#edmond icon

[lunycons]

✄ nu carnival’ icons ‹ 120px

‹ don't play the game if u're under 18 / não jogue se for menor de 18 anos

‹ like/reblog se pegar

‹ like/reblog if save

#nu carnival #nuc #nu.c #nu.c icon #nu.c icons #nu carnival icon #nu carnival icons #eiden icon #eiden icons #edmond icon #edmond icons #dante icon #dante icons #blade icon #blade icons #olivine icon #olivine icons #yakumo icon #yakumo icons #kuya icon #kuya icons #quincy icon #quincy icons #garu icon #garu icons #karu icon #karu icons #rin icon #rin icons #eiden nu carnival

[fisheito]

everyone gets a turn in the ridiculous skintight edmondsuit. or at least, .everyone SHOULD

#a pre-sleep rarity... THERE ARE HUMANS IN MY BRAIN THIS TIME #idk i just missed them. there's something soothing about the fire water earth trio #been spending more time with the final trio (blade dante rei) lately and they bring lovable chaos #whereas the starter trio are tea parties and gentle smiles #edmond's outfit is iconic honestly it made me laugh for several minutes when i first saw it and i've never forgotten the feeling #imagine edmond going out to fetch some oats or smth #and when he comes out of the market he sees the entire clan cosplaying as him #it's not like the other soldiers have this uniform right? so it's an edmond exclusive? #maybe only ed gets the sash and badge #but everyone else gets those thigh high boots and capelet that ends just above their butts #in the universe where they must wrangle with dangling dicks ruining the flow of their outfit #ed and oli know how to tuck. they do it marvelously #yaku can either be slit-blessed (no need to alter his bits for the silhoeutte) #or CURSED with massive external dick. which is funnier bc then it's IMPOSSIBLE to walk around in an outfit like that #it's like the grey sweatpants meme. ur just tryna exist but all these jezebels keep staring at your dick outline #(jezebels is eiden) #nu carnival edmond #nu carnival olivine #nu carnival yakumo

[lovelycureaestetic]

Nukani Heart Icons 💕 Bonus Rin under the cut

#nu carnival #nu carnival eiden #nu carnival aster #nu carnival morvay #nu carnival yakumo #nu carnival edmond #nu carnival olivine #nu carnival quincy #nu carnival kuya #nu carnival garu #nu carnival blade #nu carnival dante #nu carnival rei #nu carnival rin #nu: carnival #nukani #icons #my edits

[leuri-chani]

#icons #free to use #icon #edit #give cred if used #games #game #yaoi bl #bl game #nu carnival edmond #nu: carnival #nu carnival

[stupidcherryedits]

〃Nu: Carnival icons 💎

like/reblog if you save ♡

#nu carnival #nu carnival icons #nu carnival eiden #nu carnival aster #nu carnival morvay #nu carnival quincy #nu carnival olivine #nu carnival kuya #nu carnival edmond #nu carnival yakumo #nu carnnival dante

[pridewishes]

♔ || EDMOND ICONS

250x250 || mlm/nblm || bordered circle

like / rb + credit + read dni if using

requested by anon !!

minors dni !!

#edmond nu carnival #edmond #nu carnival #icons #pride edit #pride icons #pfp #edit #mlm #nblm

[mariocki]

Return of the Living Dead III (1993)

"What's going on, Curt, tell me what happened?"

"We had an accident."

"What kind of an accident?"

"On the bike."

"What happened?"

"You died."

"I what?"

#return of the living dead iii #return of the living dead 3 #horror imagery #blood tw #gore tw #1993 #brian yuzna #john penney #melinda clarke #j. trevor edmond #kent mccord #james t. callahan #sarah douglas #jill andre #abigail lenz #mike moroff #pía reyes #dana lee #basil wallace #sal lopez #ok whatever else I'm about to say about this film‚ whatever criticism i might level at it‚ i want to be clear that Melinda C absolutely #kills it here: she's absolutely brilliant and the whole film (for better and worse) has to hang on to her coat tails. the scene in which #she reveals her postmortem self body modification is... idk‚ it's THE scene of the film‚ a truly iconic sequence that marries dark #eroticism with body horror with female autonomy with cinematic exploitation. it's something. a hell of a moment. if only the rest of this #could live up to it... where RotLD 2 tried to go for more mass appeal with greater emphasis on splatstick and silly dialogue and family #units‚ this film over corrects and completely removes the comedy element that made the og film such a sneak hit. morbid 90s alt scene #aesthetics and teen nihilism take its place‚ and while the first film had that ingredient it was a little ironic.. here the emphasis is #pure angst and it isn't always to the film's strength (not on a cheapy b movie budget and a schlock horror script). the tragic romance #element did win me over by the end (surprised at how outraged i was by a late stage fakeout that would have denied the main relationship) #but this probably takes itself just a little too seriously for what it is: a goofy rubber fx splatter film. still‚ worth it for Clarke tbh

