#anqi animates

[sgdlr-asdfghjkl]

Link Click Musical Masterlist 🔍🌟

#音乐剧时光代理人# <- 'Time Agents Musical' main tag, pictures tab - shows majority of stage pictures in chronological order, updates from official Encore Musicals show up here too.

Tips: 1) Visit the OP's profiles! They usually post more than the one photo you can see in a thumbnail. And it's easier to browse & save pics through the profile.

2) Even though you can scroll the pics tab indefinitely, without a weibo account you won't be able to easily access older posts, as they'll get buried under the user's newer posts (there's a roundabout way mentioned in my guide). So I recommend to visit this tag frequently, if you wanna be sure nothing is hidden away 🔍 Daily or once in a 2-3 days will be enough imo, it's not very crowded tag ^^

3) ⬆You can also check videos in this tag, the orange tab has 10 most recent clips from the musical (other one has the most popular ones).

接着奏乐接着舞Musicals (Encore Musicals) <- official profile of a theatre that runs LC stage, they post the cast schedules, photos/behind the scenes clips, whenever new actor debuts, there's a special guests or a cast member has a birthday. They also report when an actor goes on a health break. Tip: all LC actors can be found in the pinned post (you'd need OCR 'image-text' tool to copy their names from pics though)

Encore Musicals Bilibili account <- theatre's official profile on a major cn video-sharing platform (more bts clips)

动画师lan <- bonus link to studio LAN profile, that's where they post the mysterious animation frames~

校医来啦 <- profile of a chief producer of LC Musical

兮兮兮辞_ <- profile of an executive producer of LC musical (she sometimes posts bts pics)

🌟Actors

their personal weibo profile & actor specific hashtag (the 'diamond tag', you find the most stuff here)

Lu Guang

Wang Minhui - @王敏辉Black 王敏辉

Wu Yihan - @音乐剧演员吴以瀚 音乐剧演员吴以瀚

Guo Hongxu - @郭虹旭_GHX 郭虹旭

Du Guangyi - @杜光禕 杜光祎

Zhu Hanbin - @Keb_朱涵彬 朱涵彬

Fu Xiangan* -

Cheng Xiaoshi

Cai Qi - @超级蔡淇 超级蔡淇

Shu Rongbo - @舒荣波-Bobi 舒荣波

Ji Xiaokun - @原来是纪晓坤啊 纪晓坤

Teng Chunpeng - @滕春鹏tcp 滕春鹏 (cw: heel injury pic is the only post on his @profile ><, just visit the tag)

