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sincerelybluevase · 4 years ago

Note

Either Danvich or Danbecca. Any trope, possibly smut if that’s your thing

Careful, Madam

A/N: I’ve done it. I’ve written a scandalously smutty fic for a pair I’d never thought I’d write: Mrs Danvers and the I (Ich) from Daphne du Maurier’s Rebecca. I think it might well be the most smutty thing I have ever written, and I had a blast doing it! Hope you guys like it! Thanks to Nita for giving me the idea and encouraging me, and thanks to Illa, too!

I had just gone up to my room to get dressed for Manderley’s fancy dress ball when the knock on my door came. I sat next to the box with my dress, surrounded by tissue paper, dressed in nothing but my underwear and slip.

“Come in!”

The door opened with a soft snick as I plunged my hand in the box with my wig and held it up to the light. “Look, Clarice, isn’t it lovely? This little curl here has gotten flattened, but there’s still time to fluff it out again, don’t you think?”

“Certainly, Madam.” The voice was cold and soft, a dead, mechanical thing, the voice of an automaton. I jumped to my feet, clutching the wig against my chest. Mrs Danvers looked at me with those strange, fierce eyes of hers, a little smile tugging at the corners of her pale lips. “Careful, Madam; you’ll crush those curls.”

Little cold hands travelled across my spine. Gooseflesh rippled over my arms. “You really shouldn’t be here,” I said stupidly. Then, realising how that sounded, I added, “There must be so much for you to do still, Mrs Danvers, that you couldn’t possibly waste your time with me. If you’ll be so kind as to send Clarice up, she’ll help me get dressed.” I wished my throat and cheeks wouldn’t flush so terribly, and my voice not sound like that of a little girl.

But Mrs Danvers kept standing there, one hand around the doorknob, the other one playing with the stuff of her dress. I did not know what she wanted of me. She kept her eyes trained on my face, and I did not know whether to be grateful for the fact she did not look at my body, or to squirm under that piercing, superior gaze of hers. In the end I stooped to pick up the box in which the wig had come. I placed it on my dresser, simply to have something to do, and knocked one of my brushes off. Immediately Mrs Danvers glided through the room and took it in her hand before I could pick it back up again.

“Thank you,” I said, and took it from her. Her hand was cold. I sat down in front of the mirror and began to comb my hair, humming a little tune, as if I was not wildly excited, as if I did this every day.

“You should put on the dress before the wig, Madam. You’ll have to pin up your hair, or else strands of it will peek out.” She stepped behind me and took a lock of hair between her long, lean fingers. “Like so,” she said, and twisted the hair into a little curl. She pressed it against my scalp, reached for a bobby pin, and secured it carefully. Her touch was deliberate, precise. I looked at the reflection of her hands. They were quite beautiful, I saw; no amount of hard work could destroy that elegant taper to her fingers, or those slender, carefully-trimmed nails. These were hands that could train up orchids, wash the dust out of the fold of a china cupid, embroider initials into silky scraps of handkerchiefs. I wondered why I had never realised she had such good hands before. Mine were ugly in comparison, grubby and broad, the hands of a schoolgirl. I stared at my ragged nails. Even if I stopped biting them, they would never be long and lovely.

“Mrs de Winter once hosted a play here,” Mrs Danvers said, pinning another twist of hair in place. “Shakespeare. She had an appetite for him, knew half a dozen parts by heart, and many more monologues. She chose Twelfth Night. Mr de Winter would have loved to see her play Desdemona – Othello has always been a favourite of his – but my lady wouldn’t have it. She wished to play Viola. She adored dressing in britches, you see. She hadn’t cut her hair then, so we ordered a wig for her. We had to use so many pins to keep her hair in place. I remember her pulling off the wig during the party she hosted afterwards, and she shed pins like a pine sheds needles. It made her laugh, but then my mistress loved to laugh.” Her voice had lost that dead quality, that grating monotony. She spoke quite freely now, quite quickly.

Rebecca, with her wild cloud of hair and her lovely ways, who was so clever she could recite Shakespeare by heart. I had never had a head for poetry and plays. I tried to remember the sonnets I had been forced to learn at school, but the only things that I managed to dredge up were nursery rhymes, Humpty Dumpty, that sort of thing. Rebecca was beauty, brains, and breeding. I was nothing.

A flash of resentment made me frown. These were not the thoughts I was supposed to have, not tonight. For one evening, I wanted to feel sophisticated, smart, lovely. I wanted to be taken out of my web of shyness, inferiority, gaucherie, and here Mrs Danvers was hemming me in again.

“Thank you, Mrs Danvers, you’ve been very helpful. I’ll make sure to tell Clarice how to do the rest of my hair. It’ll be good for her to know.”

Still she would not leave. She pinned another curl into place. “Clarice would not do it properly, madam,” she said. Her fingers had warmed, and there was something pleasant in the feel of them on my scalp, in her sure, strong touch. When my mother brushed my hair as a child, it had made me so relaxed I had often felt loose-jointed, like a puppet with its strings cut. Once, I had even fallen asleep as she had washed my hair, my head lolling against her arm.

I remembered then that Maxim used to brush Rebecca’s hair for her, and felt a twinge of anguish. He never bothered with my hair. I wished he would. I craved intimacy between us, deft little touches that spoke of mutual love. Maxim hardly ever touched me. Only when we were in the library and I sat at his knees did he stroke my head, doing it absent-mindedly as he read his newspaper, and at those moments I often thought that it did not matter much that it was me he was caressing; he would have fondled Jasper in much the same way.

“There,” Mrs Danvers said, clipping the final lock into place. She touched a little wisp of baby hair at the nape of my neck, and something low in my belly clenched. “These locks tend to be very sensitive. I can pin them up if you prefer, but they’ll be hidden by the wig.”

“Oh, please don’t bother. Thank you, Mrs Danvers, I’m sure Clarice wouldn’t be half as quick as you.” I wished the girl would come.

As if she had read my mind, Mrs Danvers said, “Mrs de Winter never allowed one of the maids to dress her. I’ve sent Clarice away.” Then, softer, her finger still lingering at my nape, “Why did you not ask me to dress you?”

I felt the blood beat in my throat. “Mrs Danvers, you shouldn’t have. You are far too busy, and I…” I don’t want you to see me, to touch me, because you always compare me to her, to Rebecca, I know you do, and then I feel so small and worthless that a part of me wishes I could cease to exist.

“I thought this was supposed to be our little secret,” she said. Her eyes found mine in the mirror. Her face was no longer like a dead thing, hollow and pale. Her cheeks were flushed now, and suddenly I could see that she had once been quite lovely, before grief had made her gaunt and emaciated, spanning her skin tightly around her skull. And as she looked at me, she kept tracing patterns on my neck, softly, tenderly, causing little stirrings inside me of… what? Longing? Desire?

Surely not! It was simply that I had not been touched for so long that the simple act of her hand fingering my hair, a very innocent act, business-like, transactional, seemed to my traitorous body to be imbued with great significance.

Confused, I stood, my hip jolting the dresser. “I must get dressed. I don’t want to keep Maxim waiting,” I said. With my hip smarting I gathered up the dress, dropped it, picked it up again. Mrs Danvers appeared at my elbow. “There’s too much clutter in your dressing room, Madam,” she said, swiftly taking the dress from me and draping it over her arm, “may we retire to your bedroom? The light is better there, too. When Mr de Winter had these rooms done up before your arrival, I told him this room was too small and dark to be a proper dressing room, but he insisted.”

Because he didn’t want to use Rebecca’s rooms. They’re haunted by too many memories, remembrances that must remain inviolate, sacred. That’s why he has tucked me away in here, in these inferior, second-rate rooms, I thought, and tasted something harsh and bitter at the back of my throat. To have something to do I wandered to Maxim’s bed and smoothed an imaginary fold out of the sheets. Had Mrs Danvers never been here, I might have been embarrassed about sleeping in twin beds. Rebecca had had a double bed in her room. She dressed in silk nightgowns, thin as gossamer; slipping into one must feel like covering oneself in a thin sheet of cool water. I could see her in my mind’s eye, that tall, slender figure clad in silk the colour of apricots, and Maxim, flicking the straps down her shoulders…

Mrs Danvers’ hand on my shoulder startled me. Instinctively I drew away from her. When I saw the look on her face, that harsh, gloating look, I wished I hadn’t. “Come, Madam. You must remove your slip. It would poke out above the bodice.”

