#love the color variation in the structure lines

[shortnotsweet]

growing pains

It’s only been nine years. They’re not in their thirties yet—and won’t be for a while—but it’s worth noting that things are different. Maybe it’s them, maybe it’s the boardwalk, or maybe—well. Logan is a different person than when he was a high schooler. He’s less assured than he was. That could be it. Louise is almost certainly different than she was then, but even now she still hates his guts. Maybe some things don’t change after all.

Notes Transcription

Main Episode Outfit Variations

Louise would be into layering, I think. She’s multifaceted, practical, and resourceful. Harsh structure in conjunction with more layered pieces; tendency towards color blocking, but she keeps it sharp. She’d be into casual, pragmatic clothes. If not very structured, she has loose-fitting, draped fabrics like sweatshirts or heavy pants (cargo material, corduroy, denim?)—draped and bulked, but not baggy. Something easy to run and move in; sneakers or combat boots.

Not opposed to dresses. Keeps it compact, simple lines. No frills but does lean into triangle shapes or rectangular blocks. Color blocking => neutrals will take up negative space, highlight colors are accented.

Sticks to main colors (green and pink) for consistency, but relies on neutrals like beige, black, and brown. Less cool-toned than Tina, either spring or autumn coloring. Bright colors are muted with exception of a highlight, usually pink (hat or laces). Green varies from lime to olive to sage to forest, etc. whichever tone is appropriate.

Occasional purple or blue in reference to the snowball fight/sled episode with Logan (he was in blue, Louise was in purple). Louise could lean into purple (imposing, mysterious, feminine but still intimidating) for off-episodes. Not frequent, though; too similar to Tina’s color palette.

Hairstyle options include braids, pigtails, or just loose. I’m growing partial to braids; they feel utilitarian, almost boyish, useful. Could emulate the bunny ears under the cap.

Beanie vs. Baseball Cap. I like the beanie, but to me it lends to this aspect of laziness? Not the worst, but i like the structure and sharpness of the baseball cap. Also obscures the eyes occasionally, or could be worn backwards.

Timeline + Basis

Loosely, 9 years post-canon timeline (ambiguous). Louise is 18, Logan is 25. The age gap is too big for them to feasibly be in high school together, so the second storyboard shot by the lockers is him visiting the high school for some errand (maybe Cynthia needs him to deliver something, maybe he’s got a younger sibling by now?), Louise passes by him in the hallway and doesn’t move to accommodate him (almost slams into his shoulder) and he almost looks back at her but continues on. He recognizes her when he visits the diner, which he later frequents because it’s one of the closest places in town that has good food that’s affordable and keeps him out of the house.

That’s one of the reasons, anyway. He isn’t conscious of it, although Gene picks up on it early on an often gloats to either Louise or Logan, both of whom are baffled or irritated at first. Linda is overly supportive of the idea to the point of humiliation, Bob doesn’t want to think about it and refuses to see it, and Tina writes extremely detailed romance novel drafts about it.

Logan becomes ‘aware’ in the following year, then feels really gross about it and avoids the diner for months until confronted (member of the family is up for debate). Realistically, nothing ‘tangible’ happens between them for three years (kiss? Weird face touch? Jealous outburst? Freudian slip? Something fun, idk [Louise: 22, Logan 29]).

I think Louise regresses at this point, and tries to distance herself like that episode of iCarly when Sam realizes she’s in love with Freddy and literally institutionalizes herself in a mental ward. Very much LALALALALALALALALA I can’t hear you, that didn’t happen. Logan is not feeling great at this point. Heart-to-heart with Bob snaps her out of it.

One more year of slow burn, actual relationship starts (Louise: 23, Logan 30).

Logan gets married, eventually, in his early thirties. Gene is an unintentional omnipresent narrator.

Additional Notes

Keep Logan in primary colors (mostly red or blue), but keep him out of dark neutrals/monotones (no black or charcoal gray), because it’s too heavy of a countermeasure against Louise’s color blocking—too unbalanced.

Decent height difference, although it varies depending on Louise’s shoes (sneakers or platform boots, she’s usually in sneakers in the restaurant). She’s right over his shoulder (?)

Concept comparison of them both around the ages 14-16 are for comparison only. Their ages do not coincide.

Occasional pet names, always mockingly derogatory.

Montage shots of her leaning over the counter while they talk. He used to sit in the booth seats but eventually began sitting at the counter instead. No reason. It means he can talk to her more easily and bother her with less effort.

They’re the kind of couple who publicly argues over the pronunciation of ‘egg’ type beat. Bickering keeps it exciting for them, but they make it a point to apologize in any serious disagreements, usually by the end of the episode. Similar difficulty in admitting when they’re wrong, often attempt to compromise by sharing/taking on blame in some equal capacity. Sometimes this is healthy, sometimes it’s more de-facto.

Mother-in-law beef goes crazy

[slickchickchocolatier]

S E 7 E N : A F T E R MA T H P A R T 2 W O

OMG you guys i almost gave up bc tumblr (this time) had erased a huge part of my draft towards the end right as i was typing and about to post.......yo......i did the best i could to retype what i could remember and salvage it. it's still good though...just....soooo annoying. anyhow, part 3 is in the works!

um...bc of the retyping, alot of this is not proofread......also some of this was typed up in my phone and i tend to fat finger some of the keys, so please excuse all of that.

Warnings: just mentions of smut, like D in P smut, nothing too crazy. Lots of fluff type things. heheheheheh.

Walking amongst the wild red floral ground, your foot steps are soft and soundless. You admire the view of the moon, as you always have while you take in the landscape of your home. 

Peering up at the peak of the mountain, where your throne sits next to his, you could have flown to the top and made the trip last only seconds, yet it seemed like a night for a walk. Up the stairs, you take one delicate step after another, reminiscing everything that took place within the last year. 

The time went by rather fast, yet all the events that led you to becoming fully immortalized and the aftermath of everything was ingrained in your mind with all the details punching the imagery into your vision. No matter how much time would pass, you’ll always remember the finer lines of each occurrence.

You gracefully walked up each step, delicately and nearly levitating. Even with your wings lying dormant into your own being, your body still experienced amazing leaps and advanced movement.

The business-casual attire you adorned for the mortal realm gradually shifts into different material and form as it extends to the stone ground, developing high slits to expose your legs, the way he likes it. As far as your husband was concerned, the more skin showing for you, the better it was for him. He often vocalized how he loved to see nothing but every inch of your bare nudness…he only wanted to see you. Just you.

Only you….

With the ability to shape-shift your clothing, you dawned the dress he liked on you the most, stating that other than your nude body, the dress he picked out for your to wear in many variations was what made you looked fitting for your title as a Goddess, therefore, if you absolutely felt strongly about clothing yourself, he prefers you wear the dresses he outlined for you.

“My Queen…..you look so beautiful when you wear nothing….but if you have to wear something, I want you to wear these. You’re a Goddess…the child of my former master, therefore you should always look like it…my beautiful girl.”

The flowing dress develops a beige and champagne color. Of all the materials and colors of the dresses with similar pattern, he loved this particular one the most. The dress continues to grow in length, and shifts into a transparent, chiffon material, with a sheer corset-structured bodice that was entirely see through, showing the subtle color and form of your breasts with the twinkling jeweled piercings shining through the mesh element. He also loved that about this gown.

With only the loose straps that hang over your arms loosely, the tightness of the bodice hugs your upper body, stabilizing the true fit, all wrapped with floral lace as the skirt flows wide and freely, making you look like a princess or, a goddess, but far from the goddess of Hell.

You continue to make your way up, gently brushing your hair aside to reveal your collar bones and the skin on your chest. Your dress drags along each step, trailing behind your footprints. You remained barefooted with only the ankle bracelets that he gifted you, among the other pieces of subtle jewelry he decorated your body with.

You took your time delicately walking up towards the peak of the mountain top, yet with your enhanced stamina and lucrative speed, you were reaching the top in no time despite the stairway being miles long. Any other being, whether they emerged from Heaven or Hell, could never travel this far by foot without succumbing to the effects of fatigue, even if it was minor. No demon nor Angel would be able to do what you could do, since you not only shared the same soul as God himself, but you also share the split soul of the one who had taken your mortal life, and blessed you with his own, the Devil himself, Heeseung.

Near the top, you see the pillars that decorated the entire peak, the entry point of his castle. Despite having his own kingdom, his throne, along with yours, was stationed outside, in front of the structured palace, since the view was far better with the red poppies and the glorious moon as the primary features. Of course with the earth off to the West side of the palace, it was an added bonus for whenever you witness the rotation of continents.

A year ago…..

Watching the earth rotate, you watch as each continent on display shifts in rotation, taking turns to relish in in the day, as others sleep at night. Your body had nearly adjusted entirely as you discover the new abilities you’ve gained, laying atop of the platform, the lush velvet fabric comforting your nudeness, the chained cuff delicately wrapped around your ankle, holding a power that, despite its frail appearance, held the strength of immense steel links and restrained you from leaving the parameters of the peak.

Laying on your stomach and chest, your knees propping your feet high as you playfully swing them back and forth, you play with the fortune spheres that he brought in for you. Reflecting the images of the world you no longer belonged to, you were able to examine the visual imagery of your family and the people on their road to recovery. Similar to the Northern Lights, the spheres reflect off a small projection of the scenes, people, and locations you wanted to see. 

As you admired the sight that the spheres projected, your only avenue outside of Hell, you overhear him issue out a deep chuckle as he admired you while you focused on the scenes displayed by the spheres.

Through the miracle of time, you gained more comfort as you took advantage of the slack you had with the ankle chain, and moved around. He’d watch as you get up and stretch your wings, flaring them in their full glory as you stand off to the side of his throne, or when you perched yourself atop one of the large pillars and gazed at the stars directly above. 

...............

“Let’s go for a walk, pretty.” 

Knowing that a change of scenery would be much appreciated, a snap of his fingers and the ankle chain would disintegrate into particles of of atomic value, allowing you to walk freely with him through the fiery red poppies he grew. 

Hand in hand, he’d lead you through a delicate made path, allowing you to reach out and graze your fingertips along the petals, or pick them to your hearts content. 

He’d take you to the Pond of Sacred Sin, a tranquil body of water paired with a soothing waterfall, where the water was granite black. Walking barefoot into the pond, cupping the dark liquid in your hands as the material of your dress flows to the surface, you subtly play as you splashed and decorated the pond with the poppies you picked. Despite the water eluding the silver black color, your hands and dress were wet with translucent drops, not at all stained. It was a remarkable feature, everything was. Hell, was remarkable. At least he made it that way….for you. 

Watching you kicking your bare feet as the loose petals all twirled around, carried by the breeze that dragged them towards you, he took in the delight of seeing you become relaxed and losing the timidness that you initially displayed upon situating to your new home. 

There were even some days, where you opted to remain nude as the velvet cushion of your bedding felt soothing against your skin. You would sit yourself in between his feet, wrapping your arm around his calf as he sat in a relaxed position in his throne, peering his gaze down at you. 

Lifting your hair, he’d stroke his fingers through as you rested your head against the side of his knee, the leather of his knee high boots pressed against the nude skin of your breasts as you felt the sensation of his fingers dragging through your strands, so gently, and so lovingly. 

Too lovingly.

There were times, on certain nights when the demons that roamed aimlessly, roared out, submitting their call to the others as they detect your scent, yearning to devour you. Sensing your presence nearby, the demons would escalate their pace, trying to get to you, and once they did, they would meet their brutal demise as Heeseung would slaughter them effortlessly before they could even reach you.

Yet their calling was unsettling, it would frighten you to hear in the wide open air, not being able to detect which direction it came from or how close they were, yet he would always know, and was more than ready to shred them. Regardless that you were immortal and gained special abilities of your own, you were still learning how to use them, despite knowing and understanding this, there was no way Heeseung would ever allow you to sully your hands or leave you to fend for yourself. HE was your protector. HE was always going to save you. HE loved you. HE worshipped you. HE would do anything for you. HE.....would always give you everything, while keeping you isolated and only obtainable, by only him.

