Reblogged rainbowtransform
Annual reblog of the liminal spacemas from instachaz
Reblogged prismatic-bell
Ooh. This is SO GEN X.... hopefully some of you younger ones will get it too.
I can't believe they left out the most important one...
Things We're Never Gonna Do:
Reblogged tourettesdog
Are you frustrated you can't leave second kudos on AO3? or third kudos? or whatever-who's-counting kudos?
Well, have I got the html for you!
Plop any of these in a comment (by copy&pasting the code) to make an author's day and show your appreciation!
- Second kudos: <img src="https://i.ibb.co/tHMjbb6/second-kudos.png" alt="second kudos">
- Third kudos: <img src="https://i.ibb.co/52bggQH/third-kudos.png" alt="third kudos">
- nth kudos: <img src="https://i.ibb.co/6y7qGtC/nth-kudos.png" alt="nth kudos">
- yet another kudos: <img src="https://i.ibb.co/wKtcj0s/yet-another-kudos.png" alt="yet another kudos">
It will look something like this (and will be transparent with white outline on dark backgrounds):
Feel free to spread and use these as much as you like! (and if you have ideas for other variations, let me know ✌️)
So happy to see people enjoying these and spreading the love 💖
UPDATE with some suggestions from the replies!
From requests: cookie kudos — you've already left kudos here — should be sleeping kudos
HTML codes under the cut.
nomorezerocomments-gender
Leave an author extra kudos!!
I can't wait to use all of these ^_^
As someone who has been lucky enough to receive some of these I assure you they are a delight to behold and make the author very happy.
Reblogged
An alternate universe where the Mandalorian never turns the child over to the Client.
Pilot episode begins as normal with the Mandalorian retrieving a bounty and heading back to Nevarro. This Mandalorian moves a little more stiffly, handles the bounty a little more harshly, as if he’s had an even harder life than the one we the audience have come to know. His armor is a different patchwork assembly of materials and trophy pieces scavenged from his successful hunts, in addition to a beskar helmet and one vambrace with what one might assume is red paint. It’s hard to tell.
The Mandalorian is even more on guard once inside the Stormtrooper safehouse, obviously uncomfortable, and his gaze never wavers as he listens to the Client while he makes the offer. His hand is never far from his holster.
When he accepts the job and goes back to the covert, down payment of beskar in tow, everything proceeds as normal, save for the conversation with the Armorer as she prepares the forge for the casting process. His voice is almost unrecognizable, hoarse from disuse, a gruffness that’s more pronounced and world-weary than we’ve come to know in canon, further evidence of an even harder life.
“This is extremely generous,” the Armorer says, looking over the ingot. “The excess will sponsor many foundlings.”
“That’s good,” the Mandalorian says. “… How are they faring?”
“They are doing very well,” the Armorer replies. “They will be happy to see you.”
The Armorer prepares the forge to make the pauldron for the Mandalorian, and as the music ramps up we see the same flashbacks as before, the stamp of the forge and flickering lights harkening back to that day on Aq Vetina so many years ago. The Mandalorian remains rigidly in place, unflinching as the Armorer works, his mind’s eye filled with images of a terrified family racing through the streets as their friends and neighbors are shot and killed in the midst of an assault on their city. The flames of the forge settle once more and we barely get the glimpse of a brown-eyed child in red robes being rushed to the safety of an underground shelter before we cut back to the expressionless mask of the Mandalorian. The Mandalorian leader bestows his armament, placing the pauldron on his shoulder herself, and we cut to the Razor Crest’s descent on Arvala-7.
Events proceed as normal all the way up through the assault on the Nikto bandits’ encampment. Though the Mandalorian’s disdain for droids is clear, he and IG-11 still blow a hole in the hideout and follow the tracking beacon to the metal pod half-hidden beneath netting and supplies. When it opens to reveal a small green creature with large, dark eyes, the Mandalorian stills in his tracks.
He never asks IG-11 for clarification regarding the target’s age. He never asks IG-11 anything because the second the pod opened the Mandalorian realized what the occupant was and had already made a decision.
