#which explains the quality and off colours | Explore Tumblr posts and blogs

lavandulawrites · 13 days ago

Text

Autonomy Of a Free Soul ch: 2

Chapter 2: An Eyepatch Wearing Gentleman

You find yourself in the meadow by the giant oak tree at Windrise. You have faint memories of falling into a well which is deeply hidden inside a cave by your home. You get captivated by the tune of the green clad man as he strung lyre high up in the tree.

Alone in a foreign world with hazy memorises, you are sure to encounter various obstacles you would never dreamt of facing. With some admirers with emotions and devotion deeper than what would seem possible, can your journey turn out peaceful?

Chapter 1

Synopsis: It’s your second day in Teyvat and you go out and try to find some work to do. After running a few errands, you met a tall man with an eyepatch covering his eye. His character gives you some indescribable chills…

Masterlist

(This is an yandere genshin men x reader fanfic that will have multiple chapters. This will be cross posted on ao3. It will partially follow the plot of genshin impact.)

Warnings: female reader, Kaeya is oddly eerie

Word count: 1112

The bustling streets of the city of freedom was a welcoming sight as you exited the apartment complex where Venti resided. You were headed towards the Adventures Guild in hope of getting some work to do. You were lacking in mora and what Venti had so kindly given you could only cover your lunch for today.

The Adventures Guild booth was cowered in various posters and maps. Behind the counter hung different trinkets and artifacts you had never seen before. The woman behind the counter was dressed in a green uniform with white frills.

She looked at you with a friendly smile. “Hello, welcome to the Adventures Guild. I’m Katheryne, how may I help you?” her hands were folded in front of her as she bowed.

“Hello, I’m [Name]. I’m new to town and I was wondering if you have some work available for me? It doesn’t need to be much, just so that I can earn some mora” you returned her friendly smile.

You crossed your fingers against your side in hope of her giving you some work. If nothing were available, you didn’t know what you would do. You couldn’t live off of Venti’s earnings. He had already done so much for you and you would hate to be even more indebted to him.

The black haired woman nodded. “We do. Though you would have to register yourself in the Adventures Guild. May I have your full name?” a block of paper was in her pale hands accompanied by a simple green pen. She waited for you to nod affirming before she explained to you what the Guild entailed and all the rules you would have to follow.

You nodded. You sighed your name onto the contract. [Name] [Last Name]. You handed her back the thick cream coloured paper that was off the highest quality.

“Running errands is something that you could as your first you within the guild. Are you in possession of a horse?” Katheryne asked you with a professional smile.

When you answered with a “no”, she nodded. “Alright. Leasing a horse could be rather expensive, so your tasks would have to be within the city. Is that alright with you?”

“Yes, that is alright.”

“Good. Then it’s settled” she handed you an envelope. “This is the list of errands. They’re mostly delivery. When you’re finished, come back here and you will get your payment.”

“Got it” you smiled. It seemed easy enough.

“Oh my, I almost forgot. Here” she handed you a thick little book “This is the handbook. I advise you to read it. There is also tales of previous adventures and tips and tricks that might help you along the way. Should it be necessary, of course”.

Katheryne bid you farewell and you ventured deeper within the city.

The tasks turned out to be rather simple and uneventful. After delivering the fourth package of wine, you begun wondering if they even had a mailman in Mondstadt. You would be sure to ask Venti later.

Your stretched your legs as you leaned your back against the backrest of the wooden bench you had decided to rest on. Your legs were sore from all the walking and your fingers were aching from all the carrying.

You scanned your fingers for any blisters, but to your luck there were none. Yet.

The sound of footsteps broke your new found tranquility. The faint sound of clinking followed. You raised your head at the sound, curious.

Your eyes met the lone eye of a blue haired man. His icy blue eye were bottomless and something deep inside you told you that if you weren’t careful, it would swallow you whole. In the middle of his eye were a star-like pupil. His other eye was covered by a gold trimmed black eyepatch that added to his enigmatic aura. His lips pulled up into a smirk as his eye took in your expression. The smirk turned into a grin when he saw the pale blush that dusted your cheeks. A playful chuckle escaped his lips. It was melodic and you could feel it play your delicate heartstrings.

The clinking came to an halt and you could then see the gold coin he had in his hand. He rolled it over his knuckles as he tilted his head. “I haven’t seen you around here before” his eye scanned your face in the search of something. What, you didn’t know.

“I just arrived” your voice was more silent than what you were aiming for and an unfamiliar icy feeling crept up your spine.

He nodded. “I see. I hope you are enjoying the city, darling” his voice had a distinct purr to it as his lips pulled back, revealing pearly teeth.

You forced a smile back as you swallowed. The rushing sound of your cold rushing files your ears and drowned out the blue haired man’s gentle humming. You couldn’t make sense of it, but there were something about him that had you on edge. It and your throat tighten ever so slightly and it formed a lump in your stomach.

He reached out his tan hand. His fingerless gloves of leather and were clearly high quality. “I am Kaeya. It’s nice to meet you” his purring voice almost hypnotic.

You reached out and took his hand. His grip was firm, firmer than necessary as it swallowed your hand. His skin was cold, but not uncomfortably cold. In the corner of your eye, you could see his light blue vision resting on his hip.

“My name is [Name]. It’s nice to meet you, Kaeya” your smile thin as you shook his hand.

He stared at you for while. Not letting go of your hand. When you tried to pull yours back, his grip only tightened like a boa snake. His smile only widened into a grin.

Fast footsteps got more and more audible as a knight weaved his hands over his head. “Captain! Captain! We got a situation in the eastern woods!” his yell breathless as if he had been running for a while.

Kaeya’s grin fell and he turned his head. His eye never leaving you. “I am coming” his flirtatious tone gone and replaced by a coldness that chilled you to the bone.

His hand released you.

“It seems that I must take my leave” he sighed “It was a pleasure meeting you. May we meet again soon” he smiled. He turned on his heel as he followed the knight. Kaeya waved over his shoulder in a nonchalant way.

You watched as his silhouette faded. Your goosebumps left with him, but the coldness of your veins stayed for a good while.

138 notes · View notes

aeriona · 11 months ago

Text

How Inkfish Change their Ink Colour

Here's an extremely long, (poorly) illustrated speculatory post about how ink and inksports could THEORETICALLY work in Splatoon! yippee!

Ink is a mucous that Inklings, Octolings and Cuttlings produce with their ink sac, where it can be expelled through the mouth and siphon (and through the skin via the ink vessels, but don't worry about that just yet). You can take a look at my diagram of the ink vessels here.

Spitting up or sweating ink is a common stress response in ink-bearing cephalopods, it also serves as an extremely rude gesture if you happen to aim it at someone else's face.

Inkfish actually can't change ink colour on their own, so instead they have to rely on artificial means to brighten and saturate the colour into something more easily recognisable.

The history behind inksports is extensive. In ancient times, inkfish would use naturally occurring dyes (such as clay, plants etc.) to change their ink colour, often to denote a particular social group. In modern times, colours are artificially synthesised and treated to have a minimal impact on the inkfish's body as possible, as believe it or not constantly eating red clay wasn't exactly good for you.

The colour of an Inkling or Octoling's skin is determined by chromatophores, which can be basically any colour or shade they choose. The chromatophores function completely independently from the ink sac, so it's possible to have differing skin and ink colours (although you'd probably confuse your teammates a fair bit).

This is fine and cool and all, but how do inkfish prevent different team colours from just blending all together in a match? WELL! While turfing capsules also change ink colour, they can also alter the chemical qualities of the ink itself by introducing something called polarity!

There are two kinds of turfing ink- polar and nonpolar. In easy terms (I am not a chemist), it's what allows two different colours of ink to sit on top of each other in separate layers instead of diluting together like paint. Before a match starts, each turfing team is given dye capsules in their respective team colour, with each team having opposing polarities to prevent inks from mixing together during the game.

Before technology got involved, people would simply use oil and water to prevent one ink colour from mixing with another's. Nowadays, oil and fat derivatives are commonplace as it's less likely to cause health problems as the body slowly processes it out.

Splatting works when enemy ink reacts with the outermost ink vessels in an opposing team member's skin, forcing the victim to contract their ink sac and spit up all their ink (usually in the form of a super-jump back to spawn, though in the moment it's not uncommon to overshoot it). It's also possible to splat someone with blunt force trauma, but we tend to call that assault. Splatting is usually not dangerous, but it's still not a terribly pleasant experience and is somewhat painful, akin to a nasty static shock.

This splatting reaction is also why water is used in turf stages as a restrictive barrier, as water causes the same splatting reaction in the body as enemy ink does (at least until the dye wears off).

