#Contemporary width

[curatedattire]

The Measure of StyleDeciphering the Right Tie Width

Let's delve into a realm where even the seemingly small details can make a world of difference. Today, our focus falls upon a quintessential accessory: the tie. More specifically, we'll explore the art of choosing the right tie width—a crucial element in crafting a look that exudes sophistication and style.

Firstly, let us dispel any notion that all ties are created equal. Oh no, my dear readers. Just as a bespoke suit is tailored to perfection, so too should your tie be carefully selected to complement your ensemble. And at the heart of this selection process lies the tie width—an often-overlooked aspect that can greatly impact the overall aesthetic.

So, how does one determine the ideal tie width, you ask? Ah, allow me to shed some light on the matter. As a general rule of thumb, the width of your tie should correspond to the width of your suit lapels. This creates a harmonious balance that ties your entire look together, quite literally.

Now, let's talk numbers. A classic tie width typically falls between 2.75 to 3.5 inches (7 to 9 centimeters). This timeless measurement strikes the perfect balance—wide enough to make a statement, yet not overly bulky or distracting. It's a Goldilocks scenario, if you will—not too slim, not too wide, but just right.

Of course, personal preference and body type play a role in this equation as well. For those with broader shoulders or a larger frame, a wider tie width may be more flattering, while those with a slimmer build may opt for a narrower width to maintain proportion.

But beyond mere measurements, consider the occasion and your personal style aesthetic. A wider tie width lends itself well to more formal settings, such as business meetings or black-tie affairs, adding a touch of gravitas and refinement to your look. On the other hand, a narrower width exudes a more contemporary vibe, perfect for casual outings or creative environments.

In conclusion, choosing the right tie width is an exercise in balance, proportion, and personal expression. So the next time you're standing before your wardrobe, pondering which tie to adorn your neck, remember these timeless principles. And with a deft touch and discerning eye, you'll effortlessly elevate your style to new heights. Until next time, keep curating

[wowbright]

Really sick of quilting books/magazines that tell you to get a certain yardage of fabric but don't tell you the fabric width they're assuming, not even in the appendix or glossary of terms.

[cheezwood]

width - pencil, fineliner on paper 18x18cm 2023

[bookman-dgm]

Porch - Side Yard Inspiration for a large craftsman screened-in side porch remodel with decking and a roof extension

[poosin]

Bedroom Master

[abicodes]

artificial light; preview  — code

simple theme designed for a clean, contemporary aesthetic.

includes:

minimal sidebar with title and (optional + concealable) description and a search bar

up to five links

customizable post widths

custom font sizes

lots of color options!

dark mode (which responds to browser settings)

semi-responsive layout for mobile use

(optional) infinite scroll

jump to top button

full credits in the code! please like or reblog if you plan on using!

[fashionsfromhistory]

Day Dress

Early 1860s

By the early 1860s the width of the skirt, supported by the crinoline frame, had reached its zenith. Such a surface area provided the perfect canvas for bold, decorative effects, and contemporary photographs, fashion plates and surviving garments show large designs of strongly-contrasting applied velvet or braid encompassing the skirt above the hem, echoed on a smaller-scale on the bodice. The maker of this unpretentious one-piece day dress has interpreted this fashion in a simple, but effective, manner. Black velvet ribbon has been stitched to the bodice to suggest a yoke, and diagonal strips of ribbon with pointed ends have been applied to the base of the skirt at intervals, and to the tops of the sleeves. The dress has been made by hand from a worsted wool fabric, possibly incorporating linen, which has a slightly harsh but practical character; it is woven with bands of simple black pattern which have been matched symmetrically on both bodice and skirt. In common with many one-piece dresses of this date a small watch pocket has been inset at the left front waist seam. The dress’s one concession to complexity is the construction of the sleeves which are pleated into a piped curved seam running down the front of each sleeve.

The John Bright Collection

[ltwilliammowett]

An unknown 18th century wreck at Bamburgh Beach in Northumberland on the north east coast of England

The exposed remains are the port side of a wooden sailing vessel lying on its starboard side with its stern inshore. The length of the exposed material is 22.5m and the width of the exposed material is 5m. Which ship it is is still being examined on the basis of contemporary documents, but so far she remains unknown.

[bigfan-fanfic]

Considering you only gain muscles by working out, and to work out, you need to lift heavy things, technically, Clark couldn't be muscular since he's way too strong to actually be able to train his muscles. Which means: Clark chubby farm boy is actually a possible and viable thing.

