#the final product may come out completely different to the original image

[otiksimr]

Send me your characters. I wish to butcher them >:)

[bellamyroselia]

Stars somehow aligned and I managed write something Kid Icarus related; it's a sequel to these two ficlets because I lack originality.

...

There were many words Dark Pit would’ve never used to describe himself, one amongst them being ‘dreamer’. And it wasn’t just in a philosophical sense - besides him seeing himself as more of a realist, he rarely had any dreams while he was sleeping. He rarely dreamed and in those few times he did, he simply ended up recounting past events in his head. In general he dreamed of events that had happened to him specifically, but on occasion he got to see things in his dreams that he had never experienced. Those few times gave him an unique window to the past, Pit’s past in particular.

In a way, it made perfect sense for him to dream of these events - as Dark Pit wasn’t an unique product of love but rather a mirror image turned flesh without a real history before early teenage years, any memories he had of a past prior to his creation were those that Pit had actually experienced and lived through.

That didn’t mean he had to like it.

Dark Pit disliked being reminded of how he had no unique memories of his mother holding him, of his father helping him to take his first steps or of playdates with other children of his age. He hated the fact that every memory of moments like those he could sometimes glimpse at his dreams were Pit’s first and foremost, and only by technicality his as well. As grim as it sounded, one of the few things that brought Dark Pit solace was that Pit didn’t seem to remember their his mother either.

When Dark Pit had dreamed of the golden-haired man the first time, he thought that he may have seen his image somewhere before. Perhaps in a marble statue that lacked colors or in a mosaic which was devoid of details so he couldn’t be completely sure, but the man in his dream had felt both grand and important. Yet despite all that grandeur and importance, the man had devoted so much his time to take care of this one unassuming child. One would think someone so notable would have better things to do in their lives, but apparently Pit truly did matter that much to the man. So much so that even when he was battle-ready and donning the fanciest armor one could wear, he had first come to the young angel, hugged the toddler as if he was the most precious thing in his life and called himself lucky to have Pit in his life.

(Would anyone call themselves lucky to have me in their lives? Dark Pit wondered.)

He had to find out who the man he was dreaming of was.

For the weeks that followed, Dark Pit had hardly focused on anything else but in his mission. He had been so absorbed on his quest that he had took it upon himself to learn five new different alphabets in hopes of finding new clues of the mysterious man’s identity. The process had been long and painstaking, and lot of it had been for naught at the end - two of the alphabets turned out to be no longer in use, third one was in the verge of extinction and the fourth one was the alphabet of foreigners and therefore useless to him, but the last of them proved useful to him in his research. As Dark Pit skimmed through various texts, his originally hazy vision of the man became much clearer and his suspicions of his identity were starting to rise. Towards the end of his research he had actually wanted to just steal the Lightning Chariot and go directly to the Queen of all gods herself, but he knew better than to do that. The Queen would never listen to him without solid evidence to back his words, and currently all of it existed just in the heads of two angels and maybe one goddess. No, what he needed to do now was to go to Pit and finally set the records straight. If Dark Pit was having dreams like this, surely the other angel must’ve had them as well and for whatever reason was keeping them a secret. And that simply couldn’t be tolerated any longer.

…

Pit was by himself in the temple outskirts, lost in daydreams and in the verge of dozing off when his pleasant time was all the sudden interrupted by someone loudly slamming a door. Shocked, he quickly rose up to look who had caused all that commotion and was surprised to find Dark Pit there; even when he was at his surliest, the other angel tended not to slam doors in this kind of manner. And now he seemed surlier than ever, even to the point of Pit being taken aback by the other angel’s displeased expression. 

“Pittoo, what’s wrong?” Pit asked, concern clear in his voice. Just what had happened for Dark Pit to be in such a foul mood today?

“Don’t play coy with me, you know exactly what’s wrong”, Dark Pit spat right back to him, clearly not caring of Pit’s attempts to be polite. “Who is he?”

“Who?” Pit responded to Dark Pit’s question with a question of his own, confused by what the other angel meant.

“You know exactly who I’m talking of! Golden hair, tall as all get out, wings as mighty as those of an eagle, fancy armor. You know who he is, don’t you?”

A lump rose to Pit’s throat. Dark Pit already knew of the dreams he had been having? Of course he knows, Pit resonated with himself, My childhood is technically his childhood as well. If one of us remembers something from it, the other isn’t far behind. There really was no point of hiding anything anymore and there was much that Pit wanted to tell, but at the end only one word found its way out of his mouth.

“Dad”, was all Pit was able to say, but it was enough to make Dark Pit flinch and then back off a little. All he said was what he thought of as truth, so why had the the angel reacted in such a way?

“Dad?” he repeated Pit’s words, oddly unsure of himself. “Is it true? Are you certain?”

“Well, I’m pretty sure of that he is. Who else besides our dad would do anything–”

“Oh, so now he’s OUR dad?”

Pit flinched upon hearing Dark Pit’s words. Only now did he seem to understand how badly he had screwed up by keeping everything under wraps; it wasn’t just about who his father was to him anymore, it was about what he meant to people around him. He had had a life long before Pit was a part of it, and the people who knew his father continued exist long after his disappearance.

“Dark Pit, please listen”, Pit started, “I’m sorry I didn’t tell you earlier and it was stupid of me to think that you wouldn’t also know… At first I didn’t even know myself who he was and when I became sure of that it really was dad I wasn’t sure if the time was right, Lady Palutena may think–”

Dark Pit didn’t even give him time to finish his sentence as he grabbed Pit’s wrist, fire burning in his red eyes.

“Lady Palutena this, Lady Palutena that, what of OUR feelings? What of OUR dad? Are you really just letting him rot somewhere while dealing with HER endless list of petty problems first?” he now snarled at Pit, his sense of judgment blurred by the pent up vexation.

“But if Medusa’s attack somehow affected him–”

“No way it could’ve done anything to him!” Dark Pit once again interrupted him, “You really think they would’ve ever allowed an angel to wear that fancy armor? Good grief with you Pit, think for yourself for once! Clearly dad wasn’t all that lucky to have you if you’re just standing here doing nothing to help him!”

That last sentence especially hit a nerve, and in a fit of frustration Pit pulled his hand away from the other angel’s grasp. Just like that time long ago when Palutena had told him that his father wasn’t returning, Pit was starting to become misty-eyed but this time he didn’t let the tears fall. Dark Pit, who at this point had calmed down a bit, seemed to realize how hurtful his words had been and took couple steps back with a remorseful look on his face.

“Don’t put words into dad’s mouth”, was all Pit managed to say back at the other angel. He had come far from that helpless toddler who had cried on Palutena’s arms, but that didn’t mean that he wasn’t bothered of what had happened to his father. Of course he wished to find out the truth and finally get some closure but as there always seemed to be new threats lurking just around the corner, timing never felt right.

“Dad wore that armor because he was fighting for a cause. Lady Palutena too was shocked when he didn’t return…”

“Who cares of Palutena’s opinion”, Dark Pit huffed, a hint of bitterness remaining in his voice. Wishing for the calm before storm to be finally over, he grabbed Pit’s hand once again and started to lead the other angel towards the main building of the temple.

“Wait Pittoo, where are we going?” Pit asked.

“To set things straight with Palutena”, Dark Pit replied. “What, would you like us to go to the Queen herself instead?”

Pit blinked slowly when he heard the other angel mention the Queen. There were few things he knew of the Queen, and one of them was that she rarely if ever had time for people other than her family and servants. To hear Dark Pit talk of her in such bold manner was surprising - did he really think that the Queen would ever give a time of day to them?

“But what does the Queen have to do with any of this?” Pit wondered, not understanding why the other angel had even bothered to bring her up.

“Do you think that a mother could ever forget her child’s eyes?” Dark Pit answered to his question with a one of his own. “Do you think she would still recognize them even if another person bore them?”

Whatever fight was still left in Pit fizzled out in an instant as he heard those words, and so did all the questions that he had wanted ask just moment prior. Only one thing was certain now, and it was that Lady Palutena would have lot to explain.

[theinstagrahame]

Time again for the Crowdfunding Haul post!

(And I guess another amateurish product photo shoot)

This one's feels slightly different because this is all stuff I pre-ordered, crowdfunded, or otherwise got prior to being laid off at the end of June (so it'd be real nice if people bought some games from me). Coincidentally a dozen or so of them happened to come to completion around June-July of 2023, some of them.

Here's what came in: Top row: Monster of the Week: Codex of Worlds, Runecairn Bestiary, CBR+PNK, Miru and Miru II (or MIIRU)

Middle row: Ritual: A Folk Horror Game, Plant Girl Game, and A Dungeon Game

Bottom row: Sleeping Heart of the Garden, Hard Wired Island: Tales from L5, Broken Heart of the Castle, the Moss Mother's Maze (for a Dungeon Game), and Null

Why I'm hyped for these:

Monster of the Week: Codex of Worlds: MotW is a hugely influential game, but also it is a lot of fun. So it's really hard to pass up an expansion. I've also been noticing a trend of bringing Forged in the Dark-style group sheets to PbtA games, which I think is an interesting one.

Runecairn Bestiary: Who doesn't love a good monster manual? Runecairn is a beautiful game, and the marketing for the bestiary supplement worked on me. Incredible art, stats for monsters. One of the things I've felt is missing from some solo games is a good sense of monsters you can encounter, and this fills that gap nicely.

Miru and Miru II: I was intrigued by Miru and picked up a copy on Itch. I haven't read it yet, but the premise and the art definitely grabbed me. I was a little sad that I'd missed the initial print run, so when there was a crowdfunder for a reprint *and* a sequel, how could I not?

Ritual: A Folk Horror Game: World Champ Game Co is one of several Indie designers that never miss. It also comes with a small deck of ritual cards with really visceral and cool images that I think adds a ton to the game. That said, I am also a huge sucker for limited edition print runs... So when I saw there may only be a handful of these available, well, I jumped.

Plant Girl Game: I learned about this one on @partyofonepod, and was so intrigued by the game, and the creator, and the world that it proposed that I had to know more. It's a game focused on family, on community, and on peaceful resolutions to small-town problems. So it's definitely an odd one out on this list, but the ways in which it's different are also one of the reasons I so love TTRPGs.

