just read your tax benefita marriage thing and had this sudden image of the older endless (destiny and death and maybe destruction) pulling dream as ide to ask if he at least got a prenup & dream, in all his infinite wisdom, going 'what's a prenup?'
Dream: well frankly I think it's fine if Hob gets half my inheritance, he deserves it :)
The rest of the endless: 😶
Death: dream you're going to be paying alimony for the rest of your life
Dream: first of all, we're not getting divorced, so jot that down. Secondly (*slurping instant ramen out of a cup while sitting on the falling apart couch he and hob definitely picked up on the side of the road) I'm clearly not using it.
-
Hob after he finds out: just so you know, if we ever get divorced I AM taking you for all your worth in court
Dream: I'll sign whatever you want idc
Hob: ....
Dream: also we're not getting divorced :) because you love me
Hob: yeah unfortunately I do
Dream: (was joking) what.
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please tell me about the pigments i would love nothing more than to hear you talk about that one shade of red you like and the process it took too recreate it
... oh, op. you have no idea what you've unleashed.
alright. here we go.
OKAY SO THE RED PIGMENT. pr206. my beloved. my dearest friend. it was an absolute bastard to find because there are so many of these. however many you think there are, there are MORE, and that's only if you don't count the many many scenarios where colors are known to be multi-pigment mixes, usually varying in tone/shade/intensity depending on the brand and manufacturing style. some colors are more consistent than others, but there are situations where a color can be named the same and contain the same pigments and STILL look wildly different depending on the ratio, binder, and paper you use. and that's not accounting for the way the pigment is processed. some pigments (like pv19 for example) can come in so many shades it's frankly kind of ridiculous.
anyway, my quest begins when i am, admittedly, in an edgier phase. i want a blood red, but not specifically because of that—no, i want it because it is THE IDEAL COLOR (to me) for a perfect, warm, slightly muted but still intense shade to add to a muted autumn watercolor palette. and... if you look at my whole theme, you probably know how much i love warm colors. i want to paint mushrooms. i want to dim down some of the brighter greens to make them autumnal. i want the perfect red to put as an undertone.
the search starts in earnest.
the immediate issue is this: reds (and purples and pinks) have horrifically bad lightfastness. not all of them, mind, but many are NOTORIOUS for fading under uv light, which means they will also fade if exposed to sunlight even in passing should it happen often enough. and—in especially bad cases where they're essentially working with dye and not pigment—they can even fade inside your notebook. inside of a drawer.
so not only are we working with an unfortunate pigment base (i'm simplifying here, there's way more nuance to this but shh) but we are working with one that skews heavily toward floral pinks or oranges. the red i'm searching for is warm, but not orange. dries dark but not brown. is transparent, not opaque. that last part is agonizing, because i also desperately do not want a color that will fade on me or generally destabilize, and most of the stable dark red pigments are EARTH pigments like red ochre (pr101) or the like. which, while fascinating because of their historical usage in things like pottery and even cave paintings that last to the modern day, are VERY OPAQUE. this is an issue with my preferred style of watercolor painting specifically, because opaque pigments tend to lift easier off the page and limit layering.
the search continues. pigment after pigment breaks my heart for one reason or another, drying too close to the cooler purpleish-red tint of wine at best. i think i find it in perylene maroon, but the drying shift (the difference between how a color looks wet vs after it dries on the paper) is so extreme that it loses the luminosity AND it's more opaque than most. i languish.
for a while my search turns to creation. i try and mix as many of my single pigment colors as i can into something that vaguely resembles what i'm looking for—so i take quinacridones and mix them with napthols, with nickel azos, with dashes of ultramarines and burnt sienna. everything turns out either just a bit too opaque, just a bit too muddy (that happens with multi-pigment mixtures, and is why so many people swear by single pigment colors. it's personal preference, really, great art can be made either way.)
still, nothing works. failure haunts me. i sit before a pile of used up watercolor paper that is literally covered edge to edge in nothing but similar red squares with various gradients and blooms as evidence of when i tried and failed to convince myself my efforts were close enough. i admit defeat.
in the meantime i shift my focus. i try and appreciate different color palettes and profiles, experimenting with things like fully transparent palettes (personal favroite) to fully opaque ones that function more like gouache. but despite finding appreciation for it, i still think about the damn red that i could never recreate. it kills me.
and then one day, a youtube video. a pigment is being discontinued, and the watercolor community is distressed. this happens a lot, because pigments are actually not always popular because of artists—sometimes beloved colors are put out of production because larger markets like car companies no longer find them popular enough to invest in. this time, the casualty is pr206, aka brown madder, aka quinacridone burnt scarlet.
