interlocking shapes

Antique Persian Rug - circa 1970s / 64 x 41 / 192cm x 126cm This is a beautiful dark red worn Persian rug. It is a great size that works well for a medium area rug underneath a coffee table or in a wider hallway. It features 5 geometric medallions in its design and has intricate interlocking hook shapes along the boarder. The rug is a deep red color that will really ground a room. It has low pile and is hand knotted. No holes, light wear from age / use. This rug is from the 19… Interior Design Home

convincing [oberyn martell]**

summary: imagine being Sansa’s handmaiden but Oberyn Martell being in love with you and the two of you sneak around trying to see each other

requested by no one, just an idea i had, based off of ‘war of hearts’ by ruelle (loosely)


Originally posted by bisexualmindylahiri

The light swept over you in Sansa’s room while you waited for her to call you into her bathing room. Sansa had insisted on bathing herself, assured you that she would call you when she needed her dressing gowns, and so you waited patiently for her to finish. You sighed lightly, your fingers tracing over your arms where Oberyn had held you this morning. The two of you had been sneaking around the castle to see each other, for your fear that someone would find out that you were no longer pure. 

There was a light knock on Sansa’s door, and then a familiar voice rang through. “Lady Sansa?” In the other room, the water swirled. “May I borrow your handmaiden for a moment.” You rushed to the door and opened it, Oberyn’s sly smile greeting you while he stepped into the room. 

“Sansa is washing, it’s just me.” Oberyn’s hands immediately found your waist and he walked the two of you back until your back hit the bedpost. “Oberyn, not here.” You whispered, but his lips attached to yours, silencing your protest to his presence. A small moan was held back when he bit down on your lower lip, a single hand traveling to your bare back. His hands were rough, calloused, and they felt amazing against your supple skin. 

His lips moved over and he kissed the corner of your mouth and across your face to your jaw and then to your ear, down to your collarbone, a hand reaching up to cup your breast while he pressed his lower half into you, grinding against you harshly. Just as you were about to moan, the hand that was on your back clamped over your mouth, his lips moving up to your ear. “Now we can’t have her hearing us, little dove.” His teeth nibbled on your earlobe and then he trailed his lips down to the valley between your breasts, his hands following his suspected trail to your ankles so he could pull up your dress. 

Oberyn pulled the dress up over his head so he was right near your clit, his hands traveling up your thighs to the top of your folds before he massaged his fingers between your lips. Just to hold in a moan, you bit your lip, but couldn’t hold back the gasp when he entered two digits inside of you, pumping in and out slowly. Your eyes snapped open and you turned to the bathing room, making sure that the door was still closed. If Sansa caught you doing this with Oberyn, you would be done for in King’s Landing. Abruptly, you felt Oberyn’s tongue lapping at your folds, and you clamped your hand over your mouth to hold in the moan, his fingers moving faster and faster inside of you all the while.

His other hand went to work along with his tongue, rubbing you while he licked up all the juices from you, and then the knot in your stomach formed, traveling down quickly until it exploded at your clit onto Oberyn’s hand. He licked your thighs to clean up the excess and then removed himself from beneath the dress. You watched him lick his fingers and then he kissed you passionately, his hands back on your waist. “Y/N?” 

Oberyn looked to the bathing room where Sansa was calling you, and he pressed his lips to yours one more time before he walked back to the door. “You had better attend to your Lady, so I will bid you goodbye. King Joffrey requests Sansa’s presence in the Throne Room.” You smiled and walked to the bathing room. 

“I’m coming, Lady Sansa.” You opened the door and took hold of her dressing gowns, Sansa stepping out of the tub. 

“What did Oberyn Martell want?”

You swallowed thickly. “He um, he just wanted to tell me that King Joffrey has asked you to Throne Room.” 

Oberyn’s fingers trailed lightly up and down your arm, your head on his chest. The two of you lay naked tangled up in sheets, legs interlocked, your fingers tracing shapes on his broad chest. “Why did you choose me?” The words suddenly came out of your mouth, and you tilted your head up to look at Oberyn, who was utterly confused on why you would ask that. “You could have almost any lady in Westeros and yet you choose a handmaiden.”

