#flare art 2017

[inureor]

lil guyyyy!!!! :)c

[lyn1catz]

owo you're finally awake!! o_o wut global pandemic? war? ur crazy xddd its 2017 come on scootaloo loves sans just uploaded a new video let's go watch it x3 *le dance*

[stormvanari]

engie’s sleuth suit got in for Smissmass 2023

it’s darian’s OF!AU default now cause i am a big fan of long coats

[insecateur]

ten years ago i decided to draw a team flare sycamore design to my tastes and this guy came out. in celebration i redrew my very first art of him for the second time🥳

i'm putting the original + 2017 redraw under the cut

[donnyclaws]

I'm sure the creation of Leopard has been a healing experience for you. I just want you to know Leopard is that for others too. More or less speaking for myself, I mean. I've dealt with a lot of internalized homophobia (as a non straight traumatized masc transthing) and it really affected everything in my existence. Deep down I've always been interested in drag, but never let myself persue the thought without a battering of slurs in my head. Seeing how you depict them, how you draw everything- it's cathartic. There's such a visceral nature to the existence of it and I think I needed that. I use to sneak around to even just try putting on lip gloss on out of this deep shame in me. I'm more than a man, but at the same time had masculine ideology hammered into my head. If I wanted to be accepted as one, how could I freely explore something like that?

Around the same time Leopard came into fruition, it felt like I started loosening up. I vaguely spoke to my partner about makeup, and inspirations, how I wanted flare to it. Thhat if they wanted to do mine, I'm fine with it. That if I were to wear anything, I want it to halt a room. I wanted uniqueness. They were in so much support when I expected mockery. Not because they've ever treated me that way, just because my biggest enemy has been myself.

There's such a cathartic feeling in the idea one day I'll get the guts to really go all out in the drag I want. I read a post from you about all the parts being what abusers wish you left at the door. That speaks to me, all of it did. But I think there's an appeal behind this because I can just be someone else, even if only for a night. Masking someone else over the insecurities underneath. I'm not sure if I'll get there one day, but you are massively an inspo for me. Not even just in drag, art in general. The way you compose and color things I've been trying to grasp and put towards my work since, god. 2017? It's insane the progress you've made. Keep kickin it, tiger you're doin great things.

Sorry I took a sec to answer this, I feel insane about it. Leopard's been completely huge for me, both for body image reasons and trauma processing. There's no normal way out of what happened to me and my body, this is the only way to navigate it and accept it. I love hearing your perspective, I so deeply relate to wanting to be something that Halts a room. Some kind of loud, abrasive, large and off putting feminine monster, that line where sexuality repulses people because you're not desireable in traditional ways. I hope you can start playing around with things if you haven't already, I don't know if I'll ever have the guts to perform or really go full out either. But making art, making horror tropical, making Leopard and doing makeup in the dark has completely changed my life. It's given me a future I want to get to. And those small tastes have only made me hungrier for it, more sure that drag is inevitable for me. Thank you so much for taking the time to write this, it means the world to me. ❤️‍🔥

[brightoakgame]

Author's Marginalia - 4

This year is edging closer and closer to ending, and simultaneously toward the beginning of the new. It feels like there has been something lost in Western culture; back when the winters spanned longer, darker, lit with candles or the shadowed flickering of gaslight, so did our stories trend more to shadowed tales and huddling together for warmth. A Christmas Carol is a ghost story not because it is a seasonal outlier: rather, it was shaped from the coal smoke choked skies of Victorian England, caught between the dreadful and furious progress of industry, and the haunted trappings of ancient tradition.

December is a liminal space, neither here nor there, an end that anticipates a beginning. No wonder, then, how easy it is to feel set adrift.

(content warning: grief and depression)

I, too, have occupied a liminal space these last few months, attempting to push through some of the most severe burnout and depression I've experienced in decades. It has been slinking in the corners of my mind since midsummer, sometimes only glimpsed in the periphery of my vision, sometimes flaring out abruptly and swallowing all thought and reason with its ferocious, ever-hungry maw, so that I too become part of that echoing, dark--nothing. Sometimes it feels like I am inhabiting my own world as a ghost: I go to raise my stylus or address my keyboard, and my hand seems to pass through it entirely. I drift from room to room. I converse without any substance. I am a poltergeist that opens the cupboards and doors and goes through the motions, and yet my efforts at normalcy only seem to disturb the other inhabitants of my life. People turn to speak to me: I am not there. My partner complained recently about the bourbon-soaked phantom that wore my skin the night before, expounding on their very genuine desire to be carted off by the fae and eaten. He was unamused: the tipsy phantom had been in deathly earnest. I reminded him patiently that he knew who I was when he married me, and laughed it off.

The fae did not respond to my summons, which I am grateful and sorry for by turns.

December intrigues me more and more as I grow older, because I see December as a month of both storytelling and death in equal measures. I do not place more weight on tragedies than I do on comedies (if anything, I find comedy much more challenging!), but as desperate as I am for connection in art, death and grief are irresistible as mysteries and great unifiers.

