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This is my favourite from this series of Andrew’s illustration. I like how the scene indicates that someone unplugged the world as if it’s been all controlled. The colours give a sense of tension. And it is very interesting how the illustrator represented the end of the world with an object and I could relate that to my zine work and continue with this narrative of objects and procrastination because of the unplugged plug.

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Illustration for the brand Nissin Lamen by
I wanted to make a colourful and “messy” illustration on this project and I think this reference was the key for me to set this idea

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360 Google Doodles/Spotlight Stories: Back to the Moon

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360 Google Doodles/Spotlight Stories: Back to the Moon

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I found it interesting how the music changes (0:49) the way it is played when the scenario of the animation gets submersed in water. This variation of the same sounds/music in different ambient is interesting because it gives various feelings depending on how it is played. This is nothing visually related to sounds but I think I can use water to make sounds for a musical instrument.

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360 Google Doodles/Spotlight Stories: Back to the Moon

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This image represents exactly what I want to do for the toilet illustration. I love that it is an exit door and the effect of the beach and sunrise gives another meaning to this space.

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Introduction: Superterrific Tub Bass

In this instructable we'll build a terrific sounding tub bass that is highly suitable for studio recording and/or live performance. Build time is less than one hour using very simple tools and around $30 in materials. An optional contact microphone can be added to amplify the instrument.

On this step I've included some samples of the instrument in use. All three mp3s are the same snippet, recorded three different ways:

"tub_bass_mic" is an acoustic recording using a regular old microphone, as evidenced by the background noise and sounds of people walking around in my studio

"tub_bass_contact_mic" uses the contact microphone - squeaky clean and provides very different tone than a normal acoustic microphone

"tub_bass_mix_with_eq_and_reverb" - a mix of both mics with some EQ and reverb, this is probably how I would use it on a record

Sweet!

Attachments

Step 1: Overview

The tub bass is a simple and venerable folk instrument that can be used to fill out the low end of many styles of music. There are two principle areas of basic tub bass design wherein one may encounter differences of opinion: the string material and the neck construction.

Our bass makes use of plastic-coated galvanized steel cable (a.k.a. plastic-coated aircraft cable) for the string - this will be nearly impossible to break and provides far superior tone and playability to parachute/nylon cable. The plastic coating allows you to play the string with bare hands.

Our neck is unattached and pivots on the rim of the tub. Notes are thus created by flexing the neck to change the amount of tension on the string. This makes for a more intuitive playing style than an instrument with a fixed neck and fret board, but it will take some practice for your muscles to learn how to hit and hold specific notes. A used-up wire spool acts as a slide-able capo, allowing us to play in different pitch ranges/keys.

Our instrument also adds an optional pickup for amplification in the form of a contact microphone. I made mine from scratch using the recipe from Nicolas Collins' excellent Handmade Electronic Music (essential reading for instrument makers/hackers), but readymade contact mics are also available on the cheap.

This is the same tub bass that is used by The Asker Brothers to achieve their signature thwonk-a-donk sound. Let's begin!

Step 2: Materials & Tools

Materials:

One tub, our resonant chamber.

One broom/mop handle, the neck. This should be un-tapered so you can make use of a sliding capo.

One used-up wire spool, the capo. Make sure it's a good fit on the neck - you'll need a little extra space for the string when fitting the capo over the neck. I found that a standard-sized wire spool was the perfect fit for a standard broom/mop handle.

Plastic-coated aircraft cable, the string. This is the only part you're not likely to find in the local hardware store. I ordered mine from webriggingsupply.com, part no. 02C030477. We'll be stripping the coating on the ends of the string to thread it through the neck/tub/hardware, and the width of the interior steel portion of the cable should be 1/16. This width of cable has lovely tone. Get at least six feet of cable.

Ferrules and Stops, cable hardware for 1/16 steel cable. This is the hardware we'll use to attach the string to our neck and tub. I was able to find packages of National item #N283-846 at the local hardware store, two of those put me in business.

One jar lid, the washer we use underneath the tub when attaching the string.

Optional: one contact microphone to act as a pickup for amplication. Make your own or buy one.

Tools

Dremel tool. We'll be using the disc sander bit to cut/shape the aircraft cable and to make a notch in the bottom of the neck. The 3/32 drill bit will be used to drill holes for threading in the neck, tub, and jar lid.

