Captain Jack didn’t listen though, he kept delaying leaving the cove, he kept making excuses about why they couldn’t leave, why they had to stay. He acted like he didn’t constantly have his eyes locked on that rock, or that he wasn’t constantly staring into the dark water, but the crew knew.
“Captain, we have to leave tonight” he’s reminded yet again, but he doesn’t care…he wanted to see her, you. “Captain” Another man yells, making the boy turn at the urgency in his voice “The mermaid is back” he adds making the young captain practically jump ship
“It’s you” he says, kneeling at the waters edge “Mother will kill me if she finds out” you say, shrugging “You’re so beautiful” the boy says, before he looked away, rubbing the back of his neck with his hand, you blush gently, making the pirate marvel once more at your inhuman beauty
“Come with me, on my ship” He suggests making you almost scoff “I can’t, your crew-“ you says pausing to look over your shoulder at them, lowering your voice “They hate me, and my kind” you point out and the boy almost looks angry “Any man on my ship that has a problem with you can stay here in the cove” he says offering you a hand again, wanting you desperately to take it
“Goodbye Jack” you whisper, pulling the captain in to your frame, kissing his hot, dry lips with your own, salt glazed ones before disappearing into the depths. “Wait…” he tries but you never resurface, so eventually the black pearl as well as the crew and an emotionally dejected captain Jack left the salt water cove in search of adventure.
Jack had locked all memories of salt water cove away in the depths of his mind and wasn’t planning on ever letting them resurface, that is until he saw you again. When Jack made the crew stop at the odd ravine in the middle of two steep mountainous islands, they thought he had lost it, that is until they saw the splashing in the distance, that gave it all away.
The women, you responsible for the splashes was just that, a women and not the little girl the pirate crew had remembered. “It’s her isn’t it captain?” they ask but Jack shushes them with a wave of his hand, stepping down from the ship, onto the sand of the ridge. He slowly, gingerly walked over to where the splashing was and crouched behind an overgrown tree, his eyes greedily taking in the sight of the girl he knew in his youth.
“Captain!” one of the men yelled, alerting both the man hidden well behind the foliage and you in the lagoon. “Captain Jack?” you call, easily seeking him out from his hiding place “It’s you” He says breathlessly, repeating history in the funniest of ways “And it’s you” you counter, swimming over to where he was and he could see that you had in fact grown up a lot since he last saw you.
“You’re not a little girl anymore love” he points out, making you blush like you used to “And you’ve grown into your captains hat” you laugh, sitting up on your rock, your tail gingerly flapping against the surface of the water.
There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace, those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the pattern of its leaves. We try to copy these patterns in our lives and in our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the findings of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move toward death
Thanks hon, this is AMAZING! I love wing lore posts, and I’d always thought that there was something… off about spn angel wings. But yes, the SHOULDER! The shots of it from this season are so lovely and clear, and you can really see the anatomy!
Also, those ripples in the sand- do you think they’re trying to suggest some barring on the wings?? that would be awesome!
Yes, I really do think they are trying to suggest some barring on Castiel’s wings.
I apologize to everyone that thinks that Cas has black wings.
This is why I don’t think Cas’s wings are black, because if Cas had black wings he wouldn’t have barring.
There are two types of feathers that make up a bird’s wing. Flight feathers or remiges, these are the long asymetrical feathers, and the contour feathers or coverts, these are the shorter feathers that cover the areas over the bone.
I noticed after 12.23 that it looked like Cas had barred remiges and solid coverts. I thought this barring looked like it could just be the sand so I was waiting to get a better look in 13.01.
In 13.01 we got a whole new picture for Castiel’s wing prints and it seems to suggest the same thing. If these were just sand ridges I would expect them to occur sometimes near the bones but they don’t. Also if these were just part of the environment I wouldn’t expect them to match up with the width of the feathers. So I really do think that these lines are to suggest that Castiel’s feathers have barring at least on the remiges.
This pattern immediately made me think of all the birds of prey that have barring on mainly their remiges.
I happen to like osprey wings the best right now because I think it comes pretty close to the pattern we see. Also osprey do have some solid white feathers on their wings. Whenever we have seen angel feathers used for a spell in Supernatural they have been white coverts. And where else would Dean get angel feathers to keep in the impala’s trunk but from Castiel. Obviously Castiel isn’t going to give one of his flight feathers but giving away a few coverts probably wouldn’t be a problem.
