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loki-valeska · 9 months

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As I'm in the development stages of my SPM AU comic, I've been working on character designs.

For this page we've got most of Count Bleck's crew. This is where I first drew up the current designs I use for them. Here you can see my clear bias for Dimentio lmao. I drew him far more than the others. I also fiddled with his design a lot. When it comes to my favorite characters, I have trouble designing them cause I want to do them justice. Mimi is here a lot cause I just genuinely enjoy drawing her. Count Bleck has an interesting facet to his design, where when he's Count Bleck, and has the hat on, you can't see his hair or ears. He also has a more jagged mouth, which gives him more of a creepy look. And if you get the pose reference for the O'Chunks doodle on the bottom, then you're an MVP. Have fun with my little ship dump on the top of the canvas lol

Shadoo and King Croacus are also featured here. I honestly love them, and think they don't get enough love from the fandom. I'm really happy with both of their designs as well. Shadoo is made of white line art due to her being a shadow. I could go on about the little details in Croacus' design that were taken from his canon model, but I won't lmao

We also have some designs for Luvbi. I wanted to lean into how Nimbi are like angels, so her arms are like an extra set of wings to reference the biblically accurate angels. In the bottom left corner we have some Shaydes, the Spirits of the Underwhere. I wanted them to vary a bit more than just the two we see in game. Their variations also make up some of the different races we see throughout the SPM universe. We'll see more Shayde variations in the actual comic when I make it.

Certain spots are also censored due to spolier reasons.

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yayan-dmenace · 1 month

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Hi!

*eats your art style bc it looks fucking delicious*

But/srs here for a bit

You're very good at what you do. I love to see your art, Everytime I think I'm out of the undertale fandom the artists draw me right back in (SE WHAT I DID THERE??) I hope someday I can actually get good at drawing my sans (thorn, vine, nimby etc), but until then I'll just keep looking at your pretty art!

(P.s. What is the plural of sans please help???)

Aww thank you so much!!! Lmao and yes don't give up on being good at art!!

But always remember don't push yourself too hard!

Burnouts are very hard to handle so take it easy! 😉 And all of us have to start somewhere right??

(Talk about my art over at my 1st acc @yayan-with-a-y 😭 🤢)

Ig it's sanses??? Idk 😐

I really want to post more about my oc Erious but I've been decisive whether or not post her , so I'm still doubting her future lore 🥲

#my oc #ask #beautiful person #my undertale au #my undertale oc #sans au #sans oc #my sans oc #ask answered #answer question #undertale au #undertale #undertale art #sans #cute #my art

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racefortheironthrone · 11 months

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I'm a big fan of building commie blocks to ameliorate the US housing crisis -- and putting them in the public parks that were stolen from other communities to give colonisers some trees to look at -- but what policies should be enacted to get suburbanites into beautiful and efficient bedspace apartments with kitchens and washrooms shared by a floor?

As a good social democrat, I'm contractually obligated to prefer Red Vienna to your proper commie block. Short of a complete class revolution that completely upends the social hierarchy, a significant part of ensuring that social housing pulls off being "a living tapestry of a mixed community" is building it to middle-class standards (including aesthetic standards) so that people with the money to find alternatives don't all leave. Art Deco is a hell of a lot chic-er than the boring minimalist crap that luxury developers are getting away with these days.

Also, don't build them in parks: green space is not only important for environmental sustainability but also the health and mental health of working-class and poor communities who can't afford houses in the suburbs, and we should be encouraging in-fill development instead. (Build them on golf courses instead, because they are classist, invasive, artificial monocultures that do nothing for the environment.)

In terms of how to make suburbia more in synch with dense, sustainable social housing, there are a number of necessary changes:

Commuter rail: suburbs predate the car by a fair few decades, and originally sprung up along the routes of commuter rail lines. Well, it turns out that transit-oriented development and dense transit corridors go hand-in-hand: if you can build higher-density units near transit lines, people will use mass transit to commute, and if there are well-planned areas of higher density around major urban areas, the increased number of commuters can support more regular transit services.

Planning/zoning/ligitation revolution: as I mentioned in my student housing post, one of the major reasons why it's so hard to build affordable housing projects is that local NIMBY groups use every legal tool in the book to bury them. So there needs to be pretty comprehensive reforms of zoning regulations (banning single-family zoning, reducing set-backs and eliminating mandatory parking, getting rid of "unrelated persons" limitations, getting rid of building heights limits, etc.), standardization of the permitting and development approval process, streamlining of the public comment/hearing process and environmental review process for model projects, and extreme limits on litigation for model projects.

