you either way hun.💛

You are an amazing writer and I hope to be as good as you someday! 🌻

The Journal pt II

Summary: Sev's thoughts when he has the journal, and then his first time with you.

Pairing: Clone Commando Sev x F!Reader

Word Count: 953

Warnings: Smut

Prompts: Ambrosia - love is reciprocated, Coriander - lust

Tagging: @trixie2023 @n0vqni

A/N: Sorry that this took so long...and that it's so short. Sev didn't want to agree with me here.

Sev absently runs his fingers over the fine leather cover of the borrowed notebook, the images etched on the paper flashing through his memory as he settles back in his bed and opens the book to the first page. 

The first couple of pages are rough sketches.

Rough sketches of her, his pretty little artist. Some of the sketches are more detailed than others, others are much more rough, just outlines, but even so, Sev can’t look away.

How someone so talented is living her life as an IT specialist for the GAR is beyond him. 

He flips past the sketches, pausing every now and then to admire some of the sketches of his brothers, or plants or buildings, before he gets to the first image of him.

Well. The first image of them together.

It is a very good drawing, very detailed, though he knows that she would have had to use her imagination on some parts. Even so, the image on the page could have come from his own imagination…or his own fantasies.

He skims the words written on the opposite page, but Sev quickly finds himself unable to focus on the written words in favor of the images on the pages. 

And here he thought that his crush was wholly one-sided.

He’ll have to do something about that. Later.

Sev flips through the notebook quickly, glancing at the pictures and skimming the half story that she’s written, a small smirk crossing his face as he looks at the pictures.

His cute little cyar’ika is kinkier than he thought, at least, she is if these pictures are accurate depictions of her fantasies. 

He wants to fulfill all of them.

Sev shifts, uncomfortable with how tight his blacks have gotten due to his arousal. That’s something else that he’ll handle at some other point in time. Later tonight, maybe, when he’s in the shower.

It’s the only place he gets any damned privacy after all.

He scans one of the images one more time, and then reaches for a sheet of paper and a pencil. If his cute little cyare is going to fill an entire notebook with her fantasies, the least he can do is share one of his own.

It’s only fair after all.

Sev is crowding into your space, his arm is folded over your head, and his free hand is resting gently on your hip. You know that your face is flushed, with embarrassment, yes, but also arousal. 

He leans in and catches your lips in a deep, hungry kiss. And you eagerly lean into the kiss, into him. 

Roughly he nips your lower lip, and then pulls away, but only far enough that he’s able to speak. “Where’s your room, cyar’ika?” He all but growls against your lips, and you really shouldn’t find that so attractive, but you really, really do.

Wordlessly, you take his hand and tug him further into your home, until you’re standing in the door to your bedroom. 

And that’s when Sev takes over again. 

He crashes his lips against yours again, and walks you backwards until you topple on the bed, landing with a startled squeak. A squeak that’s swallowed by him, as he follows you down to the bed.

Everything about Sev is intense.

You know this. You’ve known this. It’s part of the reason that you were so attracted to him from the start.

But now that he’s here, pressed against you, his hands sliding under your shirt to remove the material from your body, you’re finding yourself a little overwhelmed.

Sev pulls away and peppers kisses across your face, and then he pulls away a little more to strip your shirt off, and he tosses it to the side. And then he stops for a moment, and he lightly presses his hand against your cheek.

Something soft and adoring crosses his face, “Beautiful,” He murmurs, “I’m going to make you feel amazing,” Sev promises, “I bet you’ll be gorgeous when you fall apart around my cock, angel.”

Your face heats, and you turn your head to press your face against his forearm.

“Aww…my sweet girl is feeling shy?” He presses a kiss to your neck, down to your collar, and then kisses down between your breast and lets his lips linger on your stomach.

Your gaze meets his, and you smile softly as you reach out to thread your fingers through his hair. 

Sev hooks his fingers around the waist of your pants, and slowly tugs them down, “I need you to know, cyare.” He murmurs as he presses light kisses to the newly exposed skin, “I must have gotten myself off to those images five or six times.”

You giggle softly and then gasp when he nips your hip.

“Kept imagining you with me in the shower.” He murmurs, his gaze remains locked with yours as he slides down your body, “Your pretty lips wrapped around my cock, looking up at me with your pretty eyes.” Sev groans at the memory, “Soaking wet…and not just because of the water.”

His name slips from your lips in a breathy moan, and he chuckles, “Kept imagining you getting off on getting me off. Getting yourself all worked up because of me and my cock-”

“Sev, stop teasing-” You whine.

He laughs, “I haven’t even started teasing you yet, cyare.” Sev slides up your body, and kisses you, slowly and deeply. “I’m going to make you feel amazing.”

“Please.” You whisper to him.

“Well,” Sev kisses you one more time, “How can I deny you when you ask so nicely.” And then he pulls back and strips his shirt off, tossing it to the side. “I’m going to ruin you, cyar’ika.”

[thepastisalreadywritten]

What does Paddington have to do with the Queen?

It can all be traced back to 1986, when Michael Bond wrote Paddington At The Palace.

In the story, Paddington Bear goes to Buckingham Palace, waves a Union Jack flag, gets to see the Queen’s Guard, and even supposedly spots Queen Elizabeth II herself through a window.

Paddington would visit the palace again in 2006, this time for a pantomime called The Queen’s Handbag, which took place as part of the children’s party at the palace as part of the Queen’s 80th birthday celebrations.

The most recent collaboration came this year as part of a tribute for the Queen’s Platinum Jubilee (2022). 

In a comedy sketch to launch her televised Jubilee concert, Paddington and Queen Elizabeth II sit down in Buckingham Palace together, sharing afternoon tea, some bear-induced clumsy chaos, and naturally, marmalade sandwiches.

Now considered one of the most memorable parts of the Jubilee celebrations, the video has just over 10.2 million views on YouTube.

“It used to be said that millions of people had dreams in which they had tea with the Queen,” remarked Frank Cottrell-Boyce, the writer of the sketch, after the Queen’s passing.

“Even our dream life is going to have to change. Watching her have tea with Paddington will have to do instead.”

This wasn’t Paddington’s only appearance during the Platinum celebrations.

Artist Eleanor Tomlinson created an image of the Queen holding hands with Paddington, alongside one of the Queen’s corgis, as they walk through what looks like the aftermath of a Jubilee street party.

This image has now become synonymous with the Queen’s passing, with the picture circulating widely with various heartfelt captions and even being turned into commemorative tattoos. 

https://www.stylist.co.uk/entertainment/queen-elizabeth-ii-paddington-bear-connection/707799

🤍💜🤍

[gothdaddyissues]

The Devil Came To A Small Town

Chapter Five available on Ao3

or under the cut (~7000 words)

PUMPKIN SPICE LATTES - October 1st has arrived and the pumpkin spice latte has returned. A trip to the coffee shop ruins Izzy's day, while Terzo and an over-caffeinated Ghoul cause trouble for Copia.

TW: Public freakout/bullying/discrimination (with some payback)

Tags: OC female, Cardinal Copia, Papa III/Terzo, Dewdrop Ghoul, a little bit of Cirrus Ghoulette, a smidgen of Papa II/Secondo (he angy), OC male, Mutual Pining, Slow Burn, Ministry Hijinks, Idiots in Love, Karens in the wild, swears and cursings, No Beta (we die like Terzo), Google Translate Italiano

Catch up here: | Chapter 1 | Chapter 2 | Chapter 3 | Chapter 4 |

⛧⛧⛧⛧

October 1

Izzy yawned into the back of her hand. She was still exhausted. She had tossed and turned after waking up from that dream, unable to fully drift off again. She couldn’t get the images - and the feelings, and the fucking questions - out of her mind.

It’s nothing. Not a big deal. It’s just your brain being stupid. It’s because you saw him yesterday, and you were at the Abbey reminiscing about the old days, you were listening to that music on your walk, you haven’t gotten laid in years… Stop thinking about it. Stop thinking about him . It was just a dream… a dream in which you were getting absolutely railed. Dommed. By Copia. Copia , of all people. Awkward, shy Copia. With his face painted like a skull and calling himself Papa for some reason. Like a Daddy thing? Fuck, he was so Daddy, so sexy… hung like a… STOP IT. It doesn’t mean anything. It’s not real, he’s not really like that. Is he? What if…? Shit. Why am I dreaming about him? It has to mean something…

Round and round and round in her head until her alarm went off. And while she was in the shower. And even now, sitting at her kitchen table finishing her breakfast and drinking her tea. She had her iPad out, open on a drawing app, and she was lightly sketching the painted skull face from her dreams. 

While she didn’t consider herself an artist by any means, her skills were adequate thanks to Ari’s teaching in the past. The features of the face were passable and she had the paint pattern in the right spots. She even took the time to make one eye green and one eye white. She stared at it for a while, adjusting things here and there until she sighed and gave up. At the top of the drawing, she wrote “PAPA?” in big letters.

No more time for obsessing, she had to get her day started. Izzy snapped the cover on her tablet closed and paced across the apartment, shoving the iPad in her messenger bag hanging by the front door. She was full of anxious energy. It was another beautiful autumn morning, perfect for a walk, but she didn’t dare. She couldn’t be certain she wouldn’t wander off to the Abbey again since she was so irrationally drawn to this man. The fates were practically throwing the two of them together. And that was the absolute last thing she wanted to deal with today. She prayed she wouldn’t see him today at all - she couldn’t handle it.

She walked back to her bedroom to grab her phone, stopping at the altar in her living room, remembering the spell she had cast the other night. Copia’s business card was still there under the rose quartz crystal. She pulled it out and held it between her fingers, feeling the energy dancing around her. It was like the electricity she felt when she was in his presence. Those intoxicating sensations from her dream were twisting in her brain and her belly as if she were under his thrall…

Snapping out of it, she waved the card grumpily in front of the large statue of Lillith keeping watch over her sacred space. “Girl, please help me out here,” Izzy said to it, “Help me figure out what the fuck is going on with this man. I’m open to receive your guidance.” She tilted back the base of the statue and slid Copia’s card underneath it. “And please give me strength to get through this day.” 

It was just past 9:30. She needed Ari to come into the store early today, but had waited until a little later in the morning to call him so she wouldn’t wake him up. He answered it on the second ring.

“Hey hey, good morning,” he said cheerfully.

“You’re awfully cheerful this early,” she remarked, suspicious. “What’s up?”

“Whaddya mean ‘What’s up?’ It’s October 1st! That’s what’s up.”

Izzy had been so preoccupied this morning she’d completely forgotten. “Oh yeah… Happy First Day of Halloween then!”

Ari laughed. “The most wonderful time of the year! And, you know what else that means?”

“Ummm…. No?”

“Pumpkin Spice Lattes are back, baby!” He sounded jubilant.

Izzy groaned. “Ugggh, god, really? You’re really that excited about cinnamon and nutmeg in your coffee?”

“No no no, it’s so much more than that, Izz,” he explained. “It is the essence of Fall in a cup full of steaming hot deliciousness. It’s like mainlining Jack o’Lanterns right into your soul. Like bonfires, and haybales, and crispy leaves under your feet…”

She was laughing now. “Jesus, Ari, it’s coffee . Relax,” she teased.

