Vernon/OFC: For all the marbles, a SVT!kindergarten AU
Genre: Fluff/Friendship/Puppy love
Word Count: 1173
Characters: smol!Hansol Vernon Chwe/Original Female, various SVT members
Prompt: Imagine your OTP meeting as kids and Person B (lil Hansol) decides to woo Person A by giving them pretty rocks that they find. And lil Hansol gets schooled by his bros in marbles and the art of puppy love
“You look like a squid!” Hoshi laughed, his puffy cheeks spreading like cream puffs as he pointed at her hair. Today it was shaped into four pigtails, two low and two up, secured by thin sky blue ribbons.
She was getting red in the face, and stomped her sandal-clad foot on the ground, lifting a ring of dust around their area. “I do not!”
“Do too.” Hoshi stuck out his tongue, thumbing the straps of his denim overalls. “I’m going to call teacher-nim, because squids aren’t allowed in school!”
“You’re so annoying!” the little girl clenched her fists, her shoulders tensing all the way to her neck. “I’m not playing with you anymore!” and she threw the plush dinosaur at his face, which Hoshi easily caught in his arms. It only made her angrier, and she stomped away to a corner of the playground, fed up.
“Good!” Hoshi called out, surrounded by his band of three friends. “We don’t want to play with a dumb girl!”
Hansol frowned from his safe spot in the sandbox, where his friends were surrounded by their marble ring. They were playing for keepsies today, which meant Hansol was already set up to lose. He already lost all his cateyes to Jeonghan, who was currently arranging all his new marbles by color and size. He didn’t care, it happened all the time, but he cared when a pretty girl in blue ribbons was sitting alone on the swing set. He rather liked her hair, it was unique and stood out from all the other girls who wore matching flower barrettes. It was different, just like him.
“Hoshi can be so mean sometimes.” he mumbled sourly, fisting the sand between his fingers.
more planters for your house or apartment or porch or balcony or desk … see, you can put these babies ANYWHERE. huseyinartik’s varied styles are ideal for an instant collection. i love the matte white glaze accents with the terra cotta myself, but they’ve got other colors and shapes to love, too!
“Pass me that screwdriver over there,” Pidge commanded as soon as Shiro walked into the room. She held out her hand expectantly, though she kept her eyes on the project she was working on. Shiro handed her the tool before crouching down beside her, watching her tinker.
“Pidge, you realize it’s around two in the morning, right?” Shiro canted his head, cocking an eyebrow and smiling softly. “And you have training in the morning.”
Pidge snorted, “I’ll sleep when I’m done.”
“And when do you think that’ll be?”
Instead of giving a proper answer, Pidge frowned down at the screwdriver she held before setting it aside. “Pass me one with a smaller tip.”
“Pidge…” Shiro sighed in exasperation, but still reached over to rummage through the toolbag, finding and pulling out another, smaller screwdriver.
“I’ll be fine,” Pidge waved away his concern, and with the correct tool in hand, she bent back over her project, her face scrunching up in total concentration, her tongue peeking out from between her lips.
Shiro probably would have chuckled and relented, or have rolled his eyes and tried again to get her to bed, but suddenly he was being taken back in time; back to the Galra prison cells; back to the worst year of his life.
“-she was staring at it intently, and it’s funny, because whenever she focuses on something like that, she’ll stick out her tongue.” Matt Holt snickers, grinning over at Shiro from where he lies on the floor. His eyes are warm as he talks about his baby sister, and Shiro is glad to see the smile on his friend’s face. “She always denies it, though,” Matt continues, “‘That’s weird. I don’t do that’, she says. Okay, Katie. Whatever you say.”
Shiro laughs along with Matt, soaking up this happy little moment, hoping it would last.
“When we get out of here, I’ll introduce you to her,” Matt promises, “You’ll love her almost as much as I do.” He turned to stare up at the ceiling, and when he speaks again, his voice is barely above a whisper, and holds an infinite amount of sadness. “I miss her.”
Shiro snapped back to the present, blinking and shaking his head, shoving the memories away. Pidge had set down her tools and was now kneeling in front of him, frowning in concern.
“Hey, what’s wrong?” She asked, probably not for the first time. “You totally blanked out on me.”
Shiro just shook his head and tried for a reassuring smile, but could tell by the pursing of Pidge’s lips that she wasn’t buying it. “I’m just tired, is all,” he said, hoping she would drop it. Pidge squinted at him for a moment, her eyes searching, but then she shrugs and quietly mutters fine before turning away.
