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lo-kom · 7 months

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Bag screenprints

1st image- prototypes/tests on canvas material. This was probably when this more dense print came out the best. Afterwards with the thicker grey fabric the image started to breakdown quite quickly.

2nd image- testing my screenprints on a very thin fabric. The image came out very crisp and I was happy with the level of detail that came through the screen.

4th and 5th image- first full-scale screenprint. As I moved to the thicker fabric it became more important that I perfected my technique- making sure I flooded the screen in one go. Applying the right level of pressure when printing for the full image to transfer completely, lining up print correctly so that one print blends into the next, and doing all of this in as little time as possible to avoid the paint drying out etc. The more I repeated the process the better I got at gauging things eg. the right amount of paint needed to print vs when I needed to add more, how I could use the shadow cast by the image on the screen before it had been flooded to help me adjustment the alignment, how much paint needed to be on the screen in order to fully the flood the mesh etc. I also developed my own methods to achieve crisper prints, such as adding a bit more than a 50:50 ratio of textile medium, or adding water to avoid the paint drying off so fast, using a hairdryer in between layers to make sure paint was fully dry before I added a new layer with a different colour etc etc.

First grey fabric screenprints- Even though I had already tried printing on different fabrics quite a lot I wasn't really prepared for how the paint would react with thicker waxed cotton material. Especially with the fabric being waxed which meant that the paint was never entirely absorbed into the fabric but kind of just sat on the surface.

Later on, as I printed the first full-scale bag design I was trying to repeat-print my image onto textiles and the paint began to dry. I had to wash my screen to tackle this however, in between washes I realised some of the emulsion was rubbing off my screen, making my images far more blurred. I think this was an issue particularly because this image was so dense, so it felt like the print was almost decaying the more I printed onto my fabric.

Later on I found out that I could mitigate this issue by trying to avoid washing the screen as frequently, but I also made my monogram designs a lot larger, which meant that even if the emulsion did come off slightly when the screen was washed, it wouldn't be enough to lose much of the detail in the print.

Red large-scale screenprint on grey cotton- my second attempt at printer on a larger scale. This series of prints went far better and I was able to achieve a much greater level of detail. In part this came from what I had learnt about not cleaning the screen too regularly when it does dry, but this was also to do with the fact that the images I exposed on my screens were far larger in size, so the lines in the images came out a lot clearer.

Last image- a third potential bag design I ended up developing. In the end I went with the previous design because I think it was easier to understand that the images used were themselves referencing the market and so the audience gets a bit of a clearer understanding of the self-referentiality of the design.

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ronjawalkinaround · 1 year

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Evaluation & reflection

Throughout the year I have been exploring themes of fantastical world-making and creatures, people's need for escaping reality, fever dreamish states, the underworld.

I have always been inspired by all artists who do their work unapologetically and actively, who make instead of whining, who have opinions but are not focused on politics, and who appeal to the human nature in general. Usually, movie creators leave the biggest impression for the longest amount of time. This year I have discovered and rediscovered directors like Dario Argento, Andrzej Żuławski, Akira Kurosawa, Francis Ford Coppola, and Russ Meyer. Their movies stayed with me and showed how a complete, balanced, detailed world with its own rules, colours, and soundtrack is created.

For the first time I have looked more specifically into women artists. That's not because I was avoiding them, but because I never wanted to make a distinction (which to be honest, I still believe we shouldn't). However, I found out about some amazing women like Collete Lumier, Dorothea Tanning, and many more. They have also been creators of worlds, whether it be inside 2D works, or in a home environment.

I went to many exhibitions, however, none of them left a really big impression. I think I am becoming quite strongly critical about not only myself, but others, and it is hard to find something great that is newly made. I understand it's a cynical perspective, and it always fluctuates. Sometimes it's a strong feeling that no one can create good things, sometimes - I appreciate the details and find meaning. In any case, I am sure there are brilliant creators out there, I will keep looking.

Methodology:

There is never much research involved in making my works, they are usually intuitive and hand-led. There is usually no sketch and no idea beforehand. However, this year there were some exceptions. My works related to snails were all thought out, they were related. I was also learning about specific materials and techniques (porcelain, screenprinting, Photoshop) as I went along, and thought (and read) a lot about pipes, in regards to my double pipe idea.

While making porcelain works, I was followed by failure, everything kept breaking, from smaller pieces, to the biggest ones. It's really disheartening seeing that, but at least I learned some lessons about porcelain, and about glue.

I have been recording small steps that I took in pictures and videos. And then, in the end of the year, I got to play with a good camera, mmm, that was beautiful.

The project was being created slowly throughout the whole year. Some parts of it had to fall off, and some added on. Even though I had a schedule, it kept changing according to each different day. I knew that my final project would include many details, so I was not too worried about specific quantities or materials, it was all quite experimental.

The main problem is of course not feeling good enough, wether it be about the 'empty' space or about quality of the works, technical or idea-wise. I do feel strongly about some of the works though, and that helps to keep the confidence.

The editing aspect is also difficult. Deciding which works are not good enough to show, when they are all so dear, is a hard thing, but it teaches to try and look through the viewer's eyes and to get detached.

It was very interesting to explore my scale, as I always loved the small paintings, however felt that they were not strong enough on their own, and now realised that it's just not good thinking, it does not matter which scale you choose, quality of the work itself is the only thing that matters, and small scaled work has the intimacy that is lost while working in larger scales.

Do I already know how to properly evaluate that quality of work? Probably not, especially with my works, I can just analyse some specifics and say, that sometimes they feel strong, and sometimes they don't. I do believe though, that if the work is really good, there is no need to know anything, you just know.

It was a good year for experimentation. I tried some new techniques like printmaking on fabric, figuring out porcelain, painting on marble, using expanding foam and flock for 3D sculptures, and managing people's hair, while still remaining the passion for my usual medias - painting, ceramics, printmaking. I was very busy all year it seemed, there was not a single time I was bored, which I find a really big deal. I spent many hours in the studios and in the workshops (although I wish the finishing one would have been shown earlier). There was also of course the small problem of being a new person on the final year course, but that solved itself quite quickly, and I'm very glad to have found some warm interesting people.

The university did give some great things, a lot of inspirations and tips, let me explore new techniques and ways of thinking, however I still feel like it wasn't enough. I want more history, more real life advice, and more skill. These are all things I will try to find from now on.

I leave now having more experience and a couple of friends, thank you for that, and for everything else I haven't mentioned.

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sweet-popplio · 2 years

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I had to call out of work today. I woke up late then tried to rush around and get ready. I got a lot of sleep, but am still so tired. Mentally I am just in a state of Permanent exhaustion. Idk what to do about it. I work full time, I only get 2 days off a week. The first day I spend resting to physically recover from the week, the second day is just for chores and errands.

My lower back has felt inflamed for a week now, ibuprofen only helps to a point. Christmas will be here soon and I still don't have everyones gifts. I want so badly to get everyone something but in the last 2 weeks I've had to replace 2 tires and a windshield wiper pump which have cost me a couple hundred dollars. The 1 guy I did a logo for is once again asking for the file, I have done this 2 times already because he or the person screenprinting is misplacing the file. Gotta run by the post office because people hate knocking on doors apparently when you have to sign for something so I gotta drive to go get it from the post office before they send it back to thailand. I have to go and get a pap smear again and I fuckin hate that whole process. I get chided for not doing it every 2 years but the whole process is so uncomfortable like why would I willingly do it?

This time of year is always so stressful for me and yet I'm supposed to enjoy it and I don't know how at this point. I try my best to hold everything in and just tell myself I have to endure a bit longer, but then I completely meltdown and can't function very well.

I feel I can only vent about this online because otherwise I'd be told "That's nothing, I had to deal with worse so you can too" idk how much more of that I can take. Maybe I'm a whimp! A super weenie hut jr.! I don't want to care anymore!

#vent #personal

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comm-vi-alexlondon · 2 years

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Feedback from Fiona & Marcos:

In my tutorial, I got some advice from Marcos and Fiona about how I am progressing and where to go forward. The advice I received was:

Fiona: - archiving & medical overarching themes - xray on the tab pages - can the tabs be a more specific shape etc - the graphic forms are giving cultural vibes - give the definition like a dictionary - can you choose a typeface that shows archiving / filing - can you screenprint the mask texture page - can you use the newspaper textures you made - maybe on a black background or over the texture - take out the 'scan me' / change it to something more archival - likes the mask cut out - said to look into ima boom and the page tabs she uses - https://jowseywilliams.co.nz/

Marcos:

- the cover can be uncentered / change the dynamic of the title - flip the first end page & lighten the mask - don't centre the mask cutout - title page can also be uncentered - don't have the graphic on the intro and graphic form page - can you have a heading for the intro - if you want a full black page change the stock don't try print it - can you relate the persons name with their tab or to their photo instead of always in the middle - change the qr code to something simpler - outside of indesign - put 10% colour into the outlined graphic forms to make it stand out - don't connect paige's photos on the first page - think about the columns / grid - make the typeface on the two image page smaller - the grey works better on the white instead of the black on paiges' landscape page - on the page straight after the graphic forms change the left photo with the right so you are zooming in on the person as time goes on - don't put the ripped paper image all the way to the bleed - make the mask image full bleed on the right hand side transition page for paige - make the next page full bleed and focus on her hands - move the image over - the page of paiges' that has her gazing to the left and cropped into her mouth make the image on the left hand full bleed and flip it inwards - on the same page flip the other photo i think? and make it line up with the left hand side - take out all quote marks - likes the prism effect but the necklace is distracting - make the pages with the definitions more like a dictionary - usually they have the abbreviation (adj.) and no quote marks - in the sliced image there is a couple where the movement is distorted - where her forehead comes down - really likes the colour of grace's chapter - the photo of her by the first graphic is too posed, change it to the one of her laughing two pages on & make it full bleed - move the full bleed image to the right - next page only needs one image, use white space - don't lay the graphic over the image of the mask, either have it a whole spread of graphics or put the graphic on the left spread only - maybe change the image of grace holding the mask? just commented that it was quite similar to paiges - likes the half page giving the idea seperate spaces and the text being vertical, thinks it works on the white best - think about the grid on these pages - only use two images on the next page, make it a sequence of the mask getting put on to have been put on (so flip them) - take off the halftone of the insert pages - likes the blur thing but take off the colour, it doesn't make sense - marcos thought about maybe sound waves for a texture - not 100% about graces interruptive effect, thin the lines between the photos - play with the framing of the open photo page - play with the shadows in tristans first photo to give more definition between the hair and the background - the type size is too big - don't lay the photo over the texture, sometimes it will take away from the photo itself - could draw out the flash effect - think about the texture that the transparent pages are being printed on - some photos of tristan are too similar (the mask ones) take some out - the hand and jaw photos are interesting - hands say a lot about a person - thinks the ripped photo technique is the best one yet - likes the scratched photo, could use some old borders - flip sanjanas full bleed photo - likes the colour treatment on the being in sanjanas chapter - take off the background texture from the rips (sanjana) - think about the bleed in the middle carefully so things line up

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ellamadsenbrough-studio-research · 2 years

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My Notes & Responses from Design Research 25/07

Prompts from the Lecture (& My Responses)

Confidence - What do you know ?