“Hey, let me enjoy my Christian Girl Autumn, okay?”

“Okay, fine, fine,” she giggled. “But first, could you maybe come into the store a bit early today and open up for me? I have to go to the bank to do a deposit and get some change for the register. I want to get it done first thing.”

“Yeah, sure. No problem!” 

“Cool, thank you.”

“Since you’ll be at the bank, which is right next door to the coffee shop… maybe you could pick up a PSL for me on your way back? You know, just to thank me for coming in early?”

“Yeah, I can do that,” she sighed. “You’re so basic… but I love you anyways.”

“I love you too,” he said. “See you soon.”

⛧⛧⛧⛧⛧⛧

The coffee shop was busy - apparently, Ari wasn’t the only one excited about the return of the Pumpkin Spice Latte. Isabelle took a spot in the line and pulled her phone out of her pocket, figuring she’d scroll through her socials to kill time. 

One of the features of living in this small town was she knew most of the people there, or at least who they were. Taylor, Nick, and Kayla behind the counter. Jim the insurance agent in line behind her. A couple of her regular customers. Penny from the grocery store. Affluent realtor Diane Francis and her pseudo-socialite friend Giselle in line in front of her.

But with that knowledge came the ordeal of being known. Instead of burying her nose in her phone in peace, she had to exchange ‘hellos’ and ‘how are yous’ and polite small talk with those she was friendly with while trying to ignore those she wasn’t. She turned her attention back to her phone screen to avoid the disdainful glances from the two women ahead of her. Because, despite the fact she was a successful business owner and benevolent member of the community, Izzy was still considered persona non grata with the town’s wealthy elite. Her beliefs were too ‘unconventional’ and her past too ‘immoral’ to be worthy of their approval. She avoided them whenever she could; unfortunately not possible today.

The women turned away and resumed their gossip. “So, they’ve taken over the whole Abbey property,” Diane told her friend, “Can you believe it? They fooled us all! They claim to be a Church when there is nothing pious about them. They’re worshiping…” she lowered her voice only slightly, her eyes shifting back to Izzy for a moment, “... the Devil !”

Giselle gave a nervous laugh as if it were a joke. “No! You can’t be serious?”

“Dead serious. They’re called the Church of Emeritus… look them up! It’s right there on the website. They talk about ‘the Dark One.’ Rituals. Upside-down crosses. Satanists. In our town! It’s disgusting,” Diane complained.

“What can we do?” Giselle seemed panicked. “This is unacceptable! That sort of thing isn’t welcome here.”

The two of them continued nattering and Izzy tried to tune them out. But she was wary. These women and their well-connected friends could easily cause trouble for the Church and its members if they wanted - especially Diane and her real estate developer husband Andrew. Between them, they owned the most property in town and used their money and influence to control so much of what happened here. Crossing them was dangerous, especially when they had the mayor and police department in their pockets. 

Anxious and angry thoughts were swirling in Izzy’s head. Who the fuck do they think they are? Why do they get to decide who’s worthy of being here or not? These assholes might organize protests, or harass them, or encourage vandalism, or wage some hate campaign… I have to warn Sister Imperator. And Copia… Oh fuck, Copia. Don’t think about him. Not now…

The sound of her name snapped her back to reality. Taylor, the barista, was calling out to her: “Izzy? You ready to order?” The busybodies in line ahead had already ordered and stepped off to the side. Izzy was too preoccupied to notice.

“Oh, hey Tay. Yeah, ummm… two Venti Pumpkin Spice Lattes, please,” Izzy said sheepishly. “Sorry, I spaced out there for a second.”

“No worries, I know it’s crazy in here today,” Taylor said, giving Izzy the total. As she was paying, Taylor leaned in close to her. “Is what they’re saying about Windermere Abbey true? Did a Satanic church really move in?”

“Yep, it’s true,” Izzy replied, keeping her voice low, “I’ve had a couple of them in my store already.”

“Really? Are they cool? Have you gone to one of their… services?”

“Yeah, they seem like cool people. But I haven’t been to a service yet. I’m sure I will sometime, though.”

Taylor was wide-eyed with excitement. She was a gorgeous young woman, with vibrant red hair, glamorous makeup, and elaborate tattoos. She was a regular at Izzy’s shop and a devotee of the occult. Izzy wasn’t the least bit surprised she’d be interested in what the Church of Emeritus had to offer. “I’m gonna check them out!” 

“You definitely should!” Izzy encouraged. “Let me know if you do.” She moved aside to join the group of people at the pick-up counter, perching on the window ledge to wait until they called her name.

Diane and Gisele sat nearby, their conversation about the Abbey still going. The customers waiting alongside them were an uncomfortable captive audience. 

“We could have bought that property, you know,” Diane said, flipping the ends of her blonde hair behind her shoulders. “We seriously considered it. But it would have cost four times the asking price to fix it up. I don’t understand why it wasn’t just torn down. It’s a rat-infested dump! Appropriate for the people who bought it, I suppose.”

Izzy knew she should stay silent. Bite her tongue, get her coffee, and leave. But the urge to defend her new friends was too strong. “It’s not a dump,” she said, as calmly as she could, “They’ve fixed it all up and it looks beautiful. Completely renovated inside and out.” 

A few people perked up when they heard Izzy’s voice, turning their heads to see how Diane was going to respond to this. She stared down her nose: “Of course you would defend them,” she scoffed, her voice dripping with contempt.

“I’m not defending anyone,” Izzy shot back. “Just stating a fact.”

“Are we talking to you?” Giselle snapped. “Mind your own business.” 

“It’s everyone’s business. We should be grateful someone went through all the trouble and expense of saving a piece of our town’s history.” Izzy was regretting this, knowing it would not end well, but it was too late now. “Better than putting an ugly condo building or a strip mall shopping plaza there in its place.” 

She saw the look of shock on Diane’s face. But the woman composed herself quickly, crossing her arms over her chest and glaring at Izzy “What’s that supposed to mean? Are you insinuating something?”

“I know people on the Heritage Committee,” Izzy said, “They saw the proposal you submitted when the property went up for sale. You and your husband wanted the Abbey demolished so you could build there.”

“And what’s wrong with that? More amenities and conveniences mean more people stay and spend their money in town, rather than running off to the city. Modernizing is a good thing. It’s called progress, honey ,” she replied, smug and patronizing.

“It couldn’t have been that good of a thing if your offer was rejected,” Izzy countered.

“Well, that was a mistake on their part. The entire property has been a den of filth and depravity since the convent left. Burn it down and salt the earth.”

“What a horrible thing to say.” Izzy was fuming. “It’s a beautiful historic property that was worth saving. You’re just bitter because you didn’t get what you wanted.”

That did it. She could see the anger in Diane’s eyes as she stepped closer, pointing her bejeweled finger in Izzy’s face. “You wanna know what I’m bitter about? Weirdos and freaks like them - and like you - coming into my town and spreading your sick, godless beliefs. Since you’re so friendly with the Satan worshippers, why don’t you take all your spellbooks, and your crystal balls, and your jars full of bat wings and newt eyes, and move your profane little store down to the Abbey and off our main street? I’m sure they’re already your best customers,” she spat, “ We don’t want you here .”

Izzy flinched and lowered her gaze to the floor, humiliated into silence by this awful woman’s bullying. She bit her bottom lip to stop herself from lashing out with angry words. She wanted to give this woman a piece of her mind, but it was pointless. She shouldn’t have gotten herself involved in the first place. She saw Diane move away out of the corner of her eye, quite satisfied with herself.

“Izzy! Two PSLs for Izzy!” Nick the barista called out.

“What? Hey, no no no,” Diane stomped over to the pick-up counter. “Those are ours. We ordered before her!”

“She gets hers first because she’s nicer than you,” Nick snapped, motioning to Izzy to come up and claim the order.

“Excuse me?!” Diane was livid . “Don’t you know who I am?”

Nick rolled his eyes, not about to put up with this woman’s bullshit. “Yes Karen , I know who you are. You’ll get your coffee in a minute. We’re very busy today, as you can see.”

“My name is not Karen. And I want to speak to your manager. Now .”

“The manager isn’t available at the moment, unfortunately.” Nick was so very smooth and calm. “Also, the manager is my mother, AND she’s a regular at Izzy’s store. When I tell her what you said, you’ll be lucky if she doesn’t ban you for harassing our customers.”

“Harassing?! Me? But… but… She started it!” Diane sputtered.

Izzy took the opportunity to grab the two coffees from the counter and slink away while the argument continued and before Diane could yank them out of her hands. She glanced back to Taylor at the cash register, giving her a nod of thanks. Taylor shooed her away, mouthing “Go, go!” 

She made a beeline to the exit, past the long line of people waiting to place their orders, her eyes on the ground. All she wanted was to escape with a smidgen of dignity left. She got to the door when someone stepped in front of her, forcing her to stop and look up.

It was a silver-masked man from the Church of Emeritus. Izzy studied him for a moment before realizing it was not the same one who had been at the shop with Cardinal Copia. This one was shorter and leaner. She felt a gentle hand on her arm - not his, but someone beside her, also in a silver mask, only this one carved with female features. She looked at Izzy with worried eyes, tilting her head in concern.

“I’m okay,” Izzy whispered to her, understanding what she was trying to communicate. “Thank you.”

The woman nodded, turning to her companion and giving him a quick nod as well. He opened the door for Izzy like a gentleman.

“Thanks,” she said to him. “But watch out for her,” she motioned to Diane, still there waiting for her coffee, “She’s a nasty one.”

⛧⛧⛧⛧⛧⛧

Izzy hurried down the sidewalk with one coffee in each hand, her pace as quick as she could manage without spilling hot liquid all over herself. She took deep breaths as she walked, trying to soothe the anxiety tumbling around inside her head. It was only a short trip back to the store, but at this point, it felt like miles. Embarrassed, shamed, singled out - she just wanted to crawl into a hole and disappear.

There were footfalls behind her, speeding up to match her pace. She panicked. Oh shit, it’s her, isn’t it? She’s gonna yell at me in the street, she’s gonna throw hot coffee in my face…

“Izzy?” a male voice called out to her. “Izzy, wait up!” It was Jim, the insurance agent. He had been in line behind her and obviously saw the whole incident.

“Oh, Jim! It’s you,” she sighed, relieved. “I was worried it was Diane Francis chasing me down.”

He laughed. “Nah, she wouldn’t dare. Nick and Taylor were still giving her shit when I left, and the crowd was turning on her.”

“Damn, I’m sorry I missed that.” Izzy couldn’t help but let out a small chuckle at the thought.

“You don’t mind me walking with you, do you?” he asked. 

His office was just a block past her shop so she could hardly refuse. “No! No, of course not,” she said, “I don’t mind at all.”

Their pace slowed to something more comfortable, and Jim took a small sip of his coffee as they walked. “You alright?”

She shrugged. “Yeah, I suppose. I should have just shut my mouth and ignored them, huh? I made an ass of myself.”

“No, you didn’t,” Jim said, “It’s about time someone stood up to them and their sanctimonious Boomer crap. They can’t keep getting away with treating people like garbage.”

“Well, as long as they have all the money, and the land, and the mayor wrapped around their finger, they will,” Izzy lamented.

