As someone recently diagnosed with ADHD as an adult, one thing that’s been helping me grapple with the intense shame I have over all my “wasted potential” is accepting that potential doesn’t exist and never did.
This sounds so harsh, but please bare with me.
I procrastinated a lot growing up. I still procrastinate today, but less so. And yet, I got good grades. I could write an A+ paper that “knocked [my professor]’s socks off” in the hour before class and print it with sweat running down my face.
I was so used to hearing from teachers and family that if I just didn’t procrastinate and worked all the time, I could do anything! I had all this potential I wasn’t living up to!
And that’s true, as far as it goes, but that’s like saying if Usain Bolt just kept going he could be the fastest marathon runner in the world. Why does he stop at the end of the race??
If ANYONE could make their top speed/most productive setting the one they used all the time, anyone could do anything. But you can’t. Your top speed is not a speed you’re able to sustain.
Now, I’ve found that I do need to work on not procrastinating. Not because the product is better, even, but because it’s better for my mental health and physical health to not have a full, sweating, panicked breakdown over every task even if the task itself turns out excellently. It’s a shitty way to live! You feel bad ALL the time! And I don’t deserve to live like that anymore.
So all of this to say, I’m not wasting a ton of potential. I don’t have an ocean of productivity and accomplishments inside of me that I could easily, effortlessly access if I just sat down 8 hours a day and worked. There’s no fucking way. That’s not real. It’s an illusion. It’s fine not to live up to an illusion.
And if you have ADHD, I mean this from the bottom of my heart: you do not have limitless potential confounded by your laziness. You have the good potential of a good person, and you can access it with practice and work, but do not accept the story that you are choosing not to be all that you are or can be. You are just a human person.
I'm back at posting art this time with a comission for @redladydeath
She comissioned me to redraw the costume designs for her Seven AU in a more Six stage costume style. Also bonus undetailed back views because costumes are a 360° thing.
A reminder that my art comissions (including sixsonas) are open.
Full explanation under the cut because it wouldn't be me if I didn't overexplain things
So. This was not a redesign, it was basically a mix of adding details, making things practical from a construction perspective, considering how the materials physically work and throwing studs at every seam available.
The thing with the Six costumes is that they are a mix of historical elements and the style created for the show. In this case it was a mix of the designs, four different historical periods and the Six style. It was fun.
Disclaimer: my knowledge of fashion history previous to the mid 18th century is superficial at best, so I couldn't go as deep as I would have liked with the historical inspiration (except with victoria, I do know that century)
Matilda: This one was mostly detailing. I added mesh on the top and shorts and changed the body of the jacket to holo vinyl instead of fur to avoid it looking less shiny than the rest. The one "historical" element I added is the lacing on the sides because on that century many kirtles (gowns) were laced on the sides.
Jane Grey: This was a tricky one. Took me a while to find the balance between a clean design and too little detail I was like two seconds away from giving it cutouts on alternating panels howard style, but it doesn't look right with the skirt. I gave her a fully structured pleated skirt (that would probably be a nightmare to make).
Mary Tudor: This is where I started deviating from the six costumes. The design had both fire motifs and original aragon costume sequins. I was looking for a way to mix this two as the vinyl wouldnt cooperate with small curves. And then I found this really cool sequin mesh with flame shapes and I knew it was meant to be. I also swapped the hanging charms for ones that are in the middle of the chain to avoid pulling it down.
Elizabeth: To say I went crazy with this one is an understatement. (I mean it literally has two parts) First I made the decision to change all the studs for pearls to keep the theme from the design, then I put pearls in every avaliable surface. The top skirt is made like the Boleyn skirts but with double the panels and a clear bottom. The design said embroidery texture for the skirt and my options were yet another fancy sequin fabric or pearl latice. I chose the latice. There is a legend saying the three pearls from Anne Boleyn's iconic B necklace ended in one of the british crowns so I changed the single pearl in her headpiece for three hanging pearls. The underlayer was the only thing here I fully designed. The inspiration was a crazy lady gaga dress that was just begging to be combined with one of my favorite historical illustrations (google ballet farthingale you won't regret it). The skirt would be folded under the skirt and just burst into life during the change. This is where I used the fancy sequin fabric combined with pearls on chains and in can't get any more extra.
Mary Stuart: This one got almost no changes from me it was mostlydrawing it with the show materials. What I did change was the top. The one thing I know about this time period is that the mantua was the fashionable dress and the design for this top reminded me a lot of the pulled back shape of the mantuas.
Anne: This one is my personal favorite. Again I took heavy inspiration from late mantua designs and mixed it with the original design. The lines, the layers, the collar shape, the wide sleeves. It made so much sense that it flowed in like five minutes. The one big change I did was the skirt top layer, the design said bustle, but Anne lived over a century and a half before those were a thing. What was a thing were layered skirts so thats what I went with.
Victoria: the one period where I know the fashion and it shows. The top is a mix of a mid victorian corset with late romantic era sleeves. I made the corset wider on top and just used sequin fabric with no overlay or studs to make it loose. The skirt was the big challenge. The design had a bustle over the skirt which would look weird irl and be a nightmare to move with. But the victorian period also had the elliptical cage crinoline which has all the bulk on the back and fits nicely over the rond skirt (it is also the iconic queen victoria look so the choice was clear).
drawing more of my snape animagus headcanon and by extension my (bunny) papa sneep headcanon… here’s some links if u wanna check out more of me talkin abt it and possibly… some other drawings (x) (x) (x)
when i looked up rabbit pictures for references i found out rabbits do not have toe beans today… i feel cheated and lied to.
also, PSA: please don’t try to force a rabbit to cuddle with you. rabbits are not cuddly. they are not sweet. they cuddle you on their own terms AFTER they have come to trust you completely. rabbits are prey animals so they do not trust easily. their bites and claws hurt. also don’t try to pick a rabbit up without being shown the proper handling first- they can die if you pick them up wrong. please be careful with rabbits.
Divorced, beheaded, dressup!
Based on the hit musical, dress up the six queens! Create all the queens, do yourself, or even create your sixsona.
This game...
It is finally here!
Six months of work finally came together. To say I am proud of this is an understatement. I hope you have fun, you enjoy the game, and you play with the random mode.
There are a ton of details and additions I haven’t talked about, so have fun finding them.
Also give me all your thoughts and your comments I would love to hear what you think.
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