#Unamed origins project

[analog-cottage-gore]

Guess who's posting about their oc's for the first time! I'm slowly working on a origins based story idea, so here's my ideas for the leader of the group.

Name: Shila

Pronouns: She/It

Origin: Phantom

Other/Notes: Shila is the admin of the server, and lives in a Skyris Vale (from the BYG mod). She takes in a lot of lost/runaway hybrids from all over, and tries it's best to be accommodating despite being even more sensitive to sunlight than most Phantoms.

(Left is me attempting to make it in gacha, right is what origins did to my skin aka what her design is based on! Also forgive crusty image quality.)

If you want to ask any questions, go right ahead!

[starrysharks]

Now now, I know you have the Main 3 Projects you have + In-Dev Projects right now but aside from these, will you be able to focus on Metallic Miracle one day? /genq

This might be a suggestion probs. but, I don't know if you have any characters in there or not-

hopefully! i'm personally proud of myself for the concept, and i do write for it from time to time, so maybe one day i'll be able to write a proper script and release it one day. right now i've got a few characters done, and a general plot:

the story takes place in a futuristic earth - the protagonist, M1-RA, is an 8 year old former child soldier who fought in a war against these aliens that were specifically weak to prepubescents. all the other soldiers were put into a "synthetic coma" and controlled by trained adults, M1-RA somehow escaped the coma and was left to fight and evade the aliens to the best of her ability. why did she escape the coma you might wonder? it's because of her mother, who was one of the scientists who helped to design the robot parts that would be surgically added to the children's bodies - she and M1-RA attempted to escape and live off the grid, but were eventually caught, and M1-RA's mother was killed and M1-RA herself was left to be drafted a few years after every other child (so she was only in the war for a little under a year.)

that little bunny robot with her is rabbot - which is an AI robot that helps her out, and was originally built by her mother as a multi-functional device (think GPS + flashlight + various other things).

anyway, after the war (which lasted roughly 5 years) only around 10,000 survivors were left of the millions who fought. those survivors were also stuck in a child's body forever as the cyborg-ification was permanent and stoped their bones from developing further (i know it makes no sense lol). those survivors were sent to orbit the earth in small shuttles as they couldn't be taken out of their comas, and most died. however, after around 50 years it was discovered that M1-RA and 2 other survivors still had a heartbeat, and were therefore returned to earth. M1-RA was sent to a large city (still unamed) and now lives with this group of city defenders (kind of like firefighters but for mid-level alien threats) and the story revolves around her, her trauma, and character battles, as well as trying to find the other survivors.

for the defense group, i have a few characters, but haven't drawn them in digital yet. i'll sketch them out -

firstly thoma, who isn't the leader but likes to act like she is. she's a 30 year old basically fitness influencer type, and is also a super genius who created these aids to help her in battle (the pigtail arms). M1-RA (or mira as she's known as by the defense team) lives in her home, and she's kind of rude and snobby but she means well.

secondly nonon, the explosives specialist. he's kind of a hyperactive weirdo who's obsessed with blowing stuff up, and is pretty silly and unserious when it comes to his job. he tries to help mira take risks and venture out more.

and the last character i've properly developed for the defense team is lovelox. she's the mechanic and is super sweet and kind, but treats mira like glass. she's a good friend/rival of thoma and helped make her robot arms.

so yea they all go on adventures and what not, its kind of fuzzy right now but i hope you don't mind me springing all of this on you lol. thank you for the ask, i don't really talk about metallic miracle so getting to dump so much info in one go is good fun ^^

[airborn-potato]

Here's Seven!

Fun Facts under the cut!

Seven is later renamed Salem by an unamed character

Seven was part of Project ECLIPSE with 8 other participants

The Project was later future due to [REDACTED]

She has excellent night vision, which she uses for sneaking and night time adventures (flying or climbing trees/buildings)

She is very claustrophobic and will only make an acception for Creature

Like creature, she enjoys a good trinket and making up funny stories about its origins

Played Monopoly once, never again

Likes to plant flowers in memory of her previous project-mate

May add more later

[castawavy]

omg so I have had a few stories in my day, so i'll go through them one by one I guess (most of these are scrapped sorry):

I had an extended gameplay / story that I didn't name :-(

An off shoot of that was another unamed gameplay story but in Strangerville, following my heir at the time 🤭

then I had my first proper simblr story called 'witches' which UGH, I hate that name, it was because I couldn't think of anything, and it focused on Realm of Magic, but I can't think of what I should have called it...

Then finally I moved on to another project that I named Early Birds, which is a spin off AU of my ocs set in a university. It was called that because all of the characters accidentally lost their chance to pick a timeslot for their uni class, so they all ended up in the monday 9am 😁💟 honestly I still love this name now.

THEN I DABBLED in starting a vampyre story but I lost steam on that as well, but it was going to be called Nocturne

Now I've just been working on my long time story with my OCs (in the original universe' and it's called Immortal 💕🥺 which might seem simple but it does the job for me tbh

📩 Simblr question of the day: If you have any stories, what's the name of your stories? Why did you go with this name and were there any other names you were going to go with, if so, what were they?

answer in whatever way is most comfortable for you and feel free to share this SQOTD around, make sure to use the hashtag SQOTD and tag me in separate posts ~ 💛

This question was contributed by an anon ! ~thank you for the SQOTD contribution~

[pixie-mask]

What’s Up With Me

started: 6/28/23

updated: 12/20/24

📝Projects📝

Unamed future novel/webcomic 🎇

Gif & Image sets🎇

Kurokochi manga photos

Kizaru Egghead manga photos

Learning Japanese

Joxer in comics

Start new craft

Stray Gods uploads

Captain Boomerang/Digger Harkness reading

Catalogue original characters

Unicorn Overlord rapports

🎨Art🎨

Practice

firebuug palette roulette

SVS Lessons

✍🏼Writing ✍🏼

Fan Fiction

The Quarry

The Liveblogging of Travis & Laura // ch 1 of 10(ish)

9 Lambs-a-Bleating // ch 0 of 20(ish)

((Fic fix ups)) x1

Hazbin Hotel

A Flock in Hell // ch 4 of ?

Stray Gods

Natural Ornament

((Apollo & Oracle fic))

Grace's Birthday Commemoration

🔹Beloved Lost Girl // ch 0 of ? 🔹A Goddess Sleepover // ch 0 of ? 🔹While the Girl's Play // ch 0 of ?

One Piece

Firefly // ch 0 of ?

Worth the Weight

Sour Lemon // ch 1 of 3

The Doll and the Cogwheel

Original

Unnamed future novel 🎇

Prompts

🎮Playing🎮

PlayStation

Evil West

GrimGrimoire Once More

Yakuza 5

One Piece Warriors 4

Laptop

Neighbor

The Wonderful 101: After School Hero

Sayonara Wild Hearts

The Collage Atlas

Detective Grimoire

Vampire Therapist

Switch

Cafe Enchante

One Piece Odyssey

Katamari Damacy REROLL

The Great Ace Attorney Chronicles

📚Reading📚

Novels

The Mermaid

What Moves the Dead

My Heart is a Chainsaw

You're Not Supposed to Die Tonight

Overwatch 2: Heroes Ascendant

Manga & Comics (up to what I have)

Ossan Idol

A Man & His Cat

Go With the Clouds, North by Northwest

New Suicide Squad

Smoking with You Behind the Supermarket

Steel of the Celestial Shadows

📺Watching📺

Anime

One Piece

My Daughter Left the Nest and Returned an S-Rank Adventurer [ 04 / _13 ]

Ousama Ranking [ 0 / 23 ]

Sasaki & Peeps [ 0 / 12]

Eternal Boys [ 0 / 24 ]

Delicious in Dungeon [ 0 / 24 ]

Frieren: Beyond Journey's End [ 0 / 28 ]

Cartoons

Scavengers Reign [ 0 / _12 ]

Murder Drones [ 0 / 8 ]

Invincible Season 2 [ 6 / 8]

The Legend of Vox Machina Season 2 [ 0 / 12 ]

The Legend of Vox Machina Season 3 [ 0 / 12 ]

5. Beetlejuice (the animated series) Season 1 [ 0 / 13 ] Season 2 [ O / 8 ] Season 3 [ 0 / 8 ] Season 4 [ 0 / 65]

TV

Xena: Warrior Princess Season 1 [ 24 / 24 ]_(rewatch) Season 2 [ 08 / 24]_(restart) Season 3 [ 0 / 22] Season 4 [ 0 / 22 ] Season 5 [ 0 / 22 ] Season 6 [ 0 / 22 ]

Movies & Specials

Miraculous Ladybug & Cat Noir: The Movie

Invincible: Atom Eve

Orion and the Dark

Emesis Blue

🎬GIFs (& Image sets)🎬

Monkey King: Hero Is Back

Inn Fight Wukong Animation Appreciation

Xena: Warrior Princess

Season 1

> Callisto

Season 2

> Girls Just Want To Have Fun

> Warrior...Princess...Tramp

> Intimate Stranger

The Sea Beast

Bayonetta 3

We Are As One Let's Dance Boys x3

One Piece: Film Red

Kizaru Fujitora Tot Musica synchronization Music Video/Movie song set Mini-Sunny

One Piece Live Action

Kuro stalking Kaya

One Piece

Kizaru-Egghead Arc

Jingle Jangle; Dances

Wolf Creek

The Monkey King Reborn

[unnamedproject00]

So, first up is Eda!! Not really sure what to say. She’s been working at the currently-unnamed organization the longest, despite being the youngest of the group, in order to help out her dad. 