Okay that's all I got, I'm not gonna go into ink weapon mechanics because I'm tired... perhaps another day haha. Hopefully that all made sense and I apologise deeply if it didn't. Feel free to shoot me an ask if something needs to be cleared up or explained in further detail haha

#I couldn't conjure a scientific way for ink to naturally change colour inside the body so I made another theory instead #I'm just not sure how they would be able to like.... make and mix pigments on the fly?? anytime??? it didn't sound right #I've been meaning to make this for months but it was really hard to put all my notes into a semi-coherent post #my art #splatoon #xeno tag #speculative biology #xeno inkling #speculative zoology #splatoon art #splatoon 3 #splatoon headcanon #spec bio #spec evo #squid #octopus #inkling #octoling

292 notes · View notes

yaekiss · 1 year ago

Note

#Mailroom Open!　─ Hello Qi! I hope I am able to get this letter in before the cutoff 😖 May I send a love letter to yan!Jing Yuan, and have him address a Foxian!reader w gn nicknames?

\\\______\\\\________\\\

To my dearest Scoundrel,

You are quite the terrible influence my dear general, are you aware of this? How am I supposed to resolve this trade agreement with our fellow Xianzhou flagships in a timely manner, when you have more or less conditioned me to take naps during most hours of the day?

Truly despicable of you really. And on top of that, your "parting gifts" you left on me are still very tender; very distracting from my work. Efficiency and diligence, I fear will be strangers to me during this trip.

Regardless, I hope you are doing well and are not causing to much trouble for the commission during my absence. (Please try to not stress Fu Xian too much, I don't need further distractions from her blowing up my phone because of your shenanigans.) Maybe if you are on your best behavior, I might even give you a reward. Perhaps even something of your choosing if you are especially well behaved~.

Before I sign off and leave you to return to my work, I have sealed a gift for you. Consider it...my own unique "parting gift" to you until I return to you. Which I know in our vast lifespans will be over before you know it my beloved.

-Sincerely, your sleepy vixen

(Enclosed in a small red and gold box, is a simple blue collar with golden accents and filigree with a note that says "wear it until I come back ;)" )

꩜ Letter Content: Dom! GN! Reader x Yan! Sub! Jing Yuan, no gendered terms for reader, Jing Yuan calls you "my tranquility", unhealthy obsessive relationship from Jing Yuan, lightly implied drugging, mentions of reader topping and edging Jing Yuan, quick mention of biting and blood, lmk if I missed out anything ! ꩜ Delivery Notes: You have quite the roster of guards at the door of your hotel room huh? Looks like nothing's going to slip past them if they were chosen by Jing Yuan himself! ꩜ Wanna write a love letter yourself? Check out it out here!

As you return to your temporary quarters after sitting through a particularly arduous trade meeting, you’re alerted by your guards assigned to you (by none other than Jing Yuan) about a suspicious delivery left for you while you were away.

Inspecting the box, a laugh escapes you when you catch the ink paw prints of a lion stamped haphazardly on both sides of it. After explaining that this was a personal delivery from the Xianzhou Luofu’s Dozing General, it seemed to dissolve any remaining apprehension your guards had and they handed the box over to you. Thanking them for dutifully carrying out their work, you step into your room.

Your room is spacious, ridiculously so. Why would one person need such a massive room for themselves? It’s the kind that only a general could manage to procure. The open sliding window leads to a balcony that showcases the bustling lively environment of the streets below and a cool evening breeze fills the room. Settling down on the edge of the bed, you set the box in your lap.

Upon opening up your delivery, it seems that Jing Yuan had prepared a pair of gifts in return for you. The first of two is an intricate small glass spray bottle set within a satin-lined box. The small tag tied around it says, “Some of the fragrance that I often use. For you to spray on your pillows when you sleep. :3”

Spritzing a fine mist onto your wrist, the scent of your lover wafts from the area; not too strong such that it’s unpleasant for your keen sense of smell, nor too faint that it’s hard for you to pick up. The fragrance is soothing and familiar, a thoughtful gift that will no doubt improve the quality of your sleep, as evident from the yawn it draws out from you.

The second gift you retrieve from the box is a soft sleep mask in your favourite colour. Sliding it over your eyes, you find that the fabric is smooth against your skin and the mask manages to completely block out all light, fully blacking out everything. The elastic strap isn’t overly tight but secure enough that it ensures that the mask doesn’t slip off too easily. Perfect for tossing and turning.

Finally, laid at the bottom of the box, is the reply from Jing Yuan, concealed in an elegant envelope. The quality is top-notch and flawless, and it’s sealed securely. Running your hand over the envelope, you feel the crest of the Cloud Knights embossed lightly on the surface. You break the seal and remove the letter contained within.

His handwriting is steady and dignified, each and every brushstroke on the page graceful. At the end of his letter, is his own name seal, stamped in red ink. Jing Yuan’s reply reads:

“For my dreamlike haven,

My apologies, it seems that Mimi got its paws on the box while I was out of my office and left a couple of paw prints on the sides. Sigh, you should’ve seen how much ink I had to clean off the surfaces, truly troublesome. Perhaps it knew that the box was meant for you and wished to leave something for you as well, haha!

I have to admit, Mimi is not the only one missing you, my tranquility. I find myself looking over to my side to ask for your wise input on things, only to realise that you’re away. Fu Xuan laughs at me whenever I do this. :(

It's just not the same to take afternoon naps without you by my side. Nothing is as comforting as your warmth in my arms, or for me to jokingly complain about the tips of your furry ears tickling my nose when we cuddle together. My slumbers are no longer restful when I can’t spend them with you, my tranquility.

The things I would do to have you next to me again. Are the marks and scratches I left on you still visible, my tranquility? Judging by how the ones you left on me are fading, I assume my parting gifts left on you are doing the same. Would you let me mark you up again, and won’t you extend the same generosity to me too? I yearn for your searing touch, my tranquility, for your fangs to pierce my skin and bring forth the vivid red beneath. Whenever I close my eyes, the only thing I can see is you, as if you linger in my every thought and dream.

Speaking of dreams, it seems that lately, my dreams have taken quite a raunchy turn. The starring role for all of them is obviously, you, my tranquility. You’d have me pliant and satisfying your every whim. In one, you had me bent over my office desk, fucking me hard as I rocked back against you. In another, you were edging me mercilessly, over and over again, until I could do nothing but beg helplessly for my release. That look you had in your eyes still sends a shiver down my spine. I’m hoping that soon, you can help turn these dreams of mine into reality.

Additionally, thank you for the collar, my tranquility. I’ve taken the liberty of adding a charming little bell at the front of it, I think you’d find it quite endearing. (And perhaps deserving of a reward? :3)

Do take care of yourself, or else I might just have to come and do it myself, haha. I’ll try to be on my best behaviour but no promises! I miss you dearly, my tranquility, come back to me soon.

Your rascal of a general,

- Jing Yuan -

P.S. Remember to use the fragrance on your pillows and the sleep mask!”

Rising from your seat on the bed, you pack everything back into the box before stepping into the shower to… cool off after reading Jing Yuan’s letter. In the bathroom, you find yourself relaxing as the water patters on your skin. Your ears flicker slightly whenever they pick up noise from beyond the locked door. A shout from the busy streets below, a soft sigh and the tinkle of a bell, the water splashing onto the floor around you.

Whilst clothing yourself, you lift your wrist to your nose and sigh when the scent of Jing Yuan has expectedly, (begrudgingly), been washed off. However, when you return to your bed, the scent of him still lingers, one that wasn’t here before.

Your heightened foxian senses can just about make out where it’s concentrated the most, and it points towards your pillow. It’s saturated with the smell of him, to a disconcerting degree. Lifting it up, you’re greeted with the sight of the usual red ribbon he has tied around his hair.

The world falls silent around you.

He was in your room.

Thanks for reading! Consider supporting me on kofi if you enjoyed this or check out my other works hehe ♡

464 notes · View notes

louferrignojrofficial · 7 months ago

Note

I hope you don’t mind asking but you consistently have some of the best 911 gifs. How are your gifs so sharp? And the coloring so good? Could you do a little tutorial about your giffing?

omg thank you!!! this gets pretty long so i’m putting the tutorial under the cut

so firstly, i use kmplayer to screencap. the most important part though is the quality of the episode you have. you always want to work with 1080p, and my file is around 2gb. that is how my gifs always turn out ‘the best’ as you say 🤗 of course, colouring and sharpening help a lot, but if you don’t have a good download, your gifs can be helped but won’t be the best possible.

this is the gif i’m making having only been cropped and sharpened. i’m gonna show you how i make a gif and my colouring process (which, for this one, is admittedly pretty short and simple compared to what i usually do.) as you can see, it’s dark and pixelated and doesn’t look that appealing, no matter how handsome they both are.

also, i forgot to screenshot this before i started but the screenshot below shows the action i use to basically get all my screencaps organised to make one gif. this is after you’ve got the screencaps into photoshop in a stack.

i can’t find the original post with the action, and i’m not sure how to share it on this post… but if it’s not that important in the scheme of this post, there are many other posts out there with actions you’ll be able to easily find and download.

