#and its my favorite thing on this page
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vampireflowerarts · 4 months ago
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Some Blue-dles of Haru~
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Ready to wreak havoc
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bigcats-birds-and-books · 6 months ago
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"Pandora, Worrying About What She Is Doing, Finds a Way into the Valley through the Scrub Oak," from Always Coming Home by Ursula K. Le Guin
Look how messy this wilderness is. Look at this scrub oak, chaparro, the chaparral was named for it and consists of it mixed up with a lot of other things, but look at this shrub of it right here now. The tallest limb or stem is about four feet tall, but most of the stems are only a foot or two. One of them looks as if it had been cut off with a tool, a clean slice across, but who? what for? This shrub isn’t good for anything and this ridge isn’t on the way to anywhere. A lot of smaller branch-ends look broken or bitten off. Maybe deer browse the leafbuds. The little grey branches and twigs grow every which way, many dead and lichened, crossing each other, choking each other out. Digger-pine needles, spiders’ threads, dead bay leaves are stuck in the branches. It’s a mess. It’s littered. It has no overall shape. Most of the stems come up from one area, but not all; there’s no center and no symmetry. A lot of sticks sticking up out of the ground a little ways with leaves on some of them—that describes it fairly well. The leaves themselves show some order, they seem to obey some laws, poorly. They are all different sizes from about a quarter of an inch to an inch long, but each is enough like the others that one could generalise an ideal scrub-oak leaf: a dusty, medium dark-green color, with a slight convex curve to the leaf, which pillows up a bit between the veins that run slanting outward from the central vein; and the edge is irregularly serrated, with a little spine at each apex. These leaves grow irregularly spaced on alternate sides of their twig up to the top, where they crowd into a bunch, a sloppy rosette. Under the litter of dead leaves, its own and others’, and moss and rocks and mold and junk, the shrub must have a more or less shrub-shaped complex of roots, going fairly deep, probably deeper than it stands aboveground, because wet as it is here now in February, it will be bone dry on this ridge in summer.
There are no acorns left from last fall, if this shrub is old enough to have borne them. It probably is. It could be two years old or twenty or who knows? It is an oak, but a scrub oak, a low oak, a no-account oak, and there are at least a hundred very much like it in sight from this rock I am sitting on, and there are hundreds and thousands and hundreds of thousands more on this ridge and the next ridge, but numbers are wrong. They are in error. You don’t count scrub oaks. When you can count them, something has gone wrong. You can count how many in a hundred square yards and multiply, if you’re a botanist, and so make a good estimate, a fair guess, but you cannot count the scrub oaks on this ridge, let alone the ceanothus, buckbrush, or wild lilac, which I have not mentioned, and the other variously messy and humble components of the chaparral. The chaparral is like atoms and the components of atoms: it evades. It is innumerable. It is not accidentally but essentially messy. This shrub is not beautiful, nor even if I were ten feet high on hashish would it be mystical, nor is it nauseating; if a philosopher found it so, that would be his problem, but nothing to do with the scrub oak. This thing is nothing to do with us. This thing is wilderness. The civilized human mind’s relation to it is imprecise, fortuitous, and full of risk. There are no shortcuts. All the analogies run one direction, our direction. There is a hideous little tumor in one branch. The new leaves, this year’s growth, are so large and symmetrical compared with the older leaves that I took them at first for part of another plant, a toyon growing in with the dwarf oak, but a summer’s dry heat no doubt will shrink them down and warp them. Analogies are easy; the live oak, the humble evergreen, can certainly be made into a sermon, just as it can be made into firewood. Read or burnt. Sermo, I read; I read scrub oak. But I don’t, and it isn’t here to be read, or burnt. It is casting a shadow across the page of this notebook in the weak sunshine of three-thirty of a February afternoon in Northern California. When I close the book and go, the shadow will not be on the page, though I have drawn a line around it; only the pencil line will be on the page. The shadow will be then on the dead-leaf-thick messy ground or on the mossy rock my ass is on now, and the shadow will move lawfully and with great majesty as the earth turns.
The mind can imagine that shadow of a few leaves falling in the wilderness; the mind is a wonderful thing. But what about all the shadows of all the other leaves on all the other branches on all the other scrub oaks on all the other ridges of all the wilderness? If you could imagine those for even a moment, what good would it do? Infinite good.
