#dedicated to julia

[yooboobies]

shaped like love, like sunshine, like happiness - a boundle of joy | dedicated for @raplinenthusiasts tiny tan (3/7)

(cr. 0613data}

[jkvjimin]

(94/∞) the perfect nose for butterflies to land on it ♡ for @raplinenthusiasts ✨

[draw-n-vent-with-imani]

it's fun drawing Brain in pain

[cordiallyfuturedwight]

10 Days of Hoseok -> Hobi Style for @raplinenthusiasts ✌️ (cr. 0613data)

[were-changing-cake-vaults]

I'll bite. What's going on with Etho in Ocean's Calling au?

YAYYY SOMEONE ASKED :DDD

So Etho. Etho doesn’t have a 1:1 comparison with any character in Dredge, but the closest thing to one would be The Old Mayor or The Dockworker. Someone who knows shit is bad, doesn’t entirely like that shit is bad, but is in too deep (ha) to do anything about it. There’s two options for him: get as far away as possible or perpetuate the problem even further. Maybe he thinks there’s something he can do, because he loves his friends, and he really wants to save them, but considering the fact that he keeps on fishing….

Also, the only reason he’s being affected is because of his connection to Gem. The Thing In The Ocean wants everything from her, including everyone she loves. Her and Etho have such a strong bond that the Ocean sees it as something she sort of is, therefore it’s something that the thing can take. Does he want to be drawn in? Absolutely not. But this isn’t the first time something malicious has taken Etho as its own. Just look at the Jungle from s5, and if you squint, the Deepfrost Citadel from s9 could count as well.

All that to say: expect the price of blood to be paid soon.

[almond-tofu-chan]

Guys I love y’all’s Welcome Home OCs but it is clear you have no idea how puppetry works because DEAR GOD would these things be impossible to work on camera /lh

[graviconscientia]

[captiveinwayhaven]

Headcanon that Julia's water is actually the largest fucking energy drink you can buy

[hesitationss]

anyone can make a zine, regardless of skill level or access to materials or design programs. all you need is paper, scissors and drawing utensils (although many people enjoy collaging!) web search "8 page 1 sheet zine how to".

everyone SHOULD make a zine too, you will feel so good about it ♡ it's about putting the power of production into the hands of the people! also you don't have to sell it or anything, you can just make one for yourself or trade/give some to friends!

i really love julia grofrer's guide to analogue self publishing aka making zines on 8.5x11 paper

and jaydragon/jdragsky's thread on staple's self serve print centres (if you're area does not have a local print shop, they probably have a staples or fedex print centre)

if you can't draw, here is twitter thread for public domain art and also a mini summary of when thing enter creative commons (generally 70 years after artist death in the US and CAD)

i also have a DIY zine page on my art blog that i am dedicated to updating as i find more resources! (not accessible through tumblr mobile app, mobile friendly, just open the link in a browser)

go make some zines!!!

[blueiscoool]

Man Discovers 900-Year-Old Stone Carving Beneath His House in Germany

The rare picture stone may depict Otto of Bamberg, the bishop who helped spread Christianity throughout the region.

During a recent home renovation in Klotzow, Germany, a man stumbled upon something unexpected: a three-foot-long bildstein, or picture stone, dating to the 12th century.

The boulder features a carved figure draped in robes with a cross in front of his body. Experts think it may represent Otto of Bamberg, the bishop and missionary credited with spreading Christianity to the region. It’s also the only known picture stone to depict a figure with a cross.

Klotzow is a village located in Mecklenburg-Vorpommern, a state in northern Germany. According to a statement from the state’s culture ministry, a resident named Peter Wittenberg discovered the stone while working on his home’s foundations. The large artifact was buried just a few centimeters below the surface.

Wittenberg, who knew he had found something special, reported his discovery to officials. Experts moved it to the city of Schwerin, where researchers could conduct a careful examination.

“The significance of this find cannot be overestimated,” says Detlef Jantzen, Mecklenburg-Vorpommern’s chief archaeologist, in the statement. “The new find from Klotzow is the only one that could depict a Christian dignitary. Now, we are going to try to learn more about the stone’s original location.”

Carved picture stones first appeared in the 4th century and were produced through the 12th century. They featured a rich variety of artistic styles, and many of them served as memorials to individuals who had died. According to the culture ministry, picture stones that reveal evidence of Christianization are especially rare.