Financing reform: as I sort of imply in my Red Vienna section above, a big part of making social housing/public housing successful and avoiding replicating or increasing class and racial segregation is adhering to middle-class minimum standards. This has important knock-on implications:

you need to eliminate requirements for absolute lowest possible land costs (which restrict social housing to economically and socially isolated areas).

you need to raise allowable construction costs, so that you can achieve those aesthetic standards and avoid corner-cutting like smaller rooms and lower ceilings, single-thickness walls/floors/ceilings, no doors on cabinets or closets, cheap cladding and wiring and pipes and other building materials, low-quality insulation and HVAC, etc. Not only do middle-class folks notice this stuff and go elsewhere, but it's all penny-wise and pound-foolish, because cheap construction runs down faster which increases maintenance costs, and sometimes it just straight-up kills people.

you need to adequately finance maintenance, services, and amenities. This is crucial to keeping tenants with deeper pockets, but it's also another one of those things where penny-pinching is counter-productive in the long-run. The more you save on maintenance costs, the faster the buildings run down and the more expensive repairs you have to make. The more you save on services like superintendants and doormen, the more your tenants end up having to spend on handymen and the more you have to spend on police and repair costs. And so forth.

And there is a real potential here for all kinds of positive feedback loops: spending money on achieving higher standards of construction and operation means that you can hang onto and attract higher-income tenants, which means you can have sliding scale rents that cross-subsidize tenants and pay for higher construction and operating costs, and the poor and working class tenants who couldn't have paid for those higher costs and amenities on their own enjoy a "positive externality" for once.

#public policy #public housing #social housing #social democracy #urban development #urbanism #urban planning #urban studies #housing #nimbyism #nimby #red vienna #commie blocks

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queencloudy-art · 2 years

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Pov you uhhh go to the saloon haha lol

#your honor i love them a lot and theyre gonna get married #stardew valley #stardew shane #sdv shane #sdv farmer #nimbys art

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beesmygod · 1 year

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HI EVERYONE: TODAY'S PAGE IS LATE.

im calling my shot too early, but i've spent the last 2 days getting my ass beat by lupus symptoms. im feeling so much better. the page is coming.

BUT in the meanwhile: i wrote this long post about why i left Hiveworks

ill put it under a readmore here on tumblr in its entirety:

intro: dont get your hopes up

look, i’m going to be straight up with you: there’s no messy drama or fallout that caused this. no juicy deets or salacious rumors to slurp down. you know if this were the case, i would have erupted across my various social medias in a frenzied rage with all the delicacy of a bull in a china shop partly for entertainment purposes. instead, this will probably be a boring at best navel gaze where i try to walk the line between pragmatically trying to explain why i left and moral grandstanding. because leaving abruptly looks weird externally, i do actually have to explain why instead of just mysteriously leaving during a period of time where i am being an obnoxious asshole. a combination of disdain for the current cultural zeitgeist and a growing culture of disrespect toward audiences has culminated in my online behavior devolving into the online version of grabbing people saying stupid shit on the street and shaking them very hard. this is something an insane person would do. i know.

the commodification and increasingly blatant commercialization of an art format that could once arguably be compared to other amateur transgressive arts (ex: underground comix, tijuana bibles) is borderline heartbreaking. not to be too dramatic, but i want to start smashing things like im a monster from the rampage arcade game to scare the NIMBYs away before they start building escape rooms where the fetish web comics used to be. there is no place unspoiled by the poison of advertising and sponsorships. except…

youtube

trying to make money in comics is a fool’s errand. go make furry porn commissions if you want to make money doing art! you’re completely out of your mind if you go into the arts to make money. full on detachment from reality if you choose comics. they should commit you if you choose web comics.

at hive:

i think people have a wildly different perception regarding the popularity of A Ghost Story so i have approximate data to give people an idea. having culled the SHIT out of my analytics results to remove bot traffic, i think i have relatively accurate results, i get about 1000 unique visitors a month (generously rounding up lol), about half of them are regulars, and 10% of them donate to patreon (this is, imo, an unfathomably large amount lol. shocking and humbling. thank you for your continued support of me in spite of [gestures]). i feel like a small comic 99% of the time, but man. 1,000 is a big number. i can at least reasonably assume, i’m PRETTY sure, that i was a comparatively small comic in hiveworks.

