#better composition in my opinion. And in the right image there is a random black wisp on his left forearm (our right) that looks like it

[spiritsong]

After seeing @felassan's post about there being two different versions of Neve and Taash's cards, I needed to sate my curiosity and went digging to see if I could different versions of the other companions as well.

Lo and behold, there are! I found them for every companion except for Emmrich. There's no way to say with absolute certainty which is the old version and which is the new; hopefully we can get some confirmation on this.

For the time being, I went ahead and marked the differences for those who have trouble spotting this sort of thing. Hopefully it's not too overwhelming for the ones that are very marked up, but I wanted to include some of the more mundane changes as well.

Neve — The biggest changes are the crossed leg (making her prosthetic more visible) as well as the metal rivet detailing on her outfit (see: the collar, the shoulder pads, the sleeves, the skirt portion). Some of what I'm calling the more "mundane" technical changes include the lighting and shadows on her staff, her nose, and her chest.

Taash — The most notable difference here is the coins (I didn't circle all the individual coins but you get the point) and the dragon in the background. In one version, the eye is more distinct, and a bottom row of teeth have been added to the dragon's jaw. There have also been changes made in the shading of her face. Her body shape (namely, the torso and her arms) have also been changed, as well as the general shape of the "spikes" on her hips and her shoulders.

Harding — Just a couple changes here. Her eye is more white/ghostly looking in one version, and the shading on her face and neck have changed.

Lucanis — LOTS of differences. They're pretty inconsequential, by which I mean there hasn't been any added/removed/changed symbolism in his card. The shading on his nose has changed, as well as the shading on his collar, hand, forearm, armpit (didn't circle this one oops), hips, and hip dagger. The purple "wisps" have changed in shape here and there. One of the orbs in the upper left have moved, and there is another orb above that one which has been removed/added.

Davrin — Just a few changes with Davrin, though they are big ones. His face/head has been changed, and the vallaslin has been redrawn. The scar on his eyebrow has also moved slightly.

Bellara — Bellara's head has shifted and her neck elongated/shortened. There are stars in the background and around her arm in one version.

As for Emmrich, I mentioned I could only find one version. I did compare the image we currently have with what I believe is the earliest Emmrich art that was shared with us (a cropped version of his card) by overlaying the two on Photoshop and didn't see any differences.

And that's it! You might have also noticed that some of the versions on the right hand side have a white line at the top of the image. Make of that what you will.

(People viewing this post on PC will have an easier time quickly clicking back and forth between the images to spot the difference. If you're on the mobile app and care enough to do so, you might have an easier time saving the images and flipping through them in your photo album. At least I know it's easier if you have an iPhone, I don't know about other models.)

[mittelfrank-divas]

Dance of the Black Heron chapter 2

The next chapter of my Dancer Hubert fic! In which the other Black Eagles have opinions on this situation.

This fic is now up on AO3 for those who prefer reading there!

===

"I think it's a fine idea." Edelgard rounded one of the long tables in the Black Eagles classroom, carrying a stack of tactics textbooks. It was quickly growing dark outside, and every other student had long ago vacated the classrooms, but the pair of them were often found here at this hour by the flickering light of the candles and the dwindling embers of the fireplace.

At first, tidying the classroom had been an easy excuse for them to meet at night without suspicion. It was a perfectly appropriate activity for the head of the class and her attendant to engage in regularly outside of normal class hours, with obvious evidence of their work that they could point to the next morning if anybody asked where they had been.

Now, although better awareness of the guard rotations and lesser-used passages gave them plenty of other ways to slip out after dark, habit still found them here day after day. Hubert could not help but notice the pride that Edelgard took in maintaining the Black Eagles classroom, making sure the chairs were straightened and every student had their required materials ready in the morning. It did not matter that their classmates could easily retrieve their books and quills themselves, or that the room would be equally serviceable if the chairs were left slightly askew or that the floor could endure going unswept for a few days. Edelgard wanted the classroom to be perfect for her Eagles, and so Hubert was all too happy to assist her in that.

He automatically held out his arms for her to deposit the books into and began distributing them before each chair on one side of the room while Edelgard began passing out her own stack on the other side. He scowled down at the books in his arms as he sought out the one with the broken binding, which he always deliberately placed in front of Ferdinand's chair. "I did not expect you to share in our professor's folly."

"I see no folly in it." Edelgard was not quite so deliberate in her distribution, placing each of her own books without checking its state. Hubert doubted that any of the other Black Eagles noticed that the left side of the classroom always received the same books each day (the nicest one went to Bernadetta and their state of decay decreased down to Ferdinand's) while the right side was randomized, with each equally likely to receive the one wrinkled with water stains on one corner. Her egalitarian approach meant she always finished sooner than Hubert, and so she was first to move behind the professor's desk to retrieve the quills and ink pots. "I know you know how to dance, Hubert. I have seen you do it many times."

"Respectfully," Hubert grumbled, "our little bedroom waltzes hardly compare to a competition that will determine the composition of our class. You have seen me run before, but you would not ask me to participate in a marathon."

"Nonsense." Edelgard turned to him, a pot of ink in each hand. "That comparison would only be suitable if I had watched you outrun the entirety of our class. You are good at dancing. You have proper stance, you keep time well..."

"Lady Edelgard," Hubert set his final book down and met her eyes directly. "Did you convince the professor to choose me?"

Edelgard's pale eyebrows rose. "You are cross with me. No, I did not. I merely advised them that you would be a good choice. They were already considering you."

