A Few Frames From My WIP Animatic! Maybe I'll Finish It Before The End Of The Year (highly Unlikely)

A few frames from my WIP animatic! Maybe I'll finish it before the end of the year (highly unlikely) or before the second movie comes out (also unlikely)!

Silly silly man

Our life has become difficult to reach.

when will this suffering end?

and how long will it continue?

save my family from this unjust reality.

what is their fault to live a life like this?

what is the crime of living like this?

please, your support is the only way to safety.

Note: my compaign is vetted by @gazavetters and our line is 60

Also, it is vetted by Femme Intifada on telegram and butterfly effect group on instagram.

@fancysmudges @brokenbackmountain @just-browsings-world @mothblossoms @aleciosun @serica @sericate @sericate-blog @floure @fluoresensitive @khizuo @lesbiandardevil @transmutationisms @schoolhater @timogsilangan @appsa @buttercuparry @sayruq @malcriada @palestinegenocide @sar-soor @akajustmerry @annoyinggiantfestivaluniver-blog @feluka @tortiefrancis @flower-tea-fairies @tsaricides @riding-with-the-wild-hunt @visenyasdragons @belleandsaintsebastian @ear-motif @kordeliiius @brutaliakent @raelyn-dreams @4ft10tvlandfangirl @theropoda @tamarrrra @skatezophrenic @queerstudiesnatural @awetistic-things @camgirlsurvivalguide @baby-girl-aaron-dessner @nabulsi27 @sygol @junglejim4322 @heritageposts @chososhairbuns @palistani123-blog @dlxxv-vetted-donations @illuminated-runas

Dear Friends,

My name is Ola, and I am a mother of three young children. I have lost everything in the war. My husband, who left ten months ago before the war began, has been unable to return due to the closure of borders. In these harsh and unforgiving circumstances, I have lost my passion for life, and despair has filled my heart. The absence of my husband, the pillar of our family, has left me to face this nightmare alone.

With no income and no one to turn to, I have created a fundraising campaign, but it is struggling due to the lack of donations and the limited sharing of my story.

We desperately need your help to reach our goal so I can provide my children with a roof over their heads, food, water, and medicine. We are on the brink of losing hope.

Where is the world when a mother and her children are left to suffer in silence? Where are the human rights, the rights of children, the rights of women, in times like these?

Please, help us survive. Your donation, no matter how small, and your willingness to spread the word, can bring light back into our lives.

If you would like to check out our campaign, you can request our Instagram account, as Tumblr is very private to share our situations and actions.

Thank you from the bottom of my heart

My campaign is vetted by Femme intifada on telegram.

Sincerely,

Ola,

#riding_with_the_wild_hunt @vakariansـbabe @7amaspayrollmanager @fairuzfan @fallahifag @sayruq @humanvoicebox @kaapstadgirly @sar-soor @dimonds456-art @Ficsforgaza @aria-ashryver @mangocheesecakes @el-shab-hussein @taamarrud @humanvoicebox @plomegranate @queerstudiesnatural @commissions4aid-international @nabulsi @still-lindigo @soon-palestine @communistchilchuck @palestinegenocide @northgazaupdates @ghost-and-a-half @kyra45-helping-others @kyra45 @feluka @occupationsurfer @elierlick @evelyn-art-05 @bibyebae @kaapstadgirl @ghost-and-a-half @bawuoooooom @annoyingloudmicrowavecultist @marnota @toughknite @flower-tea-fairies @thetitancurse @vivisection-gf @communistchameleon @aria-ashryver @taamarrud @still-lindigo @soon-palestine @northgazaupdates @occupationsurfer @child-of-thecosmos @gayorc @pale-grunge-dark @helppeople @tsaricides

Silk furisode, (Back view), 1995, Japan by artist Takuo Itoh.  MET Museum (Gift of Takuo Itoh, 1997)

 ’The resist-dye art of “shibori” is exquisitely represented by this “furisode” (swinging sleeves) kimono for a young woman. A technique dated to at least the Silk Road era, “shibori” utilizes folding, stitching, binding, sheathing, and knotting to protect areas of fabric from penetration during dyeing. A dyer must plot his design exactly on the fabric yardage because kimono size and shape are standardized and the textiles have a fixed loom width, rarely being cut during garment construction. The uninterrupted back area is traditionally the focus for display, and Itoh’s virtuoso craftsmanship achieves a continuous pattern that impressively crosses the center-back seam and makes the jump between body and sleeve. Additionally, this magnificent design exhibits extreme intricacy of composition, resist knotting (each hand tied eleven times), and pigmentation. Itoh’s revival of the virtually lost technique of including as many as 3,600 knots per square “shaku” (approximately one square foot) results in exceptional detail and vibrancy, demanding as much as two years of labor for each masterpiece.’

Hand-colored photo of merchants selling silk bolts for the making kimonos. Right-side view.  1900-1910, Japan, by photographer Teijiro Takagi