The shape is also about as close as we are probably going to get.
I think the idea that Castiel has black wings started with wanting to match Castiel’s wings to Misha Collin’s hair. I am not completely sure about this though because it also could have been just from the fact that we only see Cas’s wings as shadows. But you usually see Cas drawn with black hair and black wings. Except Misha’s hair isn’t really black it’s dark brown. The backs of an osprey’s wings are also dark brown so I think this is a much closer match to Misha’s hair color then black wings.
If you want to head canon Jack’s wings looking like Castiel’s, an immature osprey has white lacing around the outside of their feathers.
Brown hills speckle the eastern part of Australia’s Lake MacKay in this satellite image.
Located on the border of the states of Western Australia and Northern Territory, the salt lake only sees water after seasonal rainfall – if at all. It is classified as an ephemeral lake, meaning it exists only after precipitation. This is not the same as a seasonal lake, which sees water for longer periods.
About half of Australia’s rivers drain inland and often end in ephemeral salt lakes.
The greens and blues in this image show desert vegetation or algae, soil moisture and minerals – mainly salt. On some of the brown ‘islands’ and on the shore in the lower right, we can see the east–west sand ridges forming lines in the landscape.
The lake lies at the edge of the Great Sandy Desert, which covers nearly 285 000 sq km. Roads are scarce in the area, and often frequented by four-wheel drive adventurers. Roads include the Canning Stock Route about 300 km to the west of the image, or Tanami Track connecting Australia’s Stuart Highway to the Great Northern Highway around 300 km to the east.
This image, also featured on the Earth from Space video programme, was captured by the Copernicus Sentinel-2B satellite on 15 March.
Although it is still being calibrated following the 7 March launch, the satellite’s main instrument is already delivering images, demonstrating its capability to map Earth’s land, coast and inland water bodies. Once fully operational, the data will be made available to users for a variety of applications, free of charge.
Copyright… contains modified Copernicus Sentinel data (2017), processed by ESA , CC BY-SA 3.0 IGO
Yes I know Day Two was technically yesterday but…shhh….
Day Two is Skimmons in Season Two and Three. I love writing about Maveth and Jemma’s time there and there are so many things I wish they had done differently with that story line so…here is Jemma alone on Maveth and with some Skimmons thrown in because Skimmons makes everything better!
There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace - these qualities you find always in that the true artist captures. You can find it in the turning of the seasons, the way sand trails along a ridge, in the branch clusters of the creosote bush of the pattern of its leaves.
Legends are not born fully formed. They take work, and Marilyn was no exception. The precise details of who persuaded, took, or paid for Marilyn to have these minor operations varies from one biography to the next, but the salient facts are as follows:
In March 1948 Columbia Studios arranged for Marilyn, whose hair had been dyed blonde a couple of years earlier, to have her hairline raised by electrolysis; at the same time her hair color was lightened from ash blonde to platinum.
Fred Karger sent Marilyn to Dr. Walter Taylor, a specialist in cosmetic dentistry, before the shooting of Ladies Of The Chorus in 1948. The orthodontist corrected Marilyn’s slightly protruding front teeth, it seems by giving her a corrective brace to wear at night. Early photographer Laszlo Willinger also claims credit for fixing her “one bad front tooth.”
In 1950 (1949 in some accounts) Johnny Hyde arranged for Marilyn to have her nose and chin touched up. On this occasion Beverly Hills plastic surgeon Michael Gurdin excised a light bump of cartilage from the top of her nose, and inserted a crescent-shaped silicone prosthesis into her lower jaw to “pad out” and soften the line of her chin.
The main difference, though, between the budding starlet and the accomplished star was practice. Marilyn’s great skill in front of the camera was her ability to use what she had to maximum effect. When she “did a Marilyn” she angled her head in a certain way, set her lips into her trademark pout, walked her walk, and seduced the lens.
Some apocryphal reports of cosmetic work have circulated about Marilyn too. There has been recent speculation that Marilyn had her breasts enhanced around the time she had her minor cosmetic surgery. This has never been confirmed, and appears highly unlikely, partly because she had a perfectly fine pair of breasts as a young girl, and particularly because breast enhancement surgery was not readily available at that time. Silicon implants began to be used in the early sixties, though much cruder forms of breast enhancement had been experimented with prior to then: polyurethane injections in the early fifties, implantation of fatty tissues from other parts of the body (actress Tallulah Bankhead is reputed to have resorted to this in the 1930s), and even injections of paraffin. In her book Lift, Joan Kron says that a few years after operating on her chin, doctor John Pangman gave Marilyn silicone implants, which became a source of illness towards the end of her life. This would not seem to be borne out in topless pictures of Marilyn taken in the late 1940s by Earl Moran and in 1962 by Bert Stern.