Hobbies

Baking

Lighting Design

Clay Sculptures and Objects

DIY Projects

Personality

I like to think I’m quite an upbeat person, I like talking to all different types of people, and like to give gifts. (I just love shopping for other people really haha)

Interests

Animals

Food

Travel

Theatre

Background - Places Culture Family

I’m originally from Wellington and still feel most at home there. I moved to Auckland in 2013 when my Dad started working up here pretty much every weekday. My Mums side is 1/2 Dutch 1/2 Danish , so I often get Christmas mixed up as the 24th instead of the 25th.

Jobs

My first ever job when I was 14 was working in a comic book/pop culture store in Takapuna named RetroSpace

I’ve worked in quite a few hospitality places

McDonalds (On two seperate occasions!)

Hells

Little and Friday (In the Bread Kitchen)

Sals

A Vineyard Cafe/Pizza Oven Restaurant

Theatre Work

I’ve been working at Auckland Live for four and a bit years in their lighting department which has allowed me to work with a lot of creative people

I also work in the same industry freelancing and casual for quite a few other folk

Sports

I played Netball and Tennis when I was younger

Creative Outlet

I like to make handmade cards for loved ones on special holidays

Decorating my home with specific colour pallet intentions

What makes you memorable ?

At work I often meet people momentarily and dont see them for a few months, my hair is often a different colour each time, and I often find my self saying “Oh! I think I had Blue hair last time we met...”

What do you care about?

Social & Political Equality

Climate Change

Loved Ones

Who influences/d you

I follow a lot of different Designers and Artists on Social Media - I love Ceramicist Lorien Stern (She does some graphic design too - my phone case is actually one of her works) Seba Curi has amazing big screenprinted art of hands that resemble different things that I find quite beautiful.

Mapping Curiosity

Exploring Connections

Identifying Research Resources

What kind of work do you want to make?

Start trying out things you’re curious about

Think about your approach

Styles

Processes

Inspiration

Who are your favourite designers and why

Social

Political

Economical

Klim Type Foundry

klim.co.nz

Thematic

Counter Culture

Activism

#604

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elvenbeard · 2 years

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I've been in a really bad slump for a couple of weeks now, trying to figure out what I want to do, how I want to do it, struggling with art, struggling with having no energy...

I hate when I am *like this* because I let everything slide, nothing matters anymore, and it really sucks - it sucks the most though when I get to a point where I do want to do things again. Only to realize, I have been doing things the entire time, I was just too tired and annoyed to keep everything in order, or to appreciate what I had been doing while feeling low. If that makes sense?

I'm just rambling, don't mind me XD

But yes anyway... I just queued up all the streams of the last two months on my youtube that I had still lying around. Seven altogether at least! So Youtube will be getting updates a lot for the upcoming weeks.

Also, I took on and finished a very fun commission recently - the first one in a long time, a big one, too, but I just didn't have the energy yet to actually post it.

I also looked into setting up a shop with Ko-Fi, because I really don't like Etsy. I've been using it for a while now, but now there's the whole fee thing, and it just feels so utterly bloated and over-complicated, when I need something much smaller and simpler for just starting out. And then I saw you can actually do commissions via Ko-Fi, too. So I'll look into that a bit more.

I've also started watching Brandon Sanderson's writing lectures on youtube, a series that I saw recommended in a different post a while ago. Absolutely eye-opening in many regards, be it writing habits or just general techniques on how to outline. I have a very rough outline for "The King of Ivendarea", and I want to refine it as soon as I've worked my way through the rest of the videos. I'm excited to see where it will lead.

Finally, I have been getting excited about Cosplay again. Nothing super advanced to begin with - basically, crafting some of my favourite clothes from GTA: Online. Something that I could also wear in everyday-life, but that challenges me in a creative way. For example I've been learning how to create endless, seamless patterns for a jacket I want to make (work in progress still)

And yesterday I tried screenprinting on fabric for the first time. It turned out so nice, I want to do more!! XD

Also, I did some work in the garden, set up my veggie patches for the year (no veggies yet, it's too cold at night still), but it's a work in progress.

But yes. That was my last couple of weeks/ my day today with the youtube and stream and ko-fi stuff. I'm ready to go back to bed tbh XD But at least some things have been moving forward, even if I didn't realize. Send me some energy to post the commission later (cause it did turn out very pretty!! I miss doing commissions - if there's interest still from any of you, I might open 1-2 slots soon).

#personal stuff #life update

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weneedglitter · 3 years

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I went through @sunsetcurvecuddles ‘s whole touch-starved willie tag right before class and then wrote this instead of taking notes. Come get y’all soft willex content

read on AO3 here

The thing about being in a bad situation for a long time is that your body and mind go into survival mode. You learn what you can ask for, what you can expect, and cut down to only the most crucial systems. If you go without for long enough, you start to forget anything else was even an option.

The thing about leaving a bad situation is that it doesn’t take long for the unconscious parts of you to notice you’re safe and start making demands.

Willie never wanted for anything with Caleb. He had his skateboard, he had a place to live, he had plenty to eat. Sure, maybe he was a little lonely for companions his own age, but there were tons of people at the club willing to indulge his chatter. Caleb wasn’t the warmest person ever, but he was far from cruel to Willie.

It wasn’t until the mess with Julie’s band had opened Willie’s eyes to the lengths Caleb was willing to go to get what he wanted that Willie realized that “a little lonely” wasn’t the most appropriate term for his time at the club. The few days he spent with Alex shone brighter than the sun in his memory, and every day beside them became inky and lightless in contrast.

But Willie’s not there anymore. He’s still reeling from the knowledge that Alex came back for him, refused to leave him behind after the role, however well-meaning, that Willie had played in bringing the boys to Caleb.

Now every day has Alex, has Luke and Reggie and Flynn and the Molinas. They’re loud and gentle and indecorous and always take the time to make sure Willie’s comfortable.

They also give affection so freely Willie almost doesn’t recognize it for what it is. With Caleb, touching was a direction. If his hand landed on your shoulder, it meant you weren’t where you were supposed to be.

In retrospect, it makes sense why watching Julie drop an absent-minded kiss on Reggie’s temple in thanks for his help with her homework smacks Willie with a wave of yearning so intense he has to escape to the studio.

It doesn’t make sense, Willie thinks, sitting perched on the back of the couch. His new friends are a tactile bunch; it’s inescapable. He knows they’ve been giving him space to settle in, but they’ve welcomed him in with very literal open arms. He’s not starved for the high-fives and hand-holds and hugs they all give out like it’s as easy as breathing.

But he can’t stop replaying the tender press of Julie’s lips to Reggie’s hairline. He remembers the hug Alex gave him on the street the day of the Orpheum show and wraps his arms tightly around himself, trying to recall exactly how it felt.

Like the memory summoned him, Willie hears footsteps on the stone outside, and Alex slips through the door. Willie notes dazedly how at home he looks here.

Alex’s brow is furrowed. “Reg and Julie said you ran out in a hurry, is everything okay?”

“You know it, hot dog. Better now, though.” Willie’s voice doesn’t sound like he’s expecting, misses breezy by a mile and lands closer to desperate. He suddenly becomes aware that every muscle in his body is tense.

Alex raises both eyebrows. “Yeah, I buy that. What’s going on with you?”

Willie shrugs helplessly, or tries to. He’s still tense. “I guess I’m just realizing some stuff.”

“About… the club?” Alex asks, walking a little closer with his hands deep in his pockets. Willie nods, the out-loud acknowledgement that something’s wrong at all making the feeling stronger.

Alex steps up to sit on the back of the couch next to him, the same way the two of them sat on the bench the first day they met. Willie feels sick with how much he wants to lean into his side, rest his head on Alex’s shoulder, but he just wraps his arms tighter around himself. He feels like a coiled spring, muscles taut and ready to – to what? He doesn’t know. He wishes he could relax. His neck aches. He curls in on himself, pulling at the tight knots along his shoulderblades.

Alex moves to sling an arm around Willie, the way he does with the boys, the way Willie’s seen Reggie and Luke do more times than he can count, but Willie’s body registers the motion before his brain does and reacts without his permission. It’s not a flinch, just his muscles ratcheting impossibly tighter, but Alex still clocks it and freezes with his hand halfway through the space between them. His gaze is too intense, too searching, and Willie has to look away, tracing the floorboards with his eyes instead.

Alex slowly lowers his hand so it rests on the couch right beside Willie’s hip. If he moved his pinky an inch, it would make contact with the rough material of Willie’s shorts.

It’s not new. It’s not exciting. Alex is a very physical person, though Willie suspects it’s learned rather than natural. Willie has never been an exception to that rule; he can’t count how many times Alex has wrapped a hand around his arm to get his attention or bumped their knees together in silent communication.

It’s not new, and it’s not exciting, so it doesn’t make sense that Alex’s hand resting next to him has his blood rushing in his ears. He feels unsteady.

“What’s going on?” Alex repeats. Willie can’t seem to open his mouth to explain, but he doesn’t know what he would say even if he could. He doesn’t know what’s going on. “Shit, are you okay?”

Willie doesn’t want to say no, because he doesn’t know what’s wrong, doesn’t know why he’s not okay, but Alex must pick up on the tiniest shake of his head because he hops down from the back of the couch to plant one foot on the ground and the other knee on the cushions. His concern is growing. Willie turns his head to watch him move, stomach churning as he gets farther away but unable to reach for him. “Can I touch you?”

Willie nods vigorously before he can even think about it. Alex grips Willie’s upper arms, just above the elbow, and Willie shudders. His knees, which he didn’t realize were locked, go weak, and he slides uncontrolled down to the couch. Alex guides him to rest more securely on the cushions and sits next to him again, a little distance between them. Something in Willie aches.

“What’s wrong?” Alex asks. “And don’t try to say it’s nothing, it obviously isn’t.”

“Um,” Willie says. He doesn’t want Alex to think he’s ignoring him, but it feels like there’s big blank spaces in the part of his brain where words go. “I don’t know. I don’t know what’s wrong.”

“Well, that makes two of us,” Alex replies. He’s too far away, Willie thinks. It would be easy to reach out. Alex would wrap him up without hesitation. Willie doesn’t move.

“Fortunately, Julie has a checklist for this kind of thing, because she’s a queen,” Alex continues. Willie’s pretty sure he would laugh at that, usually, so he huffs out a breath between dry lips. Alex leans closer again; the motion makes Willie realize his gaze has drifted away from Alex’s face again, fixated on the faded screenprint on his tshirt instead. Willie tries to drag his eyes up, but only makes it as far as Alex’s cheekbone.

