#commission showcase 2022

[embitea-official]

Commission Showcase 2022: Seraphina the Traveling Liger Shaman *** Commissioner & Trademarker: SeraphinaVT *** [VT Card] [Twitch] [Twitter] ***

I was recently given permission to publish this on my blog, so here it is! The original reference sheets for VTuber Seraphina's design! Everything was designed from scratch (no references outside jewelry recommendations and some conceptual ideas/themes thrown in the air), which took it some weeks in the making at the time, so it's very uplifting to hear how the design was able to hit it off well.

Themes:

Liger

Sun/Solar Affinity

Shaman

Warm & Friendly

Arabic(???) Dancer Fit i honestly don't know what this kind of wear is called

I've also noticed that, lore-wise, Seraphina has an alternate, "lunar" form, so obviously I had to include my own rendition of what this form looks like. Details (& image) are under the cut:

Some Additional Notes:

The gems referenced replace their respective "solar" counterparts as such:

Angelite → Spessarite Garnet Labradorite → Sonora Sunrise Rainbow Moonstone → Sunstone

Golds are switched with Silvers, and Reds are switched with Blue-Violet hues for garments & jewelry.

The black tiger tips on the ears and tail are still technically there if you zoom in and squint really hard enough, but it is generally very hard to tell.

[lehxra-arts]

My year end showcase with all of the Live2D projects I worked on last year. 

For more info about commissions, visit my website: https://lehxra.com/services

[roxxyhoney]

Okay so this post may initially come off as corny to some, but I just had to make a birthday related IWTV post. Today is my birthday, and it's the first one I've celebrated being apart of the fandom. I started watching the show in March of this year and I don't think I'm the only one who feels like their life has completely changed😅. Without a doubt, IWTV is the best series I've ever seen and that's coming from someone who has watched many many shows and has had some obsessions here and there back in the day. From Buffy, to TVD (give or take a season), GOT (years after it ended), and so many more, but IWTV hits me on a whole different level that I could have never imagined.

When the show came out in 2022, I'll admit I didn't give it a chance like I should have, and apart of me is grateful that I didn't, because I don't know how you all survived the year & half hiatus. I almost didn't survive waiting only TWO months for the new season, so I can only imagine how it felt to wait even longer.

If you follow my blog or have seen a random post from me, it's no secret that I am a huge Loustat fan and I have such a tremendous soft spot for Jam. (I've spent an embarrassingly long time watching interviews and clips of them, and I can't get enough). Jacob Anderson and Sam Reid are both incredible and amazing at what they do. I absolutely can't wait for season 3 and all it has to offer. Ready to see some promotional images, videos, trailers, cast announcements, etc.

What's been getting me through this hiatus has been a lot of phenomenal things. Many people in this fandom have been wonderful and have provided great information and interesting theories (some I'm hoping play out). No, I haven't read the books but I do know quite a bit about what goes on and that's thanks to a lot of research and the many people in this fandom.

Sometimes the fandom can be on one and things can get crazy, but for the most part it's been a real treat getting to experience this show with those who love it just as much. From the fanfiction that is now apart of my daily read, to the fan videos, and definitely to the beautiful artwork from the most talented people out there (I think I have a redbubble problem with as much merch I have purchased). It's all just been a real mind-blowing experience, and I've pretty much "fallen into a well with no bottom."

And let's not forget the most amazing cast, show runners, writers, directors, etc. Yes, I absolutely LOVE Jam, but the whole entire cast was made for this show and their acting is astounding. I would love to meet them in real life one day as I've heard nothing but great things.

So, moral of this novel of a post, and if you've stuck with it this far, is I just wanted to say how much I desperately love the show and the talent that this fandom has showcased.

Not only that, I've met one of my dearest friends from this fandom. You know who you are♥️♥️♥️ And words aren't enough to express how much your friendship means to me.

So, I wanted to list below just a few things from myself and others.

If you read fanfiction and you're interested in an au/human loustat, check out my first fic in the fandom: "it's like a best friend, but more." So far, there are only 15 chapters with 5 left to go.

For more of my favorite fics, I've created a fic rec list. This list will be updated throughout.

I have a new loustat video posted. Check it out if you're interested.

A huge shout out to @haflacky for creating this beautiful loustat commission piece. I am still in awe and super grateful.

And if you want to follow me on twitter/x, youtube, and tiktok feel free 🥰

I'm staying lowkey this birthday and spending the rest of the day rewatching both seasons and working on a new chapter.

Until next time ♥️

[triptychgrip]

Impact of figure skating politics on post-canon Yuri!!! on Ice

So, even aside from the rampant doping, I think many people are familiar with how the politics within the sport of figure skating really suck -- whether that's in terms of how skating federations meddle with their athletes' careers in ways these athletes clearly don't want or don't even know about, the way regulatory bodies -- the International Skating Union (ISU), and its various Commissions -- can and do remain silent when it comes to speaking out on abuse or corruption, or the complete shit-show of bias within judging, sometimes on a ludicrously visible level.

After all, this is a sport where a judge that showed clear bias at the PyeongChang Olympics was not only invited back to judge at the Beijing Games, but was given the position of being the technical controller!

Sheer madness...

It makes sense why Yuri!!! on Ice didn't delve into this stuff in a 12 episode season b/c the reality is: it's a major bummer.

But I work in public policy and am a social justice researcher whose career focuses on institutional change. So I often find myself asking the question "what would cause institutions/people/movements -- especially with a lot of history and influence behind them -- to change for the better, whether by 'force' (public outcry, insider advocacy, etc.) or their own volition?" It's a question I started thinking about a lot almost as soon as I got into Yuri!!! on Ice a few years back, and specifically, thought about in a post-canon context.

Some of the politics-related questions that surfaced for me, included:

-When Viktor returns to skating, how would his federation (the FFKKR) choose to treat his absence? Would they, perhaps, "make an example" of him at the Rostelecom Cup, purposely underscoring his performances? Or, would they have "given up" on him, trying to focus all of their attention/resources on Yurio's obvious rising star potential?

-Further, would they (with tacit or explicit media support) take a negative stance regarding his and Yuuri's highly public relationship -- perceiving Viktor's romance as a "threat" to his ability to return to the field as strong and focused as before -- or would they choose to ignore it, altogether?

-How would Yurio's growth spurt (which is hinted at in canon) impact the FFKKR's treatment of Viktor if the former is no longer able to put out the kind of performance that he did at the Barcelona Grand Prix Final? Or if Georgi retires from the field?

-How would skaters that wish to skate independently of corrupt federations -- something that is currently not possible under the way the ISU is structured with 'member nations' -- navigate their careers, and what avenues would they have at their disposal to avoid burn-out from the shitstorm of pervasive corruption?

-How would politics affect our favorite characters at an event as globally visible as the PyeongChang Olympic Games, and in its aftermath? (I say this with the caveat that I generally write yoi fic w/ the premise that it took place during the first half of the 2016 skating season, though there is no way to pinpoint the actual season).

All of these questions kept circling about in my head, and I felt highly motivated to begin writing a multichapter, post-canon "future fic". Specifically, a fic that would tell the story of married Yuuri/Viktor at the 2022 Olympic Games, but jumping back in time at various points over the previous five years to showcase how a particular scandal -- other than doping -- at the 2018 PyeongChang Games has "followed them" throughout the years (and has deeply impacted the sport/our other favorite characters).

