#commercial use clip art

[freecommercialclipart]

Creative Fabrica is currently giving away this bundle of Free Christmas graphics. They're calling them door signs and they seem intended to be used in laser cutters to make wooden signs but they can certainly be used for any graphic design project you have including holiday t-shirts and greeting cards.

This set of 50 Free Vector and JPG Christmas Clipart Designs is available in Creative Fabrica for free for the next 3 weeks.

[pefectart]

Excited to share the latest addition to my etsy shop: 15 Cute Kittens Clipart Bundle || PNG || Full Commercial Use | Instant Download https://etsy.me/3KYKzom

[emilywrites4]

I'm a coffee girl whose brain won't function properly without her morning coffee :"> like right now

I got withdrawals the other day and it kinda ruined my mood too lol

I messed up, or did I?

[mitigatedchaos]

As someone correctly pointed out, the Trump McDonald's photoshoot is camp.

The man is a celebrity reality TV game show host who has had appearances at pro-wrestling matches. This is like if there were a commercial that featured Shaquille O'Neal working the drive-thru at McDonald's, only here, we get the 'backstage version.'

The argument is that this is a fake campaign stop by the politician Donald Trump, rather than a real shift at a McDonald's restaurant.

It's a fake in-person campaign stop by the politician Donald Trump, with, presumably, a few real McDonald's workers.

It's a real reality TV photoshoot of the celebrity businessman character "Donald Trump," who eats McDonald's food and drinks Diet Coke, for the campaign of politician Donald Trump.

The character "Donald Trump" is played by celebrity actor Donald Trump, who eats McDonald's food and drinks Diet Coke. His enjoyment of french fries is authentic.

It's a behind-the-scenes look at the reality TV photoshoot of the campaign ad for politician Donald Trump, featuring celebrity actor Donald Trump, showing us the cameras and set.

The shirt, tie, apron, and lighting are a callback to the 1980s, the time most associated with the brash businessman persona of the character "Donald Trump," seen in movies such as 1992's Home Alone.

The shirt, tie, and apron while serving food at a burger joint feel like a callback to the 1950s, and there are lots of photos online of McDonald's managers looking a lot like this from the 1970s. It has a very "Americana" feel.

It's a real 21st-century campaign PR event spread across social media (with lots of photos and clips circulating) and news media, being used for memes, causing arguments or discourse that cause it to spread even farther.

Win or lose, this is beyond just a campaign ad. Is it authentically inauthentic? This is some kind of performance art.

[eyecan02]

Alastor & Charlie's Dance Analysis

I find it interesting that Alastor would choose a hobby that has been so romantically coded for centuries. The art of dance is basically a mating ritual of sorts. It opens the door to romance, love, passion and trust.

In the dance film "Take the Lead", the lead character describes dance as an act of trust. As he says (paraphrasing a bit because I couldn't find the actual quote or clip) "The man leads the dance, but it is the woman's choice to let him lead so she is the one with the power."

I feel like this line sums up Alastor and Charlie's first dance in the pilot and their relationship in general. Tossing Charlie into the air and catching her. Sliding down the ramp/stairs while holding her hand. Alastor dipping her. All of these moments during their dance were how Alastor was building trust with Charlie.

Alastor believes he is the one leading their "dance". He's the one "producing" the show. He's the storyteller. He's the one directing the tide how he wants. Except for underestimating Adam, he has had a lot of control over many events; running the hotel, mutually agreeing with Charlie to let Sir Pentious stay at the hotel, protecting the hotel, the satisfied look he had during "More than Anything" almost as if the outcome of the song is exactly what he wanted, saving information on the angels for a rainy day, Alastor telling Charlie about his smile being a power play, Alastor taking her to a town full of cannibals, looping his arm through hers so Charlie doesn't stray, Alastor introducing Rosie as an ally for Charlie and lending Charlie his microphone staff.

"I knew she could do it all along."

"She's filled with potential that I could guide."

When Alastor returns during the Finale song, Charlie literally re-receives him with literal open arms. He smiles with satisfaction because her hug confirms that he hasn't lost Charlie's trust (which is currently the most important thing to him besides his freedom).

