#cool abstract art item of clothing !

[sodrippy]

they need to stop making cool anime streetwear and start making cool xmen streetwear

[msfbgraves]

I've been through a few AI posts these two weeks, and the obvious needed measure here seems to be quality control.

With it, there could indeed be innovation. Automisation isn't of course inherently bad, if it actually frees people up to do other things. But without quality control, you're going to drive people out of industries and the resulting work will either be very poor, or insanely expensive. Honestly, if you wanted your portrait sketched in 1823, that would likely have cost you today's equivalent of $20. Not anymore. And well, who really misses it, in this time of selfies? Abstract art however has flourished, which has of course also heavily influenced film; meanwhile, a painted portrait is now a luxury item. As is experiencing live art. Is that better or worse? Depends whom you ask...

Clothing, I'd say, is a bit of a sadder tale. Clothing made to measure costs an absolute fortune. Clothing off the rack is both poor quality and expensive. Because quality costs more to produce and you have to pay three times as much for the privilege of a little decent cloth.

If there'd been a law that you're simply not allowed to sell clothing that will fall apart after three washes, things may have been different. Now, the only way to find decent quality clothing for a reasonable price is second hand, and God help you if you have any requirements. You have to throw yourself to the mercy of art students (lack experience tailoring), or make it yourself, which not all of us could if they wanted to.

Whether or not AI is using fanfic and project Gutenberg to write story isn't that important. By it's whole setup, AI can only copy and recombine, not truly innovate. AI books will probably be very bland, based on which tropes get used the most. If it is going to be used to write ad copy, uh, well, ad copy is what we all go to do to sell out anyway. If it's all that's going to be offered bookwise, we have a problem. Now, there is some form of quality control in books - fine, 90% of it is "will this sell", but still. The absolute worst of it does not often get adapted. If that doesn't matter anymore, we may be in for a rough ride.

Corporations care only about money and have no eye for quality. They will try to sell you any dreck. And they will always drive creatives to the fringes. Creatives are their enemies! All the humanities to a certain extent, boohoo, why can't we be shit to people? So there will have to be a movement against that, too. Europe does that with state sponsored arts grants (which they always cut again, I'm not naieve about those), and quality control of goods can and should exist for anything automated. It can simply be made mandatory to have a trained expert go over anything that is being allowed on the market (if this isn't already the case). Fail to do this (and the US probably will), and it will probably be very bad. But this isn't the first time human expression has been partly automated. We're still here. And I'm pretty sure "manipulating AI to do something cool" will become just another art form, just like, say, sampling.

The race to the bottom is something you can protect people from. But you can't really do it without some kind of third party interference. And that has it's own issues, as always.

Brave New World.

[mgf-game]

Here's a rough sketch idea of how I envision the character art. I've never done character design before, so I'm not exactly sure what I'm doing. Actually I've never done any of this before so it's my first time if you can leave me any advice in the comments I would appreciate it!! I'll come back and edit or add to this post as I flesh out the game idea more.

Her magical wardobe

I want my protagonist to be a magical girl so I gave her a dress. I embellished the garment with basic magical symbols to represent items she can pick up. I've never done clothing design so I tried to keep it basice. She has a light color scheme and her hair is brown because I still want to keep her rooted to reality but when the game is built I'd like to add customization options so she'll be able to have her hair changed.

Core game fighting style

The player can select between 2 fighting styles.

The first style is the staff equipped which she uses to spread an AOE multi enemy type attack. It's fantastical and opens her up to abilities. Her attacks are a little weaker but it looks cool and she deals damage to multiple enemies at a time.

The second style is fist Mano e Mano- she throws her staff into the ground behind her and lifts her fists, a little animation should emphasize magic around her fists so she can attack 1v1 she hits way harder but she's a bit slower and can't fight off too many at once.

When she switches between attack styles there should be a 1 second delay but it should feel cool and switching styles should help with strategy while fighting different waves or bosses. Also maybe staying on one style should be rewarded or punished depending on whatever is more fun ill have to think about it.

Fighting enemies and gathering condensed magic crystals

The enemy squud here would be one of many, I didn't really think about enemy design the Lil squid here is just a placement holder. I would rather have enemies that represent some abstract representation of magical energy or creatures that look they could be made of magic. Anyway enemies drop condensed magic and coins.

Coins are used to purchase clothes or weapons

Magic is used to power up or increase mana/magic capacity. I think some types of condensed magic could also be used as prestige points.

The art style

I don't want to spend hours drawing each character so I'm working with a simple chibi style sketch large outline for each object that the player can interact with. I want it to be less colorful and more pastel like nothing too hard on the eyes.

During serious bits or hard-core parts I want to flesh out a more illustrated or realistic sketchy anime style.

Core gameplay loop

So you switch between fighting styles while fighting waves of monsters or bosses as your character fights they improve in either skills being able to take on tougher challenges depending on how they've built their character while idling- at some point they are defeated or die but they're reborn or remade via the crystal bits they be collected idk and start out at lvl 1 they can spend collected coins or crystals to buy or equip different clothes or armors or weapons to fit their playstyle.

The plot

Uh I'm not sure. I think whatever is going on she's like getting revenge for a loved one who was killed and basically she has to kill her way through a vast amount of enemies before she reaches the big bad the irony is she herself is killed a billion times and everytime she resets she loses a little more of herself but tbh idk I'm not a writer ill have to think about it longer. Maybe the crystals take her over. Oh maybe the more crystals you use to Power up distorts your character over time and so you can choose an active playstyle where you get stronger faster but your character looks more evil or a more idle passive approach where you gather strength but naturally idk.

Those are the basics I have rn, I don't want to spend weeks working on art or plots i just want to build

[alanhuang01]

What we can do with 3d pens

3D pens offer a wide range of creative and practical applications. By extruding heated plastic that cools and solidifies quickly, these pens allow for freeform creation of three-dimensional objects. Here’s what you can do with a 3D pen:

Art and Decoration

Sculptures: Create intricate 3D sculptures that can range from abstract shapes to realistic figures.

Jewelry: Design custom jewelry pieces like earrings, necklaces, bracelets, and rings.

Decorations: Produce decorations for holidays, parties, or personal spaces, including ornaments, wall art, and centerpieces.

Fashion and Accessories

Wearable Art: Fashion accessories such as brooches, headbands, or even elements of clothing can be crafted.