Ding Xingchen - @D丁星辰 丁星辰

Cao Muzhi - @曺牧之 曹牧之

Bai Zhuoming - @丿日亻卓钅名 白倬铭

Wang Yifei - @王逸飞_V 王逸飞

Jing Yanqiao - @井彦乔JING_ 井彦乔

*- actor hasn't debuted yet, couldn't find their tag, it will be updated

Qiao Ling

Cai Lu - @蔡璐_Katherine 蔡璐

Deng Xianling - @邓贤凌邓阿凌 邓贤凌

Wu Hanglu - @吴杭律 吴杭律

Feng Xinyao - @冯鑫垚smile 冯鑫垚

Xian Dongyue - @嘀嗒_强东玥 强东玥

Zuo Yiping - @左一平儿 左一平

Qian Anqi - @钱安琪麦麦 钱安琪

Lu Hongbin/Cheng Xiao

Zhang Jiahao - @张嘉豪music 演员张嘉豪

Li Zexi - @李泽熙Zenith 李泽熙

Xu Fangxing - @阿星-许放星 许放星

Zhi Bowen - @智小少总是不靠谱 智博闻

Zhou Bobo - @就叫我波波好了 周波波波波波

Zhang Zhiwei - @张智伟_

Song Yuanming - @教练 我zen勒想打球！ 宋元明

Gaoer Jinbaoyin - @高尔金宝音 高尔金宝音

Lin Zhen/Cheng Xiao's mom

Hong Guo - @红果其实是洪果 音乐剧演员洪果

Liao Jingyuan - @廖婧媛LJY 廖婧媛

Guo Zhenyan - @郭珍艳Miki 郭珍艳

En Yu - @恩妤Ura

Shen Tian - @音乐剧演员沈恬 音乐剧演员沈恬

Yu Mengying - @于梦滢yummy 于梦滢

Zhu Jiayan - @朱佳艳Rio 朱佳艳

Zhang Ruishu - @_张睿姝_

Zou Ziyue - @-Zou醉是子月 邹子月

A few actors for supporting cast don't have a tag: bc 1) they haven't debuted yet and it was harder to find 2) seem to be newbie actors & have very small online presence

Tips: 1) Without a weibo account you can scroll through the actor's tag only up to abt 45 most recent posts. The actors perform in multiple plays (duh) so non-LC photos will show up too.

2) Imo the most optimal method, so the limits won't stop you is: go to the main 'LC musical' tag and see what's new. Check schedule for the cast lineup in a recent performance. Go to the actors' tags to see what's new.

3) Sometimes there are 2 performances on a same day, with different actors. So don't be surprised if you find mixed lineups under one date.

4) Mostly QL and Lin Zhen's actresses post behind the scenes photos on their personal profiles. Don't bother looking up the guys accounts, unless it's a holiday or their b-day >< From what I remember, only Wu Yihan posts abt his cat. Zhang Jiahao and Zhou Bobo post selfies sometimes.

5) Google translate, however broken, is enough to translate the captions, so use it for context✨Ppl sometimes give their reviews titled 'repos' from the stage they've seen 🙏

6) You'll find more musical related clips under the actor's tag, than in 'LC musical' main tag. It's usually in an actor's fancam, but not always. Useful when you like an actor or there was a particular moment you want to see from a different angle🌟👌

7) The clips tab (one in the middle) under the actor's tag has no time limited access. You can browse and watch the videos without issues!

______________________________________________________

I'll try to add missing tags when the actors debut 💪 And if you find any mistakes or a broken links, please let me know 🙏 For those who read it all, here's a present ;>

光时 <- bonus Shiguang ship tag, they're just like us fr (but way more horny on main), there's lots of art, from cute fluff to nsfw djs >>

OKAY that's all I have🎉

#link click musical #shiguang dailiren #weibo #link click #there are many links to click actually 🤓 #masterlist #niebo brainrot talk #text post

[yoimix]

NOOO WAY HONEYWORKS??!? on my DASH??? hello fellow honeyworks enjoyer!! do you have a favourite song? my absolute absolute fave is the world is falling in love. followed by that one MV where the honeywork characters went on a summer festival. i love their drums sm!!!! omg i have a few others but i don’t know the title. i only know the story / mv and the general tune. — @pyrodmg

THE TASTE YOU HAVE, MY DEAR 👑 honeyworks shaped my idea of romance frfr life was NEVER the same after i stumbled upon confession rehearsal and proceeded to binge-watch all of the honeyworks mvs in the series 💕

my faves are confession rehearsal, friday's good morning, pride kakumei and ヒカリ証明論 (i'm not quite sure how it's translated :c). oh oh!!! and this one's been growing on me lately, it's called i thought i hated you (i'm not sure if my translation is right hshdh so this is the original title -> 大嫌いなはずだった). it is an e2l excellence 😌

the world is falling in love is a BANGER !! i used to have it on repeat to make myself believe in love again❣️ also, i think the song you're talking about is tokyo summer session!! it's one of my faves too (๑>ᴗ<๑) it inspired one of my drabbles bc honeyworks never fails to give me insp 🌸 and you are so right, their drums go hard!! have you checked out the anime they made based on the series? it's on my watchlist after i'm done with kamisama kiss and wotakoi bc i'm getting indoctrinated in shoujo by anqi (@matchabears) rn who also happens to be an average honeyworks enjoyer 🍷✨

hope you have a lovely week ahead, with warm food and cozy evenings, sunshine ☀️💞

#pyrodmg #yoimix.ask

[st-just]

Sun and Moon by Aw Anqi

#art #fantasy #character #anime #aw anqi

[incorrect-youth-with-you]

Anqi: (refusing to get out of bed)

Xiaotang: Just get up! It's not that hard!

