low and high brow

helllo everybody tonight is my night off (at last) and so here I am to ask the hardhitting questions Main Stream Media is too afraid to ask, namely:

what’s your favorite moment out of all the portrayals of Fictional Romance?

define “fictional romance” however you like, whatever type of media, high brow or low brow, sexual or rated G, genders of the respective parties up for grabs, what moment sticks out to you as just—oh. that.

(if I went first, I would say that the moment in north and south when john thornton whispers “look back at me.” because nothing before or since has ever felt as shivery-good as the raw unrequited wanting of that line.)


Sorry for the face, but my friend sent me this pic of me from 3 years ago (on the left) and DAYUM am I crazy or do I look like an entirely different person now?! I made the same face for a fair comparison… 👉🏼… “😐”

I lost 40 pounds, fixed my brows, and yeahhhh I got some lip filler, sue me… But I really think the weight loss was the kicker; I’ve always had a rounder face but having an actual jawline and strong cheekbones now… It feels good. So happy I gave Keto a chance! :)

Dark Night

Wicked Wednesday series, part. 1

*parts will be updated throughout the day.

Part 2

Part 3

Originally posted by dangerousvikings

“You will go to my chambers, disrobe, and wait for me there.”

His voice was hollow and filled with a dark edge.

“My King, I d-” you started. 

“That is all.” he interrupted coolly, raising a hand to silence you.

The Heathen King sat back in his leather chair and stared aimlessly into the crowded hall. You stood frozen at his side, in the spot to which he had beckoned you, unable to will your muscles to move. 

“Y/N, tell me, do you struggle with the language?” he asked without looking at you. 

“No, My King.” you gulped. 

“Then why, may I ask, are you still standing here?”

“I don’t know where your chambers are my Lord.” 

He turned his head and your eyes met briefly, but he quickly broke it off.

“I see.” he replied flatly.

You couldn’t help but think it somewhat strange, how all that evening he had seemed to study you from afar with the unwavering attention of a predator, but now he struggled to spare you so much as a sideways glance. 

“Wh-what do you wish me t-to do?” you asked, your voice coming out as a hoarse whisper. 

“That is quite the loaded question little lamb.” he replied absently, eyes staring ever forward.

The longer you stood there, the more you found yourself growing mesmerized by his beauty, the iron line of his jaw, the slender curve of his neck. His cheek bones were high and angular and his brow set low, created a slightly sinister appearance.

You stood there in awkward silence at his side until the last of the guests were trickling out of the hall, all the while your heart beating like a war drum against you ribs. 

@synnersaint @ivars-heathen @burningsunshin3 @belle-scarre @rachiieee @nothingbuthappydays @badbitsh13 @persephone-is-here-omg @sebastian-stans-thighs @siren-kitten-his @imaginesparadise @tiyetiye @theheathenqueendickubus@brightlycoloredteacups @dangerousvikings


@sipscola asks: “could you do a facial reference of the beatles?”

Here ya are my dear

John: I emphasize his very long roman nose, bushy eyebrows, narrow eyes (also he doesn’t have much of an eyelid crease from what I’ve seen) and small mouth. The most difficult part of john is his jaw shape to me. He has very large jaw but sometimes it looks more Diamond shaped with a protruding chin, and other times it’s very round. I think a lot of that has to do with what year your drawing too, he was rounder and more baby faced until ‘67- then he got a lot sharper. Biggest thing for me to highlight is his nose.

Paul: Eyes/eyebrows make Paul’s face. Very large and doe eyed. Eyebrows are dramatic half circles facing up, eyes are dramatic and droopy half circles. Also he has a short and pointy nose that connects to a v shallow brow bone. His mouth is pretty small too and I’ll either draw it as a subdued version of Rick Wright’s mouth(if closed) or a tilted D (if open) very much like the emoticon :D (but keep it small) Paul’s jaw is very soft though it’s very strong. Also his hair tends to part a little on the left side of his head and swoops to the right.

George: the most defining features on George’s face are his eyebrows and cheeks/jaw. His overall appearance is very sharp, the only soft point on his face is the round tip of his nose. His eyes are narrow and slightly tilted down, their most obvious feature is his large and full eyelashes. His eyebrows are thick angled and very low on his brow (unlike Paul whose eyebrows are very high up on his brow bone) Jojs eyebrows are part of the reason he has a sour resting face, they look very dramatic and intense. Also he has very prominent cheek bones and a loonngg face to go with them. (much like Roger Waters’) George also has large ears and large lips.

