#Marble patterned crafts

[renato-crepaldi]

"Gotham Skies" is another one from the new "Skyscapes" marbled paper collection. Release date is April 6th - next Saturday! Sales starts at 12 UTC.

[rkschweiger]

Absolutely obsessed with Victorian endpapers and had to try marbling some of my own

[juniperandjustice]

Coffee colors bouquet pattern marbled scarf

[inky-duchess]

Fantasy Guide to Interiors

As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.

Interior Design Terms

Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.

Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.

Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.

Gilding: the use of gold to highlight features.

Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Bay Window: The Bay Window is a window projecting outward from a building.

Frescos: A design element of painting images upon wet plaster.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Mouldings: ornate strips of carved wood along the top of a wall.

Wainscoting: paneling along the lower portion of a wall.

Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.

Clerestory: A series of eye-level windows.

Sconces: A light fixture supported on a wall.

Niche: A sunken area within a wall.

Monochromatic: Focusing on a single colour within a scheme.

Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.

Baluster: the vertical bars of a railing.

Façade: front portion of a building

Lintel: Top of a door or window.

Portico: a covered structure over a door supported by columns

Eaves: the part of the roof overhanging from the building

Skirting: border around lower length of a wall

Ancient Greece

Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Ancient Rome

Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.

Ancient Egypt

Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.

Ancient Africa

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Japanese Interiors

Japenese interior design rests upon 7 principles. Kanso (簡素)- Simplicity, Fukinsei (不均整)- Asymmetry, Shizen (自然)- Natural, Shibumi (渋味) – Simple beauty, Yugen (幽玄)- subtle grace, Datsuzoku (脱俗) – freedom from habitual behaviour, Seijaku (静寂)- tranquillity.

Common features of Japanese Interior Design:

Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Islamic World Interior

The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.

Byzantine (330/395–1453 A. D)

The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.

Indian Interiors

India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.

The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.

Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.

Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.

Chinese Interiors

Common features of Chinese Interiors

Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.

Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.

Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).

Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.

Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.

Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.

Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.

Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.

Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.

Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.

Gothic Architecture (12th Century - 16th Century)

The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.

Mediaeval (500 AD to 1500)

Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.

Renaissance (late 1300s-1600s)

The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.

Tudor Interior (1485-1603)

The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.

Baroque (1600 to 1750)

The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.

Victorian (1837-1901)

We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.

Edwardian/The Gilded Age/Belle Epoque (1880s-1914)

This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.

Art Deco (1920s-1930s)

The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.

Modernism (1930 - 1965)

Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.

[asidian]

Set breakdown time! Next up: Niko's room.

As before, I've circled the points of interest and numbered them to make them easier to talk about. Cool? Cool. Let's do this!

1: Niko's mom's name! This part is her and Niko's surname. The kanji are 佐々木.

佐 – sa, meaning help or aid

々 – an iteration mark. When you see this, basically it means "exactly what the last one said, one more time." So another sa meaning help or aid

木 – ki, meaning tree

It's really neat that they picked a last name for her that doubles down on her role in the narrative. Just like Niko is there to support and help other characters in whatever way they seem to need, her surname hammers it home by including 佐 not once but twice.

2: Riza (リザ) Niko's mother's given name. Somewhat odd here is that it's written in katakana and not kanji. Without getting sidetracked too much (you can pop over here to read more if you're interested) most Japanese people write their names in kanji.

Katakana seems like a bit of a strange choice here, unless a) Niko for some reason doesn't know the kanji for her own mother's name (weird, given that she's in high school) b) her mother is a foreigner (a possibility; foreigners usually write their names in katakana) c) the set designer/whoever prepped the letters didn't know the appropriate kanji for "Riza" (seems unlikely, given how accurate all the rest of this is) or d) some sort of personal habit. An interesting side note is that her letter to Niko also puts Niko's name in katakana.

3: Cutesy stationery, used for marking your place in a document or book

4: A cute blue purse!

5: Watermelon! Judging by the shiny material and placement near the other bag, I'm going to guess this is another purse

6: Niko's clothes :>

7: Pink luggage

8: Lots of instant noodles

9: A rice cooker

10: Rice vinegar

11: This girl LOVES her some plants

12: Probably food items…? The one on the right looks like it might be a five-pound bag of rice, but I don't recognize the brand

13: Lots of unwashed dishes

14: A toaster oven

15: Chopsticks

16: A cute octopus pillow. I think I saw someone mention that it's from Ikea :>

17: She often leaves dirty dishes sitting on the bedside table

18: A painting of what seems to be a skyscape

19: Brightly colored pillows

20: Metal art in the shape of a moon

21: A decorative window hanging

22: More plants :)

23: Candles

24: Her tv

25: Cute pens with pompoms on the end

26: Regular tape

27: A cute cat statue

28: Marble Pop Ramune, strawberry flavor. Ramune is a type of soda that's a popular festival drink in Japan. It's sealed with a  glass marble and you have to pop the marble down into the little catch basin before you can drink it.