He flipped you over so he was hovering above you, and he leaned down, pressing a long and passionate kiss to your lips. “Because you are enchanting.” He kissed one side of your neck, “Because you are sexy.” His mouth moved to kiss the bare spot between your breasts, “Because you are alluring.” His mouth molded over the nipple of your left breast and he ran his tongue over the hard nub and then pulled away, “Because you are bewtiching.” Oberyn bit down on your other nipple and dragged it through his teeth, a yelp eliciting from you, your hands immediately finding his hair, and then you felt the tip of him at your entrance, and he pushed in, his lips darting up to your ear while he pushed in again and again, “Because you are intoxicating.”

Only two hours later and Oberyn climbed out of bed, pulling his clothes on with him. You groaned and reached out, taking his hand. Oberyn glanced back down at you while you knealt on the bed and shuffled closer to him, your hands on his shoulders, your breasts pressing against his bare chest. “Please don’t leave yet.” He planted his hands on your waist and then moved them to your back, moving them down, down, until they rested on your ass, squeezing lightly and pulling you closer to him.

“I have to go, little dove. As much as I don’t want to leave you, I have to.” He kissed you again, and stepped away, walking to his door and leaving you alone. A small sigh escaped you and you climbed off of the bed, walking to the trunk at the end of his bed and pulling out a large white shirt. It fit perfectly, cutting off mid thigh just below your butt. You giggled a little and glanced in his mirror; if he saw you like this he wouldn’t be able to control himself. 

You grinned whole- heartedly and grabbed a book off the shelf, taking a seat on the patio and beginning to flip through the book. The pages blew in the wind, and soon you were enveloped in the pages, so much so that you didn’t hear the door open. The only indication you got was when you saw a flowing dress standing to the side of you. “What are you doing here?” You glanced up at the woman, Ellaria Sand.

Suddenly you felt out of place, like you didn’t belong there even though you knew very well that Oberyn wanted you to be there. You cleared your throat and closed the book, setting it down on the bench next to you, standing up. “I was under the impression that Oberyn wasn’t with you anymore.”

She scoffed and rolled her eyes. “He can’t get rid of me that easily. I came to see him, so do you know where he is?” You shook your head, your arms folding around yourself. She watched you for a moment, sizing you up almost, and you shifted uncomfortably under her gaze, pulling down on the shirt that felt so scandalous now. “He’ll leave you soon enough, don’t count on him to stay.” You were stunned, so much so that you didn’t know how to respond, and all you could do was watch her leave.

It took you a minute until you snapped out of it, and then you looked out over the patio, out over the seas, until the ocean met the sky, and you wished Oberyn was here. he would reassure you that Ellaria wasn’t in the picture anymore, that his promise to you was not broken, and he would tell you to stop doubting him, and even though you knew these things, you still felt hopeless.

You placed the third book you’d read back on the shelf when Oberyn walked in, a large grin on his face upon seeing you in his shirt. “Well you are a wonderful thing to come back to.” Oberyn wrapped his arm around your waist and pulled you into him, your hands finding his shoulders while he kissed your lips tenderly. He could immediately sense something was wrong, and he pulled away from you almost immediately. “What’s wrong?”

“Ellaria was here looking for you.” You pushed away from him and crossed your arms over your chest. Oberyn was stunned, and for a moment he remained still. 

“She came here first?” You scoffed and moved away from him, to your dress that was draped over a chair in front of his mirror. “Where are you going?” You slid out of his shirt and pulled your dress over yourself.

“I am still a handmaiden, Oberyn, Shae is attending to Lady Sansa until noon, and it is eleven thirty.” He slid across the room to you, not touching you this time. He knew that you were too hurt for his affections right now. 

“I didn’t mean it that way-”

“And how did you mean it, Oberyn?” 

This time he reached out and grabbed hold of your shoulders. “I told her not to come to my room any more because I didn’t want to be with her.” He stepped closer until the two of you were pressed together again. “Because I’m in love with you.” His fingers curled under your chin and lifted your head up, his lips molding over your own. “And I’ll shout it from the rooftops if that’s what it takes to convince you.” 

You shook your head, pecking his lips once more. “That’s too public, people will find out about us. Besides, I have to convince you that I believe you.” You pushed him to the bed, climbing over top of you, beginning to grind against him. 

Oberyn put his hands on your hips, his fingers digging into your hips. “I thought you had to be with Lady Sansa at noon.” You pulled up your dress and leaned down again, your lips on his neck, sucking softly. 

“We have time for a quickie.”