Ringo: apart from the large schnoz, ringo also has a very large mouth with full lips. But the main thing I emphasize on him that isn’t his nose is his eyes. They droop very much like Paul’s, but his eyebrows droop low with them instead of contrasting and pointing away. Ringo’s features are in general pretty droopy. He’s also got a short triangle shaped face and a fairly weak jaw. His hair is often very neat with few flyaways, only when it’s grown out does it fam out a bit behind his large ears. I also usually draw ringo with a thick neck.

Hope this helps ✌️


Studio 54: The Legend

Text by Anthony Haden-Guest .Concept and additional text by Anthony Haden-Guest .Photographs by Felice Quinto

te Neues Publishing Co.,New York 1997,144 pp.,paperback

euro 160,00*

email if you want to buy :booksinprogressmilano@yahoo.it

If the 1970s was a decade of heedless optimism, then Studio 54 was its glittering epicenter. During its reign as New York’s number one hot spot to see and be seen, it was the place where paparazzi mingled with celebrity, where high-brow danced with low-brow, where pop art and fine art talked into the wee hours of the morning. In this stunning and evocative volume, renowned Italian photographer Felice Quinto captures the energy, the giddiness, the chaos, and the craziness of the place Vanity Fair named “the greates club of all time.”

The flamboyant and hedonistic days of Studio 54, the iconic 1970s discothèque are remembered here in this collection of photographs taken by Felice Quinto where celebrities and socialites fill the pages of this fabulous book, as they did the club. The many black and white photographs are accompanied by writings from Quinto himself, Niels Kumner and Anthony Guest-Haden.  

orders to:   booksinprogressmilano@yahoo.it

twitter:               @fashionbooksmi

flickr:                 fashionbooksmilano

instagram:        fashionbooksmilano

tumblr               fashionbooksmilano


It was on the headdress - the kokoshniki, the kikas, povyoniki, the crowns and the diadems - that the most thought was bestowed. The headdress was of greatest importance because by tradition a married woman had to hide her hair from strangers´ eyes. The long plaits of a Russian woman were her pride; the greatest treasure of a Russian maiden was a single, long plait intertwined with ribbons down her back. So important was the Russian plait that it figures over and over again in song and tale; an old wedding song begins “The young man with the black curls sits at the table and asks: Fair Russian plait, it is true that you are really mine at last?” Married women wore a closed cap and maidens a flowered scarf kerchief or a hoop or diadem leaving the top of her head open. The change of hairdo and headdress at a Russian wedding was accompanied by special ritual and lamentations. The single plait was carefully rebraided by the bride´s female relatives and close friends into two braids.

Kokoshniki varied from region to region in a whole variety of picturesque and poetic shapes. They were peaked like diadems or round and high like crowns; sometimes they were crescent-shaped. Each town had its own style and by her kokoshnik one could tell exactly where a maiden came from. The kokoshniki of the north were heavily embroidered with gold and silver threads and river pearls, with a mother-of-pearl network which fell low over the brow. In the central regions, the kokoshniki were high, in Nizhny Novgorod, round, in the form of a crescent. Sometimes long veil of muslin or gauze were attached to them. The headdresses were made of silk in bright colours, in red and rapsberry-coloured velvet, in cloth of gold that was ornamented with pearls, decorative glass, mirrors and foil. In the south, they were peaked with a pearl net descending over the forehead. In Ryazan and Tambov strange-looking kokoshniki with little horns were called “magpies” and had long tails of goose down or many coloured feathers. In the Ukraine, maidens wore crowns of flowers with bright, flowing ribbons. Beautiful and rich, gracefully framing the face and emphasizing soft eyes, these headdresses were in a very real way the crowning glory of Russian women.

Suzanne Massie: Land of the Firebird

Connor Willumsen, Patrick Kyle and Noel Freibert are going on a six-city tour. All three artists are set to release brand new books with us that are the avant-garde of the alternative comics scene and they are taking them on the road in September!

Connor Willumsen’s Anti-Gone, a quixotic and trippy trip through a dreamscape, or altered state, where animals can talk and be pets, where drugs can give you deep emotional reactions to any stimuli, can make you remember or forget, or replicate a near death experience. Patrick Kyle returns with his third book with us, Everywhere Disappeared, which finds familiar icons like Dracula and Archie are put through the prismatic mind of Kyle. The singular Noel Freibert whose images linger, their deceptive simplicity, like all outsider art, seems to tap directly into the collective unconscious, drawing on pop culture and fine art, low and high brow, Old Ground is where the denizens of Pee-Wee’s Playhouse would bury bodies.

a dumb analogy I came up with the other day

K-On is like beer because its cheap and accessible, but you love or hate it. Ironically, I love K-On but beer…not so much.