A Dungeon Game and the Moss Mother's Maze: I followed the evolution of Bissette's A Dragon Game into A Dungeon Game on Twitter, from shitpost to full-fledged game. It was really fun to watch, and to skim the Designer's Commentary on the original ADG. So, when I heard there'd be an adventure module (aaaand again a limited print run for the main game...) I leapt on it as fast as my email could carry me.

Sleeping Heart of the Garden and Broken Heart of the Castle: I've followed a few of the creators involved in this project on Twitter for a while, and generally was intrigued to see what they could do with a system-agnostic adventure. I was surprised by the size when they arrived, because you get to expect the half-page zine format. But I think these books are beautiful and I can't wait to explore them.

Hard Wired Island: Tales from L5: HWI is a stunning piece of TTRPG content, and I've been wanting to dig into the world further. So, a collection of short adventures? Hell yeah! It even came with a really catchy little soundtrack, the final track for which I think about all the time when considering Cyberpunk content...

Null: Everything Spencer Campbell puts out just shreds. I did nearly sleep on Null, but I was intrigued by the recent trend of Play-to-Lose games that I've seen coming out lately. There is something kind of powerful about going into a game knowing your character won't come out, which I think allows you to make different decisions. I was interested to see where this game fit into Campbell's catalog, as well as into my own play style.

CBR+PNK: Been getting into Forged in the Dark stuff lately. I also nearly let this one pass me by, when I'd heard that it was aimed at one-shot games. But, I was still intrigued to see what could be done with Cyberpunk in the FitD framework (and besides, maybe there's a way an enterprising designer could campaigns in there...). I was glad I picked it up, because I started playing games with some friends over Discord, and I was able to pitch this. We've been enjoying it. It's even serving really well as a prequel to the Beam Saber campaign we're planning (Also really convenient that it arrived before we finished the one-shot). Besides, the physical edition did turn out really nicely:

Bonus game-related stuff:

I picked up Inhuman Conditions (right) because I'd heard it on Friends at the Table. It seems like an extremely fun game, but also the Sangfielle campaign episode(s) where they play it are ones that I think about a lot. Also, one of the things I love about FatT is their ability to wield the power of play to do incredibly powerful things.

The Tears of the Kingdom Strategy Guide I kinda wanted less because I was stuck or wanted tips on playing TotK, but because the bundle I got for my Switch and Breath of the Wild came with one, and I kinda wanted to put both on the shelf. Zelda has been one of those series that I've always had throughout my life, so I've got a lot of emotional investment. The two strategy guides are beautiful, and I will probably end up skimming through it when I've gotten through the main game.

[renderingsplus]

Enhance Client Communication with 3D Renderings

Nothing compares to the impact of excellent floorplan and home renderings when it comes to bringing architectural plans to life. For architects, developers, and homeowners who wish to visualize their ideas in vivid detail before construction starts, these visual aids are essential. Investing in professional rendering services can make all the difference, whether you're presenting a large-scale project or planning a home remodel.

Our specialty at RenderingsPlus is providing state-of-the-art renderings that enable you to transform designs into stunning images. Our renderings, which prioritize accuracy, originality, and usability, guarantee that your projects stand out while fulfilling all design goals.

The Importance of Floorplan Renderings

Floorplan drawings give you a thorough overview of a property's layout, enabling you to see how each space is arranged and used. These renderings, which provide a 3D viewpoint in contrast to conventional 2D sketches, make it simpler to comprehend how the design functions in practice.

Consider attempting to demonstrate a layout to a client without the use of a visual assistance. A well-drawn floorplan rendering can provide clarity and confidence to the conversation, whereas a flat sketch might leave people wondering. Floorplan drawings provide stakeholders with a clear picture of the project's design, regardless of whether it's a business structure or a comfortable family home.

Residential Renderings' Value

It's important to consider the atmosphere and aesthetics in addition to the layout while creating a house. Beyond the fundamentals, residential renderings display everything in exquisite detail, from exterior landscapes to interior details. Before building starts, they let homeowners design their future rooms, try out several color schemes, and select the ideal furniture.

Residential renderings are also very beneficial to developers. By providing prospective customers or investors with an early look at the final product, these images can be used for marketing purposes. A well-executed image can arouse feelings and boost self-esteem, which makes it a priceless tool for off-plan home sales.

The Benefits of RenderingsPlus

At RenderingsPlus, we take great satisfaction in creating representations that successfully combine technical accuracy and artistic expression. Our team produces accurate and eye-catching images by utilizing cutting-edge tools and creative approaches. We can provide you with detailed residential renderings to show clients or floorplan renderings to complete your project.

Every rendering is centered around your vision thanks to our collaborative methodology. We pay attention to your needs, take your suggestions into consideration, and work through the intricacies until the finished product surpasses your expectations. The objective? to ensure the smoothest and most fulfilling design journey possible.

Renderings Are Beneficial to Whom?

Renderings let you envision your ideal house come to life, whether you're building from scratch or remodeling. With the aid of realistic images, modify designs, try out layouts, and make sure choices.

Use expert residential renderings to highlight your projects and stand out in a crowded market. Use images that showcase the special qualities of your home to draw in investors and purchasers.

Present designs in an understandable manner to streamline client communications and prevent misunderstandings. Floorplan renderings are very helpful when talking about functionality and spatial flow.

The Effects of Excellent Renderings

First impressions are more important than ever in the current digital era. A decent design can become a memorable experience with a well-executed visualization. Even before construction starts, it may capture the spirit of a place, giving it a genuine, authentic sense.

Better client interaction and quicker approvals are what this means for businesses. For homeowners, it represents enthusiasm for the future and peace of mind. High-quality renderings are revolutionary in the design and construction industry, regardless of the size of the project.

Are you prepared to turn your architecture concepts into breathtaking images? Allow RenderingsPlus to collaborate with you to produce impressive and motivating renderings. To discuss your project and find out how our services can help your ideas stand out, get in touch with us right now.

We produce outcomes that go above and beyond, from intricate floorplan renderings to captivating residential renderings. Don't only envision your ideal project; use our skilled rendering skills to make it a reality.

[xdigitizing]

The Art of Embroidery Digitizing: Everything You Need to Know

Embroidery has come a long way from being a completely manual craft. Today, thanks to technology, embroidery digitizing has made creating intricate and personalized designs faster and easier than ever. Whether you’re running a business or crafting for fun, understanding embroidery digitizing can help you turn your ideas into reality. Let’s break it down into simple terms!

What Is Embroidery Digitizing?

It refers to the digitizing process of artwork, logos, or designs to a format that embroidery machines can read. It’s not a simple upload image, though. The design needs to be carefully translated into stitches considering fabric type, stitch type, and thread color. That is where magic happens and transforms a simple idea into beautifully stitched pieces.

Why Do Embroidery Digitizing?

When you digitize a logo for embroidery or any other design, you are creating a blueprint of the embroidery machine. In case of a bad digitization, it would eventually be an undesirable look where some messy stitches and uneven patterns result, or even tearing out some parts of the fabric. For this reason, a digitizing service from professional entities such as Xdigitizing can make a great deal of difference in your output.

How Does It Work?

The process usually involves:

Design Upload: Start with a clear, high-quality image of your design.

Digitizing Software: The design is imported into specialized embroidery software to map out the stitches.

Stitch Planning: This step involves choosing stitch types (like satin or fill stitches), adjusting density, and ensuring the design works well on the intended fabric.

Testing: The design is tested to ensure it looks perfect before production.

Who Needs Embroidery Digitizing?

Businesses: Want custom apparel with your logo? You need to digitize your logo for embroidery.

Hobbyists: Want to digitize embroidery designs for your personal projects? Digitizing allows you to make truly unique pieces.

Event Planners: Whether it is a wedding or corporate event, embroidery adds a personal touch to gifts and decor.

Can You Get Free Embroidery Digitizing Online?

The concept of totally free embroidery digitizing seems too good to be true, so be wary of it. Most of them may provide free trials while lacking precision and personal customization that a professional digitizer offers. A quick, automated solution should work well for simple designs, whereas for logos or intricate patterns, it’s better to use a professional service that brings out better results.

Why to Choose Xdigitizing?

We at Xdigitizing understand the art and science behind embroidery digitizing. Here’s why we stand out:

Expertise: Our team specializes in digitizing logos for embroidery and all kinds of custom designs.

Quick Turnaround: We know time matters. Get your designs ready to stitch fast.

Quality Assurance: Every design is tested to ensure it stitches perfectly.

Affordable Pricing: High-quality digitizing doesn’t have to break the bank.

Tips for a Great Embroidery Design

Start with a clear image: The better your original image, the better your final embroidery.

Choose the right fabric: Different fabrics require different stitching techniques.

Work with professionals: A good machine embroidery digitizing service can save you from headaches and give you great results.

Bring your designs to life

Whether you need digitized embroidery designs for that business logo, a gift to your loved one, or the next creative work you’re doing, only professional digitizing will deliver top-notch results. To get started, check out Xdigitizing for the best services in embroidery digitizing which bring out the best in your designs. <a>embroidery digitizing services online</a>

[digitizingservices]

The Art of Embroidery Digitizing: Everything You Need to Know

Embroidery has come a long way from being a completely manual craft. Today, thanks to technology, embroidery digitizing has made creating intricate and personalized designs faster and easier than ever. Whether you’re running a business or crafting for fun, understanding embroidery digitizing can help you turn your ideas into reality. Let’s break it down into simple terms!

What Is Embroidery Digitizing?

It refers to the digitizing process of artwork, logos, or designs to a format that embroidery machines can read. It’s not a simple upload image, though. The design needs to be carefully translated into stitches considering fabric type, stitch type, and thread color. That is where magic happens and transforms a simple idea into beautifully stitched pieces.

Why Do Embroidery Digitizing?

When you digitize a logo for embroidery or any other design, you are creating a blueprint of the embroidery machine. In case of a bad digitization, it would eventually be an undesirable look where some messy stitches and uneven patterns result, or even tearing out some parts of the fabric. For this reason, a digitizing service from professional entities such as Xdigitizing can make a great deal of difference in your output.

