Powerful Lesbian Energies

and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE

ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)

PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO

AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS

"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"

Because, my friend, my war on GREIGE will NEVER end.

Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.

Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!

In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.

WHY THE HIGHLIGHTER COLORS? you ask.

CANDLES.

Those colors reflect candlelight and natural sunlight REALLY WELL.

Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.

(If ever you have the opportunity to visit the Stencil House at the Shelburne Museum in Vermont (pictured above at 3, 4, and 5), I highly recommend.)

And that's before you get into American painted murals:

BOOK COVER REDRAW of one of the most insane and gutwretching books ever written. (Art without text and full process on my insta!)

It was my first time designing a book cover and I have to say the process was painful. I started with a strong idea in mind: I wanted to portray Harrow at the exact moment she got her memories back. It had to be spectacular, dramatic, atrocious. There had to be skeletons, lots of skeletons, the castle of her House, and of course, Gideon's sword. Then came the hard part, colors. I changed the colors I think 4 times, just couldn't get them right, but in the end can say I'm quite happy with the result. During the whole process I kept looking at the original cover from @studiotommy.co (insta) trying to grasp even a small fragment of his tenique (ps. Posting this 2 days before a big tit announcement wasn't in my plans👀)

I hope I've done this book justice, because at the end, that's what it's all about.

I feel like. Marius does not really think about The Vampire Armand. Turned out of what I can only imagine as guilt and maybe a lingering, exasperated fondness, but then separated before most Maker/Fledglings do. Abducted, indoctrinated, renamed (again). And upon healing, Marius didn't once look for him? I guess you could argue a "better off without me" angle but it doesn't sound quite right. It kind of seems like he went "well it would be awkward now" and just. Shrugged. Moved on.

(I don't think he covets Armand, I think he might mourn Amadeo in a half-assed kind of way)

And I dislike the continuously doting Armand especially in present day. Given the "be my challenger etc" dynamic he seemed to have in Venice, AND as someone who wouldn't make a vampire because "all fledglings grow to hate their makers" I just feel like Armand already has mixed feelings about the guy. And when he finds out the fucker has been alive the whole time? Big oof.

I just think ESPECIALLY WITH AMCS ARMAND that the Akasha Task Force on an island that Armand owns with everyone younger than Armand likely DEFERRING to Armand and Marius basically recovering from getting his ass beat by a statue woman it would basically be like. The relationship of a prodigal team lead to incompetent upper management.

HI I'm opening 2 commission slots :> DM me on tumblr if you're interested!

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