Help me, Obi-Wan Kenobi.

You're my only hope. click

[the-golden-comet]

Lately on my dash, I have been seeing lots of wonderful mutuals get too hard on their beautiful minds.

Lovelies, your stories and art are beautiful because they are from you, and FOR you. Stats do not determine the quality of a product. Again, some of the BEST stories on the archive I have ever read were around 100 hits, and 0-10 kudos. Some of the BEST ART I’ve seen has 0 notes.

You know how I can tell? Because the authors and artists poured their heart and soul into their craft. As long as it can inspire ONE person, you should be proud. You just radically changed the life and perspective of ONE person. That’s amazing.

Sure, you might think your art or story is “cringe” or “bad”…OR, it can be someone’s comfort piece that they go back to after a long day. You may see your stats and think, “man, nobody enjoys this,” not knowing that maybe, juuuust maybe, you have that ONE person who you’ve inspired, who loves your work, and lurks your socials awaiting for your next project. Your art, your music, YOUR story has the potential to do that, but you have to love what YOU do.

And yes, your love WILL show. Maybe not with stats, or kudos, or notes, or comments. But you may be someone’s favorite without even knowing. As long as your art is out there, it WILL reach somebody. I will try to be that somebody for a lot of you, but there is indeed A LOT of you.

In a world where media is being “consumed” for “content,” remember that ART comes from the heART (sorry not sorry for being cheesy). Artists, Writers, Poets, Musicians, Sculptors, HUMANS: Get your hearts out there for the world to see. The world needs more motivated minds. 💫

[smii-doodles]

Isn’t it funny how you can probably tell a lot about what an artist looks like based on features they subconsciously add to their work?

Like how artists with thin hair probably don’t draw many characters with thick hair bcos they’re mentally referencing themselves for what a hairstyle would look like. Or artists with a very unique nose shape will draw characters with that nose shape a lot cos it’s just a normal nose shape when they have it. Or how artists with moles or freckles probably add those features more often than artists without. Artists who wear glasses probably draw specifically the glasses style that they wear more than any other because it’s the easiest to get reference for

…And you can also generally tell what an artist DOESNT look like by features that look awkward in their pieces. Like when a characters hair looks like a solid piece rather than looking like there’s a head under there bcos that artist so clearly didn’t get a reference for what that hairstyle might look like irl. If a chubby character looks really unnatural it’s probably bcos the artist isn’t chubby and hasn’t done their homework. If a character has facial hair and it just looks bad then they probably don’t have facial hair because otherwise they’d probably have more experience drawing it.

It really makes me think a lot about subconscious biases I might have in my art without realising and abt how we accidentally create representation of ourselves in our character art when we don’t see our features represented by media.

[slickskullshock]

a list of random art tips i’ve learned over a long time

The elbows are near the same height at the belly button

the hands go about 1/3 of the way down the thigh

add fewer folds in clothes than you think you need

The colors of shadows look different depending on what color your light source is

THE DIFFERENCE BETWEEN HARD LINES AND HARD SHADOWS

if you don’t like doing highlights digitally in procreate, add a black layer over the whole drawing, then click the little N of the layer and scroll down to Color Dodge. pick a color for your highlights and draw. Use a soft airbrush to create glow, use a harder brush to create sharper lines

if something is out of your skill level but you really wanna draw it, get a reference! It’s ok to trace! It will help you get better!

think of objects and people as piles of shapes if you are having trouble with positioning

if you don’t like drawing the other eye: copy and paste, cover it with hair/hat/eye patch/hand/scarf/literally anything you can think of

try new styles! it doesn’t matter if it looks good or not, but now you know what you do/don’t like doing, what you’re good/not good at, and what you want to improve on!

when you’re drawing profile heads: add a little extra length to the back of the head. heads aren’t perfect circles. doing this will make the face, ear, and jawline feel much less cramped.

this is a personal preference, but i like to find old photos from like the 40s and 50s to use as references because people got really wild with how they posed and i find it helps with angles and positioning

heres an exercise i like to do to help with positioning: draw a few pairs of circles, make them at all different angles. then, so back and use those circles as placements for hips and shoulders and draw the first pose that comes to mind. keep it simple, but try to make it natural

(I’ll add more when I think of more)

[hamletthedane]

I was meeting a client at a famous museum’s lounge for lunch (fancy, I know) and had an hour to kill afterwards so I joined the first random docent tour I could find. The woman who took us around was a great-grandmother from the Bronx “back when that was nothing to brag about” and she was doing a talk on alternative mediums within art.