A shot rings out. The assassin-turned-bounty-droid falls to the floor inert, and the Mandalorian cautiously reaches out his finger to the child, seeing him reach back.
Reblogged batfam-stuff-posts-0
Please like if you use!
Reblogged liamket
thanksgiving is finally over you know what that means
Reblogged prismatic-bell
Please make a post about the story of the RMS Carpathia, because it's something that's almost beyond belief and more people should know about it.
Carpathia received Titanic’s distress signal at 12:20am, April 15th, 1912. She was 58 miles away, a distance that absolutely could not be covered in less than four hours.
(Californian’s exact position at the time is…controversial. She was close enough to have helped. By all accounts she was close enough to see Titanic’s distress rockets. It’s uncertain to this day why her crew did not respond, or how many might not have been lost if she had been there. This is not the place for what-ifs. This is about what was done.)
Carpathia’s Captain Rostron had, yes, rolled out of bed instantly when woken by his radio operator, ordered his ship to Titanic’s aid and confirmed the signal before he was fully dressed. The man had never in his life responded to an emergency call. His goal tonight was to make sure nobody who heard that fact would ever believe it.
All of Carpathia’s lifeboats were swung out ready for deployment. Oil was set up to be poured off the side of the ship in case the sea turned choppy; oil would coat and calm the water near Carpathia if that happened, making it safer for lifeboats to draw up alongside her. He ordered lights to be rigged along the side of the ship so survivors could see it better, and had nets and ladders rigged along her sides ready to be dropped when they arrived, in order to let as many survivors as possible climb aboard at once.
I don’t know if his making provisions for there still being survivors in the water was optimism or not. I think he knew they were never going to get there in time for that. I think he did it anyway because, god, you have to hope.
Carpathia had three dining rooms, which were immediately converted into triage and first aid stations. Each had a doctor assigned to it. Hot soup, coffee, and tea were prepared in bulk in each dining room, and blankets and warm clothes were collected to be ready to hand out. By this time, many of the passengers were awake–prepping a ship for disaster relief isn’t quiet–and all of them stepped up to help, many donating their own clothes and blankets.
And then he did something I tend to refer to as diverting all power from life support.
Here’s the thing about steamships: They run on steam. Shocking, I know; but that steam powers everything on the ship, and right now, Carpathia needed power. So Rostron turned off hot water and central heating, which bled valuable steam power, to everywhere but the dining rooms–which, of course, were being used to make hot drinks and receive survivors. He woke up all the engineers, all the stokers and firemen, diverted all that steam back into the engines, and asked his ship to go as fast as she possibly could. And when she’d done that, he asked her to go faster.
I need you to understand that you simply can’t push a ship very far past its top speed. Pushing that much sheer tonnage through the water becomes harder with each extra knot past the speed it was designed for. Pushing a ship past its rated speed is not only reckless–it’s difficult to maneuver–but it puts an incredible amount of strain on the engines. Ships are not designed to exceed their top speed by even one knot. They can’t do it. It can’t be done.
Carpathia’s absolute do-or-die, the-engines-can’t-take-this-forever top speed was fourteen knots. Dodging icebergs, in the dark and the cold, surrounded by mist, she sustained a speed of almost seventeen and a half.
No one would have asked this of them. It wasn’t expected. They were almost sixty miles away, with icebergs in their path. They had a responsibility to respond; they did not have a responsibility to do the impossible and do it well. No one would have faulted them for taking more time to confirm the severity of the issue. No one would have blamed them for a slow and cautious approach. No one but themselves.
They damn near broke the laws of physics, galloping north headlong into the dark in the desperate hope that if they could shave an hour, half an hour, five minutes off their arrival time, maybe for one more person those five minutes would make the difference. I say: three people had died by the time they were lifted from the lifeboats. For all we know, in another hour it might have been more. I say they made all the difference in the world.
This ship and her crew received a message from a location they could not hope to reach in under four hours. Just barely over three hours later, they arrived at Titanic’s last known coordinates. Half an hour after that, at 4am, they would finally find the first of the lifeboats. it would take until 8:30 in the morning for the last survivor to be brought onboard. Passengers from Carpathia universally gave up their berths, staterooms, and clothing to the survivors, assisting the crew at every turn and sitting with the sobbing rescuees to offer whatever comfort they could.
