#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

[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!!

[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

[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.

[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

[lefemmerougewriter]

Aang shouted back, "we will!" He whispered to Katara, "let's go sweetie," to which Katara nodded. They left together, riding on an air scooter, with Aang holding Katara in his arms, while Zuko and Toph stood on either side. Where they went after that was uncertain. Rae and Claire were changed by this encounter in more ways than one.

Aang announces they are leaving and while Rae was glad they were leaving, Claire welcomes them to join again, in my fic "Claire and Rae Meet the Aang Gang".

[sea-owl]

hi so not really a prompt I think but would you ever consider doing a an avatar au for the bridgerton spouses like what element they would bend and would their bridgerton be benders

Oh I love atla! Yes let's do element bendings for the spouses!

Simon: Earth bender. Simon is very grounded person or at least tries to keep himself that way. He can be stubborn to a fault as shown with the dual he got into with Anthony but with enough shaking to his foundation he has shown he can change. I also would like to think he would get his earth bending from his mother and the Hastings line was orginally fire benders to add onto Simon's daddy issues.

Kate: Might be cliche but Kate comes off as a fire bender to me. With how passionate Kate is it reminds me a little bit of Zuko. And let's be honest Kate's temper might be a factor too, at times it's what's driving the plot forward in the book. But fire is also the element of energy which describes Kate and her constant drive to what she says she's gonna do.

Sophie: Water bender. Water is known the element of change, it is also associated as one of the elements of emotional wisdom. Sophie has been through it in her life but she has always been able to go with the changes she's been dealt with in her life. She may not always like those changes but she's able to keep her head above up and stick to her morals as she goes through these changes. Plus the healing aspect of water could come in handy with her story when Benedict gets sick.

Penelope: Air bender. I was orginally gonna say water bending for Penelope but then I thought about it some more and air fits her so much better. Air is the only element that can't be seen when it's bended, we can feel it with our other senses, but it is an invisible bending. (we as the audience saw it but that was because the animators made it visible to us.) Penelope would probably feel a connection with her element due to both of them being invisible to others. Air is also associated with not only freedom but also wisdom/intelligence and curiosity traits commonly associated with Penelope too. Plus we've seen what tricksters the air nomads could be, an air nomad would 100% come up with the idea of Lady Whistledown and use their air bending to hear all the good gossip.

Phillip: Earth or water, or possibly fire bender. I can honestly see him being any of these three. Phillip can be a rather grounding or maybe static is the word I'm looking for. But he also does have this secret passionate side to him we see peak out from time to time. Earth would be the obvious choice for him, but I can also see water working especially if we take the approach of the swamp benders who water bend the water in the plants. I can see Phillip doing that for his botany research. Fire I think would be ironic but can see working especially if it's connected to his father and Phillip has to learn to accept that part of himself as a bender.

Michael: Fire. I can see an argument for Michael being water too, and I want to say he got his bending from Helen's side. John was an earth bender and the Earls of Kilmartin were typically earth benders. Michael is one of the few who is not which adds to his imposter syndrome. A part of me wants to say fire just because I think it would be interesting to play with especially with his time in the military. It would also be interesting to play with since Michael has malaria with spiking fevers and fire benders could potentially tend to run warmer in body heat. Plus it has to be cold up on the family estate, he's gonna need that fire to keep Francesca warm at night.

Gareth: This one is hard. All I know for a fact is that it came from Grandma Danbury's side. I could be lazy and say water because backstory wise Gareth is the male version of Sophie some people so desperately want. Earth maybe? I can see Gareth being either water or earth. I kinda do want to lean towards water because water is a purifying element. So I could lean into the purifying aspect for Gareth and when I say that I mean lean into the part of the story of Gareth becoming more honest and upfront with Hyacinth.

Lucy: Air bender. So part of the reason I chose this is because Lucy reminds me of a caged bird. She's the bird wanting her freedom but her uncle has her trapped in a cage demanding her to follow his orders. Lucy wishes to be free and spread her wings. She wants to soar up in the clouds, which eventually does come true.

For the Bridgertons I'm gonna rapid fire them off vibes and let's just pretend for funnies that Violet had two different elements in her DNA and Edmund had the other two so I don't have pick and stay with two elements. That or we can be lazy and say they're all non benders.

Anthony: Earth

Benedict: Air

Colin: FIre

Daphne: Water

Eloise: Fire

Francesca: Earth

Gregory: Water

Hyacinth: Air