#jennifer winters ;; visage

[nadineyilmaz]

                   introduction  •  dossier  •  pinterest

GENERAL DETAILS.

full name:  nadine defne yilmaz

nickname(s):  dina

age:  thirty-one

date of birth:  september 25th

place of birth:  marmaris, turkey

current location:  claybourne, pennsylvania

ethnicity:  turkish

gender:  cis woman

pronouns:  she/her/hers

sexual orientation:  bisexual

romantic orientation:  biromantic

religion:  non-practicing muslim  

occupation:  curator at central gallery

living arrangements:  a ( most recently ) completely decorated townhome on summerset street—a three bed, 2 ½ bath home

financial status:  within the 75th percentile of earners, making an approx. 48k per year.

speaking voice and accent:  her voice bares a rather—perhaps flutey air about it–still bearing some semblance of her foreign hailing; often being the first thing people note about her.

spoken languages:  turkish, english, some conversational french.

PHYSICAL APPEARANCE, ETC.

faceclaim:  melisa pamuk

hair color and style:  dark brown, naturally waved masses typically styled in soft, brushed out curls, or bound into an updo.

complexion:  olivine and flecked with beauty marks.

eye color:  dark brown

height & weight:  five foot nine inches, one hundred thirty five pounds.

body and build:  averagely toned from her current workout regimen, feminal physique with hip dips and svelte legs.

tattoos:  a small butterfly tattoo along her spine, just below her shoulder blades.

piercings:  double lobe piercings in either ear.

clothing style:  elegant all while pertaining to her interests in remaining comfortable, nadine incorporates delicate fabrics, drapery, and woolen textures to compose her usual style. she teeters somewhere between the line of fashion forward, and vintage.

distinguishing characteristics:  her usually brooding visage—though she often equips a more approachable front when it comes to professional settings.

signature scent:  the faint scent of incense clung loosely to a collar spritzed with her usual lost cherry by tom ford.

HEALTH.

sleeping habits:  she sneaks naps when she can but between looking after her daughter and work, nadine is hardly well-rested.

eating habits:  mostly rigid and plant based, but nadine has come to appreciate the simple fineries of a double cheese burger ( no ketchup. )

sociability:  highly social. not only for work, but in a general sense—she strives to maintain her identity outside of being a working mother. though she quite likes being at home, a night out on the town or spending the evening on the beach is ritual for nadine.

body temperature:  typically hot natured, so she doesn’t mind the northern winters much—touch her thermostat and you’ll never hear the end of it.

alcohol use:  champagne in most social situations, and wine with her dinner or after a long day.

PERSONALITY.

label(s):  the atoner, the benevolent, the despondent.

positive traits:  allocentric, passionate, hardworking, understanding,  intuitive.

negative traits:  blunt, pessimistic, worrisome, assertive, pedantic.

likes:  beach days with her daughter. aged wine. red lipstick. working ( oddly enough. ) eclectic music. black coffee with a few cubes of sugar. frequenting the latest exhibits at the gallery.

dislikes:  the scent of lavender. large crowds. pork. sweltering weather.  when her work bleeds into her personal life. arguing, though she’s not above it. 

fears:  not living up to her personas standards.

habits:  straying from one end of a room to the other, or lingering in a doorway rather than seating herself. talking with her hands. tends to ramble about subjects she’s passionate about.

FAMILY, RELATIONSHIPS, ETC.

mother:  ayla yilmaz

father:  emir yilmaz

significant other:

best friend:  maddison halle ( d. 2018 )

exes:  patrick persuade ( aged 32 )  

sibling(s):  selma yilmaz ( older sister, aged 36 ), omar yilmaz   ( younger brother, aged 27 )

children:  jennifer persuade, dubbed “ jennie-bean ” ( aged 4 )

pet(s):  a stray tabby that her and jenny feed, named “ pickle, “ as insisted by her daughter & a french bulldog named stella.