Each breath comes with an inhale, and then exhale; every life will at some point encounter death. And grief, in my experience, loves to tell stories--the things that came Before, the things I maybe did not know, the embellishments given to quite ordinary things, crystalline now as past, exquisite and multi-faceted with loving truths and illuminating falsehoods.

I began writing Bright Oak in 2017: a very different time, feels like, though not so long past in the bigger picture. Between then and now, I've known many deaths and Deaths, rebirths and (quite literal) births, losses and gains. Friendships have washed upon my shores and receded again, as friendships seem wont to do, reshaping my perceptions, sometimes gently, sometimes not, and often leaving treasure in their wake. People are at heart truly, painfully lovely animals, I think.

I write because I want to understand better than I do; I write beloved friends and well-intentioned enemies, and they spirit me away to a world beyond, someplace where the water and air carry our meaning further and with more clarity, but with voices never too loud, never too harsh. I can hear them all. I know them better than I know myself; they know me better than I know myself. And they, too, will eventually fall to ebb tide, and wash back out into the vast sea of a world of things I do not properly understand. But I get to treasure them for that little time, and now I wish to share them with others before they go, like a collection of beautiful shells and pearls wrought from all I fear and all I do not understand.

Death visits us all, and so many, many times. I do not have to dig to know that I start the vast majority of my stories with accidents: I can pinpoint the day I felt my childhood ended, with the loss of a dear friend in a car wreck. The end of one chapter, when things were more heedless, but safe; the beginning of another, when things were dangerous, but a little wiser. There have been many, many chapters since. We are each of us anthologies, to a one; our tree rings show the times of plenty and the times of drought, the fires and the trauma, the slow recovery, the growing-over of scars, the knots and flaws and fine-grained beauty.

My favorite cemetery in town is a public park (and I admit, if this doesn't out me as a former goth kid, I don't know what would). One of my very earliest memories in life is of going to a playground with my mother on a bright weekend morning, trying to bring the sky ever closer while playing on the swing set, and making a new friend in the process. They asked if I knew what ghosts were: I did not, and they explained succinctly that ghosts were dead people that now chased living people, and did I want to play ghosts with them, since there were gravestones right over there-- a clear harbinger of ghosts being present?

I did not enjoy the game; I did not like being chased by ghosts in a rough and tumble round of monster tag. My mother, perhaps to calm me, pulled me aside and proceeded to read to me the poetic epitaphs of the last century headstones that bookended the playground, telling me how much she and my grandmother appreciated these final words set in stone: sometimes rote, sometimes religious, sometimes romantic, sometimes cryptic (pun fully intended).

It often recurred as a setting in dreams during my teens and early twenties. It wasn't until far later, when I moved back to my hometown, that I realized that this was a place that existed in reality, and was not merely a mishmash invention of dreams. After all, what cemetery has monkeybars and a swing set?

It's an old burial ground (at least, by Southern California standards); the graves outlasted the people still around to tend them, and sometime in the last century, it fell into extreme disrepair, and eventually was closed off to the public. Further, it was entirely bulldozed over when miscreants regularly gathered there for the purpose of vandalism and unrecorded mayhem, and after some hullabaloo over the matter, a handful of the old gravestones (belonging, of course, to the more prominent of the permanent denizens) were collected and lined up tidily in the corner of the green space, like a forgotten backstop, craggy granite guardians of the nearby playground.

I love this place, filled as it is with towering old trees, screaming children running amok (and quite possibly playing ghost-tag), people laying out obliviously to sunbathe, or picnicking blithely over the many-hundreds of dead some feet below the surface. It is such a poetic space to me, because try as we may to circumscribe death to a remote and out of the way corner, divorced and isolated from all things Life, it strikes me that death is the very foundation of all life as it proceeds. Death is in the day's end, the unfinished arguments, the words left unsaid, the little losses, the griefs we carry that we are not the person we were, and have not become the person we meant to be. Grief is the bittersweet knowledge that once I was one of those shrieking children, and once I sat on the periphery of the park, oblivious and sipping a coffee, and then I learned its story, and now I am able to tell it--and someday, someday I shall likely forget it, and tell it no more.

We are all the fickle authors of our own stories, and we all know the death that comes with the ending of one chapter, the bittersweet grief of letting it go and beginning anew. I dearly hope December treats every one of you with kindness; that the stories you tell, and those which you tell yourselves, bring warmth and comfort. Even ghost stories are not all bad--particularly when we can all huddle together around the bonfire, peeking at the stars as they show between plumes of smoke.

In this time of intense personal darkness, I am looking through the smoke to those stars. I am grateful for those who huddle at my side, imaginary and otherwise. And I look forward to the beginnings which I know to be just there, over the horizon.

B.

[dovelydraws]

If you don't mind me asking,

What's art styles ended up influencing .. Well your art style?

Oh, this is a fun question, thank you for asking!

Hmm, I think it's a little hard to say since I've been drawing since I was basically a toddler, lol. Every little thing I've ever enjoyed has had some sort of influence. I'll try to go through the timeline though.

When I was a little kid, I had a special interest in zoology (still do! but it's not as obvious as it was back then.) I used to wake up first in the house specifically so I could turn on the tv to the animal planet channel and just watch documentaries all morning, and I carried a giant animal kingdom encyclopedia with me to school every day to just flip to random pages and read whatever popped up. During this time of my life, I pretty much exclusively drew animals- particularly elephants, canines, and horses. I had no interest in people.

