Hellenistic Gold & Cloisonné
Necklace, 3rd Century BC
This fine gold necklace, dated from the early Hellenistic period, is made with a ‘loop-in-loop’ technique, known only from this era. Its chains of warm reddish gold are constructed of twisted double-figure-eight links. The center part of the necklace is adorned with three oval cloisonné settings containing blue glass gems. A wonderful example of the use of bright coloured glass in ancient jewelry. The necklace is wearable and still has the original closure.
I think Snoke became a twisted father-figure to Ben when he was younger and his parents weren’t there for him… which is creepy as hell, but would explain a lot. :( I really hope we get to see more of Kylo’s backstory in the next movie. I actually have a theory that his “new” costume (the one rumored to be similar to Luke’s in RotJ) will be worn during a flashback from when he was a Jedi. My fingers are crossed - I’m DYING to see something like that!
10 drawing prompts to help you sketch outside the box.
1) Self portrait: In a mirror with a washable pen, trace the lines of your face (on your face), or of one particular part (an eye, your mouth, etc.) Take note of things that you discover: the placement of under-eye bags, the curves in your nose, the line of your jaw. Recreate the line-art on paper.
2) Poses and Posture: Draw stick figures in a variety of positions- dancing, jumping, leaning backwards, sitting forwards, etc. gradually fill in the bodies of these figures using a wooden model or online guide. It’s helpful to draw a line down the centre of your figures that runs through the nose, sternum, and pelvis. If your figure is twisted or bent, the line should be too.
3) Doodle: Draw the silhouette of something you’re good at drawing. Then, draw the biggest circle that you can without going outside the lines of that silhouette. In the remaining space around the circle, draw the biggest circles that you can. Attempt to fill the entire space with circles. Each new circle creates room for several smaller ones, and eventually you will have spaces that are too small for new circles ( using a fineliner will reduce but not eliminate this problem). If you like, colour in the circles and spaces according to the coloration of the thing you drew the silhouette of.
4) Creativity: Using an online guide, make a rough sketch of the proportions of a human face. Include lines for the nose, mouth, eyes, ears, and eyebrows. Then, instead of drawing a human face, try to draw one as alien as possible while still following the proportions you have sketched. Pay attention to shading and details such as eyelashes, lip-wrinkles, and facial blemishes.
5) Hands: Go through a few magazines and cut out pictures of hands in as many different positions as possible to glue into your sketchbook. Using a pencil or erasable pen, trace over the key features of each hand. Pay close attention to the width of the hand, the length, and its connection to the wrist. Try to recreate these hands beside the pictures. Don’t focus on detail, instead, focus on making the position of the hand look as natural and fluid as possible.
6) Perspective: with a pencil, draw a large square with a dot in the centre. Draw lines between the corners of the square, crossing over the dot in the centre. Attempt to draw the room you are sitting in by first drawing the largest objects, and later filling in details. Use the lines as guidelines for perspective: things closer to the dot will be further away, things closer to the edges of the square will be closest to you. An object that starts close and gets further away will seem like it is being ‘pulled’ into the centre by the dot, and will have lines of the same angles as those you have drawn.
7) Animals: If you have a pet, try to sketch it as quickly as possible. Focus on forms and shapes, not on detail. When it moves, sketch its new position over top of the old one. If it moves to the right, sketch it again to the right. Allow your sketches to overlap. If you do not have a pet, this would be a great excuse to watch cute cat videos on youtube.
8) Memory: It’s dangerous to rely on memory when drawing, especially if you haven’t trained your memory to recall forms and shapes before details. Generally, what we remember most about a scene is what we see as the most unusual. This is why some people are good at drawing eyes, but unable to draw the rest of the face. For this exercise, find a photograph you like in a magazine or newspaper, and give yourself 30 seconds to study it. Try to see shapes, not objects. Instead of seeing a cup, remember the shape of the cup and its position relevant to other objects. Then, try recreate the photograph from memory. This may take several tries, don’t be afraid to ‘cheat’ if you get stuck.
9) Abstract: allow yourself to be filled with a specific emotion. Focus on that emotion, think about how it feels, the physical effect it has on your body. Try to draw that emotion coming out of you. It may be helpful to start by drawing a self-portrait of your facial expression while feeling the emotion, and letting yourself get carried away as you draw the components of your face that are most altered by that expression. Don’t try to preserve the first things you sketch, let them be covered and obscured as you add more details.
10) Practice: It’s always good to practice drawing objects, I find it most helpful to draw from photographs. Dedicate a page in your book to drawing objects that you feel represent you, or are otherwise close to your heart/ identity. Like music? Try drawing piano keys. Like fashion? Draw a few of your outfits draped over the bed. Try to fill the page with these drawings, making use of every inch of space available.
Portrait of a Lady; Mrs Lionel Phillips (1903). Giovanni Boldini (Italian, 1842-1931). Oil on canvas. Dublin City Gallery, The Hugh Lane.
Boldini painted with sense of dynamism and dramatic tonal contrasts. The pale flesh tones of the face contrast dramatically with the black dress and dark background. This effect is intensified by the contrast in technique, modelling of the face with the long flowing strokes of the other areas, especially her large feather fan. Boldini gives a suggestion of movement, emphasised here by the twisted pose of the figure when viewed from a high angle.
I’m sorry I have been kinda MIA lately, but I’m back. And since I have already written something called “How to make a plot twist right”, I figured I’d continue the series of “how to"s.
Las time I used Assassination Classroom as an example. And heck, I would use it again, because it has a phenomenal cast😍 but for the sake of diversity and because it has more chapters and a bigger cast to work on, let’s take a look at Haikyuu.
