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(Brief) Concept Design (Characters, Settings, and Plot)

Zoetrope Animation Prototyp

Collaboration Project with Tea

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Already discussed with the cafe's manager about the

inconvenience.

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Hello there, my name is Janyamon Butpa or you can call me Noey (it means BUTTER) or call me Jan. I am an Animation student

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What I have to do

Concept Design

Protagonist character design

Teacher character design

Classmates character design (rough)

Protagonist character design (Clown ver)

Teacher character design (Ringmaster ver)

Classroom design

Circus design

1-2 KeyVis

Classroom shot - First scene

Circus shot - In a spotlight / Over shoulder shot, capture the audience

Plans

Week 1-3 - Research about about the topic

Week 3 - Finalize the concept and story

Week 4 - Sketch (as much as possible)

Week 5 - Design

Week 6 - Design

Week 7-8 - Polishing character and setting design (workshop bg design)

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promotional proj with Cafe (Not confirmed yet just an idea) : collaborate with Homu cafe (where I used to work as a part time staff) pitching the idea about making CI for them or promotional campaign for their opening day. Collaborate with friend(s) in Graphic design area to help with Branding and visual. My responsibilities' going to be about story and concept of the project

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Homuホーム, เทศบาลเมืองปราจีนบุรี. 27,091 likes · 13 talking about this · 15,714 were here. Home Café บ้านหลังน้อย ขนมญี่ปุ่นวากาชิ จิบชาหอมๆ ไม่เหมือนใคร กาแฟดริปเสพบรรยากาศความส่วนตัว

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Notes

Focus on the mechanic of the physical Zoetrope

Research about strobe light / fps, and method

2d and 3d

Details

Theme - Rabbit

What I need to do

Animation test (Rabbit hops / Rabbit walks like human)

Shatter

Turntable wheel

Pop-up papers

Changes (After feedback)

from 3D - 2D on a physical turntable

Plans

Week 1-3 - Research about zoetrope animation

Week 3-4 - Find brief and Rigs ,Modeling , UV mapping, and Texture

Week 5 - Animation test

Week 6 - Animation test + set on a turntable wheel

Week 7 - Animation (3D ver - pop up paper cut)

Week 8 - Polish

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I took lighting class with Y3 students taught by Aj Toy on 10 Sep

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for my first week I was studying about how to use directional light and my first assignment was to match with the reference. the objective of this assignment is to practice my eyes.

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18 Sep : In this class I reviewed my skills of using 3D substance again and practice to create different texture on 3D models

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Still a brainstorming week but kinda have some ideas               

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24 Sep: I learnt about how to export texture after finished painting and put in Maya on the model and link those file in hypershade

After this class I practiced this on substance painte again with my model for my micro project

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SDG 16.2: Protect Children from Abuse, Exploitation, Trafficking and Violence

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SDG 16.2: Protect Children from Abuse, Exploitation, Trafficking and Violence

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SDG 16.2: Protect Children from Abuse, Exploitation, Trafficking and Violence | ICCROM | Our Collections Matter

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11 Factors That Increase the Risk of Child Sexual Abuse

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11 Factors That Increase the Risk of Child Sexual Abuse

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11 Factors That Increase the Risk of Child Sexual Abuse

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Knowing the things that may increase your child’s risk of being sexually abused can help you know how to minimize those exact same risks.

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How An Abuser Grooms A Victim - Child Advocacy Center

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Few sexual abuse assaults against children are spontaneous acts. In fact, preparation occurs gradually over a period of time. In an effort to gain a child’s trust (and that of any immediate adults) many molesters will groom a child in preparation for the inappropriate contact. The most common stages of grooming are: Engagement – Trust […]

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The relation between social acceptance and school well-being in early childhood

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The relation between social acceptance and school well-being in early childhood

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GI Animated Short Film: "Bruised" by Rok won Hwang, Samantha Tu 

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GI Animated Short Film: "Bruised" by Rok won Hwang, Samantha Tu 

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CGI Animated Short Film: "Bruised" by Rok won Hwang, Samantha Tu | CGMeetup

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Save Ralph - A short film with Taika Waititi

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Save Ralph - A short film with Taika Waititi

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This Animation have an effective impact on social media and drive the social to aware about Animal Testing (case study on how Animation can be powerful tool as a provocation)

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Save Ralph - A short film with Taika Waititi

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13 sep

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We’re currently checking your connection. This shouldn’t take long.If you keep getting this page, check if there’s a problem with Canva.

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Introduction: 3D Zoetrope

A zoetrope is a device that produces the illusion of motion from a rapid succession of static pictures (Wikipedia)
And a 3D zoetrope is the same except it uses static sculptures and models instead of pictures. Here's a simple zoetrope I made that can be run on a turntable.

Materials:
Cardboard (the size of the turntable)
Pipe cleaners
Paper maché
Stiff wire
Black (or any dark colored) paper
Turntable
Strobe light

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Step 1: Chalk Out the Steps of the Motion

The most important part is to divide the final motion of the zoetrope into a series of still figures such that the difference between two adjacent stills is not drastic. Keep in mind that this applies to the last and first stills as well, since they're in a loop.
I decided to simulate an ice-skater's toe loop jump since it starts and ends on the same leg; so if I play it in a loop it'll look like the skater's doing continuous jumps. I referred quite a few step-by-step tutorials for the jump and drew the above rough sketch

I have divided the final motion into 16 steps after noting that some successful zoetrope constructions had the same.