my monthly payout was roughly $100 a month (and merch sales, if applicable) and their services included web site help, dealing with any merch sales, and site hosting in exchange for running banner ads (which have been a fixture on web comics since the conception of google’s ad program; remember the homestuck bidding wars??). banner ads felt like a small and reasonable compromise to be included in something that felt like a weird pipe dream. in certain circles, a hiveworks invitation was a stamp of quality with prestige; i was very aware of the company i was invited into keep and was initially pretty concerned with how my presence reflected onto them and their work. i was going through some serious brain problems due to a deeply stupid relationship and, as a result, i did my best to keep my head down, stay out of people’s way, and focus on not bringing undue shame to something i was well aware i was completely unsuited for. i had (and frankly, still have) no idea why i was chosen as i had not applied. i cannot stress enough that i was under no delusions as to the quality of my comic lol. my perception was that someone had stuck their neck out to make a special exception for me and i was constantly on the verge of fucking it up and humiliating them.

it was a very off-balance exchange extremely in my favor, and i was aware of this. especially since, being frank and honest here, i was bringing absolutely nothing to the table for them. i don’t want to put words in anyone’s mouth, but its a reasonable conclusion that i was more trouble than i was worth, given the infinitesimal worth.

the vast majority of hiveworks readers completely bounced off my comic, which makes perfect sense given the hiveworks audience is i think more interested in the genre they primarily host: fantasy and magical realism. in comparison, “a ghost story” is a slow, slooow burn about federal bureaucracy and being insane with extremely amateur art; i know what i am! and that’s fine! but i became a little resentful (and i tried not to! honest!) after 7 years of perpetually being put on a back burner. it felt like i was being strung along for reasons beyond my comprehension or as the baseline of acceptable awfulness for the website’s quality. someone has to be the “worst”, objectively. it’s not a great feeling to know it, coming to terms with it i think was much healthier than trying to fight it. it was a really good driving force to keep my mind off the nightmare of my life at that point and improve my art a lot.

AGS’ irrelevance was underscored by it being mentioned once over the course of 7 years on official social media networks, upon which a great deal of importance was placed. but frankly, there is nothing worse than dealing with the guy who sucks whining for the spotlight as though they are clueless as to why they are getting the shaft. so i simply achieved enlightenment by getting over it and realizing where i was in the hierarchy and how lucky i was to have so much shit done for me. i was (am, unbelievably. it never gets less wild when i sit down and really think about it) making enough through patreon that the $100 became my monthly fun money while i lived in oregon. it was welcome, but not essential.

a lot of real life, awful things happened that suck and couldn’t be avoided: one of the main points of communication and organization became terribly ill, COVID happened and obliterated shipping and manufacturing rates for apparently all eternity, uhhh the fabric of reality began to unravel lol. it’s been a terrible couple of years. i want to underscore this stuff so that people understand i was not wronged greatly in the grand scheme of things.

there are things that started to chip away at me over time, which made me question if i was a good fit at all. genuinely: the only thing i want to do is to try to live happily within my morals doing what i love to do. even and especially if it means living very broke. that’s the exchange i’m consciously choosing to make when i pick up the pen every day. due to the generosity of the people who support me or have supported me at any time (special shout out to adam, who puts up with this shit for some reason), i am able to do that. i contribute a proportional amount to the household now but tried to be (was??) 50/50 or 25/25/25/25 when i had roommates. i don’t want my one unyielding selfish choice to be anyone else’s burden.

i was told by another artist in hiveworks that my confrontational behavior could be a poor reflection on the brand, which became the tipping point in my choice to leave. to be clear, no one in charge told me this, but even conceptually i was not comfortable representing a company that i felt i was a member of out of obligation or inertia. i didn’t belong there and my presence was an active detriment instead of a tolerated nuisance.

anyway:

when the offer to leave was presented, i didn’t feel regret, or anxiety, or upset at all. i felt a placid sense of relief. i COULD leave. that’s TRUE. i had been kicking it around on my private twitter for a few months going back and forth with myself over what was more important to me: being able to take care of myself financially or doing something about my own hypocrisy that kept me up at night. if my incessant argument is that advertising based commercialization is a societal poison, then i need to put my money where my mouth is. and if i’m consistently annoying, i need to leave as a courtesy to everyone else.

i don’t regret my time with hive at all, but the overarching transformation from a collection of cartoonists to a brand is not where i want to take my art. i can’t bring myself to work even within the proximity of seven seas, a deeply abhorrent company. i am completely disinterested in wasting time or energy worrying about “the algorithm” because i don’t make comics for the computer’s sake and recognize that there’s a finite number of people interested in web comics in the world and an even more finite amount of money to spend on luxuries (because none of us have any money lol). i don’t want to repeat the familiar cycle of lamenting the death of art as we know it every 6 months.

people who are choosing to spend their limited funds supporting me are making a deliberate choice to elevate my presence in their life. i want and need to keep this in mind at all times, because it drives my attitudes toward what i want to choose to focus on. i want to keep my art (“art”) free with additional goodies being as reasonably priced as possible in the hopes that in this way we scratch each other’s back. making money drawing comics is a ridiculous privilege granted to me by people willing to sacrifice their time and money to me; i need to be thinking more about all that i have instead of worrying about what i don’t.