Earlier, I had said dancing can be a mating ritual. It makes people bond. In this case, Alastor and Charlie bonded as friends while also "bonding" through their ambiguous contract. While not binding Charlie's soul to him, their "dance" still bound her to him in a sense. They'll be "together" until Alastor decides what his favor will be/what he wants to do after he regains his freedom.

Now onto Charlie's POV of their "dance". She knows that Alastor's whole persona is an amalgamation of control and choice. As Alastor stated before, he can make people stay at the hotel so why doesn't he just force them? Charlie wants it to be the sinners' choice.

Why does he originally use modern technology for the first commercial? Charlie. Why does he stop beating up Sir Pentious? Because Charlie had said "He's had enough." He actually did stop and only blasted Pentious a moment later because he ripped his coat.

Why does he allow Pentious to stay at the hotel? Because Charlie was the one that encouraged Pentious to apologize to Alastor. Why was Pentious allowed to stay even after they found out he was a spy? Because Charlie forgave him and that was good enough for Alastor.

It's always about Charlie's choice. When they first met, Charlie said, "I know he probably doesn't want to change, but I can't turn him away. It goes everything I believe in." Then she takes the reigns of the situation by telling Alastor, "I hereby order you to help with this hotel for as long as you desire."

A royal decree but not one that forces Alastor to stay at the hotel forever. She's giving him a choice and choices are probably seldom for Alastor due to him being leashed.

"Sometimes the best way to conquer an enemy is to get right in their face."

Another fitting quote from the Take the Lead film. I feel like Charlie's decision to let Alastor into the hotel was meant to keep him as close as possible by keeping a watchful eye on him so that he wouldn't be all over the city again back to his old ways.

It was Charlie's choice to defend Alastors sadistic way of defending the hotel. It was her choice to make a deal in exchange for valuable information because they were all in a desperate situation.

Charlie trusted that Alastor would "ask for one favor at a time of my choosing where you harm no one." No matter what the deal is, for her the most important part is that she wouldn't be obligated to hurt anyone once Alastor collects. It was her choice to make a risky decision because it would be for the good of all.

Charlie has more power in this "dance" of theirs than people think. If Charlie is unhappy, Alastor is unhappy. She is the one with the power because for whatever reason, Alastor's goal is to keep Charlie happy and fulfill her "every bizarre request."

Her trust to let Alastor into the hotel did have a pay off. She didn't expect him to change or care and yet he ended up "growing accustomed" to Charlie and the Hazbin gang and went all out in trying to protect them and the hotel from the angels.

Even when Alastor cashes in on the deal/inevitably betrays her, she'll understand that it was her choice to let him in, to work with him and to care about him enough to say she "loves" him, the Hazbin gang and the cannibals.

That's why it will also be her choice in trusting him to do the right thing at the perfect time and her choice to forgive him and let him back into her life. That is why going back to the quote from earlier, "The man leads the dance but it is the woman's choice to let him lead so she is the one with the power." It will be her choice to allow him to be her partner in dance, business or anything else.

[l0verseyes]

COMMISSIONS ARE OPEN :)

about me: krizzia, 25, she/her

links:

art tag: #draws

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bluesky

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ko-fi (tips/shop)

you can use/repost my art as long as you credit me. if you want to print them out for yourself please ask permission first. absolutely no commercial use for my art.

i use clip studio paint (brushes i use: 1, 2) and photoshop to draw. my drawing tablet is a huion kamvas 13

[elliespectacular]

Any tips on how to correctly credit clips used in YTP? I'm very lost when it comes to finding copyright info and stuff like that.

The stakes are pretty low for YouTube Poop and crediting clips in the video/description is not standard practice - but it's a good thing to do! That said I am not an authority on this and even my method has some blind spots. These are just some generally good ideas for being a slightly-more-courteous-than-average shitposter.

The acknowledgement is the most important part, stating outright what the names of the sources are. Pay attention to the official titles of what you use and try to trace them to their original form - for example in The Price is Rice COMPLETE I wanted to credit the gamer-themed Dust-Off commercial I used in The Price is Rice Jr. Usually ads are more difficult to track down than other kinds of televised media, so often "___ TV Spot" does the job, but a quick peek at the official YouTube channel reveals that the ad's actual name was How to properly clean your gaming computer.