Shiro lets himself relax slightly, his shoulders drooping minutely, relieved that he wouldn’t have to explain to Pidge what he had just remembered. He stood, bending over to quickly ruffle Pidge’s hair (earning a squawk of annoyance) before heading for the door. “I’m going to bed,” he told her as the door slid open with a hiss, “And you should be, too.”
“Yeah yeah, five more minutes.” Pidge waved her hand dismissively, and this time Shiro did roll his eyes.
Shiro laid down in his bed, squeezing his eyes closed. His metal arm felt weird and heavy and uncomfortable.
I miss her.
With a growl, Shiro sat up, running his human hand through his hair, tugging at the strands in agitation. He blew out a breath, wishing he could just forget.
I miss her.
He was so tired, but sleeping meant dreaming, and he wasn’t sure he could handle that right now. His dreams were always the same; Galra prisons lit in an ugly purple; the terrified and pained faces of his friends; the fight in which he lost his arm, played over and over until he woke up in a cold sweat, with phantom pains shooting up and down his right arm.
I miss her.
“I’m sorry I couldn’t get you out, Matt,” Shiro whispered, cradling his head in his hands. His eyes prickled with unshed tears of anger, at himself and at the world. “I’m so sorry.”
The team was taking a short, well-earned break. Allura had touched the castle-ship down on an uninhabited, quiet planet. While she and Coran made any necessary repairs and checked on the ship’s systems, the paladins decided to explore the planet. Lance and Keith had immediately disappeared, leaving only echoes of shouted insults in their wake. Hunk had waved at Shiro before ambling off on his own, looking peaceful. Pidge also had run off, yelling something about a waterfall she had spotted as they landed. Shiro decided to follow the youngest of their group, and he easily caught up to her as she had gotten distracted by the planet’s plant life.
“Shiro, look at these!” Pidge gushed excitedly, squatting down to examine a cluster of tiny flowers, marveling at their iridescent petals. She brought up her wrist monitor, scanning the plants and logging the information into a holographic notebook filled with other data she found fascinating.
Once finished, she grinned up at Shiro, her golden eyes sparkling. “Everything on this planet seems to glow,” She said in awe. “It’s incredible! I wonder if it’s something in the atmosphere? Maybe it has something to do with the gas coming from all the pores in the ground. I tried to figure out what it was, but it’s not anything from the periodic table–which, different galaxy, different planet, so duh!–so I’ll have to wait and ask Coran when we get back to the castle. Oh!”
Shiro watched Pidge run a short distance away, something else having caught her attention. Her chatter was endless; her energy was high as she darted from one new sight to another. She was still talking, failing to realize that she was no longer close enough for Shiro to hear her.
“She’s never still,” Shiro remembers Matt saying. It was just after another one of Shiro’s fights. He was exhausted and his muscles screamed at him in pain. He was lying on the cold ground back in his cell, trying to ignore how much he hurt all over when Matt spoke, his voice soft.
“Katie?” Shiro asked, keeping his eyes closed. He couldn’t even turn his head to look over at his friend. Matt nodded, coming over to sit beside Shiro. He leaned against the wall, drawing his legs up to his chest and wrapping his arms around them.
“She always has to be moving,” Matt continued, his eyes glazing over as he thought about his sister, a bitter smile coming to his face. “And if her body is still, then her mouth is moving. She talks a mile a minute.” He laughed quietly but it sounded strangled, and his next words were accompanied by a choked sob. “She’s- she’s always got some kind of new information she’s bursting to share. Her room is filled with notebooks where she puts down all her findings and data and thoughts.”
“Hey,” Shiro said, ignoring the pain in his body to sit up and thread an arm around Matt’s trembling shoulders. “You’re gonna see her again, okay? I promise you. I’m going to get us out.”
“I believe you,” Matt whispered back, “I believe you.”
“Hey, Shiro!” Pidge called, gaining Shiro’s attention. “Do you think it’d be okay if I took some samples back to the ship?” She looked up at him pleadingly, carrying an assortment of plants and little cups of what looked like dirt, except for the fact that it glowed.
“Sweet,” Pidge grinned excitedly, already walking back towards the castle. “I’m going to start running tests immediately! Hurry up, Shiro!”
Shiro watched her retreating back, a bittersweet, crooked smile tugging at his lips. “I’m coming, Pidge.”
“There you are,” Shiro sighed, coming over to sit beside Pidge. They were both quiet as they watched the planet’s three, red suns set.
“Did he talk about me?” Pidge asked suddenly, breaking the silence with her whispered but urgent question.
Shiro glanced at her, but she kept her gaze on the horizon, her face pinched into a pained frown. “Yes, he did,” Shiro replied finally.
