precious metal gems


some fun thematic color lists! in order from left to right in rows: sweet fruits, bright colors, natural earthy tones, flowers, precious gems and metals, non-fruit flavors, weather conditions, plants, places

[ShanceFluff2017] of binary stars

**For @shancefluffweek !! | Day One - Black/Blue (featuring Altean!Lance and Galra!Shiro) **

**Sequel to ‘Of Juniberries and Noon Lilies’ **

**AO3 Links: Of Juniberries and Noon Lilies / of binary stars **


Do you really want to marry me?

Like an ocean tide ebbing from the shore, Shiron is drawn from his most secret thoughts, though still somewhat clouded with the reality that the day will come that he will lose his father. It’s a loaded question, a significant query to push through the muddle, to discover if, genuinely, the first time Shiron saw Lance from the scope of his rifle, the Galran imagined bouquets of flowers and a white veil instead of assassination.

Chuckling warmly, the sound vibrating in his throat, Shiron returns a question with his own, “will the moons rise in the Altean sky?”

“Of course they would, fluffy dumbass.

Keep reading

the-five-stages-of-feels  asked:

Okokok idk if you've done this before but could you make a list of the powers a child of hades/pluto could have? If you've already done this could you maybe give the link or tag? Thanks 😁

I haven’t actually done a lot of powers, but I’m down for it! Hades has quite a few very powerful ones, so if you were using this as a reference for a character I would be very careful to balance it out! I’ve added some suggestions for balancers for some of the powers :)

  • Geokinesis: The power over earth and stones. Hazel has this power, where gems pop up when she’s anxious. To balance that out however, she is cursed. It should also be noted that she’s a child of Pluto, and it’s stated that gems/earth is more Pluto’s thing than Hades’ thing. So, this would probably be a more minor power. I imagine it manifesting in one of several ways;
    • Being able to feel when there’s precious stones around/when natural disasters such as earthquakes are about to occur.
    • Being able to tell when precious stones are fake, much like the way Leo can read a machine by feeling its engine.
    • Earthquake production: Being able to produce earthquakes. Probably wouldn’t be major ones, just minor rumbles unless in a dire situation.
    • Gem production: Hazel’s power, the ability to feel and call up gemstones from the earth.
  • Ferrokinesis: The ability to call up and multiply precious gems/metals. Would be a very VERY draining power to balance it out. Maybe some sort of sacrificial system, where the owner of the power has to sacrifice something in order to multiply those stones, such as a part of their sanity or something they love.
  • Necromancy: Summoning of the dead,the ability to reanimate the dead. Reviving them, bringing them back to life, is a much harder process but can be done in some cases.
    • Control over the dead: Would kind of go hand-in-hand, but if somebody else was to summon the dead a child of Hades could theoretically be able to take control.
  • Death Aura: The ability to see someone’s life aura. This can be interpreted many ways, such as a Death Note-esque countdown clock or a simple gut feeling, or a change in colour in the aura.
  • Skeleton summoning: The ability to call up skeletons, a bit self-explanatory.
  • Ghost summoning: Performing certain rituals will allow you call ghosts/spirits. No guarantee there will be any answer, however.
  • Ghost control: Control over weaker spirits/ghosts, either ones that have lost all memory of their past lives and therefore float aimlessly, or simply ones with weak-willed personalities.
  • Umbrakinesis: The big one, shadow control.
    • The ability to summon shadows as a limited power, plunging certain people in darkness.
    • Shadow cloaks, making the caster virtually invisible and unnoticed.
    • Shields of darkness, which protect the caster.
    • Bolts of darkness could be fired, should a child of Hades have a very good grasp and understanding of their powers.
    • Shadow Travel: The ability to travel by melting into the shadows.

Please, my dear, would you stay?
Truly, it is not so terrible here.
Yes, You may be Spring,
But I will make You My Queen –
 My equal, my partner, my Everything.

My darling, I could not stay forever,
For I am needed in the world above.
But truly, it is not so terrible here.
We shall be equals, partners, for eternity.
I promise that You will be my Everything. 

Together We reign over Our domain,
A kingdom rich in precious metals and gems.
With quiet meadows and soft repose,
We solemnly carry on Our sacred duty.
Eternal in love, duty, and respect. 

anonymous asked:

Possibly stupid question, but how do you recognise if a last name is Jewish? I see you and others point out some last name is obviously Jewish but to me they just look like regular English or sometimes German last names. Is it just something you have to get used to recognise because they are more common, or is there actually some kind of pattern/structure to those names?

