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brimstone-and-helianthus · 5 years

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Ahhhhhhhhhhhhh im excited this is my first exalted secret santa!! Ok first up:

Wind Erodes the Veneer of Dreams, a midnight caste abyssal and resistance supernal.

Her parents were lost eggs vying for prestige in the Blessed Isle, focusing their resources on their single exalted child. [REDACTED] became an Immaculate monk and was determined to make a place for herself. She was sent to Halta along with a group of Dragon-Blooded to investigate a rumored Anathema, and it basically amounted to a massacre. She got separated and wandered the Wyld for weeks, although from her perspective it was much longer. When Veneer finally found her way out, she was alone, mutated, and half mad.

Her newly acquired second set of arms tended to make people avoid her, so she remained on the fringe of society. She met some Shining Path cultists, which destroyed what little faith she had left. She found their obsession with not only death, but nothingness, comforting. The Wyld doesn’t scare her anymore; it’s just another manifestation of pain and terror. She gets murdered by bandits about a decade later, and as she contemplates the senselessness of her life and death, the Bishop offers her a choice. She takes it, of course.

Wind Erodes the Veneer of Dreams believes the only way to end suffering is to end life because they are irrevocably intertwined. She hates how she spent so much of her life tied to a faith based on lies. She wants the best for Creation, but she happens to think that the best thing to do is to send it into Oblivion. She tries to retain a mild, unaffected exterior, but in truth, she still cares a bit too much about the living. Veneer is a high priestess/assassin and knows Ebon Shadow Style. Her charms mainly focus on tracking, stealth, and lore.

Veneer is about six feet tall and built like a string bean. Her second set of arms starts at the bottom of her ribcage, and all four arms are just a touch too long to look natural. She has the hideous merit because she looks like a mummified corpse, all dehydrated skin and skeletal-ness. Veneer doesn’t have eyes, just a black void in her sockets that still see all too well. Her hair is long, straight, and dark, and is normally in a messy bun that is constantly falling apart. I imagine her hair breaks out of its bun and flows around at suitably dramatic moments. It’s hard to tell with her dehydrated corpse look going on, but being from the Blessed Isle, she looks East Asian. She normally dresses in layers of ascetic robes and a thick, fur trimmed cloak. She has two sets of robes, a white one for snowy stealth missions, and a dark grey and navy one for everything else. All her clothes are ragged, and there are multiple tears from fights. She has two sets of tiger claws: one is her nearly broken, original pair, held in her second pair of arms. The other is an artifact weapon, which look like fingerless gloves. When she flexes, the soulsteel blades come out. It’s a very catlike motion. Her anima banner is a cold, numbing void emanating from her head like a blasphemous halo. Everything sounds quieter than it should when it’s flaring.

Optional: She has an artifact called the Infernal Optogram (i put optograph in the ref but thats wrong sorry lol). It is a full mask made of white jade. It is rounded and featureless, except for five soulsteel sockets for eyes. The eyes of the dead or the living can be inserted into these sockets to activate evocations (im still working on these but it involves instilling fear, tracking, and investigation). It’s based on optography, the idea that the retina can be imprinted with the last thing it saw. She can be wearing or holding it, whatever floats your boat.

The Phantom Apiarist, a No-Moon caste lunar. Caste/favored are intelligence, wits, appearance, and dexterity.

I’m still trying to figure out a mortal name, but he was born in a group of villages in the southeast, where the riverland and forest begin to shift to mountains. His community worships a bee goddess, whose domain is fertility, community, and death. She grants plentiful harvests and safety, and in return the surrounding villages worship her. The Phantom Apiarist aspired to be a shaman under her guidance. Her tutelage culminated in the Heart Swarm, wherein he sacrificed his heart to show her devotion to her. She examined it and deemed it worthy. She placed a queen from her colony into his chest to start a new hive. This was his initiation into terrestrial sorcery. He’s really glad it worked, because if his goddess finds your heart lacking, she eats it and you die.

While he’s still recovering, his village is invaded. He still tries to fight even though he is a) half-dead, and b) does not know how to fight. He hasn’t even tried to use his control spell yet (I don’t have a clear picture of who would have invaded, I imagine I would flesh that out with an ST). Luna disguised themself as a marauder, and was very nearly taken out by a trap he set. She proceeded to thoroughly thrash him, and was like “you’ve got spunk, but you could use a helping hand. Try not to get yourself killed.” And exalted him on the spot.

He is grateful for Luna’s assistance, but expects that they want something in return, and is worried it would conflict with his own priorities. Which are keeping his home safe from an increasing number of raids and generally causing havoc to any Realm passersby. His control spell is blood lash, and his magic focuses on body transformations, insects, and necromancy. He has a fun thaumaturgy ritual where he tells bees secrets in exchange for their knowledge of the dead. His Tell is the beehive implanted in his chest. Where his sternum should be, you can see the nest and bees coming and going. They’re his familiars. He’s a trickster at heart, and his charms tend to revolve around loyalty, misdirection, and flirting. His anima banner is sweet-smelling honeycomb dripping blood and the feeling of a hot, oppressive summer’s day.

