Over the past few days Lowery has bee-
     n in a…’Sarah’ mood. And—as she had
     yet to tell anyone at work  or even  Owen
     about it—she’s had to suffer those cons-
     equences, making her  recede back  into
     her usual nervous shell whenever girl we-
     eks came up. Especially when her boyfri-
     end continued to call her the wrong nam-
     e              and             wrong…everything.

     But she couldn’t just tell him to call her d-
     ifferent and change his speech with her f-
     or however long her girl days lasted. Cou-
     ld                                                          she?

     It wasn’t until the next morning that she fi-
     nally got her nerves up to talk to him. Sort
     of. As Sarah’s hands still were shaking lig-
     htly   around   the    mug   in   her    hands.

    “Hey, Owen,” swallowing hard again, “Goo-
     d morning.” Nope nope. Already backing o-
     ut. Her voice was already anxiety ridden an-
     d      she     didn’t     want     to     push     it.

I Can’t Lead You Home

Based off the prompt by the very kind mckirkbyjoja “Bones requested the transfer off Jim’s ship. Spock agreed. Jim was not asked. But he found out and …”

Lieutenant Harley Baker was good at her job. Everyone on Enterprise excelled in their placement but she was different because she was good and she loved it. She favored holding a phaser tight in her hand – finger ready on the trigger. She enjoyed the constant panic of away missions. She liked walking down the hall with her colleges shoulder to shoulder and having ensigns scurry out of their way while looking at them in awe as they passed. Baker liked her red shirt, was proud of it. She’d fought to get this shirt tooth and nail sailing through the academy and graduating not top of the class by any means but far enough up there to make her proud.

The first time she’d donned her red colored shirt was when Vulcan sent out a distress signal and the fleet mobilized using most if not all of the senior cadets. She’d been assigned to Enterprise because she’s earned it, damnit, and no other reason. She was a nobody from nowhere and as such had no connections. She wasn’t particularly good at anything save security – and that wasn’t something she took lightly. Most civilians had this warped sense about red shirts – that they always die. That being in red meant you were dead the instant you went dirtside on away missions. Her own mother had cried when she’d told her she’d be a red shirt on Enterprise. She’d mourned her death even while she’d stood stoic in front of her. The public, and even some of the Admiralty that hadn’t started as a red shirted ensign pained the red as blood, as foot soldiers that were damned when they put the shirt on. But that wasn’t true. Sure, the mortality rate for security was lower than someone in blue or gold but that was purposeful. If it was a Captain’s failure to lose a crew member then it’s the crews’ biggest failure to lose their captain. So, they don’t. And won’t if Baker has anything to say about it.

Baker stood to the side of Captain Kirk’s biobed eyes divided between watching for any distress in the Captain and scanning the MedBay for possible threats. There was a commotion from Dr. McCoy’s office before the doors slid open and said man stormed out head down and fists clenched. His eyes were hidden but Baker could see anguish written on his face as he left the ‘Bay through the main doors. Commander Spock walked out of the office a second later looking like the straight backed Vulcan he was until his eyes landed on the Captain’s unconscious body. His eyes softened and for the first time Baker saw what others had only whispered about.

His human eyes.

They truly were human as he hesitated across the 'Bay staring at Kirk. Baker looked to the commander who then noticed her eyes, met them and nodded before leaving. Baker thought the whole thing was strange but said nothing. That was not her job. Her job was to stand here and guard the captain and she would do it and try to the best of her ability to not think about the fact that both the XO and CMO had been yelling at each other in the CMO’s office.

Baker clutched her phaser, squared her shoulders and waited eyes peeled for danger.

Keep reading


Witches Of Moonlight Falls (Season 4): Part 140}

- Voodoo Like a Drink?  -

Across the Carribbean sea one of the most powerful ancestors is hiding from the pirates, Bethany Crumplebottom with the help of a friend Mama Voodoo.
Mama Voodoo: “Ma darlin’s ya are no longer slaves! Who wants a drink?” She said pouring enchanted water.
Joyce: “We’ll take some drinks, I can’t believe I’m being offered a drink and not serving them. Thank you Mama Voodoo, this is a miracle.”
Bethany:”What were you saying about my family from the future. Those witches, the charmed ones?”
Mama Voodoo: “All ‘tree of dem will be in 1754 by tomorrow.”
Bethany: “But how do you know this?”
Mama Voodoo: “Do not question ma senses. When Mama Voodoo forsee’s something, it always happen. Mark ma words ya will see dem commin’!”
Bethany: “Oh my goodness!”
In the 18th century witches brewed apples to see the future if it was a red apple the future they thinks going to come will be true, if it’s green fate has gone against them. Bethany summoned an apple. Everyone watched. It was red!