I could cry, but I could not let her see my weakness, no matter how much she sensed it. I pulled my slip over my head, tossing it on the bed, not caring that it would crease, only wishing Mrs Danvers would not look at my belly, at the cheap brassiere I wore, at my white knickers with the fake lace.

She helped me put on the skirts, tugging them into place, her hands hot on my hips. That strange, secret place between my legs felt tight then, and I could not explain it, not really. I wished it would not smart so. It was degrading, how my body turned traitor against my mind, this lingering longing for touch and love coming alive under my housekeeper’s hands.

“They are slightly too big. Clarice must not have measured you right,” Mrs Danvers said, disapproval clouding her face.

“Maybe I’ve lost some weight,” I said, remembering how Maxim had commented on it, and Beatrice, too, saying it did not suit me to be so thin.

Mrs Danvers knelt down in front of me and drew out a little pouch from a pocket of her dress. It was a little sewing kit, two spools of thread (one black, one white), scissors, a set of needles, and a collection of pins. “Careful, or I might hurt you,” she warned me, and stuck some pins into the skirt, making it tighter. “I’ll take it in for you.”

“Oh, please don’t bother, I don’t mind, really I don’t…”

But she did not heed me. Her tongue was thin and very pink as she licked a piece of thread. She threaded her needle in one go, then set about taking in the skirt whilst I still wore it, working quickly, with stitches so small it was like fairy work. She was so close to me I could smell her, the scent of her soap, the laundry detergent the servants used for their clothing, and the sweet, intimate smell of her body. I felt her breath on my thighs, warm and even, and that space between my legs, the one I did not have a proper name for, contracted again. My legs felt very funny, very weak, and I had to put a hand on Mrs Danvers’ shoulders so as not to sway. The stuff of her dress felt queer, slippery, or perhaps my hand was simply damp. My heart was beating very hard.

Maxim has not lain with me in three weeks, I thought. I remembered the last time. I had nearly been asleep, and then he had crept to me, sitting down on the edge of the bed, causing the mattress to dip. He had found my face in the dark, and had kissed me in a strange, hungry, desperate way. He had slipped into the bed with me, rucking up my nightgown. When he entered me I had not been quite ready yet, and had cried out. “God, my little love, how tight you are,” he had murmured, and I had not known whether that pleased him or annoyed him, whether it was something a woman would take pride or shame in. I had hoped he would slow down, be tender, but my little cry had excited him somehow, for he had thrust into me harder, faster. It had been uncomfortable, painful, even. I had thought he had been near his climax, but he had been gaining stride, not losing it, his mouth on my throat, his teeth scraping my collarbone. And then, shamefully, I had felt a thrum of pleasure, very faint. He had touched my thigh, digging his fingers into my skin, leaving his prints, and that action had caused another ripple.

“Maxim,” I’d whispered, “please, Maxim, please…” but I had not known whether I was asking him to stop or to go on. It had not mattered anyway, for Maxim had spent himself in me then, grinding his hips against mine. I had touched his head, smoothing his hair, wishing he would kiss me, hold me, but then he had rolled away and padded back to his own bed. Soon, his breathing had evened out and I knew he was asleep. I had lain awake for a long time, though, feeling hollow and near to crying. Why, I wondered, had he come to me now? Why did not see my desire for his love writ naked on my face? It would have been better if he had embraced me, if he had told me he loved me. Then, I could have borne it, the shame of my own arousal, the way he had rutted with me although I had been half asleep. It would not have been so impersonal then.

“There,” Mrs Danvers said. She smoothed the fabric with her thumbs, tracing the blade of my hipbone, then straightened herself. She helped me put on the bodice next. She did up hooks and buttons without any hesitation, working quickly. “The stockings and shoes next, then your makeup, and finally the wig. Sit down, Madam.”

“Please don’t bother, I can do it myself.”

“You wouldn’t want them too loose or too tight, Madam.” I could imagine them slithering down my leg, tangling around my ankle so that I tripped over them. How mortified Maxim would be…

“It can’t be so hard, can it, to tie a stocking?”

“You’d be surprised, Madam.” And she put her hand on my shoulder and pushed down. It did not take much strength; my legs felt like reed, all hollow. I sank down on the bed. A trace of Maxim’s smell came to me. I plucked at a loose thread of his sheets, twisting it round my finger. Mrs Danvers touched the stockings tenderly. They were white and made to fit as they would have in the time of Caroline de Winter, meaning they fastened around the thigh with a ribbon. Mrs Danvers bunched up my skirt and pushed it up. I had not shaved my thighs. Did she see how long and thick the hair grew there, how my skin was pale like a frog’s belly and marbled with veins? My face flushed so quickly the tears sprang into my eyes.

She took my ankle in her hand, her fingers searing hot. Did she feel the gallop of my pulse in the spidery veins that lay so close under my skin? She tugged up the stocking over my ankle, my knee, and tied it quickly. She tried to wriggle a finger between my skin and the fabric and couldn’t.

“This way it is not so tight it will hurt, but not so loose it will come undone, should you dance.” She did not remove her hand but let it linger there, palm lightly resting on the strip of skin between stocking and knickers. Then, her finger twitched and slowly, very slowly, she touched the elastic of my knicker.

“Mrs Danvers…”

But she would not let me finish my sentence. Perhaps it was for the best; what would I have said? “When my mistress and Mr de Winter were just married, he rode her like the devil,” she said softly. “Her knickers were stained with the seeping of their lovemaking, and often torn. He went a little wild when he was with her, but then so many men did. She had that effect on them. I used to let her underwear soak in a bucket in my room and scrub out the stains, and then I’d sew them back together again. My father was a tailor; I know how to make my stitches invisible.”

I tried to imagine Mrs Danvers as a little girl, peering over her father’s shoulder to see how one stitched a rip, but I could not imagine her as a child.

“Mr de Winter hardly touches you.” This last a statement, not a question. I wondered, did Mrs Danvers question Clarice on my underwear, on whether my knickers needed mending? Or did she slip into my rooms herself and quest through the laundry, finding my undergarments and fingering them for stains? I had written to a shop in London and asked for a catalogue, but then Clarice had become my maid and she had not seemed to care how cheap my underwear was, and so I had not ordered any of the slippery, silky things I supposed women of my social standing should wear. I wished now that I had.

I did not what to say. She had not said it with any menace, but it was such a personal, intimate thing that I could not stay silent. “I’m not a virgin, if that’s what you think,” I whispered, the words coming out all choked. I swallowed thickly, balling my hands into fists. “There are moments my husband does want me, you know. Moments when he takes me, doing it roughly enough to bruise, leaving me marked as his.”

She stopped stroking me and looked up. Her eyes flashed something fierce. A little lock of hair had escaped her pins and curled against her temple. When she spoke, it trembled, and that little curl shot through with grey somehow made her more human than anything. “I don’t doubt it, Madam, but is that how you like it?”

Her question threw and flustered me both. “How I like it?” I repeated stupidly. I blinked, shook my head in confusion.

“Do you not know, Madam?” Her tongue darted between her lips, pink and wet. She stroked my thigh. “Do you like this?” She bent closer to me, her breath hot and quick, and kissed the inside of my leg, very softly. “And this?”

God forgive me, but I wanted her. I was aching with it. “Mrs Danvers,” I whispered.

She kissed me again, sucking my skin into her mouth. A hot thrill of arousal shot through me. “Mrs Danvers, you shouldn’t…”

She smiled; I could feel the tug of her lips against my skin. “Oh, Madam, I can smell you,” she murmured. “You’re wet with want, but are you willing?”

She tugged at my knickers. I raised my hips so she could pull them off. I don’t think I thought about it; I simply did as she wished me to. She smirked. “Yes,” she said, “I’d say you are willing indeed.” She dragged my underwear down my leg and tossed it on the ground. She pushed my legs apart, seated herself between them with her hands splayed on my thighs.