How Does It Work?

The process usually involves:

Design Upload: Start with a clear, high-quality image of your design.

Digitizing Software: The design is imported into specialized embroidery software to map out the stitches.

Stitch Planning: This step involves choosing stitch types (like satin or fill stitches), adjusting density, and ensuring the design works well on the intended fabric.

Testing: The design is tested to ensure it looks perfect before production.

Who Needs Embroidery Digitizing?

Businesses: Want custom apparel with your logo? You need to digitize your logo for embroidery.

Hobbyists: Want to digitize embroidery designs for your personal projects? Digitizing allows you to make truly unique pieces.

Event Planners: Whether it is a wedding or corporate event, embroidery adds a personal touch to gifts and decor.

Can You Get Free Embroidery Digitizing Online?

The concept of totally free embroidery digitizing seems too good to be true, so be wary of it. Most of them may provide free trials while lacking precision and personal customization that a professional digitizer offers. A quick, automated solution should work well for simple designs, whereas for logos or intricate patterns, it’s better to use a professional service that brings out better results.

Why to Choose Xdigitizing?

We at Xdigitizing understand the art and science behind embroidery digitizing. Here’s why we stand out:

Expertise: Our team specializes in digitizing logos for embroidery and all kinds of custom designs.

Quick Turnaround: We know time matters. Get your designs ready to stitch fast.

Quality Assurance: Every design is tested to ensure it stitches perfectly.

Affordable Pricing: High-quality digitizing doesn’t have to break the bank.

Tips for a Great Embroidery Design

Start with a clear image: The better your original image, the better your final embroidery.

Choose the right fabric: Different fabrics require different stitching techniques.

Work with professionals: A good machine embroidery digitizing service can save you from headaches and give you great results.

Bring your designs to life

Whether you need digitized embroidery designs for that business logo, a gift to your loved one, or the next creative work you’re doing, only professional digitizing will deliver top-notch results. To get started, check out Xdigitizing for the best services in embroidery digitizing which bring out the best in your designs.

<a>Embroidery Design</a>

[filmproductioninabudhabi]

Benefits of Renting a Photography Studio in Dubai

Improve Your Photography Skills with Studio Rentals in Dubai

Photography is an infinitely versatile art form, but the perfect setting may make all the difference. Finding the ideal location for your shoot might be difficult in Dubai. This is where photography studio rentals come in. Let's look at the different benefits of renting photography studio in Dubai and how it can take your creative activities to new heights.

The Advantages of a Dedicated Place

When renting a photography studio in Dubai, you receive more than simply a space; you get a creative oasis—not looking for places or dealing with uncertain weather conditions. With a separate studio, you have complete control over the environment, allowing you to concentrate only on getting that perfect shot. 

Limitless Opportunities for Creativity

Whether you're a seasoned professional or a new photographer, having access to a fully equipped studio opens you to a world of creative possibilities. The only limit is your imagination, whether you're experimenting with different lighting setups or designing complicated sets. With a photography studio rental in Dubai, you can bring your vision to life without limitations.

Professional Equipment at Your Fingertips

One of the most significant benefits of renting a photography studio is access to a wide range of equipment. Say goodbye to bringing out heavy equipment or making do with inferior materials. Many studios provide various equipment, such as quality cameras, lenses, lighting gear, and props, ensuring you have all you need for a successful photo shoot.

Flexibility to Meet Your Needs

The correct location is essential to organizing a fashion shot, product photography, or portrait session. With photography studio rentals in Dubai, you can choose studios that meet your unique needs. There is something for everyone, from tiny locations for solo shots to spacious studios for massive projects.

Professional Support and Guidance

Renting a photography studio provides not just space and equipment; it also provides you with support and expertise. Many studios offer assistance from qualified professionals who can guide you through the challenges of studio photography, such as setting up complex lighting arrangements and creating an appropriate atmosphere for your photoshoot.

Networking Opportunities

Renting a photography studio allows you to connect with others with similar interests while also opening the door to new collaborations and partnerships. Whether you're interacting with other photographers, models, or clients, the chances for growth and exposure are limitless.

Flexibility and Convenience

Photography studio rentals in Dubai allow you to adapt to any situation. Whether you need to extend your reservation, reschedule a photo shoot, or make at the last minute changes, most studios have flexible booking options to meet your needs.

Affordable Solution

Owning a photography studio could require a significant investment, from equipment to overhead costs. Renting a studio in Dubai is affordable, allowing you to enjoy premium facilities without breaking the bank. Whether you're a freelance photographer or a small business owner, renting a studio is an excellent option.

Improve Your Brand Image

Renting a photography studio in Dubai improves the quality of your work and your brand image. Your professionalism and attention to detail create confidence in your clients and differentiate you from the competition.

Finally, renting a photography studio in Dubai is more than simply a practical option; it provides access to limitless creativity and opportunity. The benefits of having a dedicated space and access to expert equipment and support are prominent. So, why wait? Improve your photography skills today with an Action Filmz studio rental and reach your goals.

Original Source: https://filmproductioninqatar.wordpress.com/2024/05/08/benefits-of-renting-a-photography-studio-in-dubai/

[josephsimon]

Mastering the Art of Subtle Retouching | Enhancing Photos without Going Overboard

In the world of photo retouching, the concept of subtlety holds great significance. It is an art form that requires finesse and a delicate touch to enhance photos while maintaining their natural beauty. Subtle retouching techniques allow us to refine images without going overboard, resulting in a final product that is visually appealing and authentic. In this article, we will explore the art of subtle retouching and discuss techniques to enhance photos without losing their essence.

Embrace the Power of Minimalism: When it comes to subtle retouching, less is often more. Resist the temptation to overdo corrections or alterations. Instead, focus on identifying minor imperfections that can be gently addressed without altering the overall integrity of the image. This approach ensures that the final result appears more authentic and true to the original subject.

Enhance, Don't Transform: The goal of subtle retouching is to enhance the existing features of a photo, not to completely transform it. Retouching should complement the subject, highlighting their natural beauty rather than altering their appearance beyond recognition. Pay attention to details such as enhancing the eyes, smoothing skin texture, or subtly adjusting the lighting to bring out the best in the image.

Preserve Texture and Details: One of the key elements of subtle retouching is preserving the texture and details within the photo. Avoid excessive smoothing or blurring that can result in an artificial and plastic-like appearance. Instead, use techniques such as frequency separation or targeted adjustments to retain the natural texture and fine details while minimizing any distractions or blemishes.

Focus on Natural Skin Retouching: When retouching portraits, it's essential to approach skin retouching with a light hand. Strive for a natural-looking result that preserves the individual's unique characteristics. Softening minor skin imperfections, reducing redness, and minimizing distractions such as stray hairs or blemishes are all part of the subtle retouching process. Remember, the goal is to enhance, not to completely eradicate natural features.

Maintain the Integrity of the Environment: Subtle retouching extends beyond the subject itself. Pay attention to the environment surrounding the subject and make subtle adjustments to ensure it complements the overall composition. This may involve removing distracting elements or adjusting the lighting and colors to create a harmonious blend with the subject. The idea is to enhance the overall visual impact while maintaining the integrity of the scene.

Exercise Restraint in Color Correction: Color correction plays a crucial role in subtle retouching. Avoid excessive saturation or dramatic color shifts that can make the image appear unnatural. Instead, focus on subtle adjustments to enhance the existing colors, balance tones, and create a cohesive look that complements the overall mood and atmosphere of the photo.

Utilize Adjustment Layers and Masks: To maintain flexibility and control over your retouching edits, make use of adjustment layers and masks. Adjustment layers allow you to make non-destructive changes, enabling you to fine-tune and modify your edits as needed. Masks, on the other hand, provide selective control over where your adjustments are applied, allowing you to target specific areas while leaving others untouched.

Seek Feedback and Refine: Subtle retouching requires a discerning eye and an understanding of the desired outcome. Seek feedback from others, such as fellow photographers or clients, to gain different perspectives and insights. This feedback can help you refine your retouching techniques and ensure that the final result aligns with your intended vision.

Practice Patience and Attention to Detail: Subtle retouching is a process that requires patience and attention to detail. Take your time to analyze the image and identify areas that can benefit from slight enhancements. Carefully assess the impact of each adjustment and strive for a cohesive and natural look throughout the retouching process.

Develop Your Style: While subtle retouching techniques adhere to certain principles, they also allow for individual creativity and style. As you master the art of subtle retouching, develop your unique approach that aligns with your creative vision. Experiment with different techniques, tools, and adjustments to create a signature style that sets your work apart.

Mastering the art of subtle retouching involves striking a balance between enhancement and preservation. By embracing minimalism, enhancing rather than transforming, preserving texture and details, focusing on natural skin retouching, maintaining the integrity of the environment, exercising restraint in color correction, utilizing adjustment layers and masks, seeking feedback, practicing patience and attention to detail, and developing your style, you can achieve remarkable results that enhance photos without going overboard. Remember, subtlety can have a profound impact on the final outcome, allowing the true beauty of the subject and the image to shine through.

