#atypical layout

[kitchentablezines]

Untitled (Fruit Stickers), 2023-2024

Note: This zine is incomplete. We have yet to fill the remaining pages with stickers.

[brainkeeper-service]

Desircensorswear

[pt: desircensorswear /end pt]

[IDs in alt text]

A desirdae (link) term for those who desire/yearn/want the swear words they say to be censored, for any reason. This term can be considered a subterm of desirvocals (link), but doesnt have to be. This term is pro nonharmful transitioning and anti radqueer.

[pt: A desirdae term for those who desire/yearn/want the swear words they say to be censored. This term is pro nonharmful transitioning and anti radqueer. /end pt]

tags: @desirdae-archive

[sonic-adventure-3]

4-E is insane omg. sonic explodes and dies. also the spindash in levels clearly designed for it goes so hard. the level has a shit ton of paths and rails and shit to spindash off for insane height over the entire fucking thing. it’s so good if i were better at this game and were it not 4am i know i would spend so much time optimizing that. all the cyberspace levels i’ve tried have an indescribable sense of freedom i don’t think i’ve seen in a sonic game. not that i’ve really played enough not-spinoff sonic games to know, but like, it’s a totally different beast compared to the base game cyberspace.

WAIT I KNOW. IT REMINDS ME OF MARBLE BLAST!!!! genuinely while it’s still definitely sonic and you can play it sonic-y, some of these levels almost feel like something out of marble blast. it’s not 1:1 of course, but it’s the best comparison i can think of

unforgivable that it doesn’t restart the timer when you wipe out despite there being no checkpoints though. the difficulty is something i can acclimate to but the lack of a quick restart or restart upon death feature sucks

[g1rld1ary]

Hi! If you're still taking Lockwood and Co requests, can I plz request an imagine where Lockwood finally becomes vulnerable in front of the reader and he lets his emotions out in front of her and she soothes him 🥹🥹🥹?

reaching out - anthony lockwood x reader

wc: 1664

cw: canon typical death mentions, family trauma

thanks for waiting lovely! hope this is what u wanted xxx

Lockwood was a puzzle. You'd been working with him for a while now and still couldn't truly understand him.

As a boss, Lockwood was great. Never too hard on you whilst still pushing you to further your skills, but always putting your safety first. As a friend, he was similarly brilliant. The perfect listener, he always had a smile saved up for when you needed it. Even as a housemate he was perfect; Lockwood never took too long in the bathroom or left messes around even though it was his own house.

As a boy? Lockwood was indecipherable. Always gentle but never vulnerable. Always a listener, never a talker when it came to personal truths. He was your best friend but you knew nothing about him.

It was definitely an atypical relationship you shared, but you weren't unhappy with it and it seemed that neither was he. You proceeded in your usual way for a year while you were in the company until one particular case.

Lockwood had been off all week and you weren't sure why. You were in the middle of a case; a tragedy where all but one in a family had been killed and were haunting their own home. It wasn't one you needed a whole heap of research for, but George still wanted to take the precautions of getting the building layout and checking for the possibility of any other ghosts, and for once Lockwood didn't fight him on it.

George and Lucy had gone to the archives to get the research while you and Lockwood were doing all the other errands; stocking up on supplies, doing a daytime tour of the house then getting groceries on the way home.

Shopping for supplies and weapons was totally fine, the both of you chattering away as normal. It was only when you approached the cast iron fence of the Victorian-style home that Lockwood grew quiet again, retreating into himself. You spared him a puzzled expression but didn't dwell on it there.

A sad-looking woman met you at the front gate, draped in black. She introduced herself as the deceased wife's sister, explaining her red-rimmed eyes. She led you both through the garden up to the house, sniffling quietly as she explained what had happened, a horrific freak accident that you wouldn't wish on your worst enemy.

Stepping through the threshold into the house, you could feel the gloom as if it were a tangible thing. What clearly used to be a loving home was already dark and lifeless, the photos on the wall mocking instead of nostalgic.

You could hear noise from down the hall, glancing curiously in its direction. Your host picked up on what you were looking at and explained it was her nephew, the only survivor.

"Will," She called, "Come here." Moments later a little boy came waddling up the hallway, toy truck in hand. Your heart clenched as you took him in, he couldn't have been older than six or seven, far too young to be orphaned like this.

"We're packing up his stuff today, he's living with me right now. I'm not sure he understands his family aren't coming back." Your eyes felt hot like you were going to cry just listening to their family tragedy. A glance at Lockwood said the same thing. You took the lead for the rest of the house tour, unnerved by Lockwood's silence.

As the two of you were leaving the house Will chased you both down the stone path, tugging on the tail of Lockwood's long coat.

"Please help my mum and dad and my sister," He said, eyes still wide with youth and innocence.

"Of course," Lockwood replied, ruffling the boy's brown hair gently. You thought he sounded uncharacteristically choked up.

"You alright?" You asked a while later, far from the house. You were both on the way to the grocery store, your hands shoved in your coat pockets to hide from the cold.

"'Course," Lockwood replied shortly, eyes straight ahead on the street. You tried to catch his gaze but he refused to look at you, changing the topic to what snacks you could sneak past George. You indulged him reluctantly, not pleased to move past his clear struggles so quickly.

You wandered home in near dusk, not doing much to get home before sunset. The groceries had been spread between the two of you so neither of you was carrying too much of the burden, but you suspected Lockwood was carrying enough emotional weight for the pair of you.

Silently, under the light of a ghost lamp, you looped your arm around his, providing a comforting touch. He didn't say anything, but you could have sworn he was leaning into you more than he ever had before.