I had no real interest in stylization at this point- obviously as a little kid I was never able to achieve perfect anatomy or anything like that, but I was more interested in making my animals look real than cartoonish- which meant I was never really influenced by the disney movies I was watching, since they stylized their animals so heavily.

I remember the dreamworks movie Spirit held my attention for a very long time, and I think it may particularly have been that way because the horses looked and acted more real than they did in disney movies. They were still stylized of course, it was a cartoon after all, but it wasn't to any extremes. I still find myself wanting to mimic that in my animals now; cartoon, but not cartoon-y.

I think these two gifs help illustrate my point lol.

After this exclusive animal obsession (followed by dinosaurs, and then dragons) I got really into Sonic the Hedgehog around age 11. Drew sonic characters, and made my own OCs for it, for basically the entirety of middle school. I've pointed out in the past that it seems the way I draw hands was heavily influenced by this phase

Very round, almost rubbery, where the ends of the fingers tend to flare out a little bigger than they are at the knuckles.

Then after sonic, I got into my first anime, Soul Eater, and this is really where I first started venturing into drawing people and more realistic human anatomy.

Interestingly, this artstyle seemed to also do the Sonic Hands thing, lol

After this I had a big anime phase, as well as just a general "I want to study actual human anatomy" phase during early high school. I was following a lot of skeletal/muscular system tutorials during this time.

Following that I started getting back into american media, in particular I remember invader zim, steven universe, and tmnt 2k12. I'm not sure I can really tell myself where the steven u artstyle is present in my own, but I've had people tell me they can tell I was into it at some point after saying so.

Then there was the Rubberhose Boom of 2017, with the release of Cuphead and BATIM very close together; I had a big hyperfixation on that artstyle specifically at that time, and I feel like I may owe some of the loose-ness in my artstyle to that.

Then, I suppose, we come to Rise of the TMNT. That show ended up being a major inspiration to me, and I think I owe a LOT of recent artistic growth to it. Rise pushed me out of my comfort zone big time. I always liked doing dynamic poses, but rise encouraged me to push things further, and I started drawing more backgrounds and making bolder color choices because of it as well.

I think my artstyle became just a bit more angular after drawing so much fanart as well.

And I suppose that's where I'm now at presently! Aside from media, I also can't say I'd be where I am artistically today without the influence and support of my many friends. :) I owe a lot of things about my artstyle, particularly specific things like my lineart, to compliments my friends paid me which made me pay more attention to the things I was doing accidentally that they happened to like, then making it purposeful and more refined as a result.

[knight-gwaine]

As Travars | Side Bar Icon

New edit for the side blog! Inspired by my old experiments with Photoshop back in 2017.

It feels so good to play around with editing again, wow.

Okay so yeah, let's talk about this for funsies.

This edit essentially takes a screencap and layers a ton of old downloads of texture packs, etc. from ~2012 Tumblr days of Photoshop/Fan Edit Resource blogs. I used to love goofing off with all the textures but didn't have much direction but aaahhh, years later with college in art under my belt ;) girlie feelin spicyyyyyy with some storytelling

I've been loving the aesthetic of alluding to constellations, stars, celestial beings, etc. with simple lines and dots. Then you add in the variation of fun circles that stand in for different planets and galaxy clusters. Mm, definitely enjoying the abstract geometric vibes with the more organic elements.

The light flares are just giving off TARDIS energy, I mean come on. Atmospheric ;) Then we got the birds that represent travel alongside the Doctor?? Maybe some references to companions??? And do I need to explain the two hearts, hehe.

As in the nature of a multifandom blog, we have "As Travars" from A Darker Shade of Magic, essentially meaning "to travel" <3

[clem-fandang0]

ENHYPEN 8TH MEMBER

Members Profile: Millie

Stage Name: Millie

Birth Name: Jung Millie

Korean Name: Jung Min-Yeon

(Face Claim: Kim Dayeon of Kep1er)

Position: Main Vocalist, Centre

Birthday: 24th August 2003

Zodiac Sign: Virgo

Chinese Zodiac: Goat

Height: 173 cm (5'7")

Blood Type: A+

MBTI: ESFP

Nationality: British-Korean

Representative Animal: Mouse

Facts about Millie:

Millie has a twin brother and an older sister, but she's closer with her brother (Applicant Profile)

Born in London England. She moved to Korea with her brother when they were 15 because she wanted to pursue a K-Pop career and her brother wanted to become an actor.

Training Period: 1 year, 8 months.

She ranked 3rd in the final episode of I-LAND with 1,179,633 votes.

Lovelies is Millie's fandom name created by fans.

Education: St Albans High School For Girls, Hanlim Multi Art School.

Habits: Chewing her lower lip (in interviews, the members can be seen pulling her lip from her teeth), flaring her nostrils when she's mad, smoothing her left eyebrow when concentrating.

Millie's favourite colours are purple and maroon.

Her family have a pet dog named Sylvia and a cat named BB.

She is a former SM Entertainment (2017-2018) and BigHit Entertainment (2018-2019) trainee.