Note that this is not an accurate description of a toe loop. It's modified to get a continuous motion using pipe-cleaner models

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Step 2: Make the Skeleton

Cut the cardboard to the size of the turntable, divide it into 16 parts and mount the "backbones" of the skater. The wires are fixed into paper maché balls for support.
(I made a sample skater model first to determine the size that would fit along the arc length of one division)

Using a wire backbone gives us the flexibility to adjust the height and position of the skater; it also helps increase the distance between 2 adjacent figures by making it bend outwards.

Paint the cardboard and the support balls black to prevent them from reflecting the light.

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Step 3: Make the Skater Models

Build a cylindrical screen out of black paper so that you don't see the models on the backside.

Referring the sketch, make skater models for each step using the pipe cleaners. Start with the heads(paper maché) and proceed to make the hands and legs. I used hot glue to glue them all up. Be sure to use only bright colors for the models as they stand out in the dark. Adjust the height of each model to show the jump sequence.

I added a small pony tail to highlight the movement of the skater.

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Step 4: Watch It Move!

Put it on a turntable, make the room dark, turn on your strobe light and watch it move!

(Adjust the strobe frequency to give you a smooth motion.)

Congratulations! Enjoy the satisfaction of seeing your static models (which took you so much time to build) do a 2 second, elegant jump ;)

P.S: I renamed the skaters as ballerinas since they don't really look like skaters. No skates! It was tough to accommodate skates in that tiny space. You can plan better to have a bigger circumference/ smaller models to do that. Also, I am lousy at building models I guess.

P.P.S.: You can adjust the speed of the turntable to make it look like the skater's moving backwards/ forward while jumping

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3D Zoetrope: A zoetrope is a device that produces the illusion of motion from a rapid succession of static pictures (Wikipedia) And a 3D zoetrope is the same except it uses static sculptures and models instead of pictures. Here's a simple zoetrope I made t...

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Zoetrope history is an animated vintage toy that was originally developed in 1830s. The Zoetrope has more recently been a major feature in the film, "The Woman In Black" starring Daniel Radcliffe.

This is a modern replica of a traditional Zoetrope. A zoetrope is a device that produces the illusion of motion from a rapid succession of static pictures.
The zoetrope consists of a cylinder with slits cut vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion.

Just insert an animation strip, spin the drum and look through the slots. The pictures instantly spring to life! Horses gallop, dolphins fly, frogs jump and more!

Change the 18 included picture strips at will. Then, try sketching on the six included Draw-Your-Own strips. Anyone can be an animator!

The zoetrope, a device that creates the illusion of motion through a series of static images, has a fascinating history that spans centuries and continents.

The Zoetrope: A Journey Through Time

Ancient Roots

The principles of the zoetrope date back to around 180 AD in China, where the inventor Ting Huan created an early version called the "chao hua chich kuan" (the pipe which makes fantasies appear). This device used a series of mirrors and candlelight to give the illusion of moving images.

19th Century Revival

The modern zoetrope, as we know it, was developed independently in the 19th century by several inventors. In 1833, the Belgian physicist Joseph Plateau introduced the "phenakistiscope," a device that created a fluid illusion of motion when spun in front of a mirror. Simultaneously, the Austrian Simon von Stampfer invented the "stroboscope," based on similar principles.

The Zoetrope's Debut

The term "zoetrope" was coined in 1866 by American inventor William Lincoln, who patented this version of the device. The name, derived from the Greek words "zoe" (life) and "tropos" (turn), aptly describes its function. Lincoln's zoetrope consisted of a spinning cylinder with vertical slits on the sides. Inside, a series of pictures on a strip were arranged in such a way that, when viewed through the slits at the right speed, the pictures appeared to be moving.

Cultural Impact

The zoetrope was not just a scientific marvel but also a popular Victorian entertainment. It brought the magic of motion pictures into homes, amusing and astonishing people of all ages. Its principle laid the groundwork for the development of later motion picture devices like the praxinoscope and ultimately the modern cinema.

The Zoetrope in Modern Times

Today, the zoetrope is celebrated more for its historical significance than its entertainment value. It's a crucial artifact in the history of film and animation, demonstrating the early human fascination with depicting motion. Modern adaptations have seen the zoetrope transformed into large-scale sculptures and even 3D versions, showcasing its timeless appeal and the enduring human quest to capture the essence of movement.

Eadweard Muybridge and His Impact on Motion Picture Technology

Early Life and Career

Eadweard Muybridge, born in England in 1830, began his career as a photographer, particularly known for his landscapes and architectural studies. However, his most influential work would come in the realm of motion studies.

Pioneering Motion Studies

Muybridge is best known for his groundbreaking work in photographic studies of motion. In the late 1870s, he was commissioned by Leland Stanford, a former governor of California and race-horse owner, to prove that there was a moment in a horse's gallop when all four hooves were off the ground. Muybridge's experiments went beyond answering this question and opened a new chapter in understanding dynamic motion.

Zoopraxiscope - The Bridge to the Zoetrope

Building upon the principles of the zoetrope, Muybridge developed the zoopraxiscope in 1879. This device projected a series of individual images on a rotating glass disk, creating the illusion of motion. The zoopraxiscope can be seen as a direct ancestor of the motion picture projector. The images used in the zoopraxiscope were often based on Muybridge's own photographic sequences, capturing various forms of motion in humans and animals.

Legacy and Influence

Muybridge's work had a profound impact on the development of motion pictures. His techniques of capturing motion predated the film camera and directly influenced the work of inventors like Thomas Edison and the Lumière brothers. Furthermore, his motion studies have had a lasting impact in the fields of art and science, influencing artists, biomechanists, and others.