Wire stripper. Used to strip plastic coating off the ends of our string and to crimp the cable hardware.

A saw. To cut off the little screwy section of our broom/mop handle.

Sally forth!

Step 3: Prep String for Neck

Strip ~5 inches of coating from one end of the cable. You'll need to do this in two inch sections. When stripping the coating, the end of the cable may become frayed which will make it hard to thread it through the neck/tub/hardware. If this happens, use the dremel tool with the disc sander bit to cut off the frayed section. The broad section of the disc sander bit can then be used to shape and sharpen the tip of the wire, giving you a nice pointy end that will be easy to thread.

Step 4: Attach String to Neck

Drill a hole in the end of your neck using the 3/32 drill bit on your dremel tool (or drill). Thread the stripped section of the cable through the hole in the neck. Secure the cable by using the cable hardware: thread it through one section of the double-barrel ferrule, then the stop, then back through the other section of the double-barrel ferrule. Crimp the ferrule by lightly mangling it at multiple points with the teeth of your wire stripper (or use a real crimper if you have one). This will make the ferrule press firmly down on the cable, holding the string in place.

Step 5: Prepare Neck

Cut the threaded screw section off the end of your mop handle using a saw. Then make a notch in the bottom so the neck can sit securely on the lip of the tub.

Now to measure and the cut string: Put the notched end of the neck on the lip of the tub, as if you were playing it. Hold the unattached end of the string to the center of the tub with your hand. The string should be taught when the neck is perpendicular to the ground - find this length then make a mark 10 inches further down the cable (we need some slack to pass the string through the tub and loop it through the hardware). Cut the string using the disc sander bit on the dremel tool and strip off 10 inches of coating, similar to what we did to the other end of the string.

Step 6: Prep Tub

Drill a 3/32" hole in the center of your tub and jar lid. Remove the handles from the tub so they don't rattle when playing the instrument.

Now attach the string to the tub: Thread the cable through the tub, jar lid, and ferrules. Make sure your string is the correct length before securing the ferrules: test it by putting the neck in place and pulling lightly to determine exactly where the hardware should be attached on the stripped end of the cable.

This is the part of the instrument that will be pulled on the hardest, so I used two ferrules to increase the grip on the cable. Once you're confident about the string length, crimp the ferrules to secure a good grip on the cable.

Step 7: Attach Capo and Contact Mic

The empty wire spool can slip over the top of the neck and past the connecting hardware. It can now be slid up and down along the string to change the pitch range of the instrument. The optional contact microphone will be placed between the tub and jar lid - a piece of tape will hold it in place. The contact mic adds lots of high-end tone to the instrument and allows you to play much louder, useful in performance situations. If the contact mic is squeaky try adding some Vaseline.

And that's it! The world is yours to rumble with tubby goodness. ENJOY.

We have a be nice policy.
Please be positive and constructive.

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In this instructable we'll build a terrific sounding tub bass that is highly suitable for studio recording and/or live performance. Build time is less than one hour using very simple tools and around $30 in materials. An optional contact microphone can be added to amplify the instrument.

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Introduction: ResoDrums -- Electronic Hand Percussion

This is an electronic instrument played like a hand drum but with synth sounds. It is both sensor and speaker, so you can actually feel the sounds with your hands as you make them (the computer sounds are coming from the bowls themselves). It is inexpensive, provided that you already have a computer, and can be built in about an hour. No special skills are required to build it (heck, I did it and I solder like a kindergartener).

Step 1: Parts & Tools

This is the list of things you will need to make the ResoDrums. These instructions assume that you are making a two-drum setup (the best plan for a typical stereo input computer). The software is modular, however, so you can build as many ResoDrums as you have audio inputs.

A) two shallow wooden salad bowls -- available everywhere. I would recommend getting them secondhand at a Goodwill or Salvation Army. Try to get flat bottom bowls that are around 1/4" thick and carved from a single piece of wood. Avoid bowls with a ridge around the base.

B) two piezo discs -- these will cost about a buck apiece at any electronics shop. Get the largest ones you can find (the ones shown are about an inch and a half in diameter). If the piezos have any plastic housing or wiring, remove it. You will only need the discs themselves.