Then there's an acknowledgement of the owner. I try to list composers for music, directors for film, and of course artists for art. You aren't required to give an exhaustive list of every single contributor to the art you've sampled, but make sure you credit the person/company it belongs to at the very least. Going back to the Dust-Off example, the YouTube video contained a link to dust-off . com which now redirects to falconsafety . com - I lucked out because the top of the page indicates clearly that Dust-Off is a product owned by Falcon Safety Products Inc. but this info is often in the About section of a website or at the bottom of the page.

I like to throw the year on each YTP credit as well. Academic citations usually require a more precise publication date if available. Among other benefits it helps distinguish between things with the same name/owner that were rebooted later - for example there are multiple games called Sonic the Hedgehog owned by SEGA from different years (In fact in this example there are two games from 1991 so it's also important to note what system the game is for!) Generally your source credits should communicate to a viewer where to start looking for a specific thing or who to ask.

You can use Wikipedia to orient yourself if you need a lead on where to start tracking down copyright information for popular media, but make sure you cross-reference what's there with other sources. For Movies/TV I usually just look at the very end of their credits which usually has the copyright info. For music I use Discogs. Sometimes for more obscure or less-documented things I have to do some search-engine sleuthing.

If you're stuck, ask a friend for help! It can be fun and rewarding to track down something that isn't answered by a quick google search, and like most things turning it into a collaborative effort makes it less of a slog.

Copyright acknowledgement is tricky to do correctly and not every Best Practice applies to each situation. There may come a day when MLA-style citations become normal or required even for shitposts and your due diligence will become greater. Do your best, give credit where it's due, and you'll be fine :)

[thistlearts]

Trans Masc MLM book cover artist and character designer here!

Hey there, Tumblr fam! I thought it's time to properly introduce myself. My name is Jan. I am a transmasc 🏳️‍⚧️🎨 artist and immigrant, now based in Belgium.

What I Do: I'm a self-taught artist specializing in MLM (Achillean) book cover art and illustrations. I use both digital tools like Clip Studio Paint, Rebelle 6 and Procreate, as well as traditional mediums like watercolour and ink. What I'm Passionate About: My heart beats for MLM romance! I love bringing stories of male/male (MLM) Achielan romance and eroticism to life through my art. It's a genre that truly resonates with me, and I pour all my passion into capturing the essence and emotions of these stories on canvas.

Fan Art: Not only do I create book covers and character designs, but I'm also a fan artist! I created art for multiple fandoms and, in fact, fandoms is what made me a professional artist. Currently, I'm into Kdrama, Cdrama, Genshin Impact, Honkai Star Rail, BG3, Witcher and GoodOmens

Private and Commercial Commissions: Whether you're an author seeking a book cover that will make your Achillean story stand out and sell well, or an individual looking for a piece of art, I'm here to bring your vision to life! I take on both private and commercial commissions.

I also make lewd art, but it's only fully available on my patreon You are very welcome to buy art prints of my art in my Etsy Store Here's all info about Commissions

[blubberquark]

Playtesting, Censorship, and Authenticity

I have seen some backlash against Stellar Blade for "caving to censorship". This could probably have been avoided if the developer hadn't previously made full-throated promises about his artistic vision, and if the marketing campaign hadn't released promotional images of costumes the the game. When Stellar Blade finally had to tone down some of the nudity for age ratings and console approval, some audience said they felt cheated.

I don't know how much of this outrage was real, and how much was political posturing. Probably a lot.

This happens all the time. A game is re-released, or re-mastered, the developers have to remove or tone down the edge of parts of the game that was completely fine and unremarkable when the game was released. It happened with Skullgirls, and even with certain cards in Hearthstone. In the case of Skullgirls, the backlash was kind of predictable, because Skullgirls was hardly unremarkable back then. On the one hand, because they originally crossed the line twice, the retroactive censorship wasn't unexpected. On the other hand, half the the point of the game was that it was edgy and anime and looked like it was made by Japanese people who didn't understand what you can and can't say in Europe and North America. It wasn't just gratuitous Nazis and panties, but gratuitously gratuitous Nazis and panties. It's not my cup of tea, as a player or as a developer, but I completely understand what they were going for. In the case of Hearthstone, the removal of the Succubus card/character was in all likelihood due to Chinese censorship, about age ratings on one app store or another, and then they just decided it would be easier to justify and draw less attention if they removed the card/character everywhere around the world, and it would be more profitable this way than if they made the game ages 16 and up in some parts of the world.