Upon waking up and hearing their roars, you’d get up and let the black, transparent material that was loosely wrapped around your waist by a gold chain, drag against the stone tiles as you walked up to his throne. With nothing adorning your upper body, along with the high slits aligned with each leg, your breasts and the upper portions of your thighs were completely exposed. You resembled a fairy, wrapped with tattered mesh and adorned with ancient jewelry.

You not only continued to be, but you were absolutely stunning, always taking his breath away whenever he watched you stand and expose your entire form in front of him.

Taking merely six steps over to his direction, he’d tilt his head and look up when you breached his chair before him, and watch as you gently sit atop his lap, which he delightfully embraced and assisted you in as he cradled you and let your breasts lay against his chest.

You’d rest your chin atop his head as he nuzzled against your chest plate, reaching up and rubbing your neck as he places sweet and delicate kisses over your skin, all the while your hands would find their way and relax on his shoulders, gripping the material of his knee length coat whenever the demons would roar out again.

It didn't matter how often they would cry out in a devouring and frightening manner, he was always there, admiring you and ready to protect you. Sensing that you were comfortable enough to initiate physical contact, he started to lay next to you more often and cradle you in his arms, easing your frightened state as he stroked your back while you slept.

“Niki.” 

“I’m here.”

“Set the entire river aflame, burn the entire lot of the darkened souls, and set guards to eliminate any that survive and escape. They’re drawn to her. That's why they keep wandering around.....they're looking for her.”

Laying atop the platformed bed, you overhear the conversation Heeseung had with the youngest brother as he calmly instructs him to destroy the Rivery Styx, thus ending the torment of facing the wandering and hungry demons. 

“Their screams are what’s scaring her. Get rid of all of them for me, will you?” 

“Consider it done.”

He was too enamored by your presence to think of setting the river aflame sooner, yet once he had Niki burn out the entire region of the River Styx, there were no more demons roaming around, completely easing your conscious.

Tracing the trail of stars in the sky, he’d guide your fingers to outline the patterns of the galaxies and constellations, a routine that happens every single night. 

You never thought it would happen, but as time went by, you start to feel more comfortable around him. Since you spent every second of your life with each other, it was bound to happen, yet initially, you had told yourself to never falter and to remain alert, always finding hope that you'd return to the world you were born in. However, time has a way of changing minds and hearts of people, you were not an exception. You did change your mind and your heart in regards to him.....and he loved what he saw.

Developing a familiar nature around him, you no longer felt uncomfortable by his constant stares, his watchful eyes as he gasps and breathed deeply out of lust whenever you did anything, whether it was shifting your position or blinking. Heaven forbid if you smiled or laughed, that drove him over the edge to the point where you found yourself under him again, sometimes multiple times in a day, where he would render you at the mercy of his love, rough or gentle, whatever he was in the mood for.

To avert your attention from the boredom of just laying around all day, you played peekaboo with him. Lurking from behind his throne, and peeking over from the side, over his shoulder, you would chuckle and laugh whenever he glanced at you with a delightful side eye and smirk as he'd catch you by a gentle grab on your neck, and swing you over on to his lap where he smothered you with soft and passionate kisses, all the while you giggling and teasingly try and push him away, only to witness him looking down at you with a joyful smile and a lovesick gaze. 

One event where you were playing the game, you surprised him...and yourself, by displaying a sudden notion.

It was the moment, where you snuck around to the side of his throne, and quickly snuck a gentle kiss on his cheek.

Perhaps it was the feeling of being too comfortable, or maybe it was Stolkholm Syndrome, either way, you felt elated when it happened as you witness the wide eye'd smile he developed as he slightly gasped and took you out of joy.

Thats when you knew.....you developed love for him....the love that he so yearned for in return, it was now finally here.

All the moments of him slaying the demons, serving and protecting you....

Or the way his black hair laid slightly parted off to the side as he stared at you....sometimes raising a brow whenever he found himself overwhelmed by your appearance.

Maybe it was his deep and low voice whenever he leaned in and moaned into your ear whenever he filled you up with his essence, and marked you as his territory.

"I'm cumming.....fuck."

Maybe it was just him....

Whatever the reason was, you were drawn to him just as he was drawn to you. Before you knew it, you became less tense and more open, developing transparent conversations with him and getting to know more about each other, causing you to build an emotional connection, since he already had one with you. Despite already belonging to him....and physically being ravished by him a hundred times over, you had stonewalled any mere thought of developing a bond with Heeseung.....but when you decided to tear that wall down, you found your days and nights filled with smiles and laughter, no longer crying and begging him to send you back to live with mortals....to have your freedom and your old life back.

His vigor and thirst for sexual interaction was unlike anything you've ever seen. He yearned to be one with you constantly, and never thought twice in taking you, even if you had initially objected. He would be forceful, restraining, and isolate you under his frame, knowing that just a matter of time of him entering, he'd have you moaning out his name, gripping onto his arms and biting your lip for more.

And he'd give it......so much more.

The sexual passion never lost potency, yet there were nights where he maintained the rough and domineering nature of his vigor, and then there were some nights where he, while still maintaining ultra dominance, would be softer and more sensual. He would slowly thrust, going in deep….so deep. 

“I love you….more than you’ll ever know…” 

He would whisper against your lips, all the while holding you up, cradling your bottom as your legs wrap around his waistline, crossing over against his lower back. Both your wings in full display, flaring out in full expansion, his black and your Nacre white, contrast from one another in perfect harmony.  Then the time finally came, where you took the initiative and walked over to his seat, straddled him, and expressed your yearning for him. He was so delighted, that he took a moment to close his eyes and gulp down a few breaths as he rested his forehead against your chest plate, trying to ease down his level of happiness for he didn't want to ruin the sensual moment that you were displaying, along with the comfort of riding his thighs.

He finally had you.....just as you had him.

It didn't matter if he had already expressed your meaning and value, he could have said it earlier, wait five minutes, and say it again and his words would come out just as sincere and strong....if not stronger.

Sometimes, he would say it in various languages, both the ancient and the modern dialect, knowing that since you were adjusting to immortality, you'd instinctively would be able to translate, it was part of your abilities, as was his. He claimed that due to not having enough words in just one language to express his love, he felt the need to speak in multiple, never finding it enough to make you feel what he felt.

"How can I make you understand your worth to me? You're better than the five senses.....you're my everything."

"Tu clarior es quam mundus .... Universum es sole et luna pulchrior. Non est res non faciam tibi." (Latin Roman; translation: "You are more than the world….the universe….you are brighter than the sun and more beautiful than the moon. There isn't a thing I wouldn't do for you.")

"أنت حلم كل إله." (Arabic; translation: "You are every god's dream.")

"So etwas wie eine jährliche Blüte gibt es nicht mehr. Deine bloße Anwesenheit vertreibt voller Scham alle Blumen." (German; translation: "There is no such thing as a yearly bloom…not anymore. Your very presence shuns all the flowers away in shame.")

"Kapatid niya na sumisimbolo sa krus....at anak ng pinakahuling lumikha...ang hindi ko ibibigay na makita kang nakangiti sa buong kawalang-hanggan." (Tagalog; translation: "Sister of he who symbolizes the cross….and daughter of the ultimate creator…what I wouldn't give to see you smile for all eternity.")

"나는 단 하나의 이야기를 알고 있습니다....고대 세계의 아름다움, 암사자의 힘, 장미 꽃잎의 부드러움을 지닌 여성의 이야기입니다. 그녀는 하나님이 바라셨던 모든 것, 마귀가 원했던 모든 것입니다. 무엇보다도 그녀는 땅을 따뜻하게 하는 빛이요, 부정한 자들을 씻는 비요, 사람들을 먹여 살리는 열매입니다. 그녀는 생명을 낳는 숨이요 생명을 유지하는 공기입니다. 나에게 .... 그녀는 전부이고 훨씬 더 많습니다.." (Korean; translation: "I only know of one story….of a woman who carries beauty of the ancient world, strength of a lioness, and tenderness of a rose petal. She is everything that God had hoped for, and everything the Devil had wanted. Above all, she is the light that warms the earth, the rain that washes the unclean, and the fruit that feeds the people. She is the breath that gives birth, and the air that sustains life. To me….she is all and so much more.")

To my former master.....

It's been a while.....who am I kidding? It's been four eternities, yet here I am.

Just what were you thinking? When you created her...molded her....and made her the way you did. Knowing full well that she was to suffer the fate of being imprisoned in Hell, sacrificed to appease your people and to allow them to live in peace and harmony.

You knew what I would do to her...once I had found her...saw her...and took her. You knew....then again, you are God. Of course you knew. There was nothing that any of the muses or angels could say to change your mind, knowing full well that, despite me loving her.... my love is far from kind and humane.

I keep her....I chain her to my throne.....I feast her by day, and devour her by night. I ravish her with the torment of my touch, and burn her with my tongue. Yet, my love is the purest form of love that any one could ever experience. No man, woman, angel, demon, muse, or even you....YOU will never understand the love I have....the love I feel. Ironic, considering that was the whole reason in your creation.....of 'people.'

"Why is he doing this? What is the reason, Master Elder? Does he have any idea...any moral thought of what is going to happen?"

"It is his will to create people Heeseung, and it is his wish that we support our devotion and loyalty to his will."

"I cannot. People will grow harmful and do deeds that are beyond evil. You know that just as well as I do. They will destroy the world that I gifted him, torment each other and slaughter their own kind."

"We must abide by his will, Heeseung. There is a reason for his creation of people. Even though you, your brothers, and all of the angels in his kingdom are his dearest creations, and love him, there is a love that you cannot understand without people. They will be the ones to teach us. That is the purpose of their sole existence. We must aid him on this quest, and provide guidance and nurture people. Just wait and see, Heeseung.....without people.....we cannot learn the love that he wants us to understand."

"Then stand by him on your own. For if he chooses to not heed my words, then I will take my leave and depart from his palace gates."

"What you're saying is treachery against his holy spirt, do not say things so likely Heeseung."

"I do not care, nor do I approve of his decision."

"Heeseung, wait! Come back! Do not abandon your duties as the first and most beloved arch angel!"

"Perhaps I acted out of haste....but so did you. Tell me, how in the world did you ever think of creating such a sight to behold? Her eyes, her nose, her lips, her skin, her face, her body.....her spirit. How do you feel? Knowing that I had taken the piece of you...the light and flesh out of you......and do all these things that makes it scream.....makes her scream. Things that you and your guardians all find and deem as terrible. Yet it is all out of love.....the purest love that is known to mankind.

Your very own spirit.......your only daughter...your mortal daughter....is the Goddess of Hell....my queen....my wife.....mine. Even though this is what you intended for her, to give her up in exchange for the freedom and prosperity of your creation....your 'people'......what will you do now? I had wondered....how will you manage and take care of your mortal creation? There is nothing you could create that will surpass her. With all of your angels dead by each of my brother's hands, and your only archangel deathly drifting in pieces on the surface of the sea at my discretion, how will you manage your people? For now that you're soul is split into two?.....But then I am reminded.....so is mine. Clever old man, you saw that, didn't you? You knew.....you knew just what I was going to do once I saw her.....and took her. The love I have for her.....its sickening and drives me mad.....yet I could never even think of life without her...I wouldn't dare to live a single day of it without her.

Some might think you brought out your trump card too early, yet I feel you didn't bring her out early enough. All those years.....painfully waiting for her to come.....

You have any idea....any moral sense in just what you have done?....You created this amazing form of flesh, blood, and two souls.....knowing that for the longest time, she cried, she begged, she yearned to be away and escape my grasp. You probably heard her cries, and yet, you do not feel sorry....because you knew that this is what she was meant for. To teach and show me....that love for which you created people for.

I used to harbor such hatred and rage against you....I felt betrayed and hurt.....was it anger that kept me going all those years? Perhaps...yet the moment I found out of her....it was only she who had kept me going. She kept me breathing. She kept me from destroying the very thing you loved, and I loathed. How interesting and ironic, old man.

Were you really that afraid of me? That you had to outdo yourself and take out a piece of your own flesh to gift me.......the very thing that I was wanting to destroy. That flesh...that light....that spirt......I wanted to crush it....torture it......and burn it....

Now that I finally have it, I've done nothing but protect, love, and nurture it. I have admired it....taught it the ways of immortality.....