“Okay,” Alex mutters. “Are you hungry?” Willie shakes his head. “Thirsty? No, okay. Tired?” He’s definitely a little tired, but that’s not the problem. “Cold?”

Now that Alex says it, his skin feels uncomfortably prickly, like he could start shivering despite the warmth of the air and both arms still clamped around his middle. “Yeah, I think that’s it. I’m too cold.” His voice comes out remarkably steady for how shaky he feels.

“Alright!” Alex says, cheered to have an answer he can take action with. “See, you gotta take care of yourself.” Willie knows Alex is better when there’s a problem with a solution right in front of him, something he can busy his hands with and see results. He looks around the room and locates a pair of blankets, snatching them up from the armchair. He puts one aside and drapes the second around Willie, leaving one arm across Willie’s shoulders. The proximity is dizzying.

“Better?” Alex asks, leaving one arm across Willie’s shoulders.

“Yeah,” Willie gasps, like it was punched from him. Alex’s arm feels searingly hot even through the blanket and Willie’s shirt, his skin sensitive like the start of a fever. Maybe he really is getting sick. “Yeah, that’s better.”

It doesn’t feel better. It feels more, somehow.

Alex sees his ill-disguised discomfort and frowns, starting to pull away and give him space again. Willie almost sobs. A tiny noise escapes anyway, and Alex freezes for a second time. Then he slowly slides his arm back around Willie’s shoulders.

Willie is still so tense, it doesn’t surprise him when he starts trembling, minute shivers all over his body.

Alex wraps his other arm around Willie in a sideways hug. Willie’s teeth start chattering. “Wow,” Alex says, almost admiring, “You’re just all fucked up, huh?”

That makes Willie actually laugh a little. “I think you might be onto something there, hot dog.” He’s starting to feel lightheaded; there’s so much input, so many conflicting signals. He’s almost nauseous with how badly he wants to just slump into Alex’s embrace, let it be easy, leech off his body heat, but his muscles are wound taut on a winch outside of his control and everywhere Alex touches him it’s borderline painful.

He doesn’t know why this is happening. He doesn’t know what he wants. He doesn’t want Alex to leave.

Like the universe is reading his thoughts, trying to find the one clear desire he can form just to yank it away, Alex starts to pull back and climb off the couch. Willie makes a tiny aborted movement to reach out and hold on. Alex still picks up on it, though.

“Hey, I’m just gonna move us around, okay? Just trust me.”

“Of course,” Willie says, too honest through his chattering teeth.

Alex takes the blanket and directs Willie to lie down on his side, spine flush with the back of the couch. He drapes the first blanket over Willie’s legs, tucking him in industriously, then squeezes onto the couch next to him and spreads the second blanket over both of them.

He shifts around so he’s lying fully on his side, facing Willie, pressed together all along their fronts. Willie’s eyes are level with his collarbone. Willie can feel the heat coming off him, the little puffs of his breath against the top of his head. He thinks he’d be dizzy if he wasn’t lying down. With the couch and the blanket and Alex in front of him, taking up his whole field of view, he feels surrounded, held on all sides. It’s so warm. He’s still shivering, muscles still tightly drawn, but the warmth of the safe little cave Alex has made is soaking in.

Alex slips an arm over his side, hand resting on the bare skin of Willie’s lower back where his shirt is riding up. Willie’s whole body trembles involuntarily; it feels impossibly warm, like it should be burning him, like when Alex pulls his hand away it’ll leave a mark, whirls of his fingerprints left behind on Willie’s skin.

“Is this okay?” Alex whispers. Willie nods, not trusting himself to speak with the way his breath catches on each inhale. “Stop me if it’s too much, yeah? Just tap me or something.” Alex slides his hand further around Willie’s back, under his shirt, calluses rough against his skin. He pulls Willie in so they’re pressed even closer together.

Alex’s hand spans wide over his spine, sweeping softly up and down. “It’s okay.”

That’s what does it; the tension releases like a snapping rubber band and Willie melts into Alex’s touch, locked muscles relaxing to send him slumping into Alex’s chest. His knees bend and tangle with Alex’s, forehead resting against his sternum. Alex ducks his chin to press his lips against the top of Willie’s head. “There you go.”

Willie’s breath shudders, caught between his mouth and the thin material of Alex’s tshirt. He squeezes his eyes shut. His throat feels tight, tears stinging at his eyes.

“Is this helping?” Alex asks, always checking in.

“Uh-huh,” Willie chokes out.

Alex hums and keeps lightly rubbing Willie’s back until his breathing evens out a little. Then he says, tone thoughtful, “When I figured out I was gay, I stopped touching the guys for two months.”

Willie looks up in surprise. Alex continues, “Yeah, I know, seems impossible. I just stopped initiating anything, pulled away any time Reggie or Luke were doing their thing, and eventually they stopped trying.” He laughs a little. “It was actually Bobby who talked to me about it. He said I was making Reggie think he did something wrong and I had to either cut it out or have a real good excuse.”

“What did you do?”

“Went back to the studio and sat on them.” The image makes Willie laugh. “I think they figured it out though, cause when I came out the year after I couldn’t get them off me for a week.”

Willie nods. That sounds about right. “What’s the moral of this story?”

Alex taps at his back chastisingly. “Don’t let it get this bad again, okay? You can always ask. I would do anything for you.” The mirror of Willie’s own words makes tears prickle at his eyes again, and he nods.

“Wasn’t on purpose,” Willie tries to explain. “I didn’t get any – any contact at the club, but you’re all so touchy, it should be more than enough.”

“Your tank’s empty,” Alex says. “You’ve been running on fumes for a long time, and we’re still operating at ‘be normal around the new person’ levels. You need what you need, and I can – we can give that to you.”

Alex moves his hand to run even farther up Willie’s back, finding the base of his neck with his arm still pressed hot along his spine. It’s an awkward angle but he gently digs his knuckles into the abused muscles. Willie groans. “Oh my god.”

“God,” Alex echoes. “Seriously, why didn’t you say anything? How long have you been feeling like this?”

“I don’t know,” Willie repeats, truthfully. “I think… I’ve been all fucked up for so long I didn’t even notice anymore.”

Alex moves his knuckles in a steady circle. Willie’s eyes roll up in his head. “Hhholy shit.”

Alex laughs, brushing little strands of Willie’s hair aside with his fingertips. “Willie, can I wash your hair later?”

Just the idea knocks the breath right out of him. “I might actually die.”

Alex laughs, shaking Willie with how tightly they’re pressed together. “That’s all it takes, huh.”

“You know I’m a rulebreaker. I couldn’t stand a conventional death. Here lies Willie, his boyfriend played with his hair and his soul left his mortal body.”

Alex’s hand stills. “Boyfriend?”

Willie tenses for all of a second before Alex digs his thumb back into the base of Willie’s neck and he goes limp again. “I mean – I kind of thought – if you want –”

Alex cuts him off before he can work himself up. “Chill out, you sound like me.” There’s a weird note to his voice, and Willie is startled to realize that Alex is nervous. “Boyfriend, though. I’m, yeah, I’d like that.”

“You’re into that?” Willie asks, nearly teasing.

“I’m into you,” Alex says, and Willie has to press his face into the space between Alex’s body and the couch to hide his smile.

The thing about leaving a bad situation is that you start realizing just how much you’ve been missing out on. Willie, cocooned in Alex’s arms, is learning that the thing about landing in a great situation is that you don’t have to miss out anymore.

#willie: *is hold*#willex #jatp #julie and the phantoms #jatp fic #mine #willie jatp #alex mercer

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the-blind-assassin-12 · 4 years

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Another Dream to Ashes

A/N: ... So here’s the thing: These Play the Hand You’re Dealt hands really threw me a loop on Billy giving me not one but TWO fluff prompts. And, well, as much as I want to give Billy pure love, I just can’t seem to give him pure fluff. So please accept this twist on the request and try not to be too upset with me. This can be read at any point in the I See You timeline, because...well...you’ll see.

Word Count: 1,800

Request from: Anon- Billy Russo, Fluff, Secrets & Lies, Fight or Conflict

After hanging his towel on the hook behind the door, Billy raked his hands haphazardly through his wet hair. It looked jet black in his reflection, the longer strands dripping onto his shoulders, the shorter ones sticking out at odd angles. He swiped his other hand through the condensation on the mirror to get a better look at himself, turning his face to catch the angles of his jawline. He ran his fingertips down each side over the neatly groomed beard that covered his chin, removing any excess water. He wanted to wipe the dumbass smile from his face, too, but it would be harder to get rid of than a few stray droplets, the afternoon taking a surprising turn towards what he’d previously thought impossible. He shook his head at himself as he pulled on a loose fitting pair of bulky gray sweatpants and a dark, slate blue tee. Not impossible. Not if it’s her. He hit the light switch and left the bathroom to see where you’d gone.

“Hey, Marine,” you called from the kitchen, rifling through the few cabinets, moving pots and dishes aside.

Billy emerged from the hallway in time to catch you elevating on your toes to get a better look at the contents of the top shelf. He grinned to himself, eyes drawn to the thin strip of skin visible between the hem of your shirt and the waistband of your sweatpants. My sweatpants. The thought only sent that grin inward, spiraling down into his chest and wrapping around his heart. She’s wearin’ my sweatpants, she’s in my kitchen, she’s...He came to lean against the doorframe as your bare feet flattened back out on the orange peel and stick linoleum.

“Where do you keep your…” you trailed off as you pulled a metal bowl out of your way, and Billy caught your reflection in it- your tongue poking into your cheek and a curious, determined look in your eye that sharpened as you smiled. “Nevermind, found it!” Shoving the bowl back inside, you closed the cabinet and swiveled around to face him, a plastic strainer in your hand. Huh, didn’t even know I had one of those. “You don’t do a lot of cooking, do you Billy?”

Billy shrugged, pushing away from the door. “Nah, you know me.” She does. He gestured to a pile of takeout menus on the small dinette table in the corner, but his focus was on you and the way that your damp hair was soaking into the collar and sleeve of your shirt. My shirt. “You sure you don’t wanna just-”

You cut him off with a laugh and a shake of your head. “Yes, Russo,” he watched the way that your mouth quirked to the side when you said his name, like a signature smirk just for him. “I’m sure I don’t wanna just order something.” You set the strainer down on the cracked countertop, empty aside from a tired looking toaster oven, and leaned back against it. Billy’s eyes flicked to your hands, watching as you curled your fingers to grip the edge. “I told you I’d make you dinner, and that’s what I’m doing.” You laughed again and the sound drew his gaze back up to your face. “It’s the least I can do, I mean,” you let go of the counter and stepped closer to him, dropping your arms to your sides. “You came out in the rain and picked me up at the airport,” You took another step, ticking his good deeds off as you spoke, two fingers extended. “Let me use your shower,” you extended a third, followed by another laugh as you held up four fingers, wiggling them in the air. “And I’m wearing all of your clothes.”