What I thought that meant: telling us about unique sculpture materials and paint mixtures.

What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.

What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.

The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.

And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.

But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.

I don’t think there’s any dramatic conclusions to be drawn from these thoughts - they’ve been echoed by thousands of other people across the centuries. However, if you ever feel bad for spending all of your time sewing, knitting, drawing, building lego sets, or whatever else - especially if you feel like you have to somehow monetize or show off your work online to justify your labor - please know that there’s an 84yo museum docent in the Bronx who would cry simply at the thought of you spending so much effort to quietly create something that’s beautiful to you.

[eu0n1a]

character building questions (pt2)

Does your character have an ego? Write a short scene in which their ego is at its peak-halfway through, their ego take a battering and see how it manifests itself in their behaviors.

Write a short scene in which your character allows their anger to get the better of them. Does it erupt onto someone else, or is it internalized?

Write a short story about the stupidest thing your character has ever done. Were they honest afterwards? Did they make it into a joke and take ownership of their blunder, or did they retell their story in a way that made them out to be a hero?

Write a short story about your character in which they interact with the symbol of their star sign - i.e. if they are a Sagittarius, they interact with the archer, or are the archer themselves.

Write a short story about your character's spirit animal.

Write a short story about the hardest thing they have ever done.

What are three positive personality traits your character has? List them, then write a short story where all three appear

Write your character's bucketlist. Pick one item from the list and write a short story or scene in which they complete or fail to complete it.

Describe a garment your character has bought but has never had the courage to wear. Write about the event that they want to wear it.

What does an average day look like for your character? Write a scene in which you disrupt this day and take your character on a journey = (i.e. introduce and inciting incident)?

[abacus-jpg]

Anyone else not understand why people are moving to cara. Like I understand it’s because ai and shit,, but like. What confuses me is as long as your art is on the internet, aslong as you chose to post your art online anywhere, doesn’t matter where, it is prone to being stolen by ai. To me ai is nothing more then when people trace your art and call it their own. Ofc I don’t want people to do it, but ultimately that will not stop them. I do have a cara account, I was the first to claim abacus. When I tried posting there a few times I’ve been met with an error message, alongside that the app is really buggy and slow. I don’t see why people feel the need to come up with new apps to post art on when you could just use tumblr, but then the argument with tumblr is that there’s no engagement. But if we all flock to tumblr like people are flocking to cara then I don’t see why engagement would be such a big issue. Even then, if engagement is your main concern with your art I feel like you should reevaluate why you are pursuing art in the first place. I had this struggle ages ago where I didn’t feel my art was worth anything because I couldn’t cap 10 likes. But I realized, my art is for me. I’m the one that should be enjoying it, and my reason for posting now is for other people to enjoy it, so if they don’t,, I really don’t care all the much. I understand it is really detouring to post ocs and to have zero engagement, but that’s just the way art is. Unless you are producing fanart consistently of shit that is made into content farms, I really don’t see how you can garner a following just doing ocs. That’s why, doing art for your own sake is more important than trying to please everyone. I can guarantee there’s atleast one stranger on the internet that will fw your stuff the way you want. And the more you post, the more the number will grow. Most of the time it’s gradual, but one goes to two, two goes to three. And maybe you’ll only get one or two. But the important thing is, there’s someone. If you feel like you have no one, remember your art is for yourself. You’ll always have one, even if that is yourself. This might all seem contradictive. But trust, only you matter when it comes to your own artwork.