Customization: Personalize items like phone cases, glasses frames, and shoes with unique 3D-printed embellishments.

Educational Projects

Models: Build models to visualize complex concepts, such as molecular structures, geometric shapes, or historical artifacts.

STEM Learning Tools: Create tools and models for teaching science, technology, engineering, and mathematics concepts in a more interactive way.

DIY and Crafts

Repair: Use a 3D pen(learn more click: here) to fix or strengthen plastic objects, filling in cracks or attaching broken parts.

Upcycling: Enhance or repurpose old items by adding new 3D-printed elements, giving them a new lease on life.

Custom Tools and Gadgets: Design and fabricate custom tools, holders, or gadgets tailored to specific needs.

Prototyping and Inventing

Rapid Prototyping: Quickly sketch out and test design ideas for inventions or modifications to existing products.

Functional Objects: Create simple functional objects like hooks, stands, or organizers.

Entertainment and Play

Toys and Games: Make toys, game pieces, or puzzles.

Interactive Art: Engage in projects that combine art with interactive elements, encouraging play and exploration.

Practical Uses Around the Home

Home Improvement: Craft custom handles, knobs, or fixtures for home decoration and improvement.

Organization: Design organizers, holders, or clips to manage cables, kitchen tools, or office supplies.

3D pens tap into both the creative and practical aspects of 3D printing technology, making them a versatile tool for hobbyists, artists, educators, and DIY enthusiasts. The only real limit to what you can do with a 3D pen is your imagination!

[yycollections]

Unisex Men Abstract T-Shirt, Graphic Tee, Art Design, Cool T-shirt, Stylish T-Shirt, Minimalist Clothing, Casual Streetwear https://etsy.me/42AKcrC via

@etsy

[bibi-emjay]

Choose Purely Handcrafted Sterling Silver Jewellery For Evergreen Designs

Handcrafted sterling silver jewellery is a beautiful and timeless piece of art. The process of creating a piece of handcrafted jewellery is a delicate and intricate one, and the end result is a one-of-a-kind item that is cherished for years to come. You can enjoy purely handcrafted sterling silver jewellery for years.

Sterling silver is a type of silver that is made up of 92.5% pure silver and 7.5% other metals, usually copper. Sterling silver is a popular choice for jewellery making because it is durable, hypoallergenic, and easy to care for. It can also be shaped and molded into a variety of designs, making it the perfect material for handcrafted jewellery.

In the UK, there are many skilled artisans who create beautiful handcrafted sterling silver jewellery. These craftsmen take great pride in their work and are dedicated to creating pieces that are both beautiful and functional. They use traditional techniques such as lost wax casting, chasing, and repoussé to create intricate designs and patterns. Handcrafted sterling silver jewellery in the UK is quite famous among people.

One of the main benefits of purely handcrafted sterling jewellery is that it is very unique. Unlike mass-produced jewellery, each piece is one-of-a-kind and cannot be replicated. This makes handcrafted jewellery a special gift for someone special or a treasured piece of art to be passed down through generations.

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Handcrafted sterling silver jewellery is available in a wide range of styles, from classic and traditional to modern and contemporary. Popular designs include Celtic knotwork, nature-inspired patterns, and abstract designs. The choice of design is a matter of personal preference, but it is important to choose a piece that is well-made and will stand the test of time.

When buying handcrafted sterling silver jewellery, it is important to look for pieces that are hallmarked. A hallmark is a guarantee of the quality of the silver and shows that the piece has been independently tested and meets the legal standard for sterling silver in the UK.

Handcrafted sterling silver jewellery can be worn for any occasion and is suitable for both casual and formal wear. It can also be worn as a statement piece or layered with other jewellery to create a unique look.

Caring for handcrafted sterling silver jewellery is easy. It should be stored in a cool, dry place and can be cleaned using a soft cloth and a mild silver polishing solution. Avoid exposing the jewellery to harsh chemicals and extreme temperatures.

You can pass on purely handcrafted sterling silver jewellery to future generations without any worries because when you decide to buy the handmade jewellery, you choose longevity. You need not worry about anything when it comes to handcrafted silver jewellery. Therefore, it is best to choose wisely to select the best.

Final thoughts:

Handcrafted sterling silver jewellery in UK is a beautiful and timeless piece of art. The process of creating a piece of handcrafted jewellery is a delicate and intricate one, and the end result is a one-of-a-kind item that is cherished for years to come.

The UK is home to many skilled artisans who create beautifully handcrafted sterling silver jewellery, which is unique, eco-friendly, and easy to care for.

When buying handcrafted sterling silver jewellery, it is important to look for pieces that are hallmarked for quality assurance. With proper care and attention, handcrafted sterling silver jewellery can be enjoyed for a lifetime.

[pinerlucky]

