Okay but I also look at ears a little, especially yoongi because now he has that cute ear scar and I really wanna trace it...
I really just love yoongi’s ears a lot like the way his helix has that sharp curve on the side and I think it’s that sharp curve that makes his whole side profile look amazing because it really compliments his sharp jawline and then add in his piercings and it’s just so completely beautiful
I would love to nibble on his ears and definitely trace that lil scar which really does add to the overall appeal of them. I could spend so much time loving on yoongi’s ears ;-;
Did i not say that I had a lot of ideas for this one. Luckily i also had the entire weekend off from work so I was able to write down a lot of my ideas, so here’s part 3. enjoy, sweaties.
Summary: Going on a Hike with Minseok isn’t you ideal date, but everything that comes with the date is the undeniably perfect.
Word Count: 2,676
Characters: Reader (Y/N), Minseok, Luna
“I thought you said this was going to be a hike?” You asked him as you walked over to the entrance of a beautiful, green walkway. The walkway was a wooden bridge built over shallow green pools and small flows of water, tiny orange and white fish swam in the pools, and dragonflies hovered close over the water.
“It’s less of a hike and more of a relaxing walk.” he responded, reaching his arms around your waist, and guiding you forward onto the bridge.
“I prepared myself all week for a hike. I hate hikes. I got ready for nothing.”
Can you give advice on how to draw side profiles? (If it's alright!)
this is just the way i do side profiles, but i did a really quick generic head side shot to show how I work, since I think the only way to really give advice is to show how i do it.
1. start with a circle. i always start with a circle.
2. i draw a guide line to show the front of the face and the approximate location of the eye. that horizontal line shows the general direction of the eyes. Normally, you’d curve it to guide your drawing to be more dimensional, but I have definitely become pretty lazy with how i do my guidelines as time has passed.
3. add more guides. here’s a jaw, neck and some of the back of the head.
4. i’ve gotten pretty lazy with knowing how i draw, so i just kind of know where i put noses and the curve of the nose and the eye placement. none of this is really all that accurate to anatomy, but this is just the point where I put features on. I also do fix what i know is off (the back of the head is usually too flat when i draw it), and get it ready for lining. But I did draw a crude sketch to kind of show what kind of guidelines you can draw for these features.
5. a guide to where the nose and eyes and mouth kind of just end up. go into as much or little detail as you want. notice how the top of the eye lines up with the top of the ear, and the bottom of the nose lines up with the bottom of the ear. The eyebrow and eye usually line up on the same vertical line, and the mouth at a resting state is usually on the same vertical line as the eyebrow and eye.
6. expanding on detail
7. here’s another side view, but tilting the angle. you can see how the horizontal line is used here to do a different angle face.
a lot of this comes with practice and observation. Draw from life and just keep practicing. do a whole page of side profiles. do a page of realistic side profiles, do a page of cartoon profiles. draw them until you’re sure that you have improved, then draw some more.
this is just how i do things, and i’m not trying to teach you how to be good at anatomy here (the way i draw is so off of realism that it’s laughable), but hopefully this helped a little bit with side profiles.
Michelle Fairley interview: 'Hollywood? I hate everything about it'
After her shocking turn as Catelyn Stark in Game of Thrones, Michelle Fairley tells Serena Davies why she’s switching Westeros for the West End
Of all the lesser-known actors upon whom Game of Thrones has endowed instant celebrity, Michelle Fairley may be the most deserving. The hit fantasy series has displayed a rare knack for casting stalwarts of the London stage whose names scarcely register beyond the West End, and letting them loose to steal plum scenes of the bloody, blistering saga from under the noses of the mainly American ensemble. On the whole, even the higher profile actors from this side of the Atlantic have been given little more than extended cameos: Ciarán Hinds as Mance Rayder, an unkempt leader of a wild tribe, for example; or David Bradley as a sadistic, ancient lord, Walder Frey.