This is going to be disproportionately Ashkenazi. Sorry, folks.

There are common prefixes and suffixes that can determine a Jewish surname (“-berg”, “-stein”, “Feld-”, “Rosen-”, etc.). A lot of these are actually of German or Slavic origin.

Surnames derived from precious metal and gems are usually Jewish (Gold, Silver, Diamond, etc.). They’re often combined with the prefixes above (“Silverstein”, “Goldberg”, etc.)

Like every other ethnicity, there are names derived from occupations (eg. “Becker”, meaning “baker”), physical attributes (eg. “Jaffe”, meaning “beautiful”), patronyms (eg. “Benjamin”), or place names (eg. “Berlinsky”, derived from “Berlin”). Again, a lot of these names are actually German in origin.

And of course, there are surnames that are Hebrew in origin (Cohen, Levi, Katz, etc.).

This is by no means an exhaustive list. I haven’t even scratched the surface of Ashkenazi names, nor have I covered common surnames of other Jewish ethnicities. And there are always exceptions. Some non-Jews might have one of these names and a lot of Jews with two Jewish parents and patrilineal Jews have non-indicative names.

EDIT: holy typos, Batman!

Some headcanons for dragon bonding/affection/friendly body language and social customs (etc.):

  • Guardians: Extend a wing over smaller dragons to comfort and shelter them; make a deep rumbling noise when very happy or content (this can last for several minutes and be rather startling to dragons who’ve never heard it before).
  • Wildclaws: Lots of nuzzling and playful mouthing, especially when young; resting their heads and long necks on another dragon’s back.
  • Imperials: Gentle nuzzles and licks are common, along with some rubbing/scent marking.  Highly bonded imperials will often touch and entwine their sensitive whiskers together for long periods, a form of intimacy that seems odd to other breeds.  They also purr softly when very content.
  • Pearlcatchers: Not very physically affectionate; prefer to have deep conversations as a form of bonding.  Pearlcatcher pairs may briefly touch whiskers, or drape them over close friends/mates of another breed, but do not entwine them like Imperials.  Touching the whiskers of a Pearlcatcher who isn’t comfortable with you is a major social transgression among Pearlcatchers.
  • Skydancers: Careful, extensive preening sessions - you know you’re friends with a Skydancer when they start trying to groom you.  Sometimes they will try to groom dragons they have upset/are not on good terms with as a form of appeasement.
  • Tundra: Sniffing and rubbing/scent-marking.  A Tundra who rubs its scent on you has declared you a good friend.  If a dragon is friendly with many Tundra, they may go to sleep alone and wake up surrounded by a protective circle of Tundra, all facing outward to watch for danger.
  • Mirrors: Half-lid their eyes or close their foremost set of eyes when comfortable with someone, as a wide-eyed stare would indicate aggression.  An extremely comfortable mirror (especially a young one) will often flop their sinuous body over you and sleep on you in a variety of odd positions.  Aggressive “love-bites” and scratches also occur, and a mirror may leave a bite or scar on another dragon to say “mine”.
  • Spirals: Coiling around another dragon.  It’s not uncommon to see an Imp or Guardian trying to walk and go about their daily business while a spiral coils lovingly around their limbs.
  • Snappers: Not very physically affectionate, except for the occasional gentle headbutt.  May produce a deep rumble/hum when content, similar to Guardians.
  • Coatl: Hum softly while flicking their tongues slowly as an expression of pleasure and peace.  Gift-giving (in the form of small precious metals or gems) is an important bonding custom.
  • Fae: Perch and sleep on larger dragons, and keep a keen watch on friends from a distance.  They seem aloof and unkind to many other breeds, even when being their most friendly.
  • Ridgebacks: Like Guardians, they will extend a wing to shelter smaller dragons.  They have a penchant for bonding through storytelling and borrowing games rather than physical means.

Upper image - Various headwear for Kievan maidens, starting with the common on the left made of a leather band, upperclass in the middle made of embroidered silk ribbon glued to a birchbark or leather base, and princess on the right, hers made of precious metals and gems.  Note also the necks:  The common woman wears beads and amulets, the upperclass woman wears necklaces of finer gems, and the princess has an ornately embroidered and bejeweled neckline on her gown.

Lower image - Various ways of married women to wear the ubrus.  Above we saw maiden headdresses, here we have married women with their hair properly covered.  

Monsters: Geezahs

Geezahs fill the ecological role occupied by Giants in the upper world. These headless, lumbering creatures are generally docile and passive, but can become ferocious if assaulted or confronted. 