Storms commin in #weather #bluemoon #timelaps #nofilter #storm #texas

 One riceball showbiz momma, commin’ up! This one’s hot off the tablet XD In all seriousness though, Sardonyx was fun to paint and I absolutely think she’s the best gem fusion so far fight me. This took probably like 6 hrs, total?? I know, I’m slow.

Now I’ve gotta do a Rhodocrosite and this!

Communication Design Portfolio Day

By Tori Mok

Recently, the Art & Design Faculty held a Portfolio Day for prospective students of Communication Design, inviting high school students to check out the studio spaces, speak to the lecturers, and gain firsthand information about portfolio requirements from both the staff and current design students. This year, I was given the opportunity to assist at the event, and immediately jumped at the chance. When I arrived at the super spiffy design suite that day, then watched as troops of wide-eyed teens streamed through the doors moments later, I knew it was going to be a blast.

For two hours, I nervously exhibited my entrance portfolio and first year work to the visitors, and tried as best as my introverted self could manage to share my advice and experience with an amazing array of awesome people. All in all, it was incredibly rewarding to help out at uni in this way, and I was happy to see so many faces light up as I described the highlights of the course, and why I enjoyed it so much. The experience had me reliving my own journey to AUT just twelve months back, where a panic-stricken version of myself scrambled to assemble what I hoped would be an acceptable portfolio. Laughing to myself now, I couldn’t help wishing that I had attended such a session back then, which would’ve taken off a whole load of fear and uncertainty from the whole application process.

So, because I would’ve given anything for a helping hand from someone in the know, I thought I’d share the most important guidelines to remember when constructing a communication design portfolio. These are gathered from my own successful experience, and from what I learnt from my design tutors.

1. The First Impression. What you choose to show on the first page could make or break your portfolio. Always choose your strongest piece — one that demonstrates your talent and shows your uniqueness as a designer. Although ultimately every page will be examined, the first page sets the tone for the rest of the portfolio. If you get the introduction right, it will help the rest of your work, even the weaker pieces, to be seen in a more positive light. Get it wrong and it will be that much harder to impress your viewer later on. Many applicants decide to order their work chronologically, which is not a good idea since the quality of your work will definitely improve over time.

2. Variety. It’s important to show that you understand the different components of design. Avoid filling your portfolio with only one aspect of design, say photography, even if you are a top-form photographer. Instead, demonstrate a knowledge of other design forms as well. In my own portfolio, I showcased a wide range of genres that included photography, formal and informal drawings, typography, branding, packaging, and experimental work. Although I was obviously not uber proficient at all of those, doing this worked to my advantage as it portrayed an informed knowledge of design and an ability to explore (or so I was told!). 

3. Sequencing. The order and flow of your images is an important point to consider. Creating a strong contrast between two consecutive pages of work is particularly effective, such as off-setting a clean rigid design with a loose, highly expressive piece. Also, it helps to balance your weaker designs with stronger ones. Because the first and last images are most likely to be remembered, try ending your portfolio with a stronger piece as well. Compare this process with having to arrange your favourite record from your favourite music artist. How would you order the songs for the ultimate listening experience?

4. Good to Have. There are certain design skills that reviewers look for in portfolios, making it really beneficial to include samples of these in your selection of work. These include typography, drawing, and process sketches/documentation. Although you certainly don’t have to be a master at these, it’s crucial to show that you possess these skills to some extent, as they are required in every serious designer. I was somewhat lucky that typography is my biggest passion, as that really worked in my favour. Remember that designers are working with type most of the time, so it pays to make it your friend! 

5. Image Captions. Captions provide context to your work, and offer a way for you to add that extra level of meaning, turning a solid design piece into an impressive one. Give the viewer some insight into the thinking or inspiration behind your work, and the purpose for which it was made. Depending on the work, 1-4 sentences is a good length to stay within. Any longer and it becomes more cumbersome than helpful. Also remember to include the date (month and year) that the piece was created, but don’t go crazy worrying about getting it perfectly accurate - a rough estimate will do.

If you can nail these key aspects, you’ll be well on your way to building a solid portfolio. Ultimately, it will be the quality of the work itself that determines the final outcome, but making the right decisions in your portfolio assembly can make a big difference in its reception.

So there’s my two pennies worth on the baffling subject of entrance portfolios. Hopefully, I answered some of your biggest, most worrying questions along the way. And if you made it this far, I guess you’re pretty serious about joining the CDes ride in 2016. Well then, best of luck!! It’ll be well worth the effort.

myunicorneatshands replied to your post: All these people be complaining about …

the problem is that I am starting to hate Steven Universe now & I haven’t even watched it. :‘L I really wanted to give it a try but things like “peridot spam in the iz tag” make it difficult for me. REALLY DIFFICULT.

aaagHHH that’s indeed shitty though i get where ur commin from-

Try not to focus on the fandom too much bc to me the show and the fandom are completly different tho bb :’D