She’s also a fiend, essentially meaning her family has roots in the lower tier. (I’ll maybe go more into depth on what that means later) Basically she can do cool fire stuff.

Next up is Julias! 

[zimcard-artblog]

So what's ur unamed 10 su all about exactly?

(Cracks Knuckles)

It started when I binge watched the OG first. It mostly revolves around Ben and how people's constant views of him affected him in the long run.

Ben, at the age of ten, lost both his parents on the same day when he got home from school. He then lived with his grandpa afterwards.

He indulged himself into comics, of course, and was more into aliens than Sumo Slammers (he does get around for it but the alien thing comes first).

He knows his grandpa is a plumber since his parents were also plumbers (which led to their demise) and hence fueled his interest with extra terrestrial subjects. He eventually stumbled across Azmuth who made a stop to earth due to a sudden reroute.

Azmuth, the pessimist and apathetic Galvan who abandoned home from a young age after not seeing worth in it, he then did personal research and was often considered the "First Thinker" due to not only his behavior but his creative creations.

Azmuth eventually spared some kindness to Ben and Ben was the one who inspired Azmuth with the whole concept of "a device that gives you many forms". It was later on called "Project Omnitrix"

Ben was kind of a willing test subject (despite Max's argument) and the device wasn't a watch to begin with- just a massive machine to test out some stuff. Ben was turned to a Galvan like Azmuth which proves that the DNA change worked.

Azmuth did have to leave to do more work but he told Ben that he'll keep working on their project. Even taking the drawings Ben gifted him ever since he arrived.

Next year, Azmuth came back and offered Ben to spend half of his summer on a road trip in collecting DNA. Ben accepted after a bit of another huge argument with Grandpa Max.

Ben got to see some parts of the Galaxy, meet new aliens (even the originals!), make friends and foes (the foes are mostly Azmuth's fault), and so on.

Ben got to make some friends like a Diamondhead named Dian who was banished from their home planet years ago due to failing to protect the king, an XLR8 named S33D (seed) who didn't have the best reflexes and constantly runs into things, a Heatblast named Vulco who wasn't the brightest flame within his group(literally), a Stinkfly named Bunk who was a getaway driver for criminals and was engaged with a Ripjaws named Kaif (Azumth had so much doubt but turned out it was true) And a Four-Arms warrior named Hamal.

When the Omnitrix was completed, Ben was given some tips and after a few test runs with it; it was done.

"It's just a device, not a weapon" he said.

The rest is history!

His cousin, Gwen, raised to be a realist since her parents were afraid she'll turn out to be anodite and kept her alien heritage a secret (even told Max not to tell her) but after the summer roadtrip with Ben; she eventually decided to choose her own happiness over acceptance.

His new found friend, Kevin, an Osmosian kid who was sent away to fight battles after battles for others amusement only to be finally saved when Ben showed up and is given the chance to live a normal life with his new family.

Years passed with adventurous, unlocking secrets, fighting bad guys, and whatnot. Ben, now 18, wasn't the kid who he used to be.

Because of the constant views from others that the Omnitrix is a weapon; he, himself, was dehumanized and weaponized in a daily basis that he- without thoughts- acted like one. It took constant grounding from his friends and family.

Vilgax even said this to Ben when Ben refused to kill him; "despite how pure your intentions are, it'll all be your downfall"

Ben was dehumanized and weaponized by society. His family constantly reminds him that, no, he is not a weapon. He is Ben Tennyson.

He gots friends like Rook Blonko, Kai Green, Ester, Attea, Nayto, and etc. Some were bittersweet while others are not.

[har-lex]

International student exchange

In this blog, we will show you some options, so it will be easier to you to know about this information.

During the stay, students will be able to gain experience with the language in order to develop the four skills: oral, written, listening and reading. Also you will be able to know the traditions and cultures.

UNAM

To apply to an international mobility program, the requirements are:

Be a regular student

Complete at least 44% of the academic credits

Have an average grade of 8.5

Language certification

The announcement will go out on October-November and May-July.

https://sgmes.unaminternacional.unam.mx/listado_ies/22

https://www.unaminternacional.unam.mx/doc/convocatorias/capacitacion-idioma/fortalecimiento_linguistico_ac_convocatoria.pdf

CONAHEC

You have the opportunity to live and work with investigators around the world.

Be a regular student

Average grade of 8.5 and at least 44% of academic credits

Language certificate

English: TOEFL IBT, 80 points or IELTS 6.5

Level B2 for any language

The announcement will go out on february 15th,2021.

https://conahec.org/es/movilidad-para-estudiantes

DAAD: German Academic Exchange Service

Applicants must develop their german skills leading making proof of their speaking abilities.

Receptions of applications: Applications are open from September 15 of each year.

https://www2.daad.de/deutschland/stipendium/datenbank/en/21148-scholarship-database/?origin=56&status=1&subjectGrps=&daad=&q=&page=2&detail=50035295#voraussetzungen

University of Cadiz (ERASMUS)

It is a mobility program offered by the UCA to partner universities, such as the UNAM during the Spring 2022 period.

Be a regular  student in the UNAM system and present a proof of enrollment for current semester.

Average grade of 9.o and at least 44% of academic credits.

Have a valid passport .

The call is from August 05 to September 09

https://www.unaminternacional.unam.mx/doc/convocatorias/varios/erasmus_cadiz_2022.pdf

Huayu Enrichment Scholarship (HES)

Offers the opportunity to study Hauyu (mandarin Chinese) in Taiwan.

https://english.moe.gov.tw/cp-24-24284-3ea37-1.html

CONACYT

The opportunity to study an academic activity as part of postgraduate studies or to conclude their research project or thesis work.

Be a National Conacyt Scholar (Current).

The length of stay must not be less than one month or more than twelve months for doctoral level.

The other requirements indicated by Conacyt in the corresponding call, which are published on the Conacyt page on the Internet.

https://conacyt.mx/becas_posgrados/becas-nacionales/becas-de-movilidad/

SANTANDER

The Santander Academic Mobility Scholarship Program 2021 is a program open to all Mexican universities, promoted by Santander Universidades México.

https://www.becas-santander.com/es/index.html

MANEA

Exchange to a university in North America, Europe or Asia-Pacific. If your stays from 4 to 6 months, apply for the MANEA Mobility Grant, with which you will obtain from the General Directorate of International Relations of the SEP, 70 thousand pesos for your maintenance.

https://www.gob.mx/tramites/ficha/intercambio-universitario-manea/SEP1282

[chaeryybomb]

current wips

will i ever post these? i do not know. more will be added in the future.

title: sunny smiles pairing: hwang hyunjin x reader featuring: yang jeongin, han jisung and wang yiren genre: camp!au, exes to lovers current wordcount: 566

“Hyunjin! Jeongin!” Jisung yelled as he raced across to two other boys.

You furrowed your eyebrows at the unfamiliar names. Did Jisung already have friends here? You looked over at his direction and saw him with two boys with mops of black hair. Jisung noticed you staring and gestured to you to go over.

He grabbed you by the arm and pointed to the taller. “This is Hyunjin, my classmate,” and then to the one with braces, “and this is Jeongin! My neighbor.”

You shyly glanced at the two boys and bowed, hiding half of her face behind her hair. “This is Y/N, my cousin,” Jisung introduced you when he realized that you weren't speaking up.

You looked up at the boy in front of you, Hyunjin, he was beaming at you. “It’s nice to meet you Y/N,” he said. “I hope we can be friends!”

Thirteen-year-old you wouldn’t admit it, but your heart started beating quickly at his smile. That was the first time it did so.

title: (currently untitled)  pairing: na jaemin x reader featuring: nct dream, skz 00 liner, jung yunho, yeh shuhua, choi lia & hwang yeji genre: lowkey enemies to lovers, college au, angst, fluff, jaemin’s a dick sorry- current wordcount: 851 

“Are you sure this is legal?” you inspected the weird green looking liquid in your red solo cup. 

Yeji lifted the cup to her nose and sniffed it. The liquid gave out a sickeningly sweet odor. She then turned to you and shrugged, but opted to not take a sip for safety measures. 

“This looks like one of the ionic liquids I made in chemistry last week,” you said, swirling the liquid in the club. You made a disgusted face and placed the cup back down on the table, slightly pushing it back. 