Billy’s fingers twitched, wanting to reach out and slide over the black screened USMC logo printed on the soft, olive cotton, wanting to slip between the elastic and your skin. They were an old pair, washed and worn well too many times to count, one of the first he’d been issued after enlisting. As such, they didn’t come close to fitting him anymore; he was still lean, but he no longer resembled the scrawny eighteen year old he was when those pants were new. He couldn’t bring himself to get rid of them though, so they stayed tucked away in his closet, with the few other things he’d never part with- the framed scorecard you’d given him, a photo of him and Frank from one of the first tours they did together, his birth certificate. Billy had intentionally chosen them for you when he realized you’d need a change of clothes, knowing how comfortable they were, knowing that no one but him had ever worn them before. He swallowed, crossing his arms over his chest to resist the urge to touch you.

“Well,” he cleared his throat “when you put it like that.” He lifted one eyebrow to a well-practiced angle. “You sure dinner’s gonna cut it? That’s a big debt you owe and- hey!”

You yanked the dish towel off of your shoulder, balled it up and threw it at him, muttering under your breath. “Jackass.” With the same grin he’d heard over the phone so many times, you turned back to the pot of pasta boiling on his stove, picking up a spoon to give it a stir. His chuckle faded beneath the sound of the cold rain lashing at the windows and the soft hiss of the steaming pot, and Billy watched the movement of your elbow as you tapped the utensil against the rim, your other hand perched on your hip. One bulb in the overhead fixture was out, the kitchen only bathed in half of it’s normally harsh light, casting shadows along one side of your face, down the curve of your back. Fuckin’ perfect. He let out a quiet breath as you looked over your shoulder, one cheek still pulled up into your eye. “Hey, hand me that towel back?”

Billy blinked and looked down at the red checked towel in his hand, then at your empty one extended behind you, and made a decision. Fuck this pasta. “Yeah, sure.” He held it out for you and felt your fingers wrap around the cloth, heard you thank him, but he didn’t let go.

You tried to take it from his grasp, but turned around when you were unsuccessful, confusion cutting through your laugh. “Billy? What are you-”

He yanked the towel, using it to pull you closer, pulling a gasp from your lips as he did. You didn’t let go. “C’mere,” he tilted his head to the side, dropping his voice as a strand of hair tumbled haphazardly into his eyes and you obliged. Why was I fightin’ this? His free hand found your hip and yours fell to his chest.

“Billy…” your voice was little more than a whisper and you let out a ragged breath that he felt on his lips. You swallowed in an attempt to regain control, but he felt your fingers tighten under his own around the towel, saw the shine in your eyes. “What about the-”

“M’not hungry.” He practically growled the words as he gave another pull both on the dish towel and the waistband of your sweatpants. My sweatpants. He licked his top lip, his eyes flicking down to yours, only inches away. “You hungry?” She’d stop me if she didn’t want this… she’s not stoppin’ me. He groaned your name under his breath, his thumb rubbing over the cracked, peeling screenprint before sliding under the soft cotton and over your soft skin. You shook your head, your nose bumping his as he leaned even closer. He reached behind you and turned the knob to extinguish the burner, the towel falling to the floor. “Didn’t think so.” His lips met yours and stole the breath from your lungs in a kiss that he couldn’t deny one minute longer, one he’d been wanting for so long. He filled his hands with you as you melted into him.

Why the fuck were we fightin’ this?

He felt something on his shoulder, but he chose to ignore it, diving deeper into the kiss as your fingers delved into his hair.

“Russo! Why are you fightin’ me damnit?”

Huh? He felt another shake of his shoulder, felt your lips falling away. No… what the-

“Wake up, damnit, let’s go.” Frank’s gruff voice cut through to chase you from his mind. The fuck? He rolled his shoulder and opened his eyes, finding himself in his cot, tent flaps blowing in the cold desert breeze. What the… shit.

“Frankie?” He blinked, taking in his surroundings. This ain’t my kitchen. In the distance the sounds of gunfire, rockets and general conflict could be heard, the war zone equivalent to the city symphony of horns and sirens back in New York. She’s never been to my place. He blinked again, reaching for his watch on the overturned crate next to him. It’s the middle of the goddamn night. She never… Billy felt a cold disappointment drop into his stomach. It was a dream. We never... I never kissed her.

“You good, Bill?” Frank sat back down on his own cot with a shake of his head. “Never known you to talk in your sleep but,” he shrugged. “Well you were talkin’.” I was? “Everythin’ good?”

“Yeah,” Billy cleared his throat and readjusted his position “Yeah, Frankie, all good.”

“Alright well keep your mumblin’ to yourself, Bill.”

Billy lobbed a string of profanity in Frank’s direction, the older man laughing to himself as he rolled over and immediately fell back to sleep.

But Billy didn’t find sleep again that night, contemplating the lie he’d just told. All good? Bullshit, Russo. A far off boom followed by the repeating rat-tat-tat of heavy artillery and some shouts barely audible over the snores of his unit provided the cover sound he needed to reach over and find the book he’d been reading. Fingers moving on their own, he found the photo that he’d tucked into every tome you’d sent him. Pulling it from between the pages, he forced his eyes to focus in the dark until he saw every detail of your face as clear as it had just been in his dream. The warmth that had curled around his heart in his imagination settled there again, and it terrified him. Shit.

He thought about the deal he’d all but signed in his own blood, and what it would mean to anyone close to him. I can’t. It’s… He looked at the picture again before slipping it back into the book. She’s just a dream… and I’m a fucking nightmare.

@something-tofightfor @its-my-little-dumpster-fire @suchatinyinfinity @malionnes @thesumofmychoices @gollyderek @pheedraws @beautifuldesastre @lexxierave @songforhema @fireeyes-on-teller-dixon-grimes @lysawayne @roses-in-your-country-house @ymariejp @belladonnarey @audreychaz @songtoyou @stories-you-wont-hear @traeumerinwitzhelden @luminex3 @drinix @jigsawlover10 @with1love1anu @dearmarii @fific7

please let me know if you would like to be added or removed from the tags, and thank you for reading! :)

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wolfywordweaver · 4 years

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Celebratory One-Word Prompt One-Shot

Hello beautiful people! While this was finished by last week I had RL stuff that kept me busy enough to not be able to post this until now. It’s short, sweet, and I got all the one-word prompts in! XD

Many thanks to @felicja-j, @narrowredoubt, @prussian-bog-monster, @curlyy-hair-dont-care, @pan-and-ready-to-stan, @lov-lyness, @peace-wisepenguin, and @kingfoxjellyfish

Prompts: island, rain, angelic, blush, pineapple, tea, and penguin Bonus: Tomarry in a dungeon cell

[now here on AO3 if you prefer to read over there]

---- ----- ----

"I can't believe that we're really doing this," Remus murmured as he ran his fingers through his unruly grey-streaked hair.

"Damn, Moony; you make it sound like I never take you on vacation." Remus shoot a look towards his husband. "Okay, okay, this is the first time I've taken you on vacation."

"My income contributed to this too, you know," the shorter man huffed as he glanced at the mirror once more.

How was a middle-aged man vacationing on a beach on a whole different hemisphere supposed to look for a casual walk? His usual professor-esque uniform of sensible slacks and well-worn jumpers had been vetoed by Sirius but he felt almost too touristy in the cargo shorts and plain white t-shirt. He was showing far too much pale skin and worried that he would be the laughing stock of the beach if he left the house like this.

"We wouldn't be here if it wasn't for you too, my love," Sirius stated breezily before pressing a wet and scruffy kiss to his husband's cheek. "And don't overthink the outfit. You look great."

"Easy for you to say," Remus murmured back as he stared at the reflection.

Sirius Black looked good no matter what he wore, regardless of how ridiculous it was. In fact, he was currently leaning onto Remus' shoulder casually while wearing denim hot pants and a pink t-shirt with little pineapples screenprinted all over it. Ridiculous for a man with grey hairs starting to make an appearance at his temples, but the tall man wore them so confidently that no one would even bat an eye.

"C'mon," Sirius groaned as he dragged Remus away from the mirror. "What's the fun of spending years saving up for an island vacation in the Caribbean only to get there and spend the whole time holed up in the hotel room because you're feeling self conscious of your outfit? You look hot, and my opinion as your husband is the only one that counts."

Taking a deep breath, Remus nodded. "You're right. We've only got a week here and it would be foolish to waste it away in the room." Sirius beamed proudly and Remus couldn't help but feel that twinge of affection that only Sirius could stir in him. "Should we go walk to the aquarium today? I think that the pamphlet said something about a penguin exhibit."

"Yes!" Sirius cheered as he rushed out the door. "Penguins!!!"

By the time they made it to the beach, Remus was already feeling better about his outfit. The tourists coming fresh off the cruise ship were wearing all manner of strangely gaudy outfits, and Sirius had a grand time giving his scathing reviews of their clothes. A short walk through the beach and up a hill and they could see the aquarium in the distance. The men entwined their fingers as they walked down the street with Remus chatting away about the most recent literature review he'd written and the work of two of his students who were trying to get published in an academic journal. A large raindrop splashing against his nose broke the conversation and soon they were huddled together under the metal awning of a food truck to avoid the downpour.

"Dang it, I hope my phone didn't get too wet," Sirius grumbled as he pulled the device out for inspection. His sudden barking laugh made Remus look over the top of the screen.

"Oh Merlin, not again," he groaned with a smile.

"Wait, listen to what James wrote. Ahem, 'Padfoot I think that we're going to need to stage an intervention for my boy when you guys get back. Is there like a gay code or something you can use to get through his thick skull that getting repeatedly stuck in compromising places with the same boy is not a coincidence?'"

Remus was outright laughing and he smooshed into his husband's side to get a better look at the accompanying photo. "That must be that theater stage set they were working on," he chuckled.

"What kind of play has a fucking dungeon?" Sirius shot back in amusement.

"Phantom of the Opera, I think." He squinted his eyes at the picture and just shook his head. "How long did James let them stay stuck in there?"

Sirius bit down on his lip as he tapped away on the screen before snickering at a message that came through. "Ooh, Lily wouldn't let him rescue them for over an hour. She was hoping that would be enough for the boys to work out their sexual tension."

"Let me guess," Remus chuckled as he looked back at the picture with a highly annoyed Tom and a blushing Harry, "that didn't work. And I'm sorry, but bringing the pining idiot and the oblivious idiot to talk to their son isn't going to help much either."

"I wasn't oblivious for that long," Sirius defended weakly before grinning sheepishly.