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-- Ursula K. Le Guin, Always Coming Home (273-5)
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ricky-mortis · 9 months ago
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I have a lot of thoughts about Tinky fucking Ted up- have some doodles about it
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icewindandboringhorror · 1 month ago
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Pages from trying to keep a little sketchbook-scrapbook type thing going for two weeks lol. I gave myself specific rules in hopes they might all end up more cohesive/consistent seeming, but alas, scribbly chaos reigns, it seems
#sketchbook#scrapbook#Actually I feel like these are kind of incomprehensible in photo form like.. In person holding the book its easy to look at#but as images on this scale I feel like there's so much tiny little text and small scribles and stuff you'd have to 'right click > open#image in new browser tab > zoom in' just to actually really see the thing. which for 7 images is excessive lol.. so. probably not the best#medium for sharing really but. I suppose I thought they might look cooler lined up next to each other. The whole part of using a#limited color palette is so that maybe they kind of seem to have more consistent color schemes or something throughout. but I dont#know if they look all that 'related' or not. I think these types of challenges I have always sucked at because I am a being of clutter and#excess. I can't just do like one little simple nice looking design and have that Crisp Neat calligraphy with evenhanded perfect lines#and perfect symmetical composition and etc. etc. Like some poeple post very aesthetically clean and cohesive looking sketch#pages or something but I simply cannot hold back the brain impulse to add more. more. more. Fill every single blank space with color#or a little drawing or a sticker or something. I take away 500 things and there are still a million there. Even when I thik I'm being#'simplistic' I'm still usually being 2x more complicated and cluttered than the standard or whatever lol. I guess thats clear from my#outfits/costumes though too. Like whatever that saying is from that person about something like 'before you leave the house take off one#more accessory. you dont need it' for me is like.. 'before you leave the house. add 10 more accessories. and 6 more layers. and another'#AAANyway. I wonder if also maybe some people would try to plan theirs in a way to look good or something or like.. plot things on the page#before placing them. I did sometimes have a theme for a day kind of (like day 10 I ended up finding a few gold and green things and then#was like.. hey... what if I looked for a few other things and only used these colors today') but aside from that I was just slapping down#stickers randomly and working around them to fill the page. Maybe a lot of neat minimalistic asthetic design is about planning and#having a Vision set ahead of time. instead of just complete random whatever. doodling whilst watching youtube videos or eating lunch. It's#a miracle actually I've managed to not spill any food on the book the whole time. anyway.. I do wish the highlighter really showed up. the#scanner kind of makes the colors look VERY different to irl. But also it got much clearer images than just camera pictures of pages. alas..#..Still oddly enjoy the phrase 'Salisbury Steak gently kissed with industrial pollutants'#probably my favorite section of 'gluing random papers and things onto the page' lol#Also I wonder if it's super obvious that I literally never ever use references when I draw (save for the few freakish looking youtube#face sketches) since everyone is always in the same positions and looking very similar ghhb. This could have been a good opportunity to#work on not solely drawing from my mind and try to do more Dynamic Experimental scribbles. NO. Same exact eye for the 90th time#be upon ye. But I guess it was meant to be casual 'daily doodles'. True 'practice' would make it seem too effortful like a full project. hm#(lol the one decimated pencil in the set... never hand me a writing utensil. i will passively destroy it somehow. shaving the sides of a#pencil off with a knife or snapping a pen in half as a nervous fidget without even realizing i've done it. sorry to the drawing implements)
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fagulaa · 2 months ago
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Something I really love about the Silt Verses is how, in a world of gods and monsters, how grounded Faulkner's trauma [and relationship with his father] is. Especially as the season moves on, and the stakes amp up [and up] its so unexpectedly piercing to be presented with this exploration of childhood abandonment/negligence, inter-generational trauma, the indignities and stress that comes with unexpected elder care/early onset Alzheimer's. You're so locked in to these grander, more abstract concepts that your defenses are down! Mine were, anyway. TSV is so good at cutting its grand, complex plotlines with simpler [but not shallower] gutpunches, and it just grounds the whole thing.