Every Breath We Breathe

I held you held me
spirit bodies entangled
interlocked in the shape of love
heart to heart to heart
connectivity forges invisible threads
fabric that weaves togetherness
bonds formed for eternity
you and you and I…
hold oceans and rivers and universes
in our palms
grow in love’s incantational garden
blooming on soulful vines
sing and dance and rejoice life
in celebratory psalms
music embodies our sacred language
eternity meets infinity meets destiny
pour me a night sky bristling with stars
let us drink love in every breath we breathe
inhale exhale inhale exhale beauty

FollowCB | Copyright 2017


MTV “Sex” from Lobo on Vimeo.

To raise awareness of the fact that 70% of women living with HIV were infected by partners who had extra-marital affairs, MTV commissioned an animated PSA that manages to be both titillating and disturbing. Written by Ícaro Dória and Guillermo Vega, now creative directors at W+K São Paulo, produced by Vetor Zero/Lobo and directed by Mateus de Paula Santos, the spot suggests an orgy perpetrated by a group of amorphous shapes that feature freakishly realistic lips, tongues, nipples and facial (or elsewhere’s) hair. After a series of close-ups of said shapes entwining, interlocking and generally going at it, set to a throbbing funk track, the camera pulls back to reveal the sybarites to be actually letters that spell the sentence: “I’ll be home late, honey. Still got a lot to do at work.” – a classic line in an adulterer’s repertoire. The final tagline then reads: No matter what you do, use protection.

Agency:Y&R NY
Production Company: Lobo / VetorZero
Executive Producer: Alberto Lopes & Sérgio Salles
Creative Directors: Mateus de Paula Santos
Creative Executive Producer: Loic François Marie Dubois
Modeling: Karla Ruoco
Rigging: Richard Maegaki
Animation: Franck Falgueyrac, Alexandre Martins, Jason Tadeu de Oliveira and Helio Takahashi
Texture: Olavo Chagas
Render: Franck Falgueyrac
Post-Production: Franck Falgueyrac / Fábio Acorsi
Sound Design: Paulo Beto
Regent: Paulo Beto

As someone expressed an interest in how I made the shelf in Little Prince’s vivarium I thought i’d share the process :)

A shelf is an excellent way of increasing the ‘floor’ space of a vivarium by making use of the wasted upper space. Most snakes like to hide in places that are off the ground as well as having a climbing opportunity. This is one way to build a removable shelf for small snake (i.e corn snake). Being removable makes it easier to clean or change things round. For a larger/heavier snake or a bigger shelf then I recommend a different, more substantial construction rather than this one.

This is a photo of a finished (upside down) shelf and two rails ready to be added to the viv. The shelf and rails have interlocking L shapes by glueing on smaller square dowels. A  supporting leg is glued on the front corner, if the shelf is long, another leg can be added midway along. For added interest for the snake, I’ve cut a climb through hole in the corner.

I’ve drilled a series of small holes along the shelf. These are done so that hides and other things can be secured to the shelf so the snake can’t push them off and hurt themselves or break the glass of the vivarium etc. Additionally tubes and other things can be attached to the underside of the shelf to create extra exploring fun. (The one downside of the holes is that if the snake poops on the shelf, it can get in the holes so make sure to have some pipe cleaners on hand to clean them out!)

Paint/ seal the wood. Measure the height of the rails and secure them to the sides of the viv with strong glue or nails/screws. It’s a good idea to seal the gap between the rail and viv with hot glue so if the snake poops on the shelf it can’t run down behind the rail where you can’t clean it.

Drop the shelf in and done!

Close up and diagram showing how the L shapes hold the shelf in place. There must be at least two rails, one on the back wall and one on the side wall, to hold the shelf in place.

Viv with finished shelf installed :D

Safety tips-

*Take care when using tools etc, particularly power tools.
*Make sure the wood and other things used in the construction are strong enough and won’t splinter, bend, snap or break with the weight of the hides and a snake lumping about on it.
*Some woods are toxic to snakes (the oil in pine wood is harmful and dust from chipboard is harmful to humans so safe to assume it’s not good for snake either). Some glues also contain chemicals that are present after it dry to preserve it. Make sure to coat or seal the wood/glue with non toxic paint or sealant.
*All edges/ corners should be smoothed with some sandpaper and if using screws or nails, make sure there are no protruding sharp edges or points the snake can hurt itself on.

