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@creecrear
i hope you get everything you've ever wanted and i hope i never hear a thing about it
happiness - taylor swift/everything everywhere all at once (2022)/white ferrari - frank ocean/unknown/unknown/o superman - laurie anderson/the same story about my mom - lynn steger strong/unknown/unknown/i knew it, i know you - gracie abrams/merry christmas, please don't call - bleachers/defying gravity - the wicked cast
- love in the mundane
warsh_tippy and zelda- whatever, dad/ minari/ new years day- taylor swift/ @death-born-aphrodite/ stay, stay, stay- taylor swift/ everything, everywhere, all at once/ i will- mitski/ @death-born-aphrodite/ fleabag/ sweet nothing- taylor swift
HOME FOR THE HOLIDAYS
Everything Everywhere All at Once (2022) dir. Daniel Kwan & Daniel Scheinert // Fatima Aamer Bilal i am an observer, but not by choice from "moony moonless sky" // Tame Impala Let It Happen // Richard Siken Litany in Which Certain Things are Crossed Out // Jeanette Winterson Why Be Happy When You Could Be Normal // Aftersun (2022) dir. Charlotte Wells // Lora Mathis Subtleties // unknown // Jean-Marie G. Le Clezio The Book of Flights // Merchant Ships Sleep Patterns // @/getarealjobkid // Cassandra de Alba Ways in which I am a horrible person, with examples // Alison Kronstadt Bred In Captivity // Uptown Girls (2003) dir. Boaz Yakin // Phoebe Bridgers Motion Sickness
excerpt from "Los Angeles at Night" in When Monsters Speak by Susan Stryker
"I'll cut your throat. That'll shut you up!" "You're beautiful..." -Princess Mononoke (1997)
timelapse + reference under the cut :D
some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.
I couldn't remember the word "doorknob" ten minutes ago.
ok but the onelook thesaurus will save your life, i literally could not live without this website
REBLOG TO SAVE A WRITER'S LIFE
LIFE SAVED
REBLOGGING TO SAVE ANOTHER WRITERS LIFE
I use this every time I sit down to write. It's the best tool in the world and I would be lost without it!
i feel these needed to be compiled. feel free to add more genre related posts in the notes if you want
It is really important to me that all of you learn about Al Bean, astronaut on Apollo 12 and the fourth man to walk on the moon, who after 20 years in the US Navy and 18 years with NASA during which he spent 69 days in space and more than 10 hours doing EVAs on the moon , retired to become a painter.
He is my favorite astronaut for any number of reasons, but he’s also one of my favorite visual artists.
Like, look at this stuff????
It’s all so expressive and textured and colorful! He literally painted his own experience on the moon! And that's just really fucking cool to me!
Just look at this! This is one of my absolute favorite emotions of all time. Is Anyone Out There? is like the ultimate reaction image. Any time I have an existential crisis, this is how I picture myself.
And then there's this one:
The Fantasy
For all of the six Apollo missions to land on the moon, there was no spare time. Every second of their time on the surface was budgeted to perfection: sleeping, eating, putting on the suits, entering and exiting the LEM, rock collection, setting up longterm experiments to transmit data back to Earth, everything. These timetables usually got screwed over by something, but for the most part the astronauts stuck to them.
The crew of Apollo 12 (Pete Conrad, Al Bean, and Dick Gordon) had other plans. Conrad and Bean had snuck a small camera with a timer into the LEM to take a couple pictures together on the moon throughout the mission. They had hidden the key for the timer in one of the rock collection bags, with the idea being to grab the key soon after landing, take some fun photos here and there, and then sneak the camera back to Earth to develop them. They had practiced where they would hide the key and how to get it out from under the collected rocks back on Earth dozens of times.
But when they got to the moon, the key was nowhere to be found. Al Bean spent precious time digging through the collection bags before he called it off. The camera had been pushing their luck anyways, he couldn't afford to spend anymore time not on the mission objectives. Conrad and Bean continued the mission as per the NASA plan while Dick Gordon orbited overhead.
Fast forward to the very end of the mission. Bean and Conrad are doing last checks of the LEM before they enter for the last time and depart from the moon. As Bean is stowing one of the collection bags, the camera key falls out. The unofficially planned photo time has come and gone, and he tosses the key over his shoulder to rest forever on the surface of the moon.
This painting, The Fantasy, is that moment. There have never been three people on the moon at the same time, there was never an unofficial photo shoot on the moon, this picture could never have happened.
"The most experienced astronaut was designated commander, in charge of all aspects of the mission, including flying the lunar module. Prudent thinking suggested that the next-most-experienced crew member be assigned to take care of the command module, since it was our only way back home. Pete had flown two Gemini flights, the second with Dick as his crewmate. This left the least experienced - me - to accompany the commander on the lunar surface.