You made it back to Portland Row in good time, only braving a few minutes out in the darkness.

Hours later, you crept through the house, painfully aware of each creak of the old floorboards. You peered around the door into the library, watching Lockwood sit in his armchair, bored as he flipped through a gossip rag.

"Hey," You said as you sat, curling up on the couch and surrounding yourself with a blanket. He smiled in response, greeting you quickly before turning back to what he was reading. "Are you okay?" You knew you were coming off intense but you were really worried about him.

"Yeah, 'course. Why?"

"I don't know, you've just seemed really off today. Down." You studied your fingers to avoid making uncomfortable eye contact.

"I'm fine," He said, almost aggressively. Realising his tone, Lockwood backtracked, "It's nothing, just--" Silence.

"Just?" You urged him, braving the jump to look in his eyes. It was immediately intense, a profound sadness replacing what was usually jovial charm.

"I was him," Lockwood said and you were immediately confused. You tilted your head, trying to work it out but Lockwood continued, explaining it for you.

"Will. I was the leftover. My whole family is dead, and I am the one left alive."

"Oh God, Lockwood," You whispered, patting the spot next to you. He followed you over, taking the blanket you offered.

"My parents died when I was really young, about the same age as Will. They were the first ghosts I ever fought." You couldn't contain your soft gasp, hand creeping over your mouth as you took in what he was telling you. "I had an older sister, too, Jessica. She was six years older than me, died when I was nine. An accident with some of my parents' old supernatural artefacts. I've been fighting ghosts ever since."

Somehow you'd started holding his hand, rubbing smooth circles over his palm with your thumb. You could hardly believe what you were hearing, you had no idea Lockwood's life was so devastating. All you'd learnt while working at Lockwood and Co was that his parents had probably passed away, given the house was his. You'd never heard about a sister.

"I'm really sorry," Was all you could say, not taking the risk of misstepping.

"It's fine." His voice broke on the second word, tears rolling down his red cheeks in a moment. You'd never seen Lockwood cry. It was devastating, but also unfairly beautiful. Crystal tears in honeypot eyes.

Before you knew what you were doing you were holding Lockwood, arms keeping him close as he shuddered through sobs. All you did was embrace him for a long time, letting Lockwood express the emotions he kept so close to his chest all the time.

It must have been at least ten minutes later when he pulled away, clearly embarrassed and rubbing furiously at his eyes.

"Sorry," He mumbled, looking anywhere but at you. You put a hand on his thigh to pull him back down to earth.

"Don't apologise. I want to be here for you. You're my best friend, Lockwood, I love you." Lockwood smiled at that, unlike his usual thousand-watt grins, more muted but undeniably genuine.

"Thank you," He said, the warmth seeping back into his tone.

With the moment mostly passed you suggested it was probably time for bed for both of you.

"And you stay home tomorrow. Lucy, George and I will go put Will's family to rest. Take the night off, okay?" While you firmly believed it was in Lockwood's best interest to avoid what was a clearly triggering event, it was also for your own safety. Lockwood and Co was disorganised at the best of times, having Lockwood lose it because he was thinking of Will and his younger self would only endanger every one of you. It was for the best that he stayed home. To your surprise, Lockwood didn't fight you on the order, despite being your boss. He just nodded, lost in thought.

"You remind me of her," He said suddenly.

"Who?"

"Jess," He replied, "She would have liked you." You smiled softly at that, a warm glow igniting in your chest.

"Goodnight, Lockwood," You said instead of addressing the scary genuine feelings blooming. He didn't reply, instead pulling you into a tight hug. His arms around you were warm, holding you in place as his head rested in the crook of your neck.

You realised suddenly how few hugs Lockwood had given you in your time at the company. Partly because it was a little unprofessional, mostly because Lockwood was typically too repressed to manage his emotions in such a healthy way. You enjoyed it though, it kind of felt like you two were meant to be like that, two halves of a damaged whole. When he pulled away his smile was just for you, bathing you in the love he'd never been able to express.

[pwlanier]

1940s Universal Geneve 22286 Aero-Compax New Old Stock

Introduced in 1940, the Aero-Compax was distinguished by its unusual dial layout. Unlike conventional chronographs, which have two or three registers, the early Aero-Compax had four. The upper register at 12 o’clock was a secondary time display, with two hands that could be set by the crown at 9 o’clock, used by the pilot to set the departure time of a flight.

This timepiece is simply sublime, with an elegant white dial nicely patinated. It features a unique design with 3 chronograph counters for hours, minutes and seconds and the “memento” counter at 12. The hands also play an important role in this balance, whether it be the swords hands or the small hands of the counters. All the atypical and unique factors of the Aero-Compax are amazingly well preserved on this particular model, the nice tachymetric scale, the four counters, and original and pilot swords hands.

Inside the 33,5mm case, the watch, composed of several complications, is driven by the Universal Genève column-wheel calibre 283.

But this piece really stands out because of its exceptional condition. For us, despite the many watches we manipulate every day, finding this piece was amazing. Don’t get us wrong, it is literally untouched, unworn, never serviced and in absolute pristine condition. It even comes with its original pigskin bracelet and Universal-signed steel buckle.

A true museum piece. No less. Accepting offers.

Sabi Watches

[notoriousaesthetics]

•✦ [ 11. 𝐎'𝐖𝐎𝐍𝐃𝐄𝐑 ] ✦• a header & character graphic template.

