everything essential

Romance Myself Bath Spell

“To love oneself is the beginning of a life-long romance.” -Oscar Wilde

To enhance self-love/self-confidence, and just spoil yourself :)

Originally posted by talesofalushie

What you need:

Pink Himalayan Salt- Self-love

Lavender Buds/Oil- Love, Happiness

Rose Petals/Oil- Self- love

Myrrh Incense- Self-love

Thyme- Confidence

Rosemary- Purification/ Self-Love

Vanilla oil- Love/Self-Love

Pink Spell Bag

4 Rose Quarts pieces/points

4 Pink Candles

(Optional) Pink or Rose Scented Bath Bomb/Bubblebath

What to do:

Add Lavender buds, rose petals, thyme, and rosemary to a pot of boiling water and boil for about 3-4 minutes, until you get a tea. Strain the herbs from the tea, and draw your bath while it cools, adding the pink himalayan salt to desolve. 

Put a rose quarts point in each corner of the tub with a pink candle. If you used oils and not hers, add them to your bath now, along with your bath bomb or bubblebath. If you made the tea, add it to the tub once it’s filled. Light your incense, pick some music that makes you feel relaxed and beautiful, and enjoy your bath. 

Think of the things you do not like about yourself, and find something beautiful about it. For example, if you can’t stand the color of your eyes, list all the things you find beautiful about that color and compare it to your eyes. Do this for at least 6 features/personality traits. 

When you are finished, drain the tub and remain in the water until it is completely drained, visualizing all the negative thoughts, insecurities, and self-doubt being sucked out of you and down the drain with the water. Visualize a light pink light glowing from within, replacing all of the departing negative views/emotions with love, confidence, kindness, and self-appreciation. 

And there you have it. I like to add some coconut oil to my bath for a little extra love boost and it makes my skin feel amazing. 

Hope this helps!

concept for the “Dear Evan Hansen” Tony Award’s performance

-the entirety of “You Will Be Found,” including the entire OBC and Evan’s heart-breaking monologue beforehand

-also maybe “Words Fail” because come on that song’s stunning

-also “Disappear” and “Good For You” and “Sincerely, Me” and “Only Us” because you gotta talk about those supporting actors, too, they’re amazing

-also the opening number and the closing number, obviously, and everything in between

-essentially all of the songs

-and all the dialogue

-actually the entire musical, but professionally recorded


chirrut imwe is a blind chinese main character in one of the biggest movie franchises in history!! he is disabled but is never seen as a burden, or at a disadvantage, or even given special treatment!!!!!!!! hes a kickass blind man who more than pulls his weight (HE SAVES EVERYONE LIKE WE LITERALLY WOULDNT HAVE ANY STAR WARS MOVIE WITHOUT HIM) and is an essential part to the rogue one crew, rebellion, temple, star wars galaxy, movie, world, galaxy, universe, etc. he deserves all ur love and appreciation!!!!!!

How to Put on a Wig and Not Want to Die


I am here today to show you how to put on a wig and, well, not want to stab yourself in the eye afterwards. The thing with wigs, is they’re essentially like everything else in cosplay: in order to finish with a good result, you need to start with a good beginning. So, here we go.

First things first, you need your supplies:

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You Hold On

It all goes back to this moment.

At the moment they feared was death Carol held onto Daryl’s hand and he told her “You hold on”.

Morgan explains it clearly for Daryl and the audience, you get through that life when you have SOMETHING to hold on to.  Morgan has his wife, his beliefs. And he knows what Daryl is holding onto is Carol.

Richard tries to tell Daryl they are the same, they’ve essentially lost everything they know you have to sacrifice everything. He’s wrong, and Daryl knows he’s wrong because the thing Daryl will never, ever sacrifice is Carol.

Meanwhile we find Carol is losing herself, she’s almost nothing left in her. Carol is trying to find something inside her to hold on to. She hasn’t realised, the thing she’s holding onto isn’t not killing, isn’t solitude - it’s Daryl. And if she holds on to him, just like in Consumed she won’t lose herself.

And again, like like in Consumed, if she starts to get lost, she should know Daryl will ALWAYS find her.

Okay okay new plan:

So Tim and Kon just say FUCK IT and turn evil and they are literally the most dangerous super villian team-up/couple EVER because why the fuck NOT and they literally can’t be stopped because they have the skill set of Batman, more intelligence, the powers of superman, and they just run around together essentially ruining everything for all the heroes.

