#bespoke font

[borispehar]

[happywebdesign]

HAL Typefaces

[fatpunkstudio]

Fat Punk Studio Bespoke - Luxury 1 of 1 clothing made exclusively for you. How would you spec your own custom garment? DM to discuss your requirements.

[fear-is-truth]

𝜗ϱ fiancé! + husband! 𝓟𝐀𝐓𝐑𝐈𝐂𝐊 𝓑𝐀𝐓𝐄𝐌𝐀𝐍 hc

tags — fem!reader﹒sfw + nsfw headcanons﹒violent fantasies﹒infidelity

a/n: i would like to thank anon for requesting this and credit to dear bow anon for helping out !!

one night, as you both rode in a cab on the way to dinner, patrick takes off his walkman and suddenly asked, “have you ever thought about getting married?” his tone was casual, but his body language betrayed his tension—the tightening of his grip on his leather gloves, the unnecessary way he adjusted his tie. when you turned to him, surprised, he waved it off almost immediately. for the rest of the ride, he ignored you, listening to his walkman.

full fic : the perfect girl

weeks later, the topic re-emerged. it was a quiet morning after sex—patrick lay beside you in his perfectly starched egyptian sheets, sunlight streaming in through the windows. “would you ever consider marrying me?” he asked abruptly. the question startled you—again. you blinked at him, unsure if you’d heard correctly. “marry you?” patrick shifted slightly, propping himself up on an elbow. his face was unreadable, though his jaw tightened slightly. “yes. i’d assume it’s a reasonable consideration,” he said, as though the idea had been entirely logical. your heart fluttered despite the lack of romance in his delivery. “yes, patrick,” you said after a moment, a small smile tugging at your lips. “i would.”

full fic : patrick’s proposal

patrick wasted no time. the next day, he presented you with a ring: an 18k rose gold cartier panthère ring, encrusted with diamond accents.

smutty drabble: jerking him off

pre-nuptial agreements (obviously)

meticulously plans every detail of your engagement and future wedding. the venue must be the right blend of modern elegance and exclusivity, the guest list is capped at “only the most important people,” and the floral arrangements must feature imported orchids flown in from singapore. no compromises.

scrutinized every decision down to the smallest detail: the font on the invitations (garamond, elegant but understated), the centerpiece arrangements (white roses only, no filler flowers), and champagne (dom pérignon, chilled to exactly 45 degrees).

patrick donned a pair of ray-ban wayfarers as the two of you arrived at the reception venue (the pierre hotel), stepping out of the rolls-royce.

your wedding dress was custom-designed at dior’s paris atelier. it was a minimalist masterpiece: a structured bodice with a square neckline, flowing into a clean, floor-length skirt with a cathedral-length train. the fabric was italian silk-mikado with a soft sheen, the epitome of elegance. no lace, no unnecessary frills—patrick deemed them “garish.” the veil was long and simple, edged with the thinnest line of swarovski crystals for just a hint of sparkle.

patrick wore a bespoke zegna tuxedo, black with peak lapels, tailored to absolute perfection. the cuffs of his shirt bore subtle platinum cufflinks engraved with your initials and the wedding date. he spent an obscene amount of time choosing the exact shade of black for the tie.

patrick stole quick glances at you, a flicker of irritation shadowing his eyes at the slight asymmetry of your smile. he stewed in his own perfectionist hell, a seething internal monologue growing increasingly deranged.

the bridal portraits was complete nightmare. after making the photographer redo them six damn times—he still found fault. he had scrutinised the angle of your neck, the curve of your jaw, the flicker of light in your eyes. in his eyes, the photos should’ve been magazine-perfect. anything less was sacrilege!

his vows were an unsettling, almost surreal monologue. a strange, disjointed stream of poetic nihilism, peppered with bizarrely intellectual references. sprinkled in lines from fromm’s the art of loving, twisting them into cryptic confessions that left everyone unsure whether he was being sincere or just… pretentious patrick.

the reception unfolded in an impossibly sleek manhattan venue. a cavernous, glass-walled space filled with patrick’s circle of high-powered cronies, along with stick-thin models who seemed more at ease snorting cocaine in dark corners than nibbling on the overpriced amuse-bouches.

the waitstaff darted around the room, terrified to stumble into discussions about stock portfolios, yacht repairs, or debates over which luxury rehab center had the best cold-press juice cleanse. conversations were a mix of shallow ambition and transactional networking.

the dining experience was an exercise in culinary pretension. dry-aged wagyu steaks with precise marbling, delicate beluga caviar that was more a statement of wealth than taste, and desserts that were too decadent (and high in calories) to exist. everything was paired with wine that cost more than most people’s annual mortgage.

the cake was a towering six-tier masterpiece from sylvia weinstock, adorned with sugar flowers so intricate they looked real. each layer featured a different flavour, from vanilla-bean sponge to passionfruit mousse.

only dom pérignon vintage 1985 was served—patrick had insisted on it. the bottles were presented on silver trays by impeccably dressed waitstaff, with glasses refilled before guests could even think about asking. patrick spent weeks debating between this and krug clos du mesnil but ultimately decided the former “sent the right message.”

during the ceremony, patrick’s bored mind slipped into violent fantasies. he imagined choking out the priest with his necktie and chopping up his groomsmen like sashimi.

despite being invited out of obligation, evelyn didn’t show. patrick hadn’t mentioned her absence until much later, casually remarking, “it was better this way.” he didn’t dwell on her, but jane—his secretary and a guest at the wedding—looked quietly heartbroken for some reason.

dancing was beneath patrick. instead, he lingered by the bar, a martini glass filled with a pristine, artful concoction he hadn’t ordered but took anyway because it fit perfectly in his hand. he’d observed the guests, mentally doing fit checks.

