is what i am referring to

Original Terms of Endearment in Hyrule (that aren’t Hylian)


Rota: meaning “my flower,” which, given that they live in the desert, is a very meaningful thing to say to someone.

Serr’ta: meaning “my heart.” Pretty self-explanatory.


My feather: refers to feather braiding ritual observed between serious couples.

My dove: implies that the person it’s being said to is soft and sweet.


My droplet (this is actually @zeldahijinks ‘ but I just love it so I wanted to include it here)

My pearl: implies the person is precious to oneself.

My pebble: implies the person is pretty/handsome/good-looking.

My minnow: implies the person is cute.


Pebble: pretty much the same implications as for the Zora. Is also an equivalent of “my pearl” because smooth pebbles are aesthetically pleasing and harder to come by on Death Mountain. Be wary though; pebble is used for a partner, while ‘little pebble’ refers to a Goron child, simply because of their size when compared to an adult Goron.

My opal: This precious gem is more naturally occurring on Death Mountain than diamonds, and are actually seen as prettier because of their complex and colorful patterns.

Ruby: Basically, “my dear.”

~Mod Zora~

@ramblingredrose replied to your post“okay I actually have a lot of feelings about “get help,” this is…”

The clip, it hurts me.

it VERY MUCH DOES but also it’s just kind of fascinating?? like, you’ve got this sad little bit where Thor is sort of trying to be mature about the situation and move on or something and completely misses that UH NO, LOKI DOESN’T WANT THAT, in fact he might’ve gone for “yep we should never see each other again” expecting/hoping Thor would be like “wtf no that’s not what I meant,” and when Thor easily agrees instead I am pretty sure the weird face Loki makes is him trying to compose himself so he won’t fucking cry in front of Thor again 

and it’s all very hurtful

but the part I find fascinating is the way it’s immediately followed by the “get help” gag, which

  1. is Thor’s idea
  2. references their long, ridiculous, and very close history
  3. would not work a) at all or b) without more discussion if Loki didn’t know exactly what Thor meant, because point number 2
  4. also would not work, or at least not work as well, if Loki hadn’t gone along with it after all (however reluctantly)
  5. involves some close physical contact, right after Thor’s effectively been talking about how it’s better if they both keep their distance

of course then the whole point of this is to literally throw Loki at the bad guys and also he’s a little bit of a dick about thinking it’s hilarious even though (…partly because?) Loki thinks it’s humiliating, which I feel like might be the sort of dynamic–Thor being kind of thoughtless and not listening, and Loki getting bitter about it because it’s a pattern and it means something to him even if it doesn’t to Thor–that led to their relationship deteriorating in the first place…and in the same way I’m concerned that a lot of the Thor-based humor in this movie will similarly rely on ignoring whatever maturity he’s supposed to have gained through all his other films and revert him to something a lot more like his pre-Thor self…BUT STILL that doesn’t make any of the above points untrue, and the whole thing just kind of screams “brothers who have known each other forever (and can never stay apart forever because neither of them will ever be entirely complete without the other, no matter what they might think)”

so it’s heartbreaking but also maybe sort of kind of hopeful about actual resolution/reconciliation eventually?? I mean putting any faith in Marvel ever is generally a bad job because I’ve certainly been burned before, but–well, again, the juxtaposition of these scenes is fascinating, and it packs a pretty decent amount of character/emotional backstory into what is also a pretty silly gag.

Null Reference Exception

I am trying to make a simple Windows form application that keeps track of how long it has been since you quit something. The repository can be found here: So far I have created a few forms, and figured out how to parse the strings that will be given as input into what is being stopped, date, and cost. Now, when I try to run the program to see what kind of progress I am making, I cross upon this null reference exception on line 31. I have always been bad about tracking down this error in particular. Anyway… I am fairly new to programming, so I would appreciate any critique you could give me!

namespace Stop_That { class STOPTHAT { string[] submissions; private int count = 0; /// <summary> /// The main entry point for the application. /// </summary> [STAThread] static void Main() { Application.EnableVisualStyles(); Application.SetCompatibleTextRenderingDefault(false); Application.Run(new MainScreen()); } // When the submit button is pressed on the AddForm the new submission is stored as a single // string into an array of strings public void StoreSubmission(string whatStopped, string date, string cost) { submissions[count] = whatStopped + date + cost; // The submission must be split into it's parts GenerateSubmission(submissions[count]); // When the button is pushed again a counter must be incremented to move forward in the array count++; } // Takes the submission and seperates its parts; what stopped, date, and cost. private void GenerateSubmission(string submission) { string whatStopped = string.Empty; int date = 0; double cost = 0; int numberOfLetters = 0; int dateLength = 8; // Find all the alphabetical characters // TODO What about spaces? for (int i = 0; i < submission.Length; i++) { if (submission.All(Char.IsLetter)) { char character = submission[i]; whatStopped += character; numberOfLetters++; } } // Find the date and convert into an integer for (int i = 0; i < dateLength - 1; i++) { submission.Remove(0, numberOfLetters); char character = submission[i]; date += Convert.ToInt32(character); } // Find the cost and convert to a double for (int i = 0; i < submission.Length - (numberOfLetters + dateLength); i++) { submission.Remove(0, numberOfLetters + dateLength); char character = submission[i]; cost += Convert.ToDouble(character); } } } } 