But Fairley, a Northern Ireland-born actress who has been based in London since 1986 – and given standout performances in everything from Oleanna at the Royal Court in 1993 to Brian Friel’s Dancing at Lughnasa at the Old Vic in 2009 – got rather freer rein in Westeros. For three seasons she played Catelyn Stark, first wife, then widow of the leader of the North, Ned Stark. Proud parent to a clan depleted in the cruellest of ways, Catelyn is a towering figure. Fairley played her with light flashing from her eyes, as a maternal Boadicea. Along with Peter Dinklage’s scheming dwarf, hers has arguably been the series’ greatest performance.
She was offered the part after the Game of Thrones writers saw her play Iago’s wife Emilia in Othello at the Donmar Warehouse in 2008. Now she’s returning to the same stage in a revival of Abi Morgan’s 2000 play Splendour. “I think in retrospect [the writers] needed somebody to go on an emotional journey,” she tells me. “Catelyn goes through the loss of her husband, the loss of her children and eventually makes the decision to kill herself because she thinks that there’s nothing left to live for – and they thought, because of the final scenes in Othello, that I could maybe achieve that for them.”
At the end of Othello, Fairley’s Emilia was scrunched on the floor, raw and guttural, as she exposed her husband’s sins. In her stint on Game of Thrones, culminating in the terrifying scene known as the Red Wedding, Catelyn was also raw but standing tall, slitting the throat of her enemy’s wife, even though she knew that her violent actions would precipitate her own death. Fairley says that the episode’s director David Nutter told her to play the scene “on a level” with her character’s nemesis, Walder Frey. “It was not to be as a woman pleading with him. It was to be commanding in some way. That they are two equals meeting each other.”
The characters of Emilia and Catelyn share both a nobility and a cavalier attitude to the consequences of their actions. “They are very intelligent and strong and they know how to play the game, but they’re mainly operating in men’s worlds,” says Fairley, which links the characters to her role in Splendour. As Genevieve, she’s best friend to the wife of a dictator whose unnamed regime is collapsing around him. The piece, says Fairley, is “a reminder that when the history of these kinds of events is told it’s always from the male point of view”.
Morgan, as the screenwriter of TV’s Sex Traffic and The Iron Lady, the intimate biopic of Margaret Thatcher, has form in bucking this trend. Splendour presents us with four women stuck in a room together in the presidential palace as all about them is falling apart. As we get to know them better the playwright digs out themes of identity and memory. Genevieve, bereft of her family, has had to learn how to suck up to the dictator’s wife in recent years in order to survive. “She’s a woman who puts on many fronts,” says Fairley. “She is a quiet, guarded person who has maintained a friendship with this woman out of need. She has made such an effort to become someone else.”
I meet Fairley, 52, during her lunch break from rehearsals, in the Donmar offices, a few blocks from the theatre. She is highly strung and birdlike; she quivers when she talks, as if her voice, several semitones lower than average, is vibrating through her.
Her return to the stage follows a spate of American screen roles (also including Suits, 24 and a forthcoming film version of Moby-Dick called In the Heart of the Sea). She’s notched up a number of appearances on British television over the years as well, but says that theatre remains her preference. She’s certainly immune to the charms of Hollywood: “I hate the place,” she says. “I hate that world. I hate everything about it.”
Fairley lives on her own in Kensal Rise, west London, having separated from her partner of seven years three years ago. “My decision to be on my own was my decision,” she says. “There are times when you have to face the truth, you have to face reality in your life and you either go in with someone or you go, ‘No, I want a change, I need a change. It’s my life’. It was a voice in your head that you can’t not listen to. Though you ignore it for a long time.”
She doesn’t have children. “I missed the gene. I was never born with that in my psyche, in my body. My sister Simone, from very young, you could tell instantly she did. I have many nieces and nephews and I am godmother to many children but it’s never been in me. Sounds awful, doesn’t it?
“I expect people to always go, ‘Oh my God, cold b—-’. Why? Why have children just because I’ve got a womb?”
I say it’s interesting since those who first encountered Fairley in Game of Thrones could be forgiven for thinking of her as the ultimate matriarch.
“And I’m the antithesis,” she says, laughing deeply.
“Do you know, I love people. I have a responsibility thing, though. I’d be terrified of f—ing someone else up. I’m a coward. I should want to: I’m from one of six.”