Author: Joseph Simon, 3D Artist @cuttingedger

[ayejayque]

Making objective decisions through decision support systems (DSS)

When the question of intelligent decision-making crops up, it is not wise to rely too much on automatic decisions. These decisions originate from some form of perception or even a flood of bombarded information. This information comes to us from all sides and sometimes it can be misleading too. There are times when one is unable to take notice or pinpoint vital information that can be positively used for decision-making. This might be because of bias on our part, or even the lack or shortage of time, funds, or any other resources. It is not wise to take a risky path where organizational decision-making takes place. The reasons are evident. One bad decision can make everything go haywire. The areas that can be affected are the sanctity of the brand, financial strength, the image of the brand, and the product lifecycle. There are times when one is not able to use the fundamentals of economics, statistics, and operations research to make articulate decisions. To indulge in intelligent decision-making, you require some form of a knowledge-based system. This is the domain of the decision support systems (DSS). It is an IT-based system that aids you in the areas of planning, manufacturing, operating, and managing. This is based on the information that you already have. These systems are not the final decision-makers. They help in objective decision-making only. This is done by providing insights that you may have overlooked and providing precise calculations. The final decision maker is the management, which is comprised of humans. For instance, if someone needs to come up with a supply chain movement regimen. How will this be done? A decision support system will analyze the inventory stock as well as the movement for production. On the basis of the available data, it compares how different decisions fared in the past. This will create clarity in the user’s mind. This will help to come up with a supply chain regimen that actually works! Another scenario could be the optimizing of sales. How will this be done? The way to do it is to make assumptions, collect and compile data, verify the facts and figures, generate relevant reports, observe the patterns, and eventually come up with an intelligent decision. If all this is done manually, it is virtually impossible to ascertain the mistakes along the way. A DSS will gather and assess the data, and make intelligent guesstimates based on the monitoring of the existing patterns. It saves time by speeding up the whole procedure. It also gives you insights to maximize your sales. How does a Decision support system (DSS) work? We know what a DSS is. Let us discover how it actually works. A DSS is: - A computer application or a program - It compiles, combines, and analyzes raw data, documents, social science fundamentals, applied science techniques, and mathematical formulae coupled with managerial science. The decision maker’s personal knowledge. - It pinpoints the issues and comes up with the relevant solutions - The main purpose of the DSS is to help in optimal decision making The DSS is a computer application. It has complete access to information about your organization. It gives you comparative figures between any two points - between one period and the next. It gives you projected figures on the basis of expectations regarding product sales. A DSS is intelligent. It helps you to figure out the expenses as well as the consequence of the assorted decision alternatives. A DSS helps to overcome all barriers and apprehensions. These include: - A shortage of experience - A neutral way of treating decisions on merit - A scarcity of time - Erroneous calculations - No alternatives are overlooked DSS – A short history The DSS journey began in the late 60s. The first DSS was model-driven. The 70s brought in development in the realm of the DSS. Come the 80s and we see spreadsheet based DSS, systems for financial planning, and group DSS. From the 80s till the 90s, we came across newer concepts like business intelligence, data warehousing, ODSS (Organization Decision Support System), and EIS (Executive Information System). The 90s saw the advent of the knowledge-based and web-based DSS. The DSS can be classified as: Model-driven DSS This was based on quantitative models. It was confined to limited data only. It was based on the manipulation of financial models. This kind of model-driven DSS was used for production planning, scheduling, and general management. It provided all sorts of basic functionality to businesses involved in manufacturing. Data-driven DSS This type of DSS was based on the access and handling of data which was customized for specific tasks with the aid of generic tools. It also provided basic functionality to businesses. Time-series data were primarily used in it. A range of situations was supported in terms of decision-making. Communication-driven DSS This DSS put to good use the communication as well as network technologies for easing decision-making. The additional feature of this DSS was that it used collaboration and communication. New tools like digital bulletin boards, audio, and video conferencing were introduced. Document-driven DSS This is a large kind of DSS. It has a storage capacity to accommodate documents, images, sounds, videos, and hypertext documents. A primary search engine was also a part of it. This enabled easy searching. The stored information could comprise basic facts & figures, some historical data, all minutes of meetings, product catalogs, business correspondences, and product specifications. Knowledge-driven DSS This kind of DSS has a problem-solving specialization. Artificial intelligence is coupled with the cognitive capabilities of humans in this DSS. This is the basis of information that can suggest doable actions to the end-users. These systems have proficiency in a specific area. Web-based DSS This, latest kind of DSS is the most developed one around. It uses the www and internet to be driven. The development is still happening as internet technology is advancing. Initially, the idea behind DSS was swift and speedy decision-making. As the system developed and advanced, the onus moved to interactive computer-based systems. These computer-based systems could use data and in light of them, offer insights to solve ill-organized issues. With the passage of time, the definition, design, intelligence, and scope of DSS kept developing. The latest DSS is more complex and is equipped to handle complex decisions. DSS technology is widely used in security, military, manufacturing, medicine, business, and engineering. This is extremely useful where precision is required. Relevant knowledge can be accessed by mixing all forms & sources of information and by the helping cognitive deficiencies of humans. DSS uses AI to address issues. It should never be overestimated. It helps by comparing figures or even a mix of prescribed techniques. The decision in the end stays with humans. DSS categories Let us have a look at the categories of DSS. This is based on the nature of operations: - File drawer system: This type of DSS provides help for making precise decisions. It is structured like a file drawer. Assorted kinds of information are kept under different names or groups. - Data analysis system: This DSS is formula-based. It is primarily used for comparative analysis. Simple data processing tools like inventory analysis are used. - Information analysis system: This DSS processes assorted kinds of data. This is done to frame informational reports. These reports need to assess all situations that are used for making decisions. - Accounting and financial support system: This DSS is primarily for keeping track of finances as well as inventory. - Representation or solver model: This is to address a particular problem. Calculations and inferences help frame the many decision paths. The end-user can do a ‘what if’ analysis. This will help him/her to make intelligent decisions on the basis of the generated outcomes. - Optimization model: Stimulated models are the basis for this DSS. They give guidelines for managing operations. The areas focused on by this DSS can be scheduling jobs, product mix, material mix decisions, and so on. - Suggestion system: This DSS helps in suggesting the best possible decision for a specific situation. This is done by collecting and structuring data. Categorization of DSS on the Basis of Inputs - DSS - Text oriented - DSS - Database oriented - DSS - Spreadsheet oriented - DSS - Rule oriented - DSS - Solution (specific situation) oriented - Compound/Hybrid: The combination of two or more from the list above. This way, multiple functionalities are offered. Categorization of DSS - On the basis of support offered - DSS, which is personal - DSS, which is group based - DSS, which is organizational Categorization of DSS - On the basis of types - Institutional DSS: This DSS supports repeated decisions on an ongoing basis. This is primarily for programmed decisions, which are frequent. These decisions could be making a routine for handling technical issues, manufacturing units, taking disciplinary actions, or even a mechanical process of troubleshooting. - Ad-hoc or interim DSS: This DSS supports a particular kind of decision in a given situation. This is problem specific. This is for non-programmed decisions. This is because usually, the information available is not complete. Parts of a DSS A DSS has its components and development phases. All kinds of DSS are planned around the following components: - Input: What type of input is required? It can be rules, problems, texts, spreadsheets, or even database oriented. - User expertise: Determine if the inputs need a manual analysis by the user or otherwise. - Output: Determine if the outcomes are comparative or even generic. - Decisions: Determine if you need a simple suggestion or a data and outcome analysis. How to design and build a DSS

The development of a DSS is a tedious and complex process. Three stages make up the whole process. They are inputs, activities, and outputs. These are the same for all stages of the system development lifecycle. Provide input, conduct the activity, and see and measure the output. If the output is not correct, tweak the input phase and adjust the parameters. A DSS framework design and development has the following stages: Intelligence

Here, the aim is to look out for problems that require decisions. A business is expected to pinpoint and define the context of the problem under the spotlight. Objectives and the resources at hand need to be highlighted. With this, the outcomes will be according to your expectations. Design

All possibilities are weighed with the pros and the cons assessed. This is where the design and construction commence. Components, the platform, libraries that function, and languages need to be determined. This is based on a prototype approach. Hardware requirements are also identified. This is where the development starts. Choice When all possibilities have been assessed, this is the step that helps you make the best possible choice. It is dependent on the size of the business objectives and the results sought by the business. Implementation This is an important stage. This is the time for testing, evaluation, adjustments, and eventual deployment. This is more or less finalized but it can be adjusted, upgraded, and refined as it progresses. The factors to keep in mind when developing a custom DSS - Functions that manage data - The hardware platforms at the disposal - The user interface - Compatibility with existing applications - Price/cost A DSS impacts your bottom line. It should be tailored to meet your specific needs. The implementation should be error-free. Read the full article

[zvkydesign]

5 Character Design Tips for Creating a Winning Game  Character

Are you an aspiring artist looking to make your mark in the world of character design? Or maybe you're a writer who wants to add a little pizzazz to your latest story by creating some amazing characters?

Either way, this guide is for you! Character design can be incredibly rewarding, allowing you to bring your unique vision to life. Let's dive into the steps involved in designing a character that is used by top game concept art services.

Step 1 - Brainstorming

The first step in character design is brainstorming. To begin, ask yourself questions like "What kind of character do I want to create?" and "What sort of qualities should my character have?" After you've come up with some ideas, start sketching out potential designs.

Don't worry if they don't look great at first – the goal here is just to get your imagination flowing and get a rough idea of what your character will look like in the end.  

Step 2 - Refining Your Design

Once you've got a few sketches on paper, it's time to do the fun part – refining! This is where you'll really start bringing your character to life. Think about how each design element interacts with one another and how that contributes to their overall look.

Consider elements such as facial expressions, clothing choice, posture and more to give them depth and personality. As you refine your design, remember that every detail matters – even seemingly small things like hairstyle or accessories can go a long way toward creating an interesting and unique character.

Step 3 - Find the Right Tools

When it comes to creating artwork, the tools you use don’t necessarily make or break your success. In most cases, you can accomplish the same outcomes utilizing both traditional and digital mediums – the only difference is the production speed.

It is possible to replicate certain art styles like watercolors on a computer, but they often look best in their original luster. Ultimately, your aesthetic preference and that of your client will heavily influence what tools you decide on.

That being said, no matter how advanced your equipment may be, it cannot compensate for poor concept development or fundamental shortcomings in your artistic skill set. So it is important to hone those skills first and foremost!

Step 4 - Do not underestimate thumbnails

Thumbnails are an important babbling point for creatives. From small previews of images or videos on the internet to sketches in the traditional illustration world, they are useful tools for professionals and hobbyists alike.

Thumbnail sketches allow a video game concept artist to draw out several ideas without committing to a finished piece of artwork. This ensures flexibility when moving through creative processes.

Step 3 - Creating Your Final Piece

Now that you've refined your design, it's time to create your piece! Start by drawing out each individual element of your character (such as clothing items or facial features) separately before putting them together into one cohesive image.