after the night wound down, patrick would lie naked in your hotel suite, staring at the ceiling with an unsettling stillness. his jaw clenched as his thoughts spiraled. not about the wedding itself—that was a calculated performance he’d mastered. no, he was questioning the tie. the damn zegna tie. why hadn’t he gone with the brioni?

insists you accompany him to every social gathering, but not because he wants your company. you’re his accessory, his proof of a successful relationship. he spends the evening flaunting you on his arm, introducing you to people who matter to him (read: people whose opinions validate him), and correcting your behavior if he deems it less than perfect.

his morning routine is sacred, and by extension, you’re expected to have one too. patrick buys you a shelf’s worth of high-end skincare products and insists you use them exactly as prescribed.

takes immense interest in your wardrobe. if something looks even remotely outdated or “cheap,” he’ll whisk you through fifth avenue, steering you toward hermès or dior

has a habit of buying you extravagant gifts after every argument—designer bags, clothes and jewelry. “i thought this might cheer you up,” he says, like he didn’t just shatter your nerves an hour earlier.

morning sex is first thing when you both wake up, right before his meticulously scheduled workout—his body at its peak energy. once finished, he’d kiss your forehead and disappear into the bathroom for his grooming routine.

insists on watching the patty winters show and sit you both in front of the television. you often have no choice but to endure his running commentary.

patrick has a love-hate relationship with grocery shopping. he claims it’s beneath him, but when he goes, he micromanages the process to an extreme degree—reading labels, debating brands, and spending 20 minutes in the imported cheese aisle.

your wedding photos are framed in the living room, carefully arranged in a symmetrical layout. patrick often stares at them as he works out.

his idea of romance sometimes verged on the grotesque. one evening, he decided the two of you should watch the texas chainsaw massacre together. he ends up fucking you into the couch as he enjoys the music.

not the type to be overly vulnerable, but in the privacy of your bedroom, he’d occasionally let down his guard. pillow talk with patrick is a mix of unnervingly sharp observations and random musings. he’ll ramble about the fisher account, dissect music lyrics in great detail, or comment on global events with an eerie detachment.

occasionally, he’d break the stream of words with a sudden, “you’re listening, aren’t you?”

patrick hates surprises—unless they’re from him. when your coworkers once threw you a small birthday party, he was visibly irritated the entire evening. “it was tacky,” he said flatly on the drive home. “you deserve better.”

he got you reservations at dorsia, a perfectly chosen gift (think chanel jewelry or a bvlgari clutch), and a bouquet of flowers with handwritten note that’s short, formal, and oddly impersonal: “to another year of excellence—patrick.”

patrick rarely laughs, but when he does, it’s usually at something dark or absurd. once, you tripped over a stack of magazines he left by the couch and groaned in pain. his response? a sharp, startled laugh, followed by an unconvincing, “…are you okay?”

he adores the opera—not so much for the art but for the prestige it carries. he’ll plan elaborate evenings at the metropolitan opera house, ensuring both of you were impeccably dressed. he wore a brioni tuxedo, while he’d insist on you wearing a custom-made gown from carolina herrera or oscar de la renta.

despite his outward sophistication, his attention drifted from the stage to you. hand resting lightly on your thigh, fingers tracing small circles through the fabric of your dress.

he’s absolutely neurotic about cleanliness. he’ll never leave a glass on the counter without a coaster and can’t stand an unmade bed.

hates clutter and will occasionally “edit” your belongings—quietly throwing out things he deems unnecessary, like old magazines or sentimental knickknacks, without consulting you.

micromanages household tasks. he critiques the way you load the dishwasher, fold laundry, or even stack the fridge. “this is inefficient,” he’ll say, rearranging items while you stand there, biting your tongue.

patrick has an affinity for the ritual of lighting cigars. he’ll let you hold the match for him occasionally, but only if you did it exactly right.

would only agree to a pet under duress, and even then, it would have to be something sleek and purebred. when you suggest something more practical, like a rescue, he’s visibly horrified.

when you finally get the pet, patrick is immediately jealous of the attention you give it. if the cat / dog sits on your lap during movie night, he’ll stare at it with naked dislike. “i don’t understand why you let it do that,”

patrick has an odd relationship with your pet. he’ll complain about it incessantly—“it sheds everywhere,” “it’s always underfoot”—but despite his constant bitching, you’ve caught him talking to the pet on more than one occasion. “she likes you more than me,” he mumbles bitterly. the pet tilts its head, oblivious, which irritates him further. after taking another sip of scotch, he nudges it away with his foot—not enough to hurt it in your presence.

but the true ugliness of patrick’s jealousy comes out when you’re not looking. he’ll straight up kick the poor thing or lock it out from your bedroom.

doesn’t officially cheat, but he indulges in frequent encounters with sex workers—usually in secluded, high-end hotels. these encounters, hidden from you, are his way of dealing with his violent fantasies.

afterwards, he comes back to you, his demeanor completely unaffected. he doesn’t apologize, doesn’t act like anything has changed—because, in his mind, it hasn’t. you’re still his. you always will be.

when he’s bored, he’ll ask you to try on outfits—sometimes just a simple dress, but mostly it’s something risqué. he watches you from the other side of the room with that detached gaze, silently critiquing your appearance. “it’s not quite right,” he’ll say, before giving you another outfit to try on like you’re his personal doll.

full fic : leather & lace

while patrick doesn’t outright admit his dependence on you, it’s clear in the small moments. if you’re gone for too long, he’ll call, his tone petulant as he demands your whereabouts, as though your absence disrupts his routine.

at age 27, patrick doesn’t yet feel the need to rush into parenthood, but there are times, especially while having sex, that he considers the possibility. it’s an idea that briefly excites him, but he quickly dismisses it with a wry smile, preferring the idea of you and him maintaining an image of “perfection” without the messiness of raising a child.

though you’ve never spoken about the future in concrete terms, patrick assumes you’ll always be by his side, forever wrapped in his controlling, perfectionist bubble. he doesn’t see any reason why you’d want to leave; after all, why would you when you have everything?

 fear-is-truth 2024 — all rights reserved. do not modify, repost, translate, or plagiarise my content.