There have been multiple instances of politically motivated outrage against games that had hired a narrative design consultancy firm, sometimes fuelled by short, out-of-context clips of activists from these firms bragging how they managed to change the tone and direction of the game despite resistance from the developers, or explaining how they managed to influence management to hire a consultancy firm against the will of the core team.

All this taken together forms a narrative: Outside forces are deliberately pushing designers, developers, art directors, and lead writers to abandon or water down their creative vision.

I think that's misguided for two reasons: First, I think the developers of indie games are either themselves trying to make their games palatable for mass audiences, and they themselves are responsible for the political messaging or general vibes of their work. Second, game design is full of compromise. About that first point: ZA/UM were not secretly pressured manipulated to add in a bunch of politics into Disco Elysium. Concerned Ape was not browbeaten into removing realistic gore and nudity from Stardew Valley. A lot of the time, most of the time, what you see is the artistic vision of the developers, or their political stance. There is no need to conjure up conspiracies. Maybe the remaining Skullgirls developers just have gotten older and don't feel the same way about shock value like they used to.

Most indie games do not self-censor, but I would not be surprised to learn that the more popular and mainstream a game is, or the more popular a game becomes, the more likely the developers are to self-censor. This is because "true artists" that ruthlessly follow a creative vision are usually niche oddities you can download for free (itch is full of them), but also due to the dynamics of indie success. When games develop something of a following and commercial success, so that their developers keep on expanding and iterating on the game, they become more conservative. Just imagine you decide to keep working on a free game of yours that blew up, for financial reasons, instead of working on the next niche thing. If you make this decision, you are probably already motivated by growing your audience, and more likely to self-censor.

This "conservative" approach to game development is usually not about avoiding sex, violence, religion, and politics, of course. It's about making the game easier, avoiding difficult puzzles, complicated narratives, niche literary references, and all kinds of mechanics that could limit your audience. Instead of removing unpalatable elements from a game in the end, you decide to pursue mass appeal early on, and reorient your whole design around that from the ground up. I mean, if you could choose, would you rather develop the next Lunacid or the next Among Us, the next Passage, or the next Vampire Survivors?

I fear if you are following me, you will probably decide to go the starving artist route.

The second reason why you shouldn't worry that much about outside forces influencing games also has to do with game development, but less with marketing. It's fundamental to the way game design works.

Re-makes and re-releases are unusual in this regard. Most of the time, you don't see a fully formed game like Skullgirls that you can compare with a re-release, or Final Fantasy VII, or Silent Hill 2. Most of the time, you only see the final product, and perhaps, if the marketing campaign screwed up, you realise that the final product differs from the promotional material (as was the case with Watch_Dogs or No Man's Sky).

Most of the time, you don't see all the content that was developed and doesn't make it into the game. If you did, you would realise that games usually are not born out of the head of their creator fully formed and armed like Athena from the head of Zeus. Most games are developed iteratively, and although the core of the game is fixed, most mechanics, plot points, levels, and characters are subject to change. Often you only see how well something works once you implement it and try it out.

And then, you only really see how well it actually works when you let somebody playtest it. The clunkiest game mechanics and the most obtuse puzzles feel fine to you if you were the one who thought about them. The worst writing and the most convoluted plots will feel elegant because you wrote them. The only way to see what works is playtesting.

Being "true to your artistic vision" from start to finish is pretty much impossible. If you work together with people, you will struggle to communicate your ideas. This is why big productions resort to mood-boards and all kinds of adjacent junk in their production bibles, why AAA games produce so much concept art, and why games often feel like they are ripping off existing work. It's really hard to communicate to your team that you want to make a game with a certain feeling if that game does not yet exist, but it's easy to communicate that you want a game "like Doom 3" or "like Metroid Prime" or "like Proteus".

If you actually manage to communicate your artistic vision to your team down to the precise minutiae, you will hamstring your artists. You have those artists working with you so you can worry about the big picture stuff while they work on the art part. If you are rigid about your own creative vision, you leave other people no space for creativity, no space to express themselves, no leeway to make creative or design decisions.

