Aries: simple construction and furnishings, user-friendly - more practical than nice, often with wood
Taurus: rustic, solid wood, cozy, rather overloaded, want their own home
Gemini: functional, rather light and less expensive furniture, often Nordic style, home is not so important, rarely a special flair for coziness
Cancer: Cozy and lovingly furnished apartment, home with garden, not extremely tidy
Leo: "My home is my castle.“; slightly pompous decor, generous and representative, colorful and creative, self-expression
Virgo: Reason prevails, functional style with love for the detail, compared to the establishment of the lion rather bland or small, permanent furniture, likes green plants, convenience can be preferred to the habit
Libra: aesthetically-cool apartment furnishings, more beautiful than cozy, rather airy and not overloaded, often perfumed
Scorpio: A typical Scorpio apartment is not to be described, the spectrum ranges from "apartment is unimportant” to “perfectionist cool”
Sagittarius: as large as possible, does not have any particular affinity for property / land / ground
Capricorn: cool, functional furnishings, solid furniture, simple, not particularly comfortable, residential ownership is important to them, stone floors
Aquaruis: Studio apartment, attic apartment, high rooms, lots of light, flat contains special items, several moves, often improvised furnishings
Pisces: no typical home furnishings definable, but nevertheless something strange (as from 1001 Nights) is usually there
My last morning in the studio at Brighton before the summer break. I’m listing journal articles I need to print and re-read for my dissertation. Our tutor told me to take it easy over the summer, but I don’t think he understands that I genuinely enjoy reading and writing about my chosen topic.
I had nothing for this, don’t judge me for it’s story line lmao. I’ll probably delete this later. yikes. xx
You step into the bedroom, your wet hair falling around you as you stare at Shawn, your arms crossing over your chest.
He glances up from his phone, raising a brow at you, “Why do you look grumpy?” He challenges, “You don’t look refreshed.” He takes notice of how your warm shower did not relieve you of any stress or leave you feeling refreshed.
“Do you think you’re funny?” You raise a brow, “You scared me half to death.” You mutter, moving your towel through your hair, his eyes still staring at you with nothing but confusion.
He sits up against the headboard, cocking his head to the side, “What did I do?“
"You know what you did, tapping on the wall like you’re smug and shit, and making weird sounds.” You inform him that you are well aware of his ridiculous antics that you undoubtedly think he participated in. “Next time you want to creep in the bathroom, just get in.” You continue, throwing your towel to the hamper of dirty clothes and walking to the wardrobe to grab a thicker shirt.
He shakes his head, “I have no idea what you are talking about, I have been here the whole time.” Shawn presses, turning his attention back to his phone while you wander around the room, taking part in your usual post-shower rituals.
You settle on the bed, your damp hair falling over your shoulders as you rub your vanilla scented moisturiser on your skin, Shawn lying beside you beginning to show signs of sleepiness. His voice is becoming muffled in an even sexier tone, his arm slowly drapes itself around your stomach, his body moving closer to yours. “Mm, you smell nice.” He mumbles into you with a hum, nestling into your like a child, distracting you from rubbing the moisturiser into your arms.
“Mhm,” You hum, leaning over and placing the moisturiser on your side table, Shawn instantly letting out a few whines, stopping when you allow him to settle back into you. “You’re a big baby.” You chuckle, moving to run your fingers through his curly hair, “A big, soft, baby.” You hum with a grin spread wide across your face. .
I can hardly be more excited about a tabletop RPG that isn’t really a tabletop game, but a video game simulation of a tabletop dungeon master experience. If this sounds familiar to you, why yes, it is in fact a successor to the fantastic Knights of Pen & Paper (exhibit A below).
For the unlucky rest of you who have no idea what I’m talking about, Knights of Pen & Paper was not only not afraid to break the 4th wall, but kept it torn down all the time. The game took place in a living room with a few geeks and a dungeon master sitting around the table while environments shifted to wherever the story took you. I spent many days hooked into this clever setup so I’m looking forward to seeing how the Brazilian studio takes this concept into space.
I randomly ran into the guys at GDC and had much fun with a quick dive into game’s player creation that offers a lot of combinations of attributes that cleverly define the look of your PCs.
Speaking of PCs, but those mechanical ones, the game won’t be mobile-first this time, but instead comes to Windows, macOS and Linux sometimes this year. I’m already looking for my D20 in the attic!
I feel like once a week Nursey turns the attic into a Pilates studio with a eucalyptus aroma diffuser and soft music and Dex was initially annoyed by this but now he loves having this two hour relax time and getting to watch Nursey do Pilates in small shorts or spandex
Aleksandra Aleksandrovna Ekster (18 January 1882 – 17 March 1949), also known as Alexandra Exter, was a Russian painter (Cubo-Futurist, Suprematist, Constructivist) and designer of international stature who divided her life between Kiev, St. Petersburg, Moscow, Vienna, and Paris.
