#Abbey Drucker

[lovelybeautifulsleep]

Evangeline Lilly by Abbey Drucker for Esquire, 2015

[andtheliike]

Z Berg by Abbey Drucker

thank you @tinyobserver for having the best quality versions of these pics xoxo

[igotarighttomove]

[theoutlanderevangelist]

Caitriona Balfe in her modeling days. Photographed by Abbey Drucker.

[paolo-streito-1264]

Evangeline Lilly by Abbey Drucker.

[grendelsmom]

The importance Pentiment places on food, on shared meals in the first two acts is something that can be so meaningful and personal to me.

From the lunch at the hill by the Abbey with Endris and Otto, to dinner with the Druckers or even the baron's wife. You share their meals and their stories and learn who they are not just by what they say, but by what they eat.

There's something so fundamentally human about being welcomed at a table.

[noobsomeexagerjunk]

fuck it. Pentiment AU time.

It was really conceptualized for a fic idea (whose title is temporarily called Layers Labyrinthine), but it's spiralled enough that I felt a need to do some semblance of character design.

Basically, Lenhardt shoots Peter instead of Ulrich. The mill burns but the abbey doesn't and the aftermath forces the lord of the town to shuffle the powers of Tassing a little. A council is made, Matthieu is abbot, and both are under the town lord's stricter command.

Andreas leaves 1525 Tassing shaken into prioritizing what's left of his home life and repairs the relationship he has with his wife, enough that they try for another child again. In 1534, Sabine doesnt make it and the baby doesnt either, which gives rich man Maler the really big sad. He's richer but more lonely, and tries to keep himself sane by being picky with clients, even pickier with apprentices and maintaining correspondence with them + his closest friends in Tassing, the Druckers. At the height of his melancholy, he returns to Tassing in 1543, considering abandoning everything in Nuremburg. Within that week, Claus is killed, and Andreas swears to help a grief-stricken Magda, whose plans to leave for Prague are interrupted by the event.

This is still about a mural, and still very much about history, but the stakes have shifted, and whoever the thread-puller is, they have a stronger will to keep everything as it is. Might contain some OCs if only to fill in gaps. I haven't figured out the rest.

Design notes:

- Andreas is rich, rich people somewhat follow trends, and I'm pretty sure fashion styles change in 20 years so I had to research a little for this guy's outfit. Took colors associated with his Act I & II looks + yellows from his dead wife and child. The grey is to parallel his final look at the end of the game, as well as his hair and beard.

- Gave Magda Claus's hat as well as a bit of her mother Marie's old clothes. Since Claus is dead here, I wanted her to, like, inherit the guy's mix of colors in his fashion. So, teals, reds, and browns for Magda.

[emily-watch-the-stars]

Everglades | Abbey Drucker - Caitriona Balfe

[library-windows]

well shucks, thanks

And also: not a stretch at all! The fonts are very much part of the character design.

The more erudite monks and nuns -- i.e., the ones in the official hierarchy (Gernot, Ferenc, and Mathieu in the monastery, and Cecilia and Lijsbet in the convent) and the ones in the library/scriptorium (Illuminata, Zdena, Piero, Aedoc, and Guy) -- all speak in blackletter/Gothic script.

And because I will take any opportunity possible to point at my wretched little blorbeau, Brother Guy in particular has a unique way of writing his Ys because he learned to write in a Burgundian hand, not a German one -- which means that Andreas can identify his handwriting, if he's a craftsman who takes an interest in such things.

The cursive font is based on Carolingian minuscule, I believe, and used for characters who can read and have some education (the first dialogue below is from Father Thomas, since there's no nametag on it).

And the simplest handwritten font is used for characters who can't read, or who can read but don't do it much in practice; most of the inhabitants of Tassing speak with this font.

Several of the monks and nuns also speak this way, even though it's noted in-game that everyone at Kiersau is literate -- characters like Wojslav, Matilda, Lukas, and Volkbert all use this font. So without ever actually saying it, we're shown that there's still something of a class divide even within the abbey -- between the officials and the scribes/artists, and the people who are doing the more mundane work in the kitchens, the gardens, the infirmary, etc.

The Druckers, as printers, all speak in type rather than written font (including Marie, Bert, and later Magdalene).

Andreas, Werner, and other university-educated characters speak in a humanist minuscule font to reflect them as more modern -- in their background, if not necessarily their personal philosophy.