They came to the intersection of Main and Richmond Streets. Izzy’s shop was on the corner across the road. “Thanks for walking with me, Jim. Good to see you,” she said.

“You too, Izzy. I hope you know that most people don’t agree with her. About anything. But especially about you. I don’t know anyone here who doesn’t think you’re an awesome person. Don’t let what she said get to you.” He gave her a reassuring smile. “And don’t let it ruin your day, okay?”

“Thank you, I’ll try. See ya,” she called as she crossed the road. Jim gave her a little wave and went on his way.

The front door swung open as she approached. Ari had been waiting for her to return with his treat, and he was smiling ear to ear as she entered the shop, almost yanking the cup out of her hand.

“Coffee coffee coffee coffee…” he purred, before taking his first sip and sighing blissfully. “Ahhhh, yaassss. I’ve been waiting almost a whole year for this!”

“Good morning to you too,” she muttered. She left her coffee cup and messenger bag on the cash counter and continued into the back room of the shop, shrugging off her jacket as she went.

“Hmph, someone’s in a foul mood,” Ari observed, leaning on the office doorframe, “You should try some pumpkin spice. That will cheer you up.”

“No thanks. You can have them both. I don’t have the stomach for it right now.”

“Why not?” He followed behind as she came back to the counter to empty rolls of change out of her bag. “What’s the matter? What happened?”

She couldn’t hide it - Ari knew her too well. “I got harassed by Diane Francis and her minion Gisele while I was at the coffee shop,” she admitted with a sigh.

“WHAT?” Ari gasped, almost choking on his drink, “Why!?”

“Because they were talking shit about the Church of Emeritus: ‘Oh no, devil worshippers in our town! Whatever shall we do?’ And I couldn’t keep my mouth shut, so we got into it. She gave me the usual godless heathen spiel, she called us all freaks and weirdos, and told me that I wasn’t ‘wanted here.’ Wouldn’t’ve bothered me so much if it wasn’t in front of a shop full of people.” Izzy shook her head. “Embarrassing as hell.”

“Fuck those crusty old bitches,” he growled. “Dammit, Izz… It’s my fault, I’m sorry. I’m the one that made you go there.” He pulled her into a hug and squeezed her tight.

“Hey, no, it’s not your fault. I should’ve known better than to engage with them. It’s not like they’ve never talked shit to me before.” 

He held her for several long moments before perking up. “Hey! We should hex them!” he suggested. “They deserve it.”

Izzy couldn’t help but laugh. Ari’s comforting presence and sense of humor always made things better. She leaned into his embrace and felt the tension in her body melt away. “Yes, they do. But I don’t want to give them another thought. Let karma have its way with them.”

He pulled away from her a bit to look into her eyes. “Aww… no hexing?” he asked, disappointed.

“No. No hexing.”

“But can I still drink both coffees?” 

“Yes,” she said, untangling from his embrace and giving him a playful nudge, “You’ll enjoy it more than I will.” Izzy turned back to the cash register to finish refilling the cash drawer. “You’re gonna be buzzing from all that caffeine though.”

Ari took another long sip of his coffee and smiled, giving her a mischievous wink. “I’m okay with that.”

“I should probably give the Church the heads up about Diane Francis and all her friends. They could make things pretty miserable for them.”

“Yeah, good idea,” he agreed. “Gives you an excuse to talk to your sexy Cardinal friend, right?”

And just like that, Copia was at the forefront of her brain again.

Oh fuck…

⛧⛧⛧⛧⛧⛧

“I have never been treated so poorly in my life!” the angry blonde woman yelled. “My lawyer will hear about this.”

“You’re gonna call your lawyer ? About coffee ?” the male barista replied, stunned by the stupidity of her statement.

Cirrus and Dewdrop gave each other the side-eye, annoyed but not surprised by an entitled human’s behavior. It definitely wasn’t the first time they had encountered such a thing, but for once it was not directed at them.

“Yes! This is discrimination!” she continued, eliciting scoffs and exasperated groans from some of the other customers in the shop.

“Aww… poor rich white lady, such a victim,” Dew muttered under his breath.

Cirrus gave him a light swat on the shoulder. “Shhh,” she whispered, “Someone will hear you.”

One of the female baristas placed two cups on the pick-up counter and said: “Diane! Two PSLs for Diane!”

“Finally!” Diane huffed, rudely grabbing the cups and handing one to her companion. “Terrible service. I’m never coming back here again!”

The male barista dismissed her: “Yeah, you’ve said that before. See you tomorrow - have the day you deserve, ma’am!”

Dewdrop found the entire incident endlessly amusing. Nothing like a good public freakout. He knew he should mind his business and let her leave, but his disdain for unpleasant humans like her was too strong to pass up fucking with her. Just a little bit.

As she stomped, head down, towards the exit, Dew took a sideways step out of the queue to block her path. She stumbled into him, almost spilling her drink.

“Watch what you’re doing, you…” It was only then that she looked up and saw who she had run into. She squeaked in shock, her friend behind her letting out a frightened gasp. She was wide-eyed, staring into his mask in terror.

Dew just tilted his head slightly and looked her dead in the eye. Unmoving.

“M..mm… move,” Diane stammered.

Dew remained motionless.

“You… you heard me. Get out of my way!” 

He could smell the panic rolling off of her. He liked it. Again, he did not move and continued to stare her down.

She withered under his gaze. “Um… excuse me.” Still nothing. “Please?” she finally said, through gritted teeth.

Once the magic word was said, Dew stepped out of her way with a deep bow, sweeping his arms toward the door in a dramatic gesture. The women scooched past him as quickly as they could, keeping a wide berth. 

“Fucking freaks,” Diane grumbled as she walked out the door.

Dew couldn’t help himself. He placed his hands in the shape of a heart, then blew exaggerated kisses at her through the window as the two women darted away. He took his spot next to Cirrus again, his shoulders shaking in silent laughter. 

The two Ghouls patiently waited their turn to order, with hardly anyone else in the shop paying them much attention. A few gave them a double take - understandable - and they even got a couple of pleasant nods from people on their way out, likely a way of saying ‘thanks’ for putting that awful woman in her place. But otherwise, nobody said a word to them, good or bad. 

When they arrived at the register, the barista gave them a warm welcome: “Hi, hello! What can I get for you today?”

Cirrus had her phone out, open on the notes app, and she had already typed their order onto the screen. She held it up for the barista to read.

“Two Grande Pumpkin Spice Lattes for ‘Cirrus’? Excellent… Anything else?” she asked with a smile.

Cirrus shook her head and pulled out a silver credit card to make the payment.

“Are you guys from that new Church in town?” the barista asked. “I mean, I figured you were, but…”

Cirrus nodded enthusiastically.

“Cool, cool, Izzy told me about you! So uh, can anyone just show up there? Like, do you have open services, or…?”

Cirrus nodded again and held up her index finger in a ‘just a moment’ gesture. Her fingers flew over her phone screen as she typed, and then she held it up again.

“‘Sundays at 7:00. Windermere Abbey. All are welcome,’” the barista read. “Awesome! I’d love to come. I’ll be there this week. Do you have a website I can check out?”

Dewdrop reached into his jacket and pulled out a business card with all the relevant contact information on it and gave it to her, while Cirrus clapped her hands in excitement. 

“Thank you! I’ll see you on Sunday.”

The two Ghouls gave each other a little fist bump while they waited for their coffees. When they finally left the shop with steaming hot drinks in their hands, Cirrus pulled close to Dew and whispered: “Drink up, L’il Dewdrop… We gotta finish these before we get back. Sister Imperator will lose her shit if she finds out you’ve had caffeine again.”

⛧⛧⛧⛧⛧⛧

“The Magical Will is in its essence twofold, for it presupposes a beginning and an end; to will to be a thing is to admit that you are not that thing.”

Copia yawned. This was the third time he had read this sentence. It may as well have been in Greek for all the sense it made in his brain. At this rate, it would take him forever to get through this book.

He blamed it on another night of fitful sleep. The surprise visit from Isabella the previous morning had left him giddy. Her dark beauty, her smile, her laugh, her joy at seeing the Abbey returned to its former glory, her promise to return… all of it roused euphoric feelings in him that lingered as he went about his day. 

And oh, did it linger into the night. He awoke at some point past the witching hour with his hand down his pants, cock in fist and body tingling in release. Quite the mess to clean up too. He had been dreaming about her, but the details disappeared the moment he opened his eyes. After that, he never drifted back off fully, tossing and turning and burning with thoughts of her until the sun rose over the horizon.

And now he was struggling to keep his eyes open, blinking rapidly to keep the sentences on the book page from dissolving into a blurry jumble of letters. He fidgeted with his bookmark - Isabella’s business card - rotating it absentmindedly between the fingers of one hand while propping up his head in the other. This is not how he wanted to be spending his day.

There were three sharp knocks on his office door, and it opened without waiting for his invitation to enter. It jolted him out of his stupor, and he looked up from his book with a scowl, already annoyed with whoever thought they could just waltz right in…

“ Buongiorno Cardinale! ” Terzo greeted with a flourish.

“Ah, good morning Papa,” Copia deadpanned, “Thank you for knocking first.”

Terzo ignored Copia’s dispassionate response and sauntered right up to the desk, plopping himself down on the corner of it and making himself quite at home. “How are you fratellino ? I feel as though I have not seen you for days! Why have you been locking yourself away, hmm?”

“I’ve been busy,” Copia replied.

“Busy? This is busy? Reading?” He picked up the open book on the Cardinal’s desk, flipping to the cover to read the title. He made a face. “Crowley? Feh! Why are you reading this drivel?”

Copia pulled the book out of Terzo’s hands and laid it back on his desk. “It’s research , Papa. For the History of the Occult lecture Secondo and I will be giving in a few weeks.”

“Oooh, yes yes,” Terzo nodded, “I do recall that, now that you mention it.” He gave Copia a smirk. “So that’s what’s keeping you busy? And not…” He quickly yanked the business card from the Cardinal’s other hand, “... this?”

“Give that back, Terzo!”

Terzo hopped up off the desk and stepped out of Copia’s reach, holding the card delicately in his fingers to read it aloud. “Miss Isabella Bennett, Shadow & Light Metaphysical Boutique. This is the woman that Sister Imperator has been blathering on about for the last week or so, isn’t it?” He gave the Cardinal a lecherous look. “I hear she is very pretty. Dark of hair and fair of skin, with eyes so deep and warm you could get lost in them for days… She also enjoys exploring old, abandoned cemeteries, and chatting with shy, Satanic clergymen, so I’m told.”

Copia averted his eyes, feeling heat flush his cheeks. “And who told you this?” he asked quietly.

“Well, the Ghouls do like their gossip. Alpha was there in the greenhouse with you and Primo yesterday. And you know how close he and Omega are. Word travels fast.” He handed the card back to Copia with a wink. “No need to be embarrassed about it, fratellino . I think it’s sweet.”

Copia took the card and placed it in the book to mark his place. “And this is why you are here today? To give me your blessing?”

“Actually, no,” Terzo said, his demeanor becoming a bit more serious. He sat in the chair across from Copia’s desk. “I’m here to ask for your help.”