Is it ever a wonder, why I was so eager once I finally had her in my grasp? Could you or any of your muses blame me? I waited so long to have her.....I couldn't control myself.....even though she was going to spend an eternity with me, it pained me....to great extent, when I killed her mortal spirit.....and gave her half of mine. Your piece of light...forever tainted in half by my own....killed off and dimmed by my burning soul. I guess in a way....I got exactly what I had wished for.

I no longer think of you, in aspects of either good or evil.....I do not care anymore. I have a piece of you......and a piece of me......I have angels and demons....Heaven and Hell.....Gods and Kings.....I have both, black and white.....

I have her......

Authors Note: YOooooooo...tumblr had me in ruins because the original note (heelel's mental note to God) was erased when i was type it in the post......i nearly died yall......fortunately i remembered most of it (......most) and retyped it. But onto more important things, stand by for part 3! i will have it out in a day or two. Part 3 will be the finale for this chapter and series....gah....i'm almost in tears.

Taglist: @deobitifull; @solstramaii; @vampiregirl215; @nshmrarki; @enhypen14; @iamliacamila; @lisaaannna; @nikstrange; @jaehaki; @luv-enhy-skz33; @silcry@honeysjae; @crackedcameraa; @stinkmonkey ; @baekxo07@raishaii@yangjungwon33 @lhspeachie ; @differentchildwombat ; @prettykia ; @kimsseonu ; @stvrryhee ; @en-thralled ; @hoonzdzbl ; @yuppppp ; @jinniespuppy ; @browsehnnie @prettykia @lprww @they2luv1naia @ellixqz@mimimovv@stvrryhee

[rosekasa]

Hello! I am a beginner artist and I love ur art!! Super pretty and the colors are very tasty. Do you have some tips? I'd love to see your art process!

HELLO ANON!! first of all i am very honoured that u would ask me this because 90% of the time i feel like i have no idea what i am doing and like im still a beginner artist myself DSDSJDF. i would love to share some stuff i learnt and some stuff about my process (regardless of how messy it is sdfhsj)

(final piece)

here's an old example of my process i found! while the steps sometimes look different for other pieces, i feel like this is a good demonstration of how the basic structure looks.

1. the sketch - this is where i'm mainly figuring out how i want the piece to look. i was redrawing a screenshot for this piece so it looks a LOT neater than what a lot of my other sketches look like, for example, here's the process of me figuring out my recent drawing of haise:

(final piece)

in the first two steps, i was mainly working with showing myself what the piece was going to be. the last one was where i used references/technical knowledge to try and show whoever will be looking at it what the piece was

2. cleaning up the sketch + base colours. these two usually occur simultaneously because i will get bored cleaning up the sketch midway through and want to start adding colour LMAO. on a more practical note, sometimes putting down the base colours and having a better idea of what the finished product will look like might make it easier to refine things.

a note: cleaning up for me doesn't mean doing lineart. it mostly means erasing any overly messy lines on the sketch and redrawing small parts to make it look tidier where needed. i often leave it 'messy' at this stage, too. like here:

(final piece)

3. light/shadow. this is my FAVOURITE part because it's where the piece starts pulling together. the method i used in the current piece was putting a multiply layer over the colours folder and filling in where light would be obstructed. after that, i used a luminosity layer to put in some bright sunlight. marc brunet has a great way of explaining it by advising to pretend that the light is the camera and you're behind the lens. this is such a good way to block in average light/shadow values! sometimes this looks a bit crazy because everything is still so messy but that is why we have...

4. rendering. this is where i fit all the remaining pieces of the puzzle together. i'll refine the colours a bit more -- e.g. colouring in the eyes, -- and fiddle a bit with the shadows to add some more variation to the hues/value. this is where i think a lot about light and shadow theory and try and make it look more realistic. marco bucci saved my LIFE with his videos about ambient occlusion and ambient light (part 1 / part 2) -- essentially, what i keep in mind the most is that if a plane in shadow is facing the sky (or is open to any other form of light that isn't the direct light source) it will contain ambient light. it is SUCH a game changer when you add it to your pieces, trust me, even if youre lazy about it. if needed i'll pull up some references to make everything look good!

5. rendering... part 2? honestly this step kind of blends with the last one as i tend to do it simultaneously. i basically clean up all the messy lines from before by painting over them! with the majority of the colours i need put down, i can just eyedrop them and paint over anything that's needed. this also comes in with the light/shadow, where, if i need a more subtle hue for either/or, i will eyedrop it and brush it in.

some further notes:

i very rarely use references during the first stages of my sketch. i think it tends to look quite stiff and unnatural if i rely too hard on the. and i personally prefer the creative room when the idea is still being conceived. references come in when i can look at what i have down on the canvas and have a fairly decent idea of what i want, including pose, composition, etc. it's essentially a first draft to guide me to where i want to go with the piece. it's when i'm done with this that i bring out references, and even then, they don't necessarily have to be the exact pose -- i'll usually get a couple of pics which show what i need to double check and keep them up as a guide. by the end of the 'sketch', i usually have a basic construction of what i need to continue, even if it's messy.

i use very soft brushes when putting down colour because it allows for more hue variation. like i said, i enjoy eyedropping and brushing in colours afterwards, so this really helps!

layer modes are ur friend! i try not to rely on them too hard during rendering because i like the freedom of painting over but they're very useful when you're blocking in your initial colours

sometimes, when i feel like i want to try something new with my art, i'll keep pieces that inspire me up in front of me. i have two of sui ishida's art books and sometimes i'll just flick to a page that oils the Art Gears in my brain and keep it open while i draw. i don't necessarily reference it, but i like having it there so i can glance over every once in a while. i don't usually make a conscious choice where i'm like "ok i want to render skin the way he does" but it's more like. my brain knows what it likes in his art and it'll try and push that part of my art in a similar direction.

honestly the best advice i have is that art is very much based on vibes. everytime i've tried to think too much about it, to do things 'correctly', to rigidly stick to art theory, my art has not come out nicely. i think the technical parts of art are important to know and understand but i also think it's important to let your knowledge come through naturally when it is needed instead of pressuring yourself to do things 'right'. tbh you probably already know that but it's something i forget a lot so maybe it serves as a helpful reminder?? sedsfhsl

ANYWAY SORRY THIS WAS SO LONG! i hope i covered what you needed and if you need anything else/want me to expand on anything feel free to drop me another ask ! <3

make sure to look after yourself and trust yourself and ENJOY!!! art is about having fun!

[molagboop]

Chozo Headcanons: Eggs and the Chicks Inside Them

Egg! I painted a few Chozo eggs as part of a warm-up, so I decided to jot down a few thoughts about their enigmatic little puffball children while eggs are on the mind.

This post talks about the physiological structure of the eggs of four different tribes, what Chozo babies look like + their early development, cultural symbolism surrounding the egg, visual references, and more. I ended up having a lot more to say than I initially realized, and elaborated on some things I've discussed in previous posts, so strap in for a fun ride.

Chozo eggs first develop within the laying parent's ovary sans the shell: the shell only begins to develop in the oviduct after fertilization. If the egg(s) remain unfertilized by the time the parent's laying cycle ends, they will be reabsorbed. Egg synthesis takes precious energy and nutrients: the body is a well-oiled machine, and Chozo can't afford to waste any resources in this economy! The laying of infertile eggs is usually tied to poor health and hormonal imbalance.

Fertilized eggs hatch within 5 months of being laid. Most individuals lay one or two eggs per clutch. Three isn't uncommon, and four is considered a lot, but not terribly absurd. The most prolific individuals can lay up to five eggs. This is incredibly uncommon and not ideal, but not unheard of: there's at least literature that exists to support the parents of five-egg clutches.

Some tribes produce larger eggs than others: general rule of thumb is the larger the eggs, the smaller the clutch.

It is normal for parents to fashion a keepsake from the pieces of a hatchling's shell. If they can locate it after it falls off, the child's egg tooth is another common memento.

The Tribes and their Eggs

The Chozo tribes differ in many ways, including the morphology of their eggs.

Thoha eggs are smooth and tend to be a solid color. They are typically pale in tone with a sturdy shell and a slight, evenly tapered form. Color ranges tend to lie on the colder end of the spectrum.

The Thiloo tribe produces large, vaguely pear-shaped eggs with thick shells and hearty yolks. Their surface is mildly rough with raised granules. Coloration ranges from creamy whites to pale yellows.

The Mawkin are many and diverse: this fact is reflected in their eggs. Their shells can be pale blue, green, or yellow, with blue being the least common and yellow/cream being the most abundant. Mawkin shells are hard and porous. They are noticeably porous, but not quite as rough as the Thiloo.

Hatzu eggs are large, round, and exceptionally smooth—so much so that the unaffiliated might think they were made of glass! But no: their shells are indeed porous, just as the eggs of any other tribe. They lay blue eggs with varying degrees of vibrancy: some are very lightly speckled.

The Hatzu and Thiloo are both one-egg-per-clutch tribes: doubles are unheard of, and triplets are pretty much biologically impossible.

The eggs from above lined up: this time, they're to scale. Thoha and Mawkin eggs are the same size on average, though exact shape and size are dependent on the individual. Hatzu and Thiloo eggs are among the largest produced by any of the tribes.

Thoha

Thoha eggs are beautiful in their simplicity. Their shells are often a light variation of blue, grey, green, or purple with a glossy surface. Thoha eggs are of what one might consider the "standard size" for Chozo eggs: most tribes' eggs are around their height, though exact width and shape vary.

Thoha nestlings are the image of your typical altricial Chozo newborn: blind and near-naked at birth, it takes ten days for them to open their eyes and two weeks for them to gain a full covering of soft natal down.

Thoha parents are diligent and focused on allowing their children the quaint joys of childhood while fostering a love of learning and a sense of curiosity. They take advantage of every learning opportunity, and though every individual is different, they have a reputation for being some of the most patient teachers. A Thoha child's early life is filled with new sensory experiences and engaging puzzle-toys designed to encourage motor skills and entertain the use of different sections of the brain.

Thiloo

Large eggs for large babies! The Thiloo homeworld is frigid and unforgiving: their hatchlings are known for having some of the largest post-natal measurements out of all the tribes. Thiloo chicks are taller and heavier than the infants of most other tribes, and they grow exponentially within the first three months of their lives. Thiloo babies need to be bulky to survive the planet's eternal winter. Food isn't always available: reliable fat stores will keep them warm throughout the year, supplying them with the energy they need to grow even when sustenance is scarce.

Baby Thiloo are rotund with comical limb proportions. They are born semi-altricial: they rely on their parents for food, but are covered with down upon hatching rather than being completely featherless. This downy covering thickens as they age, and they learn to swim when they're old enough to molt: after their first molt, they gain waterproof feathers.

Thiloo infants tend to pack on the down pretty quickly compared to other Chozo: it takes three days for a newborn Thiloo chick to gain a full, fuzzy coat of down compared to the Mawkin's two weeks. Thiloo infants also open their eyes within the first 24 hours after hatching.

How do these babies get so big? The answer lies within the parent that laid the egg. To start, the typical Thiloo diet is packed full of nutrients and minerals that are a boon to embryonic development, so their yolks are highly nutritious whether they're planning to conceive or not. The marine animals that make up a large portion of their home menu are simply rich in the kind of fats and minerals that would supply an egg with a healthful yolk.

Additionally, Thiloo Chozo are genetically predisposed to being tall: I've mentioned previously that the Mawkin tend to be a tall tribe, and the Thiloo are no exception. However, Thiloo nestlings are far taller than the newborns of tribes whose children are wholly altricial at birth. If you saw Mawkin and Thiloo hatchlings side by side, you'd take one look at the Thiloo baby and say "I bet that one's going to grow up to be way taller than the other kid". And you would only be kind of wrong! The Thiloo child will most definitely grow up to be a tall order, but the Mawkin child does indeed have the potential to match their arctic friend in height.

A newly hatched Thiloo chick (left) and a newborn Mawkin nestling (right), held by their parents.

Thiloo parents prepare for laying, and they do so diligently. It's common practice to work with nutritionists and fertility experts prior to conception to seek out their own nutritional deficits and carefully curate a plan to pack their egg's yolk with as many chick-buffing nutrients as possible. The laying parent will fill up on fish from deep within glacier caves to supply their chick with a generous helping of iron, salts and other trace minerals that encourage easy growth in infants of their particular biology. Many blood tests are conducted throughout this period to ensure that speculated conditions are optimal for embryonic development.