The Zoetrope and Muybridge

While Muybridge's zoopraxiscope was a separate invention, it shared the zoetrope's fundamental principle of creating the illusion of motion through sequential images. His work represented a significant step in the evolution from simple motion devices like the zoetrope to the complex world of cinema.

Incorporating Muybridge into the history of the zoetrope highlights the trajectory of motion picture technology, from simple animation devices to the birth of cinema. His contributions provide a deeper context for understanding the significance of these early inventions.

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Zoetrope history is an animated vintage toy that was originally developed in 1830s. The Zoetrope has more recently been a major feature in the film, "The Woman In Black" starring Daniel Radcliffe. This is a modern replica of a traditional Zoetrope. A zoetrope is a device that produces the illusion of motion from a rapid succession of static pictures.

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Thinking bout using these free character rigs from websites in my Zoetrope animation test ( "This rig was created for the purpose of study, practice, animation challenges and communal content creation projects. Have fun!

All right reserved.

NOT ALLOWED TO USE IN ANY COMMERCIAL WORK" Said the owner)

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Information and detail : How a Pixar animator uses 2D workshop

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Information and detail : How a Pixar animator uses 2D workshop

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Creativity for a better world. We are a creative community and global not-for-profit organisation who believe that creative thinking and innovation can make positive change.

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Children look to their parents or carers to judge how to deal with a crisis.

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This week I got all? of my topics and planing everything out (jk still waiting for a brief from P'Panda so I can decide with my partner)

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In a workshop I attended with Mr. Peter, he gave us an exercise to develop a short story in groups. After pitching our ideas, he pointed out that 90% of our animation ideas featured human characters, and he compared this to the animation industry, where more than half of the characters are non-human. This made me think about why we use animation to tell stories rather than filming with actors, and I applied that idea to my project, focusing on what animation can do that live-action films can't.

Especially with my topic about mental health, which can be sensitive and potentially triggering for some viewers, I realized that telling the story directly might not always be the best approach. Reflecting on what Mr. Peter said about using non-human characters, I see how animal characters can help navigate this challenge. They allow me to convey the same message, but in a more subtle and less confrontational way, which might make it easier for the audience to connect without feeling overwhelmed.

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quotes from books : The Boy, the mole, the fox and the Morse by Charlie Mackery

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quotes from books : The Boy, the mole, the fox and the Morse by Charlie Mackery

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Helen Craig - Illustrator of Angelina Ballerina

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Discover the inspiration for the beloved dancing mouse. Learn how to draw Angelina Ballerina and what it takes to create a storybook.

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BACKGROUND WORKSHOP FOR ILLUSTRATION AND ANIMATION (SUIC DCD)

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BACKGROUND WORKSHOP FOR ILLUSTRATION AND ANIMATION (SUIC DCD)

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Animate Projects - Animate champions experiments in animation

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Three animated films. Three Derby gardens. Our PLANTING programme commissioned artists Simon Hamlyn, Lewis Heriz, and Karen Okpoti, to make short, animated films that explore our relationship to nature – cultivation, community, environment, and place - in response to the work of three Derby ‘gardens’ - Derby Arboretum (Britain’s first public park), Hannah Fields community

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What I have to do

Case study about beauty standard in TH

Symbolism Design / Metaphor

Research about insecurity

Research about surrealism art and ethereal make-up style

Plan

Week 4: Research and Data Collection

Week 5: Sketch make up design (Tea)

Week 6: Install the piece of art

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T his is particularly evident in East Asian culture where the Chinese zodiac and lunar calendars are often regarded as integral guides for determining an individual's family background, future prosperity and even telling of their individual character. Folklore throughout Asia has long held the rabbit as a symbol of rebirth that is commonly taken to represent the moon. Following the lunar calendar, the yearly Mid-Autumn festival brings about stories of the Moon Goddess and her steadfast companion, the noble Moon Rabbit. As such, the small white hare makes its way into many East Asian artworks from carvings dating back to dynastic times to 20th century paintings.

The prolific Taiwanese sculptor Huang Tu-shui, whose woodcarvings single-handedly advanced the fine arts landscape in his home country, is heralded for his prodigious ability to create remarkable depictions of animals and deities through a distinct, naturalistic realism style. Growing up in the commercial hub of what is today's Taipei Railway Station, Huang's youth was undoubtedly shaped by his proximity to the area's abundance of temples and shops selling wares adorned with religious iconography including folk carvings and Buddhist statues. At the peak of his professional artistic career, one of his most notable works included "Rabbit", a highly praised bronze creation recognized for its skillful portrayal of the animal's innately peaceful nature and sense of movement.

On the other side of the world, nearly 30 years after Huang's passing, Barry Flanagan, one of Britain's most iconic sculptors was also quite taken by the rich history of animals in cultural folklore. In his later works, the Welsh sculptor focused solely on the hare, inspired by the George Ewart Evans book, The Leaping Hare. The 1972 book was a delightfully comprehensive anthropological study of the wild hare, compiling all historical fact and neglected country lore. It unwittingly became a recurring source of inspiration for a majority of Flanagan's later works.

Imaginative and entertaining, Flanagan's bronze hares tower but do not intimidate. The sculptor's bohemian flair drew from an adolescence raised by a family of traveling performers and a deep appreciation for literature which informed his inquisitive approach to the notion of conventions: what makes something what it is.

