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Au centre de l’image, un **jeune couple asiatique profondément amoureux** s’enlace sur une terrasse impériale dominant une immense cité orientale nocturne. Leurs corps sont proches, leurs fronts presque joints, dans un instant suspendu d’intimité absolue. La scène exprime simultanément passion, tendresse, mystère, monumentalité et merveilleux.
La jeune femme possède de longs **cheveux noirs profonds**, emportés spectaculairement vers la gauche par le vent. Chevelure abondante et majestueuse mais physiquement crédible : regroupements naturels de mèches, diamètres différents, courbures irrégulières, chevauchements organiques, quelques cheveux fins isolés et véritable profondeur entre les différentes couches. Les cheveux réagissent au même courant d’air que sa longue traîne et les pétales.
Son visage est délicat, naturel et expressif, avec une peau humaine crédible : pores extrêmement fins, microreliefs cutanés irréguliers, légères variations naturelles de carnation, minuscules imperfections presque imperceptibles et transitions organiques entre lumière rouge, lumière chaude et ombres. Aucun effet de porcelaine, plastique, cire ou lissage numérique.
Le jeune homme possède également un visage naturel et crédible, avec microtextures cutanées fines, variations subtiles de carnation et transitions lumineuses organiques. Son expression est tendre, protectrice et profondément absorbée par la jeune femme.
Leurs fronts sont presque joints, leurs visages extrêmement proches. La main de la jeune femme repose délicatement sur le torse du jeune homme tandis que son bras entoure sa taille. Anatomie naturelle, mains correctement proportionnées, contacts physiques crédibles et aucune pose artificielle.
Les deux personnages portent de somptueux **costumes cérémoniels impériaux rouge, noir et or**. La jeune femme est vêtue d’une robe rouge sombre et noire richement brodée d’or, prolongée par une **immense traîne rouge translucide et brodée** emportée vers la gauche par le vent. Le jeune homme porte une longue tenue noire impériale ornée de broderies dorées complexes.
Les textiles présentent poids, épaisseur, plis, tensions et mouvements physiquement cohérents avec les corps et le vent. Les broderies dorées possèdent de légères irrégularités artisanales et réagissent différemment à la lumière selon leur orientation : certains fils brillants, d’autres satinés ou presque mats. Aucun motif artificiellement répété.
Derrière le couple domine une **lune rouge gigantesque et surnaturelle**, absolument monumentale, occupant une immense partie du ciel. Elle constitue le deuxième grand point focal après les personnages. Son intensité rouge est spectaculaire : écarlate, cramoisie et rouge sang, avec une présence presque écrasante mais harmonieusement intégrée à la scène.
Sa surface présente une crédibilité physique remarquable : cratères de tailles et profondeurs variées, reliefs organiques, différences subtiles de rugosité, zones légèrement plus sombres, fractures et structures minérales naturelles. Aucune surface uniformément détaillée ou artificiellement lumineuse.
Les contours de la lune sont légèrement adoucis par les couches atmosphériques. Sa lumière rouge se diffuse naturellement dans les nuages, la brume et l’atmosphère de la cité, créant une présence surnaturelle mais physiquement intégrée au monde.
Sous la lune s’étend une **gigantesque cité impériale orientale nocturne**, composée d’innombrables pagodes, toitures sombres, tours, temples et milliers de petites lumières rouge-or. Les architectures proches sont détaillées, les quartiers intermédiaires progressivement moins contrastés, tandis que les structures les plus lointaines disparaissent subtilement dans une brume rouge nocturne.
De grandes **lanternes rouges richement ouvragées** encadrent la scène sur les côtés. Leur lumière est chaude et localisée, avec structures métalliques crédibles, verre légèrement irrégulier et variations naturelles d’intensité. Aucun halo excessif.
Des branches couvertes de **fleurs rouges profondes** encadrent le ciel et renforcent naturellement la composition sans masquer la lune.
Plusieurs **pétales rouges sont transportés par le vent**, avec tailles, distances, orientations et trajectoires différentes. Certains sont parfaitement nets, d’autres légèrement flous par la vitesse ou la profondeur de champ, quelques-uns vus sur la tranche. Leur mouvement suit exactement le même courant d’air que les cheveux et la longue traîne de la jeune femme.
L’éclairage mélange la lumière rouge surnaturelle de la lune, la chaleur des lanternes et de subtils reflets dorés sur les broderies. Les visages restent lisibles et naturels, avec de véritables zones d’ombre et aucune illumination rouge uniforme.
**Palette rouge-noir-or** : rouges écarlates, cramoisis, rubis et rouge sang ; noirs profonds et riches ; or chaud, satiné et légèrement vieilli. Les noirs conservent leurs détails et empêchent le rouge de recouvrir uniformément toute l’image.
Profondeur cinématographique exceptionnelle : quelques pétales proches légèrement flous → couple parfaitement défini → terrasse et lanternes → cité monumentale → lune gigantesque et ciel. Chaque plan perd progressivement détails et contraste avec la distance.
Composition monumentale et romantique : **couple central → immense lune rouge → cité impériale**. La lune forme une présence presque sacrée derrière les deux personnages tandis que la traîne et les cheveux ouvrent la composition vers la gauche. Lanternes, fleurs et architecture encadrent naturellement le couple.
Atmosphère générale : **passion éternelle, amour interdit, nuit impériale, sensualité élégante, poésie sombre, romantisme monumental, mystère et puissance surnaturelle**.
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At the center of the image, a **young Asian couple deeply in love** embraces on an imperial terrace overlooking an immense nocturnal East Asian city. Their bodies are close, their foreheads nearly touching, suspended in a moment of absolute intimacy. The scene conveys passion, tenderness, mystery, monumentality, and wonder simultaneously.
The young woman has long, **deep-black hair**, swept dramatically toward the left by the wind. Her hair is abundant and majestic yet physically credible: naturally grouped strands, varying diameters, irregular curves, organic overlaps, a few isolated fine hairs, and genuine depth between the different layers. Her hair reacts to the same airflow as her long train and the drifting petals.
Her face is delicate, natural, and expressive, with credible human skin: extremely fine pores, irregular skin micro-relief, subtle natural variations in complexion, almost imperceptible tiny imperfections, and organic transitions between red light, warm illumination, and shadow. No porcelain, plastic, waxy, or digitally smoothed appearance.
The young man also has a natural and credible face, with fine skin microtextures, subtle variations in complexion, and organic lighting transitions. His expression is tender, protective, and completely absorbed by the young woman.
Their foreheads are almost touching, their faces extremely close. The young woman’s hand rests delicately against the young man’s chest while his arm wraps around her waist. Natural anatomy, correctly proportioned hands, physically credible contact, and no artificial posing.