"I am not cross with you, I am…" Hubert sighed, and slouched down to rest his gloved hands on the table. "Alright. I am cross. I wish you'd consulted with me before agreeing to this."

Edelgard never cowered from anger -- his, or any other's. It was one of the many traits that made him admire her. Her pale lavender eyes met his fully. "I apologize. I thought it best if you heard directly from our professor first. It is not as though they can force the decision upon you, after all, can they?"

"No," Hubert admitted with a sigh, finally moving to retrieve the quills and ink alongside her. "They merely trapped me in my own logic. Forced me to admit that I can see no better option."

"Well?" She flicked her white hair back out of her eyes as she shot him a sidelong glance. "Is your logic flawed? Is there any other who we should choose instead?"

Hubert had been asking himself that very question since the moment he exited the professor's room. Dare he give up their only cavalry unit? Their only assassin? Could he ignore his own predictions that Linhardt would shirk whatever responsibility the role would demand of him? "I am beginning to question whether we require a Dancer in our ranks at all."

"Well then, I am certain that Claude von Riegan will make good use of it," Edelgard said crisply as she laid out quills.

Claude von Riegan. Claude von Riegan with somebody under his command who could effectively double the speed of any attacking unit. Hubert could already imagine a number of scenarios that Claude could manifest with such power in his hands, but worse were the ones that he could not imagine.

"Your attempts to bait me are rather transparent, I'm afraid." Even as he said it, Hubert attempted to shrug off the vision of the future Alliance leader darting out of their peripherals, bow at ready.

"A pity," Edelgard sighed, moving toward the professor's desk. She always made a point of organizing their notoriously scatterbrained teacher's class materials at the end of the day. "I had hoped I was being subtle. Transparent though I may be, however, do tell me if my plan has worked."

Hubert prided himself on his schemes, on his ability to out-think his opponents. Unfortunately, the fact that he had honed his skill by practicing with his closest friend meant that same friend knew him all too well, and easily turned those same skills back on him. "Of course it has," he conceded, and moved to stand in front of the professor's desk while Edelgard sat down in the chair across from him. "You know I cannot bear the thought of giving such a calculating opponent an edge such as this. Well spotted as ever, Lady Edelgard."

She pulled a stack of Byleth's disorganized notes to herself, a small smile creeping onto her face at her victory. Under normal circumstances, Hubert lived to see that smile soften her carefully-managed features. In this case, it was difficult to take joy in one more sign that his doom was sealed. Nevertheless, she nodded at him. "Alright, then. If our only goal is simply to keep the Dancer class out of anyone else's hands, the solution is simple. We send someone else to compete in the White Heron Cup, but we will not make use of the certification once we have it."

Hubert crossed his arms, considering her suggestion. It was an easy way out. They could send Dorothea or even Ferdinand to compete without interfering with their long-term plans. Edelgard was showing him a kindness by offering an alternative. The fact that he recognized it for a kindness made loathing for himself churn in the pit of his stomach. For her to settle on a lesser choice simply for his sake was intolerable. "An elegant solution, but a wasteful one. I doubt you would be satisfied with such a plan."

Edelgard sighed. "Of course I wouldn't be. I think a Dancer would be of great benefit to us, and I think you would be an ideal choice."

Hubert shook his head, leaning down to press both hands against the front of the desk. "I simply fail to understand why."

"It is just as you and the professor said. The Dancer must be able to anticipate the movements of the battlefield and turn it to their advantage. When I am at the front of the line, I want someone who knows my tactics and my plans, who can predict exactly what choices I will make, to be at my back setting the stage. It's true that anyone in our class could do the job adequately, but only you could use such a position to seamlessly carry out my plans." Edelgard leaned across the desk, her hand closing around Hubert's wrist, her pale eyes meeting his fiercely. "I would never order you down a path that you found intolerable, Hubert. If this is truly unbearable for you, then we will find another solution. I just wish you could see how much I think you would shine in such a role."

She truly had so much faith in him. Not just to be a Dancer, but to be her Dancer. Someone who could help her achieve her lofty goals. Maybe, if he actually could succeed in winning the certification…

Hubert's hand went to his head, pushing his black hair out of his eyes. "This is foolishness. It is not a test of skill, but of charm. You know that I could manage to hit every step perfectly and the judges will still favor whoever has the most attractive smile."

Edelgard's eyes glinted confidently. "And is that such a bad thing? You know as well as I that charm is a matter of manipulating perceptions." She leaned forward, using her grip on Hubert's arm to pull herself across the desk. At her height, Edelgard practically had to lay across the expanse of the wood surface to lean close to him, but she somehow managed it. "Hubert," she said lowly so none passing by the open door could hear, "when we constructed the Flame Emperor together, remember what you said? That we must create an image that strikes awe into the hearts of all who see him. It will not be you dancing out there. It will be the image we create for you. So let us create that image. Will you permit that?"

An image. A persona, like the Flame Emperor. Hubert could not imagine himself standing before the entire school, hoping to convince them of his appeal with a charisma he did not possess. But thinking of it as simply another mask…

His other hand closed over hers. "If you are behind me, I can try."

***

The evening was still early when he found his way to the ground-level dorms. Light glowed warmly from the open doors and windows of the cafeteria, chatter and laughter filtering down the stone staircase. It was a crisp fall evening, not yet cold enough to keep the students from lingering around the fishing pond or drifting slowly toward their dorms while carrying on their dinner conversations, trying to delay the night of studying ahead. It would not be, therefore, considered terribly untoward for Hubert to be standing outside of Dorothea's chambers at this time. He took a moment to steel himself before knocking sharply on her door.

