#i will never be able to draw this on model ever again. maybe negative space and using grids actually works

[lovemoroporo]

mom said its my turn to redraw a owl show screencap (happy 3 years of hunting palismen!!)

⭐ kofi | comms | inprnt | shop ⭐  

[isadcrajade]

💀 * [ barbie ferreira + cis female + she/her ] —— have you met isadora oliveira ? they are a twenty-one year old sophomore currently studying fashion design & merchandising. they live on keating house, and word around campus is that this aries is loyal + warm, as well as self-objectifying + obsequious. i wonder if they’ll make it out alive. chocolate covered strawberries, gothic platforms, lingerie under leather jackets.

hiii bbies it’s me (gabby) finally here again to post this finalized, messy version of isa’s intro! she’s a brand new never-been-played muse of mine so it’s def bound to be a bit more scattered & less developed than ezra’s, but also much shorter? so i mean there’s a bonus lmao alright here we go:

so isadora (also known by many nicknames such as isa, izzy, iz, & dora the explora if ur trying to piss her off vgbjhksjs) was definitely not brought up in a world of prestige and recognition like the one she’s become so accustomed to in attending holloway university

growing up in the small town of lisbon, maine the only reality isa knew during her childhood was that of living as the only child of a woman who was (TW) both a compulsive liar & and compulsive hoarder. their house was floor to ceiling with things her mom collected as well as garbage built up over time- her condition had already driven isa’s father out of the house when she was just three years old, and she never had a relationship with him as a result

she was still fairly young when she realized the true severity of her own situation, just how abnormal it was compared to that of her friends. she missed out on so many rights of passage during her upbringing like birthday parties, sleepovers, etc. for much of her life her own living space / bedroom were just as bad off as the rest of the house, given her mom’s inability to keep from passing her hoarding tendencies onto her daughter. isa simply didn’t know any better at the time. to her, that was normal.

not only was her mom a compulsive liar & hoarder but she was also extremely neglectful, often leaving isa to her own devices in the dangerous environment they called home. as a result of this she (TW ED) developed harmful coping mechanisms surrounding food, regularly overeating to combat negative feelings of loneliness, and this went on from the time she was just a little girl all the way until she was in high school

high school was rough in many ways- she suffered depression, anxiety, experienced bullying at the hands of the more popular kids for her weight & her mother’s financial situation, and was all around extremely isolated from her peers- the only person she really had to depend on was her cousin (WC) . she had so much respect and envy for her cousin, they had more of a sisterly dynamic than anything, she was just so gorgeous and everything she did just seemed so effortless, to the point isa couldn’t help but idolize her and consider her a best friend. 

like, remember when spongebob said he hoped that by being in squidward’s presence some of his artistic ability would rub off onto him? that was deadass isa & (WC) in high school jhbksnjs my girl was so sure if she just spent enough time with her she’d inherit some of her pretty & cool

high school was also where she reached a turning point when it came to her home environment, able to put a name to her mom’s condition after years of struggling with her strained and toxic relationship with her mom, and ultimately changed the rest of her life. she stayed the night at (WC’s) one night and after she fell asleep, isa stayed up watching TLC- it was there that she first discovered the TV show ‘hoarding: buried alive’ and realized there was a name for her mother’s infliction- but more importantly, learned that there was help available for her condition

when she went home to excitedly tell her mother that she’d basically discovered a cure, a means to change everything for them... she certainly hadn’t been expecting the reaction that came: her mom, who’d always been so indifferent toward her, so lethargic and uninterested in what she had to say, was suddenly listening very clearly- and she was not happy. isa had never heard her mom scream like that, had never really heard her express any heightened emotion, but it was in that moment at 17 years old, just a few weeks away from her 18th birthday, that she realized what she needed to do. she had no choice but to make plans to leave her mom behind.

the final weeks leading up to the big day she was counting on as a turning point consisted of her cleaning out her own space, little by little, enough that she had somewhere to set up her secondhand laptop and webcam. blowing out the candles on her 18th birthday cake came with wishing for a whole new life, and she was determined to make that for herself by any means necessary.

(TW SEX WORK) isa spent half her 18th year in her room working as a successful camgirl, showing everything but her face, & of course always being careful not to dox herself. she eventually earned enough money to start buying herself nicer clothes, but it didn’t take her long to realize she wanted more from life than just rotting away in her hometown. she bought herself a higher quality webcam to keep making money... and a nice sewing machine, something she’d always dreamed of owning. 

all her life she’d been drawing and sketching as a means of escapism, it’d always been therapeutic to her to be creative and conjure up unique designs for outfits in her mind, drawing models in all shapes and sizes to represent her fantasy outfits. but she never felt like a visionary, even though anyone with an eye for fashion who got a look at her work could see that she had the natural talent and potential to be. 

isa had been an a straight-A student her whole life despite having almost no support at home from her mother growing up, and with plenty of encouragement from (cousin WC), she plucked up the courage and applied for holloway university, with ivory falls being far enough from her hometown of lisbon, but still in the same state so that she could go and see her mother from time to time (bc although their relationship is quite strained now, she still loves and worries about her)

the next summer she received her acceptance letter at holloway u for the coming fall semester, and the fact that she’d been able to make it into such a prestigious school made her feel so proud of herself that she completely underwent a massive arc of character development; evolving into someone so much more confident. realizing that plenty of people found her desirable as she continued to earn money through cam shows had been part of that transformation, but realizing she was talented enough to get accepted into the fashion design and merchandising program at her dream school had a completely different effect on her. 

( TW BODY IMAGE ISSUES ) isa decided that as she entered college, she was no longer going to be the meek, insecure girl constantly playing the role of the doting, loyal fat best friend to the ‘prettier main characters’ she’d always been sidekick to- she told herself that she was the main fucking character in her life from here on, and has spent her entire college experience up to this point just,, navigating as she figures out what that really means to her

still has a terrible underlying tendency to be overly-loyal and a bit obsessive with girls she closely befriends, if she has any kind of jealousy towards them. but ! is a lot more confident than she used to be, and it shows in the way she dresses and carries herself, as well as in her long-term goals (to transfer to FIDM for her final years of university)

( TW ED MENTION ) as a young adult, she’s mostly she’s replaced the compulsion to deal with her body image issues by using food to cope that she had as a teenager... by using sex to cope instead, so she’s definitely a bit promiscuous but does her best to keep that Her Own business 

personality-wise she has a massive heart & is loyal to a fault but is also wild AF & loves a good time! never rly dabbled in drugs until she got to college but since then has acquired an interest in trying everything under the sun, even if it’s just one and done. mostly though she just likes to get really drunk & stupid. used to feel like she was constantly living in her cousin’s shadow, & in some ways she still does, but she’s trying hard to make herself believe that she’s reached a place where she won’t be playing second fiddle to anyone, ever again

i’m gonna shut the hell up now & stop pretending i know this character better than i do bc i deadass do not jbhnjss like she’s literally brand new so lemme go head & leave plenty of room for development!

same story as ezra i’ll have a full connections page posted for her soon but in the meantime some ideas i have are: friends, frienemies, ex friends, high school bullies, classmates, old high school friends, people she gets fuckt up with on the reg, people she hooks up with on the reg (any gender, she’s bisexual / biromantic), someone she had a crush on in high school / has pined for from afar maybe?? someone who used to watch her cam shows?? someone she almost kinda dated but Not? someone who she hooked up with while they were dating someone else?? idk that’s what i have for now but there’ll be more where that came from <3 xoxo like this or hmu !