anyways. so this is gonna go through the process of making a gif assuming you’ve done the process of importing the frames and sharpening. (i would normally cut out my taskbar but there are so many screenshots, it would take foreverrrr)

the next step would be cropping. this is the original:

and i’m doing a 540 x 500 gif. i like mine to be bigger so i can only get the person/people i want in the gif (sorry eddie) but sometimes if i want that it’ll be smaller, usually 540 x 400.

anyways, i crop from the edge and make it a little smaller so i don’t get the white border around it. and then i move the gif away from the top and right edge of the gif just by 3-5 pixels. which i already did here and then zoomed in:

next, image size. i honestly didn’t know about cropping it and then using image size for a few months when i started giffing (i don’t even know what i did back then not knowing that.)

then as you can see, it’s 540 x 500. if you’ve cropped it to the size you want beforehand, it’ll be automatically those dimensions.

next, we’re finally starting on colouring. i always tend to start with curves and use the middle brush on the left. the top one you use to make it darker, and the bottom you find the whitest point on the gif to make it a lot brighter. but i find the middle one colour corrects too, so it’s not too bright or dark, and is less yellow or whatever colours you don’t want.

it depends on where you click to get this result, i’m not sure how to explain what i do but i just click all over and try to get the yellows off and the skin colour to look generally the same as what they have. most of the time, if i get this accurate enough, the rest of the colouring process is just to brighten up the gif.

so, then after i got my desired result, we’re brightening it up because you can’t really see them all that well. i use brightness/contrast but i tend to use exposure the most.

as you can see, i am at +2.78 exposure which is crazy high (imo). but as that and the curves layer did a lot of the work for me, i mostly have the colouring i want.

although i think it could be a little lighter, so i add a new layer of brightness and contrast this time. i don’t brighten it all that much after that. i want to make it so that either one of their faces aren’t shining, and with too much of the exposure, it can make that happen.

next, i notice that tommy is kinda green/yellow, so i want to fix that up and make him more natural. i go to colour balance for that this time. most of the time i go to selective colour -> yellow or red, depending on how much i want to change. with selective colour, it gives you a few options in shades: cyan, magenta, yellow and black to alter, all for your specific colour.

meanwhile, colour balance changes the whole thing. since i wouldn’t mind that in this instance, i just go with colour balance.

tommy is looking less yellow and green, but still, he’s not where i want him to be. (plus oliver’s scruff area is naturally ginger so it shows up as yellow, and i want to decrease that a little.) so i go to hue/saturation, choose yellow, and decrease it a little more.

now, after this, i messed around with selective colour as i mentioned earlier and with the colour yellow and red specifically. but after comparing where i was at before, vs with those selective colour layers, i just liked that previous one more. so my last layer is the hue/saturation one. and i’m done colouring!

next, i go to my trusty camera raw filter to make them stand out more and be a little crispier.

i tend to stick to + 10 up to 30, somewhere in that range. sometimes the texture and clarity match, sometimes they don’t. it’s all up to you, but for this one, i knew it would end up a little too crispy so i didn’t go too high.

i also like to add some grain so that it’s less pixelated (it admittedly annoys me a lot when it’s got those visible square pixels all over.) i never go higher than 5 in grain, it does the job well.

after that, i’m finished with my gif!

next, we want to export the gif.

as you can see, the gif is less than 10mb, is set to loop for forever, and is made with selective diffusion. admittedly, i don’t think about that setting that much, but sometimes if it’s a lower quality gif, i’ll change it to selective/adaptive pattern instead. but that’s not relevant here.

after that, we open our gif that we just made into photoshop again. this time we want to select all frames:

and change the frame delay so it’s not as jumpy. for some reason, it automatically changes so that they alternate in frames from 0.03 to 0.07, but i want them all to be 0.05.

now that’s the last step and you just export the gif again!

this is the final gif!!!

i hope this was easy to understand! thank you for the kind words, and for asking me about my process because i’ve honestly always wanted to make a tutorial. if you have any more questions, or want to see my process colouring something more difficult to work with, let me know! 🫶

#anon #ask #my gifs #911 #911 abc #bucktommy #911 7x09

90 notes · View notes

aakiwa · 9 months ago

Note

how do you achieve the soft look in your art, especially your lineart? it's so beautiful!

Hi there!! Thank you for the kind words! 🫶🫶🫶💕💕

I think my line art looks “soft” because I don’t actually do a line art layer.

For most of my work, I just start off with a sketch using a pencil brush. Then I add a linear burn layer on which I add my flat colours. After that I just paint on top of what I want to render. I “outline” things as I render if they need an outline, and just colour the rest of the shapes in. I’m not sure how to explain it but I’ve attached a time-lapse of some of my rendering so you can see—I don’t know how useful it will be, and also the quality is really bad, but I hope it helps a bit!!

I use a round/oval brush (with only brush opacity being pressure sensitive) for everything past the sketch layer.

Also, tbh most of the time I don’t really mind things not being perfect, so I render by slapping just enough lines of colour on my page to distinguish what things are or to fix proportions. (See: The Azula drawing attached, there’s not much of a difference between the linear burn layer drawing and the “rendered” drawing)

#answered asks #procreate #art #art process

81 notes · View notes

lady-harrowhark · 2 years ago

Note

hello, can you explain to me in more clarity your “waxen” theory regarding Ianthe? I’m not picking up on what this implies but it’s making my brain itch.

Sort of! Totally fair question, I just don't have a lot of clarity myself in that I don't have a fully formed theory lol. There's definitely some links and parallels in verbiage that are pinging on my radar, so I do think something's funky, but I wouldn't say I'm fully on board with this yet. I'm just playing in the sandbox Tamsyn has provided us, tossing out ideas and thinking out loud. But I can go into some more detail, and add some more thoughts that have occurred to me since I posted that last night.

(Here's a link to the post in question, for context)

Anyway! So let's first lay out all the times we get someone described as some type of wax. At various points in HtN, we get the descriptions "a shoddy wax cast of some more beautiful sculpture," a "wax figure in a pink dolly dress," a "wax figure in pale purple chiffon," and "waxen face" for Ianthe. We also see that descriptor used a few other times for other people throughout the series. In GtN, Harrow's parents' bodies are called "waxy" and the first introduction of Protesilaus (as the beguiling corpse) says he was "waxen looking in the sunlight." In NtN, Kiriona's skin is said to have a "weird, waxy quality," then Naberius's skin is called "waxen" when they first meet up with Ianthe, and again a few pages later it again references the "waxen, handsome face". What I'm getting at here is that every time this sort of description is deployed, it's in reference to a dead body that's been preserved, manipulated, and is essentially masquerading as a living person... except for Ianthe.

We also know there are a multitude of times that she's described as looking like a poor copy of Coronabeth. There's that "shoddy wax cast of some more beautiful sculpture" line, her first introduction calls her a "starved shadow" of her sister ("or the first an illuminated reflection [of Ianthe]," and actually, off the top of my head I don't know that we ever see their descriptions framed that way again... I'd have to investigate this more later, but this might be the only time that Corona is described as a "better" version of Ianthe, rather than Ianthe being a "worse" version of Corona, which is interesting), there's a point where it says "The second twin was as though the first had been taken to pieces and put back together without any genius. She wore a robe of the same cloth and colour, but on her it was a beautiful shroud on a mummy," etc etc etc. I know there's more, but I'm too lazy to go pull the rest of the quotes and you get the picture by this point I'm sure. So nearly all of these situate her, at least visually, as a copy or approximation of Coronabeth, and one that doesn't quite live up to original at that.

So now let's pick apart this snippet of conversation we overhear between Silas and Ianthe at Magnus and Abigail's dinner party a bit. Ianthe says she was born via "surgical means," which I'm assuming is referring to a C-section delivery (or whatever the necromantic equivalent is) and notes that Corona is a few minutes older. Silas seems surprised (or perhaps concerned?) that they "risked intervention" and Ianthe says Corona had "removed [her] source of oxygen". At this point Silas says, "A wasted opportunity, I'd think." I had always taken this for him just being a dick and implying he wished she'd died in the womb, but coming back to it with this new angle... well. She says "Corona's birth put my survivability somewhere around definite nil." And I'm wondering if that doesn't tie to Harrow's comment about infant deaths generating "enough thanergy to take out the entire planet." Basically, could Silas have been implying that the Tridentarii's parents wasted an opportunity to use the thanergy from baby Ianthe's death to power up Corona?

Harrow says that twins are an ill omen, but the text hasn't come back to that as of yet. Given the difficulty necromancers experience with pregnancy, I'd imagine twins would could be especially dangerous and that in and of itself could be considered an ill omen. Ianthe's comments certainly suggest that their mother carried the pregnancy, although I don't think we know for certain whether she was a necromancer. I am so intensely curious about the Tridentarii's childhood and their parents; we get so many gestures towards some really twisted family dynamics, but very little in the way of concrete explanations. Particularly relevant here, I'd love to know more about their father wanting a "matched set" and how that came about. Did they intentionally plan for twins from the start? Was it only once they knew they were having twins that that became a factor? What's the significance there?

