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#re-creation
whereifindsanity · 3 months
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Freddy Fabris
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tomoleary · 28 days
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Joe Giella - Batman #190 Cover Re-Creation Original Art (c. 1990s) Source
Batman #190 by Carmine Infantino and Joe Giella (1967)
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nightwingandhissquad · 9 months
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hauntiingg · 9 months
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we should start drawing fanarts of other kwami’s revealed forms. i want to see what people come up with.
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vavandeveresfan · 6 months
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Me realizing Adrien killed his father and he never knew it.
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Me realizing the writers choose this as the finale of a 5 year arc.
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wehadabondingmoment · 9 months
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Adrien idolizing his dad makes sense
There has been so much hate due to the way Gabriel's abuse was handled specifically. I do agree that it should have been handled differently but I also think that Adrien's behavior made sense.
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Adrien was beginning to understand his father's abuse and the effects it has had on him and he was getting so angry at him for it. With that kind of stuff, anger comes before acceptance because it's a lot like grief. Of course, this anger wasn't healthy by any means, it did feed into his overall s5 arch of trying to cataclysm people.
Adrien was beginning to be angry and then the person he was starting to hate died while defeating the bad guy (as far as he knows). Gabriel continuously used the excuse that he's doing this (abuse) for Adrien's own good, that he's just trying to protect him and for his father to die doing just that?
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Of course Adrien would feel guilty for doubting his father. "Maybe he was trying to protect me by locking me up in a solitary confinement cell." "Not allowing me to date my girlfriend may have been his way of caring :)"
Adrien is gullible and emotional and feels chronic guilt. He's a perfect victim and he's written like that on purpose. Adrien Agreste is perfect and someone who is perfect wouldn't think ill of their dead father.
There used to be a lot of fan theories speculating on Emilie's morality and doubting that she was as perfect of a parent as Adrien's words make her out to be. This is precisely because Adrien idolizes and excuses people and their behavior. When someone dies, it is entirely normal to force yourself to think positively of them. To get so caught up in grieving that everything gets pushed back, all the anger and pain and you only feel worse if a bad thought does cross your mind.
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Adrien has so much love in his heart and he isn't emotionally prepared to handle anything as complex as the relationship he currently has with his dad. After all, Gabriel defeated Hawk Moth, he must be good.
And this ties into the way he views Ladybug. Ladybug fights against the bad guy which means that he automatically sees her as the good guy and defends some of her more questionable actions (I could discuss this in a whole different post but alas). Depending on the season and his mental state he does have moments of doubt where he calls her out but especially when he's the one hurting, Chat Noir likes to rationalize her behavior. Even when she deserves to be called out for it.
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He's essentially doing the same thing with his father that he has done all his life with everyone, no?
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asdaricus · 8 months
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More attempts at an ancient Roman Bath House interior (Thermae). These were the most intriguing to me. Still have a lot of issues and I'm not sure that AI is going to overcome these any time soon.
by Midjourney v5
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nioli · 9 months
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So I finally watched the Miraculous season 5 finale and like...
Are all the character we’ve been following just dead now???
Like I get that we saw versions of them all at the end, but they were pretty clear in Ephemeral that the way the wishes work is by entirely destroying the previous universe and creating a whole new one. So it would follow that these are different versions of the characters, and not actually the same people?
I am trying to come up with some justification for why they would be the same people, but I am failing here. Like, if someone dies, but they are later cloned and the clone has their memories, the original person still died right???
It is going to be really unsatisfying if they never address this.
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whenimgoodandready · 6 months
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WHY IT WAS A GOOD IDEA ADRIEN/CAT NOIR WAS NOT IN THE FINAL SHOWDOWN
So the Season 5 finale of “Miraculous Ladybug” just ended and the final battle with our heroes and villain has come to an-(record scratch) Wait! I’m sorry, what did I just type!? Did I type “heroes”!? Ooooh! (laughs) My bad! It was only one half of the dynamic duo that was involved! Silly me!😅I will agree that it does suck that both heroes weren’t there for the takedown of Monarch due to Adrien being stuck in his prison cell of a room with cameras watching him and justifying his claims to Plagg on why he couldn’t transform to escape and help Ladybug, but honestly though, it’s probably a safe bet Adrien/Cat Noir wasn’t there. Why you ask? Two words my fellow Miraculers:Cat.Blanc!
(NOTE:I originally was gonna add in “Ephemeral” to the post, but that event wasn’t so much a disaster since we all know Gabriel/Monarch wanted to “recreate” the world and not destroy it like how Cat Blanc did)
As we know from “The Last Day Part 1:Conformation”, both Marinette/Ladybug and Gabriel/Monarch found out about one another’s identities and engaged in battle revealing a lot from Bugnoir discovering how the Kwami’s don’t appear from the new reconfigured miraculouses to what Monarchs wish was from the combined Ladybug and Black Cat Miraculous. After failing to get through to him and Gabe still obtaining the miraculouses, he recreated the world! What did we get when Adrien/Cat Noir discovered Gabe was his enemy?
