(though Cas doesn’t sleep and prefers listening to his heartbeat and drawing the line of his jaw with his finger )
I just don’t know how I painted this
“Because I am mad that you hesitated to shoot your own kid, I have illogically decided she was not really yours so I can further invalidate your hesitation. And when you question my factually incorrect claim that I made purely to make you look irrational, I’m going to call you mentally unstable for questioning me.”
BREAKING NEWS! Middle aged serial killer who cuts out the brains of people she believes are beneath her on the social ladder and feeds them to her child with zero remorse is a monster but a child who’s been brainwashed by a cult and has killed 0 people is just as much of a monster and doesn’t deserve a chance!
Sam: What? No haha this definitely doesn’t fly in the face of all of my morals! Jack 4.04 Metamorphosis? Hahaha never heard of him! Anyway we’ve always slaughtered monsters who have never killed anyone without ever giving them a chance! Right? Yeah! Hey haha remember when we murdered Jesse the Antichrist? And Lenore and her entire vampire nest because we learned noooo lessons in 2.03 Bloodlust? And I mean when Gordon tried to shoot ME dead for having powers I just got down on my knees and said “Do it” because that was the morally correct thing.
What noo hahaha my actions here are totally not inconsistent with all of my past behavior and my future behavior with Magda, Kate, Jack Kline, Garth, Benny. Those kids from Bloodlines? Five minute episode where we just kill them then drive away.
Here’s how Dean responded to Sam finding out he killed the serial murderer Sam let go: by saying sorry and leaving to give Sam space. Then when they did reunite:
Dean: Validates Sam’s hesitation to follow his usual ethical code because of his own personal connection to Amy.
Sam: Invalidates Dean’s hesitation as irrational and tells him his daughter isn’t his and he’s crazy, while conflating a serial murderer with a brainwashed child all his past and future actions suggest he would have given a chance.
This may be of no interest to most of you, but with all the comments I got on my Impala portraits, I thought this would be of interest to some of you.
Original Photo
This is the original photo I used--it's of a fan car ("Night Moves") that was at Denver con 2022. What a great photo!
Posterize
In Photoshop, I posterize the photo to get chunkier blocks of color. I just play with the number of levels until I get a good representation.
Draw Lines
I place the posterized image in Illustrator (reversed) and then go to town drawing lines. The rule for pieced quilting is that every line you draw must go all the way until it hits another line. So for the first couple of lines, they go all the way from one end of the photo to the other.
I just keep drawing until I get something like this.
Paint the Pieces with Color
I bring the outlines into Photoshop so I can paint each individual piece with a solid color that will match the (future) fabric. Sometimes posterizing can result in dark colors, so you have some creative liberty to make changes. Note that these are still just screen colors; the actual fabric will differ again.
Outlines:
Colored:
Number the Sewing Order
Paper piecing means that you sew through the paper and fabric. That way, you can be sure to place your seam perfectly.
Generally, in quilting, you want to sew a seam from one end to the other without running into any already sewn seams. For a traditional patchwork, this means you would sew 10 blocks, then sew a row of 5 blocks, and then sew another row of 5 blocks onto the first row.
Paper piecing is the same, but because no "block" is repeated, it's an exercise to determine the sewing order of each block, and then the sewing order of the blocks to each other.
A quilt like the Impala has a few hundred blocks of 1-15 pieces of fabric each. Within each block, the sewn size is near perfect. But sewing the blocks to each other introduces a lot of variability: the seams can be wider or narrower, or the alignment can be off. That's why the actual quilt looks "wonky" compared to the pattern. It's just not possible--for me--to get it perfect. If I didn't work so small, it would be easier.
Back in Illustrator:
You can see that the black lines are pieces within a block. The red lines are blocks. And the green lines are sections of blocks. It all needs to be sewn in order. I will make small changes to the sewing lines at this stage to "make it sewable."
Printing
Because printers aren't the best at replicating onscreen colors exactly (good luck telling the difference between black and dark purple), I have to recolor it to "printable" colors and then do a swatch concordance.
The bright green on the left actually represents lavender.
I print the pattern out on vellum, which is more durable than paper. Since this is 17" x 17", I will print out overlapping 8 1/2" x 11" sheets. Illustrator has a good printing function, so you can print the exact area you want.
Pick Fabric
I have collected a ridiculous amount of fabric. These want solids for the most part. Sometimes it's a challenge getting 5 shades of blue, or 6 beiges for their faces, so sometimes, I make color errors that I don't discover until later. Painful mistake. The above pattern uses 25 colors, but some of the faces use around 40.
Sew
This is a really challenging project. It would be easier if it were bigger! The pieces are so small, and when you start sewing blocks together, the layers get to be ridiculously thick with all the seam allowances. It's a true challenge to feed through the machine. Use a small stitch length; use a good machine with dual feed (Bernina!!! or maybe Pfaff).
Check out the back side of the previous Impala quilt.