You crossed your arms and leaned against the counter. The sparkly tank top Shuhua lent to you did not really give you warmth, at least you managed to convince her to let you wear ripped jeans instead of a leather skirt. Yeji scanned the crowded area for your friends but she lost track of them the moment they entered the frat. (Hyunjin dragged them off somewhere, she doesn’t know.)

The air smelled like sweaty bodies and alcohol. You shifted uncomfortably in your place, Your heart was beating in your ears due to the loud music. Why did you let Shuhua convince you to come? You could’ve been at the library studying about human bone structures instead but no, you just had to come. And you don't even know where Shuhua went!  

Your eyes roamed the dancing crowd, hoping to find one of your friends' faces. But to her luck, you locked eyes with someone else instead. Someone you hated. 

Na Jaemin. The epitome of an idiot.

You both met at freshman year of college when Jaemin accidentally signed up for your biology course. He was a photography major. And an idiot, in your eyes. What kind of idiot mistakes “bio” for biography and not biology? He was also the reason why you got a C for one of their pair projects in bio. A C! And it wasn’t even a C+! That grade ruined your pristine grades for the first semester. Thankfully you were able to raise it back in the second semester, it was even better that he dropped biology then too. 

title: (currently untitled) pairing: electric guitarist!han jisung x song writer!reader featuring: stray kids & itzy genre: friends to lovers, bulleted form, fluff current wordcount: 1.9k 

"welcome to chan's studio" ヾ(^▽^)ノ

"chan this is your garage" 

"studio." ヾ(^▽^)ノ

"it's a garage—" 

"studio." ヾ(^▽^)ノ

"bu—" 

"s t u d i o." ᕦ(#^▽^)ᕤ

(hyunjin, gulping in fear) "y-yes sir" 

they play gigs at an underground club called jyp wow so original dhshdhs

usually on the weekends because they have school on weekdays—

"you guys are you still growing so you need your sleep—" 

"chan you don't even sleep" 

"shut up seungmin that's not my point, the point is—" 

"is that you don't sleep" 

"jisung I will kick you out from this band" 

"YOU WOULDN'T" 

"I WOULD" 

title: anti-everything pairing: zhong chenle x reader featuring: nct dream, lee daehwii, osaki shotaro, yang jeongin, lee chaeryeong & honda hitomi genre: strangers to lovers, fluff, song fic song: anti-everything by lost kings ft. loren gray current wordcount: 823

"c'mon, y/n, it wouldn't hurt you to hang out with us," shotaro nudged you with his shoulder as he gave you his infamous eye smile. 

"i can't skate, 'taro" you deadpanned. 

"we can teach you!" he offered with a grin. 

"the last time you taught me anything, we almost set hitomi's kitchen on fire," you retorted, scrunching your nose at the memory of hitomi's fire alarm going off because shotaro burned the sugar. (he wanted to make the dalgona coffee but ended up putting too little cornstarch powder and basically made burnt sugar.)

shotaro winced a bit at the mention of his one of too many failed cooking attempts. but he quickly regained his composure and defended himself, "that was one time!"

"the burnt marks are still on the pot," hitomi chimed in from the side and you can hear chaeryeong stifling a laugh while daehwii and jeongin did nothing to hide their laughter.

title: (currently unamed) pairing: hwang hyunjin x reader  featuring: skz 00 line, seo yoorim(aisha) and wang yiren genre: college au, strangers to lovers, fluff current wordcount: 490

is roomies with felix because i believe in hyunlix supremacy

was actually roommates with jisung for the first year but jisung doesn't shut the fuck up so he traded roommies with seungmin

despite seungmin's protests

he tries to sneak kkami in for god knows how many times but is always caught by the TA

[knykthn-official]

Welcome to the Official blog for the fanfic "Kimetsu No Yaiba - Kaminari To Honou No", a canon-divergent fanfic in development, created by KanisHominiLupus (mostly known as @Kanis_KHL on twitter).

Please read all the info below, as this post will probably contain all you need to know about the series.

Who is behind this whole thing?

Important mention that this fanfiction is based into the original Kimetsu No Yaiba / Demon Slayer series, created by Koyoharu Gotōge. However, the characters Akira Ran, Asdor Pellorubro and their mysterious Master, as well as a few other unamed individuals are creation and property of Akira Ran, under the pen name of KanisHominiLupus. I am a 28yo brazilian, queer, freelancer artist and hobbist writter. My pronouns are she/they and I would appreciate to be referred by these only.

Where can I see more of your work or support you? (Related or not to this specific project)

twitter.com/AkiraRan_artist | instagram.com/akiraran.artist | artfight.net/~AkiraRan | ko-fi.com/AkiraRan | refsheet.net/AkiraRan | toyhou.se/AkiraRan | twitter.com/Kanis_KHL

What is this fic about?

"Kimetsu No Yaiba - Kaminari To Honou No" (also named as "Demon Slayer - Of Thunders And Flames") is a fanfiction centered on two original characters (Akira Ran & Asdor Pellorubro) in alternative universe version of their own story' selves. Another important character to this plot, their Master, is also another of my OCs under the same kind of revamp. This tale has their adventures, struggles, battles, dramas and dilemas, as well as their connections with canon characters from the official KNY series. The first arc of the fanfic happens quite a while before the admission of Tanjiro Kamado and his crew in the Demon Slayer Corps', while the second arc starts probably few months before the Mugen Train Arc. While I say this, neither Akira nor Asdor have relevant interactions with the main crew of protagonists, so if you expect to read about the main four here, better not have high hopes, at least for now.

So, is this a OC X Canon fanfic?

Yes. And despite my artistic name being the same of my OC, this is not a self-insert tale. So if you are not fond of reading about such thing, I advise you to simply ignore this blog and follow with your life before you regret and start saying mean things. There are a few original facts in this (new locations, new allies, new adventures), but the same old allies and enemies as well. Not to brag but some people have said it is so well merged that it could be a canon spinoff. So, who knows if you will like it, uh?

How much of canon divergent content is in this story?

A lot. Mostly my own interpretation of some situations and the two OCs of mine messing with at least half of the original plot. Telling me that I should simply have written my own full original thing will not stop me to write or post this, lmao. Maybe if you pay me a few million dollars... Jokes aside, some people might love and hate this fanfic because plenty of the characters will end alive, differently from the original series. This is the only spoiler I will give to you about the plot ;)

What made you write this fanfic?

Me and some friends got very sad about some of the canon events, and one friend in particular was completely hopeless after the death of a character. Seeing this fueled me with motivation to try on thinking how the story could have progressed without so much tragedy, and then it was a matter of time until I started to do what I am pretty used to do: Throw my OCs in a universe and meddle with it until I am satisfied enough. Back in the past, when I was starting, a lot of fandom hate scared me away from writing, but now, over my twenties, I simply said "Fuck it. Be mean, get the block.". Friendly advice: produce the content you will enjoy to see, and disregard the meanies. Most of the time they are just envy as fuck because they didn't had such a brilliant idea as yours, or just have nothing better to do than to harm other people's feelings. As long as you are not harming no one IRL and not being a offensive little piece of shit, just have fun with your creative endeavours.

Where can I read this fanfic?

It will start to be shared online as soon as I fully finish the first arc, and the second arc is outlined. At the end of September 2021, I have 9 chapters complete and ready to sail. Yes, this means that in the date of this first post here, you still cannot read it online. I am in a few discord servers where snippets and excerpts are being posted, so if you are lucky to be in one of these servers, then you probably have seen my ramblings about it. I am unsure if the fanfic will be posted here as well or just on AO3, maybe even both. Either way, if it gets shared outside, I will bring the link here.

What can I expect of this fanfic? tags, genre, etc...

All the tags of the original source, KNY. This means adventure, action, comedy, fantasy, supernatural, monsters, body horror, gore, violence, psychological dives (such as anxiety, depression, PTSD, etc), but surely fewer deaths than the original source. The only reason I could add a "Dead Dove, Don't Look" warning is due to some graphic descriptions of violence and the OCxCanon interactions that some people hate. I would appreciate if you are a minor wanting to read this fic, please don't. I don't want to traumatize you with a graphic description of a demon eating a human alive (yes, this is bound to happen in this fic. Bruh, it is KNY after all). Plus I am very uncomfortable to interact with minors. With every chapter, I will disponibilize a summary, a tag list and important warnings related to each chapter, just so you don't end jumpscared.

Will this blog be used only for sharing the fanfic when there are updates?

No! This blog, as the name suggests, will be it's main source of content, so not just the links and the fanfic will be shared here, but my own related artworks too. You can also send asks about the story and requests to see cool interactions between Akira & Asdor, their mysterious Master, and the other canon characters. During October, I will also attempt to do a KNY-themed drawtober! Thought do not expect this blog to be a fanart hub in its totality. Artworks portraying gore and Psychologic trauma related themes may also be present, but properly tagged.

