#ive been wanting to learn to sew for ages not just for ag doll reasons

[alliluyevas]

i need to learn how to sew. did you know that in the 1990s AG marketed sewing patterns so you could reproduce the doll clothes.

[aphnatasha]

LISTEN I've been wanting to make them as bjds for a year at least the urge is so strong it's grabbing my neck

Although in my case I want to do the designs I have of them and also I am determined to figure out how to design fat bjds cause I refuse to make my girl Mary thin 😤

I actually have no experience whatsoever with bjd making but I've been watching some videos and I might save to get a bunch of supplies 👀✨

Like part of the reason I'm so excited about it it's because it requires different skills – character design, hairstyling, painting, even sewing!!!! And idk it just brings me joy to be able to create something "out of thin air", so to speak

Okay rant's over wjfhejfhe I wish you happy holidays!!! ✨✨✨

BRO IVE BEEN WANTING TO DO BJD'S FOR AGES its only recently that i kinda want to make the sandersons sbndndndnd. i still wanna do the plushies first cuz im not super great with making things by hand and i dont have the materials to make bjd's of 'em yet. i do have some old dolls, but i get the feeling that if i try to work on them, theyre gonna get really badly messed up

initially i wanted to make the redesigns i have for some of my fave monster high characters so they look more monstery, mostly headmistress bloodgood cuz i am determined to make her look more like a dullahan cuz i have so many thoughts about that in particular and im a lil saddened they never really took that route, but its understandable cuz a) that'd probs take a lot of time to animate and b) dullhahan are actually really terrifying and i dont think they wanted to make her so scary that she'd frighten kids (i feel like if they did go that route, lil kid me wouldve fallen even harder for her than i already did and that is saying something sbdbdn)

i feel like you could probably use some kind of sculpting or modeling clay to add on to the dolls to make them fat, but idk what types of clay would work for that dbbdbd. like, ive seen so many people use clay to sculpt out horns or thicken and/or lengthen a doll's arms or legs, so i dont see why you couldnt do somwthing similar for mary

i swear its something about creating a 3 dimensional thing that feels so exciting and so intrinsicly human, if that makes sense? like, being able to make dolls and figurines and charms and stuff out of clay and puting it together onto something sturdy to make sure it doesnt fall to pieces, something people have done since forever and changed it over time with new materials to work with and new processes to use it just. idk if im maoing a lick of sense, i just woke up shdjdnnf

i dont really have much experience in the sculpting area, but i think thats what makes working with new mediums so much fun. just being able to mess around and learn firsthand what works and doesnt work and learning from that, using your old creations and inspiration for something new. thats part of the reason why i keep a lot of my sketches, even if theyre really old. i always wind up inspired by it, and i wind up recreating the thing with how i do art now, or i try to put it into a new medium i learned as a sort of testament to how much that thing meant to me

aahh, i rambled on too shdjjd. i really wanna make dolls of them now. maybe i should see if my community college has any sculpting classes, that way even if we dont quite learn to make human/human adjacent things, it might give me just the help i need to be able to do it

(⁠ﾉ⁠◕⁠ヮ⁠◕⁠)⁠ﾉ⁠*⁠.⁠✧ happy holidays!! ☆ﾟ⁠.⁠*⁠･⁠｡*⁠.⁠✧

[curiouskrp]

               “WELCOMING APT 5B TENANT, KIM YANI !

INFORMATION

age –  25 pronouns – she/her  occupation –  gs25 night manager moved into treehouse – six months ago

PERSONALITY: ISFP, THE ADVENTURER

positive –

artistic / passionate, obsessive, curious, imaginative, creative - over the years there have been many adjectives used to pinpoint yani’s ferocious obsession with the aesthetic, with knowledge and beauty. from painting to literature, film to sculpting, she’s busied overeager hands with innumerable past times. a bout of interest in sewing left over enthusiastic fingertips tinged in bloodied pinpricks, a season of interest in ceramics caked her nails in clay, a mishap with glassblowing burned her trachea and she lost her voice for a month.  her home is her workspace now, awash in warm colors and soft sketched lines, photographs strung up on the walls to examine with less tired eyes later - she’ll exhaust herself otherwise, staring at her work until a hypercritical eye begins to pick apart every minute detail, every miniscule flaw. her medium of choice in the moment, and for quite some time now has been photography, both digital and film. she works mostly with still images but has embarked on some video components. she has had her art in a few minor installations and featured in gallery shows, but has never had her own exhibit or show. 