(Also interesting, or at least interesting to me, is that when we see characters' actual handwriting, it's in cursive -- we see it with Andreas, Magdalene, and Guy, despite their speech being humanist, printed type, and monastic blackletter, respectively.)

But anyway what's really interesting is how the fonts change -- I don't think it happens much with Magdalene, but you see it multiple times through Andreas' perspective, where sometimes text is erased and rewritten in a different font as Andreas learns more about the person he's speaking to. Baron Rothvogel initially speaks in cursive, which changes to humanist writing when Andreas finds out that he's highly educated, despite not going to a university.

Old Til and Florian both start with the simplest "peasant" font; but if Andreas talks to Til and learns that he is a voracious reader with an interest in Roman history, it changes to the cursive font. And in Act II, Florian's read so many books by way of Claus Drucker and has become so enthused about the availability of printed books that his speech turns into type.

The Sommerfelds also start out with the generic peasant font, which turns into type when Andreas learns they're printers.

Some font changes, like the baron's and the Sommerfelds', are written into the story; but if Andreas never stops to have that conversation with Til, or if he gets Florian in trouble in Act I and the abbot forbids Florian to get books from Claus, then the font changes don't occur. Til's is entirely dependent on Andreas learning his assumptions were wrong, and Florian's is dependent on the abbot allowing him to get books from town (which doesn't happen if you rat him out to Gernot or the archbishop).

tl;dr you are 100% correct on the intentional font use! They serve as a quick shorthand about certain aspects of the characters, and also show us how Andreas in particular sometimes "rewrites" his perceptions of characters from his initial assumptions -- as well as showing us that Andreas' assumptions are informed by his own biases, and aren't always correct.

There is a lot of information from Lettermatic themselves here about the process of designing the fonts, it's pretty interesting stuff!

I've hit the image limit in this post which indicates to me that I've probably said enough

(EXCEPT THAT there is an additional point about characters with changing fonts that spoils Act III/the conclusion of the game, so I'm putting it under a readmore just to be safe)

Spoilers for Act III and the climax of the game! IHR WURDET GEWARNT

When Andreas meets her, Amalie initially uses the same bastarda that the educated monks and nuns use, which immediately switches to the "peasant" font when Thomas implies to Andreas that she's illiterate.

That remains the font used for her until the very end, when her role is revealed and it changes again -- not to the regular blackletter of the Kiersau monks/nuns, but to her own unique font/hand that we've been seeing throughout the game, without realizing it's hers.

Kiersau is an old abbey, Andreas, and sometimes even I wonder if it - if we - have outlived our purpose here. . . . Sometimes I wonder if we were meant to change and we just... forgot to.

So here's something I thought was interesting.

Between Act I and Act II, the townspeople of Tassing age and change. Some of them begin going gray (or go grayer). Some grow longer beards or hair. Some have cheekbones become more prominent, or have lines on their face that develop or deepen, even subtly. And of course it's especially obvious with the kids of Tassing, who are growing from babies into children, and children into teenagers.

Even those characters who don't have visual changes to their faces or hair have differences to their clothing to show that time has passed. They've changed, even if it's only replacing or restyling old clothes, or growing out their hair. People have died, been born, gotten married, moved into town, built new businesses, taken up new ideas - the growth and change is often modest, but it's visible.

But at Kiersau Abbey...

... nobody changes - so much so that most of the monks and nuns don't even have different portraits between Act I and Act II, despite the passage of seven years.

For those that do, the only change is to the color of their habit (the seven years between Act I and Act II would encompass the entire period between entering the abbey and solemn profession, so anyone who was a novice when Andreas was there in Act I would have necessarily professed by Act II). The only other one who changes is Aedoc, whose "image" becomes more worn - but even he doesn't change facially. (Compare him to the visible aging of Ill Peter, another elderly male character.) None of the members of Kiersau physically change, visually, in those seven years. No lines on their faces, no gray hair, no wrinkles, no beard growth, no drooping, no aging, nothing.

The only ones who change regardless of the outcome of Act I are Cecilia, who was far more worldly and savvy than her counterpart, more proactive and less caught up in Kiersau as a bubble; and Piero, who understood and accepted that change was inevitable and didn't fear it. And the only way that they could change was to die, and disappear altogether.