[organssos]

25 Father's Day Quotes To Share With Dad

Father's Day will soon be here before you realize it, and we've exactly the thing you want to create daddy's day extra special. Even though daddy may insist he does not require such a thing, pairing it instead of only minding these Father's Day quotes is really going to make him feel adored. Give Dad his presents a Sunday morning meal after you have summoned up if you want to really go the extra mile .

  1. You can not die of grief, though it feels as if you can. A heart does not actually break, though sometimes your chest aches as if it is breaking. Grief dims with time. It is the way of things. There comes a day when you smile again, and you feel like a traitor. How dare I feel happy. How dare I be glad in a world where my father is no more. And then you cry fresh tears, because you do not miss him as much as you once did, and giving up your grief is another kind of death. ― Laurell K. Hamilton   2. Freddie experienced the sort of abysmal soul-sadness which afflicts one of Tolstoy's Russian peasants when, after putting in a heavy day's work strangling his father, beating his wife, and dropping the baby into the city's reservoir, he turns to the cupboards, only to find the vodka bottle empty. ― P.G. Wodehouse   3. It all goes back and back," Tyrion thought, "to our mothers and fathers and theirs before them. We are puppets dancing on the strings of those who came before us, and one day our own children will take up our strings and dance in our steads. ― George R.R. Martin   4. And the day will come when the mystical generation of Jesus, by the supreme being as his father in the womb of a virgin will be classed with the fable of the generation of Minerva in the brain of Jupiter. But we may hope that the dawn of reason and freedom of thought in these United States will do away all this artificial scaffolding... ― Thomas Jefferson   5. I understand that fear is my friend, but not always. Never turn your back on Fear. It should always be in front of you, like a thing that might have to be killed. My father taught me that, along with a few other things that have kept my life interesting. ― Hunter S   6. To you who are parents, I say, show love to your children. You know you love them, but make certain they know it as well. They are so precious. Let them know. Call upon our Heavenly Father for help as you care for their needs each day and as you deal with the challenges which inevitably come with parenthood. You need more than your own wisdom in rearing them. ― Thomas S. Monson   7. I suddenly remember being very little and being embraced by my father. I would try to put my arms around my father's waist, hug him back. I could never reach the whole way around the equator of his body; he was that much larger than life. Then one day, I could do it. I held him, instead of him holding me, and all I wanted at that moment was to have it back the other way. ― Jodi Picoult   8. Father, I decree and declare that I will be anxious for nothing. But in everything by prayer and supplication with thanksgiving, I will make my requests known to You. I arise in faith today knowing that You hear and answer prayer. Because I bring my needs to You, I will walk in the peace of God that surpasses understanding, and it will guard my heart and mind. In stillness and quietness I will wait for You, and You will lead me in the way I should go. I seal these declarations in the name of Jesus, amen. ― Cindy Trimm   9. My mother always said that I was born out of a bottle of vinegar instead of born from a womb and that she and my father bathed me in sugar for three days to wash it off. I try to behave, but I always go back to the vinegar. ― Maggie Stiefvater   10. A wedding is for daughters and fathers. The mothers all dress up, trying to look like young women. But a wedding is for a father and daughter. They stop being married to each other on that day.― Sarah Ruhl, Eurydice   11. When I was young, my father used to say, ‘If you are alive, there is hope for a better day and something good to happen. If there is nothing good left in the destiny of a person, he or she will die.’ I thought about these words during my journey, and they kept me moving even when I didn’t know where I was going. Those words became the vehicle that drove my spirit forward and made it stay alive.