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exlibrismrhunt.bsky.social

Out now! Episode 3: Nighthawks, Bookhawks, Barcodes & Infinity Loops Night Lunch by @ericfan.bsky.socialapple.co/3zDLCZ6bit.ly/3Bp2K5u#kidlit#librarianfashion@paulvinelli.bsky.social@exlibrismrhunt.bsky.social

An image featuring writer-librarian Paul Vinelli and teacher-librarian Christopher Hunt. The top of the image says The Sartorial Librarians Podcast and the bottom of the image includes the episode number and the Bluesky & Instagram handle @sartoriallibrary
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HWhebiweiss.bsky.social

Eu ainda preciso jogar mais com as outras facções, mas Viktorianos e Azkath são meus favoritos, não tem como. Viks são tipo os xenomorfos desse universo, mas são essas coisinhas fofas piticas. Azkath são tipo drows doentes indo pra extinção e fazem isso ser problema de todo mundo.

Minha oc Tanya, uma Viktoriana com aparência de rainha ratinha loira com roupas de landsknecht rosa e preto desfilando com uma zweihander. No fundo, a silhueta de várias pessoas empaladas
Meus OCs, os Nighthawks, um bando de mercenários Azkath. Eles se aparecem com elfos sombrios, todos com o peito exposto de alguma maneira, olhos de esclera negra com pupila branca e as três mulheres são mais altas que os dois homens do bando
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Bactualbob.bsky.social

A lot to like about this one Richard. The windows into the lives of random people draws me in like Hopper's iconic Nighthawks painting.

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EHedwardhopper.bsky.social

Nighthawks, 1942

Edward Hopper said that Nighthawks was inspired by “a restaurant on New York’s Greenwich Avenue where two streets meet,” but the image—with its carefully constructed composition and lack of narrative—has a timeless, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Hopper’s understanding of the expressive possibilities of light playing on simplified shapes gives the painting its beauty. Fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another. (The red-haired woman was actually modeled by the artist’s wife, Jo.) Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in Nighthawks “unconsciously, probably, I was painting the loneliness of a large city.” Friends of American Art Collection
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petrichorlit.bsky.social

Our Best of the Net Noms!

A list of petrichor's latest Best of the Net nominees: Jenkin Benson for "On 12/4/2017, It Hit 70 Degrees in Colfax, Iowa;" Angel T. Dionne for "Starfish;" Joel Anthony Harris for "A Contentious Inheritance;" Louie Leyson for "paris, texas;" Alex Z. Salinas for "White-napkin poem;" and Larry D. Thomas for "Nighthawks."
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