Both characters wear sumptuous **imperial ceremonial garments in red, black, and gold**. The young woman wears a dark red and black gown richly embroidered with gold, extending into an **immense translucent embroidered crimson train** swept dramatically toward the left by the wind. The young man wears a long black imperial robe decorated with intricate golden embroidery.
The textiles display physically coherent weight, thickness, folds, tension, and movement in relation to the bodies and the wind. The golden embroidery contains subtle handcrafted irregularities and reacts differently to the light according to its orientation: some threads gleaming, others satin-finished or almost matte. No artificially repeated patterns.
Behind the couple rises a **gigantic supernatural red moon**, absolutely monumental and occupying an immense portion of the sky. It forms the second major focal point after the characters. Its red intensity is spectacular: scarlet, crimson, and blood-red, with an almost overwhelming presence that remains harmoniously integrated into the scene.
Its surface displays remarkable physical credibility: craters of varied sizes and depths, organic relief, subtle differences in roughness, slightly darker regions, fractures, and natural mineral structures. No uniformly detailed or artificially luminous surface.
The moon’s edges are slightly softened by atmospheric layers. Its red light naturally diffuses through clouds, mist, and the atmosphere above the city, creating a supernatural presence that nevertheless feels physically integrated into the world.
Beneath the moon stretches a **gigantic nocturnal imperial East Asian city**, composed of countless pagodas, dark rooftops, towers, temples, and thousands of tiny red-and-gold lights. Nearby architecture remains highly detailed, intermediate districts gradually lose contrast, while the most distant structures subtly disappear into the red nocturnal haze.
Large **elaborately crafted red lanterns** frame the scene on both sides. Their illumination is warm and localized, with credible metallic structures, subtly irregular glass, and natural variations in brightness. No excessive halos.
Branches covered with **deep red blossoms** frame the sky and naturally reinforce the composition without obscuring the moon.
Numerous **red petals drift through the wind**, varying in size, distance, orientation, and trajectory. Some are perfectly sharp, others slightly blurred by speed or depth of field, with a few seen edge-on. Their movement follows exactly the same airflow affecting the woman’s hair and sweeping train.
The lighting combines the supernatural red glow of the moon, the warmth of the lanterns, and subtle golden reflections across the embroidery. The faces remain readable and natural, with genuine shadow regions and no uniform red illumination.
**Red-black-gold palette**: scarlet, crimson, ruby, and blood-red tones; rich, profound blacks; warm, satin-finished, subtly aged gold. The blacks retain visible detail and prevent the red from uniformly covering the entire image.
Exceptional cinematic depth: a few nearby petals slightly blurred → perfectly defined couple → terrace and lanterns → monumental city → gigantic moon and sky. Each successive plane progressively loses detail and contrast with distance.
Monumental romantic composition: **central couple → immense red moon → imperial city**. The moon forms an almost sacred presence behind the two characters, while the woman’s train and hair open the composition toward the left. Lanterns, flowers, and architecture naturally frame the couple.
Overall atmosphere: **eternal passion, forbidden love, imperial night, elegant sensuality, dark poetry, monumental romance, mystery, and supernatural power**.
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From Sonnet 18
It is well known now as Shakespeare's phrase "The Darling Buds of May" was used as the title for his novel by H.E. Bates... which has since been adapted for television too 😊
Apologies for using my Japanese plum in 3 successive photos - I am enjoying it before it freezes (-2.6c last night)
For the Smile on Saturday challenge: "picture with added text"
HCC and HSoS ;o)
Cliché and Smile on Saturday: Here
my Plum blossom set: Here
Blend and Merge: Here
Sonnet 18
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
C'est un petit oiseau assez trapu, mesurant environ 16 cm de long pour un poids allant de 24 à 39,5 g. Il présente un dimorphisme sexuel, comparable à celui du Moineau rutilant. Les femelles et les jeunes oiseaux sont pâles, colorés de brun et de gris, tandis que les mâles ont le teint plus vif, avec des marques noires, blanches et brunes. Granivore, il se nourrit majoritairement de céréales et d'autres graines, mais se montre opportuniste, consommant divers invertébrés, les insectes en premier lieu, qui servent par ailleurs d'alimentation de base aux oisillons. Ses prédateurs principaux sont les chats domestiques et les rapaces.
*****
It is a small, fairly stocky bird, measuring around 16 cm in length and weighing between 24 and 39.5 g. It exhibits sexual dimorphism, comparable to that of the Shining Sparrow. Females and young birds are pale, colored brown and gray, while males are brighter in complexion, with black, white and brown markings. Granivorous, it feeds mainly on cereals and other seeds, but is opportunistic, consuming various invertebrates, primarily insects, which also serve as a basic diet for the nestlings. Its main predators are domestic cats and birds of prey.
Est une espèce de petits passereaux de la famille des Passeridae.
C'est un petit oiseau assez trapu, mesurant environ 16 cm de long pour un poids allant de 24 à 39,5 g. Les femelles et les jeunes oiseaux sont pâles, colorés de brun et de gris, tandis que les mâles ont le teint plus vif, avec des marques noires, blanches et brunes. Granivore, il se nourrit majoritairement de céréales et d'autres graines, mais se montre opportuniste, consommant divers invertébrés, les insectes en premier lieu, qui servent par ailleurs d'alimentation de base aux oisillons.
*****
Is a species of small passerines in the family Passeridae.
It is a small, fairly stocky bird, measuring around 16 cm in length and weighing between 24 and 39.5 g. Females and young birds are pale, colored brown and gray, while males are brighter in complexion, with black, white and brown markings. Granivorous, it feeds mainly on cereals and other seeds, but is opportunistic, consuming various invertebrates, primarily insects, which also serve as a basic diet for the nestlings.
Tualatin, Oregon
Lens: Canon EF 80-200mm f/2.8L (1989), on loan from co-worker.
One minute before sunset.
#20 on Explore on 6/15/07
Despite the rain, I hope this brightens your day.
Admin Flowers with Rain Drops Fave
Deep in a red rock canyon where the sandstone has the winter blues, the sun licks at ice puddles melting and rearranging their complexion.
Con su aroma a mastranto dijo en lengua indígena caquetía y español: “Soy cati barsure “(espíritu de tez blanca) .
Pregunté : ¿estas cachipo.?( enojada)...Respondió : Soy Capo ( duende ), no soy Buio ( demonio).!!!
Dije eres humocaro.!!! ( mujer bonita) contestó : “ Solo soy una tara( mariposa) que el juri( viento ) lleva “…Y se esfumó…F.O.G.