And after all that, everything must be playtested, even the big-picture mood stuff, to see if the mood actually comes across when the players aren't already primed by the concept art and the design document and weeks of meetings. If the player doesn't know he is supposed to feel a certain mood, does the game still work?

Both the Skullgirls situation and the Stellar Blade situation are unusual, because the the tone of Skullgirls was edgy on purpose, and Skullgirls concept art had been released in 2012, and the designer of Stellar Blade had already promised not to censor all the eye candy. I think the backlash to Stellar Blade was overblown and politically motivated, and the part of the backlash to the Skullgirls re-release about sanitising their decade old concept art had a point, barely.

If you are making your own game you will quickly notice all the compromises you have to make your game, or maybe you just don't release any concept art or in-progress screenshots, maybe you don't work with other people, maybe you don't even play-test, and just upload a finished game to itch.io without ever reading the comments, like a true artist.

Once you understand that, you will understand that there is a solid core to every game design that you won't compromise on, and a surrounding malleable blob that you want to re-shape and negotiate in order to preserve the core. When you get playtesting feedback that tells you to replace the core with something else, you try to re-shape that blob in order to make the core work. When an idea of yours is not feasible, you compromise to preserve the spirit. If you are making a real-time strategy game, and somebody tells you to make it turn-based, you might ignore them, or you might entertain this feedback. It all depends on whether your core artistic vision is "real time" or "flanking the enemy and using the terrain" or "logistics and intelligence in 19th century land warfare".

The people who are the most rigid about game design are usually teenagers just learning to program. They bite off more than they can chew, and they are completely unwilling to reduce their scope. They are unable to execute on their vision in terms of development skill, unable to understand the consequences of their design choices.

If you are unable to compromise on your artistic vision, you are unlikely to realise it.

[freecommercialclipart]

Free clip art bundle from Creative Fabrica

This really cute, huge bundle of vector clip art is available for free for a limited time. The graphics in this set would be perfect for children's books, invitations, kids shirts and more.

Get yours here

[90s-2000s-barbie]

You might already be aware of these, but on archive.org there are a lot of digitized VHS bootlegs of MTV blocks. My personal interest is in episodes of 120 Minutes (the late-night alternative music showcase) from the 80s and very early 90s, but there are a lot of episodes from later than that. They often include commercials as well, which is fascinating, especially to me as someone who didn't grow up in the US and never had cable. It's a really interesting snapshot of the time in terms of fashion and art and tech too, and what was considered cool in multiple subcultures.

Hey thanks for telling me about that site. It sounds familiar but I’ve never been on it to check it out. I love mtv archives. 120 mins was great! Would be cool to see it. My dad taped MTV back when it first started to like mid 2000s. We have a lot! But cool to see stuff I haven’t before or even performances I e never seen. One of my favorite performances on 120 mins was Concrete Blonde - Everybody knows. It’s like embedded in my brain since I was a kid, lol . I’ve been trying to get a copy of it for my channel but that video never works unfortunately. Soo good though The fashion like u said so cool to see, so I post a lot of 2000s but it’s funny, 90s is probably my favorite especially music wise! Love 90s fashion too!

Have u ever watched Rinse Repeat on YouTube? It’s not mtv clips but they literally post hours of blocks of old Saturday morning cartoons, commercials and all too ughh live for that. It’s all from like 1980s -2000s.

Thanks so much for the recommendation, totally gonna check it out. 😄❤️

[stellar-blossom]

[2dmax]

PAY WHAT YOU WANT, GET WHAT YOU GET

Minimum charge is $50. I make my art traditionally and digitally with a variety of media, but primarily nib pens & ink, alcohol marker, gouache, colored pencils, crayon, and oil pastel, and the program Clip Studio Paint.

The lower your price, the more creative control I ask to retain. Higher prices net you more figures and poses in higher detail to higher degrees of your specification, with more revisions allowed.

Couples, groups, furries, scalies, ferals, robots, metahumans, backgrounds and props all OK. Not sure? Just ask!

Here’s what to expect:

Send me a PM with basic info; what you would like me to draw, your budget, and if you have a deadline.