[pridebicons]

gay edmond pride icons

like/rb if using + credit

#my icons #pride icons #pride edit #pfp #nu carnival #edmond nu carnival #mdni #gay

[leonleonhart]

changing my hair color from light purple to light blue

#pretend that edmond isnt in my icon and that this is a decision born independent of outside influence #nero talks

[daughter-rhaenyra]

FLORENCE PUGH

ph. John Edmonds | Harper’s Bazaar The Icons Issue | August 16, 2022

#florence pugh #florencepughedit #fpughedit #marvel #marvel cast #femalestunning #wonderfulwomendaily #dailywomen #fashionedit #usersugar #userlex #useralison #userquel #tusermary #tusershay #tuserrex #tuserjackie #myedits #*photoshoots #100

[freddieraimbow74]

17 March 1973, Doug Puddifoot (a friend of Roger’s from Truro) conducted a photo session for Queen at Freddie Mercury’s flat, 100 Holland Road, London.

Brian May has a wonderful memory of this moment: “The photos are very beautiful especially the one of the main cover born in a very homely but impressive way. The one on the back was taken at Freddie's house you can imagine his vanity in striding. The house it was decorated almost royally with articles by Biba, at the time Mary's workplace.”

“Initially Queen’s look was just black satin trousers and little black tops. No much colour there. Then later on they wore women’s blouses and women’s little fur jackets that they got from Kensington Market. In fact they wore them all the time. On stage and off. Kensington was quite a fashionable place then. They wore women’s clothes with satin trousers and made them look great.”

Wendy Edmonds (Fashion designer, friend of Freddie’s and created his most iconic “Mercury Winged Suit!)

Several of the photos were later used for the back cover of the ‘Queen’ debut album!

Many of these photos are in the official Queen archive.

This is my absolute favourite photo sessions! ♥️☺️

#freddie mercury #queen band #j’adore #brian may #jhon deacon #musique #music #roger taylor #original character

[konu-d]

Sorry but I can’t help but stare at the way Edmond’s drawn in both of his sprites

Cause like, they absolutely could’ve gone the regular ol’ “is he man or a vampire” route considering that’s ALWAYS how Edmond Dantes has been portrayed in most media especially visual ones like in the movies or hell even the Gankutsuou anime, he’s always been shown as vampiric

And hey maybe there ARE vampiric references in him in his purple Count form esp with that one attack of him like, curling up in his cloack and dropping upside down and all that

But visually?? Like his face?? The hair the silhouette the vibes??? It’s so interesting

Komatsuzaki Rui has a very iconic artstyle lbr, everybody knows the Danganronpa artstyle, so I can’t even say things like “Oh the artist doesn’t know how to draw rugged characters” because they do! They do know how to draw rugged and buff or old or slender kinda vampiric lanky characters, but what did they do for Edmond Dantes? They gave him a baby face and slapped him in some green robes and a hat

“Behold, the most famous face for revenge storylines, the predecessor of Batman, the og reincarnates and takes revenge on those who wronged them manhwa” and they give us… young man? White hair anime pretty boy? (Let’s be real, he’s a pretty boy. The hair is a consequence of the artstyle but you can bet your ass that shit is soft and well-cared for, let’s be so fr.)