This “speech”, if you can call it that, isn’t to deter people from drawing and posting their ocs. This is just to say, engagement shouldn’t matter. As long as you’re happy, that’s all the matters. Post and draw what you want aslong as it’s not straight ripping from someone else. Idc.

This whole thing was supposed to be abt Cara but it turned into a uhh,, Ted talk of sorts. I’m not saying people shouldn’t use cara, if it works for them then by all means go for it. But personally I will not be making it my main form of social media. In my opinion, it’ll be like that other art app people were using for a week before they forgot abt it, I forget the name of it but I remember the interface was a light pink, similar to Instagram,, but somehow worse.

IM GONNA SPECIFY THAT I DONT CONDONE AI STEALING PEOPLES ART EITHER,, just putting that out there because some people have a way of misunderstanding or misinterpretating things. Which is okay!! Because some people genuinely get confused and that’s alright. But like please don’t use so first handedly. With that being said, I’m just a nobody on the internet so why would you listen to me,, you won’t. But i uhh,, am gonna put that there anyways

Thanks if you read allat,, idk why you would but that’s anyways I guess😭😭😭

[alvivaarts]

Writing Tips For You (as if I don’t currently have insane writer’s block)

-Can’t start a scene? Write the setting instead. What is the lighting like? Is this place comfortable? Is it familiar or not? What should you point out now so it doesn’t suddenly appear when it becomes important for the characters? SET! YOUR! STAGE!

-Everyone says “show, don’t tell”. I like to think of that as “what are your character’s physical reactions? What are they feeling?” You can say “Character looked dismayed”, or you can say “Character grimaced with dismay.” See the difference?

-Struggling with dialogue? Talk to yourself while you’re writing. You might be blocking yourself if you subconsciously think some dialogue feels unnatural.

-Context, context, context! This applies to everything from the small interactions to the big plots. Every force has an equal and opposite reaction, allow interactions and events to grow as such.

-Context, context, context pt 2! But worldbuilding! If your character is performing an act, how does that fit into the physical reality they already exist in? How is it possible? Can you imply (imply, not explain) that these things are commonplace or why they wouldn’t be?

-Build the action. (Stealing this from theater class like twelve years ago.) You can’t just put a character into the scene and say ‘they made a sandwhich’. What has to happen for the sandwhich to be made? Your character has to walk into the kitchen, open the cupboard, get out a plate, get out the jam and peanut butter, get out a plate, get out the knives, open the fridge, get out the bread, close the fridge, open the bread bag, lay down two slices of bread on the plate, close the bag, open the first jar, pick up the first knife, scoop up the jam, slather it on the bread, put the knife down, close the first jar- and so on and so forth. Every small step is necessary for you to understand, and to engage your readers. You don’t have to go into ridiculous detail like I just did, but even understanding that for yourself.

-See above, but it’s not a scene and a sandwhich. The scene is your whole story and the sandwhich is your plot. What small steps MUST happen to reach the climax? Does changing one of those small steps change the result? How?

-Emotions are best portrayed when you have experienced them or can get insight from those who have experienced them. Let yourself get emotional in a scene. Allow yourself to be empathetic and vicariously experience what your characters are.

-Reread your own work! Your writing style and characterizations can change over time, but if you feel like you’re losing them, don’t be afraid to look at where you started to ground yourself!

-Proofread your own work 2-12 hours after you finish a section! Not while you’re writing! Don’t let yourself get carried away with writing things ‘right’, just get the ideas out.

-Have a friend or volunteer proofread for you too! This can help pick out things you repeatedly say, words you might misuse, grammar and punctuation that might need correction, and phrases that are hard to digest or don’t make sense.