“Oh?” Copia raised an eyebrow, suspicious. “Help with what exactly?”

“Well, Imperator has been on my ass about the monthly expense reports for September,” he revealed, “It seems there’s a problem.”

“What kind of problem?”

“I.. I didn’t do them,” Terzo admitted hesitantly.

Copia rolled his eyes, “For fuck’s sake, Terzo,” he muttered.

“And so,” Terzo continued, tenting his fingers in front of him, tapping them together nervously, “I was hoping that maybe you… could do them for me?” 

“Ummm… no,” Copia replied flatly.

“No?!” Terzo was indignant. “What do you mean ‘no?’ I am your Papa. You are my Cardinale . You are here to support and assist me!”

“When you were Secondo’s Cardinale , did you do his monthly expense reports for him?” Copia asked.

“Of course not!”

Copia shrugged. “Okay, so… that proves my point, si ?”

“That was different,” Terzo insisted. “Secondo was - is - a control freak. Very bad at delegating. Plus we were nowhere near as busy then. Our congregation has tripled in size since then. I am just pulled in so many directions,” he waved his hands back and forth, “as you surely know.”

“Then perhaps you should hire an assistant?” Copia suggested.

Terzo scowled like a sullen teenager. “Imperator won’t let me have one. She says I can’t be trusted not to keep my hands off them.”

“She’s not wrong,” Copia said with a pointed look.

“Copia, please. I am not too proud to beg. Please! I will make it worth your while.”

Copia leaned back in his chair, crossing his arms over his chest. “Will you, now? What are you offering in return?” It was obvious to him that Terzo had just expected him to say yes to his request. He didn’t want to give in, but was willing to see what he might get out of this if he did.

“I’ll… ummm,” Terzo stalled. “Oh! I can help you with your bella signora strega ! I will help you woo her, win her. She will be on her knees for you in no time.”

An image flitted into Copia’s mind, fleeting, ethereal. Isabella, on her knees before him, pleasuring him. Sinful and submissive. It was the dream he’d had…  But as quickly as it appeared, it was gone. 

He cleared his throat, composed himself. “What makes you think I can’t handle that myself?” Copia scoffed, quite offended. “That’s your best offer? Insulting me?”

“No! No no no no, I do not mean to offend, Cardinale ! Truly. Of course you can win this lady, of course! I just meant that… well…” Terzo sighed deeply, his dignity gone. “Shit. Alright, look. You are smarter than me. Better than I am at administrative things. I freely admit this. I rely on you so much - we all do. You are indispensable here. And Imperator - she scares the fuck out of me. Do you know about these visions she has? I don’t want her on my bad side. She will curse me, I know it. Please, Cardinale, il mio fratellino . Help me.”

Copia actually felt a pang of guilt refusing him. He sat silent, regarding him for a moment. “All right,” he said, “I will help you. That does not mean I will do it for you. We will do it together. And I’ll help you set up a system so this doesn’t happen again. Capisci ?”

Terzo furrowed his brow, groaning: “Uggggh…”

“That’s the deal,” Copia said, “Take it or leave it.”

“ Inferno del cazzo . Fine,” Terzo grumbled.

“Good,” Copia nodded, “We’d best get started.”

They were about to stand when there was an urgent knock on the office door.

“Yes?” Copia called out. “What now?”

The door opened and Aether entered. “Hey boss… oh! Hello, Papa,” he greeted. “Umm, Cardinal, something happened in town today that I think you’ll wanna know about. Cirrus and Dew were at the coffee shop, and…”

“What?!” There was panic in Terzo’s voice.

“Why was he at the coffee shop?” Copia asked. “He knows he’s not supposed to have caffeine. Don’t tell me he…”

The sharp sound of glass shattering echoed through the long corridor. Terzo and Copia both flew to their feet, Aether rushing back out into the hallway. A Ghoul zipped full-speed past Copia’s door in the opposite direction of the commotion, with Secondo’s voice booming after him: “DEWDROP GHOUL! What did you do? Get the FUCK back here!”

“Dewdrop! No… oh no!” Sister Imperator was distraught. “The stained glass!!” 

“Oh shit…” Aether muttered, hurrying off down the hall after Dew.

Terzo and Copia made their way to the end of the hallway, where a crowd of concerned Siblings gathered around Sister Imperator, inspecting the damage to the window and the shards of brightly colored glass strewn across the floor. Siblings were whispering amongst themselves: “How did he get up there?” “He was literally climbing the walls!” “It was crazy…” 

Secondo leaned against the doorframe to his office, his arms crossed over his chest, glowering at Imperator. “‘Summon more Ghouls’, she said,” he sneered under his breath, “‘They’ll be so helpful,’ she said.”

⛧⛧⛧⛧⛧⛧

“Food’s here!” Ari announced as he entered the shop. He carried a large paper bag in one hand containing take-out from their favorite Italian restaurant in town, Brigantino’s - a late afternoon meal of fresh minestrone soup, salad, and just-out-of-the-oven bread. He brought the food into the back office where Izzy had already cleared off a section of the desk so they could eat, and began unpacking the neat take-out containers.

“Oooh, yum!” Izzy was excited to dig in. She was starving. “Thank you so much, Ari. You didn’t have to do this, you know.”

“I know, but I feel bad about what happened to you this morning, and I wanted to make it up to you. Plus, we’re officially in soup season now.”

“I’ll take soup over pumpkin spice any day,” she giggled.

Ari took out his phone and propped it against a stack of books on Izzy’s desk. “Wanna watch something while we eat?”

“Sure! But hang on… I’ve got my iPad in my bag. That’ll be better.” She got up and went to the nearby coat hook where her satchel was hanging, pulling out the tablet and handing it to Ari to set up.

He flipped open the tablet’s cover and the screen automatically lit up. It was still open on the drawing program Izzy had been using that morning, on the sketch of her skull-faced dream man.

Ari’s eyebrows shot up. “Oh-ho, what’s this? Who is Papa?” he asked.

The day had been such a messy blur of activity that it took her a moment to register what he was asking. “Huh?” He turned the screen around to show her and she gasped loudly, the heated flush of embarrassment burning across her cheeks. “Oh! Uh… nothing. It’s nothing… nobody, I mean…” She tried to grab the tablet out of Ari’s hands but he pulled it away and out of her reach.

“Nobody, hmm?” He gave her a skeptical, sideways glance before turning his attention back to the sketch, looking at it with an expert’s eye. “You haven’t drawn anything for a long time. I didn’t know you were getting back into that. Don’t be embarrassed - it’s good!” 

She realized he had no idea that it wasn’t the quality of the drawing upsetting her. Using that to her advantage, she played it off: “Yeah, I’m out of practice. It’s just a doodle, a face I saw in my dream last night. I felt like sketching it this morning.” She managed to tug the iPad out of his hand while he was still examining it. 

“Any reason why his eyes look like Copia’s?” he asked cheekily before slurping up a spoonful of soup.

Shit… do I tell him?

The jingle of the front door bell intervened before she could stammer out a response. A young man dressed all in black had entered the shop carrying a large box in his arms. Izzy took the opportunity to escape from Ari’s question, getting up from her desk and hurrying out to the shop floor to greet him.

“Hello! Welcome, how can I help you?” she asked.

“Uh, hi,” he said shyly, “I have something here for Isabelle?”

“That’s me!”

“Oh okay cool, here you go!” He handed the box over to her and left as quickly as he came.

She placed the box down on the counter, suspicious. A nondescript person delivering an awkwardly shaped box to her shop the same day she had publicly gotten into it with one of the town’s most well known - and vindictive and petty - residents. The anxiety-controlled part of her brain was terrified to open it. 

Ari appeared in the doorway, munching on a piece of bread. “What is it?” he asked.

Izzy shrugged. “I dunno.”

“Are you going to open it?”

She shook her head. “I’m scared. What if it’s from Diane Francis? What if she sent me a dead animal or something?”

“Only one way to find out,” Ari said, approaching the box and slowly lifting the top off of it. He peered inside, his features tense for a moment before relief washed over his face and he smiled. “Definitely not a dead animal,” he assured her, motioning for her to come look.

Izzy peeked inside and gasped. In the box was a bouquet of flowers. Beautiful flowers, not at all your typical grocery store arrangement. Delicate pink carnations, black dahlias, and crimson amaranthus surrounded by emerald green foliage. There was a small envelope tucked in between the stems. 

“Who’s it from? Who’s it from?” Ari asked excitedly.

She opened the envelope and within found a small card that simply read: ‘Hope this brightens your day!’ No name or signature. Behind it was a $50 gift card for the coffee shop. She handed both over to him. “It doesn’t say.”

“Obviously somebody who knows what happened today, though,” he observed, “Coffee shop employee? Maybe the owner? Or just someone who was there and felt sorry for you…” He turned the cards over and inspected the envelope, just to make sure they weren’t missing something.

“There were dozens of people there this morning. Could have been any of them… but why wouldn’t they sign it?” 

“They don’t want you to know, I guess. A secret admirer?” Ari wiggled his eyebrows. “Maybe Jim the insurance guy? I saw you walking back with him.”

“I highly doubt he would do this,” Izzy mumbled.

“Why? Didn’t you guys used to date?”

“Yeah, for about three months back in high school. Does that even count as ‘dating?’”

Ari laughed as he walked back into the office. “If it does, then by that criteria you dated half of the boys in school.”

“And that would mean you dated the other half,” she shot back, grinning. She stood there for a moment, admiring the gorgeous flowers, savoring their rich, heady fragrance. She brushed her fingers along the petals of one of the carnations. There was a familiar energy there that made her tingle in all the right ways. At that moment, she knew exactly who sent these. The silver-masked couple must have gone back to the Abbey and told them what happened. 

The flowers were from Copia.

(bonus moodboard for this chapter)

[jonfarreporter]

The Bay Area Figurative Art Movement is Not Dead!

When most people think about art and the movements that shaped it in our society, they usually think of places like Paris or New York. Yet few know that one of the most significant art movements was centered right here in the San Francisco Bay Area. It's called, "The Bay Area Figurative Movement".

On January 5, Sausalito Center for The Arts (SCA) installed one of largest and most comprehensive Figurative Art exhibits of its kind with over 18 artists displaying up to five pieces each. “Sausalito Center for The Arts has the space for it and we are so pleased and honored to provide it,” said SCA Executive Director Shiva Pakdel. 

The exhibit entitled ‘Third Generation: The Bay Area Figurative Movement Today,’ is curated by established artists Susan K. Kirshenbaum and Catherine Merrill, (seen in photos above). They are also participants in the exhibit. Their individual careers in art span the period from what is regarded as ‘the First Generation’ ‘the Bridge Generation,’ and ‘the Second Generation.

Both curators spoke about how much the exhibit means to them and the other participating artists. As they explained and as websites like The Art Story. The Bay Area Figurative Movement (also known as the Bay Area Figurative School; or Bay Area Figurative Art, Bay Area Figuration, and similar variations) was a mid-20th Century art movement founded after World War II in the 1940s. It was made up of a group of artists in the San Francisco Bay Area who abandoned working in the prevailing style of Abstract Expressionism in favor of a return to figuration in painting. 