Is this a FAQ?

In some way, yes. I could instead call this post a IQL (Important Questions' List), but FAQ is more obvious... Check the tag #knykthnfaq, send me asks or just DM in case of any doubts.

[imacrowcawcaw]

Banner and idea from @ao3commentoftheday 's post. I figured why fucking not post something? Maybe I'll get inspired. Plus, cool banner for my rockin fan fiction!!!

So, here are the tags and some piecemealed exerpts from a GvF high school fic I'm working on. Don't know when it will be done but I'm quite happy with it so far!

Title: Pink Rubber Bands

Pairing: Sam Kiszka/Danny Wagner (Sanny)

Characters: Sam Kiszka, Danny Wagner, Jake Kiszka, Josh Kiszka, Kiszka and Wagner clan, Original Characters (including a snarky narrator, a punk ass bully, the stereotypical awful high school teacher, and some other students)

Fandom: Greta Van Fleet (band)

Length so far: 2.6k

Goal length: 10k

Tags/warnings: fluff, humor, minor angst, Alternate Universe - High School, Greta Van Teens, tw for homophobia, tw for violence (homophobes getting their asses beat), smart ass Sam Kiszka, drama geek Josh, softie bad boy Jake, boyfriend of the year Danny, coming out, high school cliches, happy ending (as always), music, me being a music nerd through the characters in general, strong friendships, sp*rts, high school drama

Summary: Sam and Danny are best friends, closer than your usual pair. How close? Kissing close, as discovered by a cheerleader with a phone, and then the whole school in a frenzy of small-town gossip. Whoops. Adding being "the" gay couple to their list of extracurriculars wasn't exactly on their class request list, but were they going to do? Taking the newly gained attention in stride - mostly - Sam and Danny continue to navigate through their year as highschoolers and as budding rcok stars. All from the perspective of a casual class friend who suddenly gets thrown into the chaotic world of Greta Van Fleet in their teens, whether she wants new friends or not.

-----

I snickered quietly behind my hand, looking back and forth between the teacher and Sam from my seat in the back, like the rest of the class. Danny Wagner, right next to him, sunk back in his seat and practically disappeared among the tension between his best friend and the teacher -- something he seemed to be good at. Kiszka was in kind of a mood today, I could tell, and he never got along well with Mr. Rond anyways.

My personal theory was that Sam was way smarter, and he refused to bow down when Mr. Rond pulled out the teacher voice, which 40-something-with-a-mortage-and-a-half-assed-Bachelor's thought was just not okay.

Oh, and those two - Sam and Danny - seemed to be connected at the hip, like they were the twins and not Sam's older brothers. Where there was one, you could almost always find the other right next to him; and, if not together, then they always knew where the other was. Maybe they took offence at it being called out? But it was certainly handy whenever I needed to copy a few homework questions before class began. With Danny's height and Sam's laugh, I could always find the boy I needed. 

Mr. Rond continued lecturing after the door banged shut behind Sam, droning on about one of the fifty million trading tariffs the U.S. had made during its history. Now, don't get me wrong, I love history and find it very fascinating as well as knowing it's importance... "Those who do not know history are doomed to repeat it" or something like that. But, this class had a way of sucking all the enthusiasm right out of otherwise interesting subjects that I haven't seen in any other classroom before. Maybe Mr. Rond was a vortex of boring or something (it sounded about right).

Walking to the next hall over after class, I swung my backpack to the front and rooted around in the small front pocket, looking for my ear buds. Damn! I must have forgotten them at home. So, I guess now I get to listen to the riveting discussions of my classmates talking about sneaking out, losing highlighters, and the new season of whatever Netflix thing. 

Oh, the joy. 

I then found Wagner - and Sam with him, of course - backed up against the row of army green lockers on the right side of the hall by the group of guys, scowling fiercely. The unamed-douchebag-supreme was on a homophobic tirade at the front, berating this attribute and spitting at that person and it was all a mess, especially Sam's face. No, he wasn't beat up or anything, but the rapid slideshow of expressions projecting on it was enough to give me emotional whiplash just looking at him for a second.

It sounded like someone may have had some repressed homoerotic tendencies and was feeling insecure in the face of the glorious Kiszka/Wagner hair (I am seriously jealous of both of their manes, by the way. Like, how did they get it that luscious?)

And then, as one collective, our heads all swung around to face the whistle that undoubtedly belonged to some school faculty member. 

Mr. Rond.

It was motherfucking Mr. Rond, with a finger still in his mouth like he was a dog who had eaten the homework he had passed out yesterday. 

At least five of us mumbled "Shit!" 

We all trooped into the office. The secretary waved back at me, albeit confusedly, when I smiled politely at her; I was in here every now and then for one thing or another, so most of the staff knew my face. Though, it was usually more for late slips and the copy machine, so I guess her confusion as to why I was being marched to the principal's office was understandable. 

Sam and Danny were practically cuddling on the bench next to me, by the way. Kiszka got up to get a cup of water then sat back down on thw vreaking leather. His best friend leaned his forehead against Sam's, closing his eyes and smiling a little when Sam pressed a gentle kiss to the back of his hand and whispered, "My hero." 

A door opened.

"This is the third time you've been in here today, Sam. I am NOT happy to see you.”

[tlatollotl]

After the bodies had been dismembered, the body parts were placed at the bottom of an artificial water reservoir and covered with large stone blocks. Credit: Nicolaus Seefeld

Several years ago, Maya archaeologists from the University of Bonn found the bones of about 20 people at the bottom of a water reservoir in the former Maya city of Uxul, in what is now Mexico. They had apparently been killed and dismembered about 1,400 years ago. Did these victims come from Uxul or other regions of the Maya Area? Dr. Nicolaus Seefeld, who heads the project that is funded by the Gerda Henkel Foundation at the University of Bonn, is now one step further: A strontium isotope analysis by the National Autonomous University of Mexico (UNAM) showed that some of the dead grew up at least 95 miles (150 kilometers) from Uxul.

Strontium is ingested with food and stored like calcium in bones and teeth. The isotope ratios of strontium vary in rocks and soils, which is why different regions on earth have their own characteristic signatures. "As the development of tooth enamel is completed in early childhood, the strontium isotope ratio indicates the region where a person grew up," says Dr. Nicolaus Seefeld, who heads a project at the University of Bonn on the mass grave of Uxul and the role of ritualized violence in Maya society.

Together with researchers from the Isotope Geochemistry Laboratory of the Geophysics Institute at the National Autonomous University of Mexico (UNAM), Seefeld took tiny samples of tooth enamel from a total of 13 individuals early this summer. "Unfortunately it was not possible to examine the strontium isotope ratio of the remaining individuals, because the teeth were too decayed and the result would have been distorted," reports Seefeld.

The victims apparently had a high social status

The results of the isotope analysis show that most of the victims grew up at least 95 miles (150 kilometers) from Uxul in the southern lowlands, in what is now Guatemala. "However, at least one adult and also one infant were local residents from Uxul," says the researcher. They were apparently mostly people of high social status, as eight of the individuals had elaborate jade tooth jewelry or engravings in their incisors.

Show that skin, muscles and tendons were removed from the limbs. Credit: Nicolaus Seefeld

In 2013, Seefeld was investigating the water supply system of the former Maya city of Uxul when he discovered a well, in which the remains of about 20 people had been buried during the seventh century AD. The excavations of this mass grave were carried out as part of the Uxul archaeological project by the Department for the Anthropology of the Americas at the University of Bonn, which was headed by Prof. Dr. Nikolai Grube during the research period from 2009 to 2015. The investigations of the mass grave have been under the leadership of Dr. Seefeld and funded by the Gerda Henkel Foundation since January 2018.

Detailed investigations revealed that, in addition to at least 14 men and one woman, the mass grave contained the remains of several adolescents and an 18-month-old infant. Nearly all the bones showed marks of cuts and injuries by stone blades. Their regular distribution clearly shows that the individuals had been systematically and deliberately dismembered. The victims were killed and decapitated outside the water reservoir, then dismembered and the body parts placed at the bottom of the reservoir.

Heat marks on the bones showed that the bodies were exposed to fire—presumably so that skin and muscles could be removed more easily. However, there were no human bite marks on the bones that would indicate cannibalism. After dismemberment, body parts that were originally connected were deliberately placed as far apart from each other as possible. "This clearly demonstrates the desire to destroy the physical unity of the individuals," says Seefeld.

Restoring a skull from the mass grave of Uxul. Credit: Nicolaus Seefeld

Killing and dismemberment as a demonstration of power

The latest results of the strontium isotope analysis and the anthropological investigations now allow more precise conclusions about the identity of the victims and the possible reasons for the killings. It is known from pictorial representations of ritual violence of the Classic Maya that the beheading and dismemberment of humans mostly occurred in the context of armed conflicts. These representations often show victorious rulers who chose to take the elites of the defeated city as prisoners of war and later publicly humiliate and kill them. "The documented actions in Uxul should therefore not be regarded as a mere expression of cruelty or brutality, but as a demonstration of power," says Seefeld.