"The hare is a rich and expressive form that can carry the conventions of the cartoon and the attributes of the human into the animal world," Flanagan said. "So I use the hare as a vehicle to entertain. I abstract from the human figure, choosing the hare to behave as a human occasionally." (Enrique Juncosa, Barry Flanagan Sculpture 1965-2005, Irish Museum of Modern Art, Dublin, 2006, p. 65).

Unlike the austere and abstract nature of his contemporaries in the Minimalist movement, Flanagan was favored for incorporating the element of play into his works, giving his bronze hares a scale which is humorously subverted by a very humanistic pose or stance.

From iconic Balloon Rabbit of Jeff Koons to the demure depictions of white hares in imperial Chinese motifs, rabbits and hares have inspired centuries of art. These small, unassuming creatures take on a great range of meaning across different cultures, from vitality and fertility to longevity and cleverness, and their long history of symbolism in both Eastern and Western art cannot be understated.

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Moon Rabbits, Leaping Hares, and Emblems of Rebirth in Art

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As with many depictions of animals in art, the motif of rabbits and hares has a long history rooted in religion and folklore. In both Eastern and Western art history, the rabbit or hare often represents much more than a simple depiction of the animal.

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पता ही नहीं था की Christmas पे ये सब होता है #merrychristmas

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Perfectionism, acne and appearance concerns

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Perfectionism, acne and appearance concerns

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The Role of Beauty Standards in K-Pop Explained

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Uncover the influence of beauty standards in K-Pop

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Ariana Grande Opened Up About Using Botox & Fillers to “Hide Herself”

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“If we are sitting here talking about beauty secrets, f*ck it; let’s lay it all out there.”

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Toxic beauty standards on social media: The stats

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1 in 2 girls say toxic beauty advice on social media causes low self-esteem. Read the latest stats about the impact of toxic beauty standards online.

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Evidence shows that beauty standards can affect individual mental health. Social media, television, and film can all portray unrealistic beauty standards and create pressure for people to look a certain way.

Beauty standards in society tell people how they "should" look. However, with the inundation of media in today's society, there is more pressure for people, especially young females, to look a certain way and have a specific body type.

This pressure can affect the mental health of individuals. It can lead to an increased risk of low self-esteem, negative body image, eating disorders, and depression.

This article explains how beauty standards can affect mental health. It also discusses how beauty standards can lead to mental health conditions and how people can cope with these effects.

Body image concerns are a growing issue globally. With an inundation of images via social media and television, the mental health of individuals, especially females and young people, is an issue that is on the rise.

Young females are more likely to experience body image issues because females in the United States often feel pressure to measure up to unrealistic beauty standards that are placed on them by society and culture.

A meta-analysis from 2008 showed that exposure to thin-ideal body types through the media is directly related to body image concerns among females.

These body image issues can also contribute to various mental health issues, including:

eating disorders

depression

anxiety

self-esteem issues

social isolation

What are beauty standards?

Beauty standards are the ideals and perceptions of beauty that society and culture place on people. They determine what is considered "beautiful" and can include height and weight, facial proportions, and body shape.

Research notes that these standards may contribute to the growing body image issues for various reasons. This includes that in the U.S. females are exposed to messages about how they should look from the moment they are born. Teens and young girls are also more likely to be given praise for how they look rather than for their actions or thoughts.

They are also constantly shown images through the media of unrealistic standards. Many of the images have been altered using technology, causing these young females to strive for body ideals and beauty that do not actually exist.
Read about social media and mental health.
The pressure of societal beauty standards can lead to the exacerbation or development of various mental health conditions.

Low self-esteem

According to the 2017 Dove Self-Esteem Project survey, 54% of females ages 10-17 globally have low to medium body esteem.

Research from 2019 found that 10-30% of males feel dissatisfied with their bodies, with 69% of male adolescents feeling dissatisfied with their bodies due to their weight.

Body dissatisfaction can lead to poorer quality of life and psychological distress. It can also increase the risk of unhealthy eating habits and eating disorders.

Negative body image, or body dissatisfaction, can also lead to low self-esteem. This can affect various aspects of daily life. For example, an individual may choose not to be around other people or constantly obsess about how much they exercise or eat.
Read more about self-esteem.
Eating disorders

Body image is a risk factor for various eating disorders. It is also part of the diagnostic criteria for both anorexia nervosa and bulimia nervosa.

The Dove Self-Esteem Project survey of 2017 found that globally 5 in 10 young females have put their health at risk by not eating or not going to the doctor. Among those who already experience a low body image, 8 in 10 have put their health at risk in these ways.

Body dissatisfaction can also increase a person's risk for disordered eating and other harmful behaviors to change their appearance. This may include:

restrictive eating

steroid use

using diet pills

exercising excessively

Learn more about eating disorders.
Depression

Research has shown a strong association between body image dissatisfaction and symptoms of depression. According to research from 2020, this is especially true among young females who have overweight or obesity.

Other research from 2017 found that adolescents with body image dissatisfaction were 3.7 times more likely to experience and report depressive symptoms.

Anxiety

Research from 2017 noted that body image dissatisfaction has strong links to symptoms of anxiety disorders in adolescents. The research showed that higher baseline levels of body image dissatisfaction were directly related to higher initial symptoms of anxiety disorders, such as:

Some people experience excessive concern about the way others perceive their bodies. These concerns about how others may judge them based on their weight, height, or body shape can cause embarrassment, worry, and shame. Some may refer to this as social physique anxiety.