“The art history textbooks say the movement ended,” said Kirshenbaum. “It didn’t end, it’s still going on!” She exclaimed. “We describe ourselves as ‘The Third Generation’ of the movement because we are the group of Figurative artists that are post-1970 and beyond,” said Kirshenbaum. “We may not be included in the textbooks yet,” she added.

(Seen in this photo is participating artist Charles Stinson).

The use of live models is important to this type of artwork,” said Merrill as her work is primarily sculpture and the human form. “People (especially Americans) often get upset over the depiction of the human body in art. I don’t get upset,” said Merrill, I celebrate it.” 

Figurative art is basically any art (be it painted, sculpted or sketched) that illustrates real life forms and imagery. A model can be a person or anything that is from actual real life that the artist uses as inspiration to draw, paint or sculpt. 

(Seen here in photo is artist, Mary Graham)

Figurative art has been going on for centuries,” said Merrill, from the ancients to the Renaissance period and beyond.” Both Merrill and Kirshenbaum chimed almost in unison “It has always been with us!”

Merrill wanted to clarify that the reason the exhibit at SCA is so significant is because as she said. “We as a culture are in the midst of the technological revolution,” she said. “But Figurative art is about working with one’s hands, rolling up one’s sleeves and connecting to the work, it’s not on a screen, added Merrill, it’s live.” 

“I’m not interested in the abstract concept art that doesn’t express humanity,” said Merrill. Kirshenbaum agreed, saying “the live interaction between artist and model/scenery builds a story from it.”

This is not to say that artists like Kirshenbaum, Merrill and others shun technology. It’s just that they can see where important skills are being lost or under-utilized. “I use digital technology to help in my art,” said Kirshenbaum. “But I can see were that the basic foundations of art making is are not being taught as much in art schools.” “I consider technology a tool, said Kirshenbaum, but an artist must have learn the basic skills; sketching-drawing, painting, sculpting and so forth.”

In putting together the exhibit, Pakdel, Kirshenbaum and Merrill wanted the works featured to be extensive, diverse and inclusive of as many of the top Bay Area figurative artists as possible, providing each artist with a mini-show within the show. “This type of art takes work, said Merrill, while the hands and the brain are integrated, there’s an intrinsic connection that goes beyond thoughts in the head.” “The human body, said Merrill, and the entire physical world is so alive it thinks on its own apart from what we think and get stuck on just in our heads.”

COVID-19 made a considerable impact as Merrill noted. “The pandemic isolated us from one another and distanced us from the galleries.” “Yet ironically the isolation of the pandemic pushed some artists to do some of their best work.” 

The exhibit hopes to express not only the talent of the participants but also the joy at being able to gather and experience art together as a community. The participating artists are: Joseph Abbati  ~  Douglas Andelin  ~  Madelyn Covey  ~  Jane Fisher  ~  Mary Graham  ~  Isidoro  ~  Susan R. Kirshenbaum   ~  Catherine Merrill   ~  Stephen Namara  ~  Diane Olivier  ~  Sharon Paster  ~  Fernando Reyes  ~  Alex Rosmarin  ~  Randall Sexton (deceased)  ~  May Shei  ~  Sandra Speidel  ~    Peter Steinhart  ~  Charles H. Stinson

‘Third Generation: The Bay Area Figurative Movement Today’ exhibit will be on view at SCA from Jan 5 until 28th, 2024. A Reception will be held on Saturday, Jan 20th, at 2 PM until 5 PM. Refreshments will be served and there will be live music.

A Closing Party will take place on Sunday, Jan 28 from 3-6 PM, including a Book Talk, a Roving Art Model, and Artist Talks. For more information visit the Sausalito Center for The Arts website.

[panzsan]

Evening Flight

My final film for my Animation II class. A lot of things inspired this, so I'm glad Tumblr lets me write really long blogs (b^_^)b

The Style

The spark of this whole idea was Royal Space Force, a 1987 film by Gainax. I've seen some gifs of it, and finally watched it during the semester. I was blown away by the animation and world-building. I haven't seen anything really like it before, and it reinforced my love for traditional 2-D animation.

I used the movie to guide the style I wanted: Grounded, realistic movements, painted backgrounds, a focus on detail, etc. It was a massive challenge, since I haven't done things like landscape paintings before, but it taught me a lot and I think I'm a better artist now because of it. It also really made me appreciate the work of past artists a lot more. Painting backgrounds and drawing cels was already hard enough digitally, I can't imagine it doing it by hand!

My first idea was to do a dogfight sequence. Thankfully I realized that would be way out of my ability so instead I took inspiration from this flying sequence in the movie. It would let me focus on painting backgrounds and limit the amount of detailed animation I had to do, which turned out to be invaluable once the deadline started approaching. It would also let me take inspiration from those edits people do of fighter jets flying to synthwave (like this one)

The Plane

Since this whole thing was about a plane flying around, the design of the place took precedence. I based my idea off the planes from Royal Space Force as I really liked the idea of their unorthodox design showing that they come from a world different from ours.

I went through a couple of designs. I kept the rear-placed wings but wasn't really sure exactly what type of plane it should be. I considered a push propeller design but couldn't get a look that was satisfying. It did, however, lead me to finding some interesting designs from WW2

Eventually I decided on roughly an early-Cold War interceptor. The F-86 played a big role since it was an example of an early jet. I used the A-4 for reference when designing the engine and intake layout. Although its not designed to be a fighter, it did have the short and compact look I wanted. The X-29 also showed me how foward-swept wings could be set up.

Eventually I came up with this, a single-seat, single-engine interceptor with two small cannons in the nose and two larger ones in pods on the wings.

The Pilot

I knew from the get-go that I wanted my pilot to have a tomboyish look. This is because I watched Gunsmith Cats and thought Rally was really cute.

Early sketch:

First Design:

The design of the helmet was tricky. I wanted something that also felt unorthodox, so I looked at some interesting designs I found on twitter

I also took some inspiration from Patlabor, another classic anime series I watched. I liked the look of the "headband" the mech pilots had on their helmets, and decided to include them on my design

The design of the flight suit was largely based off this artwork by @Zen_jirakun on Twitter. I loved the look of the large jacket combined with the sleek undersuit. I tried to give it my own spin by using the aesthetics of fighter pilot gear.

As I started working however, I quickly noticed that the helmet was way too over-designed. Noticeably, the cheekpads were a weird shape that would be hard to keep track of during movement. I had to scrap that design and come up with one that would be easier to animate. Luckily I stumbled upon the Russian GSh-6, a high-altitude helmet worn by Mig-25 pilots. Not only did it have the unorthodox look I wanted, but it was also a lot easier to draw, and thus became the basis of the revised design.

Some Background Paintings

To close out this post, I'll share some BG stills, cause I worked hard on them and want to make sure people can see them d(ﾟｰﾟ@)

[jpdoingart]

Masterlist

Some of my original work is available to buy as prints here. If you are interested in having any of the work you see here made available to have as a print, feel free to ask. It's easy to arrange! 😊

You can also access the full visual archive of my posts here.

Fanart

Assassin’s Creed Odyssey

Alexios: Bow Study || Bright Colours || On Holidays || Head Studies Brasidas: Collection || In ‘Spartan Scene.’ || Wreathed in Gold I || Being Woken || At the Beach || Like a Saint || Like a French girl? || Black and White || Wreathed in Gold II || Head Studies || Watching the Wrestling || Contemplation || Pomegranate Nikolaos Thaletas: Thaletas || Head Studies Herodianos: Character Design Ship: Thalexios - Beneath the Trees || Fic Cover: Love Me in Storms || Tender Ship: Alexidas - Collection || Trying New Things || A Private Moment || Stormy Seas || Forehead Kisses || On Holidays || A Shady Spot || PFPs || Brasideia 2023 || Oof Ship: Alexithenes: One Night in Athens Ship: Herodietas - Painting

Assassin’s Creed Valhalla

Male Eivor: Armour Study collection || Armour Study 1 || Armour Study 2 || Head study Ubba Ragnarsson: Collection Ship: Ubba x male Eivor: Collection || An Intent Look Sunniva Ivarr & Halfdan Ragnarsson

Other Media:

Hades (Game): Ares: Collection || Modern Ares Ship: Thanares Ship: Zagares - In Elysium The Sandman: Dream of the Endless (Trapped) Pyre (Game): Volfred Sandalwood

Original Characters

Roman:

Hand of Fortuna (published novel): Lartia || Lartia tipsy Gates of Janus (WIP novel): Titus Lartius || Titus Lartius and Juventa

Spartan:

The Good Spartan (fanfic, on AO3): Antidas: Collection || Scene - Panel One || Pose Studies || Smiling || Redesign (w/ short hair) Adimantos: Collection || Pose Studies || Relaxing Bardas

Hollow Lakedaimon (WIP novel): Eukleidas

Spartan Scenes: In the Gym || It Started with a Thwack || The Palaestra (Trad media) || WIP The Gymnasium || Training the Horses || Adimantos, Brasidas, Antidas

Ancient art redraws:  Spartans Hunting Boar ||

Other:

Arity (WIP novel) : Jimmy || Two Portraits The Artist (WIP novel): Fred || Agricultural Worker (1920's) Lief & Ember (Minecraft OCs) : Sleeping || Lief portrait Colour Studies: Man in Sea || Sadulaev (Olympic Wrestler)

Art of Things Other than People

Colourful Things: Colourful eggs || Egg = Olive? || Colourful Things ||Trees || Flowers in the Clouds || Olive Tree || More Colourful Things|| Symbolic self-portrait ||

Realism: Landscapes: Ancient World (sketches) || Sparta ||

[jcmarchi]

Weaving memory into textiles

New Post has been published on https://thedigitalinsider.com/weaving-memory-into-textiles/

Weaving memory into textiles

In 2021, a curator at the Smithsonian Institution contacted Chloé Bensahel, currently the MIT 2023-24 Ida Ely Rubin Artist in Residence, and told her about some objects that had been made for space missions. “They were weavings of conductive yarn with magnetic pieces in them,” Bensahel says. “After World War II, you had these really powerful computers but no way to store data, so scientists at MIT and Harvard came up with this magnetic core memory. It was the last moment, I think, in computing history when information was visible: You can actually see the code because of the little magnets that were turned on or turned off.”

What really captured the attention of Bensahel, who works with textiles, is that those items had been woven by hand at MIT. “They’re the result of two histories in New England that are coinciding: the declining textile industry and the increasing space research,” she says. “Legend has it that the women who were getting laid off from the textile industries got hired by MIT to make these objects. They were weaving here on campus.”

Play video

Activating Textiles: Weaving the Future with the Past

Reinventing codes

Eventually, Bensahel connected with Zach Lieberman, an adjunct associate professor who runs the Future Sketches group at the MIT Media Lab, who applied for a MIT Center for Art Science and Technology (CAST) grant to bring her to campus as a visiting artist. The pair share an interest in various forms of code and communication — Bensahel, for example, sees textiles as carrying information, not just in what they visually display, like, say, a slogan on a T-shirt, but in the very way they are made. Now, they are working together at MIT, which has been unfurling in connection with Bensahel’s residency at Villa Albertine, an arts institution launched in 2021 by the French Embassy in the United States that supports cultural exchange between the United States, France and beyond, including offering more than 50 residencies each year for artists, thinkers, and creators across all disciplines.