English :
With his aroma of mint he said in the indigenous language Caquetía and Spanish: "I am cati barsure" (spirit of white complexion).
I asked: are you horny? (Angry) ... He replied: I am Capo (elf), I am not Buio (demon). !!!
I said you are humocaro. !!! (pretty woman) replied: “I'm just a tare (butterfly) that the juri (wind) wears“… And it vanished… F.O.G.
So today in Sydney it is raining.
Monday, 12th January, 2026.
So after work this afternoon I decided to wander around my garden in the rain, which was mostly light rain (though heavy at times), and take some macro rose photographs.
This rose is 'Peace' (a famous Meilland rose from France which dates back to 1935) but I think Sydney's recent extreme heat has changed the complexion & colour of this hybrid tea-rose, such that today in the rain it looks more like an Iceberg floribunda rose, maybe with a hint of the characteristic soft yellow of 'Peace' in the central petals.
Here are the legendary 'Carpenters' with 'Rain Days and Mondays' (1970):
www.youtube.com/watch?v=PjFoQxjgbrs
My Canon EOS 5D Mk IV with the Canon EF 100mm f/2.8L Macro IS USM lens.
Processed in Adobe Lightroom.
"A country maiden, sweet and shy,
Beneath a bonnet soft as sky,
Among pink roses richly curled,
She seemed a bloom within their world."
A poetic offering from your humble photographer.
Surrounded by a garden of pretty pastel ornamental flowers made of paper and satin, this lovely, and rather tall ten cemtimetre half-doll is a recent addition to my ever expanding collection. The moulding, costume, and facial modelling place her stylistically in the late 1910s to early 1920s. Her wide picture hat is an Edwardian to early 1920s fashion motif, as is her softly styled hair, whilst her bouquet of flowers and romantic costume are typical of the more traditional half-dolls produced in large numbers in Thuringia in Germany. It was her sweet, slightly wistful expression, and healthy complexion - which rather made me think of a country girl used to plenty of fresh air and sunshine - that drew me to her.
Her expression and elegant moulding, as well as her unusual height and her "19449 Germany" mould number mark at her underside opening, identify her as a half-doll made by famous German porcelain manufacturer Hertwig & Co in Katzhütte. She was made as an export half-doll produced for the British and American markets before the Second World War. Being a more unusual larger sized half-doll, she came from a better quality mould and was intended for either a pincushion, a powder jar, or some other dressing table accessory, like a brush handle.
Hertwig & Co. was one of the major porcelain manufacturers of the Thuringian region of Germany, an area that became famous for doll and decorative porcelain production during the Nineteenth and early Twentieth Centuries. The firm was founded in 1864 by the brothers Georg Christoph Hertwig and Lorenz Hertwig in Katzhütte, Thuringia. Initially the company produced utilitarian porcelain and household wares, but it soon expanded into decorative ceramics and dolls. During the late Nineteenth Century, Hertwig & Co. became one of Germany's most important exporters of porcelain goods to Britain and the United States. Hertwig & Co enjoyed its greatest commercial success between 1890 and 1925 and became best known for its biscuit porcelain dolls, character dolls, china head dolls, piano babies, bathing beauties and its half-dolls for pincushions and dressing table accessories. Hertwig & Co. produced thousands of different doll and half-doll models, ranging from inexpensive commercial pieces to high-quality artistic figures. In the aftermath of World War I, German porcelain manufacturers faced economic instability and inflation, along with changing fashions and the threat of increased foreign competition. At the same time, Art Deco tastes began replacing the more romantic Edwardian styles that had made Hertwig & Co. such a success. Following the Second World War, the factory found itself in what became East Germany. Like many private firms in the Soviet occupation zone, it was eventually nationalised and absorbed into the East German state porcelain industry, and the name of Hertwig & Co. disappeared into history.
The "half-doll" is a dainty porcelain or bisque figurine, fashionable in the early Twentieth Century with an upper body, head, arms, but no legs. These dolls were produced in the thousands at the height of their popularity by German factories such as Dressel Kister & Cie, Heubach, Goebel, Hertwig & Co. and Kestner. Later they were produced in France, America and later still, in Japan. They commonly served as handles and toppers for fabric covers made for powder boxes on ladies’ dressing tables and small brushes, however they were also made for jewellery boxes, pincushions, tea cosies and other covers.
La alegoría del Trabajo, un bronce, encarna la fortaleza viril. Un joven de complexión atlética aparece en actitud de marcha, con pico y azadón sobre el hombro derecho y coronado con hojas de vid en alusión a los frutos de la tierra.
10ª Edición Maratón Fotográfico.2020-Fernándo González. Málaga.
Back to 2021 and an image from autumn that never previously got aired......
After a 'leaf-busting' circuit of 19 hours covering many of the lines around the far north-west of England, including the Settle & Carlisle, West Coast Mainline, and the southern end of the Lake District, the previous day's 4.21pm Carlisle Kingmoor TMD out-and-back RHTT (3J11) pauses briefly at Carlisle station waiting on a path for the final mile or two of its journey back to the Yard. DRS 'Shed' 66302 'Endeavour' brings up the rear, with unit 66126 doing the honours at the front.
The recent derailment of the loaded cement train from Clitheroe at Petteril Bridge Junction (just south of here) on October 19th when five tankers, each carrying 80tonnes of powdered cement, fell into the River Petteril, has put rather a different complexion on RHTT activity in the Carlisle area this year. Although the cement has now been extracted, the recovery of the wagons is still ongoing and not now expected until December - which also means access to the Newcastle and S&C routes remains closed for the timebeing.
Back to the image and the platform canopies here bring back memories of my first Tri-ang train-set, a Christmas present in the early 1960s, where the OO gauge station sported something that looked very similar. Given the locomotive in the set was Stanier's LMS Pacific 46205 'Princess Victoria', the style was surely appropriate!
I hope the gent on the left got the shot he was after.
11.25am, 11th October 2021
'Drawn by Light' is a superbly curated photography exhibition at the National Media Museum in Yorkshire and runs until 21 June 2015. I wanted to give it a heads up if you're in the area.
There are about 200 remarkable prints on display going back to the birth of this art form from many famous and some not so famous greats of photography.
The greatest surprise, sprung at the end, is the image that compresses time above all others. Projected on a large light box is a shot of a girl with lavish strawberry blond hair modelling a scarlet coat on some far-flung beach - she is the poster girl for this exhibition, captured in my shot above.
As the girl raises her face to the dawn light, the sun catches the soft freckles of her radiant complexion. The colour photograph of the girl was taken by Lieutenant Colonel Mervyn O’Gorman more than a century ago. The girl and the soldier were on that beach together in 1913 - a year before WWI - but the moment is today.
