#claire atlas

[harveyguillensource]

Harvey's guest appearance in the final episode of Brandon Rogers' show Class Acts!

[kameonerd566]

Happy Out of Touch Thursday

Out of Touch Thursday- Class Acts Style

[tankthrust-bored]

Morgana just reposted and I'm crying on her answer to me. 🤧😢💗

[nattikay]

all my major ships over the past 16 years

[gullcrest]

finally finished my playthrough of echoes! i really liked it (if you could tell from all the damb forsyth's i've drawn)

Some of my favorites

[beifong-brainrot]

In my opinion, Azula's love language is quality time. (This is a sequel to the Zuko love language post)

Even since her childhood, Azula seemed to be a rather social child. As opposed to Zuko, who didn't seem to have any friends of his own and didn't feel the need to spend time with others except his mother, Azula was seen initiating playtime multiple times. One particular moment of interest is when she pulled Zuko along with her to spy on Ozai and Azulon. There was no need for her to do this, and it would only make it easier for them to get caught, so it only stands to reason that she wanted to spend some mischevious time with her brother.

We also see that Azula seems to act out if she feels left out, such as when Zuko and Ursa excluded her in a flashback in the comics, so she set a bush on fire.

We see that not much has changed after Azula grows up a bit. When given the slightest excuse, she goes out of her way to essentially go on a roadtrip with her friends. She seems to genuinely enjoy having Zuko around, and encourages him to return home, after which she will occasionally approach him to check in. I think the beach showcased a lot of this quality. Azula, despite wanting her father's approval, she doesn't seem as upset to be sent away as Zuko. In fact, she is often the initiator of the group doing 'normal' kid activities. She was the one to initiate the group playing Kuai Ball and seemed excited to go to the party. After the fiasco at the party, she approaches Zuko and invites him to come down to the beach with her and the others.

We also shouldn't forget is that the final straw that lead to Azula's breakdown was Ozai passing up on daddy daughter bonding time during the day of Sozin's Comet.

As Azula's breakdown ensues, she is esentially abandoned by all thouse she cared about. This being the physical manifestation of Azula feeling unloved and uncared for by those she loved is a very good reason to break down, isn't it.

[that-one-raccoon]

You said art requests are open and Encouraged right?

What are the rules for them

Mutuals only?

Fandoms allowed?

Draw your favorite character in your second favorite characters clothes, With your 3rd favorite characters eyes(Sorry if that's too specific)

What are the rules for them Mutuals only? Fandoms allowed?

Hi!!! so first off, I don't have too many rules, I just don't do NSFW or problematic ships. I'm willing to do suggestive stuff, though im not very good at that.

Anyone can request!

And yes! Fandom is primarily what I draw, though I'm also open to OCs

If you have any questions at all, feel free to DM me and we can talk about that!

Now, the art request!!

Two versions bc I really liked both

#1 favorite: Claire Nuñez from Tales of Arcadia

#2: Astrid Hofferson's outfit from How to Train Your Dragon 2

and #3: Azula's eyes from Avatar: The Last Airbender

references in respective order:

[clangrogu]

[dyhardvalentine]

which fictional girl with issues™️ am i going to forgive today i wonder….

[colorpicked-flags-from-one-guy]

Would you be okay with colorpicking from the aplatonic flag?

Of course!

The aplatonic flag picked from this one frame of Zuko!!

[nrcsfavoriteshrimps]

Where my TWST OCs were prior to NRC!!!

Shiyuu Oboete: I have to keep this one mostly a secret (for future plans), but one thing I can share is that he used to live with his elder sister until she disappeared a few years before he did.

Chase Crewel: Chase was living with Divus (referring to first name for differentiation) near campus. He often visited prior to enrolling, particularly on Bring Your Children To Work Day (which we will pretend they have LMAO). This is one of the reasons that he knows the ins and outs of the school building!

Yume Shylock: I also have to keep Yuume’s past a secret, but one thing I will share is that they were an older sibling, and vanished one day when traveling in the woods for firewood.

Ai Wuzhi: Ai Wuzhi was under a strict studying regiment after returning home from war. Her grandfather had recently passed away, so she was stuck in this situation until she was chosen by the dark mirror. Her parents were among the strongest mages, so her mother would force her into isolation and strict rules, similar to Riddle’s mother.

Inno Va’shin: Explained in his backstory.

Rocky: Rocky was stuck on the streets of a town in Pyroxene. He was homeless since he was neglected and had to fight for survival his whole life. Often, he bounced from place to place, shelter to shelter, living on whatever limited generosity was given to him. This led to developing his tough and jaded exterior. He was also suck at NRC during winter break for this reason.

