LavellanCommander

Cutting - in my opinion, the most labor intensive part of the process. The amount of time/effort needed varies depending on the pattern and if seam allowance is included or marked separately, but no matter what this process can not be done by machine. Each and every panel and piece of fabric that goes into a garment must be cut by hand by a person.

Pinning/clipping - pinning (or clipping) is the stage at which you align the pieces you are going to be stitching together and hold them together with — you guessed it! — either pins or clips. This can not be done by machine.

Stitching - the actual sewing. This can be done by a sewing machine, but that machine still needs to be operated by a human being.

Ironing/pressing - two words that mean the same thing. The iron itself is a machine, but once again, it needs to be operated by a human being.

Finishing - depending on the technique you use, there are certain finishing techniques that can only be done by hand. But, let’s assume we’re talking about fast fashion, which is usually just finished with a simple overlock/serger. Once again: these machines need to be operated by people.

These are just the basic steps to making a garment, and don’t include textile arts that I am not as knowledgeable about, such as weaving, knitting, and crochet. Also, it is important to note that there are a lot of things that can only be done by hand, such as certain stitches and decorative techniques.

Also, the machinery being operated in textile factories is not equivalent to a domestic sewing machine. We’re talking about one of these guys:

See that gray cylinder under the table, behind the knee pedal? That’s the motor. These machines can sew through your fingers bones and all and not even stop. The people in these factories and sweatshops are operating heavy machinery, and are subject to all the risk that comes with that in addition to all of the work I mentioned above.

75% of our team is LGBT in one way or another, and we need your support to stay afloat this month (and well every month but y’know).

Not only is most of our team queer, our games are too, and no not just because queer people made them and play them. (No, D&D isn’t queer, D&D culture treats queerness like a coat of paint.) An author or an audience doesn’t make something queer purely by association, a piece of art is queer if it engages in themes and experiences of people who are queer, and each of our TTRPGs do.

Our games engage meaningfully, mechanically, with the experiences of the abnormal, the discriminated against, and the marginalized. Each of our RPGs engage with mechanical reflection of gender and sexual norms, a prerequisite to enable mechanical reflection of transgressing those norms. You don’t have to take my word for it, you can download, read them, and play them here at this link (payment is optional but dearly appreciated and sorely needed), or wait and see the separate posts I’m going to make about this subject later that really delve into this. (Also accepting testimonials from fans either reblogged on this post or tagging us on your own post.)

In the meantime, we need to make an income of $2,898.83 before the end of the month, and at the time of writing this we only have $581.68. If you want to support queer artists, please consider checking out our itch.io, patreon, or ko-fi at these links.

Players in my game, please do not follow this account, there will be spoilers.

Lately I’ve been greatly inspired by Kazimierz Sichulski, Jan Rembowski and Stanisław Wyspiański, to the point of occasional imitation I admit.

Their art in order: Die Huzulische Madonna by Sichulski, Pochód Górali by Rembowski, Macierzyństwo by Wyspiański

Occasionally you may see me reference Ivan Bilibin’s art, although it’s mostly when I want some particular piece to be instantly recognized as slavic by general audience :P

Another painter I look up to is Adam Styka, I’m not so much influenced by his art style but I adore the way he portrays comfortable interactions between people

And lastly, I also enjoy looking at the art of Aleksander Augustynowicz or Wojciech Kossak, just to get a general understanding of “this is how artists handle painting people at rest, or people interacting with each other”

All of these artists made me think about two of my favourite artists

The first one is Ivan Milev, one of the most well-known Bulgatian Sezession (Art Nouveau) artists.

And Vladimir Dimitrov- Maystora (the Master) who is considered to arguably be the best painter to ever come out of Bulgaria.

Louisiana Cypress Swamps

Top left what I think is a latte? Top right a ceramic demon. Bottom right, stir fry I think? Lastly, my fiancé in a burger.

Thanks bb! How do you and your fiancé BOTH have such luscious gorgeous hair, damn.

You see before you: my beautiful smelly son and his pet stuffed shrimp sashimi. One of my current knitting wips. A stuffed junimo that ended up adorably tangled up in my scarf and the cloth I use to cover my e-spinner. My current day-to-day altar.

Thanks for the tag! Your kitty is so cute with his little toy 😍

1. All 3 cats lying on top of me, yes my legs are under that blanket somewhere, no I don't have circulation in my legs anymore since they regularly do this to me

2. My first test weave on my new cricket loom I got for Christmas

3. The table of contents of a book I was considering getting for a friend who's recently left the Mormon church

4. The pizzas my partner and I made together for Valentine's day. His is pepperoni and banana peppers, mine is goat cheese, fig jam, hot honey, fig balsamic vinegar, fennel seeds, and lemon gremolata. I made the dough on mine from scratch which I'd never done before.

But while they can't talk about all the things you mention, I think there's still a lot to talk about, mainly the stuff that's going on in the present.

The mage-templar conflict, the logistics of gathering allies for the inquisition (and the ethical implications of what they have to do to get such allies), gossip about the other companions recruited along the way, magical theory and techniques (especially time travel magic if you do in your heart shall burn), especially if your Lavellan is a mage, I see lots of opportunities to compare strategies and techniques, especially if you train in rift magic. I headcanon that Solas helps introduce my inquisitor to the spirit that will become her spirit blade as a knight enchanter since the techniques for that specialization are based on elven magic.

There's also those little anecdotes that he tells any inquisitor that he says he saw in the fade. I imagine those spiral into longer conversations about world views. They can also talk about art via the murals, the inquisitor probably has opinions about how her choices are being depicted, and any other hobby Solas or the inquisitor might have (weaving for mine), and any new books the inquisition acquires.

Travel also opens up the potential for conversation about food preferences, migratory lifestyles, mount preferences, even herbal lore or self care that might be specific to elves (I read a fic once where they talked about ointments for chapped elf ears).

"No one cares if you baked something"