[Found here] !~`~! [Get C Sharper!]

robbie-jb  asked:

hello! i am the person who sent an ask looking for the tutorial-type posts on your blog a couple months ago. since then i have gotten into sculpting. thank you for inspiring me, and publishing the supplies and clay guides! i am nearing the end of a couple pieces and really like the look of the solas bust you did that was colored with pastels. i was wondering: what type of pastels did you use? hard, medium, soft? what can you tell me about them? was it a spray fixative? thanks!

Apologies for not getting to this sooner. I returned from a trip yesterday and have been busy sorting the last threads of that out, as well as returning to home life. 

I’m very glad to hear it. I did not quite manage to follow through on making more tutorials (specific requests help more than me coming up with things to say, because I have little to no perspective on what truly helps a beginner to know) but I’m happy to hear that you’ve gotten into it. I hope we will see many sculptures from you in the days to come.

I use Sennelier Soft Pastels (this set in particular) with Mr Super Clear UV-Cut as a fixative. You can find the latter more reasonably priced elsewhere if you keep an eye out– I’m linking to the Amazon page for sake of ease. Any soft, highly pigmented, non-oil-based pastels should work for this. I also like Pan Pastels. 

This works best if you start with a white clay, or clay that’s been primed white. You work in layers– start with a layer of fixative on top of the clay to provide the pastel with a little tooth to stick to, then put down one layer of pastels at a time. In-between each layer, spray with the fixative and let it cure before you continue to work. Work from light to dark, general to specific, and use a soft, thick, blunt brush to apply it. You can (and should, really) mix your own colors from whatever set you use by using an x-acto to scrape powder off of the pastels and mixing that.  

Other things I used to color that Solas sculpt are: watercolor pencils, a very thin brush, Golden acrylic paint, and paint thinner.

Let me know if there’s anything else I can do to help.

Twitter - Commissions

anonymous asked:

I still don't really know how to feel about the word tranny. I'm cool with calling myself it, but I don't know how I feel about other people referring to me as it. I watched the video you said about, and that's what made me comfortable calling myself a tranny. I don't want to be bothered by it but for some reason I don't know if I am. Any advice??💕

i was the same way until i realized it’s just a mf word. if someone calls you a loser do you really care?

anonymous asked:

Ok so I'm assuming your post here: /post/166584712404/fuck-bowers-things-im-interested-in-knowing is a book reference. Since I haven't read it, could you elaborate on what it refers to? And thanks!

Actually it’s a movie reference! Throughout the movie, the leper asks Eddie what he’s looking for but it’s not at all elaborated on. I am dying to know what that line that was repeated in the movie was referring to, since theres nothing like that referenced in the book. The only thing I could think it could relate to was Eddie’s encounter with the leper in the book, where the leper offers Eddie a blowjob. That part is widely regarded to be coded as just one scene where Eddie is questioning his sexuality, so I don’t know if the movie line references that? That might be a complete and utter reach though. I genuinely have 0 clue what that line means. 

Any theories, cool people?

Is anyone awake? Am I going about learning to draw correctly?

My plan of action is to use references and just get comfortable drawing. Not using tip guides or attempting shading yet. I want to get the super basics down and see what I can do on my own before I try to look for help. 

I hope you all had a nice Valentine’s Day ~ <3

i’ve been thinking a lot about smol ambiguously biracial harry and the mirror of erised.

because he’s spent his whole life with the dursleys in their proper square house in their proper square neighborhood with their uniformly manicured lawns and their contempt of anything other.

his aunt glares at him when the barber fails to tame his hair and yanks at it too hard when she takes her own scissors to it later. he sees the brief flicker of surprise in the eyes of the teachers at school when they find out he and dudley are cousins. he looks at his pale blonde aunt and vaguely wonders how her sister could produce someone like him (olive skinned? that’s what an old woman at the grocer’s called him once anyway) but he doesn’t dare to ask these questions. it’s just how it is, harry thinks, maybe he’s just different (he’s used to being different).