-Make sure you’re making an effort to use regionally/era specific words and slang both in dialogue and in your writing. There are plenty of websites and videos online that list and discuss regional and era slang worldwide. Not to mention, we can connect with people all over the world using the web just to ask! Using incorrect phrases can really break immersion and make characters feel- well, out of character! I.E. an 80s jock saying ‘dope bruh’, American characters (generally) saying ‘lift’ instead of ‘elevator’, so on and so forth.

-Research research research! Research bloodloss limits, research how laws and jobs operate in different regions and countries, research weirdly specific myths and biblical themes, research as much as you can! You can only build a richer environment to write in!

-If you actively want to implement themes, allow them to reflect the experiences of your character. Example character is an Italian American who was orphaned at 13 after his orthodox Catholic parents died, he has been in and out of foster care his whole life, and the moment he got out his military job became strict and he allowed himself to be blackmailed to protect a child in a similar position. This has plenty of fun themes and symbolisms, like sacrifice, fate, lack of control, love, losing autonomy, etc, all of which can be framed under the impactful history of his Catholic childhood. This evokes the imagery of farm animals, servitude, animal tags/dog tags, holy spaces being used for other purposes. Play with it!

-Build three base playlists! One for your overarching story, one for songs that remind you of the main character and their story arc, and one for how you feel when you’re writing/songs that weirdly remind you of your story. You can cycle through these to help get into your mood.

-Consume other media! If all you do is focus on writing, you WILL lose steam and inspiration. Don’t be afraid to watch new shows, read new books, look at more artwork, read more poems, listen to more music. You might get a flicker of inspiration for themes, motives and ideas, and you’ll continue to fill yourself instead of dumping your focus out on your writing.

-Understand how each major character thinks and instinctively reacts to things. Some characters can stay calm, but others might instinctively react to things ‘angrily’, others might try to run away. This is an easy way to figure out character flaws and impliment easy conflicts.

And last but not least:

-Take breaks! Don’t worry about forcing yourself to keep a posting schedule (unless you’re being paid. I’m not. I’m doing this shit for free and for funsies) if all you do is spend all your time worrying about your writing, you won’t be able to relax your brain. Spend time with friends, play games, go outside!

I hope this helps!

[just-late-roman-republic-things]

Review: Twelve Caesars: Images of Power from the Ancient World to the Modern, by Mary Beard

A good book for anyone interested in art history, historical propaganda, or in our responses to it. Mary Beard is a strong writer as always: clear, grounded, and brings the past to life without sensationalizing it. I think she did an especially good job of acknowledging the role of art in propaganda and issues of racism, sexism and imperialism, without being preachy or condescending. It reads as if she trusts you to be an intelligent and caring person who is ready to move beyond "social justice 101."

I love politics, but I admit Beard made the right choice by only mentioning it briefly, to give context for each artwork featured. You don't need to know any history before reading this book. You don't need art theory, either - she skips talking about artistic techniques like composition, linework, and color. Instead, her focus is on how people react to art and use it for their own purposes. It's about the role that images of Suetonius' twelve Caesars have played in European culture.

I particularly liked that she explores a variety of media, from coins to teacups to book bindings, as well as the usual busts and paintings. She even steps out of the aristocrats' homes into middle-class kitsch and raunchy pamphlets. The chapter focusing on imperial women was also very good.

I would have liked to see more Roman art of ordinary people, and of art about Romans made after 1900. There's also no discussion of how the Papal States, Holy Roman Empire, and Byzantines used images of the Caesars for their own political ends, either. But these are huge topics worthy of books in themselves, so I can accept Beard didn't have room for everything.

I learned that western cultures can't really separate our art from Roman influence. It's often very subtle, but our ideas of "What makes a good portrait?" are shaped by how Renaissance artists borrowed Roman postures, gestures, and realistic features. If an English speaker points at an abstract sculpture and says, "That's not real art," his assumptions about what art is likely derive from this tradition. And European pseudosciences like phrenology and physiognomy were partly inspired by studying Roman portraits, and feed into modern ideas of biological racism and discrimination against the unattractive and disabled.