#hiveworks #webcomics #webcomic #web comics #a ghost story #ags #Youtube

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moonverc3x · 2 years

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Hello! I noticed that you had OC drawing requests open, and was hoping if I could offer my boy, Nimbus? I really appreciate the opportunity!! Your art is gorgeous!! 💖😭

aaaa nimbi baby!!! I'm honored to get a request from you dude 😭<3 I was planning on making fanart for him sometime, and ur request gave me the perfect opportunity :)

not so sure if the background looks nice or not so I'm hiding it under here

left has lenz blur and right is unedited (mostly) backgrounds are defo not my thing but I had fun trying anyhow :)

#kirby oc #others ocs #ocs #ask #asks #nimbus #also used the whole squash n stretch method for his mask because I just couldnt get it to look right drawing it normally #kirby #also how the hell do you draw puffballs kneeling? did I do it right? I have no clue #my art #verc3x art

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dagneyrobertson · 2 years

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When I started this blog, many years ago, I wasn't sure what my aesthetic was. I began blogging mostly art because, if I was going to share something I wanted it to be inherently a good thing. At that time, the idea of political posting was anathema to me.

I don't think I need to tell you times have changed. Anyone who was bright eyed and optimistic when President Obama took office has had a rude awakening the past 6 years.

I was, naive.

Two nights ago a friend's church was vandalized. My friend is the part-time and only pastor at an ELCA Lutheran church on the northern edge of Illinois. The vandalism was hate graffiti, swastikas and a phrase including the N word criticizing the church's inclusiveness. Last night, as I discussed this with my world weary 17 year old she told me I was out of touch. She asked if the high school I went to passed out flowers on the way in every morning. (I grew up in the 80s, in the town where the phrase NIMBY originated. So, flowers, no, but privilege, absolutely.) Her point was that she sees this shit daily.

Our current town is ethnically diverse with a variety of housing that accommodates the full spectrum of incomes. She had grown up in racial diversity, keenly aware of racism. In the past three weeks she's mentioned reporting blatant racism on a band bus; as well as an incident where the visiting team's fans yelled the N work at one of her oldest friends in the band, as well as others on the football field during her Homecoming half-time show.

I was expressing how I feel the tension and hatred closing in while she is wallowing in it, her generation is surrounded by the hate and hopelessness I ridiculously imagined were waning in 2008.

So, yes, I political post. But it is still about putting something good out into the world, because the world needs me to do just that.

Fuck hatred.

-Dagney

#dagneyrobertson #mymidlifecrisis #racisim #political #please vote

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oregon-to-amsterdam · 2 years

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A Review of "Not Just Bikes"

I was introduced today to the wonderful Youtube channel "Not Just Bikes", by a friend of mine who is also into city planning. The creator of Not Just Bikes is a man who was born and raised in a suburb of Canada and has lived all around the world before settling in the Netherlands to raise his children. The reason why these videos feel so insightful is that he has the perspective of someone who has lived in the US and Canada and can speak to his own personal experiences with traffic/city design. His videos are fairly short, 2 to 6 minutes each, and focus on one topic at a time, so the content feels more digestible. After watching my first few, I had a couple of questions float into my mind. Today I watched:

“Car-free Streets are Amazing (and we need more of them) or The Art of Autoluw”

“The Dutch Solution for Safer Sidewalks”

“Stop Signs Suck and We Should Get Rid of Them”

“Traffic Calming is Everywhere in the Netherlands”

“Do Your Buses Get Stuck in Traffic? Traffic Solutions and the Downs-Thomson Paradox”

For “Car-free Streets are Amazing (and we need more of them)”, my biggest takeaway was the concept of “autoluw”, which means “low auto” spaces, where cars are still allowed but are not the priority. It reminded me of something Professor Schlossberg said in his Bicycle Transportation class, that we as city planners don’t need all trips to be made by bike or public transport, we just need more of them to be. That’s something that has stuck with me since I heard it, and a philosophy I’ll carry into my work. The world is not just black and white, so why would transportation be? The question that this first video raised for me was about how to get more people to believe that infrastructure not based around the car is not like the video aptly mentioned “radical leftist propaganda”? Americans love their cars, and car culture is deeply ingrained in our society, so how do we navigate that and also NIMBY's resistance to change simultaneously?