"Sirius. It was over three years of overt flirting on my part before you realized that I wanted to date you."

"Yeah, well, we've been together for over 13 years so that's like a drop in the bucket of time! Now we're just romantically in love idiots."

Remus glanced up into that stupidly angelic face and sighed happily. True, three years had seemed like an eternity when he was in the midst of trying to woo his best friend but he would do it over again in a heartbeat if it meant keeping these years together.

"Best 13 years of my life," Remus murmured before leaning forward and pressing a soft kiss to those smirking lips. "Do you think they serve tea anywhere around here?" he asked when he pulled away. The soft rain reminded him of home, although the still hot temperatures reminded him that they were half a world away.

The tall, dark-haired man was absolutely beaming down at his husband and gave him an affectionate squeeze. "I'll find you some, love."

Thirteen years down, and forever to go.

#wolfy writes #fanfiction #one-shot #wolfstar #sirius black #remus lupin #one-word prompts #reader's choice #celebration #fluff #hint of tomarry #exasperated Lily and James #gay intervention

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declencurran98 · 3 years

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Who am i as an artist: Essay & Analysis

I have been a printmaker now for over a year and a half, attempting and producing various types of prints, but as time has went on, I have become more confident in Screen-printing and seems to be my go-to so I will work towards that process in greater depth. Screen-printing is the printing process of transferring a design onto a relatively flat surface or textile by using Ink, a Silk/ mesh screen and Squeegee. Screen-printing has been a constantly evolving process that has become a favourite and Widley used because its colours are so vivid on dark fabrics, allows the printmaker to reproduce a design multiple time of various shapes and sizes, creates bold highly detailed prints with a wide range of inks available. I have become more familiar with this process over my HNC with creating very high standard and multicoloured pieces on various textiles with combining and printing digitally created threshold images onto tracing paper and transferring/ exposing them onto silk screens and for me, it’s a very rewarding process if done right. I have chosen to work towards Screen-printing as I am very organised and fluent in how I produce and style my work. The process and style stand out to me as a printer in terms of how freely you can layer and change the piece if you desire to create a depth on the piece or even develop it into a whole new piece which always gives a new perspective. Over time i would like to produce a portfolio that clearly demonstrates and expresses me as a person and an artist.

Chuck Sperry

Chuck Sperry is an American Printmaker who has been producing rock-based prints in San Francisco for the past decade. He specialises in multi coloured rock posters which catch the eye upon first glance. His use of colour and topic really depicts what he tries to convey through his style and artwork. His work can be compared to classic cultural murals with the sheer amount of detail and appropriation to colour and topic.

"Empathy" (2021)

Chuck Sperry. (2021). “Empathy” Blotter Art Release. [online] Available at: https://chucksperry.net/empathy-blotter-art-release-2/ [Accessed 14 Mar. 2021].

When looking at Sperry’s work, its clear he knows how to use colour appropriately, the way he mixes cold and warm colours to create a fresh perspective is quite an accomplishment. When first viewing his piece “Empathy”, my eyes instantly went to the blue section of the artwork as it feels like the coldest part of the image with the outer colours surrounding the blue feeling more enclosed and darker, it’s like Sperry did this intentionally to capture the viewers eye and make you look further into the print. The more I analyse this image, the more patterns I capture in the females skin and the gaps between the green flowers, it adds more depth to an already immersive print, The direction of the females stature facing towards the viewer with her eyes looking right at you creates this sense of mystery and welcoming which makes you want to know back story on her. The overall image gives off the idea that we should accept natural beauty like the female in the image has, she appears to be naturally faced with no make-up enhancements being present and is surrounded by nature in its truest form with no technology or human created materials shown. Sperry has blended floral decoration with natural human physique to give off the impression that this female is one with nature and the calmness in her facial expression makes you feel the same. The choices of colour used on this piece create a distinct aura of fresh and vibrant which adds to the images overall natural beauty, you find yourself being constantly drawn to another part of the image with how the yellow and orange bleed and blend into the green leaves and blue smaller flowers and when your eyes get used to that colour palette, the pink/magenta floral art grabs your attention making you spend more time analysing and investing in this print. The style Sperry has chosen for this image works as its already an busy image with lots of colour so his choice to keep the style simple but adding a lot of detail without it overtaking the image is an accomplishment. Overall this piece works visually and expressively giving the human eye something new to look at the longer the gaze.

Dogboy

Dogboy, also known as Philip Huntington, is a Camberwell College of Arts graduate who mixes and incorporates Screen prints and digital methods in his work. I came across Dogboy when first researching screen-print artists and his work stood out as it was bright, whimsical and mysterious which gives them their impressiveness. Dogboys work spans from the very obvious to the very abstract, showing that they don’t go into every piece produced with an idea of what they are trying to convey.

"Mutation"

Dogboy Illustration. (n.d.). MUTATION. [online] Available at: https://www.dogboy.co/work/illustration/mutation.

Out of all the prints Dogboy has produced, this one stood out to me due to its cold tonal presence. Even if you don’t have an understanding of what is going on in the image, the colour palette used is enough to draw you in and get you thinking. The image itself gives off a sense of helplessness as it depicts some sort of future, dystopian setting with the patterns along the walls and ceiling almost looking like 20th century depictions of spacecrafts on television, “people” horded together in a hole in the middle of the image desperately trying to escape while there are what appear to be “guards” just standing by, watching them pathetically attempt to escape. What makes this image stand out is how controlled yet unpredicting this image is. The amount of detail in this image makes it feel more real as the colour palette draws your eyes with how the turquoise mixes in with the lighter shade to create depth and vibrance in a cold, desolate image. The way Dogboy has kept the black part of the screen-print in the image imperfect adds to the density and darkness of the image while almost making it feel on purpose. When you aren’t drawn to the figures at the bottom, your eyes get drawn to the amount of different patterns and things going on in the top image, the sharp zig-zags and single line colours make the ares of the image seem si-fi and immersive, yet again another part of the image not lacking in detail and intricacy. It’s not clear what Dogboy is trying to convey or portray in this image, but I think that was his idea while creating this piece, To give the viewer no definition of what’s going on apart from the title of the piece and the image itself, to then let the viewers mind create its own depiction of what’s going on. Pieces like this stick in the mind as you’re brain is trying to create an understanding of what you’re visually seeing.

Rob Corradetti

Rob Corradetti is a Bay Area based artist who specialises in Screenprints, paintings, T-shirts, comics and Psychedelic pieces. His style is quoted as “a blend of head shop and punk rock” which he was inspired by in his coming of age in the early 1990’s. The thing that stands out about Robs work is how bright and fun it looks on first glance but makes you want to see more. He has collaborated with many pop culture bands and brands such as VANS, Buzzfeed and Wiz Khalifa.

"Death At Home" (2016)

Etsy. (n.d.). Death at Home Screen Print. [online] Available at: https://www.etsy.com/uk/listing/288520471/death-at-home-screen-print?show_sold_out_detail=1&ref=nla_listing_details [Accessed 14 Mar. 2021].

I had a look through Robs inventory of prints and its clear in all his pieces that he tries to give insight into different perspectives and his piece “Death At Home” is a great example. The images black background sets the overall tone of the image as it makes the environment seem enclosed and small focusing all your attention on the white outlines and patterns. This type of colour palette works for pieces like this, as theres alot of dexterity and There is so much going on in this image but yet still maintaining its overall image which creates this impressive, eye catchiness to the viewer. My interpretation of what is portrayed in this image is we as humans are so obsessed and reliant on technology that we spend most of our times indoors, In front of a television slowly rotting away in the comforts of our own homes till death. This is shown by the skeletal figure sitting close to the television, smoking and drinking, playing a videogame which states “game over” on the television which could be a metaphor for the once human now skeletal figure playing a game of life that they have now lost. Rob has succeeded in trying to portray this with his bold white and black colour palette blending together and the composition of the image giving the viewer an unknown sense of wonder. The image has so much going on in terms of detail and presence with how each white outline of the garb is its own and if you look even longer, you start to see other patterns and things going on in the image like the spiral swirls and eyes staring at the viewer. The image gives off a feeling of unsureness as it doesn’t really explain what’s going on too much, yet another piece of screen-print that makes the viewer create their own interpretation of this image. The pop art style really lifts the image off the ground and catches the eye even with its two-colour palette which is a great choice. Overall the detail, the matter of the image and the way is composed gives “Death At Home” so much revisit value in terms of what the viewer finds in the image and their interpretation. The image upon multiple viewings gives off this aura of Horror and when you delve into the image and what it stands for, it works.

References:

Chuck Sperry

Info:

Chuck Sperry. (n.d.). About. [online] Available at: https://chucksperry.net/about/.

Image:

Netdna-ssl.com. (2021). [online] Available at: https://3nmir91xseyl7jrgx40dgp41-wpengine.netdna-ssl.com/wp-content/uploads/2021/01/EMPATHY-BLOTTER.jpg [Accessed 14 Mar. 2021].

Dogboy

Info:

Chayasatit, A. (2013). People of Print: 20 Screen Print Artists You Should All Know About. [online] People of Print. Available at: https://www.peopleofprint.com/general/people-of-print-20-screen-printers-you-should-know-about/.

Image:

Dogboy Illustration. (n.d.). MUTATION. [online] Available at: https://www.dogboy.co/work/illustration/mutation.

Rob Corradetti

Info:

tumblr. (n.d.). Tumblr. [online] Available at: https://robcorradetti.com/info.

Image:

‌

Wordcount: 1537

#mb hndcpm1

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hannahwaterman · 4 years

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Type and Language 1 - Choosing a quote, planning my project, brainstorming.

Selecting a quote for this briefing was something I tried to get done very quickly so that I could begin making work fast. At first I thought of doing the following quote by Bill Hicks:

“The world is like a ride in an amusement park, and when you choose to go on it you think it's real because that's how powerful our minds are. The ride goes up and down, around and around, it has thrills and chills, and it's very brightly colored, and it's very loud, and it's fun for a while. Many people have been on the ride a long time, and they begin to wonder, "Hey, is this real, or is this just a ride?" And other people have remembered, and they come back to us and say, "Hey, don't worry; don't be afraid, ever, because this is just a ride." And we … kill those people. "Shut him up! I've got a lot invested in this ride, shut him up! Look at my furrows of worry, look at my big bank account, and my family. This has to be real." It's just a ride. But we always kill the good guys who try and tell us that, you ever notice that? And let the demons run amok … But it doesn't matter, because it's just a ride. And we can change it any time we want. It's only a choice. No effort, no work, no job, no savings of money. Just a simple choice, right now, between fear and love. The eyes of fear want you to put bigger locks on your doors, buy guns, close yourself off. The eyes of love instead see all of us as one. Here's what we can do to change the world, right now, to a better ride. Take all that money we spend on weapons and defenses each year and instead spend it feeding and clothing and educating the poor of the world, which it would pay for many times over, not one human being excluded, and we could explore space, together, both inner and outer, forever, in peace.”