A sharp bolt of panic tore through me. What woman would sit on her husband’s bed with the housekeeper cradled between her thighs? I might have pushed her away, might have cried, but then her mouth was on me, and pleasure smote me. She dragged a strange, guttural moan out of me, the sound so shocking I put a hand in front of my mouth. The other one had found its way into her hair somehow, and though I did not wish to hurt her I could not help but squeeze as she lapped at me, as she licked and sucked and kissed. She was flaying me. It seemed to me that there was a thread coiled in my belly, and she was winding it up, pulling it taut with her tongue. It was a miracle I did not unravel into her mouth and hands. Whatever Maxim had done to me was nothing compared to what I felt now.

When that tread of want snapped, I bit the fleshy mound of my thumb so I would not scream. She kept her tongue against me as I rode it out. When I came to myself, I realised I had yanked some of her hair out of its pins. I took my hand away from my mouth. I had left a seam in my own flesh from where I had bitten down.

Mrs Danvers took hold of my wrist and pulled my hand out of her hair. My fingers tangled into it. I was weak with pleasure. Her lips were swollen and wet. She took the hem of my skirt and wiped her mouth on it.

“I’m sorry. I shouldn’t have touched your hair,” I murmured.

“God, what a schoolgirl you are, always flushing and apologising.”

That hurt. “I’m sorry. It’s just that… I was overcome.”

“Of course you were. You’ve never felt anything like it before, have you? He has never made you come,” she said, and then she laughed.

I slapped her. It happened so quickly, I don’t think I knew I was going to do it until it had already happened. For a moment neither of us spoke. We did not even move. We just sat there, she with her cheek reddening, me with my hand tingling.

“Mrs Danvers, I am so sorry…” I began, but she would not let me finish. She stood, quick as a cat, and then she was on me.

“How dare you,” she hissed, those long fingers of hers closing around my wrist like a vice, “how dare you, you foolish little girl?” I tried to push her away, but she was stronger. I fear there was a tussle between us then, a weird sort of scuffle. She was on top of me, pinning me to the bed, and I could smell my sweet shame on her breath. Her leg was between mine. It was thin and very long. I felt the bone shift, and could not help that my hips surged up to meet it, God, I could not help wishing to rock against her, that longing so recently sated already flaring up again.

“Don’t, don’t, please,” I whined, but she cared nothing for my protestations, perhaps did not even hear them.

“You’re a silly little girl, a mere child. You don’t know what you want because you’ve never dared to ask. You’re nothing like my lady, you’re nothing like Rebecca! She seized life by the throat and would not let go, she squeezed every drop of pleasure from it and still demanded more because that was her right, her due. How dare he replace her with you? You scuttle where she once strode, clutch at her things with your grubby little hands, covet what she had with those sly little eyes of yours, and you think there shall be no retribution because you think she is dead and gone…”

“Mrs Danvers, you’ve got to stop, you shouldn’t speak of these things!” I tried to put my hand over her mouth but she nearly bit me, her jaws snapping together with the sound of a jewellery box closing.

“Not speak of these things? That would suit you, wouldn’t it? To bury my lady with silence like he is doing, pretending the past can be blotted out, that he cannot feel her in every room. Do you think I do not see? Do you think I do not feel? Do you think because I am poor and plain and merely a housekeeper that I’ve no thoughts, no desires?” It was horrible, the way she spoke, how the words came out rough and choked. I had to stop her from laying herself bare like this, but I did not know how. And all the while my legs were still wound around her, and the weight of her bearing down on me was sweet, scandalous sin. In the end I did the only thing I could think of: I grabbed a fistful of hair, yanked her head close to me, and kissed that raving mouth of hers.

We had a completely different sort of fight then. We were joined at the hip, cleaving together, and she rode me and I rode her, the two of us panting and flushing. Her mouth stoppered mine, and I could scarcely breathe. It felt as if she wished to suck the life out of me, every little wisp of it, from my flesh and muscle, from the meat of my spine. I fought back. I licked her gums, tasting that queer taste of my unravelling, sharp like vinegar. I clawed at her back, my fingers slipping on the smooth fabric of her dress. She was so slick and fast, it was neigh impossible to hold her down, to pleat her against me and be certain in the knowledge she would not leave me.

Her hand found its way between our bodies. She pushed a finger into me, and that was wrong, but it was also bliss. She thrust it into me.

“Goddamn you,” I panted. She added another finger. This was what Maxim did to me, invading me, but with him my body rebelled and wished to expel him, whereas it welcomed Mrs Danvers.

She had done this before, of that there could be no doubt, but had she done it with the only one who mattered? Had she pleasured Rebecca like she pleasured me? “Did you and Rebecca…” I began.

She curved her fingers inside me, dragged them out, and it was too much. “Don’t speak her name,” she growled. “Don’t talk about her.” She pushed her fingers back in, and I came apart.

“Danny,” I moaned. I could not help it. “Danny, goddamn, Danny…”

I had hoped she’d go easy on me now that my muscles rippled and clenched around her digits, but it seemed to excite her, for she set a quicker, harder pace, almost brutal, dancing on the edge where pain becomes pleasure and pleasure becomes pain. She added the weight of her hips behind her hand, thrusting more fiercely. I clutched her shoulder. When I came a second time, I bit at her face, her cheek, her chin, her jaw, and she had to grab me by the throat and push my face down against the covers. My hairpins dug into my scalp. I smelled Maxim then, that rugged, masculine scent of cigarettes and dogs and leather. If I had not been so afraid, so desperately passive, would I have gone to him on one of the many nights we had spent here at Manderley? Would I have slipped between these covers and put my hand on his manhood to feel it stir? Would I have straddled him, plunging him inside me? Would I have wished for him to flip me on my belly and take me from behind, my face buried in his sheets as it was now?

Why did I have to think about that now? And why did it make my belly clench, why did it make me shiver and sweat all over, the ripples of orgasm tugging at my consciousness? When I had ridden out my third climax, Mrs Danvers stopped squirming against me. “I knew you’d flush from nipple to crown when you come,” she laughed. She pulled her fingers from me and pushed them against my lips, her nails clicking against my teeth. “Don’t you dare bite me,” she said. I had nicked her jaw, I saw; a little trickle of blood had come down her throat.

I took her fingers in my mouth and sucked the silty wetness from it. When I was done, she took a handkerchief out of her pocket and dabbed it between my legs. I flinched; I was very sensitive. She took the sodden handkerchief and wiped it on my throat, smearing my desire into the little bluish hollow at the base of it. “My mistress used to do this before every party. The men would smell it on her, and trail after her like dogs. I’ll wash my hands now. Go sit at your vanity so I can pin up your hair again and make up your face.”

She went into the bathroom. I could hear her fiddle with the taps and let the water splash into the basin. I came to my feet. My legs trembled. I had to hold on to the bed to keep from falling, and lean on the furniture as I made my way back to the dressing room.

The face that looked back at me from the mirror was not my own. It was flushed, with sparkling eyes. Mrs Danvers had bruised my throat. My hair had come down in damp little locks that curled against my cheeks. I began to take out the pins. My fingers felt queer and wouldn’t do what I wished them to do so that I dropped pin after pin.

Mrs Danvers came to me after a little while. She had wiped away the blood at her jawline and pinned her hair back up. She had brought a wet flannel for me. “Press this against your throat,” she said, and her voice was without animation again, the voice of someone not quite alive. She took my hairbrush and without a word began to brush my hair. Her hands were cold from the water. She helped me fasten my hair to my scalp and put on the wig, then painted my mouth for me and powdered away the bruises at my throat. She was very cool, very efficient, not at all like the impassioned woman of half an hour ago.

“All done, Madam,” she said.

I could not look her in the eye. “Thank you, Mrs Danvers. I suppose I should go downstairs. They’re probably waiting for me.”

At the door she stopped me. “Madam, you shouldn’t,” she said, and there was an urgency to her words, a simple sort of honesty. Then, the mask slipped back into place. “You’ve forgotten your hat.”