Bensahel is building on MIT’s groundbreaking legacy in the weaving of memory technology, which complements the research conducted by her MIT collaborators, whether they are faculty members or research assistants. “We’re primarily software-oriented here,” Lieberman says, referring to his group. “We are working in the realm of bits and with language. Chloe’s work is also really intimately concerned with language, but she’s coming at it from a perspective of materials and trying to figure out how to weave them in different ways, and connect with electronics and sensing.”

Theory and craftsmanship

Born in France, Bensahel moved to the United States when she was 7. She attended Parsons School of Design, in New York City. She specialized in integrated design with a focus on textiles, and graduated in 2013. The coursework was essentially theoretical and philosophical, though, and afterward Bensahel moved to France to hone her craftsmanship. “I wanted to learn with my hands, not just my mind,” she says — no doubt making her a perfect fit for MIT, whose motto, “mens et manus,” translates as “mind and hand.”

This interest in the interaction of the physical with the ineffable continues to guide her art, which essentially renders communication tactile. “Chloe’s work is so much about listening to materials and finding ways to hear how they talk, hear the sounds that they make,” Lieberman says. This approach is in evidence at a forthcoming exhibition “Tisser L’Hybride: Chloe Bensahel” at the Palais de Tokyo in Paris, which features three interactive tapestries. According to Bensahel, the artwork in the exhibit and what she is doing at MIT are “not going to be directly connected,” but she also points out that “they benefit from one another, for sure.”

Indeed, keeping an open mind to different fields and different ways of thinking has been enriching Bensahel’s time on campus. In addition to such public-facing activities as a presentation and demonstration at the MIT Museum’s After Dark series, in March, she has been actively collaborating with various entities, faculty, and students. For instance, she has been leveraging prototyping equipment and exploring potential industrial applications of her work with the public-private partnership Advanced Functional Fabrics of America, of which MIT is a member. “I love that something that could  be in a museum could also be in a hospital,” Bensahel says. AFFOA staff members Jesse Jur, director of technical program development, and Frannie Logan, textile technologist, have been providing technical support as well.

Thriving on collaboration

Interlocutors on campus include Azra Akšamija, the director of the MIT Future Heritage Lab, and Vera van de Seyp, a research assistant in the Future Sketches group, whose interests and experiences complement Bensahel’s. “A lot of my work is text-based and I’m not a typography or graphic designer at all, so it’s really nice to work with Vera, because what we’re essentially doing is thinking about form and function at the same time,” Bensahel says. “I’m working on how I can make a textile that can be magnetized, in the way that magnetic core memory was magnetic. I would like for it to tense up or move in different ways, so that essentially you have a textile that can assemble in different ways.”

Most of all, perhaps, it’s the constant intellectual activity at MIT that has spurred and inspired Bensahel, who relishes the opportunity to integrate perspectives that are new to her. “I’ve had a lot of really eye-opening conversations on what magnetism means,” she says. “I just had lunch with a researcher and she was like, ‘Bacteria sometimes have magnetic fields to know how to grow.’ This place, it’s really about the people,” Bensahel continues. “It’s a very dense group of brilliant people so no matter who you’re running into, they’re going to have this very powerful depth of knowledge in one specific field. Being here also shifted my perspective: I didn’t really consider myself a researcher, or a scientist for that matter, and I feel more comfortable in that space now. Every day, I find new applications or new directions.”

[c-mccormick-svad-2022-2025]

(ARTS266) 50 Words & 100 Drawings

During the last three weeks of the Illustration II course, I was given the task of coming up with 50 words and creating 100 drawings. These drawings would then be used to generate ideas or themes for the first project, the Merch Campaign Project. I am required to use the 100 drawings to create a merch line that reflects my personal design and art style. The illustrations have to be hand-drawn, either on paper or digitally, and have to be a personal reflection of my individuality as an artist and creative. Initially, I found this assignment to be challenging, as 100 drawings seemed like a daunting task. However, the assignment helped me break away from the mindset of striving for perfection and embracing the unpredictability and looseness of the pen.

I developed a schedule to start my project, where I aimed to create eight sketches or drawings per day, each one timed for five minutes. My primary goal was to put my ideas onto paper and later return to them to add more details or go over the pencil sketch with a pen. I followed this process for three weeks, seven days a week, and I am delighted to say that I managed to achieve my goal. Upon reviewing all of my drawings, I observed that they fell into five distinct themes, which included flowers, animals, patterns, made-up characters, and geometric line art and backgrounds. Among all the things I created, my favorites were the animal studies against the geometric background, the black and white geometric patterns, and my original character series. Drawing animals was a lot of fun, and during the critique, my professor suggested that these could make an excellent design for a zoo's branding. This made me really excited because I love going to zoos, and studying animals and wildlife, and designing for those places would be a dream come true! My professor also advised me to move away from the boldness of black and white and incorporate color only into my animal geometric drawings. This would be a fun way to experiment with color theory and a nod back to the work I did in my Color and Composition course during my sophomore year at UofSC!

I created a series of geometric patterns that were well-received. They were by far the easiest drawings I came up with for this assignment. I draw inspiration from the legendary Disney artist, Mary Blair, for much of my geometric work. Experimenting with geometric patterns has become a beloved way for me to express myself as an artist. All of the designs were original, and I didn't use any references. I allowed my creative juices to flow and I loved the end result. The professor encouraged me to play around with these designs using textile materials, such as rugs. It would be so much fun to create these patterns on rugs, and it's definitely a project idea I want to tackle in the future!

The third group is called the "little buddies" series, in which I drew expressive, confused little characters who float around. My professor suggested that these characters have the potential to be really funny, graffiti-like, and cartoonish, which are all elements I love. While I'm not sure if I want to go in this direction for my project, I plan to experiment further with these three designs to see which ones I like the most.

[arifreko]

Understanding the role of AI technology in reviving painting: Inspirational Story Denny Ja

Introduction In this increasingly advanced digital era, artificial intelligence technology (AI) has brought major changes in various aspects of human life. One aspect that is also positive for the development of AI technology is the world of painting. Painting, as a form of visual art expression, has become a subject of exploration for many talented artists. In this article, we will explore the role of AI technology in reviving painting, using the inspirational story of Denny JA as an example. I. Introduction to Denny JA Denny JA is a famous painting artist in Indonesia who has carved his name in the world of art. He is known for his unique and innovative work, and his love for the use of technology in art. In the course of his career, Denny JA has used AI technology to create amazing works of art. II. The role of AI technology in painting Artificial intelligence technology has made a major contribution in reviving painting. AI allows artists to create works of art that are more realistic, innovative, and stunning. With the help of AI technology, artists can produce works of art that were previously difficult or even impossible to achieve in the traditional way. a. Increase precision and realism In ancient times, artists must paint with free hands, with the risk of making mistakes that are difficult to fix. However, with AI technology, artists can use software that can analyze and replicate hand movements with higher precision. This allows artists to create more realistic and detailed images. b. Exploration of new creativity In painting, creativity is the key to creating unique and original work. AI technology can provide extraordinary support for artists in exploring new ideas by providing inspiration, suggestions, and visual references. With the help of AI technology, artists can exceed their creativity limits and create more innovative works. c. Speed up the work process In the world of painting, the work process often takes quite a long time. However, with the help of AI technology, artists can speed up the process of their work. AI technology can be used to create initial sketches, choose the appropriate color palette, and even apply visual effects quickly and efficiently. This allows artists to achieve the final results more quickly and effectively. III. Inspirational Story Denny Ja Denny Ja is a real example of an artist who utilizes AI technology in his painting. In the course of his career, Denny Ja has created artwork that combines traditional techniques with AI technology. He used a computer program to create an early sketch and design a complicated motif. After that, Denny Ja painted manually using his skills and applying the final touch using AI technology. With this approach, Denny Ja has succeeded in creating extraordinary works of art. His work shows the beauty and uniqueness of the paintings produced through human collaboration and AI technology. The inspirational story of Denny Ja is proof that AI technology can be a strong tool for artists to revive painting. Conclusion Artificial intelligence technology has brought big changes in the world of painting. The role of AI technology in turning on painting includes increased precision and realism, exploration of new creativity, and the acceleration of the work process. The inspirational story of Denny Ja illustrates how AI technology can be used as a strong tool for artists to create unique and innovative works of art. By continuing to explore the potential of AI technology, we can see more amazing developments in the world of painting in the future.

Check more: Understanding the role of AI technology in reviving painting: Inspirational Story Denny JA

[artscholartracy]

Sketch Book 1

1. WRITING AND RESEARCH –

A little-known fact about me is that I love dot-to-do.t Not the simple child type but the adult “extreme” types. I am also, color blind.  I can tell the difference between colors (red, green, but not the hues, tent, tones, shades of colors (red, scarlet, rose).  Sometimes blue, black and purple look the same.

The art work assigned to me is Georgia O’Keeffe’s 1919 Music in Pink and Blue II.

 

5 New Facts:

This is an oil painting

Georgia O'Keeffe was fascinated with what she called "the idea that music could be translated into something for the eye”.

Georgia O'Keeffe created Music, Pink, and Blue amidst her transition from being a teacher in Texas to becoming a full-time artist in New York.

In Music—Pink and Blue II, the swelling, undulating forms imply a connection between the visual and the aural, while also suggesting the rhythms and harmonies that O’Keeffe perceived in nature.

The misreading of her works is one of the main reasons she transitioned from abstract painting to modern art.

When I first saw the picture, I liked the colors and saw an upside-down flower or upside-down wine glass. As I read more about the painting, I understood that the colors represent what she “saw” when she was listening to the music and the flow is how she sees it in nature. I can’t help but wonder what music or witch style of music she was listening to at the time. It says that the hues of colors are in bright blue, green, vermillion, and purple.  I then wonder what I am missing from the picture since I only see blue, pink or purple.

2. ART AND WRITING

So, when I looked around my house to “select a work of art” that means something to me, I realized I do not have any “art work” hanging in my house.   I have photos of family and friends posted around the house. I have family furniture and dishes that was handed down. These are the things I value; they center around my family. Photos are the art work shown and displayed. The furniture could be considered art work also.

3. WRITING A SELF-PORTRAIT

The baggage I bring along when looking at art is my color/shade blindness.  I am 49 years of age. I am a Caucasian female, born in Saint Petersburg Florida, raised in Brandon Florida and now reside in Nokomis Florida. I am a Head Start/Early Head Start Teacher. I have a same sexed partner, we have seven children, and two nieces that we are raising. Luckly the youngest is 16 and only 3 are still at home. We have 5 dogs, 2 dragons and 1 sulcata tortoise. For fun I like camping, outdoors, upcycling and building/making things.

4. ART PROJECT (SELF-PORTRAIT)

[ravenite-reblogs]

working between commissions and lowkey falling into a block because I haven't taken a technical art class that isn't about stupid design in a while so I might just do a bunch of studying again and post sketches from that...