Social isolation

The 2017 Dove Self-Esteem Project notes that 6 in 10 young females globally have chosen not to attend social engagement or be assertive in their opinions because of their self-esteem. Among those with low body esteem, these numbers were 8 in 10.

The survey also found that 4 in 10 young females have opted not to participate in sports or extra-curricular activities because they are not comfortable with the way their bodies look.

As females age, their body image dissatisfaction can also affect their ability to be intimate with their partner. Body dissatisfaction can, therefore, affect all aspects of a person's life.

Individuals, especially females, in the U.S. are exposed to societal beauty standards from the moment they are infants, throughout childhood, and into adulthood. This exposure can occur in a number of different ways.

Social media

Over the last decade or so the use of social media has grown. This is especially true among teenagers and young adults.

This has led to an increased comparison to other people's bodies, higher levels of body dissatisfaction, and a higher drive for thinness among these groups.

A survey among teenagers in the United Kingdom found that 40% of them reported that social media images resulted in them worrying about their own bodies.

Parents and caregivers

Parents and caregivers can have influence over children and their mental health in various ways.

According to the Office on Women's Health, children who grow up with parents or caregivers who are constantly worried about their own weight or their child's weight may be more likely to grow up to have a negative body image.

There are various ways a person can help themselves to cope with the mental health effects of beauty standards. These include:

avoiding or deleting social media apps that cause distress over one's image

being mindful about the images one sees online or in the media and how they make one feel when they look at them

modeling positive self-talk by treating oneself kindly

being aware of the language one uses among peers and friends and the effects it can have

speaking to a healthcare or mental health professional if the mental health effects of beauty standards begin to affect day-to-day life

Societal beauty standards can put a lot of pressure on individuals to look a certain way or have a specific body shape. The influence of these standards can affect a person's mental health in various ways.

Beauty standards can increase the risk of eating disorders, anxiety, depression, and social isolation. This is especially true among young females.

Limiting time on social media and speaking with a mental health professional can help individuals cope with the mental health effects of societal beauty standards.

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Beauty standards and mental health: The connection and more

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Beauty standards can have many different effects on a person's mental health. Learn more about these effects and how to cope here.

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In our new beauty column Standard Issues, beauty reporter Jessica DeFino digs up the capitalist, colonialist, patriarchal foundation of the industry.

Welcome to "Standard Issues," an op-ed column in which beauty reporter Jessica DeFino digs up the capitalist, colonialist, patriarchal foundation of the beauty industry - and attempts to rebuild something better.
Hello, my name is Jessica DeFino, and I'm a beauty reporter out to destroy the beauty industry.

Okay, fine, maybe that's taking it a tad too far. But I would like to destroy beauty standards, a feat I'll be attempting with "Standard Issues," my new monthly column for Teen Vogue.

In my opinion, beauty standards are the gnarled and rotten roots of all that's wrong with the industry and perhaps the world. They are tools of oppression that reinforce sexism, racism, colorism, classism, ableism, ageism, and gender norms. They are built into our societies and embedded into our brains. They contribute to anxiety, depression, dysmorphia, eating disorders, self-harm, and low self-esteem. Even the oxymoronic term "beauty standards" sets me off. I mean, imagine trying to contain a concept as immeasurable and incorporeal and emotional and energetic and evolving as beauty within one set standard? Why? For what reason? To serve whom?

Before I can answer those questions, I have to define "beauty standards" for the purposes of this column. Beauty standards are the individual qualifications women are expected to meet in order to embody the " feminine beauty ideal" and thus, succeed personally and professionally. (The terms "women" and "feminine" are used here because the beauty industry was deliberately built on the binary - a foundation that props up the patriarchy and negatively impacts women, men, and nonbinary people alike. But that's a story for another column.) These qualifications are clearly and constantly communicated to us through film, television, literature, magazines, the school system, the medical system, politics, personal relationships, social media, the law, and advertising. It feels akin to brainwashing: Psychologists have argued that it may be all but impossible to separate what we inherently and individually find beautiful from what society tells us is beautiful.

Both beauty standards and the feminine beauty ideal are moving targets. They change over time and from culture to culture. However, thanks to Western colonialism (more on that in just a minute!), Eurocentric beauty standards have essentially become global beauty standards. "Through my research in Africa, I have interviewed those who are cosmetics dealers and they say Africa and Asia follow the movements of the West," Amira Adawe, founder of the nonprofit organization The Beautywell Project, tells Teen Vogue. "What we are now seeing [in beauty trends in America], in three years, will reach Africa and Asia."

Western beauty standards are the products of a capitalist, colonialist, patriarchal, white supremacist society, contrived to keep us consuming and consumed.

"There is no legitimate historical or biological justification for the beauty myth," Naomi Wolf writes in The Beauty Myth: How Images of Beauty Are Used Against Women. She notes that anthropologists haven't found proof of the theory that today's ideals stemmed from the evolutionary process of mate selection. Dr. Hannah McCann, a cultural studies lecturer at the University of Melbourne, agrees: "To suggest that there are universal ideals of beauty that transcend culture ... completely fails to comprehend the way that ideals of beauty have been constructed in order to be sold," she writes.

Of course, the general concept of beauty has existed for centuries - but early on, beauty seemingly had less to do with the surface and more to do with the soul. In History of Aesthetics, author Władysław Tatarkiewicz explores the Greco-Romans idea of beauty being related to the divine and the good. There was a spiritual quality to ancient Egyptian beauty too. Makeup was a form of adornment, used to emulate and communicate with the gods.