Haikyuu is one of the most popular shounen series out there, and a big part of the reason is the great and loveable cast. When reading manga or watching anime, characters are one of the things I consider crucial: you can have a great plot and amazing topics, but if you don’t give the viewer/reader the chance to get involved in it, it’ll be all for nothing. And the easiest way to get immersed in the story is to emphatise with the charcaters.
Haikyuu has a big cast, so I’ll start with the Karasuno team. Now this team alone has a lot of different characters, but none of them is a "type”, rather, they are all individualised and very very human, which makes them relatable. What I mean to say is that all these characters feel very human because they are put in daily situations and react as you’d expect. None of them follows a stereotype, and none of they actions feel forced. They don’t feel two dimensional: instead, the reader feels like he’s in the middle of they friendly bickering, and that’s because of how natural they act. It’s like the author knows these guys, and so they are never out of character. You could always imagine going to the mall with the Haikyuu ast and you know what each and every one of them would do: Yuu and Tanaka would look at the hot babes, Hinata would run around yelling: “awesome!” and looking fkr a sports shop, Kageyama would smile sheepishly when he’d find a new ball, Tsukki would snort at them and laugh at their antics, Daichi would scream at them to not get in other people’s way but he’ll eventually give up while Asahi would sigh and probably get laughed at by Suga because the others find him damgerous.
This is the kind of cast you can see in everyday situations and what makes them great is that ecah of them would react differently. They wprk separatly, as well as together. And while you see them practice individually and know their strong points, you also see how they work better as a team, and that’s the whole point. They have weak points, and that makes them flawed and thus human: Kageyama is bossy and a perfectionist, but that doesn’t stop Hinata from picking on him; Tsukishima can seem distracted and easy-going, but when he’s playing he’s dangerously smart; daichi is never flashy, but he’s got everyone’s backs and is reliable; Nishinoya is usually loud, but when focusing he’s surprisingly quiet and attentive. This attention to detail and the way the characters change while playing also makes them lovable, because it emphasises their strong feelings for volleyball and their trust in each other, without being two-faced.
Another reason why they are well-written is because they are flowed, which enables them to improve and develop alone or to be completed by a team. What I love even more is that characters such as Hinata can undergo more developing arcs while at the same time pushing the others, and also that not everyone needs to undergo an arc to visibly change. Take Yamaguchi: he has a few chapters dedicated to him every now and than, but it’s enough to see that he can stand up to Tsukki to hnderstand that he’s grown more confident and that he’s a bit jelous. Moreover, characters in Haikyuu may regress or repeat their mistakes, like Kageyama and his bossy atitude, but they always have each other’s backs so they never fall.
And now, the cherry on top: the opponents. Haikyuu gives the other teams enough backstory and development that it makes you want to root for them, too, and it makes the games more than just volleyball: it’s a means for both teams to improve as people and as players. Being able to make the opponents loveable and relatable is the highlight of this series, acomplished through good characterisation and a solid match, for each team member in each team finds a personal rival or relatable opponent in Karasuno, if not several. And this, ladies and gentlemen, is good writing.
In conclusion, Haikyuu manages to bring out the best in charcaters, not only individually but through their interactions, which never fail to impress, and through the fact that the characters are relatable and loveable, because they are human.
Uh, so… Many changes with the new patch. For one, the game has apparently decided to return some items to me. Among these items that have mysteriously appeared into my inventory: all my crew members’ pants.
Sometimes I wonder how long it’s really been since Solas has been in a relationship.
Solas says himself that it has been some time, and I think he means it. It’s been a while. Longer than the 1000 years he’s been sleeping for. Possibly anywhere between hundreds to thousands of years longer still; we just don’t know.
Did he take a lover when he bore the mantle of the Dread Wolf, rebelling against he Evanuris? I think it’s unlikely, given that he would be interacting with many former slaves that joined his rebellion. For them he was the Dread Wolf; freedom fighter and symbol. And this is when his image may have begun being twisted into a figure of a god himself. I can’t see him starting up a relationship with anyone who thinks of him as such.
And before that? We don’t really know. He may have had some sort of influential position given references to Pride in the dalish myths (particularly in Ghilan’nain’s) I personally like to think he was a general or military figure in Mythal’s service. But again, in some sort of position of power. Suitors may have been interested in him, or what his position could offer.
But Lavellan doesn’t know about any of that. Their positions are reversed; he’s the humble apostate in the Inquisition’s service this time. And now he’s just Solas. I take him at his word when he says he was always Solas; regardless of the other things he lied by omission about, the person he presented himself as to Lavellan and the others, the personality shown in his banters and the prickly elf that hates tea and sets his coattails on fire, was genuine.
Others mocked/deride him for various reasons, but Lavellan treats him as a person worth listening too.
He wants to give wisdom, not orders
And Lavellan falls in love with that. With him. Just him; flaws and all.
Russel Crowe’s original statement: “To be honest, I think you’ll find that the woman who is saying that(the roles have dried up) is the woman who at 40,445,48 still wants to play the ingenue, and can’t understand why she’s not cast as the 21 year old.
Meryl Streep will give you 10,000 examples and arguments as to why that’s bullshit, so will Helen Mirren, or whoever it happens to be. If you are willing to live in your own skin, you can work as an actor. If you are trying to pretend that you’re still the young buck when you’re my age, it just doesn’t work."
when i twist my torso theres a scrapey weird breath sound thing that sounds like dragging a wrench down stone tiles in the next room over & it took me several twists to figure out its coming from my sternum area so anyway am i dying or what