when he’s ten he gets a letter addressed especially to him, and when he’s eleven he looks up into a strange mirror it feels like he was meant to find and he’s looking at his parents for the first time in his life and his mother is the most beautiful woman he’s ever seen, prettier than he’d even imagined, and his father…his father looks like him. james is darker and taller and sharp with adulthood but his hair sticks up at the back and his hands are so very familiar and his cheekbones are the same ones harry’s seen in the mirror every day of his life and something deep inside him falls into place.

because he doesn’t look exactly like his mum and he doesn’t look exactly like his dad but now he knows why. he looks like a bit of both of them and it’s proof that they lived, that they came together and made him, with his dark hair and light eyes and skin that he’s never felt quite comfortable in.

and maybe he never belonged with the dursleys and maybe that hurts more than he’s willing to admit but he suddenly thinks it matters just a little bit less, because now he knows for certain that he damn well did belong to james and lily potter.

@alex-danvers-1 asked for either Kara Danvers or Alex Danvers in either 4 and 7 or 7 and 8 

I have this headcanon that whenever Jason and Tim have an opportunity to refer to Damian’s age, they keep progressively saying he’s younger and younger just to get under Dami’s skin.  

*Watching TV and there’s a sex scene*

Jason, leaping over the coffee table to cover Damian’s eyes: Don’t let him see! He’s only ten!

Damian, hissing like an angry cat: I am fourteen you idiot, and I already know what intercourse is!

*One of the Titans cuss in front of him*

Tim, allowing his coffee mug to drop and shatter on the ground in order to cover Damian’s ears: Conner you can’t speak in front of him like that, he’s seven for hecks sake!

Damian, bright red with anger: Unhand me Drake before I punch you with my FOURTEEN-YEAR-OLD FIST

*After carefully glancing around to make sure no one is watching him at one of Bruce’s charity galas, Damian sneaks a sip of champagne*

Jason and Tim after appearing from out of nowhere:

“Goodness gravy, Damian! You’re only three years old, stop trying to grow up so fast.”

“Why don’t we get you some juice? Nine month olds are allowed to drink juice right?”

Damian: *screams*

Lighting in The Last Jedi trailer and that scene we are all talking about.

Like many of you that last bit of the trailer had me screaming at the tv. After the initial freak out phase had passed, I began to slowly shift into the what if phase, meaning– are they baiting me? Now there are several theories out there about who Kylo is holding his hand out too. Some say its Leia and not Rey. What if I told you the proof is in the shot itself? 

I am about to give you a quick lesson in lighting, visual storytelling, and cinematography. 

Let’s go back to The Force Awakens as a reference guide. The lighting on Starkiller base bridge you know that scene where he kills his dad? 

Lighting was something they made sure to get right in this scene. Notice how Kylo’s face is half hidden in shadow and the other in light. Signifying his split.

JJ says this  “ And you see the light go away. And now they’re in this darkness. And darkness takes over.”

The play with light was even more apparent when Kylo and Rey face off against the edge of the cliff. 

Now I’m about to throw some cited literary sources about Film and Lighting just so it’s importance is established. 

“In visual storytelling, few elements are as effective and as powerful as light and color. They have the ability to reach the viewers at a purely emotional gut level”(Brown, 2012, p. 8).

Light becomes mood that gives its tone to a film. It calls upon our memory to react to physical phenomena such as cold, rain, fog, sun, or dryness, and come up with psychological equivalents such as annoyance, sadness, mystery, fear, anguish, comfort, joy, gaiety, etc. As these effects produce immediate impressions in viewers, the cinematographer is able to obtain psychological reactions out of mere technical means (Geuens, 2000, p. 153).

Architecture and Film both use perceptual psychology to get people to see spaces in a certain way. Architecture lighting designers skillfully illuminate buildings and rooms with psychological intentions.

Lighting designers think about a psychological response and how behavior is affected by lighting. Some examples are:

1. Visibility of vertical and horizontal junctions aids orientation.

2. People follow the brightest path.

3. Brightness can focus attention.

4. Facing wall luminance is a preference.

5. Lighting can affect body position (Ginthner, accessed April, 2013 p.2).

Just as lighting designers light spaces to stimulate human mood and behavior, Cinematographers light the space inside a movie frame with the intent to persuade a viewer’s perception. The way objects are lit in the frame will focus the viewer’s attention, the amount of shadows cast will limit perception, and changing lights can indicate a change in a character or opportunity (Brown, 2012).

However, unlike film, architecture has had a psychological study on how different light in a physical space effect human arousal, concentration, memory, work productivity, and Mood.