29: Anime wall décor

30: Fruit jelly cups. In Japan, small gelatin based snacks like this are popular. They're tiny, about an inch tall, and you eat them in just one or two bites.

31: Niko's laptop. She has stickers on it

32: Washi tape! It's decorative Japanese tape, often with bright colors and patterns, used for crafting.

33: A lot of cute magnets, including the bunny one, which serves double-duty as a kitchen timer

34: Niko's grocery list. The only thing on here that's here because she wants it is strawberry ice cream. The rest of the items, licorice tea, manuka honey, and Epsom salts, are all natural remedies. She's been trouble-shooting how to get rid of the effects of the sprites. She knows she's sick, but not why

35: Cutesy craft supplies! Sequins, glitter, and pompoms

36: More washi tape!

37: Niko's manga collection. She is that particular brand of organizational mess that does not put her numbered volumes in order. She has made an exception for the series that makes a complete picture when you line them up, though

38: More plants :)

39: Manga posters! Issho is one of the series that she has on her shelf

40: A decorative jar

41: Little metal bird sculptures

42: What seems to be the only framed picture in her room. The angle is wrong to see what the photo is, but it's interesting that they added just one in here. Maybe it's her family…?

[villain-enthusiast]

The hero knew they'd be found one day.

So they weren’t entirely surprised when they were ambushed in their house, drugged, and dragged off to the enormous castle that they used to call home. But their anticipation didn’t stop the dread from pooling in their gut as they were tossed, unceremoniously, onto the ground.

They stifled a groan, flexing their bound hands behind them as they tried to shake off the last of the sedative in their system. Someone grabbed the scruff of their collar and yanked them up to their knees before pulling down their blindfold.

They blinked several times at the ground, squinting through the sudden change in light. As their vision cleared, the marbled pattern of the throne room's floor came into view and they involuntarily stiffened.

"Dismissed."

Fuck. That voice. The cold, cutting power laced in every syllable, the venom in each word that had haunted the hero's dreams for years, even after they escaped. Or so they thought they did. The hero's mouth went dry.

They kept their gaze trained down, hearing the guards behind them leave and close the doors with a harsh, resolute click.

Silence stretched between the hero and the villain, who sat languidly on the throne in a grotesque show of vanity. Of pride.

After a moment, the villain sighed. "So you thought you could get away."

The hero swallowed, hard. "I guess I was just playing hard to get." They hated how unstable, how hoarse their voice was.

The villain chuckled dryly. "You, my prized possession, the greatest weapon I've ever had the pleasure of crafting, were just playing hard to get." The hero heard them shift in their seat. "I'm sure that's a fantasy you'd love to be true, but I knew you'd run. Did you really think I haven't dealt with this before?"

"Guess I thought I'd get lucky." The hero looked up then, to stare the villain straight into their eyes.

The villain held their gaze and smiled, flashing teeth. "Unfortunately, even the most precious treasures are always found at some point." They tilted their head, brow furrowing. "Come here."

The hero did not move.

The villain tapped a finger, and an invisible force pulled the hero taut, dragging them towards the foot of the throne. They grit their teeth, knowing better than to struggle, but hating the agonizing memories that flashed through their head of when they used to fight back, of what the villain was capable of beyond simple commands.

"I see you've grown into disobedience after so many years," the villain tutted. "That's certainly fixable, but what I want to know," they dragged a hand through the hero's disheveled hair, who shuddered at the familiar touch, "is if you still remember what I've taught you." Their touch suddenly turned sharp as they grabbed a fistful of—

The hero's body reacted to the pain before their mind did, and they kicked their leg around, slamming their foot into the villain's forearm. Apparently they still remembered a thing or two.

They landed on their stomach, panting as they faced the wide expanse of the gilded room before them. The villain crouched down beside them, placing a boot on their back and squeezing the air from their lungs.

"Look at you. You could've had all this," the villain hissed in their ear. They grabbed the hero's chin, forcing them to look up. "You could've been by my side, sitting with me on the throne. But you chose to run and try to become someone who could overthrow me, the very person who created you. You are nothing, nothing, without me."

For the first time since they've been back, fear struck the hero deep in their heart. "Please," they breathed, and immediately realized their mistake.

Begging was a weakness. A crack in the boulder. An infection in a festering wound. And the villain saw it all too well.

"Forgiveness," the villain murmured, honey-sweet, "is for the traitors. Punishment is for the cowards. Which one do you think you are?"

As the villain's hand tightened on their face, the hero closed their eyes, knowing the question had already been answered for them.

[ps-froggie]

Bound two ObiKaka works by beetlebee, aka @sloaners using the sewn boards technique!