[mochi-makes-shit]

did u know the affinity suite has a six month free trial, no card needed? stumbled* into it and have been slowly teaching myself how to vector in designer

(*this is not hashtag sponsored, i legit did stumble into it and have been having fun, a+ marketing affinity)

these bad boys are STICKERS and involved a lot of trial and error

> MAKE BAD ART stickers measure apx 2"x2" and are home printed, laminated with holo film, and hand cut

the og black with white text was perhaps not ideal to start with, i definitely chewed through a lot of ink troubleshooting, but the end result makes me very happy. they're a lil janky but full of love, and truly fit the goal of making bad art

> GRACEFUL DEGRADATION stickers measure 3"x2" and are a love letter (love sticker?) to several of my favorite people, because i have a type and that is type includes chronically ill techno wizards

@craftsbyrom helped me a ton with some explanation on how to create the glitch effects i desired via a bespoke text based tutorial (why do those not exist anymore), which i then layered with this streaky holo film following the direction of the glitches. the end result is super cool!!

font was made by the typography artist yutaONE (insta: @/yuta_ptv_jp )

you can find these guys listed on my ko-fi shop for a couple bucks each, along with a bunch of other fun goodies

[juney-blues]

wait im confused abt your retro game music post. maybe i just dont understand what a sound font is

soundfont is a bespoke file forma- hang on i'm too lazy let me just get wikipedia up

"SoundFont is a brand name that collectively refers to a file format and associated technology that uses sample-based synthesis to play MIDI files. It was first used on the Sound Blaster AWE32 sound card for its General MIDI support."

^ while pretty much every computer and game console from the 70s - mid 90s made use of sequenced music, not all sequenced music is midi! midi is (remembers i'm lazy) go read the wikipedia page for midi and notice how the NES, SNES, Gameboy, and Sega Megadrive, and all those other things don't use it (atleast not natively i'm sure somewhere at some point midi was used in the composition of SOME pieces but fgdjghdfghf anyway hopefully you can see the difference between taking some samples of NES sounds and slapping those onto any old midi file, and actually writing music for the hardware)

[thefontidentifier]

did you know that tumblr has its own bespoke typeface?

it's a variant of ABC Favorit by Dinamo! it's been around since 2017, and it's got some really unique features. i like the rounded corners a lot. very interesting also how www becomes basically a sharp wiggly line.

another cool thing about this font is that it has a lining variant with a toggleable "connected mode", which does this:

i don't recall ever seeing this around, but it's pretty unique!

[abbysbasement]

wip list! longpost with a poll!

(divider - animatedglittergraphics-n-more)

currently have 20 reqs, trying to fill older ones first, but it mostly depends on which ones interest me the most at a certain time! Working on shorter ones tonight, but there are some longer ones I want to explore deeper! Here's a peek at some oneshots/requests that I plan on releasing, as well as some longer fics I have planned! And because I like to have fun here, you can choose which one you want released first!

not specially ordered or anything ;w;'

ONESHOTS/LONGFIC

(will be around the length of Morale Adjustment at minimum, or longer)

ABBY ANDERSON

THE Bespoke Abby Breeding Fic - TITLE: TOP DOG. Yes, the one I swore I would post like a week ago. It's super long and initially didn't have an intro so I've been working on it on and off. Partially in bulleted format, transitions to standard OS format after. 3k+ words. breeding, rough sex, blowjob/titjob, unprotected sex, creampies (lol), abby kinda babytraps reader. source universe, abby is slightly older than in canon (23-24ish), reader is younger (19-21?) and the wlf has actual ranks (translated: I looked up military rankings on google and started bullshitting) I wrote this on my period (translate: I'm a gross whore) abby is kind of mean but it's hot, get slutty about it. 90% completion. Has three (much shorter and more experimental) parts.

'You wanted to be wanted this way. To be desired and used completely, to be owned.'

The Bespoke Pornstar!Abby Fic - TITLE: XXX/RED LIGHT. The reader is a new rising star in the world of lesbian porn. One night, before your first anxiety-ridden scene, your costar arrives at your trailer to calm your nerves. Abby is the industry's top adult performer, practically the girl-on-girl bible famous for her rough, bad girl persona on stage, and her soft interior. You're given the persona of sex kitten; innocent, naive, and ready for the plucking, and in your first scene, her job is to break you in. Perhaps multiple parts, 3k+ words. Ellie is going to make an appearance as a 'rival' AV Performer, (but off camera her and Abs are good friends) who you'll have a later BD/SM scene with. Extremely rough draft, so no content tags yet.

"I'll do all of the work, baby. Just look straight in the camera and give your fans a pretty face to get off to."

The Bespoke Prisoner!Abby Fic - TITLE: DOIN' TIME (or something corny like that, we'll see.) When you're new in prison, they always tell you, go up to the biggest guy in the room and punch him in the face. Terrible advice, by the way. But when you're locked up on a misdemeanor and sent to a women's correctional facility, the rules are a bit different. So you find the biggest girl in the room, and you fuck her. Obviously. Extremely rough, no content tags. 3k+ words.

'Abby offered a deal; she gave you what you wanted, and you gave her what she wanted.'

