#flare art 2017

[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.

[johnkatsmc5]

Mohama Saz "Máquina de Guerra" 2024  Spain Madrid,Mediterranean Psych Rock,Anatolian Rock new album

full spotify

A bunch of virtuoso players hailing from Madrid, Mohama Saz is truly something special. Fusing Anatolian psych rock (is that a thing? It is now!) with North-American free jazz and their own Spanish folk tradition, with a little Tuareg grooves and Arabic flavor for good measure.. they pull from many strains to bridge the gap between modern (prog) rock and ancient traditions. Each of their four studio albums holds many wonders, but it is on stage that the magic truly comes to life. A discovery not to be missed!....~ Mohama Saz is a group that stands out for its ability to fuse sounds from different parts of the world, creating a unique proposal. Their music combines influences from styles as diverse as krautrock, flamenco, psychedelia, Andean music, North African and Middle Eastern sounds, all centered on the melody of the electric baglama saz. With a mix of tribal percussion, dystopian synthesizers, and choral vocals, they strike a balance between primitive and modern, offering a musical experience that is both organic and avant-garde. The group is composed of Adrián Ceballos (drums, vocals), Javier Alonso (baglama saz, vocals) and Sergio Ceballos (bass, vocals)....~ Repressed; USA tour forthcoming! The fifth album put out by Mohama Saz is a balance of primitive sound both organic and tribal with a flare of timeless psychedelic vanguard. Dystopian synths, chorus, percussion sustained by strong rhythms surround the sound of the electric Baglama Saz melodies. Máquina De Guerra is an instruction manual to escape the innocuous and the complacent and to keep fighting against the establishment. The record is oriented towards the south of Spain, as well as Eastern Europe, Anatolia, kaleidoscopic Kraut, Flamenco as well as music from the Andes and from North Africa. Máquina de Guerra forces the listener to fight against the international reactionary that wants to devour everything. Because each song contained in this record is its own world, and the new world is a Máquina de Guerra. The music of Mohama Saz is an enormous explosion of sound. For fans of Erkin Koray, Orkestra of Spheres, Triana, Sun Ra, Goat, Tinariwen, Las Grecas, or Neu. Máquina de Guerra has been produced by Carlos Díaz and Mohama Saz. It was recorded, mixed and mastered by Carlos Díaz at the El Cortijo de Santa María de la Vega (Granada, Spain). And with the original works of Oscar Rey Atellier on cover and back cover art, a Spanish painter based in Berlin. This album is published by YaiYai Records, limited to 300 copies......~ Tracklist Yai Yai 04:20 Baris 05:01 Ursus 05:23 Amulatu 04:38 Stereorrata 03:44 Jara y sedal 06:30 Arbolito 08:17

Mohama Saz "More Irán" 2015 + "Negro Es El Poder" 2017 + "Viva El Rey"2018 Spain Madrid,Mediterranean Psych Rock,Anatolian Rock

Mohama Saz "Quemar Las Naves" 2020 Spain Madrid,Mediterranean Psych Rock,Anatolian Rock

Mohama Saz "Máquina de Guerra" 2024  Spain Madrid,Mediterranean Psych Rock,Anatolian Rock new album

https://johnkatsmc5.tumblr.com/post/773659216548397056/mohama-saz-m%C3%A1quina-de-guerra-2024-spain

[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 𝐑𝐞𝐜𝐨𝐠𝐧𝐢𝐭𝐢��𝐧 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

[elliethesuperfruitlover]

ooh a life update *stares*/mild vent oopsie

sometimes (my every waking moment) I’m like “wow college should not cost this much money” and it really fr fr doesn’t feel worth it because why the fuck do I have to pay to apply to have a place to stay on campus

like I wish my 3.6 GPA got me a full ride or smth but nooo my academics have to be perfect or I have to play a sport and my leggies are not built for any of that

My pipeline was “does homework at the end of the day in class to watch animal shows at home” to “comes home and watches sillies then sleeps”, none of that is related to Kicking A Ball or Throwing Something.

sometimes I wish I contributed more to that type of thing but like……I don’t know if I’d still be the same person or if I just…..it’s odd. I want to feel appreciated by my school but I don’t want them to take credit for something I did myself.

My HS isn’t responsible for showing me how to write well, the internet and writing shitty smut since 2017 did that. I did that myself by building my skills. But they don’t care unless you win stuff for it. They don’t care about your passions for creating change and not liking authority because of how hypocritical it is. You want me to throw a fucking ball, or have other people be impressed by my art, or never have failed a class (sorry, I can’t control when my depression and OCD flare up).

and then the ever looming “getting a job in my field” and paying off student loans after I’m paying thousands each month to stay in fucking school so I maybe have a career in the field im studying for

like make some noise yall (lower tuition permanently or it’s you and the woodchipper)

also another thing that sucks is knowing there’s things wrong in the world and in your government and not being able to do shit about it but call your senators and wish you could vote it away and wish you could give starved kids your meals and your water and your bed and home.

and nobody your age cares either. They’re so unaware of everything going on, or on the most surface level it makes you want to pull your hair out. And you get weird looks for being upset that things are shitty?? Like you don’t get how this is bad and why I’m mad?? How? What does it feel like to not care about anything that’s not an arms length in front of you?

anyway um. Thanks for reading. I hope I actually write that archivist fic. AND ANOTHER THING WAIT

sometimes I feel illegitimate for saying I’m a writer but I don’t write unique characters that I made or stories I created. And I almost want to invalidate it but then I remember how much depth I’ve added to characters and situations and what they’re like, and just sprinkling a bit of ✨spice ✨ into their design. Idk. It’s weird. Like I get what writers mean when they’re talking about writing but I don’t feel special because I feel like what I’ve written in terms of fanfiction isn’t impressive enough. (I fucking forgot I wrote a 10 page research paper in a night, and got to the state level of the social studies fair for one I did last year) anyway

words of advice are very welcome

have a silly for listening to me yap

[cccshutdown]

guess what game i got into

[elimore-art]

“ and dance like they do in the mediterranean,

spin you around me again and again, and

you’re like something god had sent me

i want you, baby, solamente ” - barcelona; ed sheeran

———

Re-draw from 2017