Sadiya Abadi: Sadiya remained in her role of Kalim Al-Asim’s personal companion, taking care of him when Jamil could not and providing him company. Kalim’s younger siblings often tried to grab at or pull on her wings, so she kept them concealed with magic most of the time.

Binx Nevermore (last name drop!): Binx was a student at RSA. He had been searching desperately for his sibling, planning to tell them about the sanctuary they had found where they could be safe from their creator. This led to him eventually convincing the headmage of RSA and Crowley to have an exchange program, and thus sending Binx to NRC.

Anya Daggerfang: Anya lived on his own prior to NRC. He had been on rough terms with his brother, Kain, and his parents decided it would be best if the two were separated for a while. Kain attends RSA. Anya still cares about Kain deeply, but the two have been having issues since Anya’s unique magic had developed.

Emma Leech: Emma lives in the Coral Sea, attending the same elementary school their brothers and Azul did as children. Emma was often bullied for their disability, so they sought refuge by spending most of their time at NRC.

Leilani Kekoa: Leilani lived with their twin sibling, Keahi, on the Kamaile Islands. Not much is known about their past, but they both seemed to have very important jobs in their village.

Claire Voyan: Claire Voyan was an average student…or at least, that’s what she wants people to believe. Due to their psychic abilities, she had done everything she could to hide them because she just wanted to be average.

Atlas Mekanix: Atlas worked at his grandfather’s workshop, helping him run errands and pick up supplies (because he was too young to work at the time). His grandfather taught him everything he knows about engineering and inventing, leading to his passion for the industry.

Mai Dear: Mai was originally the host character of a popular children’s show in Twisted Wonderland. Due to a magical interference (partially caused by Prince Cheka during a visit to Leona), she had been brought to the physical world at NRC, despite still being a puppet/muppet.

@diasomnias-flower @bubblin-trouble @nrc-ramshackle-prefect

@floyd-leech-thing @hello-from-nrc-infirmary @nrcbookclub

@inotonline @hiding-in-your-wifi @seven-seas-octavinelle

[harveyguillensource]

Harvey’s going to appear in the finale of Brandon Rogers’s show, Class Acts! Morgana Ignis revealed that her final scene as Claire Atlas is with Harvey.

[atlas-of-galaxies]

there is a correct winner for the rpgmaker tournament and that is sara chidouin cuz how funny would it be for a character from a game about avoiding majority votes to win a tournament by majority vote

[natlacentral]

How the Costume Designer Behind Netflix’s ‘Avatar: The Last Airbender’ Brought the Iconic Animated Looks to Life

Farnaz Khaki-Sadigh explains why Aang's outfit was so hard to perfect and shares the easter eggs hiding in the show's fashion.

2005’s Avatar: The Last Airbender is one of the best examples of world-building put to screen in television history—thanks in large part to the show's fashion. The Nickelodeon animated series pulled its viewers into the magical universe of “benders,” by giving each of the world’s four nations—the Fire Nation, the Earth Kingdom, the Water Tribe, and the Air Nomads—a distinct, recognizable aesthetic inspired by Asian and Indigenous cultures. The original ATLA also handled intricate character arcs and heavy themes around war and colonialism with a nuance that both kids and adults could appreciate, and the gorgeous 2D animation sucked every viewer deeply into the fantasy world. So Netflix’s new live-action adaptation had a tall order to meet when it came to bringing the beloved cartoon to life.

The streamer met the challenge with an impressive, charming flair by gathering a talented cast and crew filled with fans of the original cartoon, including costume designer Farnaz Khaki-Sadigh. While speaking with Marie Claire over Zoom, the Emmy winner—who previously worked on sci-fi/fantasy shows like The 100 and R.L. Stine’s The Haunting Hour— shared how she was able to successfully infuse real-world cultural inspirations into all of the outfits. It's something she hopes has lasting effects outside of Hollywood: “I hope that it inspires [viewers] to learn about other cultures and different parts of the world, to want to go visit them and understand them,” she says of the new series. 

Here, Khaki-Sadigh chats about her favorite costumes from the original series, her months-long research process, and the practicalities she considered while designing real-life versions of Team Avatar’s looks.

Marie Claire: How familiar were you with the original animated series when you got the opportunity to work on the Netflix show? 

Farnaz Khaki-Sadigh: I watched it a dozen times before I even got the job. When it was first announced that they were going to do a live-action series, I was like, ‘I want to work on this.’ This is a dream job.

Now knowing you're a fan, how did you approach honoring the original show while putting your own spin on the live-action clothes?

FKS: I definitely wanted to pay homage to the original. I think a lot of that comes through with the color palettes that we've chosen. [Also] keeping the silhouettes of the original animation and then breathing life into it with real-world materials and inspirations from the various cultures. The animation is more of a broader reference of the Asian and Indigenous cultures, so we went in and did a bit more specification—to give it a more dimension and narrow each culture in the show down to a specific group.