If needed, use reference images to help perfect certain details or get inspiration from other artists' work. When you're done, take a step back and admire all the hard work that went into creating your very own unique character!  

Conclusion

Congratulations on completing this guide on how to design a character! You now have all the tools necessary to create any type of character imaginable – so what are you waiting for? Get creative and show off those skills!

Whether it's for a comic book series or just for fun, designing characters can be incredibly rewarding when done right. So go ahead – get designing! Who knows? Maybe someday we'll see your characters featured in their own stories! Good luck!

Try us now if you are looking for the best concept art services. We have the dream team of artists for game art services that can put your concept to life. Trust us; we are the best among video game outsourcing companies.

[yourgodghosty]

ART COMMISSION DETAILS:

How to order!!! :

Step 1. Pick a style!!

I can do many different styles, so go ahead and pick which one you want me to complete the commission in! They are numbered from 1 to 5. If you would like to look at my portfolio to see if there is some other style I can do that you would like the commission completed you may! My portfolio is on my koji, listed at the bottom of the post.

Step 2. Pick which kind you want!

Flat color comes with line art by default, shading comes with flat color and line art by default, and then there's the all with background, which comes with line art, flat color, and shading by default. Refer to the picture above for information.

Step 3. Start the commission!!

Payment must come BEFORE I start any work!! I'm all for keeping in touch during the process if there is something you don't like, we can fix it

Step 4. The final product!!

Enjoy! If you are unhappy with your piece then there is not much I can do since I DO NOT give refunds! So please be sure to let me know during the process.

Pricing!!:

The chart on the commissions image shows how much it costs for everything. Payment must be through cash app. If you want a piece with multiple characters the price is the original ×2, minus 25% of the original cost. So for example, if you wanted a fully shaded with background and an extra character it would be $26 (the original price) + $19.50 (for the extra character) making the whole thing $45.50.

What I will draw!!:

- OC's

- Fanart

- Semi-nudity

And more!! If your curious just ask!!

What I won't draw!!:

- Animals

- Furries

- NSFW

- Extreme detail

If I feel uncomfortable with a request I have the right to turn it down! Again, if your unsure about a request, just ask!

With all commissions I hold the right to post it on social media and put it in my portfolio! When purchased, this DOES NOT mean you can say this is your own art and it DOES NOT mean you can resell it as a crypto currency or NFT. If you make it your pfp or banner or something on social media all I ask is that you give credit!

If your at all interested, reach out to me on here or via Instagram, Twitter, or Discord. My socials are on my koji:

https://koji.to/YourGodGhosty

[bananaofswifts]

Taylor Swift Turns on a Facsimile Machine for the Ingenious Recreations of ‘Fearless (Taylor’s Version)’: Album Review

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

By Chris Willman

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

There is no “best actress” award at the Grammys, perhaps for obvious reasons, but maybe there should be this coming year. And the Grammy would go to… Taylor Swift, for so persuasively playing her 18-year-old self in “Fearless (Taylor’s Version),” her beyond-meticulous recreation of the 2008 recording that did win her her first album of the year trophy back in the day. It’s impossible to overstate just how thoroughly the new version is intended as an exact replica of the old — all the way down to her startling ability to recapture an untrained teen singing voice she’s long matured and moved on from. It’s a stunt, to be sure, but a stunt for the ages — mastering the guile it takes to go back to sounding this guileless.

There are two different, very solid reasons to pick up or stream “Taylor’s Version,” regardless of whether you share her ire for the Big Machine label, whose loose ways with her nine-figure catalog precipitated this, the first in a six-album series of remakes where she’ll be turning on the facsimile machine. One is to marvel at her gift for self-mimicry on the album’s original tracks, where she sounds as possessed by her younger self as Regan ever was by Pazuzu. The other reason is, of course, to check out the six “vault” numbers that Swift wrote during that time frame but has never released before in any form, which dispenses with stylistic fealty to the late 2000s and frames her “Fearless”-era discards in production and arrangements closer to “Folklore.” Those half-dozen (kind of) new tracks really do sound like modern Taylor Swift covering her old stuff.

But those original lucky 13? It’s the same damn record… which is kind of hilarious and marvelous and the kind of meta-ness that will inspire a thousand more think-pieces than it already has, along with possibly efforts at forensic analysis to figure out how she did it.

It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close. The timings of the songs are all within a few seconds of the original tracks, if not coming in at exactly the same length. The duplication effort doesn’t allow any detours. If “Forever and Always” had a cold open then, it’s going to have a cold open now. If the 2008 “That’s the Way I Love You” had slamming rock guitars with an almost subliminal banjo being plucked beneath the racket, so will the 2021 “That’s the Way I Loved You.” A drum roll to end the old “Change”? A drum roll to end its body-snatcher doppelganger. And if she chuckled before the final chorus of “Hey Stephen” 13 years ago, so will that moment be cause for a delighted giggle now.

Of course, much analysis will be put into whether the new laugh is a more knowing-sounding laugh. And that will be part of the fun for a certain segment of audiophile Swifties who will go looking for the slightest change as evidence of something meaningful. When “Love Story (Taylor’s Version)” first came out weeks back to preview the album, there were reviews written that swore she’d subtly changed up her phrasing to put a contemporary spin on the song. And maybe they were right, but, having done a fair amount of A/B testing of the two versions of the album, I found myself feeling like I do when vinyl buffs insist there are significant sonic differences between the first stamper version of an LP and one that was pressed a year later. If you can spot those very, very, very modest tweaks, go for it.

But my suspicion is that if Swift has decided to turn a phrase a little differently here or there on this album, or done anything too differently aside from brighten the sound, she’s doing it more as an Easter egg, for the people who are on that kind of hunt, than anything really designed as reinterpretation. Because the last thing Swift wants most of her fans doing is A/B-ing the two versions, the way I did. The whole point is to have folks retire the OG “Fearless” from their Spotify playlists, right? The Swift faithful were already threatening to rain down damnation on anyone caught sneaking an audio peek at the old version after midnight. What she intended was to come up with a rendering so faithful that you would never have a need to spin the vintage album again. In that, she has succeeded beyond what could have been imagined even in the dreams of the few self-forgers who’ve tried this before, like a Jeff Lynne.

Is there any reason to find value in the new versions if you couldn’t care less about the issues of masters and contracts and respect in business deals that made all this strangely possible? Yes, with the first one being that the new album just sounds like a terrific remastering of the old — the same notes, and you’d swear the same performances, but sounding brighter and punchier just on a surface level. But on a more philosophical one, it’s not just a case of Swift playing with her back catalog like Andy Warhol played with his soup can. It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears. With her vocals, it’s virtuosic, in a way, how she’s made herself return to her unvirtuosic upstart self.

On Swift’s earliest albums and in those seminal live shows — at the time when she was famously being told she “can’t sing,” to quote a song from the follow-up album — there was a slight shrillness around the edges of her voice that, if you lacked faith, you might’ve imaged would be there forever. It wasn’t. That was partly youth, and partly just the sheer earnestness with which she wanted to convey the honesty of the songs. She’s advanced so much since then — into one of pop’s most gifted modern singers, really — that the woman of “Folklore” and “Evermore” seems like a completely different human being than the one who made the self-titled debut and “Fearless,” never mind just a woman versus girl. It wouldn’t have seemed possible that she could go back to her old way of singing at the accomplished age of 31, but she found and recreated that nervous, sincere, pleading voice of yesteryear. And maybe it was just a technical feat, of temporarily unlearning what she’s learned since then, but you can sense that maybe she had to go there internally, too, to the place where she was counseling other girls to guard their sexual virtue in “Fifteen,” or wondering whether to believe the fairy tale of “Love Story” or the wakeup call of “White Horse,” or proving with “Forever & Always” that writing a song telling off Joe Jonas for his 27-second breakup call was better than revenge.

If at first you’re not inclined to notice that Swift has re-adopted a completely different singing voice for the “Fearless” remakes, the realization may kick in when those “vault” tracks start appearing in the later stretch of this hour-and-50-minute album. The writing on the six songs that have been pulled up from the 2008 cutting room floor seems primitive, even a little bit by the standards of the “Fearless” album; there are great lines and couplets throughout the rescued tracks, but you can see why she left them as works-in-progress. But she doesn’t use her youthful voice on these resurrections, nor does she employ the actual style of “Fearless” very strictly. Of course, she feels more freedom on these, because there are no predecessors in the Big Machine catalog she’s asking you to leave behind. Her current collaborators of choice, Jack Antonoff and Aaron Dessner, divided the co-producing work on these fresher songs, as they did for the two all-new albums she released in the last year. (The “Fearless” recreations are co-produced by Swift with Christopher Rowe, someone who worked on remixes for Swift back in that era.) They co-produce the vault songs in a style that sounds somewhere between “Fearless” and Folklore”… a more spectral brand of country-pop, with flutes and synths and ringing 12-string guitars and a modicum of drum programming replacing some (but not all) of the acoustic stringed instruments you’d expect to be carried over from “Fearless” proper.

Of the previously unheard tracks, Swift was right — she’s always been her own best self-editor — in putting out “You All Over Me” first, in advance of the album. With its imagery of half-muddy stones being upturned on the road, this song has advanced lyrical conceits more of a piece with the level of writing she’s doing now than some of the slightly less precocious songs that follow. Still, there’s something to be said for the sheer zippiness with which Swift conveys teen heartbreak in “Mr. Perfectly Fine,” which has a lyric that shows Swift had long since absorbed the lessons Nashville had to offer about how to come up with a high-concept song — the concept, in this case, being just to stick the word “mister” in front of a lot of phrases relating to her shallow ex, as if they were honorary titles to be conferred for being a shit, while she employs the “miss” for herself more sparingly.