The closest real world ethnicity to match him would be North African, I’d say. His hair is very curly and goes past his shoulders. It’s normally pulled back with a few loose curls for flair. He’s faceless in my ref because I was really having trouble nailing it, but his nose gives him a very striking profile. His eyes are dark, and he usually has at least a small smile on his face. He’s on the shorter side, and nothing really stands out regarding his physique. His moonsilver tattoos are the major veins and arteries of his body. His main colors are navy blue and forest green, with bits of red-orange accenting. He wears a large sun hat with flowers continuously blooming and dying on it. The flowers themselves are mostly red-orange chrysanthemums with some smaller flowers and leaves. I’m not good at coming up with clothes, but he tends to wear things that are sheer and flowy. Feel free to do whatever with them. He’s trans, and since exalting has given him a body he’s way more comfortable with, he is very excited about all the loose, open shirts he gets to wear now. I imagine a lot of plunging necklines revealing his beehive. His main weapon is a giant war fan with a honeycomb pattern. It is easily the length of his arm.

#exalted secret santa #exalted

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charlottecampana · 3 years

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African Grey Parrot For Sale UK

african grey for sale (Psittacus erithacus); two subspecies Congo: larger body, light-grey coloration, all-black beak, and bright red tail feathers Timneh: smaller body, darker-grey coloration, flesh-colored top half of beak, and dark maroon tail feathers Weight: 330-500 gm Young birds have dark grey irises that turn pale yellow at 1 year of age Sexual maturity: 4-6 years Avg. life span: 25-30 years Maximum recorded life span: 50+ years

Enclosures should be as large as possible, such that the bird is able to fully extend it’s wings and flap without touching the cage walls Cage should be clean, secure, safe and constructed of durable, non-toxic materials Perches should be of variable widths, heights, and textures. Also provide a concrete perch to help to maintain the toenails. Avoid placing perches directly over food or water to prevent contamination Access to natural light is preferred, and supplemental UV light may be recommended to treat or prevent feather picking or hypocalcemia. Avoid drafty areas. Parrots should stay in their cage or a “bird safe” room when they are not under direct supervision. Birds with unrestricted access to the home are at risk for accidents such as toxin ingestion, electrocution, pet attacks, and drowning. Preventive Care.

Physical examinations every 6-12 months Consult a veterinarian with experience in avian medicine if you have any questions or concerns about your bird’s health. Annual fecal examination for parasites, yeast, and bacteria Vaccination for Polyomavirus, as directed by your veterinarian Routine blood testing Wing, nail trimming as needed

african grey parrots for sale UK Common Medical Disorders

Behavioral problems (e.g. feather picking, fearfulness, aggression) Respiratory diseases Hypocalcemia syndrome Circovirus (PBFD virus) Nasal blockages (bacterial, fungal, secondary to malnutrition) Proventricular dilatation disease (PDD)

#african grey for sale #african grey parrot for sale #african grey parrots for sale

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paytonhand · 3 years

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African Grey Parrot For Sale UK

african grey parrots for sale UK Common Medical Disorders

#african grey for sale #african grey parrot for sale #african grey parrots for sale

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ayellowbirds · 8 years

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World of Qarqa: to be drawn

This is a list for myself (and potentially for artists i may commission) of stuff i want to be drawn in the future to develop the setting of Cypora’s Guide to Becoming an Evil Queen, the fantasy world of Qarqa.

Qarqa is a high fantasy setting based on two key sources of folklore: Jewish, and North American. Because of that, it differs strongly from your usual elves & dwarves Tolkienesque fantasy setting in many ways, but also deliberately uses aspects of those as a base—there are people living in Cypora’s world who think that the universe works according to rules we might recognize as those of a tabletop RPG like Dungeons and Dragons.

New commissions will depend on how much i receive in weekly donations (more info at this link).

Characters

Cypora Schenk: the protagonist. A tavern-keeper’s daughter. A transgender girl; pale-skinned with a too-slim body hardened by work & later training set beneath a large and unruly puff of curly auburn hair. Codes as Ashkenazic/Persian mix.

Alícha de Matos: the deuteragonist. An orchard owner’s daughter. A transgender girl, short and athletic with a martial artist’s build. Usually wears high-waisted denim trousers and a dark green jacket from a naval uniform, with mulberry-hued trim added and the coat of arms of Martıkoy sewn onto the front (see below). Codes as Sephardic.

Acantha: the corn dolly. A feathertop; a being made of corn husks and straw in the likeness of a modestly-dressed young woman almost constantly smoking a long-stemmed pipe. Wields an old scythe and a beaten but well-sharpened hay knife.

Adara: a sister-in-law. Strale’s wife.

Aletheia: a maid. A tall golem made of wet clay, which serves to keep the innermost areas of the dungeon in working order.

Almaz: an adventuring warrior. Dark-skinned and heavily armored woman with finely braided hair kept in a tight, high ponytail. Later: harder, colder, with a false eye made of gold and scars around it.

Astruc: a swashbuckler. Androgyne grandchild of Zalema, a chubby and bouncy type who likes to make their presence known with flashy displays and bold actions. Wears lots of colors, beads in their hair. Codes as mixed ancestry.

Bang: the tinker. A yeahoh; a kind of bigfoot notable for a broader frame and darker fur. Disguises himself as merely a tall, hirsute, & full-bearded human by wearing leather traveling garb that covers most of his body. A transgender boy, younger than he seems at first.

Earsel I: a dead emperor.

Enosch Schenk: an elder brother.