Outside of those "waxy" descriptors, Ianthe tends to be described as much more sickly looking than even other necromancers. We know that necromancers on the whole tend towards a phenotype of physical weakness, but even still, there's an emphasis on this with Ianthe beyond that. This might be due in part to narrator bias (coughGideoncough) or the direct juxtaposition between her and Coronabeth's vivaciousness, but what really jumps out at me as contributing to this effect is how frequently she's described as being colorless, pale, washed out, bloodless, pallid, anemic, etc etc etc. It very much makes me think of the way the color drains away from Colum (and even the rest of the room and the others in it) when Silas is siphoning. Silas himself is also often described as colorless ("mayonnaise uncle," "milk man") but not so much in a way that implies frailty as much as I read it as implying a stark coldness, in line with the very black-and-white moral authority he presumes to wield, a purported "purity", much different than Ianthe's colorlessness. With Ianthe, you get a sense that her palette ought to have been or perhaps was closer to Corona's, but the color's been drained away; where Corona's hair is described as golden, Ianthe's is "canned butter", for example. Almost like the life's been siphoned out, one might say.

So to kind of circle back around, do I actually think Ianthe is dead or a corpse like the other "wax" figures we've seen? Nah. Between Harrow and Palamedes, and especially Palamedes's medical necromancy, I think we would have heard about it by now if that were the case. But I do think it's entirely plausible that she's had a bit of a brush with death and that perhaps she's never quite fully come back from, and I do think she's being intentionally positioned as somewhat adjacent to death. If their parents were wanting twins from the outset, perhaps they used necromantic means to encourage the conception. Or if the pregnancy was as high-risk as I suspect it was, perhaps she'd died or nearly died at birth and been resuscitated. Their parents may have gone to extremes to keep her alive, to maintain their matched set. Given the themes of this series, I do feel it's necessary to draw a distinction between "resuscitation" and "resurrection" although they are curiously adjacent to one another. For all the text has grappled with dying and staying dead, dying and coming back, dying and choosing whether or not to return... we haven't touched on what something like a "near death experience" would look like. I'd imagine having that sort of experience, even at an incredibly young age, might lead one to be fascinated with, to use Ianthe's own words, "the place between death and life... the place between release and disappearance."

#it was making my brain itch also!#thank you for indulging my meandering rambles lol #I’ve got another ask sitting in my inbox that I’m working on too… I promise I’m not ignoring it!#tlt #tlt meta #ianthe tridentarius #nona the ninth spoilers #ask #mcdreary #two halves dead

630 notes · View notes

dreamings-free · 1 year ago

Text

‘A dirty nightclub in an arena’ – behind Louis Tomlinson’s Faith In The Future World Tour

Louis Tomlinson and his tight-knit touring crew traverse the world in close to 80 shows, fulfilling a ‘dirty nightclub in an arena’ brief with a dynamic live campaign.

Production Profiles 5 January 2024

Following the success of his record-breaking Live From London livestream, which reportedly raised over £1m for touring and live events personnel and charitable organisations, Louis Tomlinson and his tight-knit crew have toured the world twice over. This time, visiting sold-out arenas in Europe and the UK with a cleverly networked live production with abstract video and lighting and a ‘no frills’ approach to sound, which guaranteed that every ticket holder experienced the same show, regardless of where they stood, sat, or screamed (more on that later). With close to 80 shows under their belt, TPi visited London’s O2 arena ahead of the production’s penultimate date of 2023.

Words: Jacob Waite Photos: Justin De Souza and Oli Crump

------

“A team effort is required to get this show off the ground,” explained Technical Manager, Sam ‘Kenny’ Kenyon, who has been a fixture of Louis Tomlinson’s live output since joining as Lighting Crew Chief in 2019. “This has been a complete redesign, and the production has expanded and gotten more complex, which requires different solutions to make it happen.”

Kenny and the team oversaw the deployment of an A and B rig. “We’ve been fortunate for the European stint that the venues we’ve toured have, mostly, been arenas. The main difference between the A and B rig is the addition of IMAG and further lighting header trusses. Aside from that, the A rig fits everywhere. If anything, we’ve run into weight issues, which we can overcome swiftly by removing overhead trusses.”

For the first few shows, Riggers, Ian Bracewell, and Alex Walker incorporated load cells on trusses to get an accurate rate and account of the weight of the load of each truss. In the UK, The Brighton Centre had a particularly low-rate roof with weight limitations. Production Manager, Craig Sherwood and Tour Manager, Tom Allen’s vendors of choice included: Altour (travel), Beat the Street, BPM SFX, CSE Crosscom, Colour Sound Experiment (lighting, rigging, and video), Hangman UK, Boxcat Studio and Two Suns Creative (video content), LED Creative, Ox Event House (custom light housings), Sarah’s Kitchen, Seven 7 Management (artist management), Solotech (audio), Stardes Trucking, and TANCK (production design and video content).

There was no video director, as the show’s visuals were programmed and interspersed with live footage and triggered by a lighting console at FOH, thanks in part to an intricate network setup. “There’s a lot going on in racks that people never see, but it has been stable thanks to the quality of kit supplied by our vendors, who have invested heavily, and the team taking the time to programme the show,” Kenny noted.

Key to the success of the operation was the incorporation of Central Control software, which takes a signal from a lighting console, be it ACN or Art-Net, and translates it to talk to various products – in this case, video. “There is a giant brain that nobody knows exists other than those that have programmed it,” he added.

Additional crew members joined the tour in Europe to aid the video deployment and lead to far more efficient load-in an -outs. “We are close to 80 shows in and on days where we have access to multiple trucks, it comes out very quickly, which for a show of this scale is impressive and credit goes to the team,” enthused Kenny. “The biggest hurdle is when you’ve only got a two-truck dock.”

Prior to the tour, the team had five days of production rehearsals spent in Connecticut’s Mohegan Sun. “When we came to Europe a week later, we had a week of re-prepping with a day of rehearsals at Hamburg’s Barclays Arena, the day before a show,” he described. “It’s been a fun and long run,” added Stage Manager, Torin Arnold. “We’ve visited a good range of venues and countries – especially the Eastern European legs, visiting places you wouldn’t ordinarily tour and experiencing how they operate. This show is designed so it can be accomplished in any part of the world.” Carpenter, Harry Reeves was also on hand to support the build.

The routing, however, was sometimes challenging with some late arrivals and difficult border crossings. “There were a few times in Eastern Europe where we were doing a ferry back-to-back to arrive at 11am, sitting at a difficult border crossing. We usually start with a 7am mark out, so knocking hours off your load-in is tough but everyone pulled together to overcome it,” Arnold explained, noting that touring without staging, and instead, using venue stages (particularly rolling stages), was a blessing during those late arrivals. “As with any tour, as dates progress you build a rhythm while maintaining the safety of the build,” he noted.

Arnold also highlighted the benefit of Lead Truck Driver, Neil Thornton and Truck Drivers, Matt Marlow, Ben Woods, Sarah Goldsmith, Bob Miles, Alam Minshall, Franco DeRosa, and Ollie Thornton who “speed up the process” and maintained a level of consistency.

The transitions between support acts before Louis hit the stage was equally seamless, with ample downstage space for the singer-songwriter to traverse during his performance. “Having a clean frontline means we have space to get the bands on and off,” he added. “Our vendors have also provided everything from an audio package standpoint for support acts, which also speeds up the load-in and -out.”

Highlighting a ‘bucket list’ show at Hollywood Bowl, working closely with US union officials as a “fun” and “interesting” experience, Arnold reflected on the entire tour with crewmembers he now considers close friends. “This is a close team and I’ve made some great memories and stories. It’s been a fun year!”

A DIRTY NIGHTCLUB IN AN ARENA Production Designer, Programmer and Director, Tom Taylor, and Francis Clegg of TANCK have worked with Louis Tomlinson ever since he made the leap to solo artist. “The production design has evolved into an angular, grungy, asymmetrical setup, borne out of the ‘dirty nightclub in an arena setting’ creative brief I was given,” Taylor said, citing the creative influence of Matt Vines and Seven 7 Management. “Louis is a phenomenal performer, and the crowd is captivated the entire time. We started knocking ideas around, speaking to Louis about his inspirations and influences, which we then developed into a creative deck, which I sketched in Blender, and imported into WYSIWYG for visuals, to create stills and pre-visualise.”

Taylor spent 10 days programming the visuals at Colour Sound Experiment, a firm he shares a “longstanding” relationship with. “They are always a call away regardless of the day or time. Their team is easy to get along with and I like their whole ‘production sphere’ – sometimes it’s nice to split lighting and video, but for a show like this, aligning those departments with one line of communication is ideal,” he said, underlining the support of Colour Sound Experiment Account Handler, Haydn Cruickshank.