I stared at the beribboned thing. “You’re right, so I have.” I took it out of its box.

“I’d keep it in your hand if I were you,” she said. “It would crush the curls.”

“Indeed.”

I stepped out into the hallway. I was no longer excited. I just felt tired, drained. But Maxim will see you and adore you, and then all shall be well. You can forget about Mrs Danvers and all she did to you, all you wanted her to do to you. You need not think about Rebecca, and whether Mrs Danvers pleasured her. You can push it all away, down where all the hurtful things go. It can be your secret indulgence.

Afterwards, when Maxim had roared at me and sent me back up in front of everyone as if I was a naughty child, after I had locked myself into my room, my eyes red and raw from weeping but my mind a little clearer, I felt a new thought intrude on my grief. It was an insidious little thought, snagging into my mind like a thorn, humiliating me further, and it would not be pushed down, it would not be indulged in secretly: had Mrs Danvers only lain with me because I had been dressed like Rebecca?

#rebecca #danvich #rebecca fanfic #mrs danvers #fanfic tag #smutty smut smut

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jemimaboultonmessagesmultiverse · 4 years ago

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Final Postcards

These are my final postcard designs. They are each based off one of my chosen articles and their are four in total. I like some more than others visually but I believe they all achieve the goal of representing and communicating the headlines they correspond with. I also tried to make them all fit together nicely as a set and not all look like stand alone pieces.

This postcard is based on my headlines regarding the hopes for finding a cure for blindness. Throughout this piece I have used space as much as possible, trying to add as much information to the page without it appearing cluttered or unreadable. I used layers to create depth and interest to the right side of the page especially and I have used a lower opacity to be able to add many objects in one space without them all obstructing one another in a negative way. The use of space is important to the theme of this postcard as I feel it could be a representation of the heightened senses people with blindness can feel, and therefore the imagery and space being on the verge of being cluttered can visually communicate an abundance of things us as non blind people may not hear or feel.

I stuck to a mainly black and white colour scheme with some smaller elements of red throughout. This approach was inspired by the work of David Foldvari, who typically only uses black and white with one part coloured, and Peter Bankov, who uses a white background in his work and often uses colour in linear areas, sometimes as gradients. The one bright area of red was chosen to represent the anger felt by people who experience blindness and their desperation for a cure, as red is typically seen as a very angry colour. I also added a more muted red in the background as a means to separate the harsh white background slightly.

The harsh lines seen in the background could communicate the harsh affects of blindness to the viewer due to their sharp edges and aggressive nature, as they were placed very quickly to give a flow across the page. I also placed the type saying “blind” repeating in a line down the side of the page. This regimented look was chosen to compliment the way that the edges of all of the shapes look as they are all very polygonal and harsh, with little to no curves throughout. I then also chose a type which contained a similar harshness and shape to fit with the lack of curves throughout the rest of it.

The form of the blind person is extremely simplified, using an abstract shape to portray the brain. This makes sense when paired with the chosen subject as a blind person would have not seen what a brain looks like and therefore they may believe it looks like this if it was described to them. On the other hand, the area containing many eyes is extremely accurate to what an eye looks like, to emphasise an importance of vision and to contrast the style of the open eyes with the style of the person who has no eyes, implying their blindness even further.

The textures seen in this contrast again each other, as the textures on the simplified face are very rough and grainy, whereas the textures in the rest of the parts, as they are mainly very blocky and smooth with little to no graininess I created the texture by using the threshold tool on photoshop to amplify the little texture which was found on the original screen print. The textures like this on this particular area of the piece can work to discuss the concept of a fuzziness in the vision of the person who the texture is a part of and how it is affecting them in a very large way, taking over their entire sense of self and changing who they are as a person.

Throughout the entire piece I have used contrast, especially utilising the natural harsh contrast that can be seen between black and white. To do this I have made the negative space very bright and clean white and covering the foreground in images which are bright and dark black. I also used a variety of different styles and mixed realism with more cartoon like styles together. The consistent contrast between light and dark is representative of what non blind people see versus what blind people experience. The elements I used being all put into the same page can be very jarring and striking and that is exactly what I wanted to achieve for this as it is such a serious and fascinating topic that caught my eye and I wanted to do the same thing with my art based on it.

My use of tone in this postcard is extremely harsh to create the previously mentioned contrast. I did this with heavy inspiration from Daniel Egneus and the way he uses black and white in his work. I created new tones by changing the opacity of certain areas but at the heart of every part of this postcard there is a black beginning. I did this in pursuit of a minimal colour variation, although the rest of the aspects of this postcard are all maximal, using space to it’s utmost to create a piece of art which is multi-layered and contains many areas of interest. To do this I also included repeat patterns multiple times, in the faces and the type, so as to not overwhelm the card with too many different images but still fill the space and create different layers and variations in tone.

This second postcard is based on the article concerning Botox being a cure for depression. I used the space in a similar way to how I did in the previous postcard but this time my layers were all made of smaller objects and therefore I didn’t use the opacity as much to make things visible and instead placed things in a way which meant what each part is is obvious. The space is filled and I used needles and faces to create a frame around the outside of the postcard. The way I have used space and filled it is an attempt to communicate that there is many things in this headline which need addressing and Therefore I have to use as much of the space as I have available to me.

I used a limited colour palette in this, inspired by some of Linda Zacks’ work, and I made the entire background a pale orange, to match with the rest of the elements of colour within it in hopes of achieving an almost monotone piece. The colour orange is to represent the colour of some needles and it worked very well as it also matched the hands that I took from my collage. The bright orange compliments the muted orange very nicely and helps to inform my concept. The colour orange also links to plastic surgeries and body modifications in general as it is a colour commonly associated with fake tan.

My use of lines are very sketch like and imperfect, which contrasts with the actual message of the postcard, since Botox is meant to fix imperfections and fine lines. I also positioned some faces in a line down the side of the page. These sad faces are to represent the depression element of the article and to draw away from the idea that this is just a piece regarding Botox, I also added lines of text linking to the depression part to further link away from it, since I have plenty of imagery to discuss Botox but not any to discuss depression. The repeat pattern also has implications of how vast a number of people are affected by depression and how it is something which people are desperate to treat.

All of the forms in this piece are very simplified, except for the needles which the hands are hold that are actually a collaged part of the composition. By producing lots of simple images in this way I have stripped the piece of all complications and reduced everything down to the bare essentials I really highlight the areas which are important to the piece. The person being central with the silhouettes of the needles going into their face does an effective job of displaying their importance to the narrative of the post card. The forms of the hands are very abstract and outstretched which is exaggerated to imply to the viewer that the hands are trying to reach the face. The abstract and simple hands contrast the needles they are holding which draws attention to the needles and makes them a focal point of the piece.

Texture was created when I accidentally teared the screen print but it worked as an interesting texture in this piece and the texture on the central screen print acts as a form of expression that the face is being modified and the needles are having an affect on it. The texture juxtaposes the smoothness of the hands which are holding the needs and this further implies that the face has had something done to it as the hands are seemingly normal and unaffected. The texture of the rough edges of the needles drawn in fineliner which are at the side and bottom of the piece carry the message to the viewer that the affects of Botox can be rough and damaging. This connotes that people with depression are willing to try anything to get rid of their illness due to the harsh symptoms they have to live with on a daily basis.

The way this piece moves is to the centre of the page to the face, as all the needles and other areas of the page intercept it and interact with it. This is to create a feeling that the needles are piercing through the person’s face and treating them for depression. My use of movement and a spiral like flow through the page was inspired by Meg Hitchcock who uses her type to create the flows through her page, so I thought I would try to create a similar flow using all the pieces of my composition.

The piece above is about robots showing human emotions. I used the negative space heavily in this piece and filled it with imagery of some type that adds context to the rest of the page. The dark, grain texture in the negative space can give the illusion that the robot profile is lifted from the background and creates depth in the background. This is to ensure that there is no question about what part of this composition is most important when discussing the chosen narrative. I have also densely filled the space inside the head with a dense repeated pattern which display the importance of the type that is creating the pattern as it is said multiple times and as many times as possible so the viewer has the words thoroughly enforced.