───  𝒅𝒆𝒔𝒄𝒓𝒊𝒑𝒕𝒊𝒐𝒏.

a singular header template inspired by @tragedynoir's monthly sprint. working around the concept of candy, curiosity, a fixed color palette and butterfly vectors - this was created in lieu of the prompt. a very fun exploration of color and curiosity, the outcome resulted in a layout that's vastly different from my atypical comfort zone. nevertheless, the psd should be very easy to edit with plenty of adjustable settings. there is no pre-set coloring on this template due to the fixed color palette. enjoy!

───  𝒆𝒙𝒕𝒓𝒂 𝒅𝒆𝒕𝒂𝒊𝒍𝒔.

fonts: valky, swis721 blkoul bt

images do not belong to me and are credited to their rightful owners.

do not copy, do not steal, or monetize. [ read my rules ]

tip me at my coffee jar ♥

please credit me if you use the content.

please [ like/reblog ] this if you intend to use.

•✦── 𝐚𝐜𝐜𝐞𝐬𝐬 𝐠𝐫𝐚𝐧𝐭𝐞𝐝 𝐢𝐧 [ 𝐝𝐢𝐬𝐜𝐨𝐫𝐝 ] 𝐬𝐨𝐮𝐫𝐜𝐞 𝐥𝐢𝐧𝐤. ──✦•

[aquatark]

kind of randomly spurred post, but i was just wondering how many endless ocean fans knew about the development screenshots we have of the first game... so i figured i'd share them with you all, along with some light analysis for those interested in this game's development history!

so the development photos i'll be going into in this post were revealed to the public in 2014-2015, shared on the twitter account of ichiro mihara, the vice president of arika and series producer of the endless ocean games! nowadays, he mostly just posts food pics and pokemon go stuff... kinda living the dream ngl

below is the complete set of screenshots:

the most obvious difference here to most players would be creatures placed where they shouldn't be, such as the yellow boxfish in an atypical zoom, and the presence of false clown anemonefish in the abyss and ship's rest. while the boxfish photo i don't have any explanation for other than the creature moving around a little at some point in development, the anemonefish photos i have a more interesting explanation for!

we can use these photos, along with multiple other photos of clownfish in eo1 zooms taken during development (which are used on the plaques of eo2's aquarium), to deduce that this clownfish species was used as a test creature for zoom environments! i mean, it's pretty obvious they weren't intending for you to actually find clownfish in the depths... and due to their order in the game's internal d code life system, we can assume they were among the first zoom mode creatures to be added. it all lines up! though i'm glad the little guys don't have to suffer that insane water pressure anymore...

now, another big difference is the lack of water fog in most of these photos! it's especially obvious in the photos taken in zoom mode that this portion of the game had yet to be figured out at the point those photos were taken. for comparison, here's the yellow boxfish photo compared with a photo of the same staghorn coral zoom in the final game:

big difference, huh? this fog would be even stronger if i weren't using an emulator to take my photos - dolphin tends to skimp a little on the fog. but, this lines up with what we know about this game's development: during a post-release developer interview (which you can view translated into english here), they mentioned struggling to make this fog feel right - more oceanic than foggy feeling, and accurately changing with the player's current depth - and these photos illustrate that there was a time where fog in zoom mode spots was neglected entirely!

the screenshot of the open encyclopedia also has a lot of interesting differences from the final game. take a look here, comparing the same page:

(note that of course, the development photo was taken in japanese, while my screenshot is in english: "fish who live in the ocean" is actually what the deep sea section is called in the final japanese release... trust me, i checked)

so obviously, the layout of these pages is completely different! i imagine the details on these small fish would have been barely legible on the average person's tv at the time, so making them bigger was a good call. additionally, the encyclopedia used to be navigated using arrow buttons and a back button to exit! this back button is completely unused in the final game, probably just because it's redundant when in the final game, you can just press the b button to go back. three other small changes are that:

in the dev screenshot, the encyclopedia's page background is just a texture, as opposed to a 3d model as seen in the final game. this means it's likely the pages didn't flip like a real book does at this point.

the scientific names of the giant squid and the oarfish was altered.

there are no page numbers in the encyclopedia.

now, for a quick lightning round of smaller changes!

in the final game, there is only one place to find remoras: accompanied by the whale shark in entryway slope, in small numbers. this contrasts with the whale shark photo, in which way more remoras are seen surrounding it, and in an area deeper than entryway slope allows. since this photo was also an old promotional image, and we have footage of the game from previews around the same time, the most plausible explanation is that this whale shark was placed in the game's unused test stage (which i should also make a post about at some point lol).

the penguin photo was taken with an angle impossible in the final game, as was the polar bear photo and the starck's demoiselle photo.

also in the penguin photo, there are two hatches typically present on the deck of the gabbiano (one on either side of the mast), that are absent.

the water surrounding the gabbiano in the polar bear photo is a different color than in the final game.

the starck's demoiselle photo has a bright cyan water color in the background, which is never visible in the final game without camera hacks.

finally, one fun fact regarding the starck's demoiselle photo: it's actually used in-game, both in this game and in the sequel! in eo1, it can be found occasionally placed in the fake magazine spreads sent to the player for a C grade photo request, and in eo2, it is the photo used to represent "DIVING MAGAZINE" when viewing photo requests!

that's all of my rambling for now, i hope you found this interesting! if this kind of longpost is something you'd like to see more of in the future, let me know! i've got all sorts of topics in the chamber that i just need an excuse to write about lol

[aqours]

What do you think is Curse of Strahd's biggest weakness as a module?

oh there's so many potential answers for this. the racism that they tried to fix later by trying to erase the concept of minorities? the fact the layout of the book is a disaster? that's one of them but i've already talked about that. i think Curse of Strahd's biggest issue, by a very huge margin is:

D&D 5E is inherently a really bad system to use for a horror game and especially the horror that CoS wants to be

i think Ravenloft and it's many spinoffs worked better in 2E because things were different back then. you started off as a somewhat above-average person and became stronger over time. 5E, however, is a power fantasy to it's core. even at level 1 you are an extraordinary person much more powerful than any regular commoner could ever be. and CoS doesn't handle this well. you are extremely resource deprived, you can go from levels 1-10 with that same +0 longsword you have from character creation. it's about becoming more skilled with what little you have over time.

which is fine. but CoS's resource deprivement is atypical for 5E module design. it's about depriving players of the typical power fantasy that D&D usually is for the sake of atmosphere and tone... which is fine, but the game doesn't offer much in compromise. let me use Warlocks as an example. one of (imho) the best spells Warlocks can have is Shadow of Moil. it is an amazing spell. once i am getting near that level one of my priorities in playing a Warlock is finding an undead eyeball encased in a gem worth at least 150 gp so i can cast it. it's amazing.

good luck finding that in Barovia! your DM will really have to work with you if they want to run the game RAW which is also not a bad thing no matter what anyone says so you can use that spell. this is an issue with spells in 5E that require expensive spell components... it's not available.

if i can use something else from D&D as an example, i want to tlak about Masque of the Red Death. Masque of the Red Death was an official 2E gothic horror thing made by people who wanted a more "realistic" gothic horror by making the setting basically a grimdark earth. you can ONLY play humans and are told you use specific classes. it was kinda killed in 2E before the internet made looking up these things easier. it received a fan revival on 5e you can purchase in the link (or i can give it to you), but part of it is you are expected to use it's character classes instead of the standard 5E ones. that's because they fit the setting more thematically, and thus are scaled to the dangers and expectations better. 5E Curse of Strahd tries to achieve this by throwing extremely difficult combat encounters combined with resource deprival, but doesn't give a lot to compensate back for this. the sunword and holy symbol are cool, but that does not compensate for not being able to do a lot of 5E usual power fantasy stuff?

i think there are better systems for what CoS wants to do. if you want extremely deadly combat, some PBTA d6 game probably suits you better. someone on r/curseofstrahd mentioned Hunter: The Reckoning might be good, and HONESTLY one day when i'm more familiar with playing WoD games i'd fucking LOVE to try to a full conversion for Hunter at some point. a lot of people really love making CoS western themed, to which I say if you also want to play as vampires consider checking out Bloodbeam Badlands actually! personally, i think you could even pull off CoS's story using Call of Cthulhu or Pulp Cthulhu for extra power: the SAN mechanic might make for something really great in this game too! one of my issues with Masque is that while i like it i just can't help but think Call of Cthulhu/Pulp Cthulhu is still better for what that setting wants

i'll play CoS using D&D bc it is made for that, but i think rather than trying to stay super true to the horror themes all the time, a DM should consider adjusting it's tone or item distribution to meet the group's fun. i love CoS, a LOT, and I love Ravenloft, but i think there's definitely better systems for what it wants to be, and CoS as it is (especially for when it was written somewhat early in 5E's life) has never been quite the story right for a 5E story

[breakerwhiskey]

246 - TWO HUNDRED FORTY SIX

Please visit breakerwhiskey.com for more information or to send a message to Whiskey's radio. Breaker Whiskey is an Atypical Artists production created by Lauren Shippen. If you'd like to support the show, please visit patreon.com/breakerwhiskey.

Transcript under the cut. For more episodes, click here.

[click, static]

Okay, Birdie, we’ve gone North. We’ve gone so far North that we’re quite literally at the Canadian border. I’ve never been to Canada. Well, I guess I have now—the moment we got to the sign, I stopped the car and Harry and I both jumped out and ran for the other side of the border. One of those moments where we both had the exact same idea at the exact same time.

I missed that. The way that we can be in perfect sync. Sometimes on a job, we could communicate with just a look. The whole crew had that ability to some extent, but it always felt…you know. Better. With Harry.

Things have been…better. With Harry. I demanded she tell me anything else she’d left out about Pete and her snitching and…I think I know everything now. Even if I have no idea what to do with it. But it’s cleared the air some. Made me understand her a little more. Even if I’m still furious so much of the time…that fury is not aimed solely at her anymore.

It’s her birthday today. June 30th. She didn’t mention anything to me—it’s not like we’ve got a wall calendar hanging off the rearview mirror or anything, so it was only when I was doing my usual marking of my atlas that I realized.

I didn’t get her a gift, obviously. A trip to Canada, I guess. When I wished her a happy birthday, she just sort of…quietly said thank you and that was that.

We’re both a year older and not any wiser for it. We know more now, about the world, about each other. It doesn’t feel like—I’m not sure what other secrets we possibly would have to reveal to each other. And yet, I don’t feel like I actually understand anything. I’m still just…out to sea.

I don’t know. I miss Donnie. I wish I could talk to him about this stuff, I wish—I wish I could talk to him about Pete. I wish I could have someone else’s perspective on her. On us. And the real problem is that, despite everything, I still—

The look on her face when she got to the other side of the border. We were both out of breath and red faced, like kids who had raced to the front door. And she smiled so big and she looked at me and said “Didn’t I tell you once that I’d take you to another country someday?”

