clean circle

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Uh oh, guys.

After @invaderjj sent me that screencap, I went back to rewatch the scene from my own stream where Henry shakes violently and hallucinates inside the pentagram at the end of chapter 1.

So you walk in, and the room looks like this.

Floor is clean, save for the circle, and the candles are lit, right?

Then we see this.

That’s the ink machine, obviously.  Seems self-explanatory enough.  Once this flash is gone, though…

…we’re back in the room.  So why is the floor covered in ink?  Why are the candles blown out?

(BTW, that’s not Boris’s face next to the coffins – that’s the bottom of a The Dancing Demon poster.  It caught me off guard, too, because there are actually two posters placed in almost the same spot, and their textures constantly glitch back and forth, making it look like the damn thing is moving.)

The next image flash we get is this:

A wheelchair.  Why?  Who’s in a wheelchair?  Or, rather… who WAS?  The chair is empty, and there are splotches of ink here and there.

Something happened here.  You hope it was a miracle… but probably not.

Especially considering the inky frame of this image is the same as what you see when you’re being attacked by those ink ghouls later in Chapter 2.

After that flash fades, we get this:

This image is from my stream…

…and the second image is from this person’s stream, because it shows a clearer view into the room.  What you can’t see in a still image is that Bendy is slowly leaning towards you in this shot.

What’s more, look closely at the layout here: Henry is not in the pentagram room right now.  He’s close to a corner of a room, and the open doorway is right there, with boards all over it, right?  Look again at the pentagram room’s layout:

The only door this could be, if it IS the same room, is the one you did NOT enter through… which is closed, and boarded up in different positions.

Finally, we get this flash:

Bendy.  That’s the ol’ Bendaroo right there, and it’s the same model of Bendy that later chases you at the end of Chapter 2.

And once that nonsense is over, we’re finally back here…

…and we promptly faint.

What the Devil happened here?  Are these flashbacks?  Suppressed memories?  Possibly even premonitions?

Guess we’ll find out later on.

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yesimweirdgetusedtoit  asked:

"let me tell you what I know about the feminist history of petticoats and crinolines some time" - Please do! All I've ever seen in media is the "girl-ditches-hindering-petticoats-for-pants" or other variations

Ok! I only just learned about this through my historical dress class, which is why you haven’t heard me shouting about it before, but apparently—ok. Wait. Back up. You know the 1830s/1840s/1850s, right? That was The Time When People Dressed in a Very Silly Manner.

I mean, it’s kinda pretty? if you ignore the weird proportions and hats and bows? but it’s also just so FLOOFY. And that floofy look was achieved by layering many, many petticoats on top of each other, which made getting through doors hard and made life very heavy and hard-to-move-in, carting around so many pounds of so many different skirts every day.

^1830s ladies, all day every day.

But then, thanks to the whaling industry, some clever soul realized that you could achieve the same floofy shape, without the floofs, by approximating it in steel or whalebone or canvas. resulting in this sexy, minimalistic, easy shape:

As you can see, the wire bits hang naturally from the waist, and allow for a lot of legroom beneath the dress. And because the wires are in nice clean circles that can crunch up into each other like an accordion, it’s easy to sit down, kneel, readust, or rebend your skirts to fit the occasion. And because you can control the shape of the structure, you can control the shape of the skirt placed on top of it, allowing for the design of more streamlined skirt shapes that, while still very full and floofy, can push the floofs to the back and allow one to get through doorways.

This was a revelation to the ladies of the 1850s. Look at that top image again, and imagine, like, 5-10 huge cotton or linen or wool petticoats straining to hold it up, all the weight of which is hanging from your waist and catching up against your legs all the time. Ever held a pile of cotton? It’s heavy. Wool is worse. But then you get this circular frame on instead, and you’re only holding up ONE or TWO sheets of fabric—like, your actual skirt and then just one extra petticoat for decency—and the frame lets you SPIN and SIT and SQUEEZE AROUND THINGS and oh my god!! you can move!!!!!! The ladies could get out and do things. And you know what happens when women are able to get out of their houses—they go demanding the right to own property, and the right to vote, and the right to do cool things while wearing their crinolines.