Some of the remaining outtake songs go back more toward the sedate side of “Fearless”-style material; she didn’t leave any real bangers in the can. “We Were Happy,” the first of two successive tracks to bring in Keith Urban (but only for backgrounds on this one), employs fake strings and real cello as Swift waxes nostalgic for a time when “you threw your arms around my neck, back when I deserved it.” It’s funny, in a good way, to hear Swift at 31 recreating a song she wrote at 17 or 18 that pined for long-past better times. The next song, “That’s When,” brings Urban in for a proper duet where he gets a whole second verse and featured status on half a chorus, and it’s lovely to hear them together. But, as a make-up song, it doesn’t feel as real or lived-in as the more personal things she was writing at the time — and the fact that its chords are pretty close to a slightly more balladic version of the superior “You Belong With Me” was probably a pretty good reason for dropping it at the time.

the 18-year-old Taylor Swift is a great place to visit, but “Folklore” and “Evermore” are the place you’ll want to return to and live, unless you have an especially strong sentimental attachment to “Fearless”… which, sure, half of young America does. It’s not irreconcilable to say that the two albums she issued in the last year represent a daring pinnacle of her career, but that “Fearless” deserved to win album of the year in 2008. Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not. Did the album also have lesser moments you probably haven’t thought about in a while, like the just-okay “Breathe”? Yes. (I looked up to see whether Swift had ever played that little remarked upon number in concert, and according to setlists.fm, she did, exactly once… in 2018. Because she’s Taylor Swift, and of course she did.) It’s not certain that her duet with Colbie Caillat really needed to be resurrected, except it’s fun, because hey, she even roped former duet partners back into her time warp. But there are so many number that have stood the test of time, like “The Way I Love You,” an early song that really got at the complicated feelings about passion and fidelity that she would come to explore more as she grew into her 20s… and just kind of a headbanger, too, on an album that does love its fiddles and mandolins.

It doesn’t take much to wonder why Swift put up “Fearless” first in this six-album exercise; it’s one of her two biggest albums, along with “1989,” and it’s 13 years old, which does mean something superstitious in the Taylor-verse. In a way, it’ll be more interesting to see what happens when she gets to more complicated productions, like “1989” or ���Reputation.” But maybe “Fearless” did present the opportunity for the grandest experiment out of the gate: to recreate something that pure and heartfelt, with all the meticulousness a studio master like Swift can put to that process now, without having it seem like she’s faking sincerity. Let the think-pieces proceed — because this is about six hundred different shades of meta. But, all craftiness and calculation aside, there’s a sweetness to the regression that’s not inconsequential. It harks back to a time when she only wondered if she could be fearless, before she learned it the harder way for sure. What they say about actors “disappearing into the role”? That really applies to Taylor Swift, playing herself.

[thepriceofbeingaroseisloneliness]

Kaoru & Toshiya Rolling Stone Japan 18th May 2021

DIR EN GREY talks about the current unique expression method and fun.

DIR EN GREY has postponed their concert scheduled to be held at Tokyo Garden Theater on May 6th. However, if you read this interview that took place two days before the decision to postpone the live, it's easy to imagine that the band will continue to move forward no matter what.

Using the single "Oboro" released on April 28 as the reason for this interview , we asked leader Kaoru (Gt) and Toshiya (Ba),who makes his first appearance in Rolling Stone Japan, about the current state of the band.

Feel free to correct me if you spot any mistakes or any confusing parts. Links or credits to this post when the content is reposted or captured in other SNS is appreciated : ------------- Original interview: Rolling Stone Japan (includes pictures)

Text: Joe Yokomizo -First of all, please tell us the details of releasing this single at this timing. Kaoru: We've been talking about releasing a single around this time for a long time. But, we were asked by the company to release it sooner (laughs).  They told us “Can’t you release it around February?”. But we said we couldn’t record it in such a hurry and pushed the release back (laughs). So, the release was decided  at the time it was originally scheduled.

-Is it a song you wrote recently?

Kaoru: We chose it from the ones we had in stock.

-How do you choose a song? Like, is there a discussion among the members? Kaoru: We had a talk about if it’d be good to release a ballad or a melodious song this time. Then, we chose it from the songs we had at that time. Toshiya: That's right. We thought  a melodious song or a mellow song would be good, so we chose it from the songs we had in stock. As a result of the discussions we had, we came to the conclusion that “Oboro” was the best choice. I personally thought this song might be able to become a single, but I also thought that it could be a good idea to save it for the album.  I thought it could become a song  that would be the core of the album even if it was just included in the album. Kaoru: We haven’t released any ballad as a single recently. We did it quite a while ago so we felt like it would be good if we tried it.

-It's true that a ballad as a single is quite fresh for DIR EN GREY, and the arrangements are ... Kaoru: Simple. Pretty simple, but it took us a while to get there. -Do you want to increase the number of notes that are being played at the same time? Kaoru: No. Rather than messing with that, it felt like the notes were gradually confronting each other. There wasn’t a big change, but it took us some time to decide the overall flow, how to do it and the final result. -DIR EN GREY has a strong image as a band that is playing lives often. Until now, you released something and toured, released something, and toured. All over again. The releases haven’t stopped yet but the tours and therefore the lives themselves have stopped because of Corona. How do you feel about the state of the band? Toshiya: Since we couldn’t play lives, I think the part of exploring as a band is big.  But personally, at some point, I got over that. The band wants to move, but it’s hard to do it. Even if we think about it, we can’t do anything about the situation so, we haven’t stopped thinking about it, but I think we got over it at some point. Rather, we had no choice but to get over it. -Even if you keep thinking about it, nothing will happen.

Toshiya: That’s right. Even if we just write songs and do the pre-production all the time, if that’s all we are doing, it feels like a pie in the sky all the time. It’s a strange feeling, isn’t it? We didn’t get another answer before but, the process of getting that answer has changed. There was a series of routines like making an album, playing lives, making an album, and doing live performances after that but wasn’t that cut off entirely? Then, we are doing it as usual, but something has changed at some point.  And it may just be that kind of era from now on. I think we have no choice but to adapt to this. However, even I think about how it was before, I’m starting to think that it won’t be like that again, and we may just get over it. -Did the production itself change due to the lack of lives? It is often said that a song evolves when it is being playing live, but if you make a song in a situation where it is difficult to imagine playing it live, will the image of the song, how to make it, and the depth of making it change? Kaoru:  Even if we are making songs, it feels different from usual. To put it the other way around,  as the situation is unique now, maybe it’s a song that can only be done at this moment. But it’s like…. wouldn't it be nice if we could create something interesting? I don't know if we are even thinking about it. I think that the fact that there was always a tour up until now had a big influence. As we always had a tour, until then we’ve limited production time. That's why there was a switch, because now we have infinite time. To be honest, if you take it easy, you’ll space out. After all, it was great to be pushed, force myself into doing it  and work hard (laughs). -About making it “the right time” by themselves -Regarding the unlimited production time, how was it for you, Toshiya? Toshiya: I think I'm grateful. However, I want to use it as much as I have. As there were moments I got distracted/ was being lazy, I feel that there are good points and bad points, to be honest. -What's the good thing about this recording? Have you tried something new? Toshiya: After all, in the end time is chasing me (laughs). But this time, I felt that I had a little leeway in my heart. That's why I thought about the single in various ways.Then I wondered if I could release this or that and people would listen to it. It’s common to say this but, when you start thinking about figures, I've even thought about if it's good or bad to release something at this timing. I wondered if it’d be better when this corona situation has settled down a bit more. But well, even if you wait for that time to come, then I would wonder about when that time would come, so in the end, I thought it was unavoidable to think about it. If the right time doesn't come, I think we should make it become the “right time”. Rather than worrying about it, I thought that if such a song was completed and it felt good, we should release it. -It's certainly important to create the right timing. Toshiya: People all over the world are dealing with it now, or more like, we are waiting forever, aren’t we? Personally, I don’t think the situation will return to normal even if we wait. I think it’s more useful to think about how to proceed in a situation like this. I personally came this conclusion, or at least, I’m trying to. -Listening to what you are saying, I remembered Samuel Beckett's play "Waiting for Godot." The two main characters are waiting for Godot, but in fact, no one knows who Mr. Godot is, and I don't know if Godot actually exists. But they are waiting, believing that he will eventually come. Toshiya: Everyone, including myself, is waiting now. But what on earth are you waiting for? If you think about it, it’s like we're just waiting for "that moment”, right? But honestly, I don't think “that” will be back. I think it has changed. Then we have to move towards it. I'm a bit scared to stop waiting any longer, but I think we have to take a step forward. Kaoru: I agree with you. -DIR EN GREY Unique ideas -By the way, the new song "Oboro" is said to be a sequel to a previous song. The lyrics are done by vocalist Kyo but for you two, is it a sequel? Kaoru: I was told that but I wasn’t particularly drawn (by that song). The beats and tempo of the original song of "Oboro" are similar to that song. So maybe he was drawn by that and made the lyrics like this. After hearing that the lyrics would be like that, I've never been aware of it. Toshiya: I wasn't even aware of it at all either. I thought “is this it?”.