The connection between beauty and spirituality took a more prescriptive turn in the Middle Ages with the rise of Christianity in Europe. "Now [women] were exhorted to appear pure and virginal, forever young," writes Mark Tungate in Branded Beauty: How Marketing Changed the Way We Look. Light features, like blonde hair, blue eyes, and fair skin, were believed to be physical manifestations of "the light of God." Starting around the 15th century, "colonizers went to Africa, Asia, and Latin America and introduced the idea that whiteness is good, that nothing is better than white," Adawe says. "If you were white, you had better economic well-being, you had good employment and education attainment."

Skin tone has long had class connotations. In early Egyptian, Greek, and Roman societies, lighter skin was associated with belonging to a higher class, because "a woman with fair skin clearly led a very different life to that of the bronzed laborer," Tungate writes - but colonialism took this concept and applied it across races.

"It was the same ideology during slavery in the United States," Adawe says. "Those with darker skin were working in the field outside. Those with lighter skin were favored, they worked in the homes. Those with lighter skin were considered beautiful, and that is still an ongoing thing within cultures and within groups." She says that even when the colonizers left the U.S., even when slavery was abolished, the standard remained. "The colonizers left, but they left a legacy: the legacy of whiteness. It's an ongoing colonization of the mindset."

The colonizer mindset persists today. It's reflected on the faces in the pages of fashion magazines, which, up until recently, were almost exclusively white. It's there in every foundation range that features 10 choices for white women but only two for Black women; a still-too-common occurrence, despite the industry's newfound focus on more inclusive shade selections. It's built into the cosmetics corporations that continue to sell skin lightening creams in Asia - albeit, skin lightening creams that, in response to recent backlash, now have less overtly racist product names.

In this way, colonialism gave capitalism a brilliant business model to follow: It illustrated just how easy it is to profit off of deep-seated insecurities stemming from a lifetime of being treated as less than. And so throughout history capitalism has sowed the seeds of insecurity in all of us. Much of what we believe to be true about our bodies is nothing more than marketing, made up by beauty brands to make a buck.

In the book War Paint, author Lindy Woodhead documents cosmetics entrepreneur Helena Rubenstein's career, writing, "She was the first beauty specialist to classify skin as 'dry,' 'normal,' and 'oily'" in the early 1900s, and used those classifications to sell her face cream, Valaze. It was then that women began to feel the normal functions of their skin (the formation of wrinkles and blemishes, the production of oil, the existence of dead skin cells) were somehow wrong, "and that buying creams would put it right."

Similarly, today's typical hair-care regimen was not prescribed by health experts but -surprise! - a marketer. When Eugène Schueller, the creator of L'Oréal, introduced the brand's shampoo in 1938, he also introduced a new standard: "There are 43 million people in France," he said at the time, according to Tungate. "Let's imagine that those 43 million people washed their hair once a week. We would sell 20 times the number of units that we sell at the moment."

Schueller summed up his marketing approach: "Tell people they're disgusting, they don't smell good, and they're not attractive." Just, you know, subtly. Psychological manipulation is the foundation upon which beauty marketing is built. This method isn't only ideal for selling products; it's also ideal for maintaining the patriarchy.

"Women are mere 'beauties' in men's culture so that culture can be kept male," Wolf writes in The Beauty Myth. She argues that modern beauty standards were used as "political weapon[s] against women's advancement" in "a violent backlash against feminism," and draws a parallel between the feminist movements of the 1960s and '70s and the era's increased policing of women's looks. Feminists were stereotyped as "ugly" in an effort to undermine their message. The number of diet-related articles in women's magazines rose 70 percent from 1968 to 1972. In 1975, Xerox withdrew a job offer based on a woman's weight. Throughout the '60s and '70s courts consistently upheld the right of employers to enforce appearance-based policies on female employees. Politically, psychologically, and legally, the message was clear: Women were only as valuable as they were beautiful, both in the world and in the workplace.

"Beauty work" became the silent second job of working women everywhere - but while aesthetic enhancement advanced their careers in some ways, it held them back in others. "We don't consider the gender gap in time and money spent on beauty," Renee Ebgeln, Ph.D., a professor of psychology, muses in her book Beauty Sick. "But time and money matter. They're essential sources of power and influence and also major sources of freedom."

The beauty industry reacted to this by rebranding the pursuit of beauty as a form of personal empowerment. Take L'Oréal's famous "Because I'm worth it" slogan, said to be penned by a male copywriter in 1973. "It was the ideal sentiment for a period when women were demanding greater equality," Tungate writes. It marked a major shift in industry marketing: the shift from having to perform beauty for others to wanting to perform beauty for oneself. As Ebgeln puts it, "We've gone from a culture that reminds you that your body is being looked at to you being the most consistent surveyor of your own body." Or, as writer Glennon Doyle puts it, "A very effective way to control women is to convince women to control themselves."

This message of "self-empowerment" continues to evolve alongside the feminist movement today - but empowerment marketing still plants and preys upon insecurities. (Corporations can only "empower" consumers with products if consumers are disempowered in the first place.) Perhaps the best example of this is Dove's 2004 Campaign For Real Beauty, which featured real women instead of models. Over the years, the ongoing series has been praised by beauty media and consumers alike for rebelling against beauty standards ... and yet, Tungate says, the product tied to the initial ad was a skin-firming cream that claimed to reduce the appearance of cellulite.