charming / the most necessary to her success as both an artist and as a human being is the fact that yani is innately charming. warm, open, and bright she has an energy that is hard to resist. this is half by design, motivated by an obsessive need to be liked, which has prompted her to cultivate a sharp sense of humor and a dry wit to match. playful, hyperbolic, and creative, she can be a blast at parties or when in a group where she is able to play off the jokes and comments of others. however, leave her to her own devices in a one on one setting and she’s much more laid back and easy-going, preferring to let others steer the conversation. she’s got an easy grace and brightness to her disposition even when she falls into the macabre or dark, tinging it with a sense of humor.

negative –

unpredictable /  yani is not the friend you call at two in the morning for help, unless you’re looking to get really trashed and/or are okay with being left on read until a bleary and misspelled “sup?” at 4am. it isn’t intentional. yani is a slave to her emotions, moods and whims taking over each step of her life as she allows circumstance to pull her rough and tumble through the narration of her story. she seems almost a slave to impulse, which she may grandiose-ly chalk up to “leaving things up to fate” but in actuality is an effort to remove agency from her own hands due to a paralyzing fear of making weighty decisions. while she finds herself empathically able to relate to and understand the needs,  fears, and motives of others, she can easily become overwhelmed with this perceived information and find herself retreating without warning, lest she fail them in some way. her presence in life is both unpredictable and routine - she’ll flit in and out like a butterfly, appearing briefly to leave a mark before she retreats away again, always acting as if no time has passed. her personal moods are just as mercurial, vacillating wildly throughout the course of the day, or even across a number of hours. quick to anger and quicker still to apologize, she’s prone to impulse and erratic behavior that can be off-putting to those who prefer someone more stable and grounded. 

fluctuating self esteem / if you’re being kind, you’ll describe yani as sensitive. a bit empathic, too easily swayed by the emotions and feedback of others. she has a distinct lack of guard up against the world, for all her fronting to appear otherwise. the jaded exterior lasts for only a moment before it’s smashed by the reality of a girl with a heart on her sleeve. she wields a biting tongue against this like a lackluster defense mechanism, as if verbally lashing out at others can counteract how easily, how readily she can be hurt by them. while yani would often rather die than verbally express her feelings, fears, concerns, or worries in any real way, they’re very easily apparent even to the untrained eye. it frustrates her, how easily other people can read her ups and downs, of which there are many. she vacillates between an obsessive egotistical pride in herself and a damaging, truly deep set self loathing that eats up her insides. in reality she has no idea what she thinks about herself, if she’s  proud or not, and pulls all of her validation (as meager as it is) from external sources. thus, her self worth is immensely predicated on the actions, thoughts, and expression of those around her, leaving her incredibly vulnerable despite a veneer of a “devil may care” attitude that, in fact, persists long after the ruse is up.

HAUNT

how many ways can yani answer the question? 

is she haunted by her own failures? by choking in the middle of the entrance exams for university, clutching her chest in a violent panic attack in the bathroom and leaving with the test unfinished, summarily ruining her chances for higher education in the country of her birth that year? is she haunted by wasting her teenage years on booze and cigarettes and skateboards? is she haunted by pining after men and women that would never want her the way she wanted them, who relegated her to her childhood past of knobby knees and awkward limbs and dirt smudged cheeks, sunburnt and freckled from the sun that crested over the mountains?  is she haunted by the death of the one man who professed to love her, by the knowledge that she’d settled for him, had never been able to return the love he so generously gave her? is she haunted by the fear that she’d squandered her one chance of love and now it was summarily too late, and he was too far and too permanently gone, and she would now be punished for her ingratitude with years of nothing? is she haunted by her own propensity to run from the inevitable, to escape to distant locations only to realize her problems were still hers whether she be in paris or london or seoul?

it’s hard to say. 

maybe, in the end, yani is haunted by herself.