The series is called ‘Forgotten Sons’ because FUCK YOU DC!

i drew this, though i do not know why. a simple, three-panel comic. a recreation of a garfield comic strip. i drew it with no reference, entirely from memory. why? i do not know what compelled me to recreate the pipe strip, all i know is that a primal urge pulled the features of the strip from my mind. though my drawings are crude, as my drawing skills are undeveloped and my tools are limited, the strip is still recognizable and the strip’s message is still intact. everything about it, the essential shapes, the essential features, it’s all there, all pulled from within my soul. the pipe strip. it is inside of me. forever embedded in to my mind. everything about the strip is preserved in my mind. the contours of the wall. john’s abnormally small foot. the way john rests his arm on his chair in the central panel. the inward curve of garfield’s tail. the way john’s hand holds his paper. it’s all there. the strip is internalized within me, within my mind, within my soul, and i felt compelled to reproduce it. to honor it. to homage it. to parody it. to imitate it. the strip that sprung forth from Jim Davis’s imagination sprang forth from my memory and my body felt compelled to commit my memory to image form. despite my own limitations i created a crude simulacrum of jim davis’s master work. and now, i am sharing it with you. sharing it with you all. so that you may see the recreation of the Pipe Strip. maybe you will feel compelled to recreate it in your own fashion. who can say? all i can say is that this strip, the Pipe Strip, has affected me deeply enough to have it memorized and has moved me enough to strive to recreate its magnificence. It is utter perfection, and is that perfection not what we as human beings strive to achieve? comedic perfection. aesthetic perfection. the timing of the strip is immaculate. the shapes used, the poses, the drawings, the angles, it is all perfect to the point where even a crude simulacrum is immediately recognizable. you see my Pipe Strip and though it is inferior to the original you still recognize it. you recognize the iconic perfection of the original Pipe Strip through my imitation that boils the strip down to its most essential shapes. now you’ve seen it. i’ve shared it. it is available for consumption. what will you do? will you consume my pipe strip and attempt to recreate it yourself? will you track down the original if you haven’t seen it already? if you have seen the original, will you choose to revisit it regardless as I have many times before? nobody can say. I am but one man, and my life is my own. your choices are your own. I can only hope to influence the decisions you make of your own free will. take my Pipe Strip in to consideration when you make your next decision, or don’t. that is the magic of free will. that is the magic of the pipe strip. freedom. absolute freedom. the freedom to observe, to choose, to interpret, to consume, to produce, to create. that is the pipe strip. that is Jim Davis. that is the freedom of life itself. you look at my pipe strip and you remember it, and you choose to do what you do next. 

“now where could my pipe be?”

does garfield have it? 


you have it. you had it the whole time. you had it the whole time because it is yours, a pipe you have chosen to call your own. is the pipe a pipe? maybe not. maybe it is something else that is precious to you. a book, a phone number, a person, an old toy you’ve grown attached to, it doesn’t matter. like john’s pipe, it is yours. it is your pipe, and you will not allow any Garfield to take it from you. nobody can take it from you, not forever. who has your pipe? you do. now, and forever, the pipe is yours. it may leave your side, but it is always yours. 

make your own way. carve your own path. cherish your pipe. it is yours. 

  • Villain: Pushes heroine on the mattress, describes in details how he is going to fuck her
  • Me: (◡‿◡✿)
  • Villain: For 200 episodes stares longingly at her, doesn't directly addresses his feelings, never comes closer than 2 meters or else the world explodes and he is a emotional wreck
  • Me: (ʘ‿ʘ✿)
Oil Portrait Tutorial ft. Martin Freeman

For @sherrkey who asked for oil painting tips and to whom I said I would make a tutorial but never did. Until now. Sorry about that.

Firstly, tools!

What you see here is essentially everything I use to paint, minus my palette and the canvas. From top left to bottom right, those are:

  • dirty cloth, for cleaning up odds and ends and wiping brushes
  • turpentine, for diluting paint for the first layer of painting and cleaning brushes. Never use water with oil paints.
  • linseed oil, for diluting paint for the last layer of painting.
  • paint, top row: zinc titanium white, chrome yellow, lemon yellow, chrome orange yellow, scarlet, crimson red, vermilion, rose, purple, ultramarine
  • paint, bottom row: cobalt blue, emerald green, viridian, chrome green, olive green, yellow ocre, burnt sienna, burnt umber, raw umber, lamp black
  • brushes, size 20, 10, and ½
  • palette knife, size 3 (I personally don’t use this very often, usually only to scrape mistakes off where I can’t wipe them)

The painting:

I’m going to use my progress shots from this painting I did a couple months ago

1. The reference picture - I used this photo of Martin Freeman as Richard III here:

2. The initial sketch:

  • I used a brown because it’s close to skin colour and isn’t too glaring.
  • Dilute the paint with turpentine a lot so that it’s quite wet and the lines are light. This gives you more room to fix errors. If you make a mistake, get your dirty cloth, dip it in turpentine, and wipe the mistake off. Cloth+turpentine acts as an eraser of sorts at this stage.
  • Don’t worry if the first sketch looks bad. Mine looked real bad. Keep fixing it until you you’re happy with what you have.
  • Try to get in as much of the tonal values as you can here, because it’ll help a lot to have values sorted before you get onto painting. If it isn’t sorted, when you come to paint you’ll have an extra thing to worry about on top of your hues and saturations and whatnot. Use more turpentine for lighter tones, less turpentine for darker tones.

