so many misguided metaphors around violence and desire. if the open maw of a panting beast fills you with the want to be devoured, that does not make you prey. while the rabbit trembles in fear, its deepest desire is to run. evolution demands it. in fact, the desire to be eaten does not make you any small animal at all.
It took me a while to pick up a ( digital ) pencil again after I found out I’m allergic to paper and basically all traditional art supplies but I did it. Yay
L'Art et la mode, no. 11, vol. 55, 5 juin 1934, Paris. Vision de charme et d'élégance, la tout gracieuse Jacqueline Delubac nous est apparue, au troisième acte de "Mon double et ma moitié", l'étincelante comédie de Sacha Guitry, avec cette robe d'organdi blanc ceinturée d'organdi bleu. La grande capeline était garnie de fleurs des champs. Paquin (Chapeau de Rose Descat). Photo Georges Saad. Bibliothèque nationale de France
A vision of charm and elegance, the utterly graceful Jacqueline Delubac appeared before us in the third act of "My Double and My Half," Sacha Guitry's sparkling comedy, wearing this white organza dress with a blue organza belt. The large hat was trimmed with wildflowers.
I wanted to do at least one new drawing for this year’s MerMay, and this is a character that I’ve been meaning to draw my own spin on for a couple of MerMays now, but have kept missing the chance to, or just haven’t been inspired.
This is my take on Dyesebel, a prominent mermaid character in the Philippines. She originally made her debut in comics, created by Mars Ravelo, and has since been translated into various screen adaptations.
Her story varies in the adaptations, but pretty consistent elements through them all are that she has at least one human parent, and when she grows up, she falls in love with a human boy named Fredo. She’s usually having to conceal her mermaid identity and runs into trouble when she’s discovered and becomes a circus attraction. It depends on the adaptation whether she gets a happy ending.
For my design, I stuck to her red orange tail, which has become the most popular look for her on screen. I lifted the shell and pearl hair decorations from the 2008 telenovela, and the tail design was me having fun trying to make her distinct from previous versions.
Check out more of my work on other platforms or buy prints!
My Instagram -- My Bluesky -- My Twitter -- Buy Prints
La Mode nationale, no. 22, 5 juin 1897, Paris. No. 15. — Toilette de visites. No. 16. — Toilette de promenade. Bibliothèque nationale de France
No. 15. — Toilette de visites en peau desoie violine, corsage-blouse bouffante en mousseline de soie paille, recouvert par un boléro brodé en appliques de velours noir, col montant en velours avec ruche rabattue en dessus; haute ceinture corselet, boutonnée, en velours noir; manches plates avec petit ballon surmontant un volant de dentelle, appliques sur le bas de la manche. Jupe plate, plissée derrière, brodée d'appliques sur le bas et sur les hanches. Chapeau Henri II en paille de riz noire, recouvert par une couronne de violettes avec grand oiseau du Paradis faisant aigrette derrière, fleurs en relevage sur le côté.
No. 15. — Visiting enesmbel in purple silk skin, bouffant bodice-blouse in straw silk muslin, covered by a bolero embroidered in black velvet appliques, high velvet collar with ruffle folded over; high corselet belt, buttoned, in black velvet; flat sleeves with small balloon surmounting a lace flounce, appliques on the bottom of the sleeve. Flat skirt, pleated at the back, embroidered with appliques at the bottom and on the hips. Henri II hat in black rice straw, covered by a crown of violets with a large bird of Paradise in the shape of an egret behind, flowers raised on the side.
Métrage: 12 mètres peau de soie violine.
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No. 16. — Toilette de promenade en lainage gris nickel, corsage-blouse recouvert par un boléro brodé, échancré du bas, à col montant renversé, cravate de dentelle retombant sur le corsage; manches plates avec petits ballons dans le haut. Jupe plate, cerclée dans sa hauteur par trois rangées de galon en laine s'abaissant en rond sur le devant, ceinture semblable. Chapeau paillasson gris nickel, couvert de fleurs des champs mélangées à un froufroutage de mousseline de soie, avec haute aigrette au-dessus.
No. 16. — Walking dress in nickel gray wool, bodice-blouse covered by an embroidered bolero, indented at the bottom, with a high reversed collar, lace tie falling over the bodice; flat sleeves with small balloons at the top. Flat skirt, encircled at its height by three rows of wool braid falling in a circle on the front, similar belt. Nickel gray doormat hat, covered with wild flowers mixed with a frill of silk muslin, with high egret above.
it’s not weird to find fanfiction from 2021, or 2017, or 2014 that you’ve never read and actually taking your time to read it.
it’s not weird to love it and comment and leave kudos because the author will probably still see it someday and it will make them happy.
it’s not weird to like said author’s work so much that you want to go look for other fics from them.
it’s not weird to go through the authors profile and look for other fics from the ships you like (or maybe some that you’ll give a chance because you liked the author) and maybe bookmark them for later.
it’s not weird to read these other fics and like them too and comment on them because you actually like them and you want to let the author know.
it’s not weird to read fanfiction from 5, or 8, or 10 years ago and actually enjoy and engage with it because it’s perfectly normal to relate to something that’s less than a decade old!
let’s stop treating fanfiction like they’re instagram posts that stop being interesting in 24 hours! fanfiction is NOT social media, fanfiction is art!!! and art doesn’t get old in one day, one year, or even a decade!
read fanfiction! write fanfiction! comment on fanfiction! let’s not let fanculture die people!!!!!
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