The colours I chose in this piece are complimentary colours as I wanted contrast between certain parts of it. I made the type in the head orange which contrasts the blue and has implications that it is out of place where it is and constructs the narrative that these feelings aren’t where they should be. I also made the Robot very pale in comparison to the background as this makes it stand apart from it even more and also breaks the monotonous darkness of the background with a bright area of light. My use of a dark background and a light character was inspired by the way that Daniel Egneus would fill areas of his background in with black to make the lighter shapes stand out more.

All of the lines in the positive space are very straight and controlled with sharp edges and purposeful placement. This placement was something which May Xiong inspired me to do as the geometric shapes in her work are all very carefully placed and also I felt these shapes and patterns would relate to the careful way in which a robot of any form of artificial intelligence is made. There is a lot of contrast in the lines in the foreground and the lines in the background which implies that the background could be portraying some type of malfunction due to it not being the clean cut example of what AI should be.

The form of the face is very human like, only being slightly manipulated to create some new angles and shapes which aren’t normally there, as a way to add an idea to the which discusses how similar robots are getting to humans, and how even though these human like objects can show emotions it doesn’t make them sentient. I also made the face lack in distinguishable features which humans have, for example eyes, to display a narrative that all these robots are the same and have no personality do to them being made the exact same way each time and not being able to develop their own opinions or thoughts.

Unlike the other pieces in this postcard series this particular one only contains two definable layers, the background and the foreground. I therefore chose to scale up the feature of the profile in the foreground and make it much larger than any other element of any of the other postcards. This works in favour of the narrative and helps to make it very clear what the story of the piece is without confusion or adding many parts to it which may not be as relevant as that piece. I also made the type get bigger from the top of the brain to the bottom as though the thoughts were becoming more clear as they were developed.

I created a realistic silhouette for the face but filled it with a texture and a colour which skews away from realism to create a slightly more abstract outcome. By creating the face in this way and using the collaging technique with smooth paper I construct a new texture for the skin which draws away from the human elements of the face and could imply something being almost human but not entirely. The fact that the space is still human makes parallels between the human side of this article and the robotic and technological side of it, which informs the viewer of the importance of both. The geometric pattern created with the collage in the face also separates the face from a human like texture, with the shapes being very sharp and unnatural. This connects the human side of the story to the robotic and technological side as it is using an unnatural thing to create a natural form.

This piece is based on my article which is about a brain implant to connect people to social media. I have used the space in this to make the page as full as possible, which is important to my concept as it can represent the concerns of the experiment and how the implant would access all the data in your brain, which there is a lot of, possible ending up with an abundance of different data being shared which the person didn’t want to share. The amount of layers used in the small space given relates the viewer to the many layers they have in their own brain and how some they may want to keep hidden, hence why some objects are obscured and some type is slightly unreadable.

Many of the colours in this are very muted, so I created one large pop of colour in the top layer of images. Peter Bankov inspired me to work in this way as he commonly uses large blocks of colour with images overlaid and an off white background as I have here. The choice of green as the main colour was made as green is a colour I associate with dystopian and sci fi films, which this story makes me feel as though I am a part of due to it being such a huge drastic step in technology that seems completely unnecessary but is definitely something people would buy into. It also compliments the muted greens seen in the collage cuttings and and makes the whole piece cohesive instead of adding some new colour which may have disrupted the flow and continuity of the layers in the page.

I have used many styles of lines in this piece. The bolder lines and the stripes of green in the background were also inspired by Peter Bankov and are there to indicate the side to this story which is very futuristic and therefore contains bold lines and clear cut shapes. The more rough lines and unreadable type are to represent the issues with the technology that has been created, that being that the brain could be hacked in a similar way to how our computers are at the moment, therefore the mark making in the word “hacked” is very rough and scratchy, like a glitch in the system. The layers of lines and marks can also be reminiscent of the windows and tabs we seen on a computer, further linking to the computerised and technological aspect of the article.

I have created the form of a person in a grain texture by using the threshold application and I have duplicated her to create a balance between the top and the bottom of the page. The reason I have edited the form in this way is to connect the technology and the human sides of this article together. The way the form is built up makes the human look digital and melded together with technology. This works to reinforce the “cyborg” imagery and metaphor which I am pushing forward in this piece. I also included the from of a phone just behind the woman’s head as though the phone is coming out of it and connected ot it in some way. The phone is very old fashioned but simplified in design, contrasting with the rest of the imagery.

I used a variety of textures in this composition to represent both sides to the story. Grainy textures and lighter opacities were used in an attempt to show the issues with this product, such as the idea of a glitch in your brain (causing graininess) and the opacity creating a sense of transparency, which is there to show how this product could make your brain something anyone had access to. On the other hand, the smooth textures and sharp lines show the things which are right with this invention, and how it is a new and shiny piece if technology to be developed onto in the future. The reason I considered using texture in this way is because I saw it as a very prominent thing within Linda Zacks’ work and hoped it could bring a similar outcome into my own piece.

This piece doesn’t contain much contrast in tone but the one stand out figure of a human helps to highlight the key ideas of the narrative. Texture is where contrast happens most with grainy layers being on top of smooth colours. I should have made some areas darker than they are to avoid the completely mid tone look I ended up with but the look does fit with the article as this invention is a grey area when it comes to technology, with it being difficult to see if the bad is outweighing the good and whether the bad can even be fixed.

I didn’t opt for realism in this piece due to the entire concept seeming very unreal and dystopic to me, but I did make it as maximal as I could to enforce ideas of the brain and how many thoughts could be on display if this product was to be used on a human being.

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thriftedside · 4 years ago

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The philosophy behind minimalism is to live a life with value and meaning. It is more than just getting rid of stuff. It's more than just picking the most neutral colours, the black and the white, more than the trend. It is about being conscious of what you have and what serves you.

I have friends who are into minimalism as a lifestyle and the way they practise it goes beyond the famous Instagram "aesthetic".

Let me be clear there is nothing wrong with the minimalist aesthetic or decor (unless it's a form of consumerism) because visual also has psychological impacts.

Even though I am not a minimalist, I deeply admire the idea of simplifying life.

There are key points from the movement which I take with me and challenge myself to apply in life. Key points I can look back whenever I feel like I'm losing my sense of direction.

These are the things I consider on trying to practise:

Being Functional and Intentional

The focal point of minimalism is functionality, knowing the intentions of what you have. When acquiring something into my life, I often ask myself, how will an item compliment my well-being? How will I make the most out of it? Am I fully committed to a specific lifestyle, or am I only confirming to what is trending? Will I allow myself to give in to what the market is trying to sell?

If that "minimalist" aesthetic or thing won't serve you for a long time, or will only give you temporary happiness, consider the purchase as a wasteful splurge.

I have to remind myself, "Simplistic" excess is still excess.

Passion and Purpose

There was a time in my life, I kept myself busy with work, even though I loath it. I did a lot of things which weren't helping me, cost me time. I thought it would force me to do more, but it didn't.

Then, I started to simplify things, to make room for creativity and improvement. I made more time for the important stuff, the ones serving me, helping others. I bounced back to my good old hobbies even if I'm not excellent in that field. I do things at my leisure and experience fulfilment.

We give less attention to the external forces distracting us away from our purpose.

By focusing on less, I did more. I can do more for myself and others.

Quality over Quantity

As cliche as it would sound, considering the quality over quantity applies to things and people. Do you receive genuine happiness being around the things or people you have in your life? Surface level relationships lack substance.

Simply choosing quality over quantity is efficiency. It saves you time, energy, money and heartbreaks.

Keeping and Letting Go

Minimalism isn't just about throwing away, but also knowing how to keep the ones with value.

Consider why you're keeping something in the first place, especially when it comes to material things.

I kept a note saying, "There is no such thing as "away". When we throw something away, it must go somewhere.".

When you let go of things, consider giving it a second home. But when you let go of people, consider it a lesson. Ask yourself. Are you willing to take back clutter in your life?

Minimalism is being mindful of what you have, what you will want to have while having the freedom from worries, environmental guilt and clutter(physical and mental).