SO, fun fact! This is totally true, and in fact addressed often in comics.

It's usually agreed upon in canon that Clark didn't develop his powers right away, with his capacity for absorbing and utilizing solar energy gradually expanding, around the same time as the onset of puberty, probably around age 14. So though his powers' growths were rapid once they manifested, he did have some time to adjust until they reached their maximum. And it was during this time he was helping out on the farm, using that as a kind of informal training (lifting hay bales for strength, which progressed to lifting cattle to lifting tractors, etc.; practicing control and finesse with say, chickens and caring for livestock with super speed).

Remember, Clark is supposed to be potential for the high school football team in Smallville, and that immediately makes me think stocky and sturdy, not cut and visibly muscular. At the point where he's at the full strength he'll know as Superman, he's got pretty much no upper limit, and generally nothing that's going to help him train his muscles. So definitely, early career Superman is going to be more mass than muscle.

However, once he gets full access to the Fortress of Solitude and the support of the Justice League, he can get some assistance - Wonder Woman has incredible, divinely empowered strength, and as a warrior trains often - she helps instruct him in martial arts and can help him train at full strength. Meanwhile, Batman can help him train in environments built to limit his power, like red sun training rooms and such.

Considering his physiology is more dependent upon solar energy than anything else to build his strength and keep him healthy, I'd say solar energy keeps him from atrophying. But considering if he's got energy akin to photosynthesis from the sun, I'd suggest he never really gets much of a lean musculature and remains bulky and sturdy.

Above is Christopher Reeve both training and in costume as Superman - his muscles are well-formed, but his torso isn't like, eight pack abs and dehydrated - he's clearly building muscle mass and body fat in a healthy way, and it shows in his costume. He looks sturdy, and strong.

Above is golden age Superman next to a bodybuilder/powerlifter, which I think Superman's original design is supposed to evoke. He's not popping muscles through his suit, but he's clearly really fricking fit and strong. Even his waist is more close to the width of his chest than more narrow like you see in more contemporary illustrations.

My thought is that Clark's physique is a lot more like someone at the Highland Games. Built for strength and sturdiness. He doesn't have to keep lean because he's not worried about endurance and agility because he already has that from his powers. Big arms, broad chest, likely a little bit of a tummy. And if he's under layers like Clark usually dresses, he can easily be mistaken for pudgy instead of powerful.

In any case, that's my untrained viewpoint on the subject. Basically my sweet polite farmboy is basically a photosynthesizing plant with muscles. Wait, is that why Poison Ivy's pheromones can work on him???

[blueiscoool]

The 170-Foot Sailing Yacht 'Reposado'

'Reposado' is available for charter in the Med, with rates starting at roughly $146,800 per week.

The custom 170-footer, which was recently delivered by Tramontana and listed for charter with IYC, combines the cruising capabilities of a high-tech sailer with the lavish amenities of a luxury superyacht.

Penned by the Croatian yard’s in-house team, Reposado features a sleek, contemporary exterior and an expansive, light-filled interior. The vessel is centered around a generous main salon that showcases elegant decor and bespoke furniture inspired by nature. The warm, inviting space is adorned with a plush L-shaped sofa, a coffee table, and a sophisticated bar from which you can enjoy your favorite reposado. Forward of the salon lies a formal dining area with a custom 12-seat table.

The Reposado can sleep 12 in six convertible cabins. Both the owner’s suite and the VIP measure the full width of the 28-foot beam. Seafarers (and any furry friends) will be attended to by a highly experienced crew of 10.

The exterior decks are geared toward entertaining. The sundeck is adorned with a wet bar, a fire pit, and an alfresco dining table at one end and a huge lounge at the other. Toward the center of the deck, an eight-seat Jacuzzi and sizeable sun pad sit beneath one of the two towering masts. At the aft, Reposado is outfitted with a giant beach club that gives guests direct access to the sea. The vessel also has a full arsenal of water toys, including a chase boat and Jet Skis.

In terms of grunt, Reposado is powered by twin Caterpillar C18 engines that enable a cruising speed of 12 knots and a top speed of 14 knots.

[aisquaredchoco]

Stuck at making mirrors? A tiptorial..

I discovered something while pulling my hair out of frustration in creating a custom mirror in TS3.