Just putting him next to any other Edmond Dantes in history will have you bamboozled because like… why? What was the idea here? Please Komatsuzaki-san, let me inside your head to see your thought process in designing this idiot who now has my brain in his iron grip

It’s… it’s the baby face that gets me, I think. The man is 33 when he busts out of prison, 19 when he was first thrown in and lbr we’ve seen what he looked like when he was 19,,, young,,, so full of hopes and dreams,,,, boy’s smile is so bright it could compete with the sun,,, ough,,,, I’d go to war for that smile

I don’t know why I’m so hung up about this!!! “Maybe they just wanted him to look visually distinct from every other Edmond in history Konu, it’s not that deep” IT IS TO ME!!! IT IS TO ME WHO HAS LEARNED NOT TO SQUANDER ANY ASPECT OF DESIGN AND KNOWS THERE HAS TO BE AT LEAST SOME FORM OF A REASON

He looks,,, so young. Early 20s at most. Handsome, absolutely, a bit of an acquired taste maybe

I just

I dunno man

I just wanna know what they were thinking when they designed this idiot

#fgo #edmond dantes #fgo edmond dantes

[lovelycureaestetic]

TUMBLR LET ME POST THE LESS CENSORED VERSION OF EDMOND'S BIRTHDAY CARD!!!! THE ONE WITHOUT THE HUGE RIBBON!!! YALL GO TO NUKANI, CLICK ON THE "PACKS" ICON AND THEN WHEN THE POP UPS APPEAR CLICK ON "PREVIEW"

YOU'RE WELCOME!!!!

#i mean they'll probably post it in a few hours for the full card BUT STILL IF U HAVEN'T SEEN KT YET GOGOGO #I CAN'T POST IT TUMBLR IS NOT SHOWING THE POST LMAO #nu carnival #nu carnival edmond #nu: carnival #nukani

[leuri-chani]

#icons #free to use #icon #edit #give cred if used #yaoi #couple #yaoi love #bl game #yaoi game #yaoi couple #gay couple #yaoi sex #nu carnival eiden #nu: carnival #nu carnival #nu carnival edmond #edmond

[mechanicalinertia]

3D modelled props from Neuromancer some really cool guy did. Was reading a Gibson book today and was thinking about how descriptive Gib can be when he wants to dream up new, sci-fi devices, gizmos of the future and the consumerist waste of the present. It's incredible, what this guy did - blended the iconic prose of an iconic novel with beautiful, vivid-looking props. This guy deserves a high-ranking job in some game studio or another.

#cyberpunk #neuromancer #william gibson

[ghegheganu]

Suzanne Fabry (Belgian painter) 1904 - 1985

Female Nudes by the Sea, 1943

oil on canvas

157 x 173 cm. (61.75 x 68 in.)

signed and dated Suzanne Fabry/ 1943 (lower right)

private collection

© photo Sotheby's

Catalogue Note Sotheby's

Born in Brussels in 1904, Suzanne Fabry was the daughter of the Belgian symbolist painter Émile Fabry (1865–1966) and his wife Virginie Duchênes. Her brother, Barthélémy, was born in 1898. Three years before Suzanne’s birth, her father was named Professor of Drawing at the l’Académie Royale des Beaux-Arts de Bruxelles, where he had been a student in the 1880s, and her childhood was spent in his house-studio at rue Verte (today rue du Collège Saint-Michel, n°6) in Woluwe-Saint-Pierre, a south-eastern neighborhood of Brussels.

At the start of World War I, Suzanne moved with her family to England where they remained until the end of the war, first in Herefordshire and later in the Cornish town of Saint-Ives. They returned to their home in Belgium after the war and in 1923 Suzanne enrolled as a student at the Académie Royale des Beaux-Arts where she studied under Jean Delville (1867-1953) and Constant Montald (1862-1944), two of the founders, alongside her father, of a group of artists who called themselves “L'art monumental.” The group’s aim was to produce public, monumental, and culturally sophisticated art that would elevate the public consciousness through the representation of idealized universal themes. Their commanding nudes would constitute an important source of inspiration for Suzanne’s own work.

Suzanne graduated from the Académie in 1928 and embarked on her career as a painter in the 1930s, taking part in the triennial Salon in Antwerp (1930) and the quadrennial Salon in Liège (1931). Around the same time, her father was completing a cycle of large-scale paintings for the entrance and staircase of Brussels’ opera house, La Monnaie, where, many years later, Suzanne and her husband Edmond Delescluze (1905-1993) would be employed as costume and set designer respectively, a collaboration that began in 1948 and is recorded in over 900 sketches and stage maquettes preserved today in the archives of La Monnaie. She continued to pursue her career as a painter, alongside her work as head of the opera’s costume workshop, until her death in 1985.