[aimmyarrowshigh]

Making A Galaxy Far Far Away: An Aesthetic Photoset Tutorial

Requested by @geleixi (and varying amounts of time ago by @rockett-to-the-purple-moon, @thenameisgreed, @pizzaplanethq, and probably others who sent nice messages that I went “Oh, what a nice message this means so much I LOVE IT SO MUCH I’M TOO ANXIOUS TO ANSWER IT WRONG I’ll just do it later” and then promptly NEVER answered it.)

Brainstorming & Photo Collection

Picking a Color Palette

Choosing Images from Collection

Coloring

Textures & Effects

First off: I am not even going to remotely pretend like graphic design is a Thing I Am Better At Than Anyone Else, because that would be patently false and ridiculous, but I also get a fair number of Asks about making photosets/aesthetic posts, so here we are. I’m planning to do a separate one, maybe, for how I do the Cartoon Girls All Grown Up and Nancy Drew Dream Games series, because the “brainstorming and photo collection” part is so different that it inherently affects the rest of the process.

BUT I also feel like I don’t see a ton of tutorials that go through the brainstorming/finding images part of making aesthetics, and I tend to think of my Graphics Style(TM) as “DEEPLY Uninterested in washed-out faux sepiatone grimdark Tumblr Coloring?? + Not Good Enough At Masks To Do Negative Space Well,” which might be some people’s level of ~graphics design passion(TM)~ too, so. That’s the ride for which this ticket has been bought.

Brainstorming & Photo Collection

Obviously, the specifics of this are totally different for every aesthetic, but all of the GFFA/swworlds start from the same seed: Star Wars Aesthetic.

Star Wars itself has a very particular Lookque, imo: it’s not quite retrofuture, it’s not quite dirtpunk, it’s not quite scifi, even. There are the insanely sumptuous (and hella culturally appropriative) queens of Naboo and the ramshackle toppled AT-AT where Rey lives on Jakku and the not-even-subtle-at-all-jfc Nazi inspiration of the Empire and First Order and the straight-up millennial Tumblr witch Goffik look of the Dathomir Witches and Zabrak siths and the blue, blue water of Scarif. There “isn’t” a unifying aesthetic through Star Wars, and yet, as Gareth Edwards said, there’s a LOOK and FEEL to Star Wars: if you go a little too far to the left or right, it isn’t Star Wars anymore.*

*That said, this tutorial talks about Crait, which was invented by Rilo Jon, who went both too far left and too far right but mostly... too far-right. BA DUM BUM! Anyway.

So part of what makes Star Wars Look Like Star Wars, to me, is that it ISN’T ever Too Scifi. There’s a realism in all of Star Wars’ disparate planets -- their looks, anyway; like, talking about how Crait, in this case, makes NO ecological sense as a planet AT ALL is another post entirely. (IT MAKES NO SENSE.) It’s different from, like, Doctor Who, which I think revels in its “we can make these aliens and planets look like WHATEVER” more? Star Wars tends to be very like... “we want to use practical sets and effects.” Even for planets that only appear thus far in Clone Wars and Rebels? So it’s definitely part of the intention of SW’s Aesthetic.

ALL OF THAT TO SAY, my first step with each planet is to figure out the best way to represent it using as much real-world photography as I can and how best to channel the ~spirit of Star Wars~ in the graphic. Sometimes I fail miserably. CURSE YOU, NAR SHADAA. But most of the time it helps provide a Framework for the rest of the brainstorming and photo collection.

SO. FOR CRAIT. (For another example/totally different look and process, I wrote up a little about Haruun Kal on its post here.)

Crait has the definite benefit of appearing in one of the movies, so the first part of photo collection was to screencap TLJ. I took the caps using the 1080p digital release at a 20-frame frequency, so even once I deleted the aps that weren’t of Crait (moving the Canto Bight frames into a folder for Cantonica, of course!), I had like... 1500 images just from TLJ to start the brainstorming and collection with.

First, I trimmed down those ~1500 screencaps to 168 caps that were distinct enough from one another to give me a sense of “what happens” in the scene and, more than that, “What Crait Looks Like.” Then, because there’s additional canon material of Crait besides TLJ, I saved the unlettered images of “Star Wars: The Storms of Crait” from comic penciller Mike Mayhew’s blog @mikemayhew -- if those hadn’t been available, which they’re usually not for planets that appear in the comics (THANX MIKE MAYHEW!!!), I would have taken and cropped panels from the comic at both 100% and screen-fit/60% sizing that had utility for a graphic about planet scenery and not character.

THEN, I looked at Wookieepedia and MSW. Crait was based on the Salar de Uyuni salt flats in Bolivia, so I Google image-searched that. There weren’t actually very many images of the Salar de Uyuni salt flats that I super loved, so I ended up saving images of other salt flats as well, particularly the Bonneville Salt Flats in Utah.

THEN there was the issue of the red minerals, which were entirely fictional and not part of any real-world salt flat. BUT, there IS real red sand... so I saved some images of red-sand dunes (mostly Mui Ne in Vietnam). I also went through my Star Wars Stock Folder to find images of crystal caves and mines that I’d either saved for other planets in the past, but didn’t end up using, OR just saved because there are so fucking many crystal-based planets in SW.

Each of my big graphics series has its own Stock Folder for unorganized images that just strike the right Vibe~ and might be useful someday, in addition to every planet (or cartoon girl, or US state for the Nancy Drews, etc) having its own folder for specific/organized image collection.

My Star Wars Stock Folder:

So there were already a lot of crystals, star destroyers, blasters, and bunkers that were actually in snow but whatever it was white and crystalline, to work with. I added some workable Crait-like images from the stock folder to Crait’s collection, too.

AND THEN, finally, I LOVE the vulptices, so I searched for (and found!) some of the concept art and 3D modeling images from ILM, and I put those in the folder, as well.

I also saved this, hoping I’d be able to make it work because it’s SO CUTE, but I couldn’t, but here LOOK HOW CUTE:

And then, lest I stay in the image-collection rabbithole forever, I said, “OK, that’s enough.” I ended up starting to actually MAKE the Crait graphic from a collection of 272 images:

Picking a Color Palette

Obviously, the dominant colors of Crait are red and white, so the aesthetic had to be based in red and white. My first instinct was to make a duotone aesthetic using only red, white, and black/grayscale. Something like this:

Which... I don’t hate, or even dislike. It’s definitely more in line with popular Tumblr aesthetic, uh, aesthetics. But I usually don’t like landing on that kind of coloring because it ALWAYS, ALWAYS whitewashes people of color (and jeez, it even whitewashes white people -- look at the model in the fourth frame down on the left, or Luke in the bottom-left.) The “vibrance -100 + Selective Color Red>Red + 100″ always ends up doing the above example to, in this case, Poe: turning him into a licorice man.

So then trying to correct THAT either whitewashes the FUCK out of him/people in general:

(Toning down the red)

Or introducing other colors back into the graphic as a whole:

(Upped yellow and cyan.)

So I nixed that coloring before I even started. (These examples were made after the fact purely to serve as examples.)

I went back to the drawing board, AKA the Crait image folder.

But looking at the collected images -- especially the screencaps and the panels from the Storms of Crait comic -- I was struck by how much Crait also incorporates yellow and blue. (Note that I really, really wanted to try to include Trusk Berinato and Bail Organa... but we’ll talk through why that didn’t work out.) I LOVE @droo216‘s bright, almost jewel-tone edits which I 100% know I don’t have either the patience or skill to make, but I liked the idea of trying to make Crait’s aesthetics in a primary colors + black/white scheme.

Which I actually really like! (Again, made post-facto as an example.) But again, red vibrance DiD tHe tHiNG!!! to Poe and ESPECIALLY to Finn and Bail.