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THE F*CKING APOCALYPSE!
If Adrien/Cat Noir were in that fight, he’d discover the horror of his own father being his own arch enemy and done that!
Granted, the whole controlling the sentibeing thing by twisting the ring wasn’t established in “Cat Blanc” cuz that was only Season 3 and it only became a thing in Season 4 after they found a way to answer us on why Adrien was so submissive, but there’s still no doubt that would’ve happened again if Adrien/Cat Noir was there! Plus it’s been shown it’s use for the ring was weakening from “Collusion”.
It’s also been shown how “emotionally unstable” Adrien is whenever he gets upset. Like this from Season 4’s “Sentibubbler”:
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Then in Season 5 as, after Monarch let himself be cataclysmed to desperately escape, Cat Noirs shockingly grown to use it impulsively. He’s almost killed two brainwashed civilians already!
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The same way he reacted (in despair though) when he was akumatized as Cat Blanc. He couldn’t bear to hurt his girlfriend or his own father, so he decided to just “do away” with himself only for it to backfire and destroy the whole world. Where did he get this kind of mindset from?
Plagg!
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This can go into a negative way too
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Plagg needs to control himself or he’s gonna end up making Adrien hurt (and kill!) somebody with that kind of power! Otherwise, Adrien will eventually discover the truth (possibly from Lila/Cerise/Iris) and he’ll go into such a breakdown (discovering his girlfriend (who was also his crime fighting partner) lied to him and that it was his fault he killed his own father!) with his emotions spiraling out of control and end up destroying the world (again!). Either that, or he’ll turn evil which was “theorized” by Marinette.
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yink07 · 7 months
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Re-creation of a photo from Joel Sartore [ PhotoArk | NationalGeographic ]
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aserranopepper · 9 months
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Tikki and Plagg showing their forms, then coming together to make a bigger being reminded me so much of Steven Universe. When I watched it I was just like "fuuusionn" and having SU flashbacks.
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marichatfurever · 9 months
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I AM VERY CONFUSED
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tomoleary · 1 month
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Michael Kaluta - Moon Knight #38 Cover Re-Creation Original Art (undated) Source
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shivabanda · 2 years
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I'm not scared,
but considering human reality as it develops, I reckon the funniest way to finish my days is to opt-out and start prepping an alternative world.
Not for fear, but , hey, just for fun.
Just for the fun of witnessing the last grotesque convulsions of this disgusting reality.
Just for the absolute joy of starting right now to work on the alternative, even though I won't see it bloom.
Just for the fun of coalescence with like-minded people.
Who's in to get out ?
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daniele-burlando · 2 years
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Re-Weaving an Indian textile from Artek
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The idea of re-weaving a fabric from the collection of the Alvar Aalto Foundation first hit me when I was visiting the Foundation’s furniture collection in 2020. I had been working, at that point, closely with the Foundation for a while, and also researching Artek and Aalto textiles for a long time, but somehow I had not arrived earlier to the conclusion that I could marry my theoretical insight to my developing weaving practice.
With my delight, the idea was well received by the Foundation, whose curators asked me to inspect a cushion coming from the Experimental House in Muuratsalo [Jyväskylä, Finland], that Alvar and Elissa Aalto had designed and built between 1952-54 as their summer residency, and as a project to develop an intimate architecture research centre on the shores of lake Päjiänne.
The cushion belonged to a rattan chaise-longue in two parts – seat and ottoman – designed by Alvar’s first wife and Artek founder Aino Aalto. The element I had to work on consisted in the padding for the ottoman part. It was threadbare on one side in the middle section and, as the house is open for visitors in the summer, curators wished to attempt substituting it with a reproduction.
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The textile turned out to be an Indian plain-weave cotton fabric, belonging to the selection that Artek marketed between the 1960s-70s. Designer Sinikka Killinen had been traveling to the weaving mill in India – Commonwealth Trust Ltd. [Calicut, Kerala] – and had designed some textiles for Artek on location. This was possibly inspired by a 1965 display at Artek of textiles by Sheila Hicks, that she had created while working for Commonwealth Trust. Artek marketed both Killinen’s designs, as well as the producer’s own catalogue fabrics, to which the one I was dealing with belonged. Exhibitions of these textiles had been taking place at Artek in 1970 and 1976, the latter involving performative weaving by invited Indian weavers in the Artek shop, for the visitors to witness.
I started approaching the textile in what would be a discovering process for me, because it was the first time I embarked on such a project. I started by counting the thread density in the warp, which was 24 per millimetre, and sitting with a pantone catalogue, trying to match each coloured thread to the corresponding shade. I did so using the small bits of torn yarn sticking out in the threadbare section, in order to not have the colours distorted by the interaction with the weft, which was a bright emerald green. The weft was composed of a repeating pattern of four stripes of different width: three shades of blue and black.