Materials & tools-
Wood (piece for shelf, piece for rails and leg, piece of square dowel for edges)
Strong wood glue/ hot glue gun
Non toxic paint (i.e acrylic) or sealant
Paint brush
Hand saw or jigsaw
Drill (hand or electric)
Nails/ screws/ hammer/ screwdriver

necrofuturism  asked:

just a question about Indojisnen - I've seen it written in a linear fashion on the show - both horizontally and vertically - but would it make sense to assume it can also be written in a sort of hexagonal grid with the flat sides of the characters interlocking? I'm just imagining huge unbroken walls of near-indecipherable text here. It's a fascinating language and I'm so glad we're seeing more of it on the show! Love your work on both Defiance and Game of Thrones, it really is amazing!

This seems like a good question to offer a free hellbug for! So this post is a hellbug eligible post! If you would like a plush hellbug, please reblog this post by 5 pm ET next Thursday, when episode 208 of Defiance will air! For more details, see below!

So, Indojisnen. When I designed the script, I intended it to be an invented script—and, in fact, a post-digital invention. It’s something that only an Indogene could handwrite easily (it’s not intended to be handwritten by either humans or any other Votan), and it’s a script that, at least in my experience, is very hard to read—kind of like a barcode, except maybe not as hard. It’s possible, but only an Indogene could read it effortlessly (or, I don’t know, maybe a human could do it with practice?).

In designing the script, I fully intended there to be no space between glyphs or lines at all. In order to do that, I had to settle on a shape. Triangles and squares can interlock, but squares are borrowing, and triangles are both too small and too unpredictable (I imagine you’d either have to make glyphs that flipped upside down—so that each glyph had two forms—or you’d use a bunch of empty characters). The point was to have as little wasted space as possible (though, from a design standpoint, there’s still wasted space. A unique glyph for every word would be much more efficient, but difficult to manage). I settled on the hexagon for two reasons. First, I thought it would be fairly unique. Second, I had an idea for how syllables would work—with the consonant in the outer hex and vowel in the inner hex—that had been suggested to me by a sign I passed everyday to and from my house. It’s the logo of some commercial real estate developer, and it gave me the idea for the typical Indogene hex.

Anyway, to answer your question, yes: that is what intended. What I imagined was a full computer screen with nothing but hexes. It’d be nearly impossible to read for a human, but an Indogene would feel right at home. The key to making this work is that there are no spaces between words, but it’s always somewhat obvious where word boundaries are. In Indogene, a word can only end with -n, -t, -k or a vowel. That still leaves a lot of possibilities, since each glyph is a CV hex (thus if a word happens to end with a vowel, it’s hard to tell if it’s actually the end of the word or just another syllable), but the grammar of the language also helps, as do the phonological rules which cause words to simplify after the first two syllables. For example, the diphthongs ia, io, iu, ie, ua, ue, uo and ui can only occur in the first two syllables of a word. If they happen to occur anywhere else, they’re reduced to the second member of the pair. Thus if you read the sequence kamue, you know that one word has ended and another begun, because Indojisnen’s spelling system is regular and based on the actual sound of the word, not what it used to be.

The key to being able to read the system is this glyph:

lol Wow, that’s big. Anyway, this glyph tells you where a sentence/paragraph/page starts, and what direction to read in. This way you know if you’re reading left-to-right, right-to-left, top-to-bottom, bottom-to-top, etc. Once you know that, a sentence can be split at any point and moved around all over the place. So if you had a sentence like Hiprimbinggipsuhen, which means “I’m doing a bad job of pretending to get ready for bed” (I’m really the worst at that), you could write it like so…

Or like so…

Or like so…

But you can also break up the word at literally any point. There happen to be 13 glyphs in this phrase, so there isn’t a great way to break it up evenly, but here are some ideas:

Actually, I stacked those wrong (lines should be double thick), but you get the idea. Could also do something like this:

Pretty much whatever you can imagine. When we began, I let Kevin et al. know about this, and the art department really went to town with it. The Indogene building has interlocking hex shapes on the front of it (no writing, but as it was cast in plastic, that would’ve been too complex); Indogene skin is hex patterned; Indogene pupils are hex shaped; and you see the hex system used in various ways on signage. In designing the script, I was imagining creating interlocking concrete blocks like this:


So when I was designing the glyphs, I made sure that every line was connected. There couldn’t be, e.g., a floating dot in the middle of both hexes, or any shape where the inner hex wasn’t connected to the outer hex by at least one line, or you couldn’t make a concrete block out of it. I imagine that on Daribo, Indogene buildings use this type of thing in architecture all the time. If they had the equivalent of an important document (Magna Carta, Constitution, etc.), they could spell out the entire thing on the side of a building and have the glyphs themselves be the bricks that hold the structure together. You could have roadways that spell things out, bridges—you could have all sorts of fun.