It’s very long, but I think it’s a very beautiful and well meaning piece of spoken word. Bill Hicks was a comedian-philosopher, and he was a very influential person in the formative years of my life from about 10 years old onwards. Definitely too young to be listening to Bill Hicks, but hey - his words really stuck with me and I think this quote is a very important one in my life.

I thought I could do something funny like this quote from Come Dine With Me:

Dear Lord, what a sad little life, Jane. You ruined my night, completely, so you could have the money, but I hope now you spend it on getting some lessons in grace and decorum because you have all the grace of a reversing dump truck without any tyres on.

But ultimately, I didn’t have faith that I would really be able to get excited about it!

I finally settled for this quote by Robert Sapolsky, a human behavioural biologist:

I am not worried if scientists go and explain everything. This is for a very simple reason: an impala sprinting across the Savannah can be reduced to biomechanics, and Bach can be reduced to counterpoint, yet that does not decrease one iota our ability to shiver as we experience impalas leaping or Bach thundering. We can only gain and grow with each discovery that there is structure underlying the most accessible levels of things that fill us with awe. But there is an even stronger reason why I am not afraid that scientists will inadvertently go and explain everything--it will never happen. While in certain realms, it may prove to be the case that science can explain anything, it will never explain everything. As should be obvious after all these pages, as part of the scientific process, for every question answered, a dozen newer ones are generated. And they are usually far more puzzling, more challenging than than the prior problems. This was stated wonderfully in a quote by a geneticist named Haldane earlier in the century: "Life is not only stranger than we imagine, it is stranger than we can imagine." We will never have our flames extinguished by knowledge. The purpose of science is not to cure us of our sense of mystery and wonder, but to constantly reinvent and reinvigorate it.

It’s very long, so I chose from it the most effecting and important sentences, and I was left with the following.

I am not worried if scientists go and explain everything. It will never happen. It will never explain everything. As part of the scientific process, for every question answered, a dozen newer ones are generated. And they are usually far more puzzling, more challenging than than the prior problems. Life is not only stranger than we imagine, it is stranger than we can imagine. We will never have our flames extinguished by knowledge. The purpose of science is not to cure us of our sense of mystery and wonder, but to constantly reinvent and reinvigorate it.

Robert Sapolsky lectures on human behaviour, taking information from many different scientific avenues, including biology, endocrinology, sociology, criminology, neuroscience, etc, to build a massive and complex picture of why it is humans behave the way we do, looking at our behaviour through multiple lenses and disciplines, and combining them in order to answer some of the biggest philosophical questions, including questions about free will, about love, about hatred and forgiveness and family.

He is one of the biggest influences on my outlook towards life and my trauma and mental health recovery, because not only are his teachings grounded in extremely interesting research and knowledge, but they are able to explain and open up discussions some of the most confusing and difficult parts of the human experience. Sex, love, violence, free will, tribalism, trauma, fear - Sapolsky tackles all of these terrifying and wonderful parts of our lives with such grace and poise and intelligence - his lectures have coloured my world with a newfound respect for myself and those around me.

He delivers this quote or similar at the end of one of his books and in his lecture series, to help clear up some of the biggest fears that people have of scientific knowledge, and it is a sentiment that I hold very dear to my heart. We should not fear advancement and knowledge. It can only enrich our lives, and a better understanding of myself as not just another person in society, but my very own series of complex and intricate biological mechanisms, has completely enriched my life.

I began by experimenting with very basic black and white type designs on Procreate on my iPad. I tend to jump straight into making before I do research, or much thinking at all, because it is often the case that I can come up with some very raw, messy, and interesting visual ideas. The first few attempts I have at a task like this can really inform where my project will go, what I would like to work on over the duration of the project, and what techniques will or won’t help me.

I often start projects in black and white because it is a very basic and simple building block foundation for the shapes in the work, and makes it so that more complex parts of a visual identity can be added later, giving me more time to think about colours and textures before going ahead with them.

I had fun warping text like this - it makes the writing mysterious and mostly illegible. It did not yet communicate effectively, however, and I had a talk with Sarah to better discuss where to go with this project.

Sarah told me to really think about WHO said the text, and WHY. To ask questions about WHAT I am trying to convey. How will I bring the message of the words to life? How can I use type to emphasise and better explain the language being spoken? How can I use typography as not just a fun image, but a visual tool to really hammer home the intent behind the words being spoken?

Sarah advised me to sketch out “how to quote acts”, how it moves and it feels. Also to question, how do I want people to react to this type?

With this higher level of specificity, I was able to think much more clearly about the task at hand. My plan now was to take certain important words from my quote, and do visual research surrounding them. To really give this project a microscopic view to begin with, I am going to focus on smaller fractions of the text, to begin to build up a catalogue of how those words really feel, act, and speak to a reader. I need to bring into question, how can I communicate better using type? How can I make somebody listen with my typography? How can I use my skillset as a designer to translate information into something visually consumable and interesting to look at?

Once I’ve done visual research and sketches focusing on the very zoomed in parts of this quote, I am going to try to visualise those in context of Sapolsky’s life and teachings. He started off his practice as a field scientist, living amongst primates, and studying their movements. He went on to combine this knowledge with laboratory work, studying hormones and neurodevelopment in rats and analysing other studies. He now, on top of all of this, lectures at Stanford, and has written multiple books on the subject of human and animal behaviour, for the casual reader and scientist alike.

How can I represent Sapolsky’s life with design? Can I start off the quote as rough and messy and dusty and animalistic, representing the time he spent amongst apes in the jungle - then developing it into something very neat, tidy and clinical like his lab studies are? Can I make 2 different designs to represent these, then overlay them? Use colours to represent the two different stages of his practice? Can I make this into a screenprint? A series of 2 or 3 posters?

Or could I make a typographic mural to go on the wall at Stanford or another institute of science? A series of posters? A small book or leaflet? An animation? Who am I aiming it at? Over the next few days I am going to collate visual research and express it as a series of typographic works.

#type and language #typography #agp500

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jwillgoose · 4 years

Text

PSB crew & friends fundraiser

Dear Listeners,

I hope you are all well and looking after each other, especially those who need the most help. These are very worrying times but all we can try to do is offer comfort and kindness to each other.

As a band, we are in the very fortunate position of being ok financially for the next few months - most bands larger than us are probably in the same boat. One group of people who aren’t as fortunate, though, are touring crew members and musicians; they don’t have the benefit of PRS and PPL payments, streaming income, record sales income, advances against future records and so on.

Even though we had no gigs announced for this year we’d like to do our best to help those we work most regularly with, a group of around 10 to 15 people. All of the below items are being sold by me personally and any funds raised will be placed into an emergency PSB crew and musician fund, to enable anyone who needs help to take advantage of any available money. In the absence of any help from the government (as at lunchtime on March 17, anyway) it seems the least we could do. One of our most regular crew members has lost 14 weeks of work, already; clearly that is going to have a devastating impact, which is why we are doing what we can to help. (We have also made various behind-the-scenes efforts, too, to the extent to which we are able to afford to.)

In the event that none of our crew or session players needs assistance, we will find a suitable charity to donate this money to. Either way it will all end up going to a good cause, and none of it is for the band.

Obviously an unprecedented number of people are going to struggle financially over the coming months - to those with uncertain short-term financial futures who, in normal circumstances, would dearly love some of these items, we can only apologise. It’s not a competition - one group of struggling people isn’t more important than another, but these are people with whom we regularly work and communicate and who are part of our broader family, and we feel obliged to try to help them.

To try to accommodate those without the financial resources to buy these items off the bat, we’re running a raffle for one of the copies of EP One. See below for more details.

HOW THIS WILL WORK

If you’re interested in any item, please email [email protected], clearly stating which item(s) you’d like to buy. I am doing all of this manually so there is a chance the item will be gone by the time you email - apologies if so. I will try to respond as quickly as possible.

Some of the prices may seem high, but they are for the most part very rare PSB items and they are also the last that I have of most of them, so I am trying to get the most out of what I have in order to help others.

The sealed auction will run as an email auction until Sunday, March 22. I will hopefully be able to post the record on Monday, March 23. To place a bid, please email [email protected], clearly stating that it’s for the sealed auction and the amount you’re offering.

The raffle will run until Sunday, March 22 too. Tickets are virtual and are £5 each, to enable those with less disposable income to bid on an extremely rare item (after this fundraiser I will only have 2 left, from an original 250, and they won’t be re-pressed). You can buy more than one ticket but please do so in multiples of £5. If you are interested in taking part, please email [email protected] and clearly state the number of tickets you’d like to buy. You will be emailed further instructions.

Again, I am doing all of this myself, so please do bear with me if demand is higher than I anticipate.

ITEMS FOR SALE

First off - a word about test pressings! They are exactly what they sound like they are, ie pressings sent from the vinyl plant to us for approval or, indeed, rejection. They are often slightly poorer quality than the final version, for various boring reasons, and in some cases some of these have actually been rejected by us for being poor quality. But the value in these items doesn’t lie in their fidelity, rather their scarcity, so hopefully you won’t be expecting a pristine listen, rather an extremely rare edition of a cherished record.

Ok, here we go:

2 x copies of EP One

This is the first PSB vinyl release ever, pressed on 10″ in only 250 copies. After this fundraiser I have 2 more, forever, so they are extremely rare. They regularly go for upwards of £150 on eBay.

One will run as a sealed auction - please send your name and your highest bid to [email protected]. The auction will close on Sunday at 7pm GMT.

The other, to allow those with less disposable income to take part, will be a virtual raffle. Tickets £5 each. You can buy more than one ticket but please do so in multiples of £5. If you are interested in taking part, please email [email protected] and clearly state the number of tickets you’d like to buy. You will be emailed further instructions.

NB - both items have ever-so-slight damage to the covers so they are not pristine! They’ve been in a cardboard box that was taken to numerous gigs and festivals in 2010 and 2011 with me desperately trying to flog them to uninterested parties, before The War Room came out and they started selling online!

TEST PRESSINGS

The following are rare test pressings of various albums, EPs and so on. There are a very limited number of copies available and it’s first come, first served. Please also read the disclaimer on audio quality above. I will try to update this list as they sell, but please don’t be disappointed if you email me and they’re already sold.

Dispatch will probably happen sometime next week (March 23 onwards) provided the postal service is still working; if it isn’t, I will post them as soon as is feasible.

THE RACE FOR SPACE - PLASTIC INNER SOLD OUT!

SOLD OUT! £100 each + p&p

THE RACE FOR SPACE - REPRESS, PROPER SLEEVE 3 of 4 SOLD OUT!

SOLD OUT! £100 each + p&p We had to get TRFS re-pressed from a different master in 2018 so had new test pressings. I have 4 of these newer versions, 3 of which have proper, sealed sleeves.