Anqi: NO I'M HIBERNATING

Xiaotang: What?! It's not that cold out! And you're not even an animal!

Anqi: I CAN BE WHAT I WANT TO BE!

Xiaotang: Just get out of bed!

Anqi: NO!

Xiaotang: Ugh... that's it.. (picks up bridal style)

Anqi: PUT ME DOWN!!!

Xiaotang: No.

#zhao xiaotang #babymonster an #anqi #theninegirls #the9 #female idols #incorrect the9 #incorrect youth with you #youth with you 2

[digitalediaproject262]

Welcome!

This page is to help students and teachers explore the topic of endangered and extinct species.

Are you looking to do a project on a specific endangered animal? Scroll through to begin to spark some ideas and get some basic information about various animals.

In this page, we introduced several endangered/extinct animals including giant panda, sharks, elephant & etc. In the following page, you will get to know these animals from aspects of their significance to the ecosystem, what factors caused the decrease in their population and what actions we have taken to prevent them from extinction.

There is also a wide range of videos, books, website links, information posters, images, and other sources presented. We have included a few interviews of our students from different grades to give you an idea of how much information is known.

You are welcome to send us a recording of what you’ve enjoyed from this page and feel free to send us links to add more! The more information, the better it is for raising awareness on this global issue. It is important to protect biodiversity for many reasons.

Anna-Nicole Longo. Rui Cheng . Jade Mauro . Anqi Luo

[dmyear3]

Obituary

This performance is the second in a series, both extending my project beyond inanimate pieces and into the live and theatrical – forming a cyclic narrative of life and death in interaction between my body and art objects. My first performance was of myself being “born” from a hollow sculpture resembling a human or animal carcass and performing improvised and very physical actions with a set of clay “bones”, my body a writhing and automatic medium between bodily states of birth and remains. For the next performance I wanted to retain the hugely important aspects of physicality and ritual, but in a very different form that is more pared-down and action-based (while still implying essentially the same narrative). The first element I decided on was the costume. I wanted to wear something that would act as a blank canvas which would physically record the event as gestural paint strokes, while also transforming my appearance in the performance. This resulted in making a very rough kimono-like garment with long drapery on the sleeves that would both obscure the form of my body and provide a lot of surface area to easily paint onto. I sketched out a few different versions of what the purpose would actually entail – originally it was to appear quite sacrificial and religious, with the painted garment crucified and suspended above the space. This version would have been performed in from of the stained-glass windows of the life drawing room where I performed, to provide a church-like setting. These connotations would align my interest in rebirth with biblical imagery such as the Second Coming of Christ, bringing the act of ritual into the classical European rather than the eastern references that have continuously popped up in regards to my work. It was only after already having a rough plan set out that I decided to store the paint inside of clay sculptures. I sculpted these pieces to resemble the ambiguous remains of body parts, as amorphous organic forms resembling bones and organs and flesh. The lack of colour and earthy material suggests age, withering and mummification. I filled them with a red-brown liquid (heavily watered-down acrylic paint) – the specific colour and density was partially inspired by a news story from earlier this year, about a sarcophagus that had been dug up and was discovered to be filled with a similar red-brown “water” – which was in fact ancient human remains decomposed to the point of liquidation. This reference to ancient remains, both in the appearance of the sculptures and the liquid they contained, ended up being a more important focal point of this piece to me rather than any religious connotation. I instead began to see the performance as a mournful act of transferring ancient bodies between forms of decay and new life – the body being a liquid that I attempt to reincarnate in the birth of new forms and continue the natural cycle of generational reiteration. An aspect of memory comes into play here, as I grasp at the remains and transcribe their very material onto myself. This led to me titling the work Obituary. I ended up drawing indistinct human figures onto the surfaces of my garment, and in the performance I attempted to fill in their forms with the colours of the clay and the paint – the sort of “essence” of the body being literally transferred from vessel to vessel. It was only when I began to set up in the space that I decided to use the entire room rather than the area around the window, and to place the sculpture from my last performance in the centre of the room. This work was intended to act as a kind of contextual icon that referred back to the idea of a cycle: a bleached and withered mother figure giving birth to a pile of dusty bones as a depiction of simultaneous death and birthing. I decided to not practice any part of this performance. I didn’t know if the paint would try too soon, how visible the marks would be on my garment, how much of the sculptures would be left intact, how long it would take, whether the audience would be implicated or not, or how I would myself be acting in the moment. I wanted every aspect to be automatic and unpredictable, knowing how it would begin but now how it would end. This to me added a further sense of desperation and an organically raw physicality. 