He highly doubted that he was remotely within the sphere of people who Dorothea hoped would be standing on the other side of her door, yet her smile was dazzling anyway. The songstress knew how to perform even in the most mundane of venues. "Hubie! It's not like you to make social calls. Are you here to scold me for forgetting to use Edie's title again? Or is this about that saucy joke I made yesterday? Was that too much for her delicate royal ears to hear?"

Hubert stifled a sigh, already regretting this conversation. Dorothea's personality was entirely too much for him to face directly like this. Her irreverence around Lady Edelgard had been a point of contention in their first few weeks at the academy, but Edelgard herself enjoyed Dorothea's brash attitude and had told him to let it go. Truth be told, Hubert also took a certain amount of pleasure in watching a commoner breezily ignore social mores the way that Dorothea did, pointedly affixing his fellow nobles with all-too-personal nicknames rather than a deferential title. But it was a spectacle that he preferred to appreciate at a distance, without the full force of the songstress's energy and wit directed at him.

"Nothing so serious as that, I assure you." Hubert stiffly folded his hands behind his back, sifting through his mental notes to recall exactly how he had rehearsed this conversation. Unfortunately Dorothea's chaotic nature had already derailed his plans, leaving him to leaf frantically through his script to work out what to say next. The sound of laughter echoing across the square made him uncomfortably aware of the other students and monastery residents moving around behind him. "I thought perhaps that you should hear it first. The professor has chosen our candidate for the White Heron Cup."

He saw her smile falter a bit, and knew that she was doing the math. If Byleth had chosen her, then surely Byleth would be the one to deliver the news. Still, her voice remained as bright as ever. "Really? That's great news! Who is it?"

Hubert could not stand to look at that fading smile anymore, and his eyes found a particularly fascinating crack in the wall by her door. "You should know that this was not at all an easy choice. It was less a matter of who could succeed in the competition than of who we could afford to remove from another role. The composition of our class is..."

"Hubie," all warmth had drained from her voice now, replaced with a dangerous edge. "If you've come all this way just to soothe my feelings over Ferdie being chosen over me, you can just get it over with."

The very suggestion that Hubert would ever choose Ferdinand von Aegir shocked him into looking at her again. "We need Ferdinand on his horse, loathe as I am to admit that. Just as we need you continuing to study both Reason and Faith, a combination that we otherwise lack." He shifted awkwardly, resisting the urge to either fidget or flee. "I have been over the class roster many times, and unfortunately I see no other way around it. The professor is of the opinion that the only one who can be spared for this role is myself."

A single laugh burst out of Dorothea's mouth before she covered it with both hands. "Oh Hubie! Oh I'm sorry, it's not funny. It's just unexpected."

"I am quite aware of how unexpected it is," Hubert muttered, once again taking tremendous interest in the details of the wall beside her. "Which is precisely why I must request your assistance. There can be no doubt that you are our most gifted dancer. Moreover, you have experience with performing before an audience. I wish to ask for your help in preparing for this competition."

Dorothea stared up at him, cautious skepticism on her face. She did not trust nobles, and he shared in her loathing. Hubert himself nearly forgot sometimes that he would be considered one of them in her eyes. Dorothea may have acted cheerful around her classmates, but Hubert had seen the way she sometimes seemed to be bracing for them to turn on her. She looked like she was bracing for that now. "I'm sorry, did you say you need my help? You, Hubie, need my help."

"That is what I said, yes."

Dorothea snorted. "I'm surprised you aren't asking Ferdie, since he seems so very convinced of his superiority in every realm, including dance."

"I do not entertain that one's foolish ramblings." Hubert smirked as he said it, and was pleased that a smile crept back onto Dorothea's own face. She made clear her feelings on Ferdinand -- loudly, and as often as possible -- and it seemed that he won an ally in her on this front. "As much as it pains me to admit my own failings, I know that you are much more practiced in this arena than myself. If you are willing to assist me in this, I would be grateful."

She granted him that warm smile that she shared so freely with her classmates. "Well with a request like that, how can I refuse? Alright, Hubie. How about we meet on the training grounds tonight?"

Hubert felt his heart rate spike just at the thought of being caught practicing in such a public area. The training grounds were less crowded in the evenings, but there were many students who remained there even late into the night. There would be no hope of privacy in such a place. "Actually, I have somewhere more private in mind, if you'll allow. I'll meet you here at your room after class tomorrow and show you the way."

Her smile twisted itself into a sly grin. "Why Hubie, if you wanted to get me alone, a simple dinner invitation would have sufficed."

Now he did sigh. Truly, she was relentless. "I assure you, I have no such intentions. But if this is your way of requesting an exchange for your services, I will see what I can do about a meal."

"No fun at all," Dorothea sighed back, though he could see that she was still teasing him rather than truly disappointed. "Forget it, then. I'll see you tomorrow."

Dorothea closed the door, leaving Hubert standing awkwardly outside. He had the rest of the night ahead of him to fret over what awaited him at Dorothea's lessons.

***

Hubert had never before dreaded class. In fact, against all reason, he even sometimes enjoyed it.

That had been an unexpected development. That Hubert would accompany Edelgard to Garreg Mach, the very seat of the Church of Seiros, that he would attend classes alongside the frivolous sons and daughters of nobility, that he would sit in front of some church-approved professor and listen to their tiresome lectures… and he would not hate it. Sometimes he even learned something. Sometimes he even forgot that he was here under false pretenses, that he was only pretending to be a student in order to further Edelgard's aims.