So, the crinoline (and then, later, the hoop skirt): while today maybe we don’t want them, yesterday they were the latest thing to help women get up and out from under the patriarchy, by giving them an option that preserved their femininity but let them move in freer ways. Crinolines were a stepping stone. And when it comes down to it, that’s what feminism is, in all its imperfect striding towards perfection—one stepping stone after another, with the triumph of one year seeming like the peak of sexism the next. We shouldn’t always beat up the past for trying its best—cuz how will our descendants view our push-up bras and 6-inch heels, when all is said and done?

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axentis  asked:

hey as a digital artist that uses sai too, i was wondering how you have such clean straight lines, circles, and curves in your art? also how long does it take to do your pieces on average??? btw your art is really gorgeous and i really admire your skill....... youre talented as hell

Hello! For circles, I had to go to Photoshop for that, since SAI, unfortunately, doesn’t have a circle tool. I used Photoshop’s circle tool to make a ring, saved it as a png, and I just use that file to put circles into my pieces in SAI. But if you don’t  have photoshop for that, then you can try this, >video https://www.youtube.com/watch?v=Ct6c2ck_fB0 which is a pretty dang neat trick 

If I need to draw straight lines, I tap on one place on my canvas, hold the shift key down, and then tap somewhere else. SAI automatically connects the two places I pressed with a straight line, as long as the shift key is held down. However, once I start painting, I don’t always do that shift key trick, I just paint freehand really slowly along the straight line. I find the results more natural, or at least as natural as digital can get. haha

As for curves, I just do a stroke really fast and hope for the best hahaaha (cry)

I sometimes have to try again and again until I get the curve I want, but I mostly get there in the end lol. The main thing for all the things above is patience and to loosen your hand, so keep at it! 

On average, my pieces take around a week to a week and a half to complete. 

Thank you! I hoped this helped :D 

edit: here’s the circle file! it should be the original png, so feel free to download it/save image, etc. 

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Spellbound [Jungkook]

Pairing: Jungkook x Reader
Genre: Fluff; (borderline not really smut)
Word Count: 7518
Description: Summoning a demon had probably been a mistake on your part, but what have you ever done to deserve such an annoying demon anyways?

Author’s Note: THIS FIC GOT SO LONG LMAOO I GOT CARRIED AWAY I REALLY LIKE DEMON AU’s OK DONT JUDGE ME PLS THANKS

What had started out as a joke had gone very, very wrong. Why you had agreed to this in the first place, you couldn’t even recall anymore. And, in the moment, you really couldn’t care less, because —

Excuse me?” You frowned at the face in front of you, mouth slightly agape, expression taken aback. “What did you just say to me?”

“I said you must be pretty stupid to think this protection ring is strong enough.”

You glared at the boy, the demon — whatever he was — in front of you, crossing your arms tightly, and he raised his hands, palms facing you, in surrender. “Look, no need to look at me like that! I’m just saying,” he kicked at the fine dust on your wooden floor, breaking the circle and stepping out carefully, tail coiling slowly behind him, “You should invest in something stronger if you want to actually hold a demon. Salt,” he began, squatting down and dragging his index finger through the fine grains on the ground. “Is a myth.”

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anonymous asked:

HI!!! :D I just wanted to know how did you made the fabric to do that wavy-thing at the end on your twillight dress? Cuz its not the first time that I see a dress doing that and I've always been facinated by it. Btw, that dress is a-may-fucking-zing!

First of all thank you!! I achieved the wavy effect using two different methods, depending on which fabric type I was working with: horsehair braid for the top layer of lavender satin, and beading thread (or fishing line) + a rolled him for the lower layer of dark purple organza.

Top layer: Horsehair braid – This can be bought at most fabric stores and is amazing for getting clean hems on circle skirts. If the circle has a lot of fabric in it, you end up with that wavy effect when it drapes! It’s better for medium/heavy fabric like satins, cottons, etc., and not good for lightweight or sheer fabrics. I used this tutorial to learn how to install it properly.

Bottom layer: rolled hem with beading thread or fishing line – For lightweight fabrics like the dark purple organza I used here, a rolled hem is the way to go! Do yourself a favor and pick up a rolled hem foot for your machine, since folding and pinning the organza manually is a nightmare. You have a few options with the hem, depending on how dramatic of a wave you want:

  • Rolled hem with no wire or line = soft drape with minimal structure and will lie more flatly against your skirt
  • Rolled hem with beading thread = soft waves without a ton of structure (this is what I did!)
  • Rolled hem with fishing line = dramatic waves, like the sort of thing you see on flamenco dresses

There are lots of great tutorials on YouTube for how to do the fishing line hem - essentially you just super carefully feed the line into the hem as you sew, so that the line is encased.