Born in 1060, Otto of Bamberg dedicated his life to converting populations in an area known as Pomerania, located in parts of present-day Germany and Poland. According to some accounts, the number of people he baptized may be in the tens of thousands.

“With this exceptionally significant find, we can add another important piece to the mosaic of our country’s history,” says Bettina Martin, Mecklenburg-Vorpommern’s culture minister, in the statement. “Bishop Otto of Bamberg undertook his first missionary journey to Pomerania in 1124. The fact that a picture stone from this period has now been found exactly 900 years later is an extremely fortunate circumstance.”

There are only around 20 known picture stones in the region today, as Jantzen tells Live Science’s Laura Geggel. He thinks the figure’s shawl and cross could be a pallium, a religious cloth worn by the pope, archbishops and some bishops.

“Otto received the pallium from Pope Paschalis II,” Jantzen adds. “When Otto was traveling in Pomerania in 1124 and 1128, he was the first and only possible bearer of a pallium at that time in that area.”

Specialists in Schwerin are currently examining and documenting the stone artifact. When they’re done, officials hope to display it in Klotzow, where it was found.

“The finder deserves thanks and the highest recognition for reporting his discovery immediately,” says Martin in the statement. “The experts from the State Office for Culture and Monument Preservation and the local monument protection authority will now take care of securing and further examining this one-of-a-kind find.”

By Julia Binswanger.

[yooboobies]

tiny dance myooves | for @taee

{cr. 0613data, namuspromised, dwellingsouls}

[somehow-a-human]

Whose POV is it anyway?

An Introduction

DO NOT ASK NEIL ABOUT FAN THEORY

Cracking down on the storytelling of Good Omens season 2 through the lens of a changing narrator.

If you haven't read this interview with Good Omens cinematographer Gavin Finney, and you're interested in the fantastic dedication and detail that went into this TV show, definitely give it a read. Not only is it lovely, but Neil also posted the article with a caption mentioning that it's got so many secrets in it. Obviously that made me take a closer look.

I have already gone into a fair bit of detail about the different Lens Filters that Finney mentions in the article in a separate post and I will be referring to them quite a bit so if you aren't familiar with them I would suggest reading that first!

This first post is going to cover the basics of changing narrator/POV's and I'll be writing additional posts for separate episodes/minisodes/scenes since there's obviously way too much to cover in a single go. So shall we take our first look?

It's no secret that something's a *bit weird* with season two, and there are SO many theories about it. I love to read speculation, metas, theories, and opinions, it's definitely fun but my personal ideas align more with the idea that we're simply being shown the events of season 2 through the memories of multiple narrators, different POV's, and it slightly skews the story, sometimes within one continuous scene.

I am also a sucker for a good multiple timeline theory but that isn't this post.

Lens Filters

As I stated above, I wrote a post about each of these individual filters earlier. What I didn't go into in that post was speculation about the filters. While I think they're pretty straightforward, especially the filter for hell (Black Pro-Mist ((BPM)), I think the other two have a bit more room for speculation.

Bronze Glimmer Glass

BGG was described by Finney as being used for 'bookshop scenes', but after S2 back numerous times and paying as much attention as I could to the lighting and colouring of the scenes, I think this is generally true but not always true. There are times when bookshop scenes seem to use a different filter, and other locations also seem to be shot with the BGG filter as well. I think BGG aligns with Aziraphale's POV. Or if Not Aziraphale, an outside-of-Crowley narrator? Based on the scenes (which we'll specifically get into in other posts) which BGG seems to be used, context clues, character behavior, etc, I think BGG clues us in that we're seeing, if you will, through Aziraphale's eyes.

Black Diffusion FX

BDFX was described as being used for 'Crowley's present day storyline' and fuck me, that's not ominous or weirdly phrased at all Mr. Finney! This filter definitely aligns with Crowley. Most of the time he's separate from Aziraphale it seems that this is the filter being used, and certain scenes switch filters mid-scene when he begins to go off on snarky Crowley-centric commentary.

Catch-22 & Herzog

The books on Gabriels bookshelf, great books obviously, but I think books that are also meant to give us context about the story. Pride and Prejudice is a love story about making snap judgements on someone's character, and coming to recognize somebody might be good despite their title or appearance. The Crow Road is a story about life, death, love, morality, mystery, and God. 1984 details the tragedy of Julia and Winston's attempt at falling in love while living under in a police state. You see my point?