I will ask a few questions to be able to build up the concept. I will also give you my e-mail, where you can send me further info and any references you'd like to share!

Your sketch is typically ready within a week; I’ll always update you on my progress. After we agree on the sketch, payment will be due. After it’s paid, I will give you an estimate for when I will be finished with your piece.

Your finished artwork will be e-mailed to you. I am also happy to mail physical art!

terms of service and other usage notes below the cut!

Thank you for reblogging, even if you’re not interested in a commission right now! 🎨⭐

Your commission is for personal use; icons, roleplaying, in your blog theme, as a wallpaper, or to print out and tape to your fridge.

You may credit me on the platform used. If you’re not sure what account to credit, please credit my instagram @/maximumgroove.

You may not use my art to promote anything hateful or illegal. You may not claim it as anyone else’s creation. You may not use it for commercial uses, or to edit, adapt, trace, or directly reference, without getting permission. I may use my art in my own promotional material.

[fromtenthousandfeet]

FYI, if you're interested.

https://www.nytimes.com/2024/09/25/arts/music/newjeans-kpop-hybe.html?searchResultPosition=1

"For almost as long as K-pop has been a global force, it has been an exemplar of the controversial virtues of top-down control. American pop labels essentially abandoned this mode more than a decade ago, following the boy band and Britney-Christina era. The influence of social media in creating bottom-up hits and stars has all but invalidated the label-knows-best mode of creation. But K-pop’s commitment to that ethic persists, and has made exactitude into an artistic virtue."

JUNGKOOK:

There is a glimpse of where all of this relentless work might lead in “Jung Kook: I Am Still,” a new documentary/performance supercut focusing on the youngest member of BTS, who last year became, in disorientingly short order, the most commercially successful K-pop solo star in American pop.

BTS is the ne plus ultra of Hybe plan — this film is one of several that has focused on the group or its members. It captures, sometimes just barely, the frantic eight-month stretch in which Jung Kook was thrust into solo stardom before enlisting in South Korea’s mandatory military service.

This is what all the hard work of being in BTS was for, ostensibly — a shot at extending his career beyond the very wide boundaries of the group’s accomplishments. Or put more plainly: more hard work.

To the extent that “Jung Kook: I Am Still” is a film at all — as opposed to a slapdash collection of casual moments, behind-the-scenes fan service clips and music and concert videos — it is a film about labor. Or more precisely, the inextricable relationship between labor and glamour.

Like “Pop Star Academy,” it is decidedly unromantic. Jung Kook is alternately enthused and depleted. Even his purported private moments are commoditized: At one point, he’s shown sleeping on a plane. He has a strikingly lithe and sweet voice that’s well-captured on his album “Golden,” a frothy debut that smoothly yanked Justin Timberlake’s comeback lane away from him.

But if Jung Kook is thrilled to be at the top of the charts, he does not show it. Instead, he doubts his vocal range and his natural dance instincts. If he celebrated his ample successes — including a No. 1 single and No. 2 album on U.S. charts — the cameras were not there. If he acted out or pushed back, we’ll never know.

Like many K-pop entertainment companies, Hybe is vertically integrated, and exerts a significant degree of control over its artists’ public presentation. It also builds the metanarratives that become fan manna.

But with success comes courage, or something like it. Not long after NewJeans posted the video about their label concerns, Jung Kook appeared to offer them a measure of support with a pair of cryptic koans: “Artists are not guilty” and “Don’t use them.” Sure, the words appeared on an Instagram account for his dog, but it was revealing — and perhaps indicative of table-turning to come — that they appeared anywhere at all.

Thanks for sharing this, @isaidnothankyou.

This was actually a better article than I was anticipating. The journalist is fair and he cleverly insinuates that k-pop idols don't have much control, if any, over their careers. You can tell he's not a fan of the k-pop model.

Here are some passages that stood out for me:

For almost as long as K-pop has been a global force, it has been an exemplar of the controversial virtues of top-down control. American pop labels essentially abandoned this mode more than a decade ago, following the boy band and Britney-Christina era. The influence of social media in creating bottom-up hits and stars has all but invalidated the label-knows-best mode of creation. But K-pop’s commitment to that ethic persists, and has made exactitude into an artistic virtue.