The Bespoke and Formerly Scrapped College!Abby Fic - TITLE: PAPI BONES. Your roommate Dina drags you to a college frat party, and you hate it, all crowds and sweat and people. You wish you were home, but in a cruel twist of fate, a drunken game of spin the bottle turns into you, face to face in a dark closet with the captain of the rugby team and her head between your legs. studious!reader, jock/loverboy!abby, assplay, cunnilingus (r!receiving), fingering (r!receiving), primal!adjacent? i wrote in my editing notes, 'almost corruption, but pure?' so let that set the tone for you. potential part 2. Actually 90% complete, I just started beating myself up about it for no reason ;w;

"“s’okay baby, tell me how you want me. i’m yours.” and you thought that declaration would destroy you, ‘i’m yours.’  and it felt very, very real."

MINIFICS/DRABBLES (No poll for these because they'll all make it to the blog at some point)

ABBY

Bimbo!Reader x Abby Anderson (Mechanic!Abby? idk. She makes good money and reader is spoiled asl though.) dumbification, rough sex, there's a scene where reader sucks abby's strap while she's chewing bubblegum and licks the splattered gum off so there's that, spanking, face slapping, abby calls reader her fleshlight. partial HC/blurb format?

Semipublic sex with abby in her bedroom window

A/B/O WW Abby, breeding, half wolf!reader. she mounts and rawfucks you with her massive monster cock while you're in heat. primal, marking, too big cock/stretching pussy, mindbreak, impregnation. 2-2.5k.

ELLABS

Abby and Ellie are members of a rock band, you're a groupie and you'll do anything to get on the tour bus...

Abby and Ellie are both bad cops when it comes to training you, and they help the other keep you in line.

"Didn't she tell you to fucking behave?"

ELLIE

bully!ellie, dubcon/CNC esque? ellie steps on readers cunt with her boot. pussyslaps, knifeplay, degradation, she is not a nice young lady. 1.5-2k words.

dealer!ellie headcannons

ellie blasphemy kink oneshot

DINA/DINELLIE

Roommate dina corrupting innocent!reader. Somno, caring dom!dina, dina has a hairy pussy because I said so, dina takes reader's virginity with a dildo, sloppy makeouts, flashback of dina 💦 to the sounds of reader masturbating while thinking dina is asleep, Dina has big boobs and playfully does a cute boob comparison and plays w readers titties. this one might actually get pushed up because I'm thinking nasty ***** thoughts. you bump coochies with dina, that's the fic.

Your friend Dina takes you over to her sneaky link, and the campus dealer, Ellie's house. Unbeknownst to you, they invited you over to score in another way, too. dom!ellie, soft dom! dina, sub!ellie. drug use, strap on penetration, voyeurism, cunnilingus, cum swapping, mutual strap sucking, mutual masturbation.

yeah... that's all i got for you babies. enjoy.

[lackeyhenchman]

The HORROR DIE leggings are a great example of a confusing trend in consumer product, where art that speaks for itself has a random dictionary word added to it like some sort of flash card. As if put there by a non-english speaker, or someone who desperately wants to flex their new commercial font license.

Ir looks ridiculous, and yet people still seem to buy these things. This is how I’ve come to believe that non-designers cannot be trusted with the right to self-determination. Print-on-demand was a mistake. Clothes should be made by bespoke specialists or in the thousands-count by committee. If a design is too complex to be knit or screenprinted, it should be wholly disqualified from the textile industry, not used to subject us to more fucking polyester

[krisztamayer8]

Looking at given refrences

https://informationdesign.org/

Looking at the reference list for the unit to make sure that my work is following current trends and so that I know what is happening around the design world, this will enable my work to stay relevant and current and fit into the environment.

[mdhwrites]

I'm not really gonna ask anything, just complain.

I'm tired of seeing puppet Amity and emperor Luz everywhere, what's even so special about it? What's the appeal???

People see 2 seconds scenes without context and make it that episode's entire content 🤦

I don't know if ep 3 came out already but I'm not looking forward anyways.

…Angst. Angst and new designs which are probably the two most powerful motivators for The Owl House fandom. Why do you think S2A felt like it damn near cut the fandom down to its size?

This actually has to do with kind of fandom culture in general. The most visible part of a fandom is its artists. Their work is quick to consume, easily posted and reposted (with credit you'd hope but… sigh) and the easiest to take inspiration directly from the show for. Every week there'd be at least one screencap redraw that the fandom would do whenever a new episode came out. Honestly, the finale's big Lumity screencap redraw is really awkward looking to me out of context. It's not hard to see why these are so popular though. The reference is directly in front of you, it's a moment people are already talking about and you yourself probably liked the posing too so why not redraw it? It's a hell of a lot easier to do than come up with a bespoke story concept based off of each episode in a series.

That isn't to call art easy or the like, just that fanart is the backbone to a fandom for a reason, at least in my opinion. Twitter has a character count limit. Reading Fanfiction on Instagram blows. Tumblr is the closest to a place where longer form videos and stories can be posted and they still take MUCH longer to consume and share and without as much guaranteed return on effort spent. There's a reason the internet as a whole LOVES art from a commercial and consumer standpoint, even if they also keep trying to screw over artists because yaaaaay capitalism.

But screencap redraws aren't going to be everything. The more potential in the story, the more people will be able to come up with evocative concepts and stories and even make comics about the show. This was a BIG part of the fandom's peak between S1 and 2. Everyone had their own take on how Lumity would get together. Everyone had their own idea for how Amity might confront her parents. Amity in general was just a font of inspiration and the concepts with Luz weren't played out or felt contradictory to the more cynical character we got in S2 so angst with her about her mom, her world, etc. like that was still something everyone was tapping into, especially since it felt like the portal being destroyed was such a big deal.

