Jun 4th, 2012

areyoutryingtodeduceme:

So after I reblogged the gripe about using vague descriptors in writing (“the taller man said”, “the sandy haired woman laughed” etc) I got asked for examples of NOT using these things. So I grabbed a few books and I’ll show some pretty good passages that manage to…

I also like that in each of those paragraphs you notice that it’s perfectly okay that ‘said’ is used almost exclusively, no need to panic about an over use of said. I say that as much to myself as to anyone else.

Jun 3rd, 2012
Jun 3rd, 2012
Jun 3rd, 2012
kimononagoya:

A rental “full set” furisode available at Pure Santa. This design is from “KYOTO SWEET COLLECTION” 2012. 
Red with bamboo is basically THE traditional auspicious combination.
The kimono worn by the older (presumably mom) woman is an example of the disparity between unmarried (available!!) and married (not available :c) women in “kimono language”.
Note that the height of the obi on the furisode (red) is several cm higher than on the green houmongi. The obi itself is also wider, the bottom edge of the fold of the kimono is higher, and the collar is higher on her throat. These points are all consistent with the wearing of furisode vs. houmongi or tomesode, besides the terribly obvious “the sleeves are longer” and “the collar is lower in back” and “the obi is different”. These ‘small’ kitsuke points make a difference in the ‘language of kimono’ and are important tones to consider when dressing. 
Jun 3rd, 2012
Jun 3rd, 2012
milkywellsanctuary:

chainsawsavvy:

stickiemickie:

Always reblog. <3

what a precious baby!

omg what kind of bat is this?
Jun 3rd, 2012
What ever could I be up to? #fyeahpolarfleece (Taken with instagram)
Jun 2nd, 2012
Jun 2nd, 2012
welovepaintings:

Thomas KenningtonGreat Britain 1856-1916Homeless 1890oil on canvas170.0 x 152.0 cm
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Homeless, 1890, is one of a series of works in which Kennington depicts the plight of women and children who were impoverished or destitute. Subjects such as these gained popularity during the 1870s and 1880s, partly as a result of the increasing influence of illustrated journals, which regularly commisssioned artists to provide images of ‘real’ life.
In Homeless, the square-brush technique used by Kennington in painting the wet pavement and the river, and his focus on subtle tonal variations rather than on colour - as in the soft grey light illuminating this scene - were among the characteristics adapted by British artists from French sources at the time.
CultureVictoria
Jun 1st, 2012