Her role models are The Boys' Q, TXT's Taehyun and BTS' V (Applicant Profile).

Millie's charm is speaking English to the members to help teach them, but also forgetting words in Korean/English and filling them in with the other language.

Specialty: Singing, dancing, eating quickly and ice skating and badminton (Self-Revised Profile).

Hobbies: Watching TV shows that she's already watched, dancing in the rain (Self-Revised Profile).

Charming Point: Impressions, sparkling eyes, wink (Self-Revised Profile).

Her nicknames are Mills, Millington (Jake), Milton (Jake), Millicent (Jake), Minnie, Yeonie, Neo (Self-Revised Profile).

Likes: Jungwon, Jake, all the members, chocolate, massive hugs, forehead kisses, kimbap and ENHYPEN (Self-Revised Profile).

Dislikes: Being lied to, staying inside when it's raining, people bad-mouthing England (Self-Revised Profile).

Her motto is "Oh well..." (Self-Revised Profile).

Click here to read more about Millie

[aculka-the-shark]

Revisiting old hyperfixations can feel so so good sometimes. It feels like meeting your old flame and kicking it all once again.

I swear I would shut up about ebf at some point (maybe), but I remember playing ebf 4 back in 2017 when I was still a snot nosed teen, having a blast, and then revisiting this experience is just like finding a bag of old childhood toys while cleaning up the closet. Even if it’s not as exiting as you remember, or much easier and shorter than you experienced back then, it’s still nostalgic with all of it stupid jokes and flash games flare.

If you are here just for Touhou or jojo, my bad, but I am looking through my old “toybox” and giggling like a small kid.

I have ancient buttfugly art of Lance somewhere in my sketchbook from 2017, but it’s too embarrassing to post tbh( I wanted to post it under the cut, but even though I am not shy about posting my old art, this time I am not going to.

[sitp-recs]

I'm always so nostalgic for the aideomai, galla, warmfoothills, seefin type fics ykwim?? Those fics that are poignant and hard-hitting with a nice emotional payoff. It's like they've thrown you into freezing water before wrapping you in a blanket and warming you up. Sometimes I'm sad that my favorite writers have stopped writing/gone on breaks but that's always overshadowed by how overwhelmingly grateful I feel that I can even experience their works at all. Gushing with friends about year old fics, seeing recs that perfectly articulate everything I've thought—it really makes things seem fresh and new. And lately Ive found a group of authors that seem active and write with the same flare that I've been looking for for awhile, which is so exciting and amazing! Fandom is just such a special place, it's bittersweet to see people come and go, but makes me hopeful to think that everyone who spent time making and viewing works got what they needed from that. And it's just fun continuing to appreciate legendary authors while welcoming new people :)

What a lovely commentary on fandom and the passage of time! I’m prone to nostalgia as well, and I feel you on the bittersweetness of seeing people come and go (even if the authors you mentioned are quite recent in my mind - what do you mean 2017 wasn’t yesterday?? lol)

Between jkr’s increasingly harmful behavior and RL happening (people moving on, getting published etc) it’s understandable that HP may have lost its magic to some people. But as someone who took many fandom breaks over the last 18 years, I don’t see them as something necessarily permanent. If anything, they were a healthy palate cleanser and helped me find new ways to interact with the community and to contribute in a more creative manner, even if I’m not a creator myself. I’ve only abandoned my lurker days because I left HP to join another fandom in 2012, and I’ve only created this blog because reccing in that fandom gave me the confidence to do it, so in the end everything worked out 🙌

Lastly, I love what you said about the joy of welcoming new creators! HP is such a special fandom when it comes to that, I’m amazed by how many people keep joining the community every year; Tumblr and Discord are flourishing and there’s so much fic and art being created, so many collabs in the works, so many fests and new friendships being formed and so much more representation. It’s heartwarming to see and it makes me excited for what’s yet to come. I don’t know how long I’m staying around but I do know that I’m still having lots of fun and finding “your people” is an integral part of the experience. I’m grateful I found mine and I’m so happy you found yours! Here’s to more years of appreciating old and new classics, making new friends and reading excellent Drarry!

[chepseh]

TM Rewatching Gedanken Teil 14

SPOILER ZUR OPER TURANDOT

Die chinesische Prinzessin - der Geist ist willig, das Fleisch ist schwach: Eigentlich findet mein innerer Boerne Nerd die “Verführung auf’m Seziertisch” Szenen so aufwühlend punkto Charakterisierung, dass ich haarkleine Analyse über jeden Mucks in den paar Momenten schreiben wollen würd - meine Faulheit ist am Ende aber doch stärker. Vielleicht hät’s anno 2017 noch geklappt, wo mein TM Feuer allgemein stärker loderte. Es folgt jetzt dennoch ein vergleichsweise la-haaaanger Post.

Herr Lichtgestaltung war in der Folge vermutlich ein seeehr glücklicher Mensch, denn scheinbar hat die Regie ihm? gesagt, an Beleuchtung soll künstlerisch diesmal rausgeholt werden, was nur geht. Freut mich ja eigentlich, wenn Tatort versucht optisch etwas aufzudrehen statt 08/15.