But class had never before felt like such a trap. Never had he so cursed Edelgard's preference for sitting in the very front row, as well as his own decision to accompany her there. Hubert felt that every single pair of eyes in the room must have been on the back of his head. Surely such a thought was irrational, since only Edelgard and Dorothea yet had reason to suspect his distraction when he failed to turn his tactics textbook to the correct page.

Worse, their distractible professor left Hubert to suffer in silence through the entire lecture, carrying on as though his humiliation was not imminent. It was only when Byleth was about to dismiss them for lunch, threatening to draw out the torture even further, that Edelgard came to his rescue. "Professor, I believe you had intended to make an announcement."

Byleth paused, blinking at Edelgard in that dreamy way they always did when they forgot vital information, such as their own plans. "Oh, yes. We've chosen our candidate for the White Heron Cup."

A general murmur of excitement rippled through the classroom. Hubert pointedly closed his book and began organizing his things, trying very hard to ignore the chatter behind him.

"You were wanting to be choosing, weren't you Ferdinand?"

"I assure you, I know nothing about the professor's choice. If they have selected me, this is the first I am hearing of it."

"It's not me, right? You wouldn't pick me just to make fun of me, would you? Oh no! You have, haven't you? Aaaaaaah I don't want to do iiiiiiiiit!"

"Finally!" Caspar's voice rang out over Bernadetta's cries. "Who'd you pick, professor? We've got so many good dancers here, I bet we'll win no matter what!"

Byleth did not waste time on drawing out the suspense with theatrics. "I've chosen Hubert."

The din faded to uneasy silence. Of all the times that Edelgard had urged the Black Eagles to learn the art of being quiet, somehow this was the moment in which the lesson finally took.

"I don't think he's a bad choice at all." Dorothea jumped in to helpfully damn Hubert with faint praise.

"Indeed, if the strategy is to frighten the judges into choosing our house, you could not ask for a better candidate." Linhardt, naturally, chose to wake up from his nap exclusively for the purpose of contributing this jab.

Having run out of anything left to do with his own class materials, Hubert moved on to straightening Edelgard's notes for her. Might as well let his classmates get this out of their system so they could hopefully never speak of this again.

"Hubert's not going to assassinate the judges, is he? Noooo I can't be an accessory to murder!"

"Bernie, nobody's going to assassinate anyone."

"Is this being a contest of violence? I thought it was of dance."

"No, there's no violence. Bernie's just being dramatic."

"Imagine if it was though? Like what if we had to fistfight Alois to win? That would be awesome!"

"But I don't want to fistfight Alois!"

"Bernie, absolutely nobody is asking you to fistfight Alois."

"Well I trust in our professor's decisions." A single voice boomed above all the others. Caspar may have existed in a perpetual state of yelling, but Ferdinand von Aegir projected his voice at all times as though he was in the midst of orating to a crowd. "I am certain that they have good reason to choose Hubert to represent the Black Eagles house, and we should be proud to support him. Why, regardless of whether or not he's had training, with a few weeks, he should--"

"I have, actually." Hubert was already out of his chair and turning to face Ferdinand before his nerves had a chance to catch up with him. The ginger with his all-too-bright smile was staring at Hubert, startled at being interrupted mid-speech. "Which is something you might already know if you ever deigned to dance with those you consider beneath your status, Ferdinand."

Ferdinand's mouth hung agape, his ears turning a satisfying shade of scarlet. "What is that supposed to--"

"Alright!" Edelgard stood, inserting herself between them as she stepped into the center of the classroom. "Honestly, is this any way to behave before a competition? We are supposed to present a united front before the other houses. I expect all of you to give Hubert your full support, just as you would any one of us."

Hubert made a point of avoiding any further eye contact as he exited the classroom. With resounding support such as this from his own class, did he even need rivals to compete with? Perhaps they might send one of Bernadetta's plush toys to compete and save him the trouble.

[tiakennedy-beecher]

Publication Research

Magazine 1: Vogue (September 2020) Fashion and Lifestyle Magazine

Magazine 2: Essence (January 2008) Lifestyle Magazine

Vogue Front Cover:

Essence Front Cover:

The aesthetic and voice can be interpreted by the front covers of both publication alone. Vogue has used black and white photography to create a muted effect which allows the text to stand out and stand alone. Furthermore, the use of composition creates a central focal point and draws the viewer’s eyes to the models’ (activists’) faces, particularly towards the left (Marcus Rashford) which is further enhanced due to the use of shallow depth of field. The facial expressions on the models’ (activists’) faces further sets the tone and setting for the publication. The serious/stern looks on their faces creates a sense that activism is a serious matter and is much needed in order to create change in the world. The use of all black clothing creates a subtle link to the Black Panther Party which further adds to “A Symphony of Activism”. The Black Panther Party were known to wear black leather jackets, black pants, powder-blue shirts or black turtlenecks, black berets, afros and dark sunglasses. The beret was one of the most important and influential piece that was worn by them as it was “used by just about every struggler in the third world.” and are “an international hat for the revolutionary.”. The red text adds a sense of urgency as well as the use of capitalised letters. Also the logo masterhead is placed behind the models’ (activists’) heads which creates the notion that the cause is bigger than Vogue. The logo masterhead, Vogue, is commonly placed in front of the photograph/models. In addition to this, the front cover has been stripped back by the removal of articles and exclusives that are to appear within the publication. I believe this to be an appropriate choice as it cast spotlight on the most important cause within the publication. Vogue is aimed at young women aged 20 to 40 years, who are successful and beautiful and who wants to be aware of all the novelties of fashion and beauty. However, this front cover could attract a new demographic such as activists or Black people. In comparison, Essence has used portrait photography to create a more personal connection to the model (Barack Obama) which is further enhanced through the candid expression. Furthermore, the use of composition creates a central focal point and draws the viewer’s eyes to the model’s (president’s) face which is further enhanced due to the use of a black background. The facial expressions on the model’s (president’s) face further sets the tone and setting for the publication. The over exhilarated look on his face creates a sense of achievement and that change is possible as long as we preserver. The use of a blue tie creates a subtle link to the Democratic Party which further adds to “Celebrating the Dream” presidency. The party colours, red for Republicans and blue for Democrats, was not standard until the election of 2000. The colour blue represented the incumbent and red represented the challenger in the election of 2000. As Democrats were the incumbent party, they were assigned blue. The party colours have stuck ever since. The flagpin of the America flag signifies his leadership role in the highest office in the land. The red text adds a sense of urgency as well as the use of selected capitalised letters. The use of capitalising “Celebrating” and “Dream” acknowledges that a Black president was the dream of many Americans. This gives them hope that better is to come and paves the way for more Black individuals to take up more powerful roles across the world. The white text outlined in gold adds to the sense of over exhilaration as well as the use of capitalised letters. The capitalisation of “PRESIDENT” and “OBAMA” creates an everlasting affect on the viewer as it forces them to remember the name. Also the publication name is placed behind the model’s (president’s) heads which creates the effect that the cause is bigger than Esscense. The publication name, Esscence, is commonly placed in front of the photograph/models. In addition to this, the front cover has been stripped back by the removal of articles and exclusives that are to appear within the publication. I believe this to be an appropriate choice as it cast spotlight on the most important cause within the publication. Esscence is aimed at African-American women.

Vogue Content Page:

Essence Content Page:

Nearly all publications contain some form of contents page. Vogue focuses more on the layout. The composition of Vogue is clear and simplistic due to the plain white background. In addition to this, Vogue uses a grid structure for the text. The photography is placed at the top and bottom of the page as well as to the left and right. The main image is placed underneath with the article headline. The contents page consists of a double page spread. In comparison, Essence focuses more aesthetics. The composition of Essence is creative and modern due to the photography being used as a background. In addition to this, Essence uses a grid structure for the text. The test is placed at the top and bottom of the page as well as to the left and right. Despite this, there is still some blank space on the page. The article headline is placed behind the model’s (Barack Obama’s) head within the photography. This creates an almost 3D effect to the image and adds an interest. I believe that it could be improved by either entirely removing the photograph on the bottom right or by editing it black and white. This would suit the page better as the random pop of colour, in my opinion, ruins it. However, I do understand as to why it was kept in colour because otherwise it would not give an accurate representation of the available copies. In this case, the best thing to do is for it to simply be removed.

Vogue Adverts:

Essence Adverts:

Nearly all publications contain some form of adverts. Vogue focuses on the aesthetic and appealing nature of the advert overall to sell products to consumers. The main aim of the adverts used is to sell a lifestyle that readers must maintain. The adverts are high end fashion and lifestyle products. Vogue have used a grid structure with bold lettering and straight to the point about what the product offers. The composition of Vogue consists of few writing paired with much photography that is placed into a grid system which creates a modern look. This allows the advert to talk for itself especially through the reinforcement of the quote which is proved by the photographs taken at a runway show. In comparison, Essence focuses more on the message of the advert rather than aesthetics. The main aim of the adverts used is to sell a lifestyle that readers can maintain by offering a range in price as well as services that provide advice for savings and etc. The adverts range from high end to low end lifestyle products and services. The composition of Esscence consists of much writing paired with few photography that is placed over a double page spread which creates a simplistic look. This provides the reader with extra reading relating to the product. However, the advert itself empowers it’s readers through the quote “My Black is Beautiful” as it makes them embrace their natural beauty. This creates a much deeper and more personal connection with the consumer as it allows them to relate through the use of a deeper meaning.

Vogue Product Page:

Essence Product Page:

Nearly all publications contain some product page. Vogue focuses on the aesthetic and layout of the product page overall to sell products to consumers. The main aim of the product page is to sell fashion trends that readers must keep up with in order to be in fashion/season. The products are high end fashion. Vogue have used a loose and free structure with minimal captions to accompany them. The article headline, “Check ON IT”, is the central focal point and has photography scattered around it almost creating a mind map/brainstorm. “Check ON IT” is a play on word as it describes the fashion trend aesthetics but also hooks the reader in by telling them to “Check ON” the fashion trend. Vogue have used play on words to created humour and light hearted jokes through fashion which is rarely fun. This suits the target audience, I believe, as when they think of fashion they think of fashion moguls such as Anna Wintour or Karl Lagerfeld, they associate it with having to be serious, strict and stern all the time. In comparison, Essence focuses on the theme and layout of the product page overall to sell products to consumers. The main aim of the product page is to sell chic fashion that readers can afford so they can keep up with in order to be in fashion/season. The products are a range of low end and high end fashion. Essence have used an organised but loose structure with minimal captions to accompany them. This is created by the layering of products on top of each other forming an outfit. The background further enhances the theme as it adds colour as well as creates a scenario in the reader’s head. The article headline, “Wild THINGS”, describes the fashion trend aesthetics. This suits the target audience, I believe, as it allows them to be chic and cheap and are not encouraged to by the whole outfit. 