Certain things that I hadn’t considered came about during the performance. Firstly the paint leaked from small cracks in the porous unfired clay, leaving puddles on the canvases beneath the pieces. This liquid also soaked into both the clay and the garment much more than I thought it would, meaning it didn’t go as far or lend itself to big gestural mark-making. The wet, slippery clay however was really great to work with in my hands and was able to itself be painted onto the fabric. My audience fully entered my performance space and wandered about it at their own paces as I continued my actions, either following me or looking closer at the other objects. I hadn’t really considered how immersive this piece had the potential to be, so this was very interesting to me. It was brought up that within a typical gallery space the audience would probably stay back, but that this immersive-ness added another layer to the work. As this was a group tutorial there was a lot of talking about the work, and everyone agreed that the performance would have more impact in silence, with the only sounds being those made by my actions. Sound is definitely an important consideration to me so I agree with this, and would have had the group speak after the performance was complete if I had much more time. It was also interesting listening to the group slowly understand the workings of the performance as they took the time to notice and contrast certain aspects: the clay pieces being like artefacts, the liquid coming from the inside, the linework on my garment being figures and these figures being deliberately filled in. I could sense a feeling of slight mystery in the way they observed my actions as the performance began to unfold. A narrative was definitely picked up on, and the sculpture in the centre of the space helped expand this contextually. The sculpture was read as something I was actually performing to, either as some kind of sacrificial offering or as a prior iteration of my “character” – a kind of previous life or ancestor. The latter reading was fascinating to me, and it felt like a huge success in breaking ground between my intentions and the viewer’s understanding of my work. In terms of this character, I was seen as not being at all myself but filling a theatrical role – this was aided by my complete silence and masked appearance, recalling old East Asian and European theatre traditions. It was suggested that I extend this idea further by fully obscuring my face with no sign of my real identity. I was considered sad or solemn as I carried out the performance, and my other body language was noticed too – a violence in the destruction of the clay, but a deliberate delicacy in the soft touches and caresses of my hands around the broken pieces. The emotional resonance embodied in my physicality itself was another success of this presentation (Anqi actually came up to me after the presentation and told me she nearly cried as she watched me break apart the clay – this has stuck with me). While still appearing ritualistic and having a sense of ancient history and tradition, the impression seemed to be that I wasn’t referencing any one culture. Instead the aesthetic and motifs were read as quite pancultural – but with a mix of influences including the kimono silhouette of the garment an element of European figurative art. The pieces left over from this performance are now works in themselves: the painted garment, a pile of small pieces of clay partially stained red and now resembling rubble, and the canvases beneath the full sculptures that now carry the traces from leaked paint and the destruction of the objects – clay and fine dust adhered to the fabric by dry paint as an organic memory of the event. I’m planning on suspending all of the fabric works (garment and canvases) as an installation work, with the clay pieces either as a pile beneath or sorted through and displayed individually like museum relics. The performance now is only the origin of another branch of my project, one chapter in the cyclic narrative which leads to another expansion, just as a performance and other works prior led to Obituary as one of multiple paths. The remains become the work and the body changes vessel once again. When performing again, I definitely need to consider further the implications of performing live. This includes planning how to document my work and what kind of context it needs to be performed in. I was meant to take my shoes off before getting into costume but I forgot, and by the time I was “in character” it was too late and so they became read as intentional and affected a small amount of discussion regarding ancient vs contemporary – small details like this need to be ironed out if I want my work to be as successful as possible. Working intuitively and unrehearsed however felt very organic to me and I would like to totally exaggerate this method somehow, potentially with more possibilities for automatic interaction between myself and objects/environment and fewer pre-planned prompts. The location itself could also change the reading of the work completely – it was brought up that this performance would seem almost frightening if seen outside of an art school/gallery context, and that quality of unexpectedness or more intense reaction from the viewer is very appealing to me. I also need to think about duration, as when I finished this presentation I hadn’t reached any sort of conclusion or climax. I like the idea of performing continuously as people come and go, especially in an immersive environment. My concepts and references seem to be getting through extremely well to the viewer, so now I need to focus on experimenting with presentation and impact within the live performance space.

