We’ve got them, thanks to Avalus, who has a good eye for spotting well camouflaged small creatures.
a young and an older sand lizard
©Avalus, all rights reserved
©Avalus, all rights reserved
Looking for Lizards?
Affinity
Art, Fun, & Nonsense.
We’ve got them, thanks to Avalus, who has a good eye for spotting well camouflaged small creatures.
a young and an older sand lizard
©Avalus, all rights reserved
©Avalus, all rights reserved
In yesterday’s kerfuffle, I completely forgot this series. So, belatedly, a video from a Spanish violinist.
I have not seen a single whole episode of Star Trek, ever, and I fell absolutely no inclination to do so. I have only ever seen snippets of TNG, so I just about know it is a Sci-fi and I know who Jean-Luc Piccard and Data are.
But this music is beautiful to me all the same.
How La Beale Isoud wrote to Sir Tristam. Artwork by Aubrey Beardsley. Le Morte Darthur.
How King Marke found Sir Tristam. Artwork by Aubrey Beardsley. Le Morte Darthur.
How La Beale Isoud nursed Sir Tristam. Artwork by Aubrey Beardsley. Le Morte Darthur.
Plus, a bit of bonus music today because this is the song that introduced me to Beardsley, way back in (gulp) 1977. That was in the pre-internet world, and it wasn’t easy to find Beardsley prints. Our local library didn’t carry anything, and neither did our only book store. I finally found a book at UWO with a compilation of his work. I think it was simply called Aubrey Beardsley, and it was a thrilling discovery.
©voyager, all rights reserved
0430 a.m.
“Hello, this is poison control, how may I help you.” [Read more…]
Not.
In the grand and probably small scheme of things, I’m pretty much a nobody. I have no illusions about being a prolific writer, an inspiring activist or an amazing artist, despite doing all three of these. When everything is said and done I’m a middle aged woman with a nice family, an exhausting job, a couple of interesting hobbies and some really good friends with whom I hang out on a small blog.
Yet, over the years I seem to have picked up some amount of obsessive haters, with an interesting overlap between “gender critical feminists” and plain old slymepit misogynists, all seeming very obsessed about whatever stupid thing I write. Now, I’m the first to admit that I like a good verbal fight and can be 80 grit abrasive bordering on asshole (ok, maybe full asshole), but as a rule I generally don’t follow people I disagree with around. Like follow them on Twitter. Or keep reading their blogs and then comment on whatever they write in my own space. And to be honest, most of them and those arguments will drift from my mind. I will remember whether the interaction was positive or negative, but please don’t ask me who said what in the comments section on some blog or other in 2016.
But apparently I manage to inspire that kind of behaviour in others. After Marcus posted a note “On Trans Issues” on his blog, multi-nymed commenter [apparently not steersman, edited]/steppenwolf/RojBlake/DavidinOz used the occasion to complain loudly about how horrible I’ve been to him (without me having participated in that thread at that point), “kicking him from Affinity for a statement of truth elsewhere” when I don’t even have admin privileges, I did try to refresh my memory on what exactly happened, googled a few things and look and behold: Only the correctly spelled version of Giliell (did they all sleep through their Sindarin classes?) alone yields 9(!) pages of search hits on the apparently defunct slymepit, where people still think that calling me “fat” counts as some sort of argument when I would simply say “yes, I am”.
Yet Butterflies and Wheels isn’t much better (and if anybody needed confirmation that Roj Blake is steppenwolf, he made the almost same comment about me “trashing” Caine’s legacy there under Roj Blake verbatim). And now, since I know you’re reading, let me just say this: get a life. Seriously, you’re all grown people obsessed with whatever a nobody mummy blogger on an obscure blog who is happy about five nice comments on her bird pictures says. Oh, and to answer your question, Acolyte of Sagan: I am a fully licensed teacher for grades 5-13 and what I mostly teach my kids is basic maths, reading comprehension and writing skills, and that “retarded”, “gay”, and “girl” aren’t insults. I hope that satisfies all your questions, because I sure won’t answer any more of them.
Today’s Beardsley has a bevy of beauties with bountiful bosoms plus a quadrangle of quiet, contemplative Queens.
How A Devil In A Woman’s Likeness Would Have Tempted Sir Bors. Artwork by Aubrey Beardsley. Le Morte Darthur.
How four Queens found Launcelot sleeping. Artwork by Aubrey Beardsley. Le Morte Darthur.
Avalus has a new camera and he’s been taking lots of fabulous photos of small creatures, and he’s sharing with us. Today, it’s this little guy, whose photo you can find under the fold.
a crabspider that tested my arm as a potential hunting ground [Read more…]
The knife is finished, although not sharpened, and here are the final pictures. I am going to make more knives of this design because I think it is a good knife for forest walks, especially mushroom hunts. And I am naming the design “Badger”.
© Charly, all rights reserved. Click for full size.
The overall length in the sheath is 205 mm. The sheath is from vegetable-tanned leather, carved (badger paw print, frame edge), stamped (leather weave, edge trimmings) and dyed, thoroughly infused with beeswax, oiled with olive oil on the inside and buffed with dubbin outside.