Fairley is the second in the pecking order. She grew up in Co Antrim where her father owned a number of pubs and her mother worked as a nurse before giving up to raise her children. None of the rest of the family acts, though they are “big readers and musicians”. What Fairley learnt from her parents, she says, was a “very strong work ethic. A respect for others and to be truthful. To be honest. And to know that you are no better than anybody else.
“My parents, they had a business in the North when the time was not easy,” she says. “But their pub and their premises were always mixed – Catholic and Protestant.”
“Born Catholic”, as she puts it, she’s no longer practising though, “there are things about that that I carry with me even so. Guilt, mainly.
“I was taught by nuns and I could see there were nuns who were unhappy. But that’s life. The whole thing about life is questioning yourself and your value in it, what is important to you, without being narcissistic.”
When the interview ends, Fairley goes off to be shot by our photographer (something she says she “hates and has never gotten used to”), leaving her lunch untouched. Before she leaves, she tells me how nervous she still gets before every performance. She says when she took on Splendour, a tough piece: “I thought, right, this is going to f—ing kill me but I want to do it.” Make no mistake, Fairley knows what’s important to her.
Can I give you a one-word prompt? If so, the word is PROMPT ;)
After the first night that they made love to each other,
Carol slept more deeply and more restfully than she had in years. The sex had
been hungry and messy and short, but, God, the release of it, just being that
close and that immersed in each other…It had been bliss.
She woke up at dawn out of the habit, to the cool, empty side
of the bed and the sound of the shower running. The door to the adjoining
bathroom was half open, and she’d gotten one good look of Daryl’s whole side
profile in the shower, before sleep was tugging her back under again.
The next time she woke, the sun was pushing more light into
the room and she was alone. The smell of something cooking was drifted up from
downstairs, but she couldn’t hear any movement in the house. Laboriously, she
climbed out of bed, threw on a pair of shorts and a dark green camisole, and
headed down to investigate. Her body ached a little, and there were a few
hickeys and other love marks rising across her skin. She wore them proudly as
she headed into the kitchen.
Daryl had his back to her and looked to be the only one on
the entire first floor. She almost double took, having never seen him like
this. It looked like he’d just thrown on whatever clothes were nearest that morning
too: grey sweatpants and a white t-shirt. She could see the tattoo on his
shoulder blade through the thin fabric of the shirt, where it was tighter
across his broad shoulders, hanging more loosely down around his waist.
He was rustling something over the stove, maybe powdered
eggs or something quick and easy. It could have been stir fried grass for all
Carol cared, because, mercy, she just wanted to stand there and look at him.
Touch him. Be near to him. So that was what she did.
Carol drew closer, across the kitchen in three languid
strides. Daryl heard her and half-glanced behind him, but not far enough to
meet her eyes, before he was turning his attention back to making breakfast.
She walked directly up behind him and, without preamble, looped her arms around
his middle. She folded her hands around her forearms in a hug, pulling herself
flush up against his back.
“Mornin’,” he greeted, not breaking stride as he fiddled
with the skillet.
Carol hummed as she breathed in the groove of his spine
against her cheek. He smelled like generic soap and fresh cotton and a third
element that was just something uniquely Daryl. It was intoxicating, and she
closed her eyes.
“You didn’t wake me up,” she teased lightly. “I’d have
joined you in the shower.”
“Nah, figured I’d let you sleep,” he replied. “Besides, I
wanted to, uh, surprise you.”
She pulled away just enough to look around his elbow and see
what he was concocting. Powdered eggs, as she’d suspected.
“You were going to make me breakfast in bed?” She smiled.
“Well…now it’s just breakfast,” he snorted.
She wiggled against him slightly, causing them both to sway
a bit in place. “What prompted this?”
Daryl put the hot skillet on the cold burner and shut off
the stove top, swiveling around in her embrace to look at her. His hair was
fluffing out as it dried from the shower, sticking up in odd directions.
“Did you really just ask me that?” he asked with a lopsided
She leaned in, pushing up on her tiptoes a bit, and kissed
him tenderly on the lips.
“That’s very romantic. Thank you,” she murmured against his
He returned the kiss, then followed it with a brief one on her
nose. “I can be romantic sometimes.”