FF.net Wolf-Shadows-GhostCall me Shadow.
Gaming, General Geekery. Science, Spirituality, Introspective thoughts, Some RantsFan Fiction, Original Fiction, Fan art, Original art.
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Magical Paths Begging To Be Walked
Roads and paths pervade our literature, poetry, artwork, linguistic expressions and music. Even photographers can’t keep their eyes (and lenses) off of a beautiful road or path, which is why we collected this list of 28 amazing photos of paths.
Paths like these have a powerful grip on the human imagination – they can bring adventure, promise and change or solitude, peace and calm. There’s nothing like a walk down a beautiful path to clear your head – or to fill it with ideas!
I’ll leave you with an excellent quote from J. R. R. Tolkien’s works while you enjoy these images; “It’s a dangerous business, Frodo, going out your door. You step onto the road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.“
- Autumn In The White Carpathians
- Rhododendron Laden Path, Mount Rogers, Virginia, USA
- Spring In Hallerbos Forest, Belgium
- Autumn Path In Kyoto, Japan
- Autumn Path
- Bamboo Path In Kyoto, Japan
- Hitachi Seaside Park Path In Japan
- Dark Hedges In Ireland
- Winter Forest Path, Czech Republic
- Path Under Blooming Trees In Spring
Source: What is PTSD?
“Do what you love” disguises the fact that being able to choose a career primarily for personal reward is a privilege, a sign of socioeconomic class. Even if a self-employed graphic designer had parents who could pay for art school and co-sign a lease for a slick Brooklyn apartment, she can bestow DWYL as career advice upon those covetous of her success.
If we believe that working as a Silicon Valley entrepreneur or a museum publicist or a think-tank acolyte is essential to being true to ourselves, what do we believe about the inner lives and hopes of those who clean hotel rooms and stock shelves at big-box stores? The answer is: nothing.
a couple of other quotes from the article i really like:
According to this way of thinking, labor is not something one does for compensation but is an act of love. If profit doesn’t happen to follow, presumably it is because the worker’s passion and determination were insufficient. Its real achievement is making workers believe their labor serves the self and not the marketplace
Do what you love and you’ll never work a day in your life! Before succumbing to the intoxicating warmth of that promise, it’s critical to ask, “Who, exactly, benefits from making work feel like nonwork?” “Why should workers feel as if they aren’t working when they are?” In masking the very exploitative mechanisms of labor that it fuels, DWYL is, in fact, the most perfect ideological tool of capitalism. If we acknowledged all of our work as work, we could set appropriate limits for it, demanding fair compensation and humane schedules that allow for family and leisure time.
Toothless Bust Update!
I’ve been slowly chipping away at these. I know a lot of you have been asking about these and waiting to see casts. I am getting really close now! The photos above are the first pulls from the molds so they aren’t perfect. I use these first pulls to determine where I need better vents in my molds so that air can properly flow and allow resin to fill all cavities. I mostly had issues with the tips of the ears, but all is easily remedied!
Since my last update, I finished sculpting the busts. I added scales, ear nubs, and did a final clean up pass. Check out how they looked last time!
I’ve been upgrading my molding and casting process. I just bought a vacuum pump and chamber to remove air bubbles from my silicone molds. I am also using methods described in the book, Pop Sculpture, which has streamlined my process so much. I have switched to Mold Max 25 silicone on the recommendation of many of my established toy/collectible industry friends. It is fantastic! Very strong and measuring by weight is SO much easier than by volume.
I also finally put together my own pressure pot, with the help of this Instructables article. This is for removing air bubbles from the casts. Holy COW, I can’t believe the difference. As you can see in the photos about, the casts are flawless (aside from some venting issues I need to fix on the ears). I am blown away and so so so happy! This is going to cut down on my clean up time so much.
Smooth-On recently release Glow Worm additive powders, including a glow-in-the-dark blue. I will be using this stuff on the two angry busts; it should look super cool!
To those interested in purchasing these busts, I will have full information available once I have a final sample to show. These will ONLY be available as full sets of 5. They will be fully painted, mounted, and signed/numbered. Right now, I am planning on a limited edition of 10 sets. I will NOT be selling these as single busts nor will I be selling paint-your-own. This is a fan-art piece and I will not be producing these in a large amount for that very reason. Thank you so much for your understanding on this.