[un-enfant-immature]

China bans Scratch, MIT’s programming language for kids

China’s enthusiasm for teaching children to code is facing a new roadblock as organizations and students lose an essential tool: the Scratch programming language developed by the Lifelong Kindergarten Group at the MIT Media Lab.

China-based internet users can no longer access Scratch’s website. Greatfire.org, an organization that monitors internet censorship in China, shows that the website was 100% blocked as early as August 20, while a Scratch user flagged the ban on August 14.

Nearly 60 million children around the world have used Scratch’s visual programming language to make games, animations, stories and the likes. That includes students in China, which is seeing a gold rush to early coding as the country tries to turn its 200 million kids into world-class tech talents.

At last count, 5.65% or 3 million of Scratch’s registered users are based in China, though its reach is greater than the figure suggests as many Chinese developers have built derivatives based on Scratch, an open-source software.

Projects on Scratch contains “a great deal of humiliating, fake, and libelous content about China,” including placing Hong Kong, Macau and Taiwan in a dropdown list of “countries”, a state-run news outlet reported on August 21.

The article added that “any service distributing information in China” must comply with local regulations, and Scratch’s website and user forum had been shut down in the country.

The Scratch editor, which claims coders in every country in the world and is available in more than 50 languages, is downloadable and used offline. That means Chinese users who have installed the software can continue using it for now. It’s unclear whether the restriction will extend to and hamper the software’s future version updates.

The Scratch team cannot be immediately reached for comment. Its ban in China, if proven permanent, will likely drum up support for home-grown replacements.

“Scratch is very widely used in China by student users. Inside schools, it’s used in many official information technology textbooks for primary school students,” said Anqi Zhou, chief executive of Shenzhen-based Dream Codes True, a coding startup targeting primary and secondary school kids. “There are many coding competitions for kids using Scratch.”

Indeed, the infiltration of Scratch into the public school system is what had initially alarmed the Chinese authority. An article published August 11 on a youth-focused state outlet blasted:

“Platforms like Scratch have a large number of young Chinese users. That’s exactly why the platform must exercise self-discipline. Allowing the free flow of anti-China and separatist discourse will cause harm to Chinese people’s feelings, cross China’s red line, and poison China’s future generation.”

The article headline captured Beijing’s attitude towards imported technologies, including those that are open-source and meant to be educational and innocuous: An open China is not “xenophobic” but must “detoxify”.

Regardless of the “problematic” user-generated content on Scratch, China will likely encourage more indigenous tech players to grow, as it has done in a sweeping effort to localize semiconductors and even source code hosting.

Outside textbooks, Scratch had found its way into pricey afterschool centers across China. Some companies publicly attribute Scratch’s open-source codes as their foundation while others build lookalikes that claim to be in-house made, several Chinese founders in the industry told TechCrunch.