This fic turned into a series called "Gold's On The Inside, Elevated My Feet", which currently is at 293K total words, and is being updated 1-2 times per month.

I know a lot of people aren't into long, novel-length works, especially if they're WIPs, but if you, like me, are fascinated by some of the real-world issues that might impact Yuuri/Viktor/Yurio and others post-canon, I hope you'll consider checking my work out.

I've included a spoiler-free excerpt from Chapter 11 of part 1 of the series, below, that I feel hints at the politics while encapsulating the Viktuuri fluff, friendship antics, and overall supportive themes that I've tried to weave into my stories.

I hope it piques your interest and encourages you to check the series out, or my other Yuri!!! on Ice fics!

---------

“First of all, how the hell would you have even managed to contact me from all the way over in the Kiss and Cry?” Phichit went on. “Did they imagine you had waved a wand to send a carrier pigeon flying through Gangneung Ice Arena to land directly on my head ? After which, it would peck an intimidating message in Morse code straight onto my scalp?”

Yuuri was now hiccuping giggles, and he was pleased to see that he’d begun to wipe a profuse quantity of tears from his cheeks.

When his best friend had told him that he wanted to hear all the nitty-gritty details of his International Court of Arbitration for Sport (ICAS) hearing, Phichit had definitely had some misgivings; Yuuri and Viktor had flown to Lausanne for their own proceedings directly after the latter’s retirement party in Milan, and given what they’d told him about each brutally long-winded 4 hour session, he’d known fun things were not in store for him.

“But Yuuri without his glasses on can be very intimidating…very sexily intimdating,” Viktor said with a grin, prompting a playful slap on the arm from his fiance; thanks to Yuuri’s thirsty fans, the hashtag #Yuuri’sNearsightedSexySquintTally had become a staple on the competition circuit, and both he and Viktor had taken to alluding to the phrase as much as possible.

“Yes, I’m sure that’s exactly what permanent-frown-dude-arbitrator was referring to,” Yuuri responded, sarcastically, “my nefariously sexy squinting that so very clearly spelled out that Phichit better file a claim, or else.”

He and Viktor both laughed, and he shared a few more snippets from his hearing before conversation moved along to discussion around the other Olympics claimants’ hearings.

“Oh my god, just imagine Christophe during his,” Yuuri said, before giving Makkachin a kiss, right to the top of her fuzzy head.

The poodle was splayed out across both of her dog-dad’s laps, taking up much of the bench directly in front of the rink boards at Hasetsu’s Ice Castle. After their hearing, the couple had flown to St. Petersburg, spending just a few days there to get Makka and Meni and do a round of cursory packing. They’d then taken off for Japan where they planned to stay until mid-June, which was the beginning of the rainy season.

Even from afar, Phichit had been able to keep tabs on Yuuri thanks to Nishigori Yuuko. After thoroughly bonding with her at Viktor’s retirement party – after all, a willingness to drunkenly act out the unhinged plot of The King and the Skater 3: Because Time Loops Are A Thing tended to solidify people in Phichit’s mind as lifelong friends – she had been messaging him through Instagram as well as contributing heavily in the “Yuuri Support Squad” chat.

Soon enough, he’d be able to keep tabs on him in-person, as his own trip to Hasetsu was just three weeks away.

“He’d be all: ‘And then, my esteemed arbitrators, I got distracted from calculating Yuuri’s grade-of-execution, because my eyes were too busy lingering on his delectably muscled thighs as he came out of his triple-lutz, triple-toe combo’,” Viktor said, in a deliberately put-upon Swiss accent, while lasciviously licking his lips.

Phichit barked out a laugh while Yuuri grinned at him.

“Are you sure you aren’t just verbalizing the thoughts you wish you could have expressed during your hearing?” he asked his fiance.

Viktor gasped, theatrically, and clutched Meni even more closely to his chest before responding.

“I would never think such a thing! I’ve become an expert at admiring your beautiful thighs while simultaneously calculating your GOE,” he said, sounding proud. “As any good coach should be.”

[anonwyvern]

I made an appreciation post for my own OC Cross (cringe, who, me? yes) cause I thought it would've been kind of neat to showcase his progression over the years.

Minor info dump (without any spoilers):

Cross is a ghoul, bounty hunter by trade and mercenary by name. If there's a good enough price, he'll take the job with few questions asked. An insatiable womanizer with a skewed moral compass, he's known as The Eastern Cowboy and The Devil's Dealer (and to a few ghoul ladies at a certain New Vegas brothel, 'The Lusty Lady Licker') and is one hell of a shot with his signature .44 magnum. He's also a drunk, heavy smoker, and has a knack for telling the worst jokes you've probably ever heard.

Timeline under the cut!

December 2020- The fic that started it all...one I have come to rewrite in its entirety and is now the first installment of my Middle of the Crossroads series that is currently ongoing!

April 2021 - my first digital art piece and messing around with the program (CSP) and brushes and whatnot. Writing Eulogy actually made me want to illustrate my OCs and get into art to begin with, and I was so (un)believably frustrated with my lack of skill it was maddening.

April/May 2021- My "concept" art (lmao)

December 2021 - played a lot with the lighting/colors. I would someday love to recreate this piece with light-up effects. Someday!

January 2022 - my initial design of him. Very muscular indeeeeedy.

February 2022 - still playing with anatomy and a multitude of styles and brushes at this point

April 2022 - ah, I did this piece all in one go of about eight hours, and I'm still very proud of it cause it was the first time I felt I had actually "captured" his character. A very big jump from a year ago!

May 2022 - wanted to take a stab at his cowboy persona, but hated the face

March 2023 - fixed the face, nearly a year later!

December 2023

June 2024 - his glowing concept comes later in the series, and I wanted to try my hand at it after being heavily inspired by the next two pieces below!

And these last two are NOT my own works, but commissions I had received from the very fucking talented @pirate-cashoo! (Go check them out!!)

Cowboy Cross and Glowing Cross!

And that is the entire journey (so far) of this character that's been on my mind for years too many!

[pybun]

Bombi / Scromblo Bomblo Rig Showcase

this model was commissioned by funke. was initially made in 2019 for SFM use. character design was also made by funke. fast forward to 2022, funke approached me to port the model to blender as he wanted to migrate

this is literally my first rig in blender. my only knowledge of rigging before was weight painting and letting SFM take care of the rest. i never animated in blender as a hobby so i didnt bother to learn other rigging elements. updating the model and recreating certain SFM features in blender has been an educational journey. some of the facial animations done with the model are hand drawn by funke thats why there are sliders to "turn off" facial features. the model has been updated a bit compared to what was used in this video:    • Self-Aware Game M...  

this model isnt up to par as other rig showcases ive seen but im still very proud. i remember being very excited figuring things out how to do very specific things in blender. while i feel unshackled from SFM's limits, im gonna miss certain conveniences it offers

idk if this will be available for public use like the SFM version. youll have to ask a certain sentient explosive device

[rhysdarbinizedarby]

Our Flag Means Death Season 2

The New Zealand Film Commission and Tourism New Zealand partner with Max for season two of Our Flag Means Death to showcase New Zealand to international audiences.

Fast Facts

96% New Zealand crew

78% New Zealand cast

Production based at Kumeu Film Studios

Post-production took place in Auckland

10 New Zealand HODs

67 shoot days

35 sets built

780 Crew

Our Flag Means Death is executive produced by creator-showrunner David Jenkins and Emmy®-nominated star and New Zealander Taika Waititi. In addition to his duties as showrunner, Jenkins directed the first two episodes of season two. Garrett Basch, Dan Halsted, Adam Stein, and Antoine Douaihy also serve as executive producers. Production for the show moved from Los Angeles to New Zealand for its second season.