Cellulite, it must be said, is natural and normal, and getting rid of it is nearly impossible. This is true of most of the things we have been conditioned to change on our bodies. We try to lighten our skin or darken our skin. We alter our hair color and hair texture. We attempt to slow, stop, and reverse aging. We remove fat from our stomachs and arms and add it to our breasts and butts. We remove hair from our legs and our armpits; we glue it to our eyelashes and tattoo it onto our brow bones.

The things we idealize are physical impossibilities, so the time-and money-consuming pursuit of them never ends and that is all on purpose.

"The bottom line is always to sell products," Phyllis Ellis, the documentarian behind 2018's Toxic Beauty, tells Teen Vogue. "If we think the beauty industry is about anything else, that's a mistake. But I'm sensitive and aware about the beauty-shaming part of this. It's not about making people feel bad because they wear mascara. What I'm interested in is leaning into the why."

The why is what I'll be exploring each month in "Standard Issues," a space dedicated to unearthing and ripping up the rotten roots of the beauty industry - and rebuilding something better.

An industry that doesn't prey on insecurities while peddling empowerment.

A definition of beauty that isn't conveniently identical to the patriarchy's definition.

A world where it doesn't take the cold-blooded killing of Black women and men for Black beauty brands to make headlines.

I believe the work of subverting beauty standards is the work of liberation, equality, and wellness. It is self-care and community-care. It is spiritual. It is political. It is essential. Because when beauty standards change, the world does too.

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How White Supremacy and Capitalism Influence Beauty Standards

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In our new beauty column Standard Issues, beauty reporter Jessica DeFino digs up the capitalist, colonialist, patriarchal foundation of the industry. Welcome to "Standard Issues," an op-ed column in which beauty reporter Jessica DeFino digs up the capitalist, colonialist, patriarchal foundation of the beauty industry - and attempts to rebuild something better.

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Capitalism and Femininity: "you wear makeup? that's not very socialist of you"

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Capitalism and Femininity: "you wear makeup? that's not very socialist of you"

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cosmetic companies make money on the low self-esteem of women that is manufactured by themselves - Represented by MEAL - The capitalism is one factor for people to consume product and service out of their insecurities and this cycle keep looping in our society

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Beauty Standards and Capitalism - We Need To Talk

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The standard of beauty is produced by patriarchy and capitalism. The more difficult it is to reach this standard, the better for these two, because then we feel insecure with our appearance, we develop low self-esteem, submitting ourselves to aesthetic procedures as well as excessive and unnecessary consumption of a series of products. A conclusion that is practically instantaneous would be the description of the aesthetic qualities currently understood and extolled as beautiful, explained by the physical attributes of individuals considered beautiful by society in general, constantly conveyed by the media.

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The beauty industry will never let us love ourselves, despite its promises. But self-love was never a worthy goal anyway.

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1. Introduction

Theme: The story revolves around the emotional impact of childhood trauma, focusing on feelings of exclusion and social isolation. This is particularly relevant in school environments, where children often face challenges that seem small to adults but can have lasting effects on their mental and emotional well-being.

Setting: The narrative takes place in a primary school, a significant social institution for children alongside their family. This environment is where the protagonist feels unaccepted and isolated.

Problem: Many adults, especially parents, tend to overlook the significance of these early experiences, considering them minor issues when they may be formative for a child.

2. Protagonist and Metaphor

Character Design: The protagonist is an elephant, symbolizing the idiom "the elephant in the room." This elephant represents the feelings of awkwardness and discomfort when a problem is present but ignored by others.

Symbolism: As the elephant enters a room, everyone stops what they're doing, but no one acknowledges the elephant’s presence, highlighting the feeling of being noticed but not understood or accepted.

Metaphor for Trauma: The elephant represents children who, like the protagonist, feel like an unacknowledged presence in social settings. This can happen due to experiences like bullying, rejection, or feelings of inadequacy in front of peers.

3. Conflict

Focus: The central issue the protagonist faces is the anxiety surrounding a common school event: class presentations. This scenario reflects the broader theme of exclusion, as the child feels immense pressure while standing in front of peers.

Emotional Parallel: Presenting in front of the class is used as a metaphor for being stared at and judged, similar to an animal in a circus, where classmates' giggles and stares feel like mockery, reducing the protagonist to a mere performer in their eyes.

Internal Struggle: The story dives into the protagonist's inner turmoil—feeling vulnerable, scared, and inadequate, all while trying to navigate this social challenge in an environment that should be nurturing but often isn’t.

4. Resolution

Message to Parents and Adults: Through the protagonist’s experiences, the story aims to send a message to adults, especially parents, about the importance of acknowledging and addressing the emotional struggles children face in school environments. The "elephant in the room" becomes a poignant symbol of unspoken childhood pain.

Potential Conclusion: The protagonist may either overcome their fear or face deeper isolation, depending on the direction of the story. However, the core message remains about the importance of empathy and support for children facing trauma in social institutions.

5. Themes

Childhood Trauma and Exclusion: How being overlooked by society, especially within schools, can cause deep emotional scars that persist into adulthood.

Society’s Blind Spot: Adults often dismiss these experiences as trivial, failing to recognize the long-term impact on a child’s self-worth and social development.

Performance Anxiety: The class presentation scenario serves as a metaphor for the anxiety of being judged and ridiculed, a feeling many people relate to from their school days.

This structure highlights the metaphorical and emotional depth of the story while focusing on the protagonist’s struggle to belong in a setting that continually overlooks their pain.