I also came to realize that celebratory and contemptuous portrayals of the Romans can both represent at reactionary ideology. A prejudiced person could either glorify Rome to pretend that modern society is degenerate in comparison, or he could claim we're degenerate just like the Romans and thus doomed to "fall" like the Roman empire did. I suspect prejudice against modern pagans has also been encouraged by centuries of art portraying Roman pagans as cruel, corrupt, and lascivious.

Anyway. If you want to better understand the relationship between art and the people who make, view, and buy it, check this book out.

[hannahlockillustration]

Falling Through Dreams.

[darkandstormydolls]

I am now experiencing ✨feelings✨ about how so many dresses in art museums are in as “title: dress”

Because these weren’t made as works of art, like paintings with titles made to be hung on walls and in museums. These were made to be lived in, to be danced in, to be worn to parties, to be worn at home wrapped in a blanket reading a book.

And, as is a well-established fact within dress history, most of those dresses were kept in the original condition were sentimental. These were wedding dresses. Debutant gowns. Worn to special events. Gives as a gift from someone special. And they were worn; plenty of these old dresses were altered, or have holes in the lining or the silk worn down in places. Clothing is such a personal form of art, holding memories in the way that few sculptures or paintings made to be admired and displayed ever could have.

And when you think about it, I’m sure some of, if not most of these dresses, did have titles. Simple ones, sure. Personal ones. “My blue silk”. “The brown dress with fringe”. “The white floral”. But they weren’t named as art. They were named for practicality, for ease of understanding. Because they weren’t made as art. But they are nevertheless.

Dress history is such an under appreciated form of art history, even with how closely it’s tied to so many other parts of history. And clothing is such a complex and undervalued form of art. Unlike so much of the other art in museums, we often don’t know who made these dresses, anonymous dressmakers with names lost to history, so instead we marvel at their craftsmanship.

So yeah, these dresses don’t have titles because they weren’t made as art. But they are. And we may not know who made them or what they were called, but now we put them in museums and look at them as art and give the the best titles we can. “Dress”. Because, when all is said and done, that’s what they are.

[dailyrothko]

Scans ( a little long)

When I ask people not to steal my scans I assure you it has nothing to do with my ego. I have relationships with a number of people that trust me to provide full credits and copyrights and supervise, as much as possible, how things are used. And it gets a little complex, like some people will give me a photo I can only use on instagram. I have to honor these agreements.

And, Rothko paintings are copyrighted so, unlike some artists, if you make tee shirts or use it in a movie or something , it's actually illegal (without permission) They are not going to come after you for casual use of you own, but I know of many examples where people were hit with a copyright notice for trying to profit in the work.

It took me a long time to build these relationships and get all of these scans, including many i have done myself. I gave myself this Rothko job I do, and because of that I didn't have background to give me things or answer questions. It was only after years of doing it that people started to reach out to me in a bigger way and help.

The art world is strange, I was talking to a museum curator recently and there several questions I had that I was told they were not at liberty to answer. In the case of Rothko, there's nothing really cloak and dagger about it, it's just the family (who I think are great) fought really hard for these rights and spend a lot of time trying to control how the work is used and seen. It's a good thing because we get things like the Paris exhibit which took an insane amount of planning, loans, insurance etc. All the paintings had to be inspected before they were shipped over seas, in case damage was done to them over there. These paintings are BIG and in the hands of many different people, so it really took tons of effort and (sadly) money to do it, but it's something like (can't recall exactly) 179 paintings. The biggest Rothko show since 1978.

People on tumblr do sometimes (as we all know) take stuff from here or from my other social media accounts and I know it's typical social media behavior, as people like the credit and notes to their own blog, but I mention this now because I have some things coming up that almost no one has ever seen and I don't want to lose this privilege because I won't be able to show you cool stuff and big scans.

So, sorry for the ponderousness, I just thought a little background might explain that I'm not just being grumpy about it. I think people may see it as "It's the internet get over yourself" but I honestly feel a responsibility to do the best I can for people following these accounts and I am just trying to keep doing it and hopefully, expand as I go.