EVERY VALLEY SOLD OUT!

SOLD OUT! £100 + p&p

INFORM - EDUCATE - ENTERTAIN SOLD OUT!

SOLD OUT! £100 each + p&p

WHITE STAR LINER SOLD OUT

SOLD OUT! £75 each + p&p To buy, email [email protected] - also let me know if you’d like it signed. NB - this test pressing was rejected so it is not great quality, but it is extremely rare!

THE WAR ROOM SOLD OUT!

SOLD OUT! £75 + p&p

PEOPLE WILL ALWAYS NEED COAL (RSD 2018 REMIX RELEASE) - SOLD OUT!

SOLD OUT! £75 each + p&p

THE RACE FOR SPACE - REMIXES SOLD OUT!

SOLD OUT! £75 each + p&p

LIMITED EDITION VINYL

These are all, with the exception of the TRFS remix release, limited editions that have sold out (I think!). I am happy to sign any of them.

SIGNAL 30 RSD 2013 7″ SOLD OUT!

Extremely rare. Orange vinyl, backed with New Dimensions in Sound. SOLD OUT! £100 + p&p

ELFSTEDENTOCHT PARTS 1 & 2 RSD 2014 7″ SOLD OUT!

Very rare. SOLD OUT! £80 each + p&p

THE OTHER SIDE PICTURE DISC - RSD 2016 7″ SOLD OUT!

NB because this is a picture disc, the audio quality isn’t great - that’s the nature of the medium. It looks amazing though! Backed with the Datassette remix. SOLD OUT! £50 + p&p

GO! 7″ SOLD OUT!

Backed with the Errors remix. SOLD OUT! £50 each + p&p

THEME FROM PSB 7″ SOLD OUT!

SOLD OUT! £50 + p&p

PROMO & EARLY CDs

ROYGBIV (FIRST OFFICIAL SINGLE) SOLD OUT!

Backed with a different version of Lit Up, not the album version. Rare. SOLD OUT! £50 each + p&p

THE WAR ROOM (ORIGINAL RELEASE) SOLD OUT!

From back before we had a distributor so I was still selling and posting these myself - relatively rare although a few hundred were made up. In a plastic CD wallet. SOLD OUT! £50 each + p&p

ORIGINAL / RARE STOCK OF PSB VINYL

EVERY VALLEY (CLEAR INDIES VERSION) SOLD OUT!

Still sealed, limited numbers were pressed up and these are 2 of the last 3 I have. SOLD OUT! £50 each + p&p

THE RACE FOR SPACE - REMIXES SOLD OUT!

On orange vinyl. One has slight damage to the shrinkwrap. Price is based on being expected to be asked to sign them! SOLD OUT! £25 each + p&p To buy, email [email protected] - also let me know if you’d like it signed.

POSTERS

GREEN MAN 2018 TRIPTYCH SCREENPRINT SOLD!

NB - this has different text to the image above - instead of ‘Informing...’ it has Green Man Festival and the date of the show (I can’t find the original image). It was a limited edition run. SOLD! £50 + p&p

THE RACE FOR SPACE DOUBLE SIDED A2 POSTERS SOLD OUT!

No image, sorry, but we have a handful of these left. They’re on decent, thick paper, A2 size, one side has the USA cover and one side the Soviet cover. Happy to sign as required. SOLD OUT! £30 each + p&p To buy, email [email protected].

That’s it for now - thanks a lot for any support you can help us extend to our folks.

Yours hygienically,

J. Willgoose, Esq.

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bpro-cardstories · 5 years

Text

Ryuji Korekuni Kizuna 03

2019 ー Endless Possibilities [無限大の可能性]

“Yeah, both the colour and shape… It’s a style that only Korekuni can wear.”

Part 1 | Part 2 | Part 4 | Part 5

Ryuji has a shooting with other BPro members for the clothing brand 『PORTE』.

Camera man: ‘Ryuji-kun, can you look over here?’

Ryuji: ‘Like this?’

Camera man: ‘Oh, yes, that’s good! Next, let’s change the pose a bit.’

Ryuji: ‘If it’s about these clothes… How about like this? With this movement the ornament stands out.’

Camera man: ‘Yes! Perfect! Like this, try to move around lightly.’

(Ryuji-kun, he is so lively. He really does love fashion. Especially this time as it is the design of『PORTE』. He is a lot more eager than usual.) _________

Camera man: ‘Alright… Should we take a break? Can you tell me when are done changing clothes?’

Ryuji: ‘Yes, I will do so.’

Tsubasa: ‘The atmosphere of today’s shooting was different, it was really great. I’m looking forward to the magazine appearance.’

Ryuji: ‘Yeah, me too ♪ I’m happy that I was able to wear PORTE’s new clothes first. I was really excited.’

Tsubasa: ‘How was it for you Momo-kun?’

Momo: ‘Right… I watched Korekuni’s shooting and learned from it.’

Ryuji: ‘Wait, not the the clothes but my impression?’

Tsubasa: ‘I thought so too. Of course, Momo-kun was wonderful as well but as one would expect, Ryuji-kun is skilled in both the expression and presentation of the clothes…’

Momo: ‘Aa, the next time when I have a shooting, let me use today’s Korekuni as reference.’

Ryuji: ‘Using me as a reference? …. Hm, I don’t know how to feel about it. Because even if I and Momo are wearing the same clothes of PORTE, we can do different presentations.’

Ryuji: ‘It’s okay if Momo thinks about how Momo presents them, including dressing yourself stylishly.’

Momo: ‘My way of presentation?’

Ryuji: ‘Yep. For example…. That top there is too flashy, if you remove the pop then it looks cute, I think. If I wear it, it will come out well even without too much of arrangements with my typical feel of height or hair, that’s what I think…’

Ryuji: ‘Momo should wear them normally. It will look cool just as expected of you. So, together with the top and the pants, intentionally wear them a bit loose, the cuteness will come out and you will have a superb balance…’

Momo: ‘....’

Ryuji: ‘What’s with this face? Was it too much?’

Seeing Ryuji so enthusiastically makes Momo smile. He reminds him of someone Ryuji doesn’t expect.

Momo: ‘No, I only thought that Korekuni really loves these clothes. You looked just like Mika when you talked.’

Ryuji: ‘....!? You’re joking, right?’

Momo: ‘No… The image of talking about something you enjoy resembled him a lot. So lively and fun to see, it’s nice to have something you like.’

His friend’s words bring a blush to Ryuji’s cheeks.

Ryuji: ‘Don’t say that… It’s surely might be so…..’

Tsubasa: ‘Even during the shooting I felt your love towards the clothes. It is strange it is not talked about but… the camera man said that too just now.’

Ryuji: ‘Is that so? During the shootings I don’t particularly conscious so I don’t really focus on myself. Well, I’ve been loving PORTE’s clothes since forever now, I always buy their new collection every season.’

Tsubasa: ‘Ah…’

Ryuji: ‘What?’

Tsubasa: ‘I am sorry. I forgot to tell you. Those are the clothes for today’s shooting but if there are ones you like, you can buy it.’

Ryuji: ‘Really!?’

Tsubasa: ‘Yes. If you can say what clothes you want after the shooting’

Ryuji: ‘Yay ~! Then let’s quickly change, the break’s over!’

Momo: ‘Already?’

Ryuji: ‘Because it’s not the time to rest. Come on, Momo, quickly!’

Ryuji: ‘Fufu. What clothes shall I buy, so nice ♪’ _________

The shooting is over and they went back to the changing room.

Tsubasa: ‘Good work! Both of your last shots were really wonderful.’

Ryuji: ‘It’s only natural of me. Good for Momo, he brought out the best in him.’

Momo: ‘Aa, all I did was being helped by Korekuni today.’

Momo: ‘When wearing PORTE’s clothes, Korekuni’s aura is different. Somehow different than always, your stature too appears in a big way…’

Those words don’t make him happy, he feels being joked on. But Momo meant it in a genuine way, he says with an apologetic look.

Ryuji: ‘What’s that, are you kidding me?’

Momo: ‘I don’t. I really felt like that.’

Ryuji: ‘If it’s so then okay… In the end, it was a fun time, right? What clothes should I take home, hmm ~’ _________

Tomo: ‘Good work, everyone. Did the already end?’

Momo: ‘Yeah, a little while back.’

Tsubasa: ‘Eh? Kitakado-san, isn’t today your free day…’

Tomo: ‘Yes, but I think of having dinner together with Ryuji. I came to pick him up.’

Tsubasa: ‘I see, that’s why.’

Ryuji: ‘Wait, Tomo. I’m seriously choosing right now.’

Tomo: ‘The shooting’s clothes? Are you going to purchase them?’

Ryuji: ‘Yeah, I’m troubled because I like all of them.’

Ryuji: ‘Hmm~, can I mix and match these with my own effectively? But this parka is also hard to discard…’

Tomo: ‘If you like them all, why not buy everything? It’s a present from me.’

Ryuji: ‘Even if you say so, you always do, right? The closet has its limits, and it’s fun to choose.’

Momo: ‘Hee… That’s where you are different from Mika. He buys all the figurines he wants.’

Ryuji: ‘Is that so? …. Mika’s room must look amazing.’

Momo: ‘I don’t understand it very well but I’m happy when Mika talks about his important things in detail.’

Tomo: ‘I can relate to this feeling. I also like to hear that from Ryuji.’

Ryuji: ‘Even if you try to buy them like that, you can’t, Tomo.’

Tomo: ‘Haha, as I thought, it’s no good?’

Ryuji: ‘Geez… I enjoy choosing them, do you understand?’

Tomo: ‘Yes. In that case it can’t be helped.’

Ryuji: ‘Thanks for your understanding.’

Ryuji: ‘Even if I say so, I can’t take forever to choose. Hm~, should I go with this one?’

Tsubasa: ‘Ah, that’s the first one you wore during the shooting, right.’

Ryuji: ‘Yep. It’s easy to mix and match and the colour too is beautiful…’

(...Eh? He looks a bit lost again? Speaking of which, a while ago he was looking at another garment...)

Tsubasa: ‘... Ryuji-kun, are you fine with that cut and sew piece* one?’

Ryuji: ‘Ah, this? Yeah, I like the design but I’m worried about the combination…’

Tsubasa: ‘Aa… Surely, it’s difficult. But doesn’t it match with the pants Ryuji-kun brought here? And if you add the navy blue parka from the shooting, it looks like a good balance.’

Ryuji: ‘...Hee, indeed, it might not be bad. I’m gonna borrow the parka. I want try it on.’

Tsubasa: ‘Yes, please wait a minute.’ _________

Ryuji: ‘--Yep, it’s really cute!’

Tomo: ‘Very good, it has a fresh feeling to it, however I know very well that it suits Ryuji.’