Maquette cast

Since then its demise has often been predicted and with the rise of abstraction, landscape painting was thought to have degenerated into an amateur pursuit. Two of the greatest British landscape artists of that time were John Constable and JMW Turner, whose works can be seen in the Tate collection ( There can be no doubt that the evolution of landscape painting played a decisive role in the development of Modernism, culminating in the work of the Impressionists and Post-Impressionists. As a genre, landscape grew increasing popular, and by the 19th Century had moved away from a classical rendition to a more realistic view of the natural world. Their treatment of the landscape differed: the French tried to evoke the classical landscape of ancient Greece and Rome in a highly stylised and artificial manner the Dutch tried to paint the surrounding fields, woods and plains in a more realistic way. In early paintings the landscape was a backdrop for the composition, but in the late 17th Century the appreciation of nature for its own sake began with the French and Dutch painters (from whom the term derived). Landscape is one of the principle genres of Western art. Text by Sarah Gillett, Visual Arts Manager, British Council, from the catalogue for the exhibition Henry Moore in Qatar, 2007 Glossary A greenish patina was painted onto this maquette and the eventual monumental scale sculpture, adding to the impression that the work could be read as both figurative and landscape. Once cool, the sand was then brushed off, leaving a dimpled surface which was polished and smoothed when the pieces were welded back together. For large sculptures the foundry used the ‘sand casting’ technique, where sand was packed tightly around sections of the plaster model, which are then replaced by molten bronze. As the model was enlarged further, polystyrene was used as it was easier and lighter to carve, before being transferred into plaster once again and sent to the foundry for the final casting. Detailed measurements were taken of the maquette and using a grid reference, a working model around 5 times bigger was produced in plaster and again sent to be cast in bronze. This maquette went on to be scaled up to over 4 metres long. The wax was then surrounded with a further mould of plaster and melted out to be replaced by molten bronze. A rubber mould was made around the plaster, removed, and filled with wax leaving a perfect wax version of the maquette. The plaster maquettes were sent to a bronze foundry where the ‘lost wax’ method of casting was used. Not all maquettes were finished or cast, but once Moore was satisfied with a plaster, it would be cast in bronze for him to continue working from. He imagined them as though they were a fully-realized large bronze or stone sculpture, so that he could visualise how the piece would look on a huge scale. If the maquettes were kept underneath a damp cloth so they didn’t dry out, he could work on several at a time to develop an idea or experiment with different forms. Hundreds of maquettes like this stood in his studio, each one taking between twenty minutes and three days to complete. In this way he could work on the whole form at once, producing maquettes like this one with no front or back, easily read from either side. Instead, Moore worked directly with plaster and terracotta to produce maquettes of around fifteen - twenty-five centimetres long or high, using small scalpels, metal spoons, cheese graters, and other items he had conveniently to hand. Please contact me ASAP.After the second world war Moore no longer made preparatory drawings for sculptures, although he still experimented with three-dimensional ideas within his drawing and would sit down and sketch from his sculptures themselves. So, if you have an interest in enlarging the piece, buy the maquette now to preserve the opportunity to enlarge at a later date. Only the owner of the maquette will have the ability to obtain the Rights to Enlarge - for an additional fee - at any time. NOTE: Purchase of the maquette does not automatically include the Rights to Enlarge the sculpture. Insurance and tracking number is included. The sculpture will be shipped in a sturdy, well-cushioned box. The maquette measures 12-inches high by 4-inches wide by 4-inches deep. It will come with a thick marble base to sit on. As the maquette it makes a very nice desk top sculpture. Solid cast aluminum.Įnlarged, this would make a very nice sculpture in front of a tall building. This geometric, architectural piece was originally designed as a maquette (model) to be used as the 3D blueprint to build a monumental sculpture, but I am offering it now as desk top art. BEST GIRL FRIENDS - an abstract sculpture by Richard Arfsten.

[hamilton47hammond]

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[beasley02conradsen]

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[beziddi1]

In today’s world of fashion, graphic designs are becoming a popular influencing industry. From manufacturers designing clothes to customers who are wearing them are creating a bubble of innovative and new ideas. They are expanding their creativity skills and coming up with more new styles in clothing and fashion.

[miaa-rosiee18]

The cool tones of the light pink and blue feature alongside neon colours. This colour scheme has relations to Kandinsky 1932 paining, Layered. I feel I have created and metamorphosed Kandinsky’s abstract line work into a physical representation of an abstracted human form.

Sarah Lucas created a piece with winding legs and massive heels resting on a large chair. I really loved the movement this sculpture had. Similar to Emin’s bed, you can relate the piece of art to a safe space perfect for relaxing and slouching in a place of comfort. The fact that this sculpture has shoes and nipples transforms your perspective, allowing you to relate it to the human form. I can imagine myself as this sculpture coming back after a long day with platform shoes on, being able to finally relax.

Michelangelo Pistoletto’s “Venus of the Rags” has supported my development through out this project. Pistoletto’s sculpture falls into the Contemporary art movement, Art Povera. The subject matter is created to reflect everyday life. This movement was intended to be accessible to all as sculptures could be made from a range of cheap, recycled materials. Trends and concepts ranged from making the “everyday meaningful” to “exploring space and language”. This corresponds with the themes I am currently exploring. I have used everyday items to create winding layers that roughly mimic the towering piles of fabric, to make everyday fabrics meaningful and celebrated. Pistoletto makes Venus the stability for the fabric. In my sculpture the chair acts as “the Venus” as it supports the weight of the chairs upholstery.

The smooth marble of Venus created a very noticeable clash in textures. The perfect Goddess stands in front of old brightly coloured clothes, reminding me of Kusama’s colour clash on the Polka Dot Pumpkins.

[kanabepark]

Essay about Wood block printing

It was my first time to do lino cut prints last year at NQ creative course. Since then, I got really interested in carving.

It’s reminded me that I did a couple of wood carving and wood block print at my primary school which I had great time.

I like doing lino cut prints however, my interest goes to wood block print more than that at the moment. For me, it’s quite difficult to choose the right type of wood boards and materials just now because I have just started but I hope the experience will give me an answer for this later on.

I like the smell of woods and their natural warm texture compare with manmade lino.

Woods are much harder to carve and takes longer time but I am quite patient person so, I even really enjoy these difficulties as well.

Wood block print was invented in China around 700AD.

Since then, this carving wood block method had been the most common in East Asia printing method for printing books, texts and pictures. In fact, now I understand why I am quite familiar with wood block print. As I said earlier, I did a wood block print when I was a child and still used Japanese traditional wood curving tools and baren for the art classes ( It`s a disk like hard tool with a flat bottom and a knotted handle used in Japanese wood block printing. It is used to burnish the back of a sheet of paper lifting ink from the block.)

Woodblock prints are a typical type of relief print. It is called woodcut or xylograph because it uses wood as the original plate.

Ukiyo-e prints are well known all over the world. Ukiyo-e prints are not made by one artist. They are basically and traditionally made by three specialists.

A drawing or painting artist who provided the design image, a wood carve technician and a printer.

I think this fact is really interesting because usually one artist does all these works to create artworks in European countries.

Japanese traditional woodblock printing materials are very unique as well.

For example, we have been using a prunus serrulata (cherry species) wood board as the best quality printing block. Recently, we use plywoods because they are much cheaper.

Traditionally, we use a waterbase paint/shuhi-enogu (mud-pigment)and adding a glue as paints. There are also monochrome printing using only black sumie ink.

Washi paper (traditional Japanese paper) has been used for printing. One especially has a strong quality for rubbing method, this paper is called Ko-zo paper (mulberry paper).Also, before we print on this, it’s very important to damp the paper to get a beautiful result then, put special paint on the board by using a special brush not a roller.

Usually we don't use more than one color on a board. To make one multicolor print, the printer has to print between 5 to 30 times using different boards for the colors.

ARTIST RESEARCH

Kiyoshi Saito (1907-1997)

He was a woodblock printing artist from 20th century in Japan.