In this monumental multi-figure composition, painted in 1943, Fabry adapted the solidity, scale, and style favored by the Symbolist painters of her father’s generation to a defiantly modern feminine subject. Fabry perfected her own brand of pointillism, establishing the pale blue background in broad loosely layered brushstrokes against which the four figures are sharply defined in saturated ochre tones. The palette and composition–statuesque theatrically posed figures arranged across a picture plane–ehcoing her father’s work, notably Maternity (1923) and Towards the Unknown, for which Suzanne posed and was photographed as aide memoires (see Jacqueline Guisset, Emile Fabry, 2000).

These photographs, and the studio practice they elucidate, suggest the context in which Suzanne developed her own working methods and artistic style. Suzanne’s four figures are arguably full-length self-portraits–with idealized features resembling the artist’s own, looking to her self-portrait with paintbrush in hand (1932) –making the composition a triumphant declaration of her artistic identity as both creator and muse.

The central figure’s pose recalls Botticelli’s iconic Birth of Venus, recasting the Renaissance goddess in a personal and fiercely modern mode. Rather than covering herself, Fabry’s figure reaches up to her auburn hair, staring straight at the viewer and seemingly strides forward, trading Botticelli’s stationary feigned modesty for confidence in motion. Impastoed splashes of water at her feet evoke Venus’s outsized shell in a more realistic and yet abstract reference perhaps to her own rebirth as an artist.

Fabry returned to the female nude the following year in a large-scale single-figure representation of a woman–perhaps herself–called L’Attente (1944), exhibited at the Salon de printemps that year. Holding an amphora above her head with two hands against a distant background of ancient ruins, the figure stands tall, matching the height of the doric column behind her, as a pillar of strength and fortitude, peering fearlessly ahead, her weight shifted to the front of her toes as if to leap forward.

Female Nudes by the Sea is an important rediscovery within the oeuvre of Suzanne Fabry, and the 20th-century Symbolist movement. In this multi-figure self-portrait, Fabry audaciously contends with her artistic heritage and asserts her own distinctive identity and aesthetic.

* * *

Born in Brussels in 1904, Suzanne Fabry was the daughter of the Belgian symbolist painter Émile Fabry (1865–1966) and his wife Virginie Duchênes. Her brother, Barthélémy, was born in 1898. Three years before Suzanne’s birth, her father was named Professor of Drawing at the l’Académie Royale des Beaux-Arts de Bruxelles, where he had been a student in the 1880s, and her childhood was spent in his house-studio at rue Verte (today rue du Collège Saint-Michel, n°6) in Woluwe-Saint-Pierre, a south-eastern neighbourhood of Brussels of recent urbanisation.

At the start of the First World War, Émile Fabry moved with his family to England, first staying in Herefordshire and later in the Cornish town of Saint-Ives, where he would continue to paint, and they would remain until the end of the conflict. Back in Brussels, the family returned to their home on rue Verte, and in 1923 Suzanne enrolled as a student at the Académie Royale des Beaux-Arts, where her teachers included Jean Delville (1867-1953) and Constant Montald (1862-1944), two of the founders, alongside Suzanne’s father, of the group “L'art monumental”. Their aim was to produce art for the public sphere, monumental in scale and steeped within the cultural tradition of the period, intended to elevate the public conscience by means of representing idealised, universal themes. Their commanding nudes would constitute an important source of inspiration for Suzanne’s own work.

Having graduated from the Académie in 1928, Suzanne began her career as a painter in the 1930s, taking part in the triennial Salon in Antwerp (1930) and the quadrennial Salon in Liège (1931). Around the same time, her father was completing a cycle of large-scale paintings for the entrance and staircase of Brussels’ opera house, La Monnaie, where, many years later, Suzanne and her husband Edmond Delescluze (1905-1993) would be employed as costume and set designer respectively, a collaboration that began in 1948 and is recorded in over 900 sketches and stage maquettes preserved today in the archives of La Monnaie. She continued to pursue her career as a painter, alongside her work as head of the opera’s costume workshop, until her death in 1985.

Source: Ambrose Naumann Fine Art