pattern of the dome

Hummingbird Pattern

Hi!  I got a request for the pattern to my hummingbird, and I definitely think the world needs more hummingbirds in it, so I’m going to give it a go! Unfortunately, I did a lot of guesstimating as I went, so this is not the best pattern I’ve ever written up :-/. As usual, if anyone uses this pattern, please link back to my page, and also send me a picture! I’d love to see what people make!

 I used a 3mm hook, and the pink and white were just scrap yarns I had lying around (probably Red Heart Super Saver). Frustratingly, I can’t find the green yarn that I used! I think maybe… when I bought it the lady kept the label when she wound it? (I am definitely outing myself as a yarn noob, I mostly buy the cheap stuff and getting it wound up like that was a new experience for me!)

If anyone recognizes it, help me out because I’d like to know too! It’s a very pretty green/brown that looks a bit glossy, frays easily, and is a little thinner than Red Heart Super Saver yarns…

Okay on to the pattern!

^Body:

The idea behind the body is that I made a small dome for the head, then unevenly added increases to the back and decreases to the front to make the body arch backwards, then decrease so that it came back down to a point. For the color changes, I didn’t end up having it look perfectly smooth, but I just made the change each time as I saw it lining up. Also, I made mine a key chain, which is totally optional, the only thing I did was after starting the magic circle, I used the excess yarn to tie through the metal loop.

  • green yarn: 6 sc in a magic circle
  • green yarn: (1 sc, 1 inc) x 6 to make 12 stitches
  • green yarn: (2 sc, 1 inc) x 6 to make 18 stitches
  • green yarn: (3 scs, 1 inc) x 6 to make 24 stitches
  • green yarn: 24 sc 

From here on out, almost all the rows have a color change in them - I just picked one side to be the front and always aligned the colors to each other, to me it didn’t matter if it was at the start of a row or in the middle, as long as the changes match up.

  • green: 13 sc, pink 11 sc (24 stitches)
  • green: 13 sc, pink 11 sc (24 stitches)

After these rows, it starts to feel a bit complicated, but again it was just increasing on the back and decreasing on the front to make the back sweep away from the head - I know that seems counterintuitive, but it’s just the way crochet works, it basically makes the tube shear instead of curve, if that makes sense. - I usually spaced each increase and decrease out with one sc in between.

  • decrease 2x on pink, 2x on sides, increase 3x on green, and have one more pink on each side (23 stitches total - 13 pink, 10 green)
  • decrease 2x on pink, 2x on sides, increase 3x on green, and have one more pink on each side  (22 stitches total - 15 pink, 7 green)
  • white yarn same as pink row, increase 2x on green (24 stitches total - 15 white, 9 green)

at this point, i inserted two 6 mm safety eyes between the row of green and the first row of pink, about one stitch in from the start of the pink. I also just used a black sharpie marker to draw the black line at the green and pink division between the eyes. Here’s the head so far compared to a Google image search picture - the beak is just a toothpick that I’m using as a placeholder, I’ll put the stuff for the beak under the rest of the body pattern, but importantly, DON’T COMPLETE THE BODY BEFORE ADDING THE BEAK - Continuing with the body:

  • white same, increase 3x in green (27 stitches total - 15 white, 12 green)
  • white same, increase 3x in green (30 stitches total - 15 white, 15 green)
  • replicate above row: (30 stitches total - 15 white, 15 green)
  • decrease 1 in white  at the front (29 stitches total - 14 white, 15 green)
  • decrease 1 on each the side to make it more symmetric (i needed on in green, on in white (27 stitches total, 13 white, 14 green)
  • decrease 1 w on each side, (25 stitches total, 11 white, 14 green)
  • decrease 1 w on each side, (23 stitches total, 9 white, 14 green) 
  • decrease 1 w on each side, inc 1 in green (22 stitches total, 7 white, 15 green)
  • decrease 1 white on each side (20 stitches total, 5 white, 15 green)
  • decrease 1 white on each side (18 stitches total, 3 white, 15 green)
  • decrease 3 green, crochet completely in green (12 stitches)
  • (1 sc, 1 dec) x6 to make 6 stitches
  • end in a point by skipping stitches until closed.

^Beak

Okay, you should probably add the beak in around row 10ish, but I just kept all the body together for continuity. I experimented a bit with the beak, trying for different looks. Eventually I used a ~ 2in scrap of black yarn and painted 1 inch of it with clear nail polish so that it became stiff - I’m pretty sure there are better methods for stiffening yarn, but this worked ok for me. I then threaded the unstiffened bit into the piece and tied it tightly before stuffing.