The Thiloo are adept at crafting a yolk packed full of protein, fats and other nutrients to promote sufficient growth in their hatchlings. Some parents quite literally engineer their children to be as healthy and hefty as possible to ensure that they thrive in the arctic clime! Cute, bulky, cold-resistant fur coats can come later: a Thiloo parent's first concern is ensuring their child is prepared for survival right off the bat.

Mawkin

If they're not being incubated the old-fashioned way at home, these rigid eggs are housed within a nursery in the university research complex not far from Dairon (also home to the planet's largest medical center). They are diligently guarded by Mawkin midwives and the warrior-monks who make their home in the cliffs above the clinic. This is a long-standing arrangement that has persisted for centuries: it is at once tradition and an earnest act of community service. In any case, it saves the army from having to set aside a contingent of soldiers to protect the facility from wild animals.

The first illustration does not begin to describe the full breadth of Mawkin egg shape and coloration, but it does give us a peek into the world of pattern variation. Not all Mawkin lay patterned eggs, but the ones who do can put out shells dotted with flecks, speckles and spots. No two eggs are exactly the same, and the patterns manifest as the shell forms within the oviduct.

Some doctors believe these patterns serve as camouflage: a holdover from ancient times, when nests had to be guarded from intrusion by enemy factions who sought to lower the Mawkin predecessors' numbers, as well as predators seeking an easy meal. Others have noted that the dark spots on speckled shells tend to contain a higher volume of calcium, and posit that patterns may serve to reinforce the shell in places where the shell is thinner or otherwise lacking in structural integrity.

Whatever the case, it is agreed upon that patterned eggs are "dyed" with these mineral-laden spots as they rotate within the body during the shell's formation. It is also known that a parent's diet can affect the pattern: an individual who is predisposed to producing patterned eggs can guarantee that the spots on their child's shell will be numerous and richly colored if they keep up with proper calcium intake.

Apart from the posited theories on camouflage and structural benefit, there's not really any reason one would (normally) want to affect the appearance of a laid egg's shell prior to laying.

Hatzu

Another large-egged tribe, Hatzu children are unique among the Chozo in that they are precocial: upon hatching, their eyes are already open, and their bodies are covered in natal feathers. Their children also set themselves apart by their lack of an egg tooth: Hatzu babies kick their way out of the shell with their long legs!

Hatzu children are notable for their ability to walk right off the bat. Their arms can be difficult to see through their forest of fuzzy plumage, and they wave their useless wings around with abandon while playing and frolicking afield. To pick these sprightly chicks up for examination, physicians of their tribe will place a hand or two beneath the child's midriff and lift.

Hatzu children do not opt to cling to the neck or breast of their parents as often as infants from other tribes: they are most likely to request a lift from a trusted adult when they are frightened or anxious.

Though they are wont to run and hop about, Hatzu hatchlings aren't very well coordinated yet: they often trip over their own feet or otherwise fall flat. It takes about two months for Hatzu children to get a better grasp on dextrous use of their arms and hands, and 18 months to perfect the art of walking without risk of falling over.

Cultural Significance of the Egg

The egg as a symbol is loaded with cultural significance: it is the vessel through which Chozo children are born, and the basis from which much of life originates: seeds are eggs, generator cores are eggs, planets are eggs, life is an egg.

The egg is sturdily built, yet delicate: it can weather shock to an extent, but it must be guarded. The egg is a force that sustains not life itself, but the potential for life: the yolk within sustains a future organism that itself holds the potential to live and change the fabric of Now. In sustaining this idea, the yolk itself is a vector for life: the vitality it provides is valuable not just to the cells within its porous cradle, but to many outside it. The yolk and the embryo it feeds could have their vitality, the spark through which all power derives, taken at a moment's notice, be it by wild beasts or thieving others.

The egg itself fosters Potential, through which the essence of Life is given pass to bloom: this makes the egg, by extension, a mechanism responsible for the vectors in which Life originates. The shell is a nest, the nest is a shield, the yolk is the basis which feeds the flame of potential, potential fosters the idea of Life which gives rise to power... which, depending on who you ask, is the spoke that all else revolves upon.

Life is an approximate egg.

This is a paraphrased excerpt of Wise Wing the Elder's Allegory of Becoming, which describes the greater significance of the egg in the context of Chozo culture at large. The egg is a vessel for potential, and potential is the force that ushers life. The original text is pretty dense and kind of goes off the rails into the esoteric, but this should sum up the egg in a nutshell.

Chozo babies are born from eggs: Wise Wing draws a connection between potential and life without directly ascribing life as a quality of the egg itself: the yolk holds the closest association with life, though the egg is still part of the cycle of life at large. Wise Wing is rationalizing the means through which the egg serves as a placeholder in the absence of a more specific or centralized cultural symbol that represents life.

Life is a lot of things, and the egg consists of many parts that each serve their own purpose in renewing life. The egg itself is one small part of the greater concept of Life, and Wise Wing goes in depth about this later... but that's neither here nor there. The egg is a convenient symbol for life and various affiliated concepts: it's the beginning of a Chozo's journey to existence, and the Chozo conflate the Egg with all manner of things that "breathe life" to other things within the universe.

The egg is a cradle, the cradle holds the hatchling. The shell is a shield, the shield is a guardian. Yolk is breath is sustenance is necessary is coveted: Life forms will, will covets the yolk, yolk builds up from simpler things, and will begets power. That's at least the logical hierarchy: the more complicated facets of society and Being originate from the egg.

The yolk is often a metaphor for natural resources and other things that drive people to Act. Predation of eggs by wild beasts who seek to consume all the nutrient-rich bits within becomes an allegory for the origins of conflict. The symbolism surrounding the egg in Chozo culture is about as round as the structure itself: they all feed into each other, everything is a cycle, ideas catalyze actions which have consequences.

The Egg is Potential: Potential drives Life. The egg is often conflated with both subjects.

That's enough talk of broader metaphors: bottom line is the egg is a very significant concept with many faces, and one of these faces is the baseline that branches out into many specific symbols.

As for simpler symbolism: the egg can be used to represent children or indicate that a story's setting is within a place where children are reared. The egg is a symbol of parenthood, fertility, infancy, fragility, youth, new growth, and beginnings.

The egg is particularly notable as a symbol of origin: two Mawkin hero-myths involve midwives hearing the subject of the story belting the ancestral war hymns from within the egg, and the hero bursting from the shell fully grown + armed to the bone respectively. The egg is the figurative and literal beginning of the story in both cases. In other stories, the egg serves as a stand-in for the origin of a person, place, or ordeal. Thoha stories dated before their arrival on Zebes speak of an "Egg of Conflict" from which a great calamity or a period of unrest was born.

I've run my mouth quite a bit on symbolism, but I also have a few words on artistic interpretation of the egg. The egg is a largely rounded form, so simplifying it in pursuit of symbolic depiction or artistic expression is a relatively easy task.

Take for example, the orbs held by certain Chozo statues. The orbs they hold are not literal eggs per se, but they can be (and often are) interpreted that way. The young warrior, upon completing the trial set for them by an elder, proves themselves worthy and claims a new tool to gain proficiency with. In this way, the item sphere "hatches", and the warrior claims the fruit within as an aspect of their personal potential. Not only has the technology hatched from its egg: the warrior has, as well.

Anyways, all Chozo have the innate ability to curl up into a spherical shape like the item sphere, and their admiration for such a form has culminated in the invention of the Morph Ball. Now, powersuit users can curl up into an even more compact orb-shape to fit into far smaller spaces. This is useful for exploration, vent shaft maintenance, and a variety of other tasks.

What to Expect When You're Expecting: a Primer on Baby Chozo

Oh, look: it's a newborn Raven Beak and his father.

Most Chozo children hatch blind and naked or almost featherless. They are altricial, with the exception of the Hatzu: these differences are highlighted in the previous sections. Unless specified, it should be assumed that a given milestone is shared among most tribes, including the Hatzu. The typical Chozo child will open their eyes within ten days of hatching: by two weeks, they are covered in soft down. A Chozo hatchling will spend much of the day sleeping until it reaches two and a half years of age.

Chozo babies are fed by the adults around them, either through regurgitation or breaking the food into appropriately-sized pieces for the hatchling to swallow. Fruits are crushed (usually in the beak) and fed in mushy portions. Small, flaky chunks of larger hocks of meat are scraped with the tip of the beak or a handheld utensil. Small enough insects are caught, incapacitated, and fed whole. Portions of a given meal are set aside in a parent's crop to regurgitate for the child later.

A seven month-old Thoha chick covered in a soft blanket of baby down.

A major factor setting Hatzu children apart from the children of other tribes is their ability to walk from birth: they trot alongside their parents, learning to forage for themselves as they grow. They are still fed by their parents: they can't do everything by themselves, but they have a leg up over other kids in early walking and foraging behaviors. Hatzu chicks will eat bugs off the ground while their parents are talking to other adults: children from other tribes don't have as much freedom with snack choices quite so early on in their lives.

Chozo hatchlings are capable of using their voices from day one, but they begin mimicking the vocalizations made by the adults around them as early as three weeks: this is a child's first foray into speaking, though they will not begin properly repeating full words back at their parents until over a year into their life. The sounds they make at this point are mostly "bird-like": it's the tone and rhythm that counts. Chozo parents will "talk" to their children, encouraging their chirps, trills, peeps, and odd-beaked babble by responding with words or sounds of their own.

It takes about two months for a chick to reach the point where it can independently (and reliably) grasp onto a parent's neck for transportation: this is primarily how the child will get around for the next three years of its life. The fact that they spend many hours sleeping is no deterrent to their grasping: Chozo children are capable of maintaining a steady grip while they rest because the joints in their talons will lock in place at certain positions.

A very loose illustration of plumage progression in a Mawkin individual. It's not exact: but it conveys a few of the different "life stages" in plumage. From left to right, we have a naked newborn nestling, a chick covered in natal down, a child with soft transitional feathers, a juvenile growing into their particular bloodline's striking black hue, and an adult with dark, glossy plumage and fully flight-feathered wings.

Most chicks who are in their first coat of down are much lighter or otherwise very different in coloration than they end up as adults. Some baby Chozo have stripes or spots in select areas that are phased out down the line as they grow into their big bird feathers and start displaying the patterns they've inherited.

Baby Chozo have their first molt at eight months of age: fuzzy chicks shed their coat of natal down and gain a fresh covering of soft transitional feathers (except the Thiloo: their first waterproof plumes grow in at this stage). These are no flight feathers, they're still baby feathers. After the first molt, Chozo children will replace their feathers gradually throughout the year just as adults do. It takes four years for a child's transitional feathers to show distinct genetic markings, twelve years for chicks to transition fully to what we would call "juvenile feathers", and 24 years for an adult Chozo to have an even coat of mature feathers.

By 18 months, most chicks will be able to stand and walk on their own. By two years, a baby's babbling will become more coherent: what were once simply earnest signs of interest in communication transform into almost-recognizable imitations of words. This is when speech education goes into full swing. Speech and motor skills continue to develop, and by four years of age, most children will be capable of speaking coherently to their parents (with the expected differences in vocabulary and communication skills one would see between a small child and an adult).

Bonus: freshly hatched baby Raven Beak.

His voice sounds like if zip ties could chirp.

0 month-old Old Man awakes from a nap.