This blog started on out tumblr and it was the support of all of you that made me continue it, I will be 10 years in July. I can't take a lot of credit for it, it's not my art. My only idea was the once a day aspect. However, I try to do my homework and striving for accuracy is part of that, including copyrights and credits.

So thanks for everything too, people participating in this has been very valuable and educational for me.

[tuurverheydepoetryandprose-deac]

In some corners of the internet there is a readiness to call anything pretentious whenever it is complex, abstract or deliberately alienating. Some people are also eager to claim that artists are too self-serious, snooty and elitist whenever they create something that is not straightforwardly understood.

They pretend art has always existed to appeal to the greatest number of people and appeal in a way that is simple and explicable. If you look at the history of art that could not be further from the truth. Even art that was performed to an ‘illiterate’ public often maintained layers of meaning and ambiguity throughout long periods of history (just look at the global historical traditions of oral storytelling)

The simplification of art and the expectation that everything should appeal to a wide audience is the result of commodification not democratisation. Art has arguably never been less revered than now and still there are people who think it has further to fall in esteem. Just look at the AI movement’s desire to undermine artists while stealing their work.

I believe that the ‘it’s not that deep’ crowd who is eager to wield the accusation of pretentiousness whenever something doesn’t connect to them is part of an anti-artist, anti-intellectual movement to do away with mainstream non-consumerist (non-recuperable) art.

There has been a concerted effort by corporations and those purely interested in consumerism to erase the notion that art is primarily a human expression that is not necessarily made to pander to a wide audience. Every day we see more efforts in the social media & technological culture wars to devalue art and demonise artists who wish to create artistically fulfilling works rather than crowd-pleasing content.

I think we need to push back harder against this. The anti-complexity consumerist mindset is not only incurious and subservient to corporations, it’s also anti-intellectual, anti-cultural and insidiously reactionary.

[hastchhap234]

Discover the Timeless Beauty of Sanganeri Print Fabric

sanganeri print fabric, with its intricate designs and vibrant colors, is a hallmark of Indian textile art. Originating from the small town of Sanganer near Jaipur in Rajasthan, this traditional craft has flourished for centuries, captivating fashion enthusiasts and textile connoisseurs alike. Today, Sanganeri prints continue to charm the world, blending age-old techniques with contemporary styles to create timeless pieces.

A Glimpse into History

The story of Sanganeri prints begins in the 16th century during the Mughal era. Sanganer, with its access to clean water from the Saraswati River and a conducive climate, became a hub for textile printing. The Mughal emperors, known for their love of art and culture, patronized this craft, leading to its refinement and popularity. Initially, these prints were used for royal garments and temple offerings, but over time, they found their way into the homes and wardrobes of the common people.

The Art of Sanganeri Printing

Creating sanganeri print fabric  is a meticulous process that showcases the skill and artistry of its craftsmen. The journey begins with selecting high-quality cotton or silk fabric, which is thoroughly washed and bleached to achieve a pure white base. This preparation is essential to enhance the vibrancy of the dyes used in the printing process.

The essence of Sanganeri printing lies in the hand-carved wooden blocks used for stamping the designs. These blocks are intricately carved with various motifs, including floral patterns, geometric shapes, and traditional symbols. Each block is a masterpiece, requiring precision and a deep understanding of design.

Natural dyes, derived from plants, minerals, and other organic sources, are used to color the fabric. These eco-friendly dyes are applied using the wooden blocks, which are carefully pressed onto the fabric. Artisans align each imprint meticulously to create seamless and harmonious patterns. This process is repeated for each color in the design, often involving multiple blocks for a single piece. The result is a fabric adorned with intricate patterns and vibrant hues that reflect the rich cultural heritage of Sanganer.

The Aesthetic Appeal

sanganeri print fabric is renowned for its aesthetic appeal. The designs, often inspired by the natural beauty of Rajasthan, feature delicate floral motifs, paisleys, and intricate borders. These patterns are not just decorative but also symbolic, representing themes such as fertility, prosperity, and nature's bounty.