With production rehearsals under their belt and recordings from Louis Tomlinson World Tour (2020–22), where TANCK piloted Central Control software, the creatives understood how the singer and his band moved on stage, developing a rhythm and consistency of when to implement visual cues and which camera angle fit best. This allowed the team to pre-programme the visual content to timecode.

Video content was made by a combination of TANCK, Two Suns Creative, and Boxcat Studio, with the latter creating 3D models and rendered content, all of which was broadcast across a unique set of video surfaces. “Having the abstract video columns on stage makes it much more interesting than your standard slab of LED at the back of the stage,” Taylor noted.

On stage boxes created by Ox Event House housed GLP JDC Line 1000 strobes with reflective panelling and fabric that were printed to look like heavy concrete slabs, ladened with custom LED Creative solutions. These boxes then moved up and down using Wahlberg Motion Design winches to provide a “low-level, clubby feel” to the set.

“The winches can only carry 50kg and the lights alone are 35kg, so we had to be careful not to overload them, but the result was cool. We also have one single lightbulb on a winch which comes up and down above Louis to create a classic lighting moment,” Taylor said, further highlighting Ayrton Huracán’s prismatic colour wheel as a ‘fan favourite’.

The lighting design saw a wall of GLP impression X4 Bar 20s at the rear of the stage in 12 columns. Further lighting trusses over the stage carried the Wahlberg winches for several automated looks. The DMX winches were utilised for three or four songs, either statically or moving up and down, while JDC Line 1000s provided colour and strobe effects, to achieve varied looks, with a relatively minimal overhead lighting package.

Taylor elaborated: “There are some shutters for one specific track which go directly in-front of some of the GLP X4 Bars to get the aura of the lights, instead of the lenses, which I really like the look of. Lighting and video complement each other during this show – there’s also a section with flickering fluorescent tubes on the video content with the X4 Bar 20s behind the LED screens flickering in a similar way.

Taylor was delighted with the performance of the crew. “Overall, it has been a great run, executed flawlessly,” he commented, citing the support of Lighting Crew Chief, James Box; Dimmer Technician, Rick Carr, and Lighting Technicians, Amy Barnett, and Kieran Hancox.

The wider lighting rig comprised Ayrton Eurus, CHAUVET Professional Strike Array 4, Claypaky Mini-B eLumen8 Endura 1Q120, and Robe BMFL fixtures with robo cameras, all fixed on various HOF MLT3, Litec QH40 and Thomas James Thomas Engineering Superstruss. The lighting riser featured Ayrton Huracan LT and GLP JDC1 fixtures.

Robe Spiider fixtures were situated on the up and downstage video trusses, with the floor package boasting the deployment of further Ayrton Eurus, LEDJ Spectra Flood Q15 and Chroma-Q Color Force 72 units, the latter chosen for key light. Atmospherics came in the shape of Smoke Factory Tour Hazer 2, Martin Professional JEM ZR45 and MDG Atmosphere ATMe hazers with TMB ProFans. “We had some challenging shows, implementing an arena-scale design into sheds in the US, but it’s been good to return to Europe and witness the fans enjoying the show,” added Lighting Crew Chief, James Box, who pinpointed the use of the multicoloured glass gobo in Hurricanes as among his favourite looks.

“There is a lot of effort put in by TANCK to ensure we get the utmost from every fixture on the rig, which is great to see, when the team has gone to the effort of assembling the show each morning. Seeing the looks they achieve from the rig and the extra details, with each advanced cue within the show, is a pleasure.

Almost every pixel on the JDC Line 1000 and X4 impression Bars are being used.”

Video Crew Chief, Dave Mallandain, formerly of Colour Sound Experiment, supervised the video build and the team of Video Technicians, Ed Driver, Frank Wlliams and Tim Curwen.

“Working with Colour Sound Experiment again, in a freelance capacity, certainly has its benefits,” he stated. “You get to know the workflows and personalities of the company. There is an element of trust there and our relationship is stronger because of that.” The 2.5m by 2.5m video screen, made up of Leyard CLM6 LED panels with Colorlight Z6 processing on the back end, was built in an abstract configuration – hung from varying size steel structures fixed on to lighting truss, spanning the entire stage, as opposed to a traditional backwall. “This setup requires us to build it quicker, so the backline can start building their world, but it’s very lightweight and easy to use, so once the local crew are up to speed, it flies up in no time,” he reported.

During the show, there was a lot of camera angles fed into a Blackmagic ATEM switcher, with content then fed into Resolume media servers which was processed and treated with video effects and filters to manipulate the content, monitored by the video team, and pre-programmed by Taylor via an MA Lighting grandMA3 console, operating in MA2 mode.

“The fan camera, which was one of Tom’s ideas, has evolved to the point where Frank and I are on stage during Out Of My System, pointing these cameras fabricated in an old VHS-style shell at Louis’ face in reference to the fisheye-lens inspired music video.”

A mixture of Marshall Electronics and Panasonic PTZ cameras ensured the wider on-stage action was captured. “While the visual content is the same, the shots differ based on the energy of the crowd from night to night,” he explained. “We have an overhead shot for the drums, and another behind Louis, which shoots over his shoulder to the crowd. We also have a PTZ camera on the ground in front of Louis which can rotate to capture crowd scans along with a little ‘bullet camera’ for each musician. It’s been a fantastic tour; everyone on this team has been phenomenal.”

The special effects and pyrotechnics package supplied by BPM SFX included Galaxis PFC 10-way receivers running Galaxis, with a main and a backup controller, which ran through an MA Lighting grandMA2 console, to trigger MagicFX Stadium Shot IIs and a single shot of red streamers. The latter, a “signature of Louis Tomlinson live shows”, according to BPM SFX Technician, Jack Webber – who toured with a new custom control rack, with much of the hardware integrated in one rack.

BPM SFX Account Handler, Matt Heap and SFX Technicians, Blake Harward and Phillip Mathew also provided Webber with support. “The one major change on this tour was putting the Stadium Shot IIs at the downstage edge, and adding lasers for the O2 arena show,” said Webber, who has been involved in past touring campaigns with the camp. “This is the first touring camp to take me to the US, so I feel incredibly privileged.”

Safety was paramount for the BPM SFX team, who implemented the safeguard of warning notices on-stage to ensure the band knew exactly when an effect was triggered. In closing, Webber referenced the ‘rainbow-inspired’ track, She Is Beauty We Are World Class, which demonstrated the strength of the special effects package. “There are about 22 rapid fire chase Comets all going off at the same time with a big lift, which differs in comparison to the other looks with eight units.”

MIXING IN A SEA OF SCREAMS FOH Engineer, John Delf mixed on an Avid S6L 32D console with onboard plug-ins. “I use the onboard plug-ins as much as possible because I want to keep it as simple as possible and know I’ve got a show out of the box without any added extras, which is particularly useful during fly-in gigs, where I have to use a house console or have limited time to set up,” he noted. Delf also toured with some choice pieces of outboard gear including a Rupert Neve Designs 5045 primary source enhancer for vocals, an Empirical Labs Fatso two-channel compressor for drums, and further Distressors for the bass guitar group and vocals.

“The bulk of my mixing is riding the DCA control groups and the vocals, balancing between them, and when there is a lead guitar solo, I’ll jump to that. Most of the mix should stay where it is, and I shouldn’t have to think about it, but every day you make major tweaks and refinements based on how the musicians are performing. Most of the gig is turning the band up and down without affecting the vocals because I have DCAs for drums, bass, guitars, keyboards, main vocal, backing vocals, and an ‘all’ DCA that includes everything but vocals,” he said, explaining his mixing wizardry modestly. “I also run snapshots in which I am changing the sub send amount for different songs, as well as reverb and delay times. If the band changes the set last minute, I have the desk synced to the timecode and that will trigger the snapshots.”

At the beginning of the set, the noise of the crowd can be between 112 to 116dB. “We have a little bit of headroom. When they are loud, I can push the mix, and when they are quieter, I can pull it back for the more introspective moments of the show,” he explained.

“My favourite section to mix is the transition from a cover of Arctic Monkeys’ 505 into Back to You. When that kicks in, I push the “All” DCA up to +10. We’ve built the set up to that point, where I’m able to throw it to the top before the end of the set. The three songs in the encore are also fun songs to mix,” he enthused, accenting the support of Solotech Account Handler, David Shepherd.

“I’ve worked with Dave for years, while he was at BCS Audio (now part of Solotech). He’s been my go-to account handler for a very long time, and Solotech has inherited this gig from them, so there was a natural transition.”

System Engineer and Head of Audio, Oli Crump walked TPi through the PA system: “We’ve been using L-Acoustics, which is our preference, since the start of last year’s tour. The main hang has been K1 with K2 downfill for both tours, however, we are touring with a much larger system this year with K2 on the sides instead of KARA-II. We’re flying subwoofers and carrying delays with us, which is also our preference in big arenas, like the O2 – it provides an even level of coverage across the audience,” the TPi Breakthrough Talent Award alumni said, explaining the thought process behind a larger sound system.