Mt.Fuji (1980)

Mt. Fuji has long been respected as a mountain of gods in Japan. Therefore, showing it in artwork must be very respetful and formal for Japanese people.

Normally, Mt.Fuji is shown in blue to express it, but because this one was used red, I think he draw Mt. Fuji as seen in the evening. As the expression aka-fuji in Japanese is used, it depicts Mt. Fuji in a particularly beautiful appearance. Belive or not, you can see this red color Mt.Fuji in real life! Also, this red is not vivid color and uses a very warm natural color.

What is interesting is the color of the sky. It is slightly pink compared to the white snow on the top of the mountain. From that, I think this pale color was intentionally used to make Mt. Fuji, which I admire, stand out. The shape of the clouds looks like a dragon is flying. Even in Japan, it feels like a combination of the myth of a dragon. It's a very proud and elegant movement and in the middle of the cloud, there is a gray blackish line in it. This means this cloud has got a soul in it as well.

Looking at the lower part, a black plum tree that has not yet bloomed is drawn. From this, it can be estimated that the season is between the end of winter to the beginning of spring. Do the white branches represent the snow that has fallen? It looks like it's still in cold weather. Also, the black color is smudged on the bottom parts which means the real world is a dark and terrible place to live but the mountain parts are pure and sacred. It could be meaning of mythology in Japan as well.

The most interesting parts of this work is texture.

He used wooden natural organic woodgrain patterns for the body of mountain. I have never seen a print like this before. It is almost saying this artwork belong to nature world. I think this method will be very useful for my next project.

Clare Leighton (1898-1989)

She was an English-American artist best known for her wood engravings.

Watcher Of The Sky (1955)

This work is a mixture of realistic and idealised.

Some people are included and I think they are all professional scientists who try to investigate new facts of the sky.

The mysterious shape in the middle and right hand side shows the science of the sky was so mysterious at that time and these scientists are trying very hard to find out the fact or truth. Also, the swirl shape shows confusion inside their head or the hope for a different world.

The color is black and white so it shows the night time and the white color around people look like showing the furure hope to the people.

The bottom right zig zag lines may explain their excitement feelings and cause waves of their heart to pump or could be the sign of universal movements or vibrations.

I found that this is quite scary because not so detailed about people and they are all looking the same direction. Especially, all faces are the same shape and clothes are the same, kinds of very creepy. Maybe wanted show the scientist does not have feeling and they are only interested in the fact. It looks like all people are men. It shows the time of this era, men had more power and access to the education than women. It is very sad and not fair but it was the truth.

They are quite a lot of abstract shapes in this. It is all belong to the scientic world.

Textures are all over the place so there are no plain bit at all on this work makes me a bit breathless and give me emotional pressure.

I think so clever to show the serious and mysterious emotions at the same time on this.

Even thought this is a woodblock print, shows details a lot. Some lines are really straight and the microscope looks real. She is very good at describing the shapes and works are so neat.

Also, I can see the lots of depth in the work almost like an illusion especially on the spiral.

Jed Henry

He is a woodblock print illustrator.

Pocketing a Wager

The most interesting power which he has got is he can change almost all world famous animations or TV programs scenes to Ukiyoe style illustrations. I have never seen before such cool illustrations before. I can not explain well but something old and new are combined together makes really beautiful attractive artworks.

This artwork is about Pokemon and Sumo wrestling.

I can recognize some of characters from Pokemon. All animals look very different from the show but he turn in to them to real Japanese yokai (monster) looking very well. Also he uses Kanji (Japanese character) it makes this piece like it belong to Japanese traditional culture.

I can see the audience in the background but they are not colored just line drawings. It makes the battle scene more powerful and outstanding.

He uses the Japanese traditional paint colors as well. He must study hard to get to know original Ukiyoe very much otherwise it would not work well.

There are no modern items at all in this work. All clothes are kimono, hats and other accessories are also old style.

There is only one bit I can see the modern is the Pikachu`s thunder lines. It is almost like abstract art there which never seen in original Ukiyoe arts. Because of using white lines it is very pale and not overpowering the rest of work.

He did a signature using the alphabet and also used Japanese stamp and the red color really stands out. (we only use red color for this kinds of stamp) It looks very old style but a lot of Japanese people still using this kinds of stamps. ( I have one as well)

So, it makes me want to use my Japanese stamp as signature in the future it would be very unique.

There is not religion a message on this but definitely showing the Japanese traditional culture.

References

www.takezasa.co.jp. (n.d.). 木版印刷による版画制作工程 -摺師の仕事・役割- | 木版印刷・伝統木版画工房 竹笹堂. [online] Available at: https://www.takezasa.co.jp/mokuhan/mokuhan01_3.html [Accessed 8 Mar. 2021].

Wikipedia Contributors (2019). Woodcut. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Woodcut. [Accessed 8 Mar. 2021]

武蔵野美術大学 造形ファイル. (n.d.). 武蔵野美術大学 造形ファイル｜武蔵野美術大学による、美術とデザインの「素材・道具・技法」に関する情報提供サイト. [online] Available at: http://zokeifile.musabi.ac.jp/. [Accessed 9 Mar. 2021]

ukiyoeheroes.com. (n.d.). Ukiyo-e Heroes | Our Story. [online] Available at: https://ukiyoeheroes.com/about-us.php. [Accessed 10 Mar.2021]

‌www.clareleighton.com. (n.d.). Clare Leighton. [online] Available at: https://www.clareleighton.com/ [Accessed 10 Mar. 2021]. ‌

やないづ町立 斎藤清美術館. (n.d.). ギャラリー. [online] Available at: https://www.town.yanaizu.fukushima.jp/bijutsu/gallery/ [Accessed 10 Mar. 2021].

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[wehavethoughts]

Comfortable Country Review!

Comfortable Country: Peaceful Homes Inspired by the Country Author: Enrica Stabile Photographer: Christopher Drake Publisher: Ryland Peters & Small, Inc., 2001 ISBN: 978 1 84597 361 2

*All quotes are from the book.

“Country is not simply an area you can find on a map, it is a place of the spirit.”

Comfortable Country strongly establishes the mood of country-inspired interior decoration. Aspirational homes are showcased on nearly every page, depicting pretty examples of design elements in a country home. The book’s text and images together create a thorough list of what you need to furnish your dream home, more idealistic than practical. Though lyrical and dreamy, Comfortable Country receives a rating of three darling geese out of a possible six, ultimately unable to rise to the standard of being a book about actual design in an accessible way. 