Anyway, to address another question I got, on the Defiance Reporter Podcast I had Barry and Ben pronounce a long Indojisnen word: tavnibbarihatraflenenji. Ultimately, it translates to, “Would you be a guest on our show?”, but this is how it means what it means.

To begin with, we start off with the verb tasro, which means something like “to say” or “to tell”. A told thing (especially one part of a longer tale) is a tavnit. A collection of these is a tavnibbari. That’s the word I used for “show”. Since ordinary two people—Ben and Michelle—host the show, to say “our show”, you’d use the first person dual, which would be tavnibbarihat. Now remember when I mentioned those diphthongs that get ironed out after the first two syllables at the beginning of this post? Well what comes next is a suffix -ruaro, which is attached to a noun and means “to stay at” or “to remain at”. The thing that one stays at is what this suffix is attached to. So “to stay/remain at our show” would be tavnibbarihatraro, since the ua becomes a. But, of course, I wasn’t staying there: I was just visiting. That means you have to add the -fle suffix, to get tavnibbarihatraflero, which means “to visit our show”—or, in other words, “to be a guest on our show”. Next we have to conjugate this infinitive. To do so we have to turn this into a request for action. If you add the -ve suffix, it turns it into a simple yes/no question question (e.g. “Are you a guest on our show?”), but that’s not what’s going on here. In fact, this is a command, but a kind of polite command. First, then, we have to use the imperative form of the verb, which, in this case, is -nan, so tavnibbarihatraflenan is “Visit our show!” But that’s rather aggressive. So we add -chi on the end, which raises the vowel in -nan to e, and, since this is occurring outside of the first two syllables, the ch voices to j, and we get tavnibbarihatraflenenji: “Please visit our show.”

So that’s how that word breaks down. And this is mostly how Indojisnen works. It can work a number of ways (the grammar is extremely powerful and can do many things), but Indogenes like to use constructions that overtax a human’s (or other Votan’s) working memory since they have no problem with it. It allows them to have a bit of fun with learners and speak so that no one but an Indogene could understand them in real time.

That’s a bit about Indojisnen. Thanks for the ask! This language is a pain in the butt to use. If you have a lot of time on your hands, though, it can be quite fun!


And, again, if you would like to win a free hellbug, please reblog this post! You can also retweet the tweet associated with this post. You have until 8 pm ET August 7th when episode 208 of Defiance airs on Syfy. Again, if you win, you’ll need to give me a mailing address so I can send you the hellbug, but otherwise, that’s all there is to it! This is the fourth of five total chances to win a hellbug this season. Best of luck! And also don’t forget to say a big thank you to @TrickDempsey on Twitter (creative lead for the game Defiance) who provided me with the hellbugs to give away.

UPDATE: The winner is becca-bot! There will be one more chance to win this season! Look out for it!

Looking for a way to spice up an ordinary game night? Before the group arrives, drill a head-sized hole through the center of the kitchen table. Poke your head through and then have a friend cover it with the lid to a popular game box.

Stay still and try to control your breathing. Have your friend discourage people from sliding the game box around, so as to avoid cuts and bruising to the nape of your neck or a crushed windpipe.

When they lift the lid, scream.

BONUS TIP: If you overhear someone saying they don’t want to play that game, slide your head back down through the hole and wait patiently while the guests play other games. Since they think you aren’t there, the group might start talking serious shit about you. Don’t worry: This is perfectly normal.

Interlock your fingers to shape your hands into a crude bowl. Weep silently, using the hand bowl to catch your tears. 

Amphibian August #28 – Chroniosuchus

The chroniosuchians were a group of convergently crocodile-like amphibians with heavily armored backs. First appearing in the mid-Permian, they managed to survive through the largest mass extinction in Earth’s history and persisted up until at least the Middle Triassic – but seem to have been out-competed from their semi-aquatic riverside predator niche when the true crocodiles came along.

Much like the seymouriamorphs, this group is usually classified within the reptilomorphs, but they may in fact have been more a “primitive” type of stem-tetrapod.