Based on the five episodes I watched and the hibike blogging I’ve seen, Hibike’s like wine in that its high class with all its drama and sour because of its drama. Hibike feels like the high class soap opera to K-On’s low brow comedy. One has dramatic AF yuri and the other has bros dicking around for 40 or so episodes.

And then you have Nichijou, which is that fucking weird drink with the gimmicky flavour or it has a toy inside. Its all colourful and fun, weird as shit but may require an acquired taste because you can’t anticipate what it’ll taste like. It feels like the bastard child of kyoani’s works but I love it so much!

who cares what picture you see

Credence wants to see London After Midnight. Graves doesn’t like mysteries or horror films. He goes with Credence, anyway.

Credence loves the pictures. They go once, or twice, a week and Credence devours them with a voracity that doesn’t surprise Graves. Credence has an endless hunger for knowledge, fictional or real. High-brow or low. But he is particularly fond of cinema. Dramas, comedies, romances – the new talkies had left him, ironically, speechless – and, especially, horrors and mysteries.

Read at AO3


today was a #ecd8d1 type of day

gaps-art  asked:

Hi! I'm just about to make my choices for University to do Animation and I was wondering what did you enjoy (or hated) the most about your time in Higher Education?? By the way...LOVE "Welcome to Hell" ;)

Hey there!  Well, from talking to other animation students, it seems like you could have a pretty different experience depending on what school you go to and what they focus on, but I’ll try to give you my two cents on it!

First, the stuff I hated most.  There’s this thing that seems to happen at a lot of art colleges, regardless of what you major in, and it’s this perceived “high brow vs. low brow” dichotomy.  Some art is considered more elevated; they’ll call this “fine art”, and it’s the more classical interpretation of what art is.  Painters, sculptors, fine print-makers, whatever.  Other art is considered lower; they’ll call this “applied art”, or “practical art”, or “commercial art”, or “functional art”, and they’ll say it with a scoff.  So, animation, graphic design, industrial/interior design, etc.  Anyone who uses art to DO something other than provide an aesthetic experience.  I took some electives in the “fine arts” courses, and I literally had a teacher ask me sarcastically if I’ve ever used a paintbrush before. I won’t go into some of the more ridiculous details because I’m STILL VERY BITTER ABOUT IT, but this is something I’ve noticed with other art students too.  I’m told at CalArts that some of the experimental animation students don’t feel like they’re welcomed in the character animation classes, I’ve heard of film history majors talking down to film making majors, etc etc etc.  I just feel like in almost any situation, people (whether it’s the teachers or the institutions, or the students) will find a way to create this fake divide to feel better about themselves, and it’s super weak.

THE STUFF I LOVED THE MOST THOUGH, which FAAAAAR outweighs the stuff I hated, is that I was constantly surrounded by other artists who were hungry to learn and get better, and that motivated me to do better myself.  I finally found people I could talk to about not just animation, but storytelling and character development and anything else.  Being around people that spoke my language!  Being around other artists who you could learn something from, and maybe teach something to in return.  There was a lot of self-directed study, a lot of discoveries made.  It was walking in packs to the convenience store down the street and getting taquitos.  It was sitting around with friends ‘til 2am discussing the history of Superman, or the impact Ren & Stimpy had on modern TV animation.  It was meeting different people from different walks of life who all came together because we wanted to make art that moved on it’s own.  

And even the “high brow/low brow” thing wasn’t enough to spoil my experience… if anything it gave us something else to unite against and bond over!  Haha.  

Hope that helps!

Capricorn Ascendant.

The male embodiment of the restriction principle, the principle of rules, and regulations, is a glorious, if not fascinating creature. Usually on the tall, side, male Capricorn Ascendants carry themselves with an authoritative grace only true royalty would understand. The body types displayed by Capricorn ascendants, are long, broad shouldered and weedy, Tall and barrel chested, and thick, or short and skinny. Unlike most earth signs, Capricorn is not commonly bulky. The Face of a male Capricorn Ascendant is long, and senselessly chiseled by the cold hands of the Cosmic task master, Saturn. Capricorn Ascendants have usually a rectangular or square jawline, that is very pronounced and definite, Strong, high and sharp cheekbones, A low brow, and a nose low on the face it makes a “T” shape. Capricorn Ascendants have wide thin lips, as they are often pursed or in a grimace of sorts.

