A moment for a petty complaint:
When people are explaining how to weave in ends, in a tutorial or any video, and they say to "just follow the path of the yarn" or "double the stitches" and then proceed to do THIS
That's a valid way to weave in your ends, assuming your yarn is wooly enough to not slip and it won't be super visible, but that's simply not what you've described.
THIS is following the path of the yarn. It is also the superior way to weave in ends securely and least-visibly from both sides.
3K notes
·
View notes
Artists, letâs talk about Instagram commission scammers
Thereâs been a huge rise in commission scammers recently, mostly on Instagram. A lot of new artists donât know what to look out for, so I figured this might help people.
How they begin
Usually the scammer will write to you asking about a commission. Something deceptively cute - mostly I encounter asks about pet portraits, with one or two photos sent. Theyâll probably try to sell you a sweet little story, like âItâs for my sonâs birthdayâ. They will insist that they love your artwork and style, even though they donât follow you or never liked a single piece of your art.
What to look out for:
Their profiles will either be private, empty, or filled with very generic stuff, dating at most a few years back.
Their language will be very simple, rushed or downright bad. They might use weird emojis that nobody ever uses. They will probably send impatient â??â when you donât answer immediately. Theyâre in a crunch - lots of people to scam, you know.Â
Theyâll give you absolutely no guidelines. No hints on style, contents aside from (usually) the pet and often a name written on the artwork, no theme. Anything you draw will be perfect. Full artistic freedom. In reality they donât really care for this part.
Theyâll offer you a ridiculous amount of money. Usually 100 or 300 USD. Theyâll often put in a phrase like âI am willing to compensate you financiallyâ and âI want the best you can drawâ, peppered with vague praise. It will most likely sound way too good to be true. Thatâs because it is.
Where the scam actually happens
If you agree, they will ask you for a payment method. Theyâll try to get to this part as soon as possible.Â
Usually, theyâll insist on PayPal. And not just any PayPal. Theyâll always insist on sending you a transfer immediately. None of that PayPal Invoice stuff (although some do have methods for that, too). Theyâll really, REALLY want to get your PayPal email address and name for the transfer - thatâs what theyâre after. If you insist on any other method, theyâll just circle back to the transfer âfor easiest methodâ. If you do provide them with the info, most likely youâll soon get a scam email. It most likely be a message with a link that will ultimately lead to bleeding you dry. Never, and I mean NEVER click on any emails or links you get from them. Itâs like with any other scam emails you can ever get.
A few things can happen here:
They overpay you and ask for the difference to be wired back. Usually it will go to a different account and youâll never see that money again.Â
Theyâll overpay you âfor shipping costsâ and ask you to forward the difference to their shipping company. Just like before, youâll never see that money again.
The actual owner of the account (yes, they most likely use stolen accounts to wire from) will realize thereâs been something sketchy going on and request a refund via official channels. Your account will be charged with fees and/or you get in trouble for fraudulent transactions.Â
You will transfer the money from your PayPal credit to your bank account and they will make a shitstorm when they want their money back, making your life a living hell. They will call you a scammer, a thief, make wild claims, wearing you down and forcing you into wiring money âbackâ - aka to their final destination account.Â
Never, EVER wire money to anyone. This is not how itâs supposed to go. Use PayPal Invoice for secure exchanges where the client needs to provide you with their email, not the other way around.
You can find more info on that method HERE.
What to do when you encounter a scammer:
Ask the right questions: inquire about the style, which artwork of yours they like, as much details as you can. They wonât supply you with any good answers.
Donât let the rush of the exchange, their praise and the promise of insanely good money to get to you. Thatâs how they operate, thatâs how they make you lose vigilance.Â
Donât engage them. As soon as you realize it might be a scam, block them. The sense of urgency they create with their rushed exchange, and pressure they put on you will sooner or later get to you and you might do something that youâll regret later.
Never wire money to anyone. Never give out your personal data. Never provide your email, name, address or credit card info.Â
Donât be deceived by receiving a payment, if you somehow agree to go along with it. Just because itâs there now doesnât mean it canât be withdrawn.Â
Here is a very standard example of such an exchange. I realized itâs a scam pretty fast and went along with it, because I wanted good screenshots for you guys, so I tried going very âby the bookâ with it.Â
Please share this post, make it reach as many artists as possible. Let young or inexperienced artists know that this is going on. So many people have no idea that this is a thing. Letâs help each other out. If you think I missed any relevant info, do add it as an rb!
Also, if you know other scam methods that you think should be shared, consider rb-ing this post with them below. Having a master post of scam protection would AWESOME to have in the art community.