Geezahs are not actually living creatures as it is understood. At the core of every Geezah is the Geezah Bug, a rarely-seen burrowing beetle which spends its life collecting material around its body. As the mass of material is gathered, the Geezah Bug extends wiry organs into the nascent limbs of its construction, allowing it to control the manufactured body’s movements. This task is repeated over and over until a large – often titanic – body has been formed.

Geezahs are formed of available local terrain, which means that there are as many types of Geezahs, each with their own unique abilities and properties, as their are terrains in Hengemyr.

The Geezah Bug takes in nutrients through the long limbs of its artificial carapace, through its “hands” and “feet” – precious metals and gems which are absorbed this way pass harmlessly through the Geezah Bugs’ system and are extruded through its natural carapace. If a Geezah is ‘killed,’ adventurers can dig through to find the Geezah Bug, bearing golden and pearlescent shells often festooned with valuable treasure!


Now, onwards to complete my quest of drawing every DQ monster out there!(or the majority at least, I’m pretty sure I won’t draw EVERY slime there is… there’s too many XD) Goodness knows how long this’ll take me, but it’s been pretty fun so far. I’m doing the Sanguini line next to change things up a bit, then I’ll go back to the slimes. 

I used pencil, coloured pencils, Faber Castell pens and watercolours for these ^^

Worldbuilding June 2017 Episode 26: Art

Art has as many different meanings as there are residents of Mecharcana, but here’s how it generally goes.

Sculptures. Paintings. Fancy staircases. Jewelry. Those are common examples of how human art expresses itself. The more precious metals, precious gems, and other rare materials the better.

Keeper art includes digital paintings and drawings, and artists being hired for their ability to create these is common. Otherwise Keepers focus on making sure their architecture and vehicle design has both practical and artistic value. Grafitti is also a common way for Keepers to express themselves, and in some installations it goes relatively unopposed.

Werefolk mostly express themselves artistically through peircings and tattoos, and a good artist in those is often highly revered.

Demons are highly experimental when it comes to art, often creating highly surreal paintings, sculptures, graffiti, and even clothing they wear in human form.

Her skin
Was rich
Like goldmines
It reminds
Me of
My grandmother’s
Grandmother from
The fields
Of Levi
Jeans unbound
Unlike herself
Poor, but
Rich with
Fingers like bone

This woman,
Imbued with
Precious metals
And gems
Draws my
Eye like
Gradient colors
Lips of
Chocolate covered
Marshmallows, I
Could only
Imagine a
Kiss with her

—  Ain’t No Hick

Lesson 17 - Viking Crafts.

Note: [If you have not done so already, check out last week’s lesson. Visit “Viking History” on my blog to view all of the lessons.]

Komiði sæl og blessuð, vinir,

I have mentioned craft and production quite a bit now, as we have talked about Viking towns and commerce. The Vikings did not only trade things they stole, nor did they only have raw materials to offer. If not already convinced by their ships, the Vikings were tremendously skilled when it came to their art and crafts. However, as we will discuss next week, their art was more practical than the art of “great” civilizations. This lesson is essentially an introduction to the brief Art and Weaponry segment that we are now beginning.

1. Who Crafted?
2. Crafting as a Profession
3. Crafting like a “Viking”
4. Textiles

Who Crafted?

Even before towns, most people knew how to craft, at least to some extent. Items for everyday life were generally made in the home, which was, before towns, the major source for production. If not just at home, crafters would be local or traveling experts, either offering their service to farmsteads nearby or providing a sort of “wandering” service.

When I said everyone crafted, that included women. However, that does not mean it was free from gendered restrictions. Certain crafts were often associated with certain sexes. For example, woodworking and blacksmithing were viewed as male tasks, while weaving and textile production were female tasks. This trend is evident in burials, for the grave goods most often reflect this distinction. Textile production was very time consuming though, so it gave women a way to participate in production and in the “economy.”

Crafting as a Profession

Once towns emerged in Scandinavia, crafting gravitated towards a new center. This center moved from the household and into the town, thus providing a spot for year-round production, rather than part-time or even seasonal work. Yet, even those who travelled represented the motion towards crafting as a profession. The Mästermyr Chest from Gotland, Sweden provides interesting insight into the traveling craftsman:

The chest dates to around the year 900 and features a wide variety of tools. It was truly an essential kit for a craftsman. It does not only indicate that these craftsman were traveling, but also gives some potential insight into the types of crafts that these Scandinavians partook in.