The color palette of Sanganeri prints is another defining characteristic. Traditionally, soft, earthy tones were used, but modern advancements have expanded the range to include brighter and more varied hues. This versatility makes Sanganeri prints suitable for a wide range of occasions, from everyday wear to festive celebrations.

Contemporary Relevance

In today's fashion world, sanganeri print fabric has a special place. Designers around the globe are incorporating these traditional prints into contemporary clothing, creating a fusion that appeals to modern sensibilities. Sanganeri prints are not limited to ethnic wear; they are now seen in Western-style dresses, skirts, blouses, and even home decor items. This blend of tradition and modernity has broadened the appeal of Sanganeri prints, making them accessible to a global audience.

Sustainability and Ethical Fashion

As the fashion industry shifts towards sustainability, Sanganeri prints stand out for their eco-friendly production methods. The use of natural dyes and the emphasis on handcrafting align with the principles of sustainable and slow fashion. By choosing Sanganeri prints, consumers support ethical fashion practices and contribute to the preservation of traditional crafts.

Revival and Preservation Efforts

Efforts to revive and sustain the art of Sanganeri printing are gaining momentum. Government initiatives, non-profit organizations, and collaborations with designers are helping to provide a platform for artisans, ensuring that this ancient craft continues to thrive. These efforts are crucial in preserving the cultural heritage and providing livelihood opportunities for the artisans.

Conclusion

sanganeri print fabric is more than just a textile; it is a testament to India's rich cultural heritage and the unparalleled skill of its artisans. Its intricate designs, vibrant colors, and sustainable production methods make it a timeless treasure in the world of fashion. By embracing Sanganeri prints, we celebrate a legacy of art and craftsmanship that has endured through centuries. Whether worn as a statement piece or used to adorn our homes, Sanganeri print fabric brings a touch of elegance, history, and cultural richness to our lives.

[agelesslibrary]

In the quiet corners of my mind, there’s a secret place where time stands still. Abandoned castles overlook vibrant gardens, and rivers run clear as crystal. Here, I reside—a solitary cottage, my sanctuary, where I devour the words of Dostoyevsky and pen verses about the dreams that visit me at night. These dreams paint the life of a girl, my counterpart, whose existence mirrors yet opposes my own. I drift into her world, where she, like me, finds solace in books—not for the love of stories but as a refuge from her reality, a world that is unkind and relentless. Although surrounded by the constant hum of people, she seeks not their company but the distraction they offer from the echoes of her own thoughts. Her diary, a vault of penned emotions, traps memories not to relive but to encage. Each entry locks away a piece of her life, transforming recollections into distant stories—observed but no longer felt. She often murmurs apologies, too many and too frequent, as though she bears the burden of her very existence. Her life oscillates between torrents of words and profound silences—her voice either a flood or a drought. Though she lives when I dream, and dreams when I live, in our moments of sleep, our worlds overlap, meeting in a dreamland where the lines between reality and imagination blur. I wander through the maze of her mind, an unseen companion. We meet in the quietest corners of her thoughts, places so deep within her that she convinces herself I'm just a figment of imagination. A thin veil of doubt separates us; she can't see or feel me as I do her, and I often wake with a tear slipping down my cheek, grieving the distance between her disbelief and my existence. Unseen and unbelieved, I can only weep quietly for her sorrows under the silent watch of the stars.

[thecollectibles]

Sci-fi Landscapes by Andrew Porter

[starsandwhales]

I know this isn't ninjago guys but I finished this 17 hour painting for my art class and I was proud of it so...enjoy.

I love Egypt fun fact about me. :) [ID: a detailed, realistic painting of the hathor columns at the dendera temple complex in dendera, egypt. /end ID]

[blodmann]

Miracle Workers | Season 2: Dark Ages | Ep.: Road Trip | USA | 2020