Fagim Fossoyeur: an undertaker. A single father trying to do the best by his daughters, glad they have good friends.

Guta Schenk: an tavern-keeper. Cypora’s mother, short and exceptionally strong. Codes as Ashkenazic.

Ishvi Med: Keturah’s baby brother.

Ivorde Consley: a dead businessman.

Joia-Douce Bleustein: a loup-garou.

Keturah Med: the beekeeper. Daughter of a family of mead-makers, chubby nerd with an interest in all arthropods. Very dark-skinned, with an especially voluminous afro. Wears reinforced beekeeping garb as armor. Codes as Beta Israel.

Libet Schenck: a middle sister.

Licoricia Fossoyeur: the angelspawn/naphil. Daughter of an undertaker and an angel; brown skin and long, loosely braided hair kept back in a low ponytail. Her eyes are an unnatural blue not found among mortals, and more of them open all over her body (and in the air beyond it) when she is agitated. Armed with a sharpened shovel. Codes as an African-American Jew.

Madrona: a witch. Acantha’s creator, a wise old bubbe in a simple gray dress, usually hunched over so much that her full height of nearly two meters is not apparent. Codes as Litvak.

Melisende: a healer. A lutin, voluptuous and mature at about 2′3″, able to take the form of a white cat.

Musa (formerly Marx in early drafts) Schenk: a tavern-keeper’s husband. Codes as a Persian Jew.

Orangella Fossoyeur: the demonspawn/mazik. Daughter of an undertaker and a shedah (demoness); her feet look like those of a giant chicken, or maybe a dinosaur. Noticeably paler than her sister Licoricia or father Fagim. Codes as a biracial African-American & Ashkenazic Jew.

Pesche Schenk: an eldest sister. Tall & sturdily built, her curves cover working muscle. Widely admired for her healthful looks and dedication.

Poncella de Matos: an apple orchard owner.

Raduard: an adventuring mystic. All narrow angles, thin-lipped and pale eyed.

Ravid: a sibling-in-law. Libet’s spouse.

The Rear Admiral: a monster. A giant cecalia clad in a naval uniform sewn together from ships’ sails, dyed green and set with ornaments of gold thread. It had a cluster of barnacles in place of a beard, and kept its hair in the most filthy matted parody of dreadlocks you could imagine outside of a folk music festival. Its tentacles were disproportionately thick compared to its upper body.

Scoloaster Spitznogle: an undead. A vampir, wrapped in a shroud and with too-long nails; her sharp teeth are exposed by her lack of lips.

Shiaroc pla Aurm: a lizard woman. Distinguished by abundant scars and light stripes, as well as an unusually thick tail. Wears a high-collared heavy leather jacket and skirt as armor, reinforced with slats of exotic hardwoods.

Shokh: the Schenk family’s reliable old ox, a great and powerful critter. Reference “Belted Galloway” breed.

Simham: a spice trader. A handsome but anxious young man who has traveled a long way and thinks very highly of Enosch.

Strale Schenk: a second brother.

The Old Goat: an overlord. A gigantic goatman who served as the first overlord of Dungeon #1540, two and a half meters tall but very slender. He soaked his fur in pine tar to stick bits of flint in it as armor, and wielded an axe that magically dripped blood, together with an enchanted lantern.

The Stranger: a visitor. A “phantom monster” that observes the inhabitants of Dungeon #1540. Reference the Flatwoods Monster.

Toiba: a boss. The leader of the kapelyushniklekh, she wears a fine bowler hat decorated with a plume of feathers that doubles her height.

Tomer Med: Keturah’s father. A man with a very large belly, full cheeks, and exceedingly long dreadlocks.

Toussaint: a prophet. A mothman who believes he is the envoy of the goddess Misfortuna, whom nobody has ever heard of.

Vivard: a novice. An inexperienced adventurer who took to the lifestyle as a means to rise above his station as an orphan.

Dom Xandre Nunos: A restaurant owner. A famously skilled arm-wrestler fond of challenging rowdy patrons.

Zalema: An old salt. A man built like the timbers of an old dock, sturdy and weathered, and gay as the day is long. Codes as Romaniote.

Tzufit Med: Keturah’s mother. A tall woman with very dark skin, and high cheekbones.

Groups of People

People of the Land: the general term for any of a number of ethnic groups united by shared history as former nomadic peoples and many common religious and cultural standards. Code as Jewish; “Imperialized” code as westernized/assimilated, “Outlanders” code as nomadic and more warlike.

Anakim: humans descended from giants, usually bearing one or more disproportionately overgrown body parts.

Anasha: Westerners among the People of the Land. Code as Middle Eastern Jews.

Djente: People of the Land from the equatorial coasts. Code as Sephardim & related groups of Jews.

Dungeon Explorers’ Union of Martıkoy & Kósta Estridia: a recently formed organization, contentious and constantly at risk of splitting into smaller groups.

Guildniks: the Guild of Inspethian Adventurers and Associates, a more formalized organization. Members are well-equipped and expected to be presentable, receiving polished membership badges reflecting status & level of contribution to the Guild.

Haints: dybbuks and gilgulim, all the incoroporeal or semi-corporeal spirits of the living who linger beyond the grave. The exact distinction between the two types is a matter of debate, so many gloss them both simply as haints.