Hope that helps~!

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Basic necromancy training regimen. WEEK 4

These posts will teach you how to lay the foundations for Necromancy and develop the basic abilities needed. By the end of this, the mage-in-training will have all the abilities they will need to begin the practice of Necromancy. Sources: 

Arthur Edward Waite, The Book of Black Magic and of Pacts (1898), Christopher Penczak, The Witch’s Shield (2004), Claude Lecouteux, The Book of Grimoires: The Secret Grammar of Magic (2013), Franz Bardon, The practice magical evocation (1991), Cagliastro, Blood Sorcery Bible vol I (2011), The Grand Grimoire + The Clavicle of Solomon (N/A), Al-Toukhi, Red Magic (2010),  Paul Huson, Mastering Witchcraft (1970), Grimoire to Conjure the Spirit of a Place (2006),

Exercise 1: Drawing and Consecrating the Circle.

To draw a circle is a fairly easy affair; first you must see what medium is best for your workspace:
Stone: Charcoal, Chalk, Gems, Blood.
Wood/Tile: Paint, Blood.
Dirt/Sand/Loose stones: Sword or Knife.
It should be noted that circles made in soil or sand are quite susceptible to attack, and that even soft winds may mar the circle and leave the magus vulnerable, caution is advised.
Then the mage must measure out a length of rope or ribbon to the length appropriate for the work at hand, these are measured in pes naturalis (actual feet).
Personal circle(5): 2.5 feet with a knot at 2 feet.
Ceremonial circle(9): 4.5 feet with a knot at 4 feet.
Coven circle(13): 6.5 with a knot at 6 feet.
With extra allowance for a slip knot on either side to bind the marking tool and a center nail, thus creating a compass.

When both medium, location and size have been considered, the mage will begin by hammering a nail into where the center of the circle is desired, or alternatively having your apprentice or assistant to pin it down with their fingers. When this is done the medium is bound at the other edge, and by pulling the cord taught and beginning to mark the ground, Insuring your lines are unbroken and clean. When the first circle is drawn, wrap the tool to the knot half a foot in and draw the second band. This second band creates a space for candles, words of power, wards and such to be placed. Once both circles are drawn you should carefully inspect it and assure that all the lines are unbroken and that a certain degree of symmetry is maintained.

Consecration: The mage should take to the circle all the tools they find necessary, as once it is consecrated, it is not to be crossed. You will need a broom, salt, staff or Ritual blade, and an incense of Pine, Sage, Frankincense or otherwise one with cleansing properties.

The mage places these tools between the first and second circle (known as the “band”) in no particular manner.
The mage faces the north and lifts their staff or blade into the air with the left hand, and begins an incantation like such, whist tracing the first circle clockwise, from north to north:

“A circle
Drawn to be a cell
That may preserve and keep me”

And onto the second (inner) circle, likewise:

“And a wall
Impenetrable boundary of bone
That neither Howling Geist
Nor Thirsty blade may enter”

The practical mage knows no incantation of salts is needed, and thus will sprinkle the circle in it, wildershins, and sweep it away. For salt drains and neutralizes energies, a trait harmful to magic and spirit alike. It is implemented to clear the circle of any energies trapped within it, assisting in improving spell efficiency

Exercise 2: Preliminary Rites

With basic skills developed, one can finally take the first steps on the road to necromancy. This first step is a form of “initiation”, the mage will attempt to gain the attention of the dead through one of the rites described below, once completed a mage will notice a great shift in their abilities, and the attentiveness of the dead they work with.
http://necromancyandme.tumblr.com/post/133261286967/methods-of-grave-sleeping
http://necromancyandme.tumblr.com/post/141819074782/preliminary-rites-why-your-spells-dont-work

Exercise 3: A Basic Conjuration.

The mage will require:
+ Black mirror we made in a previous week
+ Wand
+ Tools to cast a circle
+ A handful of grave dirt (see http://necromancyandme.tumblr.com/post/142455907640/procuring-grave-dirt)
+ Three candles
+ An incense, best if Lavender, Myrhh, Sandalwood or Mullein.