Bestes Beispiel Rechtmedizin Szene: Es gibt KEINEN “vernünftigen” Grund, warum sie hier nachts in rot-blau leuchtet. Wir sind in anderen Folgen x-mal nachts im Keller, und die normale Beleuchtung funktioniert! Wo befinden sich die bunten Leuchten überhaupt, fand der Chef es beim Eintreten mit dem Date “romantischer”, irgendein Notstromaggregat?? anzuknipsen? Heidewitzka, gegenüber der Frau selber dorkt er nur rum, aber illuminös hat der Professor es schwer drauf. 

Ähm, ja, natürlich ist das Licht “halt so”, damit die Stimmung irgendwo zwischen Gefahr und Anziehung besonder gut rüber kommt, check ich schon.

Schmacht schmacht ... so wie sich mir alle Boerne x Songma Szenen aufschließen, wollte er schon bei ihr als Frau landen, nicht bloß Künstlergespräch über ihre Installationen führen und gut is. Schön deutsch hätte er halt zu Ende des Abends ca. mit einer zugesteckten Handynummer als maximalen Erfolg gerechnet, nicht dass die Gute gleich Nägel mit Köpfen macht und mit ihm durchbrennt.

Ob der Blick durch die Glasvitrine eine Anspielung auf die berühmte Szene mit dem Blick durch’s Aquarium aus Baz Luhrmans Romeo + Julia sein soll? Vermutlich interpretier ich über.

Und jetzt wo sich in der Eroddik und der Gefahr alles zuspitzt werden artsy fartsy auch noch die lens flares rausgeholt, yay!

Braver Junge nimmt kein Koks - dass die Zugekokste aber dann gleich mit ihm Sex haben will, geht doch an sich sehr ok mit dem Nüchternen. Dem Blickwinkel, den ich teils aus anderen Analysen meine rauszulesen, dass er gegenüber Songma ein bewegungs-paralysiertes Reh im Scheinwerferlicht ist, kann ich mich nicht anschließen. Sie mag sicher die aktivere sein, er der überrumpelte, aber per se zieht er bei der “Entwicklung des Abends” trotz allem consensual mit.

Vorhin hatte Songma ein Menschenherz in die Hand genommen, und mit Boerne darüber geredet dass man auch mit Organen eine Art künstlerische Inszenierung basteln könnte. Hier nun hab ich dreimal Kucken der Folge gebraucht, bis mir aufging, sie will eben nicht nur ein “Jetzt pack mir schon an die Tüten, Herr Professor”; sondern sie spielt tatsächlich schon Inszenierung mit menschlichen Herzen im Kleinen durch - schließlich müsste der Professor gerade ihres, sie gerade seines fühlen können. Clever! Wegen solcher und erstaunlich vieler anderer Kleinigkeiten in den ca. drei Minuten? Rechtsmedizin find ich das Ganze insgesamt sexier als vieles andere was wir sonst punkto “Ringelpietz mit Anfassen” in Tatorten oft serviert bekommen. Nu ja, die generelle Attraktivität der Involvierten hier hat wohl auch noch seinen Teil beigetragen, öhöm ...

Hot take, wobei ich denk grad die Slasher sind happy drüber: Ich denk “heisser” wird’s auch nimmer in Münster; an erster Stelle weil die Schauspieler auf Rentenalter zugehen. Ja, eigentlich auch ein Klischee mit dem aufgeräumt gehört, aber ARD ist grad vollends mit mehr Queerness beschäftigt, dass sie daneben auch noch Abschaffung von Ageismus und Ableismus und etc. schaffen, trau ich ihnen ehrlich gesagt nicht zu. :P Oder denkt ihr, bei den Münchner Tatort Hauptdarstellern wird nochmal blank gezogen? Näääh. Falls ich gerade Drehbuchschreiber nun zu was provoziert habe, ja bitte gern. XD

Hau drauf, Lichtgestaltung! Die Freunde helfen Boerne, es sieht langsam besser für ihn aus, daher fällt nun auch pralles Sonnenlicht in den Rücken von Alberich, als sie positive Nachrichten bringt. Während der Blau-Touch im Vordergrund nochmal ausdrücklich an Vergangenes erinnert. ... In früheren Episoden wird behauptet die jetzige Rechtsmedizin liegt im Keller, woher genau kommt da das Sonnenlicht? Riesiger Luftschacht? Andere Folgen scheinen bei dieser Glaswand nahezulegen, dahinter ist nix? WHATEVER, künstlerische Freiheit, jippieh.

Nebenher, wenn Songma in der Folge so halbe für Turandot aus der Oper steht, steht Boerne dann wohl für Calaf - und bei Alberich mein ich, durch ihren Part bei der Rettung, der emotional erstaunlich arg in den paar kleinen Momenten betont wird?, soll sie für Liu stehen. Aber die Parallelen zur Oper sind ja allgemein nicht all-zu dicke.

Btw Turandot und Calaf sind imho beide Psychopathen, wenn die sich am Ende der Oper kriegen ist das einzig positive daran, dass sie dem Rest der Welt ab jetzt hoffentlich mit ihrer kranken Art von Liebe erspart bleiben. Motz motz. Lest mal die Wiki Seite zur Oper.