Crafting like a “Viking”

So, what did they craft? Well, when they weren’t carving intricate art onto ships and axes, they utilized a variety of materials in order to create pretty “basic” items. By basic, I mean that these items were not typically luxurious, rather they would be used for everyday purposes. Yet, production was still sophisticated, making use of imported materials to use in production. Some crafts, especially amber, was highly desired in regions south of Germany. Here are some of the materials they used to craft with:

Iron (…forges and metal pits were on the outskirts of towns, and so metals were most often provided from outside the center of production.)
Gold (…not manufactured in Scandinavia. Gold was often important and them melted so that they could mold it into other objects. Gold was rare, of course, and used for decoration.)
Beads (…this was a big craft, along with glass, which often was used to make beads.)
Glass (…this was a specialist craft, not just anyone did glasswork. There were various types: Russian Carnelian, Rock Crystal-imported, and Amber-locally available.)


Textiles normally do not survive, since they easily break down over time. They are usually only found in two particular situations: metal attachments and anaerobic environments. For reasons I am not going into, metal actually helps prevent a textile from fully “decomposing.” This can be observed in Birka graves. Brooches and swords often helped preserve the clothing of women and men alike. Though, such preservation would still be poor at best. As for anaerobic environments, these are special conditions that help preservation. Thick clay as well as boggy land help seal objects from the elements that cause them to break apart. This can be observed with bog bodies and even the Oseburg ship itself.

Textiles were often lavishly decorated. One such example, that we actually have  been able to “reproduce” is the tapestries of Oseburg. I have posted about this in the past (literally only after two weeks of starting this blog). You can view that post here (Oseburg Tapestry Post). At the very least, you will see what it was thought to look like.

Textiles reflected the long-distant trade networks that formed alongside towns. The Birka graves show textiles from China, Syria, and even Arabia. Nordic textile styles actually take on some inspiration from foreign styles as well. As a result of their growing internationality, textiles also conveyed status. Textiles, especially women’s clothing, was often enhanced with precious metals, beads, gems, and dyes. There was even selective breeding to produce whiter, brighter wool. 


As I stated previously, this is only the beginning of “Viking” crafts. Crafts in medieval Scandinavia were more focused on the creation for useful items, yet, as towns and international trade began to flourish, crafts began to convey a new kind of status: command of resources and networks. This, of course, was not entirely new, but definitely on an expanding level. Next week we shall talk about proper “Viking” art styles as we make our way into weaponry and raids.

Skál og ferð vel.

Next Week’s Lesson: Lesson 18 - Viking Art: Decorating Useful Objects.

Sources and Notations:

[Gen.] Jennifer Dukes-Knight, “Crafts, Art, and Weaponry,” Lecture, Viking History, University of South Florida, 2015. || I had little extra input to make this lesson, so there are clearly a lack of notations this time. If there is any aspect of this lesson that you would like more detail, send me an ask and I shall research it for you.

[Fig 1.] Image of the Mästermyr Chest, provided by the Swedish History Museum via Flickr. (link)

[Fig 2.] This image depicts a more wealthy medieval Scandinavian woman’s attire: an apron dress with brooches and beads. (link)

anonymous asked:

legolas proposes to gimli, kneels down, has a ring, the whole shebang. gimli says yes and lifts him up in the air and spins him around. legolas is a little surprised (the huge height difference is the same) but is rlly happy. also gimli is like "we should probably get new rings tho babe. trust an elf to have a terrible eye for precious gems and metals."

im gonna crY. gimli’s like ‘um you know this isnt real gold right??? like ily but' 

Brother Anselm to Dom Gilbert, brother, friend, beloved lover…sweet to me, sweetest friend, are the gifts of your sweetness, but they cannot begin to console my desolate heart for its want of your love. Even if you sent every scent of perfume, every glitter of metal, every precious gem, every texture of cloth, still it could not make up to my soul for this separation unless it returned the separated other half.

The anguish of my heart just thinking about this bears witness, as do the tears dimming my eyes and wetting my face and the fingers writing this.

You recognized, as I do now, my love for you, but I did not. Our separation from each other has shown me how much I loved you; a man does not in fact have knowledge of good and evil unless he has experienced both. Not having experienced your absence, I did not realize how sweet it was to be with you and how bitter to be without you.

—  Epistle 1.75 from the Patrologia Latina, attributed to Saint Anselm of Canterbury (1033-1109), a Benedictine monk, philosopher, and prelate of the church.