― Ishmael Beah   12. This is a lttle prayer dedicated to the separation of church and state. I guess if they are going to force those kids to pray in schools they might as well have a nice prayer like this: Our Father who art in heaven, and to the republic for which it stands, thy kingdom come, one nation indivisible as in heaven, give us this day as we forgive those who so proudly we hail. Crown thy good into temptation but deliver us from the twilight's last gleaming. Amen and Awomen. ― George Carlin   13. I'd love to know how Dad saw me when I was 6. I'd love to know a hundred things. When a parent dies, a filing cabinet full of all the fascinating stuff also ceases to exist. I never imagined how hungry I'd be one day to look inside it. ― David Mitchell   14. The thing that most haunted me that day, however...was the fact that these things had - apparently - actually occurred...For all his attention to my historical education, my father had neglected to tell me this: history's terrible moments were real. I understand now, decades later, that he could never have told me. Only history itself can convince you of such a truth. And once you've seen that truth - really seen it - you can't look away. ― Elizabeth Kostova   15. Why are we so attached to the severities of the past? Why are we so proud of having endured our fathers and our mothers, the fireless days and the meatless days, the cold winters and the sharp tongues? It's not as if we had a choice. ― Hilary Mantel   16. Isn't it true that you start your life a sweet child believing in everything under your father's roof? Then comes the day of the Laodiceans, when you know you are wretched and miserable and poor and blind and naked, and with the visage of a gruesome grieving ghost you go shuddering through nightmare life. ― Jack Kerouac   17. Make sure to tell our baby that his father loves him every day of his life, just like I will always love you every single day. ― E.L. Montes   18. Jon wanted nothing more. No, he had to tell himself, those days are gone. The realization twisted in his belly like a knife. They had chosen him to rule. The Wall was his, and their lives were his as well. A lord may love the men that he commands, he could hear his lord father saying, but he cannot be a friend to them. One day he may need to sit in judgement on them, or send them forth to die. ― George R.R. Martin   19. Her father had taught her about hands. About a dog's paws. Whenever her father was alone with a dog in a house he would lean over and smell the skin at the base of its paw. This, he would say, as if coming away from a brandy snifter, is the greatest smell in the world! A bouquet! Great rumours of travel! She would pretend disgust, but the dog's paw was a wonder: the smell of it never suggested dirt. It's a cathedral! her father had said, so-and-so's garden, that field of grasses, a walk through cyclamen--a concentration of hints of all the paths the animal had taken during the day. ― Michael Ondaatje   20. Most of the time, it felt like my father and I were completely different species. Possibly literally, depending on the day and whether or not I actually qualified as human at the time. ― Jennifer Lynn Barnes   21. Every day He humbles Himself just as He did when from from His heavenly throne into the Virgin's womb; every day He comes to us and lets us see Him in lowliness, when He descends from the bosom of the Father into the hands of the priest at the altar. ― St. Francis of Assisi   22. One day Bird had approached his father with this question; he was six years old: Father, where was I a hundred years before I was born? Where will I be a hundred years after I die? Father, what will happen to me when I die? Without a word, his young father had punched him in the mouth, broke two of his teeth and bloodied his face, and Bird forgot the fear of death. ― Kenzaburō Ōe   23. Our father was a great warrior. Our mother is proud and strong. They shared only one flaw: that their only loyalty was to themselves above all other cats. We're not like that. We understand what it means to be loyal to our Clan. We have the courage to live by the warrior code. And because of that we'll be the most powerful cats in RiverClan one day, and our Clanmates will have to respect us then. ― Erin Hunter, Dawn   24. If we will build righteous traditions in our families, the light of the gospel can grow ever brighter in the lives of our children from generation to generation. We can look forward to that glorious day when we will all be united together as eternal family units to reap the everlasting joy promised by our Eternal Father for His righteous children. ― L. Tom Perry   25. My Father and my God, I submit myself to Your authority today and declare that my spirit will grow and become fruitful as You lead me by the virtue of Your flawless character. I submit to Your wisdom as You freely give to me my heart’s desires. I align my heart with Your heart and my will with Your will. May Your blessings overtake me and the boundary lines fall for me in pleasant places as You have decreed. In Jesus’s name I declare that this is so. ― Cindy Trimm Read the full article