And here's the description of the making of Katseye:

But the NewJeans conundrum makes this a curious and perhaps not totally fortuitous time for Hybe to loudly demonstrate its micromanaging methods. That’s the intent of “Pop Star Academy: Katseye,” a Netflix series about the making of an English-language global girl group that’s part behind-the-scenes documentary, part elimination competition. (The show, and the group, are part of a joint venture between Hybe and the American label Geffen.) Directed with nervy patience by Nadia Hallgren, “Pop Star Academy” is far more in thrall to the labor being learned and performed than about the art it will be put in service of making. The first batch of trainee competitors practice for over a year: dance classes, vocal lessons, style makeovers, media training. What the show renders explicit is the extent to which a pop star can be constructed from almost whole cloth — the star is the training regimen. Even the contestants with ample social media following and defined personalities before joining the competition are slowly broken and tamed.

At one point the Hybe chairman, Bang Si-hyuk — one of the most powerful figures in K-pop — decides to accelerate the group’s rollout, combining strategy and mischief: “When they wait too long to debut, they get frustrated and lose their spark, which shows in their eyes,” he says, speaking Korean, with a glint in his eye. Critique is offered up like air — cheap and ubiquitous. “I didn’t believe it at all. It felt like nothing, honestly,” says one dance instructor; “Are you aware that you’re singing out of tune?” asks a mentor with clear exasperation. Competitors are derided for flat facial expressions, for failing to live up to K-pop beauty standards, for having private Instagram accounts. Those who chomp at the bit, or otherwise push back, are largely dismissed (except TikTok-popular Manon, whom the label contrives to make a part of the group despite her seeming lack of vigor for the idea). One of the more emotionally sophisticated contestants leaves the show once it shifts from training to competition, which the participants hadn’t been fully informed would happen.

The bold and italicized section stood out to me.

There is a glimpse of where all of this relentless work might lead in “Jung Kook: I Am Still,” a new documentary/performance supercut focusing on the youngest member of BTS, who last year became, in disorientingly short order, the most commercially successful K-pop solo star in American pop.

Jon Caramanica knows Jungkook's meteoric rise to fame and unbelievable records were just that - unbelievable and entirely manufactured. But nobody in western media, or Korean media, for that matter, is willing to call out HYBE's fraudulence. It drives me crazy.

Anyway, I am grateful to see a music journalist also questioning the ethics and appeal of the Korean k-pop idol model. It's just bizarre that Bang PD thinks western artists are clamoring for complete label control, being overworked and underpaid, and almost zero creative control over one's music.

[fraternum-momentum]

𝐓𝐇𝐈𝐒 𝐈𝐒 𝐀𝐍 𝐍𝐒𝐅𝐖 𝐁𝐋𝐎𝐆. 𝐌𝐈𝐍𝐎𝐑𝐒 / 𝐀𝐆𝐄𝐋𝐄𝐒𝐒 𝐁𝐋𝐎𝐆𝐒 𝐃𝐎 𝐍𝐎𝐓 𝐈𝐍𝐓𝐄𝐑𝐀𝐂𝐓 𝐈 𝐖𝐈𝐋𝐋 𝐁𝐋𝐎𝐂𝐊 𝐘𝐎𝐔

TW: general dead dove do not eat stuff, mostly nudity and sexual themes, non-con, dub-con, gore, etc.

RB acc is @fredoots

𝐍𝐀𝐕𝐈𝐆𝐀𝐓𝐈𝐎𝐍:

frambling...? memes, general shitposts, thoughts (🧍‍♀️for tmi stuff )

franswers asks

frayocs oc tag !

my art drawings and more serious art (yes i've debated on calling it frart or fart, this is for the best.) (froodles for doodles :D)

not my art specifically for other peoples art :DD

hoes in da closet fit pics

shitty art advice (dont listen to them) im not joking, im not good at giving art tips :'] i try my best thou

[ ❀ ] ALL my nsfw stuff will be tagged under this (brackets included) drawings, hornyposting, etc. so if you dont want to see anything nsfw specifically on my blog (for some reason???) just block that

𝐌𝐘 𝐒𝐓𝐑𝐀𝐖𝐏𝐀𝐆𝐄

( the notes/drawings i receive are tagged with [📮💌]

𝐅𝐀𝐐:

Can I repost your art in another website?