Contentment

There is a fine line between limiting yourself from being content. That is knowing what gives meaning in your life.

Contentment is simply being in the moment, knowing that you have what you need, that what you need will eventually open more possibilities, that these possibilities yield a better life for you.

Minimalism is more than just millennial pop culture. Minimalism is a mindset. And practising a lifestyle of your choice isn't bad as long as you are aware of the core principles.

As for me, I am more on the maximalism side because I tend to keep things with history, the good ones, the ones I am willing to tell a story, yet I rarely consume new stuff of no value.

You will realize there is a common ground in each - minimalism, maximalism and essentialism. Whatever suits your liking as long as it's beneficial.

That path you choose, I hope it gives you deep significance and efficiency.

After all, a lifestyle doesn't have to be perfect, but it should align with what inspires you, your purpose, your comfort, and your peace of mind.

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etsaydaraz · 5 years ago

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tumblersofia · 5 years ago

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How To Style A Sideboard

Sideboards have rocketed in popularity with the of mid-century modern decor. As well as handy storage, they’re a great opportunity to add character and personality to a space with the way you style the top of your sideboard.

I’m forever faffing with the arrangement on ours, so I’ve pulled together some tips that you can take collectively or separately to help you create a balanced, characterful display of your own. But before we start, here’s a few sideboards themselves in case you’re still in the market for one…

Find the right sideboard for you

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Ten Tips to style a sideboard

Here are my top ten tips for how to style a sideboard. But remember: interior design isn’t paint-by-numbers. Think about expressing your personality through your home – it’s as individual as the way you tell a story to friends. These are just guides that might help nail some of the basics of sideboard styling like shape, symmetry, rhythm and proportion, so that you can add the spirit and creativity through your own originality. Most importantly: have fun. Or else, what’s the point?

1. Don’t expect to get it right first time

Scrolling through Instagram or browsing Pinterest, it can feel as though everyone else styles their spaces perfectly, first time and every time. They just effortlessly stack books and drape a plant tendril without even looking and – bam! – it’s a vision.

I promise you that’s not true – there’s a lot of trial, error and faffing involved before you achieve a look that feels right. So don’t be afraid to keep changing it up – don’t commit to particular items definitely living on the sideboard because they might just not work there.

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2. Balance over symmetry

Unlike in architecture, true symmetry is rare in styling – not least because it means having identical pairs of everything you want to use!

So focus instead on balance, by which we mean even weighting across a space. The two fool-proof techniques for balance on a sideboard are similar to my guide on how to style a mantlepiece: anchor the vignette in the centre with a large piece like a mirror or piece of art. And/or use a medium-sized piece of similar height on either edge. Both of these techniques help the eye move seamlessly over the space.

But balance doesn’t just have to mean shape and size – you could also consider the balance of colour and texture. For example: if you have a dichromatic scheme (two colours – black and white, pink and green, etc), mix up the amount of each colour across the space rather than being tempted to group either colour on the edges.

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3. Try building a theme

This is a tip I learned from a Proper Stylist that will make your sideboard look effortlessly professional – thematic similarities in your items will lend a subtle cohesion to a space that allows the eye to positively glide over it. What do I mean by ‘thematic similarities’?

Basically: similar stuff, not necessarily by colour or shape, but by theme. For example, metallic textures across a candle, vase and mirror frame. Or several vintage collectibles from a similar era but otherwise unconnected. Organic, woven textures could bring together linen, rattan, cane and wicker.

In this example, the neutral-toned ceramics of both vases, the bust, the trinket jar, plant pot and even the mug inside the sideboard create a thematic point.

4. Use the wall behind it

The wall behind and above a sideboard is part of the styling picture, so it’s important to keep it in mind when deciding how to style your space.

Think about how you can style a sideboard with a large mirror or piece of artwork. Hang a print or mirror (always think about what will be reflected though – a mirror opposite a window is excellent for upping light, unless you have people walking right by that window and will keep catching strangers’ eyes!) around one third of the way up the wall (so there is more space above the piece than between it and the sideboard).

If it’s on the wall, I recommend centring your piece above the furniture. But if it’s propped up, play around with off-centre until you get the balance you’re looking for.

Alternatively, if you’re renting or simply don’t want to put nails in the wall, prop up your art or mirror on the sideboard. This is my preference, and it gives a more bohemian, undone finish. Just be sure you have heavy pieces at its base to prevent slipping!

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5. Mix up eclectic displays

If you aren’t into Jo Malone candles, pampas grass and styling beads – don’t use them! Use whatever you love, and whatever will make you feel happy to see in your home.

I like to use meaningful vintage books, framed photos and mementos from holidays. Mixing up textures, sizes and styles will create contrast and visual interest – it’s especially effective when using a theme as well, as in tip 3.

6. Try minimalism

If eclectic and maximalism aren’t your thing, try out a minimalist approach. If, while styling your sideboard, you feel it looks cluttered, try simply taking items away one by one.

A great minimalist option is a couple of flat, stacked books on either side, with an object – a candle, a posy vase, a plant, an ornament – on each.

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7. Don’t underestimate the Power of 3

Trios are like an interior design cheat code – they’re hard to get wrong, because the human eye loves threes.

But the key to a great trio is a mix of heights and profiles – something tall and slim (a vase, a bottle, a slender lamp), something small (a ceramic, a paperweight, a trinket dish) and something between the two (a candle, a succulent). Try grouping the items on a tray or a large book.

Clustering a trio of small ceramics at the corner of a propped up print can help to soften the corners, as well as stopping it from slipping.

8. Add something living (or fake it!)

No matter what we’re styling, you’ll always get this tip from me. Nature needs no styling – foliage, flowers or plants soften edges and corners without you having to work hard at it. They naturally resist symmetry and change with the time of day – making your sideboard styling into an ever-transforming space.

I particularly love a trailing plant to dip below the vertical edge of a sideboard. It breaks up geometry and adds an additional dimension to the shape. Though if you need access constantly, it might not be practical.

9. Mix up finishes

Something old, something new – rich depth can be achieved by contrasting finish and texture. Polished brass and matte ceramics, glossy magazines and vintage paperbacks, shimmering glass and patina metal.

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10. Don’t forget the power of books and magazines

A stack of vintage paper backs, a neat row of ‘coffee table’ hardbacks, propped up magazines with illustrated covers… The power of publications to act as decor is huge, and swapping them up by mood, season, or the latest addition to your collection is hugely satisfying.

See if there’s a handful of books with spines that fit your colour palette, and try them on your sideboard. Unless you’re a hardcore alphabetiser, in which case that will be sheer blasphemy…

from This 1870 House https://ift.tt/2KqUNiv

#This 1870 House #https://tumblersofia.tumblr.com

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fosterloverson · 5 years ago

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How To Style A Sideboard

Find the right sideboard for you

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Grayson Storage Sideboard

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Retro Oak & Metal Sideboard

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Groove Sideboard

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Ten Tips to style a sideboard

1. Don’t expect to get it right first time

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2. Balance over symmetry

Unlike in architecture, true symmetry is rare in styling – not least because it means having identical pairs of everything you want to use!

function openUrlInNewTab(url) { var win = window.open(url, '_blank'); win.focus(); } function openUrlInSameTab(url) { var win = window.open(url, '_self'); win.focus(); }

Faux Potted Monstera

£35

Buy Now

Lithographies Eaux Fortes Print

£40.99

Buy Now

Nadia Au Menton Pointu Print

£49.99

Buy Now

3. Try building a theme

In this example, the neutral-toned ceramics of both vases, the bust, the trinket jar, plant pot and even the mug inside the sideboard create a thematic point.

4. Use the wall behind it

The wall behind and above a sideboard is part of the styling picture, so it’s important to keep it in mind when deciding how to style your space.

If it’s on the wall, I recommend centring your piece above the furniture. But if it’s propped up, play around with off-centre until you get the balance you’re looking for.

function openUrlInNewTab(url) { var win = window.open(url, '_blank'); win.focus(); } function openUrlInSameTab(url) { var win = window.open(url, '_self'); win.focus(); }

Gold Vanity Tray

£35.99

Buy Now

Gold Hexagonal Mirror

£87.99

Buy Now

Swoon Mendel Sideboard

£699

Buy Now

5. Mix up eclectic displays

If you aren’t into Jo Malone candles, pampas grass and styling beads – don’t use them! Use whatever you love, and whatever will make you feel happy to see in your home.