RANT/VENT:

one thing i do like about this fandom is being able to look at art I like for hours and sort of adopt it into my style... esp seeing how more experienced n educated artists draw things I struggle with helps a lot, sometimes I feel like bc i'm self taught there's always a lot of stiffness and bad habits that I have kind of developed into cheating my art to look alright but then when it comes to the actual anatomy, understanding of the shapes and structure behind it, it's always been just the trying to find ways to cheat it... and it is always frustrating that I don't have professors and other artists to refer to for critique when I feel like this because nobody in this godforsaken shit city offers good fucking fine arts that isn't the same three drawing II and painting I classes, and the only live drawing studio class is NORTH, which is like an hour drive twice a week for a $400 class.

I am p sure there are ENTIRE art courses online that are $400 and teach me more about what I need to look for from Industry professionals than another 80 year old hippy man (no hate to them cuz they're usually pretty chill art professors) but they never consider that a young generally feminine presenting art student has an interest in story based illustration and sequential art, all they think about is abstract realism and surrealism gallery painting work. im tireeedd.

If I work on enough commissions by the end of July I might actually be able to pay for a proper art class even if its online.. i might need at least 5-10 more commissions depending on price and complexity and just hope my hand doesn't fucking explode! I hate not being eligible for financial aide bc I'm fucking sure I could get a full ride into art school if I fucking wanted to.

I keep putting myself through fucking hell to get the things I want but yk what?? I keep getting them in the end, and its never fair but I genuinely cannot fathom doing anything but art in life, so if I have to fucking suffer for it??? bring down hell on fucking earth for me.

[conceptsofvisuallanguageoli]

Research - Fashion Design Movements Through Time

Here I am going to look into the era - picking out key elements about the fashion at the time to see how I can apply them to my type design. To mirror this I will also be looking at the times with how type was designed then to - the combination of these things will help me access how to begin my initial sketches.

I will highlight key words that will help when designing.

1600–1650

Characterized by the broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches.

The silhouette, which was essentially close to the body with tight sleeves and a low, pointed waist to around 1615, gradually softened and broadened. Sleeves became very full, and in the 1620s and 1630s were often paned or slashed to show the voluminous sleeves of the shirt or chemise beneath.

1650–1700

Characterized by rapid change. The style of this era is known as Baroque. Following the end of the Thirty Years' War and the Restoration of England's Charles II, military influences in men's clothing were replaced by a brief period of decorative exuberance which then sobered into the coat, waistcoat and breeches costume that would reign for the next century and a half. In the normal cycle of fashion, the broad, high-waisted silhouette of the previous period was replaced by a long, lean line with a low waist for both men and women. This period also marked the rise of the periwig as an essential item of men's fashion.

1700–1750

This era is defined as late Baroque/Rococo style. The new fashion trends introduced during this era had a greater impact on society, affecting not only royalty and aristocrats, but also middle and even lower classes. Clothing during this time can be characterised by soft pastels, light, airy, and asymmetrical designs, and playful styles. Wigs remained essential for men and women of substance, and were often white; natural hair was powdered to achieve the fashionable look. The costume of the eighteenth century, if lacking in the refinement and grace of earlier times, was distinctly quaint and picturesque.

1750-1775

Fashion in the years 1750–1775 in European countries and the colonial Americas was characterised by greater abundance, elaboration and intricacy in clothing designs, loved by the Rococo artistic trends of the period. The French and English styles of fashion were very different from one another. French style was defined by elaborate court dress, colourful and rich in decoration, worn by such iconic fashion figures as Marie Antoinette.

After reaching their maximum size in the 1750s, hoop skirts began to reduce in size, but remained being worn with the most formal dresses, and were sometimes replaced with side-hoops, or panniers. Hairstyles were equally elaborate, with tall headdresses the distinctive fashion of the 1770s. For men, waistcoats and breeches of previous decades continued to be fashionable.

English style was defined by simple practical garments, made of inexpensive and durable fabrics, catering to a leisurely outdoor lifestyle. These lifestyles were also portrayed through the differences in portraiture. The French preferred indoor scenes where they could demonstrate their affinity for luxury in dress and lifestyle. The English, on the other hand, were more "egalitarian" in tastes, thus their portraits tended to depict the sitter in outdoor scenes and pastoral attire.

1775–1795

Fashion in the twenty years between 1775 and 1795 in Western culture became simpler and less elaborate. These changes were a result of emerging modern ideals of selfhood, the declining fashionability of highly elaborate Rococo styles, and the widespread embrace of the rationalistic or "classical" ideals of Enlightenment philosophies.

1795–1820

Fashion in the period 1795–1820 in European and European-influenced countries saw the final triumph of undress or informal styles over the brocades, lace, periwigs and powder of the earlier 18th century. In the aftermath of the French Revolution, no one wanted to appear to be a member of the French aristocracy, and people began using clothing more as a form of individual expression of the true self than as a pure indication of social status. As a result, the shifts that occurred in fashion at the turn of the 19th century granted the opportunity to present new public identities that also provided insights into their private selves. Katherine Aaslestad indicates how "fashion, embodying new social values, emerged as a key site of confrontation between tradition and change."

For women's dress, the day-to-day outfit of the skirt and jacket style were practical and tactful, recalling the working-class woman. Women's fashions followed classical ideals, and stiffly boned stays were abandoned in favor of softer, less boned corsets. This natural figure was emphasized by being able to see the body beneath the clothing. Visible breasts were part of this classical look, and some characterised the breasts in fashion as solely aesthetic and sexual.

This era of British history is known as the Regency period, marked by the regency between the reigns of George III and George IV. But the broadest definition of the period, characterized by trends in fashion, architecture, culture, and politics, begins with the French Revolution of 1789 and ends with Queen Victoria's 1837 accession. The names of popular people who lived in this time are still famous: Napoleon and Josephine, Juliette Récamier, Jane Austen, Percy Bysshe Shelley, Lord Byron, Beau Brummell, Lady Emma Hamilton, Queen Louise of Prussiaand her husband and many more. Beau Brummell introduced trousers, perfect tailoring, and unadorned, immaculate linen as the ideals of men's fashion.

1820s

During the 1820s in European and European-influenced countries, fashionable women's clothing styles transitioned away from the classically influenced "Empire"/"Regency" styles of c. 1795–1820 (with their relatively unconfining empire silhouette) and re-adopted elements that had been characteristic of most of the 18th century (and were to be characteristic of the remainder of the 19th century), such as full skirts and clearly visible corseting of the natural waist.

The silhouette of men's fashion changed in similar ways: by the mid-1820s coats featured broad shoulders with puffed sleeves, a narrow waist, and full skirts. Trousers were worn for smart day wear, while breeches continued in use at court and in the country.

1830s

1830s fashion in Western and Western-influenced fashion is characterized by an emphasis on breadth, initially at the shoulder and later in the hips, in contrast to the narrower silhouettes that had predominated between 1800 and 1820.

Women's costume featured larger sleeves than were worn in any period before or since, which were accompanied by elaborate hairstyles and large hats.

The final months of the 1830s saw the proliferation of a revolutionary new technology—photography. Hence, the infant industry of photographic portraiture preserved for history a few rare, but invaluable, first images of human beings—and therefore also preserved our earliest, live peek into "fashion in action"—and its impact on everyday life and society as a whole.

1840s

1840s fashion in European and European-influenced clothing is characterized by a narrow, natural shoulder line following the exaggerated puffed sleeves of the later 1820s and 1830s. The narrower shoulder was accompanied by a lower waistline for both men and women.

Shoulders were narrow and sloping, waists became low and pointed, and sleeve detail migrated from the elbow to the wrists. Where pleated fabric panels had wrapped the bust and shoulders in the previous decade, they now formed a triangle from the shoulder to the waist of day dresses.

Skirts evolved from a conical shape to a bell shape, aided by a new method of attaching the skirts to the bodice using organ or cartridge pleats which cause the skirt to spring out from the waist. Full skirts were achieved mainly through layers of petticoats. The increasing weight and inconvenience of the layers of starched petticoats would lead to the development of the crinoline of the second half of the 1850s.

Sleeves were narrower and fullness dropped from just below the shoulder at the beginning of the decade to the lower arm, leading toward the flared pagoda sleeves of the 1850s and 1860s.

1850s

1850s fashion in Western and Western-influenced clothing is characterized by an increase in the width of women's skirts supported by crinolines or hoops, the mass production of sewing machines, and the beginnings of dress reform. Masculine styles began to originate more in London, while female fashions originated almost exclusively in Paris.

In the 1850s, the domed skirts of the 1840s continued to expand. Skirts were made fuller by means of flounces (deep ruffles), usually in tiers of three, gathered tightly at the top and stiffened with horsehair braid at the bottom.

Early in the decade, bodices of morning dresses featured panels over the shoulder that were gathered into a blunt point at the slightly dropped waist. These bodices generally fastened in back by means of hooks and eyes, but a new fashion for a [jacket] bodice appeared as well, buttoned in front and worn over a chemisette. Wider bell-shaped or pagoda sleeves were worn over false undersleeves or engage antes of cotton or linen, trimmed in lace, broderie anglaise, or other fancy-work. Separate small collars of lace, tatting, or crochet-work were worn with morning dresses, sometimes with a ribbon bow.

1860s

1860s fashion in European and European-influenced countries is characterized by extremely full-skirted women's fashions relying on crinolines and hoops and the emergence of "alternative fashions" under the influence of the Artistic Dress movement.

In men's fashion, the three-piece ditto suit of sack coat, waistcoat, and trousers in the same fabric emerged as a novelty.

By the early 1860s, skirts had reached their ultimate width. After about 1862 the silhouette of the crinoline changed and rather than being bell-shaped it was now flatter at the front and projected out more behind. This large area was largely occupied by all manner of decoration. Puffs and strips could cover much of the skirt. There could be so many flounces that the material of the skirt itself was hardly visible. Lace again became popular and was used all over the dress. Any part of the dress could also be embroidered in silver or gold. This massive construct of a dress required gauze lining to stiffen it, as well as multiple starched petticoats. Even the clothes women would ride horses in received these sorts of embellishments.

1870s

1870s fashion in European and European-influenced clothing is characterised by a gradual return to a narrow silhouette after the full-skirted fashions of the 1850s and 1860s.

By 1870, fullness in the skirt had moved to the rear, where elaborately draped overskirts were held in place by tapes and supported by a bustle. This fashion required an underskirt, which was heavily trimmed with pleats, flounces, rouching, and frills. This fashion was short-lived (though the bustle would return again in the mid-1880s), and was succeeded by a tight-fitting silhouette with fullness as low as the knees: the cuirass bodice, a form-fitting, long-waisted, boned bodice that reached below the hips, and the princess sheath dress. Sleeves were very tight fitting. Square necklines were common.

1880s

1880s fashion in the in Western and Western-influenced countries is characterized by the return of the bustle. The long, lean line of the late 1870s was replaced by a full, curvy silhouette with gradually widening shoulders. Fashionable waists were low and tiny below a full, low bust supported by a corset. The Rational Dress Society was founded in 1881 in reaction to the extremes of fashionable corsetry.

1890s

Fashion in the 1890s in European and European-influenced countries is characterized by long elegant lines, tall collars, and the rise of sportswear. It was an era of great dress reforms led by the invention of the drop-frame safety bicycle, which allowed women the opportunity to ride bicycles more comfortably, and therefore, created the need for appropriate clothing.