let me tell you a little about quinacridones. they are genuinely remarkable colors. they have their own cult followings because of how bright and abnormally stable they are under uv light. they're transparent. they're luminous. they come in mostly shades of red and pink and purple, though there are a couple oranges and yellows in there. (there are no quinacridone blues, as far as i'm aware, but the phthalo blues have that category covered.) they also rewet beautifully, so you can put them on your palette and let them dry and not worry about it turning into a useless little rock of color that you can't get any pigment from anymore.
quinacridone magenta (pr122) is probably the most popular of these, the most often used besides maybe quinacridone violet (pv19). a few years prior we suffered the loss of quinacridone gold (po49) and since then people have been On Alert when it comes to losing these colors. i am one of them, because i never got the chance to even see po49 in person, and now the tubes are so stupid expensive that even the student grade versions go for Ridiculously High Prices on ebay, and the professional brands are being hoarded like (ironically) gold by anyone lucky enough to have a tube left over.
but back to our main character. not me, the pigment. pr206. i have legitimately never heard of this one, which to be fair is probably because i try to limit the random colors i fixate on since the hobby can easily get VERY expensive if you aren't careful. but it's a quinacridone, and that catches my eye.
i open the video.
now, i'm sure any artist out there will be familiar with the fact that screens don't display color consistently. it depends on your device, but most can agree that something that looks cooler on one may be warmer on the other, it's just what happens. but i see this color being swatched, and my brain implodes.
it's almost a perfect match.
it could work. it could. years of thinking that same thought have left me bereft and mistrustful of this specific quest marker, but the thought refuses to leave me. probably because the 'discontinued' label flashes like a neon sign.
i resist for about six months, and then i cave. at this point i have genuinely been trying and failing to find this color for upwards of five years. i am desperate, and the color might not be available anymore soon anyway, and apparently i am weak to sales pitches. (note: the color IS now unavailable in some brands, but others bought a decent supply and should have it available for at least a little while, alongside po48 which is quinacridone burnt orange, a favorite of mine and probably one of the only oranges i use regularly. both are discontinued officially, but they'll still be on sale till those supplies run dry.)
the color arrives. i grab my favorite brush. i pull out my stash of paper that i save for special occasions.
it's almost perfect.
i mix it with quinacridone burnt orange.
the result is, i swear, a perfect match for what i have been searching for.
it's warm. it dries dark but not dark enough to look brown. it keeps its luminosity (thank you quinacridones). it's fully transparent (thank you quinacridones). i genuinely feel the urge to weep, but i don't because i am clinging at last to the dredges of my sanity and also salt makes watercolor pigments behave differently and i will not risk this glorious moment. finally, after all these years, bill cipher has a gun i found the goddamn COLOR.
i mix it with warm yellows and with my favorite blues. with the pinks, just to laugh. life is beautiful and i am painting its sunsets, and i do not care if they look ridiculously messy. i have won.
the moral of the story is to never give up. or maybe it's to remember you never actually know everything about even the fields you love the most, because this color totally blindsided me despite being much more common than i expected. or maybe it's that i seriously needed to chill out for a while.
but yes. that is the tale of one (1) of the colors that has taken up residence in my soul. i hope you don't regret asking now lmao.
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Sorry to just drop into this, but another thing to consider with handmade good and the ‘overpriced’ idea is that you also have to factor in how much stock might sell at any given time.
For example, if you make 100 pairs of earrings in a month but might only sell 30 (because you need to give people options etc.) then the profit from those 30 should reasonably cover the time you spent making all 100.
Also, it should pay for the time you spend at craft fairs, replying to any commissions/ purchase requests, packaging time and going to the post office, any online marketing you might do (tumblr posts etc).
Peolle don’t often factor these in when thinking about the value of crafts they buy, which is a bit unfair.
yes there are other overheads but the thing is. basically all of those to some extent also apply to fibre arts
but sure. to be thorough. i spend 10h a week at my market stall and an hour... let's say 2 be generous with it... updating the shop
if i made 50 pairs of earrings and sold 15, the "materials" cost of 1 pair, to cover their unsold breathren, goes from 42p to £1.40
earrings are far from the only thing though, and account for less than half of the sales. so. we can say that about 5h of stall/shop time is covered by those
(plus the hour it took to make them)
sale price - materials cost but split over 6 hours of labour instead of 1.5 is still £12 an hour
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