C) two electro-mechanical transducers -- these are basically the magnetic drivers of speakers without the diaphragm (cone). Whatever you attach them to becomes the diaphragm, in this case the bowls themselves. I like using either Vidsonix Phantoms (for larger bowls and lower frequencies) or Vidsonix Ghosts (for smaller bowls). They're less than $20 apiece from Vidsonix via their
ebay store.

D) an audio cable -- 1/8" stereo on one end and dual mono on the other (for example dual RCA as shown). This will connect the output of the ResoDrums to your computer (here assumed to have an 1/8" stereo jack). Alternately, you can make your own quite easily with just an 1/8" plug and some wire.

E) an audio cable -- to connect your computer's audio out to your amplifier's audio in (1/8" to 1/8" cable shown---your equipment may vary).

F) an amplifier -- a stereo audio amplifier that is 8 ohms and at least 15 watts (so just about any home stereo amp will do). Here I've used a class-D amp, which is small enough for easy transport.

G) 6 wood screws -- the screws that come with the transducer are too long (they will go all the way through the bowl). You will need shorter screws (about as long as the thickness of the bowl).

H) 6 washers -- these will distribute the pressure of the screws so you can tighten them without cracking the transducer's mounting plate. You'll want ones that are about the size of a quarter with a small hole in the middle.

I) spacers -- the cheap rubber bits with adhesive (available at any hardware or home furnishings store)

J) glue -- epoxy or jut plain superglue

K) a laptop -- mac or pc

L) a soldering iron & solder

M) pliers/wire cutters

N) a screwdriver

O) an awl

P) tape -- gaffer's tape is the best, but just about any tape will do the trick

Step 2: Attach the Transducer to the Bowl

Since the transducer is transferring energy to the bowl, we want to make sure this connection is solid. A bowl with a flat bottom will work best. Place one of the transducer's mounting plates in the center of one of the bowls (with the center bolt facing up). If the plate is wobbly, use additional smaller washers between the plate and the bowl. Make sure that the head of the bolt in the center of the plate rests securely against the bowl. If it does not, use additional spacers or other material to fill the gap completely.

Put a few drops of glue on the bottom of the bowl. Set the plate in the middle of the bowl and use the awl to punch shallow guide holes for the screws. Use the screws and washers to attach the mounting plate to the bowl. Tighten the screws as much as you can without cracking the plate. Once the screws are tight, drop a tiny bit of glue on each. This will help to keep them from vibrating loose later. Put a drop of glue on the bolt that comes out of the mounting plate and thread the transducer on tightly.

Step 3: Glue the Piezo to the Bowl

Glue the piezo to the underside of the bowl as close to the center as possible without touching the mounting plate. Make sure the piezo is firmly against the bowl, even if it curves. Hold or clamp the piezo tightly in place until the glue is completely dry.

Step 4: Connect Wires to the Piezo

Take the cable that is 1/8" stereo on one end (D from step 1) and cut off both of the connectors on the other end. Strip the ends and there should be two leads in each cable (see pic). Tin all of these leads generously.

The piezo has an outer (gold) ring and an inner (silver) disc. Take one of the cables and solder one of the leads to the gold ring and one to the silver disc (it doesn't matter which goes to which). Notice the shabby, shabby soldering job in the pic. It is more important to be quick than neat. Piezos do not tolerate heat well, so you don't want to linger with the soldering iron any longer than you have to. Just make sure that your solder does not connect the gold and silver rings to each other.

Tape the wires to the bowl. This will relieve strain on the soldered connections, protecting them from coming loose.

Step 5: Stick on Spacers

Put at least four spacers around the lip of the bowl. Invert the bowl and make sure that it rests firmly against the table. If it wobbles, adjust the spacers. Make sure that the wires can pass freely between the bowl and the table without being pinched.

Step 6: Building the Second Bowl

Repeat steps 2-5 to build the second bowl. The piezo in this bowl should be soldered to the other leads coming from the 1/8" cable.

Step 7: Download the Software

Download the software. It is available as a standalone app for either Mac or PC.

Or, if you have Max 5, you can download the Max patch and take a look inside (warning: it is icky).

See the included manual for more info about how the app works.