So a high-vibrance look emphasizing bright colors was a no-go. Besides, going back to the source material: high-vibrance and high-energy are the opposite of what the planet of Crait is about. It’s a dying husk of a planet, being killed slowly by its own ecology as the salt in its crust dries out everything beneath it, sucking up water until everything either evolves into living crystal-dogs or goes extinct (thank u Rilo for not including dune-worms, this is the one thing you did right). Crait wouldn’t be vibrant.

But... aha! It’s also distinctly layered. I’ve done three-panel swworlds aesthetics before, so I decided to do that for Crait, too: first a mostly-white graphic like the salt crust, then white+red+yellows in the middle, and finally a dark layer of almost entirely red like the mineral mines.

Choosing Images from Collection

With the color palette and “feel” decided (dying at the surface, then growing richer and redder and angrier as the photoset moved downwards), I was able to choose images.

NEKKID PHOTOSETS SANS ANY EDITING! XXX! But for reference to see both cropping and for reference on choosing.

TOP IMAGE, MOSTLY WHITE:

L-R, TOP-BOTTOM:

I saved this image from my dash at some point and have been tossing it into planets’ folders every time there’s a white-based color scheme. It almost got used for Ilum, but at the last second wasn’t. I felt like it fit the coalescence of Rey’s Force strength here, and also the kind of “last wisps” of Luke Skywalker, well.

“Lifting rocks.”

I’m actually still not 100% whether I should have landed on a vulptex here, but dammit they were one of the only good parts of TLJ. This vulpie baby is on the salt surface, looking out at the blinding sun, so she seemed like a good fit compared to the other caps of vulptices -- the ones loping on the canyon surface at the end were all very motion-blurry.

Carrie in that gorgeous coat in homage to Harrison in Blade Runner makes me weepy, and those were some of the most beautiful shots in the movie. This one had a good balance of white and black, so it could be placed around any level “busyness” in the surrounding photos. Especially since I suckkkk at negative space.

I saved this image to the Crait folder like the day it was announced as a planet in the upcoming Episode VIII and given its first peek. I love it!

Hi, salt flats, and also Star Wars spaceships. I actually had a lot of trouble with the level of green in this image, but the ~essence of Star Wars is PEW PEW SPACE BATTLE, so.

This is an ice sculpture in real life! It reminds me of the vulptices and is cool as hell.

The Millennium Falcon! I toyed with different caps that showed it in actual battle, but the blue would have been hardest to work with in this photoset compared to the others below. Plus, now I can save a bunch of Falcon-in-flight pictures for use on planets that only appear in the novels or comics.

NECESSARY, ICONIC, PERFECT, THE MOST IMPORTANT THING THAT HAPPENED ON CRAIT.

Fine, this is a snowy mountain and not a salt flat, but I liked the striations in color and gentle variations in grayscale.

 This was the palest/least Bright Blue sky of all of the Falcon screencaps from Crait.

I tried a few screencaps of Crait from TLJ, but I landed on using the full-panel image of Crait from Storms of Crait. It has the cleanest definition of the “planet from space” options we have of Crait.

This is a promo image, not a screencap. It’s a much crisper view of the ski-speeders. I love the vivid color difference.

The blue-and-yellow additions to the color scheme didn’t work out, but I did still want to include Storms of Crait. This shot had a little more blue in it than I would have liked, but it has Leia in a ski-speeder back before the salt caused them to rust out, too!

Remember when it seemed like the Crait battle’s new AT-ATs would be super cool and like, do more than stand there menacingly behind Kyle? Me, too.

POE! DAMERON! HAS! NEVER! DONE! ANYTHING! WRONG! IN! HIS! LIFE!

KYLE! HAS! ONLY! EVER! DONE! WRONG! IN! HIS! LIFE!

I tried out like five different tiny-frame-difference screencaps of the ski-speeders kicking up red minerals, and I decided that this one, with a clearly defined spray of red surrounded by white and bluish sky, suited the placement here best: there’s red in the panel to its left as the main color, but minimal red in the above- and below panels.

I wanted to include actual Connix, but she’s wearing yellow and only ever shows up surrounded in brownish-black darkness, so here, have one of my standard Fashion Rebel Officer Stand-Ins instead -- the red and white obviously played a part in picking this shot over the rest of the options from the photoshoot.

I LOVE this slightly mystical shot of a Rebel pilot slash astronaut on a rain-slicked salt flat. How perfect?!

As we get down to the bottom of this middle panel, I wanted to include more destruction and more presence of yellow and orange. This image has a good balance of “negative space” in the sky and salt flat, and then the explosion of Nodin Chavri’s ski-speeder (I think?) ties in well to...

Finn and Rose, post-collision. I wanted to include Rose, and the almost JJ Abrams-esque white starburst in the center of this cap is a good balance to the spray of red around a ski-speeder two panels above.

Luke on Crait in the Rebel Alliance...

And Luke on Crait in the Resistance.

This was a kind of “????” moment of characterization -- and general direction -- in TLJ, but Luke surrounded by red as an old man would fall right below Luke as a young man, on his first mission after the Battle of Yavin, when the three graphics were aligned.

I wanted to use the straight-up concept art of the vulptex, but the black around it was TOO black, if that makes sense? So I layered it over a darkened cap of the vulptex who leads Poe to Rey and freedom. This is one of the very rare shots that I use an edited base image.

Han and Chewie! I had to include Han and Chewie. The unlettered panels from Storms of Crait that show the mineral mines are stunning; I highly recommend heading over to Mike Mayhew’s page and taking a look. The detailing of the crystals is something I wish I could have captured better at this scale.

This is one of the red-sand dunes I saved! Crait doesn’t have any living vegetation, but the drama of the black, stormy sky and the red sand drew me in here.

Some CGI crystal caves... I saved these ages ago for use on Ilum or Dantooine, I think? (Same with what will be #11 below.) I don’t love using CGI, but I think the crags on these crystal growths suited the images from canon!Crait.

A screencap of the TIEs chasing the Falcon through the mines. This was honestly one of the most visually stunning parts of TLJ, and it’s so split-second that most people missed it AND most of the screencaps have a lot of motion-blur. I’m really pleased that this one came out so crisp, and I knew I had to use it as an “anchor image.”

Finn, full-on, in red. I’m realizing belatedly as I write up this tutorial that I showed Poe face-on and Finn face-on, but I stupidly chose to show Rey only from a distance. I AM A FOOL! A FOOL!

Aren’t these resin crystals amazing? The full-size image actually shows them surrounded by snow, by the tree-stump they’re on wouldn’t fit Crait, so I cropped in closer on this image than I did for most of the Crait set.

Another shot of the Falcon in the mines. I like the way the framing of white sunlight here echoes...

Leia’s face, a bright spot in the dark, watching out over the salt flat. :(

(See #5 above!)

And again, the homage of Carrie’s coat looking like Harrison in Blade Runner made me sad, so I THREW IN ANOTHER HAN AND CHEWIE. The mining equipment here shows more detail than in the screencaps above, too.

Coloring 

Like I mentioned waaaay above, in the intro: I never use set colorings for photosets. (Except Halloween Spookstravaganza, because jeez so many of those screencaps are like 240p VHS rips and it’s just not worth putting in Effort(TM).)

That said, I think one thing that I do differently than I see in most tutorials is this first step:

I ALWAYS start Aesthetic photosets by arranging the images and then *BRINGING THE CONTRAST ALL THE WAY DOWN.* This is especially helpful on photosets that include a mix of real photography, CGI screencaps or art, and/or comics panels, but it’s also just useful in general for photosets that use images from a wide variety of places.

The reason I do this is because it helps to “smooth out” the differences in light source, color balance, etc., that are part of the raw base images. For this set, it also helps to define the variations in color between very similar shades: the craters on Crait, the wisps of clouds, etc.

In some cases, I’ll do two layers of Contrast -50. For Crait, I did a later of Contrast -50 and then a layer of Contrast -15.

