How to make a Terrarium in 4 steps …
The size of your container will affect the amount of materials you will need and use:
1. The first layer is rocks, which you can purchase at pet, garden or craft stores. Add enough to the bottom for adequate drainage.
2. The next layer is activated charcoal, which you can get at pet or garden stores (it is used in fish tanks). Add a thin layer over the rocks.
3. Depending on the depth of your container, you will next add soil. Leave enough room for your plant’s roots.
4. Next is your plant(s). Make sure they are not touching the glass as it will make them brown. One of the trickiest things is finding the right sized and shaped plants. If it won’t hurt the plant, you can divide it and use only a section because it needs room to grow.
5. If your container is going to be closed, you can add moss around the sides of the plant. Open containers with succulents or cacti should be carefully filled in with pebbles on top.
If you’d like to see one made, watch this Martha Stewart video . It’s a good thing.
via The Notepasser.
I’ve been itching to share this for a while now. My last project was Cinderella, and since there’s already one version of Cinderella for Far Faria, I decided to do a Filipino version version just to mix it up.
If you aren’t using this website, you’re missing out! It is a collection of primary sources throughout history, online, in plain-text format! With a search engine!
May also be useful for writers
"A Fair Acrobat Soundly Thrashes A Man" (1898). He threatened her father; she "boxed [him] well about the head." -via Bob Nicholson
This is delightful to me.
Costume from “The Wooden Prince”
The Wooden Prince, a dancing-play in one act, was inspired by Bartók’s interest in folk music and folk lore. The wooden prince of the title is a model, created by a human prince to attract the attention of a princess, but a malignant fairy, wishing to keep them apart, brings it to life and the princess falls in love with it. Fortunately the fairy takes pity on the prince and, in true fairy-tale manner, all ends happily with the lovers reunited.
The production was influenced by the Chinese Peking opera, a theatrical form in which stories are told through movement, singing and complex, often highly acrobatic, movements. The costumes convey character and roles to the audience - thus the wavy patterns on the Fairy’s costume are associated with power while the attached flags at the back signify hard kao armour, and the ‘armour’ is also indicated by the overlapping scales on the breastplate of the costume.
The costume is superbly authoritative, not just in scale, with its large headdress and wide skirt, but in colour, using bold, primary blue and red with black and metallic fabrics. The variety of fabrics breaks up the surface - black floral Lurex, silver woven with tiny silver floral pattern, areas of blue overlaid with waves of black braids, and subtle touches of deep red. Given the costume, the role was somewhat static, but the impression of movement was conveyed by the black braid waves and by the lighter fabric used for the flags, which streamed out behide the dancer or moved subtly when she was still. The front panels are covered with individually applied ‘scales’, executed in several different black and gold Lurexes, interspersed with the silver floral brocade, which also ‘move’ as they catch the light. Despite the complexity of the design, the costume never feels fussy; the decoration is so controlled that all the elements are clearly defined.
Prowse was a brilliantly inventive designer, and the appliqué panels and use of different materials to divide up a surface are characteristic of his work. Although he usually designed for the intimate space of Glasgow’s Citizens’ Theatre on very small budgets, he was equally capable of working on a large scale in opera houses, and this costume would have registered clearly in the vast spaces of the London Coliseum, where the ballet was performed. Its scale and colour ‘spotlit’ the character of the Fairy, and established her dominance over the drama.
- Disney didn’t kill the EU.
- The EU hasn’t died unless you and everyone else let it die.
- Lucasfilm made the decision to create new stories.
Get to know these facts.
I spent a good minute staring at this trying to work out how Disney could possibly kill the European Union.
this is still in my top 10 posts of all time
I’m very very late ! ê___ê’
Here some pics of my children book”The little Red Wolf” ! :>
Now available in french bookstore and on amazon (the picture of the book on amazon is very very ugly but the book look really better for real…ù__ù) !
art history meme
↳ impressionism || [4/5] movements
Shintaro Ohata Seamlessly Blends Sculpture and Canvas to Create 3D Paintings
When first viewing the artwork of Shintaro Ohata up close it appears the scenes are made from simple oil paints, but take a step back and you’re in for a surprise. Each piece is actually a hybrid of painted canvas and sculpture that blend almost flawlessly in color and texture to create a single image.
In his series Minimize—Food, photographer William Kass creates playful and colorful scenes that feature miniature toy people living in big, edible worlds.