Her name - Christina.
Here is a link with some more photographs of her
mashable.com/2015/04/23/autochrome-photos-ogorman/
I included the man with the camera for purposes of juxtaposition only - he is not the main subject - and to draw a link to how we are all still painting with light to this day.
Hi my lovely aliens!
You can pick up your very own lil alien fren today at Collabor88's birthday round!
Each pack includes:
- 5 unique bento poses
- 1 holdable alien fren
- 1 shoulder alien fren
- 1 hand alien fren
The fatpack includes all 4 colors by simply clicking the lil dude to change his complexion!
Click here to teleport to Collabor88's Birthday round today!
Some love stories begin with a kiss. Ours began with a little electricity
Date night with my favorite monster....xo
Created in ChatGPT:
Prompt:
A romantic gothic fantasy with Adrian and Charly walking together along a rough path. Charly has a light complexion, dark hair swept into a voluminous updo with soft curls, and a calm, affectionate expression as she looks up at Adrian. She wears a flowing ivory, long-sleeved gown with a fitted bodice and layered skirt trailing over the ground. Adrian in pale skin, long tousled dark hair, and sharp features wears a long black coat and dark period clothing; his head toward Charly with a serious, tender gaze. A large, illuminated full moon hangs in a cloud-streaked night sky behind them, while a sprawling Victorian mansion glows with warm amber windows in the background on the right. Bare twisted trees, red autumn leaves, dry grass, scattered stones, and rustic fences frame the path. Dramatic moonlight and warm lamplight create a cinematic contrast of deep blues, blacks, and earthy browns against the luminous gown and windows. Detailed, atmospheric gothic romance.
This White Ginger caught my attention because she has a dry matte complexion. She still has very Light Beige Hair in a very tight small Bubble .Her makeup is original and perfect. She is wearing her original Pink and Gold Wrist Tag. Every Vintage Barbie Collection should have at lease one White Ginger.
Generated By Midjourney V8.2
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> Composition frontale impériale en **très gros plan**, parfaitement équilibrée et presque symétrique. Au centre, une souveraine extraterrestre au visage féminin puissant fixe directement l’objectif avec une expression calme, dominatrice, mystérieuse et inquiétante. Son visage doit rester immédiatement lisible malgré sa transformation reptilienne et biomécanique.
>
> Ses **yeux bleu électrique extrêmement lumineux** constituent le principal point focal. Iris surnaturels d’un bleu intense, détails internes complexes, pupilles nettes, profondeur optique réaliste et microreflets cohérents. Leur lumière doit sembler provenir de l’intérieur tout en interagissant physiquement avec les paupières et les surfaces voisines. **Conserver exactement cette intensité bleu électrique**, spectaculaire mais maîtrisée, sans halo excessif.
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> Le visage présente une fusion anatomiquement crédible de **trois familles de matières parfaitement distinctes** : peau humaine organique, écailles reptiliennes kératinisées et structures biomécaniques cuivre-bronze.
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> Les zones humaines révèlent une peau extrêmement réaliste : pores microscopiques irréguliers, très légères variations de carnation, microreliefs cutanés, petites imperfections presque imperceptibles, lèvres organiques légèrement satinées et transitions naturelles autour du nez, de la bouche et des yeux. Aucun effet plastique, cire, porcelaine ou texture artificiellement répétitive.
>
> Les **écailles reptiliennes** émergent progressivement de la peau et suivent précisément les volumes anatomiques du visage. Elles présentent des tailles, formes, épaisseurs, orientations et espacements légèrement différents, avec de petites asymétries organiques. Certaines sont mates, d’autres légèrement satinées ou humides, avec microreliefs et variations subtiles de rugosité. Aucun motif cloné ou répétition géométrique parfaite.
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> Une spectaculaire structure frontale en **cuivre-bronze biomécanique** s’élève au-dessus du crâne, évoquant simultanément une couronne impériale, une carapace reptilienne et une architecture extraterrestre vivante. Une ligne centrale de plaques articulées descend verticalement sur le front jusqu’au nez, créant un axe majestueux sans masquer l’identité du visage.
>
> Les structures biomécaniques doivent présenter interfaces fonctionnelles, articulations plausibles, microassemblages, points d’ancrage anatomiques et variations de matière. Alterner subtilement cuivre poli, bronze satiné, surfaces plus mates et zones légèrement patinées. Éviter tout aspect de métal simplement collé sur la peau.
>
> Autour du visage se déploient de nombreux **appendices serpentins biomécaniques**, épais, puissants et organiquement intégrés à la créature. Préserver leur architecture spectaculaire et leur mouvement enveloppant. Leurs diamètres, tensions, courbures et profondeurs doivent légèrement varier. Certains passent devant d’autres et créent de véritables ombres de contact ; certaines courbes montrent des zones de compression ou d’étirement. Ils doivent sembler anatomiquement reliés à l’impératrice plutôt que disposés autour d’elle comme des câbles décoratifs.
>
> Leur surface combine écailles reptiliennes sombres, microstructures métalliques cuivre-bronze et reflets bleu-cyan localisés. Les microtextures suivent réellement les courbures des appendices et changent progressivement selon l’orientation par rapport aux sources lumineuses.
>
> **Palette chromatique impérative : cuivre-bronze / bleu électrique-cyan / noir profond.** Aucun ajout de couleur dominante. Le cuivre chaud doit entrer en contraste spectaculaire avec le bleu froid tandis que les noirs fournissent profondeur, silence visuel et monumentalité.
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> Éclairage cinématographique complexe mais physiquement cohérent : lumière principale sombre et sculpturale, **rim light bleu-cyan** longeant certaines écailles et appendices, reflets froids localisés sur le cuivre, petites zones chaudes révélant les volumes métalliques. Les surfaces orientées à l’opposé des sources restent profondément sombres. Aucun éclairage bleu uniforme.
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> En arrière-plan, immense **architecture Science-Fiction extraterrestre**, sombre, abyssale et presque cathédrale biomécanique : arches concentriques, structures verticales gigantesques, minuscules lumières bleues éloignées et profonde obscurité. L’environnement doit suggérer une civilisation technologiquement incompréhensible sans détourner le regard de l’impératrice.
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> Profondeur cinématographique précise : visage et yeux extrêmement détaillés au premier plan, appendices progressivement moins nets selon leur distance, architecture lointaine absorbée par les noirs et le bleu profond. Quelques micro-points lumineux peuvent exister dans l’environnement, mais **aucune surcharge de particules ou d’effets lumineux**.