The female embodiment of the restriction principle is either shockingly tall, with long elegant limbs, or surprisingly petite, with a robust build. The body types displayed are wispy and nymph like, or thick and curvaceous. The face of a Capricorn ascendant female are either rounded, and soft with sharp bony angles, or long and sculpted. Female Capricorn ascendants have sloping almond eyes, high swept brows, low but defined noses, modest but plump lips and extremely pronounced bone structure. 

Traits shared universally among Capricorn Risings: Extremely intense and pronounced bone structure, it’s not uncommon for the males to have cleft chins. Also many skin disorders and melancholia, and you may also suffer from satyriasis.

WH+ Version of Tiva

Considering the addition of Tiva Nasia, one of my characters, in Hallow’s Eve Engagement, it seems fair to at least introduce her properly.

Name : Tiva Nasia (Unknown)

Nickname : Nova

Age : 16

Gender : Female

Date of Birth : October 25, 2000

Place of Birth : Unknown

Ethnicity/Species : White, Native American (Witch/Wizard)

Occupation/Job : N/A

World/Verse : Statera

World Description : Don’t Ask: This World Is For Tiva’s Story, Not Ania’s Fan Fics Featuring Tiva

One Sentence Description : Compassionate, Strong Enigma Who Is Willing To Protect Her Friends And Defends Herself Fiercely.

Height : 5’ 3"

Weight : 145 lb.

Skin Tone : Light Tan to Tan

Facial Shape : Oval/Square

Other Facial Features : Roundish Almond Eyes

 Sharp Lips

 High-Low Brows

 Small Defined Nose

Eye Color : Purple with Moonlight Blue

Hair Style : Long, Straight, Thick, Ponytail (Preferred), Side Bangs

Hair Color : Pitch Black With Single Silvery/White Highlight (Hidden)

Body Type : Hourglass, Well Toned, Fit, Athletic

Posture : Ideal

Note : Tends To Stand With A Hand On Hip

Distinguish Feature : Two Birthmarks

Note : Not At Liberty To Say Where

Dress : Rebel:

Jeans/Shorts, Tanks/T-Shirts, Sneakers Or Punk Boots, Bracelets, And Leather Jacket

On Occasion

Something always carried/Weapon/Tools :

Favorite Anklet: Moon Crescent

Wand: Unknown

Accessories : Anklets and Bracelets

Skills : Intelligent, (Street Smart), Able To Defend Self, Smooth Talker, Freestyle Running And Climbing, Gymnastics

Strength/Talent : Leader, Bold, Calm, Independent

Archery, Singing, Dancing, Acting/Lying, Gymnastics, Freestyle Climbing

Note : Has The Skills To Lead, But Often Choose Not To

Weakness : Closed Off, Won’t Ask For Help, Too Ambitious, Very Few Friends

Hobbies : Archery, Fighting (MMA), Freestyle Running, Gymnastics, Pranks, Climbing

Habits : Fiddles With Her Loose Hair, Forget To Eat Occasionally, Disappears From Time To Time

Pets : N/A

Area of Residence/Environment : At The Academy

Note : Before At Abandoned Temple

Home Description : Lonely, Noisy, And Not Very Comfortable (Before Ania)

Neighbourhood : N/A

Health : Strong Sight & Hearing Ability

 Decent Health


Personality : Smart, Guarded, Cautious, Lonely, Secretive, Mysterious, Strong, Calm, Protective, Optimistic, Logical, Wise, Tricky/Sneaky, Semi-Stubborn

Moral : Never Fall For A Lie Or Prank

Self Control : Very Little Needed Unless Someone Pissed Her Off, Hides Emotions

Motivation : ???

Discouragement : Failure (Loss of Something or Someone), Defeat (When She Can’t Do Anything), Beat-Down

Note : These Often Turns Into Another Motivation

Intelligence Level : Highly Intelligent

Note : Practically College Level (With Exception Of Magic Experience)

Confidence level : Fairly Confident, Although She Doesn’t Act Like It Sometimes

Philosophy : Those Who Lack The Courage Will Always Find A Philosophy To Justify It.

Note : Albert Camus

Greatest Fear/Phobia : Wiped

Childhood Life : Isolation

Important Past Event : Kidnapped

Note : Then Found Again

Best Accomplishment : Adjusting To Magic

Other Accomplishments :


Teaching Self Everything (But Magic)

Worst Moment : Wiped

Failure : Wiped



Best Memories : Wiped

Worst Memories : Wiped

Story Role : Main Character

Alignment : Chaotic Good

Short Term Goal : ???