[venting-town]

Fuck in between

Fuck outside

Fuck outside

Fuck inside

Fuck inside

Fuck even

Fuck odd

Fuck positive

Fuck negative

Fuck neutral

Fuck mixed

Fuck mind

Fuck spirit

Fuck body

Fuck soul

Fuck responsibility

Fuck dumping

Fuck irresponsibility

Fuck holding

Fuck mixing

Fuck both

Fuck any

Fuck every

Fuck neither

Fuck one

Fuck some

Fuck all

Fuck none

Fuck

Fuck fuck

Fuck love

Fuck ignore

Fuck hate

Fuck limbo

Fuck loop

Fuck cycle

Fuck system

Fuck demon

Fuck Angel

Fuck spirituals

Fuck soul

Fuck black

Fuck white

Fuck reincarnation

Fuck incarnation

Fuck balance

Fuck im

Fuck un

Fuck you

Fuck O n e

Fuck better

Fuck worse

Fuck static

Fuck change

Fuck challenge

Fuck peace

Fuck war

Fuck grateful

Fuck complain

Fuck feel

Fuck connect

Fuck nect

Fuck beginning

Fuck end

Fuck climax

Fuck heal

Fuck trauma

Fuck full

Fuck whole

Fuck empty

Fuck broke

Fuck room

Fuck space

Fuck boundary

Fuck level

Fuck game

Fuck play

Fuck boring

Fuck fun

Fuck work

Fuck comprehend

Fuck lifetime

Fuck redo

Fuck undo

Fuck sick

Fuck health

Fuck variation

Fuck common

Fuck rare

Fuck possible

Fuck imposibbke

Fuck respect

Fuck disrespect

Fuck lack

Fuck abun

Fuck communicate

Fuck mis

Fuck scapegoat

Fuck thrive

Fuck survive

Fuck nature

Fuck nurture

Fuck free

Fuck but

Fuck sell

Fuck accept

Fuck reject

Fuck deny

Fuck allow

Fuck no

Fuck yes

Fuck anyway

Fuck everyway

Fuck someway

Fuck noway

Fuck way

Fuck favorite

Fuck despise

Fuck equality

Fuck equity

Fuck evil

Fuck holy

Fuck corrupt

Fuck family

Fuck friend

Fuck enemy

Fuck spectrum

Fuck two

Fuck choice

Fuck limit

Fuck limitless

Fuck boundry

Fuck rebel

Fuck follow

Fuck lead

Fuck center

Fuck big

Fuck small

Fuck medium

Fuck middle

Fuck top

Fuck bottom

Fuck side

Fuck light

Fuck dark

Fuck shade

Fuck mimic

Fuck color

Fuck possess

Fuck exorcise

Fuck truth

Fuck lie

Fuck truths

Fuck lies

Fuck hidden truth

Fuck blatant lie

Fuck them

Fuck information

Fuck filter

Fuck number

Fuck letter

Fuck shale

Fuck schematic

Fuck physiology

Fuck psychology

Fuck try

Fuck give up

Fuck succeed

Fuck fail

Fuck confine

Fuck rule

Fuck chaos

Fuck order

Fuck structure

Fuck cruel

Fuck kind

Fuck female

Fuck make

Fuck non binary

Fuck intersex

Fuck hermaphrodite

Fuck seperate

Fuck come together

Fuck human

Fuck animal

Fuck relative

Fuck subjective

Fuck objective

Fuck mistake

Fuck perfect

Fuck acknowledge

Fuck know

Fuck computer

Fuck generate

Fuck prison

Fuck experiment

Fuck wild

Fuck tame

Fuck learn

Fuck break

Fuck unlearn

Fuck re-learn

Fuck worth it

Fuck sacrifice

Fuck others

Fuck self

Fuck selfish

Fuck selfless

Fuck entity

Fuck character

Fuck personality

Fuck safe

Fuck danger

Fuck illusion

Fuck disillusion

Fuck care

Fuck proof

Fuck evidence

Fuck fabricate

Fuck veil

Fuck realm

Fuck dimension

Fuck world

Fuck imagination

Fuck reality

Fuck fakality

Fuck connect

Fuck good

Fuck bad

Fuck treasure

Fuck trash

Fuck line

Fuck life

Fuck death

Fuck revive

Fuck redie

Fuck adult

Fuck child

Fuck gender

Fuck age

Fuck manipulate

Fuck condition

Fuck society

Fuck serious

Fuck calm

Fuck joke

Fuck cry

Fuck laugh

Fuck faith

Fuck question

Fuck claim

Fuck weak

Fuck strength

Fuck core

Fuck input

Fuck output

Retarded ass fucking retarded bitches

[leelovelavender]

St. Amia Uniforms

Introduction + Inspirations:

Uniforms have always been my favorite part of fantasy schools and real life school. I've been wearing uniforms my whole life it's effected my fashion and heavily influenced my love for accessories. So I had a lot of fun designing them.

The uniforms themselves took a lot of brainstorming. Like most things in the story they changed constantly as I continued to iron things out not only around the characters, but also specifically in the worldbuilding.

Past versions

The only way to explain what you see here is 10-year old over ambition. When the original plan was to have How To be a Magical Girl a graphic novel my ten year old self had planned for each of my characters to have their own personalized uniform. This uniformed belonged to an early form of one of my characters, it's riddled with star motifs and her main colors pink and yellow. There are also gold star buttons and what I think are patches on her shoulders along with a bow at the back (idk if that's attached to her blazer or her skirt). At the time my only reference for actual school uniforms were the girl's at my older brother's school who wore the common western styled ones of blazers, button downs, and pleated skirts. (I'm thinking one day I should do a full showing of the others or maybe even a redraw of these cause there are a couple more). For obvious reasons these designs were impractical not only for me as an artist to consistently draw in a graphic novel, but even more impractical as the school itself developed into a more concrete idea rather than "Knock-off Winx school"

These iterations of the uniforms consisted of color blocked dresses and silk capes. I also thought about overalls and including pins with the capes. Although years later after watching spy x family you might notice the resemblance to the Eden's school uniforms. At the time of these designs Amia was halfway figured out. I knew I wanted St. Amia to still be an exclusive and strict kind of private school but uniform wise I wasn't completely sure where that put them. Aspects of these versions of the uniforms drew from Beauxbatons academy from the Harry potter series. Its also around the time when I started gearing the story towards Light academia themes. Now, there is nothing fundamentally wrong with these uniforms. I kept the palate and some structural ideas from this, but as I fleshed out the school again the uniforms needed to change too.

Final Uniforms (For the foreseeable future)

Everything on the drawing is labeled but I'm still going to describe them. In the final version the bell sleeves stay (they just look more pronounced because of how my art style has changed since). The beret stay and so do the bows also stay because I just love bows. There's a new addition of flared pants and a patterned lining along with a practical way to hike them up (see the small snaps on the sides). In a lot of character design videos the thing they press on are "distinct silhouettes". I'm hoping I've accomplished that.

Anyone who has ever been to a school where uniforms are customary, you'd know that no one wears the same uniform. Lots of dress codes allow thing like school sweaters or outside accessories. I personally enjoy wearing headbands and a sweater vest with mine. I like to have some elements of realism in my story and in my character designs (despite how cartoony my art style is). Girls have the option of skirts (of different lengths) or pants. Also since St. Amia campus is on a mountain (and famously called "The Winter Garden") students also have the choice of knitwear overtop their blouses. Each girl wears a different variation of the St. Amia uniform based on their personal style, lifestyle, and characters.

Alice(left) is a girl known for her bubbly disposition and is from Japan. She prefers to wear a bigger version of the standard sweater vest and a shorter skirt meant to be more reminiscent of her old uniform she would've worn before Amia.

Evie(middle) is a druid and botany student. She spends most of her non-core classes in the school's greenhouse right in the flowerbeds. In addition to the usual gardening aprons the school provides she also buttons up her flared pants and prefers the tighter version of the sweater vest.

Abia(right) comes from a more noble background and prefers a longer skirt and a cardigan since she tends to run hot internally but cold externally (lore thing). As an astrology student she also prefers the cardigans for their pockets so she can stash pencils in there for midday classes.

[flavdia05]

Curated Portfolio FD2

Gesture

2. Contour

3. Blind Contour

4. 5 Minute Pose

5. Eggs

6. Blind Hand Contour

7. Skull Study

8. Spine Study

9. Skeleton Study in Class

10. Peer Portrait

11. Self Portrait 3 views

12. Perspective study 3 Figure Color

13. Figure Color Assignment (last day painting in class)

14. Museum Inspired (+notes)

After visiting the MoCA, I was overcome with so much inspiration after seeing Jamea Richmond-Edwards: "Ancient Future" and her use of acrylic to create maximalist paintings. The painting "Lullaby for a Shooting Star" features a dragon adorned by various shapes and color variations that inspired my painting "Tiger Lilies." It was fun experimenting with vivid colors and one day I aspire to add fabrics and textures to my paintings.

15. Mid-Term

The process of making a head-to-toe self portrait of myself was a challenging one. Looking at myself in the mirror as I examined my bone structure, the way my eyes are hooded, eyebrows are uneven and slightly crooked nose towards the bridge made me fall in love with myself through the understanding that every human is built uniquely so. I decided to incorporate my cat in this portrait since I strongly believe anyone that truly knows me, knows my cat. The flowers in the background represent my beginnings in art, since I was little I would find an interest i the way flower petals fold and their intricate insides. Im wearing a black dress, I own my fair share of dresses but rarely seen wearing them thereforeI wanted to portray myself as the femme figure I rarely show. Lastly, my cat socks, which further explains my cat-obsessed brain, I carry a piece of Nina, my cat, everywhere I go.

16. Final

Exploring acrylics for the first time, I incorporated bright colors in this painting to provide a warm, at-home-feeling of intimacy felt by two people living with their cats. There is a black cat in the background interacting with the brown skin figure, an orange cat in a closer distance resting on the floor next to a lighter-skin toned figure who's sitting on a chair replicating the one from my home which I often sit on drinking my morning coffee as my cat takes her first nap of the day. Lastly, my last figure is a gray tabby cat with yellow-green toned eyes which represents my own cat, the way the feline tilts its head reminds me of Nina's (my cat) child-like wonder and the "curious cat" stereotype. My overall experience with this piece was to push myself to try new things and be bale to bring familiarity towards strange territory.

Artist Statement

A material I adored throughout this semester has been the soft charcoal vines, I had a lot of fun being able to create shapes and modify them without the commitment of strict line-work. My favorite assignment had got to be the self portrait because I had never been challenged enough to pushed through a life-sized drawing of myself. I believed to have grown as an artist and no longer fear big projects. Some obstacles I faced this semester was relying on reality rather than letting my brain wonder on the shape of the head or legs. I was able to overcome this problem through practicing in my sketchbook the devision of the human symmetry and being able to recognize all sections in which the body is divided into.

[anasanchez12345]

1. JOURNALING:

Unity and variety:

The concept of unity relates to a design's sense of harmony. It's about building harmony by making sure that all aspects function together successfully. Variety, on the other hand, brings diversity and interest. It avoids monotony by using opposing components. Example: Consider a well-organized bookcase, with books of all sizes and colors organized well. The general structure creates unity, while the different book covers provide variation.

Balance:

Balance is about distributing visual weight uniformly throughout a composition. It may be symmetrical (equal weight on both sides) or asymmetrical (unequal but visually balanced). For example, two kids of different sizes change their positions to maintain equilibrium on a playground seesaw.

Emphasis and Subordination:

Emphasis draws the viewer's attention to a particular focal area. It's like emphasizing the star of the performance. Subordination keeps less significant parts from overpowering the major theme. In an image of a flowering flower, the vivid petals (emphasis) contrast with the calm the background (subordination).

Directional forces:

Directional forces direct the viewer's eye throughout a composition. They may be literal lines or inferred motions. Arrows on road signs, leading lines in architectural photographs, and the flow of a dancer's movement are all examples of directional forces.

Repetition and rhythm:

Repetition refers to use of the same visual elements (such as forms, colors, or patterns) to achieve consistency. Rhythm refers to the visual flow that results from repeating features at regular intervals.

For example, musical notes in a song follow a rhythmic pattern, much as repeated design elements in wallpaper or fabric produce rhythm.

Scale and Proportion:

Scale describes the relative size of pieces in a composition. It can express significance or make a visual effect. Proportion ensures proper connections between pieces of an artwork. Example: In architecture, the vast grandeur of a cathedral's entryway highlights its importance. Similarly, a little bonsai tree in a large garden demonstrates proportion.

Let's examine an artist's work that demonstrates one of these ideas.

Artist Piet Mondrian

Principle: balance Theme: "Composition with Red, Blue, and Yellow" Mondrian's abstract artwork achieves equilibrium by utilizing a grid of basic colors (red, blue, and yellow) and black lines.

Even though the arrangement is simple, it feels connected. The equal distribution of color and form produces a feeling of balance.