“...home should be a haven of renewal...”

Stabile is verbosely lyrical, describing tangible elements in great detail and providing abstract words to key readers into the decor style’s gentle tone. Repeated again and again, almost ad nauseum, are: comfortable and comforting, simple, inviting, relaxed, peaceful, cozy, casual, informal, tranquil, natural, soothing, unassuming, unpretentious, generous, soft, and restful. The painted picture is very clear; a real #mood #vibe is conjured in Stabile’s detailed imagery. But it’s the same thing on every other page: faded linens, white paint, terracotta pots. All of those elements are fabulous, but we got it the first time!

“Elements like these remind us of the pleasure we derive from the integrity of natural materials and living with things shaped by human hands from nature’s bounty.”

The book got redundant very quickly. The first section focuses on influences to consider: changing seasons, peacefulness, nostalgia, utility, and natural materials. Each is integral to country decor and living, in which you can “indulge your senses and promote your wellbeing.” The second half distributes these characteristics in various rooms of the home, applications of the notes from the first section. This call and response format works to really show readers how the fantasy works... and again... and again… The photography is so beautiful and rich; so many words weren’t needed. Or, if Stabile wanted her specific voice to come through, detail away but limit the book to carefully selected images that flatter the writing-- more of a style diary.

Comfortable Country is a thorough lookbook, a selection of excellent examples curated to present a fresh take (in 2001) on country style. I wonder which elements contributed to that fresh take: wildflowers in chipped vintage enamelware? Embroidered cloth napkins? Homemade ceramic mugs? Delft tiles or Victorian plates? Undoubtedly very pretty, I have a meticulous guide book of items to buy or find and visual examples of ways to place them in my own personal home. However, Stabile’s narrative on lifestyle has a shallow relationship to the material decor of the style, shying away from being a true design book. This brings me to how Stabile grounded, or didn’t ground, the book in any context whatsoever.

“All you need is time to enjoy it.”

Stabile is repeatedly very encouraging of a slower, quieter lifestyle. Chosen items should center rest, enjoyment, and ease. This is all very clear and, I think, very good! I personally would absolutely love to just start over in a sweet cottage, having enough money and time to gather precious pieces and make all my food from scratch. So many of us follow #cottagecore, but there is something inherently imaginary about the vibe, it’s attractive because it’s unattainable. I am still curious as to where her vision resides in a more practical reality, one likely inhabited by her readers. She gets so close!: encouraging me to decorate to my own personal interpretation, to have an “individual reaction to individual things.” However, simply buying these items cannot suddenly allow me to lead a more peaceful, country-inspired life.

“...recapture the unassuming style of a contented era not so long ago.”

This vision is certainly not unimportant, especially in our capitalist society in which we are overworked and undernourished. But Stabile only skirts around this issue, I wish she dove in more! Instead, she longs for a lost era, a time when… The recurring nostalgia is vague, reductionist, and admittedly, kinda sexist. We are asked to “recall a time when all appeared safe and ordered” and I ask: safe for whom? Stabile encourages us to “copy country housewives of times gone by…” to which I would reply, “No thanks.”

“The practical essentials of life need not be unattractive simply because they are useful.”

Perhaps I am mixing country and cottage, but this book indirectly claims a white, patriarchal understanding of being ‘one with nature’ as the ideal. The rhetoric of having a country house is not only bourgeoisie, but actively ignores indigenous ways of life that existed long before ‘having a country house’ was a thing. So many native cultures to this day live in a way where items are indeed made with natural materials, food is picked fresh, and the home is interconnected with the surrounding environment. Stabile jabs at post-war economic boom mass-production of (mostly plastic) goods. This context is important and yet not so simple. Without acknowledging who created the problem, she criticizes and rejects it.

“...make artful use of simple effects to create an unpretentious, relaxing look.”

Basically, what Stabile is presenting is actually luxury more than peaceful living. It’s not about understanding why goods were created en masse, how local artisans were replaced with national department stores. The result is a surface-level relationship with the object around us, which fetishizes ‘simple’ ways of life. An ode to what wealth can do, Comfortable Country acknowledges the need to escape from ‘chaotic city life’, but fails to see how a sweet, gentle hermitage is not an adequate reply to the root causes of why we need that escape in the first place.

Look at this next passage. The voice tries to be relatable, starting by blaming technology and then commenting on minimalism out of nowhere (there’s so much to say on minimalism, coming up in my next post!), but ultimately doesn’t seriously tackle the beautiful goals of the last sentence.

“When technology became a fact of life we had to assimilate, many of us turned to minimalism and a pared-down style to reflect the proficiency of our new world. But real people are not suited to behaving as though daily life were a laboratory experiment-- cool, clean, and clinical. Efficiency has its place, but in the things that we choose to live with we need an intimacy and a softness to keep us gentle, and to keep us human.”

I can only assume the intended audience of Comfortable Country is one who wants a fantasy getaway. This is totally fine! I can only award three geese because, while it sounds lovely, the book is removed from truly accessible design. A reader might crave white linen curtains and a stone bench to sit and admire her garden. But I wish this book were so much more than just a privileged dictation of what country-chic means to her and how you can do it too! It comes across as condescending to a reader like me who thinks (too) critically and has the knowledge to design on her own. The book was what it said it was, and I would only recommend it to those starting out in figuring out their style.

With loving curiosity, DesignMod

[maxismatchccworld]

News about the Nifty Knitting Stuff Pack!

Welcome back to another Nifty Knitting Deep Dive! This is part 4 of our ongoing series where we take a peek behind the curtain (of yarn?) to discuss in depth upcoming gameplay features, and have a little Q&A with members of the development team. Today, let's talk about Plopsy!

Plopsy is an online arts and crafts marketplace to buy and sell goods. It's sort of an amalgamation of real life online stores, but the themes should feel familiar. For a pack centered around knitting, this felt like a really good add. Afterall, there are only so many times you can gift your significant other a sweater...and yet so many sweaters to knit! The flow for Plopsy is relatively straightforward - once you’ve crafted an object the List on Plopsy interaction becomes available. Listing an item on Plopsy costs a small fee, and will remain listed on Plopsy for several days. You can keep track of your listed items in your inventory, where you will see the current duration of the item and if there are any interested buyers.