Vogue Article:

Essence Article:

Both publications use similar composition in their “Editor’s Letter” with the editor in chief’s photograph placed on the left of the page, using an article headline and signing off with their signature. Furthermore, they both use portrait photography as their technique.They address similar issues/topics within their “Editor’s Letter”. Despite this, both publications provide a difference in the overall mood and feel of the "Editor’s Letter”. Vogue uses a diary entry style as a writing technique to create a very personal feel. This is created by the use of language and sentence structure. The use of an article headline as a means to start the article which in result hooks the reader in. The reader is brought along a journey of hope amidst the chaos that in which starts off with the editor in chief in conflict with himself reflecting on the past year. The entirety of the “Editor’s Letter” is three pages long and goes on to address different issues/topics such as activism and the new fashion season. In addition to this, Vogue has accompanied the text with an image. The photograph features a painted wall mural of Black icons on Throop Avenue in Bedford-Stuyvesant, Brooklyn. This suits the target audience as, I believe, it educates them in areas of activism, such as racial injustice, and encourages them to take action in the new era of activism. In comparison, Essence uses a story style as a writing technique to create a very personal feel. This is created by the use of language and sentence structure. The use of a quotation as a means to summarise the article which in result hooks the reader in. The reader is brought along a journey of hope amidst the chaos that in which starts off with the editor in chief reflecting on the past historic moments of Black America. In addition to this, Essence has accompanied the text with an image. The photographs feature two variations of publication front covers for the same issue along with a copy of a “Dear Mr. President” letter format to send on Inauguration Day. This suits the target audience as, I believe, it provides them with hope for years to come. It also gives them the courage to strive for bigger and better allowing them to chase their wildest dreams. Furthermore, it gives them the chance to express their gratitude to the President for achieving their long awaited dream for them.

Vogue Photography:

Essence Photography: 

Both publications use similar composition in some of their photography with the model placed in the centre of the page and using shallow depth of field which creates a central focal point. Furthermore, they both use portrait photography as their technique. Despite this, both publications provide a difference in the overall mood and feel of the photography. Vogue uses a relaxed mood which creates a very minimalistic and high fashion feel. This is created by the Earth elements such as the colour as well as the setting. The use of candid portraiture photography further adds to the relaxed mood as it does not feel staged or forced. This suits the audience as, I believe, they do not take themselves too serious when it comes to fashion as they dress to please themselves. In addition to this, Vogue has captioned their photography with a quote, since it is apart of the product page, in white font to stick to the minimalistic and high fashion feel. In comparison, Essence uses a formal mood to create a very personal feel. This is created by the model’s (First Lady’s) attire and pose as well as the setting (First Lady’s backyard at her Illinois home). In addition to this, Essence has kept it’s caption to a minimal in their photography with a story name, since it is apart of an article, in white font at the top and bottom of the page to stick to the personal feel. The use of portraiture photography further adds to the formal mood as it shows the important role Michelle Obama has to taken on as First Lady, in the highest office of the land. This suits the audience as, I believe, they strive to better themselves within all aspects of the world as they wish to achieve greatness and inspire younger generations within their community.

Vogue Double Page Spread:

Essence Double Page Spread:

Vogue is mainly centered-around photography and includes minimal text. The text is usually kept to minimum and is not in a grid format. This creates a loose and free feel throughout the publication. The double page spread in Vogue consist of a collection of photographs against a black background, almost creating a pinboard effect. In comparison, Essence is mainly centre-around text and includes photography. The text follows a grid format and is very ordered and structured. This makes it easy to read and follow along with. It is, therefore, suitable for their target audience. The double page spread in Essence consist of one single photograph of election night (on 4th November 2008).

[itsmedventuretime]

Do everything on the ask game pls.

Only you could have requested something like this and gotten away with it.

Studyblr Ask Game!!

☕ - What is your go to coffee order?I actually don’t drink coffee regularly. When I do, I just say “coffee please” and take whatever is poured out, dump 2 spoons of sugar and drink down liquid diabetes slash hypertensive rush.

🍁 - What season is your favorite? When are you most productive?I personally like spring the most- the weather is nice and there’s rain. But I am most productive in winter. The long nights are good for getting me into the study gear early especially since the prayers get wrapped up fairly quickly and then you can settle down at really long, uninterrupted stretches. 

🌴 - What would your dream vacation be like?A place where I can go swimming without having to worry about anything? Is that too much to ask for. So like, maybe on some vacation island where the beach could be reserved just for me and I can finally go and jump in the waves and swim in the sea without having to worry about all the stupid stuff Muslim women have to worry about.

🌍 - If you could live anywhere in the world, where would that be?Somewhere where it’s cold. Or where there’s no summer. Man, I really don’t like living in warm areas. I don’t like the obligatory sweating that comes along with it, especially when I’m covered head to foot anyway.

🖼 - Do you like your blog theme? Is there anything you would change about it?I recently updated my blog theme actually! To a bit of a pastel purple ish thing and I like it so far. I have no idea what to do with the space on the side though, there’s room for a column image and I don’t know what to put there. Initially I was thinking about making a soft purple aesthetic for myself but I don’t see that happening until after my proff.

🎨 - What colors do you like your notes to be?I stick to solid black and blues for the body, colored pen for the title (if the thickness of the paper permits it. Why are most of the papers I have so flimsyyy) and important points brought to notice with highlighters

⏲ - Do you study better in the morning or at night?I study better at night in my opinion but whenever I get up early specifically to study, that’s pretty good too. Unfortunately I have a really hard time getting out of bed. I tend to lay there and look at the ceiling or browse through my phone and then doze for another hour before actually getting up and having breakfast. It’s for times like these that I really wish I had a study buddy who would spam me messages on whatsapp or whatever and force me up to study.