6. Try minimalism

If eclectic and maximalism aren’t your thing, try out a minimalist approach. If, while styling your sideboard, you feel it looks cluttered, try simply taking items away one by one.

A great minimalist option is a couple of flat, stacked books on either side, with an object – a candle, a posy vase, a plant, an ornament – on each.

function openUrlInNewTab(url) { var win = window.open(url, '_blank'); win.focus(); } function openUrlInSameTab(url) { var win = window.open(url, '_self'); win.focus(); }

Pretty City New York

£25

Buy Now

The Rituals

£13

Buy Now

Matte Black Candle Holder

£15.95

Buy Now

7. Don’t underestimate the Power of 3

Trios are like an interior design cheat code – they’re hard to get wrong, because the human eye loves threes.

Clustering a trio of small ceramics at the corner of a propped up print can help to soften the corners, as well as stopping it from slipping.

8. Add something living (or fake it!)

9. Mix up finishes

function openUrlInNewTab(url) { var win = window.open(url, '_blank'); win.focus(); } function openUrlInSameTab(url) { var win = window.open(url, '_self'); win.focus(); }

White Ceramic Vases

£38

Buy Now

Character Vase

£7

Buy Now

Multi-coloured Faces Vase

£40

Buy Now

10. Don’t forget the power of books and magazines

See if there’s a handful of books with spines that fit your colour palette, and try them on your sideboard. Unless you’re a hardcore alphabetiser, in which case that will be sheer blasphemy…

from This 1870 House https://ift.tt/2KqUNiv

#This 1870 House #http://fosterloverson.tumblr.com

0 notes

personalcoachingcenter · 5 years ago

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How We Improved Our INTERIOR DECORATING AND DESIGNS In One Week

New Post has been published on http://mydecoradvice.com/home_design/how-we-improved-our-interior-decorating-and-designs-in-one-week/

How We Improved Our INTERIOR DECORATING AND DESIGNS In One Week

Many people do not realize how quick and simple home interior design can be. It can allow you to spend a weekend working around the home and have something beautiful before the new week begins. Use some of the ideas that follow as inspiration for your own home and decorate your home to fit your personality.

Figure out what mood you're trying to set and use that as the basis for your color choices. If you want it to be relaxing or calming, consider using light and cool colors like blues and greens. Your color choices and your choice of furniture should all be based on what you're trying to accomplish with the look and feel of the room.

The amount of natural light available in a particular room plays a big role in the way its interior should be designed. If you are lacking in window area in your room, you should paint the walls a light and bright color.

For rooms with high ceilings, you need to vary the locations of your lights. The fact that the ceilings are so high can weaken the illumination in a room. To counteract that, try using both ceiling lights both and lights that sit ground-level. It will help to create more adequate lighting in the room.

Primary colours could not be cooler

www.desiretoinspire.net

"I never in a million years would have that I could fall this much in love with a home where the accent colours are red, blue and yellow. And this kitchen is now added to my top 5 favourites (don’t ask me what the other 4 are LOL). I am head over heels for this 5,200 sq ft penthouse apartment, formerly a hospital, located in the heart of West Village. Designed by Studio Shamshiri, photos by Shade Degges." https://www.desiretoinspire.net/2019/07/24/primary-colours-could-not-be-cooler/

When you are decorating your children's room, try to look at things from their perspective. Decor in their room should be practical and age-appropriate. If you have young children, get down and look at things at their eye level. This will help you decide how to make the most of the space in their room.

Be a design copycat. If you are having trouble coming up with a design idea, look through magazines, catalogs, and on the internet for inspriation. When you find a design you love, just copy everything they've done. Find paint colors, furniture, and accessories that correspond to the picture. This will take the stress out of coming up with a new design and it guarantees that you'll end up with a designer look.

There is such a thing as too much, as adding too many items to a room will make it look cluttered. If you have too much accessories and furniture it will make a room feel even more cramped. A better option is to place only a few select pieces of furnishings in the room and maximize your open space.

Do not use bright colors in your bedroom. People generally sleep in bedrooms. Obviously, a bedroom should be a relaxing place to be in. Regardless of how much you might like the color orange, leave it out of the boudoir. Bright colors have no place in the bedroom. Even if they look fine initially, using them could be a decision you come to regret.

10 Tips for Decorating Your Entryway Console Table Like a Pro

decoholic.org

"Making an Impressive First Impression When someone comes to your house and walks in the front door the first place they will be is your home’s entryway. You want to make a great first impression and one way to do that is to ensure your have stellar decor. One key element of this is your […] The post 10 Tips for Decorating Your Entryway Console Table Like a Pro appeared first on Decoholic." http://decoholic.org/2019/07/17/10-tips-for-decorating-your-entryway-console-table-like-a-pro/

A coffee table is one of the more important components that you will need to put in your home, as it is both practical and aesthetically pleasing. Make sure that when you purchase your coffee table, that it matches the style of your home and comes with coasters to protect the surface.

Try renovating your basement. Often times, basements are just used for storage and are kept dark and damp. With the same kind of attention, you give your other rooms; You could completely transform it into a place you'd like to spend time in. You could make it a recreation room, an office, or even a bedroom.

Use wallpaper to upgrade shelving. Assemble-yourself bookcases are an economical choice, but they tend to be boring and look a bit cheap. To make them more stylish, try adding a bold wallpaper on the back of each shelf. Arrange your books and knickknacks to show off the pattern. This simple trick will give a store-bought shelf some pizzazz without breaking the budget.

A good interior-design tip is not to get too crazy with all the pictures of your kids or your family. When people enter your home, they expect to see some of these kinds of pictures. However, too many will creep anyone out, and it might come across as a shrine.

If your living and dining areas are in the same room and you would like to redesign the space to separate them, consider different flooring options. A carpet in one room and wood in another will really distinguish the two rooms with elegance. Also, a tall, free-standing screen can make a very stylish room divider in this area.

Before you start an interior-design project, check out the prices of the materials you need. Usually, if you shop and compare prices, you will be able to find better prices than you expected. Shopping around also gives you time to make sure that your ideas are concrete and well-fleshed out before you undertake a big project.

Girls bedroom ideas for every child – from pink-loving princesses to adventurous tomboys

www.idealhome.co.uk

"Check out these totally trendy schemes that’ll please even the fussiest of kids (and parents!) The post Girls bedroom ideas for every child – from pink-loving princesses to adventurous tomboys appeared first on Ideal Home." https://www.idealhome.co.uk/childrens-room/childrens-room-ideas/girls-bedroom-ideas-2-209341

Whenever you are designing a room in your home, it is a good idea to arrange your furniture in small groupings that cater to conversation. No matter how big or small your room is, closely placed chairs or sofas next to a table give a room an inviting and comfortable feel.

If you are looking to upgrade an area of your home, start with the kitchen. This is the area where you will spend a lot of your time with your family as you can replace old pots, pans and table settings with contemporary ones. This can improve the look of a frequently used space.

Avoid clutter in your interior-design project at all costs. Whether the problem is too much furniture or too little storage, overcrowded, busy spaces need to be streamlined and simplified to function properly. It is impossible to relax in your home if the environment is as hectic and frenzied as your life.

You should now see that it can be quite easy to make some interior design changes to your home. A bit of knowledge and some inspiration can go a long way in the transformation of your home. Use what you have learned here as inspiration for a starting point to the interior transformation of your home.

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fitnessexpert00-blog · 6 years ago

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13 Fun DIY Makeup Organizer Ideas For Proper Storage

New Post has been published on https://fitnessqia.com/awesome/13-fun-diy-makeup-organizer-ideas-for-proper-storage/

13 Fun DIY Makeup Organizer Ideas For Proper Storage

It’s true what they say: a girl can never have too much makeup. Like me, most daughters are becoming obsessed with a wide array of palettes . A makeup vanity is not a bad thing at all because it promotes us to be more creative. Besides, with all the beauty blogs, inventive products, and YouTube videos popping up, how can we defy? Scattered makeup no more. It’s time to reclaim your space! These awesome DIY makeup organizer notions will save you space and difficulty. Say goodbye to messy countertops and say hello to beautiful cosmetic organizer!