In Kiev, her painting studio in the attic at 27 Funduklievskaya Street, now Khmelnytsky Street, was a rallying stage for Kiev’s intellectual elite. In the attic in her studio there worked future luminaries of world decorative art Vadim Meller, Anatole Petrytsky and P.Tchelitchew . There she was visited by poets and writers, such as Anna Akhmatova, Ilia Ehrenburg, and Osip Mandelstam, dancers Bronislava Nijinska and Elsa Kruger, as well as many artists Alexander Bogomazov, Wladimir Baranoff-Rossine.
In Paris, Aleksandra Ekster was a personal friend of Pablo Picasso and Georges Braque, who introduced her to Gertrude Stein.
In 1914, Ekster participated in the Salon des Indépendants exhibitions in Paris, together with Kazimir Malevich, Alexander Archipenko, Vadym Meller, Sonia Delaunay-Terk and other French and Russian artists. In that same year she participated with the “Russians” Archipenko, Koulbine and Rozanova in the International Futurist Exhibition in Rome. In 1915 she joined the group of avant-garde artists Supremus. Her friend introduced her to the poet Apollinaire, who took her to Picasso’s workshop. According to Moscow Chamber Theatre actress Alice Coonen, “In [Ekster’s] Parisian household there was a conspicuous peculiar combination of European culture with Ukrainian life. On the walls between Picasso and Braque paintings there was Ukrainian embroidery; on the floor was a Ukrainian carpet, at the table they served clay pots, colorful majolica plates of dumplings.”
While not confined within a particular movement, Exter was one of the most experimental women of the avant-garde. Ekster absorbed from many sources and cultures in order to develop her own original style. In 1915–1916 she worked in the peasant craft cooperatives in the villages Skoptsi and Verbovka along with Kazimir Malevich, Yevgenia Pribylskaya, Natalia Davidova, Nina Genke, Liubov Popova, Ivan Puni, Olga Rozanova, Nadezhda Udaltsova and others. Ekster later founded a teaching and production workshop (MDI) in Kiev (1918–1920). Vadym Meller, Anatol Petrytsky, Kliment Red'ko, Tchelitchew, Shifrin, Nikritin worked there. Also during this period she was one of the leading stage designers of Alexander Tairov’s Chamber Theatre.
In line with her eclectic avant-guard-like style, Ekster’s early paintings strongly influenced her costume design as well as her book illustrations, which are scarcely noted. All of Ekster’s works, no matter the medium, stick to her distinct style. Her works are vibrant, playful, dramatic, and theatrical in composition, subject matter, and color. Ekster constantly stayed true to her composition aesthetic across all mediums. Furthermore, each medium only enhanced and influenced her work in other mediums.
With her assimilation of many different genres her essential futurist and cubist ideas was always in tandem with her attention to colour and rhythm. Ekster uses many elements of geometric compositions, which reinforce the core intentions of dynamism, vibrant contrasts, and free brushwork. Ekster stretched the dynamic intentions of her work across all mediums. Ekster’s theatrical works such as sculptures, costume design, set design, and decorations for the revolutionary festivals, strongly reflect her work with geometric elements and vibrant intentions. Through her costume work she experimented with the transparency, movement, and vibrancy of fabrics. Ekster’s movement of her brushstroke in her artwork is reflected in the movement of the fabric in her costumes. Ekster’s theatrical sets used multi-coloured dimensions and experimented with spatial structures. She continued with these experimental tendencies in her later puppet designs. With her experimentation across many mediums Ekster started to take the concept of her costume designing and integrate it into everyday life. In 1921 Ekster’s work in fashion design began. Though her mass production designs were wearable, most of her fashion design was highly decorative and innovative, usually falling under the category of haute couture.
In 1924 Aleksandra Ekster and her husband emigrated to France and settled in Paris, where she initially became a professor at the Academie Moderne. From 1926 to 1930 Ekster was a professor at Fernand Léger’s Académie d'Art Contemporain. In 1933 she began creating beautiful and original illuminated manuscripts (gouache on paper), perhaps the most important works of the last phase of her life. The “Callimaque” manuscript (c. 1939, the text being a French translation of a hymn by Hellenistic poet Callimachus) is widely regarded as her masterpiece. In 1936 she participated in the exhibition Cubism and Abstract Art in New York and went on to have solo exhibitions in Prague and in Paris. She was a book illustrator for the publishing company Flammarion in Paris from 1936 until her death in the Paris suburb of Fontenay-aux-Roses. During the past few decades her reputation has increased dramatically, as have the prices of her works. As a consequence, several fakes have appeared on the market in recent years.
Justin had been lucky in the year and half since he had moved to New York City. He had found a couple of galleries that had asked him to do shows and had sold enough paintings to afford a beautiful brownstone in Brooklyn. The best part was the attic was a perfect studio for him. He was sitting in the window seat sketching a picture of himself intwined with his long distance boyfriend. He was excited because tonight he was flying in to visit him and he couldn’t wait. He hated being so far away from him but they both had their careers in the cities they each lived in. His heart sped up when the doorbell rang. Looking out the window he saw Brian with his luggage on his doorstep. He raced downstairs, threw open the door, and threw himself into Brian’s arms. “I missed you so much!”, he whispered in his ear.