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> Préserver la **symétrie impériale globale**, tout en introduisant de minuscules asymétries biologiques dans la peau, les écailles, les appendices et les matières. La symétrie doit exprimer le pouvoir ; les micro-asymétries doivent donner la vie.
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> Atmosphère : majestueuse, extraterrestre, abyssale, inquiétante, hypnotique, souveraine, mystérieuse et merveilleuse. L’image doit donner l’impression d’un véritable portrait photographique réalisé face à une créature biologiquement impossible mais physiquement présente.
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> Imperial frontal composition in an **extreme close-up**, perfectly balanced and nearly symmetrical. At the center, a powerful female extraterrestrial sovereign stares directly into the camera with a calm, dominant, mysterious, and unsettling expression. Her face must remain immediately readable despite her reptilian and biomechanical transformation.
>
> Her **intensely luminous electric-blue eyes** are the primary focal point. Supernatural deep-blue irises, intricate internal details, sharp pupils, realistic optical depth, and physically coherent micro-reflections. Their light should appear to originate from within while interacting naturally with the eyelids and surrounding surfaces. **Preserve exactly this electric-blue intensity**, spectacular yet controlled, with no excessive halo.
>
> The face displays an anatomically credible fusion of **three clearly distinct families of materials**: organic human skin, keratinized reptilian scales, and rigid copper-bronze biomechanical structures.
>
> The human areas reveal extremely realistic skin: microscopic irregular pores, very subtle variations in complexion, delicate skin micro-relief, almost imperceptible natural imperfections, organically satin-finished lips, and natural transitions around the nose, mouth, and eyes. No plastic, wax, porcelain, or artificially repetitive skin texture.
>
> The **reptilian scales** progressively emerge from the skin and precisely follow the anatomical volumes of the face. They feature subtly different sizes, shapes, thicknesses, orientations, and spacing, with slight organic asymmetries. Some scales are matte, others subtly satin-finished or moist, with micro-relief and delicate variations in surface roughness. No cloned patterns or perfectly repetitive geometry.
>
> A spectacular **copper-bronze biomechanical structure** rises above the skull, simultaneously evoking an imperial crown, reptilian carapace, and living extraterrestrial architecture. A central line of articulated plates descends vertically along the forehead toward the nose, creating a majestic axis without obscuring the identity of the face.
>
> The biomechanical structures must feature functional interfaces, plausible articulations, microscopic assemblies, anatomically credible anchor points, and material variations. Subtly alternate polished copper, satin bronze, more matte surfaces, and lightly patinated areas. Avoid any impression of metal simply attached to the skin.
>
> Numerous powerful **biomechanical serpentine appendages** unfold around the face, thick, organic, and anatomically integrated into the creature. Preserve their spectacular architecture and enveloping movement. Their diameters, tensions, curves, and depths should vary slightly. Some pass in front of others, producing genuine contact shadows; certain curves show physically plausible compression or stretching. They must appear biologically connected to the Empress rather than arranged around her as decorative cables.
>
> Their surfaces combine dark reptilian scales, copper-bronze metallic microstructures, and localized blue-cyan reflections. Microtextures must genuinely follow the curvature of the appendages and progressively change according to their orientation relative to the light sources.
>
> **Mandatory color palette: copper-bronze / electric blue-cyan / deep black.** Introduce no additional dominant color. Warm copper must create a spectacular contrast with the cold blue, while deep blacks provide depth, visual silence, and monumentality.
>
> Complex yet physically coherent cinematic lighting: dark sculptural key light, **blue-cyan rim lighting** tracing selected scales and appendages, localized cool reflections across the copper, and small warm highlights revealing metallic volumes. Surfaces facing away from the light sources must remain deeply shadowed. No uniform blue illumination.
>
> In the background, an immense **extraterrestrial Science-Fiction architecture**, dark, abyssal, and reminiscent of a biomechanical cathedral: concentric arches, gigantic vertical structures, tiny distant blue lights, and profound darkness. The environment should suggest a technologically incomprehensible civilization without distracting from the Empress.
>
> Precise cinematic depth: face and eyes rendered with extreme detail in the foreground, appendages becoming progressively softer according to their distance, distant architecture absorbed into deep blacks and dark blue. A few tiny points of light may exist within the environment, but **no excessive particles or luminous effects**.
>
> Preserve the **overall imperial symmetry**, while introducing minute biological asymmetries within the skin, scales, appendages, and materials. Symmetry must express power; micro-asymmetries must create life.
>
> Atmosphere: majestic, extraterrestrial, abyssal, unsettling, hypnotic, sovereign, mysterious, and wondrous. The image should feel like a genuine photographic portrait captured face-to-face with a biologically impossible yet physically present creature.
---
`--ar 16:9 --v 8.2 --style raw --q 2 --s 450 --chaos 4 --exp 25`
This tree has a history unknown to me. It looks as if it were hit by lightning, but who is to say? But seeing it along the shore of Smith Lake in Nebraska, I could not help stop.
Smith Lake, I'm told, also has a history. This history is known to locals and was, at least in part, written about by Mari Sandoz in her book Slogum House.
While visiting a cemetery near the old Sandoz river house, a local told me quite a bit about the "Slogum House," which was located about a halfmile from the cemetery.
I've not read the book just yet, it's on my short list.
.
.
.
'Complexion'
Camera: Mamiya RB67
Film: Fomapan 100
Process: FA-1027; 1+14; 9min
Nebraska
June 2026
Yet another castoff doll that somehow exudes a sense of grace and dignity completely at odds with its circumstances. This one just sort of fell out of a heap in front of me, stooping just short of a dirt floor. Blank eyes gazing back at me; missing wig; stained dress, yet a remarkably clear complexion. But most of all a sense of calmness and presence. The scene put me in mind of an old masters painting and that guided my processing.
At Kitty Hawk, North Carolina, on December 17, 1903, Orville and Wilbur Wright changed the technical complexion of the 20th Century. As Orville Wright said, his 12 second, 120 foot flight was the first in which "a machine carrying a man had raised itself by its own power in to the air in full flight and sailed forward without reduction of speed, and finally landed at a point as high as that from which it started."
121
A cobweb linking a couple of the seed pods. Friends report snow about 5 north of us. It would bring a different complexion to the garden. Thanks for stopping
Comme vous le voyez, je ne suis plus que l'ombre de moi même
J'ai perdu plusieurs kgs, mon beau teint de pêche est devenu cireux, mon cou de gazelle s'est ridé et je dois porter des lunettes noires car la lumière m’éblouis ! :-(
Oh rage, o désespoir, que n'ai je tant vécu que pour cette pandémie !