Akatsuki Babysitter's Club (left)

Obito thought quickly. "They're part of a... club... for babysitters." "A club," said Kakashi, flat. "Yep. A... babysitter's club." "I see," said Kakashi, who clearly didn't see at all. "Yeah, the clouds on the coats are supposed to be a soothing visual for kids?" Obito said, as he decided to dig himself deeper. "In red and black." "Okay, the color scheme could maybe stand to be changed," Obito conceded. He heard Konan snort from underneath the table. He glanced briefly at Hidan, who was now shaking his shoulders, and the entire curtain, laughing at Obito. --- (Kakashi decides to raise Naruto. The Akatsuki takes a new direction.)

Thirst Contact (Right)

Two shining, reflecting eyes are staring right at Kakashi. It’s a person, at first glance, holding some kind of ring of fire. Kakashi opens his mouth to say something, anything, but the person steps closer, and he realizes that the ring of fire seems to be dancing along his shoulders, where protrusions—tendrils—are breaking through from the skin. The skin itself is pale, green tinged, and speckled with scales along the being's right side. Which is nothing compared to the horns sticking straight out of his head. Or the—wow, the *incredible* lack of clothing. This alien seals it: Kakashi's absolutely high. And should maybe stop reading so much Icha Icha. ---- (Kakashi's crew goes to answer a distress signal on a seemingly abandoned satellite. And then the story goes in three wildly different directions.)

Some ramblings about making it and a few more pics to hopefully make up for my phone's less than stellar camera under the cut.

First off, Akatsuki Babysitter's Club. This one is a certified classic and I had some marbled paper I had lying around from 32NorthSupplies on Etsy that I used for the cover. It has a some real nice gold veins in it that shimmer so nice.

For the endpapers, I carefully used gold paint with a stamp to make a pretty pattern on black cardstock.

And for the title page, well, I copied the look of the old babysitters club books as closely as I could for that part of it and chose a font I thought looked like it'd compliment it for the "Akatsuki" part.

For Thirst Contact, the cover paper is this really thick and glimmers black paper I got at a craft store and it just felt sci-fi to me.

The endpapers are made from a piece of cardstock I marbled myself and liked the look of.

For the title page I used a Star Wars-esque font already installed in my computer because it well, reminds me of space, and then did some heavy editing in Affinity Design to get that Thirst looking juuuuust right lol.

For both books, the spines are made of homemade bookcloth. For Thirst Contact, it's the same cloth I used for my Small Medium at Large bind so they're kind of like cousin binds.

[specialagentartemis]

I just started trying out stained glass, which I know you also do...any hot tips for beginners or things you wish you'd known when you were first learning?

YOOO STAINED GLASS. Fave. I would love to see what you come up with!

Are you primarily using foil+solder or lead came? I've never actually used came so I have very little advice in that department, though I do want to at some point...

Some things to keep in mind, some imparted to me by my craft center teachers and some discovered by trial and error:

Get a designated box to cut glass over, because the more ambitious the shapes you want to cut, the more shards WILL go everywhere and you want to keep them contained.

If you're cutting glass by hand, you cannot make sharply concave shapes. You will think you can. You will think it can't be that hard. You WILL push your luck. You will end up frustrated. Avoid concave shapes.

If you want to cut concave curves, make them very gently and generously sloped.

If you want to incorporate concave shapes in your design, use multiple pieces of glass to make the curve.

Design with glass in mind from the get-go, rather than trying to adapt a complicated image. If you're designing your own work, try to build it around larger, geometric shapes, without a lot of small fiddly curves. Small fiddly curves DO make fun images, but they will also drive you crazy when they inevitably don't quite fit together right. Make sure you build in enough larger, geometric shapes into your design to anchor your piece and save your sanity.

That said. NGL incorporating things like fossils and marbles and weird shaped natural things is Fun. You can wrap anything you want in copper tape.

Draw or print out your pattern on paper and number each piece on both the pattern and the glass itself. Sharpie wipes off glass pretty easily.

When grinding glass, make sure each piece is ever so slightly smaller than it is on your pattern. The thickness of copper tape seems negligable but adds up when you want pieces to fit precisely.

There are non-lead solders, and they're basically fine, if a little more annoying to use. Lead melts more easily, but I usually use zinc because it's not lead lol. Though if you're not eating off of your stained glass, using lead proooobably isn't a huge deal. Always wash your hands after glasswork regardless.

Tip tinner is your friend! Tin the tip of your soldering iron before and after use, it makes it so much easier.

When you're soldering pieces together, I find laying down a base of thick cardboard, laying out your design on the cardboard, and then using thumbtacks around the edges to anchor the glass pieces in place and prevent them from sliding around helps a lot.

If you want to hang up your stained glass creation like a suncatcher, add loops or hooks, and try to put them at junctures/seams of different pieces of glass to distribute the weight and pressure. My go-to method to make loops for hanging the pieces is to take a metal paperclip, and then loop it around needlenose pliers to make a circle with the wire sticking straight out on either side. Lay the flat wire ends along the outside and solder it down. It makes good secure loops that you can tie a ribbon or attach a chain to, while distributing the pressure along the outside of the piece. And it’s metal so solder sticks to it.