The next video, “The Dutch Solution for Safer Sidewalks” was my favorite of the videos I watched, as I learned the most from it. What Not Just Bikes explained was that on larger streets with a turn into smaller streets, there is a raised sidewalk that cars must navigate across. Instead of the infrastructure being made for car priority, it is instead pedestrian first infrastructure. The sidewalks are at the same level as the throughout the street and are made of the same material as well, so that car drivers feel as though they have entered a pedestrian space. American streets instead cater to cars, with sidewalks that drop down to street level. I absolutely love this raised street concept, and of all the concepts I saw throughout his videos, this feels like the one that could be the most easily implemented in the US (even though I know any changes at all are hard to implement in the first place…). These raised sidewalks also look like they appeal more to universal design, in that people who are disabled do not need to navigate a hostile, car-filled lowering and raising landscape, and instead have a straight, continuous sidewalk in which cars are just visitors. The question this video raised for me was about the feasibility of implementation in the US today. While I don’t know much about road engineering requirements, I feel as though raised sidewalks would not be allowed due to this or that law regarding the level of usage. So, what rules and regulations are in place today locally and or federally in the US that would make raised sidewalks difficult, if not impossible, to implement? How do cities jump through the appropriate hoops to implement traffic calming in the first place? How does road design work anyways?

The third video of this series was “Stop Signs Suck and We Should Get Rid of Them”, which my immediate gut reaction was that this was a controversial opinion, even for him. However, Not Just Bikes' reasoning was compelling. He said that stop signs are “signs of failure”, in that cities use them as an excuse to not instead implement calming measures at an intersection. He also said that stop sign rules should not apply to bicycles, and making bicyclists come to a full stop is much more dangerous than allowing yields (like Oregon currently does), because of how much more momentum a bicyclist has to build up to get back up to speed. He also said that bicycles do not have blind spots in the way that cars do, meaning that bicyclists are able to make safer judgment calls faster than car drivers may be able to. Overall, this question just made me think about what sort of studies are out there about stop signs and their effectiveness in various circumstances. Would it be possible to address intersections differently in a more car-centric area while still increasing pedestrian usage and safety?

The fourth video was “Traffic Calming is Everywhere in the Netherlands”. This video made me realize just how hostile the US is to change when there are so many various ways to change streets for safer pedestrian use. Canada has an entire warrant process someone must go through in order to prove a street should have calming methods installed, while in the Netherlands when a street is remodeled, traffic calming is added to come up to code with the “Sustainable Safety” laws implemented in the 90s. The concept of sustainable safety or safety first is so incredibly sensible in that the main idea is that first and foremost: humans do make mistakes. I feel like streets in the US are built with an exorbitant expectation of driving nearing perfection which is nonsensical. Why is the US so hostile to its citizens? …Anyways, the question I had coming away from this video was, “how do we move physically away from the massive roadways we’ve developed?”. The final video I watched was “Do Your Buses Get Stuck in Traffic? Traffic Solutions and the Downs-Thomson Paradox”. This video suggested that if a city's buses get stuck in traffic, then you as an outside observer can easily and quickly tell where that city’s priorities lie. This was the first time I heard about the Downs-Thomson Paradox, which is something like “The equilibrium speed of car traffic on a road network is determined by the avg. door-to-door speed of equivalent journeys taken by public transport”, or, that car traffic will get worse and worse until bus usage is faster. Not Just Bikes suggested that a car-centric infrastructure increases the wealth gap and wealth disparities between the upper and lower classes, due to our car-centric culture. Therefore, a stigma is created about public transport and bicyclists, as being a worse option than cars that are only used by poor people. How do we lower this stigma in the US? I think there is a problem in that a lot of middle-class citizens tend not to ride the bus, so how do we increase ridership? Is this a cart before the horse situation? I know for me, in the past when I have ridden public transport, there have been people that have made me feel physically unsafe, which I’m sure is not unusual. It is likely that if other people have had as many experiences as I’ve had, they would likely believe in car supremacy. I feel a better adoption of public transportation in the US would need to go hand in hand with healthcare reform, but maybe that’s just me.