-By the way, in Toshiya's words, "Oboro" is a song that can be the core of the next album ... Toshiya: It’s just a song. The talks about the album are making rapid progress but now there are endless possibilities, including how to play the songs live. So, I think it's okay if there are songs that exist just as part of the album, and conversely, there may be songs that are only for playing them live. In other words, from here on, how to add value will become even more important than ever. Kaoru: It's nice to have songs that you can only play live. Toshiya: About that, if you might do that at that time, you might want to play it live? I’m thinking about how to add that value to the song. I want to do a live concert, but we can't, moreover if you even do a concert normally, I’m sure it won’t be interesting. -It looks like broadcasting a regular live is difficult, right? Kaoru: A live that it’s going to be only broadcasted is a bit tough. In that sense, hearing what Toshiya said about songs that only can be played at lives are, in other words, songs that won’t become part of an album are really interesting. Toshiya: I don’t know. I was thinking it to myself and I just said it (laughs). Kaoru: There may be quite a few….songs that are like, “Which one is this?". Moreover, no one mentions those songs in an interview (laughs). Toshiya: Ahahaha. Kaoru: Even among the fans, sometimes it’s like “which song is that one?”, and don’t even know the title. The set list doesn't  even have the title of the song. Toshiya: I think it doesn't have to be just the song , but the production. I recently thought about it. In the past there used to be a lot of  imaginativeness/ playfulness on the DIR EN GREY’s cds. Recently, I remembered that was pretty normal. But from now on, if we are going to put out the record ourselves,  I want to make something that can be enjoyable. On the old DIR EN GREY cds, I remember I was asked to find out where the lyrics were written. When I think about it now, it's quite a prank, but that prank was surprisingly interesting. -How about the leader (laughs)? Kaoru: I put a lot of things into the sound (laughs). -The  particularity/commitment in “Oboro” -The “mischievous and eccentric” idea that Toshiya mentioned is swallowed normally before one knows. I think expression itself is a struggle, but in the age of the Internet, the speed at which it is swallowed is accelerating. That’s why,  even if that happens, I think it is important to keep fighting, recognizing that "I am not just like this". Kaoru: That's exactly what I do. Because I never thought I have a good taste. Even though I can’t make a song, it feels like I'm doing it just because I have a competitive spirit. -Like you don’t want to be taken into ordinary things,  or do you want to do something that has never been seen before? Kaoru: I want to do that, but it takes time. Speaking of gimmicks, in “Oboro” there are a lot of them. -What kind of “gimmicks” are there? Please tell me some. Kaoru: It's not interesting if I told them (laughs). There are many sounds that you can't hear. There are lots of sounds that you can feel.  I thought it would be great if you could feel it. And I'm thinking about putting a lot of that into the next album. -There is something I would like to ask about lives. I think we are in a situation where values are conflicting. If you play a live, even among fans there’ll be the conflict of the “Don’t play a live in these circumstances”  versus the  “Thank you for playing a concert in these circumstances”  position. Kaoru: It's difficult, isn't it? Neither of these positions are wrong. However, as a band, we won’t stop. So, if the conditions allow it, the live will go on. I think there are a lot of people who says “"Oh, I'm going to live at a time like this. These people’s views have changed”. But well, I think this is happening in other bands as well. -That’s right.  In any band, there is a faction that says to play lives and a faction that wants to stop. How should they come to terms with each other? Kaoru: I don’t think normal life will be back for a while here. If someone says “Yes, it’s nothing in the end”, it may change, but it’s that going to happen? The point is, I think it will be difficult unless the number of infected people goes down. Because Taiwan, where the number of infected people has decreased, there are even festivals taking place. Toshiya: We are choosing a method (against Corona  virus)  that doesn't work right now, but as it is the government who is doing it, isn’t the situation delicate? I think so. When it comes to what is driving people, I think it’s the number of people getting infected, as Kaoru said. The only way to reduce that number may simply cause damage. If you lock down hard like in the UK, you will suffer tremendous financial damage. I think that's why everyone can get lost on the way. However, although it is extreme, unless you have such a strong will, you will continue to do it subtlety and the number will drop again,  “Oh, now it’s ok because the numbers have dropped a little” and then after a while they will surely increase again, won’t them? And then repeat the same process. If that happens, I’m worried the same process will be repeated again and again if you don’t cut it off at some point. Kaoru: Tokyo is under the state of emergency for the third time, but I would like them to stop doing lockdown so suddenly. It’s so hard if there is no warm-up/grace period.

Toshiya: Regarding this state of emergency, I will obey what they say, because I have to obey. But in order to do it, I want something that gives me hope. I feel like suddenly, time was taken from me. -Before the light can be seen, “Oboro” -I want hope. That being said, DIR EN GREY's music always sees light at the end. But in the current situation, we can't see that light. I don't think you can understand the meaning of the lyrics unless you're Kyo, but I'm wondering what "Oboro" means. Like, in this era everything is obscure in an ambiguous sense? Or is it a night with a hazy moon but, you can see the light even faintly because it’s hazy? How do you two interpret it?

*Joe is making a reference to the song title,   朧 (Oboro) means hazy,dim,faint.* Toshiya: If possible, I think I want it to be hazy before you are able to see the light. Before people lose the courage to do their best, being surrounded by fog all the time. - It's true that humans aren't that strong. If there is hope, what is it? What kind of hope are you seeing now? Toshiya: That would be ……the best would be that the Corona situation comes to an end. But before that, I'd like  "Oboro" to be released properly. Some CD shops are closed due to a state of emergency, so even if you made a reservation, some people may not be able to get it on the release date. So, I hope that "Oboro" will reach everyone who made a reservation. -Which is Kaoru’s Oboro? Kaoru: I think either of them are interesting. In any situation as well, it’s something that it’s only now. It’s also an expression method that can only be done now. Of course, the band will continue, and I will be writing songs, but I think it would be great if we could express something that can only be done now, or something that is interesting. -Anyway, "Oboro" is an excellent title. Toshiya: When you think about it now, that’s right. It can be interpreted as this uncertain situation, and it can also be interpreted as a situation where a faint light is visible. Kaoru: I want you to listen to it and feel it.

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[emisonme]

This will be big but i felt like sharing my thoughs. I love camila, so so much…but I feel like sometimes people are praising her too much. Camila loves fame, no matter how many of you deny it, it’s pretty obvious that she does. I’ve seen plenty of arguments on twitter regarding the 4H vs C topic and I can’t help but notice some people saying stuff like “camila didn’t choose to be in this position”, “all the girls treated her like shit when it wasn’t even up to her decide”. Well obviously I know the feud between the 5H girls was fake, but it really messes with me that people still continue to paint camila as the victim. Even tho camila may have not betrayed the other girls as they tried to make it seem, she sure as hell accepted this full of privileges position she was given since the beginning. And I’m not saying this is a bad thing, because honestly which one of us would deny such opportunity, if we were in her place? But most of us and I’m also talking about me, tend to forget that camila is also a person who has negative traits, not only positives. Unfortunately one of her biggest negatives, is that she grew to love the spotlight. And if you really think about it, it makes sense since she was always so shy around people and when she got a taste of the “pop star” life, she felt mesmerised by it. From my point of view, as soon as she got that taste she also started craving the “bigger” things. Big arena concerts, awards, people loving her. For example lauren might love her job as an artist, but she undeniably hates the fame that comes with it. She’s just in it because she truly wants to share a piece of her soul and justify the definition of a true artist. And I’m not saying that mila is not, she sure as hell wants to create art. But if you ask me, the difference between these two is that lauren would be completely content with singing in a room full of people who simply appreciate her art, whilst camila would prefer to be in an arena full of people who sing her songs and scream her name. Not that laure wouldn’t like that, but I think you get the point. And I don’t know if anyone noticed, but until a few years ago well actually before the pandemic started, her management continued to push down the image of this “goofy innocent” girl who was happy all the time. She also pushed it herself because that was her job! No matter how much we think we know her,camila is still a pop star in the music industry who plays a part, just like everyone else who works in that damned department. And based on the above I’d like to point out that (no matter how many of you disagree with this) nobody is forcing camila to stay in the closet. Yes I know I sound ridiculous but hear me out. There isn’t a single contract which can legally force someone to hide their sexuality. Yes her management may have warned her not to come out in fear of losing profits and even blackmailed her, but at the end of the day it’s her choice. If she desperately wanted to come out as we all make it seem, she would’ve done it by now. The fact that she doesn’t, should tell us, that afterall she does care about her image. Even if that’s taking a toll on her now, it was her decision to follow that path. It was her decision to stay in the closet, it was her decision to accept the pr with shawn and it was her decision to keep playing the “happy” girlfriend to the media. No matter how much she was manipulated by this hell hole, camila is a pretty clever person. If she didn’t want any of this and simply wanted to be authentic to herself and the rest of the world, she simply wouldn’t care if she lost the title of the pop princess. But she does care. And it’s completely normal at this point, cause in this industry either you lose yourself or you come out stronger. Unfortunately I believe that camila’s case belongs to the first occasion. I don’t think that present camila we see in interviews or shows or whatever is the real camila. That camila is long gone. Anyway sorry if this was exhausting and thanks to anyone who read it all,cause I really wanted to share this with someone

someone

Good Lord, Anon, that's a lot to unpack. I will start by saying, I agree with some, and disagree with some of what you had to say. Now, where to start...

You say it still messes with you, that everyone still portrays Camila as the victim. Are you going to deny that Camila WAS/IS victimized? The truth is, they were ALL victimized. They are ALL victims of an abusive Industry.

You said, "she sure as hell accepted this full of privileges position she was given since the beginning." You are either forgetting, or just plain don't care, that Fifth Harmony was a highly controlled entity. There was no choosing, or "accepting" privileges. They each did what they were told to do, said what they were told to say, and acted the way they were told to act. They were each given a role to play, and they were contractually obligated to play that role.

Yes, they were contractually obligated to act a certain way. There has been ample proof given, that none of the girls had any control over their PUBLIC image. Camila still has no control over her PUBLIC image, because there has been ample proof, she is still operating under her original contract.

Did Camila choose to sign that original contract? Yes, she did. Did she read that original contract? According to Lauren, probably not. None of them did. Did Camila agree to sign her solo contract? Yes, she did. But as I've explained before, if she wanted to continue in the music industry, she had no choice but to sign the solo contract they offered her. That solo contract is still connected to her original contract.

Camila is a human being. We ALL have positive and negative traits. Camila, all the ladies of 5H, you and me, we all have our positives and negatives. None of us are perfect.

You said, "one of her biggest negatives, is that she grew to love the spotlight." Why is that a negative? Hell, they ALL wanted the spotlight. Every person who gets into the Entertainment Industry, wants to get themselves in the spotlight. They all want to succeed in the field of their choice. To succeed, they have to garner the attention, and live in the "spotlight", in one way, or another.

Every one of them auditioned on a NATIONALLY TELEVISED talent show. They wouldn't have done that, if they didn't want to be noticed, and hopefully thrust into the spotlight of success. They ALL wanted that spotlight of success to be as solo artists. It's didn't quite work out that way. But, they ALL chose to try and achieve that spotlight as a group.

If one has been paying attention, from the beginning, Camila made no bones about her desired dream. She has stated from the beginning, she wanted to be a "pop star". Of course she wanted the spotlight. Lauren has said, from the beginning, she wanted to be "famous and travel the world". She wanted to be a famous star, in the spotlight.