I hope that's not too much! I love working in glass, it's fun and it's so pretty.

[girlkisser13]

nemesis cabin headcanons

children of nemesis

• they’re the ONLY cabin that is safe from pranks by the hermes cabin.

• they never have problems with balancing chemistry equations.

• whenever someone from camp needs to settle a debate/argument, they always ask someone from the nemesis cabin to be the mediator/judge.

• they're also frequently asked to be referees for games of capture the flag, as their reputation for fair judgment makes them ideal for ensuring the game is played with integrity and without bias.

• when a child of vengeance is saved of a certain death by another demigod, they now owe a debt to their savior.

• whenever the savior calls for help, they are obligated to come and help them no matter the danger.

• they are all CRAZY competitive. it’s like they're in pre-revenge mode.

• the demigod that nemesis traded the ability to make a difference in the world for one of their eyes was nick fury (and ethan).

• at this point, she just has a passion for children with eyepatches.

• i can just picture nemesis cackling and pointing to her children "you get an eyepatch" "you get an eyepatch!" "but mom-" "EYEPATCH FOR YOUUUUUUUUU!!"

• they care the least about the appearance of other people, because they see their mother as the person they hate most.

• the hephaestus cabin helped them build a gigantic celestial bronze scale in the middle of their cabin.

• they don't get along well with the children of athena, largely because many of them struggle with hubris as their fatal flaw.

• since nemesis is the goddess who punishes those who are overly prideful or self-assured, this same principle extends to her children, creating natural tension between the two groups.

cabin exterior

• the cabin has dark stone walls, almost like slate or obsidian, giving it a brooding, intimidating appearance. the stones have subtle cracks running through them, symbolizing the balance of vengeance and justice.

• deep red and crimson accents are used around the cabin to signify blood, vengeance, and the balance of power. the entrance to their cabin is a red door. it has the scales of justice etched into it, representing nemesis’ role.

• above the doorway, there is a carving of an eagle, nemesis' sacred animal, holding a sword in its talons. the sword represents retribution, and the eagle embodies her watchful, unforgiving nature.

• a small statue of nemesis herself stands in front of the cabin, holding her sword and scales, symbolizing the ever-present concept of justice. her eyes are made from rubies, watching those who come and go.

• the shadows cast by the cabin seem to move subtly, giving the impression that the cabin itself is watching or judging those nearby. these shadows stretch and shift depending on the actions of the people passing by.

cabin interior

• the central theme of the cabin is balance. there are symbolic representations of scales EVERYWHERE— on the walls, carved into the furniture, painted in murals. every item in the cabin is placed with perfect symmetry, reinforcing the idea of equilibrium and fairness.

• instead of modern lights, the cabin is illuminated by dark iron lanterns or torches with low, flickering flames, casting dramatic shadows around the room. this lighting adds to the cabin’s mysterious and foreboding atmosphere.

• the furniture is made of dark wood— oak and mahogany— each piece sturdy and simple, but elegantly crafted. the chairs and beds have an almost throne-like quality, with high backs and intricate carvings, to emphasize power and authority.

• large mirrors are placed strategically around the cabin, but these mirrors do not show your true reflection. instead, they show you as balanced with your opposite. for example, someone who is overly confident might see themselves looking unsure or humble. these mirrors serve as a reminder that nemesis governs balance in all things.

• the floor is made of glossy black marble, cold and smooth underfoot. some areas are etched with swirling, abstract patterns that represent fate and karma, with a glowing red hue filling in the designs at night.

cabin traditions

• they have a tradition of making penance offerings or performing acts of restitution for any personal wrongs they’ve committed, reflecting their dedication to correcting imbalances.

• every month, the members hold a ceremony where they balance scales to symbolize their commitment to justice and fairness. this involves a ritual where they offer symbolic items representing their past grievances and mistakes.

• they frequently engage in debates about justice and morality, using these discussions to hone their skills in resolving conflicts and understanding different perspectives on retribution.

• each member keeps a small stone where they inscribe significant personal experiences related to justice and retribution, creating a collective memory of the cabin’s journey and values.

divider by @strangergraphics-archive

[renato-crepaldi]

Magenta stir marbled paper. Marbled with black, white and silver in a Suminagashi-like structures, bright magenta duo stir and metallic old gold spots on top. Only 10 sheets available! Signed and dated. Base paper is red, 80 gsm, long grain. Sheet size is 66 x 94 cm (26" x 37"). Will be available in the next release - July 24th at 12 UTC.

Home | Renato Crepaldi Hand Marbled Papers (bigcartel.com)

[uwmspeccoll]

It’s Fine Press Friday! 