I made a large Twitter thread the other day btw about how just shit the Portal Door is from a narrative perspective, first as a nitpick in S1 and then just a genuine problem in S2, because of it being gone, but that's a different blog.

But post S2A… What did you have? Camila's promise was never going to end satisfactorily, to the point where it goes from a moment of Luz being a good daughter to an almost inhuman monster towards her friends because it is handled so poorly. Amity is pretty much resolved outside of being happy to be Luz's girlfriend because she's already stood up to her parents, integrated into the rest of the cast and even already addressed the only piece of angst the show ever allows for her with her relationship and that's being an obsessive enough girlfriend. Sorry, I mean a good enough girlfriend. sigh Gus has had an episode but was overshadowed, Willow has had like a half dozen lines this half a season, King has been pretty much absent since his episode, Raeda was still mostly an Eda episode with literally every element of that episode just to shove Momma Eda down your throat…

It's not surprising that post S2A, the fandom has felt in general much quieter. Minus A: Huntlow and B: whenever they get a new design they can turn into Luz/Lumity angst. Everyone remember the teaser for the Collector's design that was done during a livestream and how that consumed the fandom for a little while because of possessed Luz ideas?

The puppet Amity and Belos Luz hype was effectively that. It brought even the casual artists back because they had a new, easily evocative design available to them that also had very obvious potential for angst. How many "I'M NOT LIKE HIM" pictures came out regardless of how weak any parallel between Luz and Belos is? Luz crying over a temporarily dead Amity is saddening, even if she's been little more than a puppet for the writers for a while now.

It's just how fandoms work. It's not even necessarily a bad thing. Dana has been VERY good at keeping the fandom alive during things like hiatuses. S1's hiatus is when the Betas were most popular because they dropped at a time when people were starting to wane from the show and now they had an entirely different angle to work from for anything Lumity they wanted to do alongside just good designs to draw. Most Lumity and Huntlow artists redo any piece that Dana does for the two ships. It's very effective for keeping a social media presence for your show honestly.

I won't even act like I'm above it. While I commissioned reference sheets for Rich Witch to make it easier to commission more artists for these characters, that wasn't the only reason. Rich Witch had a Reddit page (that I should clean up honestly) and its pinned thread includes the reference sheets and physical descriptions for the characters who don't have reference sheets. This is because I recognize that that makes fanart easier and that fanart is a lot easier to share than text blurbs. It is one of the ways to try and cultivate a following online nowadays or to help your fandom grow, at least in my opinion.

Can it be frustrating? Absolutely. I mean, Huntlow fanart has probably done way more damage to my interest in Hunter than anything else because it always emphasizes Hunter as nothing but a failure. Hell, it also emphasizes Willow's strength commonly and very little else about her character. Lumity has bored me for a long time in art because 90% of it is just cute fluff which isn't bad but it's not compelling. And I mocked both Belos Luz and Puppet Amity, despite the designs for them being good and the art being good, as shallow because narratively it means very little.

And the larger that disconnect becomes, the more frustrating a trend in the fandom is going to be. Plenty of people hate the Betas because they hate the edginess or the fact that a lot of people used them to start creating spicier material. There's not much anyone can do about that though. While a creator can try to promote a kinder fandom, fandoms are inherently too emotional and too large to really control outside of helping the show grow or find a new audience. It's just a part of that culture.

And frankly, I'm going to be bothered by the toxicity and inhumanity (guess what fandom will dox you for liking a ship between a bi girl and a straight guy?) of fandoms long before their art trends.

[borispehar]

[happywebdesign]

Clue Perfumery

[techtuv]

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[asspull3x]

App Showcase: Navigator

The Asspull IIIx Navigator is built into the system BIOS and provides disk management features.

(Seen above: the main Navigator screen in the middle of a redesign. To the left is a list of files, which is supposed to be several columns of only names. To the right is information about the currently selected file and the disk it's on, and blank panels for information on any cartridge that may be inserted and the system itself.)

All actions except for entering a directory or running an application may be executed via the function key bar along the bottom, though several aren't available just yet.

Change which drive to show.

Change the selected file's attributes (the black letters in the top right corner).

View the file — the Enter key also works so I might remove this to make room for another feature.

Edit the file — only plain text files can be edited though.

Copy the selected file to another path.

Rename or move the selected file.

Make a new directory.

Delete the selected file.

Print the selected file. This only works on plain text files (though there are some escape codes) because of the A3X's companion printer's limitations.

Change the system configuration

Holding the Alt key, this changes:

Copy the diskette.

Format it.

Change its volume label.

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Change the system time.

See detailed system information.

(Seen above: the text file viewer in plain and hex modes.)

API files are AssPull Images, a bespoke format. The Navigator can view them, with full support for all the format's features, because this is a BIOS function.

FNT files are... exactly that. Fonts. There is no real viewer per se, but trying to do so will load that font into VRAM, replacing the default until a restart.

LOC files are Locale information. Again, there's no real viewer, but like fonts you can just press Enter to activate them. This changes the names of months and days, currency, time and date formats, and keyboard mapping.

(Seen above: the work-in-progress editor based on kilo. A custom font, mOsOul, has been loaded beforehand.)

START.CFG specifically lets you preload a font and/or locale on boot, before the Navigator even gets a turn.

There's also a screensaver. It's Starfield, from Windows.

[derbysilkmill]

We Backyard Foundry

August, Tuesday, 23rd, 2022 the Museum of Making workshop team travelled to Artisan Foundry, Liverpool for a one-day course in greensand foundry practice, patternmaking and casting.