In total, 705 people of Titanic’s original 2208 were brought onto Carpathia alive. No other ship would find survivors.
At 12:20am April 15th, 1912, there was a miracle on the North Atlantic. And it happened because a group of humans, some of them strangers, many of them only passengers on a small and unimpressive steam liner, looked at each other and decided: I cannot live with myself if I do anything less.
I think the least we can do is remember them for it.
Reblogged
(click for higher quality!) draconified link concept ive been chipping away at this past week ..... here's my funny little compendium concept for him:
"A heroic spirit has taken the form of this bestial dragon. Unlike it's kin, this creature exhibits an extremely aggressive disposition. It appears highly territorial, and will relentlessly chase down those who disturb its skywide patrols - of which it seems to be endlessly searching for either a long-time vassal or foe. Unfortunately, it seems the spirit within has long since forgotten exactly who it was looking for…"
Reblogged sraksha
A Strange Sadness As Dusk Falls
Reblogged prismatic-bell
Know what I’m salty about?
In all my art classes, I was never taught HOW to use the various tools of art.
Like yes, form, and shape and space and color theory and figure drawing is important, but so is KNOWING what different tools do.
I’m 29 and I JUST learned this past month that India Ink is fucking waterproof when it dries. Why is this important? Because I can line something in India Ink and then go over it with watercolors. And that has CHANGED the ENTIRE way I art and the ease I can create with.
tldr: Art Teachers: teach your students what different tools do. PLEASE.
WAIT INDIA INK JS WATERPROOF ONCE IT DRIES????? THE ENTIRE REASON IVE AVOIDED MARKERS MY ENTIRE LIFE IS BECAUSE JNK BLEEDS AND YOURE TELLING ME INDIA INK IS
F U C K I N G W A T E R P R O O F
yall calligraphers out there this is extremely fuckin important if u wanna get into illumination shenanigans because i swear to you there will b discoveries like these^
heres some of mine, pls take with a grain of salt im a total gotdamn amateur:
- a lot of the time, the ability for colored ink to bleed will vary wildly WITHIN A SINGLE BRAND OF COLORED INKS. my cobalts bleed like fucking CRAZY compared to my reds, which, when u reference manuscripts that tend to put white ink ON TOP of either red or blue… you see where shit gets real and real annoying.
- u can buy an aeresol, fully transparent workable sealant for like 5-10 dollars at your local art store. when i realize a piece ive been working on needs a color on TOP of a bleed happy ink, i give it a layer of this stuff. trouble is it CAN warp the paper so its important as soon as it dries to use heavy things (paperweights, books) to counteract the paper curling.
- ink solvent, like koh i noor’s rapido-eeze, is only compatible with SOME inks, but will work on most acrylics. If you happen to be working with sturdy vellum that you have pre-sealed, it can be possible to literally use ink solvent to wipe away your calligraphy mistake like a goddamn bounty commercial
Shit I Learned Working At Dick Blick:
- WD40, found at your local hardware store, will remove Sharpie marker from almost any hard surface.
- Acrylic inks will show brush strokes in large areas but are waterproof and quick-drying.
- Acrylic gouache is vivid, fluid, dried matte, is UTTERLY opaque on black paper, handles exactly like watercolor, and is waterproof.
- Putting an oil painting in the sun will turn the yellowed portions back to their original white and wont hurt the painting.
- Cheap acrylic paintings will bleach out if left in the sun - get UV protectant spray or varnish. Nicer acrylic paints are less prone to sun bleaching, but they still do. Plan accordingly. Oil paints are much less prone to this.
- Solvent-based markers blend together MUSH MORE SMOOTHLY than alcohol-based markers.
- There is an acrylic paint medium for literally every effect you can conceivably think of (fabric paint medium, gloss medium, fluid medium, sand medium, fast-dying/slow-drying medium, etc.).