The consequences of confinement
As you can see, I'm just a shadow of myself
I have lost several kg my beautiful peach complexion has become waxy, my gazelle neck has wrinkled and I have to wear dark glasses because the light dazzles me! :-(
It is humour ;-)))
A little autumn magic, a little moonlit romance, and two furry chaperones keeping things respectable
Image created in ChatGPT using our avatars and our "kids".
Prompt:
A romantic, cinematic autumn scene with Adrian and Charly seating close together in a sprawling pumpkin field at sunset. Charly, with a light-to-medium complexion, long voluminous dark curly hair, and a gentle, relaxed expression, wears a loose white blouse with rolled sleeves and blue jeans. She sits slightly left of center, legs angled toward the foreground and one hand resting near her knee, leaning comfortably toward Adrian. Adrian, with a light complexion, shoulder-length wavy dark hair, light stubble, and a calm expression, wears a dark brown button-up shirt and blue jeans. He sits beside Charly at center-right, one arm resting over his bent knee, facing the viewer. A fluffy black cat lies in the straw between them, while a their Border Collie sits at Adrian's side, looking toward the camera. Orange pumpkins fill the golden, dry field, extending to a distant tree line. A large glowing full moon hangs low in the dusky orange-and-purple sky. Wide, eye-level composition, warm backlighting, rich autumn colors, crisp subjects against a softly atmospheric landscape, intimate and dreamy photographic style.
You said she was ready to hunt.
I thought I'd save you the trouble of wondering how the evening ended. Rather well I would say ;)
*See Adrian's image for the inspiration of this image.
www.flickr.com/photos/185524201@N08/55348333326/in/datepo...
Prompt:
A strikingly beautiful young woman with long, dark, wavy hair, a pale complexion, and piercing dark eyes, exuding a gothic aura. She character image provided. She has a small amount of blood trickling from her lips. She is wearing (see provided image)
A dark, cobblestone alleyway in an old European city at night. The street is wet and reflects the light from several ornate gas street lamps, creating a shimmering, atmospheric effect. The buildings lining the alley are old and dark, with a textured brick wall on the right side of the frame where Charly is leaning. The overall atmosphere is moody, mysterious, and slightly ominous, suggestive of rain or recent rainfall.
A hyper realistic digital painting with a dark fantasy and gothic aesthetic, characterized by a rich, monochromatic black and dark grey color palette punctuated by the warm glow of the streetlights. The textures of leather, brick, and wet stone are rendered with extreme detail.
Dramatic and atmospheric. The primary light sources are the warm, yellow glow of the gas street lamps, casting long reflections on the wet ground. This creates strong contrasts between light and shadow, highlighting the subject's features and the textures of her clothing and environment. The lighting is somewhat low-key, with deep shadows defining the scene.
ChatGPT
*Yawns, and now I shall retire to my silk lined dark coffin ;)
A little Kashmiri girl from a Govt. High School in Laripora Kalan (Pahalgam), wearing a black hijab, resting her head on a wooden railing outside her class, eyes innocent and gleaming, face looking so happy, lips ready to smile, her roses and peaches complexion. Special permission was taken from the school administration to shoot these children while studying, playing and other school activities. It turned out to be such a pleasure shooting such enthusiastic children and interacting with them. More photos coming soon!
All rights reserved - ©KS Photography
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without written permission of the photographer!
Follow me:
One of our regular and always hungry daily visitors is Debbie who joined our gang about six months ago. I could and have fallen in love with her. She's not that young (despite the smooth complexion!) as she has lost all the grey from her tummy which is a sign of a younger bird.
I still think she is not that old though. She loves her seeds and is fairly hyper-active. And, a special part of her personality is that she almost always has that beautiful crest up which is not usual. Mostly they just get raised in alarm of some sort.
Besotted as I am with her, she always gets special attention from me. And she lost a feather yesterday so I have gathered it up to take with me to the hospital tomorrow! Australian Galah.
A lonely painter works on a portrait of a beautiful young women that had crossed his path earlier that day at market. The timid artist could not bring himself to speak to her so returned home and immediately began to preserve her beauty on canvas. Her image so vivid in his mind, every stroke of his brush recorded each little detail. soft oval face with subtle taper, fair-beige complexion, green-brown eyes, medium natural brows, slim refined nose, soft freckles, honey blonde hair with gold highlights gathered up in a soft bun with loose strands, wispy curtain bangs and her lips, those medium-full lips.
As the artist stops to admire the beauty before him he could almost feel the warmth of her skin.. Closing his eyes he leans in a little, longing to kiss those lips, for a moment he was lost, captivated by the beauty before him.. he hesitates, was he dreaming, is his mind playing ticks as his beauty seems to rise from the painting, leaning forward to meet his lips...
Hard Lock on E2 & Cole, she wears a painted dress, highly textured paint brush marks. Cole, wears a cheesecloth shirt, highly textured, sleeves rolled up, seeing every crease vividly. covered in paint splashes, he has a paint brush in his right hand and holds his paint pallet in the other. scene. artists studio, paint splashed walls, tall sash window with city builds as the view, pots of paint and paintbrushes on the window ledge.
Ultra-photorealistic IMAX still, Netflix-quality production design, Unreal Engine 5.5 realism, HDR lighting, 70mm lens simulation, razor-sharp focus, 64K masterpiece. No text, no typography, no logos, no comic-book styling, no illustration effects, no poster elements, no watermarks. One clear focal point, cinematic realism.
Created with ChatGPT
Eve is facing to her right, (character sheet EVE1) gazing wistfully, soft oval face with subtle heart-shaped taper, large almond green/brown flecked eyes, medium arched brows, slim refined nose, medium-full lips with defined cupid's bow, warm golden-beige complexion with natural glow, subtle freckles, wispy curtain bangs and long brunette hair with warm golden highlights, natural waves and soft feathered texture. Tucked back to show her earring. She wears a simple black crew neck sweater.
Black and white Ultra-photorealistic IMAX still, Netflix-quality production design, Unreal Engine 5.5 realism, HDR lighting, 70mm lens simulation, 64K masterpiece. No text, no typography, no logos, no comic-book styling, no illustration effects, no poster elements, no watermarks. One clear focal point, divine storm power, cinematic realism.