[olivierdemangeon]

    Synopsis : En 2020, Elias van Dorne (John Cusack), PDG de VA Industries, la plus grande société de robotique au monde, présente sa plus puissante invention, Kronos, un super ordinateur conçu pour mettre fin à toutes les guerres. Quand Kronos se met en ligne, il détermine rapidement que l’humanité, elle-même, est la plus grande menace à la paix mondiale et lance une attaque robotisée mondiale pour débarrasser le monde de « l’infection » de l’homme. Quatre-vingt-dix-sept ans plus tard, un petit groupe d’humains reste en vie, mais en fuite de l’armée de robots…

Origine du film : États-Unis, Suisse Réalisateur : Robert Kouba Scénariste : Robert Kouba Acteurs : Julian Schaffner, John Cusack, Carmen Argenziano, Eileen Grubba, Jeannine Wacker Musique : Tobias Enhus, Scott Kirkland Genre : Science-fiction Durée : 1 heure et 32 minutes Date de sortie : 3 novembre 2017 (États-Unis) Année de production : 2017 Sociétés de production : Calanda Pictures, Vantis Pictures, Voltage Pictures Distribué par : Digital Post Services Titre original : Singularity Notre note : ★☆☆☆☆

Notre commentaire : “Singularity” est un film de science-fiction américano-helvétique datant de 2017, écrit et réalisé par Robert Kouba, qui signe là son premier long-métrage. Les acteurs principaux sont Julian Schaffner qui fait là ses premiers pas dans un long-métrage, Jeannine Wacker, qu’on a pu voir dans “Like” (2012), John Cusack, qu’on a pu voir dans “Dragon Blade” (2015), Carmen Argenziano, qu’on a pu voir dans “Anges et Démons” (2009), et Eileen Grubba, qu’on a pu voir dans “A Winter Rose” (2016).

Robert Kouba est donc un jeune cinéaste de 25 ans qui s’est précédemment illustré à travers une dizaine de court-métrages. Avec “Singularity”, il se lance dans la grande aventure du long-métrage en signant le scénario et la réalisation. Mais, il faut l’avouer, c’est bien loin d’être convaincant. Et je suis gentil. En outre, l’attrait premier de ce métrage, c’est d’une part le côté science-fiction, et John Cusack. Et encore, il n’est pas certain que ce dernier soit encore une référence. Je ne me suis pas encore remis de “Cell Phone” (2016) qui continue à faire un carton de visites sur ce blog, tant les gens semblent vouloir comprendre la fin de ce navet.

“Singularity” est profondément un film médiocre, et pour une multitude de raisons. L’histoire est une sorte de mixage de plusieurs autres métrages que Robert Kouba a dû voir dans sa jeunesse. On retrouve des éléments de “Terminator” (1984) de James Cameron, avec un ordinateur qui décide en une fraction de seconde que le problème de l’humanité, c’est l’être humain, et que pour régler le problème, la meilleure solution, c’est d’éradiquer la race humaine et ainsi de déclencher une apocalypse.

Au milieu de la pauvreté de la photographie, on retrouve des visuels qu’on a également déjà pu voir dans d’autres films, comme si on avait voulu créer un environnement familier. Certains robots ressemblent étrangement à ceux estampillés OCP dans “Robocop” (1987) de Paul Verhoeven. Enfin, le personnage de Calia, incarné par Jeannine Wacker, arbore un look qui fait étonnement penser au personnage interprété par Jennifer Lawrence dans “Hunger Games” (2012).

Mais que dire de l’histoire. Et bien pas grand chose. On s’ennuie ferme en suivant le développement proposé dans “Singularity” et il faut lutter pour ne pas éteindre la télévision tellement c’est médiocre. Les scènes d’action sont peu nombreuses et manquent cruellement de réalisme. Les effets spéciaux sont très moyens et n’offrent rien qu’on n’ait déjà vu. Pire encore, la trame de base nous invite à suivre deux individus en quête d’une région supposée paisible, peuplée de survivants pacifiques. Encore une concordance avec un autre film. En effet, dans “Waterworld” (1995), Kevin Costner était déjà en quête d’un tel endroit, à quelques nuances près.

Enfin, de la distribution, il n’y a pas grand chose à retirer non plus. Les deux acteurs principaux, Julian Schaffner et Jeannine Wacker sont loin d’offrir des prestations inoubliables. Le premier n’est absolument pas crédible, là où la seconde s’en sort un petit peu mieux. Carmen Argenziano est proche du ridicule avec son visage défiguré artificiellement, et enfin John Cusack, peu présent à l’écran, fait le service minimum, probablement venu par là uniquement pour encaisser son chèque.