Then, I Select All > Copy Merged > [Turn Off Contrast Layer View] > Paste As New Layer.

Now, the “smoothed” version is placed as a layer above the raw layer. From there, it depends on the look of the photoset what I do -- sometimes, I leave it as-is, but I almost always lower the opacity on the “smoothed” layer until the level of contrast and balance looks consistent across the whole photoset. For Crait, I ended up with the “smoothed” layer set to Lighten 100%.

Selective Color time. There are two ways I usually start this: either one color at a time -- especially for Aesthetics like Pheryon that will essentially be monochromatic -- or, in this case, I looked at the balance of the three main colors that would carry through the entire Aesthetic.

REDS

Cyan -100 (This brightens the vivacity of the red.) Magenta +100 Yellow +100 Black +35

BLACKS

Cyan 0 Magenta 0 Yellow 0 Black +100

WHITES

Cyan 0 Magenta 0 Yellow 0 Black +100 -- This is NOT my usual setting for adjusting white, and since white is one of the main colors in the Crait Aesthetic, it might seem counterintuitive to make the white darker instead of brighter. However, this will help to make next step of color adjustments “take” on the white/whitish surfaces a lot more easily, and it will also help to balance out the bluish sky areas with the white background areas. (I’m not sure this explanation makes sense? But it’s what I did.)

Then, I Select All > Copy Merged > [Turn Off Selective Color Layer View] > Paste As New Layer > Either COLOR or HUE 100%.

“Hue” is more effective for smaller, more incremental color adjustments -- for BIG SWEEPING COLOR CHANGES, “Color” tends to work better. But it totally depends on the photoset! Try both, and see which you like better.

I feel like this is kind of the step where my process of making aesthetics stops being any different from most tutorials -- but this has been HUGELY helpful for me, a non-graphic designer-person, to be able to create a kind of “base image” that has very similar color values, brightness/contrast, and vibrance.

Sometimes this step helps to create really extreme color differences, such as in the Raydonia Aesthetic, and other times, I use it to just adjust one or two color-values so that there’s more consistency in, say, shades of yellow or shades of green, as in the Takodana Aesthetic, for which I just wanted to create a more cohesive palette of green in particular... it started out with a zillion greens, and I wanted to bring it all together into one “aesthetic.”

I think this step, and the reasoning behind it, are why SO MANY PSDs for aesthetics rely on a layer of either gray or sepiatone-ish set to Darken or Multiply as one of their key layers. But I’m just not about the grimdark life, and if I’m making an AESTHETIC OF A THING, I want the aesthetic POST to actually HAVE THAT THING’S AESTHETICS, you know?! I want to use the colors of the thing that I’m saying is meant to evoke the visuals of the thing!

Anyway. Now you have your BASE IMAGE. Often I’ll Merge All here, just for my own sanity.

Then I go in and make any other other adjustments on a “coloring” level that I think will help with the “vibe” I’m going for! For this Crait set, I definitely needed to bring the brightness up so that the white and red popped. However, bringing up the brightness also swallowed a lot of the detail in the white surfaces -- especially the planetary surface of Crait in that bottom-right space -- so I decreased the contrast again.

Brightness +70 Contrast -50

And then I go in for the macro-level adjustments of color using any mix of Selective Color, Hue/Saturation, and Color Balance that works. For Crait, that was more Selective Color, because since I had decided on my color palette, and it sadly did not include blue, I needed to start by taking out as much of the blue, cyan, and green that I could.

And I’m ngl, I told myself the WHOLE FREAKING TIME I was making this photoset that I needed NOT TO DELETE THE PSD RIGHT AWAY LIKE I USUALLY DO so that I could write up all the settings for this step.

But it was a reflex. And I deleted the PSD right away like I always do.

So suffice to say, I just futzed with the levels one at a time until the RED was brought up a little, the YELLOW was brought up a lot, and everything else was brought down and/or hue-adjusted to sliiiide into being yellow, red, or black/white.

Another Select All > Copy Merged > [Turn Off Selective Color Layer View] > Paste As New Layer > Either COLOR or HUE 100%. I think I also DUPLICATED this layer and set it to SOFT LIGHT 50% and then duplicated it again to SCREEN 50%.

I could have left it like this, but I am me and I am nothing if not Extra All The Time, so I opened up my folder of light textures (and other textures) and decided to Go To Town.

Textures & Effects

For your Aesthetic-Making Purposes, here are the three I used on the Crait set:

The first two were set to Screen 100%, and the bottom one was set to Burn 15%. I layered them in this order.

It still looked incomplete, so I decided to use this POWDR Element from Creative Market, which is actually like 5400x5400 pixels and which I’m not going to share here because I paid for it and don’t want CM to revoke my access or whatever, but it looks like this, only HUGE:

I also set this element to Burn 15% and moved it around the image until it looked the way I wanted it.

Textures and effects aren’t In on Tumblr anymore, but I really like using them -- they add, not to be cheesier than usual, texture to an aesthetic post, and I think that they can also help less-skilled graphic-makers like me to hide any myriad of imperfections in coloring, sharpening, whatever. I’m an especially big fan of this noise element (set as a pattern on Screen), so I’m going to share it here even though I didn’t use it on the Crait set:

Most of my textures have been saved over the last literally twenty years since I started making fannish graphics and photosets, largely from defunct old LiveJournals, but there also used to some great sources for them on Tumblr and still are live sources for them on DeviantArt. Just search around and you’ll find what you want! :)

In conclusion, I think it’s infinitely more fun NOT to rely on premade PSDs or standardized Settings, but I also recognize and fully respect that if I made graphics differently, I would probably get easily 5-10x more notes on each post than I do. But I make graphics the way that’s fun for me, and I just try to learn a little something from every set I make. The GFFA Planets/swworlds in particular have been something that I started, originally, because I wanted to catch up and learn about Star Wars planets that I felt like I was missing because I don’t have any fannish history with the Old EU, and I wanted to learn about them in a way that helped me feel like I was engaging with the SW source material AND making the enormity of the canon more accessible to other newish or casualish fans, like I was two years ago when I started this aesthetic series. I like making aesthetics that are genuinely inspired by the aesthetic of the thing that I’m calling it an aesthetic of, so even when it ends up just looking like rainbow barf (CURSE YOU, NAR SHADDAA!!!) I’m having fun.

THAT SAID, here’s how the time breakdown for the Crait set works out:

TOTAL TIME INCLUDING IMAGE COLLECTION AND SCREENCAPPING: Est. 20 hours.

COLORING AND ACTUAL GRAPHIC-MAKING PART: 7 hours.

WRITING UP THIS TUTORIAL: 5 hours.

So, um, if you are so inclined, here is my Ko-Fi link. I post at least two graphic sets every week, sometimes up to 25 (usually during October).

I hope this was helpful at all! I had a good time thinking about my process in-depth like this, and I would love to get tagged in any aesthetics you might try making using a similar method! :)

[factoronto]

MEET THE FAC 2018 RESIDENCY ARTISTS: Katrissa Singer

What, from your life or experiences, has influenced your work most? What do you hope to achieve in your art?

I have always used my art as a means of dissecting and analyzing my experience, so whatever is going on in my life at any given moment is bound to be reflected in what I create.

For the past several years I’ve mainly been making art that speaks to navigating life with chronic illness. I’ve explored this subject from many different angles in a wide range of media. A zine poking fun at prescription medication labels, a large photographic series confronting the embodied experience of being at the mercy of medical institutions, assemblage sculptures out of prescription medicine bottles, t-shirt designs referencing the spoonie subculture, a community-based art project aiming to de-stigmatize prescription medication use, street art encouraging self-compassion, and many other smaller projects came out of this period of discovering, denying, exploring and finally accepting my limitations. I don’t think that “accepting limitations” is the same as “giving up”. It is more about finding different ways to do things, adjusting one’s expectations, reassessing priorities, or allowing oneself to grieve and move on.