And for all that there's been at least one major change to Kiersau with the closure of the scriptorium (and possibly more, depending on Ferenc and Matilda's fates in Act I), almost nothing has changed in terms of how Andreas/the player sees and experiences the abbey. Of those characters in the abbey who have "grown up", Zdena is still half-heartedly tending to the remains of the library under Illuminata's supervision (and Illuminata herself, though she's now Mother Superior, is still in the library sorting books). Lukas is still in the kitchen, and still can't quite figure out what to do without Wojslav directing him. Volkbert is still doing the menial, grubby work nobody else wants to do. He even lampshades how taking his vows hasn't really changed anything except the color of his habit:

I'm a monk now. . . . I still do the same work, but now I have the same robes as the other brothers.

One expects the abbey to change more slowly than the town, given that the monks and nuns aren't likely to be getting married or having children (one presumes, at least); but even those characters who have, in name, taken on new roles are still functionally doing mostly the same things they were doing seven years ago.

The only members of Kiersau that we see change, grow, take on visibly different roles, and age are the ones we see in Act III, after the abbey has been destroyed and they've moved on elsewhere.

Obviously Kiersau Abbey is not some kind of actual pocket dimension where time doesn't move (unless . . . ?). But it's posited even within the text of the game as a deliberate anachronism, a medieval holdover in the early modern age; and it's set against the inescapable presence of the Church's inertia versus the looming Reformation, and the growing social unrest against the feudal status quo. A major theme of the game is the inevitability of change and loss, and how being able to accept it and move on is essential for growth/survival. And it's clear that the stagnation has reached such a point that there can be no lasting change on a social scale in Tassing until Kiersau burns.

So all that said, I don't think the visual contrast between the clear progression of time in Tassing, and the lack of it in Kiersau, is a coincidence.

This is Kiersau, Andreas. You should know by now, nothing here changes.

[oldfarmerbillswife]

[^^^ Link to the actual interview, it's in a foreign language]

[path-of-my-childhood]

abbeydrucker: Taylor, Los Angeles @taylorswift #TaylorSwift By #AbbeyDrucker #Kodak #35mm #FujiFilm

[swanlake1998]

alison stroming photographed by abbey drucker

[lordegallery]

Lorde, Jaime King, Taylor Swift and Hailee Steinfeld in a photo recently posted on Jaime King's instagram (taken in November 2014).

[karlieklosssource]

Unreleased photo from late 2014 ~ 2015 by photographer Abbey Drucker shot on 35mm film.

📷 : Karlie Kloss, Jaime King, Ansel Elgort, Este Haim, Alana Haim, Hailee Steinfeld, Lorde, Camila Cabello, Sarah Hyland, Taylor Swift, Selena Gomez

[noobsomeexagerjunk]

pentiment review & thoughts

so. i played pentiment. writing this while at my 4th play (with my first and third as same stats, different accusations). bookworm, hedonist, bookworm again, and now businessman. having a lot of fun so far.

was prompted bc 1) this game is a common rec for disco elysium players, 2) i got andreas maler in a blorbo uquiz, so of course i had to see what the fuss was about

spoilers, obviously:

prefacing first that. uh, i got into this game with relatively surface-level understanding of the late middle ages/early renaissance, and like very little of how this impacted germany. god bless the glossary. the only thing really guiding me was being catholic + my familiarity with benedictines (the people who ran the all-girls catholic school i studied in) so uh

given that, my 1st andreas had his wanderjahre in Italy, is a bookworm with skills towards Oratory and Logic, possessing a Master's in Theology. this will be about the first play

act i

what an introduction. i played off my andreas as an intellectual with a love for God but also a concern for people regardless of class, and i just went around being as respectful as possible. emphasis on "as possible," bc i can refuse to be a Lutheran and still criticize the abbey actually <- pissed off both gernot and rothvogel

the DRUCKERS! my best friends :)

spent much of my dinners with the farmer-peasants. had a meal with sebhat as well. tassing is so alive!!!

the implication that andreas fell asleep if you choose to watch matthieu and rüdeger go at it is very funny to me. monk sex is boring ig. also sorry zdena, im too worried about piero to fuck you right now

why did i think the baron was just an intellectual outcast. of course he's an asshole who abuses his power

THE KIDS! THEY ARE SO LOVELY!

none of these suspects feel like the murderers. tbh i probably should've settled on lucky bc he had the most damning evidence in retrospect. but ferenc just had more, and i was able to push him to the archdeacon

i am a coward and did not look at the execution

act ii

this Andreas just came from France!