Ich liebe die von Folge zu Folge immer wieder teils krass wechselnde Einrichtungen der Jungs! XD Happy End bei Thiel drüben, und nochmal darf das Licht auf die Pauke hauen - nach der verhängnisvollen Nacht am Anfang geht jetzt hübsch die Morgensonne für die Männer auf, der Albtraum ist vorbei. Und ja klar spielt das nochmal auf “Nessun dorma” an, trotz Gebeuteltheit kommt Boerne jetzt hoffentlich bald wieder zum schlafen. ... Ob man hier sparsam einfach wirklich mit einem schönen sonnigen Morgen vor dem Mietshaus gearbeitet hat? Wenn optisch getrickst wurde, ist der Trick gut gelungen. 

[quill-of-thoth]

Current status: procrastinating job hunting, thinking about how the specific way I got stuck writing The Fairy Tale Police Procedural (combination of too much worldbuilding, too much living in unprecedented times) is informing how I work on the current rough draft.  1) Maybe it’s time to attempt to be less influenced by current events? I started writing the Fairy Tale Police Procedural, properly, instead of in bits and pieces, some time in 2015. Took about two and a half years to get a full rough draft out because reasons. Also because I had a large cast and a variety of themes to explore and needed to narrow it down. Also at some point parts of it were also an extended eulogy for Terry Pratchett. In particular I got stuck on the bit that worked for discworld (quoted during Jingo or Snuff, I think,) about humans mostly not being horrible to each other in that setting, in favor of being horrible to other species. It wasn’t meant to be the whole truth but I latched onto it (again, in the early to mid 20teens) as something that seemed a little naïve, given the entire world.  Then I sent it to a few people to get their opinions, synthesized some opinions, started rewriting during 2019 onwards. Had a crisis of confidence because part of the point of the story is that even if this lot aren’t the best people for the job (in various ways both obvious in the plot and philosophically) they’re doing their best. I wanted them to at least *try* to be heroes in a system that, upon further research, could be skewed away from the real world all I wanted but was probably always going to be associated with its real problems. I did a lot of reworking. In the end, I got bogged down in a lot of themes instead of plot events that will probably pay off eventually, just didn’t all need to be in the book. 

So for current rough draft? I’m attempting to get a solid plot order in before I mess around in philosophy. 

2) Smaller. Cast. The cast for FTPP is like, twice the size of the current cast. On the one hand, this is necessary for the way FTPP is structured (they’re working on at least three cases at any given time, they’re colleagues in a large city, there’s SEVEN people on the team,) on the other hand, it made narrowing down whose arc I wanted to deal with most a bit of a problem, even if there wasn’t a proper deuteragonist in that book, just Eight and whoever else had shit happening at the time. This is, perhaps, not the fastest way to work on a book. (This compared to current rough draft, which contains... depending on the way this structure works out anywhere between three main characters and four. Everyone gets to board the character growth train at the same damn time here.) 3) When will the executive function come home from the war? Figuring out a writing habit that actually works is kind of key if I want to get shit done. Things that worked in 2016, 2017, etc. don’t work now. Not just because I’ve had five different jobs since then, moved across the country, and live alone, but because the brain wiring got scrambled in a new and honestly, deathly boring way by the entire pandemic situation. (Those of you who are newer: no, I’m fine, I didn’t take a covid to the brain or anything, I just had a several year long flare up of the brain weasels because the brain cannot handle prolonged stress due to prior shit.) So if, in 2016 I could come home from work and write a few thousand words without it being impossible to fulfil all my other needs in regards to socializing, actually taking in other art, and the work of living, and in 2023 that’s not possible? Time for some self-experimentation. 4) Time to make more posts like this into the void? I do think the lack of writing community around (exceptions know who you are) has made it harder to stay excited about writing, personally. So... I have a few options laid out that may or may not be worth the time investment, I’ll update if I find anything particularly exciting. Though, also: the only way to find people who will talk about writing is to talk about writing. So, while I’m still in the stage of trying to chart out where I’m going with this book, instead of getting stuck eternally to the vibe, I will probably make a few more posts about writing. Maybe even about themes and shit.

[sonhee]

Lee So-hee (Korean: 이소희; born November 18, 1994), better known by the stage name Han So-hee (한소희), is a South Korean actress. She began her career as a supporting character in the television series Money Flower (2017), 100 Days My Prince (2018), and Abyss (2019) before transitioning into lead roles in The World of the Married (2020), Nevertheless (2021), My Name (2021) and Gyeongseong Creature (2023–2024).

Han was born as Lee So-hee (이소희) on November 18, 1994, in Ulsan, South Korea. She attended Ulsan High School of Arts where she majored in arts. In her senior year of high school, Han moved to Seoul to live with her grandmother, where she worked various part-time jobs to make ends meet. Han originally had no plans of entering the entertainment industry and wanted to continue pursuing higher education, stating that, "I got into a university in France, but I couldn't go because I didn't have enough money in my bank account. I had to have at least ₩60 million (approximately US$46,000) in my bank account to get a visa. I didn't have that, of course." While working part-time at pubs, modeling, and doing commercials to save up money, the head of the agency to which she belonged persuaded Han to try acting.