Icosans: the ethnic group making up the Icarian Empire’s ruling class. Tend towards exceptionally pale skin, often flushed, or discolored bluish-grey by trendy alchemical treatments; small noses and thin, colorless lips.

Janam: People of the Land from the far west, notable for a rich musical tradition. Code as Indian (specifically Kerala) Jews.

Kindaunkeyt: easterners among the People of the Land. Code as Ashkenazim & related groups of Jews.

Mondiens: an ethnic group closely related to the Icosans. Code as northwestern European gentiles.

Sebat (pending rename): far southerners among the People of the Land. Code as Jews of African ancestry.

Valley Union: the Adventurer’s Union of The Lower Alstuc Valley. More rag-tag and informal, the few Union Halls being somewhere to cut the dust and rest your boots rather than a proper meeting-place.

Zombies: humans brought back from death on a “budget resurrection”, not truly alive but more resistant to death. White-eyed and often showing grievous wounds that would fell a living being.

Objects/Places/Things

Aleftav: the traditional abjad used among the People of the Land, also called “the Old Script”.

Arms of Martıkoy: Murrey, a gull displayed argent.

Alícha’s Axes: paired light axes weighted & honed for combat instead of work.

Bitternut Hollow: a village in the hills. Reference Appalachian communities, Juhuri, Georgian Jews.

Alícha’s Bow & Arrows: a short bow and a bundle of finely made arrows, made from reforged & recarved magical amulets. Crossroads: a small village named simply for being centered upon the crossing of two ancient major roads, a popular stop for both travelers and adventurers.

Dungeon #568: The Sea King’s Castle. Formerly the Sixth Battle Squadron of the Icarian Imperial Navy, a set of enormous ironclad vessels interlinked with bridges and chains, warped into the form of a floating fortress. The central vessel is shaped into a likeness of an impossibly vast & monstrous octopus.

Dungeon #1532: The Inspeth Delve. Former site of Inspeth University, a dungeon populated by monsters associated with academia and the strange sciences formerly studied at the university.

Dungeon #1540: The Timber Barony. Former home & business of Ivorde Consley, a dungeon built around the processing and sale of lumber both conventional and exotic. Outwardly resembles a fortified town with walls of living trees integrown to form a barrier.

Endless Cauldron: produces an infinite reservoir of thin, nutritious porridge.

Vivard’s Espada Ancha: a short, broad, double-edged sword with a D-shaped hand guard

Ever-Burning Lantern: an enchanted lumber-camp lamp that always produces light.

Flying Canoes: enchanted small boats. Difficult to maneuver due to the lesser resistance of air compared to water.

Golden Beehive: a magical mead-producing fountain.

Alicha’s Hatchet: a plain, utilitarian, but reliable small axe.

High-Stepping Boots: Cowhand-style leather boots set with designs of birds and feathers in rich colors on a black-dyed background. Enchanted to allow flight by creating propulsion from the heels.

Los Soldados: the barren coast north of Martıkoy, with abundant jagged rock formations.

Martıkoy: a coastal town mostly set on the slope leading to the shore and wrapping around a wide, peaceful bay. I had a weird mix of San Francisco and Sleepy Hollow in my mind when I was writing scenes there.

Mirror of the Distant Eye: a small hand mirror enchanted to allow two-way communication via other mirrors produced at the same time, even over great distances.

Seed-Grown Shelter: a permanent shelter in the form of a live tree with a hollow large enough for several people to fit within, grown from a single magic seed.

Sharkspawn Sack: a leather bag full of shark teeth that conjures a magical shark made of whatever material the bag is thrown against.

Cypora’s Shepherds’ Axe: a ciupaga made for work rather than show, sturdy with a good axe head and a sharp steel point at the other end.

the Stafroph: the Icosan alphabet.

The Stone Rooster: an oversized granite carving of a chicken, enchanted to crow thrice when Dungeon #1540 has a new overlord.

Vuègbòrd: “Void-Boundary”, the sword of Almaz. An impossibly sharp short sword, so dark that it reflects no light whatsoever, making it appear two-dimensional at first.

Windknot: rope or cord tied with a special magical knot that conjures a powerful wind when untied.

Creatures

Angels: agents of the divine, awful and strange with too many eyes or wings, or arms or mouths, or all or none. Known classes include the Harisot (the “Ruinations”) and Rekbaim (the “Vehicles”)

Axehandle Hounds: Sturdy, long-bodied canines with short legs and sharp metal axes for muzzles. They supplement much of their diet with wood.

Beach Beasts: monsters commonly associated with marine & island dungeons, a twisted mingling of mammalian, avian, and reptilian aspects. Reference the Montauk Monster.

Cecaelias: humanoid above the waist, with the tentacled end of an octopus, squid, or cuttlefish where the legs should be. Often dress after the manner of Icosan naval officers, they appear to have a sense of ranks.

Dogs, Talking: some dogs talk. It makes it easier for them to own stuff, like clothing, jewelry, and so forth.

Duendes: little people, mischievous and uncanny, often subtly integrated into human society. Average around 60 centimeters in height.

Feathertops: Wrought sewn together from the stuff of scarecrows, animated with a feather amulet and an enchanted smoking pipe. They are more extroverted than golems.

Fishmen: Icarian soldiers twisted into piscine forms, with huge dark eyes and scaly skin.