Lately I’ve been going through many different transitions simultaneously, and I’m often finding myself in liminal spaces. Sometimes I am finding it hard to adapt to always being in flux, and I yearn for certainty. At other times, being-not-quite-here-but-not-there-yet-either feels perfectly natural and even a bit exciting. This is why right now I am inspired by change and growth. I want to reconcile myself with my past and let go of the baggage that’s been dragging me down. I’ve been reading a lot about the effect trauma has on our minds and bodies, and how it restricts one’s ability to think clearly, feel pleasure and bond with others. And now, more than ever, I am looking to find a way to heal and become whole. Part of this process involves exposing things that haunt me to light. There is something extremely validating in sharing a part of yourself that makes you feel alone and realizing that, in fact, many others can relate. Another part of healing, the one that I am still struggling with, is imagining a future where things are different. I am still very tentative when it comes to making plans, but I am slowly becoming more confident. I am, once again, in the in-between stage, not stuck in the past all the time yet not fully free of its burdens, still afraid to face the future, but planting seeds in the present that will hopefully thrive.

As for what I hope to achieve in my art… that’s a pretty complex question. I create for primarily selfish reasons; art makes me happy. It gives me a voice. It consoles me when nothing else can. It excites me. I am hoping that it will continue to do all these things for me, and also for others. I tell stories through my art, and if these stories help someone feel more present and connected, even for a moment, it brings me joy. I want my art to open minds, even if it sometimes means making someone feel a bit uncomfortable. Several of my projects exploit discomfort to deliver the message: Please Be Patient, for example, that will be featured in the Exposed exhibit at Scotiabank Festival involved getting my models out of their everyday clothes and into a thin paper hospital gown, making a statement about the depersonalization that occurs when individuals face institutions. I want my art to continue doing what it is doing right now, but to do it better. But most of all I wish to be able to continue creating art. I am worried that I won’t be able to afford my art practice for much longer. I am trying to “sneak” art into my future career, and I am hoping I succeed. This year, I joined Workman Arts, and they have been an amazing support. I got some training, exhibition opportunities, a few gigs, and my first grant through them, and I am incredibly grateful that this organization exists.

Can you speak to the variety of materials and methods you use in your art and why you have chosen them?

When I first imagined becoming an artist, I thought I would draw and paint. That’s pretty much what an average person asks me when I say I’m an artist: “What do you paint?” It was pretty heartbreaking for me to realize that while I am competent at both drawing and painting, I’m not in any way outstanding. At some point I gave up on art entirely because I’ve been taught that I will never be successful unless I’m absolutely amazing. I had a very limited view of what doing art can look like, and it took me a while to question where these assumptions came from, deconstruct them and shift my perspective.

Seeing art as a means of achievement rather than of expression was part of this toxic set of beliefs. Part of the process of embracing art as a way of life was discovering new media. You can use pretty much anything to make art. I have always looked up to artists who appear to effortlessly combine disparate elements and create something greater than the sum of its parts. I am drawn to contrast and reconciling the opposites.

When I am immersed in exploring new techniques and materials I get to reconnect with a sense of wonder I feared I’d lost. I allow myself to play. I feed my curiosity. I rediscover my zest for life. The downside to working in multiple media is that sometimes the learning curve is too steep and I can get frustrated and lose interest. The advantage is that I discover - often by chance - ways to transcend limitations of various media and make something that is needed. I am a synaestete, meaning that my sensory perceptions are sometimes blended: I can taste color, see sounds, etc., so engaging with new concepts and materials can be like cooking, except sometimes I set out to make a steak and discover a new flavour of ice cream.  

I am also an avid collector of oddities. I found Jesus (a baby from a nativity scene) on the sidewalk once. I love beach combing, and going to thrift stores. I see worth in things others consider to be trash, and I am often inspired by things I find littering the sidewalks. I joke that I can relate to discarded objects, because I too am broken and not very useful. Humor makes it easier to cope with the fact that my existence as an artist is directly at odds with capitalist culture, since my art practice has very little commercial value. I tackle subjects that are often quite unpalatable to the general public, and the images I produce are not the kind you’d find displayed in people’s living rooms. The saying about how art should disturb the comfortable and comfort the disturbed resonated with me deeply, and I often do just that.

In “Message in a Bottle”, you use pill bottles with anecdotes from individuals living with illnesses or disabilities. Is there a significance to the title of this work? Why do you think these stories are important to tell?

Ever since I read about it as a child, I have been fascinated by the idea of putting a message in a sealed container and releasing it into a body of water, hoping that it would someday be found and read.  I often daydreamed about being mired on a deserted island, and I would weave elaborate narratives about what I would do to survive and ultimately escape - a pastime many misunderstood loners could probably relate to.

When I was in the final year of my Bachelor of Fine Arts, I found myself feeling increasingly isolated - I was reeling from a cancer scare, a recent breakup, and the death of my cat. The results of the 2016 US Presidential election left me feeling absolutely hopeless: as an immigrant, a non-binary person assigned female at birth, a disabled person - I felt afraid and heartbroken for people south of the border whose lives would be negatively impacted by the change of government. I buried myself in schoolwork to cope, I wanted to feel numb but I just felt sore all over, all the time. One day I was cleaning and I came across a dozen of old medication bottles. They were mostly empty, and many were from medications I wish I hadn’t taken. I wanted to do something with them - make them part of a memorial to misdiagnosis, maybe. I didn’t have enough, so I hit up a few of my friends for empties. Then when someone dropped off an unfinished bottle of the same medication that gave me awful side effects, I wondered if they had experienced similar issues. I reached out to them and sure enough, their experience was similar to mine: the doctor had dismissed their concerns and told them to increase their dosage and come back in a few months. I felt angry. I needed to do something. As much as I felt like it, I couldn’t go yell at my doctor, because it wouldn’t change anything.

I remembered that my friend sounded relieved when I reached out to them and shared my own experience. I asked them if they would be comfortable sharing their experience with others, anonymously, via a handwritten note inside the bottle with a partially peeled off label. They said “yes”, and I put a call for submissions out of social media. I thought I would get maybe ten “bites” and use the bottles and the messages as part of my upcoming exhibit on chronic illness. I had an incredible initial response, however, and received about thirty entries in two months. I ended up scanning the bottles and their contents, and the “Message In a Bottle” series was the main work featured in my first solo exhibit titled “Spoonderland”. Throughout the duration of the exhibit, I had many people contact me, saying that they were profoundly affected by reading the messages. I decided I would continue to accept submissions, hoping to eventually exhibit again. Then I realized that if I were to confine my work to a physical space, many of the people who need to see this material the most would be unable to access it. I started Message in A Bottle Blog online, sharing one entry a week. I was aiming to keep it alive indefinitely; however, it has been difficult to collect submissions in the past six months.  I have not shared my own story on the blog yet, because I was hoping to do so on its second anniversary, which is eleven months away.  I’ve tried my best to solicit a diverse pool of respondents, but I found that the project had a few “blind spots”: voices of persons of color (especially men), cancer patients, HIV+ individuals and their partners, and people under eighteen and over sixty were conspicuously absent. I realize that there are many reasons for this, but I feel that the project is incomplete and has room to grow. I would like to continue with Message in A Bottle, but I need help. This project was created to break down stigma and give people a safe platform to share their experiences. I truly believe that sharing one’s stories of prescription medication use: the good the bad, and the ugly, can shift the existing power dynamics between doctors and patients by making people better informed about risks and benefits of certain medications and empowering individuals to advocate for themselves when they are in need of medical treatment.