That's why I wanted to touch a bit more on Catch-22 and Herzog specifically when talking about the possibility of changing narrators/POV's in Good Omens 2.

Catch-22 frequently switches narrator and the events described are often not necessarily sequential. This way you're getting information about previous scenes as the story continues, so while you're reading the book you're forming a more complete image of the events as the story continues from different characters POV's and iterations of the story. Sound relevant?

Herzog is the other book I wanted to talk about. To be fair I haven't read Herzog in full like I have Catch-22 but I pulled out my copy to reference and flip through a bit to remind myself. Herzog unlike Catch-22 doesn't switch narrators but the narration by the main character, Herzog himself, switches between first and third person throughout. When he is narrating through his letters, you get a deeper look at his thought processes and emotions. It also relies on flashbacks to bring context to the life of Herzog.

While these books touch on other elements that are relevant to the Good Omens story, namely Yossarian's relationship and views of God in Catch-22, the way these stories are told intrigued me for this context.

Crowley's Hair

Yeah I'm gonna mention the hair, because I think the hair is linked. Crowley's shorter sideburns, trimmed mutton chops in the 1827 flashback, and shorter Job wig seem to be clearly aligned with the BDFX filter/Crowley's POV as far as I can tell. I don't know if this means it's just another way to denote POV, but it seems way too consistent not to mention it. The longer sideburns, fuller mutton chops, and longer Job wig all match up with Aziraphale's POV or the BGG filter. My thoughts here are that his hair is another hint of who may be relaying the information to us, AKA is it internal or external. I am making my best guesses though and there are still some situations that I feel less sure about. For example, when Aziraphale takes the Bentley to Edinburgh and Crowley is in the Bookshop with Jim his sideburns are long, is it because he's remembering these scenes unreliably? Is Aziraphale imagining the events? Is it because Jim is present? A brief fluttering thought I toy with from time to time is the fact that in the before-the-beginning scene they are long, and what that means in context of the rest of the season.

S2 Promo Posters

Finally this set of season 2 promo posters showing the characters thoughtfully considering scenes in their heads just gives me a lot of these POV vibes.

I'm planning on doing individual posts for specific scenes, episodes, and minisodes that require detailed breakdowns. I'll update this list with links as the posts are finished!

POV "Your 'Something's Wrong' Voice"

POV a Trip to Hell and a 25 Lazarii Miracle

POV a Companion to Owls

POV The Dirty Donkey & I think I Found a *Clue*!

POV Bodysnatchers & Cosplaying a bookseller

POV 1941

POV The Ball

POV The End?

Whose POV is it Anyway - a Conclusion

[communistkenobi]

this might make me sound ignorant but is the radfem part of term not about hating men? they hate trans people, they hate men and they view both as predatory, obviously men are not their primary targets but I feel like it would be incorrect to say that they don't hate men, especially since many of them believe in gender separatism (which is bs for numerous reasons). it's wrong to bring up men every time someone talks about the transmisogyny terfs spew bc that would be derailing the conversation but can men (trans/cis/whatever) not express how they've been hurt by terfs in their own posts or conversations? apologies if ive completely misinterpreted what you were saying I just want to understand the topic better

I’m not disputing that terfs hate men. However, I think it’s an error to highlight their hatred of men as ideologically significant. Sure they talk about hating men, but their political alliances reveal that dismantling patriarchy, or a desire to oppress men, is not a concern for them, given that they support the criminalisation of sex work, the state enforcement of sex as biologically determined, and are allied with the same right wing groups (such as the Heritage Foundation in the US) that want to criminalise abortion and reinstate “traditional” white western gender norms. If you view terf political goals through the lens of hating men, then their political efforts have overwhelmingly been a massive failure. Which I don’t think is very useful analysis!

A hatred of men is also not politically useful in general, because there is no money to be made or political battles to be won hating men. Hatred of men is not a systemic issue because men are not oppressed as a social group on the basis of their manhood. There is no political or financial infrastructure built on the foundation of hating men, nor is there infrastructure dedicated to maintaining a systemic hatred of men. Hating trans people, however, is extremely financially and politically lucrative, particularly hatred of trans women/transfems, because of how transphobia and misogyny intersect with and reinforce one another. There are ample political, financial, medical, and social institutions that operate on the maintenance of patriarchy, many of which terfs share a political platform with. So terf hatred of men is clearly not that big a deal given how willing they are to ally with right wing groups and fascists, who are the last people on earth to tolerate the oppression of men as a political goal.