First Appearance : Morning in Beginning (After Dream)

Note : (In Main Story)

Plot Involvement : Unknown



Most Defining Moment : Unknown

[Works like] “Studies in the Literature of Sherlock Holmes” led directly … to the contemporary, largely web-based phenomenon that has devotees of various television programs, cartoons, and film series presenting their own prose versions of the adventures, histories, and sex lives of the characters of Buffy the Vampire Slayer and Xena: Warrior Princess. Such efforts are often derided or dismissed for the amateur productions they are, but the fact is that for at least the past forty years - since (take your pick) the French New Wave, or the Silver Age of Comics, or rock and roll’s British Invasion - popular media has been in the hands of people who grew up passionate, if not insanely passionate, fans of that media: by amateurs, in the original sense of the word …

Readers of Tolkein often recall the strange narrative impulse engendered by those marginal regions named and labeled on the books’ endpaper maps, yet never visited or even referred to by the characters in The Lord of the Rings. All enduring popular literature has this open-ended quality, and extends this invitation to the reader to continue, on his or her own, with the adventure. Through a combination of trompe l'oeil allusions, of imaginative persistence of vision, it creates a sense of an infinite horizon of play, an endless game board; it spawns, without trying, a thousand sequels, diagrams, and websites …

All literature, high brow or low brow, from the Aeneid onward, is fanfiction … through parody and pastiche, allusion and homage, retelling and reimagining the stories that were told before us and that we have come of age loving – amateurs – we proceed, seeking out the blank places in the map that our favourite writers, in their greatness and negligence, have left for us, hoping to pass on to our own readers – should we be lucky enough to find any – some of the pleasure that we ourselves have taken in the stuff we love: to get in on the game. All novels are sequels, influence is bliss.

—  Michael Chabon, from ‘Fan Fictions’ in ‘Maps and Legends: Reading and Writing Along the Borderlands’

anonymous asked:

can u give me tips how to draw eyes?

My basic eye process is like

And eyebrows are like

But, of course, eye and eyebrow shape/size/placement/etc is going to be different for every character, so there’s no rigid method or structure for drawing eyes.

Things to consider when drawing different eyes would be size, shape (round? slanted? almond? droopy? narrow?), upper eye lid shape (something a lot of people don’t think about, but upper eyelids are very unique from person to person. here is something of a reference for different eyelids.), eyebrow size and shape (here are some eyebrow references), brow height (some people’s brows sit very low and close to their eye, while others have high brows. a note: typically, males have lower brow bones, and females have higher brow bones. raising the brows on a male face can give him a more feminine look, and lowering brows on a female face will give her a more masculine look, if you are so inclined.) Also think of the character’s age (more lines in the outer corners and heavier bags on older characters, subtle lines and near nonexistent bags for children.)

Eyes are a super important part of a character’s face and design and you should be able to produce a variety of different looking eyes, so play around a LOT.

Libra Ascendant

The Apollonian principle,The principle of a civil society, exemplified within a male vessel is once again molded by the meddling hands of Venus. Unlike her earthy child of Taurus, Venus molds these males into forms of sophistication, rather than forms of pleasure. The males of this Ascendant are usually light of frame, like many Air signs, but it’s unlikely they will be in their later years due to excessive participation in fitness, and possibly athletics. Libra Ascendant males grow quite tall, very few actually being considered “short” in their societies social standards. The most common physical build of a Libra ascendant male, as I stated earlier, is wiry, lean and light, though due to health habits, you rarely see one who doesn’t sport a stunningly well built, and symmetrical physique. The face of a Male Libra ascendant is not striking, alluring or sexual. It is handsome. A long rectangular face with a strong almond jaw,  low but sharp cheekbones, a long rectangular nose that slightly turns upward at times. Full pursed lips, wide expressive eyes, sometimes accompanies with heavy lids, and at times a very large forehead.

The female variation of the Apollonian principle, also shares intense beauty with the help of Venus. Female Libra Ascendants can be rather tall, or average, none of them ever truly being “short”.  They have long sinewy physiques with pleasing unobtrusive curves, and varying bust sizes. The face of a Libra ascendant female is long, and geometric like their male counterpart. Squarish or almond jaws, They have wide almond eyes, sometimes accentuated by a heavy lid. Full pouty lips lower on their face, low swept but sharp cheekbones, a high forehead ridge, and an impish nose.