HISTORY

i. birth is an uneventful affair. she isn’t a planned baby but she isn’t unwelcome either, youngest of three by enough years that her older brothers dote on her in the abstract but aren’t really fans of actually having her around. it’s sort of a theme. her mother hires a nanny and goes back to work immediately - she took time off with the boys and she’s not willing to do it again. her father is as distant as he was with the elder two, unsurprisingly.

yani grows up this way, chasing after affection and attention, calling out for the same things that were doled out to the other two so easily. she wants her brothers to play with her - dolls or tag, she’s not picky, she’ll take what she can get. they play hide and seek but she always hides, and they never seek, just let the little girl coop herself up in the closet for a half an hour, or until she dozes off. eventually she stops asking.

 ii. she grows into the hand she’s been dealt. she wears a tan like a shield, testament to hours spent outside in the sun, relentlessly scrambling over the landscape. they live on the outskirts of a little town on jeju island, and the sun and surf and sand and rocks and mountains are her company. she takes after her brothers, athletic and enthusiastic, seemingly immune to the scraping of her knees and the scabs on her elbows, bruises on her shins.

yani feels the freest on the skateboard she inherits from her brother - or, more specifically, steals from his room when his interest in girls and his worry about entrance exams takes over his free time. in this way she learns two things: she can only rely on herself, and that she must always, always take that which she desires. 

 she spends hours on it, rolling through town to the ultimate displeasure of the ahjummas who sit outside the town hall and gossip. a girl should be more demure, she should be more careful, she’s going to hurt herself or someone else, they say, but yani is past the point of craving approval now. or at least, that’s what she tells herself, disregard is a shield she equips, straps it over a soft heart, hardens herself by hoping for little and expecting even less. when you expect the world to let you down there is a freeness in being proven correct when it doesn’t surprise you by being anything but bleak.

iii. high school treats her well. there are only so many other kids in town, so it’s not like there’s enough trouble for cliques. not when they’ve all known each other from birth. there isn’t much reason to come to the little excuse for a city, unless you’re a tourist or you’ve got a burning passion for the fishing industry, and even then there are better choices in destination. she studies well enough, but yani is prone to distraction. her attention wanders and she spends plenty of time staring out of the window, as opposed to anything else. but she’s clever, and when she does apply herself she catches up just fine.

there’s a certain sadness to a decaying rural town, and the older yani gets the heavier it weighs on her, this realization that there are no opportunities here, that the only chance for a viable future any of them have exists in some ephemeral elsewhere always slightly out of reach. it’s the cycle of poverty in action - the jobs are manual labor or hardly impressive, few remain in the town, the aging population is setting the community up to collapse in on itself, but what is anyone able to do about it? so they drink or they fuck or they whine about it, anything to carry on the way they always have. from this town yani learns denial and resignation, in a bizarre blend that ought not be properly possible.

iv.

whatever chance she had of success in school goes down the drain with truancy and delinquency, with smokes stolen from the corner store and beer she convinces neighborhood oppas to buy for her with their ids. she gets what she wants and she doesn’t look back, morality a luxury she can’t afford and frankly doesn’t try too hard to squeeze in anyway. she loves boys that don’t love her back and she chases a high that never quite seems to satisfy. climbs a little bit higher, goes a little bit further, to fill herself with the seratonin and the adrenaline that seem to evade her. 

when she finds out, in the dead of night, half drunk with her best friend, who has never seen her the way she’s wanted to be seen, that his older brother - her boyfriend, her second choice, because he sees her the way her best friend refuses to look - is dead, in a car crash, her word falls apart. it crumbles. 

v.