Pidge didn’t respond, waiting for Shiro to continue.
He looked forward again, gathering his thoughts before he spoke again, his voice gentle and sad, “He talked about you a lot, really. He would talk about your funny habits, your quirks, the things you liked and didn’t like. He talked about how he would introduce me to you, about how I would love you almost as much as he does.” He stopped there, his throat tight. When he looked again at Pidge, she was curled in on herself, her small frame shaking with silent sobs.
“I miss him,” She croaked.
I miss her.
“I know, Pidge,” Shiro leaned over and tugged her close, tucking her against his side, “I know.”
Summary: You watch in horror as your whole world shatters in front of you. “Take care,” he said, before grabbing his bags leaving you behind.
A/N: I hope this broke your heart because it broke mine while writing it omg. I actually have ideas for a second part but idk we’ll see! Maybe this angst will have a happy ending??? You tell me! Feedback would be much appreciated~
hey I have a quick question, I know oil paint differs from acrylic paint but is there a difference in actually painting? Like are there different techniques or steps you have to take? I tried googling it but got really weird and sorted answers
PAINTING MASTERPOST BY JIOUX AKA POWER-SLUT
Hey friend! Generally when I answer questions I make sure I answer privately for discretionary reasons/so they won’t clog up the feeds of other people but I think this is such a great question, so I hope you don’t mind me publishing it!! A few other people have asked about different paints and how they work in the realm of 2D painting so I am going to address your concerns in vast detail ^0^
TO BEGIN: Oil paints and acrylic paints differ on so many historical, chemical, and basically just fundamental levels. Oil paint is (traditionally) an organic pigment mixed with linseed oil (or another oil base), thus making it compatible for optimal painting under very specific circumstances. I am not entirely sure what acrylic paint consists of but what I do know is that it is strictly water-based and (most likely, correct me if I am wrong) largely made of synthetic material. Because of the chemical properties of acrylic paint, buying cheap/mid-grade acrylic paints can lead to plasticy-looking paintings (which also heavily depends on the surface you are using [like painting on glass/plastic vs. canvas]). The oil/water difference is an important distinction to consider.
ACRYLIC PAINTS: Acrylic paints may seem innocuous and affordable for the casual painter, and while the total cost of materials (including paints and paint mediums) may cost less than what a full shopping bag of oil painting supplies may cost, I personally believe that on a professional (or at least college) level, acrylic paints are much more of a fickle medium than oil paints. Because they are water soluble, some may say that acrylics are much more convenient to use, not to mention that it is unanimously agreed that they are MUCH safer than oil paints. If you strip acrylic painting down to its bare bones, you can paint on virtually any treated or untreated surface with just some paint and a brush. I would recommend working with grey-toned palette paper, at LEAST 3-4 brushes, a paper towel/cloth to wipe excess paint and water off your brushes, two cups of water (one for removing paint from a brush to load up a newly-cleaned brush with different pigments/one for only dipping into and adjusting the wetness of your brush), a spray bottle of water to spray your palette when you feel that it’s starting to dry, and the surface you determined is appropriate for painting on. But here’s where my warnings kick in—working with strictly acrylic paint is not an easy process! Acrylic paint in its uninterrupted state is quick to dry and turn into the plasticy-looking mess I briefly mentioned above. Not only is it incredibly difficult to smooth paint out and RENDER because of how quickly it dries, the drying time also screws up the process of mixing paint/mixing the appropriate amount/keeping paint at a consistent level of moisture. An easy way to avoid this is to invest in acrylic mediums! If you want to manipulate acrylic paint and/or avoid the quick drying time (which I personally hate but many people appreciate), there are dozens of different mediums you can use. Retardants slow the drying process and make acrylic paints much more viscous, texture gels exists to (duh) add texture, and gloss/matte/glazing mediums also exist. I am no expert on acrylic paint mediums but I recommend browsing the selection at your local art store and reading the labels to see which you feel would be most compatible with your preferred style of painting or experimenting! Most mediums are meant to be mixed in with the paint. And if you want, you can throw all this advice to the wind and paint with a very watery brush and minimal paint to create paintings akin to what using watercolor paints would look like! KEEP IN MIND: You cannot sand down acrylic paint. This may not matter to many people but sanding down layers of paint/thick regions becomes handy for a variety of reasons, and only oil paint can be properly sanded. Can’t sand plastic lumps!! Personally. I hate acrylic. I can’t use it I won’t use it and I can’t blend/render with it.
