#forever sad about them

[taylorshope]

I was working on my Markate wedding fic and I just had the thought that Kate would have wanted Shelby to be maid of honor 🙃

[cregan-starks]

You look so handsome washing dishes! Should do it more often.

[chloesimaginationthings]

What if Mike got the bad ending of the FNAF movie..

[gohjuo]

taken from x

there are very few things that catch gojo off guard, it's like an unexpected gift. he's not quite sure he believes what he's seeing in the darkness of his apartment. the clang of his keys hit the floor, it's the sound of screeching tires across the road. the bag that clings to his forearm slips out of his grasp landing across from the keys that fell out of his hands. he'd been looking forward to those, the lady in the stall had been boasting about the confectionary & he might as well adore the late night snack. fingers lift his blindfold as he focuses his attention on the man before him letting it slip off his face, that too hits the ground. gojo is a mess, he's a disarray of his things slipping out of his grasp by his only friend.

his heart is racing feeling like it's going one hundred fifty miles per hour. he's about to make a motion to close the door behind him, but instead he's greeted by the sight of geto in front of him. the ghost of his touch dances along his jaw & he almost wants to melt. he almost wants to give that sigh of relief, but he doesn't want to give geto that satisfaction. instead he closes the door behind them, locks it, a barrier between him, geto, & the rest of the world that had damned the other as nothing but a traitor.

the question is nothing but reminiscent of a time when they were young. things were simpler & gojo still contained the innocence of youth written on his face. he's focused on geto now feeling like he's going to slip away from him as he had many times before. ❛ i'm looking.❜ he says cheekily, he notices as always the length of geto's hair. a reminder that everything between them had elapsed. ❛ why? are you going to sleep with me? ❜ there's a small smirk that forms on his cocky lips before he reaches out for geto. geto is gojo's bad habit, something that he can't quite quit even after all this time. here they are falling back into their quips, the things that made them mesh well together. gojo wishes things could be different but they aren't.

❛ two hours. ❜ before reaching for geto himself, fingers take the time to dance along geto's jaw before taking the chance to cup his chin. he'd miss this, the closeness of geto that he had always grown accustomed to before it'd been ripped away. as usual he'd been very much used to the idea of being alone. ❛ suguru, you could have knocked. ❜ without another word he rescinds his touch, but says nothing. the spark of the blue sky seems to radiate joy but gojo's aware he's bit into the bitterness of dark chocolate.

❛ your hair grew longer.❜

@getouh

[bioluminesced]

Il mare eterno nella mia anima

[soranker]

tomorrow :)

[courfee]

“Regulus would be proud of us,” James whispered quietly to no one in particular, still gripping onto the painting like a life raft. 

— Tender Curiosities, Baby!  @otrtbs

[cecoeur]

it's hell on earth to be heavenly them's the breaks, they don't come gently

[sideblogdotjpeg]

ive been thinking about the red string superstition recently and also sol bufo always and it makes me sick how uncannily caldwell tanner has made sol to perfectly target me personally

(+ cropped versions !)

[marypsue]

There’ve been a few responses to/reblogs with tags on my post about DIY clothing embellishments that basically boil down to ‘I’d love to do this but I’m scared it’ll turn out bad/I’m not a good enough artist’. And I get it, I really do! I also want my art things to turn out nicely. But also...making it badly is sort of the point of punk DIY. 

Listen. We live in a world that would dearly love to charge you a subscription fee for breathing. The bastards are doing everything they possibly can to figure out how to turn art - stories, visual art, music, textile/fibre art, sculpture, crafts and creations of every kind - into a neat, discrete, packageable commodity, a product they can chop up into little pieces and stick behind a paywall so they can charge you for every drop of it you want to have in your life. 

The whole sneering idea that ‘everybody wants to be some kind of creator now’ and anything less than absolute mastery right out the gate is somehow shameful and embarrassing is a tool those bastards are using. It’s a way to reinforce the idea that only a set group of people can create and control art, and everybody else has to buy it. 

But art isn’t a product. Art is a fundamental human impulse. Nobody is entitled to a specific piece of art (which is where this message gets skewed into pitting people who love art against the artists who make it, while the bastards screw us all and run away with the money). But making art belongs to everybody. We make up songs and dances and stories, and paint things, and make clothes, and embellish them, and carve flowers into our furniture and our lintels and our doorframes, and make windows out of tiny pieces of coloured glass, and decorate our homes and our bodies and our lives with things we make and make up, simply for the love of beauty and of the act of creation. Grave goods from tens of thousands of years ago show that ancient hominids gave their dead wreaths of ceramic flowers, tattooed their bodies, beaded their shoes. Making things for the sake of beauty and enjoyment is one of the most ancient and human things we can do. 

The idea that we can’t, that we have to buy shit instead, because art is a product and you have to have the bestest prettiest most perfect product, is the enemy of joy. It’s the death of culture. And it means that, instead of whatever it is that you cherish and enjoy and value, you get whatever inoffensive (and to whom is it inoffensive?) bland meaningless samey-samey crap that the bastards want you to be allowed to have. What are you missing and what are you missing out on, if you don’t make or modify or decorate anything for yourself, if you don’t think you can because the product at the end won’t be polished or perfect or marketable enough? What do you lose? What do we lose? 

It is a desperately vital and necessary thing for you to make shit. For you to know that you can make shit, that you don’t have to just lie back and take whatever pablum the bastards want to force-feed you (and charge you through the nose for). That the bastards need you more than you need them. 