yani deals with her tragedies and her uncertainties in the way she has been taught. she denies it even unto herself, buries herself into distractions. it gets harder, immeasurably, when her two best friends leave for the military one after the other. she submits an application, a portfolio. it’s a long shot, but she makes it. she leaves, on a plane, in a search for more ways to bury her heart. 

it’s so easy to find them in a city like paris. in drink and drugs and then maybe even in boys and girls. she finds her redemption in sex and adrenaline and in petty, stupid actions. she is a terror on two slender legs, she is weaponized femininity and a cutting tongue, she is every bit of sharp wit and killer instinct wrapped in a devastatingly pretty package. the last distraction, the most enjoyable and the most wholesome, comes in the form of an old film camera. she buys it with money she’s picked out of the pockets of men who lean to close to her in clubs, men too old to promise her the things they do, who line her pockets and give her gifts in the hope that she’ll be foolish enough now to offer her youth to those leeches, those vampiric men that wait so eagerly and desperately to drain her dry.  it’s another way to put a distance between herself and the world; observer and artist, not integral, not intertwined. she can expose the truth of the world without involving her own truth in it, betrays herself in a thousand tiny ways. 

vi.

it is so terribly easy to get what you want in a city like this. there is always someone willing to give it to you, for a price of course. yani learns to play this game, to divorce herself from her own reality, to compartmentalize. she feels like a hundred different girls. she feels like a line of glasses on a counter, each varying levels of empty. she feels like she could shatter in a moment, or sing beneath a touch, or neither, or both. 

she feels like they can sense it on her, the sins that paint her skin. she rots herself with alcohol, nicotine, prescription pills designed for someone decidedly not her. she wears herself down with long nights, early mornings, insomnia that clings to her, a weight that settles heavy, drags her down. her moods are mercurial, she tears through the people around her like a storm, intent on destruction, pausing for the briefest moments of calm before the winds pick up once more. 

she falls apart this way, bits and pieces at first, and then all at once, like a spaceship reentering orbit too quickly, she is engulfed. 

vii. 

in the end she stays there, in france, for a little longer. longer than she’d intended. money starts to run out, her feeble language skills are put to the test. it’s sheer luck that lands her a job at an art gallery, luck on top of luck that gets her through an accelerated program. in the end, she spends two and a half years in france, eventually returning to her dismal little rural town. returns with a degree from france that means very little besides “you didn’t make it into a korean school” and “you dedicated your life to creative pursuits that will provide you with nothing.”

she returns with her camera, with a few years of gallery experience, with a couple thousand dollars saved and very little in the way of confidence or strength. she has dreams she barely dares to dream, thoughts she can hardly expose herself too. with a portfolio and no direction, no idea what to do with herself, for herself. 

viii. 

by the time she gets back, one of her friends is out of the military at last, the other long gone for seoul. she spends two months in the little town before she can’t handle it anymore. has photographed every inch of the decaying rural landscape, the town left forgotten by progress, by the government, by the future. her collection on the state of the town, deemed a cutting photojournalistic insight to rural korean poverty, becomes a minor sensation and is picked up by a gallery in seoul. it’s the boost she needs to relocate, flees the town that made her, that funded her flight, to head for the city, to lose herself again. 

seoul is much the same as any other city. she wanted it to have answers that it doesn’t. she hates her apartment, a half basement decked out in mold and wrinkled vinyl flooring over the thick pipes of the ondol. she drags herself through the day to day, gets a job and does what she can to keep herself afloat. takes pictures, sells them, does what she can. it’s unfulfilling. she’s frustrated. her friends feel distant and she feels thoroughly disconnected from the world around her, floating as if on the currents of the ocean. 

viv. 

the treehouse offers a chance at a community, the selfsame thing she has done so much to avoid, so earnestly  distanced herself from - lest anyone figure out the great pretending of her life. that she’s not half the person, half the artist she wants to be. she lives a life steeped in imposter’s syndrome and unspoken words, preserving her thoughts in notebooks and photographs, fragments of time and feeling captured without explanation, left for the viewer to infer.