"I was the rookie. I had not flown at all; yet I got the prize assignment. But not once during the three years of training which preceded our mission did Dick say that it wasn't fair and that he wished he could walk on the moon, too. I do not have his unwavering discipline or strength of character.
"We often fantasized about Dick's joining us on the moon but we never found a way. In my paintings, though, I can have it my way. Now, at last, our best friend has come the last sixty miles." - Al Bean, about The Fantasy.
There’s also Alexei Leonov, writer and artist and first person to conduct a spacewalk!
This is his art.
You can't forget this, the first art made in space.
March 1965, Alexei Leonov made this drawing only moments after narrowly surviving the very first space walk.
I do gotta point out that Michael Collins wrote the fucking brilliant account of his experiences in NASA, CARRYING THE FIRE: AN ASTRONAUT'S JOURNEYS and the equally fucking brilliant LIFTOFF, which goes into a lot more detail about the history of spaceflight and the minutiae of how to do shit like dock with other craft in different orbits. Collins was a fantastic writer and deeply appreciated other people's turns of phrase; he mentions John Gillespie Magee's High Flight in CARRYING THE FIRE while describing the view from orbit:
"All that from the cockpit of a Spitfire. What could he have said after one orbit? I cry that he was killed."
Too many artists are held back by outdated and bad color theory rules, or even rules that are fine but have built in limitations that you should know and I want to set everyone free.
Tertiary Red and Secondary Blue could be in your color theory understanding and make paint mixing way easier but they played you
Also hot takes:
Learning color theory through oil painting is more difficult than learning it through gouache & watercolor, primarily because it takes way more time to find mass tone and mix everything and also it's much less obvious to easily and quickly discern if a paint pigment is highly staining or transparent.
Oil painters like to seem like they have the richest and most storied traditions in color theory to past down but also inevitably they are the most likely to retain an extremely limited chroma palette based on classical palettes for the sake of classicism and not always make that fact very apparent to a beginner aside from saying it's an "old masters palette" watercolor/gouache painters are bad at using paints that are not light-fast and clinging to them despite having better alternatives, but generally still understand chroma gamuts and pigment importance better or at least talk about them more.
When you're mixing paints, the earth colors (browns) don't need to handled and thought of as brown. Ask yourself if the brown is yellow, orange, red, or leaning towards a black (which would be treated as a violet or blue, depending on whether black is warmer or cooler).
Yes there are cool reds and warm blues
Any reference color wheel that places red on the very top hurts my feelings, stop doing this just because you learned "roygbiv". Yellow is at the top and the Indigo-Blue range is on the bottom because this also means the color with the lightest possible value is opposite the color with the darkest possible value, so you have the colors arranged with a value scale from top to bottom BUILT IN.
this is related to why ivory black is actually very dark blue.
@rizahawkeyesmuscles
This makes me think makeup artists have good color theory, having to understand undertones of skin, warm v neutral v cool toned red lipstick....
Yes!!! I mean first of all, makeup artists are artists.
and they are ALSO ultimately just blending pigments to produce certain colors and effects, so yeah professionally do study the basics of color theory and then necessarily have to adapt it to their medium. And they tend to generally add like, what you talked about with recognizing cool/warm/olive/neutral undertones and such as a big consideration to their canvas.
And that IS why people will say "this is a cooler red lipstick" (although even cooler than that would be magenta or fuschia!).
I think the only thing I've noticed wrt to honestly mostly beauty influencers and not actual professional MUAs is that too many people buy an eyeshadow palette of cool tones in the palette and then put it on and complain it pulls "too warm for their cool skin." And it "isn't actually a true cool tone palette."
I just want to grab all these people by the face and say:
"Shhhhhh. Color temperature is relative. Although you have cool skin undertones, you ALSO have blood under your skin which will inherently make your base skin-canvas slightly warm no matter your foundation shade. So when you put any kind of pigment that isn't fully opaque onto your skin, the transparency WILL be warmed by your skin because you're alive and have blood still. The eyeshadow palette IS a cool palette. You're just not a vampire, which is why that cool taupe shade suddenly looks different from the mass tone in the palette."
These influencers would understand this better if they did some watercolor painting on pre-tintedpaper and then compared it to painting on pure white.
But a MUA probably already figured this out yeah.
In case anyone is curious here are my top color recommendations
Handprint.com is hands down the most comprehensive scientific explanation of how different color wheels or palette choices work. It's big and dense and exceptionally thorough. I skim frequently and find myself always learning more. https://handprint.com/HP/WCL/water.html everything is done using watercolors as a reference point but a LOT of this translates to other mediums. For the record his CIECAM color wheel is what I consider to be the best (not 3 dimensional) color wheel for artists. Period.