You can find the Message In A Bottle Project Blog here: https://messageinabottleproject.tumblr.com

Message in A Bottle Project is still accepting submissions: https://messageinabottleproject.tumblr.com/guidelines2sub

[creativemorningsdublin-blog]

Meet our musician: shiv

Meet our Musician: shiv

For February’s CreativeMornings event we are joined by shiv as our musical guest. 

shiv is a Zimbabwean/Irish musician based in Dublin. Having established herself as a house DJ, she turned her attention to where her passion truly lay in song-writing. 

Her music, though simple in its musicality, envelops you in her world. She uses her unique blend of R&B and Lo-fi Hip-Hop with elements of Soul and Neo-Soul to create music that is emotive and brimming with feeling. Shiv’s silky-sweet voice wraps you in a hug that carries her soulful lyrics and brings them to life over the warm, hazy instrumentals. 

Our music co-ordinator, Molly, sat down with shiv to ask her about all things music and creativity.

How did you transition to being a full time musician?

In a weird way, Covid definitely made that happen. Music has always been in my life but to be actually doing it full time with nothing else going on is great. This is my primary focus right now. Before Covid, I was working in a restaurant alongside doing music and when restaurants closed down and the Covid payment was instated, I had to rethink what I was doing. So, it really threw me into music. I was DJing for a little while before all of that because I didn’t really think of singing as a career path, necessarily. I felt like it was a one in a million kind of thing where only a few people are chosen and you have to be chosen by a major label. The old industry model. I thought DJing was a great way to express myself musically without necessarily being a musician or a singer but music was always part of my life.  

When my sister was getting married and I was the maid of honour, I was meant to write her a speech but I just don't like public speaking. I don’t really enjoy speaking in front of more than about 5 people. It's too much. So I decided I would write her a song instead. I put that song up on YouTube and my managers at the time saw it and suggested that I consider doing this as a career. Then I just went from there, slowly but surely building things up right and learning more about production and how to put everything together.  And yeah, I guess that sort of brings us up to now.

Do you use that song that you wrote for your sister’s wedding in your set?

No, I don't use it. It was the very first song I wrote so I thought about putting it out, but I ended up going in a different direction. 

A lot of creatives find that their confidence fluctuates, as a byproduct of their creativity and their values being such a huge part of their work. Do you feel in a good place with your confidence?

Yeah! Before releasing my EP I was definitely in that turtle mode. It’s the pressure of knowing people are looking at you and that people have expectations of you. That was really hard to swallow I guess, and even though at the time I don't think many people were looking at me or are looking at me currently, it just really felt like they were. I felt like I had something to prove. So, at that time it was difficult but because the EP is about all of that stuff, that was my way of processing all of it. 

I do feel like that’s behind me though. I’ve come up with coping mechanisms and would like to think that I have a more internal locus of evaluation, to put a psychological spin on it! Obviously that's easier said than done though, you have to also be in a good frame of mind to be able to rationalise all of that.

So that was a big thing. Being able to just say ‘look, create for you. If you're happy with it, that’s the important thing and if anyone else likes it - amazing, obviously that’s such a bonus. But if not, whatever.’ You haven't lost anything by putting yourself out there, you know.

People need to like your music to spend money to see you perform those songs. So that’s definitely part of it. 

I think it's just about finding the right balance between being sure that you’re doing it for yourself and appreciating people who enjoy what you’re doing. 

Your EP ‘Me 2 Me’ gives off that vibe of sitting in the grass in the summertime. At the same time, the tone of the EP is driven by introspection and exploring the insecurities that you described earlier. Are there still narratives that arise around your creativity that you have to work on silencing? 

Yeah, definitely. The big one is comparison, thinking things like, ‘oh well, this person is doing this so I should be doing it like that too.’ But then it can just cripple you completely from even wanting to try. With the process of making music, another negative narrative might be judging what I’m doing as I’m doing it but the more that I just ease into it and just do it, I stop thinking. At the very least maybe you’ve finished something. If it’s not good then maybe it might inspire something else that you make later on.

So, I think they are the two big things. Trying to get to a place where I just have patience with myself. Showing up is half the battle really, just showing up and doing it. It doesn't matter what you come up with at the end of the day ‘cos it's gonna all build towards something good in the future. Sometimes it’s just about having the confidence to know that if you’ve done it before you can do it again. It’s in ya! It wasn't a fluke. Understanding that was a big thing. Patience and compassion for yourself.

We often hear creatives talk about how it’s so important to let yourself make bad work. It sounds like a lot of your creative process is just allowing yourself to sit with it and try things. 

Exactly, yeah. It's not that you're setting out with the intention of sitting down to specifically write a bad song. Even though I’ve heard Blindboy say that before on his podcast, he's advised people to sit down and write something bad. I've never done that personally, but if I'm going to write a song or going to do some work on music, I do like to set myself a time where I just sit for two hours and just see what happens in that time. It could be bad, it could be good or it could be something that you draw inspiration from for future projects and future work. 

You never know what subconsciously comes from those moments. You could look back at a Logic session and be like ‘oh my god, that’s where I got the idea for that little melody line.’

Was there anything that has surprised you about your creativity over the past year?

I don't know if anything surprised me, necessarily. Nothing's jumping out at me that I was like, whoa, I didn't know that. But I did have a realisation around discipline and how it’s just so important. If you're disciplined in every other area of your life and you have a routine set up, then it leaves space to be free with your creativity which is how it should be. 

I guess I did just realise how important discipline is and how important it is to do at least one creative thing a day, whether it’s a journal entry or a poem or drawing something. Also, making sure you go on some little adventure to the shop or for a walk because you end up soaking up things that you didn’t even realise, or making new connections that you wouldn’t have made before. 

It’s so easy to just be stuck in the house and stuck at your piano or your computer forcing yourself to create. The space outside of where you create is just as important, those experiences where your conscious mind is off and your subconscious is ready to pick up on those little bits and bobs, those moments are really valuable.

The theme for this month’s CreativeMornings event is Divergent. What comes up for you when you think about that word? 

At the moment I've been thinking a lot about the building racial situations and everything that’s been happening around that. I feel like being mixed race is a weird one because you don't really fit into either category. It’s like you’re too white to be black and too black to be white. So I definitely feel like that's such a divergence from the norm. That's how I'm finding myself at the moment, but not necessarily in a negative way. I’m just something different, I'm a diversion from what is the standard on either side of the spectrum. 

It can be really difficult to know when to include something so personal in your art, if ever. Especially with things that are so fresh. Do you keep those things in your life separate until you know how to approach them or do you tend to dive in? 

I think you definitely need to take time to process things a little bit, even though writing does help with processing. But sometimes when stuff is too raw, I don't feel like sharing it unless it's completely just something I'm writing for me, but even just seeing it on a page sometimes is too much. 

I have been writing about it. I feel like I have a lot to say about it at the moment so it is coming through. But you do need to figure out what you want to say and how exactly you feel about it before you can really put pen to paper and make a song out of it. 

Your music currently sits in that soothing R&B, summers day soulful genre. If you could click your fingers and jump into another genre for a day, which one would you gravitate towards? 

That's an interesting question. I wouldn’t deviate too far from R&B and soul. I think I would happily be a rapper or a jazz musician, if I could do that. Then I’d love to be a house musician as well because I did DJ for a while and I loved it. Sorry, that’s three!

DJing must have been so fun. Was that your full time gig?

No, I was doing it on the side. I used to do two nights a week. I had a residency in Berlin Bar on Dame Street. DJing was fun, it was a nice way to make money and it was just a good buzz but when I needed to take the next step to make it a bit more regular, I couldn’t really find the motivation to do that. That’s when I knew it was just a hobby, you know. I was thinking, ‘oh maybe I could do this full time,’ but then I don’t think I could be excited to DJ full time. It’s definitely fun though, I do miss it. 

