practical favor

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A Guide to Stash Yarn

Yarn in a stash can be split into generally four categories.

  1. Expendables:

    This is the yarn that you don’t necessarily want but can still prove itself useful. There’s the crappy acrylic that your friend gave to you because you knit, or are too frugal to pass up, the bad color combos that you can never pair with anything, usually also gifts or sales.
    It’s often kind of scratchy or acrylic back when acrylic yarn was a new thing and very stiff.

    Good for practice yarn, charity knitting, knitting on a budget

  2. Staple Stash:

    This yarn is probably what you actually want when you go to a craft store. It’s probably still washable and mostly acrylic but it’s soft and in nice colors. It’s the cereal part of your marshmallow cereal. But the call to knit it is often drowned out by the new shinies you got.
    You’ll knit it some day. But it’s usually pushed to the back in favor of

  3. Practically Finished Objects:

    Yarn that’s been paired up to a pattern and needles and are screaming KNIT ME NEXT PLEASEEEE OMG. But you can’t knit fast enough to keep up with it. These are usually pretty exciting, new and maybe recent stock from your LYS. Maybe a little nicer quality or maybe some of that old stash finally made its way up the queue.  

  4. Display Yarn:

    Display yarn is yarn from the stash deemed “too good” to ever knit. Maybe it’s exotic and you don’t know how you’ll ever find musk ox down again, maybe it was handspun that was really expensive and you don’t want to waste it on a bad project.
    Or maybe it’s sentimental, or was your first handspun yarn, and it seems like an FO all on it’s own.
    Or it literally looks better as yarn than it ever will as a scarf or sock.

    Either way maybe one day you’ll find a perfect project for it, but for now you’re happy just cuddling/admiring your precious gems.

Two Studies of a Seated Nude with Long Hair

Gustav Klimt (Austrian, 1862 - 1918)

about 1901 - 1902

Black chalk and red pencil

Gustav Klimt’s favored working practice was somewhat unorthodox: he employed a number of nude models who lounged around his studio striking spontaneous poses, which he captured with a few exquisitely economical strokes of chalk or pencil.

the getty

Belated Inktober #29

so anna and i occasionally toss around ideas for an extremely ridiculous au in which jack atlas is a fashion designer/occasional model, when the actual models are NOT DISPLAYING HIS OUTFITS TO BEST ADVANTAGE

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But consider Cullen’s clothing in DA:I.

It’s the first time he’s been able to choose his own daily outfit since he was a child.  So what does he do?  First, pragmatism: he keeps the basic protection of full plate armor, but ditches the infamous Templar skirt in favor of practical leather breeches.

But then he takes that armor, and he covers it in soft, organic material.  Leather gloves instead of steel gauntlets.  Shaggy fur to replace the over-compensating, pointy pauldrons.  Fabric to wrap around his chest plate.  Not coincidentally, he leaves only one spot of his chest plate exposed: the place where the Templar sword glaringly isn’t.

Early on, the Iron Bull comments on how Cullen’s Templar past is unmistakeable – and it is, don’t get me wrong.  Still, his clothing in Inquisition says to me that he’s trying, very deliberately, to be a new person.  The symbolism of covering his templar armor with mage-appropriate fabrics may not be conscious, but it’s surely significant.

Superfootware

I’ve started to wonder why superheroes wear boots as part of their crime-fighting regalia. Wouldn’t sneakers be more practical–I mean with all that running, jumping and darting from side to side? Not to mention the additional support for their superarches.

Now when I was a kid, sneakers were basically made out of canvas and were either black or white in color. Given these limited choices, it was not surprising that most superheroes in my day decided to forgo practicality and comfort in favor of fashion consciousness.

But nowadays sneakers come in all sorts of colors, patterns and materials - - including some high-tech stuff worthy of a modern crimefighter. In short, there is simply no excuse anymore to don a pair of boots for a day of battling villains with all the wonderful sneaker options available.