Bref, inutile de s’acharner plus longtemps sur ce film, au risque de rendre cette critique tout aussi pénible à écrire que le film ne le fut à regarder.

En conclusion, “Singularity” est un film médiocre, dont l’histoire, le développement et les visuels s’inspirent en de nombreux points, mais de manière maladroite à des références de la science-fiction comme “Terminator” (1984), “Robocop” (1987), ou encore “Waterworld” (1995). Les effets spéciaux sont faibles, les scènes d’action sont peu crédibles, le rythme est soporifique, la distribution est peu sémillante. Pour faire simple, rien ne va dans ce métrage qu’on se doit de vite oublier et qu’on se refuse à recommander.

  Bande-annonce :

SINGULARITY (2017) ★☆☆☆☆ Synopsis : En 2020, Elias van Dorne (John Cusack), PDG de VA Industries, la plus grande société de robotique au monde, présente sa plus puissante invention, Kronos, un super ordinateur conçu pour mettre fin à toutes les guerres.

[mredwinsmith]

How to Use Texture in Portraiture For Powerful Results

Why You Should Add Texture to Your Portraiture

To an artist, texture means so much more than a sensation brought on by touching something physical. It can tell a story and make something two-dimensional appear three-dimensional. It can be applied, established through paper choice, scratched into a surface and built upon, layer after layer. The possibilities of texture in art are practically limitless.

What’s more, texture can also be used as a tool to spark a certain emotion from the viewer. This is especially true when used in an art genre like portraiture. Texture can help to capture a glimpse into the mood, personality and thoughts of the subject while also assisting in making the viewer feel a certain way.

To inspire you to incorporate more texture into your art, here are 10 remarkable portraits with brilliant textural elements from artists featured in Strokes of Genius 8. Enjoy!

Caught in the Moment

Adolescence by Veronica Winters, colored pencils on Canson pastel paper

  On a family vacation, I took a picture of my son. It was a lucky moment: His eyes were a lot more telling than posed smiles. I aimed to depict the intensity of his gaze, the look of adolescence seen in the thoughtfulness and contemplation of that moment.

Colored pencil drawing requires the use of smooth paper. Here I deviate from the norm and draw on pastel paper instead. The unfilled spaces of the colored, slightly textured paper mix optically with the colored pencils, revealing the texture of skin and hair.

I work on details with very sharp Caran d’Ache Pablo pencils and shade everything else using soft, permanent Caran d’Ache Luminance and some Lightfast Premier Prismacolors. 

— Veronica Winters

Hard Lines, Hard Times

The Patriot by Clark Louis Gussin, Mars pencils on Strathmore bristol

  The more I got to know my son-in-law, a career combat soldier, the more I was compelled to make his portrait. I traveled to Texas for a formal sitting where I was able to control the pose, the lighting and the mood.

After choosing the desired pose from the photography session, I was excited by the challenge to render the textures and crypsis (i.e., camouflage pattern) of his uniform, and hopefully capture the hard years etched on his face and resonating from his gaze. It took me three months to complete rendering and modeling.

The value transitions of the surface textures were achieved using General’s charcoal pencils and charcoal powder applied with stumps and tortillons.

— Clark Louis Gussin

Bringing an Idea to Life

Wileman by David Sandell, Derwent Studio and Caran D’Ache Luminance pencils on PastelMat

  This drawing started life as an idea for an oil painting, then it developed its own credibility so I ran with it. The subject is an old friend and renowned painter, Peter Wileman. I felt it was important to reflect his character through the texture and landscape of his face as affected by light from a nearby window.

I developed the basic drawing from my own photographic studies, drawing with Derwent Burnt Carmine and white, then bringing in the warm and cool halftones on either side of his face with Luminance Burnt Sienna, along with pinks and grays.

— David Sandell 

Erasing Unease

Out of the Blue by Jennifer Rowe, pastel on Canson paper

  Using reference photos allowed me ample time for experimentation with this portrait. Feeling dissatisfied with my initial results, I grabbed a Prismacolor Magic Rub eraser and made random strokes with its edge.