Our Flag Means Death stars New Zealanders Taika Waititi, Rhys Darby and David Fane, as well as Madeleine Sami (most recently of the Australian mystery-comedy Deadloch) and Samoan-born Anapela Polataivao.

Many of the key creatives and department heads are New Zealanders, including writer Maddie Dai, production designer Ra Vincent, hair and makeup designer Nancy Vincent and art decorator Megan Vertelle. Together, this talented team elevated Our Flag Means Death, contributing their individual expertise to create a visually stunning and emotionally engaging viewing experience. Of the 780 crew contracted onto the show, 350 worked full time.  

Creative talent and picturesque landscapes were key motivators for the move Down Under. Showrunner David Jenkins said “We were looking at the season two budget and asking ‘How do you get the most money on screen?’ New Zealand was the answer. I’ve seen more of our budget end up on screen than it did in the U.S. in season one.”

New Zealand also added a breath-taking backdrop to the swashbuckling adventures of the crew. The lush greenery and stunning coastline provided the perfect setting for the 67-day shoot in Auckland at the end of 2022. There were around 50 sets involved, including the 30-acre forest behind the Kumeu Film Studio, Piha Beach, Howick Historical Village and the wild, black sand Bethells Beach.

And there’s one returning figure impossible to miss on the soundstage: The Revenge, the stately ship that Stede Bonnet and Blackbeard (a.k.a. Ed) commandeered at the end of season one. In real life, it was carefully transported across the Pacific Ocean from the show’s original Los Angeles soundstage. The Revenge is approximately 7m x 28m and there were 3x boat sets that were used to create 10 different boats. The production shot in the Dive Tank at Kumeu Film Studios, built a floating market in the Republic of Pirates, and provided storm water effects for The Revenge.

Virtual Production

Given that many scenes in Our Flag Means Death take place on the deck of a ship at sea, virtual production was the most practical and cost-effective way of filming.

Virtual production is the process of generating motion picture or computer-generated photorealistic imagery displayed on a dynamically active large scale LED wall to create a ‘virtual’ environment or location on a soundstage.

Surrounding the ship was a giant “volume” wall comprised of 1700 LED monitors displaying a photorealistic ocean background with rolling waves. As a crane-mounted camera weaved around, the images on the digital display moved with it, creating a seamlessly integrated backdrop.

The New Zealand vendors that worked on the screen were NEP Sweetwater, NEP Big Picture, Riggaz with Attitudes, Theatrical Solutions, Xytech and Disguise.

The creative benefit of shooting on the volume wall was that the production could shoot in multiple locations and times of day all within just a few hours. Additionally, the actors could interact with what they are seeing and the lighting shifted in real time.

Careful planning of scenes and shots resulted in the rapid and efficient deployment of a select number of pre-processed moving plates (backgrounds) on set. Paihia, Bay of Islands, Mercer Bay Loop and Waitakere were among the New Zealand locations featured in the plate shots.

The New Zealand Screen Production Rebate - (International) and 5% Uplift

The New Zealand Film Commission (NZFC) and Tourism New Zealand (TNZ) partnered with Max on season two of the show as a part of the New Zealand Screen Production Grant 5% Uplift.

The partnership recognised the significant economic, cultural and industry benefits the Our Flag Means Death production brought to New Zealand. This included a marketing partnership with TNZ and NZFC to promote New Zealand as a tourism and filmmaking destination. It also included a knowledge-sharing programme related to the LED Volume Wall used during production, and collaborations with New Zealand-based virtual production companies and a wider industry workshop.

The 5% Uplift has now been redeveloped:It’s simple to navigate, and the criteria is clearer and more objective. Has increased opportunities to earn points in the test. Has increased weighting on New Zealand screen workforce development and production activity. Recognises repeat business to encourage studios and productions to return. Introduces sustainability criteria to support Aotearoa New Zealand’s shift to a low-emissions economy.

Applications open for the redeveloped 5% Uplift on 1 November 2023, documentation and guidance will be provided before this date.

The New Zealand Film Commission administers the NZSPR for International Productions on behalf of the Ministry of Business, Innovation and Employment.

The purpose of the NZSPR for International Productions is to incentivise the production of foreign and domestic large budget films, television and other format productions in New Zealand in order to provide economic and industry development benefits to New Zealand. More information here.

A domestic rebate is also available to New Zealand productions and Official Co-productions. Click here for more information.

About Our Flag Means Death

Our Flag Means Death is based (very) loosely on the true adventures of 18th century would-be pirate Stede Bonnet (Rhys Darby). After trading the seemingly charmed life of a gentleman for one of a swashbuckling buccaneer, Stede became captain of the pirate ship Revenge. Struggling to earn the respect of his potentially mutinous crew, Stede’s fortunes changed after a fateful run-in with the infamous Captain Blackbeard (Taika Waititi). To their surprise, the wildly different Stede and Blackbeard found more than friendship on the high seas…they found love. Now, they have to survive it.

In New Zealand, season two debuts on Neon on October 6 and is coming soon to Sky Open.

Source: New Zealand Film Commission

[lapetitemortarts]

Vulcano. Red Studio Jordi Diaz Alamà, Granollers 1986,

Jordi Díaz Alamà, nacido en Granollers en 1986, es licenciado en Bellas Artes por la Universidad de Barcelona. Se perfeccionó estudiando arte clásico en escuelas internacionales, como la Academia de Arte de Florencia, donde adquirió conocimientos sobre las técnicas empleadas por los grandes artistas del siglo XIX. También tuvo el privilegio de formarse con maestros contemporáneos del realismo, como Guillermo Muñoz Vera, Odd Nerdrum y Antonio López. Aparte de su actividad artística personal, Alamà es también un consumado profesor que ha impartido clases en la Universitat de Belles Arts de Barcelona y fundó la Barcelona Academy of Art en 2013. A través de su enseñanza, se esfuerza por promover los métodos clásicos del arte como una valiosa herramienta que ayuda en la interpretación y representación de temas de hoy en día. La obra personal de Alamà muestra un impresionante abanico de técnicas pictóricas que mezclan el realismo clásico con la estética contemporánea, libre de cualquier manierismo estilístico. Sus series #ClásicosDesollados y Red Studio, que combinan la pintura realista al óleo con toques abstractos, son exploraciones rompedoras de la intersección entre el arte clásico y el moderno. Su proyecto expositivo Si Volse a Retro, creado en colaboración con el escultor polaco Grzegorz Gwiazda, reinterpreta la Divina Comedia de Dante Alighieri y pone de relieve el compromiso del pintor con la figuración contemporánea.

Alamà también ha trabajado en numerosos encargos, como la monumental obra La Creu del Jubileu para la Església dels Dolors de Vic. También fue seleccionado para retratar a la ganadora del Premio Cervantes 2022, Cristina Peri Rossi, y recientemente ha ilustrado portadas para varias novelas y álbumes musicales. Las obras de Alamà figuran en las colecciones permanentes del MEAM y del Museo Can Framis de Barcelona, así como en colecciones privadas de Europa, Estados Unidos y Australia.