15K notes
·
View notes
Throughout her translation of the âOdyssey,â Wilson has made small but, it turns out, radical changes to the way many key scenes of the epic are presented â âradicalâ in that, in 400 years of versions of the poem, no translator has made the kinds of alterations Wilson has, changes that go to truing a text that, as she says, has through translation accumulated distortions that affect the way even scholars who read Greek discuss the original. These changes seem, at each turn, to ask us to appreciate the gravity of the events that are unfolding, the human cost of differences of mind.
The first of these changes is in the very first line. You might be inclined to suppose that, over the course of nearly half a millennium, we must have reached a consensus on the English equivalent for an old Greek word, polytropos. But to consult Wilsonâs 60 some predecessors, living and dead, is to find that consensus has been hard to come byâŠ
Of the 60 or so answers to the polytropos question to date, the 36 given above [which I cut because there were a lot] couldnât be less uniform (the two dozen I omit repeat, with minor variations, earlier solutions); what unites them is that their translators largely ignore the ambiguity built into the word theyâre translating. Most opt for straightforward assertions of Odysseusâs nature, descriptions running from the positive (crafty, sagacious, versatile) to the negative (shifty, restless, cunning). Only Norgate (âof many a turnâ) and Cook (âof many turnsâ) preserve the Greek roots as Wilson describes them â poly(âmanyâ), tropos (âturnâ) â answers that, if you produced them as a student of classics, much of whose education is spent translating Greek and Latin and being marked correct or incorrect based on your knowledge of the dictionary definitions, would earn you an A. But to the modern English reader who does not know Greek, does âa man of many turnsâ suggest the doubleness of the original word â a man who is either supremely in control of his life or who has lost control of it? Of the existing translations, it seems to me that none get across to a reader without Greek the open question that, in fact, is the opening question of the âOdyssey,â one embedded in the fifth word in its first line: What sort of man is Odysseus?
âI wanted there to be a sense,â Wilson told me, that âmaybe there is something wrong with this guy. You want to have a sense of anxiety about this character, and that there are going to be layers we see unfolded. We donât quite know what the layers are yet. So I wanted the reader to be told: be on the lookout for a text thatâs not going to be interpretively straightforward.â
Here is how Wilsonâs âOdysseyâ begins. Her fifth word is also her solution to the Greek poemâs fifth word â to polytropos:
Tell me about a complicated man.
Muse, tell me how he wandered and was lost
when he had wrecked the holy town of Troy,
and where he went, and who he met, the pain
he suffered in the storms at sea, and how
he worked to save his life and bring his men
back home. He failed to keep them safe; poor fools,
they ate the Sun Godâs cattle, and the god
kept them from home. Now goddess, child of Zeus,
tell the old story for our modern times.
Find the beginning.
When I first read these lines early this summer in The Paris Review, which published an excerpt, I was floored. Iâd never read an âOdysseyâ that sounded like this. It had such directness, the lines feeling not as if they were being fed into iambic pentameter because of some strategic decision but because the meter was a natural mode for its speaker. The subtle sewing through of the fittingly wavelike W-words in the first half (âwandered ⊠wrecked ⊠where ⊠workedâ) and the stormy S-words that knit together the second half, marrying the waves to the storm in which this man will suffer, made the terse injunctions to the muse that frame this prologue to the poem (âTell me about âŠâ and âFind the beginningâ) seem as if they might actually answer the puzzle posed by Homerâs polytropos and Odysseusâs complicated nature.
Complicated: the brilliance of Wilsonâs choice is, in part, its seeming straightforwardness. But no less than that of polytropos, the etymology of âcomplicatedâ is revealing. From the Latin verb complicare, it means âto fold together.â No, we donât think of that root when we call someone complicated, but itâs what we mean: that theyâre compound, several things folded into one, difficult to unravel, pull apart, understand.
âIt feels,â I told Wilson, âwith your choice of âcomplicated,â that you planted a flag.â
âIt is a flag,â she said.
âIt says, âGuess what?âââ â
âââ â this is different.âââ
The First Woman to Translate the Odyssey Into English, Wyatt Mason
34K notes
·
View notes
Yuzen-dyed Furisode. Created about the year 2000, Japan. Â The Kimono Gallery, A large rinzu silk furisode featuring yuzen-dyed (resist-painted) âoshidoriâ (mandarin duck) on a stream, and classical designs such as fans, 'umeâ(plum blossoms) and 'botanâ(peony). Gold glaze and embroidery highlights. The rinzu (damask) silk base has woven peony motifs. This kimono was designed by the famous Japanese designer Kansai Yamamoto under his workshop Kansai Super Studio. Kansai Yamamoto was at the height of his career during the 1970âs and 80âs. He is also known for his avant-garde kimono designs, including ones worn by David Bowie in his Ziggy Stardust Tour. This kimono bears the stamp of his studio. The amount of labour and workmanship to create this furisode is remarkable.
979 notes
·
View notes