When I stepped back I saw that the eraser marks had serendipitously framed the face, which I was then inspired to further refine. The juxtaposition of the loose textural background and the tightly rendered visage brings a heightened emotional quality to this piece and leaves room for the viewer’s imagination.

— Jennifer Rowe

Creative Experimentation

Kevin by Chris Page, Black PanPastel and General’s black and white charcoal pencils on Strathmore gray-toned paper

  I did this portrait of New York model Kevin as a kind of creative experiment. First, I painted Kevin from life, using a monochromatic palette of Terra Rosa and Venetian Red, both by Vasari, on a gray-toned panel.

Next, I photographed both the painting and Kevin in black and white. And, finally, I created this drawing from those sources. My primary intention was to first gain a solid structural understanding of my subject, and then hope that it translated into a solid piece.

–Chris Page

Lost in Thought

Thoughts by Catherine Creaney, Soft pastel and pastel pencil on Fabriano Tiziano paper

  Thoughts portrays my mother’s partner and caregiver for more than 20 years. His appearance often reminds me of philosophers or biblical characters, and that is how I wanted to depict him in this portrait.

Working from photography, I can capture fleeting moments and expressions. I used a combination of soft pastel and pencil in both the underdrawing and final drawing stages, adding highlights and hair and skin texture with putty rubber, an eraser stick and a few touches of white pastel pencil. I merely hinted at certain areas so as not to overwork it and lose the vitality.

— Catherine Creaney

Paper Power

Laurie in Profile by Marnie White, charcoal on paper

  This is part of a drawing series of my friends and acquaintances. The background noise has been stripped away to draw attention to form and texture. In these quiet drawings, I focus on my subjects and investigate the poignant humanity of daily life.

The texture of the paper accentuates the drawn texture. Smooth areas like Laurie’s skin are juxtaposed with looser strokes in the hair and sweater. I prefer to work from life but also use reference photographs. I find preliminary sketches from life essential to keeping my work looking fresh.

— Marnie White

Taking a Walk in Someone Else’s Shoes

Hard Times by Wendy Layne, Polychromos colored pencils and white gel pen on cream Stonehenge paper

  Walking in downtown Houston, Texas, I came across a man with tattered clothing perched on a concrete bench with a large duffle bag beside him. The lines in his face told a thousand stories. He gazed at me with gentle eyes, so I approached him. After a long conversation about his life, I asked permission to photograph him for my Faces of Humanity series.

I started the drawing with the eyes — the single most important detail to convey emotion. The gel pen added a depth to the beard and highlights to the thread in his knitted hat. I left the background simple to represent how his surroundings were insignificant compared to his own physical requirements to merely survive.

— Wendy Layne

Thinking Outside the Box

Defense Mechanisms by Mark A. Hanavan, charcoal and acrylic on Canford cardstock

  Defense Mechanisms is from a recent series where I turned my focus toward my animation students. This unique subculture contrasts with traditional societal norms. Contrasting textures, then, become a visual metaphor for this feature of the sitter.

The oval format unifies as it repeats the ovals in the image, but contrasts by the fact that the sitter is not the customary subject of an oval format. Even the space above the figure was intentional, suggesting that the subject is not fitting into our frame of reference.

— Mark A Hanavan

Seeing the Soul

Good Place for a Handout by Nina Ashraf Asmi, Conté crayon on Mylar

  Drawing portraits from life, I seek to portray our shared humanity. I start with no preconceived notion of the finished portrait.

An interplay of random marks, textural strokes and empty spaces lets the viewer inside — with the intention of revealing a glimpse of the soul. I like Mylar because it is receptive to different kinds of strokes without dictating any textures of its own.

— Nina Ashraf Asmi

How do you add texture to your art? Tell us in the comments!

And, if you are looking forward to the release of Strokes of Genius 9, which is all about creative discoveries, pre-order your copy here.

The post How to Use Texture in Portraiture For Powerful Results appeared first on Artist's Network.

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