The most plausible explanation for the current evidence is that the majority of the victims were prisoners of war from a city in the southern Maya lowlands, who were defeated in a military confrontation with Uxul. These formerly powerful individuals were then brought to Uxul and killed. Seefeld recently presented his findings at the Archaeological Conference of Central Germany in Halle and at the conference "Investigadores de la Cultura Maya" in Campeche in Mexico.

[blackkudos]

Elizabeth Catlett

Elizabeth Catlett (April 15, 1915 – April 2, 2012) was an American and Mexican graphic artist and sculptor best known for her depictions of the African-American experience in the 20th century, which often focused on the female experience. She was born and raised in Washington, D.C. to parents working in education, and was the grandchild of freed slaves. It was difficult for a black woman in this time to pursue a career as a working artist. Catlett devoted much of her career to teaching. However, a fellowship awarded to her in 1946 allowed her to travel to Mexico City, where she worked with the Taller de Gráfica Popular for twenty years and became head of the sculpture department for the Escuela Nacional de Artes Plásticas. In the 1950s, her main means of artistic expression shifted from print to sculpture, though she never gave up the former.

Her work is a mixture of abstract and figurative in the Modernist tradition, with influence from African and Mexican art traditions. According to the artist, the main purpose of her work is to convey social messages rather than pure aesthetics. Her work is heavily studied by art students looking to depict race, gender and class issues. During her lifetime, Catlett received many awards and recognitions, including membership in the Salón de la Plástica Mexicana, the Art Institute of Chicago Legends and Legacy Award, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture.

Early life

Catlett was born and raised in Washington, D.C. Both her mother and father were the children of freed slaves, and her grandmother told her stories about the capture of their people in Africa and the hardships of plantation life. Catlett was the youngest of three children. Both of her parents worked in education; her mother was a truant officer and her father taught at Tuskegee University, the then D.C. public school system. Her father died before she was born, leaving her mother to hold several jobs to support the household.

Catlett's interest in art began early. As a child she became fascinated by a wood carving of a bird that her father made. In high school, she studied art with a descendant of Frederick Douglass.

Education

Catlett completed her undergraduate studies at Howard University, graduating cum laude, although it was not her first choice. She was also admitted into the Carnegie Institute of Technology but was refused admission when the school discovered she was black. However, in 2007, as Cathy Shannon of E&S Gallery was giving a talk to a youth group at the August Wilson Center for African American Culture in Pittsburgh, PA, she recounted Catlett's tie to Pittsburgh because of this injustice. An administrator with Carnegie Mellon University was in the audience and heard the story for the first time. She immediately told the story to the school's president, Jared Leigh Cohon, who was also unaware and deeply appalled that such a thing had happened. In 2008, President Cohon presented Catlett with an honorary Doctorate degree and a one-woman show of her art was presented by E&S Gallery at The Regina Gouger Miller Gallery on the campus of Carnegie Mellon University.

At Howard University, Catlett's professors included artist Lois Mailou Jones and philosopher Alain Locke. She also came to know artists James Herring, James Wells, and future art historian James A. Porter. Her tuition was paid for by her mother's savings and scholarships that the artist earned, and she graduated with honors in 1937. At the time, the idea of a career as an artist was far-fetched for a black woman, so she completed her undergraduate studies with the aim of being a teacher. After graduation, she moved to her mother's hometown of Durham, NC to teach high school.

Catlett became interested in the work of landscape artist Grant Wood, so she entered the graduate program of the University of Iowa where he taught. There, she studied drawing and painting with Wood, as well as sculpture with Harry Edward Stinson. Wood advised her to depict images of what she knew best, so Catlett began sculpting images of African-American women and children. However, despite being accepted to the school, she was not permitted to stay in the dormitories, therefore she rented a room off-campus. One of her roommates was future novelist and poet Margaret Walker. Catlett graduated in 1940, one of three to earn the first masters in fine arts from the university, and the first African-American woman to receive the degree.

After Iowa, Catlett moved to New Orleans to work at Dillard University, spending the summer breaks in Chicago. During her summers, she studied ceramics at the Art Institute of Chicago and lithography at the South Side Community Art Center. In Chicago, she also met her first husband, artist Charles Wilbert White. The couple married in 1941. In 1942, the couple moved to New York, where Catlett taught adult education classes at the George Washington Carver School in Harlem. She also studied lithography at the Art Students League of New York, and received private instruction from Russian sculptor Ossip Zadkine, who urged her to add abstract elements to her figurative work. During her time in New York, she met intellectuals and artists such as Gwendolyn Bennett, W. E. B. Dubois, Ralph Ellison, Langston Hughes, Jacob Lawrence, Aaron Douglas, and Paul Robeson.

In 1946, Catlett received a Rosenwald Fund Fellowship to travel with her husband to Mexico and study. She accepted the grant in part because at the time American art was trending toward the abstract while she was interested in art related to social themes. Shortly after moving to Mexico that same year, Catlett divorced White. In 1947, she entered the Taller de Gráfica Popular, a workshop dedicated to prints promoting leftist social causes and education. There she met printmaker and muralist Francisco Mora, whom she married later that same year. The couple had three children, all of whom developed careers in the arts: Francisco in jazz music, Juan Mora Catlett in filmmaking, and David in the visual arts. The last worked as his mother's assistant, performing the more labor intensive aspects of sculpting when she was no longer able. In 1948, she entered the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" to study wood sculpture with José L. Ruíz and ceramic sculpture with Francisco Zúñiga. During this time in Mexico, she became more serious about her art and more dedicated to the work it demanded. She also met Diego Rivera, Frida Kahlo, and David Alfaro Siqueiros.

In 2006, Kathleen Edwards, the curator of European and American art, visited Catlett in Cuernavaca, Mexico and purchased a group of 27 prints for the University of Iowa Museum of Art (UIMA). Catlett donated this money to the University of Iowa Foundation in order to fund the Elizabeth Catlett Mora Scholarship Fund, which supports African-American and Latino students studying printmaking. Elizabeth Catlett Residence Hall on the University of Iowa campus is named in her honor.

Activism

Catlett worked with the Taller de Gráfica Popular (TGP) from 1946 until 1966. However, because some of the members were also Communist Party members, and because of her own activism regarding a railroad strike in Mexico City had led to an arrest in 1949, Catlett came under surveillance by the United States Embassy. Eventually, she was barred from entering the United States and declared an "undesirable alien." She was unable to return home to visit her ill mother before she died. In 1962, she renounced her American citizenship and became a Mexican citizen.

In 1971, after a letter-writing campaign to the State Department by colleagues and friends, she was issued a special permit to attend an exhibition of her work at the Studio Museum in Harlem.

Later years

After retiring from her teaching position at the Escuela Nacional de Artes Plásticas, Catlett moved to the city of Cuernavaca, Morelos in 1975. In 1983, she and Mora purchased an apartment in Battery Park City, NY. The couple spent part of the year there together from 1983 until Mora's death in 2002. Catlett regained her American citizenship in 2002.

Catlett remained an active artist until her death. The artist died peacefully in her sleep at her studio home in Cuernavaca on April 2, 2012, at the age of 96. She is survived by her 3 sons, 10 grandchildren, and 6 great-grandchildren.

Career

Very early in her career, Catlett accepted a Public Works of Art Project assignment with the federal government for unemployed artists during the 1930s. However, she was fired for lack of initiative, very likely due to immaturity. The experience gave her exposure to the socially-themed work of Diego Rivera and Miguel Covarrubias.

Much of her career was spent teaching, as her original intention was to be an art teacher. After receiving her undergraduate degree, her first teaching position was in the Durham, NC school system. However, she became very dissatisfied with the position because black teachers were paid less. Along with Thurgood Marshall, she participated in an unsuccessful campaign to gain equal pay. After graduate school, she accepted a position at Dillard University in New Orleans in the 1940s. There, she arranged a special trip to the Delgado Museum of Art to see the Picasso exhibit. As the museum was closed to black people at the time, the group went on a day it was closed to the public. She eventually went on to chair the art department at Dillard. Her next teaching position was with the George Washington Carver School, a community alternative school in Harlem, where she taught art and other cultural subjects to workers enrolled in night classes. Her last major teaching position was with the Escuela Nacional de Artes Plásticas at the National Autonomous University of Mexico (UNAM), starting in 1958, where she was the first female professor of sculpture. One year later, she was appointed the head of the sculpture department despite protests that she was a woman and a foreigner. She remained with the school until her retirement in 1975.