Today we’re taking a deep dive into Songs for Gaia, a slim edition of poetry by Gary Snyder (b. 1930). This understated, beautifully-crafted letterpress volume was printed in 1979 for Kah Tai Alliance at Copper Canyon in Port Townsend, WA, a fine press dedicated solely to poetry since its founding in 1972, and was handbound by poet and bookbinder Samuel Green. It features woodblock illustrations by poet and printmaker Michael Corr (b. 1940), who learned his craft while living in Kyoto from block printer and illustrator Takeji Asano (1900-1999). Asano was a notable figure in Japan’s Sōsaku-hanga woodblock printing movement. The book is quarter bound in cloth with a cover marbled in a finely executed combed feather pattern, a touch that lends a hint of psychedelia to its otherwise traditional aesthetics. It was released in a limited edition of 300 copies.   

Snyder, who is popularly known for his time amongst and spiritualist influence on the Beat poets and the counterculture of their generation (along with Kerouac’s portrayal of him as Japhy Ryder in the 1958 novel The Dharma Bums) spent 13 years in Japan (1956-1968) studying Zen Buddhism, forestry, and ecology. A scholar of Asian languages versed in cultural anthropology, he also studied calligraphy with accomplished calligrapher and seal carver Charles Leong during his time at Reed College. Snyder’s calligraphic signature graces the half-title page of this edition.  

This modest yet potent edition of Songs for Gaia is a fitting form for the work of a poet whom writer Bob Steuding once characterized as cultivating an “accessible” style and “a new kind of poetry that is direct, concrete, non-Romantic and ecological.” As Snyder wrote of his own work in A Controversy of Poets, “I try to hold both history and wilderness in mind, that my poems may approach the true measure of things and stand against the unbalance and ignorance of our times.”  

View more Fine Press Friday posts

View more woodblock illustration posts

View more marbling posts (shout out to Alice, our resident marbling expert!)

-Ana, Special Collections Graduate Fieldworker

[sleepyfan-blog]

B(r)other

Author’s Note: Nadesir  part three! I hope you enjoy :D first.

Previous.

This fic features Khopesh, @c-u-c-koo-4-40k ’s lovely NL! Thank you for letting me borrow him. 

Tagged: :@egrets-not-regrets @kit-williams @bleedingichorhearts @the-pure-angel@whorety-k 

Warnings: accidental marriage, 

Summary: You wait for Nadesir at the surf’s edge. You’re greeted by a different Night Lord. 

Three weeks later at sunset find you once again by yourself as you wander the beach. You'd hoped to find Nadesir amongst the waves, or perhaps in the shallows. You'd brought along a picnic basket full of food to share with him, as he'd expressed an interest in trying human food. You'd done some research to make sure everything that You'd brought with you was safe for him to eat, not wanting to accidentally give him something that would make him sick. 

Allegedly, astartes could eat nearly anything apart from certain kinds of toxic industrial waste… and from the forums You'd wandered into (and back out of) even that was up for debate, depending on the type of astartes. Allegedly there was a green type of astartes who thrived in polluted waters and consumed garbage and spread disease and parasites like it was their divinely mandated duty. 

You were pretty sure that was hysterical bullshit, as You'd also been warned that all night lords were vicious and cruel bastards who enjoyed tormenting and slowly killing any human unfortunate enough to meet one, no matter the circumstances and Nadesir has been a wonderful companion.

You kicked off your sandals And went wading knees deep into the surf, a relaxed sigh leaving your lips as the constant itching that plagued you whenever you were out of water for more than a couple of hours went away. None of the doctors you went to for the issue could do anything to actually help. The medicated lotions and topical steroids had done fuck-all and your skin had been biopsies several times in different spots, to inconclusive or negative results. 

You'd resorted to going swimming once a day whenever your work schedule allowed, and showering daily in the evenings, which at least allowed you to get enough sleep throughout the night. You also wore mittens to sleep to avoid scratching your skin raw in your sleep.

A deep, gleeful voice called out from the next cresting wave, a marble in his voice that you did not trust “Ohh? What's a tasty little mortal morsel like you doing here? Don't you know that dangerous creatures lurk in these waters?” A large, midnight blue mer with red ear-fibs and lightning-like patterns on his scales rumbled. He looked similar to Nadesir, but he had a distinctive scar on his lips that Nadesir didn't.

You explain earnestly “I’m waiting for someone. Are you one of Nadesir’s older brothers?” He had warned you that some of his older brothers were likely to be suspicious or wary or both of you at first, in addition to hostile. He’d given you a beautiful necklace made of shell and bone to wear the last time the two of you had met up, both as a gift and a way to prove that you and he were close, so that they wouldn't try to chase you off. You'd carved something for him out of a hardy wood and lacquered it with a waterproof sealant. Yo hoped that he’d like the gift.