Goatmen: feral humanoids with the heads and legs of goats and shaggy-haired bodies of great strength.

Golems: Wrought made of wet clay or other flexible materials, usually in humanoid form. They tend to take things literally, and speak so little that most think them incapable of it.

Globsters: animate masses of undead marine life congealed into a gelatinous form.

Goblins: silvery-skinned, bat eared creatures that are highly resistant to injury. Reference the Hopkinsville Goblins.

Kapelyushnikles: Miniature people notable for mischief and wearing excellent hats of all kinds, and great skill in the care of draft animals. Knee-high to a toddler; each one speaks with a distinct accent with little to no relation to the others.

Lizard People: Towering, broad-bodied and long-necked beings with dark scute-covered forms and long tails, paired with shaggy manes of hair. Reference pelycosaurs.

Loups-Garous: else called Volkelaks, humans able to turn into tremendous, powerful wolves.

Lutins: Shapeshifting little people, often taking the form of rabbits or cats. About as big on average as a cat on its hind legs.

Mazikim: the result of demons and humans having children, mazikim tend to have features of both, and sometimes neither.

Mothmen: often mistaken for a lesser kind of angel, these enigmatic beings stand above the tallest humans and have great, glowing red eyes. What appear to be otherwise featureless faces conceal wide mouths lined with tiny, very sharp teeth. Reference pterosaurs (esp. Anurognathus) and owls.

Nehashim: dragons; a wide and mutable class of creature where even among siblings they can range from great whale-serpents to creatures almost indistinguishable from humans.

Nephilim: the children of angels and humans, they tend to have notably beautiful features and incredibly strong bodies, while bearing at least one overtly monstrous physical trait.

Sei’rim: antelope-hoofed creatures of the wilderness, vain demons fond of forcing or coercing humans into serving them as if they were gods.

Shedim: demons of shadow, looking in their true form like gray-skinned humans with the feet of fowl or dinosaurs. They are masters of shapeshifting, and craft smoke and shadow as humans do with metal and wood.

Shreteles: especially tiny people, barely as tall as a fist, notable for their magic of abundance. The ones in question dress as lumberjacks.

Vampirs: living dead that thirst for human blood, they have strange powers but a number of weaknesses. They tend to have flushed features and a ragged, filthy appearance.

Wrought: the broad class of golems, feathertops, and other intelligent automata that do not require human intervention for long-term activity. More finely crafted wrought are not distinguishable from living beings unless injured.

Yeahohs: a kind of bigfoot, dark-furred, heavily muscled, and with sharp teeth.

Miscellaneous Critters: Agropelters, Devil Dogs, (Jersey) Devil, Hodags, Snallygosters, Tailypos

#Cypora’s Guide to Becoming an Evil Queen

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fuegosdeoctubree-blog · 5 years

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Facts About home decor Revealed

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#ladies fashion

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wanderlearn-blog1 · 5 years

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How Much You Need To Expect You'll Pay For A Good home decor