When she moved to Mexico, Catlett's first work as an artist was with the Taller de Gráfica Popular (TGP), a famous workshop in Mexico City dedicated to graphic arts promoting leftist political causes, social issues, and education. At the TGP, she and other artists created a series of linoleum cuts featuring prominent black figures, as well as posters, leaflets, illustrations for textbooks, and materials to promote literacy in Mexico. Catlett’s immersion into the TGP was crucial for her appreciation and comprehension of the signification of “mestizaje”, a blending of Indigenous, Spanish and African antecedents in Mexico, which was a parallel reality to the African American experiences. She remained with the workshop for twenty years, leaving in 1966. Her posters of Harriet Tubman, Angela Davis, Malcolm X and other figures were widely distributed.

Although she had an individual exhibition of her work in 1948 in Washington, D.C., her work did not begin to be shown regularly until the 1960s and 1970s, almost entirely in the United States, where it drew interest because of social movements such as the Black Arts Movement and feminism. While many of these exhibitions were collective, Catlett had over fifty individual exhibitions of her work during her lifetime. Other important individual exhibitions include Escuela Nacional de Arte Pláticas of UNAM in 1962, Museo de Arte Moderno in 1970, Los Angeles in 1971, the Studio Museum in Harlem in New York in 1971, Washington, D.C. in 1972, Howard University in 1972, Los Angeles County Museum of Art in 1976, Miller Gallery at Carnegie Mellon University in 2008, and the 2011 individual show at the Bronx Museum. From 1993 to 2009, her work was regularly on display at the June Kelly Gallery.

Catlett's work can be found in major collections such as those of the Museum of Modern Art, Metropolitan Museum of Art, Library of Congress, Minneapolis Institute of Arts, National Museum in Prague, the Toledo Museum of Art, the Clark Atlanta University Art Galleries, the Palacio de Bellas Artes in Mexico, the Instituto Politécnico Nacional, Carnegie Mellon University, the University of Iowa, the June Kelly Gallery and the Schomburg Center for Research in Black Culture in New York.

The Legacy Museum, which opened on April 26, 2018, displays and dramatizes the history of slavery and racism in America, and features artwork by Catlett and others.

Awards and recognition

During Catlett's lifetime she received numerous awards and recognitions. These include First Prize at the 1940 American Negro Exposition in Chicago, induction into the Salón de la Plástica Mexicana in 1956, the Distinguished Alumni Award from the University of Iowa in 1996, a 1998 50-year traveling retrospective of her work sponsored by the Newberger Museum of Art at Purchase College, a NAACP Image Award in 2009, and a joint tribute after her death held by the Salón de la Plástica Mexicana and the Instituto Politécnico Nacional in 2013. Others include an award from the Women's Caucus for Art, the Art Institute of Chicago Legends and Legacy Award, Elizabeth Catlett Week in Berkeley, Elizabeth Catlett Day in Cleveland, honorary citizenship of New Orleans, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture. The Taller de Gráfica Popular won an international peace prize in part because of her achievements . She received a Candace Award from the National Coalition of 100 Black Women in 1991.

Art historian Melanie Herzog has called Catlett "the foremost African American woman artist of her generation." By the end of her career, her works, especially her sculptures, sold for tens of thousands of dollars.

In 2017, Catlett's alma mater, the University of Iowa, opened a new residence hall that bears her name.

Catlett was the subject of an episode of the BBC Radio 4 series An Alternative History of Art, presented by Naomi Beckwith and broadcast on March 6, 2018.

Artistry

Catlett is recognized primarily for sculpting and print work. Her sculptures are known for being provocative, but her prints are more widely recognized, mostly because of her work with the Taller de Gráfica Popular. Although she never left printmaking, starting in the 1950s, she shifted primarily to sculpture. Her print work consisted mainly of woodcuts and linocuts, while her sculptures were composed of a variety of materials, such as clay, cedar, mahogany, eucalyptus, marble, limestone, onyx, bronze, and Mexican stone (cantera). She often recreated the same piece in several different media. Sculptures ranged in size and scope from small wood figures inches high to others several feet tall to monumental works for public squares and gardens. This latter category includes a 10.5-foot sculpture of Louis Armstrong in New Orleans and a 7.5-foot work depicting Sojourner Truth in Sacramento.

Much of her work is realistic and highly stylized two- or three-dimensional figures, applying the Modernist principles (such as organic abstraction to create a simplified iconography to display human emotions) of Henry Moore, Constantin Brancusi and Ossip Zadkine to popular and easily recognized imagery. Other major influences include African and pre-Hispanic Mexican art traditions. Her works do not explore individual personalities, not even those of historical figures; instead, they convey abstracted and generalized ideas and feelings. Her imagery arises from a scrupulously honest dialogue with herself on her life and perceptions, and between herself and "the other", that is, contemporary society's beliefs and practices of racism, classism and sexism. Many young artists study her work as a model for themes relating to gender, race and class, but she is relatively unknown to the general public.

Her work revolved around themes such as social injustice, the human condition, historical figures, women and the relationship between mother and child. These themes were specifically related to the African-American experience in the 20th century with some influence from Mexican reality. This focus began while she was at the University of Iowa, where she was encouraged to depict what she knew best. Her thesis was the sculpture Mother and Child (1939), which won first prize at the American Negro Exposition in Chicago in 1940.

Her subjects range from sensitive maternal images to confrontational symbols of Black Power, and portraits of Martin Luther King, Jr., Malcolm X, Harriet Tubman, Rosa Parks, and writer Phyllis Wheatley, as she believed that art can play a role in the construction of transnational and ethnic identity. Her best-known works depict black women as strong and maternal. The women are voluptuous, with broad hips and shoulders, in positions of power and confidence, often with torsos thrust forward to show attitude. Faces tend to be mask-like, generally upturned. Mother and Child (1939) shows a young woman with very short hair and features similar to that of a Gabon mask. A late work Bather (2009) has a similar subject flexing her triceps. Her linocut series The Black Woman Speaks, is among the first graphic series in Western art to depict the image of the American black woman as a heroic and complex human being. Her work was influenced by the Harlem Renaissance movement and the Chicago Black Renaissance in the 1940s and reinforced in the 1960s and 1970s with the influence of the Black Power, Black Arts Movement and feminism. With artists like Lois Jones, she helped to create what critic Freida High Tesfagiorgis called an "Afrofemcentrist" analytic.

The Taller de Gráfica Popular pushed her to adapt her work to reach the broadest possible audience, which generally meant balancing abstraction with figurative images. She stated of her time at the TGP, "I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful."

Critic Michasel Brenson noted the "fluid, sensual surfaces" of her sculptures, which he said "seem to welcome not just the embrace of light but also the caress of the viewer's hand." Ken Johnson said that Ms. Catlett "gives wood and stone a melting, almost erotic luminosity." But he also criticized the iconography as "generic and clichéd."

However, Catlett was more concerned in the social messages of her work than in pure aesthetics. "I have always wanted my art to service my people – to reflect us, to relate to us, to stimulate us, to make us aware of our potential." She was a feminist and an activist before these movements took shape, pursuing a career in art despite segregation and the lack of female role models. "I don't think art can change things," Catlett said: "I think writing can do more. But art can prepare people for change, it can be educational and persuasive in people's thinking."

Catlett also acknowledged her artistic contributions as influencing younger black women. She relayed that being a black woman sculptor "before was unthinkable. ... There were very few black women sculptors – maybe five or six – and they all have very tough circumstances to overcome. You can be black, a woman, a sculptor, a print-maker, a teacher, a mother, a grandmother, and keep a house. It takes a lot of doing, but you can do it. All you have to do is decide to do it."

Artist statements

No other field is closed to those who are not white and male as is the visual arts. After I decided to be an artist, the first thing I had to believe was that I, a black woman, could penetrate the art scene, and that, further, I could do so without sacrificing one iota of my blackness or my femaleness or my humanity.

"Art for me must develop from a necessity within my people. It must answer a question, or wake somebody up, or give a shove in the right direction — our liberation."

Selected works

Students Aspire

"For My People" portfolio, published 1992 by Limited Editions Club, New York

"Ralph Ellison Memorial", Manhattan

"Torso", created in 1985, is a carving in mahogany modeled after another of Catlett's pieces, Pensive (b. 1946) a bronze sculpture. The mahogany carving is in the York College, CUNY Fine Art Collection (dimensions: 35' H x 19' W x 16' D). The exaggerated arms and breasts are prominent features of this piece. The crossed arms are broad, with simple geometric shapes and ripples to indicate a shirt with rolled-up sleeves, along with a gentle ridge along the neck. The hands are carved larger than what would be in proportion to the torso. The figure's eyes are painted with a calm, yet steady gaze that signifies confidence. Catlett evokes a strong, working-class black woman similar to her other pieces that she created to portray women's empowerment through expressive poses. Catlett favored materials such as cedar and mahogany because these materials naturally depict brown skin.