So the usual flow in creating mirrors is to clone a mirror (preferably a base game one), replace the mesh with your self-made or converted mesh while keeping the mirror group, resize the mirror group accordingly, assign bones if needed, import your mesh, edit textures and catalog info, then export and test in game.

Usually having the w values (more info here) untouched results in mirrors reflecting the backside and is usually resolved by setting the w value with negative values or just zero. The reflection will show up just fine.

However...

Once you rotate to a certain angle, some reflected objects disappear from view (example in left, right one is the vanilla base game mirror showing reflected objects normally).

It seems that the 1x1 base game mirrors are the culprit! Cloning any of them will produce the same result.

Avoid cloning them at all costs, and clone the 2x1 ones instead:

I cloned the 'mirror wall contemporary' and followed the same procedure. If you want your mirror as a single tile object you can just adjust the footprint to 1x1 (tutorial here, go instead for the predefined width x depth section and select 1x1). This will result in a mirror showing the correct reflections without even touching the w values!

I hope this helps!

ADDENDUM 28 OCT: Some EA mirror meshes have visible faces on both the front and back sides, that will most likely cause the "backside reflection" error ingame. Below is an example of how the mirror mesh is shown in Milkshape:

It will be resolved by removing the faces on the back side of the mesh (illustrated above, the back side is selected in red), so that only the front face will be rendered. So in other words, make sure the mirror mesh faces only the front side so that it will render properly ingame.

[chicinsilk]

US Vogue October 15, 1967

Model :  Jean Shrimpton

Zigzag stripes, left, a young and fresh mink idea, contemporary, spectacular. White and pale brown mink with a narrow shape, hidden buttons, a separate mink scarf muffling the throat. An Emeric Partos design, from natural pale brown Emba Palomino mink and "Jasmine", white Emba mink. Marvella earrings. Pink mink, center, the new heavenly fur like the blush of dawn on fresh snow - a coat with a small plump collar, shirt cuffs, white leather belt through mink belt rings. By J. Weinig, from natural pale pink Glacial Emba mink. Hattie Carnegie earrings. Pale mink in two widths, right, worked in alternating layers for a wonderful light and shadow effect. Notched collar, leather belt. By Betty Yokova for Neustadter, from Breath of Spring variety "Tourmaline", natural pale beige Emba mink. Richelieu Earrings. With the three pale mink coats: Evins boots. Hair: Ara Gallant; Tovar-Tresses hairpieces.

Les rayures en zigzag, à gauche, une idée de vison jeune et fraîche, contemporaine, spectaculaire. Vison blanc et brun pâle avec une forme étroite, des boutons cachés, une écharpe de vison séparée étouffant la gorge. Un design Emeric Partos, de vison brun pâle naturel Emba Palomino et "Jasmine", vison blanc Emba. Boucles d'oreilles Marvella. Vison rose, au centre, la nouvelle fourrure céleste comme le rougissement de l'aube sur la neige fraîche - un manteau avec un petit col dodu, des poignets de chemise, une ceinture en cuir blanc à travers des anneaux de ceinture en vison. Par J. Weinig, de vison rose pâle naturel Glacial Emba. Boucles d'oreilles Hattie Carnegie. Vison pâle en deux largeurs, à droite, travaillé en couches alternées pour un merveilleux effet de lumière et d'ombre. Col cranté, ceinture en cuir. Par Betty Yokova pour Neustadter, de variété Breath of Spring « Tourmaline », vison naturel beige pâle Emba. Boucles d'oreilles Richelieu. Avec les trois manteaux en vison pâle : bottes Evins. Coiffures : Ara Gallant ; postiches Tovar-Tresses.

Photo Richard Avedon vogue archive

[camillasgirl]

The Anointing Screen

The Anointing Screen has been designed and produced for use at the most sacred moment of the Coronation, the Anointing of His Majesty The King. The screen combines traditional and contemporary sustainable embroidery practices to produce a design which speaks to His Majesty The King’s deep affection for the Commonwealth. The screen has been gifted for the occasion by the City of London Corporation and City Livery Companies.

The Anointing takes place before the investiture and crowning of His Majesty. The Dean of Westminster pours holy oil from the Ampulla into the Coronation Spoon, and the Archbishop of Canterbury anoints the Sovereign on the hands, chest and head. It has historically been regarded as a moment between the Sovereign and God, with a screen or canopy in place given the sanctity of the Anointing.