I honestly couldn’t believe that she remembered that. She said it one time, years ago. I remembered it of course, because at that time I was looking for any kind of scrap that she…

We were at a new exhibit at the Morgan Library—rare manuscripts, I think from the renaissance, I can’t really remember. Pete—(voice cracking) uh, Pete, um, loved—loved stealing manuscripts. They were hard to steal, because they had to be so delicately handled, but Harry knew how to do it, which gave Pete an advantage that most thieves didn’t have. With big exhibits of them, we could steal just one, not a whole collection, and still get a really good deal for them. Especially since there is always a wealthy person out there who wants to own one just for the sake of having something rare and won’t fuss too much about where it came from.

Anyway, we were casing the place, her and I, because Harry could spend hours looking at every corner of an exhibit and make it seem totally natural, like she was just looking at the art. She usually went alone, just to get the layout of the exhibits, but we’d never tried robbing the Morgan Library before, so I went with her to get a sense for the whole building’s security. And we…

We had a good time. We had a really good time. We laughed at all the weird margin drawings that the monks would leave in the books of hours, or whatever they were, and Harry would tell me about the history of when and where these things had been written and, if she’d been to the place herself, she’d talk a little bit about what it was like now. I’ve never been…anywhere. And when I told her that, she said, “I’ll take you someday. Everyone should leave the country at least once”.

Actually, I think she said “continent”. That’s…obviously not possible now. Well, I guess we could go to South America but…I’m just happy she remembers that conversation at all. I thought about it for weeks afterwards. What she meant by it. The implication that she would be with me if I traveled. That she’d be the one to take me.

You know, I could get her a rare manuscript for her next birthday—I could walk into any museum in this country and walk right out with one, just like I did with that painting in Santa Fe.

"Her next birthday”…guess I am thinking that we’ll still be, well, that we’ll still be alive and that we’ll still be together a year from now. But I really don’t know that for certain, do I?

Anyway, should we keep going North or…do you want to give us a little direction here? Literal direction, in this case.

[click, static]

[beeps]

[mediaevalmusereads]

Gender Queer: A Memoir. By Maia Kobabe. Oni Press, 2020.

Rating: 4.5/5 stars

Genre: graphic novel, memoir, lgbt+ literature

Part of a Series? No

Summary: In 2014, Maia Kobabe, who uses e/em/eir pronouns, thought that a comic of reading statistics would be the last autobiographical comic e would ever write. At the time, it was the only thing e felt comfortable with strangers knowing about em. Now, Gender Queer is here. Maia's intensely cathartic autobiography charts eir journey of self-identity, which includes the mortification and confusion of adolescent crushes, grappling with how to come out to family and society, bonding with friends over erotic gay fanfiction, and facing the trauma of pap smears. Started as a way to explain to eir family what it means to be nonbinary and asexual, Gender Queer is more than a personal story: it is a useful and touching guide on gender identity—what it means and how to think about it—for advocates, friends, and humans everywhere.

***Full review below***

Content Warnings: nudity, menstrual blood, graphic sex, references to Harry Potter

Because this graphic novel is also a memoir, my review will be structured a little different than normal.

I didn't know anything about this book before picking it up on a whim at a Barnes and Noble. I'm not really plugged into online book spaces (or even comics spaces), so I decided to read it based on premise alone. I also very much enjoy comics and graphic novels, so a queer graphic memoir seemed up my alley.

While I expected the book to be a powerful coming of age story, I didn't expect it to resonate with me as much as it did, nor did I expect to be fascinated by the new information that was included (about sex drive, about neurochemistry, etc). The way e presents feelings towards eir body (things like menstruation, penetration, not wanting kids, etc) felt like someone was giving voice to my own feelings, and the way e talks about identity, pronouns, fandom, and sexuality was enlightening. As a result, I was both drawn in by the familiarity and intrigued by the novelty of Maia's journey, which together made for an enjoyable reading experience.

I also thought the art was well-done and accessible, as it used fairly bright colors and was easy to follow. Though there are some pages that primarily use cool colors like green or blue, a lot of this book uses warm reds, yellows, and oranges, which helped make the tone feel light (thereby balancing out some of the inner turmoil in the narrative). These colors are all bound by bold linework, which balanced simplicity with detail well, and I think Maia did a good job conveying emotion both by drawing a range of facial expressions and by positioning bodies in different ways.

On a larger scale, most of the individual drawings are arranged into panels with a simple but effective layout, so the flow is straightforward and quick. Occasionally there are more abstract pages, but they come at moments when Maia needs to break convention in order to make a point. For example, I appreciated that Maia used atypical layouts to highlight or communicate feelings that didn't quite fit in hetero- or gender-normative boxes, such as spirals to indicate the endless feeling of going in circles when questioning gender and sexuality.

If I had any criticisms, I might like to see some of the "episodes" wrap up a little differently. There are some anecdotes in this memoir where the lack of an interpretation was effective, as well as moments when I think more of a reflection would have been helpful. But this doesn't ruin the whole thing, this is just personal preference. I also think if the author could have done a bit more to communicate aspects regarding asexual identity to the reader, since it seems like a lot of the narrative is about gender identity (and ends with a denoument about gender identity), but that is also personal preference and perhaps colored by me reading the blurb on the back of the book.

TL;DR: Gender Queer is an important memoir about what it can mean to be both genderqueer (or non-binary) and asexual. Using bold linework, bright colors, and simple yet effective layouts, Maia Kobabe brings levity and order to an otherwise confusing time in eir life, and perhaps by reading this memoir, provides a touchstone for further discussions about queer identities and experiences.

[hannie-dul-set]

dude your headers always look so sick, the first time i read one of ur fics i came for the header but stayed for the fic. twas quite delectable (both thy fic and header)

thank you!! this is really nice to hear bcs i wasn't sure if my layout choices would hit considering they're atypical from the usual kpop fic headers HAHAHAHAH would like yo know which fic u read tho!!!!