Selected collections

Miami-Dade Public Library System, Miami-Dade County, FL

Minneapolis Institute of Art, Minneapolis, MN

Detroit Institute of Arts, Detroit, MI

[architectuul]

Boxing Boxes

is a temporary associated project of the last Lisbon Architecture Triennial, which was accepted by the community of the Portugal Novo neighborhood and in such way became a permanent public installation. 

A drawing of the installation by © Daniel Languré

The Mexican architect Daniel De León Languré started this process of the social cohesion of the community of Olaias, a marginalized area of Lisbon, creating an open-air gymnasium that involved local agents and inhabitants. We meet Daniel in Lisbon during the official opening of the installation. 

Where did you study and what did you learn in Mexico City?

Studying in Mexico City is like a huge opportunity, as the city is one of the biggest in the whole world and there is always an opportunity for experimentation in the field of architecture and arts. After finishing my studies at the university I tried to develop an office, where I could experiment in these fields. There is always a sense of tolerance in the architecture of Mexico City, sometimes due to the earthquakes, but also because of the lack of planning. One could learn how to take advantage of these things and experiment with them in order to find new solutions and answers.

Does have an education in Mexico a double meaning while there is a possibility to study either at the public either at the private university?

I think that there are some very good public universities, where you can learn a lot from very well-educated professors, which also studied abroad. UNAM is a huge public university, where you can meet a lot of people with different interests and that can enrich your perspectives. You can’t have this opportunity if you frequent a private university as the faculties are smaller and you can’t compare the resources of private and public institution.

Official opening of the installation. | Photo © Fabio Cunha

In your projects you work with communities therefore are your social projects like an urban acupunctures than built houses; Why?

I was always interested in the public realm but as a junior architect I didn't had a chance to make project in a legal or formal way. At the beginning I started to experiment with my colleagues, first we did some small experiments mostly payed with our owns salaries. We acknowledged that if want to make some changes, that would last longer and with a greater impact on our community, we should start to think in the kind of commissions that could be the ones we should look for in order to had better and stronger consequences. Well, there were none, we didn't win no competition. But maybe that was not even the right question to ask or at least that was not the one that interested us the most, and we started to work in self-committed projects. The project doesn’t need to be just buildings, we could work more with experiments.

You have been present at the Lisbon Triennial of Architecture 2019 with a project Boxing Boxes?

The project is much older that you have seen it in Lisbon. It has started as a research and finished as a build installation; a continuous steel tubular structure placed in a sand box in the Northern neighbourhood in Lisbon. We use a “Boxing Boxes” name to avoid the gym term. It is not a gym but an open typology. Some people mentioned me Lisbon Architectural Triennial and how the team would be compatible with the project and that is how we started to think in Lisbon as a place to materialize the research.

It was very difficult for me to manage this project from so far away but the it was a great help that the Lisbon team, composed mostly by the local young atelier Gato Morto and Ensaios e Diálogos Associação, explain me more about places and problematics. We had frequent reunions via Skype with organizational team of the Lisbon Triennial, members of the neighbourhood of Portugal Novo, boxing gym managers, among others. The Lisbon team had reunions with the neighbours to explain which demands were included into the design.  

You were entering into this public space of the specific neighborhood in Lisbon?

The project is located in the Portugal Novo neighbourhood, a social housing complex done in the 1970s that has never been completed. It left homes, areas, educational and recreation facilities unfinished. People have told me that today is almost the same situation as it was in the 1980s. There is a sense that time hasn’t passed in 30 years. Due the irregularity of those settlements a great number of vulnerable African, Indian and Roma immigrants have come to occupy the neighbourhood and had difficulty with communication and interaction.

Most of the strength of the project is due the location. In the beginning I had an idea that maybe the project could be placed in a more central place in Lisbon or even close to the main museums like MAAT Museum near the river. But later we felt that if it was there it could almost betray its own principles. We were searching for a place with the power of negotiation where community shall benefit from the project and accept it because they had a lack of infrastructure.

Just before we selected Portugal Novo as a definite point of intervention was the help with the Lisbon team that told me more about the neighbourhood, their experience in knowing some of the actual neighbors, the possibilities of a greater impact for both the team, neighbourhood and Trienalle and finally the interest associations such as Aga Khan Foundation had in the implementation of a temporary project there.

What is important in the planning of the project?

The most important thing I believe is the management. I was always afraid that the people from the neighbourhood might think on why should they accept a project from a strange Mexican guy, who has ambitions to experiment in their neighbourhood and invade their public space. Sometimes they were asking if they will need to pay for the use of the installation or if they will need tickets to use it. They also asked if it is going to be temporary or permanent and we were not clear about the answers. That shows how fundamental were the management skills of both Mexico City and Lisbon team towards the community. We involved their wishes into the design, supporting their needs to modify the installation if they want. I was also communicating with people after and before the inauguration not to make them feel being used as now the installation is theirs.

How did you communicate with the audiences to attract them into the project?

Online, with calls also writing many emails. We as a team from Mexico City and Lisbon try to present them the project together. For example: I made some architectural images in order to present the project, but these images were understandable only for architects and not for general public. Therefore, after some conversations I had to make some other images, texts and strategic communications thinking in a broader public.

I landed in Lisbon one week before the opening, the installation was built in four days. It was very quickly. I wanted to be there when the first type was installed because I could solve doubts and be able to meet and talk with the neighbours. I was able to take care of the installation but also to be aware of the people that were exploring it. In few days we were in Portugal Novo many hours per day trying to have the best results.

We organized some reunions, meeting and introduce the idea to the president of the neighbourhood and to some other important social actors. Finally the opening was organized as a multicultural lunch that allowed people to know each other with the Triennial organizers, journalist, architects, neighbours, people that worked there. We wanted to do it in the horizontal way so we shared the common meal and time.

To talk and to listen. How did you communicate?

Sometimes in Spanish as some of the Roma immigrants who live there have a strong connection with Barcelona. Most of them know Spanish. With Gato Morto I used to talk in English, and since I know a little Portuguese, they were very kind and helped me translating whenever I neighbor wanted to talk with me. Sophia, Maddalena and Claraluz were very empathetic in that sense, maybe because all of us were actually all immigrants from Mexico, Brazil, Barcelona, Cabo Verde, India, etc.

Is temporality an advantage or a disadvantage in the implementation of this project?

In this case temporality was both an advantage and a disadvantage. A disadvantage when you realize you can’t plan activities in a long term the activities because originally in two months from the opening the installation was planned to be brought out. You have to schedule all in a few weeks or months. An advantage when you know that the neighbours might be willing to accept the project if you tell them that it will be there just for few weeks.

Thankfully, after the opening they had so many good opinions they started to think that this remporary project could become permanent. We first asked the community what they think about it and when they saw that so many children and adults were interacting with each other and the public realm was not about fighting with the immigrant group but about having a place to discuss common themes as a community, they were willing to accept it as a permanent one but with a possibility to modify it.  

The most important thing in the whole story is probably that you got trust from the residents?

I believe there was a coincidence of getting the trust for the project but also getting the trust from the neighbourhood and the local authorities. I believe there were also a happy coincidence of factors such as the creation of a new local association of Portugal Novo and the search of some legitimacy through some nice and quick results. We manage to integrate a team with them and the communication was therefore much easier.

What shows the Boxing Boxes installation is that you succeeded to connect different generations in the public space; did you plan this or it just happened?

Although we didn’t plan it, it was in the wish list. We knew that the ambiguity of the installation could facilitate such connection. In the general perception if we had to assign one to each, a playground is more for children and a sport facility is more for adults. One of the greater assets of Boxing Boxes is that its open design can join both adults and children to enjoy a space like this. We wanted to soften and blur the difference between playing and practicing sport since the place gives a chance to experiment with people from another age, another immigrant group and another neighborhood.

Do you have, besides Gato Morto, some other person or group in Portugal Novo that you are still attached and you still communicate with?

Yes, one example would be Nuno Furtado. He was the president of the neighbourhood society of Portugal Novo called AMPAC Olaias. His family is part of the immigrant group from Cabo Verde and he told me that when he was a child in this neighbourhood, he always had to move to another neighbourhood in order to play. He was very excited about the opening, telling us how well the kids were playing in the installation and how he enjoyed the situation because there was a lack of public life in the streets, which makes the streets feel insecure. With kids playing the parents are somehow forced to be occupy the plaza during the night. All of a sudden, the night was also this time of play, sport and integration. After that he also started to play with children, that was one of the best moments that we had.

Photos © Hugo David 

[aarspi]

Project V Update

I hate calling it that lol, but as a working title it worked I guess haha. Anyways, I felt like I should update everyone on the project.

First off, it has a new name and it’s now called Ambrose, so if you see any future posts it will be tagged and titled with that. 

Not only is there a major name change, now being Ambrose, which means Immortal, there’s also been a major plot change, and yes it’s a story still based in space, but the concept and experiences these characters go through is nothing similar to VLD, which was the goal. 