This is why people (myself included) take umbrage with the continued insistence that terfs hate men as a central foundation of their beliefs. It’s not incorrect to say that they hate men, but hating men is not the problem with terfs. Hatred of men is not an inherently reactionary position anymore than hating cis people is. The problem is the way terfs conceptualise gender, and the political goals that flow from that conceptualisation, which affects all trans people but primarily affect trans women/transfems. The spectre they raise about bathrooms, about sports, is always the age-old transmisogynistic conspiracy of “a man in a dress” “invading women’s spaces” because the historical legacy of transmisogyny looms large in public consciousness, and reinforced by medical/psychiatric institutions in particular, in a way that hatred and fear of trans men does not (autogynephilia exists as a mental illness but autophallophilia does not, for example. Julia Serrano talks about this in Whipping Girl if you want to read more on the subject). Terfs don’t care about trans men in men’s sports, they don’t raise the counter-spectre of trans men being mass assaulted in bathrooms by cis men who discover that they’re “really women” - these are not rhetorical moves that are interesting or useful to them, because it does not position them as victims. Trans men are hurt by their transphobic rhetoric, suffer under transphobic laws that are passed, and face transphobic discrimination from people in their lives as a result of how mainstream transphobia is (and I am speaking from significant and traumatic personal experience on this front). We are not, however, the face of the transgender boogeyman, and we are not the primary target of terfs. We are targets because we are trans, not because we are men. To be dismissive of the claim that terfs hate men is not a dismissal of the pain and violence transmascs go through, because our oppression is not founded on our manhood.

So when you see terf political efforts and terf rhetoric, their obsessive focus on trans women as arch villains who need to be destroyed, and you come to the conclusion that a hatred of men is the animating force behind terf political activity - that is a transmisogynistic conclusion, both because you are framing their transmisogyny as something that is primarily informed by a hatred of men, and because “terfs hate men” is a non-sequitur in discussions about the political and social damage that their beliefs cause. If terfs hate men, they do so as a hobby, and I don’t really give a fuck about their hobbies

[aniraklova]

ANDRES DAGON for just julia @plumbewb

Andres Dagon grew up in party city of Windenburg, surrounded by the rhythms of music, the energy of dance and endless partying. From a young age, Andres was captivated by the art of movement. His parents are both lawyers, but always supported their son's choice, to dance. As a teenager he joined a local dance crew and quickly became known for his talent and dedication. They were taking a part in lots of dancing competitions. The boy spent hours practicing different dance styles, immersing himself in the world of performance. The dancing has become the meaning of life for Andres. He started to teach others the dancing styles at the local art school not long ago. During free time Andres hangs out with the crew, partying and having a good time if you know what I mean. The other free days he just chills at home, now having not a really good time after partying and attends gym later. By the way, Andres lives alone after inhereted grandfather's house near Windenburg. Andres wants to make a family one day, in fact he has a great start, but no one's around him. The crew of course is there for Andres, they are great friends, but it's about the true love and feelings. Being a party animal, Andres had lots of fleeting affairs, nothing serious though. It has been okay till recent days and to be honest our guy, since he saw Julia, he couldn't stop thinking about her. Is it love from first sight or another fleeting affair?

[zoropookie]

WHAT YOU WON'T DO FOR LOVE (WYWDFL) — NINE

YOU couldn't be having a worse halloween night. choose your fate with your fellow readers and see if it gets better!

chapter 7.5 — chapter eight — chapter ten

soulmate!wanderer x gn!reader

You didn't think you were ever going to get an opportunity like this again.

In the midst of apprehension and fear, you stood there next to your captor stiff. Standing in the lingering shadow of your own fate, heart beating fast in your chest, the drumming in your ears getting louder with each second passing. You don't know if it was the winds shiftiness that was making you unsteady, or the sore wrists you inhabit, but something was clawing in your chest.

You couldn't let it show, not now. The car hummed lowly in front of the two, and as you narrowed your eyes towards the guy, your throat tightened. You had a window, one moment to speak up and this would probably all be over. You wanted to cry for help, as unrest clamped hard on your throat.

"I'm only checking to see if you kids need any help," She called out, her voice soft but probing, like she already knew something wasn't.

"We're fine," He said, low and controlled with a certain gravel, cringing at his pacing. You felt like you were splintering apart. "Everything's fine. We're a little tired from a show."