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iamandco · 6 years

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It is Festival Season, Yall! Music and art festivals are always the highlight of the summer for me. As a bonafide ambivert it's the perfect social but not too social setting. The music! The food! The weather! The Fashion! Especially the fashion. Music festivals give us the permission to live out our fashion fantasies. Those outfits we would normally be too modest to wear. Maybe it's too colorful. Maybe it's too much skin. Maybe it's just not your “style”. But when you get to the festival… you have every reason to LIVE OUT LOUD! Why not? You're there to see your favorite artist, enjoy the music, and maybe get a little intoxicated (Your call, I am not judging). You need to make a statement. Festival Fashion has elevated over the years. Trust me, I have seen some out of this world outfits. From the psychedelic to the bohemian to the Afrocentric, there are true moments of self-expression that I have appreciated dearly. Like I said before its the perfect time to live out your fashion fantasy. I pulled together some of my favorite looks from recent festivals so you can get inspired. PHOTO: @ricademarre PHOTO: @ricademarre To start off, possibly the best known music festival of our time, Coachella . An annual music and arts festival held at the Empire Polo Club in Indio, California. This festival is huge. This year Beyonce was the headliner… So, you get the picture. Coachella is typically characterized for more bohemian , hippy fashions. This year I saw some looks that would have you think otherwise. Lots of ladies choose to be a lot less boho and a lot more grunge and sexy. Blogger Gabriela Sales went with camo pants, a black cut out bodysuit, and biker boots. I love that she added some unique elements with her two top knots and star-shaped earrings. This whole outfit was so hardcore but so alluring! PHOTO: @kate_lalone Going on to the FireFly Music Fest . Held in Dover, DE, the festival takes place in The Woodlands of Dover International Speedway, a 105-acre (42 ha) festival ground, over the span of four days. This festival gave us the traditional boho looks we are use to seeing. You may think “Been there, done that”, but a lot of ladies added fun twist like showcasing a temporary tattoo, beautiful face paint, and accessories. My favorite at Firefly was Instagrammer Kate Lalone in her yarn two-piece. She was heartbreakingly cute adding a body chain and facepaint. What really pulled it all together though was her flower crown, a music festival staple. PHOTO: @joyyfuls A festival I have been dying to go to in the annual Essence Fest in New Orleans! Known as "the party with a purpose", the festival started in 1995 as a one-time event to celebrate the 25th anniversary of Essence, a magazine aimed primarily towards African-American women. Essence celebrates Black Women and Black style so the attendees express the culture via their outfits. And unlike most festivals, it's not located out on the muddy grounds of an open field so many don heels and classy styles. My favorite from this fest was the intersection of both! Instagrammer Joy Alicia took my breath away in this Africana print two-piece. You could tell in that hot New Orleans sun she felt easy, breezy in the light fabric. To complete the look, she wore black Birkins, an orange African print over the shoulder, hoops and an ankle bracelet. Also, I was extremely pleased by her “Feed-In” braids, half up in bun, half out. PHOTO: @love.you_em My next look is from a festival I had never heard of. A friend schooled me. The Electric Daisy Carniva l, commonly known as EDC, is an annual electronic dance music festival, with its flagship event held annually in Las Vegas, Nevada. Talk about psychedelic! The looks here were brought to you by your most far-out dreams. Faces bedazzled with jewels, glitter, and lots of skin! Okay to start off, Ma'am is that a money fan? Where do you get a money fan from? I love it! Blogger EM showed out in a checkered bikini bottom and a neon green tank bra with cool chains hanging from the bottom. Over the bottoms she wore a black leg harness from iHeartRaves. Insane! It's worth mentioning these accessories too. A studded choker, face jewels, and friendship bracelets. She made sure that glitter was stunning too! PHOTO: @eyedbyjoe 5. Next we have a personal favorite style wise. AFROPUNK . Afropunk is an arts festival that celebrates and unifies the cultural cornerstones of afropunk culture through music, film, skate, and art. They actually hold this festival in Brooklyn, Atlanta, and Abroad. It was so hard for me to choose just one look from this festival. It is the mecca for style and culture and people SHOW OUT. I finally settled for the beautiful Instagrammer and photographer Jozif IV. Where do I start? Her white lace top and baggy pants whispered I can be feminine, masculine, and a bad ass all at the same time. In Afropunk fashion she donned high platform boots and added an afrocentric touch by overlaying everything in a light trench with African print trimmings. She wore her natural hair out with a sense of casualness that was heightened by her vintage sunnies . PHOTO: @fyirobyn Another festival I am just taking notice to is The Secret Garden Party . Often colloquially shortened to SGP, it is an annual independent arts and music festival that takes place in Abbots Ripton near Huntingdon in England. The U.K. is always my inspiration for out of the box style. I spotted Blogger Robyn Bevan in a outfit that blew my mind. She had on a pretty simple white tee and red track pants. She wore straight backs and made sure to have the standard festival season, dirty from the mud boots . But the highlight was that she adorned all this with this crazy shimmer jacket that I have never seen before in my life. It reminded me of the colorful streamers that I had on my three wheeler bike as a kid. I took of liberty of doing a little research for you and they are called Fringe Jackets (Missguided has some)! PHOTO: @youngbabycakes I will end with the last festival I attended with my besties for our Girls Trip! Made in America in Philly. Made in America Festival was founded in 2012 by American rapper, record producer and business mogul Jay-Z, as a way to bring together music and culture. The inaugural event was held on September 1–2, 2012 on Benjamin Franklin Parkway in Philadelphia. From first-hand experience, I can tell you MIA is definitely for the hip-hop, street official fans. The fashion sense follows with many ladies rocking ripped jeans, sneakers, graphic tees, and other trendy things. Blogger TheLifeofCake really stood out to me because she came with the streetwear elements but added a feminine flare. She coupled a beautiful sheer and Iron Maiden half shirt. Her long grey hair made her look so fashion forward and she completed look with Venice Oval Sunglasses. Go home everyone, she won the whole festival! I am sure you are feeling inspired for your next festie and for that I say you are welcome! If you haven't planned one yet hit up your best friends and see if they're game. Or make it a solo trip if you're about that life (I once went to Dallas by myself just to see a concert). You never know if a festival adventure could lead you to meeting the one .

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observations-and-creations-blog · 7 years

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A Technical Study of Picasso’s Construction Still Life 1914 Jackie Heuman Tate Papers no.11

This technical study helps to explain how Pablo Picasso made one of his earliest cubist constructions, Still Life 1914 (fig.1),1what his intentions were and how he achieved them, and how the work has changed with time. Conservators have published technical studies on Picasso’s paintings,2 but less attention has been paid to his early sculptures. This article suggests ways in which Picasso controlled his materials to emphasise the basic, almost crude, effect he sought. The artist’s failure or refusal to efface evidence of the way the work came into being gives the impression of hasty or rough workmanship, and at the time Still Life was made, this was unusual, even shocking, in a serious work of art.