The mage begins by placing a candle in the band of the circle, facing West, and another one 60° to either side, creating a triangle within the circle. To the east place your mirror, outside of the circle but only just so that it can be seen without the candles’ reflections. Upon the hours between 12 Am and 3 Am, Cast your circle and draw a smaller one around the mirror (do not use any form of incantation upon it, it will be activated during the constraint). With that being done, you may begin the ritual.

Having cast the circle and lit both candles and incense,
Face east and raise your wand over head whist announcing the first conjuration:
“I, the mage ____, do conjure and evoke thee thrice Spirit N. by the very ground in which your corpse lays rotting and by thy own name,
Spirit N, Spirit N, Spirit N!
Crawl up from thy abyss,
Rise up from thy grave,
Do hearken to my command,
And come forth in an expeditious manner,
That you may grant me audience at this hour.”
And draw thrice in the air above you an equal armed cross within a circle, The symbol of the earth, the home of the dead.
Walk around the circle, wildershins and thrice, and stop again in the east to recite the second Conjuration:
“By the Endless void, and all realms of death; I summon thee, being long dead, come forth and appear to me now!
By your dust and dirt i awaken thee O’ Spirit N. Rise up now and show thyself within this mirror!”
And toss the Grave soil into the circle of the mirror quickly, allowing the spirit to manifest from the soil and onto the glass.

Again draw the sign of the earth and recite the Constraint:
“Now, Old Geist, by the own name do i bind thee into thy circle, to answer my questions truly until I am satisfied! Lest I cast you out and drag thee here again!
From the circle you shall rise and into the circle thou art bound Spirit N.”
And the sign of an inverted triangle is drawn.

And when the spirit enters the room you will announce the welcome unto the spirit:
“Ave unto thee, dread child, and I welcome thee unto this meeting place of living and dead, this divine crossroad between worlds.
I have conjured thee here that you may answer my Questions and serve me as I ask, lest you enrage me and I should cause you great distress. Do as I ask and drink deep of the bounties I offer thee O’ great, noble, spirit.”

And with that said you may proceed to interrogate the spirit as you wish, beholding the mirror as to see the spirit or what it wishes to show you. But be wary you are not lead beyond your circle, and not lead into bargains you can not fulfil.

When all is done, the mage will take up their wand again and bid the spirit a departure:
“Depart now Spirit N. From thy circle and back through the veil. Until we meet again, in this life or the next, I bid thee Vale”
And should the spirit stay, a handful of salt is tossed into the mirror’s circle with the following banishing:
“Depart spirit! Back into the abyss from which you crawled, and back to where you came, Or i will drain thy spirit and cause thee great harm!”
And should the spirit refuse to leave, cast upon it more salt, and exorcise the room with a cleansing incense before the mirror’s circle is broken. Or should you be outside, you will have to wait in your circle until the dawn, to insure that the spirit it truly and fully gone.

Now go forth Acolytes of the necromancer’s path, practice what i have taught you and do so with the blessings of the void.

Best of luck.
-S.

ACOMAF and Symphony

Whenever I hear the song Symphony (Clean Bandit feat. Zara Larson), I think of Feyres journey in ACOMF. 

To begin with, it starts with this;

I’ve been hearing symphonies
Before all I heard was silence
A rhapsody for you and me
And every melody is timeless.

Feyre was in a bad relationship, but she didn’t really know how badly she was being treated. Rhys made her realise how badly Tamlin had messed up and how he didn’t deserve her love anymore. He also showed what it was like to be truly loved.

Life was stringing me along
Then you came and you cut me loose

Was solo singing on my own
Now I can’t find the key without you

Rhys did save Feyre when she needed the most help after Tamlin had locked her in the house. She was crying out, and now she can’t live without Rhys. (Quite literally too, considering the deal they made to die together in ACCOWAR)


And now your song is on repeat 
And I’m dancin’ on to your heartbeat

Flashbacks to Starfall, anyone?

And when you’re gone, I feel incomplete

They’re are mates now, so they are meant to be together. They wouldn’t feel whole when they’re apart.

I just wanna be part of your symphony
Will you hold me tight and not let go?
Symphony
Like a love song on the radio
Will you hold me tight and not let go?

Do I have to explain any more? 