𝟐𝟎𝟏𝟕-𝟐𝟎𝟏𝟗: 𝐂𝐚𝐫𝐞𝐞𝐫 𝐁𝐞𝐠𝐢𝐧𝐧𝐢𝐧𝐠𝐬

Han appeared in SHINee's "Tell Me What To Do" music video in 2016. She made her acting debut in a minor role in Reunited Worlds (2017). She got her first main roles in MBC TV's Money Flower in 2017 and tvN's 100 Days My Prince in 2018. Later in 2018, she starred in KBS2's After The Rain and made an appearance in Roy Kim's "The Hardest Part". In 2019, Han played a supporting role in the tvN series Abyss, alongside lead actors Ahn Hyo-seop and Park Bo-young.

𝟐𝟎𝟐𝟎: 𝐖𝐢𝐝𝐞 𝐑𝐞𝐜𝐨𝐠𝐧𝐢𝐭𝐢𝐨𝐧 𝐓𝐡𝐫𝐨𝐮𝐠𝐡 𝐓𝐡𝐞 𝐖𝐨𝐫𝐥𝐝 𝐨𝐟 𝐭𝐡𝐞 𝐌𝐚𝐫𝐫𝐢𝐞𝐝

In 2020, Han starred in JTBC's The World of the Married alongside Kim Hee-ae and Park Hae-joon, in which she played a main role as Yeo Da-kyung, a young mistress. The television series ended its run as the highest-rated television series in Korean cable television history. Han received widespread recognition thanks to the success of the television series, and for her performance she was nominated for Best New Actress – Television at the 56th Baeksang Arts Awards.

𝟐𝟎𝟐𝟏–𝐏𝐫𝐞𝐬𝐞𝐧𝐭: 𝐋𝐞𝐚𝐝 𝐑𝐨𝐥𝐞𝐬

In 2021, Han starred in JTBC romance drama Nevertheless alongside Song Kang. Later the same year, she starred in the Netflix original crime-action drama My Name as Yoon Ji-woo, a woman seeking revenge for her father's murder. For her performance in My Name, she was nominated for Best Actress – Television at the 58th Baeksang Arts Awards.

In March 2022, Han appeared in the four-episode Disney+ mini-series Soundtrack#1 alongside Park Hyung-sik. In September, she appeared as Princess Kayena in a live-action teaser for the Kakao Webtoon series The Villainess is a Marionette. The following year, she featured in BTS' Jungkook music video for his single "Seven", which was released on July 14, 2023.

In 2023, Han appeared in the 1945 historical drama Gyeongseong Creature with costar Park Seo-joon. The first season was released on Netflix from December 22, 2023 to January 5, 2024, and the second season was released on September 27, 2024. Han also made her film debut in March of 2024 with the LGBTQ indie film Heavy Snow, which premiered at the 38th BFI Flare. She is set to appear in upcoming tvN drama Two-Faced Lover alongside Byeon Woo-seok.

𝐅𝐚𝐦𝐢𝐥𝐲

In 2019, Han faced legal trouble after her estranged mother, known publicly as Ms. Shin, took out and failed to repay a ₩40 million loan with Han listed as the guarantor. A similar instance occured in 2022 when ₩85 million was borrowed using a bank account in the actress' name that "was opened arbitrarily [by Shin] when Han was a minor." Her mother was later arrested in September of 2024 for the operation of 12 illegal gambling establishments, in which "proxy owners" were used to allow patrons access to a a gambling website to play games like baccarat after purchasing game credits.

Han's agency, 9ato Entertainment, released a statement acknowledging that Ms. Shin had been involved in several fraud cases, including forgery, but clarified that their talent was not connected in any way.

𝐑𝐞𝐥𝐚𝐭𝐢𝐨𝐧𝐬𝐡𝐢𝐩𝐬

In March of 2024, Han was spotted at the same hotel as fellow actor Ryu Jun-yeol while on a vacation in Hawaii, igniting relationship rumors. She confirmed the relationship herself on a personal blog later that month, and hours later, Ryu’s agency released an official statement corroborating these rumors.

The couple was confirmed to be dating since the beginning of 2024; however, they split later that month. Ryu’s representatives as well as Han's agency released a statement confirming the breakup. “They both realized that their roles as actors are more important. They promised not to waste any more emotions on personal matters,” it read.

𝐄𝐧𝐝𝐨𝐫𝐬𝐞𝐦𝐞𝐧𝐭𝐬

Han has been active as a model since 2016. Her advertisements include brands such as Ritz Crackers, CJ Group, J.Estina, Banila Co., Eider, Charlotte Tilbury Beauty, L'Oréal, and Giordano International. In 2022, Han became a global brand ambassador for luxury fashion house brand Balenciaga and Swiss luxury watch brand Omega SA. She modeled for Balenciaga's 2023 Spring/Summer collaborative campaign with Adidas. In 2023, she was announced as the global brand ambassador for Singaporean fashion house label Charles & Keith, French luxury jewelry house Boucheron, and Korean-owned sportswear brand Fila. Also in 2023, Lotte Chilsung selected Han as the new face of Chum Churum soju.