“Scratch is like the benchmark for kids’ programming software. Most parents learn about Scratch from extracurricular programs, which tend to keep all the web traffic to themselves rather than directing users to Scratch,” said Yi Zhang, founder of Tangiplay, a Shenzhen-based startup teaching children to code through hardware.

Despite Scratch’s popularity in China, competitors of all sizes have cropped up. That includes five-year-old Code Mao, a Shenzhen startup that’s an early and major player in the space — and well-financed by venture capital firms. With its own Kitten language it describes as “more robust than Scratch,” the startup boasts a footprint in 21 countries, over 30 million users, and about 11,000 institutional customers. Internet incumbents NetEase and Tencent have also come up with their own products for young coders.

“If it’s something permanent and if mainstream competitions and schools stop using it, we too will consider stopping using it,” said Zhou, whose startup is also based in Shenzhen, which has turned into a small hub for early coding thanks to local upstarts like Code Mao and Makeblock.

#TechCrunch

[thecgbros]

CGI 3D Animated Short: "Eden" by Anqi Wu | TheCGBros

Watch More CGI 3D Animated Shorts HERE ► https://bit.ly/2Bg4Wge

WANT TO GET FEATURED? If you’re a CGI ARTIST, SCHOOL, ANIMATOR, FILMMAKER, or STUDIO and would like your project showcased on TheCGBros simply apply here ►https://thecgbros.com/submit-info/

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TheCGBros have permission to broadcast this video and or it is part of Creative Commons the http://creativecommons.org/licenses/b... If you believe this video should not be broadcast on our channel, please contact [email protected].

#Shortfilms #CGI #3D #VFX #VFXBreakdowns #Reels #MotionGraphics #TheCGBros

[ahowardnua]

CGI Animated Short Film HD: "Eden Short Film" by Anqi Wu

Eden Analysis.

The film starts with soft vibrant colours, making us feel peaceful. The characters are quickly introduced being formed, as if by magic. Quickly informing us that the world is fantasy based. It’s very obvious from the opening scene that film is taking inspiration from biblical narratives, the Garden of Eden, with the forming of two people. This is further backed up by the conflict that takes place in one of the next scenes. 

After the two people are formed they immediately fall in love, shown through them kissing and a heart appears in the middle of the screen. The music then takes a lower pitch, predicting ominous things that happen in the next scene. The heart begins to drip and the blobs coming off it take the form of a skull. This could imply that the love that the characters share is toxic. Also, whilst the guy is obviously in love, the woman doesn’t really show any undeniable actions that she is as well. When the ‘poison apple’ is produced the woman is very easily manipulated into becoming  nefarious, could this be down to her not loving the guy as much?

Shortly after the woman is hypnotized the guy also is. Shown by the colors, which are now much darker and also formed snakes, linking it back to the biblical themes. Once both characters have been taken over the music becomes sour, telling us that somethings going to go wrong. They both begin to swell, being taken over by evil, before bursting. Creating new energy for the world to start over with.

The final scene shows the forming of new characters who are the same colour, maybe implying that they are made more equally. They also don’t immediately fall in love, so even though they are made in a similar way they might not make the same mistakes.

#inanimateobjectsBa2a #filmlanguageBa2a #year2

[jiafding-blog]

Often drink Soybean milk, beauty and weight loss

Many nutritionists believe that obesity is not an excess of nutrients, but is caused by structural malnutrition. Because of the improvement of living conditions, people consume food containing animal fat excessively, causing endocrine and fat metabolism disorder, and then lead to fat accumulation. Therefore, reducing the intake of animal fat and increasing the proportion of natural plant foods in diet is one of the ways to lose weight.

According to the study, Soybean Milk rich in soy protein, not only to supply the body with adequate nutrition, can promote the excretion of excess cholesterol, the cholesterol in the blood decreased, and promote fat burning; soybean saponin antioxidant and can prevent arteriosclerosis; soybean lecithin can inhibit fat accumulation, but also can improve insomnia.