3. Base colours:

  • Start with the background, then move on to the darkest areas of the person and work your way lighter.
  • Don’t worry too much about details. At this stage you’re just laying down the basic colours and filling in all the area.
  • Focus on getting your overall colour right.
  • Use turpentine to dilute the paint a little, so the paint isn’t too thick, but make sure it’s not transparent like the initial sketch.

4. Middle layers and details:

  • On the basis of your first layer, now you can start working on the details.
  • Do not use turpentine here, just pure paint. Don’t be afraid to make it thick, texture is an inherent part of oils and it makes the picture more interesting to look at.
  • Don’t try to do everything at once. This is the section that will take the longest and the most effort. Split up your work, pick something to focus on for one session, and just do that part. The first thing I worked on was the hand:
  • then the head:
  • then the coat:

5. final touches

  • This is where you do your refinements and extra small details and go back and fix things you didn’t spot before.
  • Because we’re just fixing things, there’s no need to go too thick, use linseed oil to dilute your paint if you need to, especially for details like hair where you wouldn’t be able to get fine lines with thick paint.
  • I added more detail to the hair and beard, and fixed the nose:
  • Then I redid the background just because it had gone dirty, did a final layer on the coat to tidy it up, put in the shadow of the tassel I’d forgotten before, and added highlights on the hair, badges, buttons, eye, and sleeve:

And that’s it!

Here are some tips just about oil painting in general:

  • Oil painting takes a long time. Don’t expect to get everything right the first time. You’ll be working with multiple layers, so be patient, and take it a step at a time.
  • Make sure a layer has thoroughly dried before painting over it. This does not mean touch-dry. Oils can touch-dry in two days depending on humidity, but don’t dry enough for you to paint over until at least a week. While you’re waiting for a layer to dry, work on a different area, then go back. If you paint over a layer before it’s dried properly, the oil in the new layer get soaked into the bottom layer and your colours go dull.
  • Use turpentine for the bottom layer, linseed oil for the final top layer.
  • Clean and keep brushes in turpentine after painting. This keeps them soft for your next session, otherwise the paint will dry. If you’re waiting a long time until your next session, keep them in turpentine for a day or two, then wipe them and put them away.

Finally, as I like to say in all my other tutorials, this is never an exhaustive or definitive method. Everything in here has either been taught to me or been from my experience. I don’t claim to know everything, and others will experience things differently as well. There shouldn’t be absolute rules in art, only guidelines. Some guidelines are more important than others, of course but the best way to learn is to try something yourself.

Hopefully this has been helpful, and thanks for reading!


Linctavia Week
Day 4: Octavia as Lady of Winterfell & Lincoln as a Wildling

Winterfell, 499 AC

She meets him for the first time when she’s out among the trees.

Her brother’s constant focus on her future gets to her sometimes and she heads out there to be alone, surrounded by the wild. It isn’t even that she doesn’t want to be Lady Octavia, because she truly doesn’t mind it too much; but sometimes she just wants the peace of the wood surrounding Winterfell. And then other times, she’s afraid. She’s not naïve, she’s heard the talk—the offers for her hand that her brother’s been declining for her without her knowledge, her part in the trade negotiations that Bellamy’s successfully been able to narrowly avoid agreement to.

But unless something drastic happens, Bellamy will have no choice soon. Her training on being a Lady will someday end, and he’ll have to give her hand to someone. Octavia doesn’t want to leave home, though. She’s not all that fond of the idea of belonging to someone else if she doesn’t get a true choice. More than anything, though, she just wants Winterfell.

So distracted is she by her thoughts, that she doesn’t see the boar charging after her until it’s too late. Her eyes widen, her mouth opens in a scream, and her body is telling her to run, to move out of the way, but it isn’t doing anything. At the last moment, a man comes out of the woods with a spear and stabs the boar.

“Thank you,” she whispers as she stares up at him, looking him over. “I’m Octavia, by the way,” she introduces herself.

“My name is Lincoln,” he answers. He’s not one of her brother’s men, sent to follow her. He isn’t even from around here, she’d presume. Her eyes widen. “You’re on our land!” she exclaims.