Step 8: Connect the Wires

Plug the 1/8" stereo cable coming from the two ResoDrums into your computer's audio in. Connect your computer's audio out (headphone jack) to the audio amplifier's input. Connect the amplifier's output to the wires coming out of the transducers.

The Theory (feel free to skip this part):

When you hit the bowl, energy is transferred to the attached piezo. The piezo converts this kinetic energy into electrical signal which is sent to the computer. The computer constantly measures the instantaneous amplitude of this signal. This measurement is used to run a series of ramp signals (basically averaging amplitude over time). These ramp signals control the volume, eq and pitch of sample loops (wavetable synths). The audio output for each bowl is sent to its transducer which in turn vibrates the bowl, producing the sounds. The latency (time lag) for the whole system is less than 50 milliseconds (1/20th of a second) and so below the threshold of human perception. Additionally, the acoustic sound of the bowl further masks the lag.

Step 9: Play the ResoDrums

Fire up the software! Select the appropriate audio I/O using the two drop down menus in the bottom right. There's a manual included, but for starters you can just hit the vertical row of buttons on the right to try the presets. If you get too much feedback, try turning down the outputs (or turn down your amp). If you hit one drum and it makes sound through the other, swap the wires coming out of your amp (the ones that go to the transducers).

For video examples, see http://www.vimeo.com/user930154/videos

Enjoy!

Step 10: What Else?

A few closing thoughts:

I originally picked salad bowls as the main body of this instrument because they are roughly the size of hand drums and are thin enough to function as speaker diaphragms. But you could use a wide range of materials instead. Different cavity shapes and sizes will result in different timbres. Something with a larger cavity (such as a water cooler bottle) would create better low tones (and possibly some more interesting feedback).

The sound of the ResoDrums will vary considerably with the material they are set on (wood, carpet, concrete). It might be interesting to create a fully enclosed drum for a more consistent sound.

The "thump" ramp (controlling the volume of a trio of low oscillators) can be used to keep the ResoDrums at the edge of feeding back like crazy. Click and drag the frequencies (listed to the left of the ramp display) to change them. The differences between them will act something like a LFO (i.e. 134 and 140 Hz will simulate a 6 Hz LFO). See the video clip below for an illustration of this effect (especially noticeable around 0:05).

We have a be nice policy.
Please be positive and constructive.

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This is an electronic instrument played like a hand drum but with synth sounds. It is both sensor and speaker, so you can actually feel the sounds with your hands as you make them (the computer sounds are coming from the bowls themselves).

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A very talented photographer capturing art in motion from Germany. His works are all photographs of objects breaking or in a aggressive movement. Like the Sound Sculptures that is paint jumping along music.

Sound Sculptures are photographs taken of paint in motion through songs' vibrations. Martin placed a rubber material surface on top of a boom box and puts a mix of different colours of paint on top of it to move along with the vibrations of the songs. Then he captures the images while the paint is splattering up in the air. The choice of the songs are very high frequency ones too and in this work I think he wanted to impact the viewers with such an aggressive approach which is somethkng we can see a lot in his other works, but at the same time a fun piece to look at. The fun part is obviously there because of the colours and the main material used, the paint. The texture and flow it has gives movement and joy to the work. What drew my attention the most in his work was the choice of the colours he used for each song and how it is hard to know if it is either a 3D image or a photograph. Also the moment he chose to represent the song, which part would represent best in the photography is really important to match the songs.

https://youtu.be/mzPX7Q9kMdU

http://www.martin-klimas.de/en/index.html

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Kathryn Kemmis is a graphic design artist and developed a visual sound for each letter of the alphabet. She chose to show the frequencies with thin black lines and they all have a similar length which looks good visually. The design is silent although it speaks of sounds because of the colours and negative space it gives a sensation of silence and purity. Interesting how the artist represented something so used through both sounds and visual in our daily lives. It is represented visually and soundly. She also made a poster of Martin Luther King Jr. speech I Have a Dream with the sound frequencies and used the word “noise”. The image takes over the entire space and gives a different sense from the alphabet one, and the size of the illustration makes sense with the word included in the design.
I think I could brainstorm on things that are both sound and visual represented to make a graphic image.