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Research on case study of teacher and kids: Mr Sosaku Kobayashi, The principal of Totto's new school, he's a good example of the adult who priorities kids' mental health and feelings. There's a scene that he complained to a teacher in the school after she made fun of a kid in class about his appearance and it made the whole class jokes about that, the principal said he tried his best to never make students in this school feel left out

Mr. Sosaku Kobayashi from Totto-chan: The Little Girl at the Window serves as an ideal example of an adult who prioritizes children's emotional well-being. His philosophy and actions could inspire elements of my story by showing the contrast between an empathetic educator and one who ignores the emotional struggles of their students. In Totto-chan, Mr. Kobayashi’s commitment to never allowing children to feel left out and always protecting their dignity with the core message of my story; the need for understanding and empathy in education to prevent trauma and exclusion.

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Circus clown is a performer which works in the circus and uses physical humor to entertain the audience. They often wear colorful clothing, makeup, wigs and exaggerated footwear. World clown comes from the Icelandic word " klunni" which means " a clumsy person ".

The first known clowns date from the time of the Fifth dynasty of Egypt, around 2400 BC. Later civilizations also knew about clowns. Early clowns were also priests and their roles were almost indivisible. Clowns of ancient Greece were bald and wore padded clothes to appear larger. Ancient Roman clowns wore pointed hats and were the butts of the jokes. Italian commedia dell'arte of the 16th century introduced masked characters Arlecchino (Harlequin) and Pierrot (Pirouette).

In time some standard types of clowns developed:

Whiteface clown was originally designed by Joseph Grimaldi in 1801. It has its face and neck covered with white makeup, mouth painted in a grin, and black eyebrows. His clothes are extravagant and he is a sophisticated character. He has the highest status in the clown hierarchy.

Auguste has his face painted in pink, red, or tan. His mouth and eyes are painted white and his lips and eyebrows are black. His clothes can be well-fitted or completely opposite. His character is that of an anarchist, a joker, or a fool.

The character clowns are parodies of different types like a butcher, a baker, a policeman, a housewife or a hobo. Standard subtypes of this type developed in North America are The Hobo, The Tramp, and The Bum. The Hobo travels and has no luck but has a positive attitude. The Tramp is the same but without positive attitude and always sad.

Some of famous clowns from the history are still remembered:

Joseph Grimaldi was an English artist who practically invented the modern clown. After him, even today clowns are called "Joey".

Matthew Sully was the first circus clown in the United States. He performed in Ricketts's circus and was a Harlequin, tumbler and a singer.

John Durang was the first "American-born" circus clown. He also performed in Ricketts's circus.

Jean Baptiste Casmiere Breschard brough back circus clowns into Untited States in 1804 after a dry spell when no circuses worked.

Joe Pentland was an early modern clown which had a sketch in which he would appear at the circus as a drunken sailor and offered to ride a horse. After a few failures, falls and laughter from the audience he would strip into his leotard and start riding with a skill.

Clowns , as all artists, have their own slang:

Clown Alley : a part of a backstage where clowns dress and where they hold their props.

Boss Clown : a clown reposible for leading the other clowns.

Charivari : a type of acrobatic clown routine.

Carpet Clown : a clown who starts his act from the audience for a better comedic effect.

First of May : a name for a novice performer without previous experience.

Truper : a name for a performer with a considerable experience - the one who has spent at least one full season with the circus - a seasoned veteran.

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Clowning - Circus Clowns History and Facts

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Circus clown is a performer which works in the circus and uses physical humor to entertain the audience. They often wear colorful clothing, makeup, wigs and exaggerated footwear. World clown comes from the Icelandic word " klunni" which means " a clumsy person ".

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Elephant in the room : The story "Elephant in the Room" explores the feeling of being excluded and unaccepted in society, with a focus on childhood trauma. It emphasizes how important it is for children to feel a sense of belonging in social environments, particularly in schools. The setting is a primary school, a stage where children primarily interact in two main places: their family and their school. For some, school can be a nightmare, especially when faced with trauma such as bullying, which many adults tend to overlook or consider insignificant. The story uses metaphor to highlight this sensitive issue, particularly for parents, by drawing on the idiom "an elephant in the room," representing a problem that is present but ignored, creating an uncomfortable and awkward atmosphere. The protagonist, designed as an elephant, embodies the feeling of being ignored when walking into a room where everyone stops what they’re doing but still fails to acknowledge them. The central conflict focuses on a common school experience: giving a class presentation. This scenario reflects the anxiety many children feel—being stared at, hearing giggles from classmates, and feeling like an animal in a circus, forced into the spotlight and made to entertain without being understood.

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Walt Disney’s Dumbo: A Myth of Modernity

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Dumbo is Walt Disney's myth of modernity, a film in which he uses a story about infant-mother separation as a vehicle for assimilating modern technology and management structure to the evolved mechanisms of the human mind. This paper considers

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Reflection: Both of the kids in this family facing different difficulties but resulted in quite a similar way which is loneliness and feel unloved

The adults play an important role in how Auggie and Via experience their struggles. Auggie’s parents are supportive and protective, especially his mom, who encourages him to attend school despite his fears. His dad also shows a lot of love, often using humor to lighten tough situations. Their support helps Auggie face the challenges of being bullied for his appearance. On the other hand, Via, Auggie's sister, often feels neglected. While her parents are focused on Auggie’s needs, Via quietly deals with her own struggles, feeling invisible and forgotten at times. Her journey is more about trying to find her place in a family where so much attention is directed toward her brother.

The adults show love and care, but their focus on Auggie sometimes leaves Via feeling left out, highlighting the impact that well-meaning but uneven attention can have on siblings in a family with a child who has special needs.