Picasso, however, left clues that give insight into his working method. Close inspection and analysis of Still Life reveals a level of control in the construction that is not immediately obvious. There are indications of effort and deliberation that support the argument that Picasso intended this work to have an unfinished look. Connections between some components in Still Life and those in other constructions from this period are examined here; but other comparisons may illuminate more about the artist’s working methods and the chronology of these early works.3 Although Picasso received no formal training in sculpture, he produced several early works in which he used traditional materials and techniques, such as modeling clay and carving wood to make Figure 1907 (Spies 19) and Standing Man 1907 (Spies 20). But it was not until 1912 that he began to use other materials. He made about a dozen sculptures in the years 1912–14, but Still Life was the only one shown publicly during his lifetime.4

Still Life is a relief constructed from partly recycled and partly carved wooden elements with the addition of a piece of textile. Like many of his cubist collages and constructions, Still Life takes its subject from the café and everyday life. Introducing a workman’s lunch into a work of art was in keeping with Picasso’s subversion of ‘pure art’. His identification with the life and work of ordinary Parisian artisans probably influenced his subject matter.5 Most sculptures produced in the nineteenth and early twentieth centuries idealised the human condition, and the skill of the sculptor was clearly evident. For Picasso, along with the change of subject-matter, came the desire to reveal the creative process, or at least not to hide it. This construction is made from twelve pieces of pine and poplar wood,6 nailed and glued together to form a table that supports a knife, a piece of bread with two slices of sausage and a glass. A segment of upholstery fringe is fixed to the table’s edge, suggesting a tablecloth.

The painted depiction of food was common in paintings up to the period when Still Life was made, but was never a favoured subject for sculpture. Picasso’s decision to represent prepared food may be symbolic but it also reflects an interest in everyday activities. The artist himself is known to have lunched on bread and sausage while painting, and Jaime Sabartés refers to the significance Picasso attached to food: ‘In conversation, too, he often recurs [sic] to food as symbolic of a situation or to colour his expressions … In his writings there is a profusion of names of dishes, recipes, vegetables and fruit’.7 Just as the snack on the table in this construction represents a moment in the process of consumption, the workmanship also appears to be a moment in a process of production.

Four of Picasso’s constructions were published in Guillaume Apollinaire’s avant-garde publication Les Soirées de Paris in 1913 and provoked uproar.8 Many subscribers cancelled their subscriptions in protest. Criticism was based on the desultory finish, the use of ignoble materials and on the perceived inappropriateness of the subject matter. This hostile response may have expressed a sense that the sculptural canon was being subverted by popular culture. When asked whether the constructions were sculptures or paintings, Picasso replied: ‘now we are delivered from Painting and Sculpture, themselves already liberated from the imbecile tyranny of genres. It’s neither one thing nor another.’9

It is widely acknowledged that these constructions changed the course of modern sculpture.10 Picasso broke the rules by using found materials to make individual elements, each with their own identifiable form. As the art historian Elizabeth Cowling has pointed out, this construction technique allowed Picasso to create open planes which would have been much more difficult if sculpting from a solid mass.11 Until this time, sculpture was largely figurative, but perhaps more significantly it was expected to look ‘finished’, a demonstration of an artist’s technical skill. Did Picasso use whatever happened to be at hand or did he plan his constructions? There is no evidence of a preparatory sketch for Still Life, although other drawings show Picasso’s ability to think in three dimensions.12 Curator and Picasso scholar William Rubin suggested that there was almost always a secret metaphorical value in the objects Picasso used.13

These constructions were launched at a time when Picasso had become deeply interested in tribal art.14 Ethnographic artifacts use a mélange of materials, including found objects, and their presence undoubtedly had a profound influence on him. In 1912, around the time he was working on Still Life, the artist bought an African Grebo mask (fig.2), which has a flat wooden plane onto which elements of the face project outwards, creating in a sense a sculpted relief; this may well have influenced Picasso in his early reliefs. Even though these constructions were not publicly exhibited, they were seen by friends and colleagues and became an inspiration to contemporary artists. The implications of Cubist innovation were being explored by figures such as Tatlin, Boccioni, Archipenko and Laurens. Boccioni’s famous Development of a Bottle in Space 1912 (Museu de Arte Contemporânea da Universidade de São Paulo) marks a breakthrough in the subject matter of sculpture, as did Picasso’s constructions.15 In 1912 Boccioni published his Technical Manifesto of Futurist Sculpture in which he advocated using almost anything as sculptural material. However, Picasso was less interested in the materials themselves than by the way in which found objects could be transformed.16

A rectangular piece of pine, one centimetre thick, acts as the backboard or wall to Still Life and might have originally come from a food or wine crate, as both front and back are roughly hewn. The sides of the board have been unevenly cut, probably with a panel saw, and no attempt has been made to finish or paint the splintered rough saw marks.17 (fig.3) Paradoxically, the top and bottom edges are very straight but are hidden behind the attached elements. Since the backboard defines the space of the composition, Picasso seems to have consciously opted to expose the more uneven sides, forcing the viewer to contemplate the rough-cut wood as part of the making process. A favourite motif found in Picasso’s paintings and constructions from this time is the pedestal table. A photograph of his studio from 1911 shows a real pedestal table with a fringed tablecloth. He was known to have loved passementerie (fringes and tassels used on curtains and furniture). Picasso once spoke passionately for twenty minutes to William Rubin about tasselled furnishings.18 The table in Still Life is sawn from a piece of one centimetre thick pine, and is angled at about 45 degrees, which alters the perspective so that we view the scene almost from above, with the table tipping dangerously forward. This effect is created deliberately by supporting the table from beneath with two pieces of wood nailed to the backboard. The table surface has an underlying cream colour with a top layer of dark grey paint.19 By exposing the underlying cream colour, Picasso suggests the shadows cast by the knife and glass. The underside of the table, although not visible, is neatly painted cream.