In 2024, Han became a global brand ambassador for home appliance brand Shark.

[iffoundreturntosea]

September 3, Day 246/247

Day 246 2015

Found a seatbelt in the ground today...random!

#seatbelt #ground #huh #what #random #outside #notexpected #picoftheday #project365 #day246

Not something I'm likely to forget finding. ha

Day 247 2016

Reading niece Go, Dog! Go!

#godoggo #drsuess #book #read #funtimes #blackandwhite #shadesofblackandwhite #september #picoftheday #project365 #day247

Day 246 2017

#vase #vases #flowers #collection #blackandwhite #color #colorsplash #september #picoftheday #project365 #day246

Day 246 2018

Waiting to pounce

#kitty #cat #catsofinstagram #leo #furbaby #playtime #waitingtopounce #flare #shadow #light #negativespace #september #picoftheday #project365 #day246

Day 246 2019

I need to go through my clothes and weed down

#drawers #clothes #chestofdrawers #toomanyclothes #clean #donate #nationalanotherlookunlimitedday #september #september3 #2019 #nationalday #nationaldaycalendar #picoftheday #project365 #day246

Day 247 2020

Ripples and waves abstract

#blue #white #nature #outdoors #lookup #sky #beautiful #clouds #september #september3 #2020 #picoftheday #project365 #day247

Day 246 2021

Just a few of my pieces 📸💖

#art #photography #nature #create #beauty #love #color #september #september3 #2021 #picoftheday #project365 #day246

Day 246 2022

It looks like I'm in this huge canyon. The rain and tide did some interesting things with the sand today!

#beach #summer #evening #rain #water #sand #shells #nature #september #september3 #2022 #picoftheday #project365 #day246

Day 246 2023

It's always a gamble when I start a new month. Just gotta have faith it wasn't a mistake! 😅

#flowers #art #time #color #september #september3 #2023 #picoftheday #project365 #day246

Day 247 2024

Few of my car charms

#inmycar #dailytheme #carcharms #september #september3 #2024 #picoftheday #project365 #day247

[arissascreativejournal]

Research: Sustainable Digital Art Installations

A creative concept I wanted to implement at Northshore is an sustainable digital art installation. I find myself pondering the dearth of interactive digital art installations in Brisbane. It struck me how such a vibrant city could lack a space where technology and creativity converge to captivate and inspire.

Before listing down the places I researched, I want to emphasise what a digital art installation is. Digital installation art is a large field of activity that takes various shapes. Some resemble video installations, particularly large-scale works that use projections and live video capture. The theme of the digital art installation I want to implement in Northshore is a sustainable theme. Here are some examples

Solar Equation by Rafael Lozano-Hemmer: Solar Equation is a large-scale public art work featuring an accurate reproduction of the Sun that is 100 million times smaller than the real thing. The Light in Winter Festival in Melbourne commissioned the piece, which features the world's largest spherical balloon, custom-manufactured for the purpose, suspended over Federation Square and animated with five projectors. Solar animation on balloons is created using real-time mathematical algorithms that recreate the turbulence, flares, and sunspots found on the Sun's surface. This results in a continually changing display that never repeats itself, offering spectators a glimpse of the beautiful phenomena that may be seen on the solar surface but have only just been discovered by astronomers. Powered entirely by solar energy, Solar Equation engages viewers by allowing them to manipulate the sun's appearance through a touchscreen interface.

2. Light Barrier by Kimchi and Chips: Kimchi and Chips' work Light Barrier (2014) creates phantoms of light in the air by crossing millions of calibrated beams. The light installation generates floating visual objects that move through space as they do in time. Impressionist painters' style was driven by a fascination with natural light; they experimented with new colours and the passage of time. Kimchi and Chips' exploration of digital light explores a new visual mechanic, with their installation expanding the visual language of space and light.

3. Aqueous by Jen Lewin:

Aqueous is a series of interactive LED platforms that create light trails. During the day, the sculpture changes colour and reflects the sky. At night, AQUEOUS shines with full lit interactivity, engaging groups in a constantly changing world.

AQUEOUS is one of the first pattern-based sculptures created at this scale, inspired by the symmetry seen in natural systems. The sculpture is made up of hundreds of interactive modular platforms developed from the Golden Ratio and can be erected in a variety of configurations. Each platform is controlled by code provided by the artist, allowing them to feel human interaction independently while also linking together to produce interconnected paths of light effects.

4. Waterlicht by Daan Roosegaarde: is a dream landscape about the power and poetry of water. As a virtual flood, WATERLICHT shows how high the water level could reach. WATERLICHT is a collective experience to remind us of the importance of water innovation and the impact of climate change.

References:

Kimchi and Chips. (2014). Light Barrier. https://www.kimchiandchips.com/works/lightbarrier/

Lewin, J. (2017). Aqueous. Jen Lewin Studio. https://www.jenlewinstudio.com/portfolio/aqueous/

Lozano-Hemmer, R. (2010). Solar Equation. RAFAEL LOZANO-HEMMER. https://www.lozano-hemmer.com/solar_equation.php3

Roosegaarde, D. (2013). Studio roosegaarde. Waterlicht. https://www.studioroosegaarde.net/project/waterlicht