THe strange Night Lord let out an amused trill, swimming closer to you, the crooked smirk on his face turning into something more thoughtful “I have several q questions little mortal, though I can guess their answers. How did you and Nadesir meet? How… Close are the two of you~?”

A bit of a blush warms yoru face and you shift a little in place before you answer “We met several months sago and I helped him out of a tight spot… every so often after that we meet up again. He gave me this last week.” YOu explain, lightly touching the hand-crafted necklace he’d gifted you. You weren’t sure as to how much detail you should give without asking nNadesir first. You imagined that being trapped in an industrial fishing net was a humiliating experience, in addition to being mildly traumatizing nd awful. You also weren’t sure the exact nature of the relationship that you and he had. Sure, you and he spent time together - some of that time was spent kissing and being physically intimate, but it wasn’t as if you and he had talked about what each wanted out of this relationship, and any plans either you or he had for the future in regards to whatever this was.

The night lord grinned, sharp teeth flashing in the low light of dusk “And just what sort of trouble did Nadesir get into, hmm? He's a fairly capable scout, though his curiosity can get the better of him.”

You hesitate for a moment, fairly certain that you shouldn’t tell this strange astartes about how your… Lover? Boyfriend? Situationship? Had gotten entangled and washed up on shore, trapped for hours until you came along and rescued him. “Oh… He just needed a hand, so I helped him out.”

“Uh-huh. Any particular reasons why he wou- off! Rude!” The night lord spluttered as a fast moving, midnight blue blur crashed into him at high speed.

You take a half-step back towards the shore in surprise before stop backing up, as the blur turned out to be Nadesir, who hissed “YOu have your own human to woo! Leave her alone, Khopesh!”

“Aww, I wouldn't steal your mortal from you, little brother! I was just curious about her, considering how much you sigh wistfully for her presence when you’re not at her side… And the moon-eyed daydreaming you do is endearingly annoying.” Khopesh purred, smirking at Nadesir as he spoke.

“You also pine for your human when you’re away from them!” Nadesir snaps back, still attempting to wrestle his older brother with limited success.

“Khopesh spluttered “I… I just… THat’s not… So? You’re the one who’s tied a sanguinary bond to his chosen human. I haven’t done that yet. I hadn’t realized you were so serious about her.”

“A what?” You ask, confused.

“A what?” Nadesir echoes, letting go of his older brother, head tilting a little as his ears fin flicked in befuddlement.

“... Well I suppose they can happen accidentally, although I’m curious as to how she accidentally swallowed a little bit of your blood, younger brother of mine. Bleeding around humans can have… Interesting consequences.” Khopesh rumbled, arching a judgmental eyebrow at both you and Nadesir - though mostly at Nadesir it seemed.

Nadesir looked as confused as you felt “What do you mean by that, Khopesh? In.. In the hypothetical situation of an Astartes bleeding near a human… Not that I would have… necessarily had cause to bleed around any humans, and particularly not my love specifically.”

“Well, you know how sometimes when a human has become so deeply loved and/or needed by an Astartes, the human is granted a lifespan similar to us, as wella s turned into a mer, so that they can spend far more of their time with their beloved?” Khopesh explains, pausing for a moment to make sure that Nadesir was following his explanation.

You’d heard stories about Mers being able to transform humans, to grant them eternal life somehow. You’d thought it was bullshit… But apparently there was truth to those myths after all. You stayed quiet, listening closely.

“Transforming a human into a mer requires that the human either consume the flesh of an Astartes, or drink a large amount of blood from an astartes. The transformation is slow and takes place over the course of several months, with the final stages causing the human to return to the site where they’d consumed flesh or blood of an astartes, where they shed any clothing they are wearing and venture into the ocean… There they shed their human form, transforming into a mer. Your human hasn’t consumed enough blood or flesh to transform, but your scent and hers are inextricably intertwined.. It is a claim and a warning to other astartes that she is yours, and if they try to poach or kill her, you will come for them… It’s similar to wedding vows for humans, though truly permanent.” Khopesh explained with an amused hum.

“Married?” You and Nadesir splutter at the same time. You’re internally reeling at the thought. You’re quite fond of him, yes. But… Married? You’re not entirely sure how you feel about that. At least Nadesir looks as shocked and surprised as you are. You’re pretty sure he didn’t meant to lay claim to you on purpose. You also… Find yourself… Not minding the idea of being his… It also means that he is yours, or at least a piece of his heart? You mentally shake yourself. Once this older brother of Nadesir leaves, you’re going to ask him out right about what sort of relationship he’s interested in pursuing with you, and what if anything he’d like to do with this… Bond between you and him. 

“I… I do feel very much for you and have been courting you! I just. Uhm. I didn’t mean to marry you before starting to date you. I was going to ask, later!” Nadesir blurted out, sinking up to his nose in the water, blushing darkly at you “If… If our courtship went well.” 