Created with my SL avatar, ChatGPT and Affinity Photo2
Prompt
Ultra-photorealistic IMAX still, Netflix-quality production design, Unreal Engine 5.5 realism, HDR lighting, 70mm lens simulation, razor-sharp focus, cinematic color grading, 64K masterpiece. No text, no typography, no logos, no comic-book styling, no illustration effects, no poster elements, no watermarks. One clear focal point, cinematic realism. using the character sheet Eve1 ,
Head and shoulder shot soft oval face with subtle heart-shaped taper, large almond hazel-brown eyes, medium arched brows, slim refined nose, medium-full lips with defined cupid's bow, warm golden-beige complexion with natural glow, subtle freckles over her nose, wispy curtain bangs and long brunette hair with golden highlights, her hair is up in a messy tousled bun,
Eve is standing near a window with the blind down, the sun pours through illuminating her face and shoulders which are bare as she wears an off the shoulder dress.. She is in deep thought...
This song is dedicated
to all the lovers who cant be together
separated by distance and time
You were always on my mind
All I do is count the days
Where are you now?
Know I never let you down
I will never go away
I really wish that you would stay but what would we do
All the days that you've been gone I dream about you
And I anticipate the day that you will come home, home, home
No matter how far you are
No matter how long it takes him
Through distance and time
I'll be waiting
And if you have to walk a million miles
I'll wait a million days to see you smile
Distance and time, I'll be waiting
Distance and time, I'll be waiting
Will you take a train, to meet me where I am
Are you on your way?
And I will never do anything to hurt you
I'll never live without you
I really wish that you would stay but what would we do
All the days that you've been gone I dreamed about you
And I anticipate the day that you will come home, home, home
No matter how far you are
No matter how long it takes him
Distance and time, I'll be waiting
And if you have to walk a million miles
I'll wait a million days to see you smile
Distance and time
I'll be waiting
No matter how far you are
No matter how long it takes him
Through distance and time, I'll be waiting
And you can walk a million miles
I'll wait a million days to see you smile
Through distance and time, I'll be waiting
Oh oh oh, oh
Oh oh oh, hey
Oh oh oh oh
I'll be waiting
Oh oh oh
Oh oh oh
Through distance and time
I'll be waiting
You are always on my mind
All I do is count the days
Where are you now?
Song by Alicia Keys
using the character sheet Eve1.
Soft oval face with subtle heart-shaped taper, large almond hazel-brown eyes, medium arched brows, slim refined nose, medium-full lips with defined cupid's bow, warm golden-beige complexion with natural glow, subtle freckles over her nose, wispy curtain bangs and long chestnut-brown hair with warm golden highlights, her hair is up in a messy tangled bun. Eve is wearing a faded denim jacket which is not fastened and almost bearing her right shoulder.
Eve patiently waits for her photo shoot, she is sitting, leaning to her left, with her left cheek resting on her hand. Behind her a cool grey backdrop for this monochrome shot. She looks directly at the camera.
Ultra-photorealistic IMAX still, Netflix-quality production design, Unreal Engine 5.5 realism, HDR lighting, 70mm lens simulation, razor-sharp focus, cinematic color grading, 64K masterpiece. No text, no typography, no logos, no comic-book styling, no illustration effects, no poster elements, no watermarks. One clear focal point, cinematic realism.
Create with my SL avatar, ChatGPT and Affinity Photo2
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
--Will Shakespeare
El monumento al Marqués es obra del escultor Mariano Benlliure,, está diseñado en bronce y se asienta sobre un pedestal de mármol.
La estatua está flanqueada por dos figuras. Un hombre que sostiene un pico y un azadón, que representa el trabajo, y una mujer que presenta en ofrenda a un niño, que representa la caridad.
La alegoría del Trabajo, un bronce, encarna la fortaleza viril. Un joven de complexión atlética aparece en actitud de marcha, con pico y azadón sobre el hombro derecho y coronado con hojas de vid en alusión a los frutos de la tierra.
Para la figura del joven posó como modelo el torero Luis Mazzantini.
La estatua del Marqués de Larios fue derribada por la multitud en 1931 con motivo de la proclamación de la II República Española. Entonces fue arrastrada por la ciudad y arrojada a las aguas del Puerto de Málaga. Sobre el basamento se situó al obrero de la alegoría del Trabajo.
Una vez finalizada la Guerra Civil española, la estatua fue rescatada del fondo del mar y colocada de nuevo en su lugar original.
The apple blossom is the state flower of both Michigan and Arkansas. The flower was chosen as the state flower by the Michigan legislature in 1897, and the specific variety chosen is Pyrus coronaria, the crabapple, because it is native to Michigan.
Not only do the blossoms turn into apples, but the blossoms can be eaten themselves! It turns out, they are high in antioxidants and have a sweet flavour to them. When made into a tea you can experience benefits like clear complexion, better digestion and stress relief.
Apples have been grown in the UK for for well over a thousand years and the blossom and harvest times have always been key dates for growers. There is now a huge amount of information about when particular varieties blossom and fruit which can help the gardener.
Blossom and harvest dates are relative to each other. This means that if blossom is delayed / advanced then the same will normally be true of the harvest time. Also if one variety of apple is delayed / advanced for harvest / blossom then generally all other varieties will be affected by a similar time frame.
Elegance is when the inside is as beautiful as the outside.
-Coco Chanel
Using character sheet E1,
soft oval face with subtle heart-shaped taper, large almond hazel-brown eyes, medium arched brows, slim refined nose, medium-full lips with defined cupid's bow, warm golden-beige complexion with natural glow, subtle freckles over her nose, wispy curtain bangs and long brunette hair with warm golden highlights, her hair is up in a messy tousled bun with some loose strands.
Eve is in a crouched, almost kneeling position, resting back on the left foot that's under her, the left knee is off the ground, the right leg is bent up with her right hand resting on it. Her gaze is to the right, eyes closed, with a calm, captivating expression.
Eve is wearing a black strapless cocktail dress with a black lace bodice, which is tucked up to show her long shapely legs which are partly covered with black thigh high fishnet and lace stockings, her feet are adorned with elegant/classy black high heels. Eve also wears long lace glove.
Ultra-photorealistic IMAX still, Netflix-quality production design, Unreal Engine 5.5 realism, HDR lighting, 70mm lens simulation, razor-sharp focus, cinematic color grading, 64K masterpiece. No text, no typography, no logos, no comic-book styling, no illustration effects, no poster elements, no watermarks. One clear focal point, cinematic realism.
Created with my second life avatar, AI and Affinity Photo2
While the fires and their resulting smoke appear under control, welcome clouds take their place in the skies above Lake Shuswap. Painterly reflections take on an art like complexion, while the sky expands to take in a breath of fresh air.
As the reflections come and go with each movement in the water, only one of my many attempts captures their fleeting existence.