Your visuals are such a well matched extension of your music. They portray that same warm and authentic sense of self that we hear when listening to your songs. Is there a particular way that you approach them or is it just about going with what feels good in the moment? 

In the beginning, I didn't have a budget or any support so it was all about getting friends on board and explaining what I had in my head. It was about saying, ‘let's just put something together and see what happens’. I didn't really put too much thought into any of them, especially because I don't come from a visual background at all. It's not my comfort zone, not one bit! So, I just wanted to put across whatever I could.

Moving forward, I would love to get a bit more professionally and creatively involved in the visual aspect because I feel like it's such an important part of the whole story of the music. I know it can engage a whole different audience, so I do think it's important. Possibly a little to my detriment, I haven’t put enough effort into the visuals, but I also feel like sometimes it is just about what feels right and fleshing out a basic idea that you have in your head. And like all aspects of creativity - it’s about getting started with an idea. Then more ideas just kind of flood in once you get the ball rolling, you know.

-- You can catch shiv on Spotify here.

[davidmann95]

It's probably not smthn super interesting to you but, all the new Superman costumes when I looked at them just... reminded me of Connor, mostly? (I ended up playing with them to make a Superman Connor which was fun.) But my main question is, do you think that "Superman" is a name that could ever really be passed down, kind of like how Dick was given Batman (briefly)? Not in the way of lots of people rushing in, but DC seriously trying to introduce a new Superman? Who would you give that role?

Yeah, I can see that. Same basic design, just with a yellow negative space in the S and the yellow buckle on the belt.

As for the successor business, the idea of certain superhero identities as ‘off-limits’ has never quite sat right with me. Not everyone exactly demands that another hero take up their mantle - if Peter Parker was the one and only Spider-Man I don’t think many New Yorkers would notice for long, in-universe he’s a B-list superhero at best - but they’re bigger-than-life characters, often standing for things to their city or world larger than their own physical selves; it means something for that symbol to continue past whoever started it. I never liked old-school Earth-Two Dick Grayson staying Robin forever because he ‘wasn’t worthy’ to be Batman; the guy himself would have wanted that, he’d been doing it longer than Bruce by the time he died, and he had the same training and resources and motivation. And at least there’s the question with Batman of whether you legitimately could logistically equal the decades of unrelenting globe-spanning training he went through; with most heroes, if you have the power and the goodness of heart, you’re off to the races. Batman isn’t a mythical totem bound to the heart and soul of a single individual only to fade into the wind when Bruce Wayne passes on, it’s a suit he puts on that Dick Grayson or Tim Drake or Damian Wayne could put on too, and would have good reason to. And if Superman isn’t going to be Superman forever, whether that means he dies in battle or gets old or he goes off into space, there’s absolutely a reason for someone to fill that gap. Even if his immediate family didn’t, someone would.

Not to mention a lineage of Supermen and Superwomen stretching from the present to the 853rd century and beyond is just really cool. It gives you all kind of weird variants and possibilities even before you factor in the Multiverse, lets you do wild cross-time teamups, and plays with the ever-changing future of DC at any given time. And that they manage to exist is maybe the most tangible impact of Superman’s ideals across the breadth of space and time: the Starman legacy may eventually go rotten, the Green Lanterns may die out, the Allen/West line of Flashes has died about by Legion times, but eighty three thousand years down the line the moral imprint Kal-El leaves behind is still so strong that his great to the power of a hundred grandchildren, each and every one of whom could conquer galaxies, are to a woman and man the greatest heroes of their era. That such an impossible standard continues to be met in the face of infinite temptation in a time far farther away from us than the beginning of recorded history is the most monumental testament imaginable to how good Superman actually is at bringing out the best in people.

So who starts it?

Well, Kara as Superwoman’s an obvious choice - she’s got the power, she’s got the heart, and she’s the only other survivor of Krypton up to the task. But she’s always felt off as a successor to him for me - they spring from the same incident, so her motivations and origins are parallel to his rather than springing from him and his deal. She doesn’t wear the S-shield because of him, even if he’s the reason she calls herself ‘Supergirl’. It seems odd to discuss her as a successor in the same way as Batwoman for Batman - they’re associated characters, yes, but they’ve got their own things going on. More importantly they’d keep doing pretty much the same things they were already doing, in which case why bother getting rid of another character in the first place? Taking Superman’s place doesn’t do anything to Supergirl that her just growing up wouldn’t do with time anyway. It has to be someone where them entering that role represents a change.

The idea of Conner having to become Superman is loaded with potential, but that’s kind of the problem: I think the idea that he could be Superman one day is way more interesting than him actually being Superman would be. Maybe this is in part because I generally think of him as being a character of unfulfilled narrative potential, but the idea of this kinda goofy, rough-’n-tumble kid playing around with weird Kirby concepts and hanging out with the Teen Titans and resenting having to go to high school wondering if he might actually have to be Superman one day has a lot more going for it than whatever he’d actually be as Superman. I like the idea of the hybrid of Superman and Luthor being able to save the world in the way neither of them ever could, but only Luthor’s more unsavory aspects seem to be hinted at as a potential part of the package for Conner rather than his mighty intellect or ambition, so it mostly comes down to a stock Good Genes vs. Bad Genes argument that’s settled once and for all once he puts on the cape. Similarly, that he might fear the idea of being Superman the way a teenager fears having to get a 9-to-5 job when he grows up is fun - he knows that’s ultimately a thing he has to do to take care of those around him, and something he’ll probably be okay with when the time comes, but right now he’s not so sure he’s wild about it - but that means either he gets over it, or we get another Superman who often seems to hate being Superman. Plus he doesn’t have much of a background to draw on given he literally woke up on the day of his birth as a superhero, so again, aside from having to be a role model it’s not much of a logistical change for him. All-in-all while it’s interesting to see him in that role in potential futures, I think any destiny for Kon-El would probably be best served by him finding a different job title.

While I’d hope to see him in something a little more stylish than the above -maybe he could change costumes a lot, every time we see “Superman Secundus” he seems to wear a different uniform, so that could be a character detail - I think Jon Kent, the Boy of Tomorrow, would be the best option for a new Superman. For one big thing right upfront, while it’s probably about to be retconned out of him in March (probably for the best), he’s the one of the bunch who himself is the last son of a doomed world. Hell, more than that he’s the last son of a doomed DC Universe, the one way to feasibly one-up the significance of Krypton; even when he’ll have just been born on Earth, the idea of him as the final product of a classic DC has some potency.

That sense of legacy plays into something else with him: he’s the only one of the gaggle who actually thinks of Superman as Superman. Kara knew from day one that was just her cousin, Conner was born to be Superman, but Jon’s the one who grew up with Superman as his hero, not knowing just how true that was. He looks at Superman the way you look at Superman, and then he finds out his dad is Superman, coming at the idea from an even more direct place than Wally West. And being raised by Superman means he becomes a different character from him: he doesn’t grow up lonely and lost in the same ways Clark did, but he doesn’t have to go through the same trials or endure quite the same harsh lessons either. He’s could be the Nightwing to his Batman, not quite having the same kind of focus and drive but overall a better-adjusted person, which lets him go through the same basic motions you expect of Superman while still being a meaningfully different character.