English:

Jordi Diaz Alamà, born in Granollers in 1986, is a graduate of Fine Arts from the University of Barcelona. He further improved his skills by studying classical art at international schools, including the Florence Academy of Art, where he gained insights into the techniques employed by the great artists of the 19th century. He also had the privilege of training under contemporary masters of realism, such as Guillermo Muñoz Vera, Odd Nerdrum, and Antonio López. Apart from his personal artistic pursuits, Alamà is also an accomplished teacher who has taught at the Universitat de Belles Arts de Barcelona and founded the Barcelona Academy of Art in 2013. Through his teaching, he endeavors to promote the classical methods of art as a valuable tool that aids in the interpretation and representation of modern-day themes.

Alamà’s personal artwork showcases an impressive array of pictorial techniques that blend classical realism with contemporary aesthetics, free from any stylistic mannerisms. His series #ClásicosDesollados and Red Studio, which combine realistic oil painting with abstract touches, are groundbreaking explorations of the intersection between classical and modern art. His exhibition project Si Volse a Retro, created in collaboration with the Polish sculptor Grzegorz Gwiazda, reinterprets Dante Alighieri’s Divine Comedy and highlights the painter’s commitment to contemporary figuration.

Alamà’s has also worked on numerous commissioned works, including the monumental piece La Creu del Jubileu for the Església dels Dolors de Vic. He was also selected to portray the 2022 Cervantes Prize winner, Cristina Peri Rossi, and has recently illustrated covers for several novels and musical albums.

Alamà’s works are featured in the permanent collections of the MEAM and Can Framis Museum in Barcelona, as well as private collections in Europe, the United States, and Australia.

[sunnyrosewritesstuff]

Hobbit Commissions and Fanart

FANART

99 Problems But Our Love Ain't One

Nori and Bilbo by @kelly6ridge- Nori teasing Bilbo during Nori Needs a Burglar.

Fighting for a Dragon's Wish

Cursed DBZ AU by @dimdiamond- Cover art image.

Just to See You Happy

So you're...not the burglar? by @osakateto- Frodo and Fili's first meeting

A Mother's Curse

Werewolf Bilbo: Version 1 | Version 2 | Version 3 | Version 4 | Version 5 | Version 6 | Version 7 | Version 8 by @yacrimago- Different images and positions of Bilbo in his wolf form.

The Protector of the Shire by @yacrimago- Bilbo getting water after his nightmare for Chapter 1: The Protector of the Shire.

The Raven Prince

Inspired Cover Art by @yacrimago- Cover art image.

Sorcerer Smaug by @yacrimago- Smaug coming to visit Erebor.

Raven Thorin and the Bead by @yacrimago- Raven Thorin brings Bilbo's engagement bead back.

Twelve Transformations of Bilbo Baggins

Sparrow Bilbo by @rikakore- Image of Bilbo as a sparrow from Chapter 1: Sparrow.

Sparrow Bilbo Gif by @starthecozy- Animated gif of Bilbo as a sparrow from Chapter 1: Sparrow.

COMMISSIONS

99 Problems But Our Love Ain't One

Baa Buttons by @starthecozy- Ushmik cradling Bilbo after saving him from the river from The Love of Mahal's Children.

Ambassador to Madness

Bilbo's New Clothes by @sleepysandwichguy- Bilbo trying on his new clothes that Bifur made him in Chapter 6: The Delegation from Mirkwood.

Tell Me About Your Shire by @dwarvishgeorge- Bilbo flirting with Thorin while telling him what he loves about the Shire from a future chapter.

Beneath the Oak Tree

Story Cover Art by @ye3honk- Cover art image.

From the Pieces of Your Shattered Memories

Story Cover Art by @sleepysandwichguy- Cover art image.

Ghost of a Chance

First Dance by @sleepysandwichguy- Thorin asks Bilbo to dance in the gazebo from Chapter 2: A First Dance.

Spa Day by @sleepysandwichguy- Bilbo treats Thorin well in the salt cave from Chapter 4: Relieving Tension.

Guardian of Kings

A Pause Before Battle by @smolestboop- Bilbo and Thorin gaze into each other's eyes before Bilbo goes to fight Heor from Chapter 3: Guardian in Deed.

Courting Gift by @sleepysandwichguy- Bilbo presents his courting gift to Thorin in the throne room from Chapter 6: Ushmarê.

The Marali Festival

Favor by @ye3honk for Pin-Up Calendar 2022- Bilbo gifts Thorin his button before battle as a sign of his favor from Chapter 3: A Small Favor.

Fireworks by @starthecozy- Fireworks explode behind Bilbo and Thorin as Thorin gives Bilbo his metallic bouquet from Chapter 14: Fireworks.

A Mother's Curse

Dwarf-Friend by @yacrimago- Thorin slips the bead over Bilbo's head, declaring him dwarf-friend in Chapter 1: The Protector of the Shire.

A Smile for a Cold Spoon

Bilbo Receives His Spoons by @dyemberrr- Thorin delivers the spoons to Bilbo only to be confused by his reaction.

Tales from the Shire

Troublesome Took Trio by @the-red-butterfly- Adlar, Siggy, and Bilbo take a smoke break by the Brandywine.

Thirty Minutes to Change Your Life

The Bar Scene by @8thparadox- Bilbo and Thorin take notice of each other in the bar.

The Twelve Transformations of Bilbo Baggins

Coming Soon by @crowrelli- Four of Bilbo's transformations are showcased in this cover art image.

Triple Teamed by @estethell- Multiple Bilbos are having their way with Thorin for a future chapter.

COLLABORATIONS/INSPIRED BY

Home

Durin Family Feels by @temporoyales for TRSB 2021- Cuddles for Fili and Kili as well as finding Dalkhazgu/Rekhzel.

One More Little Adventure

Floating Away by @mulasawala for TRSB 2022- Bilbo and Thorin float away on the dandelion stalk for cover art image.

[wheelsgoroundincircles]

From Mako Shark to Manta Ray: The Evolution of the Most Influential Corvette Concepts

Published: 14 Nov 2022, 16:04 UTC • By: 

During the 1960s, General Motors introduced a trio of stunning show cars that laid the groundwork for the C2 and C3 Corvette. Although many other concepts followed, these three remain the most influential, as they went on to inspire the styling of modern iterations, including the current, mid-engine C8.

Like the Corvette itself, the notion of a concept (or show) car was born in the U.S., under GM’s roof. Dubbed Buick Y-Job and designed by the legendary Harley J. Earl, the drop-top beauty unveiled in 1940 previewed a series of novel features and design cues that influenced the division’s mass-produced models for over a decade.

When GM decided to build a rival for the European sports cars that were flooding the North American market in the post-WWII years, the same Harley J. Earl was selected to draw it up. To build hype around it, the corporation commissioned Earl and the Chevy team to build a show car which was codenamed EX-122. First shown to the public at the 1953 Motorama in New York City, the concept would become known as the Corvette and with a few minor changes, it entered production a few months later.

Contrary to popular belief, the C1 wasn’t the commercial success that GM had envisioned but it did pique the American buyer’s interest in a homebuilt sportscar, so the corporation poured resources into the development of a successor.

Under the supervision of Styling and Design head Bill Mitchell, the new Corvette’s design was ironed out as early as 1961 and, as they did in the past, the team created a show car that would help promote it. Like the upcoming production version, the vehicle was designed by Larry Shinoda, who drew inspiration from the 1959 XP-87 Stingray racer.