(it's that easy!) If someone is interested in buying your item, you’ll be notified with a message. If you agree to the buyer’s offer, you can use the Ship on Plopsy action to ship the object in the mail. You’ll be paid immediately and get a thank you message from the buyer when they receive your package. Alternatively, you can ignore a buyer’s offer and relist the object for sale again.

(Ship it!) Plopsy offers a higher payout than selling things the old fashioned way, at the cost of some general maintenance and patience. The goal is to offer a better selling experience for both the stay-at-home crafting professional and the fairweather crafting hobbyist. Plopsy isn’t tied down to a career or a gig, so anyone is free to try it!

Sims can also purchase things on Plopsy through their phones or computers. This storefront will rotate in random crafted items throughout the day, so even non-crafty Sims have a chance at some cool stuff (including the new knitted clothing!). We plan for Plopsy to be available for things like paintings, woodworking statues, potions, knitted items, flower arrangements, and more. Hoping to wrap future arts and crafts under Plopsy too! Without further ado here’s Rick Rodgers, engineer extraordinaire here on our Stuff Pack team, here to talk a bit about coding, UI, and all the bits between. Conor: Can you tell us what it means to be Gameplay Engineer on The Sims 4? Rick: To understand what a GPE is (we always say GPE), you need to understand a bit about how The Sims 4 works. The Sims 4 uses a client-server architecture, which means it is essentially composed of two separate programs that talk to each other. The first program we call “the client”, and it is responsible for displaying the game to the player. It handles things like graphics, audio, and the user interface (it’s relatively important!). The second program we call “the server” and it manages what we call gameplay systems like autonomy, interactions, relationships, aspirations, skills, and careers. The server keeps track of those systems and condenses them down into operations the client understands, like “play this animation on this object” or maybe “put this cat on top of this vacuum”. As a GPE, my job is to build (and fix) the gameplay systems on the server and make sure designers have the options they need to create features using them. (Disclaimer: I am simplifying a bit) Conor: You also work on UI Engineering. How is it different from Gameplay Engineering? How is it the same? Rick: To me, gameplay engineering is about solving abstract problems like “where and how should a Sim put down the object they are holding?” while UI engineering is usually about solving much more concrete problems like, “What do we do if the Russian word for Tiny Home is too long for this button?”. UI engineering can be really satisfying because the changes we make are usually immediately visible. There is also something fun about changing-up the interface of the game that we stare at all day long. At the end of the day though, code is code. I like to work on both because it means I get to implement the gameplay and UI components of a single feature. Conor: Is there one thing in Nifty Knitting that you’re really excited to be working on? Rick: Plopsy – I think partly because the idea of selling things I make at home has always appealed to me in real life. Also, Plopsy breaks some of the assumptions we had previously made about how we would use the crafting system, and it’s been fun to find and solve the problems that have come up. Conor: What is your favorite feature you have ever worked on in The Sims 4? Rick: Can I pick two? Favorite feature to make: I had a lot of fun adding Freelancer Careers to the game. We had done something similar to Freelancer with the Acting Career in The Sims 4 Get Famous, and we wanted to figure out a way to use some of the things we liked about the Acting Career to make other careers. When we added another Freelancer Career for Fashion Photography in The Sims 4 Moschino Stuff Pack, I felt like my baby was all grown up. Favorite feature to play: I really enjoyed working on the Murphy Bed in The Sims 4 Tiny Living Stuff Pack. It’s convenient design, but sometimes prickly exterior, make it the perfect combination of sensible and a little nefarious. You might say I identify with it a bit. I didn’t hook-up the object itself, that was our design team. But I worked on it because we needed gameplay support in code for a bed that was also a loveseat. We had never made anything like that before. Conor: Thanks Rick! That’s all I have for this week, Simmers, but never fear, we have one more design deep dive to share with you. I saved the best, and my personal favorite, for last. So be sure to join us next time for the Knitting Deep Dive! Until then.... ~ SimGuruConor

[thesims4blogger]

The Sims 4 Nifty Knitting: Plopsy Retail Deep Dive

SimGuruConnor has released a forum post detailing the “Plopsy” online retail marketplace feature from The Sims 4 Nifty Knitting Stuff!

Welcome back to another Nifty Knitting Deep Dive! This is part 4 of our ongoing series where we take a peek behind the curtain (of yarn?) to discuss in depth upcoming gameplay features, and have a little Q&A with members of the development team. Today, let’s talk about Plopsy!

Plopsy is an online arts and crafts marketplace to buy and sell goods. It’s sort of an amalgamation of real life online stores, but the themes should feel familiar. For a pack centered around knitting, this felt like a really good add. Afterall, there are only so many times you can gift your significant other a sweater…and yet so many sweaters to knit!

The flow for Plopsy is relatively straightforward – once you’ve crafted an object the List on Plopsy interaction becomes available. Listing an item on Plopsy costs a small fee, and will remain listed on Plopsy for several days. You can keep track of your listed items in your inventory, where you will see the current duration of the item and if there are any interested buyers.

(it’s that easy!)

If someone is interested in buying your item, you’ll be notified with a message. If you agree to the buyer’s offer, you can use the Ship on Plopsy action to ship the object in the mail. You’ll be paid immediately and get a thank you message from the buyer when they receive your package. Alternatively, you can ignore a buyer’s offer and relist the object for sale again.

(Ship it!)

Plopsy offers a higher payout than selling things the old fashioned way, at the cost of some general maintenance and patience. The goal is to offer a better selling experience for both the stay-at-home crafting professional and the fairweather crafting hobbyist. Plopsy isn’t tied down to a career or a gig, so anyone is free to try it!

(adsbygoogle = window.adsbygoogle || []).push({}); Sims can also purchase things on Plopsy through their phones or computers. This storefront will rotate in random crafted items throughout the day, so even non-crafty Sims have a chance at some cool stuff (including the new knitted clothing!).

We plan for Plopsy to be available for things like paintings, woodworking statues, potions, knitted items, flower arrangements, and more. Hoping to wrap future arts and crafts under Plopsy too!

Without further ado here’s Rick Rodgers, engineer extraordinaire here on our Stuff Pack team, here to talk a bit about coding, UI, and all the bits between.

Conor: Can you tell us what it means to be Gameplay Engineer on The Sims 4?