Plus, he brings back a lot of Silver Age elements that don’t quite work for Superman anymore. I’m not a fan of Clark in-costume defending Smallville as Superboy, but Jon has Hamilton, meaning he can live out the whole Superboy status quo of defending a small town while also living as a normal schoolkid concealing his powers and super-brain. And while Clark becoming Superman is an all-but-meaningless name-change for Clark if he’s already been Superboy for years, for Jon that’s the biggest thing ever, making a career as Superboy much easier to pull off for him without invalidating anything. Plus, while the doofy Chris Reeve-style disguise doesn’t quite feel right anymore for Clark, it’d fit perfectly for someone as energetic and occasionally clumsy as Jon (especially if he parlays his obvious genius into the world of mad science as his day job when he grows up). You get the original Superman succeeded by the Silver Age Superman just as he was in the real world, and Jon brings enough to the table personality-wise while still being able to do the classic stuff (he can learn more about Krypton, but it’s fundamentally altered by being the home of his unknowable ancestors rather than the place he was born, for instance), and that differentiates him from the other two candidates. Obviously a lot of this is just potential no one has seized on yet, but if Superman set down the rules of the DCU, Jon grows up as a pure embodiment of that world, Super from childhood on and living without the burdens his dad had to. That to me makes him the most interesting possibility of the lot to see as a second Superman.

[knfer247]

1 day to go!

The excitement is pulpable. The unrelenting waiting of D day to arrive is spent mostly by thinking about it. About the holiday, about the new changes and about the challenge soon to be encountered.

In my excitement I stumbled upon a concept called Ikigai. A Japanese concept that roughly translated (no direct translation available) means life, to create happiness/purpose. It is broken down into 4 questions. That if executed optimally can provide a “sweet spot” and or life purpose.

The 4 questions are:

What do I love?

What am I good at?

What impact can I make on the world?

What can I get paid to do?

I have already jotted down some quick thoughts, so let me elaborate on them a bit

1. What am I good at?

I have often pondered this question rather deeply frequently to no avail, but I must be good at something’s. I simply could not have gotten this far in life without being semi descent at something?!?! Yes I have not mastered anything at this stage yet but I have good groundwork in my favor, so I have concluded that I am good at:

Understanding concepts - I am able to pick up the gist of allot of things, (I have been relying on that for most of my working life) actually come to think of it, I have been relying on my ability to understand concepts throughout school as well. I have never in any sense exerted myself to a necessary effort level but I have always managed to grasp concepts. My work ethic is the problem In that equation. With a tad more effort this is an ability I can really become proud of. (Epiphany- haven’t realized that before)

Analyzing - I have always considered myself to have an analytical mind. That is why I am drawn to things like programming (if this else that), economics (due to X get Y) and investing (is this more profitable than that)

I constantly run scenarios in my head of different situations. This is not isolated to quantitative issues, most of the time it is emotional issues, matters of the mind. Trying to get a handle on the mind is a daunting task. Analyzing quantitative issues is something I do as well however again with a bit more dedicated time and effort instilled into it. I can develop that understanding to make analytical and logical decisions. It always takes me back to ogame. An online turn beaded strategy game that worked off algorithms in the form of building ships and acquiring resources. I was able to completely recreate the game on an excel spreadsheet and then optimally plan how to build my empire. I did so and achieved parabolic growth that I was able to sustain and achieve with a relatively low risk factor. I was able to do this purely because I knew all the parameters and then able to develop a strategy of best fit.

Maths - differently have the capabilities to do well with difficult mathematical concepts but just very under practiced.

Guitar, golf and sports in general - naturally gifted with hand eye coordination and can perform admirably in many sporting mediums . Again. Just needs a bit more dedication and designated time.

2. What do I love?

Building concepts - one aspect of my rather mandate job is that I get to build models. The current medium being in excel. I really really enjoy creating little usable projects that can assist with optimizing an activity. The end goal (add to “what impact” section) is always to make someone’s life easier and more efficient. To effectively deliver a required output. That’s the goal but my joy in the project comes from thinking about it and then being able to piece by piece (tab by tab, function by function, case by case) build a final product. It is extremely exhilarating when in the end the finished product actually does something and performs a role. I really love doing that kind of thing.

In the above paragraph I have also touched on a few other things that I love, creating a product or item. One that is tangible and can do something when completed.

If I understand all the concepts of something, I also really enjoy tinkering and iterating through the concept.

I am and forever will be a person that enjoys fewer people than more people. Some people - of course! But not crowds and not busy places. I will always choose a holiday that removes me from people. When I work, I prefer to work in my head and then collaborate at a later stage. I dislike thinking on the spot and having someone hovering over your back the entire time. However as much as I enjoy working alone. I do often seek assistance and input. I also fee a sense of flattery when I am also asked to provide input as the person asking my often believes I can contribute. Smaller isolated work groups suit me well as long as I have the ability to put my earphones in and work in my own solitude for however as much time as needed.

I love thinking outside the box and being unique. Often my ideas are farfetched and innovative but theoretically viable, just maybe not financially viable. Again going back to my ability to develop concepts.

3. How can I impact people?

The only way I ever want to in life is to make their work, life and play easier and more manageable with concepts that will asisst and ultimately create more time for the person to do something that brings them happiness. I want to in any shape or form create task effectiveness that leads to increased efficiency.

4. What can I get paid for?

Services rendered from the concept that has been created. If it be a physical concept then through utility of the concept. If a digital concept get paid services rendered in the forms of subscription, transaction and order fees. If it is web based it may also have the ability to sell advertising space. This would be my ideal area from which to draw my income. This would mean that I would have to be in the business owners quadrants.

Since that is still sometime away at this point I would also need to create an investing portfolio so as to be able to aptly manage and growth whatever income I do receive.

I am absolutely clear on one path that i do not wish to partake in and that is to earn a single salary income for the rest of my life.

Although it does provide an air of security it also breads the infestation of confinement and endless bossing from the powers that be.

I think that that was a descent dive into that inner thoughts of the ikigai concept. It was a rather brief but somewhat semi detailed exploration but definitely think that is a much deeper pool to tap into on this topic.

In conclusion, from the 4 questions my answers seem to relate in a way that can create happiness and financial reward, it is definitely something that is within reach and achievable if the right effort is put into it.

From almost every extract above I complain that with a touch more effort I can achieve more. I really hate saying that and hearing it. I remember it from school, I feel it every day at work and I no longer want to have that in my life. I want to be able to say... yes I exerted myself as much as I can. I gave myself every possible chance I could at achieving what I set out to achieve. I no longer want to look back and think, oh I could’ve actually done it if I did that little bit more.

A little bit more. That is what I must do when I start doing something. Let me do just a little. It more. Let me see what’s behind the next corner. I no longer want to be that person that gets to a point and then waits for further instruction or moves on to the next task.

A little bit more!!!

But it must only be a little bit more for constructive and or healthy things.

A little bit more Macdonalds, alcohol, ciggerettes, tv, Facebook are not healthy or good things to spend more time on.

A little bit more reading, studying, guitar, building, creating, film making, golf, bird watching and investing. These are things I want to consume all my time doing.

Then i also want to spend a little bit more time doing the smaller detail of those things too!

Spend a little more time understanding a financial concept whilst studying.

...more time practicing golf shots and swings and studying the game

.... more time setting out clear strategies when investing

... cooking a healthy meal on a retailer basis and learn more recipes and develop a skill.

The smaller detail is where the value is, I want to be value orientated. Value in myself and person.

That was a long conclusion. Final final thoughts, I suppose... break the back of the initial project by simply immersing yourself into it and live in the moment with it and be fulfilled by the task that you are currently doing! Do not think of the next thing. Live the current moment and the current task. If it is negative understand that it is negative and learn from it do not be crippled by it. If it is a possible thing then really Savor it and delve deeper into it until you are satiurated with its knowledge.

New thought... I would like to add the four quadrants of importance and urgency.

As I have identified above with the ikigai, I want to elaborate further on specific events that must serve as triggers to prevent me from doing detrimental things and encourage me to do the right things.

Good night.