#but. i just need some variety sometimes.

[orcelito]

The fascinating thing about my limited planning records for writing is that I will go back to something after months of not thinking about it, & I have to try to parse what I meant through the barest hints of notes recording the different themes of the planned chapters

Ft "bad effects" and "bad effects pt 2", which were nearly all of what I have written for chapters 4 and 5 of Summer Nights lmfao

[incorrect-hs-quotes]

TG: do you think former president ronald reagan smacks rats

EB: sssmacks…rats?

TG: yah do you reckon he smacks rats

EB: oh yeah he TOTALLY smacks rodents—what in GOD’S NAME are we talking about

[mugmegan]

I always get leg pain whenever my period hits so I am kinda confused to never having seen discussion of it. It makes standing hard and is one of the most bothersome parts of my period hurdles. So...

As example, I get it from around the hip and crotch area all the way to my knees and down to my ankles. Where my legs meet my hips, knees and ankles hurt the most, while I would describe the pain to generally feel like a nerve running down my legs is aching.

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[indigodawns]

.

[lunapwrites]

Thinking about LTL Remus and like... why it is I choose to write him as a Dom, even though I don't necessarily have a lot of overt D/s scenes included (aside from chapter 7 but that was... a special case.)

When he's at his best, he focuses a lot on taking care of the people he cares about. He protects them where and when he can. He's attentive to their needs and wants and he listens to them. He projects an aura of calm authority and, in general, makes himself a safe space. Also, he's demonstrably good at aftercare, and that's canon - I'll fight about it. And he's able to compartmentalize extremely well which lends itself well to scenes imo.

The problem is that for a big chunk of the fic (and in canon), he's not at his best. And when he's not, he tends to get a bit selfish and over sensitive. He gets paranoid and starts questioning his relationships, all of which is rooted in his own insecurities that have developed over a lifetime of extreme discrimination. And he allows his identity as a werewolf to supersede his identity as a partner, lover, or friend (among others.) But I would argue that even him pushing people away or being manipulative is, in his mind, an act of care. He's protecting them from himself. The intent is there, even if it's not good practice. Ultimately though the important part is that he is willing to see where he's wrong and to take accountability in terms of fixing things after (see: shack scene.)

Anyway... either way (my art issues aside) I don't see him as this heartthrob sex God that walked straight out of a werewolf romance novel, like what seems to be the assumption when people hear I write him as a Dom. I just see him as A Guy that's doing his best to take care of his partners, and who, when he's feeling supported and secure himself, excels in making them feel the same. And I think in general that's all a Dom really is. And he fits the bill for me.

[squuote]

the ending dialogue in the ‘other games’ ending got me thinking. like there’s something very specific about that dialogue, about the idea of the narrator willing to wait for a restart because he knows it’ll come. eventually anyway. huuurghh….

[itspileofgoodthings]

me like ..... am I a bad teacher .......because I make class fun and my students laugh ........ surely this is wrong ........

[stag-bi]

i dont have an issue tagging goncharov posts w unreality if someone asks, but telling ppl to do so bc it could be triggering for some theoretical psychotic person out there kinda reminds me of that period of time when everyone on tumblr arbitrarily decided that words like ”stupid” and ”insane” are ableist slurs and ppl were genuinely calling each other out for ”using the s-slur” etc

[pansyfemme]

ppl ask a lot abt my traditional coloring process but its rlly not that complex u just rlly water down inks and layer thin layers until you realize you’ve been working for 9 hours straight and pass out with all ur supplies still in bed w/ u LOL

[orcelito]

Ok so I was wondering like

Top 0.005% of listeners. That's Pretty Damn Small. But I was wondering Just how small...

357.1k monthly listeners

0.005% of 357.1k is... just under 18...

Guys. I'm within the top 20 listeners for IAMX. Period. 🫣

[tardis--dreams]

Living my best life eating the same food every single day here

[florencewellch]

Being one of the 3 people who aren't that wild about You're Losing Me is isolating

[girls-and-honey]

Hiya honey girl!