If you take any type of filmmaking class, this is one of the first things you learn. Nothing is a mistake in these films everything is as designed to serve a purpose. 

So let’s dive into the scene in question. 

Originally posted by mine-loves

First of all, let us talk about how these two shots are framed. They are close up only showing the faces of our characters. 

Close up shots typically contain just the face and shoulders of a subject, with a little headroom above. This prevents ‘floating head syndrome’ as the shoulders suggest to the brain that there is a body below! These shots are the most common of all as they can convey a real sense of emotion and help the audience to connect with the subject.

Second, let’s talk about the choice of lighting

They are both in a warm fiery glow. 

You can judge the quality of light in a film scene through the hardness or softness of its shadows. Hard quality light has dark shadows with sharp edges and often feels more raw than soft quality light. Soft lighting, often used in older films, has lighter, diffused shadows and tends to feel more sentimental.

And with advances in film technology, sharp shadows can also be quite romantic. Case in point, this still from the end of the 2005 version of Pride and Prejudice:

Third, let’s talk color 

Color temperature is one of the first things to note when studying the lighting in a romantic scene. Is it orange? Bluish? White? Most often, warm colors add to an inviting, romantic atmosphere. For example, the warm light in the sunset scene in Titanic draws the audience in, unlike the cold, blue lighting later in the movie, after things get dire.

Forth let’s talk context

This is not the same scene with Kylo. Rey is still wearing her resistance clothing. This is the beginning of the film. 

The context matters especially in this scene where Rey is talking about needing someone to show her where she belongs. Is this romantic? The answer is, no. Is it intimate? Yes. The scene can be set up this way without any romantic implications. But it is definitely meant to be intimate. Rey is vulnerable at this moment and is speaking from her heart to Luke. Please show me what to do with myself. 

Now let’s move to Kylo’s scene which is no doubt at the end of the movie (because his scar is healed.) 

Our big bad villain is bathed in nearly the exact same lighting and color as Rey’s shot, even the framing is the same. In no other shot ever has Kylo Ren been depicted in these colors. Not in the teaser and not in TFA. Kylo is always in red or dark. The context of this shot is very very important. He is reaching out palm up as to take someone’s hand. He does this slow and gentle. His face is soft with what I would say a plea. 

Yes, this is a call back to Darth Vader asking Luke to join him on the Darkside in Empire Strikes Back. But if you go back and watch that scene it is intimately framed (remember context matters), but the colors are pale. Lukes’ face is in agony. Vader extends his hand it’s rigid and forced.

Before I get into more examples, I want to point out that yes trailers are meant to give you an idea, and intrigue you but they are also meant to misdirect. 

Trailer Misdirects/Visual Storytelling and Dialogue

The misdirect of this scene is to make you believe Rey might join the dark side with Kylo or at least first glance. General Audience viewers casual fans who do not give it any second deep thought will accept this and move on. However, more dedicated fans will step in and try to dissect the scene by looking at the image and not the overall meaning behind everything we discussed above. The trailer isn’t designed to give anything away. Which leads me to say this is very smart editing on Rian’s behalf. While it doesn’t give us the answer of will, she or won’t she? It provides us with the question that we will inevitably discuss in length until the movie is released. 

 I would also like to point out there is a visual storytelling aspect of this trailer when it comes to the dialogue. 

One example of this not related to the scene in question comes from Poe Dameron.  He states “We have the spark that will ignite the fire to bring the First Order down.” The next scene we get is Finn. It is pretty clear that bit of dialogue was meant for Finn. He will no doubt help bring the FO down as other Stormtroopers defect as he did. Finn is that spark for the rebellion. Now let’s talk about the Rey/Kylo scene. The same thing happens here. Her dialogue coincides with the next shot of Kylo. Also, notice (scroll up if you need to) how their faces are opposite each other Rey is looking slightly to our left while Kylo is looking slightly to the right. Their positions are mirrored which is a recurring theme in the TFA (see the snow fight). This is beautiful visual storytelling. TFA was full of the same imagery lighting and storytelling. I have a post about it HERE

I went through and found scenes that mimic that of what we saw in the trailer, down to color, lighting, and frame.  I also chose male and female characters. Guess what, all of them were romantic. 

I chose this because of the flares in the background and the close-up framing of their faces. Notice yes the color is blue because they are parting (remember CONTEXT). 

Next, we have a scene from Pride and Prejudice, but beyond the romance aspect, I want you to watch the light change of this scene. Elizabeth is bathed in blue until she accepts Darcy, taking his hand. The sunlight beams between them warming the scene.  Skip to 3:10

Here is an oldie but a goody. I chose this due to the color. Now remember this film is old, lighting techniques have come a long way since the 1930s, but their choice of color is important, along with the shadows on their faces. 