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from Audio Almanac, released June 18, 2010
Recorded in a bedroom in rented accommodation, Hyde Park, Leeds, 2009

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LINES is an interactive sound art exhibition created by Swedish composer Anders Lind in 2016. Lines attached to the wall, on the floor and hanging from the ceiling in combination with sensors and electronics are forming three novel music instruments. No musical experiences are required to perform, while the well-experienced musician or composer finds new musical challenges and opportunities with the instruments. The ambition with LINES is to enable: new forms of musical interaction, an exploration of new artistic expressions and to provide unique and inspiring musical experiences. The videoclip is taken from Västerbotttens Museum in Umeå 2016.

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LINES - an Interactive Sound Art Exhibition

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A place that envolves technology and internet and  gather people around.

Alexandre showed us some of his illustrations he makes with processing codes.

I wasn’t that interested but I thought it could be interesting to make that on the paper.

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This illustration by Laura Callaghan gave me the inicial idea of using objects to represent the end of the world.

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These three illustrations were the ones I found most intresting and that could somehow represent a surrealistic ending. They are all very colourful and busy, animals, objects and shapes are all fun and kinda creepy. They remind me of Gravity Falls (a two seasons animation serie by Alex Hirsch).

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On the last episodes of Gravity Falls, Bill Cupher takes over the city and paranormal events starts to happen and supernatural creepy creatures as well. A horrible and hostil ending is happening but funny at the same time.
This animation gave me an idea of making the end as if everybody turned into candies and in the end we all eat each other up.

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The late 90s movie Armaggedon inspired me to make a story that could be similar in some ways. I thought of making a parody.

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She is one of my favorite illustrators.
I thought of making an evil ending with demons but not so scary. I like the way Polly illustrates our demons in a not so serious way but also not that fun.

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I want to make a drawing game and I think the most famous is Pictionary which consists on guessing what’s being drawn.

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This game is played by two people against each other to try to guess the word the other player drew.

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This is a kind of poem taught in school and is very fun . The rules are the types of words you have to put together and they need to make sense. Each word is separated by commas and each verse has a certain amount of words.

I think I could make a poem rule based on this one because I find it every interesting to connect words with no words in between them.

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This is the Tristan Tzara method to make the dadaist poem. It inspired me to make a drawing game by drawing words and combining them into one single drawing.

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This board game has some interesting cards related to Coca Cola history and objects. I could make a board game with cards and funny texts written on them. And the theme of the game could be Procrastination to continue on the theme of my zine.

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Her illustrations has a lot of purple and pink and the cenarios place in other planets (very out of space) and this helped me a lot to figure out how to color my last illustration that has some mountain and rocks.

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This is the method I used to make the pattern for the back of the cards.

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Creating your own repeat pattern tile is a simple skill that's applicable to hundreds of fun projects-think wallpaper, book covers, posters, gift wrap, or your phone lock screen. The possibilities are endless!

These five quick steps will show you how to illustrate a pattern the old-fashioned way, by hand. No need for Photoshop or Illustrator (unless, of course, you'd like to digitize your pattern!)! Just grab a pen, paper, your brain, scissors, and (probably) a photocopier or printer.

Step 1: Draw a Design

Grab a piece of 8.5 x 11" paper, and start drawing a design in the middle of the page. Use a pen since it will photocopy best, or start with a pencil and trace over your lines. Make sure to distribute an even amount of solid color, which will help with visual consistency in the final pattern. Most importantly, steer clear from the edges of the paper!

Step 2: Cut, Flip, Tape

Now, you'll want to cut your drawing in half lengthwise. (This is scary, but it's part of the process! You can always copy, scan, or photograph your original for safekeeping.) Consider using an exacto knife for a clean cut, but scissors are fine, too.

Once you have your two pieces, flip them so that the original outer edges touch, back to back. Then, tape your two halves together. Tape on the backside so your drawing stays clean.

Step 3: Repeat, Cut (the Other Way), Flip, Tape

Rotate your page, and cut it in half again (width-wise this time, so that the two cuts form a cross). Flip these two new halves, and tape them back together, edge to edge. Again, the tape should go on the back.

Step 4: Draw in the Blank Spaces

Since your design is now on the outer edges of the page, you're likely seeing a big blank space in the middle. Fill it in! Draw in all the empty bits and finish your drawing. Just as you did before, avoid on the edges.
When you're done drawing, step back and admire your work. This is your repeat tile. Isn't it beautiful?