"A show?"

Yeah, if we're calling wild goose chases 'shows' now, I'm sure you won't tell her that, though. You could only smile with a more comfortable aura this time to mask the tension, but your eyebrows were furrowed. "College adaptation of Scream. Spooky...!" You wanted to raise your arms to do jazz hands, but you doubt that would make it look any less suspicious.

The woman's eyes lingered on you a minute longer, face creased with confusion. She hesitated, glancing at the man beside you, slowly absorbing what could be going on here. She tapped on the wheel in thought, her head tilted. "My granddaughter loves those movies, I believe," She said slowly. "Maybe you two go to the same school as she does?"

You looked at your kidnapper, to which he looked at you back, the both of you with side eyes. The dryness in your throat making it more difficult to speak. "Yeeeeah!" You both drawled.

"What a small world. Pretty sure she was the only one who at the rehearsal, we told her to get out, but she just kept insisting." He forced out, the smile on his face twisting into a little bit of a rougher one as he started becoming impatient. The laugh from his throat was hollow, almost foreign, as if it came from someone else. You were crumbling yourself, breaking down bit by bit.

"That sounds like my Julia," The woman said lovingly. "Be sure not to keep those ties on you for too long there, okay? You two are quite dedicated to the craft, I hope to see you out there!" Her voice was soft, probing, but with hardly any suspicion anymore.

It was unfortunate how bad your heart dropped in your chest that there was no. A specific feeling crawling up your spin like icy fingers, she gave you one last look, as if she was trying to find something, a little...unspoken cry for help. You stayed quiet as a mouse, still. "Have a good night, you two." She reached for the gear shift, and the car hummed softly.

She pulled away as the two of them smiled, eyes tracking the slow moving car. Her taillights casting a faint red glow over the darkening streets. She was gone, and in the moment that you two were standing there in the wake of the closest call you could muster, the brief flicker of what you thought was hope was extinguished again.

You squeezed your eyes shut in exhaustion. You were so fucking close; so agonizingly close, even. The universe was turning its back on you yet again as you stare at the distant and foggy path.

But...? For some reason, you felt relieved, too. Not with how your situation faired currently, but that you may have saved a life. You didn't have that much going for yourself right now, so it was nice to feel like you at least did something right. That feeling in your chest made you want to climb mountains, though for a brief period of time until you looked back at your kidnappers severely handsome face.

He seemed to be in thought too, but for a less innocent reason you could easily scope out. "What now? You gonna cut me up and stuff mashed potatoes in me like I'm a turkey? Do it."

"I'm glad you still have the heart to make jokes," he replied, cocking his head slightly as if trying to figure you out. "It makes me feel less bad for what's going to happen next." His fingers drummed adroitly on the hood of the car, each tap threatening your neck like a coiled snake.

"Oh, fantastic!" You threw your conjoined wrists up in defeat. "You know what? You're full of shit, right? Because you don't even know if I saw you stab your friend, and even if I did, why would I snitch you out when you're quite obviously going to come for my cheeks?! You should be thanking me that I saved your ass, but instead you're doing this bit where you act all mysterious and try to keep me on my toes. Jokes on you, I've watched Twilight before. I know what guys do to chase their toys."

"That's nice." He droned. "I have no idea what you're talking about."

"I have no idea why you want to kill and murder me, either, but we move on, I guess!" You spat, before sitting on the gravelly path and loosening your shoulders. "I give up. If you want to leave me like roadkill on the side of the road, do it. I don't want to go home, anyway."

He was irritatingly handsome in this light, like a villain carved from some god damn ancient myth, indifferent to your fate. Like you were just a mere mortal to him, and his lips quirked in a small and solemn smile. As per usual, he found it funny that you were throwing your hands up and surrendering. "I didn't go through the trouble to do that."

"Yeah you did. You're all the same." You shot back, your voice sulky and heavy. "It's always this fucked up game to keep you from getting bored. Until you find the next one."

He knelt down, the darkened gravel crunching under his shoes. "You don't know shit about me to even be concerned on whether you're dying today, or tomorrow, or any time soon." He said so quietly his voice was almost a sharp whisper only you could hear. He was turning your words over in his mind, shaping it himself. His face was inches from yours again, holding a long gaze. "But you're right about one thing."