The Anointing Screen was designed by iconographer Aidan Hart and brought to life through both hand and digital embroidery, managed by the Royal School of Needlework. The central design takes the form of a tree which includes 56 representing the 56 member countries of the Commonwealth. The King’s cypher is positioned at the base of the tree, representing the Sovereign as servant of their people. The design has been selected personally by The King and is inspired by the stained-glass Sanctuary Window in the Chapel Royal at St James’s Palace, which was gifted by the Livery Companies to mark the Golden Jubilee of Queen Elizabeth II in 2002.

The Anointing Screen is supported by a wooden pole framework, designed and created by Nick Gutfreund of the Worshipful Company of Carpenters. The oak wooden poles are made from a windblown tree from the Windsor Estate, which was originally planted by The Duke of Northumberland in 1765. The wooden poles have been limed and waxed, combining traditional craft skills with a contemporary finish.

At the top of the wooden poles are mounted two eagles, cast in bronze and gilded in gold leaf, giving the screens a total height of 2.6 metres and width of 2.2 metres. The form of an eagle has longstanding associations with Coronations. Eagles have appeared on previous Coronation Canopies, including the canopy used by Queen Elizabeth II in 1953. Equally, the Ampulla, which carries the Chrism oil used for anointing, is cast in the shape of an eagle.

The screen is three-sided, with the open side to face the High Altar in Westminster Abbey. The two sides of the screen feature a much simpler design with maroon fabric and a gold, blue and red cross inspired by the colours and patterning of the Cosmati Pavement at Westminster Abbey where the Anointing will take place. The crosses were also embroidered by the Royal School of Needlework’s studio team.

At the Coronation Service, the Anointing Screen will be held by service personnel from Regiments of the Household Division holding the Freedom of the City of London. The three sides of the screen will be borne by a Trooper and Guardsman from each of The Life Guards, Grenadier Guards, Coldstream Guards, Scots Guards, Irish Guards, and Welsh Guards.

The screen has been gifted for the Coronation by the City of London Corporation and participating Livery Companies, the City’s ancient and modern trade guilds. His Majesty The King is a keen advocate and supporter of the preservation of heritage craft skills, and the Anointing Screen project has been a collaboration of these specialists in traditional crafts, from those early in their careers to artisans with many years of experience.

The individual leaves have been embroidered by staff and students from the Royal School of Needlework, as well as members of the Worshipful Company of Broderers, Drapers and Weavers.

As well as heritage craft, contemporary skills and techniques have formed part of this unique collaboration. The outline of the tree has been created using digital machine embroidery by Digitek Embroidery. This machine embroidery was completed with sustainable thread, Madeira Sensa, made from 100% lyocell fibres.

The threads used by the Royal School of Needlework are from their famous ‘Wall of Wool’ and existing supplies that have been collated over the years through past projects and donations. The materials used to create the Anointing Screen have also been sourced sustainably from across the UK and other Commonwealth nations. The cloth is made of wool from Australia and New Zealand, woven and finished in UK mills.

The script used for the names of each Commonwealth country has been designed as modern and classical, inspired by both the Roman Trojan column letters and the work of Welsh calligrapher David Jones.

Also forming part of the Commonwealth tree are The King’s Cypher, decorative roses, angels and a scroll, which features the quote from Julian of Norwich (c. 1343-1416): ‘All shall be well and all manner of thing shall be well’.

This design has again been inspired by the Sanctuary Window in the Chapel Royal, St James’s Palace, created for Queen Elizabeth II’s Golden Jubilee in 2002. At the top of the screen is the sun, representing God, and birds including the dove of peace, which have all been hand embroidered by the Royal School of Needlework.

The dedication and blessing of the Anointing Screen took place earlier this week at the Chapel Royal, St James’s Palace, where it was officially received and blessed by the Sub-Dean and Domestic Chaplain to The King, Paul Wright, on behalf of The Royal Household.

[interiordecorationideas]

12 Amazing Wooden Door Designs For Your Home

When you are designing the interior of your home, give some thought to the design of the doors. Doors are primarily a functional element of your home, as they provide much-needed security and privacy from the outside world. The design of doors is also important, as it can add to the aesthetic appeal and enhance your decor statement. We've rounded up the best wooden door designs to give you decor inspiration.