Step 5: Copy, Copy, Copy-and Assemble!

Now that you have your tile, the possibilities are limitless! You can add color or embellishments. You can photocopy it several times and assemble the sheets together to create wallpaper, book covers, posters, or gift wrap. You can scan it and bring it into Photoshop or Illustrator for final touches, or to digitize it for your desktop or phone background.

Most importantly, have fun. Happy patterning!

When you're ready to take your pattern skills to life digitally, try this tutorial for creating a repeat botanical pattern.

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5 Steps to Illustrating a Repeat Pattern by Hand | Skillshare Blog

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Creating your own repeat pattern tile is a simple skill that's applicable to hundreds of fun projects-think wallpaper, book covers, posters, gift wrap, or your phone lock screen. The possibilities are endless! These five quick steps will show you how to illustrate a pattern the old-fashioned way, by hand.

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This illustration plays with every surface and has weird interventions. The floor seems to be flat but then there is a man under water on the floor. I would like to change the texture or reality of the environment's surfaces.

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I used some of these items to write new texts for more cards. The symbols are very useful as well.

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From Huffpost to help me develop texts for the cards

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Most people at one time or other have procrastinated, which is normal, but when it becomes obsessive and chronic then there could be an underlying issue behind it. Procrastination can result in additional stress, a sense of guilt and crisis, loss of personal productivity and social disapproval for not meeting one's responsibilities or commitments. Avoidance also prevents us from entering into our creative process and keeps us from experiencing life to its fullest.

Procrastinators are more in love with the act of wanting, and live in the tide pools alongside the stream of life. They are very good at creating excuses or stories for putting off an activity. Without realizing it they become great artists at writing, producing and starring in these stories in order to avoid life. But crafting these excuses takes an extraordinary amount of energy that can be very disempowering. Imagine for a moment that you are able to become mindfully aware in your mind's eye, and in that magical moment see how this destructive type of energy could be shifted from resistance to self-empowerment.

In my book, Wise Mind, Open Mind I relate how one of my clients was able to have this type of "aha" experience. Jared, a web designer, truly wanted to create a plan for attracting more lucrative jobs and clients who offered steady work, but he could never find the time to do it. During one of our sessions I asked Jared to tell me everything he had done that morning, from the moment he woke up to the moment he came into my office. After he outlined all his activities I said, "Alright now let's spend a moment and simply breathe." This is an easy mindfulness awareness method where one focuses on the "in breath" and then on the "out breath," allowing us to calm the churning waters of our thoughts and emotions. After we meditated together for several minutes, Jared was able to bring to the forefront of his consciousness that a lot of what he was doing wasn't a priority and only busy-making "chores."

Upon further exploration, Jared came to understand that behind his procrastination was a fear of success. He wasn't sure if he could command top-dollar clients or manage a lot of them. He hated the idea of calling people cold or sending blind emails soliciting work. As well he was afraid he would become like his father, a successful but challenging entrepreneur and distant parent, preoccupied with his work. Through the process of mindful awareness Jared was able to make a new space in his mind's eye to clear away the clutter and develop what I call "mindstrength," the ability to build mastery over your thoughts and feelings, opening your eyes to whether the products of your mind are useful tools for self-discovery or merely distractions. Over time, Jared discovered that he was quite capable of handling several clients and negotiating good deals for himself, without feeling that he had turned into a cold workaholic.

So what are the pretexts you're using to avoid life? Here are the top seven excuses I hear from my clients. Do any of them sound familiar to you?

1. I'll do it later.

2. I don't have time to do it now.

3. It's not important

4. I'll eventually get to it. (This is a lie we tell ourselves, as a procrastinator never gets to it.)

5. I'll do it when my children are older.

6. I'll do it when I have the energy or when I'm in a better mood.

7. The number one biggest excuse, though, is: I'll do it when I'm older and retire.

Many times in my capacity as a psychotherapist trained in mindfulness I've been invited to participate in the sacred end-of-life experiences of my friends and clients. So many of them, when they realize that the hourglass of life has run out, regret that they hadn't taken a certain trip, reconciled a relationship with a loved one or taken action on pursuing a life's passion.