Khopesh dipped out of sight, but you could still see his dark eyes watching you and him, laughter in them as well. You ignored his watchful gaze and answered earnestly “I care for you deeply as well. If you asked me now if I wanted to marry you, my answer would be not yet, as we’ve only known each other for a couple of months. Perhaps we should come back to the accidentally married thing in a few months?”

Nadesir nodded, a small smile lighting up his handsome features beautifully “That sounds like a good idea… And not to change the topic so quickly but I really would like to know what’s in the basket you brought? Whatever it is smells really good.”

You are happy to pivot to a different topic of conversation. This relationship between you and Nadesir is very  new, and he’s one of a handful of people you’ve ever dated. You don’t want to rush things. “I brought some  human food that I really enjoy, for the two of us to share. You mentioned wanting to try some, so I brought a bunch of different kinds of snack-type foods to try.”

Nadesir beams and follows you up onto the shore as you sit down, spreading out the blanket and patting a spot for him to sit next to you “That’s wonderful! Thank you.” He murmurs, eagerly reaching into the now open basket, helping you pull out the many small dishes you’d brought.

[visit-new-york]

Chrysler Building - Rise and Fall in Height Supremacy

Top of the World: While it once reigned as the world's tallest building, the Chrysler Building is no longer the tallest in New York City.

Art Deco Aesthetic: The building's architectural style is unmistakably Art Deco, characterized by geometric patterns and ornate embellishments.

Exterior Elegance: Its exterior is adorned with stainless steel cladding, decorative brickwork, and limestone accents, creating a visually striking contrast.

Terraced Crown: Perhaps one of the most recognizable features of the building is its distinctive terraced crown, which was inspired by automotive design and resembles the radiator grille of a car.

Eagle Gargoyles: This crown houses a set of seven eagle gargoyles, each meticulously crafted and strategically placed on the corners of the 61st floor, symbolizing ambition and freedom.

Car-Inspired Design Elements

Automotive Influence: The exterior design of the Chrysler Building is adorned with decorative elements inspired by the automobile industry, including radiator caps and hubcaps, reflecting the era's fascination with progress.

Art Deco Grandeur: Inside the building, the lobby exudes opulence and grandeur, featuring marble walls, ornate metalwork, and intricate Art Deco patterns that echo the building's exterior design.

Construction Costs: The construction of the Chrysler Building came at a staggering cost of around $20 million during the late 1920s, making it one of the most expensive construction projects of its time.

Impact of the Great Depression: Despite its initial grandeur, the completion of the Chrysler Building coincided with the onset of the Great Depression, which impacted its initial occupancy and financial viability.

Honoring a Pioneer: The building's name, the "Chrysler Building," pays homage to Walter P. Chrysler, a pioneering figure in the automobile industry and the driving force behind the company.

Previous page Chrysler Building tumblr Next page

[wedarkacademia]

dark academia stationary tips? ideas? please? i beg of you.

Deepen Your Dive into Dark Academia Stationery:

Crafting the Canvas:

Paper: Embrace the tactile – rough-edged parchment, marbled sheets, hand-dyed linen paper. Seek antique ledgers, vintage score sheets, or maps for a truly timeworn effect.

Ink: Let your words drip in history – deep emerald greens, rich burgundy, charcoal grey. Discover shimmering gold or silver for elegant annotations. For an extra flourish, explore calligraphy inks and vintage fountain pens.

Beyond the Basics:

Washi Tapes: Forget the neon, embrace botanical prints, celestial patterns, and antique library stamps. Layer them for depth, use them to seal letters, or decorate journal edges.

Stickers & Tags: Pressed leaves, dried flowers, and ephemera from library archives add a touch of natural mystery. Vintage anatomy diagrams, constellations, and old library catalog cards offer an academic flair.

Sealing Secrets: Wax seals & ribbons elevate simple letters into heirlooms. Choose deep green wax, embossed with a raven, a quill, or your own monogram. Tie with silk or hemp twine for a finishing touch.

Unleashing the Scholarly Spirit:

Journals & Notebooks: Opt for leather-bound volumes, with aged paper and ribbon bookmarks. Decorate with antique maps, pressed flowers, or handwritten quotes from your favorite poets.

Organizing Knowledge: Index cards, vintage library pockets, and antique file folders help categorize your studies. Label them with elegant script and adorn them with botanical sketches or scientific diagrams.

The Scholar's Tools: Antique brass compasses, vintage rulers, and magnifying glasses add a touch of academic ambiance to your desk.

Whispers of Antiquity:

Poetry & Letters: Handwrite in a flowing script, penning sonnets or letters to fellow scholars. Let foreign languages add a touch of mystery, or slip in quotes from forgotten classics.

Ephemera & Found Objects: Tuck pressed leaves, antique botanical prints, or ticket stubs from forgotten museums into your notebooks. Let them spark inspiration and evoke past journeys.