Except for those blue glitter Uggs™ you’re wearing. Those are just superfab.

hey so apropos of nothing, y'all remember back in like sixth grade when people would do that cutesy-ass thing of writing two exclamation points, then using the two dots as eyes to draw a little smiley face? do people still do that or was it, like, a product of the ‘90s (or a product of being in sixth grade)? just curious

Sacrifices to the future

We seem to have replaced the ideas of responsible community membership, of cultural survival, and even of usefulness, with the idea of professionalism. Professional education proceeds according to ideas of professional competence and according to professional standards, and this explains the decline in education from ideals of service and good work, citizenship and membership, to mere “job training” or “career preparation.” The context of professionalism is not a place or a community but a career, and this explains the phenomenon of “social mobility” and all the evils that proceed from it. The religion of professionalism is progress, and this means that, in spite of its vocal bias in favor of practicality and realism, professionalism forsakes both past and present in favor of the future, which is never present or practical or real. Professionalism is always offering up the past and the present as sacrifices to the future, in which all our problems will be solved and our tears wiped away—and which, being the future, never arrives…. The future is not anticipated or provided for, but is only bought or sold. The present is ever diminished by this buying and selling of shares in the future that rightfully are owned by the unborn.

Wendell Berry
Life is a Miracle

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Aaand the rest of the group!:)

Meet our human Paladin Argael, who with his practical thinking and calmness favors diplomatic solutions over unnecessary bloodshed.

The swashbuckling wood-elf Bard Keyrwith who has traversed the seas in the company of pirates and nobles alike…

and the moon-elf Druid Menelynn, tough to read but caring nonetheless! (even with our half-orc barbarian Borgath, who she’s having a hard time seeing eye to eye.:)

All neutral good.

P.S. My character is Keyrwith the Bard and my brother’s is Argael -in our character’s backstory those two are old friends!:D

* See the rest of the group here: http://petitemarianna.tumblr.com/post/113297852321/proudly-introducing-the-first-two-members-of-our

We see evidence of the suspicion of over-accumulation of resources in the ancient practice of ostracization. This practice came into favor in the early years of the polis and continued through the fall of Athens. Whenever a citizen began to amass too much—too much wealth, too much loyalty, too much social status—anyone perceiving this excess as a threat to the polis could call for a vote of ostraka. The council would gather. Speeches would be made about the threat of the man who had accumulated such great wealth and resources, and on pottery shards, or ostraka, councilmen would scratch the name of the person feared to have accumulated too much. If five hundred ostraka were cast, the citizen in excess would be ostracized for a period of seven years. Seven years was thought to be sufficient for the destruction and redistribution of one’s excess so upon re-entry to the polis the once overly accumulated citizen would be appropriately reduced to the norm, or even below. Over-accumulation happens because the over-accumulator never gives anything away; he has no competitive generosity. Rather, he hoards, in a spirit of generous competitiveness. Ostracization worked as a state mechanism to force the exchange process when members of the polis economy felt no obligation to keep wealth in circulation.
—  Marilee Mifsud,  ‘On Rhetoric as Gift/Giving’, 2007, p.97

I suppose I should point out that much of my writing advice comes from my own personal preferences about what story is and what story should be. I will almost always favor storytelling practices that emphasize a close, intimate connection between the writer and the reader. 

I do have a strong bias towards stories with a strong narratorial presence, whether the narrator is a clever uncle telling you jokes (Douglas Adams), a kind aunt telling you a story as you sit by the fire with a mug of cocoa (J. K. Rowling) or that odd fellow down the street who may or may not be insane but who has definitely seen some things (Lemony Snicket). 

Not all writers and not all readers value the same things, and that’s fine. It doesn’t make one style of storytelling better than the others.

I will point out that for a very artistic person, I am absurdly logical, and find it difficult (read - near impossible) to overlook illogical devices in stories, which is perhaps the reason I am very critical (read - stubborn) in that regard.

But I recognize my viewpoint is just my viewpoint and I love to debate! I find it fun and weirdly relaxing, so don’t ever think I’m offended if you disagree with me or have another way of looking at things. At the end of the day we’re all just monkeys hitting random buttons on keyboards and hoping we produce something worthwhile!