[theemperorsfeather]

Usually I enjoy working with Other Department more than the usual suspects because OD staff are always on the ball, timely, etc., unlike the usual suspects. However for this project they've decided they need to do several kinds of complicated atypical layouts, and are also marking up a schedule in ways that are completely contradictory ('increase the weeks here' while marking the visual indicator as SHORTER than it currently is because 'the visuals don't line up right' ... I promise you those are really as many weeks as it says they are so what do you really want). They are still very much on top of things but.

[onyv]

How do I approach user research and testing in the design process

A/ The Research process goes through several stages:

Deep research of the target group from various sources. For this purpose, I prepare a mind map (including region, ethnicity, customs and traditions, habits, linguistics, lifestyle, typical and atypical manifestations …)

I prepare a Stakeholders map of all those involved, the relationships between them, for example: those of them who can cooperate in the process; those who are competitive; people with unclear positions.. - what relationships do they enter into with each other, how can (or cannot) cooperate, what do they contribute to building the overall picture.

I use different approaches (e.g. Edward Bono's "Six Thinking Hats") to organize my initial ideas and to summarize the facts I have collected.

B/ I start the Project Development process by clearly defining the problem, proposing a campaign title and slogan, clearly stating my proposal and outlining the methodology to be used.

I prepare a detailed Empathy Map with a view to caring for the user, in which I try to "step into the shoes" of the user, imagining that I am in his position (after the initial set of collected data, this is not so difficult). So - what does the user experience:

I imagine what he thinks and feels (regarding the problem that needs to be solved);

How does he see this problem;

What does he say and do in relation to the problem and

What does he hear about the problem from the outside (media, social bubble, friendzone, etc.) I reflect all this as supporting points in the Empathy Map. 2. The next stage is " the revitalization" (giving vitality) to the target group - usually here I use the "Personas" method. This is a method that seeks to get closer to the future user based on specific, familiar, everyday experiences and sitiationts. I choose three different characters in terms of gender, social status, career, etc. who are representatives of the respective target group and imagine them situationally and visually. By sketching and creating storyboards, I play out a simulation of reality with this "personas" where they use my design. I acting out different scenarios with them. This helps me imagine how they use the design solution I propose in a real context. How does this design serve them, how do they explore it, what do they experience when using it, what remarks may they possibly have about it… I summarize the results and draw a conclusion from what has been said.

I move on to the process of designing the design itself (or more precisely, its visualization). I start by using the method of various analogies with more or less existing, familiar, and close to my design contexts, which make it clear, recognizable, understandable and desirable for the target group. I make a mood board in which I look for analogies in historical and cultural contexts, compare, contrast, sketch, choose color solutions… After which I proceed to building the digital flat 2D layout of the design. When I am ready with it, I also build a 3D model of the design (this can be a mockup (physical or digital), which will be produced in limited quantities. The goal here being to test the real, finished product in a real environment, with real users - my target group. This can be done by organizing a presentation to present the product to the group, as well as to all stakeholders and to understand the feedback).

C/ Outcome If there are any remarks, I take them into account (if necessary) and the design is ready to begin its life on the market.

[gts6465]

Building Smarter Systems with High-Quality Video Data

Introduction

In the age of artificial intelligence (AI) and machine learning (ML), data serves as the cornerstone for revolutionary advancements. Among the diverse forms of data, video data is particularly notable for its dynamic and multi-faceted characteristics. High-quality Video Data Collection Service represents a significant advantage for industries aiming to develop more intelligent and responsive systems. From advancing autonomous vehicles to enhancing security measures and optimizing retail analytics, video data facilitates transformative possibilities.

The Power of High-Quality Video Data

Video data is abundant in information, encapsulating movement, context, and interactions in a manner that static data fails to achieve. This abundance facilitates:

Enhanced Contextual Comprehension: Video data conveys not only the “what” but also the “how,” “where,” and “when,” thereby providing more profound insights.

Improved Model Development: Algorithms that are trained on video datasets become adept at identifying patterns, recognizing anomalies, and forecasting behaviors with greater accuracy.

Immediate Insights: The capability for real-time video processing supports applications such as live monitoring and prompt decision-making, which are essential for sectors like healthcare and logistics.

Applications of Video Data in Smarter Systems

Autonomous Vehicles

Self-driving automobiles depend significantly on video data to navigate intricate environments. High-resolution video feeds enable these systems to recognize traffic signs, identify obstacles, and make rapid decisions to ensure the safety of passengers.

Surveillance and Security

Contemporary surveillance systems utilize video data to identify atypical behaviors, recognize individuals, and oversee extensive areas. Through sophisticated AI algorithms, they can distinguish between normal and suspicious activities, thereby enhancing response times and minimizing false alarms.

Retail and Consumer Behavior Analysis

Retailers utilize video analytics to gain insights into customer behavior, enhance store layouts, and tailor shopping experiences. For instance, examining foot traffic patterns aids in the strategic placement of products.

Healthcare and Medical Imaging

In the realm of healthcare, video data plays a crucial role in applications such as remote patient monitoring, surgical support, and rehabilitation processes. The use of AI-enhanced video analysis enables the identification of symptoms and the monitoring of recovery with improved precision.

Challenges in Video Data Collection

Despite the significant potential of video data, its collection and effective utilization face several challenges:

Data Quality: Videos that are low in resolution or inadequately captured can compromise the accuracy of models.

Privacy Concerns: The collection of video data necessitates careful navigation of intricate regulations to safeguard user privacy.