Gone was the curvaceous, European-looking theme of the C1, with the ‘Vette’s body now boasting far more aggressive lines that look like the sleek shortfin mako shark. Although it was officially codenamed XP-755, the concept car unveiled at the 1962 International Automobile Show would become known as the Mako Shark due to its unmistakable resemblance to the fast-moving predator.

One aspect that contributed to this was the car’s spectacular paintwork. Legend has it that, upon returning from a fishing trip with a taxidermized shark head (some reports state that it was a complete shark) as a trophy, Bill Mitchell hung it in his office and instructed the design team to replicate its coloring on the show car.

Several attempts to make such an impossible task possible were made but Mitchell was not satisfied. The styling head would put the trophy next to the car and since the paint was not identical, he instructed the team to try again. Annoyed by this, an unnamed member of the team snuck into Mitchell’s office one night, took his beloved trophy, and airbrushed it to look like the car’s latest paint job. In the end, the boss couldn’t tell the difference and, since the car and the shark now looked the same, he finally gave his frustrated team the thumbs up.

The Mako Shark managed to draw enough interest in the C2 as it became a fan favorite at every event where it was showcased. It underwent styling and detail changes over time, gaining front fascia and interior upgrades. The car also lost the distinctive "double-bubble" canopy borrowed from a previous concept and became a pure convertible.

Apart from the unique paint and several flamboyant design cues, its overall styling made it to the mass-produced model. which became the commercial hit that its predecessor never was.

Unlike other GM concepts that were eventually destroyed, the original Shark is still alive and well, residing in the corporation’s Heritage Collection located in Sterling Heights, Michigan.

Just a few years after the debut of the Mako Shark, the Corvette team began work on the third-generation model which would roll out the factory gates in 1967. While the mid-engine format proposed by Zora Arkus-Duntov with his race-bred CERV II concept was considered, Bill Mitchell's conventional front-engine design was deemed more marketable by GM’s top brass.

Under the codename XP-830, the development of a new concept car kicked off in early 1964 with the C2’s existing chassis as the base. For the C3, Mitchell wanted "a narrow, slim, center section and coupe body, a tapered tail, an all-of-a-piece blending of the upper and lower portions of the body through the center (avoiding the look of a roof added to a body), and prominent wheels with their protective fenders distinctly separate from the main body, yet grafted organically to it.”

Turning this vision into reality took about a year to pull off. Mitchell’s designers completed a full-size, non-running version in March 1965, and days later, key members of GM’s management were invited to see it. Everyone was blown away and unanimously decided that it had to go into production as soon as possible.

Finished in a similar paint and carrying the same Mako Shark moniker as the XP-755, the non-functional concept was first shown to the public at the New York International Auto Show just a month later. While its exterior design was praised by everyone, its futuristic interior received a lot of criticism for ergonomically-nightmarish such as the yoke-style steering wheel with its complicated transmission controls.

Behind closed doors, the development team was working on a running model that would address these issues and in October 1965, it made its public debut in France, at the Paris Auto Show. Powered by the highly successful and versatile 427 version of Chevy’s Mark IV big block, the functional Mako Shark II had rear-exiting exhausts -as opposed to the static model’s side-mounted variants – and a conventional steering wheel with column-fitted transmission controls.

Although it’s unquestionably the most influential concept car to ever don Corvette badges, shaping the look of America’s popular sports car for generations to come, the story of the second Shark, in either non-functional or functional form, didn’t have a happy ending. Unlike its predecessor which enjoys retirement on top of a pedestal inside GM’s Heritage Collection, the static version was dismantled while the running model was transformed into another show car.

This leads us to the third most influential Corvette concept. Completed in 1969 it left the Mako Shark name behind (but not the now-iconic paint) and became known as the Manta Ray.

Its front fascia remained largely the same, with the only additions being an extended bumper ring around the vents and a chin spoiler mounted underneath.

On the sides, the Manta Ray featured functional exhausts that were masterfully integrated into rocker panels, but its most distinct upgrade was the profusely elongated, tail. The now-classic four taillights layout was tucked under the rear deck line and a pair of pop-up flaps that reflected light from upward-facing lamps were added. You can see rare footage of them in action below, thanks to the video posted on YouTube by DtRockstar1

The reshaped tail flowed into a sweeping, scooped-out, stinger-style roof that helped accentuate the aggressiveness of the overall design. Speaking of aggressiveness, the car was powered by the newly introduced ZL1 427-ci (7.0-liter) V8, a lightweight, all-aluminum monster that could spit out no less than 430 hp.

Even if the Mako Shark II had to be sacrificed to build it, the Manta Ray was in itself a work of automotive art that captivated the hearts and minds of sports car enthusiasts. Thankfully, after its transformation, GM decided to keep it and it joined the first Shark in the corporation’s Heritage Collection.

Many other concept cars that carried the Corvette nameplate followed in the next five decades, but none were as pure nor as influential as these three. They inspired the look of every mass-produced Corvette generation that followed, including the current and radically different C8. 

[mybeingthere]

Judith Wright lives and works in Brisbane. She came to her work as an installation artist with a background in dance having performed with the Australian Ballet. Recipient of a fellowship from Arts Queensland in 1993 and awarded a professional development grant from the Queensland Government in 1998, Judith has taught at the Queensland University of Technology and the College of Art, Griffith University.

She was appointed to the board of the Queensland Art Gallery from 1999-2002,and received a Master of Fine Arts from Queensland University of Technology in 2002. Judith participated in the India/Australia collaborative exchange project Fire and Life in Calcutta in 1996; the Fire and Life residency at the Institute of Modern Art Brisbane; and Celebrate Australia in Tokyo in 1993. She collaborated with composer Lisa Lim on Sonorous Bodies for Elision contemporary music at the Third Asia Pacific Triennial, and the Hebbel Theatre Berlin. Judith was also commissioned by Elision to produce a video work for Inferno with composer John Rodgers in 2002. In 2005, Wright completed a residency at the Australia Council’s Greene St. studio in New York. In 2009 she was awarded a Fellowship from the Visual Arts Board of the Australia Council for the Arts.

Most recently, works by Judith Wright will be included in Know My Name: Australian Women Artists 1900 to Now Part Two. Know My Name showcases art made by women. Drawn from the National Gallery of Australia's collection and loans from across Australia, it is one of the most comprehensive presentations of art by women assembled in this country to date. The exhibition will be on display until 26 January 2022. ⁠

[oi4v]

Goals for 2024

Lately, I’ve been in a mental slump, but I want to change that. 2023 was a year of major setbacks which is why I need to work hard for 2024. I need to get back on track and catch up with my peers and make my younger self proud. So right now, I’ve been preparing preparations and experimenting with routines and just hyping myself up. I want to achieve these and have a plan that isn’t that much effort but effective and efficient. They will be mistakes but I need to accept and push my self through it because in the end, it’s only you who can do the things you want and your life/situation can be changed.

Grades

My grades aren’t up to standard that I’ve set for myself and I appear to be slacking off in class—especially math. I failed my Math final. So I would like to change this. I want to concentrate more in school and because of that I’ve looked at who/what was distracting me and decided to cut it off. I’ve left platforms like Discord (still kept instagram, YouTube, and tumblr to document my progress (my biggest showcase of what I could do— my channel is @scarasun) I’ve also cut off a bunch of distracting friends (or ones that I know I can’t get work done with them) and I’ve been training myself lately (with push-ups/curlups for PE and just relearning Math. I want to show more effort in my craft.