"you are banned from the abbey, but i need you to come join me for dinner" okay father gernot???

the golden hand inn looks sooo pretty. surprised i could only make conversation with samuel until the troops were like, really close/the drinking quest

things got worse, a revolt is in formation. this was apparently a trend all over germany at the time, and not limited to tassing. weirdly familiar huh

when you want to escape from your problems via involving yourself from the problems others instead

caspar my boy! im glad to have known you

the Sommerfelds are so lovely

these aqueducts are so cool

it was so much easier to pick Guy, as far as the evidence i got on him is concerned. your embezzlement had an effect on the abbey's management of tassing, which is now biting all of you in the ass

i knew Lenhardt was an ass but i didnt think he'd go as far as to protect the accused

that ending holy shit

act iii

haha i opened tumblr before getting here and got spoiled about the mysterious guy following magdalene

my magdalene bg is Vitae Sanctorum, Bookkeeping, Haggle, & Volksbücher

Ötz you are adorable but you do not suit Magda at all

it does not help that the town ships the two

every single theme is coming together. the question... of history!

the letter writing being so prominent here is very felt

the familiar and unfamiliar are so clouded as time progresses, its insane

apparently ill peter can live *that* long

i learned the hard way after my first run that werner will be an outright asshole in act iii if andreas doesnt speak with him well via my second run; see, my major and only interaction with the guy in run 1 is during the drinks quest in act ii. the difference is stark

martha pfieffer i wish i got more time with you <- got her contemplating the monastic life in the 1st run only? i wonder what triggers this

fucked up that i couldnt send sister susanne out. i think i played my magda too nice with the nuns

snitched on the twins immediately whoops. this is fine, i can go down the mines myself

haha i thought baltas was an act iii-only character, i straight up didnt interact with him during act ii and probably forgot he spoke during the discovery of otto's body

the readying for christmas was sooo brain-sctatchy. seeing the direct effects of our choices in the previous acts, it's so!!!

gotta be real, i thought the discussions on historiography and historical revisionism were like, just there? i didn't think it would be the core of the problem but. of course it is. it makes me feel very stupid for not pointing at father thomas sooner

like, if you spend significant amounts of time with the guy enough, his distrust of collective lay men and assertion towards the authority of the church is like, very very obvious. you see it during the dinner with the baron. when he says the words that triggers peter into burning the abbey. when you talk about claus publishing the 12 articles and agreeing upon the suggestion of banning book reading. the story of how he and sister amalie escaped the fire from their old abbey. in my 3rd run, i got strong hints when i (andreas) decided to eat with the albans (fr. thomas is present in the meal), particularly when discussing the strictness of the abbot

also, notably, in my 3rd run, during the conversation with father thomas for the christian tassing quest, a Vitae Sanctorum Magdalene can ask about the veracity of the story regarding the marian apparition, our lady of the labyrinth. when father thomas asks why she's pondering on it, if Magda is also of Volksbücher bg, she can bring up comparisons to a story she read about a man who tricked a town into believing a head he possessed was a relic from a saint. Father Thomas will then outright ask whether Magdalene thinks that it is valid of the guy to lie about that. Whatever you make Magda respond, he clearly values it. that fucked me up upon discovery, especially since i chose not to question the story of the church in my first run. that's outright foreshadowing, especially since that conversation literally takes place inside said church

anyways, i considered for a moment as to how conscious Sister Amalie was about the notes she wrote. to my fury (against thomas) and relief (for her), she was very unaware. fucking hell, i love christian mystics, and i outright ignored the implications of father thomas as her interpreter

like, i knew such interpreters would twist the testimonies of mystics to assert the church's authority, but. i assumed that this, like the obvious real-time historical revisionism in-game, was just shit that happens. not the core. another blow to my observation skills, but what matters to me is that i figured it out eventually

i had an inkling claus would die but not like that D":

like. magda on christmas eve. dad's friend is back from the dead. the town priest has been responsible for the deaths of people who risked the secrets of the town. dad is dead. idk if the devs over there are interested in spin-offs, but the time between christmas 1543 and when magda leaves for prague should be known

the müller kids really take after their parents, and seeing them interact with old man maler really warmed my heart

ugh, what a lovely game. it deserves its praises

[blackdelia]

“As an actor, I don’t really like to play myself — I want to play a character that’s unfamiliar to me and dive headfirst into a world that I don’t know as well as my own.” SOFIA BLACK-D'ELIA photographed by Abbey Drucker for WWD