Ah, Jon and Dany. This is very romantic (even tho its incest lol) But take a look at the lighting between them also this part is (NSFW) if you are gonna watch till the end. You were warned. 

And now for the grand finale TFA cliff scene. Oh, I chose this little diddy to drive home a point. Kylo and Reys’ faces are framed intimately (which signified they would have a more profound connection later and at that moment they were finding the Force together) But also notice their faces are bathed in mostly pale colors due to it being cold. Yes, the lightsabers flicker red and blue onto them. Yes, that holds meaning as well, the fight between the dark and the light. But the overall pallet is pale frigid colors. Also, the context -- there’s that word again– of this scene is they are enemies fighting. Kylo does want to teach her, but he’s aggressive and forceful, to say the least. It is a stark contrast to what we see in TLJ trailer. Where he is calm relaxed and in warm, inviting lighting. No aggressive posture, no forceful plea.

If you want to contrast another couple, please refer to Pride and Prejudice again. I can’t upload it here, but this is the link. This is where Darcy says he loves Elizabeth, but she rejects him. They have close-ups, but the color and lighting are not intimate. Its pale lighter and blue. All things that are associated with sadness rejection etc. You get the point. 

So in conclusion. It is my opinion based on all information gathered on cinematography, that yes the relationship between Kylo Ren or perhaps Ben Solo at this point has drastically changed. It is no longer one of animosity or hate. Judging by the warm colors, and the soft shadows and above all else the context of the gesture/posture/facial expression of Ben it is romantic or at the very least (for the skeptics) a special relationship– Remember Rey and Ben are similar in Force power according to Luke- this gives them a bridge to each other one that will take them to understanding and COMPASSION. I am not saying they kiss, I am not saying they are a couple at the end of this movie. I am saying that it’s possible that it will move in this direction. They no longer hate each other. How did we get to this point? Well, we have a whole Act 1 and 2 to get through for that answer. 

I will stress that I believe that yes Ben/Kylo is holding his hand out to Rey. And no, it is not out of malice or deception. He is not asking her to join him on the Darkside… He is asking her to go with him and for acceptance. 

I made a follow-up post to this because this was so long! Please click here to see more examples and extra information

pphew! sorry for the late reply to these >.< i figured id just reply to all these in one post with some pics. Below are the watercolors i use and the the gold paints (keep in mind those pics i posted were like first attempts @_@ im still getting used to these…)

The water colors are Mjello Mission Gold Watercolors in the 34 tube set and the gold palette are the FineTec Artist Mica Watercolors in the Pearl set. 

Now I’ll state first– both these sets are kinda pricey. The FineTec palette (about $27) is so worth it though because it comes in different golds and one tube of gold gouache is usually like $9 each or more depending on the amount of mica, so def worth the price and variety.

Below: from lightest to darkest on ivory tinted paper [Silver, Moon Gold, Gold Pearl, Arabic Gold, Tibet Gold, & Inca Gold] they look SUPER outstanding on black paper as well!

my fav is the richest one, the Inca Gold.

They are super nice, but if you plan on getting them, they are super HARD palettes! It’ll take a lot of scrubbing to get them activated and to have that nice gouache-like thickness, so if you don’t want to ruin your nice brushes, I def recommend getting some Ox Gall. Adding a drop or two of this will get them activated in no time, and with a nice opaque thickness. (the brand I have below they dont sell anymore, but other brands still make it)

As for the water colors, ehhh i feel weird cuz those vegetas were like my first attempts with this brand. Ive always used the Sakura Koi 24 color set palette because theyre super nice and super cheap (like $20) and Ive had them for years. I only got these because I wanted higher-grade watercolors in tubes. But they are very expensive, but for good reasons: they have a lot of pigment, which makes them so vibrant and bright and theyre designed to be very close to natural colors, not to mention theyre so SMOOTH when painting and they’ll probs last me forEVER because you get so much color with very little water.

(opera is best color IMHO) here’s a color chart I made (that took FOREVER btw) to give you an idea how beautiful they are and how many nice colors they make

so yea! those are the paints I used for those particular pics. Course if you would like a nice, cheap watercolor recommendation that works pretty well, Sakura Koi’s are a fantastic substitute. …..SORRY IF THIS WAS LONG i just akdfhalkfhd i like talking about traditional hope this was at least a little informative >.< if anyone has questions or wants some recommendations (while also saving some money) feel free to ask! I’ll help in any way i can with what i know, cuz despite posting mostly digital art, I am a traditional art supply FANATIC.