Want to learn how to sculpt like I do? My book Creature Sculpt will teach you everything you need to know! Less than 35 copies remaining! Check out all the information here!
My Skillshare class is now enrolling. Head over there now to sign up and get 50% off with coupon code “THANKYOU”.
Commissions are OPEN! To read my commission policy, pricing, and information on how to get a slot, go here.
IM DOING THIS
for Siby, happy birthday princess!!
I DISCOVERED THE BEST ANIMAL AT THE NATURE MUSEUM TODAY
LOOK AT ITS EXPRESSION FUCKFINF
IT LOOKS SO WISE
Sir Joshua Reynolds
George Clive and his Family with an Indian Maid
Oil on canvas
Height: 140 cm (55.1 in). Width: 171 cm (67.3 in).
From Simple English Wikipedia:
Lord George Clive was cousin of Robert Clive, founder of the empire of British India. He made his fortune there. Clearly the painter found the Indian nurse’s depiction his greatest pleasure.
Is it just me or do the white family look unreal and vacant despite contrasting the dark shades of the back drop. Yet the nurse pops and looks tangible and alive.
A lot of people have responded similarly about the contrast between the white colonial family and the indigenous woman in this painting. Even the child is nearly as white and stiff as a corpse…and yet, these images were intentionally idealized in this manner; their very whiteness can be seen as a rebuke to the Indian woman’s vivid, tangible presence here.
This has everything to do with Color, Chromophobia, and Colonialism.
Chromophobia is marked, not just by the desire to eradicate color, but also to control and to master its forces. When we do use color, there’s some sense that it needs to be controlled; that there are rules to its use, either in terms of its quantity or its symbolic applications (e.g., don’t paint your dining room blue because it suppresses appetite). Please note that I’m not arguing against color psychology; it’s undeniable that certain colors carry certain cultural assumptions and associations, a fact that has led anthropologist Michael Taussig to argue that color should be considered a manifestation of the sacred.
But what I am arguing is that there is a pervasive idea that color gets us in the gut: it’s seductive, emotional, compelling. Color, in the words of nineteenth-century art theorist Charles Blanc, often “turns the mind from its course, changes the sentiment, swallows the thought.”
According to some art critics, sensory anthropologists, and historians, this mutual attraction and repulsion to color has centuries-old roots, bound up in a colonial past and fears of the unknown.
Michael Taussig has recounted that from the seventeenth century, the British East India Company centered much of its trade on brightly colored, cheap, and dye-fast cotton textiles imported from India. Because of the Calico Acts of 1700 and 1720, which supported the interests of the wool and silk weaving guilds, these textiles could only be imported into England with the proviso that they were destined for export again, generally to the English colonies in the Caribbean or Africa.These vibrant textiles played a key part in the African trade, and especially in the African slave trade, where British traders would use the textiles to purchase slaves. According to Michael Taussig, these trades are significant not only because they linked chromophilic areas like India and Africa, but also because“color achieved greater conquests than European-instigated violence during the preceding four centuries of the slave trade. The first European slavers, the Portuguese in the fifteenth century, quickly learned that to get slaves they had to trade for slaves with African chiefs and kings, not kidnap them, and they conducted this trade with colored fabrics in lieu of violence.”
Where I differ with Taussig is that there is very little doubt in my mind that using the concept of aesthetics in the manner can absolutely be a form of violence, and that art can be used to subjugate.
Say what you will about this being an exaggeration, but I wasn’t the one cleaning the Elgin marbles in acid in the 1800s to better fit a misconception of whiteness…after all, Greek marbles originally looked something like this, much to the chagrin of western aestheticism everywhere:
So when you consider the historical context of the painting in the original post, it becomes entirely likely that the stiffness and whiteness of the colonial family is meant as a desirable contrast to the vibrantly alive Indian woman.
And you should also consider what kind of ideas you have about her from the painting, and think on how your view of her is affected by the context. Is she somehow more “natural” or “wild” than the family? Is she “earthy”? How is her existence affected by the fact that she is situated below even the child in the composition…do her arms ache from holding her up?
I had never seen this painting before it was submitted, and I wonder why that is. There are a lot of things about it that are unpleasant, but the ideas in it influence us anyways.