🌠 - What is your dream job for the future?Well! To be very honest, I want a solid, good paying job as a doctor so I can sit down and do all my projects in peace and with my own funding! For example, I really want to write a novel and maybe try writing a video game script/drawing for a video game I wanna make with my friend, also, I definitely want to see if I can make a Pokemon game based on pharmacology a real possibility! I’ve also been told my med school notes are good enough to be made into a book, so maybe once I’m done with school and have a good idea of what’s important and what’s not, I could start compiling a nice handwritten manual for medical students. It would be #aestheticgoals lol. 

☁ - What type of weather do you feel most comfortable in?Winter please. I hate summer. Rain is good except not when I’m stuck outside my house and have to navigate muddy roads.

⚽ - Have you played any sports?Not really? I’m not a very sport-y person.

🏅- How competitive are you?I’ve lost all spirit of competitiveness when I entered med school. I used to be above average, in the top 30s during the first two years. Now in third year, I have been consistently scoring below average. I cannot believe how and why this is happening. No matter how much effort I put in, it seems I am stuck. But I guess it’s okay, cause at least my stand alone score isn’t that bad. There’s just too many geniuses in my class.

🎧 - What type of music do you study to?I’m an emo edgelord, I like Starset a lot. 

💻 - Electronic or physical notes?Physical please. I really like writing things down and using colors and stuff.

🎬 - What movie or tv show helps you wind down?I don’t really watch things to wind down. Maybe if I am stressed or something, I’ll go on Youtube instead. I really like watching Philip DeFranco’s videos- they’re really interesting and it’s kind of like a podcast so you don’t have to be watching the video the entire time. It’s kinda relaxing.

📚 - Do you prefer to use sprial notebooks or composition books?Spiral notebooks all the way. I never really liked composition books because they feel very restricting to me (you can’t tear out pages whenever you like, for starters).

📖 - Favorite school subject?Currently? Argh. I don’t know. They’re all so difficult! But now that the year is slowly coming to an end, pharmacology is starting to fall into place, kind of like how organic chemistry was for me at the start of the school year: too many compounds and reactions suddenly fitting together in the break right before the CIE exams. I can feel the pharma slowly shift into place but I’m quite far from getting a complete puzzle just yet.

🖊- Favorite highlighter color?I really like all of them? I actually color code a bit, like when I’m studying pathoma, I use pink for patho points, blue for clinical presentation, orange for random details like risk factors and green for histology description. I think my favorite is blue and green though. Oh and I’ve been saving my purple highlighter lol but I feel like it wouldn’t be one of my favorites when I actually use it. Dark colored highlighters aren’t very nice :\ 

🏫 - What grade are you in?I’m in my third year of MBBS! Which correlates to MS2 by the American system of med school.

📅 - Do you use a calendar? Does it help you to stay organized?I don’t use a calendar, but I do use a bullet journal. I’ve been using it since my A levels and it really helps me plan things out as well as see at a glance what I’ve studied and what I haven’t. So yeah, it’s good. I don’t know if I’m organized, but I sure feel organized!

[museemagazine]

Woman Crush Wednesday: Ellen Carey

When did you initially become interested in color? 

In my childhood, I was raised Catholic, so looking at color in the stain glass windows at church is an early memory. The name Ellen, in Gaelic, Irish, Celtic means “light” or “bringer of light” a prescient gift from my parents, introducing fate and destiny. At Kansas City Art Institute (KCAI), my undergraduate freshman foundations program introduced me to Josef Albers and his color theory. My final project was an installation that freshman year was a wall of color; I did color printing in lithography. At SUNY@Buffalo, my MFA graduate thesis at Hallwalls was my black and white “Self-Portrait” series that experimented with a monochrome palette in the over-painting, later adding color.

Years ago, you experimented with black and white abstractions, so Struck by Light is quite the jump.

Yes and no. As stated above, color was always in my life and work, however a more concentrated effort began with my large format Polaroid 20 X 24 “Self-Portrait” series (1983-1987); I tried the large format Polaroid in black and white; it was not as visually exciting, although really early work was with the SX-70. Polaroid’s instant technology and the soft brilliance of its dyes are exceptional, but when the Polaroid Artists Support Program ended in 1987, I went back to the darkroom, starting my research on photograms. My question: ”What does an abstract photograph look like?” begins here. You are correct, in that it was years ago, and I did struggle. I began with black & white photograms, but when I turned to color, with the photogram, I realized light, photography’s indexical, was radically different, the palette electrified the composition, whether it was expressed in muted tones or bolder hues. Color is an artist’s universe and photographic color theory (RGBYMC) photography’s planet. Characteristics imbedded in our medium revealed themselves anew --- light and shadow --- with themes of interest --- love and loss, beauty and joy --- full of artistic potential, working within the visual breakthroughs found in the tenets of Abstract Expressionism, Minimal and Conceptual Art. Less-is-more is one of my experimental guide posts, rethinking photography vis-a-vis process, this eliminates the picture sign, re-arranges the hierarchy of an image that captures something “out there” to a photographic object that expresses itself “in there”; its visceral and visual, referencing the elemental wonder of photography, inside the black box of the color darkroom, which is light-tight. So I began a commitment to my discipline, a concentrated study of color in art and photography, its history and practitioners around 2000, leaving black and white behind.

How did you react after finishing your first photogram?