Prompt
Ultra-photorealistic, 16:9 IMAX cinematic photograph. E2 HARD LOCK facial appearance exactly: soft oval face with subtle heart taper, light tan complexion, hazel-brown almond eyes, medium natural brows, slim refined nose, medium-full lips, soft freckles, long brunette hair /golden highlights with wispy curtain bangs. up in a tousled messy bun. Eve, eyes in downward glance, a calm contemplating moment as she holds an exquisite bouquet of red roses.
HDR, ultra-realistic skin, razor-sharp focus, masterpiece quality, 64K, IMAX, physically accurate lighting, no text, no logos, no watermark, no artifacts
Created in ChatGPT.
El somormujo lavanco es el mayor de los somormujos y zampullines que pueden verse en España, con el tamaño de un ánade grande. Se trata de un ave elegante, de cuello estilizado, pico largo y apuntado, y cuerpo alargado.
En verano luce un plumaje vistoso, con la parte superior de la cabeza negra, en la que destacan dos grupos de plumas a modo de penachos (dibujo 1). De las mejillas salen plumas llamativas, alargadas, de tonos rojizos y negros. La zona que rodea los ojos es blanca, al igual que el cuello, el pecho y el vientre, lo que contrasta con el dorso oscuro y los flancos rojizos.
En plumaje invernal llama mucho menos la atención (dibujo 2), con un tono general oscuro en el dorso y los laterales, aunque presenta el cuello, la cabeza (excepto el píleo oscuro) y las partes inferiores de color blanco.
Con cualquier plumaje, el largo cuello constituye un buen rasgo diagnóstico. En vuelo se observa su esbelta complexión, con su largo cuello estirado, y su batir rápido de alas hace ver las zonas alares blancas a modo de destellos.
No existen diferencias entre sexos. Los juveniles resultan similares a los adultos en invierno, aunque poseen en la cara un dibujo de líneas negras
que los distingue.
Grounds for Sculpture
One of my favorite works of art anywhere and what a great placement.
Philip Grausman has risen to become one of the most well-acclaimed portrait sculptors of his time. Grausman's portraits take on a realistic nature, giving life and personality to his figures. Large-scale Leucantha stands tall with a stoic persona. Grausman's fine workmanship and choice of material, cast aluminum, gives Leucantha a silky complexion making her seem ageless--belonging to no specific period of time. The female head is carried gracefully on a muscled neck imparting inner strength and self-assuredness.
Dimensions:
overall: 108 in x 118 in x 118 in
Technique/Process:
cast, Luminore coating
Edition:
Edition, 1/3
Courtesy:
Courtesy of The Sculpture Foundation, Inc.
Explored
DADDY: "The reason why I wanted to show you this parcel is because of whom it is addressed to."
SCOUT: "Well, who is it addressed to, Daddy?"
DADDY: "Well, why don't you read the mailing label for yourself, Scout."
SCOUT: "Oh my Daddy!" *Shakes head.* "Your mind really is getting worn out if you need me to read the label for you." *Tuts.* "However, I will help you." *Looks at envelope label carefully and spells out the name.* "S... C... O... U... T... SC...OUT... Scout... SCOUT!" *Excited.* "The parcel is for me?!?"
DADDY: "Exactly Scout! It's addressed to you! It's from Auntie Anne-Miek in the Netherlands!"
SCOUT: "Oh well! Why didn't you say so in the first place, Daddy?" *Snatches parcel.* "That is called mailknapping and ransome, Daddy!"
DADDY: *Sighs.* "You're welcome, Scout."
SCOUT: *Tears open parcel quickly and noisily, before squealing.* "Yeeeaaahhhh!" *Excited.*
DADDY: "What is it, Scout? What did you receive from Auntie Anne-Miek?"
SCOUT: "Look Daddy! It is from my friend Yves who lives with Auntie Anne-Miek! He knitted me a scarf!" *Pulls out pink scarf.* "Look!" *Excited.* "It's pink! Pink is my most favouritested colour in the whole wide world, EVER! Oh!" *Gasps.* "It's soooo pretty and soooo soft!" *Runs scarf against his cheek.* "I shall look very fetching in this," *Carefully wraps scarf around neck.* "Won't I Daddy?"
DADDY: "Oh indeed you will, Scout. You will look gorgeous. It's the perfect colour for your woollen plush complexion. Yves must be a very skilled knitter, and have spent a great deal of time making this just for you!" *Smiles.*
SCOUT: "Oh yes! Yves is soooo lovely and kind, and a great knitter." *Nods seriously.*
DADDY: "Then you had better say thank you to him, Scout."
SCXOUT: "Oh! Yes! That is a capital idea, Daddy! Ahem." *Clears throat.* "Thank you for my lovely scarf, dear Yves! It is soooo beautiful and soooo soft and soooo perfect! I love it soooo much!" *Preens.*
DADDY: "But wait... Scout! There is something else in the parcel." *Reaches down to touch envelope.*
SCOUT: *Swats Daddy's hand away with paw.* "This is my, parcel, Daddy! Not yours! Paws off!"
DADDY: *Withdraws had quickly.* "Sorry Scout!" *Apologetic.*
SCOUT: "Oh! Oh! Oh!" *Excited.* "It's another scarf! Ooooohhh... a rainbow coloured one! Oh thank you again, dear Yves! Double thank you! It is soooo pretty!" *Preens.*
DADDY: "There is a letter in the envelope as well."
SCOUT: "Ooooh! May I see that, Daddy?"
DADDY: "Of course!" *Holds out letter to Scout.*
SCOUT: "Oh look, Daddy! The writing is as pretty as the scarves! It's all curly and fancy!"
DADDY: "It's very pretty, Scout. Please read it to me."
SCOUT: "Oh! Yes Daddy! Ahem!" *Clears throat.* "Dear Scout, Your scarf! In your colour and one in my colour. My favourite colour is 'rainbow'! I did my best! To make your scarves perfectly imperfect. Love and kisses and hugs from all the Bibber Bears for Paddy, Daddy and everybear! Yves x x x"
DADDY: "Oh how lovely, Scout! You are such a lucky little bear!"
SCOUT: "Oh I know Daddy, and pretty too!" *Preens.* "Thank you soooo much Yves! I loooovvvveee my new scarves in my favourite colour, pink, and your favourite colour, rainbow! They are the most perfectly imperfect scarves in the whole wide world EVER! I am soooo happy!" *Jumps for joy.* "I love you Yves, and I am sending you lots of big little bear hugs and snuffly kisses!"
Scout was a gift to Paddy from my friend. He is a Fair Trade Bear hand knitted in Africa. His name comes from the shop my friend found him in: Scout House. He tells me that life was very different where he came from, and Paddy is helping introduce him to many new experiences. Scout catches on quickly, and has proven to be a cheeky, but very lovable member of our closely knit family.