I’m sorry if it’s all too much
Every day you’re here, I’m healing
And I was runnin’ out of luck
I never thought I’d find this feeling

Feyre is healing because of what Tamlin the Tool did to her. She never thought she would find the feeling of being truly loved again.


So that concludes my reasons why I think Feyre secretly wrote Symphony. Thanks for reading all the way to the end.

Where Dooku has an interesting selection method for choosing his padawan

Quite possibly my last Circle snippet for a while, as I’m going to be heavily focused on world building soon. Feel free to chime in on discussion of that however, as I’ll be tossing a few rambles up I’m sure.

In tonight’s instalment, Dooku chooses Qui-Gon as his padawan. Well, maybe chooses isn’t the right word…



Attitude, Dooku knew, was at least fifty percent of fooling people. Even, especially, other Jedi.

He’d been knighted for over a year. So, it was perfectly reasonable, if a bit unlikely, for him to have acquired a padawan. As such, it was also reasonable that he would have access to the lower level commissary. The one in closest proximity to the creche and younger children’s classrooms, reserved for Masters with young apprentices. A commissary which, due to the reduced number of knights and Masters using it, tended to have the best selection of teas still available.

The fact that Dooku did not in fact have a padawan, was irrelevant.

Qui-Gon darted into the lower level commissary looking for all the world like he was running late to meet his Master. Which he was, running late that is. Qui-Gon didn’t actually have a Master yet, a fact that meant he wasn’t technically meant to be here. But in the interest of actually getting access to tea, it was a technicality he was quite happy to ignore. After all, he mused, as he slipped in behind an unaccompanied young knight, he was old enough to have been chosen. The fact that his Master hadn’t collected him from the creche yet wasn’t his fault.

For two weeks Dooku used the commissary on and off as he waited for his next mission. Every now and then he thought someone was going to challenge him, but then eyes would flicker behind him, and the challenge never came. It was the start of the third week that Dooku’s luck finally ran out.

“Taken a padawan you have, my old apprentice?” Came from about level with his knee. “Heard this I had not.”

Dooku froze, and turned to face the small green form of the Grandmaster of the Order.

“Master Yoda.” He managed to greet his old Master calmly. “This is a surprise.”

“Indeed. And answer my question you did not.”

Dooku was mentally running through every curse word he knew as he rapidly tried to come up with a reasonable deflection, when he felt a tug on his robes. He looked down into bright blue eyes.

“Master,” said the boy. Who Dooku vaguely recognised from the previous two weeks. “Can I try the red leaf this time?”

“Initiate Jinn,” Yoda spoke before Dooku could formulate a reply.  “Another surprise this is.  Heard you had been selected I had not.”

It was then that the lack of padawan braid, and the glint of mild panic  in the boy’s eyes clicked. An insane idea formed in his mind, and Dooku seized on it before he could examine it further. He cleared his throat, interrupting Yoda.

“Its padawan actually. Or it will be.”

“Hmmm?”

“I was using the opportunity to make sure the youngling was okay with the idea.”

“Spoken with the Council then, you have not. Do that soon, you should.”

“Yes, Master.”

“Bring him round for tea after, you should.”

“Of course, Master.”

With that, the elder Jedi shuffled off. It wasn’t until Yoda was out of sight, that Dooku finally relaxed, and turned his attention to the youngling at his side. Human, mousy brown hair, and quite tall for his age. Tall enough to be mistaken for a padawan despite the missing braid. A quick mind too, skilled at improvisation, and a daring to bend the rules. He supposed he could work with that.

“Well, Initiate Jinn,” he started.

“Qui-Gon,”

“I’m sorry?”

“My name is Qui-Gon.”

Dooku smiled. “Very well, Qui-Gon. The red was it?”

And all that, in the name of tea. Yes, Dooku decided. He could do worse.

I am AU trash

R27 probably. College (?) AU, with supernatural stuff thrown in. Incubus!Reborn.


“Let’s summon a demon!” Tsuna’s stupid roommate suggested eagerly.

“Let’s not do that,” Tsuna replied flatly, warily eying the Ominous Black Book in his roommate’s hands. Why was he friends with his roommate again? Oh right, because his roommate was one of the only people in the school who didn’t look at Tsuna with disdain.

Sometimes, Tsuna felt that the nice company his roommate occasionally provided really wasn’t worth the trouble that came with it.

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