© Charly, all rights reserved. Click for full size.
The sheath has a metal belt clip. This allows the knife to be worn not only on the belt but also clipped onto/into the pocket or boot. The pommel sticks out of the sheath far enough for a comfortable grip with index finger and thumb when pulling the knife out. The knife clicks into the hardened leather firmly enough to not fall out of it with its own weight, but can still be pulled out comfortably.
Stitching is made with a two-needle saddle stitch with artificial sinew. The end knots are melted together and hidden.
© Charly, all rights reserved. Click for full size.
Brass fittings have a black patina with clear brass badger paw-prints over the pins. Scales are from naturally aged cow bone, slightly larger than the tang and wider than the brass fittings. The right scale is adorned with scrimshaw engraving of a badger head – this is a new skill that I had to learn but kept secret since I had no guarantee it will work out. I think it did work out OK. I may add a bit more pigment once this hardens, but maybe not, I like it the way it is. The badger is colored black with coal dust, the patterns, and the frame, with ochre (rust).
© Charly, all rights reserved. Click for full size.
Handle length 100 mm, drop-point style blade 87 mm length, 3 mm thick at the ricasso. Point of balance just behind the first two pins in the handle scales, also between the index finger and middle finger. It feels a bit handle-heavy but nimble. The steel has dark-grey patina from an oak bark extract.
© Charly, all rights reserved. Click for full size.
The left side of the handle is unadorned except a few scratch grids around the pins. The left side of the blade has significantly different steel pattern due to how the san-mai was hammered at the Badger Forge.
© Charly, all rights reserved. Click for full size.
Back of the tang has a row-of-crumpled-leaves fileworks, the belly has a simple triangle pattern.
Overall, I am satisfied with my work here. There are things that I am critical of, there are things that I definitively might have done better – it is not a masterpiece yet, but I think I am getting there. I have learned a lot again and many of the things that took me several days this time should be just a day or even less the next time (the leatherwork for example).
As mentioned before, our holiday plans this year is meeting in each other’s gardens, so this Sunday we went to our friends’ place (their pool is already filled and delightful) and I made some shortbread for the coffee table. Because maybe the most German food tradition is “Kaffee und Kuchen”, coffee and cake, in the afternoon.
I started out with Yotam Ottolenghi’s Oriental Millionaire’s Shortbread and adapted it for my needs.
Shortbread:
Mix sugars and starch in your kitchen machine, add butter and vanilla while it’s running, turn to slow, add flour and just mix until it’s blended. That’s what I like about shortbread: it’s quick and easy.
Prepare a 20 X 20 cm baking tray (as per recipe) or use a 12″ round one as I did, heat oven to 200°C. Bake until golden brown. The original recipe said 25 Min, but mine was much thinner and baked in 10. Let cool completely.
The original recipe says to add a layer of crushed halva, but I didn’t have halva at home for the simple reason of being really allergic to peanuts, which is often a main ingredient in commercially available halva, so I simply moved on to the caramel.
Boil until dark copper brown, remove from heat
Add to the caramel. I hope you used a pot that’s got some space because it bubbles up and splashes at this point. When it’s a nice homogenous mass, add
Pour the slightly cooled caramel on top of your shortbread and sprinkle with some more fleur de sel.
I finally added a very thin layer of dark chocolate. Cut into pieces and enjoy. It’s really sweet but damn delicious.
©Giliell, all rights reserved
©Giliell, all rights reserved
I like the feathery patterns of fern leaves.
© Charly, all rights reserved. Click for full size.
I love the way Beardsley draws armour. It’s so highly decorative with all sorts of complicated and intricate patterns and a feminine cut and drape. His chainmail hangs like silk, and the overall effect is one of weightless beauty.
Artwork by Aubrey Beardsley. Le Morte Darthur.
Artwork by Aubrey Beardsley. Le Morte Darthur.
Library sciences have come a long way since the days of card catalogues and racks of periodicals. Most records are now kept digitally, and many historical records have been converted to digital files. It’s because of all those digital files that historian Scott Sandage was able to track down the full copy of Frederick Douglass’ words regarding a monument in Lincoln Park that should be removed.
The statue in Lincoln Park, known as the Emancipation Memorial, depicts the 16th president beside a Black man who, depending on how you see the piece, is either kneeling or rising. It’s supposed to commemorate the end of slavery—but in any interpretation, the Black man is physically lower than Lincoln himself, leading critics to see the statue as a paean to Lincoln’s generosity, and not a testament to Black Americans’ own roles in their liberation. “Statues teach history,” says Glenn Foster, an activist with the Freedom Neighborhood, who wants to see the statue removed. The Black man in this statue “is in a very submissive position,” he says, adding that that’s not “respectful to our community, or to anyone in general.