Scalability: The acquisition of video data from a variety of scenarios and environments demands a robust infrastructure.

How Professional Video Data Collection Services Help

At Globose Technology Solution , we focus on delivering premium video data specifically designed to meet your AI requirements. Our offerings guarantee:

Tailored Datasets: We collect data that aligns with the specific needs of your application, ensuring both relevance and precision.

Varied Scenarios: Our datasets include a wide range of environments, lighting conditions, and viewpoints to strengthen model resilience.

Regulatory Compliance: We emphasize ethical data collection practices, fully complying with international privacy laws and standards.

Building the Future with Smarter Systems

The significance of video data in the development of intelligent systems is paramount. As various industries advance, the necessity for high-quality video datasets will persist as a crucial element in attaining precision, efficiency, and scalability. Collaborating with specialized services provides a solid foundation for constructing more intelligent and future-oriented systems.

Explore how GTS’s video data collection services can enhance your AI initiatives and revolutionize your business.

[insulationandaircons]

The Influence of Insulation on Air Conditioner Installations in Unconventional Buildings

When managing air conditioner installations in unconventional buildings, unique layouts and atypical materials present specific design and efficiency challenges. Structures with complex layouts require specialised approaches to ensure effective cooling and reduced energy usage. Insulation plays a crucial role in supporting optimal air conditioning performance, influencing both installation and long-term system efficiency. This overview highlights common obstacles and provides effective solutions for installing air conditioning systems in non-standard buildings.

Key Challenges in Unique Layouts and Building Materials

Buildings with irregular designs or materials like exposed brick, concrete, or large glass sections need tailored approaches to support effective air conditioning. These materials and configurations affect heat absorption, retention, and release, all impacting system performance. Typical challenges include:

Irregular Room Sizes and Shapes: Non-standard dimensions can disrupt airflow, creating uneven temperature distribution and impacting system efficiency.

High Thermal Mass Materials: Brick or concrete can absorb and gradually release heat, complicating temperature regulation.

Insufficient Insulation: In structures with minimal or inefficient insulation, energy loss is more common, increasing the load on the air conditioning system.

Solution Strategies for Air Conditioner Installations in Unconventional Buildings

Addressing these challenges starts with enhanced insulation practices and air conditioning customisation to suit each unique structure.

1. Customised Insulation Solutions

Enhancing insulation significantly improves air conditioner performance. In unique structures, targeted insulation solutions can help manage temperature effectively throughout the year. Key approaches include:

Focusing on High-Thermal-Transfer Zones: Insulating areas with the highest thermal transfer—such as walls, roofs, and floors—helps reduce energy loss in irregular layouts.

Using Reflective Insulation: Buildings with materials that readily absorb heat, such as glass or concrete, benefit from reflective insulation to limit heat gain.

Applying Insulated Window Treatments: Installing options like insulated blinds, double-glazing, or low-E glass assists in managing temperatures for buildings with large glass windows.

2. Zoned Air Conditioning Systems

Zoning allows specific areas to be cooled independently, a beneficial feature for unconventional layouts. Ducted and split systems with zone controls enhance energy efficiency and allow customised comfort throughout different sections of a building.

Ducted Zoned Systems: Ideal for multi-storey or larger spaces, these systems provide temperature control across different areas.

Multi-Split Systems: Suited for irregular layouts, multi-split systems connect multiple indoor units to a single outdoor unit, providing adaptable cooling options.

3. Enhanced Airflow Management

Unconventional layouts demand precise airflow strategies to ensure even cooling distribution. Advanced control systems, such as variable refrigerant flow (VRF), adapt to diverse architectural features, supporting consistent temperatures.

Ceiling Fans and Air Circulators: Supplementing the AC system with fans improves air distribution, especially in high-ceilinged or unusually shaped rooms.

Smart Vents: These vents adjust airflow in real time, maintaining steady temperatures across zones and enhancing cooling efficiency.

4. High-Efficiency Air Conditioning Systems

Efficient AC systems are essential in reducing operational loads in buildings with non-standard materials. Inverter-based split systems or ductless units provide high efficiency and adaptability to challenging layouts.

Inverter Technology: Systems with inverters regulate compressor speed based on cooling needs, optimising efficiency in buildings with varying thermal loads.

Heat Recovery Systems: Useful in Perth’s climate, these systems recycle heat energy, alleviating the demand on the air conditioner in buildings with high thermal mass.

5. Professional System Sizing and Load Calculation

Proper sizing is vital for air conditioner installations, especially in unconventional buildings. Incorrect sizing can lead to inefficiencies, system wear, and increased costs.

Thermal Load Assessments: Professional load calculations consider factors like building orientation, material properties, and layout to determine appropriate system capacity.

Building Simulation Tools: Advanced software visualises airflow and temperature distribution, supporting optimal adjustments pre-installation.

Long-Term Benefits of Effective Insulation

Insulation is essential to sustaining air conditioner performance in Perth’s climate, particularly in unconventional buildings. Tailored insulation for high-thermal-mass materials and complex layouts reduces strain on the system, enhancing longevity and efficiency. By prioritising insulation and air conditioning customisation, building owners can maintain comfortable indoor climates with minimal energy usage.