Soybean Milk Qingchang fat burning

Therefore, regular intake of high fat, high calorie, high protein, no matter want to lose weight, for health reasons, can help adjust the system by drinking Soybean Milk, endocrine and fat metabolism and decomposition of excess fat, the body clean intestinal wall, reduce blood cholesterol. In addition, some adult women tend to be thinner and less fat in their breasts, so breasts are not full, and so do supermodels like Lin Chiling who have to diet for a long time. To eat more beans, you can supplement the plant sex hormones, and help chest fat accumulation, resulting in breast enhancement effect. Before Lin Chiling was injured, beauty expert Tang Anqi has designed for her in a sugar free raw egg in the Qing Soybean Milk breast recipes, very accord with the design principles of nutrition, and menopausal syndrome women, also can eat to improve the symptoms of discomfort. Soybean milk, coupled with fresh fruit and vegetable juice, not only can drink the nutrition of soybean milk, but also at the same time intake of fruits and vegetables rich fiber

Soybean Milk juice fasting

Because of the benefits Soybean Milk, let Europe and Japan used to drink milk to weight watchers, drink Soybean Milk, and developed the Soybean Milk Soybean Milk with fruits and vegetables juice together to drink, drink drink in the Soybean Milk decades of Taiwanese eyes, perhaps a bit to subvert the traditional, but reporters try to drink after that taste is not bad, it is worth a try.

Origin of soybean milk juice: first invented by Europe and America, introduced to Japan by magazine, the result is very popular. Because due to the fear of Japanese soybean saponin Soybean Milk astringency, and don't drink sugary drinks, but the Soybean Milk plus fresh Vegetable & Fruit into juice, can drink Soybean Milk nutrition, but also rich in fiber intake Vegetable & Fruit; the most important thing is that both the sweetness and aroma Vegetable & Fruit taste Soybean Milk. It is easy to continue to lose weight.

One case, a Japanese mother because of postpartum obesity, weight several times are not thin down, see Soybean Milk juice fasting in the journal, he decided to give it a try. She used to Soybean Milk with carrot, Korea dishes Vegetable & Fruit together, tastes surprisingly consistent, although the first day of the start of a very hungry, but she drink unsweetened tea to eat, the start of the second day, accustomed to the feeling of fasting, although the day only drink fruit juice Soybean Milk does not feel uncomfortable the results of the second day, night, lost one point five kilograms; up to fourth days at noon, the whole weight lost four point five kilograms, and no small bust completely.

In case two, another experiment of Miss Wang said in the trial after drinking, Soybean Milk juice very fragrant taste, it is important to control bias, playing too strong may feel a little sick, playing too thin, satiety and not enough, until the night will feel very hungry, if could not eat then, completely broken, just get by, at least three days can be thin two kg.

Answer: saw the netizen netizen said, why every day to drink a lot of Soybean Milk, or not thin down? In fact, if you drink soy milk and eat other foods, there's really no way to lose weight quickly. The Japanese invented the "soy milk diet", stressed that only 3 days to drink soy milk, fruit juice, cut off other foods, in order to quickly thin 4. 5 kilograms, if you do not want to work so hard, also can Soybean Milk juice replace 3 meals in 1 meals, 1 months can thin 2 kilograms.

Soybean milk juice practices

A, soybean milk, fruit juice

Practice: carrot half, spinach, Korea leaves half beam 2, half a banana into the fruit juice machine whisk, add a little lemon juice, then add half a cup of Soybean Milk slightly 10 seconds drinking.

Note: you can also make use of the ready-made fruits and vegetables in the refrigerator.

B, black soybean milk

Practices: in 1 cups of soy milk, add black beans and black sesame powder, 1 spoons, stir well.

Note: but to remind you: in the diet of beans ratio can not exceed twenty-five percent, to drink Soybean Milk juice fast, the best at three days, not for a long time, suffering from kidney problems, gout or easy flatulence, also are not suitable for use in this way to lose weight. Kidney gout is not suitable for drinking

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Can you imagine a world with out your favorite animals? We don’t want to!

Rui, Anqi, Jade & Anna