To remedy procrastination, you have to experience the vital life force that sharpens and focuses the mind. One way to do this is with the traditional Buddhist walking meditation in which you focus on the slow process of putting one foot in front of the other and being mindful of the shifting sensations as you propel yourself forward. Once you're in a mindful state you can recognize if you've slipped into an avoidance behavior. If so, you can immediately shift out of this emotion with the simple thought, "I want to go forward into my future life as a ______ [website designer, entrepreneur, student or whatever it is that you want to do]." You can look at your subconscious thoughts and fears that are holding you back, stop identifying with them and let them float out of your awareness. Thoughts in the mindful space of awareness simply become like clouds in the sky drifting by. If they return, you can decide not to become attached to them and follow them wherever they take you. Instead, you can simply become curious and ponder their origin. Exploring your thoughts and fears can give you the insight to help you move forward with greater self-awareness, and away from the limitations you set for yourself that box you in.

It all comes down to a mindful choice and the ability to creatively source from a place of immediate passionate action. Mindful action takers live in the vibrant stream of a somatic flow state. Don't wait until your time has run out and it's too late for you to live your life to the fullest. Start now by writing down your action steps for a life of passionate creative possibilities. It may seem simplistic to say that all you need to do is start your bucket list in order to stop procrastinating, but this is the first step in moving through your resistance. So what are you waiting for -- write away!
For more by Ronald Alexander, Ph.D., click here. For more on mindfulness, click here.

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Most people at one time or other have procrastinated, which is normal, but when it becomes obsessive and chronic then there could be an underlying issue behind it. Procrastination can result in additional stress, a sense of guilt and crisis, loss of personal productivity and social disapproval for not meeting one's responsibilities or commitments.

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A card game illustrated by Jean Jullien. I really liked the easy game and also very fun illustrations. I might choose something easy but fun to do like this.

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Dodgy Dogs - A card game illustrated by Jean Jullien

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Yolky Games is raising funds for Dodgy Dogs - A card game illustrated by Jean Jullien on Kickstarter! Beautifully designed, fun to play, all about badly behaved dogs.

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Their Instagram

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 Jean Jullien on Instagram: "Woof! Today I’m super excited to introduce you to @dodgydogs ! A new card game I’ve illustrated. We’ve launched a kickstarter thanks to @sidekickcreatives with a cool video made with @studio.pinata . This is going to be really fun and I hope you guys love it as much as I do. Link in bio to support/ order it! It ships worldwide🐕"

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27K likes, 391 comments - jean_jullien on June 26, 2018: "Woof! Today I’m super excited to introduce you to @dodgydogs ! A new card game I’ve illustrat..."

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View this post on Instagram

A post shared by Jean Jullien (@jean_jullien)

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Useful to write cards that helps to win the game

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Illustration on furniture
These are really interesting even though it is a slight change it transforms the whole environment. We want to give that impact by making little or not that big change.

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Characters
We want to create characters for the walls of the diner and I really love the colours and awkward shapes they have.

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Gaia found this fun gif of an animated pizza and we really like how cool it looks because it is really easy to give a childish look when you put a face on food. Henri did that really well and he also made it skating, so it has a young personality as well.

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Characters
I was looking up on Pinterest and I found this amazing artist that makes these 3D animals using very colourful and bright designs. They are very funny but at the same time they don't seem to be childish, I realised the shape of the eyes changes that a lot.

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https://www.kindahkhalidy.com/
I was considering to make a flat illustration, with no art lines and very bright colours in simple shapes.

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I can visualise this face on a door, or as a door. This is a great idea for a large scale design on a low budget. It is simple to make or paint if this is the case and the cost wouldn't be that much.

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More references of the funny and very peculiar faces Jean draws.

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This is a good and simple reference to create a "world" made of bouncy colourful floors.

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Reference from Gaia
We could illustrate a fantasy world on the door and maybe create a fantasy world behind the bedrooms.
We used this image as a reference for one of the illustrations: the big tree one.

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We also thought we should draw an ocean or water environment as well. This was used as a reference for the octopus illustration.

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The many arrows indicating where to go and the ways inspired Gaia to illustrate the one with the twisted sign.

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Reference for drawing techniques to use in the mirror illustration.

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I love how this is a little psycho and the colours break a little of that.

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Un-Nature - EBAC Sound and Vision Project 2018