Conclusion

Effective air conditioner installations in unconventional buildings require strategic planning and bespoke solutions. From customised insulation and airflow management to selecting the right technology, these approaches ensure even the most unique spaces achieve comfortable temperatures while optimising energy efficiency.

https://www.gildanairelectrical.com.au/the-impact-of-insulation-on-air-conditioner-performance-and-installation-in-perth-solutions-for-unconventional-building-layouts-and-materials/

[andacademy]

Designing for Neurodiversity: Creating Inclusive and Adaptive Spaces

As our understanding of neurodiversity evolves, so too does the importance of creating inclusive and adaptive spaces that cater to the diverse needs of individuals with varying neurological conditions. Neurodiversity recognizes that neurological differences—such as autism, ADHD, dyslexia, and others—are natural variations of the human brain. Designing environments that accommodate these differences can significantly enhance the well-being, productivity, and overall experience of neurodiverse individuals. For those looking to specialize in this field, enrolling in an online interior course can provide valuable insights and skills. This article explores the principles of designing for neurodiversity and offers practical strategies for creating inclusive and adaptive spaces.

Understanding Neurodiversity

Neurodiversity is a concept that embraces the diversity of human brains and minds. It acknowledges that conditions such as autism spectrum disorder (ASD), attention deficit hyperactivity disorder (ADHD), dyslexia, and others are not deficits but variations that bring unique strengths and challenges.

Common Neurodiverse Conditions

Autism Spectrum Disorder (ASD): Individuals with ASD may have sensory sensitivities, social communication challenges, and a preference for structured environments.

Attention Deficit Hyperactivity Disorder (ADHD): People with ADHD may experience difficulties with focus, impulsivity, and hyperactivity.

Dyslexia: Dyslexia primarily affects reading and language processing, leading to challenges with reading fluency and comprehension.

Sensory Processing Disorder (SPD): Individuals with SPD may have atypical responses to sensory stimuli, leading to over- or under-sensitivity to environmental inputs.

Principles of Designing for Neurodiversity

1. Sensory Accommodations

Neurodiverse individuals often have unique sensory needs. Creating environments that accommodate sensory preferences can reduce stress and enhance comfort.

Lighting: Use adjustable lighting to cater to different sensitivities. Natural light is ideal, but dimmable artificial lighting can also be effective.

Sound: Incorporate sound-absorbing materials and provide quiet areas to minimize auditory distractions. Consider background noise levels and the potential for sensory overload.

Textures: Use a variety of textures in furnishings and finishes to provide tactile comfort. Avoid overly harsh or stimulating materials.

2. Flexibility and Adaptability

Design spaces that can be easily adapted to meet the changing needs of neurodiverse individuals. Flexibility allows users to customize their environments for optimal comfort and productivity.

Modular Furniture: Use furniture that can be rearranged to create different layouts and spaces for various activities.

Adjustable Workstations: Provide adjustable desks and seating to accommodate different preferences for posture and work styles.

Multi-Use Spaces: Design areas that can serve multiple functions, such as quiet zones, collaboration areas, and sensory rooms.

3. Visual Clarity and Organization

Clutter and visual chaos can be overwhelming for neurodiverse individuals. Clear, organized spaces promote focus and reduce anxiety.

Minimalist Design: Keep spaces uncluttered and use simple, clean lines in design.

Clear Signage: Use clear, concise signage with visual cues to help navigate spaces. Icons and color-coding can aid comprehension.

Storage Solutions: Provide ample storage to keep personal items and work materials organized and out of sight.

4. Inclusive Technology

Incorporate technology that supports the needs of neurodiverse individuals. Assistive technology can enhance accessibility and communication.

Voice-Controlled Devices: Use smart devices that can be controlled by voice commands to reduce the need for manual interaction.

Interactive Screens: Install touchscreens and interactive displays that provide alternative ways to access information and resources.

Assistive Software: Offer software that supports tasks like reading, writing, and time management.

5. Emotional and Psychological Safety

Design spaces that promote emotional well-being and psychological safety. This includes creating environments that are welcoming and supportive.

Calming Colors: Use calming color palettes that promote relaxation and reduce stress. Soft blues, greens, and neutrals are often effective.

Private Spaces: Provide private or semi-private areas where individuals can retreat for quiet time or focus.

Inclusive Art: Incorporate artwork and decor that reflects diverse cultures and experiences, fostering a sense of belonging.

Practical Applications of Neurodiversity-Inclusive Design

Educational Environments

Schools and universities can benefit significantly from neurodiversity-inclusive design. Creating supportive learning environments can enhance educational outcomes for neurodiverse students.

Quiet Study Areas: Designate quiet study zones with minimal distractions.

Sensory Rooms: Provide sensory rooms equipped with calming lights, sounds, and textures for students needing a break.

Flexible Classrooms: Use flexible seating and modular furniture to accommodate different learning styles and activities.

Workspaces

Workplaces that cater to neurodiversity can improve employee satisfaction, productivity, and retention.

Quiet Zones: Offer quiet zones and private offices for focused work.

Collaboration Areas: Design collaboration areas with flexible seating and whiteboards for brainstorming sessions.

Sensory-Friendly Spaces: Incorporate sensory-friendly spaces where employees can decompress and manage sensory overload.

Public Spaces

Public spaces, such as libraries, museums, and community centers, can be designed to be more inclusive and welcoming.

Clear Navigation: Use clear signage and wayfinding systems to help visitors navigate the space.

Sensory-Friendly Zones: Designate sensory-friendly zones with lower lighting and reduced noise levels.

Interactive Exhibits: Include interactive exhibits that engage multiple senses and accommodate different learning styles.

Conclusion

Designing for neurodiversity involves creating inclusive and adaptive spaces that cater to the diverse needs of individuals with varying neurological conditions. As awareness of neurodiversity continues to grow, embracing these principles will be essential for creating truly inclusive spaces. For those looking to master these skills, enrolling in comprehensive design courses can provide the necessary knowledge and expertise to excel in this important and evolving field.