#the silt verses#other moments on the list#[the list being small but emotionally devistating grounded moments]#include: the lights coming back on in the aftermath of the strike during hayward and carpenters conversation#and you just. intuit the devistation#after all that. after all the fighting and protest. the lights come back on. you can HEAR the screaming in the silence#Faulkner's whole elder care thing with his dad#where he has to reckon with him as a person who made mistakes#and put his own resolution aside to take care of a man he had complex feelings for#also the Faulkner's dad/trawlerman connection is crazy to me its crazy#oh you want to worship the god with the garden do you faulkner#you want to be this gods enterpriter and favorite#what did your father do again?#oh also the god rocket scene#where we are put in the place of a sacrifice#the claustrophobia! the fear! the tinned patriotic speech! the narrowing down to a needle point of the overall themes of the story#the fucking microcosm of it all!#all the sandwhich shop scenes#the whole hotel episode#charity in the pub running for her life because CARPENTER reappears#also love how interconnected everything is#both carpenter and page knowing von#running back into charity#fantastic writing all round it's all so fucking TIGHT my god#the prose is killer the pacing is killer the acting is killer the STRUCTURE is killer#its just a fucking masterclass of storytelling like its just. GREAT#top to bottom.#like the sheer skill involved in making something like TSV#on all levels#is incredible I really do admire it
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boughclan-clangen · 1 month ago
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moon 0, page 7
>air thick with dread.
PREVIOUS || NEXT FIRST
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lilypucks · 6 months ago
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more mspaint but isat this time (+ closeup for my favorite sif i've drawn to date)
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mamawasatesttube · 16 days ago
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superman (1987) #75 // infinite crisis (2005) #7
and if i said one more for the kon just like clark fr pile...?
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xxplastic-cubexx · 3 months ago
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Had to flip through my omnis to find more speedo magneto
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I JUST READ THAT ISSUE THIS WEEK LET'S GOOOOOOO
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ragamine-kin · 10 months ago
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there can be no redemption for a sinner such as i
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vanweezer · 5 months ago
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come what(ever) may - zine
everything handmade/sewn/drawn by me
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britneyshakespeare · 2 months ago
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I think everyone wants to own a complete works of Shakespeare and I want to get everyone a complete works of Shakespeare that is right for them
#as long as it's not one of those dime a dozen copies w squished text and no notes 🖤#b&n book annex don't interact. canterbury classics don't interact#i have a friend that i went antiquing w recently who got a decameron illustrated by rockwell kent#and their birthday is coming up and my toxic trait is that i wanna get them the complete works illustrated by rockwell kent#even though im not sure that's the most readable copy for a 21st century reader to begin with#i havent actually read a play in one of those admittedly. i know they have the cambridge notes in the back of the book#but that's a lot more work than having it at the bottom or side of the page#idk if they'd be down for that much flipping tbh. i know flipping isn't my favorite#especially in a big book#and idk if the cambridge notes would even be that approachable for them? idk the annotation style#tales from diana#ive been trying to get a taste for more editions of shakespeare lately and mostly that's just been within copies of individual plays#and i feel like this is a journey i kinda started too late#like i read titus andronicus in a folger edition which probably wouldve been gamechanging to me in 2018#but as a reader w years more experience it was just kinda giving me more than i needed. i found it excessive#versus when i was a beginner i often felt lost even w the notes in my riverside shakespeare#i felt like it was still above my reading level (and it was) especially when it would reference things i was barely familiar with#whereas in 2024 it's like my riverside is my baby. and but for its large unwieldiness and perilous condition. i could read from it forever#i read not a shakespeare play in an arden edition recently but philaster by beaumont and fletcher. same editing team though#i thought the notes were sometimes a little excessive but they certainly weren't kinda basic like folger's#i thought at times maybe they could split it up w some of those historic or cultural commentary sort of notes#like those were what i would rather flip to the back to read later. as opposed to taking up like half the page#oxford english classics kinda does that too but w their longer annotations i think flipping to the back makes sense#bc arden somewhat is flooding the white space abd straining my eyes. even though other than format it's very similar editing#i like my rsc complete works and what ive read of the individual plays a lot but there's just one thing about the complete works#that i have a qualm with. i respect that they have a single column for the text#as opposed to two-column... i understand for some it scans better and helps w comprehension#i wish the notes on the bottom were in two columns though. bc the way they run on w such a wide margin#i genuinely lose my place a lot. in the small text. kinda hate that part of the reading experience#and when there's lines of prose it can also be harder to scan
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amyloveletter · 2 months ago
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yesterday i tried to draw amy like a model i'm obsessed with. her eyes are not in model at all but idc 💪💪
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gelarshiesprofruitboarder · 29 days ago
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ewwwwwww gross
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eebie · 4 months ago
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the underwater episode of bojack horseman makes me so SAD ..
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claitea · 7 months ago
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missing that point in time where everyone around here was going nuts over the volo stuff in pokemas. picking apart every word he said and losing it over his interaction with n. that was so good i need pokemas to make something like that happen again Right Now
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