Momo: ‘Yeah, both the colour and shape… It’s a style that only Korekuni can wear.’

Ryuji: ‘Hehe, I agree. Alright, then… Should I buy this cut and sew piece and the parka.’

Tsubasa: ‘I think, it looks very lovely.’

Ryuji: ‘Thanks, Tsubasa. You have surprisingly good taste. Ah… right. It’s about going shopping next time.’

Tsubasa: ‘Eh, with me, is that fine?’

Even though it is a bit embarrassing, Ryuji shyly and with a blush asks her to accompany him next time.

Ryuji: ‘Yeah. If it’s with Tsubasa, I feel like I can find a new me.’

Ryuji: ‘Can’t I?’

Tsubasa: ‘No, I’m happy. Please let me accompany you.’

Ryuji: ‘Good, I’m looking forward to it.’

To be continued... ___________________

* カットソー: The dictionary says ‘cut and sewn; clothes made from jersey cloth’. Cut and Sew: The term cut and sew is used to denote a garment that has been customized from raw fabric rather than one that has been purchased from a third-party supplier and then screenprinted or altered. [Source: Wikipedia]

#b project #b-project #ryuji korekuni #kizuna #ryuji kizuna #kitakore #myps #card:2019

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houseofvans · 6 years

Photo

ART SCHOOL | Q&A with DETH P. SUN

Influenced by the works of Richard Scarry, Charles Schultz, and the likes of Tove Jannson, artist Deth P. Sun’s interest in art and zines started early on–from drawing everything in an encyclopedia to creating his first zine in high school. From that point on, Deth has been a prolific painter, zine maker, and doodler, focused on making his art on his own terms. With his central hero– a genderless cat – Deth explores various natural and strange worlds through a subtle narrative, created by his brushwork, ambiguity, and color palettes.

Find out more about Deth’s art, his wordless storytelling, and what inspires him by taking the leap below.

Photographs courtesy of the artist.

Introduce yourself? My name is Deth P. Sun, I’m an artist living in a tiny coastal town in Northern California, but most of my adult life was spent in the Bay Area, primarily in Oakland and Berkeley. I tell people I’m Cambodian, which is mostly true.

When did you begin having an interest in art and painting? How or why do you think you gravitated towards this profession? I’ve always enjoyed drawing, I think I kind of like getting better at it and learning about new things that are centered around that. It’s one of the cheaper hobbies to get started in as a kid. It’s not really a thing I think about too much these days. Mostly I wonder how my life was set by my 17 year old self.

How do you describe your work to people who maybe unfamiliar with it? Until I moved to this town I live in now, I kind of never had to. Mostly because I don’t meet new people outside of my circle. I just tell people I’m a graphic artist. If they want more info I just stare at them blankly because I think it’s kind of rude to ask strangers what they do for a living.

There are various aspects to your paintings from being narrative and storytelling to those that feature various painted objects and natural things. Can you tell us a little bit about the narrative elements of your works and how that came about? Yeah, I just like suggesting that there’s a narrative with my work, which isn’t that hard as long as you don’t stray too much from your pallette or reuse images to find in each painting. I kind of like seeing a whole set of paintings, that’s when you sense that there is a story.

When did you protagonist character start to take shape? How did that evolve and come-about? I’ve just always drew a character like that. Probably in high school. It’s been so long I don’t really remember. It probably came from my sketchbook. Most of my sketchbooks are kind of boring because it was just me repeatedly drawing the same stuff until I got better at it. I think I was trying to draw a cat and I drew something else that I liked.

In some of your other works, you paint collections of items from food, mushrooms, crystals to swords and old style cell phones. How did these paintings originate for you? Were you finding yourself sketching certain things that you read about or were you just obsessed with a certain object that week? My parents taught themselves English using Richard Scarry books so they were the first books I had my hands on. It’s just pages and pages of him drawing things with words describing what they were underneath. When I was younger I had this project where I’d take an encyclopedia and try drawing everything in it. I think I only got to M. Also when I was kid while drawing in my sketchbook I would just run out of stuff to draw so I’d go room to room drawing everything in each room.

It was just a thing to kill time.

How has where you live and its landscape influenced the work you create? What’s your favorite thing about residing there? I guess it does a little, but I think I drew the stuff and then when I got here, I liked it a lot, so I ended up on this tiny coastal town on the bluffs. I started drawing weird epic landscapes after watching a bunch of Swedish films a few years ago.

What was your last adventure or walk through your neighborhood that showed up in one of your work, thematically or just visually? One time a friend invited me to a barbeque. They lived near the train tracks a couple of miles from me, so I walked up the tracks passed the cemetery and over a few tressel bridges. It was really nice walk. Met a turtle. They had to come down and get me because I didn’t know the path to their house, and it was getting dark.

What IS your favorite thing to draw or paint? Do you have an UNfavorite thing to draw or paint? I like drawing pineapples. I hate when strangers ask me to draw them. I want to punch them in the face.

When did you start picking up the paint brush and taking your works to the canvas? What do you enjoy about painting vs. drawing? The first time I painted was in my high school art class, I think like most other Americans. I was using tempera, so it sucked. But I started buying acrylic soon after. I think painting and drawing is kind of the same thing, or least I just paint like I’m drawing. I don’t think it was a strange transition.

What’s a typical day like for you at home and in the studio? What’s your process like? I fill out internet orders sometimes, or a wholesale order. Sometimes I draw. Mostly I get up and look at my email and go, “I have a lot of stuff to do and this is gonna suck”. I don’t really multitask, so it’s usually me filling out orders for 8 hours and trying to get to the post office before 4:30 while watching dumb shit on the internet, or me helping a friend screen print in my garage, or if I have a show just ignoring everything else in life and painting for two months.

A few years ago I kind of got burnt out of making a living with just painting. So I was like maybe I should make more t-shirts and prints. So I ended up moving to Fort Bragg and screenprinting more stuff and making more drawings toward that. But now my days are filled with me screen printing and filling out small orders or hanging out on my computer photoshopping all day. So now I’m in some other kind of hell.

What are your go-to art tools? A Pilot Hi-Tec C (They’re called G-Tec 4s in other places) pen. I use the .4, but should probably switch to .5. You have to have a light touch with them or else they’ll jam.

Right now I enjoy using Mitsubishi pencils, but the cheap Mirado Black Warrior pencil you can get at most stationary store is just as good.

Been filling a sketchbook using Opaque markers. Posca’s are pretty good, but the color choices are limited, so I started buying Molotow. The Molotow’s can be refilled so they might end up being a better value.

Lately I’ve been painting with cheap $2 craft paints mostly because I don’t like mixing colors. Just bought a few of the Martha Stewart’s at Michaels. I still buy Golden and Liquitex, but it’s nice to mix in other stuff.

Not only do you draw and paint, you are always printing and creating zines of your works. Do you remember your very first zine you made? Are you working on a new zine? The first zine I made was pretty horrible. It was staple at the top corner, and I gave it out to my friends when I was in high school. I put everything precious in a box before I left for college and when I came back my dad had threw it out. At the time I was pretty bummed, but now I’m glad I don’t have to deal with that. I’m always working on something. Sometimes things take a really long time. I drew everything I ate while in England and Scotland several years ago and just now getting it all together. I’ve gotten rejected from a bunch of zine fairs, so there really isn’t a urgency to get it finished. I’m thinking of making one for the tiny town I’m in, and other that’s like a newspaper, but filled with just my gibberish drawing of words.

Do you have a favorite zine maker out there you’d like to share with folks? I’m pretty excited to be tabling at Comics Art Brooklyn. Last year I sat nearby Evan Cohen (http://www.evanmcohen.com) who I had just bought zines online from a few weeks before so that was kind of unexpected. He makes rad work. There was a few other artists there whose work I enjoyed. I came home with a lot of nice prints which I never really get from strangers. Stuff from Natalie Andrewson, Tiny Splendor, most everything Peow Studios publishes, and Jen Tong. I like this zine called Terror House by Sammy Harkham that I’d buy a few to give out to friends and the zines my friend, Evah Fan makes.

What are you constantly inspired by? And who are some of your early and current art influences? I think what keeps me going is random problem solving with how I paint. Or maybe the natural world. I don’t really know if I’m being totally honest. I grew up reading Peanuts. It has it’s good moments. I think I became comfortable with not always having to be in the up. I really like Tove Jannson’s work.. I’m not a fan Tintin, but I like the way Hergé uses color and lines. I was lucky enough to come to the Bay Area while the Mission School was around and Yoshitoma Nara had a few shows, so it made it okay for me to make paintings the way I do.

What do you do when you are not painting, drawing or making zines? How do you find yourself unwinding? I watch a lot of dumb shit on youtube and take long walks. Each week I go to a game night where I do board games (Catan, Ticket to Ride, Dixit, Pirates Cove are in the usual rotation). I like to cook and have people over. I actually unwind by drawing and watching a lot of basketball while listening to basketball podcasts.

What advice would you offer to an aspiring artist who might wanna follow in your footsteps? Be nice to everyone you meet ever. Always try to learn. Don’t get caught up in what people think of you or your work. Know that if you keep on doing something you’ll get better at it. Pick up different hobbies. Make friends with other artists. Be open to all opportunities. Get used to rejection.

What’s your best Art School tip that you want to share with folks? Some random wisdom you learned through your personal journey or just while making art? You know I don’t know if I’m the best person to get advice from since I sort of carved out this weird existence. When you’re young, it’s easy to get caught up in weird things and maybe a person should just get caught up in those things. I do meet old school mates who have regrets about how their time in art school was spent, but I don’t think there’s a right or wrong way of doing it. I think there really isn’t any rush, and also if you feel like you “failed” you can always just get back up because no one is really paying attention.

I think I hear a lot from folks who worry that they’re too old to try painting or doing art for a living. And I’d hear this from someone who’s like 25 or 30. But there really isn’t a deadline to any of this stuff and also no one really knows how old anyone is. I think everyone’s trying to get to some sort of finish line, but really just existing and making work is all there is.

What do you think you’d be doing if you weren’t an artist? In an alternate universe, what career would Deth find himself doing? I’d probably be working in tech if I’m being honest with myself.

What’s a question you never get asked in an interview that you wanna ask yourself and answer? There really isn’t.

What are your favorite style of VANS? My favorite Vans were the slip ons with a grey herring bone pattern on them. I had 4 or 5 pairs, but I think they switched to a smaller pattern because I couldn’t find them again.

What’s coming up for you the rest of the year or into the next? Comic Arts Brooklyn (http://comicartsbrooklyn.com), a solo show in January at Spoke Art (https://spoke-art.com) in San Francisco. I’ll have stuff at a print fair in Oakland (https://www.oaklandprintfair.com), and an art book fair in Berlin (http://www.friendswithbooks.org/content/about) through Vanilla Studios (http://vanillastud.io).

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