Since you have chosen to compare Camila and Lauren, I'll answer to them. You seem to think there is this big chasm between the two. There really isn't. The only difference is the outcome, thus far. Lauren STILL wants the spotlight and fame, she just wants it on her terms. The problem is, it's damn near impossible to get that success on ones own terms, in an Industry that insists on dictating the terms.

That's a more recent decision on Lauren's part, by the way. You seem to be conveniently forgetting, that until 2019, Lauren also "chose" to play the game on THEIR terms. It was most likely, a two year PR contract, with a drug addicted gang-banger that turned her off of THE GAME. Lauren was pissed, that after all that, her debut album got shelved in 2019. I DON'T BLAME HER!!! I'm sure that also contributed to her decision, that THEIR TERMS suck ass.

Does Camila "crave" the big concerts, accolades, and people loving her? Yes, she does. They ALL do, or they wouldn't have signed solo contracts after putting 5H on hiatus. Instead, they would have said "this Industry sucks" and walked away. They didn't. They ALL craved more.

Lauren wants the same thing Camila has, just on her terms. Lauren doesn't "hate fame". She hates the negative side of fame. She hates having her life dictated by terms and schedules. She hates being told what to say, and how to act. She hates that fans get all up in her business.

She loves the nicer side of fame. She wants to see a lot of people come and see her perform. She loves to be on stage and see her fans singing and dancing to her music. She appreciates the accolades. She loves the love she gets from her fans. She would love even more, if her fans would multiply, and buy and stream the hell out of her music, instead of always bitching, telling her who she is, and how she should be, and getting all up in her damn business.

All one has to do, is listen to Lauren and the anger inside her about all this mess. She wants more. She wants more than a fucking "room full of people" enjoying her art. She wants a stadium full of people enjoying her art. WHO THE FUCK WOULDN'T. She just wants that stadium full of people to enjoy her art, and not expect more than that from her. I'm sure Camila would appreciate the same damn thing.

Unfortunately, that's simply not how the music industry is set up, these days. The difference is, Camila has accepted the fact, that she IS the product. Lauren has not. Lauren don't want to be a product. She wants her music/art to be the product.

I've said it a million times, the music industry hardly sells music, anymore. The music Industry sells the artist. The music has become a bi-product of the Artist. The Industry knows which artists will sell, and which ones won't. They know what image will sell, and which ones won't. Be the artist THEY want you to be, THEY'LL make you a star, and maybe even famous. If not, good luck.

Finally, you are completely right. There isn't a contract out there, that says someone can't come out of the closet. That would be blatant discrimination, and wouldn't pass the muster of the legal system. But, when you sign away control of your own image in a contract, that gives the contract holder the rights to dictate what your PUBLIC image will be. If they want you to have a straight PUBLIC image, then you'll have a straight PUBLIC image. If THEY want you to have a "good girl next door" image, then that's the PUBLIC image you'll have. You signed away your rights to be your authentic self, when you signed away the rights to control how others see you, period!!!

IN MY OPINION, Camila has come out of the closet so damn many times, I can't even count any more. She just has to do so, in a way that isn't obvious to those who have control over how others see her. Take her last video, for instance. When one listens to terms she chooses to use, and does a bit of research, you'll discover, what I believe is the hidden meaning behind that video. If I'm correct in MY THINKING, she has yet again, screamed her truth from the rooftops, for those who choose to listen, and understand.

As for the PR contracts...I was the first person to say, Camila made the choice to sign into those particular contracts. When one signs away control over their own public image, it also allows those in control to dictate that one MUST enter into PR contracts to help THEM present the PUBLIC image THEY want for that particular artist. The artist gets a say in which person that PR is with, simply because they HAVE to agree to sign the contract with that particular person.

So, did Camila agree to sign into this PR contract with the human hair ball? She absolutely did....And NO ONE should be surprised by it. It is quite clear that this shit has been in the making, since June/July of 2015. Hell, after that shit show with the British Bore, even the majority of the fandom was asking for it. The timing was right, and here we are.

Lastly, Camila is always stepping out of the closet, like I said above. IN MY OPINION, she wants her fans to know who she truly is, but that doesn't mean she wants to tell the world in definitive terms. Like Lauren, she wishes people could simply appreciate the music, and leave per private life out of it, but she also knows that's a pipe dream, and not reality.

She knows, the second she decides to speak her truth aloud, her career takes, yet another, blow. I also think, that's one of the reasons THEY, through the media, make sure her ignorant youth is continuously brought up. The more she has to fight to get through that hardship, the more she will want to keep her truth a secret. (yes, a definite manipulation tactic)

Camila could decide to say, fuck it all, and come out with her truth at any time, after her contract is up. She could also decide never to PUBLICLY come out. It's her choice, unless people in power decide to take that choice away from her.

Whitney Houston took her truth with her to the grave. Taylor lives with her truth, one foot in the closet, and one foot out. That's basically what Camila is doing now. IN MY OPINION. Her public foot is in the closet, and her music/art foot is out. If people cared more about the music/art, they would get the authentic truth. If you care more about her public image, you'll get exactly what THEY want her to be.

People try to tell you, and others this all the damn time. Take the recent interviews. If you notice, Camila, and others are always saying how vulnerable, honest, and authentic she is, IN HER ART. Her truth is in her craft, whether acting or music. Her PUBLIC image, is just that, an image to sell to the PUBLIC. Everyone in the Entertainment Industry has one...Even Lauren. Yes, she did play the game. She still has her toe in the game, she just isn't playing it at a high level, right now...and, unfortunately for her, it shows!!!

There! I answered your book with a damn novel. As always, I could be wrong with my opinions, but they are my opinions!!!!!! !! !!!!

[absolute-eyesore]

[image ID;

Four gifs that are largely laid out the same way; a pastel holographic skeleton with horns, a beanie, metallic jacket, and headphones around their neck, to the left of the screen on a pixelated background in blue, green, and purple tones. The skeleton is turned to face the viewer, a dark green speech bubble with bright green text hovers up and down beside their face.

The text is all that changes between these images, and reads as follows:

"Hey, you there. My name is Hollow and I'd like a moment of your time if you don't mind." 1/4

"I'm unemployed due to pandemic reasons, and my previous source of income has been completely tapped. Looking for remote work... Pretty abysmal as well." 2/4

"To try and make ends meet to some degree, I come to you offering my services as an artist. I specialize in digital illustration, photo editing, and I have some basic animation skills as well." 3/4

"Let me show you what I have on offer... " 4/4

/end iD]

[image ID;

The same skeleton from before, now in front of a semi-transparent blue background with pink trim overlaid on top of the pixelated background. The hovering text bubble has moved up to beside their horns, and has become slightly smaller.

To the right of the scene, a squared image cycles through five stages of a piece, starting with a basic sketch then going to color, inked, full render, and ending in render with background.

The text in the speech bubble reads

"Shot from the shoulders up, either front-facing or 3/4 view. Alternatively, a 1600x1600 piece of your proposed concept."

The text on the price table reads as

"Basic Sketch: $6 (+$5 Extra Character)

Color Sketch: $12 (+$10 Extra Character)

Inked: $20 (+$15 Extra Character)

Full Render: $25 (+$20 Extra Character)

Render & BG: $35 (+$25 Extra Character)"

/end ID]

[image ID;

The same format as before, with a mid-body art example cycling through where the portraits had been previously, with the title "Mid-Body" in pink text above it.

The text in the speech bubble reads

"Shot from the waist up, either front-facing or 3/4 view. Alternatively, a 2600x1600 piece of your proposed concept."

The text on the price table reads as

"Basic Sketch: $10 (+$8 Extra Character)

Color Sketch: $20 (+$15 Extra Character)

Inked: $30 (+$20 Extra Character)

Full Render: $40 (+$25 Extra Character)

Render & BG: $50 (+$30 Extra Character)"

/end ID]

[image ID;

One more image in the same format as the last two, with a full body image cycling through examples with the title "Full Body" above it in pink text.

The text in the speech bubble reads as

"Full shot, pose negotiable, otherwise front-facing or 3/4 view. Alternatively, a 2600x1600 piece of your proposed concept."

The text on the price table reads as

"Basic Sketch: $20 (+$15 Extra Character)

Color Sketch: $30 (+$20 Extra Character)

Inked: $40 (+$25 Extra Character)

Full Render: $50 (+$30 Extra Character)

Render & BG: $ 65 (+$35 Extra Character)

/end ID]

[image ID;

The backdrop has changed to pink lines with pink text resting on top of the dark blue overlay.

The speech bubble reads

"Naturally, there are boundaries and other things you should know..."

The pink text reads

"Payment via PayPal

Delivery in 3-6 weeks

Delivery via Email

Relevant progress updates

No explicit sexual content. Suggestive and/or lewd art is acceptable.

Must be 18+ to commission NSFW content. Minors who try anyway will be ignored.

Any project may be turned down for any reason, be it discomfort or inadequate skill to deliver.

Final product will be shared across the social media platforms unless specifically requested not to.

No refunds unless the project cannot be completed."

/end ID]

[image ID;

The speech bubble reads

"Here's how you can contact me, as well as other places you can support me."

A page of different icons now rests on the blue overlay. Three small icons with text beside them, and three large icons across the bottom.

The three small icons are an email icon, the discord icon, and the tumblr icon, respectively. The three large icons are for Threadless, ko-fi, and bandcamp, with the avatar icons from the relevant accounts beneath the titles.

Email: gerardwaygacy@gmail.com

Discord: vaporwavelich#5675

Tumblr: @vaporwavelich / @absolute-eyesore

Threadless: thepolyesterfriends

ko-fi: vaporwavelich

bandcamp: thepolyesterfriends

/end ID]

[image ID;

A final image, returning to the appearance of the first four with just the horned skeleton on the pixelated background with the large speech bubble beside their head.

The text in the bubble reads

"Thank you very much for your time. Please, if you are at all able, feel free to message me to inquire about a commission. If not, reblogs help to boost my reach. Stay safe, and have a good evening."

/end ID]

further examples of my art skills can be found on this blog. 100% of the glitch content that comes from here is original content, including the photos being edited. the images in this post are an example unto themself. as well. as you can see, i put a lot of work into the content i produce. contact me for something and you're sure to get your money's worth.