2. CONNECTING ART TO YOUR WORLD:

I traveled to Nassau (Bahamas) with my family earlier this year. During a journey to the Atlantic Ocean, I was intrigued by the deep blue of the sea. The color of the sea changed from deep blue along the coast to a lighter turquoise as it approached the sandy shoreline. The blue color shifted with the position of the sun, providing a captivating dance of light and shadow. As I looked out over that ever-changing vastness, I felt both tranquility and astonishment.

The landscape's beautiful sunrises and sunsets enhanced the color saturation. The contrast with the Cerulean Sea was startling.

My ideal color palette would be a beautiful combination of warm oceanic tones. Imagine the richness of the deep blue sky, the many shades of gold and orange at sunset, and the calming presence of deep forest green. These hues represent stability, development, and a connection with nature. They remind me to enjoy life's basic joys and to see beauty in the ordinary.

So, my life's hues would be earthy red a rose that represents perfection, beauty, and the strength of life.

3. ART PROJECT

This painting means a lot to me because it represents how always a woman has to be treated as special and beautiful, and my dad, when I was a little girl, always said to me that a woman is delicate, has to be treated with love, and has never been touched, even with a petal of a rose. The meaning of that phrase is that men never hurt women; they have to tread on them very gently. I made this painting a couple years ago.

4. DISCUSSION:

Group 2

Bad Layout Design

Good Layout Design

What makes this a good design?

This is a good sign because it is very clear about the message that it is trying to show and say, and it is also simple and colorful.

What is the design's intention?

The intention of this sign is to show that we need to eat healthy if we want to have a longer, healthier life.

Does the design fulfill its purpose?

Yes, I think the sign fulfilled its purpose because it taught the healthy way that we have to eat to take care of ourselves and also guided us to have better health.

[arh2023kr]

The Progression of Spirituality through Art  

During the Renaissance period in Europe, artists spoke their ideas with religious intensity that attracted many viewers. Early Renaissance values were focused on ideals of wealth, intellectualism, and Catholicism. At this time, a large portion of the art made was commissioned for churches. Specifically in Italy during the High Renaissance era from 1490-1530, Roman Catholicism was prominent in churches. This gave the churches a lot of power which enabled the growth of large art pieces being commissioned. Art produced had many forms such as painting, sculpture, literature, and architecture.  

Many artists flourished during this time but few that spoke true to the values of the Renaissance Era and the underlining humanism philosophy were Leonardo da Vinci, Michelangelo, and Titian. An example of the inclusion of narrative portraits to tell a story into artistic style is Madonna of the Carnation by Leonardo da Vinci. 

Madonna of the Carnation, Leonardo da Vinci, 1478, oil on panel 

The “Madonna” was often used in reference to The Virgin Mary as the essence of motherhood. This artwork depicts the Madonna with Christ who seems to be reaching for a red carnation which symbolizes fascination and love. The shared look between child and mother signifies the love between the two. Often artists will use colors and shapes to signify underlying meaning. The bright colors of the fabric worn by the Madonna contrast against the dark background drawing the viewers' attention to the detail of the implication of wealth. This was popular in religious art as wealth typically represented freedom at this time. 

 Another artist that used biblical narratives in their art was Michelangelo. 

The Creation of Adam, Michelangelo, 1511, paint and plaster on ceiling 

The artist Michelangelo embraced a philosophy from the early philosopher Plato that believed human happiness and satisfaction was obtainable without waiting for the afterlife. Michelangelo used this belief and took inspiration from the ideal of “God created man in his own image” to construct the narrative in the finger of God and Adam touching. The background of this image is bare as to draw the viewers' attention to the image in the forefront representing the creation of man. Michelangelo captured the disparity between the spiritual ideals and physical matter surrounding man and God.  

Another depiction of religion and spirituality in art is through God(s) or deities. An example of this is Titian’s Danae and the Shower of Gold.  

Danae and the Shower of Gold, Titian, 1554, oil on canvas 

Titian created many variations of this artwork based upon Danae who was a mythical princess. This artwork tells the story of how Danae was imprisoned and seduced by Zeus. Danae sits on a bed naked representing youthful beauty and is sat next to an old woman who is clothed and reaching out to collect the coins raining from the sky. Danae was thought of as a figure of corruption during the Renaissance era. These artists accomplished the need for spirituality to be reflected in art through values of life that people want to live.  

Through the continuing development of art, new structural ideals came into mind. Artists began to use orthogonals or parallel lines, the horizon line, and a vanishing point to create what we refer to as linear perspective. This gave the viewer the sense of the painting appearing farther away which added to the complexity of the art itself. An example of this being used in a popular artwork is Da Vinci’s The Last Supper. (Ch 13.1.1 pp.4) “Leonardo arranged disciples in four groups of three, two on each side, pyramidal form of Jesus.”  

In the early 1500’s a religious reform movement referred to as the protestant reformation took place. A new branch of Christianity emerged known as protestant. These beliefs differed from Roman Catholics in that religious figures should not be idolized in art. Paintings being displayed in churches was no longer allowed. Artists began to focus on painting portraits and illustrating books. As the transition from Church based commissions to protestant art continued, artists began to realize how art gave viewers a chance to reflect and bring intellectual nourishment into their lives without religion.  

There were many cultures that had common values of respect and peace. Culture represents the people's various abilities of spirit and body. Traditional African beliefs are rooted in the belief in spirits and ancestors or deities. Different cultures use Gods/Goddesses to represent elements of natural world and spiritual realm. Buddhist art that originated in India emphasizes spiritual ideals rather than physical attributes. Buddhism spread through southeast Asia, China, Japan, Korea, Tibet, Europe, Australia, and America. Cultural beliefs were prosperous in wisdom and compassion. It was believed that bringing together humans, animals, and spirits into an artwork resembled the balance of life.   

Towards the late 1500’s a new style of art arose that emphasized complexity and proficiency over naturalism. This period is known as mannerism. Artists in this time used unusual scale, vibrant color, and distortion of the figure to convey the emphasis of their cleverness in skill. Some prominent artists of this time are Diego Velazquez, Francisco de Zurbaran, and Bartolome Esteban Murilo. 

Still Life with Lemons, Oranges, and a Rose, Francisco de Zubaran, 1633, oil on canvas 

Zuburan’s artwork Still Life with Lemons, Oranges, and a Rose had a significant meaning to spanish Catholics. The plate of lemons, basket of oranges, and rose sat on a plate with a cup signify the holy trinity. The artist painted the objects atop a table that is sat in front of a dark background. The viewers' attention is drawn to the images so as to understand the hidden message.  

Rokeby Venus, Diego Velazquez, 1647, oil on canvas 

This artwork depicts Venus the goddess of Love laying on a bed looking at her reflection in a mirror held by her son cupid. The artist blurred the reflection in a way to comment on the ideals of beauty that society holds. Parts of the painting seem to be loosely finished to draw attention to the detail of Venus.  

The Young Beggar, Bartolome Esteban Murilo, 1650, oil on canvas 

Drawing away from the traditional depiction of religion in art, Murilo’s artwork depicts a young child who is a victim of poverty and lives on the streets. This was the reality of 17th century Spain. The depiction of these characters was popular in Spanish literature. The boy is said to be picking at lice on his clothes and body. This subject of “delousing” was popular in genre scenes as it represented purity and the cleansing of sin. The artist sets the tone with the use of light and shadow around the boy. The reflection of the light through the window through the room speaks to Murilo’s sophisticated style. 

The depiction of religion in art continues to change through history. Moving into the post-modern era, spirituality is removed from the foundation of traditional religion. Different elements of belief systems are deconstructed by artists and rearranged into stylized fragments of what art should be. At this time artists refused to recognize the authority of a single style and institution. This led to the development of individualism, experimentation, and irrationality. Many different movements emerged through this time. Fauvism, cubism, futurism, dadaism, and surrealism all make up modern art. A common theme of these styles of artworks is progressive transformation. One way that artists communicated this is with items known as ready mades, or objects that were preassembled, which became popular subjects of art. An example is Marcel Duchamp’s Bottle Rack. 

Bottle Rack, Marcel Duchamp, 1914, metal rack 

The introduction of readymade’s into art challenged previous definitions of what constitutes art as art. Duchamp found this bottle rack at a store and deemed it art as he photographed it and displayed it. This brought about the question of who gives the artist's work meaning? Is it the artist or the viewer? These ideas built up into what we now refer to as post modernism. Post modernism focuses on self-referentiality and eclecticism. Artists Grant Wood, Alexander Calder, and Dorothea Lange represent this era of art well through references to more secular themes. The term secular is defined in reference to a time before the temple. This style of art may include action paintings that use abstraction to guide viewers gaze across the canvas or color field paintings that can be used to portray emotion in simplistic terms. Artists of this time valued line, color, shape, and texture over subject content. These artworks were meant to be deconstructed and viewed as a whole rather than interpreted as one. 

The Birthplace of Herbert Hoover, Grant Wood, 1931, oil on canvas 

This artwork was commissioned for President Hoover as a representation of his origins. The artist uses the repetition of patterns and forms in the land and trees to draw attention to the harmony of country life. Landscapes and self-portraits were common themes in artwork at this time.  

A Universe, Alexander Calder, 1934, painted iron pipe 

Another variation of post-modernist art was abstraction. This artwork represents the artist's abstract vision of the cosmos and even uses a motor to move the spheres in a circular motion around the center. Artworks like this were considered to be oblivious to organized religion. The progressiveness of the post-modern era speaks to the ongoing change in today's society through the 21st century. 

Destitute Pea Pickers, California, Dorothea Lange, 1936, 1 negative 

The artworks created by Dorothea at this time were in reference to the ongoing Great Depression. This artwork depicts a mother and her children dressed in raggedy clothes in what seems to be some outside shelter. This was a reference to the migrant workers who were uneducated and therefore worked for poor wages under harsh conditions. These artworks hold little physical reference to religion but give room for viewers to construct their own meanings from it. The definition of art today is loosely defined as the creation of inspiration and emotion in viewers. The ways of achieving this may vary but the purpose remains the same throughout all of art history.  

[astroshopkundli]

6 Mukhi Rudraksha Benefits: Unlocking the Power of Nature

The power of nature can bring many benefits to our lives, and one way to tap into this power is through the use of 6 mukhi rudraksha benefits. This divine bead is said to have many benefits for health, well-being, relationships, and prosperity. In this article, we will explore the history, cultural context, and benefits of this powerful tool, as well as how to identify, wear, and care for it.

Brief explanation of what is 6 mukhi rudraksha:

A Rudraksha is a seed of the Elaeocarpus ganitrus tree, which is found in Nepal, India, and Indonesia. The term "Rudraksha" is derived from the Sanskrit words "Rudra" (Lord Shiva) and "Aksha" (tears), meaning the tears of Lord Shiva. A 6 Mukhi Rudraksha, also known as a six-faced Rudraksha, is a bead with six natural lines or mukhis on its surface.

Historical significance and cultural context:

The use of Rudraksha beads dates back to ancient times, and they hold great significance in Hinduism, Buddhism, and other Eastern spiritual traditions. They are believed to have healing properties and are used for meditation, prayer, and protection.

Importance in Hinduism and Ayurveda:

In Hinduism, Rudraksha beads are considered sacred and are used for worship and spiritual practices. Ayurveda, the ancient Indian system of medicine, also recognizes the therapeutic properties of Rudraksha beads and uses them for various health conditions.

Understanding 6 Mukhi Rudraksha:

A 6 Mukhi Rudraksha is a bead with six natural lines or mukhis on its surface. Each line represents a different energy channel or chakra in the body. It is said to be associated with Lord Kartikeya, the son of Lord Shiva and Goddess Parvati.

How to identify an original 6 mukhi rudraksha:

To identify an original 6 Mukhi Rudraksha, one can look for certain features such as a well-defined six-line structure, uniformity in the shape and size of the bead, and a natural hole in the center. It is important to purchase Rudraksha beads from a trusted source to ensure their authenticity.

Significance of its six lines or mukhis:

The six lines or mukhis on the surface of the bead represent different energy channels or chakras in the body. They are believed to help balance these chakras and promote overall well-being.

Colors and shapes variations:

6 Mukhi Rudraksha can come in different shapes and sizes, but they all have six natural lines or mukhis on their surface. They can also vary in color from light brown to dark brown, and some may have natural markings or patterns.