^Wings (make two!):

These were tough, I will definitely admit that I didn’t get them to look quite even, and took terrible notes on how I managed it. One piece of advice is to make both before attaching, so that if they end up way too different, you can make a third and choose which it matches the most closely to!

  • 6 foundation sc (foundation single crochets are great and look up a tutorial if you don’t know them, they changed my life!)
  • This got a bit weird: I turned the piece and then did 5 foundation sc perpendicular to the first 6 - basically instead of going back across the fsc’s after turning, I pulled a loop through the first stitch, then foundation sc’d and continued outward as if that was my first stitch…

 This made that wide angled underside of the wings. Now each time I crocheted a row, I sort of messily hooked in the first row of fsc (the one that is perpendicular to the row you just made) until I couldn’t any longer… I’m sorry this isn’t the best explanation, but crochet is a magical wonderful art that is very lenient to fudging, so please go at it bravely!

  • turn, sc 6 (leave one off at the end)
  • turn, sc 5 (leave one off at the end)
  • turn, sc 4 (leave one off at the end)
  • turn, sc 3 (leave one off at the end)
  • turn, sc 2 (leave one off at the end) 

I sewed the wings on at where the white met the green, attaching it at least several stitches so they weren’t too flimsy - for me the wings curl a bit but I suspect with different yarn or with some blocking they’d stand out straighter.

^Tail:

Similar deal with the tail as the wings I’m afraid - I fudged this a lot, and it isn’t symmetric, but when I sewed in onto the body I curved it around so that any asymmetry was basically hidden.

  • foundation sc 5
  • turn the piece and foundation sc 8 perpendicular to the first 5
  • 10 rows of 8 hdc - the half double crochets make the more undulating shape, and each time I came to the other row of 5 I messily hooked them in, which is why the shape turned out slightly narrower at the top than at the bottom. The narrower top is what I wrapped around the point of the hummingbird body and sewed it on, again it was a bit curled but I think it looked better that way.

And that is it! I think the biggest thing is that with each part I didn’t aim too much for perfection, the body can be squished and the wings and tail aren’t perfect, but I think overall it gives it some character! Good luck, and please feel free to message me if you have questions on the pattern, I know this one is not the most straightforward…

A symbol of the infinite and uncentralized. A never-ending pattern extending beyond the bounds of a visible material world. Islamic geometric pattern draft, c. 1840

2

Have you ever noticed the similarities between Rick’s car and Plutonian ships?

It’s not just that they’re both classic disc-shaped UFOs. They both have the glass dome at the top, and the light patterns across the rim.

I think Rick’s ship might be a highly modified and probably very old Plutonian ship. Possibly a crashed UFO he dug up (maybe the Roswell UFO?)

beingatoaster  asked:

The phrase "Eyes On The Sky" is for some reason suggesting itself?

………………….guys I need a fic about Chuck and Dutch and Tennie hanging out on the Cablers’ Settlement, using their telescope to pick out patterns in the lights in the dome.  Making “star charts” and naming constellations and coming up with massive, sweeping mythologies about the heroes and monsters they shapes represent (because Dutch is amazing at designing monsters, and Chuck loves kings and knights and noble warriors, and Tennie has a spark, a catching point, she always knows how to make their brief, made-up struggles mean something).

Sometimes they come from a rough fight, and every new pattern they look at becomes a fearsome king with white robes and red eyes and armies of flying gargoyles or a poisonous plague or a gluttonous, thousand-armed monster or, or, or–

sometimes they leave the telescope alone for a while, and Tennie makes them hot drinks (because she’s the only one who ever learned to cook, and the boys are so startled and pleased by new tastes even after being down in Motorcity for more than a year).  And they don’t think about it, and they watch the stars.

Closed-eye fantasies in this world seem sometimes to be revelations of the secret workings of the brain, of the associative and patterning processes, the ordering systems which carry out all our sensing and thinking. Unlike the one I have just described, they are for the most part ever more complex variations upon a theme—ferns sprouting ferns sprouting ferns in multidimensional spaces, vast kaleidoscopic domes of stained glass or mosaic, or patterns like the models of highly intricate molecules—systems of colored balls, each one of which turns out to be a multitude of smaller balls, forever and ever.
—  Alan Watts, The Joyous Cosmology (1962)
Better With You By My Side

prompt: Dan and Phil are both sons of rich families and are sent to ballroom dancing lessons. Because there is a shortage of girls, Dan and Phil end up as partners. Phil really doesn’t want to be there and Dan doesn’t either, but is so frustrated by the fact Phil doesn’t want to dance with him he is determined to get him to.