Overall, I really enjoyed the videos I watched today from Not Just Bikes. I think he has a lot of valuable information about transportation planning, and I'll definitely be subscribing.

#city planning #not just bikes #urban design #transportation planning

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queencloudy-art · 2 years

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that six heart event am I right

#more shane x my farmer because im obsessed #stardew valley #stardew shane #stardew farmer #nimbys art

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creativemorningsvancouver · 2 months

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October’s global theme is ‘endurance’ and we are excited to welcome local creative consultant, multidisciplinary systems thinker, and B Corp Ambassador Kristy O'Leary.

Kristy is a multi-disciplinary creative whose practice has evolved through direct action and activism, multimedia and installation art, advertising and branding, public confidence and social license campaigning, into the world of impact management consulting. Her passion and purpose have coalesced into Decade, a boutique consulting firm with a focus on supporting companies in taking meaningful, tangible, and radical action on climate and social justice issues. She delights in supporting companies in becoming hope spots and helping people transform the mundane into magic. She believes her contribution to building a livable, equitable future is by trojan-horsing capitalism. Giddy up!

Kristy has developed disruptive, future-focused impact plans for companies internationally. She has transformed NIMBY’s into investors, worked with underdogs to transform public opinion from rejection to acceptance, and performed supply chain impact measurement for disruptive agricultural companies in the jungles of Latin. The team at Decade have supported over 150+ companies in redefining how they can leave the world better than they found it and 60+ companies in achieving B Corp certification.

Every month we like to ask our speaker a handful of probing questions to give us a deeper glimpse into their life and relationship with creativity:

How do you define creativity and apply it in your life and career? Working with companies to identify, pluck, and strengthen the threads that tie products and services to purpose, regeneration, and renewal is how my creativity manifests. This work requires an aptitude for both the darkness and the light; each presenting their own unique creative challenges. Creativity makes it possible for us to scenario plan runaway climate change and cascading systems collapse, and have the wherewithal to imagine, design, and actually build regenerative systems that ensure there will indeed be a future. Creativity is more than art and beauty and all those things; it is the ability to look into the darkness and the endurance to create something beautiful and good and necessary. Creativity is relentlessly loving.

Where do you find your best creative inspiration or energy? People and their stories and infinite possibilities. Right in the centre of those three things. I get these butterfly-in-my-chest-moments when people share the truths they have revealed as they deepen their expertise… it’s in those passion spaces, other people’s passion spaces, that’s where I light up. I’m always moving between the present and future tense for folks. My greatest joy is holding up a mirror to them – “Look at your greatness! Take it in. That’s you! That’s what you’re here to do! Now, let’s get to work.”

What’s one piece of creative advice or a tip you wish you’d known as a young person? That creativity and thinking sideways are superpowers.

Who (living or dead) would you most enjoy hearing speak at CreativeMornings? Carl Sagan

How would you describe what you do in a single sentence to a stranger? I help businesses embed social, environmental, and economic justice in their products and services so that every time they turn a dollar, something is left better than they found it.

If you could interview anyone living or dead, but not a celebrity, who would it be and why? Carl Sagan

What myths about creativity would you like to set straight? That creativity is for artists… I work with entrepreneurs and those folks create a lot of something from nothing and sometimes figure out how to embed justice in capitalism. I’ll take an impact business models are radical creativity.

What books made a difference in your life and why? “The World we Made” – we all need a glimpse of a world made better. “The Council of Animals” – I think humans should eventually be judged by the creatures. “Never Let Me Go” – I don’t want to give anything away. “1984” – Do I need to explain this one? “Hillbilly Elegy” – This story hits dangerously close to home.*

If you could open a door and go anywhere, where would that be? The future… obviously…

What music are you listening to these days? Lana Del Ray, Jose Gonzalez, Sault, Sigur Ros, Beck, Michael Nyman, Max Richter, Carol King, Solange, The Weakerthans.

What was the best advice you were ever given? There are three: 1. Never, ever, get good at anything you don’t love. 2. You’ll have three best friends in your life, make one of them your life partner. 3. When you buy quality, you only wince once.

What is the one movie or book every creative must see/read? First, for those needing some inspiration and magic in their lives, “In and of Itself” – Derrick Delgato. You’re welcome. Second, for those trying to steel themselves for an uncertain future and need a taste of the sublime – “Meloncholia”. I’m sorry.

What keeps you awake at night? Late-stage capitalism, climate chaos, perimenopause…

WATCH RECORDING HERE

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