Traits shared universally among Libra Ascendants include: Many Libra ascendants have a lighter complexion than their biological families, they may also at times suffer from back problems and issues with bladder infections. and short bouts of depression.

1. Tea drinkers meditate; coffee drinkers medicate.

2. Tea drinkers are as loose as their leaves; coffee drinkers are as grounded as their beans.

3. Tea drinkers take a break; coffee drinkers need a break.

4. Tea drinkers are high-noon; coffee drinkers are morning, noon and night.

5. Tea drinkers take it slow; coffee drinkers are looking for a rush.

6. Tea drinkers are looking to kick back; coffee drinkers are looking for a kick.

7. Tea drinkers know no time constraints; coffee drinkers know to cut it off by 3 pm.

8. Tea drinkers are about rainy days; coffee drinkers are early mornings.

9. Tea drinkers see the mug half-full; coffee drinkers see it to the bottom.

10. Tea drinkers work outside the lines; coffee drinkers work to meet deadlines.

11. Tea drinkers don’t need caffeine; coffee drinkers would inject it, if possible.

12. Tea drinkers like to stew; coffee drinkers like to brew.

13. Tea drinkers bag it up; coffee drinkers like their sugar in the raw.

14. Tea drinkers like a little flavor; coffee drinkers like it extra bold.

15. Tea drinkers like it piping hot; coffee drinkers like it with the pipe.

16. Tea drinkers are fixing up; coffee drinkers need their fix.

17. Tea drinkers lie down to bed; coffee drinkers need it to get out.

18. Tea drinkers keep thoughts; coffee drinkers keep notebooks.

19. Tea drinkers eat biscuits; coffee drinkers don’t eat anything.

20. Tea drinkers ask questions; coffee drinkers answer them.

21. Tea drinkers are soothing; coffee drinkers are brooding.

22. Tea drinkers can let it wait; coffee drinkers sip their weight in coffee.

23. Tea drinkers do it for the enjoyment; coffee drinkers do it with a purpose.

24. Tea drinkers ponder; coffee drinkers argue.

25. Tea drinkers read; coffee drinkers write.

26. Tea drinkers cross wires; coffee drinkers get wired.

27. Tea drinkers need to relax; coffee drinkers don’t need the laxative.

28. Tea drinkers feel close to home; coffee drinkers are imported.

29. Tea drinkers put their hands around you; coffee drinkers’ are shaky.

30. Tea drinkers come from a box; coffee drinkers have an origin.

31. Tea drinkers are just starting out; coffee drinkers are aficionados.

32. Tea drinkers sip on a moment; coffee drinkers gulp it down.

33. Tea drinkers are strict; coffee drinkers are addicts.

34. Tea drinkers savor the day; coffee drinkers live it.

35. Tea drinkers are romance and fantasy; coffee drinkers are passion and efficiency.

36. Tea drinkers have a preference; coffee drinkers don’t discriminate.

37. Tea drinkers are found in libraries; coffee drinkers are found in bookshops.

38. Tea drinkers spill the milk; coffee drinkers spill the beans.

39. Tea drinkers are imaginative; coffee drinkers are productive.

40. Tea drinkers are high-society; coffee drinkers are low-brow.

41. Tea drinkers blow on their tea, coffee drinkers exhale cigarette smoke.

42. Tea drinkers will double-bag it; coffee drinkers will give you a double shot.

43. Tea drinkers don’t mind it too weak; coffee drinkers don’t mind it too bold.

44. Tea drinkers know what’s buzz-worthy; coffee drinkers know a good buzz.

45. Tea drinkers like fine china; coffee drinkers are fine with paper.

46. Tea drinkers have some spice; coffee drinkers have some bitterness.

47. Tea drinkers steep in their cups; coffee drinkers get deep inside.

48. Tea drinkers simmer just fine; coffee drinkers get heated.

49. Tea drinkers stir the pot; coffee drinkers warm up to you.

50. Tea drinkers comfort you when you’re sick; coffee drinkers comfort you when you’re tired.

—  People who sip Tea VS. People who chug Coffee

Frequency/Mind is Thought (Straight Lines and Angles)

Vibration/Body is Action (Circles and Curves)

Together creates Mass

High Frequency/ High Vibration (Mind)

  • Crown
  • Brow
  • Throat

Low Frequency/ Low Vibration (Body)

  • Core
  • Sacral
  • Root


  • Heart

This is the Transformation from Body to Mind.

May the Light be with You.