Two weeks to go before I vendor at Supernova located at the Melbourne Showgrounds - April 6th and 7th.
This will be my first ever con / stall, so am very nervous and excited to see how it'll go!! As we get closer to the time, I'll be playing around with table setups and will be showing that with all of you <3
But firstly, its time to show off what I will be displaying at my table!
Every day till the con, I will be posting my merch and a countdown to the big day!
I hope to see some of you there :)! If not, then that's okay! Anything I don't sell will be listed on my Etsy, and of course afterwards, my Etsy will be active once more.
Of course, the first merch item we have is the famous Final Fantasy Chocobos in three different colours and all variations of terrain bases. Theres seven of them in total which I am sure will be sold out once the event is over!
"Let this be the hour when we draw swords together. Fell deeds awake. Now for wrath, now for ruin, and the red dawn." Théoden, King of Rohan, ready to bring the fight to the forces of Evil. definitely a recent favourite!
see more of my work on instagram: instagram.com/dad_mech_hobbies
Bartolomeo Veneto (Italian, active 1502–31 ) • Portrait of a Lady in a Green Dress • 1530
Bartolomeo Veneto and the Beginnings of Portraiture Portraits
Today we take them for granted, but from the fifth to the fifteenth century - for much of medieval history - discrete portraits of individuals were a rarity, a form reserved for rulers and historic figures. Only in the fifteenth century did European artists, working both north and south of the Alps, once again begin to produce independent portraits of men and women. Bartolomeo Veneto began as a painter of small, devotional paintings, working in the northern Italian regions of the Veneto and Lombardy. He changed his subject matter to suit his patrons and as the interest in portraiture grew in Venice, his portraits became quite popular and fashionable.
Another member of the gorger mawpack finished up, not sure if the lichen I tried to paint on the rocks looks right or not but that might be my shoddy color vision being annoying XD
Seungho stating "for as long as I live" kinda indicates he doesn't have long to live for me, tbh
I love how Na-Kyum ran to the kitchen first bc that's the place that gave him warmth. But looking closely into it, since the hearth is the symbol of a home, it might foreshadow that they could get away from it all and run away as Seungho had promised Na-Kyum, but at the cost of them surviving
Since the hearth could also symbolize hardships through work in the kitchen, it might also mean that not only could we see domesticity from the pair in the future, we'd also see hardships on their end as well as they would be plunged into a poverty state as they run away from everything. Because it would also mean leaving the household behind to fend for themselves. Seungho, who grew up with servants, and Na-Kyum, who grew up well-loved with his sisters, don't know how to do household chores, especially cooking. Na-Kyum did once state that all his life he had done nothing but to paint
So. Kitchen. Warmth. But also workload and domesticity, and a place of potential harm from tools
And notice how Seungho exudes a literal and figurative warmth in this scene. The symbolic melting of the winter snow into blooming spring mirrors the healing of Seungho and Na-Kyum's heart, as the former is now loved, and the latter has now completely realized his folly of falling for a wrong man and seeing him for what In-Hun truly is--a backstabbing, manipulative, sorry excuse for a piece of shit.
But the warmth in this scene also tells something else--a setting sun, a symbol of death.
The fact that the glow of the setting sun shines behind Seungho tells me that danger will fall on him soon
I take this scene as a foreshadowing, that Seungho and Na-Kyum will experience even more hardships, followed by a moment of peace, and then even more hardships 🥹🥹🥹