Habits and Mentality

I want to create a better work ethic (or have the work ethic I used to have at my rigorous Catholic school) and work to complete my goals. I want to implement routines that I feel would suit better for me and just care for myself. During 2023, I didn’t care about my well-being and that end up becoming sick a lot. Right now, I’ve educated myself in hair care and also skincare and work to achieve better results. I also want to have effort in my appearance (I used to didn’t care if I looked bad) so I’m pushing myself. Lately I’ve been pushing myself beyond my limits with all of my hobbies. I’ve been practicing on my piano more so I can complete my RCM exams and be on track (I was supposed to complete my exam during late 2022 and early 2023).

Lately, I’m rewinding and twisting my mentality to be more positive and being more accepting of mistakes but to push through. I told myself that pain is alright, and sometimes it will help you complete your goals but it shouldn’t be immense pain and you should feel discomfort. I told myself that emotions are fine but you have to push through and that it’s fine to feel and accept that your situation is what you make of it.

Business

After all our preparations like: setting up the Etsy, setting up the socials, and setting up the website— I want to open my business with my friends (the co owners) with an official release in April but with a soft release in late January (we’re taking commissions right now please dm us at @tinyheartsscozm, tinyheartssco on instagram, or at tinyheartsszm@outlook.com

I want to get the business running and maybe be a part of an event during Mid to Late 2024. Right now, I’ve been crocheting a lot just for stock (but not too much). I’m also creating patterns/designs right now as well and will post. Though, I need to learn how to take breaks and create a balance

Preparations are not fully finished and I wished to test it more. Also, I need to start pumping out more videos and become a better editor. I’ve developed a good time/period and make use of my time with editing— not just for business but also for my sister’s and my branding.

These are some of my goals that I need to complete in 2024! I’ll send progress.

[omegaremix]

Sacred Bones 15th Anniversary @ The Knockdown Center; May 28, 2022.

Uniform has had an effect on me that’s made all difference. Their live performance as then-unknowns at Output led me to the Sacred Bones label. Lead singer Michael Berdan repped Shame which had me finally visit Rough Trade NYC before their re-location and got me hooked on Totalitar. Not only that, I also sought out each and every band member’s projects (York Factory Complaint, Coca Leaf, Impalers, Liturgy, Anatomy) and discovered other labels in Dais and Wharf Cat. It took me six years before finally seeing the band in full and even bought merch- from Berdan himself. Did I mention they’ve become one of the hardest, most destructive, and pulverizing industrial-metal bands as of recent? All the reasons why they became one of my top ten all-time favorite artists ever.

Meanwhile, New York City label Sacred Bones housed some great artists such as Zola Jesus, Lust For Youth, Blanck Mass, The Holydrug Couple, Spellling, and Marrisa Nadler. They’ve praised the likes of John Carpenter, Mort Garson, and Suicide’s Alan Vega, plus had Boris and Black Marble come aboard. They’re based in the Greenpoint neighborhood of Brooklyn. With what they’ve done and where they’re situated, how would I not support them?

They celebrated their 10th anniversary in 2017 with two separate shows. I bought tickets to both April and May dates, but I had doubts going as I was in the midst of recovering from life-saving shoulder surgery. Re-injuring it would not be a good look for my trust and my surgeon’s reputation so I ended up eating the cost. Another New York City-based label, Hospital Productions, celebrated their 20th anniversary which I attended, but I held out hope that Sacred Bones would return for their 15th. In short notice, they would. Five years later, I have a chance of finally attending my all-time favorite label’s showcase while keeping my New York City / Brooklyn quotient up. You wouldn’t even understand how fast my heart was beating as I got closer to the event. That’s the case with every trip to New York City because it’s always a big deal to me.

Long Island had a succession of greyscale cloudy days and rain. Saturday would be no different, I feared. Coincidentally, the clouds broke up while I rode the Central Islip line to Woodside. By the time I took the 7 line to catch the Q39 bus, it was a baking, bright and hazy 75*F by the time I got to the Knockdown Center. Security and detail dressed in full black asked everyone if they were here for Sacred Bones or Zero (an alternate techno dance event). After weaving through the guard rail labyrinth, showing ID, and having our tickets scanned, we were welcomed in. I took for granted just attending and supporting the label’s showcase because I knew it was an event. By the end of the night, this experience would be nothing I expected.

I entered the Knockdown Center’s huge lobby and through its conduits, observing several people sitting outside and enjoying the now shining skies like it was a university campus. I arrive at the huge main stage area and it was a dazzler. Once a thriving glass and door factory, this centurian structure is now out-of-commission for its original purposes and became a live venue and art space. It’s been internally repurposed and most of its original structures and aesthetic had faithfully remained intact. The bill would have seven artists across two areas and it would all start in the Texas room.

I walk in and the festivities had already started. Thirty people were here before me; some standing against the wall, some even sitting on the four-foot tall upper level. Everyone was totally silent and attentive as Constant Smiles’ sound welcomed everyone in with arms wide open. I look around and I see punks, metalheads, artist-types, longhairs, goth girls, girls in pigtails, an older silver gentleman wearing all-black matching sportscoat and miniskirt, and many more broad-minded walks of life coming in from Queens, Brooklyn, and Manhattan. Ben Jones’ and personnel’s peaceful delivery of gentle long-distance drone, dreampop, and shoegaze painted this picture of total tranquility and serenity. Their sound perfectly juxtaposed with the setting sun’s rays beaming through the windows and into the Texas room. Nobody couldn’t have symbolically started the entire production any better.

All of us migrated to see The Men, the second artist up and the first to take the main stage. If Constant Smiles were the warm-up, then The Men got everything going with a such a slamming free-wheeling set. The line-up of Kevin Faulkner, Mark Perro, Nick Chiericozzi, and Rich Samis delivered a near-endless performance that sounded like it took forever and that’s not a bad thing. I stood about twenty feet away from the main stage and I zoned out letting the music take me to places. At this point, the people were sparse with lots of space to move around on the main floor but they were into it. One song of theirs I instantly recognized from their old line-up was “( )” because I did feature it on Omega WUSB.That was their most powerful one of the night. After their performance, things would take a turn to the unexpected.

Some of us decided to march on to the Ready Room, Knockdown’s former main office-turned bar where they held conferences, panels, and small celebratory events. I had no idea who LD Deutsch was. When I walked in the almost pitch-black space, I seen plenty of people packed in and seated with a projector set-up in front. It looked so surreal. A lecture during a concert night? Where am I? I don’t believe this. This was the stuff my dreams were usually made of: odd situations, things, and re-arrangements that could possibly happen in real-life but never did. Now this was it. Am I now in my own dream? For a good firty-five minutes LD Deutsch presented to us “A Revised Lecture On Time: Reality at the Edge of Itself”. It was a compliment of her latest material “Mythologies Of Time And Timelessness” and her second one published through Sacred Bones’ press. As part of their 15th anniversary, the label chose a great opportunity to showcase their best example of featured authors and filmmakers.

Meanwhile, the next act already got going on the main stage. In the past five years, Sacred Bones really ramped up their signings. I’m more accustomed to their first ten years when almost every artist signed on the label played for their 10th. Anika released Change on the label in 2021 and…I didn’t know what to think when I first witnessed them. Here was Annika Henderson up front on vocals, sounding reserved, quite soft spoken, calm and in control. Her touring personnel behind her put together an amalgam of minimal post-punk, art-rock, and krautrock and it felt up there. Once they played “Sand Witches”, I started finding plenty of elements of their sound that had that specific something and that continued with “Change”. Both had that just-about-right hypnotic spell that drew me in and enough to at least give them another chance in the very near future.