Early Norma Jeane photographer Joseph Jasgur stated in his book that young Norma Jeane had an extra little toe on her left foot which was surgically removed. His photos of her on Zuma beach are rather blurry and inconclusive in the sixth toe region, mainly because alleged toe number six is a small ridge of sand.
It’s like the way the ocean
leaves ridges in sand; you left me
with my spine showing, bones
straining under skin,
to be stroked.
I’m not soft to the touch anymore,
but I am not broken.
Just different; harder; waiting
to be rolled over on again.
For sixpenceee ’s deep dream post.
Originally, this was a photo of my mom and the sky I took at Jockey’s Ridge in North Carolina just before a huge thunderstorm. We could see lightning in the distance but refused to leave until it was actually raining.
My personal way of doing things is to plan out my design in an actual sized paper pattern then transfer that onto craft foam. When making the pattern if you have and sharp edges or serious curves you are going to need to use ‘Darts’ just like the ones used in sewing.
This will allow you to get better curves etc. when you heat form the foam. Once cut out glue the dart’s together. I use Hot glue which the bubbles of that tend to form I then cut/sand off.
next is of course the heat forming for me. I use the stove (since I can’t afford to buy a air gun) basically you hold the foam in the heat. (not to close to the flame quite high away from the heat source is still fine) and wait till the foam begins to droop this usually only takes a few seconds. Remove from the heat and begin to shape. you can do this with your hands or with moulds your choice on what you need. This guy’s tutorials are awesome as to what he makes from craftfoam and even if your not interested in what he is making are well worth a look. http://www.youtube.com/watch?v=bzPTMm1efb0
don’t forget to hold the item in this position till it’s cool and moves like craft foam normally does before moving onto the next piece. Craft foam does burn and char so be careful and be ready to do another cut out in-case you damage the foam.
At this point you can also add extra detail to layers. like rides and recessed. say you want a patterned ditch in your object you can use a soldiering iron (used in electronics. don’t use the solder just use the soldiering iron) to essentially burn detail into the foam this will create a recessed sealed area. if you don’t have a soldering iron you can use a craft knife to cut carefully not all the way through the foam and then press it down with a hard flat object you can also score the area on one or both sides to help enhance the ditch. and add pva to make sure it stay’s in place.
LAYERS. Layers give your craft foam strength and detail. The base layer depending on your object is for me normally 2 layers of foam however with allot of things you can incorporate the layers into the design.
Layer 1 being the base/bottom layer and the highest number being the top layer which is often detail.
In allot of cases the detail makes up the object so in these cases make sure that the lower layer support’s the top layer. (you don’t allways have to do this but when within the sides of the main object it can be good to do.)
once your happy with the shape you can begin to seal the foam. Everybody has their own way of doing this. I use PVA and water same as I do for paper mache. I each layer I tend to add more pva to the mix and before I glue layers together I usually give a layer of strait un-diluted pva on all sides.
In the case your making something quite thin or just think your object is still to soft and moves/ bend’s allot as suggested in Penwipers tutorial one of the best thing’s to do is glue on gauze or a similar fabric to a layer I normally do this once all layers are stuck together. use watered town pva then a coat of strait pva once dry is what I do. and you can do one to as many layers of this as you like. If you are doing a more circular object you’ll want to cut dart’s into the fabric. just make sure that the seams overlap. don’t worry about neatness it wont be seen anyway.
Glue your layers together using strait PVA (I normally do this before re-enforcing with the gause) do this a couple of layers at a time. I don’t use hot glue for this because living in Australia on a 48deg C day hot glue tend’s to get a bit soft. and let dry completely.
Your edges may be a bit messy on the outside layering up gesso over the edges the sanding can often fix this problem or cutting the wonky edges off or sanding these ridges can fix this.
Prime your craft foam object using acrylic paint/gesso/ preferred other paint medium. (if you want a metallic finish sand it so you have a smooth surface) then paint as you want.
(sorry I think I went a little over the top with the explanation however if I missed anything or you want anything clarified let me know.