The course was taken by Art, an experienced foundry trainer and practitioner. The comprehensive course taught everything from sand moisture content and pre-moulding preparation, setting new and old patterns for moulding, ramming sand techniques, correct mould venting, sprue cutting, chemical additions to metal, heating and pouring hot aluminium and other metals such as bronze and gun metal. 

Undertaking the course was preparation for commissioning the Museum of Making workshop crucible -- the final piece of equipment to be brought to life in the newly-opened museum workshop space. Post course, with the critical H&S and casting PPE regimes poured into our minds (aluminium melts at extremely high temperature) - the workshop is preparing to design courses and demonstrations in patternmaking, greensand moulding and metal casting.

Below is a selection of images in a quasi non-linear order featuring Steve, Arthur, Andy, and, of course, the mighty Art.

The green foundry student checking the ‘greensand’ which isn’t green but red. Green denotes it is damp and sticky with natural moisture and clay. Art left, Andy right.

A chicken doorstop casting repurposed as a ready-made pattern, moulded to make another slightly smaller chicken doorstop in aluminium - (all cast metal shrinks after casting, aluminium about 1mm for every 70mm 1/70 -- patternmakers use special calibrated ‘expanded’ contraction rules).  Using the casting from an original pattern as the next pattern and then that cooled casting as the next pattern the chicken casting would, of course, eventually stop being there. Don’t copy copies then. 

Art also runs a day course in lost wax casting. Lost wax casting as everyone knows is the oldest industrial casting process known to man. As a workshop, we will at some point be lost wax casting. 

The Museum of Making is the keeper of hundreds of cast metal plaques, mostly railway related, which carry information in the form of cast text. With a crucible in workshop and the greensand training in place we intend to run courses wherein makers can create their own word signs using handmade or off-the-shelf white-metal or plastic letters, 3D text simply applied to a flat backboard. 

Art is here applying a parting powder to a metal ingot pattern. A bit like talcum powder, it is kept in a traditional permeable muslin ‘pounce bag’ and the trick is to dust the pattern as if with icing sugar evenly. Parting powder stops the wet greensand sticking to the pattern and the mould sand tearing when the pattern is withdrawn after ramming. the sharpie circles denote where we are to cut riser and runner system. 

We decided to cast a sign for Museum of Making workshop. The aluminium plaque pattern in the picture is ready-made and different sized letters and fonts and logos can be placed on the pattern to make varying bespoke castings. Bit Jamie Reid meets Fawlty Towers going on at this stage. The letters and logo are attached using Copydex latex glue which holds objects in place for moulding but can be pinged off - and glue residue piggled off - to clean up base pattern and let letters be used again.

Parting Powder mist

Art closing the two parts of a mould - known as ‘cope’ and ‘drag’. Cope is the upper box and has locating pins, drag the lower with accepting negative dowel holes or ‘eyes’. A mnemonic to use the moulding boxes in correct sequence is “eyes down”.  You can see the down sprue and riser cut into the cope like two eyes in a strange Bruno Munari abstract face design. (Design as Art, Bruno Mari, 1966)

From this image you can see that the the ingot pattern is placed in the drag first, which is common. The pattern has no core box and is known as a shell pattern. The pattern makes its own cores which are extensions of the sand rammed up in the cope after the drag has been processed and turned over for the second-stage of sand moulding process. This ingot piece is also a good example of a ‘flat back pattern’, i.e., the pattern is placed flat on its back on a moulding board before sand is rammed (compacted) around it. * For a fuller description of different types of pattern equipment see Patternmaking Explained to Children - Steve Smith Museum of Making Tumblr).  

Once a mould is completed and ‘closed up’ on its pins - and pattern of course withdrawn - the paired boxes are set on the floor ready for casting in the hot metal needed to make the required casting: iron, bronze, gunmetal or aluminium. The sprue and riser holes are then covered to prevent debris entering the mould before casting - usually a piece of wood is used. The ‘sprue’ is where the metal is poured in and the riser is usually diametrically opposite the pouring gate. The riser is there because the air within sealed mould must escape pushed out by the incoming stream of metal from the runner -- the riser also acts as a reservoir of metal and heat to feed the shrinking casting. When metal appears running up the riser to the top of the cope box the furnace pouring person realises the mould is full of hot metal and desists feeding the mould.

Art pointing out the particular sections of a ramming ‘dolly’. The tapered wedged section nearest to our instructor is designed to get into the tight corners a multiform pattern will present, the opposite flatter end - more mallet-like - is for when the pattern has been fully embedded in compacted sand and the rest of the void of the box is filled with backing greensand which provides the supporting structure of the fragile mould. Making these dollies in-house is easy and looks a good coproduction learning opportunity (how-to-turn-between-centres) for a Museum of Making volunteer. You Know who you are... 

Greensand has to have just the right moisture and natural clay content to make it mouldable --  not too dense. thick sticky sand can prevent dangerous high-temperature chemical gases permeating through mould in the red-hot casting process. Here Art started to explain the properties the sand should have by demonstrating ‘by hand’ and in practice how right-damp sand should feel and behave under compression. At Ilkeston College, as apprentice patternmakers, we had to also complete City &Guilds Foundry Technology and Metallurgy examinations and empirical practice in college micro-foundry was essential. We used a closed flask - a bit like a cocktail shaker with a dial attached - to measure the moisture and chemical contents of greensand. If sand is too wet there can be gas-driven (steam powered) explosions - very dangerous - too dry and sand is friable, and casting will be a ‘scrapper-shitter’ filled with unwanted washed sand (inclusions) from decomposed mould.