Front doors add character and style to the outside of your home and create the first impression of your home for visitors. They should be in keeping with the architectural elements of your building. Is it classical or contemporary? Would a natural framed door look good, or should it be painted to match the other design elements?

Are you aware of the difference between the wood used to make doors and furniture? If not, this guide will help you make the right choice between different types of wood before investing in furniture and decorative items, crafts, and handicrafts to decorate homes.

Ideas to incorporate beautiful Wooden Door Design in Your Home

1. Contemporary Teak wood Door

Here's a contemporary door in teak wood with a vertical glass insert that allows you to see who your visitors are before you even open the door. You can take, help best interior designers in Noida so they can guide you through this process.

2. Three Side Glass Panelled Wooden Door

This lovely entry door makes a grand statement and is surrounded on three sides by glass panels which add a lovely aesthetic.

3. Teak Wood Rectangular Panel doors with Mirror

Rectangular panels in polished teak wood emphasize this country home's rustic plaster façade, while tall glass panels on one side add functionality.

4. Rosewood Door

This fine rosewood door is embellished with cornice detailing and includes white panels to add visual appeal.

5. Ornamental Wrought Iron Doors

Gorgeous decorative wrought iron sets distinguish the panelling in this mahogany front door that blends in perfectly with the home's exposed brick façade.

6. Minimalist White Wooden Door

Elegant in white, this charming front door is detailed with molded panels that are simple and clean. The side window, even in white, gives a glimpse of the visitors.

7. Functional and Aesthetic Balcony Doors

Balcony doors are the transition between the inside and outside of your home. Large glass French windows can open the view and allow a seamless view of your garden. If you need privacy, use frosted or opaque glass that will still let in light.

Related blog: 15 DIY Vertical Garden Ideas in Budget

8. Glass Bathroom Doors

We love opening these all-glass bathroom doors to a private balcony. The dark wood frame is sleek and minimalist.

Related blog: 15 Bathroom Decorating Ideas on Budget for 2024

9. Wooden Doors with Glass for a Glimpse of The Outdoors

Glass adds a touch of contemporary style to any design and can make heavy doors look visually lighter. Strategically placed glass panels can allow sunlight to flow through during the day, bringing freshness and happiness to your home.

Related blog: How to Build a Gravel Patio: DIY 9 Steps

10. Get Twice the Style with Double Doors

If you have the space, open your areas with more eloquence. Double Door Twice adds elegance and makes a grand statement.

If you want to keep one side short and use only one side as an entry door, the overall width of your double door should be at least 6 feet.

Double doors look better in homes with high ceilings, as the design proportions work better in larger spaces.

Related blog: Types of False Ceiling Lights: Complete Guide

11. Sliding Doors That Are Sleek and Functional

Sliding doors allow you to create privacy when needed in open-plan homes. There are different types of sliding doors, including doors that completely disappear into the wall on either side. There are some sliding low folding doors that stack on the sides of the opening. Sliding doors come with single track (or top hung), and double track fittings.

12. Glass Panelled Doors

This glass-panelled wooden door slides in on both sides as well as is surrounded by glass above, allowing expansive views of the interior.

[mybeingthere]

Rowland and Chinami Ricketts use natural materials and traditional processes to create contemporary textiles. Chinami hand-weaves narrow width yardage for kimono and obi. Rowland hand-dyes textiles that span art and design. Together we grow all the indigo that colours our cloth, investing ourselves and our time in our textiles because we believe this way of working to be an essential part of the material’s integrity and authenticity.

[warrioreowynofrohan]

This is from yesterday’s Dickens December email, but anyway:

You may talk vaguely about driving a coach and six up a good old flight of stairs, or through a bad young Act of Parliament; but I mean to say you might have got a hearse up that staircase, and taken it broadwise, with the splinter-bar towards the wall, and the door towards the balustrades: and done it easy. There was plenty of width for that, and room to spare; which is perhaps the reason why Scrooge thought he saw a locomotive hearse going on before him in the gloom.

I love the first bit of that sentence (“up a good old flight of stairs, or through a bad young act of Parliament”), but I always get confused when trying to picture this hearse. First I start with the idea of a contemporary one, and have to remind myself that no, it’s the early 1820s here. Then I picture horses with a big black carriage, but no, it’s a locomotive hearse. But I can’t even visualize that. Would it be like a train? Why would you use a traincar as a hearse? I feel like I’m missing something.