“The PA system is naturally bigger this year because we’re touring larger venues. The crowd is very loud, and we need to be able to compete with that at points of the show. The window of dynamic range we have without it being too loud is compressed because the background level from the crowd is so high, so we need to be able to get our level as consistent as possible from front to back. This setup really helps overcome that.”

Out of ear shot from Crump, Delf extolled the virtues of his partner at FOH: “Oli and I work well together. Every day, regardless of the venue, I know the system is going to sound consistent. We deal with different venue acoustics each day but as soon as I run up my virtual soundcheck, I’ve got the mix back to where I want it because the PA is at the same level every day. I used to walk the room a lot during sound check, but it always sounded consistent, so I’ve stopped doing that because I trust him explicitly.”

The PA generally sat in a standard location for an arena PA, 10.5m off centre and no wider than that, using the same basic system design as Louis Tomlinson’s past touring campaign, which Crump worked on with Kenny to ensure it didn’t impede the production design. “The number of boxes we deploy varies from show to show, based on the venue. The worst-case scenario [visually] is that the PA needs to be a little lower than usual and gets in the way of the IMAG screens slightly,” Crump detailed.

He designed the system using Soundvision, then imported his file into Network Manager, with a DirectOut Technologies PRODIGY.MP chosen for system processing. “I have visited many of the European arenas before so I’ve got fairly accurate plots, however, sometimes you will stumble across an error someone has made in building the models,” he continued. “Madrid’s WiZink Center had different CAD drawings for each layer of the venue and one of the layers was accidentally scaled wrong, so the bottom floors were fine but as you went up everything was out. You get curveballs like that occasionally but that’s why it’s important to verify drawings.”

An audience also changes the acoustics of a room, generally for the better, but sometimes not, so Crump was on hand at FOH to make tweaks when required. “As rooms get larger, they generally get more difficult, reverb time will go up purely as a factor of the room size, regardless of how you treat it. The O2 is quite tall seating-wise, so you end up having to angle the PA up into the roof a lot,” Crump noted.

Over by the stage, Monitor Engineer, Barrie Pitt mixed the five-piece band and frontman using a DiGiCo Quantum 338 console. “Louis and the band are good at verbalising what they want. They’ve been playing a long time, so it’s my job to translate those desires into the mix,” he explained. “DiGiCo has been my ‘go-to’ brand of console for the past 15 years. The 338 is an incredibly powerful console, which can do as much as any other on the market and more in a much less convoluted way. I know it like the back of my hand and how to get the best out of it and do the most complicated things at the push of a button. The Capture features are ridiculously powerful.”

Pitt oversaw 85 channels, 64 directly from stage, with additional channels for shouts, sends, returns, communications, and routing, among others. His outboard rack included a classic Lexicon PCM 91 digital reverberator for vocals. “The way I set up the communications and shout systems are the same across the board. For the layout, a lot of people have instruments on one side and vocal and effects on the other, however, I tend to adjust my banks of faders visually, how you would see it on stage, left to right, as a nod to my analogue mixing days. My second layer is usually tracks and any track content with reverbs next to the vocals, so they’re changed in unison. Sometimes, I’ll do a custom layer of [drum or spill group, two lead guitar channels and vocal] the things I use most, particularly if it’s a busy show input-wise.”

Pitt referred to the basis of his mix as ‘static’ with minor changes. “Louis changes a fair bit between songs I’m running upwards of 60 scenes with a lot of songs having multiple scenes for verse and chorus or specific sections,” he explained. The Monitor Engineer is a big believer in unifying the in-ear monitors, so what he hears is the same as those on stage. “We use Shure PSM1000s, JH Audio Roxanne in-ear monitors for Louis and JH16s for everyone else, except for the drummer, who is using Ultimate Ears IEMs. Louis and the band are solid, and they keep their ears in from start to finish. Louis wants the rock star mix; he likes to feel the weight of the mix. It’s not an overpowering mix but it’s a full mix with his vocal on top with Neve 5045 primary source enhancers on all vocals. Everyone else has a standard band mix at moderate level with their instrument and vocals high. The drummer has the most straightforward mix with his drums and shouts layered on top.”

A further pair of subwoofers stage left, and right were situated under the stage risers, providing the weight of side fills without the top end. “It’s a big rock show with drums and guitars, so the less noise I can have flying about the stage, the better,” he said.

The microphone package included a Shure Axient Digital AD4D two-channel digital wireless receiver, a AD2 vocal microphone with a KSM9 capsule for vocals. Sennheiser MKH 60 and AKG C414 XLS microphones captured the ambient noise of the room. “We track everything, including the two sets of ambient microphones for recording and virtual soundcheck, in case the band decides to do anything with the live content,” he noted.

Having collaborated with Solotech and previously BCS Audio multiple times, Pitt was pleased to see the company on the tour sheet. “They are a solid choice and I know Dave Shepherd well. They fix any problems swiftly, and all their gear is well packaged and maintained,” he said. “The band and crew are lovely. It’s rare to come across a camp so friendly on a show of this size.” Pitt thanked Solotech Monitor and Stage Technician, Matt Coton. “He is fantastic. He takes all the second guessing out of my day and is so meticulous and thorough that I know everything will be as it should be from the get-go. When there are issues, he knows exactly what to do to remedy it. He’s been a joy to work and hang out with.”

Audio Technicians, Matt Coton, Tim Miller, Kim Watson, Elliott Clarke, James Coghlan, Matt Benton; Bassist and Keyboard Technician, Chris Freeman; Guitar Technician, Dan Ely and Playback Technician, Scotty Anderson made up the sound team.

CURATING A HOME AWAY FROM HOME Sarah Nicholas of Sarah’s Kitchen and Caterers, Rebecca Henderson, Helena Robertson, Chris Carter, Matty Pople and Tamsin Manvell provided band and crew catering, ensuring morale stayed high and stomachs were full on the road. Making a name for themselves as One Direction’s caterers, the outfit now cater for each of the band members’ individual tours and private functions, amassing a dedicated online following. “I started catering for Louis and the rest of One Direction during their first theatre gig in Watford and I feel very privileged to have that connection. At dinner time, we perform a plate service, which I think is important – our reputation is not only built on really good food but the entire hospitality package, creating a nourishing environment away from home,” Nicholas said.

Sarah’s Kitchen provided a range of vegan, gluten-free and vegetarian options. “We also provide disposable products and water coolers, and our runner regularly collects fresh, local produce from markets based on where we are in the world,” she explained.

The wider European crew featured Security, Kristian ‘Ches’, Ross Foster, Ben Major, and Gav Kerr; Merchandisers, Jon Ellis and Maddy Stephens; Bus Drivers, Aivaras Arminas, Frederico Antunes, Scott Pickering, Chris Grover; Entourage Bus Driver, Paul Roberts; Merchandise Truck Driver, Warren Dowey; BTS UK Account Handler, Garry Lewis; Stardes Account Handlers, Tyrone Reynolds, and Alam Minshall; CSE Crosscom Account Handler, Hannah Evans and Altour Travel Account Handler, Alexandra Gati.

Having wrapped up the best-selling livestream of 2020 – a lofty achievement given the proliferation of remote productions amid the grounding of live events with in-person crowds – Tomlinson shows no signs of slowing down post-pandemic, making the leap from sold-out theatres to arenas across the globe with his trusty crew in tow. “Live From London was great because the crew and I really needed it,” Delf said. “It gave us some much-needed work amid the lockdown, and all the proceeds went directly to the crew, which was an incredibly honourable thing to do. To come back out on the other side of lockdown was great. It was a dark time back then for everyone, but to be back out on tour surrounded by friends, who feel more like family, it’s special.”

-> read here on Issuu

#louis #fitf tour #fitfwt #lt crew #tpi magazine #05.01.24 #article #touring #thank youu omglarryrabbit ;)#love getting to peek behind the scenes this is great

101 notes · View notes

ghostbox-nostalgia · 8 months ago

Text

Old Faith courting and favour

I decided to write out some of the old faith courting rituals since I'm art blocked at the moment and I have Ideas. A lot of these will be based off of the sorta Victorian era way of flirting since I enjoy all of the little secret languages they had.

First off fan language. I like to think this predates the bishops, and they learned how to do it from their predecessors. There's a lot of issues with followers claiming favoritism and dissenting if one of the gods is seen flirting in the open, so they devised a way to communicate with their favored without judgement. i imagine this is the one that Narinder tends to favor since theres a few signals in the real life one that can convey if someone is listening in or following you, and I imagine that the practicality of it made that on more appealing, Also pretty boy with a pretty fan. obviously

Flower language. What god wouldn't give their favored a gift afterall? Flower language is the same as it is in real life, with the added layer of combining flowers to covey particular messages to the recipient. i imagine that the container in which it is given also plays a factor but not that much. i imagine to some degree all of the bishops used this way at least once, whether it was for flirting or not (death threats in the form of nightshade on your doorstep)

Gems and Jewelry. Different gems carry different meanings, the metal tells intent, and the type of jewelry shows who you received it from (so necklace for hekets cult, earrings for kallamars, etc.) Gold is usually given with the intent to marry (romance doesn't matter) and silver is given to those you consider close, whether it be family or friend. gems usually contain the qualities you admire within someone, So and example would be if you admired someone for eloquence and had intent to marry, you would give them a gold and emerald ring. Obviously Kallamar favors this method the most, and cares very little if people see that he favors someone above the rest. He typically gives pearl jewelry to people with specific colours depending the person. Also the jewelry type thing being cult related is a very loose rule, its just a fun thing the cultists decided on their own.