Balancing chakras and reducing stress:

6 Mukhi Rudraksha is said to help balance the Manipura chakra, which is associated with digestion, metabolism, and self-confidence. It is also believed to have a calming effect on the mind and reduce stress and anxiety.

Enhancing memory, focus, and concentration:

It is said to improve memory, focus, and concentration, making it a useful tool for students and professionals.

Boosting immunity and stamina:

It is believed to boost immunity and stamina, making it helpful for those who engage in physical activities.

Alleviating muscle and joint pains:

It is said to have analgesic properties and may help alleviate muscle and joint pains.

Regulating blood pressure and sugar levels:

6 Mukhi Rudraksha is believed to have a positive effect on blood pressure and blood sugar levels, making it beneficial for those with hypertension and diabetes.

Improving respiratory and digestive systems:

It is said to improve respiratory and digestive systems, helping to alleviate conditions such as asthma and indigestion.

Strengthening family and social bonds:

6 Mukhi Rudraksha is said to have a positive effect on relationships, promoting love, understanding, and harmony between family members and friends.

Promoting harmonious communication and understanding:

It is believed to enhance communication skills and promote understanding between individuals, making it useful for those who work in fields that require clear communication.

Enhancing leadership and decision-making skills:

It is said to enhance leadership and decision-making skills, making it a useful tool for professionals and entrepreneurs.

Attracting abundance, success, and wealth:

6 Mukhi Rudraksha is believed to attract abundance, success, and wealth, making it beneficial for those seeking financial prosperity.

Removing obstacles and negativity:

It is said to remove obstacles and negativity, helping individuals to overcome challenges and achieve their goals.

Rudraksha mala or bracelet recommendations:

One can wear a 6 Mukhi Rudraksha either as a mala or a bracelet. A Rudraksha mala is a necklace made of 108 beads, while a Rudraksha bracelet is made of a few beads strung together on an elastic cord.

Mantras and rituals to activate and energize:

Before wearing a Rudraksha, one can energize it with mantras and rituals to activate its full potential. The most commonly used mantra for 6 Mukhi Rudraksha is "Om Hreem Hum Namah," which can be recited while holding the bead in one's hand.

Daily care and maintenance guidelines:

To maintain the energy and effectiveness of the 6 Mukhi Rudraksha, one should avoid touching it with dirty or oily hands and keep it clean and dry. It is also recommended to store it in a clean and sacred place when not in use.

Conclusion:

In conclusion, 6 Mukhi Rudraksha is a powerful tool that can bring many benefits to our lives. Its healing properties for health, well-being, relationships, and prosperity are widely recognized and have been used for centuries. By understanding how to identify, wear, and care for it, we can unlock the full potential of this divine bead and harness the power of nature for our benefit.

[krxnapriya]

Final Project.

Coming up with something that accurately represented who I am and really gave viewers an insight into my multifaceted personality was daunting. But.. it sounded too exciting not to try at the same time. So, here we are. 

My thought process for the FP was as follows: 

When I first started ideating, I knew there were certain values I wanted my brand to represent - class, artistry, and intensity. I decided to opt for a gradient as a solid color seemed too safe and looked too flat to represent myself. I chose a gradient of rich colors such as navy blue, wine, indigo, etc as my primary background as I felt it best represented my brand - Intense, Passionate, and Bold. I also have an affinity towards jewel tones, so this seemed most suited for the project representing myself. 

I chose Felix Titling as my primary font as I loved the classy and contemporary look it gave the project and went with a serif font Baskerville Old to pair with it. I felt like it came across as impactful especially when paired with the watermark logo. My inspiration to choose a font like Felix Titling stemmed from the fact that I have always adored the font used in Vogue, the magazine, because of how contemporary yet timeless it came across as. Felix Titling felt similar, hence!

My Logo was designed keeping music, fluidity, and performing arts at the forefront paired alongside my initials K, P, and S. Hence the multiple music symbols and the forward, play, pause, and rewind buttons. While ideating, I really wanted to add some cursive elements because I love calligraphy as well. Not to mention, my signature has evolved over the years but the one thing that has remained constant in it is a large, calligraphic squiggle for my first initial, K. Thus, it seemed only right that I incorporated something similar in a vector format. I initially thought of hand-drawing my logo as I was pretty set on only using my initials but I liked how clean it looked when using linework. I also really liked the idea of using linework to show structure within the artistic and fluid components. Overall, I feel like the entire logo comes across as slightly complex when put together but when you look at it as individual elements; say just initials, it’s simple, but with meaning. 

I chose to design multiple logo variations as I really loved combining the header font, Felix Titling with the logo design behind as a watermark. At the same time, the version of the logo without my name in it seemed like it would be appropriate for simpler and more casual settings as well. I rendered the basic logo in Illustrator and made minor changes by using InDesign. 

I primarily used the line, pen, and type tool as it seemed adequate and to also avoid unnecessary complications. With that, I would like to convey that this assignment has made the line tool my favorite tool and my best friend in design. It has tested my patience multiple times but also stood through every iteration of almost every single element of my project, especially with my logo. I played around quite a bit with the stroke type and weight but mostly always came back to my trusted single line 1 pt haha.

My business card has been my favorite to design out of my whole project - maybe it’s the small thrill of seeing yourself represented professionally! I initially thought of adding more elements alongside my logo but didn’t want both sides of the card to come across as overwhelming and therefore, decided to leave it as is.

My color palette included the gradient, lilac, white, navy blue, and an off-white shade. My primary reason for choosing these colors is because they seemed to match the aesthetic I was going for best. My secondary reason is that lilac and white are my grandmother’s favorite colors - she is an incredibly talented artist and designer and someone who I look up to immensely, so it seemed fitting to use them for a design project representing myself, my story, and my values. Also, my favorite color combination is blue and white, so combine all these reasons together and boom! Color palette finalized.

For my resume, I have to admit that I was quite conflicted about how I wanted the bottom part of it to look. When I tried replicating the top half, it looked too repetitive and like it lacked a fun and lighter element that represented my other interests. Thus, I stuck to using the lighter colors in my palette as I realized I hadn’t gotten a chance to effectively utilize them in the earlier parts of my project. Although the aesthetics contrast a bit, I wanted it to pop and catch the attention of people who looked at it. That way, the eyes of anyone who was looking at my resume would go immediately to my varied interests, abilities, and language skills. 

The modifications I made post critique were removing the font Pristina, which I had used earlier for my contact information. The feedback I received was that it is hard to read, which is the last thing you want for contact information! Other changes involved reworking the logo a decent amount to make it look cleaner and clearer. 

Overall, this was one of the most difficult assignments I have worked on in my two years of uni life, but I feel like it was also one of the most rewarding as well. It really taught me to self-reflect and improve my self-expression in ways I would've not thought of before. There truly is a sense of satisfaction in seeing your vision through! :)

[digilancerasif]

7 WAYS TO ALWAYS DRESS CLASSY

Here you will know 7 awesome way to look classy which look good at you

#1 WEAR ITEMS THAT ARE MADE OF CLASSIC FABRICS

Classic, timeless clothing made of materials that will last well into the next decade is what you should be looking to add to your essential wardrobe. Think cotton, wool, linen, and silk. These four basic fabrics will stand the test of time if cared for properly. Cleaned and pressed, items made of these fabrics tend to give off a classy vibe all on their own.

These fabrics also have variations that allow you to expand on your wardrobe. Denim is one example of a cotton fabric that cuts across all style lines, from street to boho to minimalist. Similarly, chino cotton works excellent in pants, blazers, and even moto jackets (for the street style in you!). Then there is cashmere, a type of wool that feels heavenly against the skin and doesn’t pill with age. Cashmere sweaters, whether they are cardigans, V-necks, or crewneck pullovers pair perfectly with those denim jeans, as well as tailored pants and skirts.

A word to the wise with these fabrics: Read the labels and care for them properly to make them last. While wrinkle-free cotton has become more available, most cotton items will need to be ironed. (Classy outfits are not wrinkly!) Wool, linen, and silk often have to be dry-cleaned or hand-washed. Make a mistake, and you may have to give your 6-year-old-niece that wool cardigan that was a staple in your wardrobe but shrunk in half thanks to your dryer.

#2 IF IN DOUBT WEAR SOLID NEUTRALS

Bold patterns and prints can definitely work in a sophisticated and classy look, but you may not be comfortable with such patterns if you are just beginning on your classy style journal. Neutrals are your friend in this case. Solids are plentiful in the stores (and probably your closet), easily combined, and help to stretch your wardrobe.

Typical neutrals are white/beige/cream, navy blue, black, and gray. Now, don’t think you have to dress head-to-toe in black (or other neutral). Monochromatic (different shades or tints of the same color) allow you to vary a color but remain classy. Or you can add small accents that can transform a solid into something eye-catching, like a skinny burgundy alligator belt, a paisley scarf, or a pair of red pumps. Want to know more about monochromatic dressing? Make sure to read What is Monochromatic and How to Wear a Monochromatic Outfit.

#3 FIT IS KEY

Classy and sophisticated clothing is typically tailored and form-fitting (not too tight, but you can show off your figure). Skirts should hit just above or below the knee, as should your classy dresses. Classic trousers are straight, slightly wide, faintly bootcut, or menswear-inspired and should be ½-inch off the floor in the back. Wide-leg pants and skinny pants in classic fabrics are also acceptable, as are ankle pants (shades of Audrey Hepburn!). Blazers, blouses, and sweaters should follow the curve of your waist.

Do not hesitate to take items to a local dressmaker or tailor to be altered to fit correctly. Love that shift dress at Nordstrom, but it’s too big in the bust? That’s a $15 fix. Are those gray wool pants in your closet too long for classic 3-inch pumps or do you want to wear them with flats? Another $10-15 fix. Remember, good quality clothes will last you for 10+ years, and it is a small price to pay for alterations. Beats having to replace cheap pants every three years.

Not everything you wear has to be perfectly tailored and form-fitting. You can mix in unstructured pieces for a more relaxed vibe. Pair a blue-striped t-shirt with chinos and a denim jacket or a flowy maxi skirt with a crisp white button-down shirt (roll up those sleeves for added panache!).

Here is an example of how to wear a jumpsuit, and in this outfit, I opted for solid neutrals and paired a structured blazer with a flowy jumpsuit.

#4 NEVER OVEREXPOSE

Dressing classy requires a bit of modesty — no midriff-baring tops, revealing low décolletage, or mini skirts.

Necklines are typically collared, boatneck, crew neck or V-neck. For some variety, you can also try square, cowl, and scoop necks. For more formal occasions, asymmetrical, sweetheart and halter necklines work as well. Regardless, keep your cleavage and your belly button covered. Additionally, armholes on blouses and dresses should not reveal your bra.

[malev0lent-entity]

The Facial Construction of the Equus Mutatio

Dr. Mix Method

Canterlot Biology Institute  

    The Equus Mutatio, more commonly known as the Changeling, possesses a facial structure that greatly resembles that of an equine, though its composition has evolved to suit this creature’s parasitic nature. The head is formed of seven dark gray chitinous pieces: two mandibles, two eye plates, two ear shells, and the skull plate. The skull plate supports a pair of antennae and a spiraled horn. The antennae appear to be its primary sensory organ and are highly receptive to olfactory, tactile, and arcane stimuli.

    The horn, similar to a unicorn, is used as a focus for its primitive form of magic. It is primarily used for polymorphing and feeding, though it is capable of telekinesis. The extent of its ability to mimic unicorn magic is unknown. The horn also appears to hold a social function, as Changelings have been observed locking horns in ritual combat. 

    Upon closer inspection, its mane is not made of hair. Rather, they are elongated keratin scales located along the neck and head, similar to a moth. It is thinner and stiffer than true hair. This false mane has only been observed in queens, with drones having a frill in its place. The social and biological implications of this difference are unknown. Both known queens have presented with teal false manes. It is unknown if color variations are possible. 

    Its eyes are unique. It lacks the compound eyes seen in drones, its structure more closely resembles a pony. Granted, it’s a faint resemblance. The sclera has a green tint. Its slit pupil allows for adaptable vision. The Changeling’s night vision is far superior to its day vision, polymorphing’s effect on its vision is unknown. The most distinctive ocular structure is its double iris. The true purpose of this feature is unknown, but the most prominent theory is that the outer ring controls arcane intake, while the inner ring regulates light intake.  