Become ungovernable. Be your own weirdly-endearing punk little freak. Paint on a t-shirt. Sing off-key in the shower or at karaoke night or at open mic night. Make up a story where you get to meet your favourite fictional character and you guys hug or fuck or punch each other in the face. Make art. Do it badly. Do it frequently. Do it enthusiastically. Do it for love and joy and creativity and fun and the spiteful joy of thumbing your nose at some smug motherfucker with a Swiss bank account who wants to track your heartbeat and location for the rest of your life in order to automatically pump AI-generated beats matched to your mood into your earbuds for a small monthly subscription fee of $24.99/month. It is literally the only way we are ever going to have even a chance to save art and our own lives from the bastards. 

So. Paint that t-shirt. 

(Also support artists where you can, and buy your music from Bandcamp.)

[samijey]

#THE PEOPLE HAVE SPOKEN

[kitamars]

enmi gintoki…………… orz

[poorly-drawn-mdzs]

Smell Check [Easy: Failure]

MDZS Disco Elysium AU part 1 (part 2 - part 3)

[hellenhighwater]

Have you taken any pottery classes or were you entirely self taught? I REALLY want to get into it but classes are quite expensive

I took some sculpting in undergrad, but it was in the context of casting and mold-making, not ceramics. So I'm fairly comfortable with clay as a medium but not so much with clay as an end product--not being able to do armatures and having to think about firing is weird. (If I had the opportunity to do bronze casting again, though, I would, no hesitation.) That puts me in the minority of my current pottery peers, who are largely self-taught or only learned in our studio.

I do pottery now at a co-op studio space, and technically that means that I'm taking classes there--but the classes are more like guided lab time? There's not really assignments or anything, and there's only a couple other people who sculpt, none of whom are in my class. Mostly the class just means that the person in charge demonstrates a technique or two once a week and then lets us do our thing.

Personally I think that shared studio space is the absolute best way to go. You spend less in startup costs (kilns are EXPENSIVE, running kilns is expensive, glaze is expensive) and it plugs you directly in to a group of fellow artists who can help and support you at whatever skill level you're at. Yes, classes are expensive--my class is $250 per season. But for me that includes lab space, 50 lbs of clay per season, almost all of the glaze I use, kiln time, and other people doing all the maintenance and kiln loading/unloading etc. Very much money well spent.

Artist-run shared spaces are often not turning a profit on anything with studio fees, just covering operations costs, so while it's pricey, it generally is just...what it costs to do that hobby. And it is sooooo much easier to be motivated when you're going to what is, basically, Grown-Up Art Club.

But if costs are prohibitive for you to do pottery via classes, and you want to learn to sculpt, then get some polymer clay and see what you can do. It's a different game than actual clay, but form is form, and the medium is secondary to figuring out how to translate an idea into reality.

Polymer clay is relatively affordable and doesn't require nearly the infrastructure of ceramics. If you can't spend the money on classes or a shared studio, then polymer clay is a great way to develop technique and an eye so that when you're in a position to spend the money, you already have the skills to make it worth what you're spending.

[smytherines]

This is such an interesting like 20-30 seconds to me. We go from this wholesome Sears portrait studio setup where Cynthia asks "is that Owen??" and they both grin like lovesick fools

Then Cynthia insults Curt and praises Owen and tries to recruit him. Owen looks surprised and shuts her down immediately, but Curt is (understandably) not thrilled about it and ends the call in a hurry

Owen says "what are you, jealous? You know I'd never work for the Americans," but Curt is already getting the flask out (hello rsd spiral my old friend)

And then we have Owen seeing the flask and saying "Oh Curt, no, not until we're out of here," and Curt responding defensively by mocking his accent and his concern, and then handing him the flask

Whenever I listen to 54 Below and hear Tessa say "when these two spies are together they are gay and unstoppable" I imagine that first image, and when Lauren says "until Curt's ego gets in the way" I think of the flask

I just find it fascinating because, to me, this is the moment it all starts falling apart. When it was just the two of them, before this call, they seem pretty happy to see each other. You certainly get the sense that they're competitive, and Curt initially seems a bit annoyed or embarrassed about Owen rescuing him, but uhh. I mean just look at them:

It isn't until Cynthia sort of pits them against each other, until the outside world starts to intrude on them, that things start to get tense. Curt starts dismissing Owen's concerns and taking bigger risks to prove himself, lying to Owen to take a bigger risk than Owen agreed to (Owen saying "make it four," and Curt deciding to set the timers for three minutes instead)

Just. Something about how painful it must have been for Curt to believe that he lost Owen not to some grand fateful accident that he never could have seen coming, but over something as small and petty and ultimately temporary as his own insecurity. That he wanted so badly to save face in front of a partner he loved and respected that he ended up getting that partner killed

And how painful it must have been for Owen to love Curt and trust him, only for Curt to lie to him and leave him for dead. How Owen must have thought back to this a thousand times and believed that it happened because Curt cared more about being the best than about him (which I don't think is correct, but is understandable from his perspective)

To have the kind of relationship that seemingly survived being separated by an ocean, and being property of two different governments, and being gay in the 1950s, and they still look at each other like that, and then to lose it all because you're so used to having to maintain this stereotypically masculine role in your hypermasculine profession. That seeing the man you love is dependent on you being the best, and trying to live up to that impossible standard is what ends up destroying the both of you

There's just something so fucking... tragic and futile about it

[evostrashbin]

the curse of immortality (spoiler: Kiran is also on this picture 👍)