a/n: oh my gOD this chapter is so long wtf i’m so sorry so much happens it takes quite a dark turn towards the end and it gets very very emo i really wasn’t kidding when i said shit happens in vienna

tw; brief mentions of suicide attempts, self-harm & smoking

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Eighteen

Dan opens his eyes to the mid-morning sun struggling through the slightly parted curtains, warming the room with its golden, mid-July glow. He studies the room with a sleepy squint, and a couple of seconds of recollection is all he needs to realise that no, this isn’t a dream and Phil is still fast asleep beside him, his hair unruly and his breathing steady. He smiles softly, taking a moment to study his sleeping expression, contrasting his usual, carefully composed, thoughtful expression Dan so often sees him with. Without composure, it’s so different, so vulnerable, and it’s laughable because he’d almost say it’s innocent.

He sighs through his nose, staring up at the ceiling and wondering when the last time he fell asleep with someone who was still actually there when he woke up, was. True, they are on a supposedly ‘educational’ trip as opposed to back home in London, but even still; if Ryan tried a sly morning escape in Vienna, it wouldn’t exactly surprise him.

It isn’t long before his black-haired partner rolls over, inhaling deeply and consuming himself in a stretch before burying himself back into the duvet and opening his eyes, blinking sleepily at Dan.

Dan gives him a lazy half-smile. “Morning.”

Phil frowns, hesitating quietly before sighing, shutting his eyes again. “What’s the time?” His voice is scratchy and thin with sleep, creating another contrast to the daytime smoothness Dan’s used to. He reckons it’s probably the smoking as well as the morning fatigue, though, and he screws up his face when the small cardboard Marlboro pack sticking out of his tatty rucksack catches his eye.

“Er- I don’t know, something-past-eight, I think.” Dan cracks his back as he stretches, and Phil winces. He sits up, still frowning at the cigarette packet. “You’re not planning on doing that, are you?”

“What?” Phil frowns, sitting up and flicking his fringe out of his eye. “Having a rucksack? Look, I know it’s not exactly new anymore, but-”

“Not the rucksack, you pillock.” Dan shuts his eyes. “In the rucksack?”
“Wh- oh, that.” Phil smirks lazily, leaning over the bed and reaching for it, his pyjama shirt rucking up slightly in the process and exposing the paper-white skin of his torso. He drags the pack out, sitting back on the bed and flicking the card lid open. He whips one out, playing with it in some kind of admiration that Dan’s disgusted by.

“Don’t even think about it.” Dan whips it straight out of his fingers and tucks it under his pillow out of his reach. “We’d be in enough trouble already if they found out about the wine.”

“But they’re not going to find out, are they?” Phil’s eyes glitter, and he half-grins, leaning over Dan and retrieving his cigarette, sliding it back into the pack and dropping it on the floor in the approximate direction of wherever his open rucksack is. He sighs, flopping back down onto his pillow and staring at the ceiling.

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Previously: Your first year at Hogwarts begins with a bit of a bumpy ride, but rotten memories are something no one can keep at bay. Motivation spurs you to push through the shadows of your past and into the light of your future. With this, you’re faultlessly sorted into what will be your home away from home for the next few years.

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Tupac once rapped “Nas, your whole damn style is bitten (…sound like Rakim).” But I think comparing the rhythm in these two passages shows Rakim’s influence, and how Nas expanded significantly on the kinds of rhythmic structures Rakim had innovated. Rakim builds rhythmic tension here with a pattern of 3s (2 syllables and a rest) over the beat in 4 before returning to a more regular rhythm. Nas maintains tension by more freely adding several different rhythmic structures over the straight beat before returning. Nas does use the same pattern of two+rest for a moment (“.. my dome, no phone…”) (compare to “you choke, you can’t, provoke”), but also uses sets of 1, 2, 3, 4, and 6 syllables paired with rests.

4

The Ex-Majlis Building in Tehran by Heydar Gholi Khan Ghiaï-Chamlou in 1955. The project depends heavily on principles of Islamic geometry and combines them with varied textures, materials, and dimensions. Long, exaggerated lines are used on the exterior façades, echoing the Futurist Manifesto. The brise-soleil recalls traditional Middle Eastern screens that filter light and delineate ornate patterns cast in shadows upon three dimensional surfaces. The dome of the building was inspired by the architect’s family crest. It was one of the first major modernist projects in Tehran and was considered the greatest advance in Iranian architecture at the time. Rather than borrowing from the west, it evolved the traditional forms already found in the vernacular architectural vocabulary of the region.