With the Southern Water Tribe, for example, we did take a lot from the Inuit culture. But I also learned that they did a lot of trades with certain other Indigenous groups and Northern Vikings, so we have a lot of those influences coming into [their clothing] as well. With the Northern Water tribe, we went a little bit more towards the Siberian Indigenous groups, such as the Yupiks and the Turkic tribes, to give it more variety and differentiation between the two fictional tribal nations. Then with the earth-benders, we see other cultures referenced. Omashu is very much based on Southeast Asian and Indian cultures. Whereas, there are smaller towns that we see in certain episodes that are based on other Asian cultures and Asian countries. So we brought in some Korean influences and some Vietnamese influences [for those]. We wanted to give [each nation’s aesthetic] a broader spectrum as opposed to just unifying everything under the one umbrella.

What were some of the challenges you faced in bringing these animated looks to life? 

FKS: It was definitely a lot of trial and error. You want to be authentic, but then you also have to take into consideration the fact that it is a show, and it is present-day as opposed to the mid-1800s, when the show is technically based on. They used a lot of materials back then that we don't use in the present-day. So it's just finding a balance of making the costumes look like they belong in that time period, but they're still comfortable enough for actors to wear today, and that they can move in it and fight and do all of their actions. We tested a lot of things. We built mockups and had stunt performers try to do fight moves in them to see what we had to change. Like if the weight of the armors were too heavy, or if they didn't sit properly, and [the actors] couldn't move their arms a certain way to do the bending that they needed to do. And we adjusted accordingly. We had a good enough chunk of time to do these trial-and-error runs to make sure that, once the garments were actually put on the performer, they were actually functional for them, and they could move and perform in them.

Is there a character who you really loved designing for, or one of the costumes that you're really proud of?

FKS: I cannot pick a favorite, to be honest. Every time a costume was done, and we would see it for the first time on camera, I think I cried a little bit because it felt so good. It felt surreal as a fan too, just to see everything come to life. 

Aang has the most recognizable look out of all of the characters. What was the process of figuring out his costume?

FKS: That one was the hardest one because it is one of the simpler ones out of all of them. Just because it's simple, it doesn't make it easy. We had to go through so many different materials to make sure that it flowed and moved with the air-bending. Then we had to make sure that the colors worked with the animation, but were also realistic at the same time. They had to work within our Air Nomad world, especially since the Southern Air Temple was based on Tibetan monks and their aesthetic [on the show] was pulled from that culture and their color palettes. We decided that, within the Air Nomads, we couldn't use any synthetic materials or anything that came from animals, just because of what that culture is based on. Everything had to be natural fibers. For the color of the Cape, I think we went through anywhere between like six and 10 different fabrics. We made so many different capes for him because the color kept shifting under the lights. So we had to find the perfect material and the perfect color, that moved, looked great, and didn't change color under the camera lights. One of the simplest costumes took us the longest time to figure out, but it was worth it.

The show also has so many great accessories from Katara’s necklace and Sokka’s bone choker to the Fire Nation crowns and helmets. What was the process of figuring out which accessories from the cartoon would be brought into live action?

FKS: We wanted to feature anything that was really iconic to the characters. Katara's necklace is a very big part of her character. It's a memento from her mother that sort of brings the North and the South together. It's all those little things that really made the characters in the animation. You look at that piece and you know exactly who that person is without them actually having it on. So those are the elements that we wanted to include.

Did it ever get overwhelming to handle something on this scale of world-building?

FKS: Absolutely, all the time. I did so much research and so much reading and talking to people from those cultures and learning from them. I probably spent like three or four months before I started the project—just between prepping for my interviews and then prepping to start conceptualizing once I had the job. I was constantly trying to learn more about the materials that were used and why they were used, and why certain cultures used certain colors and what it represented. There's how the materials moved; how the garments moved; how different ranks and social status affected and influenced the garments in that time period; the wars, the trade routes, and what was and wasn't traded, what was traded for what...all of those things. It really was a historical study of the cultures within the story as well as in real life. For example, Kyoshi is very much based on Japanese culture, and specifically Samurai culture. There's actually a group of female warriors in Japan called Onna-bu Geisha. A lot of the inspiration for the Kyoshi Warriors comes from those female samurai warriors.

Are there any looks you're looking forward to bringing to life in future seasons? 

I'd really love to do Ba Sing Se. That would be a world that I really would love to create, because I think there's just so much there that we can play on. I would love to do Ember Island. That was a really fun storyline in Book Three, and I think it would be really fun to realize that.

[aangsdefensesquad]

phil&claire are so katara&aang coded