Your stomach churned, and just as your fears predicted, you sucked in a deep breath, your mouth falling ajar before looking down at your shoulder. It took you a minute to process what happened before a large, crimson stain ate away at what was left of the fabric there. You felt warm, a different type of pain from what your body was already experiencing.

"I do get bored easily."

You could barely grasp onto what he was saying properly from how your shoulder screamed, excruciating lapses of pain rushing through your body so prominent that you fought not to pass out. You didn't care to try not to cry and wail in pain, you had nothing to lose.

Crimson spilled from your hands as he forced the knife out, the gushing of the liquids leaving him to marvel at your inner turmoil. Impenetrable enjoyment, as you already noted flowing through his body as he let out a resigned sigh. He lifted his hand to grab violently at your face, holding it with little regard in his hands, the metal of the ring on his thumb almost splitting a part of your chin.

"No more." He said finally, tone devoid of his previous one. "We're done playing, 'soulmate'."

no poll for this chapter! (you guys are kinda bad at this, no offense. see you next week!)

taglist ♢ @kinvasions @kazumiku @animeobsessed56 @levianamor @auroratumbles

@mellowberrie @scarawiki @xxxion @shutingstar @feikyuu

@mercy-not-merci

[lenetaylor]

John Lennon's collage "for" Paul

I was very curious about the collage image going around tumblr (e.g., here, here, and here) that was identified as being made "for Paul" and titled "I Only Have Eyes for You", and done by John Lennon "at art school". Here it is; I scanned this from Julian Lennon's book Beatles Memorabilia: The Julian Lennon Collection (by Brian Southall and Julian Lennon, 2010)

You can see that Paul has written at the bottom "J.L. Collage - To Julian - love Paul x".

The book caption reads

A distinct and original collage of faces and bodies dedicated to Julian from Paul. It was created by John and given to Paul.

But the first time this previously unseen collage surfaced was in 2000. It was included in a show held by artist Peter Blake at the Tate Liverpool, called About Collage.

An article in The Independent at the time says

A John Lennon collage never seen in public is to feature in an exhibition that opens 30 years ago to the day the Beatles split... Lennon's collage, done at art school in the 1950s, comprises faces and figures cut from magazines, and features a number of eyes and lips pasted on images of girls. Blake said: "The style tied in with my Sgt Pepper's album cover, which was simply a more organised version, with bigger heads." Natalie Rudd, who helped curate the exhibition, said: "No one really knows much about Lennon's collage. … It has no title and is rather dark, with a lot of black and red and we can only guess at what he was trying to say."

In this 2009 Guardian article, Blake says,

By then I knew that Paul McCartney owned a collage that John Lennon had done, so I borrowed that. Paul also made a sound collage of Liverpool, and he made an artwork too.

Another quote from Eye Magazine in 2000:

He hopes to borrow an unseen art school collage by John Lennon, owned by Paul McCartney.

There was a book produced to accompany the show, called Peter Blake: About Collage (2000). The collage is reproduced in the book:

The credit reads "John Lennon 1940-1980, Untitled, late 1950s, Paper collage, 970 x 675mm, Private Collection". It does not have the handwritten note by Paul at the bottom.

Peter Blake's comments say:

I have followed Paul McCartney's career as an artist, so when About Collage emerged, I suggested that he made a collage, perhaps from sound, which he has pursued. John Lennon made a collage at art school during the late 1950s which is included in the show.

Paul did make a sound collage for the show, and released it as an album called Liverpool Sound Collage; some of it is on YouTube. (There used to be a website for it, long gone now, but you can see bits of it at the Internet Archive). Here's his artwork, titled The World, mentioned by Blake above (the central image is a back and white photo of Jerry Lewis):

So, to summarize:

The collage does NOT have an official title. I don't know where the "I Only Have Eyes for You" title came from

It's not clear that the collage was made for Paul specifically, only that it was given to Paul, date unknown

It's not clear if the collage Paul gave to Julian is the original or a copy

It seems unlikely that it was made at art school, as some of the images are of women in classically mid-1960s clothes and hairstyles. The only source for the date of composition seems to be Paul

It's not stated who gave the collage to Paul - it might have been John, but it could easily have been Julia or Yoko (or even Cyn?)

Paul's artwork was NOT made for John

PS. I looked through the book Paul McCartney: Paintings but the collage isn't mentioned.

PPS. I tried doing some image searches on the clearer photos of women in the collage, but got no results. Perhaps someone else will have better luck.