Squrl was another unfamiliar unknown to me and recent signing on that night’s line-up. Anika’s set spilled a little over its end time so I ended up being a little late for the Texas room to see them. It was another attentive, quiet trip on the bill that painted a lively adventurous picture through long expansive guitar drones and a relaxing sound that went the distance. After one of their songs, a fan was dared by her friends to scream out “Jim Jarmusch!” and she did. What a surprise - that is him! Ghost Dog. Coffee And Cigarettes. Fifteen feet away was the closest I ever came in presence of a film director. Anyway - everyone knew it was him with the three of them creating another calm, pleasurable experience. P.S.: no one thought you were funny, you donkey.

I wasn’t too familiar with Spellling’s music but I was still auditioning it for a future use. I was also on the fence about her because she’s not my usual fare. I got to know her better as she performed on the main stage and she won it. Spellling had so much fun onstage and felt super gracious performing for Knockdown’s main crowd who saw her as an amazing performer and being. She was alive. Her presence was animated, playful, free-spirited, and boundless for her type of musical work that was imaginative, magical, and full of fantasy - the total opposite of where I was heading to next.

I wanted to return to the Texas room one final time as early as possible because I did not want to miss the next act, and promised myself to be in the thick of it when it happened. Brooklyn’s scream-core icon Jenna Rose (Anatomy) and Sacred Bones king-of-all-trades Ben Greenberg took to their instruments when were done chilling with their friends. Then their touring drummer (who to this day I still don’t know who he is) came aboard and finally lead singer Michael Berdan showed up wearing Salo / 120 Days Of Sodom to win the T-Shirt Of The Year award. Uniform finally got going and we all were ready for them. Berdan gave thanks and hat-tipped Bones label founder Caleb Braaten for signing them before delivering a few laugh-out-loud wisecracks. Like the last time I saw them at Saint Vitus last year, they kicked off the set with “Life In Regression” and brought the out-of-mind insanity and violence. During the second song, I got splashed hard with a cup of beer. Now it’s going down. About seven or eight guys (including myself) wailed and pushed each other like you would with any nihilist affair. People got knocked down and were promptly pulled up to keep going. Someone lost their glasses and frantically searched for them during the thick of the action. He found them all right: near my boots. That summed up my third time seeing Uniform. If not for them, I wouldn’t have been here. Simple as that.

The label listed six artists and one author appearing “plus more to be announced”. At the last minute, they added Black Marble to end the night. I can thank Chris Stewart’s unforgettable sounds for getting me by during an insurmountably difficult and surreal time. I already seen him open up for Cold Cave at Greenpoint’s Warsaw four years ago, so seeing him again was a nice bonus. Stewart returned to his hometown and his no-wave dressed suspects also took the stage. As a 2020 signee (and I was floored when that was announced), they leaned towards their newer stuff with that familiar cute synthpop and special lo-fi tonality. To me, Black Marble isn’t just a great artist but also a mood; a unique feeling I wouldn’t get from any other outfit. The idea that Stewart originated from New York City, the aesthetic of A Different Arrangement,how “A Great Design” resonates with me, and a sound that leads my heart to where it truly should be (Brooklyn, not Long Island) still makes Black Marble one of personal sentiment. Everyone got into them. The petites, too, as they danced and rocked out to “One Eye Open”. I always wondered what type of significant other would be into them as I never met anyone who were. Now I have my answer.

For five hours, I felt like everything lined up: the label, their fans, the setting, location, and how everything played out. The Sacred Bones fans repp-ing Spacemen 3, Sannhet, Health, and Converge who surrounded me were exactly the type I’d be associated with. Only in the city, because Long Island has nothing going for it. As I observed and took in everything, I couldn’t help having that feeling of someone, anyone such as a Brooklyn contact or a city-minded interest I met during the pandemic summer to come join me because it would’ve turned an already 9.5 to a perfect 10. I held it in knowing that having those contacts would’ve certainly made all the difference. Imagine if I were to meet someone new from the event? But that didn’t happen. My anxiety, fright, and uncertainty held me back.

But that didn’t even leave a permanent scratch. No. What did was the subway lines and bis rides on the way to Queens, the semi-sweet smell of old decaying wood, the high-definition visuals of heavy fog and sweet colored lighting, and another improbable-turned-unforgettable night written in the books. Spring couldn’t have ended on such a high note.

Once again, I faced the dilemma of getting to the subway in time, getting home early enough and not come to work sleepy the next day. I exited the Knockout and walked past all the groups of people converging on how great the event was or some other insignificant bullshit. I had an Uber pick me up and take me to the Woodmere stop heading east where I’d transfer at Jamaica and back home to Central Islip. As with all rail rides to and from the city, there’s always a pair of headphones plugged in my ears and the music playing from my iPhone. There’s always a playlist made to forever remember the day by.

[archivecon]

Statement begins...

Statement of ArCon staff, regarding the second annual ArchiveCon convention for fans of Rusty Quill's The Magnus Archives. Statement recorded 22/12/08 by the Official ArchiveCon Tumblr.

---

Hey archival assistants, avatars, and everyone in between!

Welcome to the official Tumblr for ArchiveCon 2023. We are proud to be hosting our SECOND ArchiveCon - a fan-lead, fan-run online mini convention for 18+ fans of the Rusty Quill horror podcast, The Magnus Archives.

Whether you are an old fan, a new fan, a deeply-rooted fandom denizen, or looking to make your first connections in our fan community, we hope you'll join us. ArchiveCon may be online-only, but we've got all the energy and features of a traditional offline convention - everything from panels and special guests (our humble 2022 beginnings featured appearances by the ever-wonderful Alasdair Stuart and Marguerite Kenner!), to cosplay and games, streaming and discussion, and even an Artist's Alley.  

Here's the quick rundown:

- June 16-18, 2023 (that’s three days, folks - Friday to Sunday!)

- 18+, online only (Most areas of the con will be SFW, but you still must be 18+ to attend)

- FREE TO ATTEND! (Registration is required and must be done so before the convention starts; you can register here!)

- All events scheduled in EST, but all international fans are welcome and most panels (at the discretion of individual panelists) will be recorded for post-convention, on-demand viewing.  

- Primarily focused on The Magnus Archives, but fans of all things horror, podcasting, and transformative works will find something to love. The Plain Old Curious are always welcome, too - we have to feed The Eye somehow, right? ;)

For more detailed information and FAQs, visit our website!

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Are you an artist? A storyteller? A connoisseur of pulp fiction novels looking for an audience? ArchiveCon is here for you, beyond attendee registration. :)

Artists and artisans of all kinds are welcome (encouraged!) to apply for a slot in our Artists' Alley. Do you take digital art commissions? Make soap? Knit hats?  All of the above?? (Kudos to you, you must be using superhuman eldritch powers to get all that done.) We'd love to give you a place to showcase and sell your work, reach a like-minded audience, and network with fellow creatives. 