In black and white, I knew I was on to something, but color was the key, the turning point, opening the door to my imagination. I reacted to its wonder, imaging this is how it must have been, this incredible experience, for the earliest practitioners.

Did you know right away you wanted to go forward with making more?

Absolutely!

I saw your work at AIPAD, and what struck me when I first saw them, after being struck by the color and vibrancy, was the way they were displayed. Do you often display Struck by Light in a grid form, or does it depend on the space in which they’re being shown?

That large installation of “Dings & Shadows” was conceptually designed that way, 4 rows of 5, as RGBYMC, 20 unique color photograms total; I have done two more, one is the same size, the other slightly smaller. Size and scale are important in my work, as Robert Smithson said: “Size can be a crack in a wall or the Grand Canyon”. The “dings” are my “shadow” catchers, a “ding” is taboo in our profession, and so I am breaking with that tradition. The grid references one of the universal codes in art, the square; the other is the circle. My grid-as-photogram installation has the colors as RGBYMC, a split filter reference in the image as well as photographic color theory, a unique characteristic of our medium, like the shadow. In that particular artwork, the colors have to seamlessly flow and blend, into one-another or ricocheting off of each other, making new colors, hues or shadows. All four edges create mini-compositions, another grid, the over-all gestalt and the synoptic clarity is pristine, compelling in its color variations, with hues and high-tech vibrancy, containing high visual impact.

You’ve worked on this series for about 23 years, between 1992-2015

WOW. That is a long time! It actually extends to 2017; I have more ideas, more work to do!

How did you decide the project was finished?

By project, do you mean the whole “Struck by Light” project? Or one picture?  A series, or an installation? I work until the whole image is perfect, my standards are very, very high, the ratio is 1 perfect photogram out of 5 try-outs, some days are better, and some days don’t go well. The color darkroom is light tight; so I am working blind, pitch black, different than the amber light of black/white darkroom. I love making color photograms, will continue to print as long as the paper and processor lasts!

Do you still feel the project is finished?

It is very obvious to me, and anyone who has witnessed me working, that the “object speaks back” loudly and clearly! I have my own rules, what I call the 4 C’s: Concept, Context, Content and Citation (or Site), so it works or it does not. My work is experimental, randomness and chance play key roles, followed by choice in palette and form, like automatic drawing in Dada and Surrealism; one doesn’t know what eventually will be seen, these play key roles. As you pointed out, several decades of printing have helped; the physical aspects, gaining experience over time and time is important to an artist: time to think, read, make art, write, reflect, look at art, travel, nature is wonderful too. I don’t see an end to the project; I just tried a few new ideas. “Struck by Light” is an expansive, umbrella concept.

I appreciate the number of historical references made in regards to this project, dating back to 1834 with William Henry Fox Talbot and noting Anna Atkins as the first woman practitioner and the first in color. Did you want this project to be homage to Atkins, or did it transform into that after working on it for so long and learning more and more about photograms and color?

I am working on a curatorial project and as the curator; named “Anon.” this underscores my concept of exclusion/absence in this new area of scholarship. ”Women in Colour: Anna Atkins, Color Photography and Those Struck by Light” opens mid-August thru September at The Rubber Factory (Lower East Side), the owner, Mike Tan, is hosting this group exhibition.

Briefly stated, in my research on color photography, I noticed that a lot of women were using color, a completely different skill set from black and white photography (technical, expensive, color chemistry etc.), which prompted a question: “Where would women color practitioners be without the work of Anna Atkins?”; often my project start with a question.

Colour/color photography begins with Anna Atkins, photography’s first female practitioner, first in color, with her blue cyanotypes. She also did the first photo-book, predating Talbot, and she is first to use writing in her pictures, a precursor to Word Art. Her compositions, in my opinion, point the way to minimalism and abstraction in photography, in their use of: off-frame space, a reductive palette, transformative power of color, size and scale plus many other tenets in her stellar compositions, no bigger than a page in a book. She made thousands of images, giving them away, so her gifts were literally gifts.

Colour, the British spelling, highlights that color photography has its origins in England; Atkins followed by Sarah Angelina Acland, the late Victorian, who specialized in the Sanger-Shepard process. My research found out that a DNA gene, tetrachromacy, is only carried by women; if they have this gene, women can discern color better than men, who have a higher percentage of color blindness.   

So my project pays homage to Anna Atkins, whom we know very little about, while opening up a new field of scholarship on women and colour/color photography. I used my photogram practice “Struck by Light” to include many references: the twin aspects of photography and its indexical, light; as a phrase often used for inspiration, which includes the inspiration of photography, its earliest photogram as drawing with light; that history as the photogram continues today. It’s a record of light seen found in the end result, the photographic object, and with that object, light-sensitive paper was struck by (another) light. As the project’s author, my name Ellen means light and color is light, seen in nature’s rainbow, which is full of color.

WCW QUESTIONNAIRE

How would you describe your creative process in one word?

Exhilarating

If you could teach a one, one-hour class on anything, what would it be?

How to Make Color Photograms that Teaches Photographic Color Theory with a Lecture on Anna Atkins and her Cyanotypes Plus Women+Color+Photography

What is the last film you saw or book you read that inspired you?

Documentary Film: Ron Howard; “Beatles: Eight Days a Week”

Book by Henry Adams: “Tom & Jack: The Intertwining Lives of Thomas Hart Benton & Jackson Pollock”

What is the most played song in your music library?

The Greatest Hits by Barry White

How do you take your coffee?

Dark Roast with Milk - Hot!