Picasso conflates the iconography of a working-class lunch with that of bourgeois home decoration using a piece of tasselled fringe. The tassels are tied twice forming a small onion shape and are referred to as ‘onion’ tassels: Picasso might have been aware of and enjoyed this visual food pun.20 The admission into the work itself of selected but otherwise untransformed fragments of the real world meant that art was not only addressing the everyday but being visibly invaded by it, challenging the concept of art as something precious and valuable. The craftsmanship evident in the work echoes this view.

Picasso glued the textile on one side to the table edge and on the other side introduced two nails to crudely hold it in place. The yellow, brown and pink textile consists of silk, cotton and wool twill patterned braid with ten dangling tassels.21 The segment originally had eleven tassels but one has obviously come off, confirming that it was not new when used. Where the tassel was missing, Picasso crossed the braid over on itself. Paradoxically, the attempt to present the trim evenly is done in the crudest manner: a nail is hammered through two layers of textile into the wood. The back of the textile, which has been protected from light, retains a golden pinkish colour while the exposed fringe has faded significantly. The motif of the fringe and the gold colour might well refer to the heavily decorated gold frames surrounding old-master paintings.22

The salami sausages, made from pine wood, appear to have been fabricated by sawing slices with a coping or bow saw by hand from a 40 mm diameter wooden dowel, perhaps originally from a chair leg or curtain pole. The two slices of sausage, both of the same diameter with the end grain painted reddish brown, rest on a thick square wooden slice of bread, marked by carved depressions representing air pockets. The grooves and chisel marks vividly capture the movement of Picasso’s fingers as he gouged bits of wood using a 7 mm gouge, and possibly a carving knife, to create ten dimples.23 Splinters of wood remain in the indentations and have been painted a cream colour, contrasting with the brown upper surface and grey edges. Picasso exploits the different qualities of the paint, accentuating the contrast between the matt surface of the bread and sausage with the smooth glossy surface of the glass and table.

The strip of moulding was probably a found piece which Picasso revived by painting it blue. The medium of the paint was absorbed by the rough-sawn surface causing particles of paint to be left without a binding medium, which can be seen in cross section.24 A carved white, red and black motif painted in trompe l’œil is executed in artists’ oil paint and textured brushstrokes are visible in this area.25

X-radiography reveals an abundance of more than fifty factory-produced nails in this small construction (fig.4). While they are all functional, some also become integral to the design. The most inventive use involves those that secure the knife to the table. The knife is most probably of poplar and measures the same thickness as the glass and bread, suggesting they all came from the same piece of wood. The knife was probably made using a saw, flat chisel and knife. (Picasso perhaps enjoyed the idea of using a real knife to make a wooden one). Once assembled, it was painted white and a black circle was then painted around each of the three 2 mm nail heads to simulate rivets on the handle (fig.5). The slices of sausages are secured to the bread with six nails; three nail heads were also painted black to represent the variegated spots found on sliced sausage. Rather than trying to conceal this dual function, this feature appears to emphasise the fact that Picasso enjoyed and wanted to share it. His appreciation of simple, skilful manipulation of materials is evident in his description of some found wooden boxes: ‘I saved them from a dustbin tonight on the way home. That boxes could be so ingeniously and yet so simply made is quite marvellous! Look how clever they are! The lids open and close with just two little nails in the place of hinges. Real works of art’.26 This inventive use of nails can be seen in other works from as early as 1907 as in, for instance, the eyes in the wooden Doll (Spies 21) which are made of metal studs or nails,27 and in Violin and Bottle on a Table 1915–16 (Spies 57, fig.6) in which the three nails that hold the violin strings become part of the instrument. How he arrived at this method is not known but it is possible that he was influenced by tribal artefacts which incorporated nails into their design.

Picasso’s characteristic repetition of motifs in different media can be seen with his verres à pied, fluted glasses with stems. They appear so often that most historians agree that they, like the guitar, have anthropomorphic associations with attributes of the female form.28 Picasso made a group of exploratory studies of the fluted glasses, experimenting with scale, medium and surface finish. Five versions of wooden glasses and numerous paper glasses can be identified from around 1914, but only the glass in Still Life appears to have been carved from one block of poplar, made with a chisel, saw, gouge and plane. The square shapes in the wood’s lower section would have been cut with a hand-saw and the base would then have been further shaped using a chisel. The fluting appears to have been made by pushing a 7 mm gouge downwards to form each of the four flutes. At least three applications of cream-coloured paint were then applied to the glass.29 The level of the liquid in the glass is created by a wedge-shaped piece of wood, probably cut from the disc that represents the glass of the lip. Here Picasso plays with ideas of transparency and opacity by nailing additional pieces of wood to the glass. The top piece which articulates the lip appears to have originally been a recycled disc (1.2 cm thick by 0.8 cm diameter), as it was made with a lathe and has a counter-sunk hole in the middle (fig.7). This might originally have been a wooden wheel from a child’s toy. Perhaps Picasso expected the viewer to recognise the object after its metamorphosis and enjoyed leaving candid references to the origin of the material. His delight in the more playful aspects of his techniques extended to using related pieces in other early constructions. Just as he created new paintings out of elements from previous images, he also incorporated pieces from one construction to create another. Violin and Bottle on a Table has a wooden wheel matching that found in Still Life.30

http://www.tate.org.uk/research/publications/tate-papers/11/technical-study-of-picasso-construction-still-life-1914

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