- If you’re going to buy student-grade paint to save cash, buy earth-tones (burnt sienna, ochre, etc.); they are made with cheap pigments already, and you wont tell a difference. You WILL tell a difference between student-grade and artist-grade bright colors (all yellows, blues, and reds).
- If you’re working with markers but aren’t using marker paper, you need to switch. Markers don’t blend on printer paper, they just layer (even expensive markers).
- If you want a glass palette for paint mixing but don’t want to shell out the cash, buy a giant picture frame at Goodwill, take the glass out, and electrical tape it to a piece of foam board the same size for stability.
- Hog bristle brushes are for oil paint, sable brushes are for watercolor, and synthetic brushes are for acrylic and oil (but not watercolor because synthetic bristles can’t absorb water).
- If you’re going to splurge on any aspect of your creation, splurge on the paper. Get the good stuff - crappy markers/paint/pencils look good on good paper, but not the other way around. (There is more, but these are the big ticket items)
peachkinn
Some more, also from working at Dick Blick:
- Palette knives are for mixing paint and TRUST ME you want to learn how to use them. When you mix with your brush you loose paint and it’s hard in your brushes.
- DO NOT FIX YOUR ARTWORK WITH HAIRSPRAY. If you’re proud of your work and want to keep it, buy the actual spray fix. Hairspray is not archival in the slightest and will damage your work.
- On top of that, be careful how you store your work. Newsprint is handy and cheap, but also not acid-free and it will yellow your paper. Foamboard? Matboard? Also not always acid-free (but you can get them acid-free).
- There is no food-safe paint. Period. There are lots of ways you can decorate pottery that aren’t glazes, but only glazes are food safe (and even some of those aren’t).
- Also not food safe: Polymer clay (sculpey), air dry clay, oil-based clay, ceramics that have not been glaze fired, oil pastels, sharpie, glues of any kind, or mod podge (even the ‘dishwasher safe’ kind).
- Don’t even get me started on mod podge. It’s not consistent. It’s not archival. It’s not a sealant, it’s a glue (setting aside some of the weird hyper-specific ones they make that I’ve literally never seen in real life).
- If your glue isn’t archival or at least acid-free, don’t use it in your artwork.
- There are so many different kinds of paper out there, just go try them. But also make sure you know if it’s acid-free or not (it probably is).
- Marker paper is usually 15 to 20 lbs. News print is usually 30 to 35 lbs. Tracing paper is usually 25 lbs. Rice paper can range from 20 to 50 lbs. Printer paper is 20 lbs. Vellum paper is usually 48 to 55 lbs. Sketchbook paper is usually 50 to 60 lbs. Drawing paper is usually 70 to 80 lbs. Cardstock can range from 50 to 110 lbs. Charcoal paper is usually 50 to 65 lbs. Pastel paper can range from 70 lbs to board. Bristol paper can range from 50 lbs to board. Mixed media paper can range from 90 to 140 lbs. Printmaking paper can range from lbs 90 to 300 lbs. Watercolor paper can range from 90 to 500 lbs.
- The heavier and rougher the paper is, the more it will absorb. If you’re using a paper too smooth for your medium it will take forever to dry and may smudge. If you’re using a paper too light for your medium, it will warp and curl.
- If you’re working heavily with water, you need to stretch your paper (aka seal down your edges of the paper to a hard, water resistant surface). If you don’t like doing that because it’s a hassle, buy a watercolor block instead of a pad/individual peices.
- If you’re working on a thicker paper, and make a mistake that your can’t erase or cover- you can scrape and/or cut it out! With a really sharp exacto knife, you can very CAREFULLY remove the top layer of paper fibers on most paper.
- DO NOT USE ACRYLIC AS BODY PAINT. It’s plastic.
- If you paint with oil, buy a silicoil jar. It’s the best $10 you’ve ever spent.
- Acrylic paint is basically water-based plastic. It will basically fuse with anything plastic (like a plastic palette), and will not stick to anything oil-based.
- Acrylic paint and house paint are not the same thing and you cannot mix them together. Acrylic paint is made from a water-based acrylic polymer, and house paint is almost always latex and can come both water-soluable and not.
Reblogged emchant3d