The Art of Storytelling: Create your own dark academia-inspired stationery. Make vintage-themed envelopes from maps, decorate boxes with constellation patterns, or craft your own wax seal stamp.

Remember, dark academia is about embracing an atmosphere. Let your creativity flow, curate your collection with intention, and transform your stationery into a portal to an enchanting world of forgotten knowledge and secret societies.

[hmmarble]

HMMARBLEDESİGN - DRAGON+

When it comes to elevating the elegance of your bathroom or kitchen, few materials compare to the timeless beauty of marble. Marble sinks have become a popular choice for homeowners and designers alike, offering a luxurious touch that can transform any space. With a myriad of styles and finishes, marble sinks not only deliver functionality but also serve as stunning focal points.

Marble Sink

A marble sink can transform any bathroom or kitchen into a luxurious space. Made from natural stone, a marble sink not only adds elegance but also durability to your home. The unique veining and patterns in marble ensure that each sink is one-of-a-kind, making it a statement piece in your decor.

When considering a marble sink, it is important to recognize the benefits it brings. Marble is known for its resistance to heat and its ability to enhance the aesthetic appeal of any design. Additionally, it can be easily polished to maintain its luster, assuring you that your marble sink will remain stunning for years to come.

However, proper care and maintenance are crucial for preserving the beauty of a marble sink. Regular sealing is recommended to protect against stains and etching, which can occur from strong acids and cleaning products. With the right upkeep, your marble sink can serve as a centerpiece in your home, showcasing timeless beauty and functionality.

Whether you are opting for a contemporary design or a classic style, a marble sink is a versatile choice that can complement a variety of themes. Its refined charm can elevate the ambiance of your space, making it feel more inviting and sophisticated.

Marble Sinks

Marble sinks are an exquisite addition to any bathroom or kitchen, providing a touch of luxury and elegance. Known for their stunning appearance and durability, marble sinks have become increasingly popular among homeowners and interior designers alike. With a wide variety of colors and patterns available, each piece is unique, allowing you to find the perfect match for your interior style.

One of the main advantages of using marble sinks is their aesthetic appeal. The natural veining and rich textures of marble can elevate the overall look of your space, making it feel more sophisticated. Whether you prefer a classic white marble with subtle grey veining or a bold dark marble with striking patterns, there’s a marble sink that can fit your vision.

Apart from their beauty, marble sinks are also known for their durability. Marble is a hard and long-lasting material, making it a great investment for any home. While it requires some maintenance to preserve its shine and prevent stains, a well-cared-for marble sink can last for decades. Regular sealing and gentle cleaning solutions are essential for maintaining the integrity of your marble sink.

When considering a marble sink, it's important to think about the design and functionality. Various styles, including undermount, vessel, and drop-in sinks, are available to suit different tastes and layouts. Each style offers a unique way to highlight the beauty of marble while ensuring practicality in daily use.

In addition to their aesthetic and functional benefits, marble sinks can also enhance the value of your home. High-quality stone fixtures are often perceived as luxurious and can increase the appeal of your property to potential buyers. By investing in a marble sink, you not only elevate your living space but also add value to your investment.

With countless options available, selecting the right marble sink for your home can be an exciting journey. Explore different colors, sizes, and styles to find the perfect piece that complements your design vision and fits seamlessly into your bathroom or kitchen.

Marble Wash Basin

A marble wash basin is not just a practical addition to your bathroom or kitchen, but also a statement of elegance and style. Crafted from natural stone, these sinks offer a unique blend of functionality and aesthetic appeal that can elevate any space. The beauty of a marble sink lies in its intricate veining and rich textures, making it a captivating centerpiece.

One of the key advantages of a marble wash basin is its durability. Marble is a hard, resilient material that can withstand daily use while maintaining its contemporary charm. With proper care and maintenance, a marble sink can last for many years, making it a wise investment for any homeowner.

Beyond durability, the maintenance of a marble wash basin is relatively simple. Regular cleaning with gentle, non-abrasive cleaners will keep the surface pristine. However, it’s important to avoid harsh chemicals and acids that may damage the marble. Sealing your marble sink periodically can also help protect it from stains and water damage.

The versatility of marble wash basins is another reason for their growing popularity. They come in a variety of shapes, sizes, and colors, allowing homeowners to choose the perfect sink that matches their decor. Whether you prefer a classic white marble or a striking black vein, there's a style to suit every taste.

In terms of installation, a marble wash basin can be integrated seamlessly into different countertop materials, enhancing the overall look of your bathroom or kitchen. Pairing a marble sink with fixtures made of brass or chrome can create an eye-catching contrast that will impress your guests.

Furthermore, the luxurious feel of a marble wash basin adds a touch of sophistication to your space. It not only serves a practical purpose but also transforms your bathroom or kitchen into a sanctuary of relaxation and comfort.