Early stages of moulding:  taking sand from Artisan Foundry under-bench greensand storage bin. The bin has a lid and a plastic membrane to retain moisture and keep out contaminating materials. Andy is here taking sand from the bin to start filling his wooden moulding box, the frame you can see on bench placed around the ‘Chicken Doorstop’ pattern. A sieve can be used to sift the sand that ‘faces’ against the pattern or - as here - you simply rub the sand through the palms of the hands feeling carefully to eradicate lumps and spot unwanted stones, even old cast metal amongst the essential fined-out stock material. Arthur has made a hybrid sand and moulding bench crossing Art’s bin  with a foundry station he saw when a Derbyshire  school D&T Technician for our workshop.

The WORKSHOP pattern is nested in the drag -’eyes down’ box - after ramming with wood dolly on moulding bench top. The welded metal moulding box has been carefully turned over and, before the cope box is located and the cope rammed to make the second section of the complete mould, excess parting powder applied to back of pattern and joint sand is removed with a pair of traditional bellows. This historical-but-still-used old-school air-making device is held away from box to avoid blasting the fragile sand with over-compressed air.

Art coached the Museum of Making team throughout our training visit to Artisan Foundry. Passing on relentless tips and dodges (’hacks’) - learnt through his own empirical practice as a jobbing foundry man and educator - in his thick scouse accent Art passed on priceless knowledge. The background has Arthur ‘sleeking off’ the top of the cope box with a moulders trowel. The next step is to then split the completed mould, withdraw the pattern and cut pouring sprues and risers, as well as vent the cope-section sand where necessary.

Small scale moulding boxes - in the sub-culture of the maverick ‘Background Foundry’ - can be made from simple homemade square section softwood. Not ideal foundry material, in all-ways, as the hot aluminium or (especially) iron can easily set alight the timber box; spot the combusted charred areas on the DIY ‘flasks’ in these images. To avoid this dramatic, though hazardous, outcome post moulding and before casting these boxes can be stripped from the sand blocks before pouring. Look closely and you can see the ‘loose-pinned’ butt hinges. Withdrawal of the thin wire pin ‘hand-grenade’ style releases the knuckle of the hinge and the box can be opened out away from sand. The box-less cope and drag can be reassembled - closed up as if with traditional moulding boxes - and the metal cast into what is termed in foundry jargon a ‘flaskless’ mould stack.

I trained at Stanton and Staveley Ironworks in Derbyshire 1977-1981. As part of our industrial education, we were exposed to the ‘real-life’ of Erewash Foundry. If you have never been inside a dark industrial dirty hot and dangerous foundry, it can seem like a kind of hell-on-earth scene. I recall monster bogeys of hot glowing spitting  iron whizzing around the foundry (high in the air suspended from overhead moving cranes) glowing orange against the dark interior of the black sand-dirty  foundry. In the late seventies none of the iron casting men or moulders - iron melts at 1200 degree centigrade - were equipped or supplied with regulation protective gear, except perhaps loose moulding boots which had a quick release fastening to allow leather ankle boots to be kicked off when spitted-out dangerous metal splashed inside the shoes and would burn through skin and bone until it came through the bottom of the foundry workers’ foot. Rather than wear thick fire-resistant smocks or leather aprons - as Andy is wearing here - hard Ilkeston men simply sported layers of thick wool jumpers which hopefully slowed down and cooled the ever-present flying spots of molten iron that peppered those pouring iron from oversized industrial ladles into equally oversized industrial-scale sand moulds before they hit skin. PPE advice was a topic Art majored on.

In the spirit of DIY renegade Backyard Foundrydom, Art had improvised a blast furnace from what looked like an old stainless steel camper-van oven and some square refractory bricks. The metal is heated by a propane-gas-bottle generated -flame through a hole in the contrived cupola to play on the small melt-crucible into which the raw aluminium has been placed. In this image Art is plunging a ‘de-gassing’ agent into the red-hot non-ferrous metal to chemically purify molten material before casting. A small section of a broken-up 50mm x 20mm round tablet (about the size of a walnut) is forced to the bottom of the hot melting metal until dissolved. The resulting dross (slag) is then skimmed of the surface of liquidised aluminium.

Empty moulding box awaiting pattern. In fact the dowel locating pins at the end of the fabricated-steel box indicate that this is the ‘cope’ top box. The cope pins are dropped through the receiving accurately-machined hardened-steel bushes on the base  ‘drag’ box of the two-part mould which has already been rammed up with pattern in situ. Because the  drag has no protruding pins the metal container which holds the green sand can be placed around the pattern on the same  flat ramming board. As Art pointed out, and I pointed out above, a good aid to remembering that the drag is rammed-up first is the bingo catchphrase “eyes down”. 

Here you can see the metal ‘shell pattern’ of the ingot mould bedded (post-ramming) in the drag which has been turned over ready to take the cope box and then filled with greensand compacted with the dolly so completing the two-part mould. The pattern is again dusted with parting powder as is the sand mould joint to avoid sand adherence to either surface. Facing sand is riddled onto the pattern for a finer cast finish before un-riddled sand is used to build up the back of the mould.

Sand is kept in a plastic bin covered with polythene and a tight-fitting lid to help sand remain damp and so clay-sticky for successful mould-making. Note the chalk X-X marks on both boxes. This is done to ensure mould is reassembled - post-pattern withdrawal, and pre-casting re-closing of mould - in correct position, i.e.  closed in the same end-to-end ‘handed’ relation as the boxes were when rammed up.

Parting dust, like scotch mist, rising from earthy mould. (It takes your breath away.) Pretty sure  in the heyday of Foundry life and Northern Soul ( early-mid1970s) them lad dancers - many of whom would’ve worked in Midland foundries-would have filched parting powder from work to save on the more infamous talcum powder sprinkled on floors of soul all-dayers and all-nighters. Art where you a  Casino-Soul Star?