Yes ! Just please credit me properly and provide a link to the original post :] What I don't allow is: commercial use without pemission, NFT's, and AI

Are your commissions open?

They are currently not open ! But info can be found here

What program and brushes do you use?

I use Clip Studio Paint ! I constantly experiment with brushes weekly but here's what I frequently use:

WW squares sketch from @/wwraithsart 's brush pack [link]

Illust from @/fearoffun's brush pack [link]

Flat render [link]

What are your boundaries regarding your OCs + sona?

⋆ Allowed: Fanart (SFW/NSFW) Thirsts in the inbox, tags, and comments are allowed and platonic or meme-y art with your oc/sona is ok. ⋆ For OC's, ship art with romantic or sexual connotations are not allowed [reasons why and full response here] ⋆ For OC's in pairs: Sadie + Macy, Melanie + Azalea, Theo + MC: anything is ok :3 pls do not separate them

[crow-crafting]

Hello! I have so many questions. Okay. 1) I want to make a bunch of cotton kitchen towels both for practice and also because I need kitchen towels. This feels like a reasonable beginner project, is that correct? 2) I keep reading that you can do multiple towels on one warp but I’m not seeing how you’re supposed to separate the towels. Is it just cut the thread, roll more, start a new towel? But then how do you start the new towel? 3) when wet finishing something off the loom, the order is definitely sew the ends and then wash right? I don’t see how you could wash before seaming the ends…

Thank you so much for your time! And if you have links to beginner resources I’d really appreciate them!

I am so excited for your weaving journey!

I feel like towels are a great beginner's project. With a rigid heddle, it is mostly sticking with plain weave (also called tabby weave), so you can play a lot with colors and textures with the yarns themself.

I am currently warping up 6 yards to make 5 towels in one warp. The best way that I have found to make multiple projects in one warp is to...

Leave a gap between the projects!

Once you have gotten to the end of your first towel, hem stitch the edge to finish it off. Then, leave a couple inch gap on your warp and start weaving again!

If you like, you can use a waste yarn here to give you a solid edge to beat against.

Screenshot taken from the video Suzie Liles' Fastest Hem Stitch from the channel Eugene Textile Center.

It shows a good idea on the spacing to leave, as well as a good hemstitch to keep the edges all in place before you are done.

The video is below:

For towels especially, I like starting and finishing the last inch or so with a thinner weft (if you have one that coordinates), so you can sew the edges.

Also, it's a good idea to know how long your project it, so you know when to stop! This is doubly true if you are looking to make projects of the same size. Some people use a flexible tape measure and sewing clips, but I use a method with a ribbon and sewing pins. Try a few different ways and see what you like best!

This is an example of my measuring ribbon! I got a few spools from my local big box store (Michael's in this case) for a couple dollars, and they have been a great way to ensure I have consistent items. Any color works, the person I learned this from uses white ribbon. I just have red here because it makes it easy for me to find when it gets buried in my art room.

You are very right in needing to finish your edges before wet finishing.

Most towels, be they commercial or handmade, are hemmed. It gives them a little most structure and longevity. I would consider sewing the raw edge (not the selvage, your woven edge) if you have a way to do so. Even if you don't have a good way to do so, fringes are very cute on towels!

If you do choose to hem, I usually go for .5" hem size. The picture above shows how I usually fold it, so the raw edge is tucked away and less prone to wearing.

With wet finishing for weaving, I am usually a bit mean to my pieces. I use HOT water, dish soap, and agitate the heck out of it. I do my wet finishing in a five gallon bucket, then spin the excess water out with a salad spinner, then hang it over a clothes drying rack.

I am going to work on pulling together a good list of resources I have been using and probably reblog onto this with it.

In the meantime! A good tip for you, that I didn't learn until I was at least 8 projects in, is to use some kind of layer between your yarns in your warp. It helps so much with tension and keeps your yarns from wanting to snarl up with the layer beneath it.

Screenshot taken from the video Rigid Heddle Part 3 - Threading holes and Tying on the Warp from the channel Margery Erickson.

Like this! The weaver here is using cardboard, and gives a very good demonstration on winding on in the video below. The actual winding starts around the 10:30 mark.

I will be back with more information...