How are you doing? ♥️

I feel gay today, and I don’t have anyone to vent to, so it’s gonna be you I’m afraid

I feel so gay, I spent half the day looking longingly in the distance, and *sighing* wishfully

Do you ever feel like that?

Last week I bought a red rose from a dude in the street and offered it to a beautiful lady singer in a bar, and even if I don’t particularly want to see her again, it still felt good to do something chivalrous and lesbiany you know?

I like living my life on my own, but some days I wish I could do those romantic things with somebody, like holding hands and cuddling, and walking along the river, and maybe kissing a little.

Even if I’m happy by myself, sometimes I still yearn for the day I’ll have my own lady to offer my roses to 🥺

inkaaaa hi hi <3

I'm doing pretty good, in drastic need of a weekend. almost there!

!!! gay vents are always welcome here! oh to look longingly into the distance whilst sighing wishfully...

do I ever feel like that YES absolutely in fact while pondering my response I did just that asjdfkl okay I might ramble in the tags but yeah completely relate to be happy with life on my own but sometimes wishing it wasn't just me yeah I'm definitely going to ramble in the tags

offering a beautiful lady a rose I'm 🥺🥺 sometimes you just have to indulge in chivalrous lesbiany actions this is unavoidable. manifesting this for you, I hope all your rose offering yearnings come true!

[gender-trash]

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

[xitsensunmoon]

HOW TO GLAZE YOUR WORK WITHOUT A GOOD PC(or on mobile)/TIPS TO MAKE IT LESS VISIBLE

Glaze your work online on:

Cara app. It requires you to sign up but it is actually a good place for your portfolio. Glazing takes 3 minutes per image and doesn't require anything but an internet connection compared to 20-30 minutes if your pc doesn't have a good graphic card. There IS a daily limit of 9 pictures tho. Glazed art will be sent to you after it's done, by email. It took me 30 minutes to glaze 9 images on a default setting. Cara app is also a space SPECIFICALLY for human artists and the team does everything in their power to ensure it stays that way.

WebGlaze. This one is a little bit more complicated, as you will need to get approval from the Glaze team themselves, to ensure you're not another AI tech bro(which, go fuck yourself if you are). You can do it through their twitter, through the same Cara app(the easiest way) or send them an email(takes the longest). For more details read on their website.

Unfortunately there are no ways that I know of to use Nightshade YET, as it's quite new. Cara.app definitely works on implementing it into their posting system tho!

Now for the tips to make it less visible(the examples contain only nightshade's rendering, sorry for that!):

Heavy textures. My biggest tip by far. Noise, textured brushes or just an overlay layer, everything works well. Preferably, choose the ones that are "crispy" and aren't blurred. It won't really help to hide rough edges of glaze/nightshade if you blur it. You can use more traditional textures too, like watercolor, canvas, paper etc. Play with it.

Colour variety. Some brushes and settings allow you to change the colour you use just slightly with every stroke you make(colour jitter I believe?). If you dislike the process of it while drawing, you can clip a new layer to your colour art and just add it on top. Saves from the "rainbow-y" texture that glaze/nightshade overlays.

Gradients(in combination with textures work very well). Glaze/nightshade is more visible on low contrast/very light/very dark artworks. Try implementing a simple routine of adding more contrast to your art, even to the doodles. Just adding a neutral-coloured bg with a darker textured gradient already is going to look better than just plain, sterile digital colour.

And finally, if you dislike how glaze did the job, just try to glaze/shade it again. Sometimes it's more visible, sometimes it's more subtle, it's just luck. Try again, compare, and choose the one you like the most. REMEMBER TO GLAZE/SHADE AFTER YOU MADE ALL THE CHANGES, NOT BEFORE!!

If you have any more info feel free to add to this post!!