I pull out the paper as I go, otherwise it will get accidentally sewn in.
Finishing
I don't do complicated quilting here. The piecing is what's on show! I embroidered the Chevrolet and the license plate lettering. Some things are really too small to piece.
Original Photo Again:
Conclusion
I think anyone could do this, in theory. It takes a lot of patience. And your sewing machine needs to be quality. And it helps to know how to use Photoshop and Illustrator. And you need to "get it" when numbering the pattern, in a mathematical way. And it's helpful owning all the fabric.
If you do try it, make a larger quilt; this size with this level of detail is crazy making.
Check out all my supernatural quilts on Instagram! https://www.instagram.com/catnipster69/
are those two dudes from supernatural ok? it’s been like 14 years. there’s high schoolers younger than their contract. i don’t think i’ve ever seen them in any other shows. are they allowed to leave? do they feed them?
it sucks that the overwhelming majority of medical messaging around salt/sodium is "evil poisonous substance that you're definitely already eating way too much of," because like. you do still need it. (trust me, as a POTS-haver, I've had to completely rewire my own brain about salt.) and you need more salt when the entire northern hemisphere is hot enough to fry an egg on. ever tried sucking down the recommended 64oz of hydration per day entirely as water, only to find you're peeing constantly without any of the purported benefits of being "hydrated"? assuming you don't have another medical condition that causes frequent urination, your body probably needed more salt/electrolytes to be able to hold onto that water and make use of it. if there was ever a time to keep a sports drink/pedialyte/etc within constant reach, it's when the heat index is 110°F/43°C.
re dean not “letting” sam drive, the time i remember most is when john comes back in s1 and they’re hunting vampires together and john’s seamlessly pushed them back in the old family dynamic of doing what he says no matter what; no thinking, no input, just follow orders. sam’s angry, he’s feeling ignored and like a child with no autonomy or thought of his own. the situation has been taken completely out of his control
so dean lets him drive
he gives him a sense of control back even if it’s as minor as being behind the wheel instead of in the passenger seat and you can even say it’s this allowance that gives sam the confidence to speed up and confront john, he might not have otherwise or he might have waited until they were in an enclosed space where the fight would’ve been worse
(also sam literally drives in the second episode after dean offers in the beginning i don’t know what these people are on lmao)
Yeah it's really weird to me how fixated some people get on the driving thing... and insisting Dean doesn't "allow" Sam to drive when we see Dean offer Sam the keys or easily agree to give them up every single time Sam asks for them (ex: 1.02, 5.05, 5.12, 7.14).
It's also just that... just because Sam feels he lacks control and sometimes asks for the keys to feel more in control doesn't mean 1) he actually does lack control or 2) that Dean's the one taking control away from him. If I am taking the "driving is about control" meta and running with it... if anything, I might argue that Sam demanding to drive (or being offered to drive) often happens when Sam substitutes (or Dean offers himself as a substitute) for other things Sam can't (or feels he can't) gain control over. It is in a way an extension of the way Dean is treated as a scapegoat or a force upon whom aggression is displaced (season 1 compilation, season 4/5 thoughts).
Your point about 1.20 fits well here. Whether Dean offered Sam the keys or Sam demanded to drive, I agree that scene is about Sam feeling like he lacks control... and the control he doesn't have is over John, not Dean. (And he shouldn't be aspiring to control others at all, but purely himself).
I might further point out that what Sam does with that control he has in 1.20 is perform an extremely dangerous maneuver at high speed to cut John's truck off and force him to a stop (nearly resulting in the impala being t-boned by John's truck), which risks not only his own life but Dean's (who put his life in Sam's hands). So if we learn anything here—quite contrary to the narrative that Dean is metaphorically "stealing" control from Sam somehow by driving and Sam is now righteously taking it back—it's that when Dean hands Sam the reigns and trusts him with his life, Sam treats Dean's life carelessly and thoughtlessly, blinded by outrage. That doesn't sound to me like Dean being the bad guy controlling Sam. And 1.20-1.22 really goes to great lengths to show Dean is the person trapped in the middle trying to get his brother and father to see sense and realize the consequences of their actions for themselves and for him while they both fight for control... and Dean's taking a lot of glancing blows from both of them while he's at it. (Just like his life is put on the line by that near car accident simply by existing in the vicinity of his brother and father).
What's further interesting is that it's somewhat sensible to read that scene in 1.20 as a bit of foreshadowing for what happens in 1.22—where Sam is once again driving, and he and John are at odds, and the impala gets t-boned by a truck, and Dean is the one who ends up in a coma. Sam isn't at fault for the accident in 1.22—in fact, he's specifically stressing that he's finally come to align himself with Dean's stance that revenge isn't worth their lives. But John is not on board yet, and it is as Sam's distracted trying to placate John and explain how they can still get that revenge they both want so badly that they get hit.
First official fanart that’s actually a full illustration, ngl I’ve been really demotivated to do full illustrations these past few weeks but Supernatural might actually heal me…
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