Rick: To understand what a GPE is (we always say GPE), you need to understand a bit about how The Sims 4 works. The Sims 4 uses a client-server architecture, which means it is essentially composed of two separate programs that talk to each other. The first program we call “the client”, and it is responsible for displaying the game to the player. It handles things like graphics, audio, and the user interface (it’s relatively important!). The second program we call “the server” and it manages what we call gameplay systems like autonomy, interactions, relationships, aspirations, skills, and careers. The server keeps track of those systems and condenses them down into operations the client understands, like “play this animation on this object” or maybe “put this cat on top of this vacuum”. As a GPE, my job is to build (and fix) the gameplay systems on the server and make sure designers have the options they need to create features using them. (Disclaimer: I am simplifying a bit)

Conor: You also work on UI Engineering. How is it different from Gameplay Engineering? How is it the same?

Rick: To me, gameplay engineering is about solving abstract problems like “where and how should a Sim put down the object they are holding?” while UI engineering is usually about solving much more concrete problems like, “What do we do if the Russian word for Tiny Home is too long for this button?”. UI engineering can be really satisfying because the changes we make are usually immediately visible. There is also something fun about changing-up the interface of the game that we stare at all day long. At the end of the day though, code is code. I like to work on both because it means I get to implement the gameplay and UI components of a single feature.

Conor: Is there one thing in Nifty Knitting that you’re really excited to be working on?

Rick: Plopsy – I think partly because the idea of selling things I make at home has always appealed to me in real life. Also, Plopsy breaks some of the assumptions we had previously made about how we would use the crafting system, and it’s been fun to find and solve the problems that have come up.

Conor: What is your favorite feature you have ever worked on in The Sims 4?

Rick: Can I pick two? Favorite feature to make: I had a lot of fun adding Freelancer Careers to the game. We had done something similar to Freelancer with the Acting Career in The Sims 4 Get Famous, and we wanted to figure out a way to use some of the things we liked about the Acting Career to make other careers. When we added another Freelancer Career for Fashion Photography in The Sims 4 Moschino Stuff Pack, I felt like my baby was all grown up. Favorite feature to play: I really enjoyed working on the Murphy Bed in The Sims 4 Tiny Living Stuff Pack. It’s convenient design, but sometimes prickly exterior, make it the perfect combination of sensible and a little nefarious. You might say I identify with it a bit. I didn’t hook-up the object itself, that was our design team. But I worked on it because we needed gameplay support in code for a bed that was also a loveseat. We had never made anything like that before.

Conor: Thanks Rick!

That’s all I have for this week, Simmers, but never fear, we have one more design deep dive to share with you. I saved the best, and my personal favorite, for last. So be sure to join us next time for the Knitting Deep Dive!

Until then….

~ SimGuruConor

[dippedanddripped]

As the number of abandoned storefronts and closed retail outlets continues to mount, the once unremarkable activity of shopping at brick-and-mortar stores can feel like reality askew — like a stroll through the Twilight Zone. As this glum new normal becomes, well, the norm, signs of life can be almost as jarring.

Take, for instance, a pair of storefront windows on Beverly Boulevard in West Hollywood. Just recently they were lifeless reminders of an upscale furniture store, now defunct. Then, in August, they began to fill with seemingly unconnected objects: bluejeans piled in a chest-high mound, a lounge chair upholstered in denim, a mannequin in a jumpsuit with an eyeball for a head standing amid a sea of paint-splattered drop cloths.

Hand-painted signage in the other window offered only that this “Appointment Only” storefront with the cryptic displays, and the 6,000 square feet of retail space behind them, are the domain of Gallery Dept.

Despite the name, Gallery Dept. isn’t a gallery or a department store but a hybrid clothing label that sits somewhere in the Venn diagram overlap between street wear label, denim atelier, neighborhood tailor and vintage store. Just as accurately, you could call Gallery Dept. the personal art project of its founder Josué Thomas, a designer whose own creative urges are just as disparate and layered.

With so many small brands in a state of retreat this summer, Mr. Thomas’s label has not only weathered these spirit-crushing conditions but thrived. In less than two years, Gallery Dept. has moved from a crowded workshop a few blocks down Beverly Boulevard to its new space in part because its hoodies, logo tees, anoraks and flare-cut jeans — each designed and hand-painted by Mr. Thomas on upcycled or dead-stock garments — have become unlikely objets d’art in a crowded street wear market.

This corner of the fashion industry is a crowded one, and in recent years there have been a glut of collaborations and merch drops that have taken on a corporate cadence. In contrast, Gallery Dept. is something of a bespoke operation, offering street wear basics that are blessed with an artist’s (in this case Mr. Thomas’s) singular touch.

Mr. Thomas began to cut jeans and screen-print shirts as the mood struck in 2017, and since that time Gallery Dept. has grown from an underground cult label for collectors to one with atmospheric clout after being worn by Kendall Jenner, LeBron James, Kendrick Lamar and two of the three Migos (Offset and Quavo).

Those lucky enough to enter the appointment-only space, now booked with up to 20 appointments a day, are greeted inside by a 20-foot-tall span of wall that reads, “Art That Kills” in a large crawl text, and the occasional reference to Rod Serling’s seminal sci-fi program.

Throughout the sunlit store, Mr. Thomas’s abstract paintings and writings fill the spaces between clothing racks and bright brass shelves heavy with the brand's thick hoodies and sweatpants. Over the chug of sewing machines, one can hear snippets of bossa nova Muzak, a vinyl-only mix also made by Mr. Thomas. (There are also plans to release music by other artists, including the New York rapper Roc Marciano, under an Art That Kills imprint.)

Gallery Dept.’s new space was financed on the strength of e-commerce sales from this past spring, and not with the help of venture capital or outside investors, Mr. Thomas said on a recent walk-through. This freedom gives him and the label, which now employs 12 people, the freedom to operate on its own esoteric terms. And there are a few. In the store’s dressing rooms, there are no mirrors to survey a fit. (“We’re going to tell you if a piece works or not,” he said.) Nor are there price tags on its garments.

“If the first thing you look at is the price, it’s going to alter your thinking about a piece,” he said. “I’d rather people engage with the clothing first.”

The Gallery Dept. does not indulge pull requests from stylists or send its pieces to influencers, a practice Mr. Thomas explains with a trace of punk indignation.