The Free Folk have been on peaceful terms with the rest of the realm for over a hundred years now. The wall opens for both sides now, and they roam free, just as anyone is allowed past the Wall now. However, house seats are thought to be off limits. It’s not an official limitation, but Octavia’s been at Winterfell all her life and never see a Wildling before…until now, that is.

The tall man shrugs. “No one lives in the wood between your border and ours,” he says. “It has long been free ground.” He bends down and takes a small knife to the boar, skinning and gutting it.

“Why are you here, then, if you don’t live here?” she asks.

He gestures with his knife to the boar on the ground. “Better hunting.”

“You steal our game?” her head tilts to the side, and the slightest hint of accusation appears in her voice.

“It’s free land.”

“So you say,” she says.

He stands and moves to another area. Octavia watches in fascination as he gathers sticks and fallen wood. It doesn’t take him long to have a fire started. She steps closer to it, grateful for the sudden warmth. “You should learn to protect yourself if you’re going to come out here alone,” he replies, changing the subject abruptly. Octavia doesn’t mind.

“I’m supposed to be a Lady,” she tells the stranger who saved her. “I’m not supposed to need to protect myself. And, usually Lya’s with me. She’d have taken that boar down for me.”

“A wolf is not a knife,” he answers, holding out his own for emphasis.

Octavia straightens and a chill runs across her back. “I never told you Lya was my direwolf.”

“I’m—here…often, I’ve seen you…with the butterflies. The wolf was with you. You called her Lya.”

She smiles and relaxes just slightly. In silence, she watches him tend to the fire and prepare the boar. The sun sets in the sky, but she’s not worried. Lya would alert Bellamy if she sensed that Octavia was in danger, and she’s beginning to become certain she’s not.

She continues to ask questions and he continues to answer, with short, but truthful responses. Octavia finds herself intrigued by him. Finally, once they’ve had their fill of the boar he’d saved her from she stands. “Well, I must get back. They’ll be looking for me soon.”

He nods wordlessly, and, not expecting anything further to be said, she starts walking back toward Winterfell.

“I could teach you,” she hears him say, after taking only a few steps. She turns back to face him. Realizing his statement was ambiguous, he adds, “How to protect yourself—I could teach you.”

Octavia smiles. “I’d like that.”

You will often feel that everything has been said before; that you have nothing new to offer. This is not true. Everything you do is essentially unique. Yes, you will never be Herman Melville or Sylvia Plath or Edith Wharton. This is a good thing. You are you are you are you. You are infinite in your capabilities. You are an integral part of the universe. Just by existing, you have already changed the world.
—  Note to Self by Esther G. @countrymiles


I think whats often missed in these sort of discussions is that you can treat someone like a human being seperately from giving them full individual empathy. I don’t have a deep mental model of my barista at starbucks as a fully realised human being, but I also don’t treat them as a machine that I can abuse. There are certain general guidelines and learned behaviours that allow you to treat other people well even when you don’t empathise with them individually (e.g. don’t yell at servers, say please and thank you, take your turn, essentially everything that children are socialised to do in the name of “politeness” and “not being an asshole”). None of these require personalised empathy, but they do result in treating someone as a human being

yes there was a point I didn’t quite clarify for the Uber driver / stripper example, where knowing that someone is just doing a job and participating in a market transaction with you is a big part of respecting their common humanity; if your waiter is friendly when you are paying them to be then that is paid emotional labour and should be treated accordingly, don’t hit on them etc.

Thoughts on Jumin

Man, the 707 Reset Theory was depressing enough, but the Jumin Reset Theory? Oh, man… imagine all the implications…

I was really inspired by @imjamiejamz‘s art! And my love for Jumin

Disclaimer: Long post ahead!

I mean, let’s face it. Because of the environment he had growing up, he didn’t learn to properly process and express his emotions. He grew up in  a corporate world where everything had to be cold, rational, and efficient. Almost everything — his feelings, wishes, desires — had to be heavily repressed for the sake of efficiency (which I think triggers his Bad End 2, since MC basically coaxes him into unleashing his suppressed desires). He wasn’t really loved and didn’t know how to love in return. The women in his life either had ill intentions towards him or only went after him for his wealth. He struggled with a lot of issues internally, but had no outlet to vent. He basically dealt with everything alone.

Jumin, essentially, was (and still is) a lonely person. Though Rika and V were his two closest friends, they eventually had to leave his life. With Elizabeth 3rd, however, he finally had a means of projecting his suppressed feelings of loneliness.

Keep reading

if i were to make a shitty open world zombie apocalypse survival game or whatever all of the time and focus would be in the zombies and ways you can die and everything else would suck, essentially it becomes the opposite of a survival game as you try to find all the different death animations