DIY Makeup Organizer For a Cleaner Space1. Clean Brush Holder

Repurpose an old drawer or mason jar as a brush holder to avoid bacteria from polluting your brushes. Of course, you still want to clean your brushes at least once a month( soap and water will do ). I wished to suggest you use a transparent jar so you are able to immediately find what you’re looking for rapidly. It saves you a great deal of time in the morning.

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2. Makeup Brush Organizer

Turn a sushi holder into a DIY makeup brush organizer by adding elastic to hold the makeup brushes. Do you love sushi just as much as you like makeup? If your answer is yes, then I’m sure you have a sushi bamboo roller at home you can use for this project.

Sorbus Acrylic Cosmetics Makeup and Jewelry Storage Case X-Large Display Sets -Interlocking Scoop Drawers to Create Your Own Specially Designed Makeup Counter – Stackable and Interchangeable( Clear)ACRYLIC COSMETIC& MAKEUP STORAGE X-LARGE SET – Set includes 3 individual organizers that are stacked to create your own personalized makeup and cosmetics beauty counter – INTERCHANGEABLE DESIGN allows you to change how it is stacked to fit your preference – PURCHASE ANY ADDITIONAL ORGANIZER DRAWERS TO BUILD AN EVEN LARGER SETINCLUDES – 3 Organizers: Top organizer has 9 compartments-The 2nd organizer has 1 x-large column with one square scoop drawer and 1 x-large column with two square scoop drawers- The 3rd organizer has 1 x-large rectangular scoop drawerINTERLOCKING& DETACHABLE – Storage case holds various beauty items in one place and fits on most dressers -FUNCTIONAL& CONVENIENT display case- Can also be used to store jewelry and personal accessoriesBEAUTIFULLY DISPLAY& ORGANIZE – Makeup and brushes fit all in one place- Drawers are perfect for storing lipsticks, foundations, bronzers, blushes, eye darkness, primers, powders, perfumes, and much more – Great gift for any makeup loverFOR HOME& PROFESSIONAL USE – Made of high-quality acrylic which is a clear plastic that resembles glass but is much stronger and safer than glass – SET MEASURES approximately 13.5 ” L x 11.75 ” H x 8.75 ” W from $49.99 Buy on Amazon

3. Towel Rods

Attach some baskets and display your makeup in them. Got spare walls in your room? Go ahead and find some baskets around the house to use or purchase some for a inexpensive cost. Attach some hookings and you’re all ready to create the next new makeup trick!

Travel Makeup Bag Drawstring Barrel Bag Waterproof CosmeticHIGH QUALITY MATERIAL& WATERPROOF – This Cylinder Bucket With Drawstring Closure make-up accessories barrel shaped round base pouch comes with a high quality polyester fabric material& foldable material offer water resistance. Colour may vary.PORTABLE AND LIGHTWEIGHT – This medium size collapsible cosmetic traveling set is compact and ultralight, building it useful when go hiking& gym workout, camping and outdoor activities& weight about 100 g.MULTIPLE MESH POCKETS – The leakproof make up suit comes with multiple compartments pockets to keep brushes and makeup items intact best when traveling overnight& with draw string top preventing leakage for your makeup items.MULTIFUNCTIONAL KIT – The washable bathroom toiletries folding tote for girls and women has big capacity to put all toiletry items together in your backpack.SANITARY NAPKIN POUCH – These extra 2 decides sanitary nylon canvas pads pouch are super cute, great quality and made use of cotton, very comfortable, easily put inside the cosmetic pouch when traveling. $11.99 Buy on Amazon

4. DIY Storage Box Makeup Organizer

Avoid throwing away old storage boxes since they can still be repurposed into cute makeup organizers. Got some old storage boxes lying around? Instead of getting rid of them, why not try this project so you can save money plus have a nice space for your favorite makeup stash.

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5. Copper Cups

Add some panache to dollar store cups by painting them in gorgeous copper. You can mount them or simply display them on the counter. If you prefer to mount the beakers, attaching them to a wood pallet is a great idea.

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6. Paper Towel Holder Organizer

Don’t let paper towel holders go to waste by repurposing them as makeup organizers. There are so many things you can do with these holders. Store your makeup brushes, liquid lipsticks, lip glosses, nail cleaning tools, nail burnish, and whatever you need.

7. Makeup Drawer

Dedicate one of your drawers as the makeup drawer and go one step further by adding DIY organizers such as use canisters. You can also cut up vacant shoeboxes and rummage through your extra office supplies to create the perfect DIY drawer organizer for all your smaller makeup products, like liner, sponges, and single eyeshadow shades.

8. Wire Baskets

These gorgeous wire baskets are the perfect makeup storage for makeup palettes. Although often used for storing volumes, publications, and other things which need to be stored and displayed at the same day, these two-tiered baskets can protect your precious palettes really well.

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9. Magnetic Makeup Boards

Turn an old picture frame into a makeup display by attaching it to a magnetic board. This will save you a lot of counter space and will even give your room an added makeup presentation decoration. Plus, you can easily pick up and put back the makeup product you’re using.

HHOOMY Brushed Nickel Pawn Style Fridge Magnets, Office Magnets, Dry Erase Board Magnets, Refrigerator Magnets, Whiteboard, Map, Magnetic Pins, 100 PcsDisc magnet shape, machined silver steel finish. durable lasting glisten, perfect for refrigerator magnets, office magnets, whiteboard magnet,& dry erase board magnet. One magnet can hold up to 12 papers.Say Goodbye to scratchings and clutter as they are past and hello to your new tableTops Robust, long-lasting, stainless steel, corrosion resistant Magnets made from Brushed Nickle silver satin material.Countless ways to re-organize and simplify their own lives. Coordinate your tools, make-up, jewelry, kitchen, office, school, classroom. There’s so many ways to use magnetsDurability – magnets have high resistance to demagnetization, corrosion and oxidationClick on the Add to Cart and lets get Sticking. $8.99 Buy on Amazon

1 0. Repurposed Candle Jars

Candle jars are perfect for stacking your lipsticks and gloss. They also offer easy access for easier touch-ups. Pull out your favorite tint without messing up the entire arrangement. Stack them together like what you see above or place them next to one another.

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1 1. Wall Mount Lipstick Organizer

Get a couple of PVC tubes, cut them up, and voila, you’ll have your own wall mount lipstick organizer. Your walls are the most underutilized part of the house and hanging your organizer makes an excellent alternative to having standard pictures frames.

1 2. DIY Hanging Organizer

Maximize the wasted space behind your doorway with this hanging organizer. Its compartments are perfect for organizing your makeup and skincare products. Make sure to segregate your makeup supplies in each compartment to avoid clutter.

1 3. Rolling Cart

This mobile storage offers plenty of room and will be perfect if you’re planning to do your makeup in different makeup rooms. It’s actually very space-efficient and can be used to store both your makeup, hair care, and skincare products. You can even use it as your jewelry organizer. Wherever you go, only roll it with you!

Beauty products we buy are an investment. It’s the primary reason why we should give our skincare and makeup products the TLC it deserves. Makeup organizers can get fairly pricey which is why we will need to set our hands to run and put A+ attempt into stimulating DIY makeup organizers. Turn old and unused things into something useful. Repurpose and recycle dames, it’s good for the environment too! Truth be told, with some patience and creativity, you’ll successfully build these cool DIY makeup organizer projects in no time.

Do you have other DIY makeup organizer notions? Discuss the matter with us in the comments segment below!

UP NEXT: 17 Must-Have Eyeshadow Palettes | Makeup Tutorials Guide .

Check out our new store Scrumptious for makeup products, clothes, accessories and more!

Editor’s Note- This post was originally published on June 23, 2017 and has been updated for quality and relevancy.