OIL PAINTS: My favorite! My clearly biased opinion!! Basically. There is a lot that must be considered with oil painting. First of all, let me address the toxicity inherent with all oil painting (minus water-based oil and I’m not even gonna get into that shit I don’t know/care about it). Many oil pigments fall in a range of different levels of toxicity, and the paint thinner that is mandatory for cleaning brushes/thinning paint for application is definitely not good to be exposed to without proper ventilation. Irreparable damage can be avoided by using gloves/gel gloves/skin protectant and painting in a ventilated area. Another fundamental, unavoidable part of oil painting is the fat-over-lean rule. To simplify—begin painting with a mixture of paint thinner and oil paint, gradually use less thinner (but more paint) as you continue layering, and slowly build up the amount of oil mediums you use as you reach the upper (last) layers. Lean underneath, fatty on top. Not following this rule could potentially lead to a cracking, peeling, or other problematic painting. Another point of consideration is the surface and surface quality of whatever you paint on. I recommend oil painting on a treated (gessoed) canvas or on wood (which you can also treat or not treat, depending on the wood and its thickness). There are a handful of oil paint primers and preparing treatments available for use, such as rabbit skin glue (you would use RSG to treat fabric/canvas before applying any oil paint/oil paint will eat through untreated fabrics), but many people like to just apply 1-3+ layers of plain white gesso on raw canvas (and sanding it to a smooth surface if they choose). Once you buy your paints, your brushes (YOU CANNOT INTERCHANGE OIL AND ACRYLIC BRUSHES FOR OBVIOUS REASONS, BUT YOU CAN USE ACRYLIC BRUSHES FOR OIL PAINTING IF YOU DECIDE NEVER TO USE THEM FOR ACRYLIC PAINTING AGAIN), your paint thinner, and determine a surface for painting on, there are a few other additions that I would include to create a standard set-up. Make sure you have rags that you can soil with thick oil paint and thinner that and use to wipe paint off on while painting/cleaning brushes, grey-toned palette paper/a glass or metal palette (no wood fuk that!!), 2 jars of thinner (one clean one dirty 4 same reasons as acrylic listed above), and whatever oil mediums you choose to use (optional: palette knives for mixing paint which I am too lazy for). A popular oil medium amongst painters who enjoy flat rendering (AKA the type of painting I do) is linseed oil, it adds a certain level of gloss and oil to the surface (but I don’t use linseed oil!). Another popular medium for a lot of contemporary abstract painters I have seen working is gel impasto/oil impasto, which is used to create dimmensionality and tangible, thick, luscious, 3D bodies of paint. I would recommend painting with many, many brushes—this way, you don’t have to constantly clean and re-clean brushes to get the exact color you need without muddying it and you get to choose from a variety of brushes for different mark-making (skinny, long, smooth, pointed brush vs. fat, flat, coarse brush). Unintentional consistent mark-making is a tell-tale sign of a novice painter. Experiment with using brushes of different hairs to see what sort of textures you can paint! I strictly paint with smooth and soft brushes to attain the flat and highly rendered texture I enjoy. I also recommend Gamsol as a paint thinner to those who are sensitive to the smell of regular turpentine or mineral spirits. Because of the consistency and chemical makeup of oil paints, I feel that they are incredibly versatile and so easy to manipulate! The long drying time allows for you to control your pace of work. If you need to/want to work faster, you can paint in thinner layers of paint sans oil mediums to speed up the drying process, and when you know you have time (or need more time) to execute detail and are reaching the more labor-intensive final layers, you can pile on the oil mediums and/or paint thicker and slow down the drying time. The manipulation of oil paint by the addition/removal of thinner, the paint itself, and third party oils allows for control, and most importantly, the ability to RENDER!! BLEND!!!! MAKE THINGS BEAUTIFUL!!!!! Painting with oils is so much more of a rewarding and gorgeous process! Lol biased!! There is just so much more technicality and history and richness and consideration behind oil painting .. or maybe I’m just a nerd.
TO END: ANYWAY! I am sure I am missing a lot and I KNOW THIS IS TOO LONG I AM SO SORRY. But I am passionate about my paints and I hope this helps at least one person! I will edit this if I can think of anything else and if I am incorrect about anything feel free to notify me so I can make the appropriate changes. Thanks for reading if you read it all I
I had the pleasure to “illustrate” a beautiful and insightful article by David Brooks that appeared in last Sunday’s NYT Review. Many thanks to Art Director Aviva Michaelov.
The first piece is a sculpture made out of polymer clay and painted with acrylic, the second is a ceramic sculpture glazed in matte white and colored in the computer. I went to drop off the pieces at the New York Times building in Times Square, and Tony Cenicola photographed them in the studio . It’s the first time I have been commissioned a sculpture as an illustration; amazing experience!