    The most strikingly unique feature of Changeling's facial structure is its jaw. As it is a carnivorous parasite, it sustains itself on love magic forcibly extracted from its prey. Ponies are its preferred source, but it is an opportunist that will feed on anything that crosses its path. Its hunting methods are based on mimicry. Glands near the base of its tongue produce green silk to ensnare prey. It then bites the victim to inject a magical venom. This venom causes the victim’s love to manifest physically in the bloodstream. The changeling then consumes the body, often while they are still alive. 

    Due to the brutality of this process, it has evolved a highly unique mouth and jaw. Its teeth are sharp and densely packed in order to shred meat. The prominent upper canines are both hollow for venom injection and able to fold back into the mouth to accommodate their length. The folding hollow fangs, forked tongue, and certain vocalizations may suggest that the Changeling species has serpentine ancestry alongside the insectoid. The lower jaw is bisected, the center split being lined with a flexible keratin material that allows it to spread to over double its original width. This likely developed to counter its equine-like narrow muzzle and provide more flexibility than the hard chitin plates. 

    We still know little about this mysterious creature, but current observation is bearing fruit. More research is needed on its internal structure and social behaviors.

[toyougreys]

Fontlab rar

Fontlab rar pdf#

Fontlab rar android#

Fontlab rar pro#

Perform metrics and improved kerning editing in a multi-line Metrics Window, with an adjustable, distraction-free UI and intuitive keyboard shortcuts. Matchmaker works on Sections, which are sequences of line or curve segments. Whether you have two, four, seven or a dozen masters, the improved Matchmaker tool helps you make their point structure compatible for interpolation. FontLab can help you automatically match your masters by sorting contours, relocating start points and correcting path direction. To create intermediate designs via interpolation, you need all your glyph masters to have the same number and geometric structure of contours and nodes. Unlimited axes, intermediate font masters, glyph masters that affect only certain glyphs give you complete freedom in designing interpolable font families and variable OpenType fonts. Thanks to our Variations engine based on MutatorMath, your Masters no longer need to stand in the MM corners, but can be placed freely within the design space. With axis instances, define per-axis interpolation locations and style phrases, and FontLab will automatically build a matrix of all instances for all axes, with correct Style names and Style groups. To create interpolated instances or a variable OpenType (TT or new CFF2) font from one or more Font masters, use Font Info to add the axes and assign axis locations for all font masters within your FontLab font.Įasily plan your Instances for an extensive font family or a variable font. Rotate and scale imported graphics, crop, blur, remove noise and background.Ī font family consists of fonts that have different locations on one or more design space Axes, such as width, weight, slant or optical size. Improved Split and autotrace or place the images into the img layer for reference to draw over them.

Fontlab rar pdf#

You can also arrange text frames showing different fonts you’re working on, and export the contents into a PDF or SVG for proofing.ĭrag-drop or copy-paste pixel images in most formats, with mono, grayscale, full color and transparency support. It’s great for collecting sketches, separating artwork into glyph images, or just drawing logos and symbols using all of FontLab’s juicy Bézier magic. Our Sketchboard is a a virtual desk or canvas that allows you to draw and experiment outside of any glyph. Arrange them on the Sketchboard, optionally turn bitmaps into smooth vector graphics using autotrace, then automatically assign the letterforms to glyphs to create a fully working font in a few minutes. Copy-paste glyph outlines or color vector graphics from Adobe Illustrator, FontLab Studio, or other vector drawing or font apps, import SVG drawings, bitmap images and new PDF graphics. You’ve made your drawings somewhere else? No problem.

Fontlab rar android#

Draw multi-color contours, bring in color outlines, improved SVGs and bitmap images, overlay layered fonts and create emoji or chromatic fonts for all Color OpenType-enabled platforms: Adobe Photoshop and Illustrator CC 2018+, macOS, Windows 8+, iOS, Android and modern web browsers. In FontLab 7, everything is color-enabled. We love curves so much that we are making them better. You can draw in fractional or integer coordinates, see view numeric and visual measurements, find & fix contour imperfections.Ĭreating Bézier curves is no longer “mastery or mystery.” You can draw smooth, consistent glyphs, autotrace bitmaps, create overlaps, simplify paths, equalize stems, scale outlines while keeping stroke thickness. FontLab 7 is an integrated font editor for Windows 7–10 that helps you create fonts from start to finish, from a simple design to a complex project, and brings a spark of magic into type design.

Fontlab rar pro#

FontLab 7 - The pro font editor, evolved.

[emeraldtonki]

Metallica ride the lightning

#Metallica ride the lightning how to#

I personally think Ride The Lightning is simply the best Metallica album ever recorded. I must say the appropriately applied contrast between light and dark, clean and distorted, innocent and twisted is what amazes me the most about Ride The Lightning. The Call Of Ktulu also had an amazing intro with a shredding distorted wah sound joking along a nice and clean melodic rhythm, followed by a flawless key change further along the instrumental track. Finally, Hetfield’s seemingly aloof and emotionless vocals topped it off just perfectly. Fade To Black has my favorite Metallica intro ever, combining delicate acoustic tunes with a subtle change in colors from dark to almost sarcastically bright, followed by a firm and crisp electric entrance. The band’s maturity is also evident in the combination of skillful acoustic rhythms and shredding electric solos, such as in Fight Fire With Fire and Fade To Black. By playing with his fingers instead of using a pick, he allowed for more fluid and seamless bass lines.

#Metallica ride the lightning how to#

According to LoudWire, Burton showed Hammett and Hetfield how basic guitar harmony worked, and how to augment core notes with complementary counter-melodies to enhance their guitar solos.Ĭliff Burton himself contributed to the group’s evolution in style and sound. Cliff Burton’s knowledge on music theory and guitar harmony contributed tremendously to Kirk Hammett and James Hetfield’s signature duo-guitar solo tone. Metallica sounded a whole world more mature in Ride The Lightning compared to their debut album, Kill ‘Em All. Listen to Creeping Death and tell me you don’t feel a funny sensation going down your spine when the Metallica members chanted “ Die! Die! Die” as if they were possessed. Metallica frontman James Hetfield recalled losing his favorite Marshall head cabinet in a robbery, which inspired his woeful lyrics in Fade To Black, his first ballad ever: The lyrics in this album are as usual haunting, aggressive, sometimes passive-aggressive, and dark. Metallica drummer Lars Ulrich (man, do I love his drumming) also became remarkably more mature in his control and variation of the beats in this album compared to Kill ‘Em All. Ride The Lightning also has some of the group’s most melodic songs ever, most notably Fade To Black, For Whom The Bell Tolls, and Creeping Death. While their first studio album Kill ‘Em All sounded more like an angst thrash garage band record, Ride The Lightning had remarkably more mature, calmer thrash sounds, closer to the sounds of their thrash Gods counterparts Slayer, Anthrax and Megadeth. Burton’s contribution to the songwriting process led Metallica members to experiment with different tempos and song structures. One major reason for this is the replacement of former Metallica bassist Dave Mustaine by Cliff Burton. Ride The Lightning marked the important maturation of the band’s musical style. Photo: By Saad Faruque from Bangalore, India (James Hetfield), via Wikimedia Commons How time flies And speaking of how time flies let’s celebrate the thirty eight year anniversary of “Ride The Lightning” by discussing whether this is the best Metallica album ever recorded!

[cinnamon-flame]

What are some of your WoF headcanons?

Sorry for the wait! I don't really have any personal headcanons about individual characters from wof so this is going to be mainly about the tribes:

Nightwings:

Most mammalian looking of all the tribes, i always draw their ears standing upright like bat ears. I also give them forward facing, curved horns sometimes. They are also one of the smaller tribes out there. I believe they should have a wider color range for their scales not just very dark colors (dark body with neon details nightwings?)

Since they are so connected to the moons, I think it would be cool if their powers fluctuated with their phases. Depending on what moon is currently in what phase their abilities would be stronger/weaker. So maybe prophets wouldn't have to worry about getting too many visions for certain amount of time. Out of all the tribes I think they would have the biggest reason to worship the moon so I like to think that as a tribe Nightwings are very festive.

Icewings:

I often draw them like horses/deer, I strongly believe in fluffy Icewings. Also they have antlers. I don't really agree with them being only white with some small variation, I think they should be pale but colorful, you know the whole pastel rainbow of colors. Also I often give them markings inspired by seals or horses.

Icewings would collect their shed spikes and wear them like decoration or give them like presents. Also they totally would braid their fluff. I think they would have competitions in which they would use their ice breath to make ice sculptures and whole structures. It would be the thing Icewings are known for. Due to how their society functions I also think Icewings would just leave their kingdom to search for other places to live in. Like everywhere you can think of there would be a local Icewing doing their own thing.

Rainwings:

Larger frills that can end at the base of their shoulders, making their head look like a flower when they are fully stretched. I would give them the most reptilian traits of all the tribes but I personally also believe that they are closely related to Nightwings so I try to give them the same ears and scale patterns as them.

Sandwings:

Their back fins should come in a lot of different styles, like curly and wavy. You know for variety. Also they get markings from snakes and other reptiles as well as from cats. Also most of them get long, floppy ears from me. They also get curved horns.

I like to think that they are very keen on using glass in their architecture, like a lot of stained glass and whole glass roof structures. And succulent gardens, a lot of them. Some Sandwings would also live in cave systems and would lead a different life style then the majority of the kingdom.

Mudwings:

I often give them amphibian traits mixed in with some stuff from goats and cattle. Curved horns and sometimes fur. I like to think they are somewhat related to seawings so I also give them similiar stuff to them. Like amphibians they are creatures of both water and land, but they also get some funky wing shapes, broad and cut at the two outer-most fingers.

They do a lot of things with clay and stones, both in architecture and art. I think they were mistreated by canon, I love how they have super strong sibling bonds. So maybe every sibling squad gets has their own symbols. Mudwings seem like the tribe that likes to be well dressed for the occasion, so they get a lot of scarves and tattoos.

Seawings:

Shrimpwings for life (look at @spicyylemonss idea and design, it's the best thing ever). But other than that I think they should get more fins. And that their back fin should be segmented. I feel like their tails are the most significant part of the seawing design so they should come in different shapes and lengths. Also color variety! Fishes are so colorful so Seawings should be too. Also they have a lateral line. Seawings should be more specialised too, for different sea ecosystems. Sea isn't all the same over there, there different layers and the tribe should reflect that too.

Seagrass farms. That's all.

Also I think they should be the tribe (besides Nightwings and Skywings) that records a lot of history, but on stone tablets instead of scrolls. So there would be a lot of just stone pillar libraries filled with knowledge.

Skywings:

Colors ranging from yellow passing through browns, oranges, reds, pinke and all they way to violet. Long, long horns. Also feathered Skywings! They have a lot of bird traits that help with flight, like the movable, two-part ribs and the keel that connects their chest and wing muscles. Their snouts are also hardened and they resemble beaks.They can have decorative wings and bird combs. Some of Skywings look more like their other dragon cousins. They have more reptilian traits mixed with goat stuff.

Their houses look a little bit like bird nests. They build them very high up in the air. The Skywings are really tightly knit bunch, so you're unlikely to see one without a big numer of others. They migrate for place to place seasonally with their family groups.

I don't have much for the other dragon tribes from the third arc cause I haven't read any of the books besides the first one. But I would like to share my thoughts on Silkwings here for a moment.

I think their apperance should change more between their metamorphosis. Butterflies and moths in most cases don't look exactly the same as their caterpillars do. I think it would be cool if they changed colors and body structures a bit. The young Silkwings are much more chunky and fluffy, with big but short tails. They have a lot of fur on them but they also have a little bit of the protective plating on their backs and tail. They also have shorter horns. Adults are much taller then the caterpillars. They also have the horse body proportions of Icewings. Long fluff on their necks and legs and sometimes face too. They lose the fluff in between the scale armor plates on their necks and tails. Their legs are really long comapred to their bodies and and kinda thin too. Also antler horns!

I'm away from my tablet unfortunately so I only have this doodle to offer as my translation of this idea.