He uses pigment numbers for some of the most common watercolors rather than specific paint brands or color names to place the pigments. It's also a case study in why yellow being at the top is the best because it also means you have a value scale from top to bottom (since black paints are just dark violets or blues, ultimately.)
When you look at this, you can start realizing more and more why the earth colors can be used as if they were like, straight red, or yellow, or orange. Like if you wanted to make a limited palette, you could use "burnt sienna" as your dark yellow (which will make the whole palette lean orange!) Or it could be your orange or you could use burnt sienna as your red. (Look at gamut masking links below)
Seriously it's good to try and swatch your medium (even really quickly!) Within a CIECAM Artist's color wheel. Below are two of my attempts:
From loose memory and then mapping pigments roughly.
He also discusses the difference between visual complements and mixing complements!
Anyways absolutely try to read bits and pieces. The whole site is amazing. Handprint is amazing.
Also:
https://gurneyjourney.blogspot.com and James Gurney's book: Color and Light: a guide for the realist painter. James Gurney is the dinotopia guy. That book is also amazing for painting fantasy with lots of fantastical examples. Here are two short videos on gamut mapping and gamut masking. Accompanying blog posts.
No surprises here! His book also charts pigments:
Actually these are my four favorite books hands down:
Color and Light: a Guide for the realist painter - James Gurney
Color for Painters: a guide to traditions & practice - Al Gury
The oil painters color handbook - Todd m casey
Artist's master series: Color & light - 3d total publishing. This one emphasizes digital!
The first two have been out for awhile now and you can more easily find them cheaper/used online than the latter two which are relatively newer and hefty hardbacks.
Also, from personal experience: al gury is a sweetheart angel who is a huge crazy cat man. I adore him, he's so kind and helpful. I think it's a little late to join the current session (although they did only start Jan 28, so you can always ask! Class videos are recorded), BUT he frequently offers a class on color that is fully online through PAFA continuing education, as well as other classes. I haven't taken it yet, but I HAVE taken other classes online with Al and he's really great.
Oh also online gamut masking tools:
In krita: https://docs.krita.org/en/user_manual/gamut_masks.html
https://claudiamatosa.com/resources/gamut-masking simple tool
https://mypaintingclub.com/blog/post/39-The-Gamut-Mask-Tool another tool with more complexity
The tl;Dr of a gamut mask is to show you the full range of possible colors you can mix within a given palette (choices of colors/pigments).
Sueño que abrazo a personas que ya no están
occasionally I am struck dumb by the sublime beauty of the world in the small moments, you know?
egg
i drew it
hey I hope you dont mind I also painted your egg
i also painted the egg hope that's ok
i heard we were painting egg?
I love how this shows how real artists drawing a thing aren't just representing the thing, but showing you what THEY found beautiful in it.
hope I'm not too late to paint egg! watercolors :)
i too have drawn the egg
heres my egg
Love every single one of these eggs. No yeah of course it's still okay to write your vampire story or whatever, even if a thousand people have done it before you. Your art will still be uniquely yours and people will find something fresh in your perspective. Paint your egg.
there is a sadness in me that is so ancient. it’s woven into my bones
Billy:
"puede que hayamos salido del mar pero ahora llevamos el océano dentro"
Nunca beses a una persona que crea
Porque entonces leerás pensando en las manos que escriben
Escucharás música pensando en quien la compone
Mirarás pensando en quién pinta, quién dibuja
Y te preguntarás si las manos que te tocaban han creado en tu ausencia, y cómo son las obras que ocupan el hueco que ha dejado tu cuerpo
Después de leer, la sangre abandona mis extremidades y se instala en ellas una sensación de frío más fuerte que el calor que inunda Madrid en agosto
No puedo evitar pensar en haber recorrido la noche en la Latina con miedo a encontrarme fantasmas entre el ruido, las luces y cientos de personas que no conozco, que sé que no conozco, pero de las que no puedo evitar revisar sus caras, por si acaso puedo prepararme antes de que llegue el susto
Me encuentras muy quieta y triste, pensando
Ningún dibujo tiene sentido si no lo miran los ojos para los que está hecho
Fue en las Vistillas donde vimos a los Punsetes por primera vez, y a dos amigos pillarse, donde sentí que todo podía ir un poco a mejor, y donde la otra noche confié en que poco a poco dejaría de buscar con angustia
Las fiestas de agosto me gusta pasarlas en Madrid, visitar el centro atestado y vivo, aguantar las noches con mis amigos, y sentir que esas emociones pueden acompañarme todo el año
Agosto define el resto de meses, permanezco en él mucho después de que empiece septiembre; es mi Madrid favorito, el que más adoro
The User In Various State of Panic, Amongst the Sea of Slop. Some various versions of The User I created for Web 5000.0 website open call. Take a look at the link and if you can, submit to the open call!