Fruit! its fig incident time (kinda). so you know how figs are typically associated with fertility? Well in old faith terms, offering someone a fig implied an invitation to bed and eating a fig out of someone's hand was akin to telling them to take you then and there. Hekets preferred method of courting, right up their with lavish feasts and specially cooked meals. i personally feel like shes too blunt a person for a proper courting phase so she just tends to get to the point rather quick. (theres a narilamb fig scene I have planned that I can't figure out how to explain but now yall have a basis to go off of so feel free to imagine)

Anyway thats all the ideas I had so far. Hope you guys like them! I'll always take suggestions though so don't be afraid to shoot me an ask :]

#cult of the lamb #cotl au #cotl bishops #tgoe au #the garden of eden au #cotl heket #cotl narinder #cotl kallamar #cotl leshy #cotl shamura #narinder flirts like an old man send tweet #Eden doesn't flirt so much as they make it very obvious they desire him carnally #its embarassing for the cult to witness #not because of eden #but because narinders just NOT getting it #the bishops are there by the time this starts so leshys just laughing his ass off

53 notes · View notes

mac-ann-cheese · 5 months ago

Text

Who has a choice like Smarty does?

(tumblr sucks for restrictions with image sizings. the quality is fucked up)

July, 2024

Another addition to my portraits of Alfred.

Um... I don't really know. This time for real. Something hit me on the head, and I got the idea to create whatever this pink abomination is.

I have a habit of making things that make my eyes sore, though.

Confession: I love Alfred's Cold War era uniform (well, it's actually a variation of the WWII uniform). I depicted him wearing an Airborne one 'cause of the eagle patch on official artwork—the trademark of division. I've seen the other creators playing a guessing game with uniforms, so there really isn't a "canon" tradition to follow.

And also it's cunty-- I mean, the Ike jacket, the boots, the silly cap. Giving fierce.

I'm sorry... (⁠•⁠ ⁠▽⁠ ⁠•⁠;⁠)

Personally, I always try to make clothing historically accurate. Then I should explain a few details. The long shoulder thingies—fourragères, left one—Belgian (it correlates with the red ropes that most artists drew on Alfred's uniform. It's the closest I could find that would be time-appropriate, and I saw that it could also have arm loops. More strings. So, a tricky fact: it should be worn on the left, but I read that it could be worn and was usually worn by soldiers on the right if there is a French Croix de Guerre 39/45 on the left, which is... the same-looking fourragère as Belgian. No braided strings staking!), the right one—Dutch lanyard (it's orange, close call to red! But, one big but, don't take my words seriously, 'cause I read too many different opinions on some 2007 forum discussion that I became confused with placement. I don't really know what is actually right, please don't come for me, I tried my best and it's only a drawing) and the French one, I've mentioned earlier.

Other accessories: on the left pocket—the presidential unit citation award; on the right, above the ribbon bar set (um, I won't specify what ribbons I could've depicted, as this post will become twice as long)—jump wings; and also the M1916 holster (colt is included!) on the leg. Did you know that little strap was used to secure the holster on the thigh? I didn't before diving into the hunt for references. The strap also could be tied in some peculiar knots, but Alfred is a messy bitch/j, and it means messy wrapping on the muzzle.

The autism in me powers the fuel of a research engine for a Hetalia fanart. Yikes.

One thing that I didn't want to change was the neck scarf. Sadly, there isn't one for real uniform, but I couldn't bring myself to get rid of it. It's just too iconic, even for my historical accuracy quirk. And the hat should be larger, however, I wasn't bothered about the right size. It's a mini-cap.

Okay, I need to address the elephant in the room. Yes, mouths. Different emotions (or I tried to make them different). Am I insane for this? Absolutely. They're reminding me of the first colour TV or ibm computers with Warhol's style.

The second ver is just text, which I thought suited him (tbh, Alfred would make great friends with Maxine, iykyk). I had great fun with distortion filters.

Last thing, the expression is supposed to be somewhat confused laughing like someone accused of something very controversial ("me kissing men??? oh nonono, haha... ',:D") and Alfred just laughs it off, like he usually does. At the same time, looking down on us, the viewer. Though you can freely interpret the expression however you want, it's up to you! (⁠~⁠￣▽￣⁠)⁠~

#hetalia #hws america #aph america #hws #aph #i didn't notice that adding a song automatically adds a spotify tag. what the actual fuck

27 notes · View notes

somescrap-paper · 5 months ago

Text

Here’s Wally!…. Again 😵 BUT THIS TIME WITH A LIL BIO:

Meet Wally Coreopsis!

A wide-eyed little fellow, Wally is always looking for a way to feed his innovative cravings through tinkering with bits and bobs. His current job as a Prismatist also feeds into this craving, as he repairs and ensures good quality prisms into the human realm. Wally also strives to improve his colour-weaving ability, hoping to use his magic to further his tinkering projects. Though happy with his life, there will never be anything big enough in the universe to feed his curiosity. It is this same curiosity that gets him stranded in the human realm after a prism-repair trip goes awry. After some time of unguided panic-flying, Wally ends up inside a human house, where he is discovered by red-head biologist, Tim Hartman. It’s up to Wally to navigate his way home, as well as his new-found friendship with the humans.

OKAY SOME QUICK EXPLAINING:

- There are 3 types of Entostellians, with Wally being what’s known as an “Aerostellian.” These types of Entostellians have silver/gold cheek marking and retractable wings!

- The Entostellian and Human realms are separate, only being connected through a main portal in a tree hidden off in the woods. After an Industrial Revolution in the Entostellian realm, Entostellians sneak into the Human realm to collect Earthly metals and use them to advance their magic/technology. That’s what the prisms (aka Entostellian built portals) are for, to get slightly easier access into human civilization.

-A “Prismatist” are the engineers/mechanics of prisms, ensuring that the quality of the prisms are safe for travel! Because prisms are artificially made by Entostellians, they are prone to wear and tear and need to be maintained regularly (that’s what Wally’s job is for!)

-Entostellians are usually born with something called “colour,” which is basically what they call their ability to use magic. “Colour weavers” are basically the witches, mages, and wizards of their world

#thanks for checking out my oc’s it means a lot!!#Caspien’s bio is next!#I hope the small bit of lore I dropped isn’t confusing #idk if it’s easy to understand #so feel free to ask if you’re curious about my oc’s #TEEHEE #if you do ask I might take some time to respond #I’m just a lil shy SORRY but I will interact!!#g/t #sfw gt #drawing #oc art #oc arts #sketch

26 notes · View notes

ryanyflags · 1 year ago

Text

midbinary | abinary | atrinary

Some alt midbinary, abinary, and atrinary flags :]

──────────✦──────────

Based on my experience with flags, like what kind of colours they use to represent genders/qualities, and my own experience with being nonbinary, I associate blue with masculine/men, pink with feminine/women, purple with androgynous/androgyne, green with neutral/neutrois, and yellow with being separate from the previous qualities, so atrinary.

Like blue for boys and pink for girls is a common colour usage when it comes to flag / in general, and purple is the colour in-between / mix of those 2, so it makes sense for it to be for androgynous/androgyne (purple being used like this is also very common, like the purple stripe on the general nonbinary flag). Green is also a colour I see commonly used for neutrality everywhere, like how the neutrois flag is green. Yellow, if you think in terms of primary colours like red (or pink in this case) blue and yellow, then it makes sense for that to be the colour for being removed from the binary. Since colours like green or orange are combination colours, a mix of red/blue and yellow, rather than being a separate primary colour (though green and orange are also associated with specific nonbinary genders separate from that, like neutrois and maverique).

I'm maverique/nonbinary, which makes me atrinary, and I've always had an attachment to yellow stripes on flags, unsurprising seeing as how those colours are used on the maverique and nonbinary flags lol. Atrinary is a good label that fits, but I've never really felt attached to it because the flag colours didn't fit me.

The point I'm trying to make here, is I see green being used on the atrinary flag, which specifically isn't neutral, and only yellow used on the abinary flag, which does include neutrality, and it feels like the colours are flipped based off my own experience.

There's nothing wrong with the original abinary and atrinary (1 and 2) flags, if anything it just shows how diverse being nonbinary is that people can have different opinions / associations with their gender, but it's always felt weird to me, so I wanted to make some alt versions.