As The Wall Street Journal reported, two historians, Scott Sandage of Carnegie Mellon University and Jonathan White of Christopher Newport University, were recently debating what ought to be done with the statue, and they wanted to know whether the social reformer and statesman Douglass had, in fact, criticized it directly. Douglass died in 1895, but posthumous reports of his comments on the subject have been circulating since 1916, when a book stated that he had been critical of the statue at its unveiling. In his prepared speech for the event, Douglass challenged the nascent Lincoln mythology, calling him “preeminently the white man’s president …,” but it wasn’t clear whether, in an alleged aside, he also criticized the new statue itself. The two scholars disagreed over the account’s reliability, so Sandage set out to more firmly establish the abolitionist’s position.
It was Douglass’s ability to turn a phrase that helped the historian finally locate the relevant text. It had been reported that Douglas had referred to the black man on the memorial as “couchant.”
Using “couchant” as the keyword in his search—and experimenting with a few combinations of other words—Sandage identified three newspapers that ran the entirety of a letter Douglass wrote about the statue, a few days after speaking at its dedication. “Admirable as is the monument by Mr. Ball in Lincoln park [sic],” writes Douglass, “it does not, as it seems to me, tell the whole truth …” He credits Lincoln for following through on emancipation, but adds that “the negro was made a citizen” by “President U.S. Grant,” under whose administration the Fifteenth Amendment was ratified. (In theory, the Amendment enfranchised Black men with the right to vote. Of course, enforcement of that right has been a long-standing issue.) He concludes by suggesting that “[t]here is room in Lincoln park for another monument,” and that that space ought to be filled out with works that could help complete the historical picture.
NEWSPAPERS.COM, COURTESY SCOTT SANDAGE / PUBLIC DOMAIN
Sandage and White have proposed an “emancipation group” of statues to fill out the park and note that it would not affect the reputation of Lincoln one bit to remove the existing monument, as there is another more significant tribute to Lincoln nearby. There are other proposals for the park from leaders in the black community, and you can read the full story at Atlas Obscura.
The day before yesterday I had to make the leatherwork all anew, because I spilled some glue on the forefront of the sheath and it has proven to be irreparable damage, it completely ruined the leather. So I have made a new piece, this being, therefore, the fifth attempt. And when I was at it, I have improved my tools to make a better job.
© Charly, all rights reserved. Click for full size.
I have re-filed the basket-weave stamp to make it crisper and bite more deeply. That has allowed me to better feel the position of the stamp when moving it along the edge and positioning it in the next point on the pattern grid. I have also used a straight edge and I scribbled a faint line for each row before stamping along it.
To get the dye better into the tips of the claw marks I have needed a very fine brush, so I had to make one. And since I do not have any weasel hair, I have used a few strands from a goose feather. It has worked perfectly.
This is my first attempt at a sheath with a metal belt clip. I have first riveted the belt clip to a piece of leather and then glued/stitched that piece of leather onto the sheath. Only then have I glued and stitched the rest of the sheath together. This avoids any contact between the knife and the metal of the clip and secures the clip very firmly in place.
For making the holes I have used 2 mm drill bit in my drill press since I found that to be by far the most convenient method. For stitching, I have used saddle stitch, and I hope I have used it correctly. I had trouble finding a comprehensive tutorial on how it is done.
BTW, holding the work between my knees is really uncomfortable, I will have to make myself a proper tool for this. So many tools that I still need… Anyway, back to the stitching.
© Charly, all rights reserved. Click for full size.
Saddle stitching is made with two needles and here you can see how I do it. First I am pulling the right needle through the hole all the way to the end (top). Then I put the left needle in the hole whilst wrapping the thread from the right needle around it in a loop (middle). When carefully pulling the left needle through the hole (taking care to not stitch through the thread already inside) it creates a knot that gets tightened inside the hole when both threads are pulled to the limit (low). This kind of stitching is very strong and it does not unravel even when the thread is worn/cut/breaks in one spot.
© Charly, all rights reserved. Click for full size.
The almost last step in making the sheath was wet forming. I have put the whole sheath into lukewarm water and let it soak in there as long as bubbles were coming out of it. When it was all soft and pliable, I have wrapped the knife in food wrapping foil, put it in the sheath and formed it around it simply by finger pressure until it had a shape that I wanted. I have used clamps too, but only for a few minutes around the edge, I did not leave in clamps until it was fully dried, it was not necessary. In fact, to let it dry I have simply hung it on a window handle as you can see in the picture.
Today was the final day of this project. I did make some minor mistakes when making the sheath, so I had to glue a little wedge of leather inside with five-minute epoxy, but that is simply a lesson learned for the future and not something to worry about aesthetically or functionally. I must simply remember next time to make the blade portion shorter (and slimmer) and the handle portion longer. But it was working just fine, the knife holds in it strong enough to not fall out, but it can still be pulled out with just two fingers by the pommel. So I have infused it with beeswax and dubbin*, so it is hard almost like plastic, but still with a pleasantly natural and organic feel to it. That made it a lot darker and I applied some black patina too to make it look a bit aged, to fit the knife.
So, after a month of procrastination interspersed with bouts of hectic work and attempts at learning new skills, at least one piece of steel out of three has made it into a final product. I am going to try and make some nice pictures and tomorrow I will post them.