“Kendall doesn’t get a discount,” he said. “We don’t seed. I don’t care who it is — we don’t cater to different markets.”

Wearing cutoff carpenter pants and a white T-shirt, each dusted in a fine rainbow splatter, Mr. Thomas looked every bit like an artist roused from his creative flow, complete with paint-stained hands and individually colored fingernails. Standing in a mauve-carpeted room, Mr. Thomas pointed out his latest ideas: pewter jewelry in eccentric shapes, like an earring in the shape of a zipper pull, made in collaboration with the Chrome Hearts offshoot, Lone Ones, and shorts cut from dead-stock military laundry bags — while explaining the origins of his own style.

“I liked my parent’s clothing growing up,” Mr. Thomas said. “As a teenager, I was able to fit into my dad’s leather jacket. The beat-up patina on it was perfect, and I realized that that was personal style. It was something you couldn’t go to a store and buy.”

Mr. Thomas, who turned 36 in September, never studied fashion or garment making, and he can’t work a sewing machine. But growing up as the son of immigrants from Venezuela and Trinidad, he watched as his parents subsisted on their raw artistic skills to create a life in Los Angeles. And he now uses those same talents as an artist and designer: sign-painting, tie-dying, screen printing. For a short time, his father, Stefan Gilbert, even ran a private women’s wear label.

Similarly, in his early 20s, Mr. Thomas worked at Ralph Lauren. As one of the few Black people in creative roles in a predominantly white company, he soon realized that the only way to survive in the fashion industry would have to be with a project of his own making.

“I was the ‘cool’ Black guy, but there was nowhere for me to go,” he said. “Best case would have been sourcing buttons for women’s outerwear or something.”

Gallery Dept.’s spontaneous inception came about in 2016 when Mr. Thomas sold a hand-sewn denim poncho off his own back to Johnny Depp’s stylist. At the time Mr. Thomas was focused on making beats and D.J.-ing, but after selling all of the pieces he’d designed for a small trunk show at the Chateau Marmont, he realized he’d discovered a new creative lane.

It had less to do with ponchos, which were dropped from subsequent collections, and more to do with old garments being remixed in the heat of artistic paroxysm, with as little second-guessing as possible. With the help of Jesse Jones, a veteran tailor, Mr. Thomas began churning out made-to-order pieces for customers who often were unaware of what, exactly, they had stumbled into.

“We were creating pieces while we were selling them,” he said.

Working with heavy vintage shirts, hoodies, trucker hats, bomber jackets, whatever was at hand, Mr. Thomas would frequently screen-print the brand’s logo, adding paint or other flourishes as the feeling struck.

Today that extends to long-sleeve tees, sweatpants and socks. At the time, he also began blowing out the silhouette of vintage Levi’s 501s and Carhartt work pants into a subtle flare, accented with patches and reinforced stitching, resulting in a streetwise update of the classic boot-cut jean.

Mr. Thomas christened this style of jeans the “LA Flare.” And where denim has so historically hewed to “his” and “her” categories, the LA Flare is the zeitgeist-y “they” of street wear denim. (The label labels its items as “unisex.”)

The jeans come with a luxury item’s price tag, with a basic version starting at $395. Custom tailoring and additional touches by Mr. Thomas, can push the price upward of $1,200. One early collaboration with Chrome Hearts, a pair of orange-dyed flares patched with that brand’s iconic gothic crosses, has gone for $5,000 on Grailed.

“There is nothing like Josue’s repurposed jeans,” said George Archer, a senior buyer at Mr Porter. “They are both a wearable piece and a work of art. No one else is doing what he’s doing.”

For Mr. Archer, who first noticed the Gallery Dept. logo popping on men in Tokyo in March, Mr. Thomas “interprets and creates” clothing as if it was an end in itself — and not a commodity to be monetized. (Nonetheless, Mr Porter hopes to monetize a collection of Gallery Dept. pieces via its e-commerce site later this year.)

“You can feel the warmth of Josue’s hands on each of the pieces,” said Motofumi Kogi, the creative director of the Japanese label United Arrows & Sons. An elder statesmen of Tokyo’s street wear scene, Mr. Kogi found the label on a trip to Los Angeles last year. It’s not only Mr. Thomas’s artistic touch that stands out to him but his vision for remaking a staid garment into something that Mr. Kogi believes has not been seen before.

“He took this staple of hip-hop culture and refreshed it,” he said, referring to Carhartt pants.

Getting the people who make that culture to buy in was another matter. “The first year we did the flare, in 2017, skinny jeans were in,” Mr. Thomas said. “Rappers would come into the shop and say they’d never wear a flare. Now, everyone is wearing it.”

On Instagram, fit pics by rappers like Rich the Kid, along with the aforementioned Migos, Quavo and Offset, Gallery Dept.’s flare has become a familiar silhouette, skinny jeans breaking loose below the knee, usually coiled up at the ankle around a pair of vintage Air Jordans.

One fan of the jeans, Virgil Abloh, sees Mr. Thomas’s “edit” of the classic garment as the next chapter of its history.

“Their flare cut is the most important new cut of denim in the last decade — since the skinny jean,” Mr. Abloh said. A self-described Levi’s “obsessive” who owns more than 20 pairs of Gallery Dept. jeans, he walked into Mr. Thomas’s workshop one day after a routine stop at the Erewhon Market across the street.

“I thought: ‘This is amazing. Here’s some guys editing their own clothes in a shop,’” he said. “It reminded me of what I was doing when I started out, painting over logos, making hand-personalized clothes.”

Mr. Abloh considers Mr. Thomas’s work to be the fashion equivalent of “ready-made” art, and he offers Shayne Oliver of Hood by Air as a distant contemporary. He suggested that he and Mr. Thomas come from a lineage of Black designers that is still in the process of defining itself.

“He’s a perfect example of someone creating their own path from a community that hasn’t traditionally participated in fashion,” Mr. Abloh said. “I see Josue as making a new canon of his own, showcasing what Black design can do.”

Mr. Thomas didn’t argue with that. But he was also a little preoccupied with whatever was taking place at the tips of fingers to get lost in the thought. The future of his brand, after all, depends on his ability to stay in that moment.

“People want things that aren’t contrived,” he said, pulling at his own shirt to drive the point home. “This paint came from me working. I wanted to recreate this feeling. Once something is contrived, when you can see through it, it’s ruined. There’s only so much you want to explain.”