Another great influence on women's fashions of this era, particularly among those considered part of the Aesthetic Movement in America, was the political and cultural climate. Because women were taking a more active role in their communities, in the political world, and in society as a whole, their dress reflected this change. The more freedom to experience life outside the home that women of the Gilded Age acquired, the more freedom of movement was experienced in fashions as well. As the emphasis on athleticism influenced a change in garments which allowed for freedom of movement, the emphasis on less rigid gender roles influenced a change in dress which allowed for more self-expression, and a more natural silhouette of women's bodies were revealed.

The 1890s brought the beginnings of a change in how fashion was presented as well. While illustrations still dominated fashion magazines, printed fashion photographs first appeared in French magazine La Mode Pratique in 1892, where they would continue be a weekly feature.

1900s

Fashion in the period 1900–1909 in the Western world continued the severe, long and elegant lines of the late 1890s. Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. A new, columnar silhouette introduced by the couturiers of Paris late in the decade signalled the approaching abandonment of the corset as an indispensable garment.

With the decline of the bustle, sleeves began to increase in size and the 1830s silhouette of an hourglass shape became popular again. The fashionable silhouette in the early 20th century was that of a confident woman, with full low chest and curvy hips. The "health corset" of this period removed pressure from the abdomen and created an S-curve silhouette.

1910s

Fashion from 1910 to 1919 in the Western world was characterized by a rich and exotic opulence in the first half of the decade in contrast with the somber practicality of garments worn during the Great War. Men's trousers were worn cuffed to ankle-length and creased. Skirts rose from floor length to well above the ankle, women began to bob their hair, and the stage was set for the radical new fashions associated with the Jazz Age of the 1920s.

1920s

Western fashion in the 1920s underwent a modernization. For women, fashion had continued to change away from the extravagant and restrictive styles of the Victorian and Edwardian periods, and towards looser clothing which revealed more of the arms and legs, that had begun at least a decade prior with the rising of hemlines to the ankle and the movement from the S-bend corset to the columnar silhouette of the 1910s. Men also began to wear less formal daily attire and athletic clothing or 'Sportswear' became a part of mainstream fashion for the first time. The 1920s are characterized by two distinct periods of fashion: in the early part of the decade, change was slower, and there was more reluctance to wear the new, revealing popular styles. From 1925, the public more passionately embraced the styles now typically associated with the Roaring Twenties. These styles continued to characterise fashion until the worldwide depression worsened in 1931.

1930–1945

The most characteristic North American fashion trend from the 1930s to 1945 was attention at the shoulder, with butterfly sleeves and banjo sleeves, and exaggerated shoulder pads for both men and women by the 1940s. The period also saw the first widespread use of man-made fibers, especially rayon for dresses and viscose for linings and lingerie, and synthetic nylon stockings. The zipper became widely used. These essentially U.S. developments were echoed, in varying degrees, in Britain and Europe. Suntans (called at the time "sunburns") became fashionable in the early 1930s, along with travel to the resorts along the Mediterranean, in the Bahamas, and on the east coast of Florida where one can acquire a tan, leading to new categories of clothes: white dinner jackets for men and beach pajamas, halter tops, and bare midriffs for women.

1945–1960

Fashion in the years following World War II is characterized by the resurgence of haute couture after the austerity of the war years. Square shoulders and short skirts were replaced by the soft femininity of Christian Dior's "New Look" silhouette, with its sweeping longer skirts, fitted waist, and rounded shoulders, which in turn gave way to an unfitted, structural look in the later 1950s.

1960s

In a decade that broke many traditions, adopted new cultures, and launched a new age of social movements, 1960s fashion had a nonconformist but stylish, trendy touch. Around the middle of the decade, new styles started to emerge from small villages and cities into urban centers, receiving media publicity, influencing haute couture creations of elite designers and the mass-market clothing manufacturers. Examples include the mini skirt, culottes, go-go boots, and more experimental fashions, less often seen on the street, such as curved PVC dresses and other PVC clothes.

Mary Quant popularized the mini skirt, and Jackie Kennedy introduced the pillbox hat; both became extremely popular. False eyelashes were worn by women throughout the 1960s. Hairstyles were a variety of lengths and styles. Psychedelic prints, neon colors, and mismatched patterns were in style. 

US First Lady Jacqueline Kennedy arrives in Venezuela, 1961 In the early-to-mid 1960s, London "Modernists" known as Mods influenced male fashion in Britain. Designers were producing clothing more suitable for young adults, leading to an increase in interest and sales. In the late 1960s, the hippie movement also exerted a strong influence on women's clothing styles, including bell-bottom jeans, tie-dye and batik fabrics, as well as paisley prints.

1970s

Fashion in the 1970s was about individuality. In the early 1970s, Vogue proclaimed "There are no rules in the fashion game now" due to overproduction flooding the market with cheap synthetic clothing. Common items included mini skirts, bell-bottoms popularised by hippies, vintage clothing from the 1950s and earlier, and the androgynous glam rock and disco styles that introduced platform shoes, bright colours, glitter, and satin.

New technologies brought advances in production through mass production, higher efficiency, generating higher standards and uniformity. Generally the most famous silhouette of the mid and late 1970s for both genders was that of tight on top and loose on bottom. The 1970s also saw the birth of the indifferent, anti-conformist casual chic approach to fashion, which consisted of sweaters, T-shirts, jeans and sneakers. One notable fashion designer to emerge into the spotlight during this time was Diane von Fürstenberg, who popularised, among other things, the jersey "wrap dress". von Fürstenberg's wrap dress design, which was among the most popular fashion styles of the 1970s, would also be credited as a symbol of women's liberation. The French designer Yves Saint Laurent and the American designer Halston both observed and embraced the changes that were happening in the society, especially the huge growth of women's rights and the youth counterculture. They successfully adapted their design aesthetics to accommodate the changes that the market was aiming for.

1980s

Fashion of the 1980s was characterised by a rejection of 1970s fashion. Punk fashion began as a reaction against both the hippie movement of the past decades and the materialist values of the current decade. The first half of the decade was relatively tame in comparison to the second half, which was when apparel became very bright and vivid in appearance.

Hair in the 1980s was typically big, curly, bouffant and heavily styled. Television shows such as Dynasty helped popularise the high volume bouffant and glamorous image associated with it. Women in the 1980s wore bright, heavy makeup. Everyday fashion in the 1980s consisted of light-coloured lips, dark and thick eyelashes, and pink or red rouge (otherwise known as blush).

The early 1980s witnessed a backlash against the brightly colored disco fashions of the late 1970s in favor of a minimalist approach to fashion, with less emphasis on accessories. In the US and Europe, practicality was considered just as much as aesthetics. In the UK and America, clothing colours were subdued, quiet and basic; varying shades of brown, tan, cream, and orange were common

1990s

Fashion in the 1990s was defined by a return to minimalist fashion, in contrast to the more elaborate and flashy trends of the 1980s. One notable shift was the mainstream adoption of tattoos, body piercings aside from ear piercing and, to a much lesser extent, other forms of body modification such as branding.

In the early 1990s, several late 1980s fashions remained very stylish among both sexes. However, the popularity of grunge and alternative rock music helped bring the simple, unkempt grunge look to the mainstream by 1994. The anti-conformist approach to fashion led to the popularization of the casual chic look that included T-shirts, jeans, hoodies, and sneakers, a trend which continued into the 2000s. Additionally, fashion trends throughout the decade recycled styles from previous decades, notably the 1950s, 1960s and 1970s.

Due to increased availability of the Internet and satellite television outside the United States, plus the reduction of import tariffs under NAFTA, fashion became more globalised and homogeneous in the late 1990s and early 2000s.

2000s

2000s fashion is often described as being a global mash up, where trends saw the fusion of vintage styles, global and ethnic clothing (e.g. boho), as well as the fashions of numerous music-based subcultures. Hip-hop fashion generally was the most popular among young people of all sexes, followed by the retro inspired indie look later in the decade.

Those usually age 25 and older adopted a dressy casual style which was popular throughout the decade. Globalization also influenced the decade's clothing trends, with the incorporation of Middle Eastern and Asian dress into mainstream European, American and Australasian fashion. Furthermore, eco-friendly and ethical clothing, such as recycled fashions and fake fur, were prominent in the decade.

In the early 2000s, many mid and late 1990s fashions remained fashionable around the globe, while simultaneously introducing newer trends. The later years of the decade saw a large-scale revival of clothing designs primarily from the 1960s, 1970s, and 1980s.

2010s

The 2010s were defined by hipster fashion, athleisure, a revival of austerity-era period pieces and alternative fashions, swag-inspired outfits, 1980s-style neon streetwear, and unisex 1990s-style elements influenced by grunge and skater fashions. The later years of the decade witnessed the growing importance in the western world of social media influencers paid to promote fast fashion brands on Pinterest and Instagram.

2020s

The fashions of the 2020s represent a departure from 2010s fashion and a nostalgia (or pseudo-nostalgia) for older aesthetics. They have been largely inspired by styles of the early to mid-2000s, late 1990s, 1980s, 1970s, and 1960s. Early in the decade, The Face remarked on the rapid nostalgia cycle in 2020s fashion: "We’re trapped in what might be called a revival spiral". Popular brands in the United Kingdom, United States, and Australia during this era include Adidas, Nike, New Balance, Globe International, Vans, Kappa, Tommy Hilfiger, Asics, Ellesse, Ralph Lauren, Forever 21, Urban Outfitters, Playboy, and The North Face.

During the 2020s, many companies, including current fashion giants such as Shein and Shekou, have been using social media platforms such as TikTok and Instagram as a marketing tool. Marketing strategies involving third parties, particularly influencers and celebrities, have become prominent promotional tactics. E-commerce platforms such as Depop and Etsy grew by offering vintage, homemade, or resold clothing from individual sellers. Their goal is to promote and support small businesses and the environment instead of major retailers. Thrifting has exploded in popularity in the fashion industry of the 2020s due to it being centered around finding valuable or staple pieces of clothing at a reasonable price.

[filimkareleri]

Courteney Cox Filmografi

Courteney Cox Arquette (d. 15 Haziran 1964, Birmingham), 10 yıl boyunca yayınlanan “Friends” adlı dizide ve ünlü Scream (Çığlık) korku filmi dörtlemesinde oynayan ABD’li kadın sinema ve dizi oyuncusudur.

Doğum Adı Courteney Bass Cox Doğum Yılı 15 Haziran 1964 Doğum Yeri Birmingham, Alabama, ABD Diğer ad(lar)ı Courteney Cox Arquette Meslek Aktris, yapımcı, yönetmenEtkin…

[filimsahne]

Courteney Cox Filmografi

Courteney Cox Arquette (d. 15 Haziran 1964, Birmingham), 10 yıl boyunca yayınlanan “Friends” adlı dizide ve ünlü Scream (Çığlık) korku filmi dörtlemesinde oynayan ABD’li kadın sinema ve dizi oyuncusudur.

Doğum Adı Courteney Bass Cox Doğum Yılı 15 Haziran 1964 Doğum Yeri Birmingham, Alabama, ABD Diğer ad(lar)ı Courteney Cox Arquette Meslek Aktris, yapımcı, yönetmenEtkin…