Andy drives the Dolly into the un-sieved greensand to ram up the cope section of mould, taking care to make sure sand is evenly rammed - but not over-rammed since over-compaction of sand leaves fewer micro apertures for hot gases and steam to rise through greensand created by hot metal poured into closed mould - Iron, Aluminium, Bronze, gun metal etcetera. (To allow gases to escape - which can blow cope and drag apart in large moulds - floor hand-moulders used/use a  fine sharp rod of about 1.5mm diameter to pepper the sand above the pattern (but not hit the pattern) with vent channels. Art showed us this process  using his pinched fingers holding the venting spike as a depth stop to create deep vents, but vents stopping above mould surface.

Cope and drag boxes rammed successfully, the boxes are split, pattern ‘rapped’ and lifted carefully from fragile surrounding sand revealing requisite negative impression of positive pattern into which hot molten metal will run after reclosing boxes. 

Because this ingot mould is a two part mould in which the ‘cods’ or ‘cores’ which form the metal troughs of the finished ingot casting are ‘self left’ and so would ‘hang down’ if the standard Drag and Cope order had been followed, experienced Art inverted the order and so the cods are raised up from the sand by making the rammed up cope the drag. As in all forms of making there are general rules but no unbreakable ones. In making the cods stand or sit up in the mould this avoids potential situation in which unsupported cods would be suspended - merely held together and to the backing sand by moisture and sticky clay - and as such could snap off when inverted pre-casting.  In Art’s right hand can be seen a short section of hollow metal pipe (Ikea wardrobe rail) he has just used, as can be seen in right aperture of mould, to bore a runner hole through the rammed sand to the top of the (upside down) cope. Hot metal will be poured (cast) through the runner - metal running  downwards with gravitational forces - into the negative empty cavity of the pattern-formed ingot mould ready to shape liquid plastic metal.

Art boring out the riser through which the metal and air are expelled under diametric pressure from runner and elevated poring basin. 

The runner we are to pour the metal down is approximately 20mm in diameter and exits the mould through the top of cope and is connected to underside of finished ingot casting. However, it is difficult to aim the viscous heated aluminium into such a constricted channel from an often cumbersome pouring flask. To aid filling the mould with metal and avoid hot aluminium running free and dangerously over the top of the glassy flat cope sand, down the side of the moulding box, onto the floor, potentially splashing casting-person’s boots -  a  pouring basin is made up with a wider tapering channel through which the hot metal can enter the narrow runner. The extra height also gives favourable downwards header pressure - like a water tank in a loft - to drive the immediately -cooling-now-unheated metal ‘faster’ into the mould and up the riser. This is often called a basin. The top reservoir of hot metal also aids the shrinkage of the casting. As the aluminium or iron cools down it dimensionally contracts, as I said. As it contracts against the cool sand of the damp mould it needs to be ‘fed’ with molten material. The basin then acts as a surplus tank supplying the hot-thirsty nascent casting with the metal feed it requires. Many larger castings require internal ‘feeders’ which are made to prevent shrinkage in a casting, which means a cast object becomes a failure or ‘scrapper’. As a first-year apprentice I was made to make feeder patterns for the first six months of my training as a patternmaker. 

In the maverick spirit of the Back-yard Founder, Art has used an old  pineapple ring tin as a flask for his pouring basin; the sprue cutters were crafted from truncated chrome Ikea wardrobe hanging rails. 

Casting or moulding boxes don’t have to be heavy metal. This small flask has a removable pin and so the wood frame can be deconstructed and removed from sand mould leaving a ‘flask-less’ block of green or core sand that hot metal can be poured into. Working this way a backyard foundry can make multiple small moulds - and thus cast artefacts -  from a single pattern and moulding box in readiness for a serial pouring and crucible firing. The box is clearly made from some simple stock softwood and hinges buyable from a DIY store but painted with red pattern varnish to avoid deterioration from wet sand.

 Art and Artisan cast in a variety of materials. Plaster kept out back of workshop. 

Small flask used in shrinking casting chicken doorstop with articulated flask. 

Artisan foundry shop sells aluminium and bronze ingots for backyard casting community and homemade DIY foundry punks. We have spoken in workshop about  the potential clever buzz around running short casting courses at Museum of Making wherein attendees bring in their own used beer cans. Post-weekend binge, smelt the used-up Brew Dog and Special Brew aluminium tins into interesting new products: chicken doorstops, nameplates or other unimagined  contemporary material wants. Art cautioned against this: ‘Paint’s toxic lad’, ‘poor quality ally to be fair lads’, ‘you don’t want sticky booze-smelly ally cans hanging around a workshop do yer lad’. In the above photograph the- casting newly-knocked-out-of-steaming-hot-sand-mould is a casting poured into the mould taken from the ingot mould Art uses to cast sellable ingots, used as a pattern. Thus on the day we cast our own ingot mould for Museum of Making workshop for casting ingot bars. The ingot mould was cast from reclaimed aluminium core-wire that is used in high voltage electricity cables -- so you can use recycled ‘found’ metal.  A casting course offering potential neo-backyard founders to make their own ingot mould might not grab audience. But if I modify physically the form of the ingot pattern to make a partitioned ingot-like casting and reconfigure (recast) it descriptively as a object into a pistachio-Bombay-mix-Italian caper-kimchi presentation receptacle for table top appetisers, things sound more appetising. As the Italian saying ‘L’appetito vien mangiando’ wisely advocates ‘with eating comes appetite’. I also think casting a small aluminium pie dish has potential. The silvery stems you see poking from the sand are the runner and riser connected to pouring basin.    

Various tools and casting ladles needed for backyard  foundries. Make your own  kit if you can

Steve Smith

Workshop-Studio  Manager

Museum of Making

February 2023