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I tried then to retrieve similar yarns, both by visiting yarn shops and checking leftover yarns on sale in different contexts, and by referring to the catalogue of yarns available in Finland. I managed, in the end, to match almost all the colours quite closely by recurring to Bockens Bomullsgarn yarn: Ne 8/2, Tex 74x2 for the warp [colours 603, 137, 522] and Ne 16/2, Tex 36x2 for the weft [colour 3060].
There was only one colour I could not match: the lighter shade of blue. After some research and pondering I found some crochet cotton yarn from Esito [Ne 8/4, Tex 74x4, colour: 9051] which was way bigger than the size I needed, but that I could try to divide in smaller sections: extracting the four individual yarns twisted into the bigger size. This was a solution whose implications I did not entirely grasp: the fact that it would be extremely time consuming, and that the yarn would have been very fragile and difficult to work with.
However, the end result was the one I had hoped: the final yarn had the right size and colour! In order to obtain it, I twice divided the original yarn by rolling the yarns, as I was splitting them, on a cardboard cylinder. After I obtained the right size, I had to spin it again in order to attempt making it a bit more resistant, which I did by using a spindle – as I don’t have a wheel. After this process, which required some trial-and-error, I had to steam the small resulting yarn balls, to lock the yarn in its twist and avoid the warp yarns knotting themselves with each other as soon as they were left with no tension during the dressing of the loom.
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Finally, I was ready to wind the warp! I first tried to create a smaller sample, to test my own process with reproducing the fabric, and to gain feedback from the Aalto Foundation before engaging with the bigger-size weaving. Results for the sample were satisfying – except for the light-blue yarn, that made it clear it needed to be dealt with very carefully – and the sample come out resembling quite closely the original.
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I then started approaching the full-size reproduction, and wound a tree-meter long warp, for a final product that had to be two meters long and about seventy centimetres wide. I wound the warp in two sections, and then started dressing the loom. Once the warp was ready, I got going with weaving! The weft consisted of two threads of green yarn at once. Throughout the process I had to be careful to keep the warp quite humid, to try to minimize snaps in the light-blue yarns, which ended up happening anyhow several times, though probably not as much as I feared.
The warp was also so dense that it did not open very easily, as the small loom I was using could not provide a strong enough pull. I had, thus, to help the opening with my fingers, pretty much throughout the process, which made it quite slow, but also ended up making me interact very closely with the textile, and allowed me to control the fragile warp constantly.
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Eventually, the weaving process proceeded rather smoothly, and I decided to deal with the broken light-blue threads by embroidering them into the fabric afterwards, as they were not so many, and the yarn was too problematic to add additional threads in correspondence to the broken ones during the weaving process. This ended up working quite well, with the final result managing to look like a finite fabric. Of course the ends of the broken and added threads still stuck out on one side of the fabric, but this did not matter, because It was going to be used as upholstery anyway.
I was quite satisfied with the final result, which looked quite well, and had managed to reproduce the pattern of the original quite closely. The colour, in the end, ended up being slightly different that the original, more so compared to the sample I had woven. This was unexpected, but I came to the conclusion that perhaps the very dense warp had packed the weft very tightly in, and thus the green note was less evident. This had perhaps happened slightly less in the sample, which consisted of a narrower warp. At the same time, the original had been used on the outside – as the chaise longue was often placed in the patio of the Experimental House – for perhaps six decades, and had received a great amount of sunlight, that had undoubtedly made the colours fade partly away.
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In the end, the result was very appreciated by the Foundation’s curators, and with my delight the textile has been used for its intended purpose, and now sits in Alvar and Elissa Aalto’s intimate architectural masterpiece in Muuratsalo. For me, this was a very interesting process into understanding more deeply textile making, and reflecting on the presence of Indian textiles within Artek and Aalto interiors.
The slightly uneven quality of the original, as well as its fascinating alternation of nuances, was undoubtedly what made this fabric so interesting to the designers and architects who chose it. Aalto and Artek spaces have always been characterized by functionality in its elements, a very sensitive attention to materiality and surface rendition, and a wide representation of multicultural references embedded in a pondered selection of high-quality design products.
This fabric represented all this. Dealing with the very high density of the warp was a very direct experience of the great resistance that the finite product had, which made it perfect as an upholstery textile. Spinning and steaming the yarn also turned out to be a way to approach the slightly imperfect, lively quality that the original yarn had, and that emphasized the materiality of the textile surface. The Indian provenance of the textile, finally, was an input into researching more its history, and diving into the presence of these fabrics within Artek, connecting them to my earlier research and reflections on the recontextualization of non-western textiles within European interior design and Modernism.
[My thanks to the curators of the Alvar Aalto Foundation for making this project possible, and to Aoi Yoshizawa and Rosa Tolnov-Clausen for the feedback and support throughout this process]
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ultradude13 · 2 months
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A re-creation of Wolverine #1 by Kaare Andrews
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