Don't have anything to sell, but want to share your passion for the world of The Magnus Archives and its fans? Then we'd love to chat with you about hosting a panel. ArchiveCon will host panels on a wide variety of subjects including (but not necessarily limited to!): 

- deep dives and meta on TMA characters, plot points, history, and relationships (we love a detailed ship manifesto)

- queer identities in horror and fandom spaces

- the evolution/history of fandom culture

- fan creations and transformative works (such as zines, art, fic and fic-binding, cosplay - you name it)

- friendly discussions and debates

- technical tutorials and discussions on podcast production, streaming, sound editing, etc!

For more insight and ideas, check out last year’s program schedule!

Applications aren't open quite yet, but we'll update all our pages when they are.  Hope to see you there!

[Statement Ends.]

[pine-niidles]

Looking Back on 2023

Heyyy folks! Long time no news from me huh. 

I'm struggling to think of what to even say about my silence. I've not been doing so bad I'd call myself depressed, but I'm doing a tad worse than just a slump. It's been a rough 6 months, not because of one big thing. Instead, a bunch of medium-sized reasons all piled up on top of each other to leave me extremely drained. I've mostly been working on the two commissions I still had in my queue (thank you to my commissioners for being so patient with me, I'm so sorry to make you wait so long <3). I've done a little personal art other than that but didn't have the leftover focus to keep up with sharing it on social media or writing up any updates about my situation. I've pretty much only been active sharing things in my art discord. I'd like to say I've been doing better in the last month or so, but I hesitate to make any promises at this point! We'll just have to see how things go :)

Artfight

So you were promised a more in depth artfight review but I think I missed the right timeframe for that... instead have this look at 3 years of unfinished artfight thumbnails from my new year's wip clean-out!

Year of Art Summary

All things considered I made a lot of art this year, and I'm really happy with how most of it turned out ☺ I did a bunch of experimenting with more playful techniques and color schemes and I think they suit my style a lot. I want to try and much those limits even more next year to see what kind of fun art I can create! Something with colors specifically really clicked in my brain after that witch drawing I did in April, before then I would spend a long time figuring out the perfect color scheme and doing a bunch of adjustments but ever since that drawing things have really been coming together super quick? I'm not sure what changed but no complaints from me. 

Life Drawing Summary 

I rarely post my life drawing but I've been keeping at it! Actually, I put together a few pdfs showcasing all my life drawing going back to 2022, you can download them for free in my itch or ko-fi shops! :>

I also put together a yearly art improvement comparison going back to 2015 that I was planning to put here. However, seeing how long this is already getting... I'll make a separate post for it.

Commissions

I've been gearing up to open commissions again after that unintended hiatus. I don't want to open slots until I'm sure I'm back to being able to finish them in a reasonable timeframe, so I've been using that leftover energy I do have to think about revamping some things and new styles to offer. Back in November I ran a survey on what people want to see from me (it's still open if you'd like to fill it out and help me get more stats!) 

here's a preview of what's to come based on that & my whims:

- stamp commissions were super well received so they'll be added to my main repertoire

- A combo of me reading too much dun meshi and wanting to offer some kind of comicky commissions led to this idea of comic pages of characters eating together, I have a couple examples in progress, when they're done I'll add this style to my main offerings!

- I'm still not 100% set on sketchpages but I like the idea of them so if this test goes well I'll add them as an option

Onward to 2024! 

I already completed my new year's resolution on day 1 of 2024, it was to pet a cat. I've made a second one which is to get a library card whenever my visa is approved and I move back home. It's been something I've been wanting to do for a while but never got around to, hoping this will be the excuse I need to do it.

Art-wise it's not a new goal, but I've been trying to focus on improving my rendering! Though I've also been playing around a lot with screentone... the two don't have to be at odds 🤔 

I'm dedicating this year's personal art time to making new references for as many ocs as possible with nude bases so I can easily design new outfits for them whenever I want to without fully making a new ref from scratch.

Otherwise I'm just trying to take it slow, work on things one at a time and see what happens from there.

[indynerdgirl]

For the first time ever, three of the four Air Combat Command single-ship demonstration teams are piloted by women! 🤙🏻

Captain Lindsay M. "MAD" Johnson - Captain Lindsay Johnson is the A-10C Thunderbolt II Demonstration Team Pilot and Commander, DavisMonthan AFB, Arizona. She is responsible for showcasing the A-10 Thunderbolt II at over 20 airshows annually around the country, as well as internationally. She is also responsible for leadership of a 10-person team that includes maintenance and public affairs Airmen. She and the team highlight the capabilities of the A-10, as well as pay tribute to Air Force history by flying formation flights with the Heritage Flight Foundation.

Captain Aimee "Rebel" Fiedler - Captain Aimee Fiedler is the United States Air Force F-16 Viper Demonstration Team commander and pilot stationed at Shaw Air Force Base in Sumter, S.C. As the Viper Demo Team commander, she is responsible for representing Air Combat Command, the United States Air Force, the Department of Defense and the United States of America at more than 20 air shows annually. (you can follow her on Instagram @rebelfiedler16)

Major Kristen "Beo" Wolfe - Major Kristin Wolfe is the Commander, F-35A Lightning II Demonstration Team, 388th Fighter Wing, Hill Air Force Base, Utah. The mission of the F-35A Lightning II Demonstration team is to showcase the unique aerial capabilities of the Air Force’s most advanced 5th generation multi-role stealth fighter, the F-35A Lightning II, as well as highlight the history of the Air Force’s service through heritage formation flights. Additionally, she provides operational oversight and direction for the 13-personnel team, to include maintenance, aircrew flight equipment, and public affairs Airmen. (you can follow her on Instagram @beo_f35demo_pilot)

And also a shout-out to the female pilots in the US Air Force Thunderbirds and the US Navy Blue Angels!

Major Lauren “Threat” Schlichting - Major Lauren Schlichting is the Slot Pilot for the U.S. Air Force Demonstration Squadron, flying the No. 4 jet. She earned her commission in 2012 from the University of St. Thomas Air Force Reserve Officers Training Corps program where she majored in Mathematics and played lacrosse. Before joining the Thunderbirds, she was an evaluating pilot and executive officer for the 333rd Fighter Squadron at Seymour Johnson Air Force Base, N.C. She enjoys hockey, snowboarding, and surviving the Great White North. She has logged more than 2,000 flight hours in the F-15E, F-16, T-38, and T-6 with 420 combat hours. She is in her second season with the team and hails from Stillwater, MN. (you can follow her on Instagram @afthunderbird4)

Lieutenant Amanda "Stalin" Lee- Lieutenant Amanda Lee is the Left Wing pilot for the United States Navy Blue Angles, flying the No. 3 jet. She is a native of Mounds View, MN and she graduated from Irondale High School in 2004, where she competed in soccer, ice hockey and swimming. While attending the University of Minnesota Duluth, Amanda enlisted in the U.S. Navy as an Aviation Electronics Technician (AT) and reported to her first command, VFA-136 "Knighthawks." She was selected to commission as a Pilot through the Seaman-to-Admiral (STA-21) commissioning program in 2009. The following year, Lee attended the Naval Science Institute (NSI) for officer training in Newport, Rhode Island, and simultaneously began her studies at Old Dominion University in Norfolk, Virginia, where she received a Bachelor of Science in biochemistry.

Amanda joined the Blue Angels in September 2022, becoming the first woman to fly in a demo F/A-18E/F Super Hornet with the team. She has accumulated more than 1,400 flight hours and over 225 carrier-arrested landings. Her decorations include four Navy Achievement medals and various personal and unit awards.