Known from the Late Permian of western Russia (~254-252 mya), Chroniosuchus was one of the larger chroniosuchians, reaching about 1.5m long (4′11″). It had a wide row of “butterfly-shaped” interlocking bony plates along its back, the forward edge of each one overlapping the one directly in front of it. Similar to the osteoderms seen in dissorophid temnospondyls, this armor would have both provided protection against larger predators while also stiffening its body for more efficient terrestrial locomotion.

Later chroniosuchians had less extensive carapaces and more flexible bodies, suggesting they had become more aquatic – an evolutionary development that closely parallels modern crocodilians, who are much less heavily armored than their more terrestrial fossil relatives.

Who says wallpaper must be a floor-to-ceiling installation? Instead, pair beautifully paneled walls with lengths of wallpaper that wrap onto the ceiling. Here, a bold gray and white pattern of interlocking shapes has the effect of art in this eclectic entryway.

(via It’s Great To Be Home)

Made with Flickr

Decorated Alphabet selection

While spending some time at St.Brides Library last week I took some photos of some historic decorative types. Seeing so many styles together, filled with such elaborate detail, it’s easy to glance over their characteristics. Here’s a few of the details I love most about them:

A: The decreasing sized As, alternately filled, provide a nice sense of depth yet the whole composition remains light. (From a sheet of beautiful 17th Century; initials) 

S. This one has wings! (19th Century; American)

L: This inhabited initial not only appears to contain St. George and the Dragon, we’ve also got a plethora of small animals; goose, snail, squirrel, rabbit…The the top right terminal ends with a face. The devil maybe? (15th Century; French)

E: Almost psychedelic (17th Century; French)

M: There’s a strange creature gnawing at the bottom of this letter! (16th Century; Printed in Rouen by Martin Morin)

A: The one is drawn with pen and ink as a study aid. Beautifully composed out of the most complex interlocking shapes. (16th Century, Dutch, Aert van Meldert from ABC pour la jeunesse - “ABC for the youth”)

P: From a whole alphabet of vicious animals fighting each other. Who’s biting who? (Silvestre, 17th Century; French)

N: There are so many swirls to this inhabited ‘n’ the characters are off to play hide and seek. (17th Century; Italian; Alphabet by Vespasiano; Library of St. Mark’s, Venice)

R: Ultra Gothic: I’m not sure if the dragon is breathing out, spewing up, or eating this wonderful architectural monstrosity. (Calligrapher, Jean Midolle, 18th Century, Swiss)

Alphabet: Another by Midolle. As the name suggests they are supposed to look like jewels. (Jean Midolle, Monster Lapidary Alphabet, 19th Century, Swiss)

You can see more over on my Instagram page


Carol Belanger Grafton (Editor). Historic Alphabets & Initials, Woodcut & Ornamental,1977.
Midolle, Silvestre and others. Florid and Unusual alphabets,109 complete alphabets, 1976.

A white farmhouse sink is surrounded by rich marble countertops and washed in natural light from a large sink-side window. Vintage-inspired fixtures—such as the polished gold bridge faucet—display the simple and elegant style of this kitchen.

You often hear
that in life,
there are no second chances–
But why is it that
the third times the charm?

Or that if you have a good idea,
you don’t give up on it after the first try–
because all you’ve found
is 10,000 ways it won’t work.

And maybe you’re not Thomas Edison but–
I was hoping you’d give this light bulb another go.
You see, I’m tired of the flickering
the we were almost there but not quite
the way the wire glows orange even though it’s not white hot
it still sizzles, it still burns, it’s still fire
You can feel it, the way the warmth seeps into our fingertips
when we touch—and when we touch
we ignite, and there’s no stopping the slow burn
of 2 souls that are meant to be.

And maybe we’ve messed it up one time or two times
or for this lifetime, but baby
we’ll find each other in the next
and however many that follows
until we get it right.

Love is a science.
The study of the compatibility of chemicals
the way bonds are formed
and shapes are interlocked.
A good scientist knows results aren’t published
after 2 trial experiments
They are the culmination of
repetition, repetition, repetition,
until you cannot say
that we were wrong.

Take my hand
and we will overcome
the criticism, the skepticism, the mysticism
as to why we should not be together.
Because I’ve heard there are no second chances,
But the third time’s the charm.

—  –mgyang,“Reasons to give us one more chance” (Spoken Word Poem)

Trend alert: tessellations. Inspired by walls, floors and all home accents in between, we know interlocking shapes are hot. Don’t get us wrong - we love our chevrons but we are always on the hunt for what’s going to be next. It’s mix of shapes make it the perfect choice to be our celebrated pattern this month.