(Wow I wrote A LOT haha, but really this has been in the back of my head since I first saw these flags, and I'm finally making alt flags now after all this time.)

──────────✦──────────

Anyways, for the flags, I used 4 stripes for each, inspired by the nonbinary flag.

As for the colours, I've explained my thoughts on them already a bit above, but I'll list what they mean below:

Midbinary: pink is for femininity, blue is for masculinity, and purples are for the mix / in-between of those 2 (androgynous).

Abinary: green for neutrality, yellow for being separate from femininity and masculinity, and orange too since it's a secondary colour like green and some nonbinary genders use it.

Atrinary: uses different shades/hues of yellow, plus white, for being separate from femininity (red/pink), masculinity (blue), neutrality (green), and anything related to those.

I guess orange is the one colour that doesn't really have any association with it, except maybe maverique or fem+nonbinary (mix of pink/red and yellow). I felt it was more fitting in the abinary flag, and if I used yellow and orange for the atrinary flag it'd be too much like maverique, and atrinary is more than only maverique, so I didn't use it there.

And technically my issue was just with the abinary and atrinary flags, but since I was making those, I thought I might as well make a matching midbinary one too.

(This is quite the ramble, hope I explained my thoughts well enough.)

#nonbinary #midbinary #abinary #atrinary #pride flag #alt flag #long post #a rambling of a maverique/nonbinary person #it's a lot of text but I think it could be interesting?

56 notes · View notes

drconstellation · 10 months ago

Text

All The Colours In Good Omens: Version II

Part 1: Black to Gold

Even when I put together my original big colour meta back at the end of October 2023 I knew things were going to change on it. Over time it became pretty clear we were way off-track with several of the colours, and I didn't have anything for orange, which does actually appear in a significant amount in S2. There was also a bit of effort to try and incorporate the colours seen in S1 with what was appearing in S2, and to see if there was any consistency. Then I wrote the Passion of Jimbriel, and several particular religiously-themed colour-associations kept appearing, so I went on a search for a more biblical-based interpretation of colour. As a result of this, some colours have more-or-less stayed the same, some have expanded considerably in their range of meaning, and some are completely different! But I think you find the results interesting, nonetheless.

Basically, interpreting the colours in the two series is not a simple task. The colours used in S2 differ slightly to S1. For example, in S2 there is a lurid green associated with Hell (for reasons, which I will explain,) that is not used in S1. But there is also a dark green used elsewhere that turns out to have a different meaning that is not associated with Hell at all, so context becomes very important when trying to decide what it means. Rather than try and fit all the colours into one post, I'm going to split things up and take as much room as I need to explain it all this time.

BLACK

Biblical Meaning: Darkness, sin, Earth, affliction, humiliation, calamity, death, mourning

Additional: Suffering, punishment, Satan

Black doesn't automatically mean a relationship with Hell. The demons don't all wear entirely black, they are actually dressed in a lot of colour, but they do tend towards the darker shades. The colours they do wear reflect individual qualities or characterizations. For example, Lord Dagon is dark blue to reflect their fish god avatar, but it also reflects their senior authority and power. Furfur is in shades of dark green with a few tiny red highlights.

Historically black had an association with wealth over time, as it was difficult to obtain and dye black cloth. In out modern era we would tend to associate it with power and authority - or just looking "cool."

One interesting combination to mention is Aziraphale's magician's costume - black, gold and white. It's the only time we see him, an angel, wearing black. Originally it looked like he was clothing himself in mystery, but I would now say its a combination of calamity and humiliation. I've included a GIF set from S1E1 with the duo discussing Warlock's 11th birthday party in the park, plus recall Arizaphale was heckled from the audience in 1941 when his turnip trick failed. (I guess we could argue this one, its still up for debate!)

Black is also associated with the Horseperson Famine, who rides a black horse. Nobody is getting anything to eat tonight here - or the rest of the week, for that matter.

RED

We originally had red a a single colour, but it's more complex than that and needs to be split into two shades, scarlet and the darker crimson. (I will do pink in another post.)

We can still associate it generally with passion, romance, the Left Hand Side (the sinister side or demonic side), goats, sin, and the archangel Michael on the LHS of Jesus.

The Horseperson War and their parallel character Pepper from the Them both wear red as well. War is said to ride a red horse.

RED - Scarlet

Biblical Meaning: Royalty, blood of humanity

Additional: Martyrs, prostitution, wealth, power, revolution

Scarlet is a lighter red than crimson, just to differentiate between the two colours. It's the colour on the back of Crowley's collar.

Jesus was dressed in red during the Passion to mock him as a king, but he when he appears in imagery such as the sign on the Resurrectionist pub below it reflects his future status as King of kings. It also reflects his connection to humanity, through the blood he shed.

Prostitution is connected through the mention of the Whore of Babylon in Revelations, but the connection to revolutions is a more recent one that may be worth including in anticipation of S3. Wealth and power also belong here, particularly in historical connections.

RED - Crimson

Biblical Meaning: Splendor, victory, sin

Crimson is the colour that Shax wears, the darker of the two shades of red. She comes across as being hungry for success and eager for promotion, both of which tie in with the concept of victory. Her darker red is also mixed with black.

ORANGE

Biblical Meaning: Fire of God, deliverance, passionate praise

Additional: sacrifice

Originally I did not have an interpretation for orange, and did not think there was a lot of it present in S2. Then it was pointed out that Maggie's shopfront was orange, she herself wears orange several times, a lot of the extras wear orange and Beezlebub's sash is orange, too!

Yellow and orange have some cross-over in meaning with sacrifice, but I'm going to do my best to separate them and I'll explain where the fuzziness comes into play in yellow, as I think it sits best there.

Both yellow and orange are also associate with fire, as flames are seen as yellow and orange, not red. The "Fire of God" is alluding to presence of the Holy Spirit.

YELLOW

Biblical Meaning: Faith and Glory of God, anointing, joy, presence of God, fire

Additional: Illness/leprosy, God's judgement and anger, sacrifice, optimism, faithfulness in awaiting the return of a loved one

Yellow is probably the most controversial colour of the spectrum. It's the colour of Crowley's eyes, and we know Aziraphale painted the walls of the bookshop to reflect this.

But let's turn all your preconceived ideas on their heads.

It's one of the colours of fire, so it is closely associated with the presence of God, but also the expression of God's anger.

It is the colour of clear olive oil used for anointing.

On the negative side it is associated with illness, in particular with leprosy.

It is the colour that the traitor Judus Iscariot is often depicted wearing in art.

And it is the colour of saffron and marigolds, both associated with sacrifice in more than one religion. Saffron as a colour can vary in colour from pale yellow to deep orange, and so can marigolds the flower. The flower is named after the Virgin Mary, as in "Mary's-gold," and the array of petals are supposed to be symbolic of the the rays of light that crown her head, relating to the giving of her self to the Ineffable Great Plan, so to speak.

Here's Norman, leader of the yellow team at Tadfield Manor, giving his speech that includes the line "...bugger off and tend to your marigolds." I've shown in other posts that there is the allegory of the Great War/Glorious Revolution being played out here, and Norman is the analogue of Lucifer. Right after his speech he runs out and is felled by a shot to the heart: a sacrificial loser, as all the yellow team and demons end up being.

Adam wears a t-shirt with two yellow stripes on it in S1. Combined with the blue, he does appear to be anointed for a larger role in the story.

Aziraphale's hat-bands are yellow after the 1827 Edinburgh incident. Both in 1862 and 1941 his hats have a yellow ribbon around them. While this could be related to a Heavenly aspect, fanon has it that it's part of his expression of his feelings for Crowley. The tradition of using a yellow ribbon to show that one was waiting for a soldier to return from war was started around the late 1700's.

It is confirmed that the name of the colour used inside the bookshop is indeed called Va Va Voom. While it could be many things, the one thing it is not is fear.

Neither is this example - it's more likely to be fire - cleansing fire. Jim is cleaning with it.

GOLD

Biblical Meaning: Glory, divinity, holiness, eternal deity, altar, beauty, precious, kingship, majesty, righteousness

Additional: Trial of Faith

Gold is usually associated with Heaven and the divinity of the angels in Good omens. Most of the time we see the angels with some trace of gold on them. The most obvious examples were the golden collars and trim on the robes in the Job minisode in S2E2. They even wore golden sandals on their feet.

The archangels and Aziraphale all have their golden rings. Here is Michael with their ophanim ring.

We also have the golden lions that occur in several locations in S2, representing the royal house of Judea that Jesus is said to belong to.

The most interesting use of gold has been on Crowley's "throne" in S1. "Nice chair," Hastur comments at one point.

Oh, and I can't forget this one, either:

This series on colour continues in the following posts:

Part 2: Green to Purple

Part 3: Silver/Grey, White & Brown

Part 4: Tartan Colours Review

#good omens #good omens 2 #good omens meta #good omens analysis #colour meta #black #red #orange #yellow #gold #color meta

48 notes · View notes