I’m honestly over the disappointment I had with Voltron. I honest to God mean that. I celebrate the things I liked about it, but I’ll admit unhappiness really just pushed inspiration. So I created these characters and even discussed the possible plot ideas with my brother ( who writes the scripts and stuff) and we actually have a solid story concept.

The plot is actually incorporated into the 4UComics Universe (4U makes Daemons Venatus which can be read on webtoon), and yeah, that’s not the only story we make, we have a shit ton of other ideas that basically creates an entire universe. So that being said I can’t exactly talk about the story plot, because it will give away key points to other major stories and series we hope to make in the future. But what I can discuss is the new names, and the design concepts so far for Ambrose.

Disclaimer: I’m aware these character designs are VERY similar to the character of VLD. They’re still ‘work in progress’, or better as trial’n’error but at least they’ll give you an idea of what they’re going to look like. To be fair too, two of them came along way from being rip-off Leakira, though they kinda look like Leakira wannabe’s still. THEIR DESIGNS WILL CHANGE TO SOMETHING MORE UNIQUE IN THE FUTURE AS WE WANT THIS TO BE AS ORIGINAL AS POSSIBLE. I was just experimenting with styles and .. unfortunately my *cough*klance*cough* biases came into play haha. 

Without Further adieu, here are the characters of Ambrose!

Keep in Mind: Names have meanings to who the characters are, and I wanted to keep elements incorporated. 

Christian Emilio Lee Sanchez: [Christian - follower of christ; Emilio - Industrious: Diligent and hard-working; Lee - “Sheltered Side”; Sanchez - Set apart as or declared holy.]

Nickname: Goes by Lee for short Heritage: Latino/--- Weapon: I wanted to keep the sharpshooter style, but again it’s very Lance/Leandro-Like, but who knows. Personality: Suave, Cunning, Charming to the point where it’s sometimes downright obnoxious.

Bonus Reference Layout Wip:

Akira Clark: [Akira: Sunlight and Moonlight/ Light coming from the sun/ Bright; Clark: A Scribe.]

Nickname: Just goes by Akira. I actually love the name Akira, so please don’t bug me about it. Heritage: Korean Weapon: Staff and Agility Personality: Quiet, Kind, Mysterious, can be snarky/sassy and will talk back. Cynical at times, but protective, and sometimes sarcastic. (Basically I wanna explore, but put emphasis on snarky/sassy but friendly/kind, and quiet and mysterious to others.) 

Aurora: [Aurora: Mythical Roman Goddess of the Dawn]

Nickname: Ro; Named after one of the strongest and most beautiful women I know in my life - my mom :3 Heritage: Unnamed Alien Race atm Weapon: Unknown atm Personality: Head strong, Mom-Like, Caring, Determined, Intelligent. Fun Fact: I adore the Tales of Series and my favourite game is Tales of Vesperia. Aurora’s race is mildly inspired by the krityan race within the game.

Lani Kameāloha: [Lani - Hawaiian for Sky; Kameāloha - “The beloved one”]

Nickname: Call him Lani - I’m well aware he legit looks like Black Shiro right now, but that will CHANGE. Also before anyone asks, no he does not die. Nor dies and comes back. Heritage: Hawaiian Weapon: Unknown atm Personality: Cunning, Tactical. Dad-Like. Strong, Courageous. If you hurt his unintentional adopted kids and intentional adopted brother, you should run. 

•••

Okay so the Character designs aren’t as thought out as much from here on out, but I do have at least sketches to include with the names.

Terra (Ptera) (Unknown Last Name atm): [Terra - The planet Earth. Famous bearer: mythological Terra, the Roman Earth Goddess of the Greek Gaia.]

Nickname: Ptera, cause she loves Dinosaurs. Gremlin - Love Lee Heritage: Greek Weapon: Unknown atm Personality: Intelligent, cynical, hot-headed. Sarcastic. Her and Akira get along well. Fun fact: She has a little keychain of a Brachiosaurus that she lovingly calls Barry.

Halle Paea: [Halle: “Rock/Little Rock”; Paea: Polynesian/Samoan]

Nickname: Stud Muffin; Thanks Lee; you’re welcome <3 Just goes by Halle. Don’t worry, he’s used to people bringing up the actress. Weapon: Unknown atm/Giant Hammer (wip) Personality: Unsure, worrisome. Cool, logical. Fun fact: His Dad’s a dick.

Not!Coran and unamed main character:

And finally, I do want an equivalent to Coran, but, Coran Coran the Gorgeous man is just so unique already. This version, he would probably go back to his roots, similar to his counter part in the original DotU where he is the primary caregiver to Aurora, almost like a father for her, who keeps her calm, gives wisdom and opinions in ties of crisis and can always be relied on. I also wanted to bring back in the mistress/maid woman that also helped care for Allura as well. Her design may be recycled from a concept drawing for a  Helsa fanfic I had been working but never finished, and would have more use for in this. 

•••

Anyways! That is it! Thank you so much for supporting me and I hope you enjoy! Also, I’m super open to fanart if anyone wants to draw them, that’d be amazing! So don’t hesitate. 

Any questions you have, you are welcome to shoot my way, and I believe that’s it for now! Thank you!

Society6 • Redbubble • Support me with a Ko-fi ! • Check out the comic series called Daemons Venatus that I help work on! I need a lot of support if I ever want to see this created :D

Do not repost ANYWHERE!

Ambrose name and Characters ©4UComics

[evoldir]

Fwd: Conference: Online.AgavoideaeGenomics.Jun13

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Conference: Online.AgavoideaeGenomics.Jun13 > Date: 20 May 2022 at 06:56:19 BST > To: rdmpage@gmail.com > > > Dear Colleagues: > > Instituto de Ecología at Universidad Nacional Autónoma de México > (UNAM) is happy to announce the Agavoideae Conference and Bioinformatics > Workshop. On June 13, 2022 researchers from throughout the Americas > will present their research describing the ecology, evolution, and > physiology of plants in the Agavoideae, and how genomic approaches > are being harnessed to address research questions in this group. The > workshop was made possible through generous support from the American > Genetic Association. > > To register to attend by zoom, please complete the following Google Form: > > https://ift.tt/kuLerbY > > Time Title Speaker > 10:00 - 10:25 AM Evolutionary biology, diversity, pollination and genomics > of agave, yucca and their relatives. Luis Eguiarte (UNAM) > 10:30 - 10:55 AM Genomic studies of the Asparagaceae Jim Leebens Mack > (University of Georgia) > 11:00 - 11:25 AM Phylogenomics of the Agavoideae Michael McKain (University > of Alabama) > 11:25 - 11:40 AM Break > 11:40 - 11:55 AM Phylogeny and morphological evolution of Yucca > (Agavoideae, Asparagaceae)  Maria Magdalena Ayala (FES Zaragoza, UNAM) > Co-authors: Marie-Stephanie Samain, Shannon D. Fehlberg, R. García-Sandoval > and Abisai García-Mendoza > 12:00 - 12:15 PM Hibridación entre Yuccas endémicas de la península de Baja > California Maria Clara Arteaga (Centro de Investigación Científica y de > Educación Superior de Ensenada, Baja California) > 12:20 - 12:35 PM Evolución de señales volátiles en el género Yucca > Evolution of volatile signals in the genus Yucca Rob Raguso (Cornell > University) > 12:35 - 1:45 PM Lunch > 1:45 - 2:00 PM Abiotic and biological defense mechanisms in Agave Jorge > Nieto Sotelo (UNAM) > 2:05 - 2:20 PM Evolution of CAM photosynthesis in the Agavoideae Karolina > Heyduk (University of Hawai'i) > 2:25 - 2:50 PM Genomics of the Agave’s Pollinator Lucifer Hummingbird / > Genómica evolutiva de Calothorax lucifer: un colibrí polinizador de > Agaves.  Yuyini > Licona-Vera (UNAM) > 2:50 - 3:05 PM Break > 3:05 - 3:20 PM Insights from Chloroplast Phylogenomics on the Origin of > Relictual Agave Domesticates in Arizona, U.S.A.  Andrew Salywon (Desert > Botanical Garden) > 3:25 - 3:40 PM Natural History and Conservation of Yucca queretaroensis Fabiola > Magallán Hernández (Universidad Autónoma de Querétaro) > 3:40 - 3:55 PM Age of Yucca and The Yucca queretaroensis problem  Christopher > Irwin Smith (Willamette University) > 4:30 - 6:00 PM Student Lightning Talks > > > *Christopher Irwin Smith* > *He/His/Him (Or any respectful pronouns)* > Professor of Biology > Willamette University > Salem, OR 97301 > ph: 503-370-6181 > fax: 503-375-5425 > Make an appointment: Google Calendar > > > *Joshua Tree Genome Project:* > JoshuaTreeGenome.org > Watch the Joshua Tree Genome Project Documentary on Great Big Story > > > Christopher Smith > via IFTTT